Original subtitles

[♪..., PROJECTOR CLICKING...]

>> Man: I WAS EATING A TOMATO

AT TEATIME A FEW WEEKS AGO

AND I SUDDENLY REALIZED THAT

MUMMY IS NOT DEAD AT ALL.

JUST VERY, VERY MYSTERIOUS.

[♪...]

>> Mummy: [HUMMING...]

>> Man: PAPA SPOKE LANGUAGES,

CLIMBED MOUNTAINS.

[CLICK]

HE WAS AN ADVENTURER.

[♪...]

BUT MUMMY WAS SUCH A GIFTED

PERSON SOCIALLY.

AND SHE WAS A MASTER

OF THE UNDERSTATEMENT...

[CLICK]

AN ADVENTURESS...

AN ADVENTURESS... [♪...]

[♪...]

AND HE WAS COLD AND DARK...

AND SHE WAS WARM AND LIGHT.

AND SHE WAS WARM AND LIGHT. [♪...]

[♪...]

AND I WAS LITTLE TONY.

[MUMMY MURMURS TO BABY]

[PHONE RINGS...]

I WAS THE STEAM

WHEN HOT MEETS COLD.

[PHONE RINGS]

>> Mummy: MIDGE? WELL, HELLO.

THE REASON THAT I CALLED,

DARLING, IS THAT ASCHWIN,

PRINCE ASCHWIN LIPPE?

HIS BROTHER IS PRINCE BERNHARD?

WELL, HE THOUGHT, ASCHWIN

THOUGHT IT WOULD BE LOVELY TO

MEET AT THE STORK CLUB TONIGHT.

AND HE SO WANTS TO KNOW YOU AND

JOOST AND ASKED IF I COULD...

WELL, OF COURSE.

SHALL WE SAY... 10:30?

IS THAT TOO CONTINENTAL?

[LAUGHS]

BE AS CATTY AS YOU WANT,

BUT TONY CAN HEAR EVERY WORD

YOU'RE SAYING.

CAN YOU IMAGINE THE WORLD HE'S

GROWING UP INTO?

BROOKS AND I WILL SEE

YOU TONIGHT.

[SHE HANGS UP]

BROOKS...

DARLING...

>> I GATHER THAT YOU'RE MAKING

COMMITMENTS FOR ME.

[♪...]

SANS PERMISSION,

SANS CONSULTATION.

>> PRINCE ASCHWIN DE LIPPE,

PLEASE.

YOU MAY SAY BARBARA BAEKELAND

IS CALLING.

DON'T GET DIFFICULT,

NOT TONIGHT, DARLING.

PLEASE FORGIVE THE INTRUSION AND

THE DAMNABLY SHORT NOTICE BUT WE

ARE HAVING LATE SUPPER TONIGHT

WITH MIDGE AND JOOST VAN DEN

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

WHAT...

[LIGHTER SNAPS SHUT]

TRANSPIRED...

>> Barbara: WE WON'T BE BACK TOO

LATE, I PROMISE.

>> 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?

>> YOU DON'T HAVE TO WEAR YOUR

TUX, AND NO NEED TO BE VULGAR.

>> IN FRONT OF THE B-O-Y?

>> JUST WEAR YOUR UNIFORM.

>> I WILL NOT.

>> YOU LOOK SO HANDSOME, SO

DASHING IN YOUR UNIFORM.

>> THE WAR IS OVER.

HAVE YOU NOT HEARD?

>> 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?

>> NINI WILL BE HERE AT NINE.

>> IN THAT CASE, I'M GLAD THAT

>> IN THAT CASE, I'M GLAD THAT I SHALL BE DINING OUT.

I SHALL BE DINING OUT.

[TONY GURGLES]

[COOING]

>> Woman: TONE...

TONY, TONY, TONY...

>> MOTHER, DO YOU THINK WE

SHOULD CALL HIM "ANTONY"?

>> ANTONY WILL BE HIS FULL

NAME, HIS FORMAL NAME, HIS NAME

TO THE WORLD.

AND TONY WILL BE HIS NAME AS A

CHILD... AND AMONG INTIMATES.

>> WHEN I REFER TO HIM...

WHEN I AM ASKED IF I HAVE

A PHOTOGRAPH...

DO I SAY...

>> YOU SAY, "THIS IS TONY."

AND THEY WILL SAY,

"WHAT AN ANGEL."

>> OH, YES.

AN ANGEL, WHAT AN ANGEL.

WHAT AN ANGEL YOU ARE.

[TONY GURGLES]

WE MAY BE OUT LATE.

>> "SHALL."

>> OH YES, YOUR MOTHER LOVES

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

YOU... MMM... [KISSING, COOING]

>> BARBARA.

[BATH WATER SPLASHES]

GOOD NIGHT, TONY.

YOU'RE IN GOOD HANDS.

>> ENJOY THE STORK CLUB.

AND YOU MAY STAY OUT AS LATE AS

YOU WISH.

>> FUCK!

>> FUCK! [TONY GURGLES, VOCALIZES]

[TONY GURGLES, VOCALIZES]

[BIG BAND DANCE MUSIC PLAYS...]

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

[GENERAL CONVERSATION...]

>> MR. AND MRS. BAEKELAND,

RIGHT THIS WAY.

RIGHT THIS WAY. [♪...]

[♪...]

>> HELLO.

[KISS]

WONDERFUL TO SEE YOU.

HOW DO YOU DO?

[♪...]

I'M BARBARA.

>> Woman: SIMONE.

>> HOW DO YOU DO?

[♪...]

...WHY, IT WAS WITH DIETER THAT

BROOKS WENT ON HIS GREAT

ADVENTURE... IN PERU.

IN THE VILLA...

[SIGHS] DARLING, YOU KNOW I'M

NOT AT MY BEST WITH GEOGRAPHY.

BROOKS, HELP ME.

VILLA...?

>> DARLING, DON'T PRESS.

MAYBE YOUR HUSBAND DOESN'T FEEL

LIKE IN MIDST OF DINNER.

>> 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,

BARBARA LAUGHS LOUDEST]

I WAS INTRIGUED BY A

400-YEAR-OLD MYSTERY: WHAT

BECAME OF MANCO INCA.

I WANTED TO FIND THE RUINS

OF THE LOST CITY.

>> THIS IS ACTUALLY TRUE.

GIVE HIM A DIRT ROAD AND HE'LL

GO UP IT.

[ALL LAUGH]

>> Lippe: THAT'S VERY GOOD.

[APPLAUSE FOR THE BAND...]

[♪...]

[♪...] [GLASSES CLINK]

[GLASSES CLINK]

WOULD YOU, SIMONE?

>> OH, I DON'T KNOW.

>> YOUR HUSBAND ASKED YOU

A QUESTION.

>> THIS SEEMS... UNFAIR.

THIS SEEMS... [CHERRY PLOPS

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 HAVEEATEN HORSE FLESH,

YOU KNOW.

>> THERE IS A DIFFERENCE BETWEEN

EATING THE CHEVALAND

EATING THE CHEVALIER.

[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

EVER BEEN TO THE ENGADIN?

>> OH, I WAS PRACTICALLY BORN

IN GSTAAD!

>> SHE PRACTICALLY LOVES

THE SKI INSTRUCTORS.

[BARBARA LAUGHS...]

[BARBARA LAUGHS...] [♪...]

[♪...]

>> Man: THANK YOU FOR COMING

THIS EVENING.

>> Barbara: GOOD-BYE.

[♪...]

