All language subtitles for Dream.Lover.1993.1080p.BluRay.x265.10bit.Tigole_track3_eng

(CARN IVAL M [Etéocle] SIC PLAYIN G)

Hey, Ray.
How's the wife?

Wel I, it...

How's the fami Iy?

(LAUG H IN G)

(GAVE L POU N DS)

J [Etéocle] DG E : The first case
I see here is Reardon v. Reardon.

Wi I I cou nsel please stand?

We're petition I ng ,
You r Honor.

And for the respondent?

Mr. Reardon , I ask you agai
n , where is you r cou nsel?

I fired h im.

I no Ionger contest
any aspect of th is d ivorce.

J [Etéocle] DG E : Mr. Reardon , th is cou
rt was prepared to render a j udg ment

q u ite favorable
to you r interests.

It was a mistake, Yoçu r H onor. S
he can have whatever s he wants .

We were impossi ble. We
were like oi I and water.

I stil I love you .

Me, too.

That's what made it
so hard to leave.

Ti I I you h it me. I s Iapped you .
I pushed you r face...

With you r hand .

Wel I, betrayal is
not my best th I ng .

Yeah , well, I know.

I'm not the on ly g uy who gets u pset
if he fi nds h is wife sleepi ng ...

Look, I wasn't strong enoug
h to break away without it.

He's a jerk.

Of cou rse he was a jerk.

It's not easy to
fi nd someone I I ke you .

Try harder.

Oh, God,
I'm al ready jealous .

I know you're goi ng
to fi nd the rig ht person ,

and when you do...

S he's going to be
the I uckiest woman al ive.

To a free man .

Fres h meat
on the market.

Than k you .

May you never sleep alone.
Than k you .

I told you
not to marry her.

You two had absolutely
noth ing in common .

Forget "I n common ," okay?
S he wasn't h is type.

Ray always went for bru nettes .

You're telling me.

You're Larry's wife.

Picky, picky.
P lus, you're a lawyer.

LARRY: That's rig ht.
Ray I I kes artsy types .

He I ikes them th I n
and dark and artistic.

Rig ht. So, are we talking
sex here or marriage or...

What about love?
NORMAN : Love?

E LAIN E : But I n the long term,
you're interested I n a family, rig ht?

L want everyth I ng . The
kids, the dog , the Volvo.

Whoa, whoa, whoa, s low
down on the fami ly, sport.

I mean , fi rst you get laid ,
then you get laid .

Exactly. There are many,
many women out there.

Ah !

Lots of ski n ny women , even .

Anorexics. Yeµs.
Dark, angel ic anorexics .

They're .. years old , thei r
biolog ical clocks are tick-tock,

tick-tock, tick-tock.
(BANGING TAB LE)

Come now.
I'm ovu lati ng !

(M E N LAUG H IN G)

I'm fertile today.

J ust today.

It kil ls me to say it, but I'm goi
ng to agree with N orman on th is .

You are attractive,

you are straig ht,
you are not overtly psychotic.

Oh , than k you .

Listen . You j ust take
you r time,

and don't you be a s lave
to you r g land u lar reactions.

By the way, have I ever mentioned that my
fami Iy crest is actual ly a big g land?

(LAUG H IN G)

I rest my case.

NORMAN : I am down on my knees .

I am begg I ng you .

AI I right.
Th is is h u mil iati ng .

Are you deaf? H u h?

I'm g uaranteei ng you
100% retu rn I n s ix months.

You're my friend, Norman .

S u re. That's why I'm
bring I ng you the deal .

I'm gon na loan money once,
I'l I do it agai n ,

and sooner or later,
I'm gon na lose a friend .

Great. Swell, so,
I'm floati ng facedown .

AI I rig ht, look.

You know, I wanted to
emphasize the positive here.

The money's not j ust...

It wou ld keep me al ive
another 72 hou rs, okay?

Wou ld you r friends h I p al low
you to do that? I love th is.

How much ?
For the investment?

To save you r I ife.

Wel I, say, 20 g rand .

I'I I g ive you half.

You'II save half my I ife?

See, th is isn't gooçd . Between friends.
. . J ust forget the whole th I ng .

No, no,
I need the bucks.

It's j ust that I know you can
afford more, and I'm wonderi ng ...

Th is isn't my job to rescue you
from you rself, al I rig ht?

You're goi ng to reg ret th is.

What?

A year or two,
fortu nes cou ld change.

You cou Id come to me
wanting someth I ng .

See. See what happened here?

It's the same with g irls.
A I ittle friend ly advice.

Remember the g I rls
I set you u p with?

Norman , those women were. . .
I'l I do better, okay?

The point is they told me
what you g ive off.

You know, you're Ionely.

It's u nderstandable,
but it comes off needy,

j ust like I was here,
and it's bad tech n iq ue.

They said I was needy?

Desperate.

So, look, they're th rowi ng
me a party next week, okay?

34 years old
and still an asshole.

They said I was needy?

Forget that. I'm tryi ng
to tel I you someth I ng .

I invited a g irl there.
Bru nette, Midwest, so forth .

Perfect for you .
No, l... Please.

Tits? Did someone say tits?

Like pears .

H u h ? And not the hard
g reen ones, either.

The j u icy Comice you get I n the
box from Oregon . Harry and David .

Norman , I'm comi ng to you r party
as you r friend , al I rig ht?

B ut please promise me you won't I
ntrod uce me to any more women .

Exactly my poi nt,
if you'd let me fi n is h .

Bel ieve me,
I can fi nd her myself.

Who says no?

Hey, a safe doesn't have to fal I on me.
(C H UC KLESà

We still friends?

Can I go back to work now?

And than ks for the 20 G's.
[Etéocle] h-u h .

Ten, ten !

After completi ng the novel , I went back
to my work on the particle accelerator.

What is that, Iycra?

Norman is the on ly person I know who
can tu rn h is birthday I nto a scm.

L mean , God . He's not
paying for food , d ri n ks.

He's provid I ng the id iots who mig
ht buy the work of th is artist.

LARRY: Is that the artist?
The cowboy?

E LAIN E : Of cou rse that's h im.

G u ns and bu ns .
lt's not that bad .

L g uarantee you , if there are any
sales ton ig ht, Norman's friends...

I bet he's gon na
get a piece of it.

S peaking of wh ich , d id he
come to you about th is crazy...

Oh , the jackpot idea.
100 grand ?

Yeah .
E LAIN E : Yes, si r.

He got the money.
What?

Wel I, he must have, 'cause
one day, he was hawking me,

and I mean , I'm a harder
sel I than you are, rig ht?

I got two kids,
private school ,

E Iaine's starti ng
her own law fi rm...

Pengu in joke.

NORMAN : Soç the g uy says . . .
Agai n?

"Hey! Where you goi ng ?'"

(ALL LAUG H IN G)

Are you Ray?

Hey, d id I...

I'm C heryl,
Norman's friend .

Rig ht. That's rig ht.
Good to see you .

I'm.. . Norman told me.

(LAUG H IN G)
I know, I know.

