
Browse content similar to Metropolitan. Check below for episodes and series from the same categories and more!
| Line | From | To | |
|---|---|---|---|
Don't listen to your brother. | 0:01:19 | 0:01:22 | |
There's no-one less an authority on female anatomy. | 0:01:22 | 0:01:24 | |
He can see it's enormous. | 0:01:24 | 0:01:26 | |
No, it isn't. | 0:01:26 | 0:01:28 | |
It's hideous. | 0:01:28 | 0:01:30 | |
Show me that dress again. | 0:01:30 | 0:01:31 | |
It is full here. Let me have it. | 0:01:36 | 0:01:38 | |
Thanks, Mom. | 0:01:41 | 0:01:42 | |
# DANCE BAND: "Farewell, ladies" | 0:02:08 | 0:02:12 | |
< Taxi? | 0:02:26 | 0:02:27 | |
Is this your cab? | 0:02:27 | 0:02:29 | |
No. | 0:02:29 | 0:02:30 | |
This your cab? | 0:02:29 | 0:02:30 | |
Really, it's not my cab. | 0:02:30 | 0:02:33 | |
We'll share it. | 0:02:32 | 0:02:33 | |
But I don't want it. | 0:02:33 | 0:02:34 | |
We'll share it. I insist. That way there's no ill feeling. | 0:02:34 | 0:02:36 | |
Are you going to Sally's, too? | 0:02:37 | 0:02:40 | |
No. > | 0:02:38 | 0:02:40 | |
That settles it. Come with us - we'll all go in the same direction. | 0:02:40 | 0:02:45 | |
We'll all freeze to death out here. | 0:02:42 | 0:02:45 | |
Come on. | 0:02:46 | 0:02:47 | |
'Hi. I'm Nick.' | 0:02:49 | 0:02:51 | |
'Hi, Nick. I'm Tom.' | 0:02:49 | 0:02:51 | |
-Nice to meet you. -You are going to Sally's, aren't you? | 0:02:51 | 0:02:55 | |
(STAMMERS) Of course there's a God. We know it. | 0:02:56 | 0:02:59 | |
< I know no such thing. | 0:02:59 | 0:03:05 | |
Yes, you do. Just think - and most of our life is taken up thinking - | 0:03:00 | 0:03:05 | |
you must feel that your thoughts aren't wasted but are being heard,.. | 0:03:05 | 0:03:10 | |
..silently listened to with total comprehension... | 0:03:10 | 0:03:17 | |
< Hi, Sally. | 0:03:15 | 0:03:17 | |
Hi. | 0:03:16 | 0:03:17 | |
Hello. | 0:03:17 | 0:03:19 | |
Nice to meet you. | 0:03:19 | 0:03:21 | |
What's his name, again? | 0:03:23 | 0:03:30 | |
Tom Townsend. | 0:03:24 | 0:03:30 | |
No, it was something else. | 0:03:25 | 0:03:30 | |
No, it's Tom Townsend, I'm sure. | 0:03:27 | 0:03:30 | |
He looks familiar. > | 0:03:30 | 0:03:35 | |
He sat at the table behind us, not talking to anyone all evening,... | 0:03:31 | 0:03:35 | |
..then tried to get the cab we flagged but insisted we take it. | 0:03:35 | 0:03:40 | |
Nick insisted he came along too. | 0:03:40 | 0:03:43 | |
(STAMMERS) Belief is innate in all of us. At some point most of us lose that. | 0:03:43 | 0:03:48 | |
It can only be regained by a conscious act of faith. | 0:03:48 | 0:03:57 | |
You've experienced that? | 0:03:51 | 0:03:57 | |
No, I haven't. I hope to, some day. | 0:03:53 | 0:03:57 | |
It wasn't my cab. I was waiting for a light to change. I never take cabs | 0:03:57 | 0:04:02 | |
You never take cabs? | 0:04:02 | 0:04:03 | |
No, I walk or take public transport. | 0:04:03 | 0:04:06 | |
Why? | 0:04:05 | 0:04:06 | |
You're a public transport snob? You look down on people who take taxis? | 0:04:06 | 0:04:15 | |
No, not at all. | 0:04:12 | 0:04:15 | |
That's how New York is seen in the popular imagination. | 0:04:15 | 0:04:21 | |
(STAMMERS) I don't think there is a "popular" imagination. | 0:04:17 | 0:04:21 | |
What do you mean? | 0:04:21 | 0:04:26 | |
Just that. I don't think there is a popular imagination. | 0:04:22 | 0:04:26 | |
Pomfret. Where did you go? | 0:04:26 | 0:04:29 | |
Farmington. | 0:04:26 | 0:04:29 | |
Both of us did. | 0:04:27 | 0:04:29 | |
Did you know Serena Slocum? | 0:04:29 | 0:04:35 | |
The inevitable question. | 0:04:31 | 0:04:35 | |
Why? | 0:04:32 | 0:04:35 | |
All the guys ask. | 0:04:33 | 0:04:35 | |
Serena had at least 20 boyfriends. | 0:04:35 | 0:04:38 | |
They were all at different schools and she wrote letters very quickly. | 0:04:38 | 0:04:43 | |
She became really famous. I can't believe how naive some guys are. | 0:04:43 | 0:04:48 | |
That might give a wrong impression. | 0:04:48 | 0:04:51 | |
She wrote a lot of guys but liked some more than others. | 0:04:51 | 0:04:58 | |
You think so? I never noticed. How do you know Serena? | 0:04:54 | 0:04:58 | |
I was one of her boyfriends. | 0:04:58 | 0:05:01 | |
You must be "Pomfret". Your letters were really good. | 0:05:01 | 0:05:06 | |
Yes. | 0:05:06 | 0:05:06 | |
What do you mean? | 0:05:06 | 0:05:07 | |
They were interesting. | 0:05:07 | 0:05:08 | |
Serena let you read my letters? | 0:05:08 | 0:05:10 | |
No, she read them aloud. | 0:05:10 | 0:05:11 | |
I can't believe it. | 0:05:12 | 0:05:18 | |
Only the really good ones or the very bad. Yours were good. | 0:05:13 | 0:05:18 | |
There's no suggestion of ridicule, as I recall. | 0:05:18 | 0:05:22 | |
I remember your letter on agrarian socialism - it set Alice Dreyer off on Marxism. | 0:05:22 | 0:05:28 | |
She joined the Red Underground Army. If she blows herself up, it's your fault. | 0:05:28 | 0:05:33 | |
I'm surprised you're here - your letters showed vehement opposition... | 0:05:33 | 0:05:38 | |
..to deb parties and society in general. Have you changed your mind? | 0:05:38 | 0:05:44 | |
No. I'm as much opposed as ever. | 0:05:41 | 0:05:44 | |
Why did you decide to come tonight? | 0:05:44 | 0:05:52 | |
He got an invitation. | 0:05:46 | 0:05:52 | |
Yes, I got an invitation and didn't have anything else to do. | 0:05:48 | 0:05:52 | |
That's the case of almost everybody. | 0:05:52 | 0:06:01 | |
Nick goes, invited or not. | 0:05:54 | 0:06:01 | |
I'm in favour of these parties and show my support however I can. | 0:05:56 | 0:06:01 | |
It's ridiculous to oppose deb parties and attend them anyways. | 0:06:02 | 0:06:07 | |
It's untenable. | 0:06:07 | 0:06:09 | |
