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>> Man: I WAS EATING A TOMATO AT TEATIME A FEW WEEKS AGO AND I SUDDENLY REALIZED THAT

AT TEATIME A FEW WEEKS AGO AND I SUDDENLY REALIZED THAT MUMMY IS NOT DEAD AT ALL.

AND I SUDDENLY REALIZED THAT MUMMY IS NOT DEAD AT ALL. JUST VERY, VERY MYSTERIOUS.

MUMMY IS NOT DEAD AT ALL. JUST VERY, VERY MYSTERIOUS. [¶...]

JUST VERY, VERY MYSTERIOUS. [¶...] >> Mummy: [HUMMING...]

[¶...] >> Mummy: [HUMMING...] >> Man: PAPA SPOKE LANGUAGES,

>> Mummy: [HUMMING...] >> Man: PAPA SPOKE LANGUAGES, CLIMBED MOUNTAINS.

>> Man: PAPA SPOKE LANGUAGES, CLIMBED MOUNTAINS. [CLICK]

CLIMBED MOUNTAINS. [CLICK] HE WAS AN ADVENTURER.

[CLICK] HE WAS AN ADVENTURER. [¶...]

HE WAS AN ADVENTURER. [¶...] BUT MUMMY WAS SUCH A GIFTED

[¶...] BUT MUMMY WAS SUCH A GIFTED PERSON SOCIALLY.

AND SHE WAS A MASTER OF THE UNDERSTATEMENT... [CLICK]

OF THE UNDERSTATEMENT... [CLICK] AN ADVENTURESS...

[CLICK] AN ADVENTURESS... [¶...]

AND HE WAS COLD AND DARK...

AND SHE WAS WARM AND LIGHT. [¶...]

AND I WAS LITTLE TONY. [MUMMY MURMURS TO BABY] [PHONE RINGS...]

[MUMMY MURMURS TO BABY] [PHONE RINGS...] I WAS THE STEAM

[PHONE RINGS...] I WAS THE STEAM WHEN HOT MEETS COLD.

I WAS THE STEAM WHEN HOT MEETS COLD. [PHONE RINGS]

WHEN HOT MEETS COLD. [PHONE RINGS] >> Mummy: MIDGE? WELL, HELLO.

[PHONE RINGS] >> Mummy: MIDGE? WELL, HELLO. THE REASON THAT I CALLED,

>> Mummy: MIDGE? WELL, HELLO. THE REASON THAT I CALLED, DARLING, IS THAT ASCHWIN,

THE REASON THAT I CALLED, DARLING, IS THAT ASCHWIN, PRINCE ASCHWIN LIPPE?

DARLING, IS THAT ASCHWIN, PRINCE ASCHWIN LIPPE? HIS BROTHER IS PRINCE BERNHARD?

PRINCE ASCHWIN LIPPE? HIS BROTHER IS PRINCE BERNHARD? WELL, HE THOUGHT, ASCHWIN

HIS BROTHER IS PRINCE BERNHARD? WELL, HE THOUGHT, ASCHWIN THOUGHT IT WOULD BE LOVELY TO

WELL, HE THOUGHT, ASCHWIN THOUGHT IT WOULD BE LOVELY TO MEET AT THE STORK CLUB TONIGHT.

THOUGHT IT WOULD BE LOVELY TO MEET AT THE STORK CLUB TONIGHT. AND HE SO WANTS TO KNOW YOU AND

MEET AT THE STORK CLUB TONIGHT. AND HE SO WANTS TO KNOW YOU AND JOOST AND ASKED IF I COULD...

AND HE SO WANTS TO KNOW YOU AND JOOST AND ASKED IF I COULD... WELL, OF COURSE.

JOOST AND ASKED IF I COULD... WELL, OF COURSE. SHALL WE SAY... 10:30?

WELL, OF COURSE. SHALL WE SAY... 10:30? IS THAT TOO CONTINENTAL?

SHALL WE SAY... 10:30? IS THAT TOO CONTINENTAL? [LAUGHS]

IS THAT TOO CONTINENTAL? [LAUGHS] BE AS CATTY AS YOU WANT,

[LAUGHS] BE AS CATTY AS YOU WANT, BUT TONY CAN HEAR EVERY WORD

BE AS CATTY AS YOU WANT, BUT TONY CAN HEAR EVERY WORD YOU'RE SAYING.

BUT TONY CAN HEAR EVERY WORD YOU'RE SAYING. CAN YOU IMAGINE THE WORLD HE'S

YOU'RE SAYING. CAN YOU IMAGINE THE WORLD HE'S GROWING UP INTO?

CAN YOU IMAGINE THE WORLD HE'S GROWING UP INTO? BROOKS AND I WILL SEE

GROWING UP INTO? BROOKS AND I WILL SEE YOU TONIGHT.

BROOKS AND I WILL SEE YOU TONIGHT. [SHE HANGS UP]

BROOKS... DARLING...

>> I GATHER THAT YOU'RE MAKING COMMITMENTS FOR ME. [¶...]

COMMITMENTS FOR ME. [¶...] SANS PERMISSION,

[¶...] SANS PERMISSION, SANS CONSULTATION.

>> PRINCE ASCHWIN DE LIPPE, PLEASE. YOU MAY SAY BARBARA BAEKELAND

PLEASE. YOU MAY SAY BARBARA BAEKELAND IS CALLING.

YOU MAY SAY BARBARA BAEKELAND IS CALLING. DON'T GET DIFFICULT,

IS CALLING. DON'T GET DIFFICULT, NOT TONIGHT, DARLING.

DON'T GET DIFFICULT, NOT TONIGHT, DARLING. PLEASE FORGIVE THE INTRUSION AND

NOT TONIGHT, DARLING. PLEASE FORGIVE THE INTRUSION AND THE DAMNABLY SHORT NOTICE BUT WE

PLEASE FORGIVE THE INTRUSION AND THE DAMNABLY SHORT NOTICE BUT WE ARE HAVING LATE SUPPER TONIGHT

THE DAMNABLY SHORT NOTICE BUT WE ARE HAVING LATE SUPPER TONIGHT WITH MIDGE AND JOOST VAN DEN

ARE HAVING LATE SUPPER TONIGHT WITH MIDGE AND JOOST VAN DEN HEUVEL AND THEY WOULD SO LIKE

WITH MIDGE AND JOOST VAN DEN HEUVEL AND THEY WOULD SO LIKE THE PLEASURE OF YOUR COMPANY.

HEUVEL AND THEY WOULD SO LIKE THE PLEASURE OF YOUR COMPANY. THEY'LL BE DELIGHTED.

AS WILL I.

AS WILL BROOKS. [LIGHTER SNAPS SHUT]

THANK YOU, DARLING. >> Tony: AND PEOPLE SAY NOW THAT I MUST'VE HATED THEM BECAUSE OF

>> Tony: AND PEOPLE SAY NOW THAT I MUST'VE HATED THEM BECAUSE OF WHAT...

I MUST'VE HATED THEM BECAUSE OF WHAT... [LIGHTER SNAPS SHUT]

WHAT... [LIGHTER SNAPS SHUT] TRANSPIRED...

[LIGHTER SNAPS SHUT] TRANSPIRED... >> Barbara: WE WON'T BE BACK TOO

TRANSPIRED... >> Barbara: WE WON'T BE BACK TOO LATE, I PROMISE.

>> Barbara: WE WON'T BE BACK TOO LATE, I PROMISE. >> Tony: BUT EVERYTHING THAT

LATE, I PROMISE. >> Tony: BUT EVERYTHING THAT HAPPENED... HAPPENED BECAUSE

>> Tony: BUT EVERYTHING THAT HAPPENED... HAPPENED BECAUSE OF LOVE.

>> DO I...

DO I LOOK LIKE A MONKEY TO YOU?

THEN WHY ON EARTH SHOULD I GET DRESSED UP IN A FUCKING MONKEY SUIT JUST TO EAT?

DRESSED UP IN A FUCKING MONKEY SUIT JUST TO EAT? >> YOU DON'T HAVE TO WEAR YOUR

SUIT JUST TO EAT? >> YOU DON'T HAVE TO WEAR YOUR TUX, AND NO NEED TO BE VULGAR.

>> YOU DON'T HAVE TO WEAR YOUR TUX, AND NO NEED TO BE VULGAR. >> IN FRONT OF THE B-O-Y?

TUX, AND NO NEED TO BE VULGAR. >> IN FRONT OF THE B-O-Y? >> JUST WEAR YOUR UNIFORM.

>> IN FRONT OF THE B-O-Y? >> JUST WEAR YOUR UNIFORM. >> I WILL NOT.

>> JUST WEAR YOUR UNIFORM. >> I WILL NOT. >> YOU LOOK SO HANDSOME, SO

>> I WILL NOT. >> YOU LOOK SO HANDSOME, SO DASHING IN YOUR UNIFORM.

>> YOU LOOK SO HANDSOME, SO DASHING IN YOUR UNIFORM. >> THE WAR IS OVER.

DASHING IN YOUR UNIFORM. >> THE WAR IS OVER. HAVE YOU NOT HEARD?

>> THE WAR IS OVER. HAVE YOU NOT HEARD? >> YOU HAVE A RIGHT.

HAVE YOU NOT HEARD? >> YOU HAVE A RIGHT. YOU WON THE WAR, I MEAN, YOU

>> YOU HAVE A RIGHT. YOU WON THE WAR, I MEAN, YOU VOLUNTEERED, SO YOU HAVE A RIGHT

YOU WON THE WAR, I MEAN, YOU VOLUNTEERED, SO YOU HAVE A RIGHT TO WEAR YOUR UNIFORM.

YOU FATHER LOOKED SO HANDSOME, SO DASHING... SO DASHING.

>> IS THE LITTLE PARAGON COMING WITH OR DO YOU PLAN ON LEAVING HIM HERE ALONE?

WITH OR DO YOU PLAN ON LEAVING HIM HERE ALONE? >> NINI WILL BE HERE AT NINE.

HIM HERE ALONE? >> NINI WILL BE HERE AT NINE. >> IN THAT CASE, I'M GLAD THAT

>> NINI WILL BE HERE AT NINE. >> IN THAT CASE, I'M GLAD THAT I SHALL BE DINING OUT.

[TONY GURGLES]

[COOING] >> Woman: TONE... TONY, TONY, TONY...

>> Woman: TONE... TONY, TONY, TONY... >> MOTHER, DO YOU THINK WE

TONY, TONY, TONY... >> MOTHER, DO YOU THINK WE SHOULD CALL HIM "ANTONY"?

>> MOTHER, DO YOU THINK WE SHOULD CALL HIM "ANTONY"? >> ANTONY WILL BE HIS FULL

SHOULD CALL HIM "ANTONY"? >> ANTONY WILL BE HIS FULL NAME, HIS FORMAL NAME, HIS NAME

>> ANTONY WILL BE HIS FULL NAME, HIS FORMAL NAME, HIS NAME TO THE WORLD.

NAME, HIS FORMAL NAME, HIS NAME TO THE WORLD. AND TONY WILL BE HIS NAME AS A

TO THE WORLD. AND TONY WILL BE HIS NAME AS A CHILD... AND AMONG INTIMATES.

AND TONY WILL BE HIS NAME AS A CHILD... AND AMONG INTIMATES. >> WHEN I REFER TO HIM...

CHILD... AND AMONG INTIMATES. >> WHEN I REFER TO HIM... WHEN I AM ASKED IF I HAVE

>> WHEN I REFER TO HIM... WHEN I AM ASKED IF I HAVE A PHOTOGRAPH...

WHEN I AM ASKED IF I HAVE A PHOTOGRAPH... DO I SAY...

A PHOTOGRAPH... DO I SAY... >> YOU SAY, "THIS IS TONY."

DO I SAY... >> YOU SAY, "THIS IS TONY." AND THEY WILL SAY,

>> YOU SAY, "THIS IS TONY." AND THEY WILL SAY, "WHAT AN ANGEL."

AND THEY WILL SAY, "WHAT AN ANGEL." >> OH, YES.

"WHAT AN ANGEL." >> OH, YES. AN ANGEL, WHAT AN ANGEL.

>> OH, YES. AN ANGEL, WHAT AN ANGEL. WHAT AN ANGEL YOU ARE.

AN ANGEL, WHAT AN ANGEL. WHAT AN ANGEL YOU ARE. [TONY GURGLES]

WHAT AN ANGEL YOU ARE. [TONY GURGLES] WE MAY BE OUT LATE.

[TONY GURGLES] WE MAY BE OUT LATE. >> "SHALL."

>> OH YES, YOUR MOTHER LOVES YOU... MMM... [KISSING, COOING]

>> BARBARA.

[BATH WATER SPLASHES] GOOD NIGHT, TONY. YOU'RE IN GOOD HANDS.

GOOD NIGHT, TONY. YOU'RE IN GOOD HANDS. >> ENJOY THE STORK CLUB.

YOU'RE IN GOOD HANDS. >> ENJOY THE STORK CLUB. AND YOU MAY STAY OUT AS LATE AS

>> ENJOY THE STORK CLUB. AND YOU MAY STAY OUT AS LATE AS YOU WISH.

>> FUCK!

[TONY GURGLES, VOCALIZES]

[BIG BAND DANCE MUSIC PLAYS...] [GENERAL CONVERSATION...]

>> MR. AND MRS. BAEKELAND, RIGHT THIS WAY. [¶...]

>> HELLO. [KISS] WONDERFUL TO SEE YOU.

[KISS] WONDERFUL TO SEE YOU. HOW DO YOU DO?

WONDERFUL TO SEE YOU. HOW DO YOU DO? [¶...]

HOW DO YOU DO? [¶...] I'M BARBARA.

[¶...] I'M BARBARA. >> Woman: SIMONE.

I'M BARBARA. >> Woman: SIMONE. >> HOW DO YOU DO?

>> Woman: SIMONE. >> HOW DO YOU DO? [¶...]

...WHY, IT WAS WITH DIETER THAT BROOKS WENT ON HIS GREAT ADVENTURE... IN PERU.

BROOKS WENT ON HIS GREAT ADVENTURE... IN PERU. IN THE VILLA...

ADVENTURE... IN PERU. IN THE VILLA... [SIGHS] DARLING, YOU KNOW I'M

IN THE VILLA... [SIGHS] DARLING, YOU KNOW I'M NOT AT MY BEST WITH GEOGRAPHY.

BROOKS, HELP ME. VILLA...? >> DARLING, DON'T PRESS.

VILLA...? >> DARLING, DON'T PRESS. MAYBE YOUR HUSBAND DOESN'T FEEL

>> DARLING, DON'T PRESS. MAYBE YOUR HUSBAND DOESN'T FEEL LIKE IN MIDST OF DINNER.

MAYBE YOUR HUSBAND DOESN'T FEEL LIKE IN MIDST OF DINNER. >> BROOKS, PLEASE, IF YOU DON'T

LIKE IN MIDST OF DINNER. >> BROOKS, PLEASE, IF YOU DON'T FEEL LIKE PERFORMING...

>> BROOKS, PLEASE, IF YOU DON'T FEEL LIKE PERFORMING... >> VILCABAMBA. >> AH.

>> DIETER AND I, WE WENT TO THE VILCABAMBA IN PERU.

>> SO TELL US, MAN, WHAT WAS YOUR "LITTLE" ADVENTURE?

>> IT WAS NOTHING.

WELL, I LIE. IT WAS SOMETHING. [ALL CHUCKLE,

IT WAS SOMETHING. [ALL CHUCKLE, BARBARA LAUGHS LOUDEST]

[ALL CHUCKLE, BARBARA LAUGHS LOUDEST] I WAS INTRIGUED BY A

BARBARA LAUGHS LOUDEST] I WAS INTRIGUED BY A 400-YEAR-OLD MYSTERY: WHAT

I WAS INTRIGUED BY A 400-YEAR-OLD MYSTERY: WHAT BECAME OF MANCO INCA.

400-YEAR-OLD MYSTERY: WHAT BECAME OF MANCO INCA. I WANTED TO FIND THE RUINS

BECAME OF MANCO INCA. I WANTED TO FIND THE RUINS OF THE LOST CITY.

I WANTED TO FIND THE RUINS OF THE LOST CITY. >> THIS IS ACTUALLY TRUE.

OF THE LOST CITY. >> THIS IS ACTUALLY TRUE. GIVE HIM A DIRT ROAD AND HE'LL

>> THIS IS ACTUALLY TRUE. GIVE HIM A DIRT ROAD AND HE'LL GO UP IT.

GIVE HIM A DIRT ROAD AND HE'LL GO UP IT. [ALL LAUGH]

GO UP IT. [ALL LAUGH] >> Lippe: THAT'S VERY GOOD.

[ALL LAUGH] >> Lippe: THAT'S VERY GOOD. [APPLAUSE FOR THE BAND...]

>> Lippe: THAT'S VERY GOOD. [APPLAUSE FOR THE BAND...] [¶...]

[APPLAUSE FOR THE BAND...] [¶...] [GLASSES CLINK]

WOULD YOU, SIMONE? >> OH, I DON'T KNOW. >> YOUR HUSBAND ASKED YOU

>> OH, I DON'T KNOW. >> YOUR HUSBAND ASKED YOU A QUESTION.

>> YOUR HUSBAND ASKED YOU A QUESTION. >> THIS SEEMS... UNFAIR.

A QUESTION. >> THIS SEEMS... UNFAIR. THIS SEEMS... [CHERRY PLOPS

>> THIS SEEMS... UNFAIR. THIS SEEMS... [CHERRY PLOPS INTO DRINK] TEDIOUS.

THIS SEEMS... [CHERRY PLOPS INTO DRINK] TEDIOUS. >> HMM... BUT WOULD YOU?

INTO DRINK] TEDIOUS. >> HMM... BUT WOULD YOU? >> YES, WOULD YOU?

>> WOULD I EAT A POUND OF HUMAN FLESH FOR $10 MILLION? NO, I WOULD NOT.

I HAVE EATEN HORSE FLESH, YOU KNOW. >> THERE IS A DIFFERENCE BETWEEN

YOU KNOW. >> THERE IS A DIFFERENCE BETWEEN EATING THE CHEVAL ANDNCE BETWEEN

>> THERE IS A DIFFERENCE BETWEEN EATING THE CHEVAL ANDNCE BETWEEN EATING THE CHEVALIER.

