mielu.ro - blog - filme

bruno psychic scene (viewer discretion is advised)

nospam@example.com (Iancu Rasta) — Wed, 24 Feb 2010 14:20:38 +0200

well good luck with your life.

un misto foarte fin la adresa celor ce vorbesc cu spiritele.

gadjo dilo

nospam@example.com (Iancu Rasta) — Wed, 24 Feb 2010 14:05:30 +0200

filme: american beauty - masturbation scene (remix)

nospam@example.com (Iancu Rasta) — Thu, 27 Nov 2008 17:00:00 +0200

what are you doing ?
nothing.

Learn Finnish with bastards - The Solution

nospam@example.com (Iancu Rasta) — Thu, 02 Oct 2008 21:00:00 +0300

Am pus acum ceva vreme pe blog un link la un film care te invatza cum se injura in finlandeza.
Ca orice curs educativ, la sfarsit era pusa si o tema pentru acasa ... Iata solutia.

Mai multe .. http://en.wikipedia.org/wiki/Finnish_profanity

terminus paradis

nospam@example.com (Iancu Rasta) — Mon, 29 Sep 2008 10:00:00 +0300

cea mai plictisitoare parte din film..

4 luni 3 saptamani si 2 zile aka romania cu cabluri rds

nospam@example.com (Iancu Rasta) — Fri, 25 Jan 2008 21:00:00 +0200

ca si idee nemescu se pisa pe mungiu.

4 sapt trei saptamani si 2 zile este filmul ideal de vazut in est, in rest ..

la blocul unde locuia mama doctorului se vedea cablul rds
pe holul hotelului se vedea senzorul de fum

mi-am dat seama pentru prima oara ca romania este tzara ideeala pentru filme cu buget mic, mai ales actiunea e prin anii 1950.
frate, ai nevoie de un loc dezolant, totul gata pregatit de marinari chiori si de guvernanti de tot cacatul ... vino in romania. e la fel din 1945 toamna.

discursul serios al doctorului din camera de hotel .. forestier.
imi dau seama de ce nu a existat pana de curand nici o "urma" a filmului pe dc sau altele ... pentru ca pe youtube exista deja o recenzie: filmul acela cu o blonda concurenta la miss smthing care spune: iraq, pace ,educatie, africa de sud, dragoste, america, putem, sistemul.

asta este celebrul film al lui mungiu, o aglomeratie de lucruri arhi cunoscute, un fel de strada plina de cacati de caine pe care, mergand, intr-un mod ametitor reusesti sa calci in ficare, si respectiv fiecare cacat este atat de proaspat si de necalcat incat mungiu iti prezinta detaliile intr-un muget lung si rasunator.

singurul motiv pentru care m-am uitat la film pana la capat a fost doar curiozitatea de a vedea cine ingroapa pe cine. se pare ca doar supararea e ingropata cu ce a mai ramas din meniul unei nunti. clasic dealtfel.

nu imi pot explica cum un film atat de sterp poate sa atraga atatea articole de ziar si atatea premii.
este atat de banal, de lipsit de orice ... nu m-ar mira ca acest film sa fie doar "aplaudat" pentru ca nu stiu in ce tzara se doreste interzicerea avortului, si aceasta o sa fie o propaganda excelenta.

TRANSCRIPT: The Departed (2006)

nospam@example.com (Iancu Rasta) — Mon, 19 Nov 2007 21:00:41 +0200

THE SOUTH BOSTON HOUSING PROJECTS. A MAZE OF BUILDINGS AGAINST THE HARBOR.

COSTELLO (V.O.)
I don’t want to be a product of my environment. I want my environment to be a product…of me.

COSTELLO (V.O.)
Years ago, we had the Church. That was only a way of saying we had each other. The Knights of Columbus were head-breakers. They took over their piece of the city.
EXT. SOUTHIE. VARIOUS
The neighborhood. 1980's. We won't be here long. This isn't where Costello ends up. It's where he began. Liquor stores with shamrocked signs. Twenty years after an Irishman couldn't get a job, we had the presidency. That’s what the niggers don’t realize. If I got one thing against the black chaps it's this. No one gives it to you. You have to take it.

==================

BILLY,
wearing a State Police sweatshirt is running, alongside BROWN a black trainee with specs.

BROWN
She tells me, you never finish anything.
(puff puff)
You finish the police course you get taken care of again baby.
(puff puff)
So after graduation
(puff puff)
I get a blowjob again.

BILLY
That's great. Your mom must be a wonderful woman.

BROWN
Fuck yourself.

==================

They solemnly toast uncle Jackie and his fate among the fucking guineas. Across the crowded room, BILLY is ordering at the bar.

BILLY
A cranberry juice.

WELL-DRESSED SCUMBAG AT BAR
It's a natural diuretic. My girlfriend drinks it when she got her period.
(to BILLY)
You got your period?

BILLY glances over at the table where MISTER FRENCH sits with SEAN, and then smashes his glass into the face of the WELL DRESSED SCUMBAG. He stands waiting for the SCUMBAG to get up he is grabbed and shoved against the wall by MISTER FRENCH. Popped into a pay phone hard. The pay phone comes off the hook.

BILLY
Get your hands off me.

MISTER FRENCH
Do you know me?

BILLY
No.

BILLY shakes his head no.
MISTER FRENCH
I'm the guy who tells you there are guys you hit and there are guys you don't. That's not quite a guy you can't hit, but it's almost a guy you can't hit, so I'm fucking ruling on it right now that you don't hit him, understand?

BILLY
Yeah. Excellent. Fine.

MISTER FRENCH
I know you. I know your family. Also I know you do another drug deal with your idiot fucking copmagnet cousin I'll forget your grandmother was very nice to me and cut your fucking nuts off. You understand that?

BILLY
Yeah.

MISTER FRENCH
Now you know me.

BILLY
Yeah.
A beat: they stare at each other.

MISTER FRENCH
What are you drinking?

BILLY
Cranberry juice.

A beat.

MISTER FRENCH
What is it, your period?

BILLY laughs.

MISTER FRENCH
Get him a cranberry juice.

==================

My theory on Feds is they're like mushrooms. Feed 'em shit and keep in the dark.

==================

COSTELLO (CONT'D)
Good day, Fathers.

PRIESTS
(terrified and simultaneously)
Good morning [day], Francis, good morning.
The OLDER PRIEST is very nervous, looking around. The YOUNGER PRIEST concerned for his elder but personally not implicated.
COSTELLO leans over the OLDER PRIEST, a pathetic man.

COSTELLO
You recall our chat?
(the OLDER PRIEST nods, terrified)
"I am as God made me", was that what you said? May I remind you,
God don't run the bingo in this archdiocese.

YOUNG PRIEST
May I remind you, Mr. Costello, that pride comes before the fall.

COSTELLO
What comes before the Fall is the Summertime.

COSTELLO notices that THE NUN is heading back to the table.

COSTELLO (CONT'D)
How is Sister Mary Theresa doing?
We had a tasty relationship before she took her vows. Enjoy your clams, cocksuckers.

==================

COSTELLO (to translator)
How you going, Robert?

CHINESE TRANSLATOR
Tops, Mr. Costello. I want to tell you that at least two of these gents have machine guns.
COSTELLO takes it all in. The CHINESE GANGSTER looks like a Malay pirate. Costello’s gunmen are perched above, automatic weapons trained on the Triad.

