Original subtitles

(CARN IvAL M U SIC PLAYIN G)

Hey, Ray. How's the wife?

Wel l , It...

How's the fam i Iy?

(LAU G H IN G)

(GAvE L POU N DS)

J U DG E : The first case I see here Is Reardon v. Reardon.

Wi I l cou nsel please stand?

We're petltion i ng , You r H onor.

And for the respondent?

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

I fi red h Im.

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

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

q u ite favorable to you r I nterests.

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

We were Impossi ble. We were I I ke oi I and water.

I sti I I Iove you .

Me, too.

That's what made It so hard to Ieave.

Ti I l you h it me. I s lapped you . I pushed you r face...

With you r hand .

Wel l , betrayal is not my best th i ng .

Yeah , wel I, I know.

I'm not the on Iy g uy who gets u pset if he fl nds h is wife s Ieepi ng ...

Look, I was n'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 l i ke you .

Try harder.

Oh , God , I'm al ready jealous .

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

and when you do...

S he's gol ng to be the I u cklest woman al ive.

To a free man .

Fresh 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 absol utely noth i ng I n common .

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

Ray always went for bru nettes .

You're tel I i ng me.

You're Larry's wlfe.

P icky, plcky. P Ius, you're a Iawyer.

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

He l i kes them th I n and dark and artlstlc.

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

What about Iove? NORMAN : Love?

E LAIN E : B ut in the Iong term, you're I nterested I n a fami Iy, rig ht?

I want everyth i ng . The kids, the dog , the volvo.

Whoa, whoa, whoa, s Iow down on the fami Iy, s port.

I mean , flrst you get Iaid , then you get laid .

Exactly. There are many, many women out there.

Ah !

Lots of s ki n ny women , even .

Anorexlcs . Yes. Dark, angel ic anorexics .

They're 33 years old , thei r biolog Ical clocks are tick-tock,

tick-tock, tick-tock. (BAN G IN G TAB LE)

Come now. I'm ovu Iati ng !

(M E N LAU G H IN G)

I'm fertl Ie today.

J ust today.

It ki I Is me to say It, but I'm goi ng to ag ree with N orman on th Is .

You are attractive,

you are straig ht, you are not overtly psychotlc.

Oh , than k you .

Listen . You j ust take you r tl me,

and don't you be a s Iave to you r g Iand u Iar reactions.

By the way, have I ever mentloned that my faml Iy crest Is actual Iy a big g Iand?

(LAU G H IN G)

I rest my case.

NORMAN : I am down on my knees .

I am begg I ng you .

AI I rig ht. Th is is h u mi I iatl ng .

Are you deaf? H u h?

I'm g uarantee i ng you 1 00o/c retu rn in slx months.

You're my friend , Norman .

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

I'm gon na Ioan money once, I'I l do It agai n ,

and sooner or Iater, I'm gon na Iose a frlend .

Great. Swel I, so, I'm floatl ng facedown .

AI I rig ht, Iook.

You know, I wanted to emphaslze the posltlve here.

The money's not j ust...

It wou Id keep me al Ive another 72 hou rs, okay?

Wou ld you r friends h I p al Iow you to do that? I Iove th Is .

How mu ch ? For the I nvestment?

To save you r l ife.

Wel l , say, 20 g rand .

I'I l g Ive you half.

You'I I save half my I ife?

See, th Is is n't good . 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 gol ng to reg ret th is.

What?

A year or two, fortu nes cou Id change.

You cou Id come to me wanti ng someth i ng .

See . See what happened here?

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

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

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

The pol nt 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 I I ke I was here, and it's bad tech n Iq ue.

They sald I was needy?

Desperate.

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

34 years old and stl I I an asshole.

They sald I was needy?

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

I invited a g i rl there. Bru nette, M idwest, so forth .

Perfect for you . No, I. . . PIease.

Tits? DId someone say tits?

Like pears .

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

The j u Icy Com ice you get i n the box from Oregon . Harry and David .

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

B ut please promise me you won't i ntrod u ce me to any more women .

Exactly my poi nt, if you 'd Iet me fl n Is h .

Bel ieve me, I can fl nd her myself.

Who says no?

Hey, a safe doesn't have to fal I on me. (C H U CKLES)

We sti I I friends?

Can I go back to work now?

And than ks for the 20 G's. U h -u h .

Ten , ten !

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

What is that, Iycra?

Norman Is the on Iy person I know who can tu rn h is birthday I nto a scam.

I mean , God . He's not paying for food, d rin ks.

He's provld 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 I m.

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

I g uarantee you , If there are any sales ton Ig ht, Norman's friends...

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

S peaki ng of wh ich , d id he come to you about th Is crazy...

Oh , the jackpot Idea. 1 00 g rand?

Yeah . E LAIN E : Yes, si r.

He got the money. What?

Wel l , he must have, 'cause one day, he was hawki ng me,

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

I got two kids, private school ,

E Iai ne's starti ng her own Iaw fi rm...

Peng u i n joke.

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

"Hey! Where you gol ng ?"

(ALL LAU G H IN G)

Are you Ray?

Hey, d Id I...

I'm Cheryl, Norman's friend .

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

I'm . . . Norman told me.

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

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

We are? Yeah .