>> Brooks: BARBARA.

>> YOU SAID THAT YOU WOULD GO

HOME WITH THE FIRST PERSON THAT

YOU MET GOING THROUGH A NIGHT

CLUB DOOR--

>> NO, I SAID--

>> SO I THOUGHT I MIGHT GO HOME

WITH THE FIRST PERSON... HELLO!

HELLO, I'M AWFULLY THIRSTY,

WOULD YOU BUY ME A DRINK?

ASCHWIN, SIMONE...

>> [ANGRILY]: BARBARA.

>> BROOKS.

[TAXI ENGINE RUNNING,

HORN HONKS]

...LOVELY TO SEE YOU ALL.

[BARBARA LAUGHS,

TAXI DRIVES AWAY]

TAXI DRIVES AWAY] [♪...]

[♪...]

[♪...] [♪...]

[♪...]

>> NINI?

>> 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?

>> I'LL JUST GO.

AND WAS THE PRINCE THERE?

>> EXCUSE ME?

>> THE PRINCE.

THE PRINCE OF AMSTERDAM.

>> AH.

>> WAS HE THERE?

>> I THINK YOU'RE THINKING OF

PRINCE BERNHARD, PRINCE BERNHARD

OF THE NETHERLANDS.

HE WAS COUNT LIPPE-BIESTERFELD,

OF COURSE, BEFORE HE MARRIED

JULIANA.

THE MAN WITH WHOM WE DINED,

ASCHWIN LIPPE, IS JUST

ASCHWIN LIPPE, YOUNGER BROTHER,

A PRINCE IN TITLE, BUT NOT IN

ANY WAY...

>> OH, BECAUSE BARBARA SAID--

>> OH, BECAUSE BARBARA SAID-- >> "BARBARA SAID."

>> "BARBARA SAID."

DECENT MAN, NONETHELESS.

>> I SEE.

>> Brooks: GOOD MAN.

[CLOCK CHIMING 5:00...]

[DOOR CLOSES,

FOOTSTEPS APPROACH]

FOOTSTEPS APPROACH] [CLOCK TICKING...]

[CLOCK TICKING...]

[CAR PASSES OUTSIDE]

[BABY COUGHS]

[BABY COUGHS] [♪...]

[♪...]

[BARBARA KISSES TONY]

[BARBARA KISSES TONY] [♪...]

[♪...]

[TONY COOS]

>> OH YES, 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,

I MADE YOUR MUMMY INTO

'MRS. BROOKS BAEKELAND'...

[♪...]

>> S'IL VOUS PLAIT!

>> Tony: "...AND MYSELF

FOR THE NEXT 30 YEARS

INTO 'BARBARA'S HUSBAND.'"

[POLICEMAN SPEAKING FRENCH]

[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.

[TONY SPEAKS FRENCH]

...ANGLAIS, S'IL VOUS PLAIT.

>> THAT DOESN'T SOUND LIKE VERY

MUCH FUN FOR A KID.

>> WELL, YOU DON'T HAVE TO COME.

>> BUT WHEN YOU LEAVE ME

ALONE... >> TONY.

>> I FEEL NO BIGGER

THAN A LIMA BEAN.

>> OH... YOU WON'T BE ALONE.

YOU'LL BE WITH CLOTHILDE.

>> WELL, MAYBE SINCE I'LL BE

WITH BORING CLOTHILDE, WE CAN

BALANCE IT OUT WITH SOMETHING

MORE FUN DURING THE DAY?

>> AH, I SEE WHERE

THIS IS GOING.

YOUR MOTHER NEEDS TIME TO PAINT.

>> I WOULD LIKE TO GO ON

THE FERRIS WHEEL. >> REALLY.

>> AND THEN FOR LUNCH, I WOULD

LIKE SOME ICE CREAM.

>> AH!

BUT YOU HAD ICE CREAM

FOR BREAKFAST.

[BOTH LAUGH]

[KISSING]

>> MMM... MWAH!

[BARBARA LAUGHS]

>> PLEASE DON'T TELL PAPA.

>> I WON'T.

IT WILL BE OUR SECRET, AS WILL

THE ASPIRINS YOU ARE GOING TO

FETCH FROM THE CABINET.

>> FROM THE BATHROOM,

NEXT TO THE SINK.

>> YOUR MOTHER HAS

A SHOCKING HANGOVER.

>> MUMMY...

>> MUMMY... I SHALL CURE YOU.

I SHALL CURE YOU.

[FOILS CLASHING]

[FOILS CLASHING] [FENCERS GRUNTING]

[FENCERS GRUNTING]

[FENCERS GRUNTING] >> HEH-- OH!

>> HEH-- OH!

>> HA!

>> HEY, O.K., O.K.-- OOF!

I CONCEDE, I RESIGN.

>> 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.

>> WILL YOU STILL LOVE ME WHEN

MY HAIR IS GRAY AND MY TITS

ARE SAGGING?

>> WELL, OF COURSE.

[♪...]

DO YOU REMEMBER THE DOG?

>> WHAT DOG?

WHICH DOG?

>> THE ONE WE HAD IN ITALY.

>> GIOTTO.

>> I REMEMBER WHEN GIOTTO DIED.

>> HE WAS OLD.

>> NO, HE WASN'T.

>> IN DOG YEARS.

WE STILL HAVE HIS COLLAR.

>> I KNOW.

>> SOMEWHERE.

>> I KNOW WHERE.

>> Brooks: LEO WAS FAMOUS.

NOT LIKE YOU'RE FAMOUS,

OF COURSE.

>> OH WELL, I'M NOT...

>> OH, FOR HEAVEN'S SAKE.

YOU WON THE PREMIO NADAL,YOU

KNOW PICASSO, YOU KNOW CAMUS,

YOU KNOW MALRAUX, YOU KNOW

DALI...

>> PILAR KNOWS THEM.

I JUST WRITE.

>> WHAT I'M SAYING, CARLOS, IS

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

PHENOL, GIVE IT STRENGTH,

COHESION, SOLIDITY, BUT THEY

NEVER REALLY MIXED, AND IT WAS

LEO WHO THOUGHT, "LET'S TRY

PUTTING IT UNDER PRESSURE."

POOF-- LONG CHAIN MOLECULES.

BAKELITE-- PLASTIC.

THE TELEPHONE, BRACELETS,

RADIOS, RECORDS, COFFINS,

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 A CRAPULE.

MY GRANDFATHER DECIDEDLY

WAS NOT.

>> WHAT DOES PAPA DO?

>> HOW DO YOU MEAN?

>> WELL, FRANCOIS AT THE--

>> THE ECOLE?

>> FRANCOIS ASKED ME--

>> AND YOU CAN TELL HIM

"MY FATHER WRITES."

"MY FATHER EXPLORES."

"MY FATHER HAS A VERY REFINED

KNOWLEDGE OF MATHEMATICS."

>> OH.

>> AND YOU CAN TELL HIM THAT

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

A FACTORY OR A STORE, I GUESS,

EVERY DAY, BUT WE ARE FORTUNATE.

[CHILD LAUGHS]

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

WORKED, THERE WAS NO OTHER WAY--

I KIND OF HAD TO RAISE MYSELF

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.

SHE MEANT "MEN," I GUESS,

AND SHE MEANT "MONEY."

THE RICH, THEY DON'T HAVE PET

NAMES FOR MONEY.

>> DID YOU KNOW LEONARDO

DA VINCI WROTE BACKWARDS?

SO HE COULD ONLY READ IT

IN THE MIRROR.

