All language subtitles for The Slender Thread [Sidney Poitier] (1965) BRRip Oldies eng

(TIRES SQUEAL)

You need a hand, Mr. Newell?

A head, Dr. Coburn.

I have finals tomorrow.

You should have called in

And asked for a substitute.

I thought of that all
the way over here.

Is it quiet up there?

Listen, I'd like to steal an
evening and spend it with my son.

Will you be all right alone?

Let's see.

I left a number with Marion,

But if you don't have to call...

You have a good time.

MARION: Four.

Hi.

Hi.

Six.

Eight. Ten.

Ten enough?

Twelve.

And 12.

I wrote a number down for Dr.
Coburn.

It's right by the phone.

Anything?

Not a creature stirring.

Let me know how you
like the coffee.

It's a new brand.

Good night.

Good night.

(TELEPHONE RINGS)

(RINGING)

(RINGING)

Crisis Clinic. Newell speaking.

MAN: Newell, huh? What have
you got against barbers?

It depends on the haircut.

Well, I'm a barber.

Your name, please.

Rudy. Rudy Leachman.

Your age, please, Mr. Leachman.

Ah, come on. What's age
got to do with it?

I bet you're one of those guys who
think barbers got pension plans.

(RINGING)

Would you hold the
phone a moment please?

Mac, where you going?

(RINGING)

There are some things you
ought to learn about barbers.

Crisis Clinic. Newell speaking.

WOMAN: I have to
talk to somebody.

BARBER: You know, there are
11,000 barbers in this country?

Hold the phone a moment, please.

Well, I'm one of the best.

Cutting hair is an art.

Sir...

That's right. I said an art. I suppose
you think barbers never shut up.

Well, it's a two-way street.

I'm going to have
to call you back.

I've got somebody
on the other line.

Would you please
give me a number?

You ought to hear the
things people say.

They ought to be ashamed.

Hold the phone a minute.

Wait a minute. I stood next
to my chair listening...

I'm here now.

You can talk to me if you like.

WOMAN: What did you
say your name was?

Newell.

N-E-W-E-L-L.

Alan Newell.

May I ask who's calling, please?

Does it make any difference?

You know my name.

Why shouldn't I know yours?

Now, what do I call you?

Please?

Stupid.

Not you. Me.

Just call me stupid.

Why, miss?

Missus.

I planned everything
except the car keys.

What if they don't find them?

It's a brand-new car.

Maybe there's something
I can do about that.

I could mail them, I suppose,

But I don't have a stamp,

And I can't go out
now, even if I did.

I want Mark to have them.

How old are you?

I'm just trying
to get a picture.

You know, it makes it easier if
I can kind of see the person.

I'm 30.

An old 30.

Look, miss...

Missus.

Why can't we be sociable,

And I call you missus but Mrs.
What?

Ah, you're well
trained, aren't you?

I beg your pardon?

Talking to disturbed people.

Are you disturbed?

BARBER: Why don't you
say something, mac?

WOMAN: Not anymore.

That's good.

Very simple cure, Mr. Newell.

Just hold out one hand and pour
yourself the right kind of pills,

Then open your
mouth and swallow.

BARBER: Hey, speak, will you?

Ain't you got no point of view?

Do I understand that you're

Thinking of taking barbiturates?

WOMAN: You do not understand me.

Well, I'm glad of that.

I am not thinking of
taking barbiturates.

I have taken barbiturates.

I am checking out, Mr. Newell.

Except for these damn keys.

I don't know what
to do about them.

I could have them picked up.

Good night, Mr. Newell.

I mean, goodbye.

No.

Oh?

I want to talk to you.

I mean, I need to talk to you.

Didn't you need to talk to
somebody just a moment ago?

Well?

Now I need to talk to somebody.

What kind of psychology is that?

I'm not a psychiatrist, lady.

I'm a student at the U.

I come up here one night a week.

I sit by the phone, when the
phone rings, I answer it.

I'm a volunteer.

BARBER: I got another reason...

You understand that, lady?

You understand the
irony of that?

On the most important
night of your life,

When you need somebody
who really knows,

You had to pick me?

BARBER: how I cut
their husbands' hair.

Ma'am?

Ma'am?

WOMAN: I heard you, Mr. Newell.

I need a cup of coffee.

The pot is just over there

On the other side of the room.

But if I go get it, will you...

Will you stay on the line?

Will you promise me?

Just please promise
to stay on the line

Till I get a cup of coffee.

I might. I might not.

Just hold on one second,

And I'll get some coffee.

BARBER: Ain't you got
no point of view?

Come on, speak, will you?

Mac, are you still there?

Look, mister, I've got an
emergency on our other line.

Please give me your number.

Forget it, mac.

(HANGS UP)

(DIALING PHONE)

FEMALE OPERATOR: Operator.
May I help you?

This is Alan Newell.
Crisis Clinic.

Got a woman on our other line.
Maine 2-1454.

One moment, please.

Yes?

All right.

Go ahead, sir.

ALAN: Got a woman
on our other line.

She's taken pills. I
need an emergency trace.

Would you hold the
line a minute, sir?

I can't. I'll lose her.

How long will it take?

