All language subtitles for Love Letters

("Contrapunctus 1" by
Johann Sebastian Bach)

(gun bangs)

(birds chirping)

(dramatic music)

- [Joseph] My darling,

remembering as I sit
here those last days

before we met in Los Angeles,

they now seem very significant.

For though they consisted
only in waiting,

I knew as I waited, my
life was about to change.

And even though I've
returned home now

and all likelihood,
never see you again,

it is true that I am a
new and better person

for with you I have known
the fullest love possible.

(fire crackling)
(dramatic music)

- It feels like a long time ago.

Six months, it's
not so long really.

All this began then.

Is she up?

Just as it ended now with Mama.

(hand knocking)

Mama?

- Anna, come in.

- What are sitting here
with the lights off for?

- (chuckles) Waiting for
you, listening for you.

What's this?
- What do you think?

- Oh, gardenias, my
favorite (laughs).

It's not even the season.
- Dr. Barnkin,

please call Station 27.
- Smell.

(Maggie inhales
deeply and sighs)

Did you listen to
my show, today?

- Don't I always (laughs)?

Anna, you're the only thing
in my life that's really

turned out.

That I can really be proud of.

I want you to know that.

- Please don't, Mama.

- You won't make the same
kinda mistakes that I did.

You're so much smarter
than I ever was.

I have.

- [Nurse] Dr. Barnkin,

please report to geriatrics.
- Something important for you.

You've never seen this before.

I've had it for a
long, long time.

- Who gave it to you?

Not Daddy.

- It doesn't fit anymore.

I never really could
wear it anyway.

I want you to have it now.

- I'll keep it for you

'til ya get better.

- All right.

- I love you.

- [Maggie] Just go ahead
the way you've been going.

I know you'll be fine.

- Hi, Daddy.

- [Chuck] Hi.

- [Nurse] Dr. Cameron,
please meet Dr. Bock in--

- Well, how are
we feelin', today?

- Oh, about the same.
(lips smacking)

- How's work?

- Work's okay.

New owners are nice.

Looks like they're
gonna keep me on.

Koreans (laughs).

- I have to go.

- So soon?

- I have a 6 a.m. show.

Don't get up for it, okay?

I'll see you tomorrow.

Bye, Daddy.

- Bye.

(pages rifling)

("Prelude 15" by
Frederic Chopin)

- You've been listening to
the Obsessions in Music show

here at KLAS, your listener
supported radio station,

where it's all
music all the time.

Coming up next is
Danny De Fronso

and the Roots of Rock 'N' Roll.

- Now, it's time to
enjoy some real culture

and I mean with a capital C,

so here from the '50s are
The Capitols and Speed Row.

(rock music)
Anna.

God, I'm sorry I'm late.

Thanks for coverin' for me.

- Where were ya last night?

- I heard the most
incredible band, again.

- The guy out there
in the gray sweater,

ya know him?

- I'm tryin' to pick his pocket

for the Evening in
New Music concerts.

- He's a donor?

- That guy's loaded.

God bless him.

- Play me some Shirelles
for the ride home, okay?

- You got it.
- Bye.

- See ya later.
- Oh.

(rock music)

Oh, I'm sorry.
(Oliver laughs)

- Hello, again.
- Hello.

- You're Anna
Winter, aren't you?

- Mm-hmm.
- Hi, I'm Oliver Andrews.

I'm a fan, a very
big fan of yours.

I listen to you all the time.
- That's great.

I've always wanted a fan.

It's been nice to
meet you, Mr. Andrews.

Excuse me.
- Nice to meet you, too.

Anna, I hope I'll
be seeing you again.

In the meantime,
I'll be listening.

- If you're a widower, do you
still wear a wedding ring?

- I don't know.

You know this is a hangup
with you, father figures.

- Harley wasn't that much older.

- (scoffs) Yeah, Harley
was an aberration.

- [Anna] I'll say.

You wanna carry
this for a minute?

- Not much; okay, I will.

I had an actual date
the other night.

- Yeah, how'd it go?

- (chuckles) Oh, really badly.

This guy got loaded and
proceeded to tell me

his entire life story.
- Yeah?

At least ya got a
good meal out of it.

- No way, wasn't anyway I was
gonna end up owing that guy.

Dutch treat, he woulda
jumped me for sure.

Listen, you wanna go to
my house or your house?

- [Anna] Mine.

- I'm goin' celibate,
I'm givin' up men.

I mean, I'm really
sick and tired

of tryin' to find some kinda guy

that is witty, intelligent,
rich, handsome.

- [Anna] You just want
a Prince Charming.

- Yeah and why not?

All I ever get are these
kinda guys that grumble

outta the bedroom
in the morning.

They smell, they never
even help you make the bed.

- Now, you're
talkin' about George.

- Good ol' George, dropped
his clothes everywhere

and expected me to pick 'em up.

- You did.
- Well, somebody had to.

I'm tellin' you, that guy
couldn't even fry an egg

without asking me 15 questions.

How hot should the pan be?

Where's the thing
ya flip it with?

How can I tell when it's done?

