Original subtitles

(CARN IVAL M [Etéocle] SIC PLAYIN G)

Hey, Ray. How's the wife?

Wel I, it...

How's the fami Iy?

(LAUG H IN G)

(GAVE L POU N DS)

J [Etéocle] DG E : The first case I see here is Reardon v. Reardon.

Wi I I cou nsel please stand?

We're petition I ng , You r Honor.

And for the respondent?

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

I fired h im.

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

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

q u ite favorable to you r interests.

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

We were impossi ble. We were like oi I and water.

I stil I love you .

Me, too.

That's what made it so hard to leave.

Ti I I you h it me. I s Iapped you . I pushed you r face...

With you r hand .

Wel I, betrayal is not my best th I ng .

Yeah , well, I know.

I'm not the on ly g uy who gets u pset if he fi nds h is wife sleepi ng ...

Look, I wasn't strong enoug h to break away without it.

He's a jerk.

Of cou rse he was a jerk.

It's not easy to fi nd someone I I ke you .

Try harder.

Oh, God, I'm al ready jealous .

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

and when you do...

S he's going to be the I uckiest woman al ive.

To a free man .

Fres h meat on the market.

Than k you .

May you never sleep alone. Than k you .

I told you not to marry her.

You two had absolutely noth ing in common .

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

Ray always went for bru nettes .

You're telling me.

You're Larry's wife.

Picky, picky. P lus, you're a lawyer.

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

He I ikes them th I n and dark and artistic.

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

What about love? NORMAN : Love?

E LAIN E : But I n the long term, you're interested I n a family, rig ht?

L want everyth I ng . The kids, the dog , the Volvo.

Whoa, whoa, whoa, s low down on the fami ly, sport.

I mean , fi rst you get laid , then you get laid .

Exactly. There are many, many women out there.

Ah !

Lots of ski n ny women , even .

Anorexics. Yeµs. Dark, angel ic anorexics .

They're .. years old , thei r biolog ical clocks are tick-tock,

tick-tock, tick-tock. (BANGING TAB LE)

Come now. I'm ovu lati ng !

(M E N LAUG H IN G)

I'm fertile today.

J ust today.

It kil ls me to say it, but I'm goi ng to agree with N orman on th is .

You are attractive,

you are straig ht, you are not overtly psychotic.

Oh , than k you .

Listen . You j ust take you r time,

and don't you be a s lave to you r g land u lar reactions.

By the way, have I ever mentioned that my fami Iy crest is actual ly a big g land?

(LAUG H IN G)

I rest my case.

NORMAN : I am down on my knees .

I am begg I ng you .

AI I right. Th is is h u mil iati ng .

Are you deaf? H u h?

I'm g uaranteei ng you 100% retu rn I n s ix months.

You're my friend, Norman .

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

I'm gon na loan money once, I'l I do it agai n ,

and sooner or later, I'm gon na lose a friend .

Great. Swell, so, I'm floati ng facedown .

AI I rig ht, look.

You know, I wanted to emphasize the positive here.

The money's not j ust...

It wou ld keep me al ive another 72 hou rs, okay?

Wou ld you r friends h I p al low you to do that? I love th is.

How much ? For the investment?

To save you r I ife.

Wel I, say, 20 g rand .

I'I I g ive you half.

You'II save half my I ife?

See, th is isn't gooçd . Between friends. . . J ust forget the whole th I ng .

No, no, I need the bucks.

It's j ust that I know you can afford more, and I'm wonderi ng ...

Th is isn't my job to rescue you from you rself, al I rig ht?

You're goi ng to reg ret th is.

What?

A year or two, fortu nes cou ld change.

You cou Id come to me wanting someth I ng .

See. See what happened here?

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

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

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

The point is they told me what you g ive off.

You know, you're Ionely.

It's u nderstandable, but it comes off needy,

j ust like I was here, and it's bad tech n iq ue.

They said I was needy?

Desperate.

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

34 years old and still an asshole.

They said I was needy?

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

I invited a g irl there. Bru nette, Midwest, so forth .

Perfect for you . No, l... Please.

Tits? Did someone say tits?

Like pears .

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

The j u icy Comice you get I n the box from Oregon . Harry and David .

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

B ut please promise me you won't I ntrod uce me to any more women .

Exactly my poi nt, if you'd let me fi n is h .

Bel ieve me, I can fi nd her myself.

Who says no?

Hey, a safe doesn't have to fal I on me. (C H UC KLESà

We still friends?

Can I go back to work now?

And than ks for the 20 G's. [Etéocle] h-u h .

Ten, ten !

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

What is that, Iycra?

Norman is the on ly person I know who can tu rn h is birthday I nto a scm.

L mean , God . He's not paying for food , d ri n ks.

He's provid I ng the id iots who mig ht buy the work of th is artist.

LARRY: Is that the artist? The cowboy?

E LAIN E : Of cou rse that's h im.

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

L g uarantee you , if there are any sales ton ig ht, Norman's friends...

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

S peaking of wh ich , d id he come to you about th is crazy...

Oh , the jackpot idea. 100 grand ?

Yeah . E LAIN E : Yes, si r.

He got the money. What?

Wel I, he must have, 'cause one day, he was hawking me,

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

I got two kids, private school ,

E Iaine's starti ng her own law fi rm...

Pengu in joke.

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

"Hey! Where you goi ng ?'"

(ALL LAUG H IN G)

Are you Ray?

Hey, d id I...

I'm C heryl, Norman's friend .

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

I'm.. . Norman told me.

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

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

We are? Yeah .

(LAU G H IN G OBNOXIOUS LY)

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

You know, I th I nk Iaug hter is the g reatest aph rod isiac.

Don't you ag ree?

In the rig ht circu mstances, yes .

You know, it's strange.

I feel someth I ng .

Do you feel someth I ng ?

I usual Iy feel someth ing .

No, not like that. I mean ...

You know, when two people fix you u p.

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

B Iah , blah , splat, splat.

I mean , usual Iy, it's j ust awfu I, rig ht?

Rig ht.

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

Th is moment?