Sir, that depends on where
the call's originating.

Get a hold of a Dr. Joe Coburn.

Mutual 2-4530.

This is Operator 43, Unit 3.

Emergency.

I need a trace incoming to the
Crisis Clinic at Maine 2-1454.

Maine 2-1454.

Make it as fast as I can.

ALAN: Hello.

WOMAN: How's the coffee?

Marion, she's the
secretary here,

She makes the hairiest
coffee in the world.

You sound nervous.

It comes through, huh?

(LAUGHING) What the hell
are you nervous about?

Because I don't know
what to say to you.

I mean, up here they
give us lectures

On how to handle
people in trouble.

We're supposed to gain
their confidence.

They call it rapport.

It's just words.

Look, lady,

You sure you wouldn't just...

Just tell me where you are?

Your voice has a nice ring to it, Mr.
Newell.

Thank you again. Goodbye.

Wait a minute.

Please.

Yes?

Why?

Why did you pick today?

What went wrong?

Isn't that funny?

Nothing, really.

I just didn't have
anything to do.

ALAN: What?

My boss didn't come back.

I didn't know that.

(SIGHS)

I didn't know that, though,

Until I got to
work this morning.

Good morning.

Good morning.

Mail.

Oh, thank you, Tom.

(TELEPHONE RINGS)

Mr. Hampton's office.

RECEPTIONIST: Mr.
Hampton for you, Inga.

Go ahead, sir.

HAMPTON: Hello, Inga?

Hello, Mr. Hampton.

Inga, I won't be
coming in today.

The skiing's great, so
we've decided to stay.

Call Mrs. Hampton's mother.

Tell her we'll make
that dinner next week.

Tell her the kids
are having a ball.

Everything okay?

Yes.

Remember that squeak
in your chair?

Well, I worked it out.
I did it myself.

Great. You're sure now
there's nothing important?

No. Everything's fine.

The ski bus is outside, so...

Yes. See you tomorrow.

Hi, Jinny.

Oh, hi, Inga.

When can we have lunch?

Oh, you remember Marvin?
He just called.

We're going to have lunch
at the Windjammer.

He just bought a new
30-foot sailboat.

You don't mind, huh?

(RINGS)

Good morning. Price and Hampton.

He's not in. I expect him back at 3:00.
May I help you?

Just a moment, please.

INGA OVER PHONE: So I spent
the morning labeling keys.

I have excellent
handwriting, you know.

I even won an award for
penmanship in secretarial school.

(SLAM)

Now, look, are you
trying to tell me

That just because your boss
didn't show up this morning

You decided to kill yourself?

You don't understand.

Well, I'm trying!

It had nothing to do with him.

I just wanted to keep busy

So I wouldn't have to think.

About what, Inga?

Who told you my name?

You did, just now,

When you were telling
me about you and Jinny.

You're trying to
figure out where I am?

From the name Inga?

I shouldn't have told you about the office.
You might try and trace me.

What do I know about tracing?

I'm not trying to trick you.

How do I know that?

You'll just have to trust me.

Inga?

What?

What time did you
take the pills?

Why do you care?

Never mind why. I care.

But why?

What kind of question is that?

A perfectly valid question.

Why should you?

Why shouldn't I?

See? You don't know why.

Okay, okay, I don't know why.

Does everything have
to have a reason?

How about what you're doing?

I mean, I ask you why. Eh?

What do you tell me? Your
boss got hung up skiing.

Well, lady, that's one hell of a
good reason to kill yourself!

Okay, okay. Stop hollering.
You're hurting my ears.

Where is that man?

(BUZZES)

An emergency trace.
Maine 2-1454.

The call's coming through the
Jackson Switching Station

Out by the airport.

We'll have to send a man out
there to complete the trace.

Thank you.

(RINGING)

Your busy night?

Just hold the phone, please.

Crisis Clinic. Newell speaking.

WOMAN: In tracing your call,

We find it's coming through an
outlying switching station.

We're sending a man out
to complete the trace.

Then tell him to hurry.

Look, this lady may drop
the phone any minute now.

Come on, please.

On your call to a Dr. Coburn,

Mutual 2-4530 is busy.

We'll keep trying.

Get a police car out there

And tell him I need him. Hurry!

(PHONE HANGS UP)

I'm sorry.

Where were we?

Who was that?

A drunken barber.

We get a few like that.
And not all barbers.

Why were you so brief with him?

Well, when I say drunk,
I mean, he was...

You're not brief with me.

Why, you're not a
drunken barber.

But you do disapprove of
what I'm doing, right?

Look, I'm not going
to judge you, Inga.

I can't. I only got three rules.

I never play cards
with a guy named Doc,

I never eat in a
place called Mom's,

And I never let them know
when they got me scared.

(LAUGHING) I wish I'd met you
under different circumstances.

Let's make the circumstances.

Just tell me where you are,

And I'll jump in my car, and
I'll be right over there.

Okay.

Okay, Inga.

It bothers me.

The idea of your dying
bothers me greatly.

You're silly. Don't let it.

Aren't you afraid?

Not at all.

I feel wonderful.

I recommend it.

What kind of pills
did you take, Inga?

Think I'm going to tell you?

