All language subtitles for Intersection.19945

Anybody home?

Just us mice.

Is there something we could drink
that will make us two inches tall?

- Then we could move in.
- This fenestration here.

- The what?
- The windows.

See the windows on the west wall?
It doesn't quite work.

Vincent, it's the most beautiful
I've ever seen.

Come over here.

- Who? Me? — yes, you.

What was your name again?

I do love you.

Go, 90, 90, 90, 90!

I don't want to miss it!
Please, please, don't let me miss it.

The contractor said
that tomorrow morning would be good.

We can finally get things started.
Can you get away for a few hours?

What's tomorrow? Wednesday, right?

- Yeah. Yeah, we can do that.
- — great.

I'll get the car this afternoon
so we get started early.

- What?
- Why do you do that?

- What do you mean?
- Why do you leave it at her place?

- Because I don't need it in town.
- Why not at my place?

Because your car is there.

It's convenient. There's a garage.
Please stop doing this.

You don't live with her any more,
but your car still does.

What else do you leave there?
A toothbrush? A pair of slippers?

A daughter.

Taxi!

Taxi, hold on a second.

It's not nice for her not knowing
if you've left or are coming back.

I'm not going back.
Why are you doing this?

I want to know where you live.

I live with you.

I love you.

With all those Bridges,
you shouldn't be afraid to burn one.

Norman, I love the elevations.
I love them. A lot, a lot!

Second thoughts?

- — I don't like the spacing of the columns.
- Is he starting again?

Neal, come here. Come here, look
at this. What does it remind you of?

- My grandfather's radiator.
- Only a bird sees it from there.

- I see it. — Sally, tell him.

- It's fabulous. Don't worry.
- — some act you two have.

A brilliant building. Frank Lloyd Wright
is eating his heart out.

Please sign off these specs for the
tenly project. They're going crazy.

Oh, it's beautiful.

- You don't have to say that.
- — I know.

The Antonio house is enclosed.
Plumbing and electric finish on the 10th.

"Architectural digest" wants
a photo session the week of the 15th.

Drive down the day before.
Gerry Fairchild wants to dine with you.

The old guy? How did you swing that?

I had dad call him.
They went to school together.

You.

- You really are something.
- How's that?

You just keep right in there swinging
away... just like nothing's ever changed.

I'm protecting my investment. Can you
pick up meaghan from ballet school?

- Today?
- Yeah. I have that fund-raiser.

- — I can trade you something next week.
- That's all right. I'll do that.

I have to pick up the car today.
I'll have Neal give me a ride.

- Ok.
- Do we have anything early tomorrow?

- No. Going somewhere?
- No, I... just had something to see.

- It's the museum thing in the afternoon.
- — I'll be there by three.

- All right.
- Hey! That's nice.

The sweater. It's a nice colour on you.
I like it.

Don't do that.

Hey, girl, they're waiting for you,
as usual. Don't forget to call your mom.

Business. Environment. Astrology.
Everybody ok?

- — Wait. Where's Olivia?
- Who's Olivia?

- Try the valet parking.
- — you're late.

Sorry.

- You could have faxed it in.
- I like to commute.

- — How many words?
- 750.

"Women who demand equality
renounce their superiority."

Norman mailer will send a death threat.

Wouldn't that be great?

- I'm not sure how the epilogue fits in.
- What epilogue?

- So that's why you turned me down.
- — Charlie, you couldn't handle it.

- Try me.
- You sound like an ad for phone sex.

What does "v" stand for?

- When's meaghan's spring vacation?
- The first two weeks of April.

Are you going right out to the island?

I won't be able to make it.
I'll be in the middle of some project.

Have you spoken to meaghan
about this?

I'll spend time with her before you go.
— well, that'll work wonders.

We've got a problem
at the tenly construction site.

- No parking, no lease!
- — why did you hire me for the job?

- — We liked the design.
- Then stay with it! This is insane!

I need that parking space
to sign the lease.

- What is this crap?
- It's a minor problem. Eastman, listen.

- Read your contract!
- What?

Our attorney assures us
we have the right...

- Fuck my contract. Fuck you!
- We can push back.

Is this a threat?
Is this man threatening me?

- No, he didn't...
- — to hell with you!

Then bring your goddamn goombah
lawyers out of the woodwork!

Where's a phone?

You'll get your parking space.
Give it a day.