IN THE MIRROR. [♪...]

[♪...]

[♪...] [SPEAKING SPANISH...]

[SPEAKING SPANISH...]

>> Barbara: ENTREZ...

>> Carlos: HI.

>> CARLOS!

[BIRDS CHIRPING...]

PILAR!

MY, YOU'RE LOOKING SWELL.

>> Pilar: GRACIAS.

MRS. BAEKELAND, PERMIT ME TO

INTRODUCE MONSIEUR SOUVESTRE.

>> JEAN-PIERRE, I AM SO HAPPY

TO MEET YOU.

TO MEET YOU. PLEASE, COME IN.

PLEASE, COME IN.

I HAVE BEEN DYING TO ASK YOU

ABOUT MARCEL PROUST, THE

BIOGRAPHY OF WHOM, WRITTEN BY

YOURSELF, I HAVE YET TO READ AS

MY FRENCH READING SKILLS ARE NOT

WHAT THEY WILL BE.

>> IT'S NOT NECESSARY TO

APOLOGIZE FOR THAT.

>> BROOKS, OF COURSE, READS THE

LANGUAGE LIKE A NATIVE, AND OUR

TONY IS MASTERING IT EVERY DAY

AT THE ECOLE BILANGUE, BUT FOR

POOR MOI,I MUST CONFESS, IT'S

BEEN A STRUGGLE, N'EST-CE PAS?

>> UNDERSTOOD.

>> WHAT WAS I SAYING?

OH, YES.

JEAN-PIERRE, WAS PROUST TRULY

A HOMOSEXUAL?

A HOMOSEXUAL? QU'EST-CE QUE TU PENSES?

QU'EST-CE QUE TU PENSES?

>> SO YOU MET CARLOS HERE,

IN PARIS.

>> Pilar: I WAS AT

THE SORBONNE...

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

WHEN HE INTRODUCED ME TO MARCEL

AND TEENY DUCHAMP.

>> OH, I RAN INTO THEM TODAY AT

L'EQUIPE.

THEY SAID THEY MIGHT STOP

OVER, LATER.

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.

HE'S OFF TO VITTEL.

>> IT IS REGRETTABLE, BUT WHAT

MRS. DURAN SAYS IS THE TRUTH.

>> A PETIT CAFEFOR THE ROAD?

AND YOU'VE YET TO MEET TONY.

AND YOU'VE YET TO MEET TONY. EXCUSEZ-MOI...

EXCUSEZ-MOI...

>> Souvestre, quietly: ELLE A

>> Souvestre, quietly: ELLE A CHAUD AU CUL.

CHAUD AU CUL.

>> MONSIEUR SOUVESTRE,

PERMETTEZ-MOI DE VOUS PRESENTER

MON FILS, TONY.

DID I GET IT RIGHT?

DID I GET THE ORDER RIGHT?

>> THE YOUNGER IS PRESENTED TO

THE OLDER, THE LESS

DISTINGUISHED TO THE MORE SO.

THE EXCEPTION TO THE RULE: THE

GENTLEMAN IS ALWAYS PRESENTED

TO THE LADY.

THE EXCEPTION TO THE EXCEPTION:

UNLESS THE MAN IS A PRESIDENT,

A CARDINAL, OR A REIGNING

SOVEREIGN.

>> SO THEN IT'S RIGHT.

WELL, EVERYONE, THIS IS TONY.

SAY HELLO.

>> BUENOS NOCHES, SEÑOR

Y SEÑORA DURAN.

>> BUENOS NOCHES.

>> BONSOIR, MONSIEUR SOUVESTRE.

ENCHANTE DE FAIRE VOTRE

CONNAISSANCE.

>> Souvestre: HMM, BONSOIR.

>> Barbara: I TOLD YOU HIS

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

HAS AN EARLY START.

>> Barbara, whispering: PLEASE.

>> Barbara, whispering: PLEASE. [NORMAL VOICE]: FOR ME.

[NORMAL VOICE]: FOR ME.

[NORMAL VOICE]: FOR ME. [♪...]

[♪...]

>> Pilar: THANK YOU, TONY.

IT WAS GRACIOUS OF YOU

TO VOLUNTEER.

>> YOU ARE WELCOME, SEÑORA.

>> Pilar: YOUR MOTHER IS A BIT

TIRED, AS ARE WE...

AS, I'M SURE, ARE YOU.

>> UM...

>> THEN WE CALL IT AN EVENING.

AS YOUR FRIEND, MONSIEUR

AS YOUR FRIEND, MONSIEUR DUCHAMP, SAYS...

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

CHILD AND WHEN YOUR BACK IS

TURNED, THEY STARE AT YOUR ASS!

YES, "CUL!"

I KNOW THE WORD!

IT'S SICK.

THIS SOCIETY IS SICK.

EXCUSE ME.

EXCUSE ME. "MOU-VAY!"

"MOU-VAY!"

[DOG BARKS, BIRDS CHIRPING...]

>> Brooks: I SHALL BE

LEAVING TOO.

TELL TONY HIS FATHER SAYS

GOOD NIGHT.

GOOD NIGHT. UNO MOMENTO, POR FAVOR.

UNO MOMENTO, POR FAVOR.

VOS CLES.

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]

[BROOKS INHALES DEEPLY]

[BROOKS INHALES DEEPLY] [♪...]

[♪...]

[BARBARA PANTING...]

[♪...]

[♪...] [BARBARA SHOUTS, MOANS]

[BARBARA SHOUTS, MOANS]

>> [SPITS]

>> [SPITS] [♪...]

[♪...]

[BED CREAKING...]

[PANTING...]

[PANTING...] [♪...]

[♪...]

[SHORT GASP]

[BIRDS CHIRPING...]

>> Barbara: HELLO?

>> Barbara: HELLO? HELLO?

HELLO?

>> Tony: MUMMY?

MUMMY...

[SPLASHING]

[SPLASHING] [EXHALES DEEPLY]

[EXHALES DEEPLY]

BONJOUR, MAMA.

BONJOUR, MAMA. >> BONJOUR.

>> 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

AND HE CAME OVER.

WE LISTENED TO THE RADIO.

IT WAS BOULEZ.

ONE OF THOSE POEMS BY RENE CHAR,

WHICH BOULEZ SET TO MUSIC?

I RATHER LIKE BOULEZ,

DON'T YOU, MUMMY?

I KNOW THAT SOME CONSIDER HIM

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.

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

>> [SPLASHING]

>> [SPLASHING] [SPLASHING CONTINUES]

[SPLASHING CONTINUES]

[WHOOSHING...]

[♪...]

[♪...] [HORSE SNORTS]

[HORSE SNORTS]

[HORSE SNORTS] [BIRDS CHIRPING]

[BIRDS CHIRPING]

[BIRDS CHIRPING] [♪...]

[♪...]

[LIGHTER CLICKS]

[SEAGULLS CAWING,

[SEAGULLS CAWING, DISTANT BELL TOLLS, MUSIC ENDS]

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.

THE BROWN. [WAVES CRASHING...]

[WAVES CRASHING...]

[WAVES CRASHING...] [♪...]

[♪...]

>> Brooks: YOU KNOW

HOW THEY ARE.

>> Tony: WHAT?

>> FUSSING, ALWAYS 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,

YOU'VE SEEN, YOU KNOW.

>> SO WHAT ARE YOU SAYING?

[WAVES CRASHING,

SEAGULLS CAWING]

>> YOU'LL SOON BE...