Accord I ng to h I m,
we're practical ly engaged .

We are?
Yeah .

(LAU G H IN G OBNOXIOUS LY)

I j ust love
a sense of h u mor I n a man .

You know, I th I nk Iaug hter
is the g reatest aph rod isiac.

Don't you ag ree?

In the rig ht
circu mstances, yes .

You know, it's strange.

I feel someth I ng .

Do you feel someth I ng ?

I usual Iy
feel someth ing .

No, not like that.
I mean ...

You know, when
two people fix you u p.

"You two wi I I be
perfect for each other."

B Iah , blah , splat, splat.

I mean , usual Iy,
it's j ust awfu I, rig ht?

Rig ht.

B ut j ust somehow, j ust th is
moment we're havi ng rig ht now...

Th is moment?

Yeah .

Look, I don't want to be forward,
but wou ld you, you know...

Like to go
someplace else?

Yes, actual Iy, I, u m...

Wou ld you excuse me for a moment?
What?

I don't want to be rude,

but there's someth I ng
that I must tel I Norman .

So, you ... AI I rig ht?

I'm. . .
S h it!

Wi I I you look where you're goi ng?
Oh, Jesus !

Th is is wi ne. You've ru ined it.
Sorry.

Get you r hands off me ! It's bad
enoug h you ru I ned my d ress !

I was just
tu rn ing away from...

You don't I ike me.

RAY: No. N o, no, no.

What d id he do to you ?

He is j ust u nbel ievably rude !

LENA: Ug h !
You're not kidd I ng .

L was tryi ng to say it was an accident.
I was tu rn I ng away...

Save it! Why don't you
apolog ize first and foremost

to you r g irlfriend ,
and leave me alone.

S he's...

(SOB BING) Oh , God .

RAY: Look, please. I'm su re
you're a wonderfu I person .

Th is jerk s pi I led wi ne on me.

Hey, sport. How do you
I ike my party?

If you ever srt me u p with another woman ,
I'm gon na ki I I you . [Etéocle] nderstand ?

S u re. Su re. Why d id n't
you say someth I ng before?

Happy birthday.

Than k you .

Oh, God,
I'm embarrassed .

Last week. The wi ne.

B itch of the Western world .

Oh , rig ht.

I'm sorry.
I have to apolog ize.

No, no, noç. No, I"m the one.
. . I spi I led ...

No, I'm a klutz. Th I ngs like
that are always happen I ng to me.

It embarrasses me,
and I took it out on you .

PI us I'd just
boug ht that d ress.

I was trying to
impress th is g uy.

D id it work?

Yeah . He was impressed
with what a bitch I am.

(LAUG HS) [Etéocle] m...

I'm really sorry I ru I ned you r
even I ng . lf you want me to pay...

No, you d id me a favor.

L mig ht havr gone for that g uy
and I don't need that rig ht now.

Bes ides, you changed my I ife.

L switched from French
wi ne to French water.

So, anyway,
sorry, than ks, and ...

Bye.

I'm Ray.

Lena.

H I, Lena.

H i.

H i.

I know, I know. It's j u n k.

I'm poison I ng my body.

Oh , but I got the water.

Anyway, I bel ieve I n
body wisdom.

If you r body craves someth I
ng , that's what it needs .

So what have you got here?
Lonely g uy specials?

(LAUG HS)

They have a very good
selection here.

I th I n k the manager's
a bachelor.

You don't
have a g irlfriend?

Thr g irl at the art gal
Iery, the one you made cry?

(STAMMERIN G) Oh , no,
no, no, no, no, no, no.

S he, u h .. . No, s he was.. .
S he was tryi ng to rape me.

CASH IER:
Was th is on special?

I don't know.

How d id you come to that party?
Are you a friend of N orman's?

A g irlfriend of mi ne
knows the artist.

Wi Id Bill H ickok?

Yeah , he was ki nd of...

You want to get
a cu p of coffee?

CAS H IER: $23 . 17.

Or a g lass of French water?

Actually, I haven't
eaten yet, so...

Me either.

LE NA: So, I'm VP Sales .

I'm moving u p, then the
C EO decides he I ikes me .

L say no, but he's used to
getting what he wants .

L havr to th reaten
to call h is wife.

So, of cou rse he fires me.

He spreads the word .
lt's a smal I commu n ity.

I cou ld n't get h I red
anywhere in New York.

You shou ld have gone
to cou rt and fi led some...

Su rr. lf, as he put
it, I wanted to hear

every g uy I n the company
testify that they'd had me.

I moved out here I nstead .

What a terrible...

Yeah .

I've never done th is before.

Had su pper?

P ick somebody u p
at a su permarket.

You d id n't pick me u p.
We bu mped I nto each other.

Sti II , you know what I mean ,
usual ly, you meet somebody...

You work together,
or a friend I ntrod uces .

Not j ust
a complete stranger.

Getti ng to know someone
is I I ke peel ing an on ion .

It makes you cry?

No.

Layers and more Iayers .

Wel I ...

I th I n k we shou Id go.

(S P EAKIN G JAPAN ESE)

I do busi ness I n Japan .

(S P EAKIN G JAPAN ESE)

Where'd you learn
to speak it?

(GIGG LES)

I stud ied it
at Swarth more .

I've forgottrn most of it, but I
love the concept of Japanese.

Symbols, not Ietters .

Th is is it.

Where I I ive.

(C H UC KLING) Oh .

Th is was g reat.

Yeah , than ks for d I n ner.

[Etéocle] h ...

You th I n k I cou Id coçme u p?
I mean , j ust for five m I n utes?

It wou ld n't take
five min utes.

(DOOR S H UTS)

HAL : Look, the law doesn't matter.
Th is is politics.

Now, if we take h im
to cou rt, we'l I wi n ,

but because he has a vote
on the plan n ing commiss ion ,

rig ht now he's a better
arch itect than you .

That's the law.

Excuse me, sir?

Not now, Sal Iy.

Norman's on I I ne two.

[Etéocle] h , sorry, Hal .

Wel I?

NORMAN : It's Wednesday, I got my
Wednesday afternooo golf game,

and I'm out here with a mobile phone
trying to track down some chick.

Nobody knows her, okay?
Nobody. Forget her.

(LAUG HS) Okay.
Than ks for tryi ng .

LE NA: Than k you . Good n ig ht.

(IN DISTIN CT C HATTE RING)

See you soon , sweetie.

(B UZZER SOU N DS)

MAN : Yeah, what do you want?
RAY: Sorry. I'm sorry.

LE NA: Hello ?
H I .

Lena. H I .

Hel lo?
Yeah ?

H I, th is is Ray.
Reardon . From last n ig ht.

Do. . .
I remember.

L, u m. . . I don't have
you r phone n u mber.

L don't know you r last name, so there
was no way for me to get in touch .

Uh-huh.

Do you wan na go out?
Come out?

Now or Ilter or...

Meet someplace
or someth I ng ?

Or do, u h . . . Do you
have a phone n u mber?

(B UZZER SOU N DS)

RAY: Hel Io?

LE NA: Come on I n .

