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The Medici Sapphire. | 0:00:15 | 0:00:17 | |
Worn by Medici brides on their wedding day. | 0:00:17 | 0:00:21 | |
Worth more than all the gold in the vault put together. | 0:00:21 | 0:00:24 | |
Take it off now. | 0:00:26 | 0:00:28 | |
Lorenzo. | 0:00:32 | 0:00:33 | |
Ooh! Sorry, a bit of skin. | 0:00:40 | 0:00:44 | |
Darlings, what a vista. Magnifico! | 0:01:51 | 0:01:55 | |
The countryside lives, it breathes through your art. | 0:01:57 | 0:02:02 | |
Isn't that so, Donnola? | 0:02:02 | 0:02:04 | |
It's all right. | 0:02:04 | 0:02:06 | |
High praise indeed. | 0:02:06 | 0:02:07 | |
Your backdrop is the perfect setting for our play - | 0:02:07 | 0:02:11 | |
a tale of love found, love lost, love found again. | 0:02:11 | 0:02:16 | |
Well, love is pretty hard to keep hold of. | 0:02:17 | 0:02:20 | |
Indeed. | 0:02:20 | 0:02:21 | |
But happily, true love conquers all... | 0:02:21 | 0:02:25 | |
Yes, it does. | 0:02:27 | 0:02:29 | |
Ah! | 0:02:30 | 0:02:31 | |
Divine amore, a fitting subject in honour of Lorenzo de' Medici | 0:02:31 | 0:02:36 | |
and his most beloved fiancee, Angelica. | 0:02:36 | 0:02:41 | |
A play about what? | 0:02:42 | 0:02:43 | |
Amore. A young couple in love. | 0:02:43 | 0:02:49 | |
Boring. I was hoping it would be a pantomime. | 0:02:49 | 0:02:52 | |
It's a celebration to honour your engagement. | 0:02:52 | 0:02:55 | |
Isn't that romantico, Angelica? | 0:02:55 | 0:02:57 | |
Who cares about romance? At the panto we can shout, | 0:02:57 | 0:03:00 | |
"He's behind you" and "Oh, no, he isn't". | 0:03:00 | 0:03:02 | |
Papa's bank is paying for the play to be performed right outside | 0:03:02 | 0:03:06 | |
the bank itself. | 0:03:06 | 0:03:07 | |
It would be beneath its dignity to sponsor a pantomima. | 0:03:07 | 0:03:11 | |
Be more fun. | 0:03:12 | 0:03:14 | |
It's the theatre - you're not supposed to enjoy it. | 0:03:14 | 0:03:17 | |
What about Angelica? | 0:03:19 | 0:03:20 | |
I bet she doesn't want to watch a silly play about love? | 0:03:20 | 0:03:23 | |
Lorenzo, a word. | 0:03:23 | 0:03:25 | |
Yes, Mama? | 0:03:30 | 0:03:32 | |
Your wooing needs work. | 0:03:32 | 0:03:33 | |
I play the King, naturally. | 0:03:39 | 0:03:42 | |
You've done an excellent job on my crown - | 0:03:43 | 0:03:46 | |
the jewel looks like the real thing. | 0:03:46 | 0:03:48 | |
Donnola plays Harlequin, my servant. | 0:03:48 | 0:03:52 | |
-I like bowing. -Because he likes bowing. | 0:03:52 | 0:03:55 | |
And we'll be holding special auditions for the parts | 0:03:55 | 0:03:58 | |
of the two young lovers. | 0:03:58 | 0:04:00 | |
We really must rehearse your bow, Donnola. | 0:04:03 | 0:04:06 | |
More elaborate. I am the King, after all, you must worship me. | 0:04:06 | 0:04:10 | |
-I'm going to audition. -Do you think that's a good idea? | 0:04:16 | 0:04:20 | |
Boys get it all. | 0:04:20 | 0:04:21 | |
Not only can girls not paint, we're not allowed to act either. | 0:04:21 | 0:04:25 | |
Well, now I'm a boy, I'm having a go. | 0:04:25 | 0:04:28 | |
OK, but don't try out for the girl's part. | 0:04:28 | 0:04:30 | |
You can't be a girl, playing a boy, playing a girl - | 0:04:30 | 0:04:33 | |
it's too confusing. | 0:04:33 | 0:04:34 | |
I'll be so nervous. | 0:04:36 | 0:04:37 | |
Will you come to the audition with me? | 0:04:39 | 0:04:42 | |
