:35:01
- Go out and come in again.
- Where he was born.
:35:04
If you're really an actor, you can come
back and have an epiphany. I did.
:35:07
[SIREN WAILING]
:35:08
- Only...
- Did you have one?
:35:10
- I did not see it.
- I'm not showing it. It's an inner one.
:35:13
We're not alone.
:35:15
- Every once in a while...
- There's a fire truck out there.
:35:19
- I think we tripped an alarm.
- We should pause and think...
:35:22
You talked too loud
and it set off an alarm.
:35:26
MAN 7: Fire alarm. I got the fire officer.
KIMBALL: We set it off.
:35:30
PACINO: There's a fireman. Oh, yes.
- Hello.
:35:33
Unfortunately, the sensor head is here.
There.
:35:37
That's going to be the problem.
:35:41
Yeah? What is it? Is it...?
:35:44
That's a real bummer.
:35:46
We come 6000 miles to see
where he was born...
:35:49
FEMALE SCHOLAR:
It's the greatest period in British arts.
:35:53
This extraordinary development
and maturing and death of drama.
:35:56
In 20 years, Shakespeare's over.
:35:59
You have our greatest drama.
:36:01
And Shakespeare learns incredibly fast.
:36:03
Already, in this very early play,
he's thinking about people as actors...
:36:08
...and about the stage.
:36:10
And the imagination as a bit of life.
:36:15
Hey, Jimmy?
How's the sandwich?
:36:21
We're gonna bite the bullet
and do Act 2 of the play.
:36:25
What we said was,
we're gonna shoot Richard's death...
:36:28
...and murder of Clarence, and that's it.
- No, the king makes peace.
:36:32
What are you saying?
We got an end of a movie to shoot.
:36:36
"My horse..." "A horse. A horse.
My kingdom for a horse."
:36:39
Fellas, the cops are here.
Police say we need a permit.
:36:43
You said you'd take care of things.
:36:45
What, I need...?
Why do I need a permit?
:36:48
We have to give up a meal like this?
:36:51
OFFICER:
You have to go, guys. You have to go.
:36:55
PACINO:
Hope you like turkey.
:36:59
So, we are gonna get...