I'I I be rig ht out.

I was j ust
taki ng a s hower.

H i.

H i.

I have these same coçI u mns
I n my office.

I hope I'm not I ntrud ing .

I don"t mi nd .

I was waiti ng outs ide
when I saw you come I n .

Why d id n't you say hello?

Wel I ...

lt's strange, don't you th in k, watch
I ng me and not sayi ng anyth I ng ?

I know. I j ust, u h ...

You were with
that g uy, so...

Tony.

Yeah , and you kissed h im
downstairs, and I j ust...

And you thoug ht?

Wel I, u h , maybe
that you I ived with h im,

and , u h , he went to
buy eggs or...

Tony's a friend .

Oh . Wel I .

He's gay.

Oh .

Not that it's
you r business .

No.

Wel I ...

Someth ing's changed
from last n ig ht.

Yes, it has .

Why? What's the problem?

I I ike you .

That's the problem.

I really Ii ke you .

That's not a problem.

I haven't seen them,
I haven't tal ked to them.

They're...

Are you su re
you want to hear th is?

Yes.

My mother used to
h it me a lot.

B ig th I ngs, I ittle th ings.

No reason at al I .

Noth ing put her
I n a good mood I I ke...

My father watched .

I realized
they never wanted me.

I left as soon as I cou Id .

Never even sent
them a postcard .

You're so beautifu I .

Don't say that.

Why?

J ust don't.

(B REATH ING H EAVILY)

Yeah .

Look, just 'cause
I'm halfway pretty,

g uys look I n my eyes
and th I n k they know me.

Like I'm thei r fantasy.

I'm j ust a reg u Iar,
screwed -u p person .

So when you
say I'm beautifu I ,

it's I I ke you're not
seeing me at al I .

Yes, I am.

No.

"'On ly God , my dear Cou Id
love you for you rself alone

"And not you r yel low hai r."

Yeats.

No bou ndaries,
very dangerous.

L thoug ht that's the way it was
su pposed to be I n storybooks.

Storybooks are
stories in books.

Th is is real I ife.

(MAN CHATTERIN G ON TV)

You're sti I I...

I've got to go. I've got to. . .
No.

Oh , no, you don"t.

You're the boss, rig ht?

Cal I u nwel I, take a day off.

That simple?

That simple.

I thoug ht we mig ht
take a shower.

(LAUG H ING) Yeah?

A n ice, long one.

Yeah .

We can make love
for an hou r or so.

So we can j ust
keep on doing th is?

For how long ?

(SOFT MUSIC PLAYIN G)

(INAU DIBLE)

I'm so happy for h im.

I mean it.

Ray, buddy,
I have to tel I you ,

that is a beautifu I
piece of ass.

L can't bel irvr the most gorgeous
creatu re I've ever seen ,

s he chose me.

Does she havr any s isters, friends,
fou rth cous I n ? Anyth I ng?

S he bu rned al I her bridges when she
left New York. Her on ly friends are...

Ah . They're al ready so happy together.
. . .those two over there .

By the way, I th in k ou r friend
Larry's a I ittle jealous of you .

What?

Yes, because you 're
bas ically d isg usti ng .

You have it al I .

I do.

(LAUG H IN G)

Oh ! I haven't danced
so much since...

Whoa. She's strong too. D id you see how much
she was wh irl I ng me arou nd out there?

Ow.
I'm sorry.

Wow!
lt's noth I ng .

Look at that bru ise.

You and Ray I ike the roug h stuff?
Why d id n't you tel I me?

L'vr got some equ
ipment I can lend you .

(STAM M E RING)
No, I'm a klutz.

Don't.
I...

Oh , Jesus ! Look.
My parents danci ng together.

Baby, let's never
end u p li ke that, okay?

Okay?

(P EOP LE C H E E RIN G)

WOMAN : Cong ratu Iations !

Geez.

(SIG H S) It's over.

Over? It's j ust beg I n n ing .

You're not kidd I ng .

(CARN IVAL M [Etéocle] SIC PLAYIN G)

(IN DISTIN CT C HATTE RING)

Hry, Ray.
I hear you got married .

That's beautifu I . That's gorgeous.
Who is s he?

Wel I, her name is. . .
Oh , that's swel I .

The g I rl of you r dreams,
h u h? H u h ?

D id you get her here?

Here?

At ou r booth .
Ou r most popu lar exh ibit.

(P EOP LE LAU G H ING IN DISTAN C E)

Wel I, maybe I shou Id ...

What, are you crazy?
What, are you n uts?

You don't want to find out
you got the wrong one.

Let's go to the fu n house.

(LAUG H ING WILD LY)

(EXC LAIMING)

(G ROAN IN G)

S he looks j ust I ike you .

(G [Etéocle] RG LIN G)

Two years .

I love you .

I never thoug ht

it wou ld be possi ble for me
to have su ch a normal I ife .

My u ncle used to say...

S issy? Aren't you S issy?

Excuse me?

Piru , Texas .
I'm Cora's sister.

I'm Lena Mathers,
now Lena Reardon .

Dayton , Oh io.

Oh . I'm sorry.
You r voice isn't q u ite...

J ust for a m in ute,
I thou g ht...

I'm very sorry.

That's okay.

That's so strange.

Th is woman ,
S issy someth I ng ...

That's twice
that's happened .

Once in New York,
and now here.

S he looks
exactly like me.

Maybe she's my dou ble,
my doppelganger.

S he's the one
who's really al ive.

I'm just. ..
You don't feel al ive?

Of cou rse I do.

On Iy, does n't I ife seem
someti mes I ike th is

very strange d ream?

I hope I don't wake u p.

(LE NA TALKIN G IN DISTAN CE)

(C H UC KLES)

I'I I let you know.

Don't say that.

Okay. I'll tal k to you later.
Al I rig ht. Bye.

H I . Who was that?

Debby from
my dance class.

Stuff I n her marriage
is insane.

Have I met Debby?

No, 'cause, wel I, she's g
reat, but her h usband is ...

It's an u n usual
combi nation .

He's a psychopath ,
and he's bori ng .

That is u n usual .

So how was you r day?

Any news on the M u ra job?

No. It looks good .

(EXC LAIMS)
(P LAYFU LLY) H u h?

What's u p with you , h mm?

(SIG H S) I'm sorry.

I just haven't felt very...

It's okay.

I hope it'I I come back.

It wil l. The doctor
said it'll take time.

So how's it feel?

It's I ike it's become
a busi ness or someth I ng .

A partners h ip.

That's what marriage is .
Wel I, I don't I I ke it.

(C H UC KLES)
You're not the on ly one .

PIus I get these weird
jealousies, suspicions .

Oh , yeah? Like what?

Oh , that's normal, too.

Usually it's j ust a way
of d rivi ng you rself crazy.

B ut not always?

No. N o, not always .

What are you sayi ng?
E laine has...

Sometimes
everyth ing's a cl ue,

and what you th in k is paranoia is
actual ly heig htened awareness .

That's too bad .

Not at al I .

What's sauce for the goose...