The man is crazy!

Very nice. Very diplomatic.

Come on, Neal. They don't need that
shit. They just want to be cute.

They're the clients.
— great men of vision.

Everybody has to work for somebody.
Michelangelo had to please the pope.

The pope didn't ask for parking space.

They're not bad guys.
They want a couple of changes.

Why take it out on them?

What? Neal, taking what out?

Neal, tell me. Do you have something
to say? Do you have a problem?

- No, you do.
- Which is?

What?

You have an apartment in town,
a daughter in the house,

Sally in the office,
a girlfriend somewhere else...

Her name is Olivia.

It's bad design. You're supposed
to have everything under one roof.

Architecture 101.

I always loved this house.

Perfect house for the perfect couple.

It wasn't so perfect. See you tomorrow.

What you have now is perfect?
You had a family.

We weren't a family.

We were a corporation with a kid.

When the boys went off to college,

Claire and I were going to travel
the world, see all the museums.

The prado, Paris, Florence, India even.

There was a piero della Francesca
in a church in Arezzo.

The most beautiful thing in the world.

I wanted to show it to her.

We kept saying "next year“.

Tempus fugit, pal.
Whatever you're going to do, do it!

Hello?

Edwina?

Hello?

Meaghan?

Hello? Anybody here?

Hello?

Vincent, could you hand me
my robe, please?

Thank you.

I think predock's going to get
that Santa fe thing.

Predock? He's good.
He'll do a good job.

Not as good as you.

There's enough to go around.

Don't forget we have that thing
tomorrow night.

What? Oh, shit! That formal thing.

- — I don't want to go.
- You must. Mom and dad will be there.

- Do you know you're a knockout?
- You mean "still"?

- I mean you're a knockout.
- So are you.

Why don't you shave?

Really? — really.

- Did you check on meaghan?
- — yeah, she's asleep.

- Don't, don't, don't.
- — come on.

- — Honey... it's probably...
- We have an answering machine.

Honey, it's probably Russell.

He'll leave a message. He'll leave a
nice, long message. Don't, don't, don't.

Come on, honey.

Sally eastman.

Russell!

No, we were just talking.

We were talking about what a lovely
time we had at dinner with you.

You're kidding!
They want to build the house.

- Mr eastman? Is something wrong?
- — edwina. No.

- Where's meaghan?
- — ballet class. Aren't you fetching her?

Oh, god, yes!

Lift up, please.

Pull up.

Watch your music.

Long arm.

There we go. Long in the arm.

That's my dad!

And a very nice tight fifth.

We all get on stage,
in front of this director guy.

He's watching all of us.
He picks one girl to do a solo.

One, for the real opera?

”The rosenkavalier"
or ”the magic flute ".

And mrs krask kind of implied
it's between me and Chrissy Taylor.

I can't believe this! That's incredible.

Honey, I'm so proud of you.

- Go on, finish your sandwich.
- No, that's ok. I'm not hungry.

- — Go on.
- I had a big lunch.

You had a big lunch? What?

An apple.

- — You know what dr lemert said.
- Dancers have to stay skinny.

If you don't watch out you'll be a fainter,
not a dancer.

- — I'll have to carry you off stage.
- That's not true!

Richard says I have a good chance
of getting picked for the corps de ballet.

Who's Richard?
— Richard quarry, a friend of mom's.

- He makes lots of money for the opera.
- Really?

Is he nice?

He's ok. But he makes pancakes
in the shape of animals for breakfast.

It's like... give me a break.

For breakfast?

Uh-oh.

Brea kfast?

- — Sounds pretty serious.
- I don't know. I mean...

She's talking about inviting him
to the island for easter.

How's the house coming?

Which one? — you and Olivia.

- — That house. It'll start soon.
- My room?

- — You have a room in this house?
- I hope so.

You've got big windows.
From them you see the ocean.

You've got dolphins and whales, just
like I said. You're so pretty. Let's go.

- Dad? — yeah?

- Will you come to the island for easter?
- — get in. We'll talk about it.

Honey! Honey!

We have tadpoles, we have frogs,
we have fish.

Oysters! Look at this!

Let's put a flower garden outside the
bedroom window. Roses! Camellias!

No! Wildflowers.
We'll put wildflowers everywhere!

The summer nights. Oh, my god!

Hey! Over here!

- Hey.