EATING THE CHEVAL ANDNCE BETWEEN EATING THE CHEVALIER. [CHUCKLING]

EATING THE CHEVALIER. [CHUCKLING] >> BROOKS, FOR $10 MILLION,

[CHUCKLING] >> BROOKS, FOR $10 MILLION, WOULD YOU SLEEP WITH SIMONE?

FOR $10 MILLION, WOULD YOU-- >> DON'T, BARBARA, PLEASE. DON'T BE TEDIOUS.

>> WOULD YOU GO HOME WITH THE FIRST PERSON THAT YOU MET, GOING THROUGH A NIGHT CLUB DOOR?

>> YES, I WOULD.

SO... SHALL WE GET ON WITH OUR DRINKS? >> BROOKS, BARBARA, HAVE YOU

WITH OUR DRINKS? >> BROOKS, BARBARA, HAVE YOU EVER BEEN TO THE ENGADIN?

>> BROOKS, BARBARA, HAVE YOU EVER BEEN TO THE ENGADIN? >> OH, I WAS PRACTICALLY BORN

EVER BEEN TO THE ENGADIN? >> OH, I WAS PRACTICALLY BORN IN GSTAAD!

>> OH, I WAS PRACTICALLY BORN IN GSTAAD! >> SHE PRACTICALLY LOVES

IN GSTAAD! >> SHE PRACTICALLY LOVES THE SKI INSTRUCTORS.

[BARBARA LAUGHS...] [¶...]

>> Man: THANK YOU FOR COMING THIS EVENING. >> Barbara: GOOD-BYE.

THIS EVENING. >> Barbara: GOOD-BYE. [¶...]

>> Barbara: GOOD-BYE. [¶...] >> Brooks: BARBARA.

[¶...] >> Brooks: BARBARA. >> YOU SAID THAT YOU WOULD GO

>> Brooks: BARBARA. >> YOU SAID THAT YOU WOULD GO HOME WITH THE FIRST PERSON THAT

>> YOU SAID THAT YOU WOULD GO HOME WITH THE FIRST PERSON THAT YOU MET GOING THROUGH

HOME WITH THE FIRST PERSON THAT YOU MET GOING THROUGH A NIGHT CLUB DOOR--

YOU MET GOING THROUGH A NIGHT CLUB DOOR-- >> NO, I SAID--

A NIGHT CLUB DOOR-- >> NO, I SAID-- >> SO I THOUGHT I MIGHT GO HOME

>> NO, I SAID-- >> SO I THOUGHT I MIGHT GO HOME WITH THE FIRST PERSON... HELLO!

>> SO I THOUGHT I MIGHT GO HOME WITH THE FIRST PERSON... HELLO! HELLO, I'M AWFULLY THIRSTY,

WITH THE FIRST PERSON... HELLO! HELLO, I'M AWFULLY THIRSTY, WOULD YOU BUY ME A DRINK?

HELLO, I'M AWFULLY THIRSTY, WOULD YOU BUY ME A DRINK? ASCHWIN, SIMONE...

WOULD YOU BUY ME A DRINK? ASCHWIN, SIMONE... >> [ANGRILY]: BARBARA.

ASCHWIN, SIMONE... >> [ANGRILY]: BARBARA. >> BROOKS.

>> [ANGRILY]: BARBARA. >> BROOKS. [TAXI ENGINE RUNNING,

>> BROOKS. [TAXI ENGINE RUNNING, HORN HONKS]

[TAXI ENGINE RUNNING, HORN HONKS] ...LOVELY TO SEE YOU ALL.

[BARBARA LAUGHS,

[¶...]

[¶...]

>> NINI? >> OH, I'M SORRY. >> QUITE ALL RIGHT.

>> OH, I'M SORRY. >> QUITE ALL RIGHT. >> I'M SORRY.

I MUST HAVE-- >> YOU FELL ASLEEP, QUITE NATURAL.

IT'S LATE, IT GOT LATE, YOU FELL ASLEEP.

I TRUST YOUR EVENING WAS-- >> OH, WE HAD A FINE TIME.

>> I CAN HOLD DOWN THE FORT.

>> WHERE'S BARBARA? >> SHE'S RETURNING SEPARATELY. MAY I GET YOUR COAT?

>> SHE'S RETURNING SEPARATELY. MAY I GET YOUR COAT? >> I'LL JUST GO.

MAY I GET YOUR COAT? >> I'LL JUST GO. AND WAS THE PRINCE THERE?

>> I'LL JUST GO. AND WAS THE PRINCE THERE? >> EXCUSE ME?

>> THE PRINCE. THE PRINCE OF AMSTERDAM. >> AH.

THE PRINCE OF AMSTERDAM. >> AH. >> WAS HE THERE?

>> AH. >> WAS HE THERE? >> I THINK YOU'RE THINKING OF

>> WAS HE THERE? >> I THINK YOU'RE THINKING OF PRINCE BERNHARD, PRINCE BERNHARD

>> I THINK YOU'RE THINKING OF PRINCE BERNHARD, PRINCE BERNHARD OF THE NETHERLANDS.

HE WAS COUNT LIPPE-BIESTERFELD, OF COURSE, BEFORE HE MARRIED JULIANA.

OF COURSE, BEFORE HE MARRIED JULIANA. THE MAN WITH WHOM WE DINED,

JULIANA. THE MAN WITH WHOM WE DINED, ASCHWIN LIPPE, IS JUST

THE MAN WITH WHOM WE DINED, ASCHWIN LIPPE, IS JUST ASCHWIN LIPPE, YOUNGER BROTHER,

ASCHWIN LIPPE, IS JUST ASCHWIN LIPPE, YOUNGER BROTHER, A PRINCE IN TITLE,

ASCHWIN LIPPE, YOUNGER BROTHER, A PRINCE IN TITLE, BUT NOT IN ANY WAY...

A PRINCE IN TITLE, BUT NOT IN ANY WAY... >> OH, BECAUSE BARBARA SAID--

BUT NOT IN ANY WAY... >> OH, BECAUSE BARBARA SAID-- >> "BARBARA SAID."

DECENT MAN, NONETHELESS.

>> I SEE.

>> Brooks: GOOD MAN.

[CLOCK CHIMING 5:00...] [DOOR CLOSES, FOOTSTEPS APPROACH]

[CLOCK TICKING...]

[CAR PASSES OUTSIDE]

[BABY COUGHS]

[¶...]

[BARBARA KISSES TONY] [¶...]

[TONY COOS] >> OH YES, OH YES.

>> OH YES, OH YES. HEY KID.

OH YES. HEY KID. AH, WHAT A LIFE.

THIRSTY? HMM, THIRSTY BOY?

TONY A THIRSTY BOY?

>> Tony: PAPA USED TO SAY, "FOR $2, THE COURT FEE, AND $10 FOR A WEDDING BAND,

"FOR $2, THE COURT FEE, AND $10 FOR A WEDDING BAND, I MADE YOUR MUMMY INTO

AND $10 FOR A WEDDING BAND, I MADE YOUR MUMMY INTO 'MRS. BROOKS BAEKELAND'...

I MADE YOUR MUMMY INTO 'MRS. BROOKS BAEKELAND'... [¶...]

'MRS. BROOKS BAEKELAND'... [¶...] S'IL VOUS PLAIT!

[¶...] S'IL VOUS PLAIT! >> Tony: "...AND MYSELF

S'IL VOUS PLAIT! >> Tony: "...AND MYSELF FOR THE NEXT 30 YEARS

>> Tony: "...AND MYSELF FOR THE NEXT 30 YEARS INTO 'BARBARA'S HUSBAND.'"

FOR THE NEXT 30 YEARS INTO 'BARBARA'S HUSBAND.'" [POLICEMAN SPEAKING FRENCH]

INTO 'BARBARA'S HUSBAND.'" [POLICEMAN SPEAKING FRENCH] [¶...]

[¶...]

>> OH... YOU ARE AN ANGEL. >> WHERE'S PAPA? >> HE WENT TO VISIT DURAN.

>> WHAT SHALL WE DO TODAY?

>> AH, WELL, TONIGHT WE'RE GOING TO L'HIPPO, WITH MARCEL AND HIS WIFE TEENY, YOU REMEMBER THEM.

TO L'HIPPO, WITH MARCEL AND HIS WIFE TEENY, YOU REMEMBER THEM. [TONY SPEAKS FRENCH]

...ANGLAIS, S'IL VOUS PLAIT. >> THAT DOESN'T SOUND LIKE VERY MUCH FUN FOR A KID.

>> THAT DOESN'T SOUND LIKE VERY MUCH FUN FOR A KID. >> WELL, YOU DON'T HAVE TO COME.

MUCH FUN FOR A KID. >> WELL, YOU DON'T HAVE TO COME. >> BUT WHEN YOU

>> WELL, YOU DON'T HAVE TO COME. >> BUT WHEN YOU LEAVE ME ALONE...

>> BUT WHEN YOU LEAVE ME ALONE... >> TONY.

LEAVE ME ALONE... >> TONY. >> I FEEL NO BIGGER

>> TONY. >> I FEEL NO BIGGER THAN A LIMA BEAN.

>> I FEEL NO BIGGER THAN A LIMA BEAN. >> OH... YOU WON'T BE ALONE.

THAN A LIMA BEAN. >> OH... YOU WON'T BE ALONE. YOU'LL BE WITH CLOTHILDE.

>> OH... YOU WON'T BE ALONE. YOU'LL BE WITH CLOTHILDE. >> WELL, MAYBE SINCE I'LL BE

YOU'LL BE WITH CLOTHILDE. >> WELL, MAYBE SINCE I'LL BE WITH BORING CLOTHILDE, WE CAN

>> WELL, MAYBE SINCE I'LL BE WITH BORING CLOTHILDE, WE CAN BALANCE IT OUT WITH SOMETHING

WITH BORING CLOTHILDE, WE CAN BALANCE IT OUT WITH SOMETHING MORE FUN DURING THE DAY?

BALANCE IT OUT WITH SOMETHING MORE FUN DURING THE DAY? >> AH, I SEE WHERE

MORE FUN DURING THE DAY? >> AH, I SEE WHERE THIS IS GOING.

>> AH, I SEE WHERE THIS IS GOING. YOUR MOTHER NEEDS TIME TO PAINT.

THIS IS GOING. YOUR MOTHER NEEDS TIME TO PAINT. >> I WOULD LIKE TO GO ON

YOUR MOTHER NEEDS TIME TO PAINT. >> I WOULD LIKE TO GO ON THE FERRIS WHEEL. >> REALLY.

>> I WOULD LIKE TO GO ON THE FERRIS WHEEL. >> REALLY. >> AND THEN FOR LUNCH,

THE FERRIS WHEEL. >> REALLY. >> AND THEN FOR LUNCH, I WOULD LIKE SOME ICE CREAM.

>> AND THEN FOR LUNCH, I WOULD LIKE SOME ICE CREAM. >> AH!

I WOULD LIKE SOME ICE CREAM. >> AH! BUT YOU HAD ICE CREAM

>> AH! BUT YOU HAD ICE CREAM FOR BREAKFAST.

BUT YOU HAD ICE CREAM FOR BREAKFAST. [BOTH LAUGH]

FOR BREAKFAST. [BOTH LAUGH] [KISSING]

[BOTH LAUGH] [KISSING] >> MMM... MWAH!

[KISSING] >> MMM... MWAH! [BARBARA LAUGHS]

>> MMM... MWAH! [BARBARA LAUGHS] >> PLEASE DON'T TELL PAPA.

[BARBARA LAUGHS] >> PLEASE DON'T TELL PAPA. >> I WON'T.

>> PLEASE DON'T TELL PAPA. >> I WON'T. IT WILL BE OUR SECRET, AS WILL

>> I WON'T. IT WILL BE OUR SECRET, AS WILL THE ASPIRINS YOU ARE GOING TO

IT WILL BE OUR SECRET, AS WILL THE ASPIRINS YOU ARE GOING TO FETCH FROM THE CABINET.

THE ASPIRINS YOU ARE GOING TO FETCH FROM THE CABINET. >> FROM THE BATHROOM,

FETCH FROM THE CABINET. >> FROM THE BATHROOM, NEXT TO THE SINK.

>> YOUR MOTHER HAS A SHOCKING HANGOVER.

>> MUMMY...

I SHALL CURE YOU.

[FOILS CLASHING] [FENCERS GRUNTING]

>> HEH-- OH!

>> HA! >> HEY, O.K., O.K.-- OOF! I CONCEDE, I RESIGN.

>> HEY, O.K., O.K.-- OOF! I CONCEDE, I RESIGN. >> WELL, SIR, I'M PRETTY EXPERT.

I CONCEDE, I RESIGN. >> WELL, SIR, I'M PRETTY EXPERT. SO THERE'S NO EMBARRASSMENT IN

>> WELL, SIR, I'M PRETTY EXPERT. SO THERE'S NO EMBARRASSMENT IN LOSING, IF THAT'S A CONCERN.

>> HOO! [PANTING] >> Barbara: DO YOU LOVE ME? >> Tony: OF COURSE.

>> Barbara: DO YOU LOVE ME? >> Tony: OF COURSE. >> WILL YOU STILL LOVE ME WHEN

>> Tony: OF COURSE. >> WILL YOU STILL LOVE ME WHEN MY HAIR IS GRAY AND MY TITS

>> WILL YOU STILL LOVE ME WHEN MY HAIR IS GRAY AND MY TITS ARE SAGGING?

MY HAIR IS GRAY AND MY TITS ARE SAGGING? >> WELL, OF COURSE.

ARE SAGGING? >> WELL, OF COURSE. [¶...]

>> WELL, OF COURSE. [¶...] DO YOU REMEMBER THE DOG?

[¶...] DO YOU REMEMBER THE DOG? >> WHAT DOG?

DO YOU REMEMBER THE DOG? >> WHAT DOG? WHICH DOG?

>> WHAT DOG? WHICH DOG? >> THE ONE WE HAD IN ITALY.

WHICH DOG? >> THE ONE WE HAD IN ITALY. >> GIOTTO.

>> I REMEMBER WHEN GIOTTO DIED. >> HE WAS OLD. >> NO, HE WASN'T.

>> HE WAS OLD. >> NO, HE WASN'T. >> IN DOG YEARS.

WE STILL HAVE HIS COLLAR. >> I KNOW. >> SOMEWHERE.

>> I KNOW. >> SOMEWHERE. >> I KNOW WHERE.

>> SOMEWHERE. >> I KNOW WHERE. >> Brooks: LEO WAS FAMOUS.

NOT LIKE YOU'RE FAMOUS, OF COURSE. >> OH WELL, I'M NOT...

FAMOUS, OF COURSE. >> OH WELL, I'M NOT... >> OH, FOR HEAVEN'S SAKE.

>> OH WELL, I'M NOT... >> OH, FOR HEAVEN'S SAKE. YOU WON THE PREMIO NADAL,

>> OH, FOR HEAVEN'S SAKE. YOU WON THE PREMIO NADAL, YOU KNOW PICASSO,

YOU WON THE PREMIO NADAL, YOU KNOW PICASSO, YOU KNOW CAMUS,

YOU KNOW PICASSO, YOU KNOW CAMUS, YOU KNOW MALRAUX, YOU KNOW

YOU KNOW CAMUS, YOU KNOW MALRAUX, YOU KNOW DALI...

YOU KNOW MALRAUX, YOU KNOW DALI... >> PILAR KNOWS THEM.

DALI... >> PILAR KNOWS THEM. I JUST WRITE.

>> PILAR KNOWS THEM. I JUST WRITE. >> WHAT I'M SAYING, CARLOS, IS

I JUST WRITE. >> WHAT I'M SAYING, CARLOS, IS THAT LEO'S FAME, LIKE YOURS, WAS

>> WHAT I'M SAYING, CARLOS, IS THAT LEO'S FAME, LIKE YOURS, WAS A FUNCTION OF ACHIEVEMENT, CAME

THAT LEO'S FAME, LIKE YOURS, WAS A FUNCTION OF ACHIEVEMENT, CAME FROM WHAT HE DID.

SO HIS STROKE, LEO'S STROKE OF GENIUS, WAS THE NOTION THAT THE FORMALDEHYDE MIGHT STABILIZE THE

GENIUS, WAS THE NOTION THAT THE FORMALDEHYDE MIGHT STABILIZE THE PHENOL, GIVE IT STRENGTH,

FORMALDEHYDE MIGHT STABILIZE THE PHENOL, GIVE IT STRENGTH, COHESION, SOLIDITY, BUT THEY

PHENOL, GIVE IT STRENGTH, COHESION, SOLIDITY, BUT THEY NEVER REALLY MIXED, AND IT WAS

COHESION, SOLIDITY, BUT THEY NEVER REALLY MIXED, AND IT WAS LEO WHO THOUGHT, "LET'S TRY

NEVER REALLY MIXED, AND IT WAS LEO WHO THOUGHT, "LET'S TRY PUTTING IT UNDER PRESSURE."

LEO WHO THOUGHT, "LET'S TRY PUTTING IT UNDER PRESSURE." POOF-- LONG CHAIN MOLECULES.

PUTTING IT UNDER PRESSURE." POOF-- LONG CHAIN MOLECULES. BAKELITE-- PLASTIC.

THE TELEPHONE, BRACELETS, RADIOS, RECORDS, COFFINS, SUBMARINES, THE HOUSING FOR THE

RADIOS, RECORDS, COFFINS, SUBMARINES, THE HOUSING FOR THE ATOM BOMB, THE WORLD AS WE KNOW

SUBMARINES, THE HOUSING FOR THE ATOM BOMB, THE WORLD AS WE KNOW IT TODAY.

>> THAT WAS YOUR FATHER? >> NO, THAT WAS MY GRANDFATHER. MY FATHER IS AS MY GRANDFATHER.

>> NO, THAT WAS MY GRANDFATHER. MY FATHER IS AS MY GRANDFATHER. CRAPULE.

MY FATHER IS AS MY GRANDFATHER. CRAPULE. MY GRANDFATHER DECIDEDLY

CRAPULE. MY GRANDFATHER DECIDEDLY WAS NOT.

