Original subtitles

- Good morning, Patrick. - Good morning.

- Good morning. - Good morning.

- Hi, Patrick. - Hello, David.

David, you might need these.

What time did you folks leave last night?

Don't even mention it.

Don't lose your books.

- So long, David. - Goodbye, Daddy.

I have a theory that men are only honest with each other over breakfast.

You know, before they put the armor on. Tell me something, Coe.

Did my name mean anything to you when you heard it over the phone?

No, I'm afraid not. Should it have?

I've achieved a certain degree of fame. I'm a writer.

- Ever heard of a book called Star Reach? - No.

Disaster?

No, but then I don't get a chance to read much fiction.

You can't expect to enlighten everybody with two brilliant thrusts.

If you read anything at all...

you'd know that Star Reach was serialized in the Post...

was Book of the Month and MGM bought it from its galleys for a picture.

Disaster is on the best-seller list for 34 weeks...

and Fox is shooting it right now.

You must be very successful.

- I'm King Midas. - I'm delighted to hear that.

I like to experiment in my work now and then...

and that can run into a little money.

That whimper you just heard was my wallet.

Maybe I picked the wrong architect.

Maybe. How did you happen to pick me?

I ran across this in a magazine in a dentist office.

And I liked it.

Yeah.

That's the only house I haven't wanted to tear down and start all over again.

I know what you mean.

Someday I hope to get my publisher to stop sending me galley proofs.

Every time he does that, I try to rewrite the whole stupid book.

So, how do we go from here?

First how much do you want to spend?

Like to keep it under $100,000.

We'll certainly do something with that.

It depends on the kind of house you want, and whether or not we can agree on it.

- At $100,000, you'd disagree? - It's possible.

What are you, one of these temperamental artists?

If you want to call it that.

The kind of house I design won't advertise you, it'll advertise me.

I can't afford to have a dull house go up with my name on it.

You ought to understand that. Who gets the review, you or your editor?

- More coffee? - No, thank you.

Good hips, that girl.

All right, let's say our tastes agree, now what?

I want to see your lot, of course.

But first I'd like to read your book, Star Reach.

My second one was better.

But aren't first ones usually autobiographical?

Bright boy. You do read a little.

Before I go to the drawing wood, I must know everything about you.

So far, all I know about you is you like coffee and hips.

There are some closets I don't want opened.

I'm no stool pigeon.

Suppose you think the book's lousy?

Let's not look for trouble before we start.

- There'll be plenty of that, anyway. - Sounds like a kidney operation.

No, it's not that bad, really, but...

You know, Altar, designing a house for somebody...

that's a very personal thing.

I like you, Coe.

You like me?

I'm not sure yet. I think I will.

- I'm not asking you to marry me. - I'd have to refuse.

- Hi, there, Larry. - Hi, Felix.

Eve called. Said you forgot the meat order. I told Harry to have it ready.

Thanks. How'd you like the party last night?

Didn't care for it very much, Larry.

Of course, I may be old-fashioned, but I think Bud goes a little far, don't you?

How do you mean?

You know, those jokes he tells. I took Betty right out of the room.

I'm not a prude, but there's no place at a party...

for that kind of innuendos. Suggestion.

- I think Bud's harmless. - Maybe I'm just old-fashioned.

Maybe you are. Excuse me.

Miss, I think you walked off with my cart.

No, I'm sure I...

I'm sorry, I must have been daydreaming.

Don't you think it might be easier if we wheeled it over to your cart?

I guess it would.

You're Patrick's mother, right? I saw you at the bus stop this morning.

- I'm David's father. - Yes, Betty Anders was talking about you.

- How do you like the book? - I haven't started it yet.

- I started it, but... - But what?

His women seemed false to me. I don't know.

It just seemed shallow somehow, so I never finished it.

- He'll be delighted to hear that. - Do you know him?

I'm doing a house for him.

That's right, you're the architect.

You must be a good one. Betty said you won a prize.

A long time ago.

How do you like the neighborhood?

