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This film contains some strong language. | 0:01:00 | 0:01:06 | |
Snap out of it, Grubber. Miranda Spear, one o'clock. | 0:01:08 | 0:01:10 | |
Hey, Oscar. | 0:01:12 | 0:01:13 | |
Hi, Miranda. | 0:01:13 | 0:01:15 | |
What are you reading? | 0:01:15 | 0:01:17 | |
Voltaire. | 0:01:17 | 0:01:18 | |
You see, Oscar and I were just debating on... | 0:01:18 | 0:01:20 | |
MIRANDA: Voltaire? Really? | 0:01:20 | 0:01:22 | |
That's so cool. | 0:01:22 | 0:01:24 | |
My friends are waiting, so... | 0:01:26 | 0:01:28 | |
See you after break. | 0:01:28 | 0:01:30 | |
Sure. | 0:01:30 | 0:01:32 | |
All right. I'll see you, Miranda. | 0:01:32 | 0:01:34 | |
Oh, my God. | 0:01:37 | 0:01:38 | |
She's totally hot for you. | 0:01:38 | 0:01:40 | |
She's got friends. | 0:01:40 | 0:01:42 | |
You're hooking me up. | 0:01:42 | 0:01:43 | |
I'm not asking her out. | 0:01:43 | 0:01:45 | |
What? | 0:01:45 | 0:01:47 | |
Why not? She's perfect. | 0:01:47 | 0:01:49 | |
Did you see her hands? | 0:01:49 | 0:01:50 | |
I-I wasn't looking at her hands. | 0:01:50 | 0:01:53 | |
Experience, wit, intellect... | 0:01:53 | 0:01:55 | |
All revealed by the hands. | 0:01:55 | 0:01:57 | |
Does she have fat hands? | 0:01:57 | 0:01:59 | |
She had hands like a... | 0:01:59 | 0:02:01 | |
Like a steel worker? | 0:02:01 | 0:02:02 | |
She had hands like a... | 0:02:02 | 0:02:06 | |
child. | 0:02:06 | 0:02:08 | |
MAN SINGING IN FRENCH | 0:02:10 | 0:02:11 | |
CHARLIE: I worry about you, Oscar. | 0:02:11 | 0:02:13 | |
I really do. | 0:02:13 | 0:02:15 | |
Why, because I'm interested in more than websites? | 0:02:15 | 0:02:17 | |
Because you're fetishising hands. | 0:02:17 | 0:02:19 | |
I wouldn't call it a fetish. | 0:02:19 | 0:02:20 | |
You find reasons not to like things. | 0:02:20 | 0:02:23 | |
That's not true. | 0:02:23 | 0:02:24 | |
Like what? | 0:02:24 | 0:02:25 | |
Like Miranda Spear. | 0:02:25 | 0:02:27 | |
Like simple explanations. | 0:02:27 | 0:02:29 | |
I like things I don't understand. | 0:02:29 | 0:02:31 | |
Never gonna get laid that way. | 0:02:31 | 0:02:33 | |
It's not all about getting laid, Charlie. | 0:02:33 | 0:02:35 | |
Yeah, it is. | 0:02:35 | 0:02:36 | |
No, it isn't. | 0:02:36 | 0:02:37 | |
It is so. | 0:02:37 | 0:02:38 | |
What about love? | 0:02:38 | 0:02:39 | |
Yeah. I've heard of it. | 0:02:39 | 0:02:41 | |
It's not like you're in love with someone. | 0:02:41 | 0:02:43 | |
I knew something was up. | 0:02:46 | 0:02:49 | |
Wow. The Grubber, in love. | 0:02:49 | 0:02:53 | |
Who the hell is it? | 0:02:53 | 0:02:54 | |
Someone I've known for a while. | 0:02:54 | 0:02:56 | |
Do I know her? | 0:02:58 | 0:02:59 | |
She doesn't even know... | 0:02:59 | 0:03:01 | |
yet. | 0:03:01 | 0:03:02 | |
All right. | 0:03:03 | 0:03:05 | |
When do you plan on telling her? | 0:03:05 | 0:03:07 | |
That's the thing. | 0:03:07 | 0:03:08 | |
I want to find the right time. | 0:03:08 | 0:03:10 | |
Definitely this weekend. Maybe tonight. | 0:03:10 | 0:03:12 | |
Is she coming over for Thanksgiving? | 0:03:12 | 0:03:14 | |
She'll be there. Why? | 0:03:14 | 0:03:17 | |
I'm coming over for pie. | 0:03:17 | 0:03:18 | |
No, you're not. You're not invited. | 0:03:18 | 0:03:20 | |
Grubbs. | 0:03:20 | 0:03:22 | |
Hi, Tadpole. | 0:03:33 | 0:03:34 | |
Hey, Jimmy. | 0:03:34 | 0:03:35 | |
Home for Thanksgiving? | 0:03:35 | 0:03:37 | |
That's right. | 0:03:37 | 0:03:38 | |
What happened to your hair? | 0:03:38 | 0:03:40 | |
I combed it. | 0:03:40 | 0:03:43 | |
Well, I don't like it. | 0:03:43 | 0:03:45 | |
SOFT JAZZ MUSIC PLAYS | 0:04:10 | 0:04:12 | |
INDISTINCT CHATTER | 0:04:14 | 0:04:17 | |
Hi, Oscar. | 0:04:18 | 0:04:19 | |
Oh, hi, Mrs Lodder. | 0:04:19 | 0:04:21 | |
Diane, please. | 0:04:21 | 0:04:22 | |
Diane, have you seen Eve anywhere? | 0:04:22 | 0:04:23 | |
Yeah, she was just here. | 0:04:23 | 0:04:25 | |
Oh, she went to go get some keys | 0:04:25 | 0:04:26 | |
so she could get in the lab tomorrow. | 0:04:26 | 0:04:28 | |
HORN HONKS Ca va? | 0:04:28 | 0:04:30 | |
Excuse me. | 0:04:30 | 0:04:31 | |
So, Oscar... can we plan on | 0:04:43 | 0:04:45 | |
seeing you at Columbia? | 0:04:45 | 0:04:47 | |
Leave him alone, Dad. He's only a sophomore. | 0:04:47 | 0:04:50 | |
It's never too early | 0:04:50 | 0:04:51 | |
to think about college, Daphne, | 0:04:51 | 0:04:52 | |
as it would behove you to realise. | 0:04:52 | 0:04:53 | |
Actually, Professor Tisch, | 0:04:53 | 0:04:55 | |
I have given some thought to Columbia pre med. | 0:04:55 | 0:04:57 | |
Not history? | 0:04:57 | 0:04:59 | |
Well, I... STANLEY: Excuse me. | 0:04:59 | 0:05:01 | |
May I have your attention, everybody? | 0:05:01 | 0:05:02 | |
I'm sorry to interrupt, | 0:05:02 | 0:05:05 | |
but I'd like to make a short Thanksgiving toast | 0:05:05 | 0:05:07 | |
and then invite you all to commence eating. | 0:05:07 | 0:05:11 | |
First of all, | 0:05:11 | 0:05:13 | |
I'd like to apologise to Native Americans everywhere | 0:05:13 | 0:05:15 | |
for decimating their population, | 0:05:15 | 0:05:17 | |
basically stealing this country from out... | 0:05:17 | 0:05:19 | |
Stick to antiquities, Stanley. | 0:05:19 | 0:05:21 | |
No, no, no. I'm a traditionalist. | 0:05:21 | 0:05:23 | |
And far be it from me to dispense with any excuse | 0:05:23 | 0:05:25 | |
to eat turkey and pecan pie. | 0:05:25 | 0:05:27 | |
And so... | 0:05:27 | 0:05:28 | |
to my recently returned prodigal son. | 0:05:28 | 0:05:31 | |
WOMAN: Hear, hear. | 0:05:31 | 0:05:33 | |
To my distinguished colleagues | 0:05:33 | 0:05:35 | |
at the Columbia History Department | 0:05:35 | 0:05:36 | |
and their families. | 0:05:36 | 0:05:38 | |
And, er... | 0:05:38 | 0:05:40 | |
am I leaving anyone out? | 0:05:40 | 0:05:41 | |
Eve. | 0:05:41 | 0:05:43 | |
Yes, of course, | 0:05:43 | 0:05:44 | |
although not here, she... | 0:05:44 | 0:05:44 | |
DOOR IS UNLOCKED Could it be? | 0:05:44 | 0:05:46 | |
Could it be? | 0:05:46 | 0:05:48 | |
To my lovely wife Eve. | 0:05:51 | 0:05:54 | |
Oh, I'm so sorry. | 0:05:54 | 0:05:55 | |
# She may be the face I can't forget | 0:05:55 | 0:06:00 | |
# A trace of pleasure or regret | 0:06:00 | 0:06:03 | |
# Maybe the treasure | 0:06:03 | 0:06:06 | |
# Or the price I have to pay | 0:06:06 | 0:06:09 | |
# She | 0:06:09 | 0:06:12 | |
# She... # | 0:06:13 | 0:06:16 | |
You turn the corner, then hidden away | 0:06:16 | 0:06:18 | |
in this small forgotten backstreet, | 0:06:18 | 0:06:20 | |
is this old, old house... | 0:06:20 | 0:06:21 | |
DAPHNE: How's your mom, Oscar? | 0:06:21 | 0:06:23 | |
She still in France? | 0:06:23 | 0:06:24 | |
OSCAR: Yeah, she went back a while ago. | 0:06:24 | 0:06:26 | |
When's the last time you saw her? | 0:06:26 | 0:06:27 | |
I went back last summer. | 0:06:27 | 0:06:30 | |
I wish I had an exotic French mother. | 0:06:32 | 0:06:35 | |
There's nothing exotic | 0:06:35 | 0:06:36 | |
about mothers who live on the Upper East Side. | 0:06:36 | 0:06:39 | |
Well, they can be exotic in their own way. | 0:06:39 | 0:06:41 | |
You walk in, and it's a home, | 0:06:41 | 0:06:43 | |
a timeless home. You feel it. | 0:06:43 | 0:06:45 | |
It's hard to put it into words, but... | 0:06:45 | 0:06:46 | |
DAPHNE: My mom brings me back the stupidest things. | 0:06:46 | 0:06:49 | |
That's not what I'm saying. | 0:06:49 | 0:06:51 | |
There was this lovely fresco that... | 0:06:51 | 0:06:52 | |
It's very intimate. | 0:06:52 | 0:06:53 | |
Completely out of context. | 0:06:53 | 0:06:54 | |
DAPHNE: ...too small or whatever. | 0:06:54 | 0:06:55 | |
There was some... | 0:06:55 | 0:06:57 | |
DAPHNE: That's cool. You've got, like, | 0:06:57 | 0:06:59 | |
that look, that faraway look. | 0:06:59 | 0:07:00 | |
That's cool. | 0:07:00 | 0:07:02 | |
I've-been-studying for-four-days thing. | 0:07:02 | 0:07:04 | |
EVE SIGHS | 0:07:07 | 0:07:09 | |
It sounded beautiful. | 0:07:17 | 0:07:19 | |
What's that? | 0:07:19 | 0:07:20 | |
The timeless home. | 0:07:20 | 0:07:22 | |
Oh. Thanks. | 0:07:22 | 0:07:25 | |
I get a little caught up in the whole... | 0:07:25 | 0:07:28 | |
I don't know. | 0:07:28 | 0:07:29 | |
No, no. That's good. | 0:07:29 | 0:07:30 | |
It's good to get caught up | 0:07:30 | 0:07:32 | |
in the feeling of something, the aura. | 0:07:32 | 0:07:34 | |
I mean, if everything could be reduced | 0:07:34 | 0:07:36 | |
to verbalisable facts, | 0:07:36 | 0:07:38 | |