Yeah .

Look, I don't want to be forward, but wou ld you, you know...

Like to go someplace else?

Yes, actual Iy, I, u m...

Wou ld you excuse me for a moment? What?

I don't want to be rude,

but there's someth I ng that I must tel I Norman .

So, you ... AI I rig ht?

I'm. . . S h it!

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

Th is is wi ne. You've ru ined it. Sorry.

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

I was just tu rn ing away from...

You don't I ike me.

RAY: No. N o, no, no.

What d id he do to you ?

He is j ust u nbel ievably rude !

LENA: Ug h ! You're not kidd I ng .

L was tryi ng to say it was an accident. I was tu rn I ng away...

Save it! Why don't you apolog ize first and foremost

to you r g irlfriend , and leave me alone.

S he's...

(SOB BING) Oh , God .

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

Th is jerk s pi I led wi ne on me.

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

If you ever srt me u p with another woman , I'm gon na ki I I you . [Etéocle] nderstand ?

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

Happy birthday.

Than k you .

Oh, God, I'm embarrassed .

Last week. The wi ne.

B itch of the Western world .

Oh , rig ht.

I'm sorry. I have to apolog ize.

No, no, noç. No, I"m the one. . . I spi I led ...

No, I'm a klutz. Th I ngs like that are always happen I ng to me.

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

PI us I'd just boug ht that d ress.

I was trying to impress th is g uy.

D id it work?

Yeah . He was impressed with what a bitch I am.

(LAUG HS) [Etéocle] m...

I'm really sorry I ru I ned you r even I ng . lf you want me to pay...

No, you d id me a favor.

L mig ht havr gone for that g uy and I don't need that rig ht now.

Bes ides, you changed my I ife.

L switched from French wi ne to French water.

So, anyway, sorry, than ks, and ...

Bye.

I'm Ray.

Lena.

H I, Lena.

H i.

H i.

I know, I know. It's j u n k.

I'm poison I ng my body.

Oh , but I got the water.

Anyway, I bel ieve I n body wisdom.

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

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

(LAUG HS)

They have a very good selection here.

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

You don't have a g irlfriend?

Thr g irl at the art gal Iery, the one you made cry?

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

S he, u h .. . No, s he was.. . S he was tryi ng to rape me.

CASH IER: Was th is on special?

I don't know.

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

A g irlfriend of mi ne knows the artist.

Wi Id Bill H ickok?

Yeah , he was ki nd of...

You want to get a cu p of coffee?

CAS H IER: $23 . 17.

Or a g lass of French water?

Actually, I haven't eaten yet, so...

Me either.

LE NA: So, I'm VP Sales .

I'm moving u p, then the C EO decides he I ikes me .

L say no, but he's used to getting what he wants .

L havr to th reaten to call h is wife.

So, of cou rse he fires me.

He spreads the word . lt's a smal I commu n ity.

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

You shou ld have gone to cou rt and fi led some...

Su rr. lf, as he put it, I wanted to hear

every g uy I n the company testify that they'd had me.

I moved out here I nstead .

What a terrible...

Yeah .

I've never done th is before.

Had su pper?

P ick somebody u p at a su permarket.

You d id n't pick me u p. We bu mped I nto each other.

Sti II , you know what I mean , usual ly, you meet somebody...

You work together, or a friend I ntrod uces .

Not j ust a complete stranger.

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

It makes you cry?

No.

Layers and more Iayers .

Wel I ...

I th I n k we shou Id go.

(S P EAKIN G JAPAN ESE)

I do busi ness I n Japan .

(S P EAKIN G JAPAN ESE)

Where'd you learn to speak it?

(GIGG LES)

I stud ied it at Swarth more .

I've forgottrn most of it, but I love the concept of Japanese.

Symbols, not Ietters .

Th is is it.

Where I I ive.

(C H UC KLING) Oh .

Th is was g reat.

Yeah , than ks for d I n ner.

[Etéocle] h ...

You th I n k I cou Id coçme u p? I mean , j ust for five m I n utes?

It wou ld n't take five min utes.

(DOOR S H UTS)

HAL : Look, the law doesn't matter. Th is is politics.

Now, if we take h im to cou rt, we'l I wi n ,

but because he has a vote on the plan n ing commiss ion ,

rig ht now he's a better arch itect than you .

That's the law.

Excuse me, sir?

Not now, Sal Iy.

Norman's on I I ne two.

[Etéocle] h , sorry, Hal .

Wel I?

NORMAN : It's Wednesday, I got my Wednesday afternooo golf game,

and I'm out here with a mobile phone trying to track down some chick.

Nobody knows her, okay? Nobody. Forget her.

(LAUG HS) Okay. Than ks for tryi ng .

LE NA: Than k you . Good n ig ht.

(IN DISTIN CT C HATTE RING)

See you soon , sweetie.

(B UZZER SOU N DS)

MAN : Yeah, what do you want? RAY: Sorry. I'm sorry.

LE NA: Hello ? H I .

Lena. H I .

Hel lo? Yeah ?

H I, th is is Ray. Reardon . From last n ig ht.

Do. . . I remember.

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

L don't know you r last name, so there was no way for me to get in touch .

Uh-huh.

Do you wan na go out? Come out?

Now or Ilter or...

Meet someplace or someth I ng ?

Or do, u h . . . Do you have a phone n u mber?

(B UZZER SOU N DS)

RAY: Hel Io?

LE NA: Come on I n .

I'I I be rig ht out.

I was j ust taki ng a s hower.

H i.

H i.

I have these same coçI u mns I n my office.

I hope I'm not I ntrud ing .

I don"t mi nd .

I was waiti ng outs ide when I saw you come I n .

Why d id n't you say hello?

Wel I ...

lt's strange, don't you th in k, watch I ng me and not sayi ng anyth I ng ?

I know. I j ust, u h ...

You were with that g uy, so...

Tony.

Yeah , and you kissed h im downstairs, and I j ust...

And you thoug ht?

Wel I, u h , maybe that you I ived with h im,

and , u h , he went to buy eggs or...