- He just wanted a mama.
- Yeah.

He wanted a mama,
you wanna papa.

(scoffs) You know, no wonder
you and George never got along.

- You just pick the
wrong guys, Wendy.

- So what else is new?

It's like a national disease.

Look at Harley.
(lighter clicks)

- Harley is a national
disease (laughs).

- You know, it's not George.

It's not Harley.

It's men in general.

They're an inferior breed.

(woeful organ music)

- Excuse me, are you
Maggie's daughter?

I sang with your
mother in the choir.

I just want you to know
that we loved her very much.

She was a real live wire.

Oh, Chuck, you come
to dinner next week.

Be sure.
- Thank you, Frank.

Ready to go, hun?

(water splashing)

Good.

Good cake.

Your mother had
some things upstairs

you might wanna go through.

I want you to take anything.

Anything

that you might want.

Anything you think
should be saved.

- What are ya gonna do, Daddy?

- I kinda hoped you might

come by a little
more often than...

I know you and your mother
were very close (sniffles).

- Daddy?
- I'm all right!

- Daddy?
- I'm all right.

You just go upstairs.

(intense music)

(dog barking)

Come on, Sammy.

(mysterious music)

- [Joseph] My darling,

during the last weeks, I
couldn't write as often as you,

but it was the press of
work and nothing else

that stopped the flow.

Most of the time, I can
hardly believe you're married.

I love you.

My love and need seem
a permanent part of me,

a part that will not disappear
in a year or 10 or 20.

You are the woman of my heart

and I'm happy you are
despite all the obstacles,

the impossibilities.

I am yours, Joseph.

(glass clanging)
(footsteps approaching)

- Sammy and I have had our walk

and we feel much
the better for it.

- Good.

- You gonna be long?

- No, I'll just clear up.

- Take your time.

I wouldn't want you
to miss anything.

Uh, you're gonna spend
the night, aren't ya?

I mean,

it's gettin' awful late.

- Okay.

- Yeah.

Good.

(door creaking)

(Oliver heavily breathing)

I wanted to tell ya

that I love you.

I love you very much.

- Go to sleep, Daddy.

At moments, I have
the egocentric idea

that I love you enough,

intensely and strongly
enough to hold us together

though we're separated
for so much of the time.

I am torn and harried
by your absence

and driven by the
loneliness without you.

I continually burn by
the physical need of you.

(soft music)

But at the same time, you
are my warmth and my energy

and the goodness
of the world to me.

I will shamelessly do whatever
I can to keep you loving me.

- Wow, when did all this go on?

- 1965.

- [Wendy] How old were you?

- About six.

Listen.

Sometimes when I'm most alone,

I fear that the
memory plays me false

and it could not have been as
intense and lovely as I think.

But then certain
overpowering images of you,

of your face
bending toward mine,

of your body turned to me,

reassure me that it was
real and it will be again.

My darling, I love you.

It's amazing how much.

(eerie electronic music)

(man humming)

- [Man At Door] Two dollars.

(eerie electronic music)

- Anna, please get
Ralph back here

as soon as possible
for that interview.

We're runnin' a
little over, okay?

- Okay, you know,
I kinda like it.

- It's interesting, huh?

- Hmm, it's like
four butterflies

tryin' to fly in formation.
(audience applauding)

- That's very poetic; you don't
mind if I use that do you?

(Anna laughs)

- Yay!
(audience applauding)

- [Man] Have you ever
seen anything like that?

- [Woman] God, thank you so much

for bringing me here, tonight.

It's really fantastic.
- Excellent, excellent.

Yes.
- Hi, Oliver.

How are ya?
- You really should be

proud of yourself.
- Thank you.

There she is.
- Hi.

- Hi, muah!

Did ya like it?
- Are ya kidding?

I loved it.
- A little feedback.

I heard it, but--
- Nobody else did.

Did you, Mr. Andrews?
- Oliver.

- Do you know each other?

- Danny needs you now.
- Yeah, oh, great.

Muah.
- You were wonderful.

- Maybe later?
- Okay, go on.

(footsteps departing)

It's amaze--
- How long have you--

- (laughs) I'm sorry, go on.

- No, you go on.

- I was just gonna say I
didn't know you knew Ralph.

- I was just gonna
say the same thing.

Are you two?

- We're just friends.

He's just excited, that's all.

- Oh, he's really a
very talented fellow.

- He's a good kid.

- Perhaps you'd like to
have a drink with me?

Maybe we could go to
some place nearby?

- You don't have to
feel like ya have to.

- Is that a no?

- (sighs) No, I just don't
want you to be polite.

- I'm rarely polite.

Would you like to
have a drink with me?

- I'd love to have
a drink with you.

- I'm married.

- I figured.

(horn honking)

- Two kids.

Look, I'd just like to tell
you with no strings attached

that I think you're
extraordinary.

I do (chuckles) think
you're extraordinary.

No strings.

(car zooming)

(soft music)

- [Joseph] I knew that
what we have together is

by every moral standard wrong,

and yet I find I can
never give you up.