I already took them. It's done.

There's nothing
more to talk about.

At least give me a reason.

Help me to understand.

What went wrong, and I
don't mean this morning!

INGA: I don't even know you.

ALAN: Maybe it's better.
Maybe it's easier.

(HORN HONKING)

Hi, Ma.

Hi, honey. Want to help?

I'm going to watch Captain
Jupiter with Pete.

It'll be on in five minutes.

Okay. I'll call you for dinner.

Hi, Mrs. Dyson.

Hi, Pete.

Mark?

Honey!

Shall I make us a drink?

Where are you?

Mark.

Are you all right?

Get away.

What is it?

It's a check for $263

From a lawyer in Portland.

What does a lawyer in
Portland have to do...

Where's Chris?

He's outside.

Why?

The check is for him.

His father remembered him.

Do you remember his father?

He remembered Chris
to the tune of $263.

Oh, my God.

Oh...

Mark...

(SIGHS)

It happened before
we were married.

I mean, I...

I was 18.

Mark...

I love you.

He's not my son.

Christopher is not my son.

Oh, my God.

Premature birth.

12 years you knew,

And all this time

You let me call him son.

Why?

I didn't know what else to do.

Why?

How could you do that?

Because I saw you together.

He thinks I'm his father.

But you are h...

Here's his father!

$263, a name on a will...

Who was he? Nobody.

Who was he?

Mark, please, he's dead.

What about you?

Where are you going?

How can I stay here?

You married me with another
man's baby in you.

Mark, please, don't
throw away 12 years.

What are you going to
tell that boy now?

Tell me what to do.

A person owes things, the truth.

A person doesn't just put
a thing like this aside.

A person owes the truth!

I'll do anything. Please...

That's not fair.
That boy's not...

Get out of my way!

Don't leave me alone.

(DOOR SLAMS SHUT)

♪ (MUSIC PLAYS SOFTLY) ♪

♪ (MUSIC PLAYS SOFTLY) ♪

♪ (MUSIC PLAYS SOFTLY) ♪

♪ (MUSIC PLAYS SOFTLY) ♪

♪ (MUSIC PLAYS LOUDLY) ♪

♪ (MUSIC PLAYS LOUDLY) ♪

♪ (MUSIC PLAYS LOUDLY) ♪

Hey!

Hey, lady!

♪ (MUSIC PLAYS LOUDLY) ♪

♪ (MUSIC SLOWS) ♪

DOCTOR: No more medication.

15-minute rounds.

Yes, Doctor.

Her husband's outside.

I'll get him.

How was your walk?

I went to the church.

Did you inform the congregation?

What are you trying to do?

It's very obvious, isn't it?

I came here to talk to you.

What do you want to talk about?

My lying? My cheating?

Or should I apologize
for not dying tonight?

Mark.

Don't go.

Please.

(DOOR CLOSES)

It's not like visiting
a sick friend, is it?

Hey, Mark. What are
we going to do?

Doctor says you got to
stay here a few days.

You know what I mean.

Oh...

I'm sorry you got gypped.

How many other things
about you don't I know?

Ohh...

Wow.

What am I supposed to do
now, forget about it?

Or bring flowers.

Yes?

Maybe?

Maybe in time,

A man could forget.

Hmm?

Nobody else has
to know about it.

Chris doesn't know.

That counts, doesn't it?

(COUGHS)

Maybe we could just go home

And start all over again.

Hmm?

What the hell kind of
rules do you go by?

Do you think not getting
caught in a lie

Is the same as
telling the truth?

Ohh.

Oh, Mark.

I don't know how to help.

(SOBBING)

Oh.

Gee.

Look at this. I've
made myself cry.

(SNIFFS) Well.

(OBJECT DROPS)

Inga?

Inga?

(INGA BLOWING NOSE)

I just had to blow my nose.

Tell me where you are.

Why are you so kind?

It's not natural, you know.

I'm not kind.

Then how come you
sit by that phone?

On-the-job research. I
told you, I'm a student.

Three units in applied
psychology and a term paper.

That's why I sit by this phone!

Hey, you going to
write about me,

The nutty broad who
killed herself?

(LAUGHS)

(TELEPHONE RINGS)

♪ ♪

Hello.

(MUSIC PLAYS)

Hold on.

It's for you, Art.

Yeah.

Yes, Mr. Turow, this is Foss.

Yes, sir, but...

Well, from where I am
to the Jackson Station,

It's a good 20 minutes' drive.

Jimmy Rouse lives just a couple
blocks from the station.

He's about as fast on
step equipment as...

He's not home.

Yes, sir. Right away, sir.

Look, honey,

The boss wants me to go out
on an emergency trace.

I'll be just a little while.

Tommy will take you home.

(SIREN WAILING)

(LAUGHING)

WOMAN: I'll tell her to print it in
her newspaper, that's what I'll do.

(LOUD LAUGHTER)

Inga, what's that racket?
What are you doing?

I turned on TV.

Would you say
that's significant,

That the last thing I'll
ever hear is a laugh track?

Who are the people who
do all the laughing?

Age 30.

Yeah, this one is for real, Dr.
Coburn, and she's full of pills.