>> WHAT DOES PAPA DO? >> HOW DO YOU MEAN? >> WELL, FRANCOIS AT THE--

>> HOW DO YOU MEAN? >> WELL, FRANCOIS AT THE-- >> THE ECOLE?

>> WELL, FRANCOIS AT THE-- >> THE ECOLE? >> FRANCOIS ASKED ME--

>> THE ECOLE? >> FRANCOIS ASKED ME-- >> AND YOU CAN TELL HIM

>> FRANCOIS ASKED ME-- >> AND YOU CAN TELL HIM "MY FATHER WRITES."

>> AND YOU CAN TELL HIM "MY FATHER WRITES." "MY FATHER EXPLORES."

"MY FATHER WRITES." "MY FATHER EXPLORES." "MY FATHER HAS A VERY REFINED

"MY FATHER EXPLORES." "MY FATHER HAS A VERY REFINED KNOWLEDGE OF MATHEMATICS."

"MY FATHER HAS A VERY REFINED KNOWLEDGE OF MATHEMATICS." >> OH.

KNOWLEDGE OF MATHEMATICS." >> OH. >> AND YOU CAN TELL HIM THAT

>> OH. >> AND YOU CAN TELL HIM THAT YOUR MOTHER WAS ALMOST

>> AND YOU CAN TELL HIM THAT YOUR MOTHER WAS ALMOST A MOVIE STAR.

YOUR MOTHER WAS ALMOST A MOVIE STAR. [MEN GRUNTING]

>> DO YOU FIND MY WIFE ATTRACTIVE?

MOST MEN DO.

BUT WHAT SHE DOESN'T...

WHAT BARBARA DOESN'T REALIZE...

IS THAT WOMEN FIND ME...

YOU KNOW...

ATTRACTIVE.

>> Barbara: SOME PEOPLE'S FATHERS, SOME PEOPLE'S MOTHERS, THEY HAVE TO GO TO AN OFFICE OR

FATHERS, SOME PEOPLE'S MOTHERS, THEY HAVE TO GO TO AN OFFICE OR A FACTORY OR A STORE, I GUESS,

THEY HAVE TO GO TO AN OFFICE OR A FACTORY OR A STORE, I GUESS, EVERY DAY, BUT WE ARE FORTUNATE.

A FACTORY OR A STORE, I GUESS, EVERY DAY, BUT WE ARE FORTUNATE. [CHILD LAUGHS]

EVERY DAY, BUT WE ARE FORTUNATE. [CHILD LAUGHS] BECAUSE WHAT WE DO

[CHILD LAUGHS] BECAUSE WHAT WE DO IS WHAT WE LOVE.

BECAUSE WHAT WE DO IS WHAT WE LOVE. WHAT DOES FRANCOIS'S FATHER DO?

>> HE WORKS. >> AH, WELL, WE WORKED. I MEAN, FATHER WORKED, NINI

>> AH, WELL, WE WORKED. I MEAN, FATHER WORKED, NINI WORKED, THERE WAS NO OTHER WAY--

I MEAN, FATHER WORKED, NINI WORKED, THERE WAS NO OTHER WAY-- I KIND OF HAD TO RAISE MYSELF

WORKED, THERE WAS NO OTHER WAY-- I KIND OF HAD TO RAISE MYSELF AND THEN I WORKED TOO.

I KIND OF HAD TO RAISE MYSELF AND THEN I WORKED TOO. AT FILENE'S.

AND THEN I WORKED TOO. AT FILENE'S. THEN WHEN I COULD, I LEFT.

I JUST LEFT.

NINI WANTED WHAT WAS BEST FOR ME, ONLY WHAT WAS BEST FOR ME. "FIND THE MUN," SHE'D SAY.

ME, ONLY WHAT WAS BEST FOR ME. "FIND THE MUN," SHE'D SAY. SHE MEANT "MEN," I GUESS,

"FIND THE MUN," SHE'D SAY. SHE MEANT "MEN," I GUESS, AND SHE MEANT "MONEY."

THE RICH, THEY DON'T HAVE PET NAMES FOR MONEY. >> DID YOU KNOW LEONARDO

NAMES FOR MONEY. >> DID YOU KNOW LEONARDO DA VINCI WROTE BACKWARDS?

>> DID YOU KNOW LEONARDO DA VINCI WROTE BACKWARDS? SO HE COULD ONLY READ IT

DA VINCI WROTE BACKWARDS? SO HE COULD ONLY READ IT IN THE MIRROR.

SO HE COULD ONLY READ IT IN THE MIRROR. [¶...]

[SPEAKING SPANISH...]

>> Barbara: ENTREZ... >> Carlos: HI. >> CARLOS!

>> Carlos: HI. >> CARLOS! [BIRDS CHIRPING...]

>> CARLOS! [BIRDS CHIRPING...] PILAR!

[BIRDS CHIRPING...] PILAR! MY, YOU'RE LOOKING SWELL.

PILAR! MY, YOU'RE LOOKING SWELL. >> Pilar: GRACIAS. SWELL.

MY, YOU'RE LOOKING SWELL. >> Pilar: GRACIAS. SWELL. MRS. BAEKELAND, PERMIT ME TO

>> Pilar: GRACIAS. SWELL. MRS. BAEKELAND, PERMIT ME TO INTRODUCE MONSIEUR SOUVESTRE.

MRS. BAEKELAND, PERMIT ME TO INTRODUCE MONSIEUR SOUVESTRE. >> JEAN-PIERRE, I AM SO HAPPY

INTRODUCE MONSIEUR SOUVESTRE. >> JEAN-PIERRE, I AM SO HAPPY TO MEET YOU.

PLEASE, COME IN.

I HAVE BEEN DYING TO ASK YOU ABOUT MARCEL PROUST, THE BIOGRAPHY OF WHOM, WRITTEN BY

ABOUT MARCEL PROUST, THE BIOGRAPHY OF WHOM, WRITTEN BY YOURSELF, I HAVE YET TO READ AS

BIOGRAPHY OF WHOM, WRITTEN BY YOURSELF, I HAVE YET TO READ AS MY FRENCH READING SKILLS ARE NOT

YOURSELF, I HAVE YET TO READ AS MY FRENCH READING SKILLS ARE NOT WHAT THEY WILL BE.

MY FRENCH READING SKILLS ARE NOT WHAT THEY WILL BE. >> IT'S NOT NECESSARY TO

WHAT THEY WILL BE. >> IT'S NOT NECESSARY TO APOLOGIZE FOR THAT.

>> IT'S NOT NECESSARY TO APOLOGIZE FOR THAT. >> BROOKS, OF COURSE, READS THE

APOLOGIZE FOR THAT. >> BROOKS, OF COURSE, READS THE LANGUAGE LIKE A NATIVE, AND OUR

>> BROOKS, OF COURSE, READS THE LANGUAGE LIKE A NATIVE, AND OUR TONY IS MASTERING IT EVERY DAY

LANGUAGE LIKE A NATIVE, AND OUR TONY IS MASTERING IT EVERY DAY AT THE ECOLE BILANGUE, BUT FOR

TONY IS MASTERING IT EVERY DAY AT THE ECOLE BILANGUE, BUT FOR POOR MOI, I MUST CONFESS, IT'S

AT THE ECOLE BILANGUE, BUT FOR POOR MOI, I MUST CONFESS, IT'S BEEN A STRUGGLE, N'EST-CE PAS?

POOR MOI, I MUST CONFESS, IT'S BEEN A STRUGGLE, N'EST-CE PAS? >> UNDERSTOOD.

BEEN A STRUGGLE, N'EST-CE PAS? >> UNDERSTOOD. >> WHAT WAS I SAYING?

>> UNDERSTOOD. >> WHAT WAS I SAYING? OH, YES.

>> WHAT WAS I SAYING? OH, YES. JEAN-PIERRE, WAS PROUST TRULY

OH, YES. JEAN-PIERRE, WAS PROUST TRULY A HOMOSEXUAL?

JEAN-PIERRE, WAS PROUST TRULY A HOMOSEXUAL? QU'EST-CE QUE TU PENSES?

>> SO YOU MET CARLOS HERE, IN PARIS. >> Pilar: I WAS AT

IN PARIS. >> Pilar: I WAS AT THE SORBONNE...

>> Pilar: I WAS AT THE SORBONNE... THE ADORING GRADUATE STUDENT

THE SORBONNE... THE ADORING GRADUATE STUDENT WRITING ABOUT HIS WORK.

THE ADORING GRADUATE STUDENT WRITING ABOUT HIS WORK. BUT, THEN...

WE WOKE UP ONE MORNING AND NONE OF THAT SEEMED TO MATTER. I THINK I KNEW HE WAS SERIOUS

OF THAT SEEMED TO MATTER. I THINK I KNEW HE WAS SERIOUS WHEN HE INTRODUCED ME TO MARCEL

I THINK I KNEW HE WAS SERIOUS WHEN HE INTRODUCED ME TO MARCEL AND TEENY DUCHAMP.

WHEN HE INTRODUCED ME TO MARCEL AND TEENY DUCHAMP. >> OH, I RAN INTO THEM TODAY AT

AND TEENY DUCHAMP. >> OH, I RAN INTO THEM TODAY AT L'EQUIPE.

>> OH, I RAN INTO THEM TODAY AT L'EQUIPE. THEY SAID THEY MIGHT STOP

L'EQUIPE. THEY SAID THEY MIGHT STOP OVER, LATER.

THEY SAID THEY MIGHT STOP OVER, LATER. JE PEUX LUI TELEPHONER?

OVER, LATER. JE PEUX LUI TELEPHONER? >> YOU MAY BE ASSURED THEY WERE

JE PEUX LUI TELEPHONER? >> YOU MAY BE ASSURED THEY WERE ONLY BEING POLITE.

>> I DON'T WANT TO BE IMPOLITE, BUT MONSIEUR SOUVESTRE HAS THE EARLY DAY TOMORROW.

BUT MONSIEUR SOUVESTRE HAS THE EARLY DAY TOMORROW. HE'S OFF TO VITTEL.

>> IT IS REGRETTABLE, BUT WHAT MRS. DURAN SAYS IS THE TRUTH. >> A PETIT CAFE FOR THE ROAD?

MRS. DURAN SAYS IS THE TRUTH. >> A PETIT CAFE FOR THE ROAD? AND YOU'VE YET TO MEET TONY.

EXCUSEZ-MOI...

>> Souvestre, quietly:

>> MONSIEUR SOUVESTRE, PERMETTEZ-MOI DE VOUS PRESENTER MON FILS, TONY.

PERMETTEZ-MOI DE VOUS PRESENTER MON FILS, TONY. DID I GET IT RIGHT?

MON FILS, TONY. DID I GET IT RIGHT? DID I GET THE ORDER RIGHT?

DID I GET IT RIGHT? DID I GET THE ORDER RIGHT? >> THE YOUNGER IS PRESENTED TO

DID I GET THE ORDER RIGHT? >> THE YOUNGER IS PRESENTED TO THE OLDER, THE LESS

>> THE YOUNGER IS PRESENTED TO THE OLDER, THE LESS DISTINGUISHED TO THE MORE SO.

THE OLDER, THE LESS DISTINGUISHED TO THE MORE SO. THE EXCEPTION TO THE RULE: THE

DISTINGUISHED TO THE MORE SO. THE EXCEPTION TO THE RULE: THE GENTLEMAN IS ALWAYS PRESENTED

THE EXCEPTION TO THE RULE: THE GENTLEMAN IS ALWAYS PRESENTED TO THE LADY.

GENTLEMAN IS ALWAYS PRESENTED TO THE LADY. THE EXCEPTION TO THE EXCEPTION:

TO THE LADY. THE EXCEPTION TO THE EXCEPTION: UNLESS THE MAN IS A PRESIDENT,

THE EXCEPTION TO THE EXCEPTION: UNLESS THE MAN IS A PRESIDENT, A CARDINAL, OR A REIGNING

UNLESS THE MAN IS A PRESIDENT, A CARDINAL, OR A REIGNING SOVEREIGN.

A CARDINAL, OR A REIGNING SOVEREIGN. >> SO THEN IT'S RIGHT.

WELL, EVERYONE, THIS IS TONY. SAY HELLO. >> BUENOS NOCHES, SEÑOR

SAY HELLO. >> BUENOS NOCHES, SEÑOR Y SEÑORA DURAN.

>> BUENOS NOCHES, SEÑOR Y SEÑORA DURAN. >> BUENOS NOCHES.

Y SEÑORA DURAN. >> BUENOS NOCHES. >> BONSOIR, MONSIEUR SOUVESTRE.

>> BUENOS NOCHES. >> BONSOIR, MONSIEUR SOUVESTRE. ENCHANTE DE FAIRE VOTRE

>> BONSOIR, MONSIEUR SOUVESTRE. ENCHANTE DE FAIRE VOTRE CONNAISSANCE.AIRE VOTRE

ENCHANTE DE FAIRE VOTRE CONNAISSANCE.AIRE VOTRE >> Souvestre: HMM, BONSOIR.

CONNAISSANCE.AIRE VOTRE >> Souvestre: HMM, BONSOIR. >> Barbara: I TOLD YOU HIS

>> Souvestre: HMM, BONSOIR. >> Barbara: I TOLD YOU HIS FRENCH WAS BETTER THAN MINE.

>> Barbara: I TOLD YOU HIS FRENCH WAS BETTER THAN MINE. NOW, PERHAPS YOU'D LIKE TO

FRENCH WAS BETTER THAN MINE. NOW, PERHAPS YOU'D LIKE TO READ SOMETHING.

>> PERHAPS TONY WOULD PREFER TO GET HIS SLEEP. ESPECIALLY AS MONSIEUR SOUVESTRE

GET HIS SLEEP. ESPECIALLY AS MONSIEUR SOUVESTRE HAS AN EARLY START.

ESPECIALLY AS MONSIEUR SOUVESTRE HAS AN EARLY START. >> Barbara, whispering: PLEASE.

HAS AN EARLY START. >> Barbara, whispering: PLEASE. [NORMAL VOICE]: FOR ME.

[¶...]

>> Pilar: THANK YOU, TONY. IT WAS GRACIOUS OF YOU TO VOLUNTEER.

IT WAS GRACIOUS OF YOU TO VOLUNTEER. >> YOU ARE WELCOME, SEÑORA.

TO VOLUNTEER. >> YOU ARE WELCOME, SEÑORA. >> Pilar: YOUR MOTHER IS A BIT

>> YOU ARE WELCOME, SEÑORA. >> Pilar: YOUR MOTHER IS A BIT TIRED, AS ARE WE...

>> Pilar: YOUR MOTHER IS A BIT TIRED, AS ARE WE... AS, I'M SURE, ARE YOU.

TIRED, AS ARE WE... AS, I'M SURE, ARE YOU. >> UM...

AS, I'M SURE, ARE YOU. >> UM... >> THEN WE CALL IT AN EVENING.

>> UM... >> THEN WE CALL IT AN EVENING. AS YOUR FRIEND, MONSIEUR

>> THEN WE CALL IT AN EVENING. AS YOUR FRIEND, MONSIEUR DUCHAMP, SAYS...

YOUR HUSBAND, OR YOUR SON, WILL TRANSLATE. >> Barbara: DON'T YOU DARE.

DON'T YOU DARE CONDESCEND TO ME. THE FUCKING FRENCH, YOU KNOW? THEY TELL YOU HOW TO RAISE YOUR

THE FUCKING FRENCH, YOU KNOW? THEY TELL YOU HOW TO RAISE YOUR CHILD AND WHEN YOUR BACK IS

THEY TELL YOU HOW TO RAISE YOUR CHILD AND WHEN YOUR BACK IS TURNED, THEY STARE AT YOUR ASS!

CHILD AND WHEN YOUR BACK IS TURNED, THEY STARE AT YOUR ASS! YES, "CUL!"Y STARE AT YOUR ASS!

TURNED, THEY STARE AT YOUR ASS! YES, "CUL!"Y STARE AT YOUR ASS! I KNOW THE WORD!

YES, "CUL!"Y STARE AT YOUR ASS! I KNOW THE WORD! IT'S SICK.

I KNOW THE WORD! IT'S SICK. THIS SOCIETY IS SICK.

IT'S SICK. THIS SOCIETY IS SICK. EXCUSE ME.

THIS SOCIETY IS SICK. EXCUSE ME. "MOU-VAY!"

[DOG BARKS, BIRDS CHIRPING...] >> Brooks: I SHALL BE LEAVING TOO.

>> Brooks: I SHALL BE LEAVING TOO. TELL TONY HIS FATHER SAYS

LEAVING TOO. TELL TONY HIS FATHER SAYS GOOD NIGHT.

TELL TONY HIS FATHER SAYS GOOD NIGHT. UNO MOMENTO, POR FAVOR.

VOS CLES.

[¶...]

[DOOR SQUEAKS OPEN] [GASPS]

[SLOW FOOTSTEPS APPROACHING] >> WHAT ARE YOU DOING IN MY HOTEL ROOM?

[¶...]

YOU BRIBED THE CONCIERGE, DIDN'T YOU? [BARBARA MOANS]

DIDN'T YOU? [BARBARA MOANS] [BROOKS INHALES DEEPLY]

[¶...]

[BARBARA PANTING...] [¶...] [BARBARA SHOUTS, MOANS]

>> [SPITS]

[¶...]

[BED CREAKING...] [PANTING...] [¶...]

[SHORT GASP]

[BIRDS CHIRPING...] >> Barbara: HELLO?

HELLO?

>> Tony: MUMMY?

MUMMY...

[SPLASHING]

[EXHALES DEEPLY]

BONJOUR, MAMA. >> BONJOUR.

>> WHO IS THAT BOY? >> FRANCOIS...

FROM THE ECOLE.

FROM THE ECOLE BILANGUE.

>> I KNOW WHERE HE'S FROM.

>> WHEN YOU LEFT-- AND THEN WHEN MUMMY LEFT-- I DIDN'T WANT TO BE ALONE, SO I CALLED FRANCOIS

MUMMY LEFT-- I DIDN'T WANT TO BE ALONE, SO I CALLED FRANCOIS AND HE CAME OVER.

ALONE, SO I CALLED FRANCOIS AND HE CAME OVER. WE LISTENED TO THE RADIO.