You say that you're
worried that there's

not enough that you can give me,

but I'm not asking
for very much.

Just this, to be
with you sometimes.

- Thought I lost track of time.

Are you early?

How you doin'?

- I'm fine.
- You look fine.

- Their rinsing.

Andy's gonna watch 'em.

I told 'em no drum drying
and archival processing

like you said.
- Right.

- I'll take lunch
now if that's okay?

- Please, Jake MacLenna,
this is Anna Winter.

- Not the KLAS Anna Winter?
- Yes (chuckles).

- No kidding, we listen to
you all the time around here.

- Really?
- Mm-hmm.

Oh, tell Craig I wanna
see him before ya go.

I wanna move that truck.
- Move the truck?

But don't you you me to?
- No.

- Oh, right.

It's nice meeting you.
- Nice to meet you, too.

Bye-bye.

- My office is upstairs.

Why don't you go
up there and wait.

I'll be up in a minute.
- Okay.

- [Oliver] Need you to move
that other light up there

a little bit higher.
- This one here?

Oh, okay.
- Yeah, further.

A little bit more in the corner.

- Okay?
- Okay, good.

- Okay.
- Do we have to move

this stuff here?
- There ya go.

- Yeah, yeah.
- Jake, do me a favor.

- Yeah?
- Put that away.

- All right.
(car door bangs)

(engine rumbling)

("Contrapunctus 1" by
Johann Sebastian Bach)

- They're gone.

- You're good.
- Oh, ancient history.

Look, why don't
you start on these.

I'm gonna go downstairs
and set up the lights.

I wanna photograph you.

- [Anna] Please, but
look what I'm wearing.

- Take off your shoes.

Just relax and sit down.

Right there, that's good.

Relax.

- I saw that picture
of you upstairs.

You had long hair.
- 1971.

I was a lot younger.

How old were you then?

- Eleven.

- Wow.

- You were very handsome.

- I'm sure you
were adorable, too.

Now, let me look at you.

You still are.

I don't wanna be forward but.

So you're 22?
- Mm-hmm.

- I'm 40.
- I know.

- I wanna be honest, I
can't offer you much.

- I'm not asking for very much.

Just this.

- This?

- To be with you sometimes.

- Oh.

You were 11, huh?
(Anna laughs)

- Yeah.
- Hello, KLAS.

(operators chattering)
(phones ringing)

- [Male Operator]
Thanks very much.

We appreciate it.
(operators chattering)

- Okay, two more lines open.

We got eight all ready lit.

Let's match that $100 pledge.

- Come on, if you
enjoy our programming,

remember, we depend completely
on your contributions.

We're looking $40,000 worth of

desperately needed
new equipment.

If you call now with a
donation of $25 or more,

you're entitled
to one free year--

- I can't think with
that damn radio on.

- [Anna] In addition,
our programming guide

will be sent to you--
- I don't know

what the hell they're
talkin' about.

- Please remember
that public radio,

like public TV,
needs your support.

Come on, one more light,

and we'll go to an
uninterrupted hour

of Call It Culture
with Eva Boudelier.

I mean, you should see
our control board, here.

It's literally held
together with spit and gum.

Isn't it, Danny?

- Chewing gum is a major part

of our operational
budget here, absolutely.

(phone ringing)

Hey, okay, we got to 10.
- Line three.

(operators chatter)
(phones ringing)

- [Eva] Good afternoon,
this is Eva Boudelier

with Call It Culture.
- I guess I'll take

this one right here.

- Today, my guest will be--
- Just bring down

the highlight a little
bit in the printing.

- Jake, would you
make a note of this?

I gotta run.

("Contrapunctus 1" by
Johann Sebastian Bach)

I have to go.

- No.
- (laughs) Yeah.

(lips smacking)

(keys rattling)
(soft music)

(engine revving)

(romantic music)

(waves roaring)

(dramatic romantic music)

- [Karen] I never knew
it could be like this.

Nobody ever kissed
me the way you do.

- Nobody?

- No, nobody.

- Look, I don't wanna go home.

Let's do somethin', okay?
- What ya wanna do?

- I want pinball.

- It's too juvenile.
- Well, the arcade.

- It's too expensive and you--
- I'm not goin' to a bar.

Where we're gonna get hit,
I don't wanna deal with it.

(bar patrons softly chattering)

- You wanna break?
- Yeah.

I shake 'em better than you do.

(Wendy laughs)

(pool ball thudding)

Solids.

- I don't know why I set
myself up for this punishment.

- Bull excuse me.

Shit.

(soft country music)
(bar patrons chattering)

So you haven't told
me anything yet.

- About what?

- You know what.

- Ooh, whoa.
- That's all right.

That's all right.
- All right.

- [Bar Patron] I'm gonna run
the table on you, actually.

- [Woman] Can I have a beer?

- Is he a good lay?

(pool balls banging)
(Anna annoyingly sighs)

- Thanks a lot.
- (laughs) You are welcome.

I have some wonderful
opportunities

on this end of the table.

- As a matter of fact, he is.

- Makes up for the fact
he's married, right?