Everyone does. | 0:06:09 | 0:06:13 | |
But that's no contradiction. | 0:06:10 | 0:06:13 | |
I wasn't trying to. | 0:06:11 | 0:06:13 | |
It's justifiable to go once to see what you oppose. | 0:06:13 | 0:06:17 | |
I'd read Veblen but I'm amazed it still goes on. | 0:06:17 | 0:06:21 | |
You're a Marxist? | 0:06:18 | 0:06:21 | |
Socialist, not Marxist. I favour the 19thC French social critic, Fourier. | 0:06:21 | 0:06:27 | |
You're a Fourierist? | 0:06:27 | 0:06:30 | |
Yes. | 0:06:29 | 0:06:30 | |
It was tried in the 19thC and failed | 0:06:31 | 0:06:34 | |
Wasn't Brook Farm Fourierist? It failed. | 0:06:34 | 0:06:41 | |
That's debatable. | 0:06:37 | 0:06:41 | |
That Brook Farm failed? | 0:06:39 | 0:06:41 | |
It ceased to exist, but does that make it a failure? | 0:06:41 | 0:06:45 | |
For me, ceasing to exist is failure - that's definitive. | 0:06:45 | 0:06:50 | |
Everyone ceases to exist. It doesn't mean everyone's a failure. | 0:06:50 | 0:06:56 | |
You really feel that way? | 0:06:57 | 0:07:00 | |
I really do. | 0:06:58 | 0:07:00 | |
Tom Townsend. Tom Townsend. A fine name. | 0:07:02 | 0:07:06 | |
What about Tommy? Tommy Townsend - sounds more UC. | 0:07:06 | 0:07:13 | |
Really? What's that? | 0:07:11 | 0:07:13 | |
We come here all the time, thus the SFRP - Sally Fowler Rat Pack. | 0:07:14 | 0:07:19 | |
Mine and Charlie's are, too. | 0:07:21 | 0:07:27 | |
But divorce is fairly rare amongst standard New York social types,... | 0:07:22 | 0:07:27 | |
..contrary to what people think. | 0:07:27 | 0:07:30 | |
There's often other problems, like dead fathers. Jane's died last year. | 0:07:30 | 0:07:36 | |
It must have been awful for her. | 0:07:36 | 0:07:40 | |
-Yes. It was tough on -him, -too. | 0:07:38 | 0:07:40 | |
That's not a broken home, though. | 0:07:40 | 0:07:45 | |
It still means your mother dates. | 0:07:42 | 0:07:45 | |
The image of divorce and decadence as prevalent among New Yorkers is inaccurate. That's more Southampton. | 0:07:45 | 0:07:54 | |
RECORD PLAYER: # Cha-cha | 0:07:58 | 0:08:01 | |
MUSIC & LAUGHTER | 0:08:02 | 0:08:04 | |
Cynthia, let's cha-cha-cha. | 0:08:07 | 0:08:11 | |
It's ridiculous. | 0:08:09 | 0:08:11 | |
The cha-cha is no more ridiculous than life itself. | 0:08:11 | 0:08:18 | |
I can't do it. | 0:08:15 | 0:08:18 | |
You must have learnt at school. | 0:08:16 | 0:08:18 | |
Ah? Cha-cha. | 0:08:20 | 0:08:22 | |
How is it possible to forget the cha-cha? Except by blocking it out. | 0:08:22 | 0:08:27 | |
# Tom? Audrey? Cha-cha-cha? | 0:08:35 | 0:08:38 | |
# Tom? Audrey? Cha-cha-cha? | 0:08:38 | 0:08:40 | |
# Cha-cha-cha # | 0:08:45 | 0:08:48 | |
Hi. | 0:08:52 | 0:08:55 | |
Hi. | 0:08:53 | 0:08:55 | |
What are you doing in the dark? | 0:08:55 | 0:08:59 | |
Just getting a glass of water. | 0:08:57 | 0:08:59 | |
It's awfully late. | 0:09:02 | 0:09:06 | |
What time do afterparties end? | 0:09:03 | 0:09:06 | |
No set time. Usually when everyone goes. Or when the parents get up. | 0:09:06 | 0:09:12 | |
Last time I was here at Thanksgiving | 0:09:12 | 0:09:15 | |
Sally's parents asked us to stay for breakfast. | 0:09:15 | 0:09:19 | |
Amazing. | 0:09:16 | 0:09:19 | |
No-one stayed, except Nick. | 0:09:19 | 0:09:24 | |
Really? | 0:09:21 | 0:09:24 | |
He likes everyone's parents. | 0:09:21 | 0:09:24 | |
I've never met anyone's parents. | 0:09:24 | 0:09:27 | |
Except Serena's. I once had quite a long talk with her father. | 0:09:27 | 0:09:32 | |
What's the situation between you and Serena, then? | 0:09:32 | 0:09:37 | |
There is none. | 0:09:35 | 0:09:37 | |
When did you stop seeing each other? | 0:09:37 | 0:09:41 | |
Yale game weekend. | 0:09:39 | 0:09:41 | |
Dawn in the big city. There are 8 million stories out there. | 0:09:48 | 0:09:55 | |
Give our apologies, Sally. | 0:10:05 | 0:10:11 | |
Oh, it's not necessary. | 0:10:06 | 0:10:11 | |
Oh, it is. Good night. | 0:10:07 | 0:10:11 | |
Good night. | 0:10:09 | 0:10:11 | |
Good night. | 0:10:11 | 0:10:14 | |
Thanks, Sally. | 0:10:12 | 0:10:14 | |
You're welcome. | 0:10:12 | 0:10:14 | |
Thanks a lot. | 0:10:14 | 0:10:17 | |
You're welcome. Coming tonight? | 0:10:14 | 0:10:17 | |
No. | 0:10:15 | 0:10:17 | |
You should. Hope's a friend of ours. | 0:10:17 | 0:10:18 | |
Not coming to any more dances? | 0:10:18 | 0:10:25 | |
No. | 0:10:19 | 0:10:25 | |
That's a shame. Nice to meet you. | 0:10:20 | 0:10:25 | |
Thank you. Nice to meet you. | 0:10:23 | 0:10:25 | |
Ciao, Sally. | 0:10:25 | 0:10:31 | |
Ciao? Good luck with your Fourierism. | 0:10:25 | 0:10:31 | |
Thank you. | 0:10:29 | 0:10:31 | |
Unless we get a Checker we'll need two cabs. | 0:10:33 | 0:10:37 | |
I shall walk. | 0:10:35 | 0:10:37 | |
It's terribly cold. | 0:10:37 | 0:10:44 | |
I prefer to walk. | 0:10:39 | 0:10:44 | |
You'll freeze, dressed like that. | 0:10:40 | 0:10:44 | |
It has a lining. | 0:10:41 | 0:10:44 | |
Good night. | 0:10:53 | 0:10:54 | |
Ciao, good night. | 0:10:54 | 0:10:55 | |
Night. | 0:10:55 | 0:10:57 | |
Where are we headed? | 0:11:03 | 0:11:10 | |
He'll freeze, dressed like that. | 0:11:04 | 0:11:10 | |
Driver? Follow that pedestrian. | 0:11:07 | 0:11:10 | |
Hey? Fella? | 0:11:15 | 0:11:17 | |
We got a Checker. Can we give you a lift? | 0:11:17 | 0:11:20 | |
No, thanks. | 0:11:20 | 0:11:23 | |
Sure? | 0:11:20 | 0:11:23 | |
Yup. Thanks, anyway. | 0:11:21 | 0:11:23 | |
He's getting a cross-town bus. That explains it. | 0:11:33 | 0:11:38 | |
'A Westsider's amongst us.' | 0:11:39 | 0:11:42 | |
There is an escort shortage. It's no joke. | 0:12:32 | 0:12:35 | |
What was your impression? | 0:12:35 | 0:12:39 | |
He seemed nice. I didn't talk to him much. | 0:12:36 | 0:12:39 | |