- I thought you'd just moved in. - Last month. It's fine.

People are pretty much the same everywhere.

I guess that's everything.

I'm sorry I stole your groceries.

You're not so pretty.

I have to go.

Good afternoon, Mrs. Gault.

Nice woman. Very pleasant manner.

- I caught you. You drink your milk now. - How much?

You drink this much, and then you can tell me a secret.

- No. That much. - Okay, let me see you do it.

Larry, is Mr. Altar as solemn as he is in the picture on that book?

No, not at all.

I kind of like him, Eve.

I think he's willing to take a chance and let me do the house I really want to do.

That's the important thing, isn't it?

With enough money, so I don't have to worry about the plumbing.

Will that be a relief.

I'm glad you made a good impression.

I was afraid you'd get there and not understand a word he was saying.

What do you mean?

I don't know. I just thought you'd have a head this morning.

I've got a head. Everybody's got a head. Have you got a head, Peter?

Really, Larry. You knew you had an important appointment.

A couple of martinis never hurt anybody.

They make me amorous.

You just think they do. Martinis don't mix with s-e-x.

What's x-e-x?

Never mind. You just drink your milk.

Is it like Santa Claus?

In a way, son.

Is Daddy doing a house for Santa?

No, darling, he's doing a house for a writer. I'm glad this is what you want, Larry.

I'm happy. I think it's going to be very exciting.

- I'm glad. - Guess what?

What, Peter?

- Guess. - You lost a tooth?

No, but I wet the bed again last night.

You'd better be more careful, son.

This wasn't on my list.

That must be... There was a slight mix-up at the market.

Between me and this gorgeous blonde.

- Really? Who? - Patrick's mother.

Margaret Gault. Betty told me about her. I hear she's very beautiful.

He drags me home from the party early. He says he's tired.

So I get all set to watch television. But not Felix.

He has to carry me upstairs like a regular hero.

You know, I swear that man's got one thing on his mind day and night.

It's getting so lately that I go out to lunch so he won't come home for lunch.

I guess they're all alike, though.

Is Ken that way?

Yes, he's that way.

There are times when my husband bores me stiff.

Does Ken bore you?

No, never. He's always very interesting.

Well, a girl like you.

You know, you're so beautiful, sometimes I can't even stand you.

Old Octopus will be home for lunch soon. I'd better get home.

- Nice to meet you, Mrs. Wagner. - Thank you.

- Thanks for the coffee. - Sure.

- You get a chance, come on over later. - Okay.

Hello?

You. How did you get my number again?

No. Never.

I'll call the police if you don't stop calling me.

Margaret, shouldn't Patrick be home by now?

Yes, he'll be home soon, Mother.

They keep them awfully long nowadays. When you were...

If you'd rather not wait for him, it's perfectly all right.

I'm sure he only gets in your way.

I love to have him with me.

In fact, I wish you'd let him stay all night with me once in a while.

It gets awfully lonely in the valley all by myself.

All by yourself, Mother?

Who was on the phone, dear?

Just one of the women. A neighbor.

Something wrong? You seem disturbed.

No, nothing's wrong. If you don't mind, I've got a lot of things to do.

- lf I can help in any way. - It's a little late, isn't it?

- I'm interested. I simply want to... - You're interested in me?

Don't judge me. I'm not to be judged by you. I'm still your mother, you know.

- Yes, I know. - Yes, Margaret, I am.

And I know a little bit more about life and living than you might imagine.

I imagine you know a great deal about life and living, Mother.

You're a very cold person, Margaret.

I never could talk to you.

I used to wonder when it all happened...

how I'd be able to explain it to you when you were old enough to listen.

How I could make you understand what honest-to-God love could do to a woman.

Of course, it was pure and beautiful.

I'm not a tramp, Margaret. Please understand that.

I'm not a tramp.

What happened to me could happen to any woman.

I don't want to hear it.

Do you know what I wish, Margaret?

I wish you'd really fall in love someday.

I am in love, Mother. With my husband.

Yes, of course.