I'm sorry. I don't
know what happened .

Mr. Mu ra's never late.

Oh , no, no. Don"t
even th in k about it.

(C H UC KLES)

(LAUG H lNG)
I'm sorry. I'm sorry.

It's j ust we've spoken
on the phone so many times,

and I never had any idea
that you were so attractive.

Than k you .

B ut personal Iy, I prefer
brains to beauty, don't you ?

(STAM M E RING) No, of cou rse.
Yes . I, u m...

I mean , I d id n't end u re the fou r
years at Swarth more I n order to...

You went to Swarth more?

Yes.

So d id my wife.

Real Iy?

So, what year were you ?

Swarth more? '83.

Wel I , then ,
d id you know Lena Mathers?

I don't th I n k so. No.

B ut those years
were crazy.

Between the frenzy
for g rades and jobs and ...

Then , in the midd Ie
of all of that,

the pres ident of the col Iege,
Sam Shaw,

d ied of a heart attack
as he was speaki ng to us.

I hard Iy remember
my best friends.

Oh , Mr. M u ra.

It's beautifu I .

(C LASSICAL MU SIC
P LAYIN G ON STEREO)

We're going to Japan .

Wr arr?
Mmm-hmm.

You got the Mu ra joçb?
Mmm-h mm.

That's g reat.
It is g reat.

Th is bu I ld I ng is going to be I ike
noth I ng else I n the whole world .

I'm so proud of you .

By the way, what year
were you at Swarth more?

'84. Why?

Th is woman who works
for Mu ra, Cel I ne Rogers,

s he was there
at the same ti me.

I don't remember her.

No. S he d id n't
remember you , either.

Remember Sam Shaw?

Who?

D ied of a heart attack.

Oh , he was a classmate.

God , he d ied
of a heart attack?

It's scary, isn"t it?

Someone my age.

Bad th ings can j ust
come out of nowhere.

(LAUG HS DARKLY)

Exactly.

(S HOWER RU N N IN G)

Can I help you
fi nd someth ing?

Is you r real name S issy?

What?

You heard me.

You mean am I real Iy th is
other woman who looks I I ke me?

Yeah .

Like a sci-fi th I ng . We've
been switched or someth ing .

Not li ke sci-fi, I ike real .
Like are you real ly her?

I don"t know, Ray.
I never stud ied ph I losophy.

Questions like that
make my head h u rt.

(C H UC KLES)

I forgot to have Sal Iy
go to the ban k.

I need some cash .

No problem.

Now, you tel I Mr. M u ra

hr can't keep you east long
or I'l I d ie of lonel iness.

I wi II. Bye-bye.

Ray. Kiss me.

(SOFT LY) I love you ,
Lena. I love you .

I love you , too.

Bye.

RADIO HOST : We welcome you back to
WTXE, right here in Piru, Texas,

home of
the sawed-off shotgun.

If you don 't like our musuc...

(S HOTGU N COC KS)

...leave towo.

(THE OTHER SIDE PLAYIN G° ♪ sO
YOU 4RE AT the eND OF YoUr WITS

♪ tHE ENd OF YOUR rOPE

♪ yOU JUST CaN 4T flX
eVeRYThlNG ThAT4S BrOke

♪ goTTA turn it IOosE, bAbe

♪ HEy, just let it ride

♪ 'CaUse iT ain 4T
aBOut pride, noW...

RAY: Hel Io.

I'm the executor
of a very large estate.

I'm trying to fi nd someone
who used to live here.

Do you recog n ize her?

First name
or n ickname is Sissy.

Never seen her.

Than k you .

♪ THe other side of lOoeliness

♪ tHe other side Of the blues

♪ tHere really us
a place llke thls

♪ Where The SuN is
gonna shlNe for you

♪ yOU 'lll feel That
old restlessness

♪ When your tears
haVe all been cried

♪ And you 'lll find
your way over this

♪ yeah, you 'll make it
to the other siDe ♪

There you go.
Out of state?

Yeah .
Land specu lation or what?

Th I n k people
are put on Earth

for the sole pu rpose of
d rivi ng other people crazy?

My father had
my mom put away,

and he's the one that
made her lose her marbles.

Do you know her?

S issy. Hope she's noth in'
to you .

S he's my wife .

F ig u res.

S he ru n off and leave you?

No.

Wel I, g ive it time.

Is that what
s he d id to you?

S he d id th I ngs to me
I can't even pronou nce.

Sorry. I'll g ive
her th is, thoug h .

Shr always had it in her mi
nd to marry somebody rich .

(CAR HORN HON KS)

Gotta go to work.

What's her name?

H u h ?

Her real name?

You don't know?

Thelma Sneeder.

She sti I I
have family here?

Most fol ks find
th is stuff out beforehand .

Go u p that road there.

Take a rig ht on Branch ,
a left on H ickory.

It's the th I rd house.

Tel I her h I from B uddy,
you hear?

Mrs . Sneeder?
Yes.

Oh , my God , it"s Ray!

Yes, ma'am.

Is everyth I ng okay?

Yes.

Come I n .
Come in q u ickly.

Is it safe
for you to be here?

Safe?
With you r job.

(STAM M E RING)
I'm sorry. I'm...

Oh, you don't have to pretend .
S issy wrote us al I about it.

Hey!

Hey!

M R. S N E E D E R:
What do you want?

M RS . SN E E D E R:
Come see for you rself.

You got any recent
pictu res of Ti na?

I do, actually. Yes .

Wel I, I'll be.
P ut her there, Ray.

It's good to
fi nally meet you .

Cou Id you go and
get us some coffee, hon ?

S u rprise.

Than k you .

I'm g lad it's over.

Dad .

Come see the baby.

I'I I get those.

M RS . SN EEDER: Y'al I need
any help out there?

No, than ks .

I'm I n the C .I.A.?

L had to g ive them some reason
why they cou ld n't visit.

What about that story of you r mother
beati ng you and you r father watch ing ?

Not true.

But there's lots of d ifferent ki
nds of abuse with I n a family.

Rig ht, okay.

B ut if the th I ngs that
you tell me aren't true,

then what is true, Lena?

Who are you ?

I'm you r wife .

M R. S N E E D E R:
Cal led her Sissy

'cause we wanted toç have
another ch I Id , a boy.

Of cou rse,
we never d id ,

but Sissy was always
so, so beautifu I

that it d id n't
real ly matter.

Sti II , when she wrote
me that she was...

Wrote us .

Of cou rse.
That goes without saying .

Wel I, then , say it.

She wrote us
s he was chang I ng her name.

Wel I , natu ral ly,
I was I ns u lted .

We both were.

B ut it was ki nd of
a woman's lib th I ng .

Women change their name for a
man when they get married ,

so why not change it
for their own sakes?

B ut she'll always be
S issy to us.

You r parents seem I ike
perfectly decent people .

Yep.

Why'd you h ide them
from me?

They're stuck.
In Texas, I n poverty.

Can't you feel it? They were th
is weig ht d ragg ing me down .