CHINESE GANGSTER (in Cantonese, not subtitled)
Waiting, waiting. We almost departed! This man is from the Embassy. He will have to blow his brains out if he is captured. His entire family will be killed.

CHINESE TRANSLATOR
He’s a little upset.
COSTELLO
Tell him light on the starch.

CHINESE TRANSLATOR
(roughly translating)
He’s fronting the Chinese government and he’s just scared shitless.

COSTELLO
Government man. (loudly, to Chinese)
I’m concerned about Chinamen who think it's wise to bring automatic weapons to a business transaction.
The CHINESE GANGSTER interjects --

CHINESE GANGSTER
Ngup, Ngup, Ngup. Ngaw um ming. Kay ngup mutt. [Yap, yap, yap. I don’t understand. What is he saying?]
The CHINESE TRANSLATOR translates Costello’s statement about “concern.”
SEVERAL OF THE TRIAD, hearing a “automatic weapon,” stupidly raise their MACHINE GUNS. They don’t aim them.

COSTELLO
For his own good, tell Bruce Lee and the Karate Kids none of us are carrying automatic weapons because here, in this country, it don’t add inches to your dick. You get a life sentence for it.
We (but no one else) hear a double click as MISTER FRENCH cocks a pistol behind his back.

CHINESE GANGSTER (in Cantonese)
Put away that machine gun.
The MACHINE GUN is put away.

COSTELLO
If these chinks want to nuke Taiwan any time in this century, you tell them they better shape up fast and show me one million dollars.
The CHINESE TRANSLATOR translates.

COSTELLO (CONT'D)
What we generally do in this country is one guy shows up with the items, and the other guy pays him. No tickee...no laundry.
COSTELLO gestures and a BOX of PROCESSORS is put on the floor. Opened. The CHINESE GANGSTER gestures and a case of money is put on the floor. Opened. FITZY looks at it, nods.

CHINESE GANGSTER
Nay tiey ching chaw yut bok mon. [Make sure it’s real. It’s a million dollars.]. ALTERNATE/ALSO
(insult): Ne dei yeeche ling ngnaw dong maw gok nay chun. [Next time you make me wait, I’m going to cut your dick off.]

COSTELLO
In English, thank you, also.

CHINESE GANGSTER
Du ne. [Fuck you.]
The deal is done.

COSTELLO
The expedition continues this way.

saw 4

nospam@example.com (Iancu Rasta) — Tue, 09 Oct 2007 18:00:00 +0300

saw 4 sau "ti-o trag si mort.", scuzati ideea prezindentiabila dar in fine .. se pare ca saw3 are o continuare .. saw4, in care desi atat tipul care planifica jocurile cat si aghiotanta lui drogata au murit .. iata ca din neant la sfarsitul lui octombrie cineva o sa omoare un negru.

hai noroc si sa iti traiasca srl.ul. (fie ca are CUI sau CF)

TRANSCRIPT: Pulp Fiction

nospam@example.com (Iancu Rasta) — Fri, 16 Feb 2007 08:45:35 +0200

Jules: Okay, so tell me again about the hash bars

Vincent: Okay, watcha wanna know?

Jules: Hash is legal now right?

Vincent: Yeah, it's legal, but it ain't 100% legal. I mean, you can't just walk into a...restaurant, roll a joint, and start puffing away. I mean, they want you to smoke it in your home or certain designated places.

Jules: And those are hash bars

Vincent: Yeah, it breaks down like this, okay, it's legal to buy it, it's legal to own it, and if you're the proprietor of a hash bars, it's legal to sell it. It's legal to carry it, but but, that doesn't matter, because...get a load of this, alright, if you get stopped by a cop in Amsterdam, it's illegal for them to search you. I mean, that's the right the cops in Amsterdam DON'T have

Jules: Oh man, I'm going, that's all it is to it, I'm f**kin going

Vincent: I know baby, you dig it the most.....but you know the funniest thing about Europe is?

Jules: What?

Vincent: It's the little differences. I mean, they got the same sh*t over there that they got here, but it's just, it's just their's a little different

Jules: Example

Vincent: Alright, well you can walk into a movie theater in Amsterdam, and buy a beer. And I don't mean just like no paper cup, I'm talking about a glass of beer. And in Paris, you can buy a beer in McDonald's. And you know what they call uh...a Quarter Pounder with Cheese in Paris?

Jules: They don't call it a Quarter Pounder with Cheese?

Vincent: nah man they got the metric system, they wouldn't know what the f*ck a quarter pounder is

Jules: Then what do they call it?

Vincent: They call it, uh, Royale with Cheese

Jules: Royale with Cheese?

Vincent: That's right

Jules: What do they call a Big Mac?

Vincent: A Big Mac is a Big Mac, but they call it Le Big Mac

Jules: Le Big Mac, (laughs) what do they call a Whopper?

Vincent: I don't know, I didn't go into Burger King.....You know what they put on french fries in Holland instead of ketchup?

Jules: What?

Vincent: Mayonnaise

Jules: Damn, laughter

Vincent: I seen them do it man, they f**ckin drown them in that sh*t

Jules: Yuck

TRANSCRIPT: Be Cool

nospam@example.com (Iancu Rasta) — Mon, 11 Dec 2006 12:00:00 +0200

- Excuse me, Vladimir? I don't know how they do it in the Ukraine, but I believe I was here first.

- Be cool, nigger.

- Nigger?
- Have you lost your mind?
I mean, how is it that you can disrespect a man's ethnicity when you know we've influenced nearly every facet of white America, from our music to our style of dress, not to mention your basic imitation of our sense of cool... walk, talk, dress, mannerisms.
We enrich your very existence, all the while contributing to the gross national product through our achievements in corporate America.
It's these conceits that comfort me when I'm faced with the ignorant, cowardly, bitter and bigoted who have no talent, no guts, people like you who desecrate things they don't understand when the truth is you should say, "Thank you, man," and go on about your way.
But apparently, you're incapable of doing that.
So...

Racial epithets.
Why does it always come down to that?
Makes me sad for my daughter.

TRANSCRIPT: TWO FOR THE MONEY

nospam@example.com (Iancu Rasta) — Wed, 29 Nov 2006 06:45:00 +0200

INT. MANHATTAN APARTMENT - DAY

The GROUP sit in a circle, listen as a BUSINESSMAN, near tears, gives his testimony.

BUSINESSMAN
...I mean you'd think with two mortgages out, repo guys staking out my car, my job on the line and my wife threatening to leave, you'd think I'd have the goddamn brains to stop, instead of staying in the chase, doubling down, which of course is what I did... I know I'm sick because I keep thinking if I just pulled that game out then I got a lock on the parlay and I'm flush going into Monday night and--

(breaking down, unable to continue)

MEMBER #1
... It's a disease, Leon.

MEMBER #2
Admitting you have a problem is the first step.

BUSINESSMAN/LEON
Then I guess I'm doing pretty good because I got one big fucking problem.
Someone claps. Everyone joins in. LEON smiles. Warm beat.
WALTER suddenly stands. BRANDON watches, concerned.

WALTER
My name's Walter. I'm new to the group.

(various "hellos")

Hi. I've been going to meetings like this for 18 years. Once a week, every Friday night, for 18 years. This, my friends, is my 936th consecutive meeting.