- How do you like your view?
- — great. When can you start?

- I think I can start Monday.
- I don't know. With all these rains.

I don't want to pour a foundation and
get rain damage before it's enclosed.

- — What do you think?
- Yeah, that's probably wise.

- I'd best be going.
- I'll be in touch with you.

- Thanks for coming.
- Nice meeting you.

Pappas is a good man. One of the best.

You don't want this house.

What makes you say that?

- — No rush.
- This isn't as easy as you think.

There are high winds here. It's rainy this
time of the year. It's not an easy site...

You build office towers and museums.
This is a little house.

Well, I'm actually going to live
in this little house.

Come here.

I want it to be right. Really right.

We have all the time in the world.
— you said we'd get started by easter.

That's not going to happen anyway.

I've got to go to the island.

Meaghan asked me.

This is a very difficult time for her.
She needs her father.

You wanted to see me?

Yeah. I'd like to come out to the island
for easter, if that's ok.

- What happened?
- I thought about it. I'd like to be there.

That is, if it doesn't interfere
with anything.

- — What do you mean?
- Plans of yours.

- No. It's great. Meaghan will be thrilled.
- Good.

So, Richard, huh?

- Who? — Richard!

Pancakes in the shape of animals.
Richard, you know.

- He's a friend of the family.
- Does she eat them?

- Not usually.
- Good. Glad to hear that.

Have we concluded the interrogation?

I'm sorry. I'm sorry, all right?

She blurted it out and I didn't
take it very well. It threw me.

I should have told you.

I'm sorry.

What?

You know what Neal asked,
out of the blue?

He asked me what happened to us.
I couldn't remember.

- You fell in love with another woman.
- Before that.

Look, we don't have to do
this easter thing, you and me.

That's all right. There's still that
shutter that rattles in the wind.

- — The guest room. I didn't fix that.
- You'd better. It'll be your room.

- Is it your sinuses?
- Yeah.

- You look terrible. — thanks.

You probably have a fever.

Sally, I'm all right.

You need a siesta.

You still have that hotel room?

Where was that?

It was... denman street.

Is it nice?

It's a hotel room.
— hotel rooms can be nice.

No past. No future.

Just impersonal.

What's a girl have to do
to get a little action around here?

Oh! Where did that come from?

That is not like me, is it?

You have a ride tonight to the museum?

No thanks. I have a lift.

- Pancake man?
- Yeah.

- Does he wear an apron?
- You used to be funnier.

- I'll hire a writer.
- This isn't such a good idea.

I don't think that we can come here
every day to the same office.

You're right. You're fired.

That's better.

It's my turn, my turn!

I'll tell you the truth.

When she first showed up with him,
I was not convinced.

Far from it. An art student? God help us.

But she worked with him
and she straightened him out.

Our daughter has never looked better!

She looks so beautiful.

So, now all I want to know is,
where are my grandchildren?

Dad.
— you've had a year. Let's get moving.

I'm exhausted.

Settle down. This is not a roast.

We're proud of you.
And we love you both.

Long life!

Long life!

I love you, daddy.

Demonstrators in Tehran

shouted "down with america"
and "death to Carter".

The actions of Iranian leaders and
the radicals were completely unjustified.

What are you doing?
You're supposed to be mingling.

- I think I'm mingled out.
- It doesn't matter. You're a hit.

- Tell me. I'm listening.
- — of course you're the most fabulous.

- And you can be so charming.
- Of course.

And you're incredibly funny.

- Very talented. — yes.

- — I didn't hear “sexually irresistible".
- My grandmother said that.

The raynors want you to build
a new summer cottage for them.

- — Really?
- Isn't that nice?

Yeah, it's good.

Randall Otis wants to redo
his executive offices.

God, that's wonderful.

And, I'm not sure, but I think...

I think we have lunch
with Brian Kennedy.

- Who? — from the university.

- He is the construction committee!
- You're a genius.

Great.

- No, don't. No. — yes.

Vincent. Honey.

Come on. There are people downstairs.

You go and lock that door.

He said he wanted grandchildren!
Listen to your father.

Vincent...
God! I don't think he meant tonight.

But you be quiet, ok?

I mean it. My parents are downstairs.

I got it. I'll do it, I'll do it.

Don't get your fingers on my dress.

Come on.

Kiss me. Kiss me.