- No, it doesn't make up for it.

It's complicated.

- He makes you feel?

- He makes me feel.

(pool ball thudding)
- Fucked?

Look, Anna, the thing that
ya have to keep in mind

about these kinda relationships

is that if you don't feel
something for the guy,

you're gonna get out.

And if ya do start feelin'
somethin', you are fucked.

- I know.

(scoffs) Believe me, I know.

- If he's so great, what if
you fall in love with him?

That's all I'm asking.

- I guess I'm in big trouble.

(Wendy heavily sighs)
(Anna annoyingly scoffs)

Is this what is known as
psyching out your opponent?

- Anna, the thing
you have to remember

is that this guy sleeps with
someone else every night.

(heavy music)

- [Joseph] The next
time we are together,

we must talk some
about your other life,

the life in which
I have no part.

We must talk about
your husband and child,

Chuck and little Anna.

Help me to picture
them as people,

to make them real
for they are real

and I must face that fact.

(Anna pleasurably moaning)

(bed squeaking)

(ducks quacking)

- [Man Outside] Not
so fast, come here.

- Oh, Ben.
- Come here.

- What is it?

- [Anna] Ya see those two?

They live out back.

You know, it that beat-up
place behind the alley?

- I love you.
- He's a drug dealer.

A lotta people used to come
and go out of his house.

You know, a lotta women.

So one night, I'm sleeping
and I heard all these sirens,

and I got all scared and
I ran out in the alley.

Cops were everywhere.

I thought they'd been busted.

- [Oliver] So what happened?

- Turns out she shot him.

They put him in the hospital
and took her to jail.

Next day, she came out on bail

and came over and
borrowed my ironing board.

(man softly mumbling)

(ducks quacking)
- You are welcome.

- I know so little about you.

Do you have any
pictures of your kids?

- Anna, are you all right?

- I'd like to see 'em.

It would help.

- That's Paul.

He's eight.

That's Emma.

Emma's two.

Does that make it easier?

- They're real now.

They're very beautiful
(heavily sighs).

Wanna listen to some music?

I'll play you what I was playing

the day I met you at
the radio station.

It's Chopin, Prelude 15.

("Prelude 15" by
Frederic Chopin)

(water splashing)

(dog barking)

- Now, watch your step.
(Anna laughs)

Up,

come on.

(waves gently splashing)

(keys rattling)

Well, you better
brush that sand off.

It'd be sorta hard to explain.

(horn honking)

(phone ringing)

- KLAS, may I help you?
- Thank you very much.

- KLAS, how may I help you?
- You have to get

their name and address.

And you have to make
sure if they bank note

that you get it and
the expiration date.

Your initials go there and
then the time and date,

and then you have
to ask the donor

if he or she is willing to
let us credit the money here.

'Kay, goes there.
(phones ringing)

And that's it.

Pick it up.
(operators chattering)

(crickets chirping)

(hand knocking)

Hey, Daddy.
- Well, look at you.

What's this?
- Some wine.

- Wine, my date brought wine?

Hey, this is a pretty
classy deal here.

- [Man On TV] That it was
impossible for anybody.

- Ya sure there's
nothing I can do?

- (laughs) What
are ya kiddin' me?

You just sit right there;
you're the guest of honor.

Surprised at your ol' man, huh?

Didn't know I could cook.

- I've had your steaks.

- Yeah.

Well, actually the
rice is nothin'.

Everything these days
comes in a plastic bag.

Put it in a pot, ya
bring it to a boil.

Bingo, ya got it.

Of course, ya have to flip
it every 15 minutes or so,

otherwise, it doesn't
heat thoroughly.

Well, it doesn't heat
evenly all the way through.

- Well, it looks good.

- Yeah?

Well, it's nothin' fancy.

It's not like your
mother used to make,

but she was a real cook.

I'm doin' all right.

And I have a woman
once a week to clean.

Older woman comes in.

Other than that, I pretty
much take care of myself.

- I'm impressed.
- Whoa!

I want to propose a toast.

To us.
(clock chiming)

It is good.

(laughs) It's good.

And another thing
about Orientals

is that they are
born shopkeepers.

Hey, they are real businessmen.

And they're everywhere,
look around.

You can't swing a cat without
knockin' into one of 'em.

They're smart.

Okay, they recognized
my abilities,

so they keep me on.

- I gotta go, Daddy.
- Go, schmo.

Sit here and talk to me, please.

Look at you.

My little girl, a professional.

- I earn $225 a week.

- Hey, it's not the money.

You are a professional,
that's the point.

And don't you forget it.

Your mother was
very proud of that.

- I miss her.

- What's that?

- I said I miss her.

- Yeah, well, we all miss her.

She's a wonderful woman.

I was never good enough for her.

Not near good enough.

Hey, forget it.

It doesn't matter.

It's water under the
bridge, isn't it?

We never talked like
this before, did we?

I mean, just you and
I sittin' and talkin'.

- No.
- Well, we will.

It's important to me.

Your mother expected
a lot, you know?

Hey, I'm not sayin'
she didn't deserve it.