Margaret, you married the first nice boy that came along.

- Mom. - Maybe it was my fault, but...

Excuse me, Mother.

See you later, Margaret.

Good morning.

I think we've got a box of corn flakes that belongs to you.

- I read that book last night. - How did you like it?

I saw what you meant. He doesn't see the world very clearly, does he?

All he needs is a good house to live in.

Better give him lots of windows.

Say listen, I'm on my way now to take a look at his property.

- Would you like to come along? - No.

Just thought you might be interested.

- I am, but... - It's not very far.

Not this morning. Thank you.

Maybe some other time?

Change your mind.

- Where is it? - Bel Air.

- Is this something you do all the time? - What do you mean?

I don't know, ask a perfect stranger to...

I just feel odd sitting here with someone I don't even know.

I'm David's father.

You feel better now?

Suppose someone should see us?

We'll have to tell them the truth. That we're running off to Mexico together.

Would you mind turning back, please?

Are you serious?

Yes.

Well, okay.

- I'm sorry. I just don't feel right. - That's okay.

I saw one of your houses.

The one in Better Homes and Gardens.

I like the way the fireplace is standing free in the middle of the room like that.

You know, that's a caveman concept of architecture.

A roof over your head, a hole to look out of, and a fire to huddle by.

It was a strange house.

- It was just an experiment. - No, I liked it.

It had strength and confidence.

How'd you come across such an old issue?

Betty told me your house was in it...

and I looked it up in the library yesterday.

Look, this is silly. You don't really want to go back, do you?

- This is it. - It's beautiful.

Altar certainly picked himself a spot.

But it's so naked.

You must remember Mexico is a very primitive country.

That's right.

Here, take this end and go out to that point, right by that boulder there.

Okay.

- Watch out for the brush. - All right.

- Will it go that far? - Sure it will.

Okay.

- How are you going to do it? - Do what?

If you put a house up here, it'll roll right down into the street.

We'll have to anchor it to a cloud.

Stay right there and hold it tight while I go over to the other side.

Yes, sir.

- I love the smell of earth. - I do, too.

That about does it.

- You mean that's all? - Just the beginning.

- What's it going to look like? - I think I know.

- You've been very helpful. Thank you. - Thank you.

Maybe you'd better drop me off here.

- I'll take you to your door. - No, please. This would be fine.

Maybe you're right.

This okay?

Yes, thank you.

- I'm glad I came along. - So am I.

Goodbye.

Who are you?

I was about to ask you the same question. I'm Larry Coe.

- Sure. Come in. - Thank you.

So you're the architect?

- That's who I am. - I'm Marcia.

Hello, Marcia.

Let's hear some of your plans.

Where's Altar?

The genius? He's working. Would you like a drink?

No, thanks. It's a little too early.

- Do you mind if I have one? - No, please.

What's he working on?

The Fall of a Stone. Do you like that title?

Are you married or something?

Yes, I'm married or something.

Choke.

You're missing a lot, architect.

Maybe we both are.

Maybe you'd better tell Altar I'm here.

What, and have him snap off my head? Do you think I'm crazy...

- I thought I heard you. You been here long? - I just got here.

You still here? I thought you left long ago.

- Now, how can I leave? I'm your inspiration. - Sure. Baby, I hate to disillusion you.

- You need all the inspiration you can get. - Go fly a kite, will you, sweetheart?

- Had your breakfast yet? - And lunch.

- And lunch? What time is it? - After 3:00.

No wonder I'm so hungry. I've been at this thing since 4:00.

- I can't get it right. - And you won't.

Look, Marcia whatever-your-name-is...

would it hurt your career if you kind of cleaned up the joint?

My talent doesn't lie in that direction.

You haven't got any talent. You don't have any talent.

I don't? You see, he gets lucky with a couple of books...

all of a sudden, he's an important American writer.

I am an important American writer.

The critics said that he wrote with facile ease, but he hasn't got a thing to say.

The critics. I eat them like the pieces of cheese they are.