Tony's a friend .

Oh . Wel I .

He's gay.

Oh .

Not that it's you r business .

No.

Wel I ...

Someth ing's changed from last n ig ht.

Yes, it has .

Why? What's the problem?

I I ike you .

That's the problem.

I really Ii ke you .

That's not a problem.

I haven't seen them, I haven't tal ked to them.

They're...

Are you su re you want to hear th is?

Yes.

My mother used to h it me a lot.

B ig th I ngs, I ittle th ings.

No reason at al I .

Noth ing put her I n a good mood I I ke...

My father watched .

I realized they never wanted me.

I left as soon as I cou Id .

Never even sent them a postcard .

You're so beautifu I .

Don't say that.

Why?

J ust don't.

(B REATH ING H EAVILY)

Yeah .

Look, just 'cause I'm halfway pretty,

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

Like I'm thei r fantasy.

I'm j ust a reg u Iar, screwed -u p person .

So when you say I'm beautifu I ,

it's I I ke you're not seeing me at al I .

Yes, I am.

No.

"'On ly God , my dear Cou Id love you for you rself alone

"And not you r yel low hai r."

Yeats.

No bou ndaries, very dangerous.

L thoug ht that's the way it was su pposed to be I n storybooks.

Storybooks are stories in books.

Th is is real I ife.

(MAN CHATTERIN G ON TV)

You're sti I I...

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

Oh , no, you don"t.

You're the boss, rig ht?

Cal I u nwel I, take a day off.

That simple?

That simple.

I thoug ht we mig ht take a shower.

(LAUG H ING) Yeah?

A n ice, long one.

Yeah .

We can make love for an hou r or so.

So we can j ust keep on doing th is?

For how long ?

(SOFT MUSIC PLAYIN G)

(INAU DIBLE)

I'm so happy for h im.

I mean it.

Ray, buddy, I have to tel I you ,

that is a beautifu I piece of ass.

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

s he chose me.

Does she havr any s isters, friends, fou rth cous I n ? Anyth I ng?

S he bu rned al I her bridges when she left New York. Her on ly friends are...

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

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

What?

Yes, because you 're bas ically d isg usti ng .

You have it al I .

I do.

(LAUG H IN G)

Oh ! I haven't danced so much since...

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

Ow. I'm sorry.

Wow! lt's noth I ng .

Look at that bru ise.

You and Ray I ike the roug h stuff? Why d id n't you tel I me?

L'vr got some equ ipment I can lend you .

(STAM M E RING) No, I'm a klutz.

Don't. I...

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

Baby, let's never end u p li ke that, okay?

Okay?

(P EOP LE C H E E RIN G)

WOMAN : Cong ratu Iations !

Geez.

(SIG H S) It's over.

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

You're not kidd I ng .

(CARN IVAL M [Etéocle] SIC PLAYIN G)

(IN DISTIN CT C HATTE RING)

Hry, Ray. I hear you got married .

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

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

The g I rl of you r dreams, h u h? H u h ?

D id you get her here?

Here?

At ou r booth . Ou r most popu lar exh ibit.

(P EOP LE LAU G H ING IN DISTAN C E)

Wel I, maybe I shou Id ...

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

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

Let's go to the fu n house.

(LAUG H ING WILD LY)

(EXC LAIMING)

(G ROAN IN G)

S he looks j ust I ike you .

(G [Etéocle] RG LIN G)

Two years .

I love you .

I never thoug ht

it wou ld be possi ble for me to have su ch a normal I ife .

My u ncle used to say...

S issy? Aren't you S issy?

Excuse me?

Piru , Texas . I'm Cora's sister.

I'm Lena Mathers, now Lena Reardon .

Dayton , Oh io.

Oh . I'm sorry. You r voice isn't q u ite...

J ust for a m in ute, I thou g ht...

I'm very sorry.

That's okay.

That's so strange.

Th is woman , S issy someth I ng ...

That's twice that's happened .

Once in New York, and now here.

S he looks exactly like me.

Maybe she's my dou ble, my doppelganger.

S he's the one who's really al ive.

I'm just. .. You don't feel al ive?

Of cou rse I do.

On Iy, does n't I ife seem someti mes I ike th is

very strange d ream?

I hope I don't wake u p.

(LE NA TALKIN G IN DISTAN CE)

(C H UC KLES)

I'I I let you know.

Don't say that.

Okay. I'll tal k to you later. Al I rig ht. Bye.

H I . Who was that?

Debby from my dance class.

Stuff I n her marriage is insane.

Have I met Debby?

No, 'cause, wel I, she's g reat, but her h usband is ...

It's an u n usual combi nation .

He's a psychopath , and he's bori ng .

That is u n usual .

So how was you r day?

Any news on the M u ra job?

No. It looks good .

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

What's u p with you , h mm?

(SIG H S) I'm sorry.

I just haven't felt very...

It's okay.

I hope it'I I come back.

It wil l. The doctor said it'll take time.

So how's it feel?

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

A partners h ip.

That's what marriage is . Wel I, I don't I I ke it.

(C H UC KLES) You're not the on ly one .

PIus I get these weird jealousies, suspicions .

Oh , yeah? Like what?

Oh , that's normal, too.

Usually it's j ust a way of d rivi ng you rself crazy.

B ut not always?

No. N o, not always .

What are you sayi ng? E laine has...

Sometimes everyth ing's a cl ue,

and what you th in k is paranoia is actual ly heig htened awareness .

That's too bad .

Not at al I .

What's sauce for the goose...

I'm sorry. I don't know what happened .

Mr. Mu ra's never late.

Oh , no, no. Don"t even th in k about it.

(C H UC KLES)

(LAUG H lNG) I'm sorry. I'm sorry.

It's j ust we've spoken on the phone so many times,

and I never had any idea that you were so attractive.

Than k you .

B ut personal Iy, I prefer brains to beauty, don't you ?

(STAM M E RING) No, of cou rse. Yes . I, u m...

I mean , I d id n't end u re the fou r years at Swarth more I n order to...

You went to Swarth more?

Yes.