HELL, YOU'RE ON YOUR OWN.

I JUST WANTED TO GIVE YOU

A PIECE OF...

WHAT FATHERS TELL SONS.

[DICE ROLLING]

>> WELL, THANKS.

>> I MEAN, YOUR MOTHER WAS

AN ACTRESS...

IN SOME WAYS, ISAN ACTRESS.

WILL MOSTLY LIKELY BE...

>> MUMMY CAN BE HISTRIONIC,

BUT SHE'S NOT...

>> DON'T DEFEND HER.

YOU NEEDN'T DEFEND HER.

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.

HAVE HAD THIS DISCUSSION. [WAVES CRASHING...]

[WAVES CRASHING...]

>> DO YOU THINK SHE GETS STONED?

>> WELL, SHE'S SPANISH.

>> WORTH A PULL?

AFTER YOU, PAL.

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

[WAVES CRASHING...]

TE GUSTARIA FUMAR?

>> SI...

>> SI... GRACIAS.

GRACIAS.

>> [CHUCKLING...]

>> TAUGHT BY EXPERTS.

>> YOU KNOW WHAT THIS

PLACE NEEDS?

SOME MUSIC.

>> I HAVE ONE.

>> I HAVE ONE. >> EXCUSE ME?

>> EXCUSE ME?

>> EXCUSE ME? [PLAYER CLICKS, MUSIC PLAYING]

[PLAYER CLICKS, MUSIC PLAYING]

>> Man: ♪ ONCE... UPON A TIME,

A LONG, LONG TIME AGO ♪

♪ WHERE... EVER YOU LEAD ME,

I WOULD SURELY FOLLOW ♪

♪ GIRL, YOU PUT ME THROUGH

SOME PAIN AND MISERY ♪

♪ AND NOW YOU STAND HERE,

ON MY DOORSTEP ♪

♪ TELLING ME

HOW MUCH YOU NEED ME ♪

With chorus: ♪ AIN'T

NOBODY HOME♪

♪ GIRL

♪ AIN'T NOBODY HOME♪

♪ HOW MANY TIMES

I BEGGED FOR YOU TO COME HOME ♪

♪ BUT YOU LAUGHED AT ME

AND SAID, "LET ME ALONE" ♪

♪ AIN'T NOBODY HOME♪

♪ GIRL...

>> Tony: I DON'T KNOW.

>> Barbara: WELL, WHAT'S

SHE LIKE?

>> Tony: I DON'T KNOW.

SHE'S SPANISH.

>> Brooks: WELL, WITH A NAME

LIKE "BLANCA..."

>> BLANCA WHAT?

>> I DON'T KNOW BLANCA WHAT.

THIS IS NOT A CITY, IT'S A PORT,

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...

YOU KNOW, IF THAT'S WHAT YOU'RE

ASKING, WELL...

AREN'T THERE ENOUGH COUNTS AND

COUNTESSES IN THAT STACK OF

CARTES DE VISITEIN THE FOYER,

JUST THE WAY THAT NINI

TAUGHT YOU?

THE CARTEFROM PRINCE BERNHARD,

SOMEHOW ALWAYS ON THE TOP,

AND THE BILLS ON THE BOTTOM?

>> YOU WILL NOT SPEAK TO YOUR

MOTHER LIKE THAT.

I WILL NOT STAND FOR IT.

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

>> OH, PISS OFF.

>> A MOTHER KNOWS...

>> HMM?

>> WHEN HER SON...

WHEN HER SON MIGHT LIKE SOMEONE.

[BIRDS CHIRPING...]

[BIRDS CHIRPING...] [ENGINE REVVING...]

[ENGINE REVVING...]

[ENGINE REVVING...] [TIRES SCREECHING]

[TIRES SCREECHING]

[TIRES SCREECHING] [TIRES SCREECHING]

[TIRES SCREECHING]

[ENGINE REVVING...]

[GENERAL CONVERSATION...]

>> Brooks: THE DISCOVERY,

THAT WAS 1907.

IN LESS THAN 10 YEARS, MY

GRANDFATHER WAS A VERY

WEALTHY MAN.

1924, HIS FACE ON THE COVER OF

TIMEMAGAZINE.

1930, COCO CHANEL MAKES ALL HER

MANNEQUINS WEAR BAKELITE

ACCESSORIES.

THEN CAME THE DEPRESSION, WHICH

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

LA PARADE.

BUT NOT TO GEORGE, HIS SON,

MY FATHER.

HE VALUED ALL THAT TO A FAULT,

AND IN THE PROCESS,

LOST EVERYTHING.

>> Barbara: CAMARERO!

[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...

>> Brooks: AHH... THEN YOU UNDERSTAND.

THEN YOU UNDERSTAND.

>> Brooks: WELL, IT'S BEEN

A LONG NIGHT.

>> Barbara: BYE, KIDDO.

GOOD NIGHT, BLANCA.

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

>> Blanca: GOOD NIGHT.

>> Tony: ARE YOU SURE THAT...

>> YES...

>> YES... [DOOR SHUTS]

[DOOR SHUTS]

[DOOR SHUTS] [WATER RUNNING]

[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.

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

>> [CHUCKLES] YES... MMM...

>> [CHUCKLES] YES... MMM... [KISS]

[KISS]

[KISS]

[KISS] [BOTH CHUCKLING]

[BOTH CHUCKLING]

>> YOU REALLY ARE SUCH

>> YOU REALLY ARE SUCH A HANDSOME BOY.

A HANDSOME BOY.

>> Tony: LATER, MUMMY SAID THAT

I HAD BROUGHT BLANCA HOME LIKE

A KITTEN THAT HAD KILLED ITS

FIRST MOUSE... AND LAID IT AT

YOUR FEET.

AND YOU...

AND YOU... AND YOU TOOK IT.

AND YOU TOOK IT.

AND YOU TOOK IT. [♪...]

[♪...]

[PROPELLER PLANE PASSING...]

[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.

ANY TIME AFTER THAT.

ANY TIME AFTER THAT. [♪...]

[♪...]

>> Woman on P.A.: Paging,

please, Mr. Baekeland,

to the Avianca counter, please.

...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, LITTLE PUTA.

YOU LITTLE WHORE!

>> [SPEAKING SPANISH]

>> [SPEAKING SPANISH]

>> YOU ARE TRULY DISGUSTING,

DO YOU KNOW THAT?

YOU AND YOUR LITTLE

SPANISH CUNT.

>> [WHISPERS] YOU ARE SPEAKING

TOO LOUDLY.

>> I AM SPEAKING OF A CUNT,

HALF YOUR AGE.

SHE LOOKED AT TONY, LOOKED AT

YOU, THOUGHT FOR ABOUT FIVE

SECONDS-- CINCO SEGUNDOS--AND

SAID TO HERSELF, "HA!

THAT'S WHERE THE MONEY IS!"

¿ENTIENDES?

YOU GO ON AND ON AND ON ABOUT

YOUR GRANDFATHER AND THE LIFE

OF THE FUCKING MIND.

I GO AWAY FOR ONE WEEK, AND WHAT

DO YOU DO?

[SNIFFING] MMM...

SOMETHING VERY INTELLECTUAL,

VERY INTELLECTUAL INDEED.

OH, OH, DOES HE FUCK YOU

UP THE ASS?

¿POR EL CULO?

[CROWD REACTS]

THAT'S WHAT HE LIKES, YOU KNOW?

HE THINKS IT'S VERY MANLY.

I THINK...