we wouldn't have any need for music, would we? | 0:07:38 | 0:07:40 | |
You might have a point there. | 0:07:42 | 0:07:46 | |
Of course I have a point. | 0:07:46 | 0:07:47 | |
The timeless home, that's like... | 0:07:47 | 0:07:50 | |
The title of some great lost Puccini operetta. | 0:07:50 | 0:07:54 | |
Heh. You're sweet, you know that? | 0:07:54 | 0:07:57 | |
HE POURS THE WINE | 0:07:57 | 0:07:58 | |
So, how are things at...at Chauncey? | 0:07:58 | 0:08:00 | |
Not bad. | 0:08:00 | 0:08:02 | |
Any girls there? | 0:08:02 | 0:08:05 | |
Sure, there are girls. | 0:08:05 | 0:08:06 | |
Well? Any you like? | 0:08:06 | 0:08:09 | |
Well, they're mostly pretty dumb. | 0:08:09 | 0:08:11 | |
They can't all be dumb. | 0:08:11 | 0:08:13 | |
It just seems like | 0:08:13 | 0:08:14 | |
they haven't lived that much, you know? | 0:08:14 | 0:08:16 | |
Well... | 0:08:16 | 0:08:18 | |
We're talking about sophomores, right? | 0:08:18 | 0:08:20 | |
Yeah. | 0:08:20 | 0:08:22 | |
Maybe you should give them a chance, Oscar. | 0:08:22 | 0:08:24 | |
I mean... | 0:08:24 | 0:08:25 | |
They might've lived more than you think. | 0:08:25 | 0:08:29 | |
Sure. | 0:08:29 | 0:08:32 | |
You have high expectations, don't you, Oscar? | 0:08:32 | 0:08:36 | |
Hey. | 0:08:42 | 0:08:44 | |
How are you? | 0:08:46 | 0:08:47 | |
Good. | 0:08:47 | 0:08:48 | |
That's better. | 0:08:51 | 0:08:53 | |
Don't want back problems before you're 40. | 0:08:53 | 0:08:56 | |
So, how's the chiropody business? | 0:08:56 | 0:08:59 | |
Heh. Chiropody is feet. | 0:08:59 | 0:09:01 | |
Huh. Chiropractic? | 0:09:01 | 0:09:03 | |
It's pretty good. | 0:09:03 | 0:09:05 | |
I stare at backs all day. | 0:09:05 | 0:09:07 | |
Can tell a lot about a person by their back. | 0:09:07 | 0:09:09 | |
I've always thought of my spine | 0:09:09 | 0:09:11 | |
as incredibly personal. | 0:09:11 | 0:09:13 | |
I don't think I could show my spine to just anyone. | 0:09:13 | 0:09:15 | |
Maybe if you were in enough pain, you could. | 0:09:15 | 0:09:18 | |
Not even then, maybe. | 0:09:18 | 0:09:19 | |
Throw a couple cubes in there, would you, Diane? | 0:09:19 | 0:09:21 | |
Sure. | 0:09:21 | 0:09:22 | |
How's that endodontist of yours? | 0:09:22 | 0:09:24 | |
Great. | 0:09:24 | 0:09:25 | |
Je suis amoureux de la mere et moi... da-da, la-la. | 0:09:25 | 0:09:32 | |
Oscar. | 0:09:32 | 0:09:33 | |
Je sais, Professor Sherman. | 0:09:33 | 0:09:35 | |
Comme si ce n'etait pas evident. | 0:09:40 | 0:09:43 | |
What is this? | 0:09:43 | 0:09:45 | |
Voltaire? | 0:09:45 | 0:09:47 | |
Oscar. | 0:09:47 | 0:09:48 | |
Voltaire said, | 0:09:48 | 0:09:50 | |
"If God did not exist, he would have to be invented." | 0:09:50 | 0:09:52 | |
He was a funny guy. | 0:09:54 | 0:09:56 | |
STANLEY: Oscar! | 0:09:58 | 0:10:01 | |
Excusez moi. | 0:10:01 | 0:10:03 | |
Professor Tisch wants to stay and gossip | 0:10:06 | 0:10:09 | |
about our colleagues a little longer. | 0:10:09 | 0:10:10 | |
Will you walk Daphne home? | 0:10:10 | 0:10:11 | |
Dad, no. | 0:10:11 | 0:10:12 | |
Daphne's been taking the subways | 0:10:12 | 0:10:14 | |
since she was eight. | 0:10:14 | 0:10:15 | |
She's a good-looking girl, don't you think? | 0:10:15 | 0:10:17 | |
She's all right. | 0:10:17 | 0:10:18 | |
Well, it would be a nice gesture. | 0:10:18 | 0:10:20 | |
An empty gesture. | 0:10:20 | 0:10:21 | |
No, Dad. I'm fatigued this evening. | 0:10:21 | 0:10:22 | |
I've been on trains, in cars, | 0:10:22 | 0:10:24 | |
I've had two lengthy debates | 0:10:24 | 0:10:25 | |
on Voltaire and Henry Miller, | 0:10:25 | 0:10:26 | |
both of which I won, incidentally. | 0:10:26 | 0:10:28 | |
I haven't unpacked yet, | 0:10:28 | 0:10:29 | |
I've got a lot of things to do, | 0:10:29 | 0:10:31 | |
And I'm not gonna stand here and argue | 0:10:31 | 0:10:32 | |
with you about it, all right? | 0:10:32 | 0:10:33 | |
Do you wanna go with me to the Moby concert | 0:10:33 | 0:10:35 | |
on Sunday? | 0:10:35 | 0:10:37 | |
Not really. | 0:10:37 | 0:10:39 | |
I don't go in much for contemporary pop music. | 0:10:39 | 0:10:42 | |
What do you go in for? | 0:10:42 | 0:10:44 | |
You know, regular stuff. | 0:10:44 | 0:10:46 | |
Oscar, contemporary pop music | 0:10:46 | 0:10:48 | |
is regular stuff for a 15-year-old. | 0:10:48 | 0:10:51 | |
Voltaire or whatever is not regular. | 0:10:51 | 0:10:54 | |
Well, we differ. | 0:10:54 | 0:10:56 | |
Yeah. | 0:10:56 | 0:10:57 | |
God, you're like a 40-year-old | 0:10:57 | 0:11:00 | |
trapped in a 15-year-old's body. | 0:11:00 | 0:11:02 | |
I mean, it's not a bad body. | 0:11:02 | 0:11:04 | |
Taxi! | 0:11:04 | 0:11:05 | |
Hold on. | 0:11:09 | 0:11:11 | |
Come on. | 0:11:11 | 0:11:12 | |
I live six blocks from here. | 0:11:15 | 0:11:17 | |
It's cold. | 0:11:17 | 0:11:19 | |
78th and Lex. I have to wake up early. | 0:11:20 | 0:11:23 | |
You are so weird. | 0:11:23 | 0:11:24 | |
OK. Safe trip. | 0:11:24 | 0:11:26 | |
ROMANTIC SONG PLAYS ON JUKEBOX | 0:11:39 | 0:11:42 | |
Hey, happy Thanksgiving, pal. | 0:11:46 | 0:11:48 | |
FRENCH SONG ON JUKEBOX | 0:11:50 | 0:11:54 | |
Say, how old are you, anyway? | 0:12:02 | 0:12:04 | |
40. | 0:12:04 | 0:12:06 | |
Me, too. | 0:12:06 | 0:12:08 | |
Doesn't it suck? | 0:12:10 | 0:12:12 | |
Ah, it's not so bad. | 0:12:12 | 0:12:14 | |
Your wife probably didn't leave you. | 0:12:14 | 0:12:16 | |
I'm not married, actually. | 0:12:16 | 0:12:19 | |
Well, don't wait too long. | 0:12:19 | 0:12:21 | |
All the best ones get taken. | 0:12:21 | 0:12:24 | |
I hear you there. | 0:12:24 | 0:12:26 | |
J'adore les chansons francaises de cette epoque. | 0:12:32 | 0:12:37 | |
You're not French. | 0:12:40 | 0:12:42 | |
It's part of my act. | 0:12:42 | 0:12:44 | |
What act? | 0:12:44 | 0:12:45 | |
You gonna buy me a drink? | 0:12:45 | 0:12:48 | |
Bob, the lady's dry. | 0:12:48 | 0:12:50 | |
Well, I got to go feed the cat. | 0:12:52 | 0:12:55 | |
Why so glum, chum? | 0:12:57 | 0:12:59 | |
I have high expectations. | 0:12:59 | 0:13:02 | |
Yeah, I know what you mean. | 0:13:02 | 0:13:04 | |
You have beautiful hands. | 0:13:15 | 0:13:17 | |
Oh, Jeez. | 0:13:49 | 0:13:50 | |
Oscar? | 0:13:51 | 0:13:53 | |
Oh, hiya, Diane. | 0:13:54 | 0:13:56 | |
Top of the night to you. | 0:13:59 | 0:14:00 | |
Oscar, you don't look so hot. | 0:14:00 | 0:14:03 | |
Oh, don't worry about me. | 0:14:03 | 0:14:04 | |
Hey... Oh, careful! | 0:14:04 | 0:14:05 | |
Careful. Come here. | 0:14:05 | 0:14:06 | |
Come on. Come on. | 0:14:06 | 0:14:07 | |
Let me get you some coffee. | 0:14:07 | 0:14:08 | |
No, no, no. I gotta get home. | 0:14:08 | 0:14:09 | |
No, no. You don't want your father | 0:14:09 | 0:14:11 | |
to see you like this. | 0:14:11 | 0:14:13 | |
My wallet was stolen. | 0:14:18 | 0:14:19 | |
You got mugged? | 0:14:19 | 0:14:21 | |
Sort of. | 0:14:21 | 0:14:23 | |
What do you mean, "sort of"? | 0:14:23 | 0:14:24 | |
She was very pleasant about it. | 0:14:24 | 0:14:26 | |
Take your coat? | 0:14:32 | 0:14:33 | |
No. | 0:14:33 | 0:14:35 | |
Well, come in. | 0:14:38 | 0:14:39 | |
Make yourself comfortable. | 0:14:39 | 0:14:41 | |
Oh. It got chilly in here. | 0:14:47 | 0:14:50 | |
Hey, that's Eve's scarf. | 0:14:50 | 0:14:52 | |
Yeah, I know. I like it. | 0:14:52 | 0:14:54 | |
I might forget to give it back. | 0:14:54 | 0:14:56 | |
Oh! Oh, dear. | 0:15:14 | 0:15:18 | |
OK. What hurts? | 0:15:18 | 0:15:21 | |
OSCAR: Everything. | 0:15:21 | 0:15:23 | |
OK. | 0:15:23 | 0:15:24 | |
Diane? Mm-hm? | 0:15:32 | 0:15:33 | |
What's it like being 40? | 0:15:33 | 0:15:35 | |
Not as bad as people make out. | 0:15:36 | 0:15:39 | |
Except everyone you know seems kind of tired. | 0:15:39 | 0:15:42 | |
Worn out, you mean? | 0:15:42 | 0:15:43 | |
Yeah, like they've seen it all before. | 0:15:43 | 0:15:47 | |
Eve's not like that. | 0:15:47 | 0:15:49 | |
No, Eve's not like that. | 0:15:49 | 0:15:51 | |
And you're not like that. | 0:15:51 | 0:15:54 | |
It's nice. | 0:15:54 | 0:15:56 | |
You know what? | 0:15:56 | 0:15:57 | |
This is really hard to do with your sweater on. | 0:15:57 | 0:15:59 | |
OSCAR: Eve. | 0:16:50 | 0:16:53 | |
Ow! | 0:17:07 | 0:17:08 | |
Oh, Jeez. | 0:17:11 | 0:17:13 | |
Morning. | 0:18:26 | 0:18:28 | |
Diane's good, isn't she? | 0:18:28 | 0:18:31 | |
Yes. Yes. | 0:18:31 | 0:18:34 | |
I'm Phil, the boyfriend. | 0:18:34 | 0:18:37 | |
Boyfriend. | 0:18:37 | 0:18:38 | |
I'm Oscar Grubman. I'm just a friend. | 0:18:38 | 0:18:41 | |