He's dying because they pan his books. It kills him.

Yeah, I cry all the way to the bank, okay?

All right, now go someplace and practice your fast draw.

- We're all out of Holland gin. - And I can understand it.

Got to get rid of that miserable lush.

I'd like to go over those sketches with you.

Lot of laughs, that kid. Sit down and have something to drink.

No, thanks. Let's get to work. I got a few appointments with some builders.

Did you have trouble reading the sketches?

- No, I read them fine. - Good.

It's pretty different from the house I saw in the magazine, isn't it?

You didn't expect the same house, did you?

I don't know what I expected.

You're the architect, you've said so often enough.

What's the matter with you all of a sudden?

Nothing.

No, there's something eating you. What is it, Rog?

I showed your sketches to some friends of mine.

They said I'd have to be nuts to live in a house like that.

Who's going to live in it, you or your friends?

That's not the point.

Nobody lives in a vacuum.

I don't want people pointing to this oddball house:

"That's where that kooky writer lives."

What do you want? A house like everybody else's?

The house in the magazine wasn't like everyone else's.

I designed that house for a Fresno lawyer with kids.

This house is for you.

Sure. What if I have to get rid of it? Suppose my next book flops?

And the book after that? What do I do then? Wait for a 36-year-old writer...

with a mustache to come along so I can unload it?

What do you want? A guarantee that you'll be successful always?

What difference does it make?

You design a house, up it goes, you get 10%, good or bad.

With a book it's different. I've got readers, I get reviews.

Shall I call your girlfriend back?

Maybe you'd like to slap her around as I'm too busy to play scapegoat.

What do you mean? I'm discussing your house.

Your house, Altar.

Forget it.

All right, I made a mistake.

When I met you, I told my wife:

"Here's a guy who'll be willing to try something different."

- Boy, was I wrong. You want to play it safe. - That's not true.

What are you afraid of? That some critic won't like your house?

This has nothing to do with the lousy critics!

You know, Rog, we both start with the same thing:

a blank piece of paper.

But every time I try to play it safe, I come up empty.

So now I just sit down at that drawing board and do what I want to do.

And I hope what I like, somebody else will like.

Maybe this isn't a great house, I don't know.

Maybe somebody will think it's an oddball...

but we can't try to please them all.

- You trying to say this is what I do? - No, Rog, I don't know what you do.

I read both your books. I like them pretty well, but...

Boy, I'd love to see what would happen if you really broke loose.

Don't you think that's what I want to do?

Then do it. Write a book that you like, and to hell with the critics.

You don't know.

Rog, I know one thing.

You've got to find out what's important to you.

Sure, now this house is important to me.

And I was hoping you'd like it, but...

If you don't like it, we shake hands and say goodbye. It's as simple as that.

You know something? I think it's a great house.

Are you sure I haven't talked you into anything?

Yeah, I think you did. Thanks.

There are a few improvements I'd like to make.

- You know, this is an oddball house. - You're an oddball character.

Look, let's take it one room at a time.

Hey, Maggie.

What did you call me?

Maggie. Why, something wrong with that?

No, nothing. How are you?

Fine. I feel just like I own Southern California.

Altar just gave me the green light on the house.

Of course, he doesn't know it's going to roll down into the street.

That's wonderful. Congratulations.

I couldn't have done it without you holding the tape. I owe you a commission.

How about an ice-cream cone or a Coke or something?

Thanks, but I can't, really. I'm late now.

I'll owe it to you.

- It's going to be a very exciting house. - Thanks, Maggie.

I'll see you.

- Margaret, are you home? - Yes, I'll be out in a minute.

- Where's the mail? - I guess I left it on the hall table.

- Hi. Did you just get home? - No.

Why don't you get dressed? Where's Patrick?

Betty's keeping him overnight.

I thought we could be alone.

I'm going to wash and change my shirt.

Telephone.

Margaret, telephone.

- Leave it. - It might be important.

Don't answer it.

What's with you tonight?

Please.

Okay.

That phone's still ringing.