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

FUCKING HER.

[SOFTLY] O.K., FUCK HER,

FUCK HER...

I UNDERSTAND... BUT LEAVE ME?

BREAK MY HEART?

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.

>> 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,

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

DON'T YOU THINK?

[♪...]

[♪...] [PROPELLER AIRPLANE PASSES...]

[PROPELLER AIRPLANE PASSES...]

[GENERAL CONVERSATION]

[♪...]

[♪...] >> ¿DEJA EL EQUIPAJE?

>> ¿DEJA EL EQUIPAJE?

[ENGINE STARTS]

>> NO TENGO.

>> NO TENGO. [GUNSHOT, GLASS SHATTERS]

[GUNSHOT, GLASS SHATTERS]

[GUNSHOT, GLASS SHATTERS] [DOG BARKING, PANTING]

[DOG BARKING, PANTING]

[GUNSHOTS CONTINUE]

[BARKING CONTINUES]

[BARKING CONTINUES] [ENGINE STARTS]

[ENGINE STARTS]

[GUNSHOT]

[GUNSHOT] [♪...]

[♪...]

[PROPELLER AIRPLANE PASSES...]

[ENGINE REVVING...]

>> YOU ARE A VERY NICE MAN.

UN HOMBRE... ENCANTADOR.

UN HOMBRE... ENCANTADOR. [♪...]

[♪...]

[♪...] [SOBBING]

[SOBBING]

[SOBBING] [♪...]

[♪...]

>> Tony: JAKE WAS LIKE A

DEVIL... OR A MAGICIAN.

[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

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.

>> I'M SORRY.

>> ARE YOU DEFENDING HIM?

ARE YOU TAKING HIS SIDE?

>> Jake: YOU MUST HAVE HAD

A LONG DRIVE.

WHY DON'T YOU SIT DOWN AND LET

ME POUR YOU SOMETHING TO

DRINK, O.K.?

DRINK, O.K.? [WIND CHIMES CLINKING LIGHTLY]

[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]

[BEADED CURTAIN RUSTLES] [BOTH CHUCKLING]

[BOTH CHUCKLING]

>> Tony: SAM WAS OFTEN CALLED

A WALKER...

ONE OF THOSE HOMOSEXUALS WHO

ESCORT WEALTHY WOMEN TO DINNER

OR TO THE OPERA WHEN THEIR

HUSBANDS ARE NOT ABLE.

BUT SAM'S DEVOTION TO BARBARA

WAS NEVER ABOUT THE MONEY.

IN FACT, HE LIKED US MORE WHEN

THERE WAS LESS OF IT.

>> Sam: DO YOU REMEMBER HOW IT

WAS WITH MAXIME DE LA FALAISE?

THERE WAS A DIFFICULT PERIOD.

I HELPED HER, AS MUCH AS I

COULD, A FEW OF US, WE DID WHAT

WE COULD AND... NOW, WELL,

NO ONE REMEMBERS THE SAD PERIOD

NOW, DO THEY?

[CORK POPS, BIRDS CHIRPING]

THESE ARE THE FACTS WE HAVE

TO FACE.

ONE, WE ARE DEALING WITH AN

INSECURE AND CAPRICIOUS CROWD

WHO, GIVEN ANY DOUBT OR

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

VIVACITY OF THE COUPLE.

SO, WE MUST MAKE THAT WORK TO

YOUR BENEFIT.

>> I'M SO GLAD YOU'RE HERE.

>> IT'S MY PLEASURE.

POP ACROSS TO CADAQUES FOR A DAY

OR TWO.

YOU NEED TO BE PROUD--

NOT EMBARRASSED-- TO BE SEEN

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

OTHERS TAKE THEIR CUE?

SOMEONE LIKE PILAR DURAN WOULD

BE TERRIFIC, AND THEN, OF

COURSE, WE NEED A DOYENNE TO

SEAL IT.

YOU DO, OF COURSE,

KNOW TEENY DUCHAMP?

TEENY MATISSE DUCHAMP?

AND I SHALL, NATURALLY, MAKE

SURE THAT THE WORD GETS OUT...

AS WILL OTHERS...

[CHUCKLES] AS WILL OTHERS.

>> [LAUGHS]

>> YOU'VE GOT TO START

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...

>> OH, PLEASE.

WHERE IS HE?

>> 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

ALL THE PLACES BROOKS WOULD WANT

TO GO FOR THE SEASON IN ALL THE

WORLD, HE WOULD CHOOSE A PLACE

RIGHT NEAR US AND THEN NOT WANT

TO SEE US...

AND BLANCA, TOO.

WHY WOULD SHE WANT TO GO TO

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...?

>> I'VE LONG SINCE GIVEN UP

TRYING TO UNDERSTAND BROOKS.

EXPLAIN HIM, JUSTIFY HIS WAYS.

MEN DO... THIS IS SOMETHING

YOU KNOW VERY WELL.

MEN DO... WHAT MEN DO.

>> MUMMY?

I THINK HE'S WRITING US

A LETTER.

I THINK HE IS WRITING US

A LETTER...

BUT IN ANOTHER ALPHABET,

IN BAEKELAND WRITING...

NO ONE ELSE CAN READ.

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]

[BIRDS CHIRPING]

Tony: NO, YOU'VE BEEN FANTASTIC.

>> NO, NO, NO, YOU NEEDN'T...

>> NO, BUT, REALLY, I WANTED TO,

REALLY... REALLY.

I CAN'T BEGIN TO TELL YOU HOW

MUCH OF AN IMPROVEMENT...

>> WELL, SHE'LL BE ALL RIGHT.

>> WELL, SHE'LL ALWAYS

BE BARBARA.

>> [CHUCKLES]

AND... WHAT OF YOU?

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.

TONY TAKES CARE OF BARBARA. SOMEONE MUST TAKE CARE OF TONY.

SOMEONE MUST TAKE CARE OF TONY.

[♪...]

[♪...] [BIRDS CHIRPING]

[BIRDS CHIRPING]

[BIRDS CHIRPING] [♪...]

[♪...]

[♪...] [♪...]

[♪...]

>> Sam: WHAT I WOULD LIKE TO DO,

IDEALLY, IS TO PLACE YOU WITH

A GALLERY OR, FAILING THAT, WITH

A... PRIVATE DEALER-- AND THAT

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

IS SOMETHING I KNOWI 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

AND HIS OWN CHOICES.

>> YOU DON'T KNOW WHAT YOU'RE

TALKING ABOUT.

>> TONY IS WHO TONY IS.

[PLATE SHATTERS]

>> TONY IS NOT WHO TONY "IS"!

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

[RECORD PLAYS SOFT MUSIC...]

[RECORD PLAYS SOFT MUSIC...] [♪...]

[♪...]

>> Tony, writing: 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--

IT'S NEVER GOTTEN LOST,

IT'S NEVER GOTTEN LOST, NOT EVEN ONCE.

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

EVERYTHING I'VE GOT.

EVERYTHING I'VE GOT. WITH MY BEST LOVE, ANTONY.

WITH MY BEST LOVE, ANTONY.

>> TONY!

TONY!

TONY! [BICYCLE RATTLES]

[BICYCLE RATTLES]

[BICYCLE RATTLES] [WIND BLOWS THROUGH THE TREES]

[WIND BLOWS THROUGH THE TREES]

[WIND BLOWS THROUGH THE TREES] [♪...]

[♪...]

BROOKS!

BROOKS! [♪...]

[♪...]

[♪...] [♪...]

[♪...]