So how long's she been doing you? | 0:18:41 | 0:18:44 | |
This was the first time, I swear to you, | 0:18:44 | 0:18:47 | |
And the only time. | 0:18:47 | 0:18:48 | |
You're kind of young, aren't you? | 0:18:48 | 0:18:51 | |
Yes, way too young. | 0:18:51 | 0:18:52 | |
Young and stupid. | 0:18:52 | 0:18:54 | |
Pinched nerve? | 0:18:54 | 0:18:56 | |
Excuse me? | 0:18:56 | 0:18:58 | |
Did you twist your neck or something? | 0:18:58 | 0:18:59 | |
Hell, I didn't see a chiropractor | 0:18:59 | 0:19:00 | |
till I turned 40. | 0:19:00 | 0:19:02 | |
Oh! Yeah. | 0:19:02 | 0:19:03 | |
Um, very pinched nerve. | 0:19:03 | 0:19:04 | |
Actually 3 of them. Um... | 0:19:04 | 0:19:07 | |
Medial collateral, collateral, | 0:19:07 | 0:19:08 | |
and hyper collateral. | 0:19:08 | 0:19:09 | |
Although the hyper wasn't quite as severe. | 0:19:09 | 0:19:12 | |
So, the old girl give you your money's worth? | 0:19:12 | 0:19:14 | |
Good morning. | 0:19:14 | 0:19:15 | |
Didn't hear you come in. | 0:19:15 | 0:19:17 | |
I just got here. Oscar here was saying | 0:19:17 | 0:19:19 | |
you worked him over pretty good. | 0:19:19 | 0:19:21 | |
No, I didn't. I mean, | 0:19:21 | 0:19:22 | |
yes, you worked out the pinched nerve | 0:19:22 | 0:19:24 | |
in my back. | 0:19:24 | 0:19:25 | |
Yeah, he had quite a knotted muscle. | 0:19:25 | 0:19:27 | |
My God, the pain right here in my shoulder. | 0:19:27 | 0:19:30 | |
Took a lot of work. | 0:19:30 | 0:19:31 | |
Thank God my vocation gives me such pleasure. | 0:19:31 | 0:19:33 | |
We should all be so blessed. | 0:19:33 | 0:19:36 | |
Well, thanks again, Mrs Lodder. | 0:19:36 | 0:19:38 | |
I'll put that check in the mail pronto. | 0:19:38 | 0:19:39 | |
Nice to meet you, Phil. | 0:19:39 | 0:19:41 | |
Hey, you take care, buddy. | 0:19:41 | 0:19:42 | |
I'll walk you out. | 0:19:42 | 0:19:43 | |
Er, please don't bother. | 0:19:43 | 0:19:44 | |
No. It's no bother. | 0:19:44 | 0:19:46 | |
Diane, no-one can ever find out about last night, OK? | 0:19:54 | 0:19:58 | |
OK. | 0:19:58 | 0:19:59 | |
I mean it. I'm serious. | 0:19:59 | 0:20:01 | |
It's very important to me that Eve... | 0:20:01 | 0:20:03 | |
and my dad never find out about this. | 0:20:03 | 0:20:07 | |
OK. All right. I won't tell. | 0:20:07 | 0:20:09 | |
Good. Phil, either. He's a lot bigger than me. | 0:20:09 | 0:20:11 | |
Actually, he's not. | 0:20:11 | 0:20:13 | |
Diane, please. | 0:20:13 | 0:20:15 | |
OK. All right. Mum's the word. | 0:20:15 | 0:20:17 | |
Thank you. | 0:20:17 | 0:20:18 | |
DIANE: Give that to Eve for me. | 0:20:22 | 0:20:24 | |
Hey, Oscar. | 0:20:49 | 0:20:51 | |
That girl sure was pretty. | 0:20:51 | 0:20:53 | |
Who? | 0:20:53 | 0:20:55 | |
Professor Tisch's girl. | 0:20:55 | 0:20:57 | |
Oh, Daphne. | 0:20:57 | 0:20:58 | |
Yeah, I guess she's pretty. | 0:20:58 | 0:21:00 | |
Is she new to the pond, Tadpole? | 0:21:00 | 0:21:03 | |
Don't you sleep? | 0:21:03 | 0:21:05 | |
FLOORBOARD CREAKS | 0:21:15 | 0:21:17 | |
STANLEY: So. | 0:21:34 | 0:21:36 | |
Hi, Dad. | 0:21:36 | 0:21:38 | |
I didn't hear you come in. | 0:21:38 | 0:21:40 | |
Daphne and I got to talking last night. | 0:21:41 | 0:21:44 | |
Is that right? | 0:21:44 | 0:21:46 | |
Is Eve around? | 0:21:48 | 0:21:50 | |
No. She left for work at dawn. | 0:21:50 | 0:21:53 | |
Why is she working today? | 0:21:53 | 0:21:56 | |
She likes to go in | 0:21:56 | 0:21:57 | |
when there's no-one around to bug her. | 0:21:57 | 0:21:58 | |
So she's by herself. | 0:21:58 | 0:22:00 | |
What's that? | 0:22:00 | 0:22:02 | |
Nothing. Nothing. | 0:22:02 | 0:22:03 | |
Picnic? | 0:22:16 | 0:22:17 | |
Sort of. | 0:22:17 | 0:22:19 | |
But you have time to help old dad | 0:22:19 | 0:22:21 | |
do some grocery shopping, don't you? | 0:22:21 | 0:22:23 | |
Now? | 0:22:23 | 0:22:24 | |
Yeah. Come on. | 0:22:24 | 0:22:25 | |
Dad, I thought you were gonna | 0:22:25 | 0:22:27 | |
take some time to work on your book today. | 0:22:27 | 0:22:29 | |
Well, come on. I mean, that can wait. | 0:22:29 | 0:22:31 | |
How many people really are dying to read | 0:22:31 | 0:22:33 | |
The Life And Times Of Arnobias Of Sicca? | 0:22:33 | 0:22:36 | |
Well, I think you really underestimate your audience. | 0:22:36 | 0:22:39 | |
There are a lot of Arnobias of Sicca fans | 0:22:39 | 0:22:41 | |
out there that you're completely unaware of. | 0:22:41 | 0:22:43 | |
Really? You think so? | 0:22:43 | 0:22:44 | |
Yeah. | 0:22:44 | 0:22:46 | |
I mean, the kids at school... | 0:22:47 | 0:22:48 | |
the ones in the know, anyway... | 0:22:48 | 0:22:49 | |
talk about Arnobias of Sicca | 0:22:49 | 0:22:51 | |
like he was THE hip ancient scholar. | 0:22:51 | 0:22:53 | |
Arnobias. Really? | 0:22:53 | 0:22:55 | |
You picked a winner. | 0:22:55 | 0:22:56 | |
You should feel really good about it | 0:22:56 | 0:22:58 | |
and really motivated. | 0:22:58 | 0:22:59 | |
You put it that way, | 0:22:59 | 0:23:00 | |
I...I do feel pretty damn motivated. | 0:23:00 | 0:23:02 | |
Either way, we need paper towels, cereal, | 0:23:02 | 0:23:05 | |
and we're completely out of cheesecake. | 0:23:05 | 0:23:07 | |
Dad, I'm not really into cheesecake any more. | 0:23:07 | 0:23:09 | |
Grab your coat. | 0:23:09 | 0:23:10 | |
WOMAN: Taxi! | 0:23:13 | 0:23:13 | |
HORNS HONK | 0:23:13 | 0:23:15 | |
Who is she, Oscar? | 0:23:15 | 0:23:17 | |
Who, Dad? | 0:23:17 | 0:23:18 | |
Where did you sleep last night? | 0:23:18 | 0:23:21 | |
I know it wasn't at Charlie's. | 0:23:21 | 0:23:23 | |
Come clean. | 0:23:23 | 0:23:24 | |
This is your old man here. | 0:23:24 | 0:23:26 | |
What happened? Did you, er... | 0:23:26 | 0:23:28 | |
run into some buddies from Chauncey... | 0:23:28 | 0:23:32 | |
go downtown, get a couple of beers, | 0:23:32 | 0:23:34 | |
and stare at the hippies in Greenwich Village? | 0:23:34 | 0:23:36 | |
There are no hippies in Greenwich Village any more, Dad. | 0:23:36 | 0:23:38 | |
What is it now? Punks, druggies, | 0:23:38 | 0:23:40 | |
folk-mopers, cross-dressers, bikers? | 0:23:40 | 0:23:43 | |
Bankers. | 0:23:43 | 0:23:44 | |
Bankers? | 0:23:44 | 0:23:45 | |
Oh, God, has it come to that? | 0:23:45 | 0:23:47 | |
I'm afraid so. | 0:23:47 | 0:23:48 | |
What a state of affairs. Bankers? | 0:23:48 | 0:23:51 | |
So where DID you spend the night? | 0:23:54 | 0:23:56 | |
I ran into a...into... A girl? | 0:23:56 | 0:23:59 | |
Yes, a girl. | 0:23:59 | 0:24:00 | |
A pretty girl? | 0:24:00 | 0:24:01 | |
Yes, a pretty girl. | 0:24:01 | 0:24:02 | |
Oh, Oscar. | 0:24:02 | 0:24:05 | |
It wasn't a... you know... | 0:24:05 | 0:24:08 | |
it wasn't a call girl? | 0:24:08 | 0:24:09 | |
Dad! | 0:24:09 | 0:24:10 | |
Of course it wasn't a call girl. | 0:24:10 | 0:24:13 | |
What's wrong with you? | 0:24:13 | 0:24:15 | |
Kids are crazy these days. | 0:24:15 | 0:24:17 | |
I bumped into a girl. | 0:24:17 | 0:24:18 | |
From Chauncey? | 0:24:18 | 0:24:19 | |
Yes, a girl from Chauncey. | 0:24:19 | 0:24:20 | |
Well, what was her name, Oscar? | 0:24:20 | 0:24:21 | |
Her name? | 0:24:21 | 0:24:22 | |
Is it someone even I should meet? | 0:24:22 | 0:24:24 | |
No! | 0:24:24 | 0:24:25 | |
I mean, there just isn't any point. | 0:24:25 | 0:24:28 | |
Her name's, er, Miranda Spear, | 0:24:28 | 0:24:31 | |
and she's just some dumb girl... | 0:24:31 | 0:24:33 | |
Hey, have some respect, Oscar. | 0:24:33 | 0:24:36 | |
Maybe this girl's only 15, 16. | 0:24:36 | 0:24:39 | |
And maybe right now her interests | 0:24:39 | 0:24:40 | |
are different from yours, but... | 0:24:40 | 0:24:42 | |
girls have things to say. | 0:24:42 | 0:24:43 | |
They can be funny. | 0:24:43 | 0:24:45 | |
Consider them, Oscar. Listen to them. | 0:24:45 | 0:24:49 | |
So, I should listen to girls | 0:24:49 | 0:24:50 | |
like you listen to Eve, you mean? | 0:24:50 | 0:24:52 | |
Exactly. | 0:24:52 | 0:24:53 | |
BIRDS TWITTER | 0:25:38 | 0:25:40 | |
MAN SINGS "She" IN FRENCH | 0:25:46 | 0:25:50 | |
CORK POPS | 0:26:14 | 0:26:15 | |
GLASSES CLINK | 0:26:26 | 0:26:27 | |
HE CLEARS HIS THROAT | 0:27:04 | 0:27:05 | |
Oscar. | 0:27:07 | 0:27:09 | |
What a nice surprise. | 0:27:09 | 0:27:11 | |
I brought you lunch. | 0:27:11 | 0:27:13 | |
You're kidding. | 0:27:13 | 0:27:15 | |
EVE LAUGHS | 0:27:15 | 0:27:17 | |
Wait. Wait one second. | 0:27:17 | 0:27:19 | |
Wow. Cookies, too. | 0:27:24 | 0:27:26 | |
Yeah. I know you like 'em. | 0:27:26 | 0:27:27 | |
Thank you. | 0:27:27 | 0:27:29 | |
So, what are you working on? | 0:27:32 | 0:27:34 | |