God knows she
deserved it, I just...

It isn't a case of that.

- I gotta go, Daddy.
- Wait a minute.

Ya got a boyfriend, Anna?

- Yes.

- He gonna marry ya?

- Maybe.

- Not in a hurry, huh?

That's good.

Your mother and I
were in a hurry.

Of course, it's different times

and our little secret.

- I know you married Mama
'cause she was pregnant, Daddy.

She told me.

- No.

I married her
because I loved her.

And she was beautiful.

Like you.

Listen, don't be
afraid of me, honey.

I know I'm not gonna
be any problem to ya.

You can see that,
I can take care.

Wait a second, sit down!

Where the hell
are ya goin', now?

What did I do, did I touch ya?

Is that the problem?

- Leave me alone!

(intense music)

- Oh, God, you're like her.

(heavily sighs) You
are so like her.

(Chuck softly sobs)

- I'm gonna wash the dishes
and then I'm gonna leave.

(intense music)

- I'm sorry, honey.

What do ya think about
a man like me, huh?

- I think you should go to bed.

- Leave the goddamn dishes!

Go on!
(hurried footsteps)

Go on, you...

The most important thing in
life is not a roll in the hay!

You understand me?
(door bangs)

(suspenseful music)

(change rattling)

(phone rings)

- [Edith] Hello?

Hello?

Who is this?

Hello?

- Wrong number.

(water softly splashing)

It's beautiful.

- So are you.

(lips smacking)

Go get your coat.
- Okay.

- She looks very nice.

I'm sorry.

I had to make her real, too.

("Contrapunctus 1" by
Johann Sebastian Bach)

- [Joseph] My darling,

I'm home again and the
memory of our last meeting

is fresh in my mind.

Nothing and no one can take
from me what we found together.

Together, we're more than
the sum of our parts.

Can I sacrifice this even
in my own best interest?

Not if I love you as
indeed I do love you.

Maggie, my own, forever.

("Contrapunctus 1" by
Johann Sebastian Bach)

- [Edith] Come on, Emma.

Can you get it, Emma?

Emma, here it comes.

Okay, I'm gonna try this.

Emma.
- Mommy, I have to

throw the ball.
- Oh, okay.

Okay, golly (laughs)!

Okay.

- Hi, Anna Winter?
- Yes.

- Marcia Newell,
KBFK San Francisco.

- Hi.
- I was expecting someone

a little older.

So what do you think about it?

- Yeah, I think it's
a great opportunity.

- [Marcia] I think you're right.

- You know it's funny, KBFK
used to be my dream station.

- It's a good station.

- It's a great station.

- We have 10 times
the audience of KLAS;

10 times, maybe 20
times the subscribers.

There's a real future for you.

- I know.

- You wanna talk about it?

- San Francisco's
a long way away.

I mean, it's 400 miles, right?

- It's an hour's flight,
so what's the problem?

- It's sort of personal.

- I see.

- Have you listened
to Danny De Fronso?

I mean, he's so good.

- I've listened to Danny.

You're better.

Look, Anna, sometimes when
an opportunity gets away,

they don't come again.

You're young, maybe it
doesn't seem that way to you.

- No, it seems that way to me.

- Well, just think about it.

- Okay, thanks.

(heavy music)

- [Joseph] I'm sick of my life

with its intolerable
contradictions.

My mind keeps warning me that
love, even as we know it,

must be lived in the
everyday world of

Chevrolets and toothaches
and lost chances.

- Stay very still.
(Anna giggles)

(camera clicking)
(film screeching)

We can do better, I
think it's too hot.

- That's your fault.
(Oliver laughs)

- [Oliver] I doubt that.

Okay, look down here.

(lovers giggling)
(camera clicking)

Probably too much movement.

Shift your body.

No, too much tit.

Good, good, good!

That's good, okay.

(camera clicks)

- [Anna] That's enough.

- [Oliver] Just let me see
this one; 10, 11, 12, okay.

- [Anna] Are we finished?

- [Oliver] Just one more.

Look up here.

You look so sad.

What is it?
(camera clicks)

- [Anna] Take off
your wedding ring.

Just for an hour.

- I'm sorry.

(jazz music)

Morgan!

Morgan.
- How ya doin'?

- Good.

Anna, I'd like ya to
meet Morgan Crawford,

famous American artist.

Morgan, this is Anna
Winters, famous American DJ.

- How charming, hmm.
(lips smacking)

- [Oliver] So how was Amsterdam?

- Wonderful.

In the winter, it doesn't smell.

- Good.
(Morgan smirks)

- Hmm, not properly chilled.

- Don't you pick on her.

I'll be right back.

(soft piano music)
(patrons chattering)

- He seemed very happy.

You're responsible
for that, aren't you?

- I don't know, am I?

- No doubt, you'll be good
for his work, as well.

Contradiction and irony
are two different things.

- [Oliver] Look, you're just
trying to change the subject

because you know I'm
right and, of course,

irony and contradiction
are two different things.

- [Morgan] What's
the difference then?

- Contradiction is
a statement of fact

and irony is a way of
dealing with the fact.