I'm getting nowhere.
I need help.

Previous attempt,
Golden Gardens Beach.

They would have taken her
to King's County Hospital.

Alan.

Dr. Coburn, please.

(PHONE PICKED UP)

She asked you a question.

(PHONE DIALING)

Alan.

I don't know, Inga.

I guess it's a job.

Yes, to who am I
speaking, please?

Sergeant Ward, this is Joe
Coburn at the Crisis Clinic.

Yes, the phone company
told you of our problem?

I wonder how much they
get paid for laughing?

Yes, would you check
your records, please.

Anything on a suicide attempt,
Golden Gardens Beach?

Woman age 30. First name Inga.

Married name unknown.

Husband's first name Mark.

Mark.

I thank you, Sergeant.

You know,

Some of those people died since
they recorded those laughs,

But they go right on laughing.

Right?

To tell you the truth, I've
never given it much thought.

Mmm...

Me, neither.

The worst thing we could do at this
point is bring in a new voice.

My voice.

You want to kill her? You
want that on my conscience?

This calls for a psychiatrist.
Not me.

You must be doing
something right.

You've held onto her since 7:46.

If I speak to her on this
phone, she'll hang right up.

Don't be afraid to
talk about her dying.

Right now her capacity for dying

Is a hell of a lot bigger than
our capacity for letting her.

That's it. You're the doctor.

The time is 8:00 PM.
This is KOB 385, KOI 362.

Seattle police.

1-2-7.

Hold the line, please.

128.

OFFICER 1: 1-2-8.

1-2-9.

129 clear. Would like
to have a copy at...

Okay, 1-2-9.

We have a suspicious black
Ford without a license plate.

Yeah, I think I saw
that one earlier.

I believe the license was
Adam-Frank-Mary 801.

Will you get me a make on that?

Adam-Frank-Mary 801.

Pellegrini.

Put Peters on this. He's
just coming on duty.

Use red light and siren.

315, are you clear from
that vandalism call?

OFFICER 2: 315 to radio.

Come in, 315.

Yes, the little boy, the
tricycle, and the mother

Are all reunited.

All is well.

Received, 315. You're clear.

♪ (DRAMATIC MUSIC) ♪

Sergeant says red
light and siren.

Right away.

(SIREN WAILING)

OFFICER 3: 324 clear.

What's holding up
that phone trace?

We got the exchange in
three minutes flat,

But the call came from
an outlying station,

Jackson 9.

A man's going out now
to check it out.

(TELEPHONE RINGS)

OFFICER 4: 322. We'll be
out of the car a minute.

It'll take an hour to get an answer
from Olympia on the car license.

Harry, you mind if I
mess around a little?

That's a patrol emergency.

It's out of your jurisdiction.

Give me Maine 2-1454.

I just went off duty.

I can cruise around
the Jackson area.

And if Peters gets a make
on the car, who knows?

Hi. Go ahead.

MAN 1: Which way?

MAN 2: Directly in back of you.

What's with him? All of a
sudden, he's a volunteer.

I don't know. He's fighting with his
old lady again. He hates to go home.

Yeah. Dr. Coburn, Sergeant Ward.

Your woman's name is Inga Dyson.

I've got a man on the
way out there now.

Thank you, Sergeant.

I'm not going to be
able to tell much

With that racket going on.

See if you can get her to
turn off the television set.

Let me have her respiration
when you get something.

(TELEVISION PLAYS)

ALAN: Inga, can you hear
me through that noise?

Yes.

Is there a remote
control on that TV set?

Yes.

It's getting harder and
harder to hear you.

Would you mind turning it off?

Hello, this is Dr. Coburn
at the Crisis Clinic.

Would you please check your
admittance file on Mrs. Inga Dyson?

Suicide, approximately 15th May.
That's better.

I'd like to know the name
of the doctor, please.

(AIRPLANE WHOOSHING)

Inga, what was that?

What?

Did I just hear a plane?

Come on, Alan.

Why can't I reach you?

Hey, don't be upset.

You did fine.

I want it this way.

I just can't imagine it, though.

My own death, I mean.

Here I am, feeling numb,

Things getting dark.

And I'm not scared.

That's foolish.

Inga, you are running
out of time.

Now, you can't be that certain

That this is what you want.

Aw, don't sermonize,
Alan, please.

That won't help. It never does.

Mark thought it would, too.

You know where he took me

Just two days after they let
me out of the hospital?

To church.

I sat there like a
bad little girl

Who had just been spanked.

With my son and my husband.

We were the picture
of togetherness.

PASTOR: Trust in the Lord
with all your heart.

And do not rely upon
your own insight.

In all your ways,
acknowledge him,

And he will make
straight your paths.

It is inviting shipwreck
for life and soul

If we try to be a ship

Without a pilot.

For Christ is our pilot ever,

And his words our compass, too.

The church, the open harbor

To worship him anew.

(ORGAN PLAYS)

♪ Lord of the everlasting hymns ♪

♪ Aboard the boundless sea ♪

♪ Will last through all ♪
♪ the shards of pain ♪

♪ To put our trust in Thee ♪

♪ (SOFT MUSIC PLAYS) ♪

There's punch and cake inside.