Mom, I don't want to be rude. I got up late and I'm having "breakfast" | 0:12:40 | 0:12:43 | |
and I don't want to think about returning my tuxedo now. | 0:12:43 | 0:12:47 | |
It's just that it's getting late... | 0:12:47 | 0:12:51 | |
Get off my back? | 0:12:48 | 0:12:51 | |
It's nearly six and they're closing. | 0:12:51 | 0:12:54 | |
If I have to pay for another day... | 0:12:59 | 0:13:01 | |
They already closed? How much extra will it cost? > | 0:13:26 | 0:13:31 | |
25. I'm sorry about what I said. | 0:13:31 | 0:13:34 | |
Not at all. A girl called. Her number's by the kitchen phone. She said it was urgent. | 0:13:35 | 0:13:41 | |
We had trouble getting your number. | 0:13:41 | 0:13:44 | |
We'd all be together but officially you'd be Audrey's escort. | 0:13:44 | 0:13:48 | |
Who? | 0:13:48 | 0:13:52 | |
Audrey Rouget. The party should be of sociological interest. | 0:13:48 | 0:13:52 | |
It's Peter Duchin, Plaza Ballroom at seven. Can you come? | 0:13:52 | 0:13:56 | |
Erm... | 0:13:56 | 0:13:58 | |
There's a bit of an escort shortage. | 0:13:58 | 0:14:00 | |
What a mystery, Rick Von Sloneker and Serena Slocum, still together. | 0:14:32 | 0:14:35 | |
Seems like months. | 0:14:35 | 0:14:37 | |
-It -has -been months. | 0:14:37 | 0:14:38 | |
Well, one thing's for certain. She's lost her virginity by now. | 0:14:38 | 0:14:45 | |
How can you say that? | 0:14:41 | 0:14:45 | |
Right. Maybe she wasn't a virgin(?) | 0:14:42 | 0:14:45 | |
(Riff-raff.) | 0:14:52 | 0:14:54 | |
Hardly. | 0:14:53 | 0:14:54 | |
-Because of his title? Are we meant to be impressed? -Titled -aristocracy are the scum of the earth. | 0:14:54 | 0:15:02 | |
Tolstoy's "War and Peace" and Jane Austen's "Persuasion" and "Mansfield Park". | 0:15:04 | 0:15:10 | |
"Mansfield Park"? You're kidding. | 0:15:10 | 0:15:17 | |
No. | 0:15:12 | 0:15:17 | |
It's notoriously bad - even her great fan Lionel Trilling says so. | 0:15:12 | 0:15:17 | |
Then Trilling is an idiot. | 0:15:17 | 0:15:20 | |
The whole story revolves round the "immorality" of a group of young people putting on a play. | 0:15:20 | 0:15:25 | |
In the context of the novel it makes sense. | 0:15:25 | 0:15:29 | |
Nearly everything Austen wrote is ridiculous from today's perspective. | 0:15:29 | 0:15:34 | |
Today looked at from Jane Austen's perspective would look worse? | 0:15:34 | 0:15:38 | |
You'll freeze, dressed in that. | 0:15:44 | 0:15:48 | |
It has a lining. | 0:15:46 | 0:15:48 | |
What kind of lining? Are you gonna wear a raincoat all winter? | 0:15:48 | 0:15:54 | |
I guess Princeton's a lot warmer. | 0:15:52 | 0:15:54 | |
I didn't know where to get a good overcoat. | 0:15:55 | 0:16:02 | |
Brooks, Press, Tripler,... | 0:15:58 | 0:16:02 | |
I haven't had time to buy one. | 0:16:00 | 0:16:02 | |
# STRAUSS WALTZ | 0:16:12 | 0:16:16 | |
You shouldn't treat Serena that way. | 0:16:26 | 0:16:29 | |
What? | 0:16:29 | 0:16:33 | |
Giving her the silent treatment. | 0:16:30 | 0:16:33 | |
I'm not. | 0:16:31 | 0:16:33 | |
Come on. | 0:16:31 | 0:16:33 | |
It's not silent treatment. I just don't have anything to say. | 0:16:33 | 0:16:43 | |
You're angry, but it's not right to treat her that way. It's hurtful. | 0:16:37 | 0:16:43 | |
Give me a break? Serena Slocum, real feelings? > | 0:16:43 | 0:16:47 | |
She's basically good, with feelings like anybody else. | 0:16:47 | 0:16:53 | |
That's hard to believe. > | 0:16:51 | 0:16:53 | |
All this is pretty deceptive. | 0:16:54 | 0:16:56 | |
All what? | 0:16:56 | 0:17:05 | |
Well, (STAMMERS) I think we are all in a sense, doomed. | 0:16:58 | 0:17:05 | |
What are you talking about? | 0:17:02 | 0:17:05 | |
Downward social mobility. | 0:17:05 | 0:17:07 | |
We hear a lot about social mobility | 0:17:07 | 0:17:09 | |
focused usually on the comparative ease of moving upwards. | 0:17:09 | 0:17:14 | |
Less discussed is how easy it is to go down. | 0:17:14 | 0:17:17 | |
That's the direction we are heading. | 0:17:17 | 0:17:20 | |
The downward fall will be fast. | 0:17:20 | 0:17:22 | |
Not just for us as individuals, but the whole preppie class. | 0:17:22 | 0:17:27 | |
Where do you get all this? | 0:17:27 | 0:17:29 | |
Look at those of our fathers who grew up well off. | 0:17:29 | 0:17:33 | |
They started well but just as their contemporaries began to accomplish things, they quit, | 0:17:33 | 0:17:41 | |
rising above office politics, refusing to compete and risk failure, | 0:17:41 | 0:17:46 | |
-not doing the humdrum job or -only -the humdrum part, | 0:17:46 | 0:17:51 | |
or spending more time on interesting things - conservation or the arts - | 0:17:51 | 0:17:56 | |
where if they fail no-one notices. | 0:17:56 | 0:17:59 | |
I guess we all know who you're talking about. | 0:17:59 | 0:18:04 | |
I can't deny it, but, unlike you, | 0:18:04 | 0:18:06 | |
I always assumed I'd be a failure. | 0:18:06 | 0:18:09 | |
That's why I plan marrying a very rich woman. | 0:18:09 | 0:18:13 | |
That's depressing. | 0:18:13 | 0:18:15 | |
Overstated, don't you think? | 0:18:15 | 0:18:17 | |
I'm not so sure. | 0:18:17 | 0:18:20 | |
Doomed? | 0:18:20 | 0:18:21 | |
It wouldn't be a disaster | 0:18:21 | 0:18:23 | |
if some of these people lost their class prerogatives. | 0:18:23 | 0:18:28 | |
"These people" are everyone I know. | 0:18:25 | 0:18:28 | |
It's not a question of losing class prerogatives, whatever that means, | 0:18:28 | 0:18:33 | |
but of wasting your whole productive life, of personal failure. | 0:18:33 | 0:18:37 | |
That's so melodramatic. | 0:18:37 | 0:18:44 | |
-Life -is -melodramatic if you look at the whole sweep of it. | 0:18:38 | 0:18:44 | |
I don't know. | 0:18:42 | 0:18:44 | |
My father considers himself a failure. I don't think he's one. | 0:18:44 | 0:18:50 | |