[BRUSH CLATTERS TO THE FLOOR]

[BRUSH CLATTERS TO THE FLOOR] [♪...]

[♪...]

>> [WHISPERS]: EVERYTHING IS

GOING TO BE ALL RIGHT.

GOING TO BE ALL RIGHT. [♪...]

[♪...]

[♪...] [♪...]

[♪...]

[CIGARETTE BURNS,

SOMEONE EXHALES]

[BICYCLE RATTLES]

[♪...]

>> Tony: MY MUMMY TOLD ME

EVER SINCE I WAS SEVEN,

"HOLD YOUR HEAD UP HIGH."

[♪...]

[♪...] [BICYCLE RATTLES]

[BICYCLE RATTLES]

[BICYCLE CRASHES LOUDLY]

A VERY STRANGE THING IS WHEN

YOUR CHARM CEASES.

AND FOR ONE REASON OR ANOTHER,

YOU BECOME GLOOMY.

[♪...]

AND PEOPLE CEASE TO UNDERSTAND

YOU WHEN YOU NEED UNDERSTANDING

THE MOST.

THE MOST. [♪...]

[♪...]

I NOW REALIZE THAT FOR MANY

YEARS, I HAVE BEEN LIVING

A TOTALLY FALSE LIFE.

[BOTTLE CLINKS,

ROLLS ON THE FLOOR]

ROLLS ON THE FLOOR] [♪...]

[♪...]

I KNEW IT.

BUT FOR MUMMY'S SAKE, I'VE

DECIDED TO MAKE A NEW PERSON

OF MYSELF.

OF MYSELF. [♪...]

[♪...]

[♪...]

[♪...] [BIRDS CHIRPING]

[BIRDS CHIRPING]

[LAUGHING...]

[LAUGHING...] [ALL LAUGHING...]

[ALL LAUGHING...]

[LAUGHING STOPS]

[LAUGHING STOPS] [BIRDS CHIRPING]

[BIRDS CHIRPING]

[BIRDS CHIRPING] [BIRDS CHIRPING...]

[BIRDS CHIRPING...]

>> Barbara: WE'LL BE BORED RIGID

WITHOUT YOU.

>> Tony: IT'S HARDER TO GET

PEOPLE TO COME--

>> Sam: THAN IT WAS IN CADAQUES,

I KNOW.

I KNOW.

I KNOW. >> Tony: IT'S TIME.

>> Tony: IT'S TIME.

>> Tony: IT'S TIME. >> IT'S TIME.

>> IT'S TIME.

>> IT'S TIME. [MOTOR STARTS...]

[MOTOR STARTS...]

>> I'M GLAD HE'S GONE.

>> I'M GLAD HE'S GONE. [LAUGHING]

[LAUGHING]

>> Tony: I'M NOT SURE, PAPA,

YOU WOULD WANT TO KNOW THIS.

BUT SHE USED SLEEPING

SUPPOSITORIES... SIX OR SEVEN

OF THEM, SO THAT SHE WOULDN'T

CHANGE HER MIND... COULDN'T.

I REMEMBER SHE TOLD ME THAT HER

FATHER, MY GRANDFATHER,

HAD KILLED HIMSELF, SO I FEAR

THAT ALL THIS RAN VERY DEEP

WITHIN HER.

IT WAS A MIRACLE OF COURSE THAT

I CAME HOME THAT NIGHT INSTEAD

OF STAYING OUT TILL MORNING,

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

TAKING CARE OF MUMMY BECAME MY INHERITANCE.

MY INHERITANCE.

>> BARBARA?

>> BARBARA? [♪...]

[♪...]

[FINGERS SQUEAK

ON THE WAXED WOOD...]

ON THE WAXED WOOD...] [♪...]

[♪...]

>> HI.

WE JUST MISSED EACH OTHER.

>> A L'HOPITAL?

THEY TOLD ME THAT YOU HAD

BEEN THERE.

>> THIS...

>> THIS... MUST BE VERY HARD FOR YOU.

MUST BE VERY HARD FOR YOU.

YOUR MUSIC? YOUR WRITING?

>> THAT.

>> CARLOS THINKS VERY HIGHLY

OF YOU, ALWAYS HAS.

AND I'M SURE HE'LL--

>> HAVE YOU SEEN BROOKS?

>> HAVE YOU SEEN BROOKS? >> CARLOS SAW HIM.

>> CARLOS SAW HIM.

>> I DON'T THINK THAT BROOKS IS

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

LIKING ME VERY MUCH THESE DAYS.

HE SAID I WAS A CRAPULE.

>> OH, PLEASE-- TO BROOKS,

EVERYONEIS A LITTLE SHIT.

EVERYONE IN THE WHOLE WIDE

WORLD, INCLUDING ME,

INCLUDING YOU...

INCLUDING EVEN CARLOS,

FOR GOD'S SAKE.

>> BUT NOT LEO.

>> BUT NOT LEO. NOT THE SAINTED GRANDFATHER.

NOT THE SAINTED GRANDFATHER.

[♪...]

>> Barbara: WHAT WAS IT HE SAID?

>> Tony: WHO?

>> HEMINGWAY, I THINK,

OR THE OTHER ONE...

>> FITZGERALD?

>> HEMINGWAY OR FITZGERALD, YES.

IT WAS ONE OF THEM.

>> WHO SAID...?

>> WHO SAID WHAT IT IS I'M

TRYING TO REMEMBER!

GOD... I'M TURNING INTO NINI.

>> MONSIEUR, ENCORE.

MERCI BIEN.

>> I KNOW, IT WAS ABOUT 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,"

SOMETHING LIKE THAT.

>> Tony: MUMMY HOPED THAT WITH

A NEW PLACE WOULD COME BETTER

THINGS FOR US.

AND SHE WAS RIGHT,

BUT NOT COMPLETELY SO.

BUT STILL, PARIS WAS A STEP UP

IN THE WORLD.

IT WAS IN PARIS THAT I STARTED

WRITING BACKWARDS IN MY

NOTEBOOK SO THAT NO ONE COULD

READ MY THOUGHTS, BUT MUMMY

SEEMED TO BE ABLE TO READ THEM

ANYWAY, AS IF SHE WERE INSIDE

MY HEAD, LOOKING OUT.

MY HEAD, LOOKING OUT. [♪...]

[♪...]

MY GREAT-GRANDFATHER LEO ONCE

SAID, "ONE OF THE USES OF MONEY

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.

>> THEN I'M ALL THE MORE GLAD

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.

>> I'LL MAKE OTHER PLANS.

>> I'M SURE SHE WOULDN'T MIND IF

YOU TAGGED ALONG.

>> I WOULDN'T WANT TO IMPOSE.

>> I DON'T LIKE WHAT HAPPENS...

WHEN YOU "MAKE OTHER PLANS."

>> MUMMY... PLEASE.

>> "THE AFTERNOON

OF THE LONGEST LAUNDRY"?

>> [SNICKERS] I DON'T DO THAT

ANYMORE.

>> MM... HMM.

>> MM... HMM. >> WHAT DOES THE "G" STAND FOR?

>> WHAT DOES THE "G" STAND FOR?

>> WHAT, DEAR?

>> THE "G".

>> GEORGE.

>> GEORGE. LIKE HIS FATHER.

LIKE HIS FATHER.

LIKE HIS FATHER. DO MY WRISTS, WOULD YOU?

DO MY WRISTS, WOULD YOU?