(enthusiastic applause)

Thank you. Thanks. And my hand to God, I haven't been to a track, casino or bet a game that whole time. Not a cent.

(murmurs of approval)

I've listened to thousands of sob stories by people like Leon here, and I gotta say, Leon -- if I learned one thing it's that gambling is not your problem.

LEON
It's not?

WALTER
Not even close. You're a lemon. Like a bad car, there's something inherently defective in you. And you. And me! All of us here -- we're lemons! Big, juicy, acidic, ice-tea flavoring lemons!
We look like everyone else but we're defective because when most people make a bet they want to win, while we, the degenerate gamblers of the world, we're subconsciously playing to lose.
All humans like going to the edge of the abyss, but what makes us different is we go all the way and hurl ourselves off into the void! And we like doing it so much we do it time after time after time! Me? I always felt most alive when they were raking away the chips, and every one here knows what I'm talking about.
People like us, even when we win, it's just a matter of time before we give it all back. But when we lose, and I mean the kind of loss that makes your asshole pucker to the size of a decimal point, there's a moment when you're standing there and you've just recreated the worst possible nightmare this side of malignant cancer for the 20th goddamn time and you suddenly realize -- hey, I'm still here, I'm still breathing, I'm still alive! In order to really live you have to be aware of your own mortality -- and a losing bet of a certain size is one of the best ways

WALTER CON'D
I know of getting that feeling. When you win, you defy death, but when you lose, you survive it, and that's remarkable!

Us lemons, we fuck shit up on purpose! We need to constantly remind ourselves that we're alive! Gambling's not the problem, Leon, your fucked up need to feel something, to convince yourself you exist, to test what's really real, that's the problem!

CESKY SEN aka CZECH DREAM

nospam@example.com (Iancu Rasta) — Sun, 16 Apr 2006 17:30:00 +0300

Prague, Czech Republic, 31 May, 2003 - its a few minutes before 10 a.m. and there are more than 3000 people jostling on a remote parking place. Many of them are clutching plastic bags in their hands; some of them are armed with trolley bags. Assistants are handing out plastic cups and the moderator on the illuminated stage urges the people to have a drink from the near-by water tankers. The "hyper-anthem" of CZECH DREAM rings out once again from the speakers: "Try to see as a child, many things will seem wild..." Suddenly the managers of the hypermarket rush out on the stage, greet their customers and briskly cut the glittering ribbon. The escort remove the metal barriers and the crowd starts moving. They still have 300 metres to reach the hypermarket. People start running... A moment later, the fastest of them are struck dumb: the hypermarket that they have reached is nothing but a huge film decoration... Documentary hyper-comedy CZECH DREAM is a feature film about a hypermarket that has never existed.

CZECH DREAM documents the largest consumer hoax the Czech Republic has ever seen. Filip Remunda and Vit Klusak, two of Eastern Europe's most promising young documentary filmmakers, set out to explore the psychological and manipulative powers of consumerism by creating an ad campaign for something that didn't exist.

CZECH DREAM - the Hypermarket for a better life!

The campaign (designed by a renowned advertising agency) involved television and radio spots, 400 illuminated billboards, 200,000 flyers promoting CZECH DREAM brand products, an advertising song, a website, and advertisements in newspapers and magazines.

For two weeks, the streets of Prague were saturated with advertising for the fake hypermarket. The ads proclaimed: Don't Go, Don't Rush, Don't Spend drawing over 4,000 people to turn up on the 'opening day'. On the 31 May 2003, they arrived at a green field where, instead of a hypermarket, they found just the dream hypermarket's façade (10m high and 100m wide).

CZECH DREAM is a funny and provocative look at the effects of rampant consumerism on a post-communist society. CZECH DREAM has also caused some controversy, provoking extreme reactions in the Czech people and media and even being discussed in Czech Parliament.

With the recent entry of the Czech Republic and other Eastern European countries to the EU, and, with people's changing attitudes to consumerism and globalisation, it is equally relevant to capitalist societies all over the world.

TRANSCRIPT: The man from the elysian fields

nospam@example.com (Iancu Rasta) — Tue, 28 Mar 2006 20:00:00 +0300

She's the one who likes having her toes sucked.
Just some advice...make it easy on yourself. Do not take her dancing first, okay?
-Thanks.
-We got to watch each other's backs.
Who are you dragging around tonight?
Her.

What, we're not getting a room?

What makes a man do what you do?
I think of our mission as a way of giving joy to others, my darling.
Actually, I really need to know the truth.
Well, that's simple... fucking is the last resort for a man who feels impotent.

Thank you.
Good night.

TRANSCRIPT: basic instinct

nospam@example.com (Iancu Rasta) — Tue, 21 Feb 2006 23:49:57 +0200

Gus takes a long, drunken look at him.

GUS
You... fucked her! Goddamn dumb sonofabitch... You fucked her!
Goddamn, you are one dumb sonofabitch --

NICK
(trying to quiet him)
I'm not gonna get AIDS, pop --don't worry about it. I always use a rubber.

GUS
(loud)
I don't give a... flyin'... chili-bean... fart about AIDS!

NICK
(grins; quietly)
You oughta use a rubber, pop. You really should.

GUS
(loud)
What in the hell for? You think I'm gettin' any at my age?
I don't like blue-haired women. I don't like 'em.

NICK
(straight)
You don't like punk rockers?

GUS
(loud)
Say what?

INT. A DINER - NIGHT

Gus is eating chili, drinking coffee. Hick keeps pouring him more coffee.

NICK
(grins)
You feeling better?

GUS
(loud)
I feel fine!

Nick pours him more coffee; Gus guzzles it.

GUS
(loud)
How could you fuck her?

trecand de la una la alta

nospam@example.com (Iancu Rasta) — Mon, 20 Feb 2006 00:15:00 +0200

(1997, sus, imaginile nu imi apartzin, sunt luate de pe un site - nu cel indicat, unul "afiliat")

(2000, jos, calitatea textului scris dedesuptul imaginilor ma face sa regret ca nu am dat crop)

sa zicem ca domnisoarei o sa ii spunem in textul care chiar nu era necesar ca si adaugire la aceste poze mama. ii zicem mama pentru ca de obicei aia care au o problema cu mamele sau lipsa lor prefera tipele care pot sa ii alapteze.

cine le-a ascultat ultimul album stie deja ca absintul dauneaza grav parazitilor.

despre o melodie si un film. ombladon, parca, a vazut filmul requiem for a dream si si-a tras si el versuri pe album la final de film (THE END). suna cam asa: "reqviem pentru o pla/mai exact m()ie cu droguri/sunt timidul vietzii tale/de ce inghitzi cu noduri?"

ce s-a intamplat in film ..

"You know what I like about paddy chicks?
They give good head. (Chuckles ) Black broads know nothin' about head.
I don't know why. Maybe it's to do with some ancient tribal custom.
....
Oh, I know it's pretty, baby, but I didn't take it out for air."

cum ajunge tipa sa ? pai .. explicatia e simpla .. nevoia de putzin praf..
avea nevoie de niste faina pentru o prajurica.