I guess...few people's lives match their expectations. | 0:18:50 | 0:18:56 | |
I always drink two glasses of water before going to bed. | 0:18:59 | 0:19:04 | |
It's great for your complexion. | 0:19:04 | 0:19:05 | |
I've put you on the Christmas Ball committee. | 0:19:06 | 0:19:10 | |
You can go on your own rather than as someone's escort. | 0:19:10 | 0:19:14 | |
And you get a carnation buttonhole. | 0:19:14 | 0:19:17 | |
Thanks, but I'm not planning to go to any more dances. | 0:19:17 | 0:19:20 | |
You aren't? I advise you to change your mind. | 0:19:20 | 0:19:24 | |
Are your resources limited? | 0:19:24 | 0:19:26 | |
This is the only economical social life you'll find in New York. | 0:19:26 | 0:19:31 | |
Music, drinks, entertainment, meals at no expense to you. | 0:19:31 | 0:19:35 | |
Basically all you need is one evening suit and a tail coat. | 0:19:35 | 0:19:40 | |
Dances are either white tie or black tie so you only need two ties. | 0:19:40 | 0:19:45 | |
You rented that from where? | 0:19:45 | 0:19:53 | |
AT Harris. | 0:19:46 | 0:19:53 | |
Good. You know Harris. They sell them second-hand, inexpensively. | 0:19:46 | 0:19:53 | |
-Thanks a lot. My resources -are -limited, but that's not it. | 0:19:53 | 0:19:56 | |
You're opposed to parties on principle. | 0:19:56 | 0:20:02 | |
Yes. | 0:19:58 | 0:20:02 | |
What principle is that? | 0:19:59 | 0:20:02 | |
Well,... | 0:20:02 | 0:20:06 | |
The principle that one shouldn't be out at night, eating hors d'oeuvres | 0:20:02 | 0:20:06 | |
when one could be home, worrying about the less fortunate. | 0:20:06 | 0:20:11 | |
Pretty much. Yes. | 0:20:09 | 0:20:11 | |
-Has it occurred to you that you -are -the less fortunate? | 0:20:11 | 0:20:17 | |
There's something a bit arrogant | 0:20:17 | 0:20:19 | |
about people feeling sorry for others they consider less fortunate. | 0:20:19 | 0:20:24 | |
-Are the -more -fortunate so terrific? | 0:20:24 | 0:20:27 | |
Imagine some rich guy saying "Poor Tom doesn't have a winter jacket,... | 0:20:27 | 0:20:32 | |
so I can't go to any more parties"? | 0:20:32 | 0:20:38 | |
That's a bit cynical. | 0:20:35 | 0:20:38 | |
It's not a case of what you prefer. | 0:20:35 | 0:20:38 | |
I'll tell you this in confidence. | 0:20:38 | 0:20:41 | |
You've made a big impression... | 0:20:41 | 0:20:48 | |
Oh, come on? | 0:20:42 | 0:20:48 | |
I'm serious. They like you and are now counting on you as an escort. | 0:20:43 | 0:20:48 | |
I like them too, but that doesn't... | 0:20:48 | 0:20:54 | |
You may not realise these girls are at a vulnerable point in their lives | 0:20:49 | 0:20:54 | |
All this is more emotional and difficult for them than for us. | 0:20:54 | 0:20:59 | |
They are on display. | 0:20:59 | 0:21:01 | |
They must invite guys as escorts. Preppie girls mature socially later than others. | 0:21:01 | 0:21:08 | |
For many it's the first social life they've had, so if you disappear now | 0:21:08 | 0:21:12 | |
they'll take that as personal rejection. | 0:21:12 | 0:21:19 | |
Give me a break? | 0:21:14 | 0:21:19 | |
I'm not joking. You should go. | 0:21:15 | 0:21:19 | |
If Thorstein Veblen were here he'd tell you the same thing. | 0:21:19 | 0:21:24 | |
I'll meet you at 4.30 at Brooks, | 0:21:25 | 0:21:28 | |
main floor, southwest corner, across from the undershorts. | 0:21:28 | 0:21:33 | |
As a romance it never really existed. | 0:21:35 | 0:21:38 | |
Really? | 0:21:36 | 0:21:38 | |
My mistake was I fell in love with Serena before I met her. | 0:21:38 | 0:21:42 | |
I'd seen her but we didn't meet till later. | 0:21:42 | 0:21:46 | |
Meanwhile I'd built up this romantic vision. | 0:21:46 | 0:21:50 | |
But you should get to know someone gradually, before the possibility of falling in love occurs to you. | 0:21:50 | 0:21:58 | |
So the experience has hardened you? | 0:21:58 | 0:22:01 | |
Yes. It's a bad idea to fall for someone who doesn't for you. | 0:22:01 | 0:22:07 | |
But you can't know you'll feel the same all the time. | 0:22:07 | 0:22:12 | |
I suppose there's risk in any romance. | 0:22:12 | 0:22:16 | |
I suppose so. | 0:22:14 | 0:22:16 | |
This is my building. | 0:22:16 | 0:22:18 | |
Thanks very much for coming. | 0:22:18 | 0:22:21 | |
Thank you. | 0:22:21 | 0:22:23 | |
You'll come again tomorrow? It'll be as a group. | 0:22:24 | 0:22:29 | |
Yes. | 0:22:26 | 0:22:29 | |
Thanks, Mom, I know how tight things are. | 0:23:00 | 0:23:04 | |
They're never that tight. | 0:23:01 | 0:23:04 | |
I'll pay you back next month, or February. Has Dad called? | 0:23:04 | 0:23:10 | |
He never calls here. You know that. | 0:23:07 | 0:23:10 | |
I thought maybe his office had. | 0:23:10 | 0:23:15 | |
No. | 0:23:11 | 0:23:15 | |
Thanks a lot. | 0:23:13 | 0:23:15 | |
They're normally this long in the back? | 0:23:19 | 0:23:26 | |
Yes, sir. Like to try the tuxedo? | 0:23:23 | 0:23:26 | |
Okay. | 0:23:25 | 0:23:26 | |
I'd prefer one like the one I rented | 0:23:31 | 0:23:35 | |
-That -is -the one you rented, sir. | 0:23:32 | 0:23:35 | |
Oh? I didn't realise it looked like this. I guess it'll be all right. | 0:23:35 | 0:23:42 | |
Thank you, sir. | 0:23:40 | 0:23:42 | |
Ever seen one? Detachable collar. Not many people wear them now. | 0:23:44 | 0:23:49 | |
Like many things from the past they were abandoned for convenience. | 0:23:49 | 0:23:55 | |
I'd no idea anyone still wore those. | 0:23:55 | 0:23:57 | |
It's symbolically important. | 0:23:57 | 0:23:59 | |
Our parents weren't interested in keeping up standards. | 0:23:59 | 0:24:03 | |
They wanted to be happy, but the last way to be happy is to make it your objective. | 0:24:03 | 0:24:07 | |