AND HE CAME OVER. WE LISTENED TO THE RADIO. IT WAS BOULEZ.

WE LISTENED TO THE RADIO. IT WAS BOULEZ. ONE OF THOSE POEMS BY RENE CHAR,

IT WAS BOULEZ. ONE OF THOSE POEMS BY RENE CHAR, WHICH BOULEZ SET TO MUSIC?

ONE OF THOSE POEMS BY RENE CHAR, WHICH BOULEZ SET TO MUSIC? I RATHER LIKE BOULEZ,

WHICH BOULEZ SET TO MUSIC? I RATHER LIKE BOULEZ, DON'T YOU, MUMMY?

I RATHER LIKE BOULEZ, DON'T YOU, MUMMY? I KNOW THAT SOME CONSIDER HIM

DON'T YOU, MUMMY? I KNOW THAT SOME CONSIDER HIM ATONAL AND ALL THAT-- BUT I

I KNOW THAT SOME CONSIDER HIM ATONAL AND ALL THAT-- BUT I THINK THEY JUST DON'T KNOW HOW

ATONAL AND ALL THAT-- BUT I THINK THEY JUST DON'T KNOW HOW TO LISTEN OR WHAT TO LISTEN FOR.

>> YOUR FRIEND LEAVES...

NOW.

>> [SPLASHING WATER] >> GET HIM A TOWEL.

>> [SPLASHING]

[SPLASHING CONTINUES]

[WHOOSHING...] [¶...] [HORSE SNORTS]

[BIRDS CHIRPING]

[¶...]

[LIGHTER CLICKS] [SEAGULLS CAWING, DISTANT BELL TOLLS, MUSIC ENDS]

>> THAT WASN'T BAD, YOU KNOW? TONY... DO YOU HAVE A CIGARETTE FOR ME?

BLACK.

I LIKE BLACK TOBACCO.

BUT SOMETIMES I YEARN FOR THE BROWN. [WAVES CRASHING...]

[¶...]

>> Brooks: YOU KNOW HOW THEY ARE. >> Tony: WHAT?

HOW THEY ARE. >> Tony: WHAT? >> FUSSING, ALWAYS

>> Tony: WHAT? >> FUSSING, ALWAYS MAKING A FUSS.

>> FUSSING, ALWAYS MAKING A FUSS. >> NOT ALL WOMEN.

MAKING A FUSS. >> NOT ALL WOMEN. >> DAMN NEAR ALL.

ALWAYS TELLING US, YOU KNOW?

ALWAYS TELLING US WHERE TO PUT OUR COCKS... WHERE NOT TO...

SO FORTH. [DICE ROLLING] I DON'T NEED TO TELL YOU,

[DICE ROLLING] I DON'T NEED TO TELL YOU, YOU'VE SEEN, YOU KNOW.

>> SO WHAT ARE YOU SAYING? [WAVES CRASHING, SEAGULLS CAWING]

[WAVES CRASHING, SEAGULLS CAWING] >> YOU'LL SOON BE...

HELL, YOU'RE ON YOUR OWN. I JUST WANTED TO GIVE YOU A PIECE OF...

I JUST WANTED TO GIVE YOU A PIECE OF... WHAT FATHERS TELL SONS.

[DICE ROLLING] >> WELL, THANKS. >> I MEAN, YOUR MOTHER WAS

>> WELL, THANKS. >> I MEAN, YOUR MOTHER WAS AN ACTRESS...

>> I MEAN, YOUR MOTHER WAS AN ACTRESS... IN SOME WAYS,

AN ACTRESS... IN SOME WAYS, IS AN ACTRESS.

IN SOME WAYS, IS AN ACTRESS. WILL MOSTLY LIKELY BE...

IS AN ACTRESS. WILL MOSTLY LIKELY BE... >> MUMMY CAN BE HISTRIONIC,

WILL MOSTLY LIKELY BE... >> MUMMY CAN BE HISTRIONIC, BUT SHE'S NOT...

>> MUMMY CAN BE HISTRIONIC, BUT SHE'S NOT... >> DON'T DEFEND HER.

BUT SHE'S NOT... >> DON'T DEFEND HER. YOU NEEDN'T DEFEND HER.

>> DON'T DEFEND HER. YOU NEEDN'T DEFEND HER. YOU LOVE HER, AS DO I, BUT FOR

YOU NEEDN'T DEFEND HER. YOU LOVE HER, AS DO I, BUT FOR THE MOMENT, WE'RE SITTING HERE,

YOU LOVE HER, AS DO I, BUT FOR THE MOMENT, WE'RE SITTING HERE, BROOKS AND ANTONY, TWO MEN.

HAD SHE BEEN ON TIME, WE'D NEVER HAVE HAD THIS DISCUSSION.

[WAVES CRASHING...]

>> DO YOU THINK SHE GETS STONED?

>> WELL, SHE'S SPANISH.

>> WORTH A PULL?

AFTER YOU, PAL. [WAVES CRASHING...]

TE GUSTARIA FUMAR?

>> SI...

GRACIAS.

>> [CHUCKLING...] >> TAUGHT BY EXPERTS.

>> YOU KNOW WHAT THIS PLACE NEEDS?

SOME MUSIC.

>> I HAVE ONE. >> EXCUSE ME?

[PLAYER CLICKS, MUSIC PLAYING]

>> Man: ¶ ONCE... UPON A TIME, A LONG, LONG TIME AGO ¶ ¶ WHERE... EVER YOU LEAD ME,

A LONG, LONG TIME AGO ¶ ¶ WHERE... EVER YOU LEAD ME, I WOULD SURELY FOLLOW ¶

¶ WHERE... EVER YOU LEAD ME, I WOULD SURELY FOLLOW ¶ ¶ GIRL, YOU PUT ME THROUGH

I WOULD SURELY FOLLOW ¶ ¶ GIRL, YOU PUT ME THROUGH SOME PAIN AND MISERY ¶

¶ GIRL, YOU PUT ME THROUGH SOME PAIN AND MISERY ¶ ¶ AND NOW YOU STAND HERE,

SOME PAIN AND MISERY ¶ ¶ AND NOW YOU STAND HERE, ON MY DOORSTEP ¶

¶ AND NOW YOU STAND HERE, ON MY DOORSTEP ¶ ¶ TELLING ME

ON MY DOORSTEP ¶ ¶ TELLING ME HOW MUCH YOU NEED ME ¶

¶ TELLING ME HOW MUCH YOU NEED ME ¶ ¶ ¶

HOW MUCH YOU NEED ME ¶ ¶ ¶ AIN'T NOBODY HOME ¶

¶ ¶ AIN'T NOBODY HOME ¶ ¶ GIRL

AIN'T NOBODY HOME ¶ ¶ GIRL ¶ AIN'T NOBODY HOME

¶ GIRL ¶ AIN'T NOBODY HOME ¶ HOW MANY TIMES

¶ AIN'T NOBODY HOME ¶ HOW MANY TIMES I BEGGED FOR YOU TO COME HOME ¶

¶ HOW MANY TIMES I BEGGED FOR YOU TO COME HOME ¶ ¶ BUT YOU LAUGHED AT ME

I BEGGED FOR YOU TO COME HOME ¶ ¶ BUT YOU LAUGHED AT ME AND SAID, "LET ME ALONE" ¶

¶ BUT YOU LAUGHED AT ME AND SAID, "LET ME ALONE" ¶ ¶ AIN'T NOBODY HOME

AND SAID, "LET ME ALONE" ¶ ¶ AIN'T NOBODY HOME ¶ GIRL...

¶ AIN'T NOBODY HOME ¶ GIRL... >> Tony: I DON'T KNOW.

¶ GIRL... >> Tony: I DON'T KNOW. >> Barbara: WELL,KNOW.

>> Tony: I DON'T KNOW. >> Barbara: WELL,KNOW. WHAT'S SHE LIKE?

>> Barbara: WELL,KNOW. WHAT'S SHE LIKE? >> Tony: I DON'T KNOW.

WHAT'S SHE LIKE? >> Tony: I DON'T KNOW. SHE'S SPANISH.

>> Tony: I DON'T KNOW. SHE'S SPANISH. >> Brooks: WELL, WITH A NAME

SHE'S SPANISH. >> Brooks: WELL, WITH A NAME LIKE "BLANCA..."

>> Brooks: WELL, WITH A NAME LIKE "BLANCA..." >> BLANCA WHAT?

LIKE "BLANCA..." >> BLANCA WHAT? >> I DON'T KNOW BLANCA WHAT.

>> BLANCA WHAT? >> I DON'T KNOW BLANCA WHAT. THIS IS NOT A CITY, IT'S A PORT,

>> I DON'T KNOW BLANCA WHAT. THIS IS NOT A CITY, IT'S A PORT, SO WHEN WE GET TOGETHER AND WE

THIS IS NOT A CITY, IT'S A PORT, SO WHEN WE GET TOGETHER AND WE HANG OUT, IT'S TYPICALLY ON

SO WHEN WE GET TOGETHER AND WE HANG OUT, IT'S TYPICALLY ON A FIRST-NAME BASIS.

AND IF WHAT YOU'RE ASKING IS DOES SHE COME FROM BONNE FAMILLE...

DOES SHE COME FROM BONNE FAMILLE... YOU KNOW, IF THAT'S WHAT YOU'RE

BONNE FAMILLE... YOU KNOW, IF THAT'S WHAT YOU'RE ASKING, WELL...

AREN'T THERE ENOUGH COUNTS AND COUNTESSES IN THAT STACK OF CARTES DE VISITE IN THE FOYER,

JUST THE WAY THAT NINI TAUGHT YOU? THE CARTE FROM PRINCE BERNHARD,

TAUGHT YOU? THE CARTE FROM PRINCE BERNHARD, SOMEHOW ALWAYS ON THE TOP,

THE CARTE FROM PRINCE BERNHARD, SOMEHOW ALWAYS ON THE TOP, AND THE BILLS ON THE BOTTOM?

SOMEHOW ALWAYS ON THE TOP, AND THE BILLS ON THE BOTTOM? >> YOU WILL NOT SPEAK TO YOUR

AND THE BILLS ON THE BOTTOM? >> YOU WILL NOT SPEAK TO YOUR MOTHER LIKE THAT.

>> YOU WILL NOT SPEAK TO YOUR MOTHER LIKE THAT. I WILL NOT STAND FOR IT.

MOTHER LIKE THAT. I WILL NOT STAND FOR IT. >> OH, PISS OFF.

>> A MOTHER KNOWS... >> HMM?

>> WHEN HER SON...

WHEN HER SON MIGHT LIKE SOMEONE.

[BIRDS CHIRPING...]

[ENGINE REVVING...]

[TIRES SCREECHING]

[TIRES SCREECHING]

[ENGINE REVVING...] [GENERAL CONVERSATION...] >> Brooks: THE DISCOVERY,

[GENERAL CONVERSATION...] >> Brooks: THE DISCOVERY, THAT WAS 1907.

>> Brooks: THE DISCOVERY, THAT WAS 1907. IN LESS THAN 10 YEARS, MY

THAT WAS 1907. IN LESS THAN 10 YEARS, MY GRANDFATHER WAS A VERY

IN LESS THAN 10 YEARS, MY GRANDFATHER WAS A VERY WEALTHY MAN.

GRANDFATHER WAS A VERY WEALTHY MAN. 1924, HIS FACE ON THE COVER OF

WEALTHY MAN. 1924, HIS FACE ON THE COVER OF TIME MAGAZINE.

1924, HIS FACE ON THE COVER OF TIME MAGAZINE. 1930, COCO CHANEL MAKES ALL HER

TIME MAGAZINE. 1930, COCO CHANEL MAKES ALL HER MANNEQUINS WEAR BAKELITE

1930, COCO CHANEL MAKES ALL HER MANNEQUINS WEAR BAKELITE ACCESSORIES.

MANNEQUINS WEAR BAKELITE ACCESSORIES. THEN CAME THE DEPRESSION, WHICH

ACCESSORIES. THEN CAME THE DEPRESSION, WHICH HIT EVERYONE EXCEPT THE

THEN CAME THE DEPRESSION, WHICH HIT EVERYONE EXCEPT THE BAEKELANDS, WE WERE HEADED THE

HIT EVERYONE EXCEPT THE BAEKELANDS, WE WERE HEADED THE OTHER DIRECTION...

OUR TRIUMPH AND OF COURSE, OUR DOWNFALL.

>> HOW DO YOU MEAN?

>> LEO KNEW THE SOCIAL REGISTER,

BUT IT WASN'T WHAT MOVED HIM, IT WASN'T WHAT HE PRIZED. TO HIM, ALL THAT WAS JUST

IT WASN'T WHAT HE PRIZED. TO HIM, ALL THAT WAS JUST LA PARADE.

TO HIM, ALL THAT WAS JUST LA PARADE. BUT NOT TO GEORGE, HIS SON,

LA PARADE. BUT NOT TO GEORGE, HIS SON, MY FATHER.

BUT NOT TO GEORGE, HIS SON, MY FATHER. HE VALUED ALL THAT TO A FAULT,

MY FATHER. HE VALUED ALL THAT TO A FAULT, AND IN THE PROCESS,

HE VALUED ALL THAT TO A FAULT, AND IN THE PROCESS, LOST EVERYTHING.

AND IN THE PROCESS, LOST EVERYTHING. >> Barbara: CAMARERO!

LOST EVERYTHING. >> Barbara: CAMARERO! [SNAPS FINGERS]

>> Barbara: CAMARERO! [SNAPS FINGERS] NO ONE HERE IS DRINKING ENOUGH.

[SNAPS FINGERS] NO ONE HERE IS DRINKING ENOUGH. ANOTHER ROUND OVER HERE.

[SOFTLY]: TONY, LET'S DRINK WHILE YOUR FATHER BORES THE SHIT OUT OF YOUR LITTLE FRIEND.

[GENERAL CONVERSATION...] >> Blanca: SHE'S NOT VERY HAPPY. >> Brooks: AHH...

>> Blanca: SHE'S NOT VERY HAPPY. >> Brooks: AHH... THEN YOU UNDERSTAND.

>> Brooks: WELL, IT'S BEEN A LONG NIGHT.

>> Barbara: BYE, KIDDO.

GOOD NIGHT, BLANCA. >> Blanca: GOOD NIGHT.

>> Tony: ARE YOU SURE THAT... >> YES...

[DOOR SHUTS]

[WATER RUNNING]

YOU KNOW, I DON'T THINK I'VE EVER MET A FAMILY LIKE YOURS...

ALL THIS EXCITEMENT, ALL THIS HISTORY.

>> WELL, THERE IS THAT. >> [CHUCKLES] YES... MMM...

[KISS]

[KISS] [BOTH CHUCKLING]

>> YOU REALLY ARE SUCH A HANDSOME BOY.

>> Tony: LATER, MUMMY SAID THAT I HAD BROUGHT BLANCA HOME LIKE A KITTEN THAT HAD KILLED ITS

I HAD BROUGHT BLANCA HOME LIKE A KITTEN THAT HAD KILLED ITS FIRST MOUSE... AND LAID IT AT

A KITTEN THAT HAD KILLED ITS FIRST MOUSE... AND LAID IT AT YOUR FEET.

AND YOU...

AND YOU TOOK IT.

[¶...]

[PROPELLER PLANE PASSING...] [¶...]

>> POR FAVOR... ¿A DONDE HORA ESTA LA AEROPLANE DE NICE?

...LANDING, WHEN IT LANDS? >> OH, IT'S BEEN DELAYED. SO, SIX P.M.

>> OH, IT'S BEEN DELAYED. SO, SIX P.M. ANY TIME AFTER THAT.

[¶...]

>> Woman on P.A.: Paging, please, Mr. Baekeland, to the Avianca counter, please.

please, Mr. Baekeland, to the Avianca counter, please. ...PAGING, PLEASE, MR.

to the Avianca counter, please. ...PAGING, PLEASE, MR. BAEKELAND TO AVIANCA.

...PAGING, PLEASE, MR. BAEKELAND TO AVIANCA. YOUR PARTY IS WAITING.

[¶...] >> Blanca: BOARDING TIME'S AT 1:30, NO?

LET ME SEE.

YEAH, IT'S 1:30. [¶...] >> COME, DARLING.

>> COWARD.

COBARDE!

COBARDE! THAT'S RIGHT, THAT'S YOU I'M TALKING ABOUT YOU, LITTLEI'M

THAT'S RIGHT, THAT'S YOU I'M TALKING ABOUT YOU, LITTLEI'M PUTA.

TALKING ABOUT YOU, LITTLEI'M PUTA. YOU LITTLE WHORE!

PUTA. YOU LITTLE WHORE! >> [SPEAKING SPANISH]

YOU LITTLE WHORE! >> [SPEAKING SPANISH] >> [SPEAKING SPANISH]

>> [SPEAKING SPANISH] >> [SPEAKING SPANISH] >> YOU ARE TRULY DISGUSTING,

>> [SPEAKING SPANISH] >> YOU ARE TRULY DISGUSTING, DO YOU KNOW THAT?

>> YOU ARE TRULY DISGUSTING, DO YOU KNOW THAT? YOU AND YOUR LITTLE

DO YOU KNOW THAT? YOU AND YOUR LITTLE SPANISH CUNT.

YOU AND YOUR LITTLE SPANISH CUNT. >> [WHISPERS] YOU ARE SPEAKING

SPANISH CUNT. >> [WHISPERS] YOU ARE SPEAKING TOO LOUDLY.

>> [WHISPERS] YOU ARE SPEAKING TOO LOUDLY. >> I AM SPEAKING OF A CUNT,

TOO LOUDLY. >> I AM SPEAKING OF A CUNT, HALF YOUR AGE.

>> I AM SPEAKING OF A CUNT, HALF YOUR AGE. SHE LOOKED AT TONY, LOOKED AT

HALF YOUR AGE. SHE LOOKED AT TONY, LOOKED AT YOU, THOUGHT FOR ABOUT FIVE

SHE LOOKED AT TONY, LOOKED AT YOU, THOUGHT FOR ABOUT FIVE SECONDS--D AT TONY, LOOKED AT

YOU, THOUGHT FOR ABOUT FIVE SECONDS--D AT TONY, LOOKED AT CINCO SEGUNDOS--

SECONDS--D AT TONY, LOOKED AT CINCO SEGUNDOS-- AND SAID TO HERSELF, "HA!