Reqviem for a dream a fost filmul dupa care un prieten mi-a explicat exact ce si cum se face cu drogurile. Stiu ca a fost o lectura foarte interesanta timp de vreo ora. Mi-a explicat de ce in film un tip isi facuse rana in mana de la injectii prost facute. Superb. Iti lasa gura apa.

filmul este la fel de "tehnic" ca si altele. Ce imi place mie este ca filmele despre droguri si drogatzi ies din prima fara nici un defect. Toate filmele despre FBI, dragoste, munte contzin atatea exagerari ca se vede clar unde a existat consultant extern si unde regizorul/scenaristul a folosit experientza proprie.

===== drepturi de autor
m()ie - imi place cum arata.. aproape ca potzi sa il intorci ca pe un similey si sa il dai cu ruj.

crash

nospam@example.com (Iancu Rasta) — Thu, 09 Feb 2006 02:30:00 +0200

un film despre colivia in care zburam si zicem ca este totul ok.

consideram cuvantul colivia ca reprezinta pe rand si in acelasi timp: planeta, viatza, personalitatea, fricile, dorintele.

ne invartim eliptic prin aceste cercuri. complicand totul cu rase, cultura, istorie.
istoria e cel mai rau lucru care se putea intampla omenirii. este o CONTABILITATE inutila. este cu ce am inlocuit instinctele.

ne face sa fim astazi la fel ca si intrecut. daca nu ar exista istorie nu ar exista multe din conflictele actuale. s-ar pierde ca lucruri bune cum ar fi cetati, tehnologie, etc. cum exista acum 3000 ani in orientul mijlociu o kestie foarte "related" inmagazinarea curentului electic si noi o ardem aiurea si trebuie sa il reinventam.
as prefera o istorie a tehnicii, a artelor, atat. ajunge atat.

FILMUL E SUPER TARE!

( horizontal blinds not vertical bars, brno 2006 (c) mielu.ro )

pentru o clipa cada devine o piscina. invatzatoare citeste clasei din blogul lui mircea cel batran. nu exista nici o intrare in blogul turcilor la acea data. cateodata e la fel de greu de iesit din cada ca dintr-o piscina al carei fund nu il atingi intr-un moment de panica.

TRANSCRIPT: My Fair Lady

nospam@example.com (Iancu Rasta) — Mon, 06 Feb 2006 14:18:29 +0200

MRS. PEARCE [at the door] Doolittle, sir. [She admits Doolittle and retires].

Alfred Doolittle is an elderly but vigorous dustman, clad in the costume of his profession, including a hat with a back brim covering his neck and shoulders. He has well marked and rather interesting features, and seems equally free from fear and conscience. He has a remarkably expressive voice, the result of a habit of giving vent to his feelings without reserve. His present pose is that of wounded honor and stern resolution.

DOOLITTLE [at the door, uncertain which of the two gentlemen is his man] Professor Higgins?

HIGGINS. Here. Good morning. Sit down.

DOOLITTLE. Morning, Governor. [He sits down magisterially] I come about a very serious matter, Governor.

HIGGINS [to Pickering] Brought up in Hounslow. Mother Welsh, I should think. [Doolittle opens his mouth, amazed. Higgins continues] What do you want, Doolittle?

DOOLITTLE [menacingly] I want my daughter: thats what I want. See?

HIGGINS. Of course you do. Youre her father, arnt you? You dont suppose anyone else wants her, do you? I'm glad to see you have some spark of family feeling left. Shes upstairs. Take her away at once.

DOOLITTLE [rising, fearfully taken aback.] What!

HIGGINS. Take her away. Do you suppose I'm going to keep your daughter for you?

DOOLITTLE [remonstrating] Now, now, look here, Governor. Is this reasonable? Is it fairity to take advantage of a man like this? The girl belongs to me. You got her. Where do I come in? [He sits down again].

HIGGINS. Your daughter had the audacity to come to my house and ask me to teach her how to speak properly so that she could get a place in a flower-shop. This gentleman and my housekeeper have been here all the time. [Bullying him] How dare you come here and attempt to blackmail me? You sent her here on purpose.

DOOLITTLE [protesting] No, Governor.

HIGGINS. You must have. How else could you possibly know that she is here?

DOOLITTLE. Dont take a man up like that, Governor.

HIGGINS. The police shall take you up. This is a plant—a plot to extort money by threats. I shall telephone for the police [he goes resolutely to the telephone and opens the directory].

DOOLITTLE. Have I asked you for a brass farthing? I leave it to the gentleman here: have I said a word about money?

HIGGINS [throwing the book aside and marching down on Doolittle with a poser] What else did you come for?

DOOLITTLE [sweetly] Well, what would a man come for? Be human, Governor.

HIGGINS [disarmed] Alfred: did you put her up to it?

DOOLITTLE. So help me, Governor, I never did. I take my Bible oath I aint seen the girl these two months past.

HIGGINS. Then how did you know she was here?

DOOLITTLE ["most musical, most melancholy"] I'll tell you, Governor, if youll only let me get a word in. I'm willing to tell you. I'm wanting to tell you. I'm waiting to tell you.

HIGGINS. Pickering: this chap has a certain natural gift of rhetoric. Observe the rhythm of his native woodnotes wild. "I'm willing to tell you: I'm wanting to tell you: I'm waiting to tell you." Sentimental rhetoric! thats the Welsh strain in him. It also accounts for his mendacity and dishonesty.

PICKERING. Oh, p l e a s e, Higgins: I'm west country myself. [To Doolittle] How did you know the girl was here if you didnt send her?

DOOLITTLE. It was like this, Governor. The girl took a boy in the taxi to give him a jaunt. Son of her landlady, he is. He hung about on the chance of her giving him another ride home. Well, she sent him back for her luggage when she heard you was willing for her to stop here. I met the boy at the corner of Long Acre and Endell Street.

HIGGINS. Public house. Yes?

DOOLITTLE. The poor man's club, Governor: why shouldnt I?

PICKERING. Do let him tell his story, Higgins.

DOOLITTLE. He told me what was up. And I ask you, what was my feelings and my duty as a father? I says to the boy, "You bring me the luggage," I says—

PICKERING. Why didnt you go for it yourself?

DOOLITTLE. Landlady wouldnt have trusted me with it, Governor. Shes that kind of woman: you know. I had to give the boy a penny afore he trusted me with it, the little swine. I brought it to her just to oblige you like, and make myself agreeable. Thats all.

HIGGINS. How much luggage?

DOOLITTLE. Musical instrument, Governor. A few pictures, a trifle of jewelry, and a bird-cage. She said she didnt want no clothes. What was I to think from that, Governor? I ask you as a parent what was I to think?

HIGGINS. So you came to rescue her from worse than death, eh?

DOOLITTLE [appreciatively: relieved at being so well understood] Just so, Governor. Thats right.

PICKERING. But why did you bring her luggage if you intended to take her away?

DOOLITTLE. Have I said a word about taking her away? Have I now?

HIGGINS [determinedly] Youre going to take her away, double quick. [He crosses to the hearth and rings the bell].

DOOLITTLE [rising] No, Governor. Dont say that. I'm not the man to stand in my girl's light. Heres a career opening for her, as you might say; and—

Mrs. Pearce opens the door and awaits orders.

HIGGINS. Mrs. Pearce: this is Eliza's father. He has come to take her away. Give her to him. [He goes back to the piano, with an air of washing his hands of the whole affair].

