All language subtitles for Too.Close.for.Comfort.S01E09.The.Location.1080p.PCOK.WEB-DL.AAC2.0.H.264-Test_track3_[eng]

**

**

- Muriel, where have you been?

- Well, I dropped off
your drawings,

bought a new camera lens,

and had a mad fling
in a sleazy motel.

- What kind of lens?

- (scoffs)
How sweet.

You missed me.
- Well, I was worried.

I thought perhaps something
had happened to you.

- It did.

I had the most wonderful talk
with Mr. Wainwright.

I have exciting news.

- He loved my drawings?
- No.

- He hated my drawings.

- Henry, your drawings
were fine.

But he told me there's an
opening for a staff photographer

in one of his magazines,
"News View."

- You're trying
to tell me something.

- Oh, Henry, you know
photojournalism

is what I've always wanted.

And Mr. Wainwright really seemed
interested in me.

- Yes, well,
I'm very happy for you.

- You don't sound it.

- Well, I'm sorry, Muriel.
It's just that I--

I know what happens
to photojournalists.

They get sent on assignments.
They travel to exotic places.

They meet other
photojournalists.

They have mad,
impetuous affairs.

- Ooh!
Sounds terrific.

And I get paid too.

Aww.
- Mom, Dad!

There's this guy
in my cinema class,

Nino Antonelli.
He's a friend of Monroe's.

- He's a genius.
Are we interrupting something?

- A lot.

- He's really
a brilliant director.

And he's shooting a movie
for his graduate thesis.

- Everyone says he's gonna be
another Martin Scorsese.

- Who needs another one?

I can't even pronounce
this one's name.

- Now, here's the big news.

Our apartment is
going to be in his movie.

- What do you mean
your apartment

is going to be in his movie?

- Well, Nino has been looking
for an apartment

to shoot some scenes in.

- And I said he could use ours
as a location.

That's movie talk.

- Forget it.

That's landlord talk.

- But, Dad,
we already made a deal.

I signed a paper saying
he could use our apartment.

- And we've already accepted
Nino's check for $50.

- "We"?
"We"?

How did you get involved
in this, Monroe?

- Well, I put
the package together.

I introduced Nino to Sara.

And then I negotiated the
location fee for the apartment.

You could say I acted
as the agent.

- I could say a lot
of other things, Monroe.

- Well, if it'll make you
feel better, Mr. Rush,

I won't take any commission.

- Sara, you really
should've asked first.

I have heard terrible stories
about movie companies

coming into a home
and wrecking the place.

- But, Mom,
it's only for one day.

- Nino's downstairs right now.
He's looking over the apartment

to get some camera angles.

- They're shooting on Saturday.

- Oh, oh, not Saturday.

(stammering)
Saturday is no good.

- But Mom!

- Listen to your mother, Sara.

Saturday is out.

Why is Saturday out?

- I, uh, I invited
Mr. Wainwright to dinner.

He wants to see my work,
and I can't take a chance

on anything going wrong.

- You invited Wainwright
to dinner

without asking me, Muriel?

You know how I feel
about that man.

I mean, how could you
invite my boss

into my house for dinner?

The least you could do is have
the courtesy to ask me first!

- Roast beef okay?

- Roast beef sounds fine.

- Hey, Dan, I'm telling you,
don't worry about it.

The deal--
- Hey, Sara, how--

- Hey, hey, hey,
hold it down, will ya?

I'm on the phone!

Go ahead.

- Who are you?
- I'm in the apartment now.

It's gaudy, it's cheap,
it's tasteless, it's perfect.

Okay.
Call me back.

Hey, somebody's on the phone,
have a little more

consideration,
you know what I mean?

- Have a little more
consideration?

- Hey, what, is there an echo
in this place?

If there's an echo,
I can't shoot here.

- Would you mind
telling me who you are

and what you think
you're doing here.

- I don't think,
little girl, I know.

I'm making a movie.
The name's Antonelli.

May not have heard of me yet,
but one day, you will.

- You're making a film here
in this apartment?

- Yeah, the, uh,
blonde fox rented it to me.

- My sister?

Hey, Sara can't do that
without asking me.

- What about this door?
Is there a key or am I

gonna have to take it
off the hinges?

- You know where
the blonde fox is?

I wanna have a talk with her.
- Hey, hey, hey, hey!