It's getting dark outside.

Tell me you love me.

Now, you know I love you, Margaret.

Don't you think I'm pretty?

- Of course. - Then why don't...

Do you think of me when you're working, Ken?

- Yes. - What do you think?

- I don't know. I think of you. - Do you think of making love to me?

- Now don't talk like that... - How do you think of me, then?

Margaret, this is silly.

You know perfectly well how I feel about you.

Tell me you want me.

Do you want me?

- You know I want you, Margaret. - Then tell me. Talk to me, Ken.

- Honey. - Tell me.

Don't you want to hold me? Hold me.

Margaret, we can't just...

- Why can't... - Please, Margaret.

I'm sorry to rush things, but boy...

I'm sorry to rush things, but boy...

I've still got two hours of work tonight. Always changes.

I tell you what. Just give us a layout of the plan site...

and a schematic of one of the factory buildings...

and after that, Martin can do the rest.

- Why don't you let him handle everything? - Because it's right down your alley.

You won a prize for doing almost the same thing.

- We're back to that again. - I just wanted to illustrate a point.

That is the point. I've had it.

I don't want to keep doing the same commercial designs.

I think the location alone would interest you.

Look, I'm working on a house. I like it.

I can't go hopping off to Hawaii.

That wouldn't be necessary, would it, Mr. Baxter?

Aren't there photographs of the proposed site?

Sure there are. Some good ones, too.

I prefer to get a feel of the terrain. You know that.

Actually, the terrain is no problem here.

We've got a good flat parcel of land.

- Good night, Mr. Baxter. - Good night.

What do you say, Larry? We figure the job is worth $3,000.

I think it's worth more than that.

What Larry means is he's been getting the work...

What I mean is that I'll be working on two jobs simultaneously...

and trying to give them both my best. More than $3,000.

Thank you, sir. Good night.

How much would you want?

I think the job's worth $5,000.

Isn't that a shade high for something like this, darling?

I think we can go to $4,000. What do you say, Larry?

- Let me think about it, Stan. - What's there to think about?

Are two grown men going to start bargaining like fishwives?

I like you, Eve. $4,500, Larry. Top offer.

- Have we got a deal? - All right, it's a deal.

- Thanks a lot for dinner. - My pleasure. I'll phone you Monday.

- Will you send the photos over? - As soon as I can get them to you.

Why do I let myself get trapped into doing unimportant...

Trapped? What do you mean?

What do you think happened tonight? You knew I didn't want that job.

I knew nothing of the sort.

Why do you think I left Baxter and Baxter?

I was beginning to feel like a machine turning out plastic practical jokes.

So again I let myself get forced into a job that doesn't excite me.

Doesn't offer any challenge. It's something any architect could handle.

I didn't force you into anything.

You're right, honey. I'm a big boy. I could have said no.

Honey, have you any concept of what I'm actually trying to do?

Apparently not. I'm just a pushy housewife.

Do you think it pleases me that I won a prize back in 1952...

eight years ago, and that lousy prize has been the high point of my career?

Now you're ashamed of it? You talk like you're ashamed of it.

No. It's just that I'm not the wonder boy anymore. This is 1960...

Larry, for heaven's sake.

Time doesn't stand still, you either change or you die.

Would you mind telling me how this job is going to kill you?

I realize I'm terribly dense and stupid, but I don't understand.

Look, for once, just try to understand.

I didn't want this job because I want to concentrate on the Altar house.

That's something I want. Something that excites me.

I've got things I want to state as an architect.

And if I don't get them out of me, I'll bust.

You know what I'm trying to say? Do you understand?

I understand, Larry. But what comes after the Altar house?

I think we should be grateful to Mr. Baxter. Heaven knows we can use the extra money.

Linda. We're home.

- Hi. - Hi, Eve.

Were the kids okay? Did they wake up?

Not a peep out of them all night.

- Who's winning? - I don't know. Who's playing?

It's not quite 11:00, sis. Do you want me to lift Peter before I go?

I'll do it, Linda.