DOOLITTLE. No. This is a misunderstanding. Listen here—

MRS. PEARCE. He cant take her away, Mr. Higgins: how can he? You told me to burn her clothes.

DOOLITTLE. Thats right. I cant carry the girl through the streets like a blooming monkey, can I? I put it to you.

HIGGINS. You have put it to me that you want your daughter. Take your daughter. If she has no clothes go out and buy her some.

DOOLITTLE [desperate] Wheres the clothes she come in? Did I burn them or did your missus here?

MRS. PEARCE. I am the housekeeper, if you please. I have sent for some clothes for your girl. When they come you can take her away. You can wait in the kitchen. This way, please.

Doolittle, much troubled, accompanies her to the door; then hesitates; finally turns confidentially to Higgins.

DOOLITTLE. Listen here, Governor. You and me is men of the world, aint we?

HIGGINS. Oh! Men of the world, are we? Youd better go, Mrs. Pearce.

MRS. PEARCE. I think so, indeed, sir. [She goes, with dignity].

PICKERING. The floor is yours, Mr. Doolittle.

DOOLITTLE [to Pickering] I thank you, Governor. [To Higgins, who takes refuge on the piano bench, a little overwhelmed by the proximity of his visitor; for Doolittle has a professional flavor of dust about him]. Well, the truth is, Ive taken a sort of fancy to you, Governor; and if you want the girl, I'm not so set on having her back home again but what I might be open to an arrangement. Regarded in the light of a young woman, shes a fine handsome girl. As a daughter shes not worth her keep; and so I tell you straight. All I ask is my rights as a father; and youre the last man alive to expect me to let her go for nothing; for I can see youre one of the straight sort, Governor. Well, whats a five pound note to you? And whats Eliza to me? [He returns to his chair and sits down judicially].

PICKERING. I think you ought to know, Doolittle, that Mr. Higgins's intentions are entirely honorable.

DOOLITTLE. Course they are, Governor. If I thought they wasnt, Id ask fifty.

HIGGINS [revolted] Do you mean to say, you callous rascal, that you would sell your daughter for £50?

DOOLITTLE. Not in a general way I wouldnt; but to oblige a gentleman like you I'd do do a good deal, I do assure you.

PICKERING. Have you no morals, man?

DOOLITTLE [unabashed] Cant afford them, Governor. Neither could you if you was as poor as me. Not that I mean any harm, you know. But if Liza is going to have a bit out of this, why not me too?

HIGGINS [troubled] I dont know what to do, Pickering. There can be no question that as a matter of morals it's a positive crime to give this chap a farthing. And yet I feel a sort of rough justice in his claim.

DOOLITTLE, Thats it, Governor. Thats all I say. A father's heart, as it were.

PICKERING. Well, I know the feeling; but really it seems hardly right—

DOOLITTLE. Dont say that, Governor. Dont look at it that way. What am I, Governors both? I ask you, what am I? I'm one of the undeserving poor: thats what I am. Think of what that means to a man. It means that hes up agen middle class morality all the time. If theres anything going, and I put in for a bit of it, it's always the same story: "Youre undeserving; so you cant have it." But my needs is as great as the most deserving widow's that ever got money out of six different charities in one week for the death of the same husband. I dont need less than a deserving man: I need more. I dont eat less hearty than him; and I drink a lot more. I want a bit of amusement, cause I'm a thinking man. I want cheerfulness and a song and a band when I feel low. Well, they charge me just the same for everything as they charge the deserving. What is middle class morality? Just an excuse for never giving me anything. Therefore, I ask you, as two gentlemen, not to play that game on me. I'm playing straight with you. I aint pretending to be deserving. I'm undeserving; and I mean to go on being undeserving. I like it; and thats the truth. Will you take advantage of a man's nature to do him out of the price of his own daughter what hes brought up and fed and clothed by the sweat of his brow until shes growed big enough to be interesting to you two gentlemen? Is five pounds unreasonable? I put it to you; and I leave it to you.

HIGGINS [rising, and going over to Pickering] Pickering: if we were to take this man in hand for three months, he could choose between a seat in the Cabinet and a popular pulpit in Wales.

PICKERING. What do you say to that, Doolittle?

DOOLITTLE. Not me, Governor, thank you kindly. Ive heard all the preachers and all the prime ministers—for I'm a thinking man and game for politics or religion or social reform same as all the other amusements—and I tell you it's a dog's life anyway you look at it. Undeserving poverty is my line. Taking one station in society with another, it's—it's—well, it's the only one that has any ginger in it, to my taste.

HIGGINS. I suppose we must give him a fiver.

PICKERING. He'll make a bad use of it, I'm afraid.

DOOLITTLE. Not me, Governor, so help me I wont. Dont you be afraid that I'll save it and spare it and live idle on it. There wont be a penny of it left by Monday: I'll have to go to work same as if I'd never had it. It wont pauperize me, you bet. Just one good spree for myself and the missus, giving pleasure to ourselves and employment to others, and satisfaction to you to think it's not been throwed away. You couldnt spend it better.

HIGGINS [taking out his pocket book and coming between Doolittle and the piano] This is irresistible. Lets give him ten. [He offers two notes to the dustman].

DOOLITTLE. No, Governor. She wouldnt have the heart to spend ten; and perhaps I shouldnt neither. Ten pounds is a lot of money: it makes a man feel prudent like; and then goodbye to happiness. You give me what I ask you, Governor: not a penny more, and not a penny less.

PICKERING. Why dont you marry that missus of yours? I rather draw the line at encouraging that sort of immorality.

DOOLITTLE. Tell her so, Governor: tell her so. I'm willing. It's me that suffers by it. Ive no hold on her. I got to be agreeable to her. I got to give her presents. I got to buy her clothes something sinful. I'm a slave to that woman, Governor, just because I'm not her lawful husband. And she knows it too. Catch her marrying me! Take my advice, Governor: marry Eliza while shes young and dont know no better. If you dont youll be sorry for it after. If you do, she'll be sorry for it after; but better you than her, because youre a man, and shes only a woman and dont know how to be happy anyhow.

HIGGINS. Pickering: if we listen to this man another minute, we shall have no convictions left. [To Doolittle] Five pounds I think you said.

DOOLITTLE. Thank you kindly, Governor.

HIGGINS. Youre sure you wont take ten?

DOOLITTLE. Not now. Another time, Governor.

HIGGINS [handing him a five-pound note] Here you are.

DOOLITTLE. Thank you, Governor. Good morning. [He hurries to the door, anxious to get away with his booty. When he opens it he is confronted with a dainty and exquisitely clean young Japanese lady in a simple blue cotton kimono printed cunningly with small white jasmine blossoms. Mrs. Pearce is with her. He gets out of her way deferentially and apologizes]. Beg pardon, miss.

THE JAPANESE LADY. Garn! Dont you know your own daughter?

DOOLITTLE
HIGGINS
PICKERING
exclaiming simultaneously
Bly me! it's Eliza!
Whats that! This!
By Jove!

LIZA. Dont I look silly?

HIGGINS. Silly?

MRS. PEARCE [at the door] Now, Mr. Higgins, please dont say anything to make the girl conceited about herself.

HIGGINS [conscientiously] Oh! Quite right, Mrs. Pearce. [To Eliza] Yes: damned silly.

MRS. PEARCE. Please, sir.

HIGGINS [correcting himself] I mean extremely silly.