People are asking about you.

Why did you bring me here today?

What was supposed to happen?

This is a place of faith.

Of hope.

I brought you here because
I thought it would help.

How?

And which one of us?

Both of us.

Well, did it?

Did it help?

Have you forgiven me, Mark?

Well, I haven't either.

I haven't forgiven me for...

(SIGHS)

12 years.

I know how bad it is for you.

But, sweetheart,
it's worse for me.

I did it.

Have you any idea
how evil I feel?

How am I going to
stop feeling evil?

Is that some kind of answer?

You asking me to
feel sorry for you?

It doesn't go that way.

(SIGHS)

They already passed
the collection plate.

The boys are iced
up and ready to go.

Bad timing, huh?

When are you coming back?

It's a big ocean.

CHRIS: Don't you guys want cake?

As soon as we get
to Cape Addington

And we fish our limit,

I'll be back.

See you, Inga.

Bye, Dad.

Her respiration's way down.

Half an hour, if that long.

Inga?

If you don't tell
me where you are,

You'll be dead in 30 minutes.

Maybe they're right, the people
who believe in another world.

Maybe this isn't the end.

There's always that
chance, isn't there?

It's the end of Inga.

I don't care what
anybody believes.

You believe me now,
right this minute.

Inga, you are something...

All your own, just like I am.

Something that's never
been on this earth before

In all these millions of years

And something that will
never be here again.

Well, hooray.

(CHUCKLES)

Lady, you are arrogant.

You are... What am I
doing wasting my...

You gave her to me.

You can't live with yourself
because you made a mistake?

What the hell gave you the
right to expect you wouldn't?

Oh, boy, I really needed this.

Who the hell are
you, Miss America?

She dances, she smiles,
she's nothing.

Well, you got a
little messed up.

So, welcome to the club.

Now, listen.

You're her last link with life.

She'll break it right now

Unless you stop moralizing.

Who's there with you?

Alan, I heard another voice.

I don't know what
you heard, Inga,

But we are alone.

Hey, gee. You know
what we just had?

Our first fight.

(SIREN WAILING)

♪ ♪

(DOORBELL RINGS)

♪ ♪

Good evening.

Is Mrs. Dyson home?

No.

Would you step outside
a moment, please?

Chris, you go back and watch TV.

(DOOR CLOSES)

Any idea where she is?

She called about 5:00,

Asked me to stay
with Chris tonight.

Said she might drive
down to Portland. Why?

Mr. Dyson, where do we find him?

Oh, he's gone. Where?

Hecate Strait. He
left this afternoon.

He's probably all the way past
Victoria by now. He's a fisherman.

Skipper on the Provider II.

And he'll be gone two, three
weeks, depending, you know.

Where does Mrs. Dyson work?

Price and Hampton.

That's the contracting
firm on Jefford.

What happened?

Did she leave a note
anywhere around the house

Before she went to
work this morning?

What kind of a note?

Suicide.

Oh, no.

What kind of a car
does she drive, ma'am?

All cars stand by. All cars.

Request to locate a
Buick station wagon,

Light tan, 1964,

With a plastic sunflower
on the aerial.

Repeat. Buick station wagon,

Light tan, 1964,

Plastic sunflower on the aerial.

This vehicle may have been used

To transport a missing woman,

Mrs. Inga Dyson of
142170th Northwest.

This woman is presently
at an unknown address

Where she has ingested an
overdose of sleeping pills.

This is a request to locate.

Pellegrini, call
the Coast Guard.

Request emergency
pickup on Mark Dyson.

Left Ballard this
afternoon on Provider II.

He should be off the north tip
of Whidbey Island by now.

Yes, sir.

Mick, get Peters over to
that contractor's office.

She may be calling from there.

Already done. Line's busy.

Down to 12.

Her respiration is down to 12.

20 to 22 is normal.

Your respiration is
down to 12, Inga.

Oh, good.

20 to 22 is good.
12 is not good.

Not good for you. Great for me.

You keep trying to make
a contest out of this.

Cross my heart and hope to die,

I mustn't tell Alan where I am

Because that would
be losing the game.

You better lose this game, Inga.

Don't you ever get tired saying
the same things over and over?

What do you want me to do?

Say, "Okay, kid, if you want
to get out of it, go ahead?"

"I'll sit here and keep you company
like a slob while you die"?

Can't you just have your
coffee and be sweet?

I can't.

Don't you understand?

I can't just give up like that.

Why?

What stops you?

You.

Me?

It seems I care what
happens to you, Inga.

Oh, Alan, you're
a very nice man.

Nice. This is no time for nice.

Nice is for Saturday night,

And I'm not your date.

No, you aren't, are you?

What if you were, though, Alan?

Would things have
been different?

Would you have been
able to forgive me?

Mark almost did.

Just yesterday.

He almost forgave me.

I kept remembering that look
on his face in the church

When he left me.

I was afraid when he came back,

It would still be there.

I tried.

God, how I tried to
make it go well.

I bought the softest, whitest
outfit I could find,

Little gloves and all.

I spent an hour making sure

My eye make-up was just right

Before I went to the pier.

Mark tried, too.

We even managed to have a
little fun the way we used to.