Our generation's no better. | 0:24:07 | 0:24:10 | |
Far worse. Our generation's probably the worst since the Reformation. | 0:24:10 | 0:24:15 | |
It's barbaric - worse than the old-fashioned kind. | 0:24:15 | 0:24:20 | |
Now barbarism is cloaked in all sorts of self-righteousness. | 0:24:20 | 0:24:24 | |
Look at this! | 0:24:24 | 0:24:29 | |
You're talking about more than detachable collars! | 0:24:25 | 0:24:29 | |
Yeah, I am. | 0:24:27 | 0:24:29 | |
He's just a guy. | 0:24:44 | 0:24:47 | |
Why is he so successful with girls? | 0:24:44 | 0:24:47 | |
Rick Von Sloneker's rich, handsome, stupid, dishonest, conceited,... | 0:24:47 | 0:24:52 | |
..a bully, liar, drunk, and thief, an egomaniac and probably psychotic. | 0:24:52 | 0:24:57 | |
In short, highly attractive to women. | 0:24:57 | 0:25:00 | |
You're completely unfair. You know nothing about Rick. He's quite shy. | 0:25:00 | 0:25:08 | |
God! | 0:25:04 | 0:25:08 | |
He's considerate and sensitive. | 0:25:05 | 0:25:08 | |
The rest is a facade which you've been taken in by. | 0:25:08 | 0:25:12 | |
Such eagerness to justify the worst bastards as sensitive and shy? | 0:25:12 | 0:25:17 | |
If any guy who was shy dared talk to you, you wouldn't give him the time. | 0:25:17 | 0:25:22 | |
Your eyes would glaze. | 0:25:22 | 0:25:28 | |
You're really hung-up on Rick? He threatens you. | 0:25:22 | 0:25:28 | |
You're right. I feel threatened... | 0:25:24 | 0:25:28 | |
..- that I might get VD from one of the St Tim's girls he's been with. | 0:25:28 | 0:25:34 | |
Did you learn that from lovemaking with Rick? I hear it can get rough. | 0:25:34 | 0:25:38 | |
-HEY! -God! | 0:25:38 | 0:25:40 | |
Don't.. do that.. again. For me, it isn't erotic. | 0:25:40 | 0:25:45 | |
What are you looking at? | 0:25:47 | 0:25:52 | |
My father's apartment. | 0:25:49 | 0:25:52 | |
Where? | 0:25:50 | 0:25:52 | |
There, the fourth floor. Corner. | 0:25:52 | 0:25:57 | |
That's Kate Preston's building. | 0:25:54 | 0:25:57 | |
Have your parents been divorced long? | 0:25:57 | 0:26:02 | |
Three years ago. They'd separated a year before. | 0:25:58 | 0:26:02 | |
Do you see your father much? | 0:26:02 | 0:26:10 | |
We have lunch when I'm in town. | 0:26:05 | 0:26:10 | |
It's very little. | 0:26:06 | 0:26:10 | |
We have a very good relationship,... | 0:26:07 | 0:26:10 | |
..better than people who see each other often, but having us around makes my stepmother nervous. | 0:26:10 | 0:26:18 | |
I read that Trilling essay. | 0:26:18 | 0:26:20 | |
You really like Trilling? | 0:26:20 | 0:26:23 | |
Yes. | 0:26:21 | 0:26:23 | |
He's very strange. He says nobody could like the heroine of "Mansfield Park". I like her. | 0:26:23 | 0:26:31 | |
Then he goes on about how we modern people of today bitterly resent "Mansfield Park"... | 0:26:31 | 0:26:37 | |
..because its heroine is virtuous. | 0:26:37 | 0:26:40 | |
What's wrong with a virtuous heroine? | 0:26:40 | 0:26:42 | |
-His point is that to say it is -immoral -for a group of young people to put on a play is absurd. | 0:26:42 | 0:26:48 | |
You found Fanny Price unlikeable? | 0:26:48 | 0:26:51 | |
Pretty unbearable, but I haven't read the book. | 0:26:49 | 0:26:51 | |
What? | 0:26:51 | 0:26:53 | |
You needn't read a book to have an opinion. Haven't read the Bible, either. | 0:26:53 | 0:26:56 | |
What Austen novels have you read? | 0:26:57 | 0:26:59 | |
None. I don't read novels. I prefer to get the novelist's idea and the critic's from literary criticism. | 0:26:59 | 0:27:06 | |
With fiction I am aware it never happened, it's all made up. | 0:27:06 | 0:27:10 | |
What I like is that he doesn't say all the expected things. | 0:27:13 | 0:27:18 | |
He doesn't just agree with everyone. | 0:27:18 | 0:27:20 | |
-That's true. He -disagrees -with everyone else. Not sure I like that. | 0:27:20 | 0:27:25 | |
He's good-looking. Serious guys tend to be better looking. OW? | 0:27:25 | 0:27:30 | |
The term "bourgeois" has almost always been one of contempt. | 0:27:43 | 0:27:47 | |
Yet it is the bourgeoisie who are responsible for... | 0:27:47 | 0:27:52 | |
..nearly everything good in our civilisation over four centuries. | 0:27:52 | 0:27:57 | |
You know the French film, "The Discreet Charm of the Bourgeoisie"? | 0:27:57 | 0:28:02 | |
I thought someone would finally tell the truth but I was disappointed. | 0:28:02 | 0:28:06 | |
It would be hard to imagine a less fair or accurate portrait. | 0:28:06 | 0:28:11 | |
Bunuel is a surrealist. Despising the bourgeoisie is their credo. | 0:28:11 | 0:28:15 | |
Where do they get off? | 0:28:16 | 0:28:17 | |
The bourgeoisie does have a lot of charm. | 0:28:17 | 0:28:20 | |
Of course it does. The surrealists were just social climbers. | 0:28:20 | 0:28:24 | |
Is there any more wine? | 0:28:24 | 0:28:27 | |
I like the French. | 0:28:27 | 0:28:32 | |
Really? | 0:28:29 | 0:28:32 | |
Those I met in Grenoble. | 0:28:30 | 0:28:32 | |
The only girl I knew who studied in France stayed and married. | 0:28:32 | 0:28:35 | |
She liked them, too. | 0:28:35 | 0:28:39 | |
I'm not sure I like them that much. | 0:28:37 | 0:28:39 | |
# MUSIC STOPS # | 0:28:43 | 0:28:46 | |
# BAND PLAYS CONGA | 0:28:51 | 0:28:57 | |
# MUSIC ENDS # | 0:29:25 | 0:29:27 | |
I'll visit the powder room. | 0:29:29 | 0:29:31 | |
What really goes on in there? | 0:29:31 | 0:29:35 | |
It's fabulous! | 0:29:33 | 0:29:35 | |
You're in a good mood tonight. Of course, you're in your element. | 0:29:42 | 0:29:48 | |
Are you kidding? | 0:29:46 | 0:29:48 | |
You're part of the Manhattan thing. But not us, from the country. | 0:29:48 | 0:29:56 | |
You're from Greenwich? | 0:29:52 | 0:29:56 | |
North Greenwich. | 0:29:54 | 0:29:56 | |