Yeah, OK. If you like. | 0:04:42 | 0:04:44 | |
Too late, it's been cast. | 0:05:09 | 0:05:12 | |
Lorenzo. You need lessons in romance. | 0:05:12 | 0:05:15 | |
-Lessons? -Si. | 0:05:15 | 0:05:17 | |
Imagine I were Angelica. | 0:05:17 | 0:05:20 | |
-I enter the room... -I really don't want... | 0:05:20 | 0:05:24 | |
I espy you, my beloved. | 0:05:24 | 0:05:27 | |
I am coy, yet pleased to see my heart's desire. | 0:05:27 | 0:05:32 | |
I turn to the man of my dreams and he says... | 0:05:32 | 0:05:36 | |
I feel like a total gonzo. | 0:05:36 | 0:05:39 | |
Lorenzo! I see we need to go back to basics. | 0:05:39 | 0:05:42 | |
Must we? | 0:05:42 | 0:05:43 | |
To the woman you love you should display a manly visage - | 0:05:43 | 0:05:48 | |
-straight-backed and muscular... -Muscular? | 0:05:48 | 0:05:52 | |
Present her with gifts, compliment her, listen to her views. | 0:05:52 | 0:05:57 | |
I don't think she's got any. | 0:05:57 | 0:05:59 | |
You'd better practise. Go on, jump to it. | 0:05:59 | 0:06:03 | |
I need to rehearse. Can you read the other part? | 0:06:10 | 0:06:12 | |
-Where from? -Erm...this bit. | 0:06:12 | 0:06:15 | |
"How true - that a true kiss can show true love to be so true." | 0:06:18 | 0:06:22 | |
-Snappy dialogue. -Down to where they actually kiss. | 0:06:22 | 0:06:26 | |
Would that be a true love's kiss by any chance? | 0:06:26 | 0:06:29 | |
Probably. | 0:06:29 | 0:06:30 | |
Nobody else turned up? | 0:06:30 | 0:06:32 | |
Va bene, congratulazioni, you two play the young lovers. | 0:06:32 | 0:06:38 | |
I'm not auditioning. | 0:06:38 | 0:06:40 | |
But you must, sweetie, you're a natural. | 0:06:40 | 0:06:42 | |
And you get the best costume. | 0:06:42 | 0:06:45 | |
Worn by the boy playing the girl so the audience knows who's who. | 0:06:45 | 0:06:48 | |
Bellissima. Velvet hangs beautifully. | 0:06:48 | 0:06:52 | |
There's a fabulous wig as well. | 0:06:52 | 0:06:54 | |
Hold on, I'm not playing a girl. | 0:06:54 | 0:06:57 | |
Play the boy then, let him play the girl. | 0:06:57 | 0:06:59 | |
Not ideal casting, you don't really look girly enough. | 0:06:59 | 0:07:05 | |
Scusi? I don't look girly enough? | 0:07:05 | 0:07:07 | |
Not as girly as him, with his big, girly smile. | 0:07:07 | 0:07:10 | |
Girly smile? Me? | 0:07:10 | 0:07:12 | |
An actor's greatest quality, a big smile... | 0:07:12 | 0:07:16 | |
..especially when the audience start throwing things. | 0:07:18 | 0:07:21 | |
I could play a girl. | 0:07:22 | 0:07:24 | |
I'm sure you could if you tried. Either way, | 0:07:24 | 0:07:27 | |
you make a scrumptious couple. | 0:07:27 | 0:07:30 | |
We rehearse in 10. | 0:07:30 | 0:07:32 | |
Give me that! | 0:07:32 | 0:07:33 | |
Apologies, it's terribly bad luck to touch another actor's props. | 0:07:38 | 0:07:43 | |
Is this a girly smile? | 0:07:49 | 0:07:51 | |
No... Yeah, yeah, it is a bit...but gorgeous. | 0:07:51 | 0:07:57 | |
Angelica, may I say, you walk like a happy...peacock. | 0:08:02 | 0:08:08 | |
Is that a good thing, who knows? | 0:08:09 | 0:08:13 | |
And your hair goes really well with your... | 0:08:13 | 0:08:19 | |
Your...nose. Hmm. | 0:08:20 | 0:08:24 | |
No, that's better, complimenting appearance. | 0:08:24 | 0:08:27 | |
Yeah, yeah. OK. Now listen to her views. | 0:08:27 | 0:08:30 | |
