:58:02
I haven't thought through anything
about Marta.
:58:05
But isn't Maneuver X just another way
of playing hard to get?
:58:11
No.
:58:25
I'm being followed.
:58:26
- Give me a break.
- There is a guy following me.
:58:29
Come here, I'll show you.
:58:34
Not there. He'll see you. Over here.
:58:36
Edge your eyes around.
:58:39
He's on that pedestrian island,
a little further down.
:58:42
He's in the car?
:58:44
What car?
:58:46
No. He's gone.
:58:49
There really was a guy.
:58:51
Wherever I went, he went.
:58:53
- What did he look like?
- Sort of suspicious-looking.
:58:57
- What was he wearing?
- He was carrying something.
:59:00
A camera, I think.
:59:05
The words to pop songs are about the only
literature of advice we have on romance.
:59:10
Most of the advice, very bad.
:59:12
Clarify something for me.
:59:14
Since I've been waiting for the fleet,
I've read a lot.
:59:17
Really?
:59:19
One thing that keeps
cropping up is ''subtext.''
:59:22
Plays, novels, songs, all have a subtext...
:59:24
...which I take to mean
a hidden message or import of some kind.
:59:27
Subtext, we know. But what do you call
the message or meaning...
:59:32
...that's on the surface, open and obvious?
They never talk about that.
:59:36
What do you call
what's above the subtext?
:59:41
The text.
:59:44
That's right, but they never talk about that.
:59:54
Jesus!
:59:55
The anti-Americanism here is incredible!
:59:59
Oh, my God!