- Contradiction is
objective irony subject.

What would you
say the difference

between contradiction
and irony is, Anna?

- I don't know, I'd
probably have to

look it up in the dictionary.

- Doesn't know the game.

- Anna, the point
is to figure it out.

Not to look it up
in a dictionary.

You know, conversation.

- Irony has humor in it.

- No, no, no, no.

Contradiction might be
funny, but irony never.

- Never, no.

Irony is deadly serious.

I have it.

If contradiction is weather,

then irony is umbrellas.

- Very good!

But not quite.

Irony is stealing the umbrellas.

- Oh.
(Morgan chuckles)

- Oh, by the way, I
have something here

that belongs to Edith.

Would you mind
returning this for me?

I'd do it myself, but I'm
flying off to Munich tomorrow.

That first essay is a straight
ripoff of Walter Benjamin's

Works of Art in the Age of
Mechanical Reproduction,

but the essay on
nudes is terrific.

- [Oliver] You've read
what he has to say

about photography, haven't you?

It's fascinating.

It completely refutes Sontag.

("Contrapunctus 1" by
Johann Sebastian Bach)

- You know what he told me?

He said I was good for you.

- He was jealous as hell.

He was green (laughs).

Jesus, get down!

(footsteps departing)

Okay, get up.

I'm sorry, I'm sorry.

Those people work with Edith.

Goddamn it!

(engine revving)

- Come on.
- No, wait, wait, wait.

Let's go in the living
room and sit for a minute.

- You never wanted to
sit in there before.

- Well, I do tonight.

I got plenty of time.

Edith is at a lecture
until 11 o'clock--

- I don't wanna
know where she is.

- Okay, but I just wanna
go in the living room.

Sit.

Talk.

- Okay.

- They had a hell of a
time getting it in here.

Try it.

I've never heard you play.

- [Anna] I'm not very good.

("Prelude 15" by Chopin)

(intense music)

- [Edith] Emma, Emma
honey, wait for me.

(engine rumbling)

- [Emma] Can I go up there?

I wanna ride the blue horse.

- [Edith] Oh, here we go.

- [Emma] I wanna pretend
to be in the air.

Higher, Mommy.

Higher, Mommy.
- You ridin' with a saddles.

- [Emma] Higher, Mommy.

- [Edith] That's not a test.

(suspenseful music)

(swing creaking)

- Oh, I'm tellin' ya.

San Francisco is
totally amazing.

It's a very, very exciting city.

Well, I'm sort of
semi-managing this group.

You're gonna hear from them.

They're called Little Claw.

Modernistic with classical
overtones, you know?

- It's great to
see ya back though.

- Hey, thank you.

It's great to be back.

God, you all look incredible.

Nothing's changed around here.

You still have the
same crummy ol' coffee.

Hey!

- Hey.

You look great.

- You do.
- What was it called, the?

- I got a show.

I'll see ya later, okay?

- [Male Employee] Look, why
don't we check this guy out

just to convince us all.
(woman giggles)

Well, look at the schedule.

I think that if we.

(classical music)

- Hey.

- Hey.

(lips smacking)

- [Danny] Hmm.

- I know.

- You look tired.

- Partied all night.

- So how's it goin'?

- It's okay, it's
about the same.

- I heard there've been
some big cutbacks here.

They cut your hours?

- I'm fine.

(Anna anxiously laughs)

So how's it going
with you up there?

- Forget it, incredible.

Incredible, the people in San
Francisco are so wonderful.

Not only that, they're totally
open to my kinda programming

and your kinda programming.

- Great.

- And I think you oughta
come up and check it out.

- I will.

- Not only that, but truly,

the real reason that I came here

was because I wanted
to say thank you

'cause I know what you did.

- I didn't do anything.

You got it on your
own, you know that.

- Yeah, right.

Well, anyway--
- Anyway.

(Anna laughs)

What do you wanna hear
for the ride home?

- Oh, right.

Little Richard.

- This is Obsessions in Music.

- So what, it's
gotta be classical?

Hey!

- I guess I could get obsessed

with a little Richard for once.

- Anna.

You're the greatest.

- Bye.

(door softly bangs)

- [Female Neighbor] No, Ben!

I've got no place to go!

- [Ben] What the fuck?

About the drugs?

I'm tired of you
lookin' into my life!

Leave me alone!
- Please don't, Ben.

- [Ben] You've been
fuckin' up around here.

I don't need you anymore!
(woman shouting)

- Ben, Ben!
(door bangs)

No, let me back in, Ben!

Stop!

Ben!

- [Ben] Shut up and get
the hell out of here!

- Ben, let me in!

Ben!

Ben, let me in!

Ben!
- You got no money, huh?

You got no money?

You want money!

You want money!

Pick it up, pick
it up, pick it up!

Go ahead, pick it up!

Pick it all up!
- Ben, I love you!

- Get the fuck outta here!

Make it on your own!
- I love you!

I love you (sobbing)!

(intense music)
I love you, Ben.

I love you, Ben!

(phone rings)

- Hello?