Stay off the phone!

I'm expecting a call!

She, uh, she went upstairs
to tell your old man

she's renting me the place.

- Oh, good.

Then I won't have to
throw you out on your ear.

My old man's gonna do it.

- (chuckles)

- Well, I'm going downstairs
to tell Nino it's okay.

- Not until I find out what
this movie is all about.

- Oh, it's a modern love story
about a guy and two girls.

- Oh, my God.
It's a porno film.

- Henry, just because it's about
a guy and two girls

doesn't mean
it's a porno film.

Does it?

- Of course not.

- Well, I don't trust
today's movies.

I like the old-fashioned kind

like "Seven Brides
for Seven Brothers,"

where everybody came out even.

- Yeah, I agree, Mr. Rush.

Like "Bob & Carol
& Ted & Alice."

- Don't get smart, Monroe.

Just tell Nino
that I wanna talk to him.

- You can tell him yourself.
He's downstairs waiting.

- Well, why didn't you tell me?
- I did tell you, Dad.

You weren't listening.
You never listen.

- That's not true,
and I resent that.

And I always listen.
Don't I, Muriel?

- No.

- I can't understand why
my sister said yes to you

in the first place.

- Try money.

- Well, I know it wasn't
her personality.

- Also she gets to work
on the movie as a gofer.

- Gofer? What's that?
- Someone you order around.

Someone who goes for things.

You know, go for this,
go for that.

- Well, that's demeaning.
- Okay!

She can be executive gofer.

- Okay, here's my dad.

- Mom, Dad, this is Nino.

Nino, this is
my sister Jackie--

- I've already had
the displeasure.

Tell him, Dad.

- Nino, before I agree
to this deal...

- What?!
- Save it, Pops.

The deal is set.
- Oh, no.

The deal isn't set.

I wanna know who's gonna pay
for the damages,

and who's gonna clean up
this place after you're through.

- Hey, Monroe!

Mr. William Morris.

Didn't you tell me there
wasn't gonna be any trouble?

If I'd known I was
gonna get hassled,

I could've shot somewhere else.

- Oh, I'll handle it, Nino.

I'll handle it.
(clears throat)

But not right--
not right now.

- Oh, okay, fine.

Give me back my money,
tear up the contract,

and I'll find somewhere else
to shoot.

- Good.

- And someone else
can be the gofer.

- Oh, please, Jackie!

We can use the money.
And Dad, I earn credits

for practical experience
in moviemaking.

- Mrs. Rush, sweetheart.

You won't even know we're here.

We'll be very quiet and we won't
disturb your dinner party.

- (sighs)
Well...

I guess it's all right.

Henry?

- Well, if it's only
for one day.

Okay with you, Jackie?

- No, but we can
use the money.

- All right, all right.

But make sure
you leave this place

exactly the way you found it.

- Correction.

Just leave it neat.

- I'll just make sure I stay
far away from here on Saturday.

- And make sure you're out
of here by 6:00 a.m.

- 6:00 a.m.?
- Right.

And have the coffee on.

- Tell that to your
executive gofer.

- Jackie!

- Relax.

What are you so nervous about?

- Well, I have to show
Mr. Wainwright my work.

It means a lot to me.
He's a very important man.

- Well, if Wainwright has an
ounce of taste, he'll love you.

You happen to be one
damn good photographer.

- Oh, thank you, darling.

Uh, oh, oh, I have to go put
the hors d'oeuvres in the oven.

- Don't worry about dinner.
Everything's gonna be fine.

I just wish that Nino Fellini
downstairs would finish his epic

and clear out of here!

(sighs)

Mu-Mu-Mu-Mu-Mu...

Muriel!
Muriel!

- Okay, anguish, feeling,
all right?

And action!

(knock at door)
Cut!

- (sighs)
Oh, hi, Dad.

Shh!
- Don't shush me.

There's a giraffe
looking in my window.

- What?
What?

Nino, my father says there's
a giraffe outside his window.

- Good, they arrived.
- "They"?

There are more of them?

- Please, I'm directing.

Move that light over there,
take the other--

- I demand to know
what's going on here.

- Monroe, throw him
off the set.

- I can't do that.
He's Sara's father.

- I don't care
whose father he is.

He's interfering.

- I wanna know what
that giraffe was doing

peeping in my window.

- Look, it's very simple.