So d id my wife.

Real Iy?

So, what year were you ?

Swarth more? '83.

Wel I , then , d id you know Lena Mathers?

I don't th I n k so. No.

B ut those years were crazy.

Between the frenzy for g rades and jobs and ...

Then , in the midd Ie of all of that,

the pres ident of the col Iege, Sam Shaw,

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

I hard Iy remember my best friends.

Oh , Mr. M u ra.

It's beautifu I .

(C LASSICAL MU SIC P LAYIN G ON STEREO)

We're going to Japan .

Wr arr? Mmm-hmm.

You got the Mu ra joçb? Mmm-h mm.

That's g reat. It is g reat.

Th is bu I ld I ng is going to be I ike noth I ng else I n the whole world .

I'm so proud of you .

By the way, what year were you at Swarth more?

'84. Why?

Th is woman who works for Mu ra, Cel I ne Rogers,

s he was there at the same ti me.

I don't remember her.

No. S he d id n't remember you , either.

Remember Sam Shaw?

Who?

D ied of a heart attack.

Oh , he was a classmate.

God , he d ied of a heart attack?

It's scary, isn"t it?

Someone my age.

Bad th ings can j ust come out of nowhere.

(LAUG HS DARKLY)

Exactly.

(S HOWER RU N N IN G)

Can I help you fi nd someth ing?

Is you r real name S issy?

What?

You heard me.

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

Yeah .

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

Not li ke sci-fi, I ike real . Like are you real ly her?

I don"t know, Ray. I never stud ied ph I losophy.

Questions like that make my head h u rt.

(C H UC KLES)

I forgot to have Sal Iy go to the ban k.

I need some cash .

No problem.

Now, you tel I Mr. M u ra

hr can't keep you east long or I'l I d ie of lonel iness.

I wi II. Bye-bye.

Ray. Kiss me.

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

I love you , too.

Bye.

RADIO HOST : We welcome you back to WTXE, right here in Piru, Texas,

home of the sawed-off shotgun.

If you don 't like our musuc...

(S HOTGU N COC KS)

...leave towo.

(THE OTHER SIDE PLAYIN G° ♪ sO YOU 4RE AT the eND OF YoUr WITS

♪ tHE ENd OF YOUR rOPE

♪ yOU JUST CaN 4T flX eVeRYThlNG ThAT4S BrOke

♪ goTTA turn it IOosE, bAbe

♪ HEy, just let it ride

♪ 'CaUse iT ain 4T aBOut pride, noW...

RAY: Hel Io.

I'm the executor of a very large estate.

I'm trying to fi nd someone who used to live here.

Do you recog n ize her?

First name or n ickname is Sissy.

Never seen her.

Than k you .

♪ THe other side of lOoeliness

♪ tHe other side Of the blues

♪ tHere really us a place llke thls

♪ Where The SuN is gonna shlNe for you

♪ yOU 'lll feel That old restlessness

♪ When your tears haVe all been cried

♪ And you 'lll find your way over this

♪ yeah, you 'll make it to the other siDe ♪

There you go. Out of state?

Yeah . Land specu lation or what?

Th I n k people are put on Earth

for the sole pu rpose of d rivi ng other people crazy?

My father had my mom put away,

and he's the one that made her lose her marbles.

Do you know her?

S issy. Hope she's noth in' to you .

S he's my wife .

F ig u res.

S he ru n off and leave you?

No.

Wel I, g ive it time.

Is that what s he d id to you?

S he d id th I ngs to me I can't even pronou nce.

Sorry. I'll g ive her th is, thoug h .

Shr always had it in her mi nd to marry somebody rich .

(CAR HORN HON KS)

Gotta go to work.

What's her name?

H u h ?

Her real name?

You don't know?

Thelma Sneeder.

She sti I I have family here?

Most fol ks find th is stuff out beforehand .

Go u p that road there.

Take a rig ht on Branch , a left on H ickory.

It's the th I rd house.

Tel I her h I from B uddy, you hear?

Mrs . Sneeder? Yes.

Oh , my God , it"s Ray!

Yes, ma'am.

Is everyth I ng okay?

Yes.

Come I n . Come in q u ickly.

Is it safe for you to be here?

Safe? With you r job.

(STAM M E RING) I'm sorry. I'm...

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

Hey!

Hey!

M R. S N E E D E R: What do you want?

M RS . SN E E D E R: Come see for you rself.

You got any recent pictu res of Ti na?

I do, actually. Yes .

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

It's good to fi nally meet you .

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

S u rprise.

Than k you .

I'm g lad it's over.

Dad .

Come see the baby.

I'I I get those.

M RS . SN EEDER: Y'al I need any help out there?

No, than ks .

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

L had to g ive them some reason why they cou ld n't visit.

What about that story of you r mother beati ng you and you r father watch ing ?

Not true.

But there's lots of d ifferent ki nds of abuse with I n a family.

Rig ht, okay.

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

then what is true, Lena?

Who are you ?

I'm you r wife .

M R. S N E E D E R: Cal led her Sissy

'cause we wanted toç have another ch I Id , a boy.

Of cou rse, we never d id ,

but Sissy was always so, so beautifu I

that it d id n't real ly matter.

Sti II , when she wrote me that she was...

Wrote us .

Of cou rse. That goes without saying .

Wel I, then , say it.

She wrote us s he was chang I ng her name.

Wel I , natu ral ly, I was I ns u lted .

We both were.

B ut it was ki nd of a woman's lib th I ng .

Women change their name for a man when they get married ,

so why not change it for their own sakes?

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

You r parents seem I ike perfectly decent people .

Yep.

Why'd you h ide them from me?

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

Can't you feel it? They were th is weig ht d ragg ing me down .

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

I wou Id've had h is kids,

wou ld have d ru n k beer every n ig ht ti I I I got really fat, ug ly, and bored .

So I I nvented myself.

I made u p Lena Mathers, and I became her.

They say you replace every molecu Ie I n you r body every seven years.

L changed my name eig ht years ago. No more Thelma Sneeder.