That's good. Come on, hurry up.

Come on.

Ok, that's good. Ok.

That's good. It's ok.

Ok. Ok.

- My grandmother's downstairs.
- Stay, stay.

Ok. All right, hurry up.

Look, I'm all wrinkled.

Come on down pretty fast, ok?
They're waiting for you.

You sure are a handsome devil.

I mean for an old guy.

Maybe the house isn't such a good idea.
Maybe it's too soon for you.

For us.
Maybe it's a little too complicated.

I mean it. And it's ok.

Yes, it is ok.

- What time will you be home?
- Around midnight.

So late?
— I've got that thing at the museum.

- What thing?
- The reception.

- Your museum?
- Yeah. I told you.

I don't remember.

It's just a dumb thing for the trustees.
They parade me like a trained seal.

Want me to come? — no.

I'll just run up there,
make an appearance and get out.

I will be back before midnight.

I love you.

You really want the house?

Yes.

What's a month? One month?

We've got years.

120 on the side. 130, 130 now. At 130.

140.140, 140. At 140. Thank you.

And a 150? At 140 in the back. And 150.

150 anywhere? At 150. Thank you.
And 160?

160? Thank you. I have the lady. 170?

At 160 and 170. You wish to go on 70?
170 now. At 160.

170 I have. And 180?
170 in the back. 180?

180? 180 now.
It's against you, ma'am. 180? Yes.

180. She comes back. Thank you.
And 190? 180, 190.190 anywhere?

At 180 dollars.
First, second, third and last...

- — 200.
- 200 dollars on the side. New bidder.

At 225?

She comes back. And 50? I have 225.

Well worth the value. 50? Yes.
75? At 250. And 75 now?

At 250 dollars. First, second, third.
300 I have. Thank you.

- 500.
- 500!

Sold! Gentleman on the side.

- Cash or charge?
- Charge.

Excuse me. I'm sorry. It's such
an unusual clock. I couldn't resist.

- I was just bidding you up.
- Bidding me up?

- You work for the auctioneer?
- Yeah.

- Do you ever get stuck?
- Never.

What if I hadn't come in?

The guy with the sun hat
would go to 350.

I think he was out at 170.

Oh. Well...

- Sir?
- Yeah.

It's a congreve clock, actually.

English. Kind of rare bird around here.
You don't see very many.

Phone number.

Keeps terrible time,
but it's a very beautiful object.

There you go. That's yours, this is mine.

Do you have a place on the island?

- No.
- I didn't think so.

- Why is that?
- You're so fair.

I try to be.
What did you say your name was?

Eastman, Vincent.

Goodbye, mr eastman. Enjoy your clock.

This way, ma'am.

- Thank you. — you're welcome.

I know this is annoying. Have we met?

- No.
- You are so familiar.

- I thought I was being rather aloof.
- You are, you are.

You know my name now. I thought
maybe at least I could know yours.

Olivia marshak.

Olivia marshak. Are you the writer?
”step magazine”? Really?

I can't believe this! I knew I knew you.
Your picture is on top of the column?

It's so nice meeting you.
I have an incredible visual memory.

- Would you like to sit down?
- No, that's ok.

It's really terrific. The magazine comes
to the office. The younger staff like it.

The young people? God bless them.

Can I get you something from the bar?

Not yet. — I'll come back.

I remember a great column you did.
We were passing it around the office.

It was about how you're always invited
to dinners as the unattached female.

And you would always say no.
You would rather have your solitude.

What did you call it?

"Hell is other people."

Very good.

Is it true?

Would you rather be alone?

It depends.

- Are you sorry I sat down here?
- Not yet.

How about you?

We stole their land,
we decimated their culture.

We offered them welfare in exchange.

We wanted to do a building
that would celebrate,

that would reassure them, and us, too,
of the greatness of that culture.

When I started thinking
about this project,

and every project has its own approach,

I wanted to get into the minds of the
people who lived here. To try, anyhow.

To feel their relationship with nature.
This extraordinary feeling of divinity

that they had with everything around
them. Nature as a divine church.

I'll tell you a secret,
if you promise not to tell anybody.

I think there's something else here
besides concrete, stone and steel,

that's holding this place up.

Anyhow, it's here. It's done.
We're very proud of this.

Please walk around and enjoy.
You paid for it.

But don't touch anything!

It's beautiful.
— that's real articulate.