CINCO SEGUNDOS-- AND SAID TO HERSELF, "HA! THAT'S WHERE THE MONEY IS!"

AND SAID TO HERSELF, "HA! THAT'S WHERE THE MONEY IS!" ¿ENTIENDES?

THAT'S WHERE THE MONEY IS!" ¿ENTIENDES? YOU GO ON AND ON AND ON ABOUT

¿ENTIENDES? YOU GO ON AND ON AND ON ABOUT YOUR GRANDFATHER AND THE LIFE

YOU GO ON AND ON AND ON ABOUT YOUR GRANDFATHER AND THE LIFE OF THE FUCKING MIND.

YOUR GRANDFATHER AND THE LIFE OF THE FUCKING MIND. I GO AWAY FOR ONE WEEK, AND WHAT

OF THE FUCKING MIND. I GO AWAY FOR ONE WEEK, AND WHAT DO YOU DO?

I GO AWAY FOR ONE WEEK, AND WHAT DO YOU DO? [SNIFFING] MMM...

DO YOU DO? [SNIFFING] MMM... SOMETHING VERY INTELLECTUAL,

[SNIFFING] MMM... SOMETHING VERY INTELLECTUAL, VERY INTELLECTUAL INDEED.

SOMETHING VERY INTELLECTUAL, VERY INTELLECTUAL INDEED. OH, OH, DOES HE FUCK YOU

VERY INTELLECTUAL INDEED. OH, OH, DOES HE FUCK YOU UP THE ASS?

OH, OH, DOES HE FUCK YOU UP THE ASS? ¿POR EL CULO?

UP THE ASS? ¿POR EL CULO? [CROWD REACTS]

¿POR EL CULO? [CROWD REACTS] THAT'S WHAT HE LIKES, YOU KNOW?

[CROWD REACTS] THAT'S WHAT HE LIKES, YOU KNOW? HE THINKS IT'S VERY MANLY.

THAT'S WHAT HE LIKES, YOU KNOW? HE THINKS IT'S VERY MANLY. I THINK...

HE THINKS IT'S VERY MANLY. I THINK... QUITE THE OPPOSITE.

I THINK... QUITE THE OPPOSITE. SHE BATS HER EYES AT YOU

QUITE THE OPPOSITE. SHE BATS HER EYES AT YOU AND SAYS, "OH, BROOKS, YOU...

YOU BIG MAN, YOU..." AND YOU HONOR THE GREAT BAEKELAND TRADITION BY

AND YOU HONOR THE GREAT BAEKELAND TRADITION BY FUCKING HER.

[SOFTLY] O.K., FUCK HER, FUCK HER... I UNDERSTAND... BUT LEAVE ME?

FUCK HER... I UNDERSTAND... BUT LEAVE ME? BREAK MY HEART?

I UNDERSTAND... BUT LEAVE ME? BREAK MY HEART? BREAK TONY'S?

BREAK MY HEART? BREAK TONY'S? >> HE NEVER BROKE

BREAK TONY'S? >> HE NEVER BROKE TONY'S HEART...

AND NEITHER DID I.

>> MUCH OF WHAT YOU'VE JUST SAID IS AN AMALGAM OF PARANOIA AND SPITE.

IS AN AMALGAM OF PARANOIA AND SPITE. >> YOU CAN SELL YOURSELF TO

AND SPITE. >> YOU CAN SELL YOURSELF TO YOURSELF ANY WAY YOU LIKE,

>> YOU CAN SELL YOURSELF TO YOURSELF ANY WAY YOU LIKE, BUT IN YOUR HEART, YOU KNOW...

AND SO DOES EVERYONE ELSE.

ALSO...

YOU'RE A LITTLE OLD FOR THIS, DON'T YOU THINK?

[¶...] [PROPELLER AIRPLANE PASSES...]

[GENERAL CONVERSATION] [¶...] >> ¿DEJA EL EQUIPAJE?

[ENGINE STARTS] >> NO TENGO.

[GUNSHOT, GLASS SHATTERS]

[DOG BARKING, PANTING]

[GUNSHOTS CONTINUE]

[BARKING CONTINUES] [ENGINE STARTS]

[GUNSHOT]

[¶...]

[PROPELLER AIRPLANE PASSES...] [ENGINE REVVING...] >> YOU ARE A VERY NICE MAN.

UN HOMBRE... ENCANTADOR.

[¶...]

[SOBBING]

[¶...]

>> Tony: JAKE WAS LIKE A DEVIL... OR A MAGICIAN.

JAKE WAS LIKE A DEVIL... OR A MAGICIAN. [MUSIC FROM PHONOGRAPH...]

DEVIL... OR A MAGICIAN. [MUSIC FROM PHONOGRAPH...] >> Jake: NOTHING IS TRUE.

[MUSIC FROM PHONOGRAPH...] >> Jake: NOTHING IS TRUE. EVERYTHING IS PERMITTED.

>> HE WORE LITTLE BONES AND THINGS ON HIS VEST, THESE... CERTAIN LITTLE BONES.

>> [KISSING]

>> Barbara: TONY, JAKE! >> YOU MIGHT HAVE KNOCKED. >> I DID.

[KNOCKS PHONOGRAPH, MUSIC STOPS]

YOU KNOW I WENT TO THE AIRPORT TODAY TO PICK UP SAM. WHO SHOULD I SEE BUT

TODAY TO PICK UP SAM. WHO SHOULD I SEE BUT YOUR FATHER?

WE HAD A WORD OR TWO, I CAN TELL YOU THAT.

>> YOU CAN TELL ME, YOU ARE TELLING ME. >> DON'T GET HARSH WITH ME.

TELLING ME. >> DON'T GET HARSH WITH ME. >> I'M SORRY.

>> DON'T GET HARSH WITH ME. >> I'M SORRY. >> ARE YOU DEFENDING HIM?

>> I'M SORRY. >> ARE YOU DEFENDING HIM? ARE YOU TAKING HIS SIDE?

>> ARE YOU DEFENDING HIM? ARE YOU TAKING HIS SIDE? >> Jake: YOU MUST HAVE HAD

ARE YOU TAKING HIS SIDE? >> Jake: YOU MUST HAVE HAD A LONG DRIVE.

>> Jake: YOU MUST HAVE HAD A LONG DRIVE. WHY DON'T YOU SIT DOWN AND LET

A LONG DRIVE. WHY DON'T YOU SIT DOWN AND LET ME POUR YOU SOMETHING TO

WHY DON'T YOU SIT DOWN AND LET ME POUR YOU SOMETHING TO DRINK, O.K.?

ME POUR YOU SOMETHING TO DRINK, O.K.? [WIND CHIMES CLINKING LIGHTLY]

>> SO I TOLD SAM YOU'D BE JOINING US FOR DINNER.

I'LL SEE YOU AROUND NINE.

HOW CAN YOU LIVE IN THIS SHIT HOLE?

[BEADED CURTAIN RUSTLES]

[BOTH CHUCKLING]

>> Tony: SAM WAS OFTEN CALLED A WALKER...

SAM WAS OFTEN CALLED A WALKER... ONE OF THOSE HOMOSEXUALS WHO

A WALKER... ONE OF THOSE HOMOSEXUALS WHO ESCORT WEALTHY WOMEN TO DINNER

ONE OF THOSE HOMOSEXUALS WHO ESCORT WEALTHY WOMEN TO DINNER OR TO THE OPERA WHEN THEIR

ESCORT WEALTHY WOMEN TO DINNER OR TO THE OPERA WHEN THEIR HUSBANDS ARE NOT ABLE.

OR TO THE OPERA WHEN THEIR HUSBANDS ARE NOT ABLE. BUT SAM'S DEVOTION TO BARBARA

HUSBANDS ARE NOT ABLE. BUT SAM'S DEVOTION TO BARBARA WAS NEVER ABOUT THE MONEY.

BUT SAM'S DEVOTION TO BARBARA WAS NEVER ABOUT THE MONEY. IN FACT, HE LIKED US MORE WHEN

WAS NEVER ABOUT THE MONEY. IN FACT, HE LIKED US MORE WHEN THERE WAS LESS OF IT.

IN FACT, HE LIKED US MORE WHEN THERE WAS LESS OF IT. >> Sam: DO YOU REMEMBER HOW IT

THERE WAS LESS OF IT. >> Sam: DO YOU REMEMBER HOW IT WAS WITH MAXIME DE LA FALAISE?

>> Sam: DO YOU REMEMBER HOW IT WAS WITH MAXIME DE LA FALAISE? THERE WAS A DIFFICULT PERIOD.

WAS WITH MAXIME DE LA FALAISE? THERE WAS A DIFFICULT PERIOD. I HELPED HER, AS MUCH AS I

THERE WAS A DIFFICULT PERIOD. I HELPED HER, AS MUCH AS I COULD, A FEW OF US, WE DID WHAT

I HELPED HER, AS MUCH AS I COULD, A FEW OF US, WE DID WHAT WE COULD AND... NOW, WELL,

COULD, A FEW OF US, WE DID WHAT WE COULD AND... NOW, WELL, NO ONE REMEMBERS THE SAD PERIOD

WE COULD AND... NOW, WELL, NO ONE REMEMBERS THE SAD PERIOD NOW, DO THEY?

NO ONE REMEMBERS THE SAD PERIOD NOW, DO THEY? [CORK POPS, BIRDS CHIRPING]

NOW, DO THEY? [CORK POPS, BIRDS CHIRPING] THESE ARE THE FACTS WE HAVE

[CORK POPS, BIRDS CHIRPING] THESE ARE THE FACTS WE HAVE TO FACE.

THESE ARE THE FACTS WE HAVE TO FACE. ONE, WE ARE DEALING WITH AN

TO FACE. ONE, WE ARE DEALING WITH AN INSECURE AND CAPRICIOUS CROWD

ONE, WE ARE DEALING WITH AN INSECURE AND CAPRICIOUS CROWD WHO, GIVEN ANY DOUBT OR

INSECURE AND CAPRICIOUS CROWD WHO, GIVEN ANY DOUBT OR HESITATION, WILL ALWAYS FOLLOW

WHO, GIVEN ANY DOUBT OR HESITATION, WILL ALWAYS FOLLOW THE MONEY... IN THIS CASE,

HESITATION, WILL ALWAYS FOLLOW THE MONEY... IN THIS CASE, MEANING BROOKS.

SECOND-- AND THIS IS IN YOUR FAVOR-- YOU WERE, TO ANY SENSIBLE OBSERVER, THE CHARM AND

FAVOR-- YOU WERE, TO ANY SENSIBLE OBSERVER, THE CHARM AND VIVACITY OF THE COUPLE.

SENSIBLE OBSERVER, THE CHARM AND VIVACITY OF THE COUPLE. SO, WE MUST MAKE THAT WORK TO

VIVACITY OF THE COUPLE. SO, WE MUST MAKE THAT WORK TO YOUR BENEFIT.

SO, WE MUST MAKE THAT WORK TO YOUR BENEFIT. >> I'M SO GLAD YOU'RE HERE.

YOUR BENEFIT. >> I'M SO GLAD YOU'RE HERE. >> IT'S MY PLEASURE.

>> I'M SO GLAD YOU'RE HERE. >> IT'S MY PLEASURE. POP ACROSS TO CADAQUES FOR A DAY

>> IT'S MY PLEASURE. POP ACROSS TO CADAQUES FOR A DAY OR TWO.

POP ACROSS TO CADAQUES FOR A DAY OR TWO. YOU NEED TO BE PROUD--

OR TWO. YOU NEED TO BE PROUD-- NOT EMBARRASSED-- TO BE SEEN

YOU NEED TO BE PROUD-- NOT EMBARRASSED-- TO BE SEEN IN PUBLIC.

NOT EMBARRASSED-- TO BE SEEN IN PUBLIC. AND THAT WILL GIVE PEOPLE

IN PUBLIC. AND THAT WILL GIVE PEOPLE PERMISSION TO BE SEEN WITH YOU.

>> HOLA, UN CAFE... >> Sam: LET US THINK, WHO ARE THOSE, YOU KNOW, FROM WHOM

>> Sam: LET US THINK, WHO ARE THOSE, YOU KNOW, FROM WHOM OTHERS TAKE THEIR CUE?

THOSE, YOU KNOW, FROM WHOM OTHERS TAKE THEIR CUE? SOMEONE LIKE PILAR DURAN WOULD

OTHERS TAKE THEIR CUE? SOMEONE LIKE PILAR DURAN WOULD BE TERRIFIC, AND THEN, OF

SOMEONE LIKE PILAR DURAN WOULD BE TERRIFIC, AND THEN, OF COURSE, WE NEED A DOYENNE TO

BE TERRIFIC, AND THEN, OF COURSE, WE NEED A DOYENNE TO SEAL IT.

COURSE, WE NEED A DOYENNE TO SEAL IT. YOU DO, OF COURSE,

SEAL IT. YOU DO, OF COURSE, KNOW TEENY DUCHAMP?

YOU DO, OF COURSE, KNOW TEENY DUCHAMP? TEENY MATISSE DUCHAMP?

AND I SHALL, NATURALLY, MAKE SURE THAT THE WORD GETS OUT... AS WILL OTHERS...

SURE THAT THE WORD GETS OUT... AS WILL OTHERS... [CHUCKLES] AS WILL OTHERS.

AS WILL OTHERS... [CHUCKLES] AS WILL OTHERS. >> [LAUGHS]

[CHUCKLES] AS WILL OTHERS. >> [LAUGHS] >> YOU'VE GOT TO START

>> [LAUGHS] >> YOU'VE GOT TO START PAINTING AGAIN.

>> YOU'VE GOT TO START PAINTING AGAIN. THE DIFFERENCE BETWEEN...

PAINTING AGAIN. THE DIFFERENCE BETWEEN... >> AN ARTIST AND A DIVORCEE.

>> SO YOU UNDERSTAND.

WELL, THAT'S FOR STARTERS. SOME OF IT WILL, I'VE NO DOUBT, BE EMOTIONALLY UNPLEASANT...

SOME OF IT WILL, I'VE NO DOUBT, BE EMOTIONALLY UNPLEASANT... >> OH, PLEASE.

BE EMOTIONALLY UNPLEASANT... >> OH, PLEASE. WHERE IS HE?

>> OH, PLEASE. WHERE IS HE? >> OH, I'M SURE HE'LL BE

WHERE IS HE? >> OH, I'M SURE HE'LL BE ALONG, BARBARA.

>> OH, I'M SURE HE'LL BE ALONG, BARBARA. HE'S JUST BEING TONY.

[ENGINE REVVING]

>> MUMMY, WHAT I DON'T UNDERSTAND IS BROOKS. WHAT I DON'T UNDERSTAND IS, OF

UNDERSTAND IS BROOKS. WHAT I DON'T UNDERSTAND IS, OF ALL THE PLACES BROOKS WOULD WANT

WHAT I DON'T UNDERSTAND IS, OF ALL THE PLACES BROOKS WOULD WANT TO GO FOR THE SEASON IN ALL THE

ALL THE PLACES BROOKS WOULD WANT TO GO FOR THE SEASON IN ALL THE WORLD, HE WOULD CHOOSE A PLACE

TO GO FOR THE SEASON IN ALL THE WORLD, HE WOULD CHOOSE A PLACE RIGHT NEAR US AND THEN NOT WANT

WORLD, HE WOULD CHOOSE A PLACE RIGHT NEAR US AND THEN NOT WANT TO SEE US...

RIGHT NEAR US AND THEN NOT WANT TO SEE US... AND BLANCA, TOO.

TO SEE US... AND BLANCA, TOO. WHY WOULD SHE WANT TO GO TO

AND BLANCA, TOO. WHY WOULD SHE WANT TO GO TO MALLORCA WHEN SHE HATES ME

WHY WOULD SHE WANT TO GO TO MALLORCA WHEN SHE HATES ME SO MUCH?

MALLORCA WHEN SHE HATES ME SO MUCH? >> SHE DOESN'T HATE YOU.

>> AND BROOKS? >> HE DOESN'T HATE YOU EITHER. >> THEN WHY WON'T HE...?

>> HE DOESN'T HATE YOU EITHER. >> THEN WHY WON'T HE...? >> I'VE LONG SINCE GIVEN UP

>> THEN WHY WON'T HE...? >> I'VE LONG SINCE GIVEN UP TRYING TO UNDERSTAND BROOKS.

>> I'VE LONG SINCE GIVEN UP TRYING TO UNDERSTAND BROOKS. EXPLAIN HIM, JUSTIFY HIS WAYS.

TRYING TO UNDERSTAND BROOKS. EXPLAIN HIM, JUSTIFY HIS WAYS. MEN DO... THIS IS SOMETHING

EXPLAIN HIM, JUSTIFY HIS WAYS. MEN DO... THIS IS SOMETHING YOU KNOW VERY WELL.

MEN DO... THIS IS SOMETHING YOU KNOW VERY WELL. MEN DO... WHAT MEN DO.

YOU KNOW VERY WELL. MEN DO... WHAT MEN DO. >> MUMMY?

MEN DO... WHAT MEN DO. >> MUMMY? I THINK HE'S WRITING US

>> MUMMY? I THINK HE'S WRITING US A LETTER.

I THINK HE'S WRITING US A LETTER. I THINK HE IS WRITING US

A LETTER. I THINK HE IS WRITING US A LETTER...

I THINK HE IS WRITING US A LETTER... BUT IN ANOTHER ALPHABET,

A LETTER... BUT IN ANOTHER ALPHABET, IN BAEKELAND WRITING...

NO ONE ELSE CAN READ. THE THING WITH BROOKS IS HE... >> OH, PLEASE.

THE THING WITH BROOKS IS HE... >> OH, PLEASE. >> MUMMY, DON'T BE ANGRY.

>> I'M NOT ANGRY.

>> I LOVE YOU.

MUMMY, I LOVE YOU.