The giraffe is one
of the animals on the ark.

- (stammering)
Ark? Ark?

W-W-What else is on the ark?

- Two baby elephants,
two chimps, two bears.

They're all outside
in the van waiting.

- They're in makeup.

- Sara!

- Dad, I swear I didn't know.

What should I do?

I'll put paper on the floor,
lots of paper.

- There isn't enough paper
in the Sunday "Chronicle"

to cover what's gonna happen
on this carpet.

- Okay, okay, let-- let--
let me explain my film.

You see, the world
is coming to an end

because of pollution,
pestilence, television.

My three characters are planning
to save the only things

on the planet worth saving--
the animals.

The animals.

So they build this ark.

The night before they leave,
they steal all the animals

out of the zoo and hide them
in their apartment.

That's the scene
we're about to shoot now.

- I think it's
a beautiful story.

- Oh, I think
it's sensational.

Well, well, it's interesting.

You couldn't pay me
to see it.

- I want everybody out of here
in five minutes!

- Oh, please, Dad.

If you throw Nino out now,

all the film he's shot
will be wasted.

- Sara, we're having
Wainwright to dinner.

I don't think he wants
to see any animals

unless they have gravy
on them.

- Okay, look, Mr. Rush, we only
have another hour shooting

and then, then we'll be gone.

- Please, Dad?

You'll be so proud of me when
I bring home an "A" in cinema.

- (sighs)

All right, they can stay.
But no animals!

A dog or a cat maybe.

A goldfish or a parakeet
even better.

But no animals.

- Hey, you got it!

Monroe, leave all
the other animals in the van.

Bring me a dog or a cat.

- One hour.

- Okay, let's get back
to work, folks.

We only got one hour.
Now, cast, remember.

I want emotion,
I want feeling,

I want depth,
I want it to come from the gut.

- Whoa.

Uh, this is the only cat
I could find in the van.

- Hey, that's the one.

- But, but that's a lion.

You told my father a cat.

- A lion is a cat.

Your father and I
didn't talk size.

- Good boy.

(clears throat)
Lovely cat.

- Very interesting, Muriel.

Good depth, nice composition.

I like the personal vision.
- Oh, well, thank you.

Oh, now, here's
an unusual shot of the bridge.

I used a polarizing filter
on a zoom lens

and I shot it from a helicopter.

- Ohh, do you like to fly?

I'll have to
take you up sometime.

- Oh, are you a pilot?

- Mmm, I've been flying
for years.

- So, do you have
your own plane?

- A blimp.

No other way to see
a football game.

- Um, I have some other shots
I'd like you to see.

- Mmm.
- Whoops.

- Oops, sorry.
(chuckling)

Hmm, your wife is
a very talented woman, Rush.

- Yes, we're quite
a talented family.

- Oh, really?
I didn't know that.

- Are you still here?

- Hey, keep it down, huh?

Okay, let's do this scene
one more time.

Sara, tell Monroe
to bring in the lion.

- Monroe, bring in the--

- Sara, he said "lion."

What does he mean "lion"?

- Oh, he means cat.

- How big a cat?

- You know, your normal,
regular, large-sized cat.

- Let me put it
to you this way.

Is it too big
for a litter box?

- The lion.
The lion.

- Yeah, where is it?
We're waiting.

- He's gone.
- I thought it was in the van.

- That's what I thought.

- Well, where could he
have gone?

- Not far, I took the keys
out of the ignition.

- Rush, I'd like to see
where you work.

- Right this way.

I keep a drawing board
in the corner of my bedroom.

I like to work
in the bedroom.

- Oh, isn't that distracting?

- Only when
Muriel's undressing.

- I know what you mean.

- (sighs)

Henry?

Henry, dinner's ready.

Henry, can you hear me?

(lion growling)

- Yes.

Well, we were going to make
a studio for me

out of my daughter's bedroom,

but we just never
got around to it.

- Procrastination is
the thief of time.

- Mr. Wainwright,
you'll sit right there.

- Oh, yes, good.
- Henry.

- Okay.
Mmm, smells good.

- Thank you.
It's just the salad.

- (chuckling)

- Well, Mr. Wainwright,

would you care for some
fresh pepper on your salad?

- Ahh, pepper.

The pungent product of a fruit
of an East Indian plant.

Can be used as a condiment
or stimulant.