- Good night, Larry. - Good night, Hank.

Sis, there was one little fuss.

Daddy?

- What are you doing awake? - Is it time for school yet?

No.

Mommy and I just got home. Get back to sleep.

Daddy, tonight Peter was messing around with my record player.

He broke the needle and scratched up the record.

And when I tried to stop him, he got mad and threw one of his blocks at me...

and almost broke the window.

And when I told Lindy, she said it was just an accident.

But it wasn't no accident, Daddy.

- We'll have to talk to him about that. - I think you should beat him up.

We'll figure something out in the morning, okay?

- Okay. - Get back to sleep.

- David? - Yes, Daddy?

I'll drive you to the bus stop in the morning.

Okay, Daddy.

Have you got plenty of pencils to write with?

You'd better move over here.

You wait for him, he'll be along.

There he is. Hurry up, Patrick.

Come on.

There you go.

- Thank you. - I'm going to the lot again. Come with me?

Thank you, no.

- Come with me. - No.

I want to see you again.

Why? You don't even know me.

I want to know you. When can you get away?

No, I can't. I couldn't.

- When? - Don't ask me. I don't want to.

When? Tomorrow night?

- No. - Thursday night?

Please don't think that l...

- 8:00? - Where?

People will see us. Please hurry.

There's a place on the beach on the way to Malibu. It's called the Albatross.

I'll find it.

Are you sure you want to see me?

Yes. Aren't you?

No, I'm not sure at all.

8:00.

- Patrick's sound asleep. - Good.

- What time do you think you'll be back? - 11:00, 11:30.

I don't really know, Ken. You know how women are when they get together.

I know.

- lf you'd rather I didn't go... - Why, no, go ahead. Don't be silly.

I don't have to go, Ken.

Maybe we could get a sitter and we could go out somewhere together.

I have a lot of papers to go over tonight. Now you go on and have a good time.

Suppose I were going to meet another man?

Sure.

- Would it make you jealous? - Of course it'd make me jealous.

But you don't think it's possible? I mean, do you? That I would.

You're my wife, Margaret.

- It happens, you know. - Not to someone like you.

I'm no different than anyone else, Ken.

I've got the same feelings, the same passion...

- Now stop that. Don't talk like that. - "Passion" isn't a dirty word, Ken.

Margaret, please, you know I don't like to hear you talk like that.

Now, come on.

You go on and have a good time, okay?

If I'm not awake when you get home, I'll see you in the morning.

- Hi, Maggie. - Hi.

- I thought you weren't coming. - I said I would.

- Shall we sit down? - Sure.

- Did you have any trouble? - No.

Let's not talk about it, please.

- Would you like a drink? - Please.

Good. Waiter. What do you drink?

Anything. I don't care. What do you drink?

- Martini? - Fine.

- Waiter, two martinis, please. - Yes, sir.

It's crowded in here.

We're pretty far from home. I don't think we have to worry.

- The waves are wonderful, aren't they? - They're beautiful.

I got a builder for Altar's house. A man named Di Labbia.

I think he'll do a good job.

We start next week.

I feel very guilty. Don't you?

Yes, I do.

Do you want to leave?

No.

Good. I thought we'd go through that whole U-turn routine again.

Thank you.

- I'm sorry, sir. - That's all right.

He's nervous, too.

- Do you like olives? - Don't you?

I love them.

Why do you call me Maggie?

Doesn't everyone?

Just you.

Good, I'll be the only one in the whole wide world to call you Maggie.

Funny that you should call me that.

I guess it's because it's such an ugly name. Maggie.

But you make it beautiful.

My father used to call me Maggie.

What's your favorite name?

I have a lot of favorite names.

Tilly, Zelda, Lizzie, Brunhilda...

You've got a silly laugh.

No, I like it. You ought to use it more often.

I want to laugh. I really do.

It's a very sexy laugh.

Larry.

Nothing. I just want to try saying your name.

What shall we drink to?

- Everything. - Like what?

Living, doing, being what we want to be. That's all that's important.