[¶...] [BIRDS CHIRPING]

Tony: NO, YOU'VE BEEN FANTASTIC. >> NO, NO, NO, YOU NEEDN'T... >> NO, BUT, REALLY, I WANTED TO,

>> NO, NO, NO, YOU NEEDN'T... >> NO, BUT, REALLY, I WANTED TO, REALLY... REALLY.

>> NO, BUT, REALLY, I WANTED TO, REALLY... REALLY. I CAN'T BEGIN TO TELL YOU HOW

REALLY... REALLY. I CAN'T BEGIN TO TELL YOU HOW MUCH OF AN IMPROVEMENT...

I CAN'T BEGIN TO TELL YOU HOW MUCH OF AN IMPROVEMENT... >> WELL, SHE'LL BE ALL RIGHT.

MUCH OF AN IMPROVEMENT... >> WELL, SHE'LL BE ALL RIGHT. >> WELL, SHE'LL ALWAYS

>> WELL, SHE'LL BE ALL RIGHT. >> WELL, SHE'LL ALWAYS BE BARBARA.

>> WELL, SHE'LL ALWAYS BE BARBARA. >> [CHUCKLES]

BE BARBARA. >> [CHUCKLES] AND... WHAT OF YOU?

>> [CHUCKLES] AND... WHAT OF YOU? WHAT OF LIFE IN THE WORLD OF

AND... WHAT OF YOU? WHAT OF LIFE IN THE WORLD OF TONY BAEKELAND?

WHAT OF LIFE IN THE WORLD OF TONY BAEKELAND? >> CA VA.

>> "CA VA"? "PAS MAL"? NO, NO, NO, NO.

THAT ISN'T GOOD ENOUGH BY HALF. TONY TAKES CARE OF JAKE. TONY TAKES CARE OF BARBARA.

SOMEONE MUST TAKE CARE OF TONY.

[¶...] [BIRDS CHIRPING]

[¶...]

[¶...]

>> Sam: WHAT I WOULD LIKE TO DO, IDEALLY, IS TO PLACE YOU WITH A GALLERY OR, FAILING THAT, WITH

IDEALLY, IS TO PLACE YOU WITH A GALLERY OR, FAILING THAT, WITH A... PRIVATE DEALER-- AND THAT

A GALLERY OR, FAILING THAT, WITH A... PRIVATE DEALER-- AND THAT IS SOMETHING IEALER-- AND THAT

A... PRIVATE DEALER-- AND THAT IS SOMETHING IEALER-- AND THAT KNOW I CAN DO--

>> YOU SHOULDN'T HAVE DONE THAT.

SAM...

YOU SHOULD NOT HAVE DONE THAT.

>> HE'S YOUR CHILD, AND HE WILL ALWAYS BE YOUR CHILD, BUT HE IS A GROWN MAN WITH HIS OWN LIFE

ALWAYS BE YOUR CHILD, BUT HE IS A GROWN MAN WITH HIS OWN LIFE AND HIS OWN CHOICES.

A GROWN MAN WITH HIS OWN LIFE AND HIS OWN CHOICES. >> YOU DON'T KNOW WHAT YOU'RE

AND HIS OWN CHOICES. >> YOU DON'T KNOW WHAT YOU'RE TALKING ABOUT.

>> YOU DON'T KNOW WHAT YOU'RE TALKING ABOUT. >> TONY IS WHO TONY IS.

TALKING ABOUT. >> TONY IS WHO TONY IS. [PLATE SHATTERS]

>> TONY IS WHO TONY IS. [PLATE SHATTERS] >> TONY IS NOT WHO TONY "IS"!

[PLATE SHATTERS] >> TONY IS NOT WHO TONY "IS"! [RECORD PLAYS SOFT MUSIC...]

[¶...]

>> Tony, writing: DEAR PAPA, I DON'T KNOW ANY OTHER WAY TO

DEAR PAPA, I DON'T KNOW ANY OTHER WAY TO SAY THIS, BUT STRAIGHT OUT:

WOULD YOU PLEASE COME BACK TO MUMMY? SHE'S SO UNHAPPY.

SHE NEEDS YOU...

BUT IS TOO FULL OF PRIDE TO ASK.

DO YOU REMEMBER OUR DOG WHOM YOU NAMED GIOTTO?

THE DOG IS GONE, BUT THE COLLAR REMAINS.

DO YOU KNOW THAT FOR ALL THE TIMES WE'VE MOVED, I'VE TAKEN IT FROM PLACE TO PLACE--

TIMES WE'VE MOVED, I'VE TAKEN IT FROM PLACE TO PLACE-- IT'S NEVER GOTTEN LOST,

IT FROM PLACE TO PLACE-- IT'S NEVER GOTTEN LOST, NOT EVEN ONCE.

I DO NOT KNOW WHY YOU FEAR ME.

I DO NOT FEAR YOU.

SOMETIMES I HAVE A BLOODY MIND AND I DON'T KNOW WHAT TO DO ABOUT IT, BUT I FIGHT IT WITH

AND I DON'T KNOW WHAT TO DO ABOUT IT, BUT I FIGHT IT WITH EVERYTHING I'VE GOT.

WITH MY BEST LOVE, ANTONY.

>> TONY! TONY! [BICYCLE RATTLES]

[WIND BLOWS THROUGH THE TREES]

[¶...]

BROOKS! [¶...]

[¶...]

[BRUSH CLATTERS TO THE FLOOR] [¶...]

>> [WHISPERS]: EVERYTHING IS GOING TO BE ALL RIGHT.

[¶...]

[¶...]

[CIGARETTE BURNS, SOMEONE EXHALES] [BICYCLE RATTLES]

[¶...] >> Tony: MY MUMMY TOLD ME

>> Tony: MY MUMMY TOLD ME EVER SINCE I WAS SEVEN,

MY MUMMY TOLD ME EVER SINCE I WAS SEVEN, "HOLD YOUR HEAD UP HIGH."

EVER SINCE I WAS SEVEN, "HOLD YOUR HEAD UP HIGH." [¶...]

"HOLD YOUR HEAD UP HIGH." [¶...] [BICYCLE RATTLES]

[BICYCLE CRASHES LOUDLY]

A VERY STRANGE THING IS WHEN YOUR CHARM CEASES.

AND FOR ONE REASON OR ANOTHER, YOU BECOME GLOOMY. [¶...]

YOU BECOME GLOOMY. [¶...] AND PEOPLE CEASE TO UNDERSTAND

[¶...] AND PEOPLE CEASE TO UNDERSTAND YOU WHEN YOU NEED UNDERSTANDING

AND PEOPLE CEASE TO UNDERSTAND YOU WHEN YOU NEED UNDERSTANDING THE MOST.

YOU WHEN YOU NEED UNDERSTANDING THE MOST. [¶...]

I NOW REALIZE THAT FOR MANY YEARS, I HAVE BEEN LIVING A TOTALLY FALSE LIFE.

YEARS, I HAVE BEEN LIVING A TOTALLY FALSE LIFE. [BOTTLE CLINKS,

A TOTALLY FALSE LIFE. [BOTTLE CLINKS, ROLLS ON THE FLOOR]

[BOTTLE CLINKS, ROLLS ON THE FLOOR] [¶...]

I KNEW IT.

BUT FOR MUMMY'S SAKE, I'VE DECIDED TO MAKE A NEW PERSON OF MYSELF.

DECIDED TO MAKE A NEW PERSON OF MYSELF. [¶...]

[¶...] [BIRDS CHIRPING]

[LAUGHING...]

[ALL LAUGHING...]

[LAUGHING STOPS] [BIRDS CHIRPING]

[BIRDS CHIRPING...]

>> Barbara: WE'LL BE BORED RIGID WITHOUT YOU. >> Tony: IT'S HARDER TO GET

WITHOUT YOU. >> Tony: IT'S HARDER TO GET PEOPLE TO COME--

>> Tony: IT'S HARDER TO GET PEOPLE TO COME-- >> Sam: THAN IT WAS IN CADAQUES,

PEOPLE TO COME-- >> Sam: THAN IT WAS IN CADAQUES, I KNOW.

>> Sam: THAN IT WAS IN CADAQUES, I KNOW. I KNOW.

>> Tony: IT'S TIME.

>> IT'S TIME.

[MOTOR STARTS...]

>> I'M GLAD HE'S GONE.

[LAUGHING]

>> Tony: I'M NOT SURE, PAPA, YOU WOULD WANT TO KNOW THIS.

I'M NOT SURE, PAPA, YOU WOULD WANT TO KNOW THIS. BUT SHE USED SLEEPING

YOU WOULD WANT TO KNOW THIS. BUT SHE USED SLEEPING SUPPOSITORIES... SIX OR SEVEN

BUT SHE USED SLEEPING SUPPOSITORIES... SIX OR SEVEN OF THEM, SO THAT SHE WOULDN'T

SUPPOSITORIES... SIX OR SEVEN OF THEM, SO THAT SHE WOULDN'T CHANGE HER MIND... COULDN'T.

OF THEM, SO THAT SHE WOULDN'T CHANGE HER MIND... COULDN'T. I REMEMBER SHE TOLD ME THAT HER

CHANGE HER MIND... COULDN'T. I REMEMBER SHE TOLD ME THAT HER FATHER, MY GRANDFATHER,

I REMEMBER SHE TOLD ME THAT HER FATHER, MY GRANDFATHER, HAD KILLED HIMSELF, SO I FEAR

FATHER, MY GRANDFATHER, HAD KILLED HIMSELF, SO I FEAR THAT ALL THIS RAN VERY DEEP

HAD KILLED HIMSELF, SO I FEAR THAT ALL THIS RAN VERY DEEP WITHIN HER.

THAT ALL THIS RAN VERY DEEP WITHIN HER. IT WAS A MIRACLE OF COURSE THAT

WITHIN HER. IT WAS A MIRACLE OF COURSE THAT I CAME HOME THAT NIGHT INSTEAD

IT WAS A MIRACLE OF COURSE THAT I CAME HOME THAT NIGHT INSTEAD OF STAYING OUT TILL MORNING,

I CAME HOME THAT NIGHT INSTEAD OF STAYING OUT TILL MORNING, AS IS MY CUSTOM.

OF STAYING OUT TILL MORNING, AS IS MY CUSTOM. AND A MIRACLE THAT WHEN I DID

AS IS MY CUSTOM. AND A MIRACLE THAT WHEN I DID COME HOME, SHE WAS STILL ALIVE.

TAKING CARE OF MUMMY HAD BEEN YOUR JOB.

BUT WHEN YOU LEFT, BROOKS,

TAKING CARE OF MUMMY BECAME MY INHERITANCE.

>> BARBARA?

[¶...]

[FINGERS SQUEAK ON THE WAXED WOOD...] [¶...]

>> HI.

WE JUST MISSED EACH OTHER. >> A L'HOPITAL?

THEY TOLD ME THAT YOU HAD BEEN THERE. >> THIS...

MUST BE VERY HARD FOR YOU.

YOUR MUSIC? YOUR WRITING? >> THAT. >> CARLOS THINKS VERY HIGHLY

>> THAT. >> CARLOS THINKS VERY HIGHLY OF YOU, ALWAYS HAS.

>> CARLOS THINKS VERY HIGHLY OF YOU, ALWAYS HAS. AND I'M SURE HE'LL--

OF YOU, ALWAYS HAS. AND I'M SURE HE'LL-- >> HAVE YOU SEEN BROOKS?

>> CARLOS SAW HIM.

>> I DON'T THINK THAT BROOKS IS LIKING ME VERY MUCH THESE DAYS.

HE SAID I WAS A CRAPULE. >> OH, PLEASE-- TO BROOKS,

CRAPULE. >> OH, PLEASE-- TO BROOKS, EVERYONE IS A LITTLE SHIT.

>> OH, PLEASE-- TO BROOKS, EVERYONE IS A LITTLE SHIT. EVERYONE IN THE WHOLE WIDE

EVERYONE IS A LITTLE SHIT. EVERYONE IN THE WHOLE WIDE WORLD, INCLUDING ME,

EVERYONE IN THE WHOLE WIDE WORLD, INCLUDING ME, INCLUDING YOU...

WORLD, INCLUDING ME, INCLUDING YOU... INCLUDING EVEN CARLOS,

INCLUDING YOU... INCLUDING EVEN CARLOS, FOR GOD'S SAKE.

INCLUDING EVEN CARLOS, FOR GOD'S SAKE. >> BUT NOT LEO.

NOT THE SAINTED GRANDFATHER.

[¶...] >> Barbara: WHAT WAS IT HE SAID? >> Tony: WHO?

>> Barbara: WHAT WAS IT HE SAID? >> Tony: WHO? >> HEMINGWAY, I THINK,

>> Tony: WHO? >> HEMINGWAY, I THINK, OR THE OTHER ONE...

>> HEMINGWAY, I THINK, OR THE OTHER ONE... >> FITZGERALD?

OR THE OTHER ONE... >> FITZGERALD? >> HEMINGWAY OR FITZGERALD, YES.

>> FITZGERALD? >> HEMINGWAY OR FITZGERALD, YES. IT WAS ONE OF THEM.

>> HEMINGWAY OR FITZGERALD, YES. IT WAS ONE OF THEM. >> WHO SAID...?

IT WAS ONE OF THEM. >> WHO SAID...? >> WHO SAID WHAT IT IS I'M

>> WHO SAID...? >> WHO SAID WHAT IT IS I'M TRYING TO REMEMBER!

GOD... I'M TURNING INTO NINI. >> MONSIEUR, ENCORE. MERCI BIEN.

>> MONSIEUR, ENCORE. MERCI BIEN. >> I KNOW, IT WAS ABOUT PARIS,

MERCI BIEN. >> I KNOW, IT WAS ABOUT PARIS, I THINK.

>> I KNOW, IT WAS ABOUT PARIS, I THINK. "IF YOU'RE TIRED OF PARIS,

I THINK. "IF YOU'RE TIRED OF PARIS, YOU'RE TIRED OF EVERYTHING."

I REMEMBER.

"TO SAY THAT ONE IS TIRED OF PARIS IS IN FACT TO SAY THAT ONE IS TIRED OF LIFE,"

PARIS IS IN FACT TO SAY THAT ONE IS TIRED OF LIFE," SOMETHING LIKE THAT.

THAT ONE IS TIRED OF LIFE," SOMETHING LIKE THAT. >> Tony:G LIKE THAT.

SOMETHING LIKE THAT. >> Tony:G LIKE THAT. MUMMY HOPED THAT WITH

>> Tony:G LIKE THAT. MUMMY HOPED THAT WITH A NEW PLACE WOULD COME BETTER

MUMMY HOPED THAT WITH A NEW PLACE WOULD COME BETTER THINGS FOR US.

A NEW PLACE WOULD COME BETTER THINGS FOR US. AND SHE WAS RIGHT,

THINGS FOR US. AND SHE WAS RIGHT, BUT NOT COMPLETELY SO.

AND SHE WAS RIGHT, BUT NOT COMPLETELY SO. BUT STILL, PARIS WAS A STEP UP

BUT NOT COMPLETELY SO. BUT STILL, PARIS WAS A STEP UP IN THE WORLD.

BUT STILL, PARIS WAS A STEP UP IN THE WORLD. IT WAS IN PARIS THAT I STARTED

IN THE WORLD. IT WAS IN PARIS THAT I STARTED WRITING BACKWARDS IN MY

IT WAS IN PARIS THAT I STARTED WRITING BACKWARDS IN MY NOTEBOOK SO THAT NO ONE COULD

WRITING BACKWARDS IN MY NOTEBOOK SO THAT NO ONE COULD READ MY THOUGHTS, BUT MUMMY

NOTEBOOK SO THAT NO ONE COULD READ MY THOUGHTS, BUT MUMMY SEEMED TO BE ABLE TO READ THEM

READ MY THOUGHTS, BUT MUMMY SEEMED TO BE ABLE TO READ THEM ANYWAY, AS IF SHE WERE INSIDE

SEEMED TO BE ABLE TO READ THEM ANYWAY, AS IF SHE WERE INSIDE MY HEAD, LOOKING OUT.

ANYWAY, AS IF SHE WERE INSIDE MY HEAD, LOOKING OUT. [¶...]

MY GREAT-GRANDFATHER LEO ONCE SAID, "ONE OF THE USES OF MONEY IS THAT IT ALLOWS US NOT

SAID, "ONE OF THE USES OF MONEY IS THAT IT ALLOWS US NOT TO LIVE WITH THE CONSEQUENCES

IS THAT IT ALLOWS US NOT TO LIVE WITH THE CONSEQUENCES OF OUR MISTAKES."

BUT I FEAR THAT IN THIS, LEO WAS WRONG.

>> Barbara: TONY! DO YOU KNOW WHAT I WOULD REALLY LOVE?

>> WHAT WOULD YOU REALLY LOVE? >> WHAT DO YOU THINK?

...THIS IS SO GOOD. >> I'M GLAD. >> IT'S EXACTLY WHAT I WANTED.

>> I'M GLAD. >> IT'S EXACTLY WHAT I WANTED. >> THEN I'M ALL THE MORE GLAD

>> IT'S EXACTLY WHAT I WANTED. >> THEN I'M ALL THE MORE GLAD THAT I WAS ABLE TO OBTAIN IT.

>> THEN I'M ALL THE MORE GLAD THAT I WAS ABLE TO OBTAIN IT. >> IS THERE A BETTER ICE CREAM

THAT I WAS ABLE TO OBTAIN IT. >> IS THERE A BETTER ICE CREAM IN THE WHOLE WORLD?

IS IT THURSDAY? >> YES, IT IS.

>> I HAVE DINNER WITH ETHEL TONIGHT. ETHEL DE CROISSET.

WITH ETHEL TONIGHT. ETHEL DE CROISSET. >> I'LL MAKE OTHER PLANS.

ETHEL DE CROISSET. >> I'LL MAKE OTHER PLANS. >> I'M SURE SHE WOULDN'T MIND IF

>> I'LL MAKE OTHER PLANS. >> I'M SURE SHE WOULDN'T MIND IF YOU TAGGED ALONG.

>> I'M SURE SHE WOULDN'T MIND IF YOU TAGGED ALONG. >> I WOULDN'T WANT TO IMPOSE.

YOU TAGGED ALONG. >> I WOULDN'T WANT TO IMPOSE. >> I DON'T LIKE WHAT HAPPENS...