DO MY WRISTS, WOULD YOU? [MAGAZINE DROPS ON THE FLOOR]

[MAGAZINE DROPS ON THE FLOOR]

[MAGAZINE DROPS ON THE FLOOR] [WATER IN THE TUB SPLASHES]

[WATER IN THE TUB SPLASHES]

THAT WAS LOVELY.

AND NOW... [WATER SPLASHING]

I NEED SOME PRIVACY.

[WATER SPLASHES]

SCOOT, SO THAT I CAN

SCOOT, SO THAT I CAN GET DRESSED.

GET DRESSED.

TEENY... I'M SO SORRY.

>> Tony: MUMMY ALWAYS SAID THAT

I SHOULD BE FURIOUS WITH YOU

FOR STEALING MY GIRL.

BUT I SAID, "MUMMY,

HE DIDN'T HURT ME.

HE HURT YOU."

STILL, PAPA, YOU SHOULD HAVE

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

DISAPPEARED, AND I WILL NOT BE

ABLE TO SLEEP UNTIL WE FIND IT.

[BIRDS CHIRPING, CAWING]

[♪...]

[♪...] [LIGHTER SNAPS OPEN, CLICKS]

[LIGHTER SNAPS OPEN, CLICKS]

[LIGHTER CLICKS CLOSED]

[LIGHTER CLICKS CLOSED] [♪...]

[♪...]

[♪...] [LIGHTER CLICKS CLOSED]

[LIGHTER CLICKS CLOSED]

>> Barbara: NOT THE FORMAL

OPENING DINNER, OF COURSE,

THAT'S ME AND 17 OF THE DEALER'S

CLOSEST FRIENDS, YOU KNOW,

GETTING PISSED AT REGINE'S.

[WOMAN CHUCKLES]

THIS IS DIFFERENT, MORE INTIME.

WHAT I WAS THINKING WAS THAT

AFTER THE VERNISSAGE, I WOULD

GATHER TOGETHER A SMALL GROUP:

YOU AND MISHKA, OF COURSE, AND

ETHEL DE CROISSET AND THE DURANS

AND BILL AND ROSE STYRON, IF

THEY ARE STILL IN TOWN.

NOT, NOT "BUYERS,"

NOT, NOT A BUSINESS THING.

THANK YOU.

>> PEOPLE YOU LOVE AND WHO

I KNOW WOULD LOVE EACH OTHER.

OH, I CAN'T BEGIN TO TELL YOU

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

MORNING, HOW AGITATED?

>> WELL, THAT'S STILL TONY, OF

COURSE, BUT IN LONDON, HE EATS,

HE WALKS, HE EVEN SHOPS.

THIS MORNING, WE STAYED IN BED

UNTIL 11, READING THE

NEWSPAPERS.

FOR HIM, THAT'S UNHEARD OF.

FOR ME, PARADISE.

>> OH, THANK YOU.

>> IT'S A PLEASURE.

>> NOW, WHAT DO YOU THINK,

MISHKA, OF A SMALL DINNER

FOLLOWING THE VERNISSAGE?

>> WHAT'S NOT TO LIKE?

IT SOUNDS LIKE A GREAT IDEA.

>> WELL, I WAS THINKING I MIGHT

HAVE IT HERE.

I THOUGHT IT MIGHT ADD A NOTE OF

CLASS TO MY OWN LITTLE WORKS

WHICH THEY IN NO WAY ON THEIR

OWN MERITS...

>> OF COURSE YOU CAN HAVE YOUR

LITTLE DINNER OVER HERE.

[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

RESPONSIBILITY TO KEEP TRACK OF

YOUR OBJECTS.

>> BUT IT'S NOT ANYWHERE.

>> MISSY HARNDEN IS THE SOUL

OF GRACIOUSNESS.

WHEN I MENTIONED THAT THERE

WOULD BE A VERNISSAGE AFTER THE

OPENING, SHE OFFERED TO HOST

A LITTLE DINNER, CHEZHARNDEN.

>> I'M SO HAPPY FOR YOU, MUMMY.

>> I DO LIKE THE WAY YOU'VE BEEN

DRESSING LATELY.

IS THAT FROM GIEVES?

>> NO, ACTUALLY, IT'S

FROM ANDERSON.

FROM ANDERSON AND SHEPPARD.

>> DID YOU JUST WALK IN?

>> NO, YOU MIGHT JUST WALK INTO

GIEVES, BUT YOU'RE NOT GOING TO

WALK INTO ANDERSON.

YOU GET WALKED INTO ANDERSON.

IN MY CASE, BY TIMOTHY CHALMERS.

>> HAVE YOU BEEN SEEING A LOT OF

YOUNG TIMOTHY CHALMERS?

BECAUSE I DON'T THINK HE'S THE

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.

>> OH, HE'S ENGLISH, IS ALL.

HE'S THE KIND OF PERSON THAT

DOES THINGS FOR PEOPLE...

IN THE WAY THAT MISSY HARNDEN

DOES FOR YOU.

>> I HOPE YOU HAVEN'T INCURRED

ANY KIND OF OBLIGATION.

>> MOTHER, WE'RE TALKING ABOUT

AN INTRODUCTION TO A TAILOR,

A CLOTHIER.

>> WELL, I VERY MUCH LIKE

THIS MATERIAL...

THIS FABRIC.

WHAT WOULD YOU CALL IT?

>> IT'S A WORSTED,

I SHOULD THINK.

>> MMM, WELL, IT'S MUCH NICER

THAN YOUR OTHER WORSTED.

THAN YOUR OTHER WORSTED. >> WELL, THAT'S ANDERSON.

>> WELL, THAT'S ANDERSON.

>> THIS IS INTERESTING.

>> BARBARA...

PLEASE.

>> 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.

>> AH, I'M FINDING SOME

BUTTONS HERE.

HOW MANY?

>> FIVE.

THEY DO THEM WITH FIVE.

>> THAT'S FIVE.

THAT'S FOUR...

AND THAT'S THREE...

AND THAT'S THREE... HOLD THAT THOUGHT.

HOLD THAT THOUGHT.

[DOOR SHUTS]

[DOOR SHUTS] [CLOCK TICKING...]

[CLOCK TICKING...]

[CLOCK TICKING...] [CLOCK CHIMING...]

[CLOCK CHIMING...]

[CLOCK CHIMING...] [DOOR OPENS, CLOSES]

[DOOR OPENS, CLOSES]

I LIKE THE BOXERS YOU'VE CHOSEN.

I LIKE THE BOXERS YOU'VE CHOSEN. >> I PICKED THEM OUT FOR MYSELF.

>> I PICKED THEM OUT FOR MYSELF.

>> [SOFTLY]: HOW DOES THAT FEEL?

>> [SOFTLY]: HOW DOES THAT FEEL? >> [SOFTLY]: I THINK YOU KNOW.

>> [SOFTLY]: I THINK YOU KNOW.

>> [SOFTLY]: I THINK YOU KNOW. >> [PANTING...]

>> [PANTING...]

>> [PANTING...] [PANTING FASTER...]

[PANTING FASTER...]

[PANTING FASTER...] [PANTING SLOWS, FADES...]

[PANTING SLOWS, FADES...]

DID YOU COME?

>> NO.

>> WE CAN DO SOMETHING

>> WE CAN DO SOMETHING ABOUT THAT.

ABOUT THAT.

ABOUT THAT. [TONY PANTING...]

[TONY PANTING...]

[TONY PANTING...] [TONY GROANS]

[TONY GROANS]

[TONY GROANS] [BARBARA SIGHS]

[BARBARA SIGHS]

[SOFTLY]: YOU'RE THE BEST.