- [Oliver] It's me.

- Are you calling from home?

- [Oliver] I had to.

Listen, I know I said I'd
be by this morning, but I.

- You can't?

- [Oliver] No.

- I see.
- It's not my fault.

I can't talk now.

Are you all right?

- What difference does it make?

- [Oliver] Just for
five minutes, okay?

I'll be there in a half an hour.

I won't come if
you're gonna be angry.

- I won't.

Please come.

I miss you.

(vocalized singing)

(hand knocking)

Hi.

I missed you.

(lips smacking)
- Yeah, me, too.

- Come on.
- Anna, I...

Anna, please, darling.

- [Anna] I've been missing you.

- [Oliver] I don't
have time for this.

- We can hurry.

- Anna, I don't have
time to (mumbles).

No, sweetheart.

Anna, no.

Anna, no.

God, Anna.

No.

- Why not?

- Oh, god.

Anna, I just made
love with my wife.

(door bangs)

(Anna sobbing)

Anna.

Anna, this is crazy.

Would you please open the door?

(door rattling)

Anna!

Anna, open the door.

Anna, Anna!
(door banging)

Sweetheart.
(Anna sobbing)

Forgive me, I'm sorry.

I'm so sorry.

It's all right, it's all right.

We've got a whole
history together, Anna.

I spent 15 years of
my life with her.

That's almost half my life.

Hasn't always been great but

I got two kids I love very much.

She's a very decent,

kind,

loving--

- Do you want me to tell
ya 'bout my boyfriends

and about how good
and decent and loving

and good in bed they were?

- I'm sure they were.

- They weren't.

There's never been anybody.

Why couldn't you just lie to me?

Why couldn't you
just lie and say,

Anna, I don't love her.

Would it be so hard?

- It's not fair, is it?

- I think you should leave.

It's just not easy anymore.

- Do you really think
it's any easier for me?

- I'm second best.

It's not the way I want it,
it's the way you want it.

You wrote the rules.

- Anna, I'm afraid
it's just a little bit

more complicated than that.

You and I don't have
any children together.

- It has nothing to
do with children!

It has to do with her!

You want all of her and
just a little bit of me!

- You want me to
leave my family.

- No, I want you to
want to leave them.

I want you to want to leave
her because ya hate her guts

and 'cause you love me.

I want you to want me.

At any cost, I'll take guilt.

I'll take anything.

I just want you to want me.

- Come here.

- No.

- Come here.
- No.

- Say it.
- No!

I hate you.
- You don't hate me.

Say it.

Say it.
- No.

Not unless you think
I'm the smartest

and most beautiful and
sexiest girl you ever saw.

- You are the sexiest.

You are the most beautiful.

(lips smacking)

Say it.
- No!

- Say it!
- No!

- Say it.
- No.

(Anna gasping)

- Say it.
- No.

- [Oliver] Say it.

(Anna moaning)

- I love you.

I love you.

(lips smacking)

(intense music)

I am sick

of my life.

And it's intolerable
contradictions.

(intense music)

- [Joseph] My mind keeps
warning me that love,

even as we know it.

- Must be lived

in the everyday world

of Chevrolets

(suspenseful music)
and toothaches

and lost chances.

I am torn and harried
by your absence.

Driven by the
loneliness without you

and continually burned by
the physical need of you.

I can no longer bear
to keep seeing you

if there's no way that
you'll ever be mine.

I want you now for
my own and forever.

(intense music)

Sometimes it's right
to do the wrong thing.

Be mine, darling.

Be brave.

I love you.

It's amazing how much.

(soft piano music)

(door creaking)

- Hey, Anna!

(paper rifling)

(hand knocking)

Hey, kiddo.

What ya doin'?

- You know Chesley?

Joseph Chesley?

He made a terrible mistake.

- Yeah, right, who's Chesley?

- He wrote the letters.

- Yeah.

No, you know, I kinda
forgot about him.

- You know, my mother was weak?

You know, she couldn't
take care of her own life.

He had to and he didn't.

He had to force her.

They were so much in love.

(intense music)

You know?

It's so rare.

See, he thought he was
saving three lives,

but he didn't.

He ruined three lives.

He ruined his and my mother's--

- And your father's.

- Yeah, his too.

Sometimes it's right to
do the wrong thing though.

Isn't it?
- Oh, Anna, I don't know.

- He had to make her see.

He had to take her.
- Look, Anna.

I don't know what difference
this makes, all right?

- It makes all the difference.

You don't understand, do you?

- I don't know.

Yeah, okay, maybe.

- He wrote such
beautiful letters.

Just beautiful letters.

I wish I knew him.

You know, just to know him.

(intense music)

I mean, they were
just beautiful.

Don't ya think so?

- Anna, I think I'm getting
really worried about you.

- Don't be worried about me.

I'm okay.

I'm great.

I know what to do.

I finally know what to do.

(suspenseful music)

(tires screeching)

- [Edith] Come on,
let's go to bed.

- [Paul] Mom, I haven't
finished this yet.

- You can finish
it tomorrow, okay?