(LAU G H IN G OB N OXIOUS LY)

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

You know, I th i n k Iaug hter is the g reatest aph rod isiac.

Don't you ag ree?

In the rlg ht circu mstances, yes .

You know, it's strange.

I feel someth i ng .

Do you feel someth I ng ?

I usual Iy fee l someth i ng .

No, not I I ke that. I mean ...

You know, when two people fix you u p.

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

B Iah , blah , splat, s plat.

I mean , us ual ly, it's j ust awfu I , rlg ht?

Rig ht.

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

Th is moment?

Yeah .

Look, I don't want to be forward, but wou Id 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 l rlg ht?

I'm . . . S h it!

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

Th is is wl ne. You've ru I ned it. Sorry.

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

I was j ust tu rn i ng away from...

You don't I ike me.

RAY: N o. No, no, no.

What d Id he do to you ?

He is j ust u n bel Ievably ru de !

LE NA: Ug h ! You're not kidd i ng .

I was tryl 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 Ieave me alone.

S he's...

(SOB BIN G) Oh , God .

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

Th is jerk s pi l Ied wl ne on me.

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

If you ever set me u p with another woman , I'm gon na ki I l you . U nderstand ?

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

Happy bl rthday.

Than k you .

Oh , God , I'm embarrassed .

Last week. The wl ne.

B itch of the Western world .

Oh , rig ht.

I'm sorry. I have to apolog Ize.

No, no, no. No, I'm the one. . . I spi I Ied ...

No, I'm a klutz. Th ings I I ke that are always happen i ng to me.

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

P Ius I'd j ust boug ht that d ress.

I was tryl ng to impress th is g uy.

D id it work?

Yeah . He was i mpressed with what a bitch I am .

(LAU G HS) U m...

I'm real Iy sorry I ru i ned you r even I ng . If you want me to pay...

No, you d Id me a favor.

I m ig ht have gone for that g uy and I don't need that rig ht now.

Bes ides, you changed my I ife.

I 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 polson i ng my body.

Oh , but I got the water.

Anyway, I bel ieve I n body wlsdom.

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

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

(LAU G HS)

They have a very good selectlon here.

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

You don't have a g I rlfriend?

The g i rl at the art gal Iery, the one you made cry?

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

S he, u h . . . N o, she was . . . S he was tryi ng to rape me.

CAS H IER: Was th Is on speclal?

I don't know.

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

A g i rlfrlend of ml ne knows the artist.

Wi Id BI I I H ickok?

Yeah , he was ki nd of...

You want to get a cu p of coffee?

CAS H IER: $23 . 1 7.

Or a g Iass of French water?

Actual Iy, I haven't eaten yet, so...

Me either.

LE NA: So, I'm vP Sales .

I'm movl ng u p, then the C EO decldes he I I kes me .

I say no, but he's used to getti ng what he wants .

I have to th reaten to cal I h Is wife.

So, of cou rse he fl res me.

He spreads the word . It's a smal I commu n Ity.

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

You shou Id have gone to cou rt and fi Ied some ...

S u re. If, 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 l I , you know what I mean , usual Iy, you meet somebody...

You work together, or a frlend introd uces .

Not j ust a complete stranger.

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

It makes you cry?

No.

Layers and more Iayers .

Wel l ...

I th i n k we s hou Id go.

(S P EAKIN G JAPAN ESE)

I do bus I ness i n Japan .

(S P EAKIN G JAPAN ESE)

Where'd you Iearn to speak It?

(GIGG LES)

I stud Ied it at Swarth more .

I've forgotten most of it, but I Iove the concept of Japanese.

Symbols, not letters .

Th is is It.

Where I I Ive.

(C H U CKLIN G) Oh .

Th is was g reat.

Yeah , than ks for d I n ner.

U h ...

You th I n k I cou Id come u p? I mean , j ust for flve m i n utes?

It wou Id n't take five ml n utes .

(DOOR SH UTS)

HAL : Look, the Iaw doesn't matter. Th is is pol itics.

Now, if we take h Im to cou rt, we'l I wl 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 Iaw.

Excuse me, s ir?

Not now, Sal Iy.

Norman's on I i ne two.

U h , sorry, Hal .

Wel l ?

NORMAN :lf's Wednesday, I gof my Wednesday afternoon golf game,

and I'm ouf here wifh a mohile Fhone trying fo track down some chick.

NohodY knows her, okay? NohodY. Forget her.

(LAU G 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 , sweetle.

(B UZZER SOU N DS)

MAN :Yeah, whaf do you wanf? RAY: Sorry. I'm sorry.

LE NA: He1io ? H i .

Lena. H I .

Hel lo? Yeah ?

H i, th Is Is Ray. Reardon . From Iast n ig ht.

Do. . . I rememher.

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

I don't know you r Iast name, so there was no way for me to get I n touch .

Uh-huh.

Do you wan na go out? Come out?

Now or Iater 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 l be rlg ht out.

I was j ust taki ng a s hower.

H i .

H i .

I have these same col u mns i n my offlce.

I hope I'm not i ntrud i ng .

I don't ml nd .

I was walti ng outs Ide when I saw you come i n .

Why d id n 't you say hel Io?

Wel l ...