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

Doesn't it seem at least brave that I just became

th is completely d ifferent person?

It makes me look at you I n a completely d ifferent way.

Me or you ?

Is n't the real q uestion , who are you ?

Are you real ly Ray Reardon , or is that the name you r parents h u ng on you ?

Oh , you've always been a good boy.

You've gone along with who Ray was su pposed to be,

done what Ray was s u pposed to do, but who are you ?

Where are you real Iy from? What do you real ly want?

I'm tired , and I want to go to bed .

LE NA: I tried to tel I you so many times, lyi ng here I ike th is .

I'd say to myself,

"Now, Lena, tel I h im.""

I wish you had .

I was afraid

if you knew the real me that

I'd lose you .

You be a good g I rl now.

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

S he does .

Goodbye. Bye-bye.

If you're not d ivorcing me, I'd Ii ke to send them money every month .

S u re.

Then we're okay?

Look at me.

Tel I me it's the truth .

You know it is.

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

no matter who you wi I I be, I'm goi ng to love you .

From now on , better than ever.

I love you .

WOMAN ON PA: Announcing the landing Of Flight 250 from Piru, Texas.

NOw better thn ever.

You're late, Ray. S how's already started .

WOMAN : Ray! Ray, my boy!

You're Iooki ng g rand !

You Ii ke these? H u h ?

And th is?

(M E N WH ISTLIN G)

Tel I me, Ray. Tel I me true.

Am I the g irl of you r d reams?

Mmm, actually...

Of cou rse not! Look! Looky here.

♪ Aome gUys lOOk at the eyes

♪ Aome gUys lOOk at the Thighs ♪

I j ust Iooçk at the pu rse.

How about that? You like it, Ray?

S u re, you do !

Recog n ize her yet, h u h ?

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

the moment wh ich wi I I determi ne Ray Reardon's fate.

Here she is, fol ks !

(LAUG H IN G)

NORMAN : And last tut not least, it's... BaBY Bob! Yeah!

For thoSe of you who dOn 't remember Bob BabY

from last year's cutie-pie contest,

well, he wsn 't bOrn yET.

Okay, and Now it's Tina, cute as ever. Yeah.

And Lena, cutEr thaN ever. That's right, all right.

Come on now. That's it. Don 'tt serve it, baby. Feel the burn.

A ttagirl! OkaY, and Pinhead Ray!

That's right, Pinhead Ray with The perfect life.

He 's got thE perfect wife, the perfect famlly.

Why, he 's got everything a maN could possibly want,

except a Wednesday afternoon Golf game,

and, well, a cuTe, young mistress, But never mind that now.

He doesn 't have time for any of these things...

LENA: Stop it, Norman. That's not funNy.

NORMAN : Exactly my point. according to The East German Judge Lena, it's nOT funNy.

So now we Come to our legal beagle Elaine, and her client, Bernardo

frOm West Side Story And...

A post. That is a great post, by the way.

And now, let's turn the camera on...

This gUy, yeS! This is a stupid guy.

This is a guy whO can 't mAke A living.

This is, uh...

RAY: A pain in the ass. A pain In the ass.

Thank you, Ray. Thank you.

This is the guy whO 's GolnG nowhere fast.

(STAMMERIN G) This is a... A pain in the Ass.

A pain in the ass again. Thank you, Ray.

LE NA: Will somebody stop him ? A pain In the ass.

Stop me ? I can 't be stopped.

That's enoug h , Norman . For Ch rist's sake. (C LAMORING)

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

So, u h , how's everyth ing ?

S I nce we talked th is morn I ng? Come on .

No, come on .

L haven't seen Lena in a wh ile. S he looks g reat.

You're rig ht. S he looks g reat.

Fou r months after g iving bi rth , s he looks real ly great,

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

Yes?

No, I won't, actual Iy.

L changed my mi nd and I wi I I not be honest, because, u h , it's just that

I th I nk I saw somewhere where, for them,

g iving birth is I I ke having an affai r. That's what I meant.

It g ives them a g loçw. A g low, yes. (LAUG H lNGà

So she's al ive agai n I n a whole new way, and that's beautifu I,

it so happens . A g low?

You , by the way,

can kiss my ass and that will make us both happy.

It's the strangest th ing . See for you rself.

Wel I, Bernardo?

Wel I, it doesn't look I ike h im to me.

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

L th I nk he was switched I n the hospital .

(C RYING) Oh, I'm sorry. ls that what happened ?

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

There you go.

Good n ig ht.

Good n ight. Good n ig ht, sweetheart.

(TH [Etéocle] N D E RING)

(LE NA CH UC KLES)

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

Of cou rse I want to. lt's just...

You just have to be patient.

Yeah ? [Etéocle] h -h u h .

I absol utely g uarantee it.

Yeah , okay.

Okay.

Bye.

Debby.

S he wants me to go see those male stri ppers .

That shou Id be fu n .

Cou Id you try her again , please?

SALLY: I just did, sir.

Keep tryi ng her every 10 mi n utes

u ntil you reach her.

Yes, sir, But it's WedNesday.

I have that funeral tomorrow, so I'm leaving early.

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

Yes, sir, OF course.

(M UTTE RIN G)

I love these late d I n ners after the kids are as leep.

You have a bru ise on you r leg .

C h rist.

Where'd you get it?

My s h rin k says I s hou ld ...

Why do I always have to go th roug h th is?

I'm cl u msy, I bru ise eas I ly,

and I don't want to talk about it

every time I bu mp into a chai r.

D id you cook th is?

No, it's takeout.

Why d id n't you cook? What?

Why d id n't you cook?

'Cause cooki ng gets bori ng . Why d id n 't you cook?

I work all day.

What's wrong with you ?

I hope you enjoy these psychotic episodes.

So you go to h is place?

Excuse me? You fuck h im at h is place?

What are you talki ng about?

(SCOF FS) Open it u p.

D id you r secretary tel I you I cal led today?

At noon . I was out on site.

I called back al I afternoon .

I had th is fantasy of coming to you r office

and screwi ng you r brains out on top of you r des k.