Really, well that's fascinating. | 0:08:30 | 0:08:33 | |
Sorry, what was that? Have I a gift for you? | 0:08:33 | 0:08:37 | |
As a matter of fact... Yes. | 0:08:37 | 0:08:39 | |
Some conkers and my sleeping hat. Oh, yeah. | 0:08:44 | 0:08:48 | |
Not bad, Lorenzo, not bad. | 0:08:52 | 0:08:55 | |
My love, if you should go, the stars would never shine again. | 0:08:56 | 0:09:02 | |
That seems highly unlikely. | 0:09:02 | 0:09:04 | |
Stick to the script - let's just get to the kiss. | 0:09:04 | 0:09:07 | |
I mean, my line about "Handsome Virile, | 0:09:07 | 0:09:09 | |
-"mine lips are thine lips", and then the kiss. -We can't. | 0:09:09 | 0:09:13 | |
This is where the King is supposed to come in. He sees us, | 0:09:13 | 0:09:16 | |
beats me in a sword fight and then chains me up in prison. | 0:09:16 | 0:09:20 | |
Where is Nazario? | 0:09:20 | 0:09:22 | |
The bank vault's just the other side of this wall. | 0:09:31 | 0:09:34 | |
And in it...the Medici Sapphire. | 0:09:34 | 0:09:36 | |
This stone's huge. We'll have to blow it up. | 0:09:38 | 0:09:41 | |
Oh, that'll work(!) | 0:09:41 | 0:09:42 | |
You don't think an audience might just hear an explosion and see | 0:09:42 | 0:09:46 | |
the stage blown to pieces, you imbecile? | 0:09:46 | 0:09:48 | |
-Well, what then? -We can't blow it up, | 0:09:49 | 0:09:52 | |
but we do need something that has that kind of power. | 0:09:52 | 0:09:55 | |
Ah, there you are. | 0:09:55 | 0:09:58 | |
It's your line - what did you say about needing power? | 0:09:58 | 0:10:01 | |
I...err...want power to raise the King through the trap door | 0:10:01 | 0:10:06 | |
to show his kingliness. | 0:10:06 | 0:10:09 | |
Donnola is but a small man, doesn't have the power to lift me. | 0:10:09 | 0:10:12 | |
That's easy. | 0:10:12 | 0:10:13 | |
You just attach a platform to some gears and a crank handle. | 0:10:13 | 0:10:16 | |
That would work because...? | 0:10:16 | 0:10:18 | |
You're magnifying a force by proportionally diminishing | 0:10:18 | 0:10:20 | |
the distance through which the magnified force can act. | 0:10:20 | 0:10:23 | |
Didn't understand a word of that. Did you? | 0:10:23 | 0:10:25 | |
It would be a platform that could lift the weight of five of you. | 0:10:25 | 0:10:29 | |
25, if you like - it could move anything. I could make it easily. | 0:10:29 | 0:10:33 | |
Could you? | 0:10:33 | 0:10:34 | |
In that case, my young inventor, fly. | 0:10:34 | 0:10:38 | |
Go this very instant and build it. | 0:10:38 | 0:10:41 | |
What about the rehearsal? | 0:10:43 | 0:10:45 | |
What about the kiss? | 0:10:47 | 0:10:49 | |
Manly visage, manly, manly, man... | 0:10:53 | 0:10:57 | |
Here...a gift for you. | 0:11:06 | 0:11:08 | |
-I can't accept this. -Why? | 0:11:14 | 0:11:17 | |
I didn't come second in the Florence Under 18 Open Fencing Tournament. | 0:11:17 | 0:11:22 | |
No. That was me - although I still say his winning lunge missed. | 0:11:22 | 0:11:26 | |
But I wanted you to have something that was precious to me, | 0:11:28 | 0:11:32 | |
and that trophy is...precious. | 0:11:32 | 0:11:36 | |
Ooh, Patience... | 0:11:36 | 0:11:39 | |
Red seven on the black eight, surely. | 0:11:40 | 0:11:43 | |
Good. Smart play. | 0:11:46 | 0:11:48 | |
So...would you like to say something? | 0:11:51 | 0:11:55 | |
Yes. Leave me to my game. | 0:11:55 | 0:11:58 | |