I'm monitoring the depolarisation | 0:27:34 | 0:27:36 | |
of cardiac myocytes. | 0:27:36 | 0:27:38 | |
Oh. Hmm. | 0:27:38 | 0:27:41 | |
Pericardium. | 0:27:52 | 0:27:54 | |
Mitral, aorta... | 0:27:54 | 0:27:58 | |
Such beautiful words. | 0:27:58 | 0:28:02 | |
Poetry. | 0:28:02 | 0:28:04 | |
Never thought of it that way. | 0:28:04 | 0:28:07 | |
It's, er, pretty complicated business. | 0:28:07 | 0:28:10 | |
No. The heart is simple. | 0:28:10 | 0:28:13 | |
Fixing it is complicated. | 0:28:13 | 0:28:15 | |
So, when you're... | 0:28:17 | 0:28:20 | |
working on... | 0:28:20 | 0:28:22 | |
whatever it is you're working on, | 0:28:22 | 0:28:25 | |
I mean... | 0:28:25 | 0:28:27 | |
How do you see the heart as anything more than a...? | 0:28:27 | 0:28:30 | |
Than a pump. | 0:28:30 | 0:28:31 | |
Yeah. | 0:28:31 | 0:28:32 | |
I mean, in the end, it's just an organ, right, | 0:28:32 | 0:28:36 | |
but, symbolically...? | 0:28:36 | 0:28:39 | |
Your heart can fit right in my hand. | 0:28:39 | 0:28:42 | |
The heart is this incredibly smart machine. | 0:28:42 | 0:28:45 | |
It beats 70-80 times a minute, | 0:28:45 | 0:28:47 | |
and in the space of each beat | 0:28:47 | 0:28:49 | |
sends deoxygenated blood to your lungs | 0:28:49 | 0:28:51 | |
and oxygenated blood to all your organs. | 0:28:51 | 0:28:54 | |
Cut the aorta, and you'll release | 0:28:54 | 0:28:56 | |
a jet of blood that hits the ceiling. | 0:28:56 | 0:28:58 | |
Now, who needs to use it as a symbol | 0:28:58 | 0:29:01 | |
when the thing itself is so magnificent? | 0:29:01 | 0:29:04 | |
The thing itself. | 0:29:04 | 0:29:06 | |
Hmm. | 0:29:06 | 0:29:08 | |
Well, as a symbol, it should be replaced. | 0:29:10 | 0:29:13 | |
The heart's had its day. | 0:29:13 | 0:29:15 | |
Why not the kidney as a symbol of love, | 0:29:15 | 0:29:17 | |
or the liver? | 0:29:17 | 0:29:18 | |
Hmm. "You broke my liver." | 0:29:18 | 0:29:21 | |
"My liver aches for you"? | 0:29:21 | 0:29:23 | |
Doesn't rhyme as well, | 0:29:23 | 0:29:25 | |
you know, for country songs and Shakespeare. | 0:29:25 | 0:29:28 | |
Sure it does. | 0:29:28 | 0:29:29 | |
"I'm aquiver. | 0:29:29 | 0:29:31 | |
"Please deliver. | 0:29:31 | 0:29:34 | |
"Deep as a river, | 0:29:34 | 0:29:36 | |
"my love, my liver." | 0:29:36 | 0:29:37 | |
I just can't... | 0:29:38 | 0:29:40 | |
TELEPHONE RINGS | 0:29:40 | 0:29:41 | |
RING | 0:29:41 | 0:29:43 | |
Hello? | 0:29:45 | 0:29:46 | |
Hi. Oscar's here, visiting. | 0:29:46 | 0:29:50 | |
Yeah. I know. | 0:29:50 | 0:29:54 | |
OK. | 0:29:54 | 0:29:55 | |
Your father says, "Don't forget | 0:29:55 | 0:29:57 | |
"we're having dinner tonight." | 0:29:57 | 0:29:59 | |
I haven't forgotten! | 0:29:59 | 0:30:01 | |
He says, "Did you ask Miranda Spear to join us?" | 0:30:03 | 0:30:07 | |
Who? | 0:30:07 | 0:30:08 | |
Miranda... | 0:30:08 | 0:30:09 | |
No. No! Tonight's family night. | 0:30:09 | 0:30:10 | |
Well, don't worry about that, Oscar. | 0:30:10 | 0:30:12 | |
I mean, Diane is coming. | 0:30:12 | 0:30:14 | |
Diane? And Phil. | 0:30:14 | 0:30:17 | |
It sure would be nice to see Diane and Phil. | 0:30:17 | 0:30:19 | |
Have you met Phil? | 0:30:19 | 0:30:22 | |
I think so. | 0:30:22 | 0:30:25 | |
Well, Phil isn't coming, OK? | 0:30:25 | 0:30:27 | |
Diane likes to keep her options open. | 0:30:27 | 0:30:30 | |
It's just Diane, right? Yeah. I thought so. | 0:30:30 | 0:30:33 | |
DOORBELL RINGS | 0:30:33 | 0:30:35 | |
Hey, buddy. Come on in. | 0:30:35 | 0:30:39 | |
Is Diane around? | 0:30:39 | 0:30:41 | |
She isn't. | 0:30:41 | 0:30:42 | |
Is your back still bothering you? | 0:30:42 | 0:30:43 | |
Well, come on in. | 0:30:43 | 0:30:44 | |
I'll give you a rub-a-dub. | 0:30:44 | 0:30:45 | |
Thanks, anyway. | 0:30:45 | 0:30:46 | |
I'd rather not trust my back to a dentist. | 0:30:46 | 0:30:48 | |
Eh, the old gal taught me a few tricks. | 0:30:48 | 0:30:50 | |
Why do you call her "old gal"? | 0:30:50 | 0:30:52 | |
You make her sound like she's a horse. | 0:30:52 | 0:30:53 | |
Actually, she's more of a wild cat. | 0:30:53 | 0:30:56 | |
Diane's with the girls down at Payard | 0:30:56 | 0:30:58 | |
if your back's really that bad. | 0:30:58 | 0:30:59 | |
Hey, you know, buddy! | 0:31:00 | 0:31:02 | |
You're gonna have to learn to relax. | 0:31:02 | 0:31:04 | |
You're gonna be dead before you reach 20. | 0:31:04 | 0:31:07 | |
CAR HORN HONKS | 0:31:21 | 0:31:22 | |
PIANO PLAYS | 0:31:41 | 0:31:43 | |
MAN: Thank you very much. | 0:31:43 | 0:31:46 | |
Here you go. | 0:31:47 | 0:31:48 | |
INDISTINCT CHATTER | 0:31:48 | 0:31:51 | |
No, you didn't. | 0:31:51 | 0:31:52 | |
Is that right? | 0:31:54 | 0:31:56 | |
Diane. | 0:31:56 | 0:31:58 | |
Can I talk to you for a minute, please? | 0:31:59 | 0:32:01 | |
You must be Oscar. | 0:32:01 | 0:32:03 | |
I'm Samantha. | 0:32:03 | 0:32:04 | |
So, it sounds like you have some | 0:32:06 | 0:32:08 | |
interesting ideas about French philosophy. | 0:32:08 | 0:32:10 | |
Yes. Er, Diane was telling us | 0:32:10 | 0:32:12 | |
that you regard Voltaire | 0:32:12 | 0:32:14 | |
as a comedian. | 0:32:14 | 0:32:15 | |
Well, I think that when you look at his body... | 0:32:22 | 0:32:24 | |
Excuse me. | 0:32:24 | 0:32:25 | |
Diane, can I talk to you for a minute, please? | 0:32:25 | 0:32:27 | |
In a minute, Oscar. | 0:32:27 | 0:32:29 | |
Oscar... have some tea. | 0:32:29 | 0:32:33 | |
The assertion that all man's actions | 0:32:35 | 0:32:37 | |
are essentially self-serving | 0:32:37 | 0:32:38 | |
has never been taken in the spirit it was intended, | 0:32:38 | 0:32:41 | |
which was a quote, a quote. | 0:32:41 | 0:32:43 | |
And that's what Adam Smith was really saying | 0:32:43 | 0:32:45 | |
In The Wealth Of Nations. | 0:32:45 | 0:32:47 | |
At least, that's what I've always thought. | 0:32:47 | 0:32:49 | |
More tea, Oscar? | 0:32:49 | 0:32:50 | |
Thank you, Abigail. | 0:32:50 | 0:32:52 | |
Now, most people are going to tell you | 0:32:52 | 0:32:54 | |
that Quine's belief in the inherent goodness... | 0:32:54 | 0:32:56 | |
But, Oscar, I don't see how you can dismiss | 0:32:56 | 0:32:58 | |
Mirabaud so easily. | 0:32:58 | 0:33:00 | |
Mirabaud never even got out of the gate. | 0:33:00 | 0:33:02 | |
Oh, you naughty girl. | 0:33:02 | 0:33:04 | |
Where did you find him? | 0:33:04 | 0:33:06 | |
Isn't he lovely? | 0:33:06 | 0:33:07 | |
He's so passionate, | 0:33:07 | 0:33:09 | |
and he really listens. | 0:33:09 | 0:33:11 | |
Do you mind if I give him my number? | 0:33:11 | 0:33:13 | |
No. Go ahead. | 0:33:13 | 0:33:14 | |
Oscar... | 0:33:14 | 0:33:15 | |
I'd love to chat more with you | 0:33:15 | 0:33:17 | |
about this sometime, | 0:33:17 | 0:33:18 | |
or, um, about anything. | 0:33:18 | 0:33:20 | |
I'm pretty busy with midterms and all. | 0:33:20 | 0:33:24 | |
Anything...any time. | 0:33:24 | 0:33:26 | |
Bye, Oscar. | 0:33:26 | 0:33:28 | |
Bye, Samantha. | 0:33:28 | 0:33:29 | |
Bye, Oscar. | 0:33:29 | 0:33:29 | |
Abigail. | 0:33:29 | 0:33:31 | |
Bye, Diane. Bye, girls. | 0:33:31 | 0:33:33 | |
Well... | 0:33:36 | 0:33:38 | |
Oscar, it was a pleasure to meet you. | 0:33:38 | 0:33:40 | |
Pleasure. | 0:33:40 | 0:33:41 | |
You two be good. SHE LAUGHS | 0:33:41 | 0:33:44 | |
I'll call you tomorrow. | 0:33:44 | 0:33:46 | |
Diane. | 0:33:48 | 0:33:50 | |
Mm-hm. | 0:33:50 | 0:33:51 | |
You didn't, er, | 0:33:51 | 0:33:52 | |
tell anybody about what happened last night, | 0:33:52 | 0:33:54 | |
did you? | 0:33:54 | 0:33:55 | |
Does it matter if I had? | 0:33:55 | 0:33:56 | |
You're a grown-up... | 0:33:56 | 0:33:58 | |
or close enough. | 0:33:58 | 0:34:00 | |
Did you? | 0:34:00 | 0:34:01 | |
I didn't say anything definite. | 0:34:04 | 0:34:07 | |
I may have hinted a little. | 0:34:07 | 0:34:09 | |
Hinted? | 0:34:09 | 0:34:10 | |
Why do they need hints? This isn't charades. | 0:34:10 | 0:34:12 | |
What if one of them tells Phil? | 0:34:12 | 0:34:14 | |
Phil, schmil. | 0:34:14 | 0:34:15 | |
"Phil, schmil?" | 0:34:15 | 0:34:16 | |
That isn't very nice. | 0:34:16 | 0:34:18 | |
That isn't very sensitive at all. | 0:34:18 | 0:34:20 | |
Oscar, please. | 0:34:20 | 0:34:21 | |
Phil and I are not an item. | 0:34:21 | 0:34:23 | |
Ahem. Excuse me. There's no smoking. | 0:34:23 | 0:34:26 | |
OK. | 0:34:26 | 0:34:28 | |
Forget about Phil. | 0:34:28 | 0:34:30 | |
Diane, I'd like to ask you | 0:34:30 | 0:34:34 | |
not to come to dinner tonight. | 0:34:34 | 0:34:35 | |
Not go to Cafe Balou? | 0:34:35 | 0:34:37 | |