Can also provoke a sneeze.

- Can also provoke a hernia.

Depending on the size
of the sneeze.

- Henry, the pepper.

- Coming right up.

(indistinct background chatter)

- (stammering)
Mu-Mu-Mu-Mu...

Muriel, I--
I have to talk to you.

- Well, Henry,
the salad's wilting.

- Excuse us.

- Henry, what is wrong with you?

- Muriel, I'm gonna
tell you something now,

and I don't want you to scream.

- I won't scream.

Unless something's happened
to Sara or Jackie.

- There's a lion
in the kitchen.

- You pulled me away
from the table for that?

- I'm serious, Muriel.
I saw him.

Long teeth and hair out to here.

- Are you sure it's not one
of Sara's boyfriends?

- It's that nut downstairs
making the film.

One of the animals escaped.

- You mean there's really a lion
in the kitchen?

(gasps)

- You promised not to scream.

(fake laughing)

- That was before I knew what
there was to scream about.

- Shh!
He'll hear you.

- I don't care
if the lion hears me.

- Not the lion.
Mr. Wainwright.

Right, right!
(fake laughing)

- Henry, you've got to tell him.
- What, and lose my job?

And you're never gonna
get yours either.

- Well, it's not my fault that
there's a lion in the kitchen.

- No, but it's Sara's fault
there's a lion in the kitchen.

And it's our fault
that there's a Sara.

We've gotta get out of here.
- What about the food?

- There's a lion in there.

What makes you think there's
any food left in the kitchen?

- You folks obviously
have something

very important to discuss.

I'll get the pepper.

- No!
- What?!

- I'll...
- Um, oh, Dad!

There's a lion loose.

- A lion?
What kind of a lion?

A Nemean lion?
A Nubian lion?

An Asian lion?

(lion growling, roaring)

It's a Nubian.

An Asian is one octave lower.

- Oh, my God.
It's in the kitchen.

- A chair, quick!

Now where did this lion
come from?

- From downstairs.
Uh, he's in the movie.

- I'll call the police.
- No, no!

Don't call the police,
Mr. Rush!

They might shoot him.

He's a very valuable lion.

He had a walk-on
in "Born Free."

- I don't care
if he had the lead!

I want that lion out of here!

- I'll go look in the truck
and see if I can find his toy.

He has this little rubber Pygmy
he likes to chew on.

I'll see...

- I'll take care of the lion.

- You?
- Mm-hmm.

I've been on many
a safari, Rush.

The king of the beasts and I
are on intimate terms.

Hold this, please.

(chanting)
* Hi-ho, Simba, hiya *

* Simba, hi-ho,
Simba, hey, Simba, hey *

* Hi-hi-oh *

Simba!

(lion roaring)

(objects crashing)

(Wainwright shouting)

- Oh, my God!

(objects crashing,
lion roaring)

(Wainwright screaming)

(Wainwright)
Simba!

(crashing stops)

- I couldn't find his toy,

but I got some tranquilizers.

Could I have a glass of water?
I can't take them without water.

- Here you go.
He's all yours.

Do something about his breath.

- Did you swallow
your little Pygmy?

Come on.

- Okay, let's get down there
and finish this flick.

- Hold it!
As far as I'm concerned,

this flick is finished.

And I want you
out of here immediately.

- Sara.

Please explain to your father

that if I don't
finish this film,

you're not getting
those extra credits.

- You heard my father.

Out!

- If that's not clear,
I can make it even clearer.

- Okay, okay.
We all go through this.

Cimino, Coppola, Polanski.

No big deal.

- I'm sorry, everybody.

I'm sorry.

- It's okay.
It's okay.

- Come on, Sara,
let's make sure he leaves.

- (Henry sighs)
- And Mr. Wainwright,
are you all right?

- I think I scuffed a shoe.

- That's the bravest thing
I've ever seen.

- Well, did you get a picture?

- A picture?

Oh, I'm sorry, it never occurred
to me to get my camera.

- Muriel, a good photojournalist
never has to think twice.

You always have to have
a camera with you.

You eat with it.
You sleep with it.

You make love to it.

You never know when news
is gonna break.

- He's right.
I blew it.

- You're a very talented
woman, Muriel,

but I'm afraid
you're not ready.

You're not what
"News View" needs.

- Good, because she just happens
to be exactly what I need.

**

**