If I'd have stayed there, I wou
Id've married that g uy Buddy,

I wou Id've had h is kids,

wou ld have d ru n k beer every n ig ht ti
I I I got really fat, ug ly, and bored .

So I I nvented myself.

I made u p Lena Mathers,
and I became her.

They say you replace every molecu Ie
I n you r body every seven years.

L changed my name eig ht years ago.
No more Thelma Sneeder.

Aren't you gon na
g ive me cred it for it?

Doesn't it seem at least brave
that I just became

th is completely
d ifferent person?

It makes me look at you I n
a completely d ifferent way.

Me or you ?

Is n't the real q uestion ,
who are you ?

Are you real ly Ray Reardon , or is that
the name you r parents h u ng on you ?

Oh , you've always been
a good boy.

You've gone along with
who Ray was su pposed to be,

done what Ray was s u pposed
to do, but who are you ?

Where are you real Iy from?
What do you real ly want?

I'm tired , and I
want to go to bed .

LE NA: I tried to tel I you so many
times, lyi ng here I ike th is .

I'd say to myself,

"Now, Lena, tel I h im.""

I wish you had .

I was afraid

if you knew
the real me that

I'd lose you .

You be a good g I rl now.

Have a safe tri p. You make
her feed you , you hear?

S he does .

Goodbye.
Bye-bye.

If you're not d ivorcing me, I'd Ii
ke to send them money every month .

S u re.

Then we're okay?

Look at me.

Tel I me it's the truth .

You know it is.

No matter who you were
and no matter who you are,

no matter who you wi I I be,
I'm goi ng to love you .

From now on ,
better than ever.

I love you .

WOMAN ON PA: Announcing the landing
Of Flight 250 from Piru, Texas.

NOw better thn ever.

You're late, Ray.
S how's already started .

WOMAN : Ray! Ray, my boy!

You're Iooki ng g rand !

You Ii ke these? H u h ?

And th is?

(M E N WH ISTLIN G)

Tel I me, Ray.
Tel I me true.

Am I the g irl
of you r d reams?

Mmm, actually...

Of cou rse not!
Look! Looky here.

♪ Aome gUys
lOOk at the eyes

♪ Aome gUys
lOOk at the Thighs ♪

I j ust Iooçk
at the pu rse.

How about that?
You like it, Ray?

S u re, you do !

Recog n ize her yet, h u h ?

And now, the moment
we've al I been waiti ng for,

the moment wh ich wi I I
determi ne Ray Reardon's fate.

Here she is, fol ks !

(LAUG H IN G)

NORMAN : And last tut not least, it's...
BaBY Bob! Yeah!

For thoSe of you who
dOn 't remember Bob BabY

from last year's
cutie-pie contest,

well, he wsn 't bOrn yET.

Okay, and Now it's Tina,
cute as ever. Yeah.

And Lena, cutEr thaN ever.
That's right, all right.

Come on now. That's it. Don 'tt
serve it, baby. Feel the burn.

A ttagirl! OkaY,
and Pinhead Ray!

That's right, Pinhead Ray
with The perfect life.

He 's got thE perfect
wife, the perfect famlly.

Why, he 's got everything
a maN could possibly want,

except a Wednesday
afternoon Golf game,

and, well, a cuTe, young mistress,
But never mind that now.

He doesn 't have time
for any of these things...

LENA: Stop it, Norman.
That's not funNy.

NORMAN : Exactly my point. according to The
East German Judge Lena, it's nOT funNy.

So now we Come to our legal beagle
Elaine, and her client, Bernardo

frOm West Side Story And...

A post. That is a great
post, by the way.

And now, let's turn
the camera on...

This gUy, yeS!
This is a stupid guy.

This is a guy
whO can 't mAke A living.

This is, uh...

RAY: A pain in the ass.
A pain In the ass.

Thank you, Ray.
Thank you.

This is the guy
whO 's GolnG nowhere fast.

(STAMMERIN G) This is a...
A pain in the Ass.

A pain in the ass again.
Thank you, Ray.

LE NA: Will somebody stop him ?
A pain In the ass.

Stop me ?
I can 't be stopped.

That's enoug h , Norman . For
Ch rist's sake. (C LAMORING)

Don't have to tell me twice.
Hey, where's the beer?

So, u h , how's everyth ing ?

S I nce we talked th is morn I ng?
Come on .

No, come on .

L haven't seen Lena in a wh ile.
S he looks g reat.

You're rig ht.
S he looks g reat.

Fou r months after g iving bi
rth , s he looks real ly great,

very, very g reat, and
I'l I be honest with you ...

Yes?

No, I won't, actual Iy.

L changed my mi nd and I wi I I not be
honest, because, u h , it's just that

I th I nk I saw somewhere
where, for them,

g iving birth is I I ke having an affai r.
That's what I meant.

It g ives them a g loçw. A g low, yes.
(LAUG H lNGà

So she's al ive agai n I n a whole
new way, and that's beautifu I,

it so happens .
A g low?

You , by the way,

can kiss my ass and that
will make us both happy.

It's the strangest th ing .
See for you rself.

Wel I, Bernardo?

Wel I, it doesn't
look I ike h im to me.

L rest my case. He doesn't look
I I ke either of h is parents .

L th I nk he was switched
I n the hospital .

(C RYING) Oh, I'm sorry.
ls that what happened ?

D id some d ru n ken n u rse
switch you ?

There you go.

Good n ig ht.

Good n ight.
Good n ig ht, sweetheart.

(TH [Etéocle] N D E RING)

(LE NA CH UC KLES)

Oh , I told you
I cou ld n 't.

Of cou rse I want to.
lt's just...

You just have
to be patient.

Yeah ? [Etéocle] h -h u h .

I absol utely
g uarantee it.

Yeah , okay.

Okay.

Bye.

Debby.

S he wants me to go see
those male stri ppers .

That shou Id be fu n .

Cou Id you try
her again , please?

SALLY: I just did, sir.

Keep tryi ng her
every 10 mi n utes

u ntil you reach her.

Yes, sir,
But it's WedNesday.

I have that funeral tomorrow,
so I'm leaving early.

J ust keep tryi ng ,
please, u nti I you go.

Yes, sir, OF course.

(M UTTE RIN G)

I love these late d I n ners
after the kids are as leep.

You have a bru ise
on you r leg .

C h rist.

Where'd you get it?

My s h rin k says
I s hou ld ...

Why do I always have
to go th roug h th is?

I'm cl u msy,
I bru ise eas I ly,

and I don't want
to talk about it

every time
I bu mp into a chai r.

D id you cook th is?

No, it's takeout.

Why d id n't you cook?
What?

Why d id n't you cook?

'Cause cooki ng gets bori ng .
Why d id n 't you cook?

I work all day.

What's wrong with you ?

I hope you enjoy
these psychotic episodes.

So you go to h is place?

Excuse me?
You fuck h im at h is place?

What are you
talki ng about?

(SCOF FS) Open it u p.

D id you r secretary
tel I you I cal led today?

At noon .
I was out on site.

I called back
al I afternoon .