This is your world, not mine. | 0:29:56 | 0:30:02 | |
You're in the Sally Fowler crowd. Doesn't get more inside than that. | 0:29:57 | 0:30:02 | |
Not that I care - I don't believe in those things. | 0:30:02 | 0:30:06 | |
Oh, hi, Serena. | 0:30:07 | 0:30:10 | |
Hi,... Hi, Tom. | 0:30:08 | 0:30:10 | |
How's your brother? | 0:30:10 | 0:30:16 | |
Fine,... Tom, I think we should talk. | 0:30:12 | 0:30:16 | |
I haven't given you the silent treatment, just haven't been talking | 0:30:18 | 0:30:24 | |
Well, I felt it. | 0:30:22 | 0:30:24 | |
I love the St Regis and its nooks and crannies. It's really charming. | 0:30:25 | 0:30:31 | |
They'll probably knock it down soon. | 0:30:32 | 0:30:35 | |
BACKGROUND - WATER, VOICES, MUSIC | 0:30:36 | 0:30:39 | |
It hardly explains why you left me waiting without even a phone call to say why you didn't show up. | 0:30:42 | 0:30:48 | |
I'm sorry it was a bad time but it doesn't make me feel better. | 0:30:49 | 0:30:53 | |
-No? It always makes -me -feel better. | 0:30:53 | 0:30:57 | |
Well, I feel somewhat better. But it doesn't change anything. | 0:30:57 | 0:31:02 | |
It shows it wasn't intentional. That's an important distinction. | 0:31:02 | 0:31:07 | |
# DANCE BAND PLAYS IN BACKGROUND | 0:31:11 | 0:31:16 | |
It's definitely over with Rick. | 0:31:17 | 0:31:19 | |
The breaking up is easier to understand than how we got together in the first place. | 0:31:20 | 0:31:27 | |
Do you think I'll have trouble getting a cab? | 0:31:28 | 0:31:32 | |
Going already? | 0:31:30 | 0:31:32 | |
I'm exhausted. I've been having vitamins but they've worn off. | 0:31:32 | 0:31:37 | |
# DANCE BAND PLAYS | 0:31:38 | 0:31:43 | |
Fred, something's come up. Could you tell Audrey I should be back soon? | 0:31:46 | 0:31:51 | |
If there's a problem I'll see her at Sally's. Can you see she gets there? | 0:31:51 | 0:31:55 | |
I thought I was going to puke! | 0:31:59 | 0:32:03 | |
(RETCHES) | 0:32:03 | 0:32:05 | |
I had hardly anything to drink. It must have been something I ate. Those Vienna sausages. | 0:32:08 | 0:32:16 | |
I was surprised to see you at the dances. You were always opposed to that sort of thing. | 0:32:28 | 0:32:34 | |
I went to the first accidentally and met an extraordinarily nice group of people,... | 0:32:34 | 0:32:41 | |
..or I wouldn't have gone again. | 0:32:41 | 0:32:49 | |
I hardly call Nick Smith nice. He's a terrible snob. | 0:32:42 | 0:32:49 | |
He's basically a nice guy. | 0:32:46 | 0:32:49 | |
His behaviour towards Rick has been vicious. | 0:32:49 | 0:32:55 | |
What did he do? | 0:32:51 | 0:32:55 | |
A big stink about some girl. | 0:32:53 | 0:32:55 | |
Rick didn't want to talk about it. It was awful. | 0:32:55 | 0:33:00 | |
Rick thinks Nick could be crazy. | 0:33:00 | 0:33:02 | |
< Good night. | 0:33:02 | 0:33:04 | |
I'm worried something's happened. | 0:33:04 | 0:33:12 | |
Nothing can happen to him in a hotel | 0:33:06 | 0:33:12 | |
Maybe it was the same thing as Fred. | 0:33:09 | 0:33:12 | |
Tom hasn't much experience of hotels. | 0:33:10 | 0:33:12 | |
Maybe he went out a fire door that locked and shut him in the stairwell. | 0:33:12 | 0:33:21 | |
I use fire stairs when people forget to invite me to parties. No problem. | 0:33:16 | 0:33:21 | |
I don't understand where he could be. | 0:33:22 | 0:33:24 | |
There's very little social snobbery in the US. It's unacceptable. | 0:33:29 | 0:33:34 | |
There's almost a... a national taboo against it - it's looked down upon. | 0:33:34 | 0:33:39 | |
That's good, isn't it? | 0:33:40 | 0:33:46 | |
I'm not talking about good and bad. I'm just making an observation. | 0:33:41 | 0:33:46 | |
Well, that is good. I can't stand snobbery of any kind. | 0:33:46 | 0:33:51 | |
DOORBELL | 0:33:51 | 0:33:52 | |
Could you see who's there? | 0:33:52 | 0:33:55 | |
Sorry to be so late. | 0:33:59 | 0:34:05 | |
< Where were you? | 0:34:01 | 0:34:05 | |
Didn't Fred tell you? | 0:34:02 | 0:34:05 | |
Tell us what? | 0:34:03 | 0:34:05 | |
The only thing we heard from Fred was (IMITATES RETCHING). | 0:34:05 | 0:34:11 | |
Fred left ages ago. | 0:34:08 | 0:34:11 | |
Oh, Audrey, I am sorry. | 0:34:08 | 0:34:11 | |
Why? | 0:34:11 | 0:34:16 | |
I asked Fred to say that if I didn't get back... | 0:34:11 | 0:34:16 | |
Don't worry - it's nothing. | 0:34:13 | 0:34:16 | |
Well, where were you? | 0:34:18 | 0:34:24 | |
I had to take Serena home. She felt bad and was going home alone. | 0:34:19 | 0:34:24 | |
She's broken up with Rick. I was longer than I thought. I told Fred I'd meet you. | 0:34:29 | 0:34:35 | |
There was no message. | 0:34:35 | 0:34:40 | |
We thought you were stuck in the hotel. Audrey was worried. | 0:34:36 | 0:34:40 | |
I'm very sorry. | 0:34:40 | 0:34:44 | |
You sound very sorry. | 0:34:42 | 0:34:44 | |
It's hard to believe Serena broke up with Rick. It was probably the other way around. | 0:34:46 | 0:34:53 | |
I'm worried about Audrey. She's taken this hard. I'm surprised. | 0:34:56 | 0:35:01 | |
I had no idea Fred was going to get sick. | 0:35:01 | 0:35:09 | |
Where do you get off? You were Audrey's escort, but you left her.. | 0:35:04 | 0:35:09 | |
..in the middle of the dance. | 0:35:09 | 0:35:12 | |
Then you shirk it onto Fred. | 0:35:12 | 0:35:15 | |
I'm not shirking it. I wasn't Audrey's escort - we were a group. | 0:35:15 | 0:35:20 | |
I'm sorry there was a mix-up. | 0:35:20 | 0:35:23 | |
There was no mix-up. | 0:35:21 | 0:35:23 | |
It wasn't intentional. | 0:35:23 | 0:35:30 | |
When you are an egoist, none of the harm you do is intentional. | 0:35:25 | 0:35:30 | |
You're going? | 0:35:31 | 0:35:37 | |
Yes, I'm tired. | 0:35:33 | 0:35:37 | |
I'll get my coat. | 0:35:33 | 0:35:37 | |