LIZA. I should look all right with my hat on. [She takes up her hat; puts it on; and walks across the room to the fireplace with a fashionable air].

HIGGINS. A new fashion, by George! And it ought to look horrible!

DOOLITTLE [with fatherly pride] Well, I never thought she'd clean up as good looking as that, Governor. Shes a credit to me, aint she?

LIZA. I tell you, it's easy to clean up here. Hot and cold water on tap, just as much as you like, there is. Woolly towels, there is; and a towel horse so hot, it burns your fingers. Soft brushes to scrub yourself, and a wooden bowl of soap smelling like primroses. Now I know why ladies is so clean. Washing's a treat for them. Wish they saw what it is for the like of me!

HIGGINS. I'm glad the bath-room met with your approval.

LIZA. It didnt: not all of it; and I dont care who hears me say it. Mrs. Pearce knows.

HIGGINS. What was wrong, Mrs. Pearce?

MRS. PEARCE [blandly] Oh, nothing, sir. It doesnt matter.

LIZA. I had a good mind to break it. I didnt know which way to look. But I hung a towel over it, I did.

HIGGINS. Over what?

MRS. PEARCE. Over the looking-glass, sir.

HIGGINS. Doolittle: you have brought your daughter up too strictly.

DOOLITTLE. Me! I never brought her up at all, except to give her a lick of a strap now and again. Dont put it on me, Governor. She aint accustomed to it, you see: thats all. But she'll soon pick up your free-and-easy ways.

LIZA. I'm a good girl, I am; and I wont pick up no free and easy ways.

HIGGINS. Eliza: if you say again that youre a good girl, your father shall take you home.

LIZA. Not him. You dont know my father. All he come here for was to touch you for some money to get drunk on.

DOOLITTLE. Well, what else would I want money for? To put into the plate in church, I suppose. [She puts out her tongue at him. He is so incensed by this that Pickering presently finds it necessary to step between them]. Dont you give me none of your lip; and dont let me hear you giving this gentleman any of it neither, or youll hear from me about it. See?

HIGGINS. Have you any further advice to give her before you go, Doolittle? Your blessing, for instance.

DOOLITTLE. No, Governor: I aint such a mug as to put up my children to all I know myself. Hard enough to hold them in without that. If you want Eliza's mind improved, Governor, you do it yourself with a strap. So long, gentlemen. [He turns to go].

HIGGINS [impressively] Stop. Youll come regularly to see your daughter. It's your duty, you know. My brother is a clergyman; and he could help you in your talks with her.

DOOLITTLE [evasively] Certainly. I'll come, Governor. Not just this week, because I have a job at a distance. But later on you may depend on me. Afternoon, gentlemen. Afternoon, maam. [He takes off his hat to Mrs. Pearce, who disdains the salutation and goes out. He winks at Higgins, thinking him probably a fellow-sufferer from Mrs. Pearce's difficult disposition, and follows her].

LIZA. Dont you believe the old liar. He'd as soon you set a bull-dog on him as a clergyman. You wont see him again in a hurry.

SAW 2 - concluzii

nospam@example.com (Iancu Rasta) — Wed, 18 Jan 2006 08:00:00 +0200

pana la urma saw masoara increderea oamenilor in medicina moderna

daca te maltratezi putzin o sa scapi. nu vrei sa o faci mori.

acum bineinteles ca nu o vei face daca nu ai incredere ca cineva te va repara dupa ce te maltratezi si incepi sa zbieri si sa te rogi .. dar vrajala nu tzine. n-avem. te hotarasti, te rog - fara sa incerci sa ma convingi de ceva. fapte nu vorbe.

partea cea mai misto din saw2 este totusi inceputul (primele 5 minute) in rest este o abureala.

astept cu interes saw3 care, fiind gandit de o tipa care se droga, sper sa aiba niste trip-uri misto pentru cei "prinsi".

SAW 2 aka ce ma sugi fara sa ma uzi ?

nospam@example.com (Iancu Rasta) — Tue, 17 Jan 2006 15:00:00 +0200

aseara am vizonat filmul SAW2, adica cum o femeie va continua munca unui barbat bolnav de cancer

pana la urma filmul trece putin de "ce faci pentru a trai" care era o idee super ok si ajunge in "ce iti faci pentru a trai"

foarte interesant. ma pasiona si pe mine cat poate sa primeasca un om pentru a muri.
adica iei una bucata om si te gandesti unde poti sa il tai, ce poti sa ii faci ca sa nu moara.

am avut o prietena medicinista si s-a cam ingrozit cand intr-o seara intr-un mod romantic am intrebat-o cat de repede moare un om daca este taiat, ce zone pot fi intzepate fara sa o mierleasca si de ce unele lovituri sunt cauzatoare de moarte si altele nu. saraca de ea a crezut ca i-a venit randul dar pe mine chiar ma interesa cum e cu traitul cand curge sange din tine.

Wir Kinder vom Bahnhof Zoo

nospam@example.com (Iancu Rasta) — Sat, 14 Jan 2006 16:00:00 +0200

"Sie erleben den Himmel.
Sie erleben die Holle.
Sie sind noch Kinder und
haben ihre Zukumft schon verspielt."

http://www.berlin.citysam.de/stadtplan.htm - 34 - pe harta berlinului. foarte tare, pe harta de acum este trecuta o intamplare de 30 ani.

in film: caz tipic de ghinion, se iubeau dar nu tot timpul. iar unul din ei e dependent si celalat devine din curiozitate..

in prima ora de film tipul se prostitua pentru bani.
dupa o ora jumatate de film si tipa.

sfarsitul filmului e mai neasteptat decat pare.

le meme gout

nospam@example.com (Iancu Rasta) — Sun, 11 Dec 2005 12:30:00 +0200

Radovan, filmele lui de groaza. Daca vreau sange, ma duc la Radovan si il rog sa imi dea un film. Mindhuntes este un film foarte tare! La limita inferioara a unui film de groaza, dar totusi un film care baga groaza in tine. Foarte tare! As putea spune ca nu asa de tare ca Edison (2005) pe care l-am vazut vineri in fabrica asteptand "o schimbare".

Sa zicem ca la o masa se afla 6 pistoale care iau ceaiul. Se stie ca toti or sa moara din acea camera, deja cativa au murit.

Tot la un ceai, o tipa ma intreaba cu cate am inselat-o. Nu stiu daca o inselasem sau nu, dar m-a distrat la culme ideea de "cu cate". Numai la rapoarte am OK daca serverul are idle la procesor mai mult de 30 la suta si KO daca e mai putzin.

E simplu, "m-ai inselat", "am murit". Matematica, binar, tot restul tine de FIZICA si CHIMIE. ALT DOMENIU in pana mea.

In Mindhunters filmul urmeaza ideea ca "fiecare pe felia (limba) lui moare", mortile nu sunt aleatoare, cine cade in capcana.. hai noroc la congelator. Nu, mortile si le faceau fiecare cu mana lui. Adica .. conducatorul grupului moare pentru ca era primul. Tipul care era "tehnic" moare pentru ca incerca sa repare ceva, etc.

Si .. nu conteaza sincer cum si ce. M-ai inselat sau am murit sunt la fel. Din punctul meu de vedere nu e nevoie de detalii.