YOU ARE.

YOU ARE THE BEST.

>> ARE YOU SURE YOU DIDN'T PUT

IT ANYWHERE?

IT ANYWHERE? [♪...]

[♪...]

>> WHY DO YOU CARE SO MUCH

ABOUT THIS THING?

>> FOR THE SAME REASON THAT

ANYONE CARES ABOUT ANYTHING...

FOR ITS VALUE.

ITS SENTIMENTAL VALUE.

>> WE ARE TALKING ABOUT A DOG

COLLAR, A STUPID DOG COL...

>> WE ARE TALKING ABOUT A COLLAR

THAT BELONGED TO GIOTTO, A DOG

I LOVED AND A DOG THAT DIED!

>> INSIDE VOICE, PLEASE.

>> NOW THE DOG IS GONE BUT WE

STILL HAVE THE COLLAR AND WE

HAVE MOVED AND MOVED AND MOVED

AND WE HAVE NEVER LOST IT!

>> OH, TONY, PLEASE.

[♪...]

>> [SOFTLY]: GO LOOK FOR IT.

GO!

GO! [♪...]

[♪...]

>> TONY?

TONY!

TONY! [CLOCK CHIMING...]

[CLOCK CHIMING...]

GET YOUR THUMB OUT OF

YOUR MOUTH.

YOU ARE NOT A FUCKING BABY.

YOU ARE NOT A FUCKING BABY. [CHIMING CONTINUES...]

[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...

>> I DID NO SUCH THING.

>> THEN HOW DID IT GET THERE?

>> WELL, MAYBE YOU PUT IT THERE

FOR SAFEKEEPING AND THEN

FOR SAFEKEEPING AND THEN YOU FORGOT.

YOU FORGOT.

EVERYTHING'S GONNA BE

ALL RIGHT.

LET ME HELP YOU.

LET ME HELP YOU. TONY, TONY...

TONY, TONY...

TONY, TONY... [DISHES CLATTER...]

[DISHES CLATTER...]

>> AFTER WE FOUGHT THIS MORNING,

YOU WROTE SOMETHING ON A PIECE

OF PAPER...

AND I WAS SO ANGRY THAT WHEN YOU

WENT OUT FOR LUNCH, I JUST HAD

TO TEAR IT UP.

>> 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.

I KNOW THAT YOU THINK I'M NOT

SMART, BUT I'M...

[KNIFE SCRAPES]

...SMART ENOUGH TO KNOW

THAT IF THERE IS A PIECE

OF BACKWARD WRITING...

[SNIFFLES]

WHY, YOU JUST HOLD IT UP TO

A MIRROR.

SO I TORE IT INTO LITTLE PIECES

AND I FLUSHED IT DOWN THE

TOILET, BUT YOU KNOW HOW THAT

TOILET IS, AND THOSE PIECES,

THEY JUST KEPT...

THEY KEPT FLOATING TO THE TOP.

>> I DON'T KNOW WHAT YOU'RE

TALKING ABOUT.

WHEN YOU TALK NONSENSE LIKE

THIS, I CAN'T UNDERSTAND YOU...

>> I'M NOT TALKING...

>> I CAN'T HELP YOU.

>> I AM TELLING YOU!

>> YOU ARE SPOUTING!

>> YOU ARE SPOUTING! [KNIFE PENETRATES]

[KNIFE PENETRATES]

[KNIFE PENETRATES] [PULLS OUT KNIFE]

[PULLS OUT KNIFE]

[CHILDREN SHOUTING

[CHILDREN SHOUTING IN DISTANCE...]

IN DISTANCE...]

>> I'M GOING TO CALL

>> I'M GOING TO CALL AN AMBULANCE.

AN AMBULANCE.

>> Tony: YES...

83... CADOGAN SQUARE.

[CLOCK TICKING]

THANK YOU.

[HANGS UP PHONE]

[DIALING ROTARY 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.

AND SOME RICE, SOME FRIED RICE. NO, THE LARGE.

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.

EARLIER THAT AFTERNOON, I HAD

A TELEPHONE CALL FROM A FRIEND

OF OURS WHO LIVES IN WALES.

SHE TOLD ME I HAD FALLEN DOWN

AN ELEVATOR SHAFT.

[DOORBELL RINGS]

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

MIND AND I FELT LIKE I WAS

RE-ENACTING PARTS OF MY

FORMER LIFE.

[SIREN WAILING...]

YOU KNOW I LOVED, AND STILL

LOVE AND ADORE MY MUMMY MORE

THAN ANYONE IN THE WORLD.

>> HELLO?

HELLO?

HELLO? MR. BAEKELAND?

MR. BAEKELAND?

YOU WOULD BE MR. BAEKELAND, SIR?

>> YES.

>> AND THIS WOULD BE...?

>> AND THIS WOULD BE...? >> MY MOTHER.

>> 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

KILL ME.

[GENERAL CONVERSATION...]

NEVERTHELESS, I FEEL BETTER NOW

AND EVEN FEEL THAT A GREAT

WEIGHT HAS BEEN LIFTED FROM

MY SHOULDERS.

MY SHOULDERS. [GENERAL CONVERSATION...]

[GENERAL CONVERSATION...]

>> Man: ...IS IT SOMEONE FAMOUS?

[GENERAL CONVERSATION...]

>> Man 2: THEY SAID TO MOVE ON.

>> Tony: 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

GIVEN BY BARBARA'S FRIENDS WHO

KNEW HER WELL AND REMEMBER WHAT

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.

KNOW YOU HAD BEEN THERE TOO. [♪...]

[♪...]

[♪...] [♪...]

[♪...]

[♪...]

>> Woman: ♪ LET'S GET OUT

OF TOWN,

GO SWIMMING, SWIMMING ♪

♪ MOVE YOUR ARMS AROUND,

WADING SO FAR OUT ♪

♪ NOTHING TO CRY ABOUT

♪ MMM, MMM

♪ IT BARELY MAKES A SOUND

[♪...]

♪ LET'S GET OUT OF HERE,

GO FLYING, FLYING ♪

♪ YOU'RE SO PRETTY, DEAR,

AND YOU'RE MINE NOW,

AREN'T YOU, NOW? ♪

♪ HIGHER THAN A CLOUD

♪ MMM, MMM

♪ 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... ♪

♪ OH, DIDN'T YOU FIND ME

DRAWN ON LIGHTLY? ♪

♪ DRAGGING IT OUT...

♪ OH, DIDN'T YOU KNOW ME?

♪ NOTHING TO SHOW ME

♪ JUST GOTTA GET OUT...

♪ OOH, OOH

♪ OOH, OOH [♪...]

[♪...]

♪ LET'S GET OUT OF TOWN,

GO SAILING, SAILING ♪

♪ THROW THE ANCHOR DOWN,

HEAD TO HEAVEN WITH ME NOW ♪

♪ ANGEL ON THE BOW

♪ MMM, MMM...

♪ IT BARELY MADE A SOUND

♪ 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... [MUSIC CHANGES]

[MUSIC CHANGES]

[MUSIC CHANGES] [♪...]

[♪...]

[♪...] [♪...]

[♪...]

[♪...] [♪...]

[♪...]

[♪...] [♪...]

[♪...]

[♪...] [♪...]

[♪...]

[♪...] [♪...]

[♪...]

[♪...] [♪...]

[♪...]

[♪...] [MUSIC ENDS]