It's strange, don't you th I n 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 downstal rs, and I j ust...

And you thoug ht?

Wel l , u h , maybe that you I ived wlth 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 bus I ness .

No.

Wel l ...

Someth I ng's changed from Iast n ig ht.

Yes, it has .

Why? What's the problem?

I I i ke you .

That's the problem.

I real Iy I ike you .

That's not a problem.

I haven't seen them, I haven't talked to them.

They're...

Are you s u re you want to hear th Is?

Yes .

My mother used to h it me a Iot.

B ig th I ngs, I ittle th i ngs.

No reason at al I .

Noth i ng put her i n a good mood I I ke...

My father watched .

I real Ized they never wanted me.

I Ieft as soon as I cou ld .

Never even sent them a postcard .

You're so beautifu I .

Don't say that.

Why?

J ust don 't.

(B REATH IN G H EAVILY)

Yeah .

Look, j ust 'cause I'm halfway pretty,

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

Like I'm their 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 see i ng me at al I .

Yes, I am.

No.

"On ly God, my dear Cou ld Iove you for you rself alone

"And not you r yel Iow hai r."

Yeats.

No bou ndaries, very dangerous.

I thou g ht that's the way it was s u pposed to be i n storybooks .

Storybooks are stories I n books.

Th is is real l ife.

(MAN CHATTE RIN G ON TV)

You're stl I I ...

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

Oh , no, you don't.

You're the boss, rlg ht?

Cal l u nwel I, take a day off.

That sl mple?

That sl mple.

I thou g ht we mig ht take a s hower.

(LAU G H IN G) Yeah?

A n ice, Iong one.

Yeah .

We can make Iove for an hou r or so.

So we can j ust keep on doi ng th Is?

For how Iong ?

(SOFT MUS IC P LAYIN G)

(INAU DIBLE)

I'm so happy for h Im.

I mean It.

Ray, buddy, I have to tel l you ,

that is a beautifu I piece of ass .

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

s he chose me.

Does she have any s Isters, friends, fou rth cous i n ? Anyth i ng?

S he bu rned al l her bridges when she Ieft New York. Her on Iy friends are...

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

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

What?

Yes, because you 're bas ical Iy d isg ustl ng .

You have It al I .

I do.

(LAU G H IN G)

Oh ! I haven't danced so much s I nce ...

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

Ow. I'm sorry.

Wow! It'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?

I've got some eq u I pment I can Iend you .

(STAMMERIN G) No, I'm a klutz.

Don't. I...

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

Baby, Iet's never end u p I I ke that, okay?

Okay?

(P EOP LE C H E E RIN G)

WOMAN : Cong ratu Iatlons !

Geez.

(SIG HS) It's over.

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

You're not kidd i ng .

(CARN IVAL M U SIC PLAYIN G)

(IN DISTIN CT C HATTE RING)

Hey, Ray. I hear you got marrled .

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

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

The g i rl of you r d reams, 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 LAUG H IN G IN D ISTAN C E)

Wel l , maybe I shou Id ...

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

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

Let's go to the fu n house.

(LAU G H IN G WILD LY)

(EXC LAIM IN G)

(G ROAN IN G)

S he Iooks j ust I I ke you .

(G U RG LIN G)

Two years .

I Iove you .

I never thoug ht

it wou Id be possl 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?

P iru , Texas . I'm Cora's s ister.

I'm Lena Mathers, now Lena Reardon .

Dayton , Oh io.

Oh . I'm sorry. You r volce 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 ing ...

That's twlce that's happened .

Once i n New York, and now here.

S he Iooks exactly I I ke me.

Maybe she's my dou ble, my doppelganger.

S he's the one who's real Iy al ive.

I'm j ust. . . You don't fee l 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 U CKLES)

I'I l Iet you know.

Don't say that.

Okay. I'I I tal k to you Iater. AI I rig ht. Bye.

H i . Who was that?

Debby from my dance class.

Stuff I n her marrlage is i nsane.

Have I met Debby?

No, 'cause, wel l , she's g reat, but her h usband Is ...

It's an u n usual combi natlon .

He's a psychopath , and he's boring .

That is u n usual .

So how was you r day?

Any news on the Mu ra job?

No. It Iooks good .

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

What's u p with you , h mm?

(SIG HS) I'm sorry.

I j ust haven't felt very...

It's okay.

I hope It'I I come back.

It wi I I . The doctor said it'I I take tlme.

So how's It feel?

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

A partners h ip.

That's what marrlage is . Wel l , I don't I i ke It.

(C H U CKLES) You're not the on Iy one .

P Ius I get these welrd jealousles, susplclons .

Oh , yeah ? Like what?

Oh , that's normal , too.

Usual Iy It's j ust a way of d rivl ng you rself crazy.

B ut not always?

No. N o, not always .

What are you sayl ng? E Iai ne has ...

Someti mes everyth I ng's a cl ue,

and what you th I n k is paranola is actual Iy 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 Iate.

Oh , no, no. Don't even th I n k about It.

(C H U CKLES)

(LAU G H IN G) 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 brai ns to beauty, don't you ?

(STAMMERIN G) 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 l , 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 , I n the midd Ie of al I of that,

the pres Ident of the col Iege, Sam Shaw,

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

I hard Iy remember my best friends.