As you wish. We must do this again sometime. | 0:12:00 | 0:12:04 | |
METAL TAPS AGAINST ROCK | 0:12:38 | 0:12:42 | |
It's a simple gear ratio. | 0:13:00 | 0:13:01 | |
Both gears have teeth, but one is twice the size of the other. | 0:13:01 | 0:13:04 | |
-Do you know what that means? -It means we can go up and down. | 0:13:04 | 0:13:07 | |
Si, because one gear revolves twice as much as the other, | 0:13:07 | 0:13:10 | |
and that movement goes to the vertical axis. | 0:13:10 | 0:13:12 | |
It's fascinating, you're brilliant. Can we rehearse now? | 0:13:12 | 0:13:15 | |
We were up to "the stars would never shine again". | 0:13:15 | 0:13:19 | |
-Is that just before the kiss? -I dunno. Is it? | 0:13:21 | 0:13:24 | |
Princess Bella, thou art my first waking thought. | 0:13:27 | 0:13:33 | |
Thou art mine too. | 0:13:35 | 0:13:38 | |
Thy lips...are as red as rubies. | 0:13:38 | 0:13:43 | |
Rubies I desire to press to mine own. | 0:13:43 | 0:13:46 | |
Handsome Virile, mine lips...are thine lips. | 0:13:48 | 0:13:53 | |
Leonardo, my boy, is my all-powerful king-lifting device ready? | 0:13:55 | 0:14:00 | |
-There we go. -Tah-dah! | 0:14:00 | 0:14:03 | |
Magnifico, you're a genius. Let's get it to the theatre. | 0:14:03 | 0:14:08 | |
What about our rehearsal? | 0:14:08 | 0:14:10 | |
-Cosi. Stand in for me. -Si. | 0:14:10 | 0:14:13 | |
Leo... | 0:14:15 | 0:14:16 | |
No, Cosi. | 0:14:21 | 0:14:22 | |
-I'm so nervous. -That's odd. | 0:14:37 | 0:14:39 | |
Not really - have you seen how many people are out there? | 0:14:39 | 0:14:42 | |
No, there's a real sword on the prop rack. | 0:14:42 | 0:14:44 | |
Oh, look, here comes Lorenzo. | 0:14:44 | 0:14:48 | |
Lorenzo! Lorenzo! | 0:14:51 | 0:14:54 | |
-What's going on? -We're in the play. | 0:15:00 | 0:15:03 | |
-Are you? -See you in a bit. | 0:15:03 | 0:15:07 | |
He's here. | 0:15:10 | 0:15:11 | |
Mi scusi. | 0:15:14 | 0:15:16 | |
I was so looking forward to the play, but duty calls. | 0:15:16 | 0:15:20 | |
I will, of course, hurry back. | 0:15:20 | 0:15:22 | |
Everybody from the Medici bank should be in the audience. | 0:15:28 | 0:15:32 | |
If there is anybody in the vault... | 0:15:32 | 0:15:35 | |
DRUMROLL | 0:15:36 | 0:15:38 | |
Signore e Signori, welcome to our sparkling new show - | 0:15:46 | 0:15:52 | |
a tale of romantic love and of weeping woe. | 0:15:52 | 0:15:55 | |
In honour of fair Angelica and Lord Loren-zo. | 0:15:55 | 0:16:01 | |
APPLAUSE | 0:16:01 | 0:16:03 | |
I am Principessa Bella, a beautiful but lonely Princess. | 0:16:06 | 0:16:14 | |
AUDIENCE: Awww! | 0:16:14 | 0:16:16 | |
I am handsome Virile, a humble shepherd. | 0:16:18 | 0:16:23 | |
I spend my time humbly herding sheep. | 0:16:23 | 0:16:26 | |
APPLAUSE | 0:16:26 | 0:16:29 | |
DRUMROLL | 0:16:31 | 0:16:34 | |
And I am the King. | 0:16:36 | 0:16:40 | |
APPLAUSE | 0:16:40 | 0:16:43 | |
The Duke left for Milan this morning. This canyon is perfect. | 0:16:52 | 0:16:59 | |
He won't even see the arrow being fired. | 0:16:59 | 0:17:03 | |
-Payment up front. -Upon completion. | 0:17:03 | 0:17:07 | |
If I pay you now, what's to stop you running off with the money? | 0:17:07 | 0:17:10 | |
My honour. | 0:17:10 | 0:17:11 | |
You're an assassin, honour doesn't come into it. | 0:17:11 | 0:17:15 | |
Brief and to the point, sir. | 0:17:29 | 0:17:32 | |