- Vincent, it's a triumph!
- Thank you.

- You're very sweet. Thanks.
- Nice to see you.

I'd still rather draw something
than explain it.

What was that class?
A term paper was due...

European history. You were going
to draw the entire French revolution.

- Me and delacroix!
- Great work, Vincent.

Thank you.

- What was the professor's name?
- — leudtke. Hans leudtke.

He had a terrible toupee.
It was over his eyes.

- He had a thing for you.
- — he did not.

- Wonderful evening.
- — thank you. You remember Reginald.

- — Thanks a lot.
- See you Wednesday.

Everyone talked about it.
The guy was a mess.

He broke down when we got married.
Pulled the rug right out from over him.

Come on, you're not leaving.

Pretty soon. I can't do this much longer.

Somebody will talk to you.

You have to see Archer before you go.

Come on. Please? For me?

- Congratulations. Marvellous building.
- Thank you.

I wanted to call you about something.
A new recital hall at the university.

- I think you'd be perfect for it.
- — I don't think we've met.

Richard quarry.

The pancake man... — excuse me?

You make pancakes for my daughter.

Oh... yes.

I suppose I do.

She's a lovely girl.

What the hell do you know
about my daughter?

- How did you get here?
- — I flew. There's an airport nearby.

I thought we could drive home together.

- What's the matter? They don't like it?
- They like it.

- It's beautiful!
- Yes, it is. Let's get a drink.

- Yes, ma'am?
- Red wine.

- And for you, sir?
- Nothing.

Club soda.

Thank you.

What's the matter with you?

Sally is here. And meaghan.

That's cosy.
Maybe we can all go out for a pizza.

- You're drunk.
- It's the little bottles at the airport.

Are you trying to hide me?
If so, it's not going to work.

If you'd only told me. It's important...

An important reception for the trustees.

Meaghan, a trustee?
So young, yet so accomplished.

- — Let's go.
- Where?

- We're going home.
- — no! I want to meet the trustees.

- Stop it.
- I've a better idea.

Do you have one of those
little director's offices here?

Upstairs. Why?

We could lock the door and do it
on the rug. A ceremonial quickie.

Grow up! For Christ's sake, grow up!

Ok. I won't make a sound.
Just like Sally.

Go to hell.

- As soon as I know how I fit into all this.
- Then come here.

Do you want to know how you fit in?
You don't! You do not fit into this.

I work with Sally. We did this project,
and we're very proud of this project.

It's not about you, it's about the
museum. Not everything is about you!

Hello.

I'm Sally eastman.

Sally, this is Olivia marshak.

- How are you?
- Fine.

I read your column.

It's very good. It's very clever.

- — Thanks.
- I recognised you from your photo.

- You, too?
- Excuse me?

- It's a passport photo.
- — really?

I like it.

"If you look like your passport photo,
you're not well enough to travel."

- Hi, meaghan. — hi.

Well, it's nice to have met you. At last.

Likewise.

Come on.

- All right?
- Yes.

How about you?

I guess that's what you call
a home court advantage.

Vincent, I'm sorry.

I got drunk. I got a little crazy.

Maybe I suspected they'd be there, and
wanted to see what I was up against.

Do you understand?

I like her.

But I can't give you
what you had with them.

Summers on a boat with meaghan.
16 years.

All that history. We don't have a history.
We can make one.

Vincent, I can make you so happy,
if you...

I swore I wasn't going to do this.

Look, it's going to be all right.
We'll build a fire.

- Come on.
- I got to go back to the museum.

- Tonight?
- I have a meeting there in the morning.

You know what?

I think you liked what happened tonight.

Me and Sally, with you in the middle.

Are you getting out?

Yes, I think so.

Watch your head.

Take your coat off. I'll get a towel.

There you go.

Nice. Very nice.

This is nice, isn't it?
— she is a nice boat.

I thought so.

She is a swan 44,
designed by sparkman and Stephens.

About 20 years old. Deck and interior
are teak. Kind of broad in the beam.

I had to look hard for her.
You're a real boat person, I can tell.

My uncle said, "going on a boat is like
being in jail with a chance of drowning.“

I like that one.

Ah, yes.

You're married.

- It shows, huh?
- Like a neon sign.

- And you? — not any more.

Well, down the hatch.

How long have you been married?

It'll be 16 years in October.