Alan, we came so close.

(MOTOR RUNNING)

Hey!

Is it still a big ocean?

The biggest.

Was it Pacific?

Yeah, I'd call it
the Pacific Ocean.

Chris says welcome home.

How is he?

He's lonely.

I hope you didn't go
and fix a big spread.

I did. Wine and candles.

I have a new recipe for candles.

I thought we'd do the town
with Charlie and Edna.

Charlie said there's a new one
of those places just opened up.

Charlie, what's that
place with the...

Oh, the Go-Go House.

Yeah. What is it? A what?

A discotheque. Discotheque.

CHARLIE: We'll pick
up Edna on the way.

Am I dressed for it?

Charlie, is she dressed for it?

(GO-GO MUSIC PLAYS)

Oh, wow! I don't believe this.

I believe it. Believe it.

MARK: These two come
here all the time.

It's great for the circulation.

Oh, dear.

What's he doing?
What's he doing?

He wants you to dance with him.

Get out there. Oh, no!

No.

Come on, Inga, let's do it.

Get out of here. I can't...
One time.

No. Come on!

Yeah, come on, try it.

No, I can't.

You're chicken. Come on, Edna.

Really?

(MUSIC STOPS)

(CROWD CHEERING)

(CAR DOOR OPENS)

(CAR DOOR CLOSES)

(CAR DOOR OPENS)

(CAR DOOR CLOSES)

(DOOR OPENS)

(DOOR CLOSES)

(UNZIPPING)

You didn't really want to
come home tonight, did you?

The funny thing is, I did.

I'm sorry, Inga.

I'm sorry.

Look, Doctor, don't you
want your story told?

We'll rush the film back,
catch the 10:00 time slot.

She may be dead before your 10:00
time slot. Who know maybe someone..

Just let us set up
right over there.

I want to take a few shots
with her on the phone.

The camera won't make any
noise, honest. Please.

(DOOR CLOSES)

ALAN: Wiggle your toes.

Go on. Wiggle them.

INGA: They don't wiggle.

You bet they don't.

Can you move your legs?

They feel like anchors.

Just think, no more
bresfiss dishes.

ALAN: No more "breakfasts."

That's you, isn't it, Alan?

You stay in there, don't you?

You just keep punching.

Sometimes I give up.

(STIFLED YAWN)

What now?

You want to hear a joke?

Yes. Tell me where you're
calling from, Inga.

Nah, no. A good one, really.

There's this drunk, see.

And he's staring at an
ugly lady on a streetcar.

He's staring and he's staring.

She's trying to ignore him, see.

Finally, he says,

"Lady, you're the ugliest lady
I have ever seen in my life."

And she turns to him and says,

"And you are the drunkest man
I have ever seen in my life."

And the drunk says,
"Yeah, but, lady,"

"In the morning,
I'll be all right."

(INGA LAUGHS)

You're not laughing.

It's not funny.

Alan...

Yep.

Laugh for me.

You must be kidding.

No, I'm not.

I want to hear you laugh.

Uh, come on now, Inga.

Please.

Please.

Laugh for me.

(LAUGHING)

(LAUGHING)

(LAUGHING HARDER)

(LAUGHING CONTINUES)

(CLAPS HANDS)

Stop it, Alan!

Stop it!

(INHALES DEEPLY)

Okay.

Now you are going to
have to help me out

Because I'm stuck.

(KNOCKING ON DOOR)

♪ (JAZZY MUSIC) ♪

Where's Price and Hampton?

Third floor.

♪ (JAZZY MUSIC) ♪

Anyone else here?

Just the janitor.
Anything wrong?

Any possibility a Miss Inga
Dyson could still be here?

Everybody leaves at 5:00.

♪ (JAZZY MUSIC CONTINUES) ♪

Who's using it?

We keep a line open to the board room.
It's down the hall.

Yeah, honey, they're
having a big meeting

In here tomorrow.

♪ (JAZZY MUSIC CONTINUES) ♪

(TIRES SCREENING)

(HORN HONKING)

♪ (JAZZY MUSIC CONTINUES) ♪

(CAR HORN HONKING

♪ (JAZZY MUSIC CONTINUES) ♪

Ridley to radio.

MAN: Radio.

♪ (JAZZY MUSIC CONTINUES) ♪

Al? Art. I just got here.

I borrowed a bike, and
I ran out of gas.

Yeah.

Bay 201,

Repeater 176.

All right. I'll call you
right back at the test port.

Look...

I'm losing her, right here
in plain sight of everybody.

With all the experts, surrounded
by experts, I'm losing her!

INGA: (DRAWLING) Alan?

What time is it?

It's 8:21.

Checkout time, 8:40, right?

That's just a guess.

21 from 40.

It could hit you
any second, too.

It could come up behind you

And grab you right in the
middle of a sentence.

Oh, wouldn't that be a laugh

If I ended a sentence
with a preposition

And didn't have time
to correct myself?

Very funny.

Oh, aren't we grim.

This is not my happy night.

Look, I don't just come and
go with people, you know.

I don't have many friends,

And when I lose
one, I feel rotten.

Yeah, but just think.

Tomorrow morning on campus,

You'll be a celebrity.