Are you kidding? Your father's paying. | 0:34:37 | 0:34:39 | |
I want to minimise the likelihood | 0:34:39 | 0:34:41 | |
of your blabbing to Eve. | 0:34:41 | 0:34:42 | |
Maybe you've already told Eve. | 0:34:44 | 0:34:46 | |
I haven't even seen Eve yet. | 0:34:46 | 0:34:47 | |
Yet? Do you plan to tell her? | 0:34:47 | 0:34:50 | |
Oscar, Eve and I grew up together. | 0:34:50 | 0:34:54 | |
Jeez, the stories I could tell you | 0:34:54 | 0:34:56 | |
about Eve when we were 15. | 0:34:56 | 0:34:57 | |
You wouldn't have recognised her. | 0:34:57 | 0:34:58 | |
I don't want to hear it. | 0:34:58 | 0:34:59 | |
When we were 15, | 0:34:59 | 0:35:01 | |
Eve had this thing for Elvis. | 0:35:01 | 0:35:03 | |
Elvis Presley? | 0:35:03 | 0:35:04 | |
Hmm. | 0:35:04 | 0:35:05 | |
Flipped for any guy in sideburns. | 0:35:05 | 0:35:07 | |
Sideburns? | 0:35:07 | 0:35:09 | |
What's so great about sideburns? | 0:35:09 | 0:35:10 | |
I don't know. | 0:35:10 | 0:35:11 | |
The strangest things made her happy. | 0:35:11 | 0:35:14 | |
She was always happy back then. | 0:35:14 | 0:35:16 | |
Back then? | 0:35:16 | 0:35:17 | |
Are you saying now she isn't? | 0:35:17 | 0:35:20 | |
No. That wasn't my intention. | 0:35:21 | 0:35:25 | |
Look. You know what? Let's just forget it. | 0:35:25 | 0:35:27 | |
I shouldn't have said anything. | 0:35:27 | 0:35:28 | |
No. We can't just forget it. | 0:35:28 | 0:35:29 | |
We're talking about Eve's happiness here. | 0:35:29 | 0:35:31 | |
Well, I guess I can confide in you. | 0:35:32 | 0:35:34 | |
We're close now, right? | 0:35:34 | 0:35:35 | |
In a manner of speaking. | 0:35:35 | 0:35:37 | |
OK. Ahem. | 0:35:37 | 0:35:39 | |
I don't think Eve is happy. | 0:35:39 | 0:35:42 | |
There's a void. Something's missing. | 0:35:42 | 0:35:44 | |
What makes you say that? | 0:35:44 | 0:35:46 | |
It's a woman thing. I sense it. | 0:35:46 | 0:35:48 | |
I feel it. | 0:35:48 | 0:35:49 | |
Plus, last week, she said there was a void | 0:35:49 | 0:35:52 | |
and something was missing. | 0:35:52 | 0:35:54 | |
Did she say what? | 0:35:54 | 0:35:55 | |
Couldn't put her finger on it. | 0:35:55 | 0:35:58 | |
I wouldn't worry about it. She'll get over it. | 0:36:01 | 0:36:04 | |
CHARLIE: So, who is this girl? | 0:36:10 | 0:36:12 | |
A friend of the family's. | 0:36:12 | 0:36:14 | |
You gonna see each other again? | 0:36:14 | 0:36:15 | |
Tonight. | 0:36:15 | 0:36:17 | |
But her best friend's gonna be there. | 0:36:17 | 0:36:19 | |
Well, is the friend cute? | 0:36:19 | 0:36:21 | |
I wouldn't call her cute, exactly. | 0:36:21 | 0:36:23 | |
I mean, would I like her? | 0:36:23 | 0:36:26 | |
Well, you know, | 0:36:26 | 0:36:27 | |
I slept with her last night. | 0:36:27 | 0:36:28 | |
With the friend? | 0:36:30 | 0:36:32 | |
Damn! | 0:36:32 | 0:36:33 | |
Yeah, with the friend. | 0:36:33 | 0:36:35 | |
But you don't like the friend. | 0:36:35 | 0:36:37 | |
Not really. Not like that. | 0:36:37 | 0:36:40 | |
But you're going to dinner with both of them... | 0:36:40 | 0:36:43 | |
the woman you like | 0:36:43 | 0:36:45 | |
and the woman you slept with? | 0:36:45 | 0:36:46 | |
Yeah. My dad's coming, too. | 0:36:46 | 0:36:49 | |
Nothing's simple for the Grubber. | 0:36:51 | 0:36:54 | |
Talk to me, Oscar. | 0:36:59 | 0:37:00 | |
What's going on here? | 0:37:00 | 0:37:03 | |
I don't know, Charlie. | 0:37:03 | 0:37:05 | |
I found her. | 0:37:05 | 0:37:06 | |
The girl with the great hands. | 0:37:06 | 0:37:08 | |
Terrific hands. | 0:37:08 | 0:37:09 | |
CHARLIE: Are you gonna tell me her name? | 0:37:09 | 0:37:11 | |
Eve. | 0:37:15 | 0:37:16 | |
Eve...like your mother. | 0:37:16 | 0:37:18 | |
Eve's not my mother. She's my stepmother. | 0:37:18 | 0:37:20 | |
We're not blood relatives at all. | 0:37:20 | 0:37:22 | |
Wait. So, your Eve is that Eve? | 0:37:24 | 0:37:27 | |
Your mother. | 0:37:27 | 0:37:29 | |
She's very wise... and soft. | 0:37:29 | 0:37:33 | |
Are you out of your mind? | 0:37:33 | 0:37:36 | |
Do you want to end up in hell or something? | 0:37:36 | 0:37:38 | |
Charlie, I love her. | 0:37:38 | 0:37:40 | |
Oscar, Eve is married to your father. | 0:37:40 | 0:37:44 | |
I know, but I sense there's a void there. | 0:37:44 | 0:37:46 | |
Something missing. | 0:37:46 | 0:37:47 | |
She needs something more in her life. | 0:37:47 | 0:37:49 | |
Oh, and that would be you...her stepson. | 0:37:49 | 0:37:52 | |
I mean, hey, I know you're French, | 0:37:54 | 0:37:56 | |
and you have, like, a different idea | 0:37:56 | 0:37:58 | |
of family relations, but... | 0:37:58 | 0:38:00 | |
Wait...this means you slept with Diane. | 0:38:00 | 0:38:05 | |
I realise that was a mistake. | 0:38:05 | 0:38:07 | |
She was wearing Eve's scarf. It smelled of her perfume. | 0:38:07 | 0:38:09 | |
I got confused. | 0:38:09 | 0:38:11 | |
Er...I mean, | 0:38:11 | 0:38:13 | |
Diane's pretty hot.... for that age group. | 0:38:13 | 0:38:18 | |
These look fake. | 0:38:18 | 0:38:20 | |
You really fucked up. | 0:38:20 | 0:38:22 | |
Charlie, help me. I need sideburns. | 0:38:22 | 0:38:26 | |
Well...all right. Let me think. | 0:38:26 | 0:38:28 | |
DOG BARKS | 0:38:30 | 0:38:32 | |
DOG BARKS | 0:38:35 | 0:38:37 | |
HE HUMS "Ode To Joy" | 0:38:49 | 0:38:54 | |
STANLEY: I know we've talked about it | 0:38:54 | 0:38:55 | |
just being the two of us, | 0:38:55 | 0:38:56 | |
but the Shermans love Beethoven, as it turns out. | 0:38:56 | 0:38:59 | |
Is it all right with you if they come with us? | 0:38:59 | 0:39:00 | |
Honey? Did you hear me? | 0:39:02 | 0:39:05 | |
EVE: Sure. Fine. | 0:39:06 | 0:39:08 | |
STANLEY: Norm knows the Galea like the back of his hand. | 0:39:08 | 0:39:10 | |
He'll be humming along, like he did with Carmen. | 0:39:10 | 0:39:13 | |
Remember that? | 0:39:13 | 0:39:16 | |
STANLEY: Eve, have you seen my tie? | 0:39:21 | 0:39:23 | |
Honey? | 0:39:24 | 0:39:26 | |
Honey, I want the tie | 0:39:28 | 0:39:29 | |
the Shermans gave me for Christmas. | 0:39:29 | 0:39:31 | |
DOORBELL BUZZES | 0:39:31 | 0:39:34 | |
Hi. | 0:39:36 | 0:39:38 | |
Hi. | 0:39:38 | 0:39:39 | |
You look nice. | 0:39:42 | 0:39:43 | |
You look...er... different. | 0:39:45 | 0:39:49 | |
Worse or better? | 0:39:49 | 0:39:51 | |
Very handsome. | 0:39:53 | 0:39:54 | |
You're making me nervous. | 0:39:54 | 0:39:55 | |
Relax, I'll be very good tonight. | 0:39:55 | 0:39:57 | |
Just don't let me drink. | 0:39:57 | 0:39:59 | |
OSCAR SIGHS | 0:40:03 | 0:40:04 | |
He looks over at me and he goes, | 0:40:04 | 0:40:06 | |
"You know, you have really beautiful eyes." | 0:40:06 | 0:40:08 | |
I go, "Yeah, I know that." | 0:40:08 | 0:40:11 | |
But, you know, we're in a movie theatre. | 0:40:11 | 0:40:14 | |
There's no way he could see my eyes. | 0:40:14 | 0:40:15 | |
It's dark. | 0:40:15 | 0:40:16 | |
So, he goes, "You know what's wrong | 0:40:16 | 0:40:18 | |
"with the modern woman? | 0:40:18 | 0:40:20 | |
"They're acutely sensitive." | 0:40:20 | 0:40:22 | |
So, Oscar...are you happy at Chauncey? | 0:40:22 | 0:40:25 | |
You already asked me that, Dad. | 0:40:25 | 0:40:26 | |
I did? | 0:40:26 | 0:40:28 | |
And what did you say? | 0:40:28 | 0:40:29 | |
I said it was OK. | 0:40:29 | 0:40:31 | |
Sometimes you don't listen so good. | 0:40:31 | 0:40:33 | |
So well. Listen so well. | 0:40:33 | 0:40:35 | |
See, you correct, or you add facts, | 0:40:35 | 0:40:37 | |
or you give your own little anecdotes, | 0:40:37 | 0:40:38 | |
but you don't really absorb the reason | 0:40:38 | 0:40:40 | |
the person is saying the thing that she is. | 0:40:40 | 0:40:42 | |
She? Me, I mean. | 0:40:42 | 0:40:44 | |
The reason I'm telling you something. | 0:40:44 | 0:40:46 | |
Hmm, that's interesting. | 0:40:46 | 0:40:48 | |
And silence, Dad. | 0:40:48 | 0:40:49 | |
Silence? | 0:40:49 | 0:40:50 | |
Listen to what it tells you. | 0:40:50 | 0:40:52 | |
Sometimes it's peaceful, | 0:40:52 | 0:40:54 | |
sometimes it's a shrill scream. | 0:40:54 | 0:40:56 | |
Honey, this is Bob Spear. | 0:41:09 | 0:41:11 | |
Oh, pleased to meet you. | 0:41:11 | 0:41:12 | |
This is my daughter, Miranda. | 0:41:12 | 0:41:14 | |
Oh, how's Chauncey treating you, Miranda? | 0:41:14 | 0:41:16 | |
MIRANDA: Good. | 0:41:16 | 0:41:17 | |
Have a nice holiday. You, too. | 0:41:17 | 0:41:19 | |
BOB SPEAR: Nice to meet you. | 0:41:19 | 0:41:20 | |
STANLEY: Hello, I'm Stanley Grubman, | 0:41:20 | 0:41:21 | |
Oscar's father. | 0:41:21 | 0:41:23 | |