No, Charlie said he'd take me. | 0:35:34 | 0:35:37 | |
I'd like to. | 0:35:37 | 0:35:44 | |
Don't bother. | 0:35:38 | 0:35:44 | |
I'm sorry about what happened. I thought I'd be back more quickly. | 0:35:40 | 0:35:44 | |
Thank you very much. | 0:35:44 | 0:35:49 | |
Good night. | 0:35:46 | 0:35:49 | |
-Good night. -Ready? | 0:35:47 | 0:35:49 | |
Night. Good night, Audrey. | 0:35:49 | 0:35:53 | |
Hope you feel better. | 0:35:50 | 0:35:53 | |
I never saw myself as an egoist. | 0:35:55 | 0:35:58 | |
Don't flatter yourself. Charlie's norm for behaviour is exaggerated. | 0:35:58 | 0:36:03 | |
He used to answer all his junk mail in case someone's feelings were hurt if he didn't. | 0:36:03 | 0:36:08 | |
I like him. But don't try to understand his thought processes. | 0:36:08 | 0:36:13 | |
When we were ten he tried to communicate with seagulls in East Hampton. | 0:36:13 | 0:36:19 | |
It was hopeless - the East Hampton seagulls are morons - but we spent days saying to birds,... | 0:36:19 | 0:36:25 | |
.."We come in friendship" and they couldn't care less - like the girls. | 0:36:25 | 0:36:30 | |
Great? I'm hated by the preppie St Francis. | 0:36:30 | 0:36:35 | |
I wouldn't worry. | 0:36:33 | 0:36:35 | |
That's where my father lives. | 0:36:35 | 0:36:40 | |
Kate Preston lives there. | 0:36:37 | 0:36:40 | |
Look at this? It's incredible, the things people throw out. | 0:36:40 | 0:36:45 | |
Steiff animals and an Aurora model motoring set. A Derringer? Remember the Derringer craze? | 0:36:45 | 0:36:53 | |
The toys of our generation - our whole childhood is represented here. | 0:36:53 | 0:36:58 | |
And they're just throwing it out. | 0:36:58 | 0:37:01 | |
Shall we rescue the electric car set - it might add to the afterparties. | 0:37:02 | 0:37:07 | |
I turn here. | 0:37:10 | 0:37:14 | |
Oh? See you tonight. Listen -... | 0:37:11 | 0:37:14 | |
..don't take Charlie too seriously. | 0:37:14 | 0:37:18 | |
No. See you tonight. | 0:37:16 | 0:37:18 | |
What happened last night had no real significance. | 0:37:29 | 0:37:33 | |
It's bad luck Fred got sick. | 0:37:33 | 0:37:40 | |
I can't believe you're saying this. He humiliated you last night. | 0:37:35 | 0:37:40 | |
Whether I've been humiliated or not I can judge for myself. | 0:37:40 | 0:37:44 | |
And I don't think Tom's that way. | 0:37:44 | 0:37:47 | |
I'm not sure you can judge. Careful, Audrey. Tom seems a bit dubious. | 0:37:47 | 0:37:52 | |
What? | 0:37:52 | 0:37:56 | |
This thing about being radical when he's obviously not,... | 0:37:53 | 0:37:56 | |
..or being over Serena when he's obviously not. | 0:37:56 | 0:38:01 | |
Everyone has some contradictions. | 0:37:59 | 0:38:01 | |
Anybody with as many as Tom, it's better not to get involved. | 0:38:02 | 0:38:06 | |
By those standards, none of us should get involved with anyone. | 0:38:06 | 0:38:11 | |
< Certainly. | 0:38:08 | 0:38:11 | |
Tom is the only guy I've ever liked. | 0:38:11 | 0:38:14 | |
I'm not going to forget him for some apparent inconsistencies. | 0:38:14 | 0:38:20 | |
You hardly know him. | 0:38:17 | 0:38:20 | |
I know him very well. | 0:38:20 | 0:38:27 | |
You couldn't. You only just met him. | 0:38:21 | 0:38:27 | |
Well, I do. | 0:38:25 | 0:38:27 | |
I didn't know you sent Christmas cards. | 0:38:32 | 0:38:36 | |
I haven't in years. | 0:38:34 | 0:38:36 | |
When we moved, do you know what happened to my toys? | 0:38:36 | 0:38:43 | |
They were put in storage. | 0:38:41 | 0:38:43 | |
Could some have been sent to Dad's? | 0:38:43 | 0:38:50 | |
Possibly. Why? You want them? You're a bit old for that. | 0:38:45 | 0:38:50 | |
No, I just had a feeling they went to Dad's. | 0:38:50 | 0:38:56 | |
< Why don't you call him, then? | 0:38:52 | 0:38:56 | |
I have. There's no answer. | 0:38:53 | 0:38:56 | |
Being dressed up in the city in winter is like "War and Peace". | 0:39:04 | 0:39:10 | |
Really? | 0:39:08 | 0:39:10 | |
Do you know what I mean? | 0:39:10 | 0:39:15 | |
I think so. Though I haven't read it. | 0:39:10 | 0:39:15 | |
Preppie is not a very useful term. | 0:39:20 | 0:39:23 | |
It might be descriptive of someone still in school... | 0:39:23 | 0:39:27 | |
..but it's ridiculous for a man in his seventies, like Averill Harriman. | 0:39:27 | 0:39:32 | |
None of the other terms - WASP, PLU - are much use either. | 0:39:32 | 0:39:36 | |
That's why I prefer the term UHB. | 0:39:36 | 0:39:40 | |
What? | 0:39:38 | 0:39:40 | |
UHB. It's an acronym for urban haute bourgeoisie. | 0:39:40 | 0:39:45 | |
Is our language so poor we need French acronyms to be understood? | 0:39:45 | 0:39:51 | |
Yes. | 0:39:49 | 0:39:51 | |
UHB. The term is brilliant. And long overdue. | 0:39:51 | 0:39:56 | |
But it's a bit of a mouthful, UHB. Wouldn't it be better to pronounce it "uhb"? | 0:39:56 | 0:40:04 | |
I didn't expect it to gain immediate acceptance. | 0:40:04 | 0:40:11 | |
No, no - it's useful. That it sounds ridiculous is part of its appeal. | 0:40:06 | 0:40:11 | |
From your lofty heights, everything below is comical, isn't it? | 0:40:11 | 0:40:17 | |
Yes. | 0:40:17 | 0:40:19 | |
You're obnoxious. | 0:40:19 | 0:40:21 | |
I don't know how you stand him. You complain about frauds and phoneys. | 0:40:22 | 0:40:27 | |
He's the phoney of the decade. Yet you act like he's your best friend. | 0:40:27 | 0:40:32 | |
Tom Townsend is hardly phoney, just mildly deluded, a nice guy. | 0:40:32 | 0:40:36 | |
That's just another aspect of his phoneyness. | 0:40:36 | 0:40:39 | |
And when he's not being phoney, he's a bastard. | 0:40:39 | 0:40:43 | |
Come on. | 0:40:42 | 0:40:43 | |
See how he treated Audrey last night | 0:40:43 | 0:40:51 | |
Audrey seems to have forgotten it. | 0:40:45 | 0:40:51 | |