I g uess the fantasy was misplaced .

When you weren't there, I went to my sh ri n k's, and then I went to Debby's.

If you don't bel ieve me, cal I Debby.

Want to call her?

Go ahead .

The mach I ne.

And you d id n't leave a message.

You want to leave a message? Here.

You're s ick. Get some help.

Ray?

What do you want, Ray?

I know what you want.

Pretend it's al I a d ream.

Sorry I"m late, everybody.

Are you the temp?

Yes, sir. AI ice Kel Ier. (TYPINGà

I'm Ray Reardon .

Did my. . . Oh , I g uess my secretary left.

Have we met?

No, si r.

I don't bel ieve we have .

Yes, we have. Wait. You're, u m...

You're friends with my wife, rig ht? Lena?

S u re, you are .

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

Tel I me.

H i.

What a n ice idea to meet in the park.

You recog n ize that woman ?

You h ired a temp to be you r friend?

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

Everyone has friends .

Whrn you told her what the job was, you were laug h I ng t me,

making fu n of me.

S he d id n't u nderstand .

Srr, it wasn't j ust that I became Lena and Lena happened to meet you .

I chose you .

I first saw you five years ago I n New York.

A party on thr West S ide, Riverside and . . . N I nety-someth I ng .

I saw you , and somehow I knew.

I knew you were it.

I was still married .

Then later I heard you'd left you r wife.

A friend of mi ne, M imi Moore, knows Norman ,

and so she got I nformation from h im.

Information ?

The ki nd of th I ngs you I I ke, what ki nd of women you I I ke.

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

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

It's like putti ng on new clothes or a new perfu me.

Personal ity is a perfu me?

S u re.

Perfu me's I ntended to attract somebody,

but it's not thr th I ng you fall I n love with , is it?

I don't know.

Is th is the end?

L can't keep oprn I ng my heart to you and getting ...

Is n't that what love is?

I don't mean passion .

Love.

Is n't it an act of faith , loving someone

despite having to put u p with th I ngs wh ich are I ntolerable?

Open ing you r heart.

Again and agai n .

LARRY: She's rig ht.

I mean, are you perfect?

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

Love her anyway.

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

I cou ld tell you some stories about E laine.

It's just. .. I feel like a fool .

Oh , we're all fools I n love, aren't we?

Fol low you r heart.

Than ks, man . Yeah .

Th is is what friends are for.

Hal, they're bei ng very generous.

I j ust don't need the work.

You s hou ld lower the pitch . Al I rig ht. Okay.

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

Yeah , okay. He's always I n the car.

J ust a very. . . Also, Sal ly, we shou ld cal I Mr. M u ra, please, all rig ht?

Yes, s ir. It s hou ld be...

Also, you r wife"s Visa bill came here I nstead of the house.

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

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

Okay. So, pay it, and I'I I ask her about it ton ight.

Do you want to look it over?

No.

S hou Id I?

What day of the week was May 27th ?

A Wed nesday, si r.

Wou Id you call my house, please?

SALLY: (OVER lNTE RCOM) I did, sir. She 4S not home.

Try the Hotel C hanticleer.

Yes, sir.

Lena Reardon , please.

She 's checked out.

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

H I, sweetie. Be carefu I .

H i. H i.

I put a snack on the table.

Oh , good . He's a good boy.

H I . H I .

Hey. Hey.

(C H UC KLES) H I .

J ean ne, take the kids out.

J EAN N E : What?

Take the kids outs ide, please.

Where wi I I I take them?

Anywhere. The park.

Yes, s ir. Come on , Tina.

Come on . Ti na, come on .

(DOOR OPENS AN D C LOS ES)

ls it real ly nrcessary to th row a scene every s I ng le day?

What's that for?

You th rew away the bi I I .

What bi I I?

Hotel Chanticleer every fucki ng Wed nesday!

I th rew it away.

(LAUG HS)

Let me ask you th is . Why weren't you more carefu I?

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

Leaving evidence arou nd I ike th is, it's s loppy.

Why d id n't you use a prophylactic?

Sometimes we do use a prophylactic

and sometimes I j ust g ive h im a blowjob.

L always knew you were abusive. I do you , you do me.

Who is it?

Don't you know?

(C H UC KLES) Can't you g uess?

Debby.

(LAUG HS)

Debby's an answering mach I ne.

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

Who the fuck is it?

You know h im better than I do.

Wel I, in some ways , you know h im better.

In other ways, I know h im better.

What? Aren't I tel ling you what you've always suspected?

What you've always wanted to hear? H u h ?

What else do you want to hear?

You want to hear how good it was?

Stop it.

It was fucki ng g reat. H is cock is so h uge. He makes me come

and come and come.

(GASPS)

And the amazi ng th I ng is, real Iy, al I th is time, you never suspected .

AI I what time? (SCOFFS)

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

AI I my bru ises.

(LAUG HS)

The whole time? What about the kids?

Are they mine?

Do you know?

Of cou rse I do.

Whose are they?

I love them, and I raised them.

Yes, you have .

But I'm still not gon na tel I you .

(G RU NTS)

(LAUG HS)

Is that al I?

(M UTTERING) Fuck.

(DOOR OPE NS)

(DOOR S LAMS SH UT)

Wed nesday.

Wed nesday. Norman's fucking golf game.

Mr. Reardon .

RAY: Who are you ?

I'm Dr. Shteen , Lena's psych iatrist.

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

Lena cal led . S he was hysterical .

I am here to eval uate you r mental state.

My mental state?

If you're a danger to you r wife,

we can have you committed for 72 hou rs observation .

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

Officer! Officer!

Take it easy.

RAY: What the fuck is th is?

Take h im away. 5150 .

WOMAN : YOu will be held for observatlon

according to Welfare and lNstitutions Code 5150.

YOu may use the telephone, wear your own clothes,

and you may petition the CouRt at any time for your release.

RAY: (WH lSPERIN G) I don't care what ki nd of law you practice, Hal .

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

The law? Fuck the law!