I had th is fantasy
of coming to you r office

and screwi ng you r brains out
on top of you r des k.

I g uess the fantasy
was misplaced .

When you weren't there, I went to my sh
ri n k's, and then I went to Debby's.

If you don't bel ieve me,
cal I Debby.

Want to call her?

Go ahead .

The mach I ne.

And you d id n't
leave a message.

You want to leave
a message? Here.

You're s ick.
Get some help.

Ray?

What do you want, Ray?

I know what you want.

Pretend it's al I a d ream.

Sorry I"m late, everybody.

Are you the temp?

Yes, sir. AI ice Kel Ier.
(TYPINGà

I'm Ray Reardon .

Did my. . . Oh , I g
uess my secretary left.

Have we met?

No, si r.

I don't bel ieve we have .

Yes, we have.
Wait. You're, u m...

You're friends with
my wife, rig ht? Lena?

S u re, you are .

Lena Mathers .
You were at ou r wedd I ng .

Tel I me.

H i.

What a n ice idea
to meet in the park.

You recog n ize that woman ?

You h ired a temp
to be you r friend?

A person's su pposed
to have friends, rig ht?

Everyone has friends .

Whrn you told her what the job
was, you were laug h I ng t me,

making fu n of me.

S he d id n't u nderstand .

Srr, it wasn't j ust that I became
Lena and Lena happened to meet you .

I chose you .

I first saw you
five years ago I n New York.

A party on thr West S ide, Riverside and .
. . N I nety-someth I ng .

I saw you ,
and somehow I knew.

I knew you were it.

I was still married .

Then later I heard
you'd left you r wife.

A friend of mi ne,
M imi Moore, knows Norman ,

and so she got
I nformation from h im.

Information ?

The ki nd of th I ngs you I I ke,
what ki nd of women you I I ke.

(STAMMERIN G) Wait a min ute.
So, you've pretended ...

J ust a few th I ngs.
J ust the outs ide.

It's like putti ng on
new clothes or a new perfu me.

Personal ity is a perfu me?

S u re.

Perfu me's I ntended
to attract somebody,

but it's not thr th I ng you
fall I n love with , is it?

I don't know.

Is th is the end?

L can't keep oprn I ng my
heart to you and getting ...

Is n't that what love is?

I don't mean passion .

Love.

Is n't it an act of faith ,
loving someone

despite having to put u p with th
I ngs wh ich are I ntolerable?

Open ing you r heart.

Again and agai n .

LARRY: She's rig ht.

I mean,
are you perfect?

No, but you want to
be loved anyway, rig ht?

Love her anyway.

It's how we save ou
rselves, by loving people.

I cou ld tell you
some stories about E laine.

It's just. ..
I feel like a fool .

Oh , we're all fools
I n love, aren't we?

Fol low you r heart.

Than ks, man .
Yeah .

Th is is what
friends are for.

Hal, they're bei ng
very generous.

I j ust don't
need the work.

You s hou ld lower the pitch .
Al I rig ht. Okay.

Listen , on that other matter, j
ust forget it, okay? Let's settle.

Yeah , okay.
He's always I n the car.

J ust a very. . . Also, Sal ly, we shou
ld cal I Mr. M u ra, please, all rig ht?

Yes, s ir.
It s hou ld be...

Also, you r wife"s Visa bill
came here I nstead of the house.

Lena hand Ies the money.
Why wou ld they have sent...

Apparently, it's a new card
and they made a mistake .

Okay. So, pay it, and I'I I
ask her about it ton ight.

Do you want
to look it over?

No.

S hou Id I?

What day of the week
was May 27th ?

A Wed nesday, si r.

Wou Id you call
my house, please?

SALLY: (OVER lNTE RCOM)
I did, sir. She 4S not home.

Try the Hotel C hanticleer.

Yes, sir.

Lena Reardon , please.

She 's checked out.

You got the keys?
Ah , good g irl , Ti na.

H I, sweetie. Be carefu I .

H i.
H i.

I put a snack on the table.

Oh , good .
He's a good boy.

H I . H I .

Hey. Hey.

(C H UC KLES) H I .

J ean ne, take the kids out.

J EAN N E : What?

Take the kids
outs ide, please.

Where wi I I
I take them?

Anywhere. The park.

Yes, s ir.
Come on , Tina.

Come on .
Ti na, come on .

(DOOR OPENS AN D C LOS ES)

ls it real ly nrcessary to th row
a scene every s I ng le day?

What's that for?

You th rew away the bi I I .

What bi I I?

Hotel Chanticleer
every fucki ng Wed nesday!

I th rew it away.

(LAUG HS)

Let me ask you th is .
Why weren't you more carefu I?

Why d id n 't you get
a second d iaph rag m, or...

Leaving evidence arou nd
I ike th is, it's s loppy.

Why d id n't you use
a prophylactic?

Sometimes we do use
a prophylactic

and sometimes I j ust
g ive h im a blowjob.

L always knew you were abusive.
I do you , you do me.

Who is it?

Don't you know?

(C H UC KLES)
Can't you g uess?

Debby.

(LAUG HS)

Debby's an answering mach I ne.

That's rig ht. J ust a woman's voice,
someone sayi ng they're Debby.

Who the fuck is it?

You know h im
better than I do.

Wel I, in some ways ,
you know h im better.

In other ways,
I know h im better.

What? Aren't I tel ling you
what you've always suspected?

What you've always
wanted to hear? H u h ?

What else do
you want to hear?

You want to hear
how good it was?

Stop it.

It was fucki ng g reat. H is cock
is so h uge. He makes me come

and come and come.

(GASPS)

And the amazi ng th I ng is, real Iy,
al I th is time, you never suspected .

AI I what time?
(SCOFFS)

The whole time, Ray,
even before we were married .

AI I my bru ises.

(LAUG HS)

The whole time?
What about the kids?

Are they mine?

Do you know?

Of cou rse I do.

Whose are they?

I love them,
and I raised them.

Yes, you have .

But I'm still
not gon na tel I you .

(G RU NTS)

(LAUG HS)

Is that al I?

(M UTTERING) Fuck.

(DOOR OPE NS)

(DOOR S LAMS SH UT)

Wed nesday.

Wed nesday. Norman's
fucking golf game.

Mr. Reardon .

RAY: Who are you ?

I'm Dr. Shteen ,
Lena's psych iatrist.

What the fuck happened here?
Where's my wife?

Lena cal led .
S he was hysterical .

I am here to eval uate
you r mental state.

My mental state?

If you're a danger
to you r wife,

we can have you committed
for 72 hou rs observation .

Grt the fuck out of my
house, you son of a bitch !

Officer! Officer!

Take it easy.

RAY: What the fuck is th is?

Take h im away. 5150 .

WOMAN : YOu will be
held for observatlon

according to Welfare
and lNstitutions Code 5150.

YOu may use the telephone,
wear your own clothes,

and you may petition the CouRt
at any time for your release.

RAY: (WH lSPERIN G) I don't care what
ki nd of law you practice, Hal .

L don't care who you pay, I don't care what
it costs. I want out of here rig ht now.