You can tell them all
about this stupid...

About the what?

About the unlocated
overdose I talked to

For a little while tonight?

You know, that's what the
police will call you tomorrow.

You will be on the blotter.
"Unlocated overdose."

That's all. No history to
it, no love, no beauty,

Nothing about how sad
you are, what you want,

What you're doing it for.

No name, Inga.

Unknown and turning cold.

So tell them what?

That I let you go,

That we talked, and I let you
slip through my fingers?

Maybe I can make it up to you.

A few simple words, "Come
and get me, Alan."

Maybe you could use
me as a lesson.

Look, Inga.

And please get this straight.

I'm up to my ears in lessons.

I've been taught, long before I
picked up this phone tonight.

I've been taught. So lessons,
I don't need. Understand?

Good people, I do.

You've watched the walls
close in on you. Me, too.

You've been ignored or studied

Out of the corners of people's eyes.
Me, too.

You've been suffered and tolerated.
Me, too.

Okay?

Times are bad. Things stink.

The world's a
cinder in your eye,

But what is the alternative?

Now, I ask you, Inga, what in
God's name is the alternative?

Every time I breathe, every
breath I take, every gulp,

It's like it's got
bubbles in it.

It's heady.

Why can't you reach
out and hang on to me

And feel what I feel?

Why can't you come
into my world?

Oh, God...

Where were you today, Alan?

This morning, when
I left the office,

After my boss called.

(TRAIN WHISTLE BLOWING)

♪ ♪

The poor bird can't fly.

Is he hurt?

I don't know. I'm
afraid to find out.

Well...

He seems to be all right
as far as I can tell.

He has a white eye.

Oh, that's just his eyelid.

I wouldn't touch
him if I were you,

Because you could
catch something.

I tell you what.

You stay here and
take care of him,

And I'll go get something, okay?

Okay.

I'd like some brandy, please.

Any particular brand?

Well, I know you're gonna
think this is ridiculous,

But it's for a bird.

What's ridiculous?

Well, he's a very sick bird.

Okay, we got brandy for
all kinds of birds.

We got brandy for,
uh, hoarse canaries.

We got brandy for tired sea gulls.
We've even got...

I think a pint would be enough.

Lady, even for an eagle,
this is too much brandy.

I'll take just the pint, please.

Okay. $2.50.

You don't care if
something dies?

♪ ♪

(GRUNTING)

Ohh!

Chris!

Chris!

Chris!

Hi.

How come you're not at work?

Oh, I just took off.

I brought you some cold fruit.

Okay.

Uh, what do you do
around here every day?

Nothing, just mess around.

I like to look for boats
from other places.

You see any?

A couple.

Something wrong?

No.

Hey, come on, Chris!

Where you going?

We've got a game, Ma.

Oh.

Hey, Chris!

For the road?

No, thanks.

Oops!

Would... Would you
take this home for me?

Sure.

Ma, you want to come
watch the game?

I can't.

What?

See you later.

ALAN: Okay, Inga, he
gave you the boat.

Then what did you do?
Where did you go?

(SLOW JAZZ MUSIC)

Inga, can you hear me?

INGA: The water's full of coins.

What? Are you near
the water, Inga?

For every coin,
someone made a wish.

For every wish, I wonder.

Listen to me, Inga...

There just wasn't
anywhere to go.

I even tried to get arrested,

But everyone looked
the other way.

(UPBEAT JAZZ MUSIC)

Oh.

Is this where I was before?

What hospital is this?

Well, what hospital
were you looking for?

Does a Dr. Van work here?

Dr. Alden Van?

Yes.

He left last week.

I believe he was transferred
to Los Angeles.

Would you like to see
the resident on duty?

Yes.

Please.

(PHONE PICKED UP)

Dr. Morris, please.

Uh, he's eating dinner.

Oh.

Do you want to sign in?

Look, I just want to
talk to somebody.

Well, can't it wait
a few minutes?

No.

Would you ask Dr. Morris to
come to the desk, please?

The doctor will be right here.

(SIGHS)

Hello.

Oh, hello.

What's the problem?

Oh, listen, I'm sorry I
spoiled your dinner,

But, you see, well...

Well, I think I'm
going to pieces.

I have a husband, and I
can't seem to reach him.

And my son, well,
he's very young,

And he's playing
baseball someplace,

And I really have nobody.

Oh, God! I know this
sounds like it's something

For a lovelorn column,

But, honestly, I feel
very, very strange.

Do you want to commit yourself?

Well, I don't know. How
long would I have to stay?

I can't tell you that. It could
be two days or two months.

Oh, no, I couldn't possibly
be away that long.

Anyway, I don't want to
be around crazy people.

I just want somebody to talk to.

Well, maybe I can suggest...

Dr. Morris, you're
wanted on the line.

Hold it for just a minute.

Maybe I can suggest
somebody for you to see.

No! No, no, no! You
don't understand.

I need somebody now.

I'm terribly sorry, but, you
see, there's nothing I can do

Unless you sign in.

But, gee, I just want
somebody to talk to.

I tell you what, I'll have the
nurse draw up admittance papers.

She can admit you
if you want, okay?

But you decide.