21 grame .. FOARTE PROST PUSE acele intrebari de la sfarsitul filmului, sunt cantitative nu calitative se puteau face mult mai bune si mult mai socante.

tot in 21 grame ..
"ea: - I thought you will change after the transplant!
el: - I thought you will change if I did!
el: - None of us changed
"

TRANSCRIPT: Phone Booth

nospam@example.com (Iancu Rasta) — Tue, 29 Nov 2005 09:10:00 +0200

STU
(into pay phone)
Why did you do that to her? She never
did you any harm.

VOICE
How would you know? Everybody does
harm to somebody. And then they try
their best to forget it.

STU
Maybe me -- but not her. Whatever
I've done, there's no reason to take
it out on her.

VOICE
Suppose that's the only way I can
get to you? You claim you love her.

STU
Yeah, I do.

VOICE
You don't even love yourself.

STU
But Kelly... I would never hurt.

VOICE
Still you have to uphold your status
as an honorary asshole.

STU
Listen, I've treated all my women
decent. I never laid a hand on any
of them, even when provoked. And I
always let them down easy.
(beat)
I'm not ready to let Kelly go. Maybe
I never will be.

VOICE
What if she dumps you first? What's
the odds she's already taken up with
somebody? One day soon you'll come
home and find her gone along with
the CD player and the VCR.

STU
I'm not gonna let you mind-fuck me
all day! That's it. This call is
ended.

VOICE
Not until I say it is.

STU
What happens if I hang up?

VOICE
You don't really want to find out.

STU
I'm dying to hear this!!! What the
fuck can you do about it -- up in
your fucking high window with your
goddam binoculars?

VOICE
I never indicated I had binoculars.
I said I had a highly magnified
telescopic image of you that brought
you up so close I could see where
you nicked yourself under the chin
shaving this morning.

STU
Oh -- while you're at it, have a
look up my ass.

VOICE
I may very well do that, Stu. In the
meantime, think about what kind of
device has a telescopic sight mounted
on it.

STU
What? You mean... like a rifle?

VOICE
A high-powered .30 calibre bolt action
Remington 700 with a carbon one
modification and a state of the art
Henzholdt tactical sniperscope. And
you're in the cross hairs, Stu.

STU
I'm supposed to believe that?

VOICE
There's only one way I can prove it
to you. Hang up the receiver and
find out. At this range, the exit
wound ought to be about the size of
a small tangerine.

STU
And you're just going to kill me for
no reason?

VOICE
For plenty of reasons! Because you
hung up. For years I hated people
hanging up on me. Ex-girlfriends.
Women I didn't even know. Prospective
employers.

STU
I get hung up on all the time. You
get used to it.

VOICE
Or else you don't. I worked for months
getting people to switch to MCI --
being insulted at and being hung up
on hundreds of times a day. The ones
that cursed me out for invading their
privacy never bothered me as much as
those that clicked off without even
bothering to reply.

STU
Then why didn't you go after one of
them?

VOICE
Maybe you are one of them.

STU
Hey, I have worked in a boiler room
myself peddling "Term Life." I would
never be rude to a fellow salesperson.

VOICE
Can you feel it on you now? The heat
of it. I'm moving the strike zone
down to your stomach area. Now I'm
raising it up again. Directly above
the chest cavity -- sliding up to
the forehead just above the left
ear.

STU
Shit -- I do feel it.

TRANSCRIPT: One Nine Eight

nospam@example.com (Iancu Rasta) — Mon, 28 Nov 2005 19:00:00 +0200

Let's smoke this bitch.

I'm in here, Cesar.

Don't you move, Garfield.
Don't you make a move.
You killed my homeboy Benny.
And you cut off my finger.
Now let me hear you say that.

Yeah, I did it.

I told you, man!
Fucking A!
Let me do him.

No.

This nigga's mine.

You ever seen Deer Hunter?
Put it to your head...
...pull the trigger.
You gonna do yourself.

That macho enough for you?

That make me a man?

Take more than that to be me.

Yeah?

Then you do it.
Come on, maricôn.
Do it!

Vato's scared.

He's trying to weasel out.

He's fucking with your head!

Come on.

That's not how we playing the game.

Not man enough to play your own game?
Where's your cojones?

Shut up!

You gonna hide behind your homeboys?
Where's your pride?

Come on, I pulled three times.
You ain't pulled once.

What are you doing, man?
You disrespecting me?
You saying I ain't a man?

I'm saying you're a fool.
Don't be doing that shit, man!

You the man, Cesar.

You the man, and you ain't shit! You hear me?

He got character and you ain't got shit!

What the fuck?

Yeah, shoot his ass, homey.

Your turn.

You got some respect back now?

The only thing you respect is stupidity.
You willing to die for stupidity?
See, I am, if it'll teach you something.
You can't kill me, homeboy.
What I am, what I was, died over a year ago.
Everything I've ever wanted has been taken from me.
And no matter how many of you I get rid of...
...I can't get it back!
I was a teacher!
I wanted to help you!
You can't kill me!
And you can't scare me!

He's crazy, man.

That's right!
Isn't that what you respect?

Loco! Come on, Cesar!

If you're gonna be stupid, be all the way stupid!
Put it to your head, pull the trigger!
Do it!
Do it!
Do it!
Your whole way of life is bullshit!
Macho is bullshit!

It's all I got!

So now you're the victim?
Let me take your turn for you.

Shit! He's out! He's fucking out!
He smoked himself!
Let's go. Oh, man! Let's go, homey.

He took my turn.

What?

I could've taken my own motherfucking turn.

So fucking what? He's dead.

Let's go! Come on!

I've gotta do this.

Fuck this!

What are you doing? Let's go!

I got one in six chances.

I'm gonna beat this bitch.

What the f...?
Why'd you do that, man?
What's the fucking point?

Somehow...
...the sight of my own reflection...
...increased my loneliness.

The title of my essay is...

..."Mi Salida"...

..."My Way Out."

(pana la urma a avut norocul sa prinda si el un glontz in cap)

TRANSCRIPT: Magnolia

nospam@example.com (Iancu Rasta) — Sun, 27 Nov 2005 15:50:00 +0200

Cats and dogs out there, huh?
Must have a lot going on for all that stuff back there.
You could...
You could have quite a party with all that stuff.
You been on Prozac long? Dexedrine?
I don't...
Interesting drugs.
Dexedrine's basically speed in a pill, you know?
But I guess a lot of the doctors... are balancing out the Prozac with the Dexedrine.
That liquid morphine will knock you down... out, around, up and down, someone's not careful.
You can't mix those up.
Strong stuff here, boy.
What exactly you have wrong, you need all this stuff?
- Motherfucker!
- What?

What are you talking about?
You fucking asshole!
Who the fuck do you think you are?
I come in here... you don't know who I am, what my life is...and you have the balls, the indecency... to ask me a question about my life?

Please, lady, why don't you just calm down?

Fuck you, too! Don't you call me lady!

I come in here, I give these things to you... you check, you make your phone calls... look suspicious, ask questions!
I'm sick!
I have sickness all around me, and you ask me my life?

What's wrong? Have you seen death in your bed? In your house? Where's your fucking decency?

And then I'm asked fucking questions.
What's... wrong?!

You suck my dick! That's what's wrong!
And you fucking call me lady?!

Shame on you!

Shame on both of you!