(CARN IVAL M [Etéocle] SIC PLAYIN G)

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

the moment wh ich wi I I determi ne Ray Reardon's fate,

here she is, fol ks !

(AU DIEN C E WHOOPS)

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

You shou ld have stayed with Martha.

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

(AU DIEN CE EXC LAIMIN G)

(AU DIEN C E AP P LAU DIN G)

(S LOW MUSIC PLAYIN G)

(FOOTSTEPS APPROAC H ING)

H I, sweetie.

How are the kids? I m iss them.

J ust peachy. Want to go for a walk?

RAY: I can't bel ieve they let us out together.

Oscar will protect me.

A faci I ity th is expens ive...

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

You're sedated .

L am? I don't feel sedated .

That's because you're crazy.

So, what are you doing here? (C H UC KLING)

Friday's you r heari ng . I wanted to tel I you ,

wh ichever way it goes . . . Wh ichever way it goes?

I'm not dangerous. I'm not crazy.

They aren't goi ng to keep me in here.

I just wanted to say...

Ray?

In spite of everyth I ng ...

I love you .

I real Iy, tru ly love you .

Norman wi I I be d isappointed .

Yeah . You've seen who I really am.

You've seen more than anybody ever...

And you kept on Iovi ng me.

(WH lS PE RING) You're a psychopath .

Probably.

A psychopath can sti I I love somebody, can 't they?

You r Honor. Cou nselor.

My client's been off med ication for 36 hou rs?

Yes, of cou rse.

The staff shou ld be bri ng ing h im I n any min ute now.

(WH ISPERIN G)

Hel Io.

Mr. Reardoçn , you req uested th is writ heari ng .

RAY: Yes, You r Honor.

You're bei ng I ncarcerated against you r wi I I .

And, Dr. Spatz, the hospital recommends?

It's a perplexi ng case, You r Honor.

I suspect an atypical psychos is,

but I need more time to evaluate.

KU RITA: 180 days add itional?

Wait a min ute .

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

Mr. Reardon , you u nderstand th is is a legal proceed I ng ,

but I find it very usefu I if the patient testifies first.

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

You're saying that you r wife created a character and identity

so you wou ld fal I I n love with her. RAY: Yes .

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

...who she s Iept with th roug hout you r marriage at th is ...

Hotel Chanticleer. And she'd cal I h im someti mes on the phone

and pretend it was th is fictitious g irlfriend Debby.

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

No, no, no. Not at al I .

B ut the d iscovery of all th is I n such a short time, I men ...

I h it her.

L'vr never done that before, and the idea that I pose

somr sort of permanent danger to her is j ust lud icrous.

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

[Etéocle] h , rig ht.

Now let's see what the other side has to say.

I'd like to cal I Dr. Shteen , please.

Dr. S hteen , as Mrs . Reardon's psych iatrist,

do you find that her h usband poses a th reat to her life?

I've thoug ht so for some time.

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

and on many occasions, s he's had vis I ble and very alarmi ng bru ises .

When I as ked her aboçut them, s he said that her h usband h it her.

That's bu IIsh it.

Mr. Reardon .

I've advised Lena freq uently to go and see the pol ice.

So when th is Iatest I ncident occu rred ...

HAL : You r Honor, may I?

No, I told you before, I never h it that eye.

S he's done th is to herself.

I'I I take care of it.

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

KU RITA: Then Mr. Reardon's accusations about you and h is wife...

Look, I'm an asshole, You r Honor.

Can I say that?

Al I rig ht, see, I've always been an asshole, but th is ...

Even if Lena wanted me...

Wel I, I probably cou ld n't resist, to be honest.

Once I cou ld have. I mean , look at her. B ut to carry on th is long?

Ray is my friend .

Bes ides, every Wed nesday afternoon

for the last 10 years, I've played golf.

L broug ht some letters from my golf budd ies . Some, u h ...

(EXHALES)

And these bru ises, have you seen them before?

S u re.

And are you aware of any other examples of violence,

particu Iarly towards women?

(SCOFFS)

KU RITA: What was that?

[Etéocle] m...

Ray's fi rst wife Martha, when they broke u p, he s lapped her.

I'm sorry.

HAL : You r Honor, that was fou r and a half years ago.

KU RITA: So noted, Cou nselor.

And you r name?

Debby Tribbiu m.

KU RITA: And what is you r relations h I p?

I'm just... I'm a friend of Lena's from dance class,

and she calls me on the phone sometimes .

Have you met Mr. Reardon ?

S u re, a cou ple of times . I had d in ner there.

[Etéocle] h , once I d ropped by.

(WH lSPERIN G) She's lying . I've never met her.

I th in k she's some fucking temp.

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

Excuse me?

Do you ?

L own a cookie s hop on the north side.

C hocolate ch ip, oatmeal raisin .

Okay, then , descri be the Reardons' apartment.

(EXHALES) [Etéocle] h , it's a penthouse apartment with cathed ral cei I I ngs.

[Etéocle] m, the I ivi ng room is on the rig ht, kitchen's on the left, and ...

AI I rig ht. Al I rig ht.

Mr. Reardon , you're a d isti ng u ished arch itect

without a blemish on you r record .

There's no h istory of any mental I I I ness .

I'm sane, You r Honor.

KU RITA: You look sane, you sou nd sane, si r,

but everyth I ng you say seems to be a del us ion .

Fran kly, I'd I ike to bel ieve you , but without a witness

or some sort of corroboration ...

You r Honor, what about her bi I ls?

The Hotel Chanticleer every Wed nesday?

$ 133. $379 .

Mrs . Reardon ?

You r Honor, I went to th is Hotel Chanticleer,

and I have a letter from the manager

sayi ng he's never seen me before,

that I'm not the Lena Reardon he knows .

Then who's respons ible for these charges?

L must have used that cred it card once or twice

and then lost it.

[Etéocle] h , I d id n't real ize it was missing u nti I a few days ago.

L called the company, and they sent over copies of the charges

if you'd like to compare sig natu res .

That's not necessary.

RAY: What?

I'm sorry, Mr. Reardon .

You're sorry? You're sorry?