Oh , Mr. M u ra.

It's beautifu l .

(C LASSICAL M U SIC P LAYIN G ON STE REO)

We're gol ng to Japan .

We are? Mmm-h mm.

You got the Mu ra job? Mmm-h mm.

That's g reat. It is g reat.

Th is bu I Id i ng is gol ng 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?

'34. 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. She 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 I ngs can j ust come out of nowhere.

(LAU G HS DARKLY)

Exactly.

(S HOWER RU N N IN G)

Can I hel p you fi nd someth i ng ?

Is you r real name S Issy?

What?

You heard me.

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

Yeah .

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

Not I i ke sci-fi , I I ke real . Like are you real Iy her?

I don't know, Ray. I never stud ied ph I Iosophy.

Questions I ike that make my head h u rt.

(C H U CKLES)

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

he can't keep you east Iong or I'I I d Ie of Ionel i ness.

I wi I I . Bye-bye.

Ray. KIss me.

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

I Iove you , too.

Bye .

RADIO H OST :We we1come you hack fo WTXE, righf here in Piru, Texas,

home of fhe sawed-off shofgun.

If you don 'f Iike our music...

(S HOTG U N COC KS)

...Ieave fown.

(THE OTHER SIDE PLAYIN G) ♪ So You 're at fhe end of your wifs

♪ The end of your roFe

♪ You jusf can 't fix everything fhaf's hroke

♪ Gofta furn if Ioose, hahe

♪ Hey, jusf Ief if ride

♪ 'Cause if ain 'f ahouf Fride, now...

RAY: Hel Io.

I'm the executor of a very Iarge estate.

I'm tryl ng to fi nd someone who used to I Ive here.

Do you recog n ize her?

F irst name or n ickname is SIssy.

Never seen her.

Than k you .

♪ The ofher side of loneliness

♪ The ofher side of fhe hlues

♪ There really is a FIace 1ike this

♪ Where fhe sun is gonna shine for you

♪ You 'I1 feel fhaf old resf1essness

♪ When your fears have al1 heen cried

♪ And you 'll find your way over fhis

♪ Yeah, you 'II make if fo the ofher side ♪

There you go. Out of state?

Yeah . Land specu Iation or what?

Th in 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 Iose 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 Ieave you?

No.

Wel l , g Ive it ti me.

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'I I g ive her th Is, thoug h .

S he always had it I n her mi nd to marry somebody rlch .

(CAR H ORN HON KS)

Gotta go to work.

What's her name?

H u h ?

Her real name?

You don't know?

The l ma Sneeder.

S he stl I I have faml Iy here?

Most fol ks find th is stuff out beforehand .

Go u p that road there.

Take a rlg ht on Branch , a Ieft on H ickory.

It's the th ird house.

Tel l her h i from Buddy, you hear?

Mrs . Sneeder? Yes .

Oh , my God , it's Ray!

Yes, ma'am.

Is everyth i ng okay?

Yes .

Come i n . Come i n q u ickly.

Is it safe for you to be here?

Safe? With you r job.

(STAMMERIN G) I'm sorry. I'm...

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

Hey!

Hey!

M R. SN EE 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, actual Iy. Yes .

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

It's good to fi nal Iy meet you .

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

S u rprise.

Than k you .

I'm g Iad It's over.

Dad .

Come see the baby.

I'I l get those.

M RS . SN E E D E R: Y'al I need any hel p out there?

No, than ks .

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

I had to g ive them some reason why they cou Id n't vislt.

What about that story of you r mother beatl ng you and you r father watch i ng ?

Not true.

B ut there's Iots of d Ifferent kl nds of abuse with i n a fami Iy.

Rig ht, okay.

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

then what is true, Lena?

Who are you ?

I'm you r wife .

M R. SN EE D E R: Cal led her S issy

'cause we wanted to 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 Iy matter.

Sti l I , when she wrote me that s he was...

Wrote us .

Of cou rse. That goes without sayi ng .

Wel l , then , say It.

S he wrote us s he was chang i ng her name.

Wel l , natu ral ly, I was I ns u Ited .

We both were.

B ut it was kind of a woman's I ib th I ng .

Women change the i r name for a man when they get marrled ,

so why not change It for thel r own sakes?

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

You r parents seem I I ke perfectly decent people .

Yep.

Why'd you h ide them from me?

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

Can't you fee l it? They were th is welg ht d ragg i ng me down .

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

I wou Id've had h Is kids,

wou ld have d ru n k beer every n ig ht tl I I I got real Iy fat, ug Iy, 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.

I changed my name elg ht years ago. No more Thelma Sneeder.

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

Doesn't It seem at Ieast brave that I j ust became

th is complete ly d ifferent person?

It makes me Iook 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 Iy 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 wlth 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 Iy want?

I'm ti red, and I want to go to bed .

LE NA: I tried to tel I you so many tlmes, Iyl ng here I ike th Is .

I'd say to myself,

"N ow, Lena, tel I h Im."

I wish you had .

I was afraid

if you knew the real me that

I'd Iose you .

You be a good g i rl now.

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

S he does .

Good bye. Bye-bye.

If you 're not d ivorci ng me, I'd I i ke to send them money every month .

S u re.

Then we're okay?