Isn't that what everyone wants?

What do you want?

I want to make love you to you.

Do you know how I feel right this minute?

That I'm...

I'm sorry, I just can't.

Don't.

Please don't.

Don't start this. If you start this, you'll just...

Please don't. Don't kiss me. Please don't kiss me.

If you kiss me, I'll...

Yes.

Mom.

- Can I have some more milk, please? - All right.

- What does Altar want this time? - He thinks the study isn't big enough.

I won't be too long, dear.

Leave his number, will you? In case I have to reach you.

- He isn't listed, you know. - Sure.

I'll leave it here by the telephone.

- Good night, dear. - Good night, darling.

Hey, Mr. Coe. What's the matter? You don't trust me?

You got to go up on the roof to check?

I don't trust anybody who wears leather elbow patches.

I'm gonna lose my shirt on this job.

- I figure I underbid by at least $5,000. - Don't come weeping to me.

I never weep except in church.

But just watch me when I start cutting corners.

Don't cut corners on me.

Remember, you're a bugler. You play the song the way I wrote it.

Without me, your song don't get played at all.

- I'm a very important guy. - Good.

I'll get it, Ken.

Hello?

No, I can't right now.

Maybe in a few hours.

Bye.

- Who was that, Margaret? - Betty Anders.

Did you kill anyone?

I don't know. It's hard to tell when everyone's shooting at once.

I know.

Ken said the same thing. He was in the...

He was in the infantry, too.

I didn't like the Army at all, except for the people I met.

There was one man in my outfit.

He was a magician in civilian life, and he kept all his...

How did you meet Eve?

At a dance.

He kept all his tricks in his footlocker.

One day the CO came through with some top brass...

Is she a good dancer?

Yes, she's a good dancer.

I hate to dance.

When did you meet her?

While I was still in the service. Home on furlough.

Did you like her right away?

Yes, I did.

Look, Maggie, you know, people aren't born married.

They meet, date, go steady, get engaged...

the whole natural progression that you and Ken...

Why are we talking about this?

- You love her very much, don't you? - Come on, Maggie.

- Is it painful for you to talk about her? - No, but I don't see why we keep on...

- Is she very bright, Larry? - Yes, she is.

Do you think she's pretty?

What's the next question? "Is she better than me?"

Go ahead, ask it.

I'd never ask that.

Why not? You've asked everything else.

I guess I'm afraid of the answer.

Maggie, you never have to be afraid of anything. Never.

Kiss me.

What are you two guys doing? Figuring out new ways to chisel me?

- Hiya, Rog. - Daphne, Larry Coe.

- How do you do? - Mr. Di Labbia.

- Hello. - Want her number?

- Honey, everybody's got my number. - Yeah, I know.

- This sure is exciting, isn't it? - Don't pay any attention to her.

A checker game is exciting. Crazy legs, though.

This little group of beavers running around. What's this costing me?

Not enough, Mr. Altar.

- It looks like a big prison. - Excuse me, I have some work.

What difference does it make? You're King Midas, remember?

Sure. I'm beginning to feel like your patron.

Getting the money from the publisher with one hand...

- and giving it to you with the other. - How is the book coming?

- I turned it in last week. - Good.

Rog let me read all the best parts. It's wonderful.

It's just like poetry.

All right if I go look at your house now, Mr. Coe?

- Certainly. - Sure, baby, you can go look at my house.

Your house.

Listen, you know the entrance to the dining room?

Can it wait until tomorrow? You know, I didn't expect you today...

I'm late now. Okay?

- What is it, a blonde or brunette? - Neither.

Bald and 50, another potential patron.

What's the matter? Don't you like the house anymore?

Of course I do. What kind of a crack is that?

It's just that it's hard being enthusiastic all by myself.

I'm sorry, Rog. Can you stop by tomorrow?

We'll walk through the whole thing step by step...

- and work over the rough spots. - Sure.

- I got a few extras. - No extras. No more extras.