>> I WOULDN'T WANT TO IMPOSE. >> I DON'T LIKE WHAT HAPPENS... WHEN YOU "MAKE OTHER PLANS."

>> I DON'T LIKE WHAT HAPPENS... WHEN YOU "MAKE OTHER PLANS." >> MUMMY... PLEASE.

WHEN YOU "MAKE OTHER PLANS." >> MUMMY... PLEASE. >> "THE AFTERNOON

>> MUMMY... PLEASE. >> "THE AFTERNOON OF THE LONGEST LAUNDRY"?

>> "THE AFTERNOON OF THE LONGEST LAUNDRY"? >> [SNICKERS] I DON'T DO THAT

OF THE LONGEST LAUNDRY"? >> [SNICKERS] I DON'T DO THAT ANYMORE.

>> [SNICKERS] I DON'T DO THAT ANYMORE. >> MM... HMM.

>> WHAT DOES THE "G" STAND FOR?

>> WHAT, DEAR? >> THE "G".

>> GEORGE. LIKE HIS FATHER.

DO MY WRISTS, WOULD YOU?

[MAGAZINE DROPS ON THE FLOOR]

[WATER IN THE TUB SPLASHES]

THAT WAS LOVELY. AND NOW... [WATER SPLASHING] I NEED SOME PRIVACY.

[WATER SPLASHES] SCOOT, SO THAT I CAN GET DRESSED.

TEENY... I'M SO SORRY. >> Tony: I'M SO SORRY. MUMMY ALWAYS SAID THAT

>> Tony: I'M SO SORRY. MUMMY ALWAYS SAID THAT I SHOULD BE FURIOUS WITH YOU

MUMMY ALWAYS SAID THAT I SHOULD BE FURIOUS WITH YOU FOR STEALING MY GIRL.

I SHOULD BE FURIOUS WITH YOU FOR STEALING MY GIRL. BUT I SAID, "MUMMY,

FOR STEALING MY GIRL. BUT I SAID, "MUMMY, HE DIDN'T HURT ME.

BUT I SAID, "MUMMY, HE DIDN'T HURT ME. HE HURT YOU."

HE DIDN'T HURT ME. HE HURT YOU." STILL, PAPA, YOU SHOULD HAVE

HE HURT YOU." STILL, PAPA, YOU SHOULD HAVE COME BACK.

STILL, PAPA, YOU SHOULD HAVE COME BACK. I THOUGHT THAT ONE DAY YOU'D

COME BACK. I THOUGHT THAT ONE DAY YOU'D WAKE UP AND KNOW THAT TOO.

BUT YOU NEVER DID.

AND SOMETHING ELSE I WANT YOU TO KNOW. GIOTTO'S COLLAR HAS

TO KNOW. GIOTTO'S COLLAR HAS DISAPPEARED, AND I WILL NOT BE

GIOTTO'S COLLAR HAS DISAPPEARED, AND I WILL NOT BE ABLE TO SLEEP UNTIL WE FIND IT.

[BIRDS CHIRPING, CAWING] [¶...]

[LIGHTER SNAPS OPEN, CLICKS]

[LIGHTER CLICKS CLOSED] [¶...]

[LIGHTER CLICKS CLOSED]

>> Barbara: NOT THE FORMAL OPENING DINNER, OF COURSE, THAT'S ME AND 17 OF THE DEALER'S

OPENING DINNER, OF COURSE, THAT'S ME AND 17 OF THE DEALER'S CLOSEST FRIENDS, YOU KNOW,

THAT'S ME AND 17 OF THE DEALER'S CLOSEST FRIENDS, YOU KNOW, GETTING PISSED AT REGINE'S.

CLOSEST FRIENDS, YOU KNOW, GETTING PISSED AT REGINE'S. [WOMAN CHUCKLES]

GETTING PISSED AT REGINE'S. [WOMAN CHUCKLES] THIS IS DIFFERENT, MORE

[WOMAN CHUCKLES] THIS IS DIFFERENT, MORE INTIME.

THIS IS DIFFERENT, MORE INTIME. WHAT I WAS THINKING WAS THAT

INTIME. WHAT I WAS THINKING WAS THAT AFTER THE VERNISSAGE, I WOULD

WHAT I WAS THINKING WAS THAT AFTER THE VERNISSAGE, I WOULD GATHER TOGETHER A SMALL GROUP:

AFTER THE VERNISSAGE, I WOULD GATHER TOGETHER A SMALL GROUP: YOU AND MISHKA, OF COURSE, AND

GATHER TOGETHER A SMALL GROUP: YOU AND MISHKA, OF COURSE, AND ETHEL DE CROISSET AND THE DURANS

YOU AND MISHKA, OF COURSE, AND ETHEL DE CROISSET AND THE DURANS AND BILL AND ROSE STYRON, IF

ETHEL DE CROISSET AND THE DURANS AND BILL AND ROSE STYRON, IF THEY ARE STILL IN TOWN.

AND BILL AND ROSE STYRON, IF THEY ARE STILL IN TOWN. NOT, NOT "BUYERS,"

THEY ARE STILL IN TOWN. NOT, NOT "BUYERS," NOT, NOT A BUSINESS THING.

NOT, NOT "BUYERS," NOT, NOT A BUSINESS THING. THANK YOU.

NOT, NOT A BUSINESS THING. THANK YOU. >> PEOPLE YOU LOVE AND WHO

THANK YOU. >> PEOPLE YOU LOVE AND WHO I KNOW WOULD LOVE EACH OTHER.

>> PEOPLE YOU LOVE AND WHO I KNOW WOULD LOVE EACH OTHER. OH, I CAN'T BEGIN TO TELL YOU

I KNOW WOULD LOVE EACH OTHER. OH, I CAN'T BEGIN TO TELL YOU HOW MUCH TONY ADORES LONDON.

OH, I CAN'T BEGIN TO TELL YOU HOW MUCH TONY ADORES LONDON. I BELIEVE IT'S BROUGHT ABOUT

HOW MUCH TONY ADORES LONDON. I BELIEVE IT'S BROUGHT ABOUT A SEA CHANGE IN HIM.

DO YOU REMEMBER IN PARIS HOW DOWN HE COULD GET? HOW... PULLED WITHIN HIMSELF AND THEN IN THE

DOWN HE COULD GET? HOW... PULLED WITHIN HIMSELF AND THEN IN THE MORNING, HOW AGITATED?

WITHIN HIMSELF AND THEN IN THE MORNING, HOW AGITATED? >> WELL, THAT'S STILL TONY, OF

MORNING, HOW AGITATED? >> WELL, THAT'S STILL TONY, OF COURSE, BUT IN LONDON, HE EATS,

>> WELL, THAT'S STILL TONY, OF COURSE, BUT IN LONDON, HE EATS, HE WALKS, HE EVEN SHOPS.

COURSE, BUT IN LONDON, HE EATS, HE WALKS, HE EVEN SHOPS. THIS MORNING, WE STAYED IN BED

HE WALKS, HE EVEN SHOPS. THIS MORNING, WE STAYED IN BED UNTIL 11, READING THE

THIS MORNING, WE STAYED IN BED UNTIL 11, READING THE NEWSPAPERS.

UNTIL 11, READING THE NEWSPAPERS. FOR HIM, THAT'S UNHEARD OF.

NEWSPAPERS. FOR HIM, THAT'S UNHEARD OF. FOR ME, PARADISE.

FOR HIM, THAT'S UNHEARD OF. FOR ME, PARADISE. >> OH, THANK YOU.

FOR ME, PARADISE. >> OH, THANK YOU. >> IT'S A PLEASURE.

>> OH, THANK YOU. >> IT'S A PLEASURE. >> NOW, WHAT DO YOU THINK,

>> IT'S A PLEASURE. >> NOW, WHAT DO YOU THINK, MISHKA, OF A SMALL DINNER

>> NOW, WHAT DO YOU THINK, MISHKA, OF A SMALL DINNER FOLLOWING THE VERNISSAGE?

MISHKA, OF A SMALL DINNER FOLLOWING THE VERNISSAGE? >> WHAT'S NOT TO LIKE?

FOLLOWING THE VERNISSAGE? >> WHAT'S NOT TO LIKE? IT SOUNDS LIKE A GREAT IDEA.

>> WHAT'S NOT TO LIKE? IT SOUNDS LIKE A GREAT IDEA. >> WELL, I WAS THINKING I MIGHT

IT SOUNDS LIKE A GREAT IDEA. >> WELL, I WAS THINKING I MIGHT HAVE IT HERE.

>> WELL, I WAS THINKING I MIGHT HAVE IT HERE. I THOUGHT IT MIGHT ADD A NOTE OF

HAVE IT HERE. I THOUGHT IT MIGHT ADD A NOTE OF CLASS TO MY OWN LITTLE WORKS

I THOUGHT IT MIGHT ADD A NOTE OF CLASS TO MY OWN LITTLE WORKS WHICH THEY IN NO WAY ON THEIR

CLASS TO MY OWN LITTLE WORKS WHICH THEY IN NO WAY ON THEIR OWN MERITS...

WHICH THEY IN NO WAY ON THEIR OWN MERITS... >> OF COURSE YOU CAN HAVE YOUR

OWN MERITS... >> OF COURSE YOU CAN HAVE YOUR LITTLE DINNER OVER HERE.

>> OF COURSE YOU CAN HAVE YOUR LITTLE DINNER OVER HERE. [MUNCHING SALAD]

LITTLE DINNER OVER HERE. [MUNCHING SALAD] >> I DON'T KNOW HOW

[MUNCHING SALAD] >> I DON'T KNOW HOW TO THANK YOU.

TONY WILL BE THRILLED.

>> [SIGHS] [BIRDS CHIRPING]

[DOOR SHUTS] >> WELL...? WHERE IS IT?

WHERE IS IT? WHERE DID YOU PUT IT? >> Barbara: IT IS NOT MY

WHERE DID YOU PUT IT? >> Barbara: IT IS NOT MY RESPONSIBILITY TO KEEP TRACK OF

>> Barbara: IT IS NOT MY RESPONSIBILITY TO KEEP TRACK OF YOUR OBJECTS.

RESPONSIBILITY TO KEEP TRACK OF YOUR OBJECTS. >> BUT IT'S NOT ANYWHERE.

YOUR OBJECTS. >> BUT IT'S NOT ANYWHERE. >> MISSY HARNDEN IS THE SOUL

>> BUT IT'S NOT ANYWHERE. >> MISSY HARNDEN IS THE SOUL OF GRACIOUSNESS.

>> MISSY HARNDEN IS THE SOUL OF GRACIOUSNESS. WHEN I MENTIONED THAT THERE

OF GRACIOUSNESS. WHEN I MENTIONED THAT THERE WOULD BE A VERNISSAGE AFTER THE

WHEN I MENTIONED THAT THERE WOULD BE A VERNISSAGE AFTER THE OPENING, SHE OFFERED TO HOST

WOULD BE A VERNISSAGE AFTER THE OPENING, SHE OFFERED TO HOST A LITTLE DINNER,ERED TO HOST

OPENING, SHE OFFERED TO HOST A LITTLE DINNER,ERED TO HOST CHEZ HARNDEN.

A LITTLE DINNER,ERED TO HOST CHEZ HARNDEN. >> I'M SO HAPPY FOR YOU, MUMMY.

CHEZ HARNDEN. >> I'M SO HAPPY FOR YOU, MUMMY. >> I DO LIKE THE WAY YOU'VE BEEN

>> I'M SO HAPPY FOR YOU, MUMMY. >> I DO LIKE THE WAY YOU'VE BEEN DRESSING LATELY.

>> I DO LIKE THE WAY YOU'VE BEEN DRESSING LATELY. IS THAT FROM GIEVES?

DRESSING LATELY. IS THAT FROM GIEVES? >> NO, ACTUALLY, IT'S

IS THAT FROM GIEVES? >> NO, ACTUALLY, IT'S FROM ANDERSON.

>> NO, ACTUALLY, IT'S FROM ANDERSON. FROM ANDERSON AND SHEPPARD.

FROM ANDERSON. FROM ANDERSON AND SHEPPARD. >> DID YOU JUST WALK IN?

FROM ANDERSON AND SHEPPARD. >> DID YOU JUST WALK IN? >> NO, YOU MIGHT JUST WALK INTO

>> DID YOU JUST WALK IN? >> NO, YOU MIGHT JUST WALK INTO GIEVES, BUT YOU'RE NOT GOING TO

>> NO, YOU MIGHT JUST WALK INTO GIEVES, BUT YOU'RE NOT GOING TO WALK INTO ANDERSON.

GIEVES, BUT YOU'RE NOT GOING TO WALK INTO ANDERSON. YOU GET WALKED INTO ANDERSON.

WALK INTO ANDERSON. YOU GET WALKED INTO ANDERSON. IN MY CASE, BY TIMOTHY CHALMERS.

YOU GET WALKED INTO ANDERSON. IN MY CASE, BY TIMOTHY CHALMERS. >> HAVE YOU BEEN SEEING A LOT OF

IN MY CASE, BY TIMOTHY CHALMERS. >> HAVE YOU BEEN SEEING A LOT OF YOUNG TIMOTHY CHALMERS?

>> HAVE YOU BEEN SEEING A LOT OF YOUNG TIMOTHY CHALMERS? BECAUSE I DON'T THINK HE'S THE

YOUNG TIMOTHY CHALMERS? BECAUSE I DON'T THINK HE'S THE KIND OF PERSON YOU WANT TO BE

BECAUSE I DON'T THINK HE'S THE KIND OF PERSON YOU WANT TO BE LEARNING FROM, IF WHAT YOU WANT

KIND OF PERSON YOU WANT TO BE LEARNING FROM, IF WHAT YOU WANT TO LEARN IS HOW TO BE A MAN.

>> WHAT DO YOU MEAN? >> I MEAN I DON'T THINK TIMOTHY LIKES WOMEN VERY MUCH.

>> I MEAN I DON'T THINK TIMOTHY LIKES WOMEN VERY MUCH. >> OH, HE'S ENGLISH, IS ALL.

LIKES WOMEN VERY MUCH. >> OH, HE'S ENGLISH, IS ALL. HE'S THE KIND OF PERSON THAT

>> OH, HE'S ENGLISH, IS ALL. HE'S THE KIND OF PERSON THAT DOES THINGS FOR PEOPLE...

HE'S THE KIND OF PERSON THAT DOES THINGS FOR PEOPLE... IN THE WAY THAT MISSY HARNDEN

DOES THINGS FOR PEOPLE... IN THE WAY THAT MISSY HARNDEN DOES FOR YOU.

IN THE WAY THAT MISSY HARNDEN DOES FOR YOU. >> I HOPE YOU HAVEN'T INCURRED

DOES FOR YOU. >> I HOPE YOU HAVEN'T INCURRED ANY KIND OF OBLIGATION.

>> I HOPE YOU HAVEN'T INCURRED ANY KIND OF OBLIGATION. >> MOTHER, WE'RE TALKING ABOUT

ANY KIND OF OBLIGATION. >> MOTHER, WE'RE TALKING ABOUT AN INTRODUCTION TO A TAILOR,

>> MOTHER, WE'RE TALKING ABOUT AN INTRODUCTION TO A TAILOR, A CLOTHIER.

AN INTRODUCTION TO A TAILOR, A CLOTHIER. >> WELL, I VERY MUCH LIKE

A CLOTHIER. >> WELL, I VERY MUCH LIKE THIS MATERIAL...

>> WELL, I VERY MUCH LIKE THIS MATERIAL... THIS FABRIC.

WHAT WOULD YOU CALL IT? >> IT'S A WORSTED, I SHOULD THINK.

>> IT'S A WORSTED, I SHOULD THINK. >> MMM, WELL, IT'S MUCH NICER

I SHOULD THINK. >> MMM, WELL, IT'S MUCH NICER THAN YOUR OTHER WORSTED.

>> MMM, WELL, IT'S MUCH NICER THAN YOUR OTHER WORSTED. >> WELL, THAT'S ANDERSON.

>> THIS IS INTERESTING. >> BARBARA...

PLEASE. >> YOU DON'T SEEM TO MIND IT. PART OF YOU DOESN'T SEEM TO

>> YOU DON'T SEEM TO MIND IT. PART OF YOU DOESN'T SEEM TO MIND IT.

>> WELL, I SUPPOSE I DON'T...

MIND. >> YOU MIGHT EVEN ENJOY IT. >> I MIGHT.

>> YOU MIGHT EVEN ENJOY IT. >> I MIGHT. >> AH, I'M FINDING SOME

>> I MIGHT. >> AH, I'M FINDING SOME BUTTONS HERE.

>> AH, I'M FINDING SOME BUTTONS HERE. HOW MANY?

BUTTONS HERE. HOW MANY? >> FIVE.

HOW MANY? >> FIVE. THEY DO THEM WITH FIVE.

>> FIVE. THEY DO THEM WITH FIVE. >> THAT'S FIVE.

THAT'S FOUR...

AND THAT'S THREE...

HOLD THAT THOUGHT.

[DOOR SHUTS] [CLOCK TICKING...]

[CLOCK CHIMING...]

[DOOR OPENS, CLOSES]

I LIKE THE BOXERS YOU'VE CHOSEN. >> I PICKED THEM OUT FOR MYSELF.

>> [SOFTLY]: HOW DOES THAT FEEL? >> [SOFTLY]: I THINK YOU KNOW.

>> [PANTING...]

[PANTING FASTER...]

[PANTING SLOWS, FADES...]

DID YOU COME?

>> NO.

>> WE CAN DO SOMETHING ABOUT THAT.

[TONY PANTING...]

[TONY GROANS]

[BARBARA SIGHS]

[SOFTLY]: YOU'RE THE BEST. YOU ARE. YOU ARE THE BEST.

YOU ARE. YOU ARE THE BEST. >> ARE YOU SURE YOU DIDN'T PUT

YOU ARE THE BEST. >> ARE YOU SURE YOU DIDN'T PUT IT ANYWHERE?

>> ARE YOU SURE YOU DIDN'T PUT IT ANYWHERE? [¶...]

>> WHY DO YOU CARE SO MUCH ABOUT THIS THING? >> FOR THE SAME REASON THAT

ABOUT THIS THING? >> FOR THE SAME REASON THAT ANYONE CARES ABOUT ANYTHING...