You could even catch the rest of the play. | 0:17:32 | 0:17:35 | |
I could, yes. | 0:17:35 | 0:17:37 | |
Again. | 0:17:46 | 0:17:48 | |
DRUMROLL | 0:17:48 | 0:17:52 | |
What beauteous beauty. | 0:18:15 | 0:18:18 | |
Good sir, though we have just met, I love thee. | 0:18:18 | 0:18:26 | |
And I, thee. | 0:18:26 | 0:18:28 | |
AUDIENCE: Ahhh! | 0:18:28 | 0:18:30 | |
You have my heart, now take my hand. | 0:18:30 | 0:18:33 | |
Never! | 0:18:35 | 0:18:37 | |
AUDIENCE BOOS | 0:18:37 | 0:18:39 | |
I forbid this. Be gone, shepherd boy. | 0:18:39 | 0:18:43 | |
AUDIENCE BOOS | 0:18:43 | 0:18:45 | |
And daughter... | 0:18:45 | 0:18:49 | |
I'm locking you in the tower. | 0:18:49 | 0:18:52 | |
HE HISSES | 0:18:56 | 0:18:59 | |
Alone. Without my love. | 0:19:07 | 0:19:14 | |
Ahhh! | 0:19:14 | 0:19:16 | |
Magnifico. | 0:19:21 | 0:19:23 | |
Get it open. | 0:19:34 | 0:19:35 | |
If only my true love were here. | 0:19:39 | 0:19:43 | |
I am. | 0:19:43 | 0:19:44 | |
APPLAUSE | 0:19:44 | 0:19:47 | |
But I must away. | 0:19:47 | 0:19:49 | |
AUDIENCE: Ahhh! | 0:19:49 | 0:19:51 | |
My love, if you should go, the stars would never shine again. | 0:19:51 | 0:19:56 | |
I will find your father and beg him for your hand. | 0:19:56 | 0:20:01 | |
Too late, here he comes now. | 0:20:01 | 0:20:04 | |
Where is he? | 0:20:12 | 0:20:14 | |
-Too late. -Shh! | 0:20:18 | 0:20:20 | |
Here he comes now. | 0:20:20 | 0:20:22 | |
We should be on stage. | 0:20:22 | 0:20:24 | |
Methinks he spies on us from below. I'll fetch him. | 0:20:26 | 0:20:31 | |
HE LAUGHS | 0:20:36 | 0:20:37 | |
Keep going. | 0:20:37 | 0:20:39 | |
What am I to do? | 0:20:45 | 0:20:48 | |
Imbecile, you're supposed to listen for our cue lines. | 0:20:48 | 0:20:53 | |
Not to worry, daughter... | 0:20:55 | 0:20:58 | |
I come. | 0:21:04 | 0:21:08 | |
You, boy, what are you doing here? | 0:21:08 | 0:21:11 | |
So...where is your shepherd boy, my dear? | 0:21:19 | 0:21:26 | |
He went below to find you. | 0:21:26 | 0:21:28 | |
You're sure he's not hiding over here? | 0:21:30 | 0:21:35 | |
Yes, father, I'm sure. | 0:21:35 | 0:21:37 | |
(He's under the stage.) | 0:21:37 | 0:21:39 | |
Harlequin, deal with him. | 0:21:49 | 0:21:52 | |
Yes, Nazario... I mean, your Majesty. | 0:21:52 | 0:21:56 | |
-Listen, everyone, these men are... -Not so fast, shepherd boy. | 0:21:56 | 0:21:59 | |
I'd rather my daughter died than married you, capisci? | 0:21:59 | 0:22:03 | |
-This isn't in the script. -I'm improvising. | 0:22:03 | 0:22:06 | |
So, shepherd, what's it to be? | 0:22:08 | 0:22:12 | |
I will...do your bidding. | 0:22:14 | 0:22:18 | |
I thought you'd see it my way. | 0:22:18 | 0:22:20 | |
Harlequin, take him to the dungeons. | 0:22:20 | 0:22:23 | |
Now, daughter, how can I punish you for disobeying me? | 0:22:24 | 0:22:30 | |
AUDIENCE BOOS | 0:22:30 | 0:22:32 | |
What do we do about him? | 0:23:02 | 0:23:04 | |
Finish the play, then we kill them both. | 0:23:04 | 0:23:08 | |
-Is that really necessary? -FROM ABOVE: On my own. Again. | 0:23:08 | 0:23:12 | |
Virile, where are you? | 0:23:14 | 0:23:17 | |
Get on stage - you'll have to do his part. | 0:23:17 | 0:23:20 | |
If only my love, Virile were here... | 0:23:20 | 0:23:25 | |
But I am here, my sweetness. | 0:23:26 | 0:23:28 | |
AUDIENCE BOOS | 0:23:28 | 0:23:29 | |