The law? Fuck the law!

(CARN IVAL M [Etéocle] SIC PLAYIN G)

And now, babycakes , the moment
you've al I been waiti ng for,

the moment wh ich wi I I
determi ne Ray Reardon's fate,

here she is, fol ks !

(AU DIEN C E WHOOPS)

That's rig ht, Ray! It wasn't your
second wife. It was you r fi rst.

You shou ld have
stayed with Martha.

Come on down ! Come on !
G ive her one last dance !

(AU DIEN CE EXC LAIMIN G)

(AU DIEN C E AP P LAU DIN G)

(S LOW MUSIC PLAYIN G)

(FOOTSTEPS APPROAC H ING)

H I, sweetie.

How are the kids?
I m iss them.

J ust peachy.
Want to go for a walk?

RAY: I can't bel ieve
they let us out together.

Oscar will protect me.

A faci I ity th is expens ive...

What if I fly I nto a rage
and attack you?

You're sedated .

L am?
I don't feel sedated .

That's because
you're crazy.

So, what are you doing here?
(C H UC KLING)

Friday's you r heari ng .
I wanted to tel I you ,

wh ichever way it goes . . .
Wh ichever way it goes?

I'm not dangerous.
I'm not crazy.

They aren't goi ng
to keep me in here.

I just wanted to say...

Ray?

In spite of everyth I ng ...

I love you .

I real Iy, tru ly love you .

Norman wi I I
be d isappointed .

Yeah . You've seen who
I really am.

You've seen more
than anybody ever...

And you kept on Iovi ng me.

(WH lS PE RING)
You're a psychopath .

Probably.

A psychopath can sti I I
love somebody, can 't they?

You r Honor.
Cou nselor.

My client's been off
med ication for 36 hou rs?

Yes, of cou rse.

The staff shou ld be bri ng
ing h im I n any min ute now.

(WH ISPERIN G)

Hel Io.

Mr. Reardoçn , you req
uested th is writ heari ng .

RAY: Yes, You r Honor.

You're bei ng I ncarcerated
against you r wi I I .

And, Dr. Spatz,
the hospital recommends?

It's a perplexi ng case,
You r Honor.

I suspect
an atypical psychos is,

but I need more time
to evaluate.

KU RITA: 180 days add itional?

Wait a min ute .

Wel I , cons ideri ng the danger to h is
wife, yes, that's what I'd recommend .

Mr. Reardon , you u nderstand
th is is a legal proceed I ng ,

but I find it very usefu I if
the patient testifies first.

You r H onor, we'd prefer. . .
I'd be g lad to, You r Honor.

You're saying that you r wife
created a character and identity

so you wou ld fal I I n love with her.
RAY: Yes .

And she was g u ided by you r
friend , th is Norman . . . Yes .

...who she s Iept with th roug
hout you r marriage at th is ...

Hotel Chanticleer. And she'd cal
I h im someti mes on the phone

and pretend it was th is
fictitious g irlfriend Debby.

(LAUG HS) Th is sou nds
so crazy, but...

No, no, no. Not at al I .

B ut the d iscovery of all th is
I n such a short time, I men ...

I h it her.

L'vr never done that before,
and the idea that I pose

somr sort of permanent danger
to her is j ust lud icrous.

KU RITA: I u nderstand . I th I n k any
of us making that sort of d iscovery...

[Etéocle] h , rig ht.

Now let's see what
the other side has to say.

I'd like to cal I
Dr. Shteen , please.

Dr. S hteen , as
Mrs . Reardon's psych iatrist,

do you find that her h usband
poses a th reat to her life?

I've thoug ht so for
some time.

Mrs . Reardon has been
see I ng me for several years,

and on many occasions, s he's had vis
I ble and very alarmi ng bru ises .

When I as ked her aboçut them, s he
said that her h usband h it her.

That's bu IIsh it.

Mr. Reardon .

I've advised Lena freq uently
to go and see the pol ice.

So when th is Iatest
I ncident occu rred ...

HAL : You r Honor, may I?

No, I told you before,
I never h it that eye.

S he's done th is to herself.

I'I I take care of it.

It's a fucki ng frame-u p.
ll I take care of it.

KU RITA: Then Mr. Reardon's accusations
about you and h is wife...

Look, I'm an asshole,
You r Honor.

Can I say that?

Al I rig ht, see, I've always
been an asshole, but th is ...

Even if Lena wanted me...

Wel I, I probably cou ld
n't resist, to be honest.

Once I cou ld have. I mean , look at her.
B ut to carry on th is long?

Ray is my friend .

Bes ides, every
Wed nesday afternoon

for the last 10 years,
I've played golf.

L broug ht some letters from my
golf budd ies . Some, u h ...

(EXHALES)

And these bru ises,
have you seen them before?

S u re.

And are you aware of any
other examples of violence,

particu Iarly towards women?

(SCOFFS)

KU RITA: What was that?

[Etéocle] m...

Ray's fi rst wife Martha, when
they broke u p, he s lapped her.

I'm sorry.

HAL : You r Honor, that was
fou r and a half years ago.

KU RITA: So noted, Cou nselor.

And you r name?

Debby Tribbiu m.

KU RITA: And what
is you r relations h I p?

I'm just... I'm a friend of
Lena's from dance class,

and she calls me
on the phone sometimes .

Have you met Mr. Reardon ?

S u re, a cou ple of times .
I had d in ner there.

[Etéocle] h , once I d ropped by.

(WH lSPERIN G) She's lying .
I've never met her.

I th in k she's some
fucking temp.

HAL : Debby, do you work
for a temporary agency?

Excuse me?

Do you ?

L own a cookie s hop
on the north side.

C hocolate ch ip,
oatmeal raisin .

Okay, then , descri be
the Reardons' apartment.

(EXHALES) [Etéocle] h , it's a penthouse
apartment with cathed ral cei I I ngs.

[Etéocle] m, the I ivi ng room is on the
rig ht, kitchen's on the left, and ...

AI I rig ht.
Al I rig ht.

Mr. Reardon , you're
a d isti ng u ished arch itect

without a blemish
on you r record .

There's no h istory
of any mental I I I ness .

I'm sane, You r Honor.

KU RITA: You look sane,
you sou nd sane, si r,

but everyth I ng you say
seems to be a del us ion .

Fran kly, I'd I ike to bel ieve
you , but without a witness

or some sort
of corroboration ...

You r Honor,
what about her bi I ls?

The Hotel Chanticleer
every Wed nesday?

$ 133. $379 .

Mrs . Reardon ?

You r Honor, I went to
th is Hotel Chanticleer,

and I have a letter
from the manager

sayi ng he's never
seen me before,

that I'm not the
Lena Reardon he knows .

Then who's respons ible
for these charges?

L must have used that cred
it card once or twice

and then lost it.

[Etéocle] h , I d id n't real ize it
was missing u nti I a few days ago.

L called the company, and they
sent over copies of the charges

if you'd like
to compare sig natu res .

That's not necessary.

RAY: What?

I'm sorry, Mr. Reardon .