>> FOR THE SAME REASON THAT ANYONE CARES ABOUT ANYTHING... FOR ITS VALUE.

ANYONE CARES ABOUT ANYTHING... FOR ITS VALUE. ITS SENTIMENTAL VALUE.

FOR ITS VALUE. ITS SENTIMENTAL VALUE. >> WE ARE TALKING ABOUT A DOG

ITS SENTIMENTAL VALUE. >> WE ARE TALKING ABOUT A DOG COLLAR, A STUPID DOG COL...

>> WE ARE TALKING ABOUT A DOG COLLAR, A STUPID DOG COL... >> WE ARE TALKING ABOUT A COLLAR

COLLAR, A STUPID DOG COL... >> WE ARE TALKING ABOUT A COLLAR THAT BELONGED TO GIOTTO, A DOG

>> WE ARE TALKING ABOUT A COLLAR THAT BELONGED TO GIOTTO, A DOG I LOVED AND A DOG THAT DIED!

THAT BELONGED TO GIOTTO, A DOG I LOVED AND A DOG THAT DIED! >> INSIDE VOICE, PLEASE.

I LOVED AND A DOG THAT DIED! >> INSIDE VOICE, PLEASE. >> NOW THE DOG IS GONE BUT WE

>> INSIDE VOICE, PLEASE. >> NOW THE DOG IS GONE BUT WE STILL HAVE THE COLLAR AND WE

>> NOW THE DOG IS GONE BUT WE STILL HAVE THE COLLAR AND WE HAVE MOVED AND MOVED AND MOVED

STILL HAVE THE COLLAR AND WE HAVE MOVED AND MOVED AND MOVED AND WE HAVE NEVER LOST IT!

HAVE MOVED AND MOVED AND MOVED AND WE HAVE NEVER LOST IT! >> OH, TONY, PLEASE.

[¶...] >> [SOFTLY]: GO LOOK FOR IT.

GO! [¶...]

>> TONY?

TONY! [CLOCK CHIMING...]

GET YOUR THUMB OUT OF YOUR MOUTH. YOU ARE NOT A FUCKING BABY.

YOUR MOUTH. YOU ARE NOT A FUCKING BABY. [CHIMING CONTINUES...]

[FINAL CHIME FADES...] >> YOU HID IT.

YOU HID IT IN THE CUPBOARD... AT THE VERY BACK OF THE CUPBOARD WITH NINI'S SILVER...

AT THE VERY BACK OF THE CUPBOARD WITH NINI'S SILVER... >> I DID NO SUCH THING.

WITH NINI'S SILVER... >> I DID NO SUCH THING. >> THEN HOW DID IT GET THERE?

>> I DID NO SUCH THING. >> THEN HOW DID IT GET THERE? >> WELL, MAYBE YOU PUT IT THERE

>> THEN HOW DID IT GET THERE? >> WELL, MAYBE YOU PUT IT THERE FOR SAFEKEEPING AND THEN

>> WELL, MAYBE YOU PUT IT THERE FOR SAFEKEEPING AND THEN YOU FORGOT.

EVERYTHING'S GONNA BE ALL RIGHT.

LET ME HELP YOU. TONY, TONY...

[DISHES CLATTER...]

>> AFTER WE FOUGHT THIS MORNING, YOU WROTE SOMETHING ON A PIECE OF PAPER...

YOU WROTE SOMETHING ON A PIECE OF PAPER... AND I WAS SO ANGRY THAT WHEN YOU

OF PAPER... AND I WAS SO ANGRY THAT WHEN YOU WENT OUT FOR LUNCH, I JUST HAD

AND I WAS SO ANGRY THAT WHEN YOU WENT OUT FOR LUNCH, I JUST HAD TO TEAR IT UP.

WENT OUT FOR LUNCH, I JUST HAD TO TEAR IT UP. >> WE DIDN'T FIGHT THIS MORNING.

TO TEAR IT UP. >> WE DIDN'T FIGHT THIS MORNING. WE STAYED IN AND READ THE

>> WE DIDN'T FIGHT THIS MORNING. WE STAYED IN AND READ THE PAPERS, REMEMBER?

>> YOU WROTE IT IN THAT BACKWARDS WRITING... BUT I'M NOT STUPID.

BACKWARDS WRITING... BUT I'M NOT STUPID. I KNOW THAT YOU THINK I'M NOT

BUT I'M NOT STUPID. I KNOW THAT YOU THINK I'M NOT SMART, BUT I'M...

I KNOW THAT YOU THINK I'M NOT SMART, BUT I'M... [KNIFE SCRAPES]

SMART, BUT I'M... [KNIFE SCRAPES] ...SMART ENOUGH TO KNOW

[KNIFE SCRAPES] ...SMART ENOUGH TO KNOW THAT IF THERE IS A PIECE

...SMART ENOUGH TO KNOW THAT IF THERE IS A PIECE OF BACKWARD WRITING...

THAT IF THERE IS A PIECE OF BACKWARD WRITING... [SNIFFLES]

OF BACKWARD WRITING... [SNIFFLES] WHY, YOU JUST HOLD IT UP TO

[SNIFFLES] WHY, YOU JUST HOLD IT UP TO A MIRROR.

WHY, YOU JUST HOLD IT UP TO A MIRROR. SO I TORE IT INTO LITTLE PIECES

A MIRROR. SO I TORE IT INTO LITTLE PIECES AND I FLUSHED IT DOWN THE

SO I TORE IT INTO LITTLE PIECES AND I FLUSHED IT DOWN THE TOILET, BUT YOU KNOW HOW THAT

AND I FLUSHED IT DOWN THE TOILET, BUT YOU KNOW HOW THAT TOILET IS, AND THOSE PIECES,

TOILET, BUT YOU KNOW HOW THAT TOILET IS, AND THOSE PIECES, THEY JUST KEPT...

TOILET IS, AND THOSE PIECES, THEY JUST KEPT... THEY KEPT FLOATING TO THE TOP.

THEY JUST KEPT... THEY KEPT FLOATING TO THE TOP. >> I DON'T KNOW WHAT YOU'RE

THEY KEPT FLOATING TO THE TOP. >> I DON'T KNOW WHAT YOU'RE TALKING ABOUT.

>> I DON'T KNOW WHAT YOU'RE TALKING ABOUT. WHEN YOU TALK NONSENSE LIKE

TALKING ABOUT. WHEN YOU TALK NONSENSE LIKE THIS, I CAN'T UNDERSTAND YOU...

WHEN YOU TALK NONSENSE LIKE THIS, I CAN'T UNDERSTAND YOU... >> I'M NOT TALKING...

THIS, I CAN'T UNDERSTAND YOU... >> I'M NOT TALKING... >> I CAN'T HELP YOU.

>> I'M NOT TALKING... >> I CAN'T HELP YOU. >> I AM TELLING YOU!

>> I CAN'T HELP YOU. >> I AM TELLING YOU! >> YOU ARE SPOUTING!

>> I AM TELLING YOU! >> YOU ARE SPOUTING! [KNIFE PENETRATES]

[PULLS OUT KNIFE]

[CHILDREN SHOUTING IN DISTANCE...]

>> I'M GOING TO CALL AN AMBULANCE.

>> Tony: YES...

83... CADOGAN SQUARE. [CLOCK TICKING] THANK YOU.

[CLOCK TICKING] THANK YOU. [HANGS UP PHONE]

[DIALING ROTARY PHONE...] [¶...]

YES, I'D LIKE TO PLACE AN ORDER.

TO BE DELIVERED.

YES, BAEKELAND.

I'M VERY HUNGRY.

YEAH, THOSE THIN RICE NOODLES WITH PORK, SHREDDED PORK.

YEAH, THAT WOULD BE IT. AND SOME RICE, SOME FRIED RICE.

NO, THE LARGE.

DEAR PAPA... I'M HOPING YOU RECEIVE THIS LETTER...

[CHAIR SQUEAKS]

DURING THE TIME PRECEDING WHAT HAPPENED, A LOT OF RATHER STRANGE THINGS WERE HAPPENING.

HAPPENED, A LOT OF RATHER STRANGE THINGS WERE HAPPENING. EARLIER THAT AFTERNOON, I HAD

STRANGE THINGS WERE HAPPENING. EARLIER THAT AFTERNOON, I HAD A TELEPHONE CALL FROM A FRIEND

EARLIER THAT AFTERNOON, I HAD A TELEPHONE CALL FROM A FRIEND OF OURS WHO LIVES IN WALES.

A TELEPHONE CALL FROM A FRIEND OF OURS WHO LIVES IN WALES. SHE TOLD ME I HAD FALLEN DOWN

OF OURS WHO LIVES IN WALES. SHE TOLD ME I HAD FALLEN DOWN AN ELEVATOR SHAFT.

SHE TOLD ME I HAD FALLEN DOWN AN ELEVATOR SHAFT. [DOORBELL RINGS]

AN ELEVATOR SHAFT. [DOORBELL RINGS] I THOUGHT THIS RATHER STRANGE,

[DOORBELL RINGS] I THOUGHT THIS RATHER STRANGE, AND YET IT HAD A PROFOUND

I THOUGHT THIS RATHER STRANGE, AND YET IT HAD A PROFOUND EFFECT ON ME.

I WAS IN A DREADFUL STATE.

FOR A LONG TIME I DIDN'T KNOW WHERE I WAS. PAST MEMORIES KEPT FLOODING MY

WHERE I WAS. PAST MEMORIES KEPT FLOODING MY MIND AND I FELT LIKE I WAS

PAST MEMORIES KEPT FLOODING MY MIND AND I FELT LIKE I WAS RE-ENACTING PARTS OF MY

MIND AND I FELT LIKE I WAS RE-ENACTING PARTS OF MY FORMER LIFE.

RE-ENACTING PARTS OF MY FORMER LIFE. [SIREN WAILING...]

FORMER LIFE. [SIREN WAILING...] YOU KNOW I LOVED, AND STILL

[SIREN WAILING...] YOU KNOW I LOVED, AND STILL LOVE AND ADORE MY MUMMY MORE

YOU KNOW I LOVED, AND STILL LOVE AND ADORE MY MUMMY MORE THAN ANYONE IN THE WORLD.

LOVE AND ADORE MY MUMMY MORE THAN ANYONE IN THE WORLD. >> HELLO?

HELLO?

MR. BAEKELAND?

YOU WOULD BE MR. BAEKELAND, SIR? >> YES. >> AND THIS WOULD BE...?

>> YES. >> AND THIS WOULD BE...? >> MY MOTHER.

I DO WISH WE COULD ALL BE TOGETHER AGAIN.

AND ANOTHER THING IS, I HAVE SO MUCH IN MY HEAD THAT... TO LET IT OUT WOULD SURELY

MUCH IN MY HEAD THAT... TO LET IT OUT WOULD SURELY KILL ME.

TO LET IT OUT WOULD SURELY KILL ME. [GENERAL CONVERSATION...]

KILL ME. [GENERAL CONVERSATION...] NEVERTHELESS, I FEEL BETTER NOW

[GENERAL CONVERSATION...] NEVERTHELESS, I FEEL BETTER NOW AND EVEN FEEL THAT A GREAT

NEVERTHELESS, I FEEL BETTER NOW AND EVEN FEEL THAT A GREAT WEIGHT HAS BEEN LIFTED FROM

AND EVEN FEEL THAT A GREAT WEIGHT HAS BEEN LIFTED FROM MY SHOULDERS.

[GENERAL CONVERSATION...]

>> Man: ...IS IT SOMEONE FAMOUS? [GENERAL CONVERSATION...] >> Man 2: THEY SAID TO MOVE ON.

[GENERAL CONVERSATION...] >> Man 2: THEY SAID TO MOVE ON. >> Tony:: THEY SAID TO MOVE ON.

>> Man 2: THEY SAID TO MOVE ON. >> Tony:: THEY SAID TO MOVE ON. YES, IT IS VERY BORING

>> Tony:: THEY SAID TO MOVE ON. YES, IT IS VERY BORING HERE, BUT I TRY TO BE GOOD AND

YES, IT IS VERY BORING HERE, BUT I TRY TO BE GOOD AND NOT FRET...

AND YOU ASK ME WHAT IT'S LIKE TO BE IN PRISON, WELL...

JUST EXACTLY AS ONE WOULD IMAGINE.

[¶...] >> Brooks: THERE WILL BE A MASS

>> Brooks: THERE WILL BE A MASS GIVEN BY BARBARA'S FRIENDS WHO

THERE WILL BE A MASS GIVEN BY BARBARA'S FRIENDS WHO KNEW HER WELL AND REMEMBER WHAT

GIVEN BY BARBARA'S FRIENDS WHO KNEW HER WELL AND REMEMBER WHAT WAS LOVABLE AND BRAVE IN HER AT

KNEW HER WELL AND REMEMBER WHAT WAS LOVABLE AND BRAVE IN HER AT ST. MARY'S, CADOGAN GARDENS,

WAS LOVABLE AND BRAVE IN HER AT ST. MARY'S, CADOGAN GARDENS, AT 6:30 P.M. ON NOVEMBER 30th.

SHE WOULD HAVE BEEN HAPPY TO KNOW YOU HAD BEEN THERE TOO.

[¶...]

[¶...]

[¶...] >> Woman: ¶ LET'S GET OUT OF TOWN,

>> Woman: ¶ LET'S GET OUT OF TOWN, GO SWIMMING, SWIMMING ¶

OF TOWN, GO SWIMMING, SWIMMING ¶ ¶ MOVE YOUR ARMS AROUND,

GO SWIMMING, SWIMMING ¶ ¶ MOVE YOUR ARMS AROUND, WADING SO FAR OUT ¶

¶ MOVE YOUR ARMS AROUND, WADING SO FAR OUT ¶ ¶ NOTHING TO CRY ABOUT

WADING SO FAR OUT ¶ ¶ NOTHING TO CRY ABOUT ¶ MMM, MMM

¶ NOTHING TO CRY ABOUT ¶ MMM, MMM ¶ IT BARELY MAKES A SOUND

¶ MMM, MMM ¶ IT BARELY MAKES A SOUND [¶...]

¶ IT BARELY MAKES A SOUND [¶...] ¶ LET'S GET OUT OF HERE,

[¶...] ¶ LET'S GET OUT OF HERE, GO FLYING, FLYING ¶

¶ LET'S GET OUT OF HERE, GO FLYING, FLYING ¶ ¶ YOU'RE SO PRETTY, DEAR,

GO FLYING, FLYING ¶ ¶ YOU'RE SO PRETTY, DEAR, AND YOU'RE MINE NOW,

¶ YOU'RE SO PRETTY, DEAR, AND YOU'RE MINE NOW, AREN'T YOU, NOW? ¶

AND YOU'RE MINE NOW, AREN'T YOU, NOW? ¶ ¶ HIGHER THAN A CLOUD

AREN'T YOU, NOW? ¶ ¶ HIGHER THAN A CLOUD ¶ MMM, MMM

¶ HIGHER THAN A CLOUD ¶ MMM, MMM ¶ IT BARELY MAKES A SOUND

¶ MMM, MMM ¶ IT BARELY MAKES A SOUND [¶...]

¶ IT BARELY MAKES A SOUND [¶...] ¶ AHH-AHH, AHH-AHH, AHH...

[¶...] ¶ AHH-AHH, AHH-AHH, AHH... ¶ (AHH, AHH) AHH-AHH,

¶ AHH-AHH, AHH-AHH, AHH... ¶ (AHH, AHH) AHH-AHH, AHH-AHH, AHH... ¶

¶ (AHH, AHH) AHH-AHH, AHH-AHH, AHH... ¶ ¶ (AHH, AHH) AHH-AHH,

AHH-AHH, AHH... ¶ ¶ (AHH, AHH) AHH-AHH, AHH-AHH, AHH... ¶

¶ (AHH, AHH) AHH-AHH, AHH-AHH, AHH... ¶ ¶ (AHH, AHH) AHH-AHH,

AHH-AHH, AHH... ¶ ¶ (AHH, AHH) AHH-AHH, AHH-AHH, AHH... ¶

¶ (AHH, AHH) AHH-AHH, AHH-AHH, AHH... ¶ ¶ OH, DIDN'T YOU FIND ME

AHH-AHH, AHH... ¶ ¶ OH, DIDN'T YOU FIND ME DRAWN ON LIGHTLY? ¶

¶ OH, DIDN'T YOU FIND ME DRAWN ON LIGHTLY? ¶ ¶ DRAGGING IT OUT...

DRAWN ON LIGHTLY? ¶ ¶ DRAGGING IT OUT... ¶ OH, DIDN'T YOU KNOW ME?

¶ DRAGGING IT OUT... ¶ OH, DIDN'T YOU KNOW ME? ¶ NOTHING TO SHOW ME

¶ OH, DIDN'T YOU KNOW ME? ¶ NOTHING TO SHOW ME ¶ JUST GOTTA GET OUT...

¶ NOTHING TO SHOW ME ¶ JUST GOTTA GET OUT... ¶ OOH, OOH

¶ JUST GOTTA GET OUT... ¶ OOH, OOH [¶...]

¶ LET'S GET OUT OF TOWN, GO SAILING, SAILING ¶ ¶ THROW THE ANCHOR DOWN,

GO SAILING, SAILING ¶ ¶ THROW THE ANCHOR DOWN, HEAD TO HEAVEN WITH ME NOW ¶

¶ THROW THE ANCHOR DOWN, HEAD TO HEAVEN WITH ME NOW ¶ ¶ ANGEL ON THE BOW

HEAD TO HEAVEN WITH ME NOW ¶ ¶ ANGEL ON THE BOW ¶ MMM, MMM...

¶ IT BARELY MADE A SOUND [¶...]

¶ AHH... ¶ AHH, AHH, AHH... ¶ AHH...

¶ AHH, AHH, AHH... ¶ AHH... ¶ AHH, AHH, AHH...

¶ AHH... ¶ AHH, AHH, AHH... ¶ AHH, AHH, AHH...

¶ AHH, AHH, AHH... ¶ AHH, AHH, AHH... ¶ AHH, AHH, AHH...

[MUSIC CHANGES]

[¶...]

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[MUSIC ENDS]