Where's Leo? | 0:23:29 | 0:23:31 | |
Stage fright - I'm taking over. | 0:23:31 | 0:23:33 | |
Princess Bella, your lips are as red as rubies. | 0:23:34 | 0:23:39 | |
Get off. | 0:23:39 | 0:23:40 | |
AUDIENCE OOHS | 0:23:40 | 0:23:41 | |
I say again, your lips are as red as rubies. | 0:23:42 | 0:23:47 | |
Get off! | 0:23:47 | 0:23:49 | |
We're supposed to kiss - it says so in the script. | 0:23:49 | 0:23:52 | |
Harlequin - it appears that our lovers have eloped. | 0:24:01 | 0:24:05 | |
APPLAUSE | 0:24:05 | 0:24:08 | |
Leo! | 0:24:15 | 0:24:17 | |
Nazario and Donnola aren't actors, they're thieves. | 0:24:17 | 0:24:20 | |
They've stolen the Medici Sapphire, it's in his crown. | 0:24:20 | 0:24:23 | |
-What? But that's... -Incredible, yes. | 0:24:23 | 0:24:26 | |
You're very good at that, how do you do it? | 0:24:29 | 0:24:32 | |
Not sure now is a good time for a lock-picking lesson. | 0:24:32 | 0:24:35 | |
Probably right. | 0:24:35 | 0:24:36 | |
What are we going to do? | 0:24:38 | 0:24:40 | |
And so, Signore e Signori, in conclusion, I, the King... | 0:24:40 | 0:24:48 | |
APPLAUSE | 0:24:48 | 0:24:49 | |
Listen, everyone, this man is a thief. | 0:24:49 | 0:24:52 | |
-Oh, no, he isn't. -Oh, yes, he is. | 0:24:52 | 0:24:55 | |
AUDIENCE: Oh, no, he isn't. | 0:24:55 | 0:24:58 | |
-Grab a sword. -They're props - they're all blunt. | 0:24:58 | 0:25:00 | |
Get one and stab harder then. | 0:25:00 | 0:25:02 | |
Lorenzo, listen to me... | 0:25:05 | 0:25:07 | |
He's behind you! | 0:25:07 | 0:25:09 | |
Great acting - they look like they're really fighting. | 0:25:14 | 0:25:17 | |
I think they are. | 0:25:17 | 0:25:19 | |
You want this? | 0:25:25 | 0:25:27 | |
Lorenzo, look at the crown, | 0:25:53 | 0:25:55 | |
they're trying to steal the real Medici Sapphire. | 0:25:55 | 0:25:58 | |
Yes, it is - I'd know it anywhere. | 0:25:58 | 0:26:01 | |
Guards, arrest this man. He's robbing our bank. | 0:26:01 | 0:26:04 | |
Arrest him now. | 0:26:04 | 0:26:06 | |
APPLAUSE | 0:26:06 | 0:26:08 | |
Leo, are you OK? | 0:26:10 | 0:26:12 | |
Boy, you're too clever for your own good. | 0:26:27 | 0:26:31 | |
Take them away, guards. Lock them up and throw away the key. | 0:26:31 | 0:26:35 | |
That was one of the best plays I have ever seen. | 0:26:38 | 0:26:42 | |
Hey guys - sorry I couldn't see the performance. Bit of business. | 0:26:42 | 0:26:46 | |
-So, did I miss anything? -No... | 0:26:46 | 0:26:49 | |
What are you laughing at? I've not been paid for the set build... | 0:26:51 | 0:26:56 | |
Apologies, Master Lorenzo, | 0:26:56 | 0:26:58 | |
-you of course can laugh at whatever you want. -Thank you. | 0:26:58 | 0:27:01 | |
You two need to clear up, rescue anything of value, | 0:27:01 | 0:27:05 | |
since our actor/robber friends clearly won't be paying their bills. | 0:27:05 | 0:27:10 | |
It's such a shame we never got to play that last scene together. | 0:27:23 | 0:27:27 | |
Would have been fun. | 0:27:27 | 0:27:28 | |
We could do it now...just for us. | 0:27:30 | 0:27:34 | |
We could, but the play's over... What's the point? | 0:27:34 | 0:27:39 | |
Yeah. | 0:27:39 | 0:27:40 | |
Yeah. What's the point? | 0:27:42 | 0:27:45 | |
# I have done it again | 0:27:47 | 0:27:50 | |
# I have been here many times before | 0:27:53 | 0:28:01 | |
# Hurt myself again... # | 0:28:01 | 0:28:05 |