Nurse, make out the papers.

I'll be up to see her as
soon as she's settled in.

Excuse me. Listen,

I just want somebody to tell me

What's happening to me.

Hello, admitting.

How do you spell that
last name, please?

♪ ♪

All right.

All right.

It's got to be one of
these two switches.

MAN 1: At least two
gross, wing-collar model.

MAN 2: Going that well, huh?

MAN 1: Can't keep them in stock.

Let's try this one.

ALAN: So you decided
to show them.

Is that when you took the pills?

INGA: They were hard to swallow.

At first, I didn't think they
were going to stay down.

They looked so harmless, Alan,

Like you had the biggest
headache in the whole world.

♪ ♪

Crisis Clinic, Newell speaking.

I have to talk to somebody.

Inga, talk to me!

Inga!

(INGA BREATHING HEAVILY)

Mmm.

Go ahead, baby.
Go ahead and die.

Let it go. You never
liked it anyway.

Go ahead and kick it!

If love were enough, I
could drag you back.

I could reach through this
phone and drag you back,

But it isn't enough.

You're going to have
to want to come back

All by yourself.

Look, I'm dried up.
I'm tapped out.

I'm done!

So you choose.

You choose right now, or, so help
me God, I'll hang up this phone!

Goodbye, Inga.

No, don't!

Don't leave me.

(RINGS)

Police department.

Hold the line, please.

Sarge, got a request to locate.

They traced the calling number.

Sergeant Ward.

Get me the exact address
as quick as you can.

305 toward the airport, Nick.

Shoot Peters and Ingert out
there, too, just in case.

And have fire standby to
dispatch an "A" truck.

(RINGS)

Fire department.

Sea-Tac Airport,
overdose of pills.

We'll be there immediately.

(ALARM RINGING)

(SIREN BLARING)

(TIRES SCREECHING)

DISPATCHER ON RADIO:
All cars, standby.

All cars, on the request to locate Mrs.
Inga Dyson,

Her call has been traced to the Hyatt
House Motel on Pacific Highway.

(TIRES SCREECHING)

Countdown, Inga.

You've got eight minutes
at the outside.

Okay.

You sound far away.

I can't hear you, Alan.

What did you say?

I said I love you, Inga!

I love you, too, Alan.

(RINGING)

Hello?

If there's such a thing as
memory where I'm going...

Oh, no!

Then I'm going to remember you.

(LAUGHS) You're not
going anywhere.

You're going to stay right
here with the rest of us

In this lovely, lovely,
lovely land of the living.

She's in a motel, 200 rooms.

She's not calling through
the switchboard,

And she's not registered.

Impossible.

Well...

Kick down the doors.

Tear the place apart. Find her!

They'll try.

The manager's waiting for
them now, but it takes time.

(SIREN APPROACHING)

(SIREN STOPPING)

You take that wing.

(CHAMPAGNE CORK POPS)

MAN: Hey, everybody's
under arrest!

(KNOCKING ON DOOR)

Oh, excuse me, mac.

Come on! Come on, open it up.

ALAN: I'm going to make
an educated guess.

You went to a motel, didn't you?

INGA: (EXHALES) Oh...

Too late.

How did you check in?
Did you register?

Inga?

What name did you use?

Name?

What name?

(SIREN BLARING)

Yes?

Last one? Right. Right.

Excuse me. It's okay. It's okay.

What...

What the hell is going on?

It's okay. It's okay.

(RINGS)

Hello?

Hang on.

They checked every room with a
single registration, nothing.

Did you register in someone
else's name as man and wife?

I don't remember.

Try Mr. And Mrs.

(PHONE HANGS UP)

They say it could take
another half hour.

Are you on a ground floor?

No.

Inga, just give me
the room number.

(INGA SIGHS)

Inga!

Give me the room number.

The room number, please.

It's on the telephone.

Look on the telephone.

Inga, please!

13.

Ohh.

Inga.

Inga?

Help me,

Alan.

Please, Inga.

Please.

The room number.

Please, Inga.

Inga.

Mr. Dyson?

MARK: Inga?

Inga, it's me.

Honey.

Please say something.

Honey,

It's me.

She doesn't answer.

She can't, Mr. Dyson.

Alan.

(KNOCKING ON DOOR)

(POUNDING ON DOOR)

(DOOR CRASHING IN)

OFFICER: Hello? Are
you still there?

Is anyone on this line?

Hello? Answer me.

This is the police. Hello?

Hello.

We've got her.

She's still breathing.

(CALL DISCONNECTS)

MARK: What happens?

Where will they take her?

Officer, would you take Mr.
Dyson to county?

The officer will take you
to the hospital, Mr. Dyson.

I'll call you as soon as I can.

(SIGHS)

I'll let you know
how she's doing.

(DOOR CLOSES)

I'll make new.

(CHUCKLES)

(INHALES DEEPLY)

Man, I feel good.

(CHUCKLES)

I'll go down to county,
see if I can help.

You'll be all right alone.

(CHUCKLES)

You want to meet her?

No.

So long. Good job.

Thank you.

MARION: Two.

Four.

Six.

(ULULATES)

(LAUGHING)

Eight.

Ten.

And 12.