TRANSCRIPT: american beauty

nospam@example.com (Iancu Rasta) — Sat, 26 Nov 2005 19:00:00 +0200

INT. BRAD'S OFFICE - MOMENTS LATER

BRAD is seated behind his desk, reading a document. LESTER
sits across from him, smiling.

BRAD
(reads)
...my job consists of basically masking my contempt for the assholes in charge, and, at least
once a day, retiring to the men's room so I can jerk off while I fantasize about a life that doesn't
so closely resemble hell.
(looks up at Lester)
Well, you obviously have no interest in saving yourself.

LESTER
(laughs)
I've spent fourteen years being a whore for the advertising industry.
The only way I could save myself now is to start firebombing.

BRAD
Whatever. Management wants you gone by the end of the day.

LESTER
Whoa. What kind of severance package is "management" prepared to
give me? Considering the information I have about our editorial director buying pussy
with company money.

A beat.

LESTER (cont'd)
Which I'm sure would interest the I.R.S., since, technically, it does constitute fraud. And some of our
advertisers and rival publications might like to know about it as well. Not to mention Craig's wife.

A beat. BRAD sighs.

BRAD
What do you want?

LESTER
One year's salary, with continued benefits.

BRAD
That's not going to happen.

LESTER
What if I throw in a little sexual harassment charge?

BRAD LAUGHS.

BRAD
Against who?

LESTER
Against you.

BRAD stops LAUGHING.

LESTER (cont'd)
Can you prove you didn't offer to save my job if I'd let you blow me?

BRAD leans BACK IN his chair, studying Lester.

BRAD
Man. You are one twisted fuck.

LESTER
(standing)
Nope. Just an ordinary guy with nothing to lose.

LESTER starts toward the door, then:

LESTER (cont'd)
I hope you and I can still be friends, Brad. And even though you didn't save my job...
(smiling)
You can still blow me, asshole.

And He exits.

TRANSCRIPT: Scent of a woman

nospam@example.com (Iancu Rasta) — Wed, 23 Nov 2005 13:00:00 +0200

Charlie: I guess you really like women.

Frank: Above all things. A very, very distant second is a Ferrari. Charlie, give me your hand. This is just the start of your education, son.

============================================

Mr. Trask: Mr. Sims, you are a cover-up artist and you are a liar.

Col. Frank Slade: But not a snitch!

Trask: Excuse me?

Slade: No, I don't think I will. This is such a crock of shit.

Trask: Mr. Slade, you will watch your language. You are at the Baird School now not a barracks. Now Mr. Sims I will give you one final opportunity to speak up.

Slade: Mr. Sims doesn't want it. He doesn't need to labeled, "...still worthy of being a 'Baird Man.'" What the hell is that? What is your motto here? Boys, inform on your classmates, save your hide. Anything short of that we're gonna burn you at the stake? Well, gentlemen. When the going gets tough, some guys run and some guys stay. Here's Charlie--facing the fire, and there's George--hiding in big Daddy's pocket. And what are you gonna do? You're gonna reward George, and destroy Charlie.

Trask: Are you finished, Mr. Slade?

Slade: No. I'm just gettin' warmed up. Now I don't know who went to this place--William Howard Taft, William Jennings Bryan, William Tell--whoever. Their spirit is dead; if they ever had one, it's gone. You're building a rat ship here. A vessel for sea going snitches. And if you think your preparing these minnows for manhood you better think again. Because I say you are killing the very spirit this institution proclaims it instills. What a sham! What kind of show are you guys puttin' on here today. I mean, the only class in this act is sittin' next to me. And I say, this boy's soul is in tact. It is non-negotiable. You know how I know. Because someone here--I'm not gonna say who--offered to buy it. Only Charlie here wasn't selling.

Mr.Trask: Sir, you are out of order!

Slade: Out of order, I'll show you out of order! You don't know what out of order is Mr.Trask! I'd show you but I'm too old, I'm too tired, and I'm too fuckin' blind. If I were the man I was five years ago I'd take a flame-thrower to this place. Out of order, who the hell do you think you're talking to? I've been around you know? There was a time I could see. And I have seen, boys like these, younger than these, their arms torn out, their legs ripped off. But there isn't nothin' like the sight of an amputated spirit, there is no prosthetic for that. You think you're merely sending this splendid foot-soldier back home to Oregon with his tail between his legs but I say that you are executing his soul. And why? Because he's not a Baird man. Baird men, you hurt this boy, you're going to be Baird Bums, the lot of ya. And Harry, Jimmy, Trent, wherever you are out there, fuck you too.

Mr. Trask: Stand down Mr. Slade!

Slade: I'm not finished! Now as I came in here, I heard those words...cradle of leadership. Well, when the bough breaks, the cradle will fall. And it has fallen here, it has fallen! Makers of men, creators of leaders, be careful what kind of leaders you're producing here. Now, I don't know if Charlie's silence here today is right or wrong; I'm no judge or jury. But I can tell you this: he won't sell anybody out to buy his future! And that my friends is called integrity, that's called courage. Now that's the stuff leaders should be made of. (pause) Now I have come to the crossroads in my days, and I have always known the right path, always, without exception, I knew. But I never took it, you know why? Because it's too damn hard. Now here's Charlie; he's come to the crossroads. And he's chosen a path, it's the right path. It's a path made of principle, that leads to character. Let him continue on his journey. You hold this boy's future in your hands committee! It's a valuable future. Believe me! Don't destroy...protect it...embrace it. It's gonna make you proud some day...I promise.

TRANSCRIPT: Unbreakable

nospam@example.com (Iancu Rasta) — Sun, 20 Nov 2005 16:00:00 +0200

Elijah glances at the BUSINESS MAN standing next to him and then back to the sketch.

ELIJAH
It's a classic depiction of good versus evil. Notice the square jaw of Slayer - common in most comic book heroes. And the slightly disproportionate size of Jaguaro's body to his head. This again is common, but only in villains... The thing to notice about this piece... The thing that makes it very, very special... is its realistic depiction of its figures. When the characters eventually made it into the magazine they were exaggerated... as always happens.(beat) This is vintage.

The business man rubs his face. Gazes at the sketch. Beat.

BUSINESS MAN
Wrap it up.

ELIJAH
You've made a considerably wise decision.

Elijah starts to the back of the store which we now see is some type of art gallery where all the framed pictures are images and sketches from comic books.

BUSINESS MAN
My kid's gonna go berserk.

Elijah jams his walking stick into the extra thick carpet and stops. He turns.

ELIJAH
Once again please?

BUSINESS MAN
My son Jeb. It's a gift for him.

ELIJAH
How old is Jeb?

BUSINESS MAN
Four.

ELIJAH
No.

Elijah starts back to the businessman shaking his head strongly.

ELIJAH
No, no, no, no no... You need to go now.

BUSINESS MAN
What did I say?

ELIJAH
Do you see any Telletubbies around here?... Do you see a slender plastic tag clipped to my shirt with my name printed on it?... Do you see a little Asian child with a blank expression sitting outside in a mechanical helicopter that shakes when you put a quarter in it?... No?... Well that's what you see at a toy store? Any you must think this is a toy store, cause
you're in here shopping for an infant named Jeb. One of us has made a gross error and wasted the other person's valuable time...

Elijah's eyes pierce through the shaken man.

ELIJAH
This is an art gallery my friend.
This is piece of art...