(WH lSPERIN G) Hey, relax.

Th is is my life we're talki ng about.

I'm aware of that, s ir, and I'm doi ng you a favor.

If you weren't I n th is hospital ,

you r wife cou Id have put you in jai I .

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

Comr on . Don't you see what she's doi ng?

S he's stolen my ch I Id ren , s he's stolen my house,

and she's man I pu Iati ng you .

Mr. Reardon , that's enoug h .

Get you r fucki ng hands off me.

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

Oh , fuck you . Al I rig ht? You've al ready made u p you r fucking mi nd .

Very well , then . Proceed .

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

S he lies to me, and s he tel ls a d ifferent lie to you .

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

Yeah , fucking rig ht s he'd take it.

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

KU RITA: Mr. Reardon . I'm a mach ine? You married me.

I married you and I loved you and you 're fucki ng ki I I I ng me !

Get you r hands off me.

HAL : You r Honor. B ut if you want to have sex with peng u ins...

You r Honor, please. I'm done. I'm done.

Here. Take th is.

They don't let us wear these in here.

Get you r fucki ng hands off me !

N [Etéocle] RS E : How we doing today, Ray?

God bless pharmaceuticals.

B ILLY: You know what my daddy says?

My daddy says there are no accidents,

that we all get exactly what we want.

RAY: You r daddy's wrong .

Talk about it.

Family makes you crazy, and friends ease the pai n .

Rig ht, Joh n ?

Yeah . That's what friends are for.

That's what...

Friends ...

(WH ISPERIN G) It's Ray.

Vis it me soon . Don't tell anybody you're coming .

(DIAL TON E D RON IN G)

Go to bed .

Ray.

Ray, it's EIai ne.

I'm here.

Is it all rig ht if I take h im outs ide?

You're safe. With the d rugs he's on ,

he cou Id n't h u rt a fly I n December.

Come on .

You cal led me, rig ht? I'm su re it was you .

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

but th is is a very weird legal area. l...

Than ks for comi ng .

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

Wrl I, I was wrong about Norman , and I th I n k it was Larry.

What was Larry?

Larry"s been fucki ng Lena.

Is that possi ble, for a long ti me, fou r or five years?

It's possi ble, but I...

It's more than poss ible . It explains...

It wou Id explai n ...

I th in k the two of them are tryi ng to get my money.

And go to New Zealand .

What?

What?

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

It was a down payment we cou ld n't afford,

and when I fou nd out about it, he told me

that it was some ki nd of an I nvestment.

Don't ever tel I h im you know.

I won"t.

Make h is I ife a misery.

(S NORTS)

Bel ieve me.

I want to retai n you r legal services .

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

No. Good .

Then tel I me if th is wil I work.

What?

Lena, it's EIai ne. I'm out here vis iting Ray.

No, he's sedated .

He's s ilent, but he d id say th is one th ing .

He said, "You made a mistake."

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

Hr said you made a big mistake. You forgot someth I ng .

Yeah , that was al I .

Okay.

Yeah . You , too.

I don't know, Ray. Maybe, maybe not.

Okay, Ray, I'l I see you soon .

Good I uck.

(WH ISPERING) Bi I Iy?

B I I Iy, wake u p.

(GAS PS) Tal k about it.

What's my name?

Joh n? What's you r name?

Joh n . Do you want $ 100?

American money?

You bet.

I'I I remi nd you every n ig ht,

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

and you'll know what to do, okay?

Okay, Joh n .

I'm ready. I'm rig ht as rai n .

Ready as Robert.

Don't worry about me, J oh n .

Oh , h I . H i.

He's over there.

Ray.

That's how he is.

Go ahead .

(P EOP LE SIN G lNG IN DISTAN C E)

MAN : Happy bi rthday!

Timber!

(G RU NTS) Jesus, Bi I ly, who woke you u p? Get off of me !

Get off of me !

(BILLY SQUAWKIN G)

You r old boyfrirnd , B uddy, h is father had h is mother committed .

Is that where you got the idea?

Maybe.

So everyth I ng was plan ned?

Wel I done.

(C H UC KLIN G) I j ust th in k it's wonderfu I that you've come.

Than k you so, so much .

I came because of some bu I lsh it you told E laine.

There"s a flaw I n my plan?

S peaking of plans, I must ask.

Are you real Iy goi ng to New Zealand with Larry?

(S N IC KERS) Larry?

When I'm done with h im, he'll wish he was you .

What are you gon na do with my kids?

Take you r kids away with me and tel I them you d ied , or maybe I'l I just leave them.

I don't th in k so.

You still don't have the faintest cl ue who I am or what I do.

Likewise.

God, you are so beautifu I . Ravis h I ng .

(SCOF FS) You okay?

Never better.

Never, never better.

(C H UC KLIN G)

What are you doi ng?

Wel I, th is is the last time we're gon na see each other, rig ht?

Rig ht.

I want to than k you with all si ncerity.

I've been sleepwal ki ng my whole life,

and you've woken me u p, and I feel al ive now.

You're fucked .

Yes, but I'm al ive and I nspi red .

You saw you r plan with such clarity, s uch ruth lessness.

Wel I done. Let me go.

No.

I'I I scream.

(LAUG HS) No, you won't.

Why won't I?

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

Get what?

What you want.

What you deserve.

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

You were so good at it.

And you mig ht want to do it agai n .

Okay, tell me .

Kiss me first.

What?

Kiss me and I'I I tel I .

On ly it has to be a real kiss. Someth ing to remember.

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

Kiss me,

then I'll release you .

(EXC LAIMS)

Who are you , Lena?

Who will you be when you d ie?

You don't have the g uts .

Don't I?

No, Ray, you're too practical .

What about the conseq uences?

There are no conseq uences.

That's the flaw in you r plan .

I'm crazy.

You've d riven me crazy.

That was the whole idea.

Wel I, crazy people aren't responsi ble.

Crazy people aren't legally responsi ble.

Not gu I Ity by reason of I nsan ity.

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

(C HOKIN G)

(BALLROOM MUSIC PLAYIN G)