Oscar Grubman? He's here. | 0:41:23 | 0:41:25 | |
STANLEY: This is such a coincidence. | 0:41:25 | 0:41:27 | |
We were just talking about you, | 0:41:27 | 0:41:28 | |
er, today. About, er... | 0:41:28 | 0:41:31 | |
Dad! Dad! | 0:41:31 | 0:41:33 | |
I was just meeting your friend here. | 0:41:33 | 0:41:35 | |
And if you don't mind my saying so, | 0:41:35 | 0:41:36 | |
she is a little firecracker. | 0:41:36 | 0:41:37 | |
OSCAR: I think Eve wants to see you. | 0:41:37 | 0:41:39 | |
She has to give you a pill or something. | 0:41:39 | 0:41:41 | |
What pill? | 0:41:41 | 0:41:42 | |
For your...condition. | 0:41:42 | 0:41:43 | |
For my cholesterol? | 0:41:43 | 0:41:45 | |
Yes. Yes. Your cholesterol. | 0:41:45 | 0:41:47 | |
I'm sorry. He gets a little confused. | 0:41:47 | 0:41:49 | |
How are you, Oscar? | 0:41:49 | 0:41:50 | |
Er, fine. | 0:41:50 | 0:41:51 | |
Happy Thanksgiving. | 0:41:51 | 0:41:53 | |
What are you two talking about? | 0:41:55 | 0:41:57 | |
Colorado. | 0:41:57 | 0:41:59 | |
What's this about pills? | 0:41:59 | 0:42:00 | |
He's never been to Colorado. | 0:42:00 | 0:42:03 | |
Oscar, you're acting very strangely. | 0:42:03 | 0:42:05 | |
What pills? | 0:42:05 | 0:42:07 | |
Bon soir. Would you like to take something to drink? | 0:42:07 | 0:42:09 | |
May we see a wine list, please? | 0:42:09 | 0:42:12 | |
Oubliez le vin, personne n'en veux. | 0:42:12 | 0:42:14 | |
WAITER: What's this? No wine? | 0:42:15 | 0:42:17 | |
Pardon? | 0:42:17 | 0:42:18 | |
The boy, he says you are not in the mood for wine. | 0:42:18 | 0:42:21 | |
Oscar... | 0:42:21 | 0:42:22 | |
STANLEY: Oscar. | 0:42:26 | 0:42:27 | |
I'm in the mood. | 0:42:27 | 0:42:29 | |
Moi aussi. | 0:42:29 | 0:42:30 | |
Shouldn't we take a break once in a while? | 0:42:30 | 0:42:32 | |
I mean, what are we, dependent? | 0:42:32 | 0:42:33 | |
We can't have a good time without alcohol? | 0:42:33 | 0:42:34 | |
Oscar, you're making it sound | 0:42:34 | 0:42:35 | |
as if we have a problem. | 0:42:35 | 0:42:37 | |
Fine. | 0:42:40 | 0:42:42 | |
Wine list, please. | 0:42:42 | 0:42:43 | |
CORK POPS | 0:42:48 | 0:42:50 | |
STANLEY: But why Portugal? | 0:42:50 | 0:42:51 | |
When people go to Portugal, | 0:42:51 | 0:42:53 | |
I always think all the hotel rooms in Spain | 0:42:53 | 0:42:54 | |
must have been booked. | 0:42:54 | 0:42:55 | |
EVE: See, to me, | 0:42:55 | 0:42:57 | |
Portugal is the one that's always held | 0:42:57 | 0:42:58 | |
the eternal mystery. | 0:42:58 | 0:43:01 | |
Oh... | 0:43:01 | 0:43:03 | |
None for me, thanks. | 0:43:03 | 0:43:06 | |
Monsieur, des salades vertes et chanterelles sans oignons, | 0:43:07 | 0:43:11 | |
et s'il vous plait, tres peu de persil. | 0:43:11 | 0:43:14 | |
Pour monsieur, un filet mignon un peu saignant, des poivreaux au lieu des frites. | 0:43:14 | 0:43:18 | |
Une nicoise sans anchois. | 0:43:18 | 0:43:20 | |
Et pour moi, le saumon, s'il vous plait, prepare sans persil... | 0:43:20 | 0:43:26 | |
And what do you want, Diane? | 0:43:26 | 0:43:28 | |
WINE IS POURED | 0:43:28 | 0:43:31 | |
OSCAR: Peter says I may have a shot at the English prize | 0:43:34 | 0:43:36 | |
if I read Beowulf properly. | 0:43:36 | 0:43:38 | |
That is, taking into account the times, | 0:43:38 | 0:43:39 | |
instead of reading it with a contemporary slant. | 0:43:39 | 0:43:42 | |
You can't discount history, Oscar. | 0:43:42 | 0:43:45 | |
No, you can't. | 0:43:45 | 0:43:48 | |
You can't discount it at all. | 0:43:48 | 0:43:50 | |
WINE IS POURED | 0:43:50 | 0:43:51 | |
STANLEY: The sales representative, | 0:43:51 | 0:43:53 | |
this 25-year-old kid who's talking to me | 0:43:53 | 0:43:55 | |
about book jackets for 4 hours, | 0:43:55 | 0:43:57 | |
I went cross-eyed... | 0:43:57 | 0:43:59 | |
DIANE: How many pages you got there, Stanley? | 0:43:59 | 0:44:01 | |
STANLEY: Well, I have about 715... | 0:44:01 | 0:44:03 | |
How are you? | 0:44:03 | 0:44:04 | |
I'm good. | 0:44:04 | 0:44:06 | |
No...how are you? | 0:44:06 | 0:44:10 | |
I'm good, Oscar. | 0:44:10 | 0:44:12 | |
It's good to see you. | 0:44:12 | 0:44:14 | |
You, too. | 0:44:14 | 0:44:15 | |
Are you sure you don't have a girlfriend | 0:44:15 | 0:44:17 | |
at Chauncey? | 0:44:17 | 0:44:19 | |
I would think they'd be lining up. | 0:44:19 | 0:44:22 | |
Eve...I've been thinking about maybe going premed. | 0:44:22 | 0:44:27 | |
Maybe Columbia. | 0:44:27 | 0:44:29 | |
I'd be in the city, we could meet... | 0:44:29 | 0:44:34 | |
to go over my homework. | 0:44:34 | 0:44:35 | |
I mean, if you'd be willing. | 0:44:35 | 0:44:37 | |
Well, I'd love to, Oscar, | 0:44:37 | 0:44:38 | |
but you love literature. | 0:44:38 | 0:44:41 | |
You're fluent in French. | 0:44:41 | 0:44:43 | |
You should be a scholar. | 0:44:43 | 0:44:44 | |
A lot of medicine's in Latin, right? | 0:44:44 | 0:44:45 | |
So I figure, French, Latin... | 0:44:45 | 0:44:47 | |
I'm not doing so badly in biology. | 0:44:47 | 0:44:50 | |
I mean, I know what an isotope is. | 0:44:50 | 0:44:51 | |
But if you went premed, | 0:44:51 | 0:44:53 | |
you couldn't get caught up in the poetry | 0:44:53 | 0:44:55 | |
of the pericardium. | 0:44:55 | 0:44:57 | |
I would get caught up in the poetry | 0:44:57 | 0:44:58 | |
of the thing itself, like you do. | 0:44:58 | 0:45:00 | |
EVE: Don't quote me back to myself. | 0:45:00 | 0:45:03 | |
Is the world really waiting for another academic? | 0:45:03 | 0:45:05 | |
STANLEY: ...a new subject, | 0:45:05 | 0:45:07 | |
something I am passionate... | 0:45:07 | 0:45:08 | |
Diane? | 0:45:08 | 0:45:10 | |
Diane, would you pass the bread, please? | 0:45:10 | 0:45:11 | |
Ahem. | 0:45:11 | 0:45:13 | |
Thank you. | 0:45:19 | 0:45:20 | |
Are you coming down with something? | 0:45:20 | 0:45:22 | |
I'm fine. | 0:45:22 | 0:45:23 | |
Are we still playing tennis tomorrow? | 0:45:23 | 0:45:25 | |
Oh, is that tomorrow, tennis? | 0:45:25 | 0:45:27 | |
Don't you think you've had enough? | 0:45:27 | 0:45:29 | |
STANLEY: ...look at some first editions | 0:45:29 | 0:45:30 | |
he just bought. | 0:45:30 | 0:45:31 | |
He suspects he's been swindled. | 0:45:31 | 0:45:33 | |
Tu ne peux pas etre un peu plus relaxe? Je dis rien de moi. | 0:45:33 | 0:45:37 | |
Tu m'enerves! | 0:45:37 | 0:45:39 | |
OK. Maybe you could go to Norm's | 0:45:39 | 0:45:41 | |
in the afternoon. | 0:45:41 | 0:45:42 | |
STANLEY: I could. | 0:45:42 | 0:45:44 | |
I could go in the afternoon... | 0:45:44 | 0:45:46 | |
Est-ce que tu peux enlever ton pied? | 0:45:46 | 0:45:50 | |
Est-ce que tu peux enlever ton pied? | 0:45:50 | 0:45:53 | |
The thing is, I hate tennis. | 0:45:53 | 0:45:56 | |
I have the court booked. | 0:45:56 | 0:45:58 | |
I'll play tennis with you, Eve. | 0:45:58 | 0:45:59 | |
I love tennis. | 0:45:59 | 0:46:00 | |
Yes, Oscar's a wonderful sport. | 0:46:01 | 0:46:03 | |
There you go. Oscar'll play with you. | 0:46:03 | 0:46:04 | |
You will? You don't mind? | 0:46:04 | 0:46:06 | |
Not at all. | 0:46:06 | 0:46:07 | |
Oscar is very gallant. | 0:46:07 | 0:46:10 | |
(Oscar has a new girlfriend.) | 0:46:10 | 0:46:13 | |
Really? Mm-hm. | 0:46:13 | 0:46:14 | |
It seems last evening | 0:46:14 | 0:46:15 | |
he had quite the late-night conversation. | 0:46:15 | 0:46:19 | |
Oh, tell us about it. | 0:46:19 | 0:46:20 | |
Diane, wine is bad for your heart. | 0:46:20 | 0:46:22 | |
I thought wine was good for your heart. | 0:46:25 | 0:46:26 | |
It is, in moderation. | 0:46:26 | 0:46:29 | |
So, who is this girl, Oscar? | 0:46:29 | 0:46:31 | |
She's quite a little number, by the looks of her. | 0:46:31 | 0:46:33 | |
I thought the girls at Chauncey | 0:46:33 | 0:46:34 | |
hadn't lived enough. | 0:46:34 | 0:46:35 | |
Can we change the subject, please? | 0:46:35 | 0:46:37 | |
Well, if we're going to change the subject, | 0:46:42 | 0:46:43 | |
I'm going to excuse myself for the ladies' room. | 0:46:43 | 0:46:46 | |
Excuse me. | 0:46:53 | 0:46:54 | |
I think that's why he's acting so strangely. | 0:46:58 | 0:47:01 | |
What the hell are you doing?! | 0:47:03 | 0:47:04 | |
What do you mean? | 0:47:04 | 0:47:05 | |
What do I mean? You're drinking, | 0:47:05 | 0:47:07 | |
you're making these jokes, | 0:47:07 | 0:47:08 | |
you have your foot in my crotch... | 0:47:08 | 0:47:09 | |
Loosen up. Loosen up? | 0:47:09 | 0:47:11 | |
I asked you not to let them know. | 0:47:11 | 0:47:13 | |
HE CHUCKLES | 0:47:13 | 0:47:15 | |
THEN CHOKES | 0:47:15 | 0:47:16 | |