Any children? — 13.

- — You have 13 children?
- No...

No, I have...

I have a little girl who is 13.
Her name is meaghan.

You want to take me to bed, is that it?

Why don't you just say what's on
your mind and share it with me?

Why don't you?

- Why don't we just trade stories?
- I think I've heard yours.

I'm sorry. I'm not very good at this.

You're doing fine.
So what happened with the marriage?

We met in Florence.

I was on scholarship.

We got married, we had meaghan,
started a company.

We've been working together
ever since.

- That's it? — essentially, yes.

I must have missed something.

Me, too.

Shall we go?

I'll have another.

Shit!

Bye, guys. Thanks. See you.

Here.

Thanks.

What'll it be?

Bourbon. A glass of water on the side.

And a cup of coffee, please.

- — Still raining?
- Yeah.

Can you tell me why we don't all
just move to Arizona?

They say that rainy climates
are good for the complexion.

Well, it's not my skin
that I'm worried about.

It's my sanity.

How long have you known her?

About two months.

- We met in August.
- Do I know her?

Her name is Olivia marshak.

Marshak? Marshak.

She's a journalist.

You must have known
something was going on?

I thought you were working late.

Are you in love with her? I'm sorry,
isn't that the traditional question?

I say, "are you in love with her?", and
you say, "I'm confused. I need time."

- And then I respond... — look!

- — I didn't plan this.
- I believe that.

- What?
- I plan, you create.

Isn't that what this whole relationship
is based on?

- I'm going to a hotel.
- Really?

Now when we're finally
getting to know each other.

- — Are you all right?
- What do you mean, am I all right?

- You're acting a little crazy.
- What the hell is wrong with you?

I just said that I love another woman!
I don't care!

- I'm leaving you. Do you understand?
- — I heard you.

- You're amazing.
- And how is that?

Do you ever consider, just maybe,

if you felt more upset,
it wouldn't have happened?

Don't you get angry at me because you
fuck another woman. It lacks conviction.

I'm taking a bath. You will call me
tomorrow and we'll talk this over, ok?

Sally.

Hey, Sally!

Don't move. There's glass on the floor.

- I'll help you out.
- Don't touch me.

- Sally, don't move.
- — leave me alone.

Don't you touch me!

I don't want you to get hurt. Come.

- — I hate you!
- Stop it. Stop it!

Stop it, stop it!

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

It's ok.

I was looking forward to meeting you.

Your father has told me a lot about you.
You're taking ballet?

Yeah.

- Do you like it?
- You know I'm studying it!

Let's order.

Meaghan, this is not a contest.
I'm not trying to replace anybody.

Not you and not your mother.

I just want to make your father happy.

I can't do that if you're going
to fight me. Do you understand?

What do you say?
Will you give it a shot?

Sure. I guess.

I have something for you.

Oh, my god!
Is this really his handwriting?

What does it say?

"To meaghan, keep dancing.
Mikhail baryshnikov."

Where did you find this?

I interviewed him.
Who do you think you're dealing with?

Mister, you want a sweet roll?

That's for me?

Well...

Thank you.

Aren't you going to eat it?

Well...

Yes! This is it. This is the one
I was looking for. Thank you.

- Bye. — bye-bye.

- Looks like more rain.
- Yeah.

You lost?

Grandchild?

Beautiful. Really beautiful.

Grandpa, come on. It's late.

Please deposit 75 cents
for the next three minutes.

Hi. 6-7-2-3.

- I'm not in. You know what to do.
- Hi.

It's me. I was just driving around and...

There was this guy.
He was delivering milk.

He had this most incredible little girl
with red hair!

She had red hair and these eyes were...
She reminded me of you, and...

Something happened and it clicked.
Everything came together and I...

I don't want to lose you! I can't lose you.
I want to be with you. So let's just do it.

Let's get married. I want kids, a family,
I want the house, the whole thing!

This is what I want you to do.
Listen to me.

I want you to drive up to the bedford inn.

It's two miles north of the museum.
Wait for me there. Promise to do that!

I was wrong. It is about you! Everything
is about you. Always was. Only you.

What else?

Marry me! I said that already.

It's about... it's 8.15. I look like shit.

I'm crazy about you.
I'm always going to be crazy about you.

By the way, this is Vincent.
Vincent eastman.

Good god. Yes!

Two. Second word. Second word is...