- I'll see you tomorrow. You'll like them. - This is expensive wood.

You see, I thought I'd put the shutters on the outside...

see, so they stand out from the house like this.

Don't you hate people who draw on tablecloths?

Yes.

- Anyhow, you'll be able to... - How do you shave that?

How do I shave what?

- That. - It's very simple.

You see, I have a tiny little razor with cylindrical blades.

And I put it here like this, and I shave it very fast.

Oh, you.

I gotta call Ken. I promised I would.

I'll be right back, okay?

- Where did you and Harry go last night? - We went to a new place.

I don't know...

One of those coffee houses.

- Did you want anything? - Shove off.

- Look, Margaret... - The lady's with me. You'd better leave.

You're not her husband, mister. Why don't you shove off?

What's the matter with you?

All right.

It's over.

All right, it's all over.

Are you all right, Maggie?

Yeah, I'm all right.

We'd better get out of here.

What did he want?

- How did he know your name? - He didn't.

- He did. He called you Margaret. I heard... - You must have been mistaken.

- I heard him. - I never saw him before in my life.

How did he know your name?

- What was this "It's all over..." - Can we stop this, please?

Maggie. What is it? Is the truth so terrible?

You sure you want to hear it?

Yes. I want to hear it.

All right.

It was this last summer.

July.

Ken was away on a business trip, and Patrick was staying with my mother.

I was alone.

Forget it, Maggie. I've no right to know.

But you have to know, don't you?

It was very hot that day.

I was sitting out front when a truck went by.

The driver waved and he smiled at me. And I smiled back.

- He was the driver? - Yes, he was the driver.

He came back the next night.

I was ironing and he rang the doorbell and asked for a glass of water.

He said he was thirsty.

I didn't see any harm in it, so he came in and he stayed awhile.

I was so grateful to have someone to talk to.

So we talked.

He said he was driving the truck for his father.

- They had a rug-cleaning business. - So what happened?

He kissed me.

We were standing at the door, saying good night.

Suddenly he grabbed me.

He was trembling all over like a baby.

What are we making such a fuss about?

There's more, Larry.

I got ready for bed after he left.

I was in bed when the phone rang. It was him.

He said he was coming over.

I told him he was crazy, that I was in bed, that I'd call the police.

- But he said he was coming over. - Why didn't you call the police?

I have a young son.

I locked all the doors instead.

- Then I took some sleeping pills and l... - Sleeping pills?

When you knew he was on his way, you took sleeping pills?

I wanted to sleep. I wanted to hide.

Go ahead.

I was almost asleep when I heard his car pull up.

He rang the front doorbell, but I didn't answer it.

The pills were beginning to work. I couldn't have gotten out of bed if I wanted to.

Then I heard him trying the kitchen door.

Then I heard the door open.

You said you'd locked it.

I did, but somehow he was in the house.

He called "Margaret" from the kitchen.

I lay there half-drugged, unable to move.

Then I heard his footsteps in my room.

And I couldn't move.

I tried to fight him, Larry.

I tried. Can you understand that?

No, I can't. Why'd you take those sleeping pills?

- I wanted to sleep. I wanted to hide. - Why'd you leave the door open?

- I thought it was locked. - A door is either locked or it isn't.

You wanted him inside that house.

You didn't want to hide or sleep. You wanted him to find you.

You took those pills to make it easy for yourself.

And you wanted what happened.

All right, Larry. I wanted him.

That's what you really want to hear, isn't it?

I wanted him.

You...

Would you please come in and settle this?

Pete got paste all over David's model, and now David is yelling bloody murder...

- and I can't do a thing with either. - All right. I'll be right out.

Daddy, I'm gonna kill him.

He smeared up my whole model. It took me three days to make it.

- Don't worry, I'll clean it off for you. - But he's always doing things like that.

- Peter's younger than you are. - I know, but he's got his own toys.

- He lets you use his toys, doesn't he? - Yes.

- You should learn to share things with him. - Okay.

- Hey, Larry, tell Eve to call. - Sure.

Come on,