Oh, my! | 0:47:16 | 0:47:17 | |
EVE: What is it? | 0:47:17 | 0:47:19 | |
Something very unusual. | 0:47:20 | 0:47:22 | |
(No-one knows anything.) | 0:47:26 | 0:47:29 | |
EVE: What is that on your face? | 0:47:46 | 0:47:49 | |
What? | 0:47:49 | 0:47:50 | |
Oh! Aah! | 0:47:53 | 0:47:55 | |
Ow! | 0:47:55 | 0:47:56 | |
Do you two have something | 0:47:57 | 0:47:58 | |
you'd like to share with us? | 0:47:58 | 0:47:59 | |
What? | 0:47:59 | 0:48:01 | |
Oh, God. | 0:48:07 | 0:48:09 | |
What's going on? | 0:48:09 | 0:48:10 | |
Well? | 0:48:10 | 0:48:12 | |
OK, I think what we're talking about here | 0:48:12 | 0:48:14 | |
is Prufigger's theory of distortion, | 0:48:14 | 0:48:15 | |
which states that prismatic effect of a body | 0:48:15 | 0:48:18 | |
reflected on a plane at a certain angle... | 0:48:18 | 0:48:20 | |
Stanley, what is it? | 0:48:20 | 0:48:22 | |
..an illusion... | 0:48:22 | 0:48:23 | |
Oh, what the hell?! We're all adults here. | 0:48:23 | 0:48:26 | |
No, actually, we're not. | 0:48:26 | 0:48:27 | |
Eve... | 0:48:27 | 0:48:29 | |
..Oscar and I... | 0:48:30 | 0:48:31 | |
..both speak French. | 0:48:31 | 0:48:33 | |
DIANE: Oscar and I are lovers. | 0:48:33 | 0:48:38 | |
What?! | 0:48:38 | 0:48:40 | |
What?! Are you drunk? | 0:48:40 | 0:48:41 | |
Oscar, just relax. | 0:48:41 | 0:48:43 | |
I saw them in the mirror. | 0:48:43 | 0:48:45 | |
I just hope Miranda Spear | 0:48:45 | 0:48:46 | |
didn't see it, too. | 0:48:46 | 0:48:48 | |
Dad, there is no Miranda Spear. | 0:48:48 | 0:48:50 | |
There is no Mir... What are you talking about? | 0:48:50 | 0:48:52 | |
I just shook hands with her father. | 0:48:52 | 0:48:53 | |
EVE: When did this happen? | 0:48:53 | 0:48:55 | |
Last night? | 0:48:55 | 0:48:56 | |
Mm-hm. | 0:48:56 | 0:48:57 | |
Stanley... | 0:48:59 | 0:49:00 | |
Of course, you know, it's not that uncommon. | 0:49:00 | 0:49:01 | |
In Ancient Rome, 50-year-old men | 0:49:01 | 0:49:03 | |
would marry 14-year-old girls. | 0:49:03 | 0:49:05 | |
This is not Ancient Rome. | 0:49:05 | 0:49:07 | |
I am nowhere near 50! | 0:49:07 | 0:49:09 | |
Well, it is all very The Graduate. | 0:49:09 | 0:49:12 | |
Except that Oscar hasn't graduated. | 0:49:12 | 0:49:14 | |
THUNDER RUMBLES | 0:49:27 | 0:49:30 | |
There. | 0:49:32 | 0:49:34 | |
Thanks. | 0:49:34 | 0:49:36 | |
So, you coming to bed soon? | 0:49:38 | 0:49:39 | |
Er, in a while. | 0:49:39 | 0:49:40 | |
I just have to finish these chapter notes. | 0:49:40 | 0:49:43 | |
Good night, sweetheart. | 0:49:43 | 0:49:45 | |
DIANE: I just don't see why you're so upset. | 0:50:03 | 0:50:05 | |
I'm entrusted with his welfare, Diane. | 0:50:05 | 0:50:07 | |
I mean, can you imagine | 0:50:07 | 0:50:08 | |
if Oscar's mother found out? | 0:50:08 | 0:50:11 | |
She's French, isn't she? | 0:50:11 | 0:50:12 | |
They're not all like that, OK? | 0:50:12 | 0:50:15 | |
You're taking advantage of him. | 0:50:15 | 0:50:17 | |
Oh, bullshit, Eve. | 0:50:17 | 0:50:19 | |
Oscar's a smart kid. | 0:50:19 | 0:50:21 | |
Now, there are some 40-year-old men | 0:50:21 | 0:50:23 | |
of whom I am taking advantage. | 0:50:23 | 0:50:24 | |
Am I overreacting? He's 15! | 0:50:24 | 0:50:27 | |
Well, you and I were hardly innocent | 0:50:27 | 0:50:29 | |
when we were 15. | 0:50:29 | 0:50:31 | |
Who went to the Jefferson Airplane concert | 0:50:31 | 0:50:32 | |
and pulled down their tube top and...? | 0:50:32 | 0:50:35 | |
That's different, OK? | 0:50:35 | 0:50:37 | |
All right, that's different. | 0:50:37 | 0:50:39 | |
I know why you're upset. | 0:50:39 | 0:50:43 | |
You're upset because you know | 0:50:43 | 0:50:44 | |
that deep down inside, | 0:50:44 | 0:50:45 | |
if our situations were reversed, | 0:50:45 | 0:50:47 | |
you would have done the exact same thing. | 0:50:47 | 0:50:49 | |
Don't be ridiculous. | 0:50:49 | 0:50:51 | |
You would have. | 0:50:51 | 0:50:52 | |
With a 15-year-old?! Not on your life. | 0:50:52 | 0:50:55 | |
Not just a 15-year-old. | 0:50:55 | 0:50:56 | |
A smart, sweet, passionate person. | 0:50:56 | 0:51:00 | |
You're not the only one with something missing. | 0:51:00 | 0:51:03 | |
Samantha Steadman gave Oscar | 0:51:05 | 0:51:06 | |
her phone number. | 0:51:06 | 0:51:08 | |
And you let her? | 0:51:08 | 0:51:11 | |
He can take care of himself. | 0:51:11 | 0:51:13 | |
I'm not his mother. Neither are you. | 0:51:13 | 0:51:15 | |
What is wrong with your friends? | 0:51:15 | 0:51:17 | |
Nothing. Jesus. | 0:51:17 | 0:51:18 | |
And if you hadn't met somebody | 0:51:18 | 0:51:21 | |
in a really long time | 0:51:21 | 0:51:22 | |
who was very excited about life, | 0:51:22 | 0:51:24 | |
you would consider a 15-year-old. | 0:51:24 | 0:51:27 | |
EVE: Love-30. | 0:52:11 | 0:52:13 | |
Or, 0-30. | 0:52:13 | 0:52:16 | |
As if you know what love means. | 0:52:16 | 0:52:19 | |
Comes from the French word for egg. | 0:52:19 | 0:52:21 | |
L'oeuf. | 0:52:21 | 0:52:23 | |
Eve... | 0:52:23 | 0:52:25 | |
I know how it must look. | 0:52:25 | 0:52:27 | |
I understand how misled you must feel. | 0:52:27 | 0:52:32 | |
I spoke of poetic thoughts... | 0:52:32 | 0:52:35 | |
of love and livers | 0:52:35 | 0:52:37 | |
merely hours after having cheap, | 0:52:37 | 0:52:40 | |
meaningless sexual intercourse | 0:52:40 | 0:52:41 | |
with your best friend. | 0:52:41 | 0:52:43 | |
No. | 0:52:43 | 0:52:44 | |
That's 15-30, right? | 0:52:44 | 0:52:46 | |
Serve! | 0:52:46 | 0:52:48 | |
Eve... | 0:52:50 | 0:52:52 | |
sometimes the natural call of man | 0:52:52 | 0:52:56 | |
is just too strong to... No. Ugh. | 0:52:56 | 0:52:59 | |
So that's 15-40, right? | 0:52:59 | 0:53:02 | |
A ratio you seem particularly fond of. | 0:53:02 | 0:53:06 | |
And, yes, Eve, true passion does still exist, | 0:53:09 | 0:53:12 | |
and I know this | 0:53:12 | 0:53:14 | |
because I'm a man who feels true passion. | 0:53:14 | 0:53:18 | |
I think you'll be fine. | 0:53:38 | 0:53:40 | |
CHARLIE: If you're gonna mess with | 0:53:45 | 0:53:46 | |
the stuff of Greek tragedies, Oscar, | 0:53:46 | 0:53:47 | |
you're gonna have to be prepared for the fallout. | 0:53:47 | 0:53:49 | |
Charlie, help me. | 0:53:49 | 0:53:52 | |
OK, let's look at this rationally. | 0:53:54 | 0:53:57 | |
If you had met Eve in, say, a coffee shop, | 0:53:57 | 0:53:59 | |
would you still be attracted to her? | 0:53:59 | 0:54:01 | |
I mean, it's not just cos she's your mother, is it? | 0:54:01 | 0:54:04 | |
She's not my mother. Stop saying that. | 0:54:04 | 0:54:06 | |
DOG BARKS | 0:54:06 | 0:54:08 | |
OK, look, maybe it's not your fault. | 0:54:08 | 0:54:12 | |
I mean, since your father's been married to another woman, | 0:54:12 | 0:54:14 | |
in the eyes of the church, he's a polygamist. | 0:54:14 | 0:54:17 | |
So maybe you're just genetically predisposed... | 0:54:17 | 0:54:20 | |
that is, programmed to repeat the mistakes | 0:54:20 | 0:54:23 | |
or sins of your biological... | 0:54:23 | 0:54:25 | |
Shut up, Charlie. | 0:54:25 | 0:54:28 | |
KNOCKING ON DOOR | 0:54:28 | 0:54:30 | |
You kids having fun? | 0:54:31 | 0:54:33 | |
Do you want some cookies or anything? | 0:54:33 | 0:54:35 | |
No, Ma, we're fine. | 0:54:35 | 0:54:36 | |
My, Oscar, | 0:54:36 | 0:54:38 | |
I can't believe how big you've gotten. | 0:54:38 | 0:54:39 | |
Yeah, I guess I hit quite a spurt there. | 0:54:39 | 0:54:41 | |
All right, yeah, er... | 0:54:41 | 0:54:44 | |
All right, Ma, thanks. | 0:54:44 | 0:54:45 | |
And I'll, er, see you later. | 0:54:45 | 0:54:47 | |
Stick to your own mom, will you? | 0:54:48 | 0:54:50 | |
Hey, Jimmy. | 0:55:07 | 0:55:08 | |
What's on your mind, Tadpole? | 0:55:08 | 0:55:11 | |
Nobody calls me that any more, Jimmy. | 0:55:11 | 0:55:14 | |
What do they call you now? | 0:55:15 | 0:55:16 | |
Stupid. | 0:55:16 | 0:55:18 | |
Everything's messed up. | 0:55:20 | 0:55:23 | |
Well, what's the trouble, Tadp... | 0:55:23 | 0:55:25 | |
er, Stupid? | 0:55:25 | 0:55:28 | |
Women, I guess. | 0:55:28 | 0:55:31 | |
Not girls? | 0:55:31 | 0:55:33 | |
No, they're definitely women. | 0:55:33 | 0:55:36 | |
No women... | 0:55:38 | 0:55:40 | |
No cry. | 0:55:40 | 0:55:42 | |
Thanks for that, Jimmy. | 0:55:44 | 0:55:46 | |
I made you a sandwich. | 0:56:24 | 0:56:26 | |
Thanks. | 0:56:26 | 0:56:28 | |
Grilled cheese - my favourite. | 0:56:31 | 0:56:33 | |
I know. | 0:56:35 | 0:56:37 | |
Good thing it's something I can actually cook. | 0:56:37 | 0:56:41 | |
Dad always burns them. | 0:56:41 | 0:56:44 | |