You're sorry?
You're sorry?

(WH lSPERIN G)
Hey, relax.

Th is is my life
we're talki ng about.

I'm aware of that, s ir,
and I'm doi ng you a favor.

If you weren't
I n th is hospital ,

you r wife cou Id have
put you in jai I .

(STAMMERIN G) But th is
is not what th is is about.

Comr on . Don't you see
what she's doi ng?

S he's stolen my ch I Id ren ,
s he's stolen my house,

and she's man I pu Iati ng you .

Mr. Reardon , that's enoug h .

Get you r fucki ng
hands off me.

KU RITA: I'm warn I ng you , si r.

Oh , fuck you . Al I rig ht? You've al
ready made u p you r fucking mi nd .

Very well , then . Proceed .

J ust watch it. You have no idea
who you're deal I ng with .

S he lies to me, and s he
tel ls a d ifferent lie to you .

I'd be happy to
take a polyg raph test.

Yeah , fucking rig ht
s he'd take it.

S he'd pass, too. Some fucki ng mach I ne?
S he is a mach I ne.

KU RITA: Mr. Reardon . I'm a mach ine?
You married me.

I married you and I loved you
and you 're fucki ng ki I I I ng me !

Get you r hands off me.

HAL : You r Honor. B ut if you want
to have sex with peng u ins...

You r Honor, please.
I'm done. I'm done.

Here. Take th is.

They don't let us
wear these in here.

Get you r fucki ng
hands off me !

N [Etéocle] RS E : How we
doing today, Ray?

God bless pharmaceuticals.

B ILLY: You know
what my daddy says?

My daddy says
there are no accidents,

that we all get
exactly what we want.

RAY: You r daddy's wrong .

Talk about it.

Family makes you crazy,
and friends ease the pai n .

Rig ht, Joh n ?

Yeah . That's what friends
are for.

That's what...

Friends ...

(WH ISPERIN G) It's Ray.

Vis it me soon . Don't tell
anybody you're coming .

(DIAL TON E D RON IN G)

Go to bed .

Ray.

Ray, it's EIai ne.

I'm here.

Is it all rig ht
if I take h im outs ide?

You're safe.
With the d rugs he's on ,

he cou Id n't h u rt
a fly I n December.

Come on .

You cal led me, rig ht?
I'm su re it was you .

Wel I, look, I've been doi ng some
work on my own to get you out of here,

but th is is a very
weird legal area. l...

Than ks for comi ng .

You know why
I'm I n here, rig ht?

Wrl I, I was wrong about Norman
, and I th I n k it was Larry.

What was Larry?

Larry"s been
fucki ng Lena.

Is that possi ble, for a long
ti me, fou r or five years?

It's possi ble, but I...

It's more than poss ible .
It explains...

It wou Id explai n ...

I th in k the two of them
are tryi ng to get my money.

And go to New Zealand .

What?

What?

He boug ht a house I n New
Zealand without my knowledge.

It was a down payment
we cou ld n't afford,

and when I fou nd out
about it, he told me

that it was some
ki nd of an I nvestment.

Don't ever
tel I h im you know.

I won"t.

Make h is I ife a misery.

(S NORTS)

Bel ieve me.

I want to retai n
you r legal services .

Is there any way you can be forced
to reveal th is conversation?

No.
Good .

Then tel I me
if th is wil I work.

What?

Lena, it's EIai ne.
I'm out here vis iting Ray.

No, he's sedated .

He's s ilent, but he d id
say th is one th ing .

He said,
"You made a mistake."

I don't know, but
he kept repeati ng it.

Hr said you made a big mistake.
You forgot someth I ng .

Yeah , that was al I .

Okay.

Yeah . You , too.

I don't know, Ray.
Maybe, maybe not.

Okay, Ray,
I'l I see you soon .

Good I uck.

(WH ISPERING) Bi I Iy?

B I I Iy, wake u p.

(GAS PS) Tal k about it.

What's my name?

Joh n?
What's you r name?

Joh n .
Do you want $ 100?

American money?

You bet.

I'I I remi nd you every n ig ht,

and one day,
I'l I tap you on the knee,

and you'll know
what to do, okay?

Okay, Joh n .

I'm ready.
I'm rig ht as rai n .

Ready as Robert.

Don't worry about me, J oh n .

Oh , h I .
H i.

He's over there.

Ray.

That's how he is.

Go ahead .

(P EOP LE SIN G lNG IN DISTAN C E)

MAN : Happy bi rthday!

Timber!

(G RU NTS) Jesus, Bi I ly, who
woke you u p? Get off of me !

Get off of me !

(BILLY SQUAWKIN G)

You r old boyfrirnd , B uddy, h is
father had h is mother committed .

Is that where
you got the idea?

Maybe.

So everyth I ng was plan ned?

Wel I done.

(C H UC KLIN G) I j ust th in k
it's wonderfu I that you've come.

Than k you so, so much .

I came because of some
bu I lsh it you told E laine.

There"s a flaw I n my plan?

S peaking of plans,
I must ask.

Are you real Iy goi ng
to New Zealand with Larry?

(S N IC KERS) Larry?

When I'm done with h im,
he'll wish he was you .

What are you gon na do
with my kids?

Take you r kids away with me and tel I them
you d ied , or maybe I'l I just leave them.

I don't th in k so.

You still don't have the faintest
cl ue who I am or what I do.

Likewise.

God, you are
so beautifu I . Ravis h I ng .

(SCOF FS) You okay?

Never better.

Never, never better.

(C H UC KLIN G)

What are you doi ng?

Wel I, th is is the last time we're
gon na see each other, rig ht?

Rig ht.

I want to than k you
with all si ncerity.

I've been sleepwal ki ng
my whole life,

and you've woken me u p,
and I feel al ive now.

You're fucked .

Yes, but I'm
al ive and I nspi red .

You saw you r plan with such
clarity, s uch ruth lessness.

Wel I done.
Let me go.

No.

I'I I scream.

(LAUG HS)
No, you won't.

Why won't I?

'Cause everyone wi I I come ru n
n I ng , and you won't get it.

Get what?

What you want.

What you deserve.

L mran, you deserve to know
the flaw I n you r plan .

You were so good at it.

And you mig ht
want to do it agai n .

Okay, tell me .

Kiss me first.

What?

Kiss me and I'I I tel I .

On ly it has to be a real kiss.
Someth ing to remember.

We don't need Oscar.
We don't need anyone.

Kiss me,

then I'll release you .

(EXC LAIMS)

Who are you , Lena?

Who will you be
when you d ie?

You don't have the g uts .

Don't I?

No, Ray,
you're too practical .

What about
the conseq uences?

There are
no conseq uences.

That's the flaw in you r plan .

I'm crazy.

You've d riven me crazy.

That was the whole idea.

Wel I, crazy people
aren't responsi ble.

Crazy people aren't
legally responsi ble.

Not gu I Ity
by reason of I nsan ity.

In a year, I'I I be sane agai n ,
and they'l I have to let me out.

(C HOKIN G)

(BALLROOM MUSIC PLAYIN G)