Look at me.

Tel l me It's the truth .

You know It is.

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

no matter who you wl I I be, I'm gol ng to love you .

From now on , better than ever.

I Iove you .

WOMAN ON PA: Announcing fhe Ianding of flight 25O from Piru, Texas.

Now heffer fhan ever.

You're Iate, Ray. S how's al ready started .

WOMAN : Ray! Ray, my boy!

You're Iooki ng g rand !

You I i ke these? H u h ?

And th Is?

(M E N WH ISTLIN G)

Tel l me, Ray. Tel l me true.

Am I the g irl of you r d reams?

Mmm, actual Iy...

Of cou rse not! Look! Looky here.

♪ Some guys look af fhe eyes

♪ Some guys look af fhe fhighs ♪

I j ust Iook at the pu rse.

How about that? You I i ke It, Ray?

S u re, you do !

Recog n Ize her yet, h u h ?

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

the moment wh ich wl I I determl ne Ray Reardon's fate.

Here she Is, fol ks !

(LAU G H IN G)

NORMAN : And Iast huf nof 1easf, if's... Bahy Boh! Yeah!

For fhose of you who don 'f rememher Boh Bahy

from Iasf year's cufie-Fie contesf,

well, he wasn 'f horn yet.

Okay, and now it's Tina, cufe as ever. Yeah.

And Lena, cufer fhan ever. That's righf, all righf.

Come on now. Thaf's if. Don 'f serve it, hahy. Feel the hurn.

A ffagir1! Okay, and Pinhead Ray!

That's righf, Pinhead Ray wifh the Ferfect 1ife.

He 's gof fhe Ferfecf wife, fhe Ferfecf family.

Why, he 's gof everyfhing a man couid Fossih1y wanf,

exceFt a Wednesday affernoon golf game,

and, we11, a cufe, young misfress, huf never mind thaf now.

He doesn 'f have fime for any of fhese fhings...

LE NA: SfoF if, Norman. That's nof funnY.

NORMAN : Exacfly my Foint. According fo the Easf German Judge Lena, it's nof funnY.

So now we come to our Iega1 heagle E1aine, and her ciient, Bernardo

from West S ide Story and...

A Fost. Thaf is a greaf Fosf, hy the way.

And now, lef's furn fhe camera on...

This guy, yes! This is a sfuFid guy.

This is a guy who can 'f make a 1iving.

This is, uh...

RAY:A Fain in the ass. A Fain in fhe ass.

Thank you, Ray. Thank you.

This is fhe guy who 's going nowhere fast.

(STAMMERIN G) This is a... A Fain in fhe ass.

A Fain in fhe ass again. Thank you, Ray.

LE NA: Wi1i somehody sfoF him ? A Fain in fhe ass.

SfoF me ? I can 'f he sfoFped.

That's enoug h , N orman . For Ch rlst's sake. (C LAMORIN G)

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

So, u h , how's everyth i ng ?

S i nce we talked th Is morn i ng? Come on .

No, come on .

I haven't seen Lena i n a wh i le. S he Iooks g reat.

You're rlg ht. S he Iooks g reat.

Fou r months after g Ivl ng bi rth , s he Iooks real Iy g reat,

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

Yes?

No, I won't, actual Iy.

I changed my mi nd and I wl I I not be honest, because, u h , it's j ust that

I th i n k I saw somewhere where, for them,

g ivi ng bl rth is I I ke havi ng an affai r. That's what I meant.

It g ives them a g Iow. A g low, yes . (LAU G H IN G)

So she's al ive agal n i n a whole new way, and that's beautlfu I,

it so happens . A g low?

You , by the way,

can kiss my ass and that wl I I make us both happy.

It's the strangest th i ng . See for you rself.

Wel l , Bernardo?

Wel l , It doesn't Iook I I ke h im to me.

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

I th i n k he was swltched i n the hos pital .

(C RYIN G) Oh , I'm sorry. Is that what happened ?

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

There you go.

Good n Ig ht.

Good n Ig ht. Good n Ig ht, sweetheart.

(TH U N DERIN G)

(LE NA C H U C KLES)

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

Of cou rse I want to. It's j ust...

You j ust have to be patlent.

Yeah ? U 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 ld you try her agal n , please?

SALLY:t jusf did, sir.

Keep tryl ng her every 1 8 mi n utes

u nti I you reach her.

Yes, sir, huf it's Wednesday.

I have fhaf funeral fomorrow, so I'm 1eaving ear1y.

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

Yes, sir, of course.

(M UTTERIN G)

I Iove these late d I n ners after the kids are as Ieep.

You have a bru ise on you r Ieg .

C h rist.

Where'd you get It?

My sh rl n k says I shou Id ...

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 tal k about it

every tlme I bu mp I nto a chal 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 al I day.

What's wrong with you ?

I hope you enjoy these psychotic eplsodes.

So you go to h is place?

Excuse me? You fu ck h im at h Is place?

What are you talki ng about?

(SCOFFS) Open it u p.

D id you r secretary tel l you I cal Ied today?

At noon . I was out on site.

I cal Ied back al I afternoon .

I had th Is fantasy of coml ng to you r office

and screwl ng you r brai ns 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 rl n k's, and then I went to Debby's.