- Okay.
- Gimme a kiss.

- [Paul] Goodnight, Dad.

- I love you.
(lips smacking)

- Bed now.
(lips smacking)

Guess who wants to do the
elevator one more time (laughs).

- [Oliver] I can't guess.

Here we go, first floor.

There's the second floor,

to the third,
(Emma giggling)

and fourth floor.

- Ready, oh, goin' down!
(Emma laughs)

- To the basement (laughs).
(Oliver laughs)

- Come up soon, okay?

(lips smacking)
(intense music)

- Darling, why don't
you take her up to bed.

- Okay.

You'll come up soon?
- Yeah.

- Come on, hun, let's go to bed.

Say nite-nite.

- [Emma] Nite-nite.

(hurried footsteps)

- [Oliver] Anna!

(glass shattering)

Anna!

- Let go of me!
- Wait, Anna.

- Leave me alone.

Get your goddamn hands off me!

I said let go of me!
- What is the matter with you?

Have you gone crazy?
- Maybe I should talk to

your wife.
- Anna, now, I'm begin' you--

- Maybe she'd like to know
what the fuck you been doin'!

- [Oliver] Please don't!

- [Anna] Maybe she'd like to
know where you been at night?

- What's Daddy doing?

- What do you think I am?
- Please.

- A fuck machine?
- No, I don't, Anna.

- Turn me on, turn me off!
- Anna!

- My letter, you didn't
even answer my letter.

- I did, too; I've
been thinking about it.

That's all.
- Oh, bullshit.

- No, it frightened me.

You frightened me; it
didn't even sound like you.

Anna, why are you
doing this to me?

I have always been
honest with you.

(Anna angrily mumbling)

Anna!

Oh, my god.

Anna?

Anna?

(intense music)

(soft music)

- [Emma] Paul.

Come here.

- [Paul] Shh.

(door creaking)

- [Edith] Did ya
call the doctor?

What did he say?

- [Oliver] He says
he's on his way.

- [Edith] Stop it,
don't touch me.

- [Oliver] Edith,
please, for Christ.

- [Edith] Just answer
me one question.

What is it that I do

that would make you
wanna do this to me?

- [Oliver] (sighs) Edith,
you didn't do a thing.

Please, look at me.

- [Edith] She's very
young, isn't she?

You bastard.

- [Oliver] I don't know
what to say, Edith.

Honestly, I don't know
what to say to you.

- [Edith] Do you love her?

- [Oliver] It's
possible, but I love you.

- I'm never gonna be able
to believe that again.

I really believed
that you loved me.

And if not me, I knew
you loved the children.

- Just give me a chance, Edith.

Give me.

- I can't believe it.

- I'm sorry.

(footsteps departing)

- [Oliver] Anna, Anna, wait.

Look, you can't drive
home alone like this.

- [Anna] I'm fine.

- Anna, please listen.

Wait!
- I said I'm fine!

- Please, listen to me!

I got to tell ya something!

I don't want it
to end like this.

I just can't walk out on 'em.

I have to hurt
the fewest people.

Do you understand me?

- You love her.

- Yes, of course, I love her.

I always have, I love you, too.

- I don't think ya did.

- Anna, you're very young.

You're very special.

You can do a hell of
a lot better than me,

a hell of a lot.

- Will I really?
- Yeah.

Anna, if there is one
thing I've learned in life

it's that everything
passes, everything.

It's gonna be all right.

Just tell me it's
gonna be all right.

Please, Anna.

Say it's gonna be all right.

- Goodbye.

("Contrapunctus 1" by
Johann Sebastian Bach)

(car door slams)
(engine rumbles)

- [Maggie] Don't touch me.

- [Chuck] Goddamn it, you!

- [Maggie] You're
drunk, leave me alone!

Don't touch me.

If you don't care about
me, think about Anna!

- [Chuck] Did I touch
ya, is that the problem?

I'll never touch you again!
- Get off, I'm leaving!

- [Chuck] No, you're not.

You're not going anywhere!
- If you don't care about me,

think about Anna.

Please, she's your daughter!

Just leave me alone!
- What did I do?

Did I touch ya, is
that the problem?

I'll never touch ya again!

Don't you move!

- Anna.

- You're so like her.

(gun clicks)

(gun bangs)

(birds chirping)

(intense music)

(seagulls cawing)

(foreboding music)

- Excuse me.

Did you leave the flowers?

The gardenias?

- You're Anna.

I woulda known ya anywhere.

You look just like her.

("Contrapunctus 1" by
Johann Sebastian Bach)

- When did you see her last?

- Oh,

five years ago,

just for a few hours.

And before that,
another 10 years.

- That's a long time.

- Yes, a long time.

- Should've been together.

- Worst mistake.

She was my chance.

I lost her.

- I have something of yours.

She gave it to me but I
think you should have it.

- Kept it all these years.

- [Anna] Here.

- Damn it.

It really is embarrassing.

She was the love
of my life, ya see?

You understand.

Maybe you've been
loved the way we were.

- No.

Not like that.

Not like you.

(dramatic piano music)