Tushy! A really good tushy!

- No!
- A... a... tail!

A tale! A tale of something, something...

Historical novel, five words.
Before, after, "v", victory.

Vincent, eyes, two.

Two, yes! A tale of two... something.
Ok. Historical novel.

- Fourth word is...
- — I can't believe you!

Don't say anything! I can do it. I swear.

Give it to me. Come on. Go, go, go.

Sounds like...

Titties! "A tale of two titties"!

I never read that.
"A tale of two titties"?

The other day I met a bear

up in the woods, away up there

We're stuck!

- — Start it.
- I'm trying. It must be the battery.

Oh, god!

- Are you ok?
- I think so.

He bounced off this truck.
Must be down the road.

Bobby, where are you going?

- Bobby, come here!
- Look out for that truck!

- There he is.
- Stay here.

Patty, see if this guy's got a cb.
Call an ambulance.

- What's the problem?
- — accident. Do you have a cb?

- Call an ambulance.
- — anybody copy? Over.

Why did you stop?

- I stalled.
- — you forced him off the road.

I didn't! He was doing a hundred.
It all happened in a couple of seconds!

Funny, I don't hurt anywhere.
My mind's functioning.

My name is Vincent eastman.
I'm 42 years old. I live at...

I live at...

- — Yes, Vincent, where do you live?
- I want to know where you live.

Pull it open!

I'll hold his head. Grab his shoulders.
You grab his legs. Let's get him out.

Watch out for the log.
Don't jiggle him around.

Easy. Put him down easy.
Put him down gently, very gently.

- — Is he bad?
- I don't think 50. His eyes are open.

He's probably in shock.

Bobby, get that blanket from the Van.

I just need to rest for a while.

I've got to call Olivia.
Tell her I'm going to be late.

Hi. 6-7—2-3. I'm not in.
You know what to do.

Hi. It's me.
I was just driving around and...

There was this guy delivering milk.
He had a little girl...

A most incredible
little girl with red hair!

- — What have we got?
- A 42-year-old male, Vincent eastman.

- A roll—over mva.
- — seat belt on?

Yes. He was extricated by passers-by.

I propose a toast
to the bride and groom.

May they live a long, happy,
healthy and prosperous life!

- Responsive?
- Not appropriately.

- — His gcs?
- About ten.

- — Allergies?
- I don't know.

The rcmp are notifying his family.

Your client wants top quality material.
Where do I get that?

- There's a call for Vincent.
- He's not here yet, so take a message.

About him. They asked
if this was his place of business.

- Who did?
- The highway police. On one.

- What was his pressure?
- — a hundred by palp.

- Right pupil is dilated. Must intubate.
- I need neurosurgical and respiratory.

- Let's draw some trauma bloodwork.
- — air entry equal bilaterally.

Sinus tach 120. Pressure 144 and 94.

5 versad, 100 fentanyl and 120 lido.

There's a large haematoma in the right
frontal lobe. Let's get him to the or.

How old are these? — 20 minutes.

- Is he responsive?
- Not really. Right pupil is dilated.

Has he been prepped? We'll relieve
the pressure. How old is he?

- — 42.
- Good shape?

- Better than me.
- — no reason he can't handle it. Let's go.

Officer, can I go up on the shoulder?
— In a minute, ma'am.

What happened?
— stay off the road, please.

- Where's the man who was in that car?
- Local hospital in abbotsford.

Hey, lady!

- Can I get you something?
- — I'm ok. Thank you.

I'll see if there's any news.

- — What's this guy do?
- I don't know. His name is eastman...

- Vincent eastman?
- Yes.

He's an architect.

Good. Looks good. Looks really good.

- We can close.
- He's going flat.

- You didn't open it, did you?
- What?

- The letter.
- What letter?

I didn't mail it. I never mailed it!

What didn't you mail?

I'll talk to them downstairs,
see what has to be done.

I'll phone for a taxi.

I have to call meaghan.

Tell her we'll be late.

- I'll do it.
- Just tell her we'll be late.

Mrs eastman?

- Where can I find a Vincent eastman?
- Just a minute.

Vincent eastman?

Could you excuse me?

I'm sorry.

He didn't say anything.
We both got here too late.

How did you happen to be up here?

I was going to see the museum again,
and saw the car pulled up on the road.

Well...

Goodbye, then.