If you don't bel Ieve me, cal l Debby.

Want to cal I her?

Go ahead .

The mach I ne.

And you d Id n't Ieave a message.

You want to Ieave 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 Iate, everybody.

Are you the temp?

Yes, sl r. AI ice Kel Ier. (TYPIN G)

I'm Ray Reardon .

D id 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 frlends wlth my wife, rig ht? Lena?

S u re, you are .

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

Tel l me.

H i .

What a n Ice idea to meet I n the park.

You recog n ize that woman ?

You h i red a temp to be you r friend?

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

Everyone has friends .

When you told her what the job was, you were Iaug h i ng at me,

maki ng fu n of me.

S he d id n 't u nderstand .

See, it was n't j ust that I became Lena and Lena happened to meet you .

I chose you .

I fi rst saw you five years ago i n New York.

A party on the West S ide, Riverslde and . . . N i nety-someth i ng .

I saw you , and somehow I knew.

I knew you were It.

I was stl I I marrled .

Then Iater I heard you'd Ieft you r wlfe.

A friend of m i ne, M im i Moore, knows Norman ,

and so s he got i nformatlon from h Im.

Informatlon ?

The ki nd of th i ngs you l i ke, what kl nd of women you l i ke.

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

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

It's I I ke 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 the th I ng you fal I I n Iove wlth , is it?

I don't know.

Is th is the end?

I can't keep open I ng my heart to you and gettl ng ...

Is n't that what Iove is?

I don't mean passlon .

Love.

Is n't It an act of faith , Iovi ng someone

despite havi ng to put u p with th I ngs wh ich are i ntolerable?

Open i ng you r heart.

Agai n and agai n .

LARRY: She's rig ht.

I mean , are you perfect?

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

Love her anyway.

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

I cou Id tel I you some storles about E Iaine.

It's j ust. . . I feel I I ke a fool .

Oh , we're al I 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 shou Id Iower the pitch . AI I rig ht. Okay.

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

Yeah , okay. He's always in the car.

J ust a very. . . AIso, Sal Iy, we shou Id cal l Mr. M u ra, please, al I rig ht?

Yes, sl r. It shou Id be...

AIso, you r wife's Visa bl I I came here i nstead of the house.

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

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

Okay. So, pay it, and I'I l ask her about it ton Ig ht.

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 ld you cal l my house, please?

SALLY: (OVE R INTERCOM) I did, sir. She 's nof home.

Try the Hotel Chantlcleer.

Yes, sir.

Lena Reardon , please.

She 's checked ouf.

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

H i, sweetle. Be carefu I .

H i . H i .

I put a s nack on the table.

Oh , good . He's a good boy.

H i . H i .

Hey. Hey.

(C H U CKLES) H i .

J ean ne, take the klds out.

J EAN N E : What?

Take the kids outside, please.

Where wl I I I take them?

Anywhere. The park.

Yes, sl r. Come on , Ti na.

Come on . Ti na, come on .

(DOOR OPE NS AN D C LOS ES)

Is it real Iy necessary to th row a scene every s i ng Ie day?

What's that for?

You th rew away the bi I I .

What bl I I?

Hotel C hanticleer every fucki ng Wed nesday!

I th rew It away.

(LAU G HS)

Let me as k you th Is . Why weren't you more carefu I?

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

Leavi ng evidence arou nd I ike th Is, it's sloppy.

Why d id n 't you use a prophylactic?

Someti mes we do use a prophylactic

and sometlmes I j ust g ive h I m a blowjob.

I always knew you were abus ive. I do you , you do me.

Who is It?

Don't you know?

(C H U CKLES) Can't you g uess?

Debby.

(LAU G HS)

Debby's an answerl ng mach i ne.

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

Who the fuck is It?

You know h im better than I do.

Wel l , I n some ways, you know h im better.

In other ways, I know h Im better.

What? Aren't I tel I I ng you what you 've always s uspected?

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 amazing th I ng is, real Iy, al I th is tlme, you never s uspected .

AI I what time? (SCOFFS)

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

AI I my bru ises.

(LAU G HS)

The whole time? What about the klds?

Are they mi ne?

Do you know?

Of cou rse I do.

Whose are they?

I Iove them, and I ralsed them.

Yes, you have .

B ut I'm sti I I not gon na tel l you .

(G RU NTS)

(LAU G HS)

Is that al I?

(M UTTERIN G) Fuck.

(DOOR OPE NS)

(DOOR SLAMS S H UT)

Wed nesday.

Wed nesday. N orman's fucki ng golf game.

Mr. Reardon .

RAY: Who are you ?

I'm Dr. S hteen , Lena's psych iatrlst.

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

Lena cal Ied . 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 wlfe,

we can have you committed for 72 hou rs observation .

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

Officer! Officer!

Take it easy.

RAY: What the fu ck Is th is?

Take h I m away. 51 50 .

WOMAN :You will he held for ohservafion

according fo Welfare and Insfifufions code 5j59.

You may use fhe fe1eFhone, wear Your own clofhes,

and you may Fefifion fhe courf af anY fime for your release.

RAY: (WH IS P E RIN G) I don't care what kl nd of law you practlce, Hal .

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

The Iaw? F uck the Iaw!