He won't use Teflon. | 0:56:44 | 0:56:46 | |
Well, he's a traditionalist. | 0:56:46 | 0:56:49 | |
These, er... Teflon make | 0:56:51 | 0:56:54 | |
replacement heart valves, right? | 0:56:54 | 0:56:57 | |
You know way too much for a 15-year-old. | 0:56:57 | 0:56:59 | |
Nothing worth knowing. | 0:56:59 | 0:57:02 | |
That's not true, Oscar, plenty worth knowing. | 0:57:02 | 0:57:05 | |
You know... | 0:57:09 | 0:57:11 | |
..with Diane... | 0:57:13 | 0:57:15 | |
Oscar, I've already decided | 0:57:15 | 0:57:18 | |
it's really none of my business. | 0:57:18 | 0:57:20 | |
You are old enough to make your own decisions. | 0:57:20 | 0:57:22 | |
I want to explain. | 0:57:22 | 0:57:24 | |
With Diane, well... | 0:57:26 | 0:57:29 | |
..it was Teflon sex. | 0:57:30 | 0:57:32 | |
Pardon me? | 0:57:32 | 0:57:34 | |
She was doing this thing to my back - pressing... | 0:57:34 | 0:57:36 | |
and I was drunk, she's a chiropractor, | 0:57:36 | 0:57:38 | |
that kind of thing. | 0:57:38 | 0:57:39 | |
That kind of thing. | 0:57:39 | 0:57:40 | |
Hormones racing out of control, or pheromones. | 0:57:40 | 0:57:43 | |
I'm not that kind of a person. | 0:57:43 | 0:57:45 | |
You told me once that it could be years | 0:57:46 | 0:57:50 | |
before anyone really understood | 0:57:50 | 0:57:52 | |
what the hell I was talking about | 0:57:52 | 0:57:54 | |
but that the day would come | 0:57:54 | 0:57:55 | |
when everyone caught up to me, | 0:57:55 | 0:57:58 | |
and while I knew | 0:57:58 | 0:57:59 | |
that maybe you were just being kind, | 0:57:59 | 0:58:01 | |
I knew one thing. | 0:58:01 | 0:58:03 | |
..that I love... | 0:58:05 | 0:58:06 | |
..things. | 0:58:08 | 0:58:11 | |
And, and, er... | 0:58:11 | 0:58:13 | |
It's OK. | 0:58:13 | 0:58:14 | |
And there was Diane, | 0:58:14 | 0:58:15 | |
and she was... | 0:58:15 | 0:58:17 | |
..wearing your scarf. | 0:58:19 | 0:58:21 | |
I better do the dishes. | 0:58:42 | 0:58:45 | |
DOOR SHUTS | 1:00:52 | 1:00:54 | |
Well, I lost big-time. | 1:00:58 | 1:01:01 | |
Look at you. | 1:01:01 | 1:01:02 | |
You're a good boy, Oscar. | 1:01:02 | 1:01:05 | |
Where's Eve? | 1:01:05 | 1:01:06 | |
How should I know? | 1:01:06 | 1:01:08 | |
In bed, probably. | 1:01:08 | 1:01:10 | |
Probably. | 1:01:12 | 1:01:13 | |
That professor Tisch, I think he's a cheat. | 1:01:15 | 1:01:17 | |
I bet he palms off the bottom of the deck. | 1:01:17 | 1:01:21 | |
Oscar, have you noticed | 1:01:32 | 1:01:33 | |
anything different about Eve this weekend? | 1:01:33 | 1:01:36 | |
Different? | 1:01:40 | 1:01:41 | |
Like what? | 1:01:41 | 1:01:44 | |
I don't know, for the last few months, | 1:01:44 | 1:01:47 | |
she's been going to bed earlier. | 1:01:47 | 1:01:50 | |
Maybe she's just tired or... | 1:01:50 | 1:01:53 | |
Or what? | 1:01:56 | 1:01:58 | |
I don't know what. | 1:01:59 | 1:02:01 | |
Maybe I'm missing something. | 1:02:01 | 1:02:03 | |
I thought about what you said last night. | 1:02:03 | 1:02:05 | |
Maybe I haven't been listening too well. | 1:02:05 | 1:02:09 | |
Then again, maybe I'm just imagining things. | 1:02:12 | 1:02:14 | |
# Tom, get your plane right on time | 1:02:34 | 1:02:40 | |
# I know your part'll go fine | 1:02:40 | 1:02:46 | |
# Fly down to Mexico | 1:02:46 | 1:02:52 | |
# Do-n-do-n-do-n-do and here I am | 1:02:52 | 1:02:58 | |
# The only living boy in New York | 1:02:58 | 1:03:03 | |
# I get the news I need on the weather report | 1:03:06 | 1:03:10 | |
# I can gather all the news I need on the weather report | 1:03:10 | 1:03:16 | |
# Hey, I got nothing to do today but smile | 1:03:18 | 1:03:24 | |
# Do-n-do-n-do-n-do and here I am | 1:03:24 | 1:03:28 | |
# The only living boy in New York | 1:03:29 | 1:03:33 | |
# Half of the time we're gone but we don't know where | 1:03:37 | 1:03:41 | |
# And we don't know when | 1:03:41 | 1:03:44 | |
# Ah-h-h-h-h-h... # | 1:03:44 | 1:03:48 | |
I'll get your ticket. I'll be right back. | 1:03:56 | 1:03:59 | |
You have a loose button. | 1:04:06 | 1:04:08 | |
I'd sew it for you, but I don't sew. | 1:04:10 | 1:04:13 | |
I know. | 1:04:13 | 1:04:15 | |
I'm not a very good mother... | 1:04:15 | 1:04:17 | |
Step-mother. | 1:04:17 | 1:04:19 | |
Who says they have to cook and sew? | 1:04:19 | 1:04:22 | |
Anyway, you know how to monitor | 1:04:22 | 1:04:26 | |
cardiac myocytes - that's enough. | 1:04:26 | 1:04:29 | |
How's your liver? | 1:04:35 | 1:04:38 | |
Hurts. | 1:04:38 | 1:04:39 | |
Broken? | 1:04:39 | 1:04:41 | |
No. | 1:04:41 | 1:04:44 | |
I love your father very much. | 1:04:44 | 1:04:47 | |
Me, too. | 1:04:47 | 1:04:50 | |
So, see you back here in about three weeks? | 1:04:52 | 1:04:55 | |
You two look very serious. | 1:04:56 | 1:04:58 | |
We're talking about Christmas. | 1:04:58 | 1:05:00 | |
Oscar's going to his mother's in France. | 1:05:00 | 1:05:03 | |
He is? | 1:05:03 | 1:05:05 | |
We're going to Portugal, just the two of us. | 1:05:05 | 1:05:08 | |
We are? | 1:05:09 | 1:05:10 | |
If you want. | 1:05:10 | 1:05:12 | |
Hey. | 1:05:12 | 1:05:13 | |
Bye, sweetie. | 1:05:15 | 1:05:17 | |
Here. | 1:05:46 | 1:05:47 | |
Thanks, Oscar. | 1:05:47 | 1:05:50 | |
You're welcome. | 1:05:50 | 1:05:51 | |
See you at school. | 1:05:51 | 1:05:53 | |
OK. | 1:05:53 | 1:05:55 | |
If we don't find anything pleasant, | 1:05:55 | 1:05:57 | |
at least we shall find something new. | 1:05:57 | 1:06:00 | |
What's that? | 1:06:00 | 1:06:03 | |
Voltaire. | 1:06:03 | 1:06:05 | |
Oh, right. | 1:06:07 | 1:06:08 | |
See you at school. | 1:06:10 | 1:06:13 | |
She is so hot for you. | 1:06:22 | 1:06:25 | |
She smells nice. | 1:06:25 | 1:06:28 | |
She what? | 1:06:29 | 1:06:32 | |
So, what happened with Eve? | 1:06:39 | 1:06:42 | |
Come on, talk to me, Grubber. | 1:06:45 | 1:06:48 | |
Well, it wasn't as important as I thought it was. | 1:06:52 | 1:06:56 | |
# ..Of how the others must see the faker | 1:06:58 | 1:07:01 | |
# I'm much too fast to take that test | 1:07:01 | 1:07:05 | |
# Ch-ch-ch-ch-changes | 1:07:05 | 1:07:07 | |
# Turn and face the strain | 1:07:07 | 1:07:10 | |
# Ch-ch-ch-changes | 1:07:10 | 1:07:11 | |
# Don't want to be a richer man | 1:07:11 | 1:07:13 | |
# Ch-ch-ch-ch-changes | 1:07:13 | 1:07:16 | |
# Turn and face the strain | 1:07:16 | 1:07:18 | |
# Ch-ch-ch-changes | 1:07:18 | 1:07:20 | |
# Just gonna have to be a different man | 1:07:20 | 1:07:22 | |
# Time may change me | 1:07:22 | 1:07:25 | |
# But I can't trace time | 1:07:25 | 1:07:28 | |
# Ooh yeah | 1:07:35 | 1:07:36 | |
# I watch the ripples change their size | 1:07:39 | 1:07:42 | |
# But never leave the stream of warm impermanence | 1:07:42 | 1:07:47 | |
# And so the days float through my eyes | 1:07:47 | 1:07:51 | |
# But still the days seem the same | 1:07:51 | 1:07:54 | |
# And these children that you spit on | 1:07:55 | 1:07:59 | |
# As they try to change their worlds | 1:07:59 | 1:08:03 | |
# Are immune to your consultations | 1:08:03 | 1:08:07 | |
# They're quite aware what they're going through | 1:08:07 | 1:08:10 | |
# Ch-ch-ch-ch-changes | 1:08:10 | 1:08:12 | |
# Turn and face the strain | 1:08:12 | 1:08:15 | |
# Ch-ch-changes | 1:08:15 | 1:08:16 | |
# Don't tell them to grow up and out of it | 1:08:16 | 1:08:19 | |
# Ch-ch-ch-ch-changes | 1:08:19 | 1:08:21 | |
# Turn and face the strain | 1:08:21 | 1:08:24 | |
# Ch-ch-changes | 1:08:24 | 1:08:25 | |
# Where's your shame? | 1:08:25 | 1:08:26 | |
# You've left us up to our necks in it | 1:08:26 | 1:08:28 | |
# Time may change me | 1:08:28 | 1:08:30 | |
# But you can't trace time | 1:08:30 | 1:08:34 | |
# Strange fascination, fascinating me | 1:08:35 | 1:08:40 | |
# Changes are taking the pace I'm going through | 1:08:42 | 1:08:49 | |
# Ch-ch-ch-ch-changes | 1:08:49 | 1:08:51 | |
# Turn and face the strain | 1:08:51 | 1:08:53 | |
# Ch-ch-changes | 1:08:53 | 1:08:55 | |
# Ooh, look out you rock 'n' rollers | 1:08:55 | 1:08:57 | |
# Ch-ch-ch-ch-changes | 1:08:57 | 1:09:00 | |
# Turn and face the strain | 1:09:00 | 1:09:02 | |
# Ch-ch-changes | 1:09:02 | 1:09:04 | |
# Pretty soon now you're gonna get older | 1:09:04 | 1:09:06 | |
# Time may change me | 1:09:06 | 1:09:09 | |
# But I can't trace time | 1:09:09 | 1:09:12 | |
# I said that time may change me | 1:09:12 | 1:09:15 | |
# But I can't trace time. # | 1:09:15 | 1:09:18 | |
Subtitles by Red Bee Media Ltd | 1:09:27 | 1:09:29 | |
E-mail: [email protected] | 1:09:29 | 1:09:32 |