(CARN IVAL M U SIC PLAYIN G)

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

the moment wh ich wl I I determl ne Ray Reardon's fate,

here she Is, fol ks !

(AU DIEN C E WHOOPS)

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

You shou Id have stayed wlth Martha.

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

(AU DIEN C E EXC LAIMIN G)

(AU DIEN C E AP P LAU DIN G)

(S LOW MUS IC P LAYIN G)

(FOOTSTE PS AP P ROAC H ING)

H i, sweetle.

How are the kids? I m iss them.

J ust peachy. Want to go for a wal k?

RAY: I can't bel Ieve they Iet us out together.

Oscar wl I I protect me.

A faci I Ity th is expens ive...

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

You're sedated .

I am? I don't feel sedated .

That's because you're crazy.

So, what are you dol ng here? (C H U CKLIN G)

Friday's you r hearl 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 i n here.

I j ust wanted to say...

Ray?

In spite of everyth I ng ...

I Iove you .

I real Iy, tru ly Iove you .

Norman wl I I be d isappoi nted .

Yeah . You've seen who I real Iy am.

You've seen more than anybody ever...

And you kept on Iovl ng me.

(WH ISPERIN G) You're a psychopath .

Probably.

A psychopath can stl I I Iove somebody, can 't they?

You r H onor. Cou nselor.

My cl ient's been off med icatlon for 36 hou rs?

Yes, of cou rse.

The staff s hou Id be bring i ng h im i n any mi n ute now.

(WH ISPERIN G)

Hel lo.

Mr. Reardon , you req uested th is wrlt heari ng .

RAY: Yes, You r H onor.

You're bel ng i ncarcerated agai nst you r wi I I .

And , Dr. S patz, the hospltal recommends?

It's a perplexi ng case, You r H onor.

I suspect an atyplcal psychos Is,

but I need more tlme to eval uate.

KU RITA: 1 30 days add itional?

Wait a ml n ute .

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

Mr. Reardon , you u nderstand th is is a Iegal proceed i ng ,

but I fl nd it very usefu I if the patient testifies flrst.

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

You're sayi ng that you r wife created a character and Identity

so you wou Id fal I i n love wlth her. RAY: Yes .

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

...who s he s Iept wlth th rou g hout you r marrlage at th Is ...

Hotel C hanticleer. And she'd cal l h I m someti mes on the phone

and pretend it was th is fictitlous g irlfrlend Debby.

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

No, no, no. N ot at al I .

B ut the d Iscovery of al I th Is in su ch a short tlme, I mean ...

I h it her.

I've never done that before, and the Idea that I pose

some sort of permanent danger to her Is j ust I ud Icrous.

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

U h , rig ht.

Now Iet's see what the other s ide has to say.

I'd I i ke to cal I Dr. Shteen , please.

Dr. Shteen , as Mrs . Reardon's psych iatrist,

do you fl nd that her h usband poses a th reat to her I ife?

I've thoug ht so for some tl me.

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

and on many occaslons, s he's had vis i ble and very alarmi ng bru Ises .

When I as ked her about them, s he sald that her h usband h it her.

That's bu I Is h it.

Mr. Reardon .

I've advlsed Lena freq uently to go and see the pol Ice.

So when th is latest 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 l take care of It.

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

KU RITA: Then Mr. Reardon's accusatlons about you and h is wlfe...

Look, I'm an asshole, You r H onor.

Can I say that?

AI I rig ht, see, I've always been an asshole, but th Is ...

Even if Lena wanted me...

Wel l , I probably cou ld n't res ist, to be honest.

Once I cou Id have. I mean , Iook at her. B ut to carry on th Is Iong?

Ray is my friend .

Bes ides, every Wed nesday afternoon

for the Iast 1 0 years, I've played golf.

I brou g ht some Ietters 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 vlolence,

particu Iarly towards women?

(SCOFFS)

KU RITA: What was that?

U m ...

Ray's fl rst wife Martha, when they broke u p, he slapped 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 Trl bbiu m.

KU RITA: And what is you r relationsh I p?

I'm j ust. . . I'm a frlend of Lena's from dance class,

and she cal Is me on the phone sometlmes .

Have you met Mr. Reardon ?

S u re, a cou ple of tlmes . I had d I n ner there.

U h , once I d ropped by.

(WH ISPERIN G) She's Iyi ng . I've never met her.

I th i n k s he's some fucki ng temp.

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

Excuse me?

Do you ?

I own a cookle s hop on the north side.

C hocolate ch ip, oatmeal rais in .

Okay, then , descrl be the Reardons' apartment.

(EXHALES) U h , it's a penthouse apartment with cathed ral cel I I ngs .

U m, the I Ivi ng room is on the rig ht, kitchen 's on the Ieft, and ...

AI I rig ht. AI I rig ht.

Mr. Reardon , you 're a d istl ng u is hed 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 H onor.

KU RITA: You Iook sane, you sou nd sane, sl 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 H onor, what about her bl I Is?

The H otel C hanticleer every Wed nesday?

$ 1 33. $379 .

Mrs . Reardon ?

You r H onor, I went to th is H otel C hantlcleer,

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 I ble for these charges?

I must have used that cred It card once or twice

and then Iost it.

U h , I d Id n't real Ize it was mlss i ng u ntl I a few days ago.

I cal Ied the company, and they sent over copies of the charges

if you 'd I ike to compare s ig natu res .

That's not necessary.

RAY: What?

I'm sorry, Mr. Reardon .

You're sorry? You're sorry?

(WH ISPERIN G) Hey, relax.

Th is is my I ife we're tal ki 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 hos pital ,

you r wlfe cou ld have put you I n jai I .

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

Come 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 Iatl ng you .

Mr. Reardon , that's enoug h .

Get you r fucki ng hands off me.

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

Oh , fu ck you . AI I rlg ht? You've al ready made u p you r fu ckl ng mi nd .

Very wel I, then . Proceed .

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

S he I ies to me, and s he tel ls a d Ifferent I Ie to you .

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

Yeah , fucki ng rig ht s he'd take it.

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

KU RITA: M r. Reardon . I'm a mach i ne? You marrled me.

I marrled you and I Ioved 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 i ns ...

You r H onor, please. I'm done. I'm done.

Here. Take th is.

They don 't Iet us wear these i n here.

Get you r fucki ng hands off me !

N U RSE : How we doing today, Ray?

God bless pharmaceuticals.

B ILLY: You know what my daddy says?

My daddy says there are no accldents,

that we al I get exactly what we want.

RAY: You r daddy's wrong .

Talk about it.

Fam i Iy makes you crazy, and frlends 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 tel I anybody you're comi ng .

(DIAL TON E D RON IN G)

Go to bed .

Ray.

Ray, it's E Iai ne.

I'm here.

Is it al I 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 Ied me, rlg ht? I'm su re It was you .

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

but th Is Is a very weird Iegal area. I...

Than ks for comi ng .

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

Wel l , I was wrong about N orman , and I th I n k it was Larry.

What was Larry?

Larry's been fucki ng Lena.

Is that poss ible, for a Iong time, fou r or flve years?

It's poss Ible, but I...

It's more than poss Ible . It explal ns ...

It wou Id explai n ...

I th i n k the two of them are tryl ng to get my money.

And go to New Zealand .

What?

What?

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

It was a down payment we cou Id 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 l h I m you know.

I won't.

Make h Is I ife a mlsery.

(S N ORTS)

Bel ieve me.

I want to retai n you r Iegal services .

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

No. Good .

Then tel I me if th is wl I I work.

What?

Lena, It's E Iai ne. I'm out here visltl ng Ray.

No, he's sedated .

He's sl Ient, but he d Id say th is one th i ng .

He said , "You made a m istake."

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

He said you made a blg m istake. 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'I l see you soon .

Good I u ck.

(WH ISPERIN G) Bi I Iy?

B i I ly, wake u p.

(GASPS) Talk about It.

What's my name?

J oh n ? What's you r name?

J oh n . Do you want $ 1 00?

American money?

You bet.

I'I l reml nd you every n ig ht,

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

and you 'I I 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 S INGIN G IN D ISTAN CE)

MAN : Happy birthday!

Timber!

(G RU NTS) J esus, BI I Iy, who woke you u p? Get off of me !

Get off of me !

(BILLY SOUAWKIN G)

You r old boyfriend, 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 l done.

(C H U CKLIN G) I j ust th i n k it's wonderfu l that you've come.

Than k you so, so much .

I came because of some bu I lsh It you told E Iai ne.

There's a flaw i n my plan?

S peaki ng of plans, I must as k.

Are you real Iy gol ng to New Zealand wlth Larry?

(S N ICKERS) Larry?

When I'm done with h im, he'l I wls h he was you .

What are you gon na do with my klds?

Take you r kids away with me and tel I them you d ied , or maybe I'I I j ust Ieave them.

I don't th i n k so.

You stl I I don't have the fal ntest cl ue who I am or what I do.

Likewise.

God , you are so beautlfu I . Ravls h i ng .

(SCOFFS) You okay?

Never better.

Never, never better.

(C H U CKLIN G)

What are you doi ng?

Wel l , th Is is the Iast time we're gon na see each other, rig ht?

Rig ht.

I want to than k you with al I s i ncerity.

I've been s Ieepwal kl ng my whole I ife,

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 su ch clarity, s uch ruth Iessness.

Wel l done. Let me go.

No.

I'I l scream.

(LAU G HS) No, you won't.

Why won't I?

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

Get what?

What you want.

What you deserve.

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

You were so good at it.

And you mlg ht want to do it agal n .

Okay, tel I me .

Kiss me flrst.

What?

Kiss me and I'I I tel I .

On Iy it has to be a real kiss. Someth I ng to remember.

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

Kiss me,

then I'I I release you .

(EXC LAIMS)

Who are you , Lena?

Who wi I I you be when you d ie?

You don't have the g uts .

Don't I?

No, Ray, you're too practlcal .

What about the conseq uences?

There are no conseq uences.

That's the flaw I n you r plan .

I'm crazy.

You've d rlven me crazy.

That was the whole Idea.

Wel l , crazy people aren't res ponsi ble.

Crazy people aren't Iegal Iy res ponsi ble.

Not g u I Ity by reason of i nsan Ity.

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

(C HOKIN G)

(BALLROOM M U SIC PLAYIN G)