She has to act that way, otherwise it would be even more humiliating. | 0:40:46 | 0:40:51 | |
But I don't have to pretend Tom Townsend's a nice guy. | 0:40:51 | 0:40:55 | |
You're really ga-ga about Audrey? | 0:40:55 | 0:41:03 | |
Well, if by ga-ga you mean do I like her? Yeah. | 0:40:58 | 0:41:03 | |
-Why not -do -something instead of going on about Tom Townsend? | 0:41:03 | 0:41:08 | |
What do I do? Declare myself? That'd be disaster. Don't think I haven't thought about this. | 0:41:08 | 0:41:15 | |
Rick and Serena broke up but today they went to Holly Gilchrist's party. | 0:41:15 | 0:41:20 | |
It was Holly who introduced them. | 0:41:20 | 0:41:23 | |
So she was responsible? | 0:41:23 | 0:41:24 | |
They went together? | 0:41:24 | 0:41:25 | |
-Separately. But how they come back? Rick's not the sort to let himself be dropped. -Ha! | 0:41:25 | 0:41:32 | |
What's that mean? | 0:41:32 | 0:41:39 | |
Ha! | 0:41:34 | 0:41:39 | |
Rick really threatens you. | 0:41:35 | 0:41:39 | |
How? | 0:41:37 | 0:41:39 | |
By being more of a man than you? | 0:41:39 | 0:41:42 | |
Stupid slut! | 0:41:42 | 0:41:44 | |
What's Rick done that's so terrible? | 0:41:45 | 0:41:51 | |
-He -is -terrible. I don't have to go into sordid details. | 0:41:47 | 0:41:51 | |
Go into a few sordid details? | 0:41:51 | 0:41:57 | |
I don't think there are any reasons except for jealousy. | 0:41:53 | 0:41:57 | |
Rick makes him feel inadequate. | 0:41:57 | 0:41:59 | |
I'll tell you about Rick Von Sloneker. | 0:41:59 | 0:42:03 | |
Who knows the name Polly Perkins? | 0:42:07 | 0:42:10 | |
Sounds familiar. | 0:42:10 | 0:42:12 | |
She grew up in Virginia, a horse fanatic since childhood,... | 0:42:12 | 0:42:17 | |
..went to a horsey girls' school - Garrison Forest. | 0:42:17 | 0:42:20 | |
She got depressed - partly it was disillusionment with horses,... | 0:42:20 | 0:42:26 | |
..but there were psychological problems, too. | 0:42:26 | 0:42:30 | |
That summer she got a job and seemed recovered, but for idiosyncrasies - she'd only dress in blue,... | 0:42:30 | 0:42:37 | |
..and wouldn't eat hamburgers unless they were well done. Any redness and she'd send them back. | 0:42:37 | 0:42:44 | |
Loyal to her boyfriend back home, she only went on group dates. | 0:42:44 | 0:42:49 | |
Von Sloneker met her when he came to Edgartown for the regatta. | 0:42:50 | 0:42:55 | |
She showed no interest in him. | 0:42:55 | 0:42:57 | |
That makes sense as he's uninteresting. | 0:42:57 | 0:43:01 | |
For Von Sloneker that's inciting. | 0:43:01 | 0:43:03 | |
He swung into the full rigmarole... | 0:43:03 | 0:43:07 | |
..- how she was the first girl who made him feel that way... | 0:43:07 | 0:43:11 | |
..how they had an obligation to live life to the fullest. | 0:43:11 | 0:43:16 | |
Polly, meanwhile, quit her summer job and joined his boat. | 0:43:16 | 0:43:20 | |
He now ignored her - she became obsessed with him. | 0:43:20 | 0:43:25 | |
Polly was a masochist and prone to drink. | 0:43:25 | 0:43:29 | |
Von Sloneker exploited this to get her drunk... | 0:43:30 | 0:43:34 | |
..and had her... | 0:43:34 | 0:43:36 | |
..- do you know what "pulling a train" means? | 0:43:36 | 0:43:40 | |
I don't think so. | 0:43:40 | 0:43:42 | |
He got her drunk and got her to "pull a train"... | 0:43:44 | 0:43:49 | |
..him, Victor Lemley and the other crew member. | 0:43:49 | 0:43:53 | |
She arrived for her first semester, acting strangely,... | 0:43:53 | 0:43:57 | |
..always the same clothes, never washing, more and more make-up and perfume,.. | 0:43:57 | 0:44:02 | |
..staying silent for hours and then talk obsessively of Paul McCartney. | 0:44:02 | 0:44:08 | |
She was sent to McLean's for treatment,... | 0:44:08 | 0:44:12 | |
..then went home to Virginia for Thanksgiving, went into their stables and killed herself. | 0:44:12 | 0:44:20 | |
I've heard about that - it wasn't Rick's fault. | 0:44:20 | 0:44:23 | |
He hardly knew her. She'd always had psychological problems and was a liar. | 0:44:23 | 0:44:30 | |
It was very sad but Rick had nothing to do with it. | 0:44:30 | 0:44:35 | |
I don't know. She was carrying his photo when she killed herself. | 0:44:35 | 0:44:40 | |
That doesn't mean anything. | 0:44:40 | 0:44:42 | |
What an appalling story. | 0:44:43 | 0:44:46 | |
Yep. | 0:44:44 | 0:44:46 | |
Not many know, or Von Sloneker could hardly show his face. You showed up Cynthia. | 0:44:46 | 0:44:51 | |
That's what made it worthwhile. | 0:44:51 | 0:45:00 | |
Why? | 0:44:53 | 0:45:00 | |
-There -is -no Polly Perkins. | 0:44:55 | 0:45:00 | |
-What? -I made it up. | 0:44:57 | 0:45:00 | |
You're kidding? | 0:45:00 | 0:45:05 | |
I couldn't let Cynthia get away with that nonsense. | 0:45:01 | 0:45:05 | |
-It's true, cos Von Sloneker's -doing -those things all the time. | 0:45:05 | 0:45:10 | |
Polly Perkins is a composite, based on real people, like "New York" magazine does. | 0:45:10 | 0:45:16 | |
Cynthia said she knew all about her. | 0:45:16 | 0:45:24 | |
Yes. That was priceless. It shows Von Sloneker's doing those things. | 0:45:17 | 0:45:24 | |
But you must have had a factual basis for saying all those things? | 0:45:24 | 0:45:29 | |
Of course there's a factual basis. | 0:45:26 | 0:45:29 | |
# They lay keeping their sheep | 0:45:41 | 0:45:44 | |
# On a cold winter's night that was so deep # | 0:45:44 | 0:45:49 | |
'Excuse me, do you have any book on the French social philosopher, Fourier?' | 0:45:49 | 0:45:56 | |
He's still obsessed with Serena. | 0:45:57 | 0:46:00 | |
Better not get involved with a guy who's so mixed up. | 0:46:00 | 0:46:04 | |
He's not good news for anyone for a long time. > | 0:46:04 | 0:46:07 | |
Hi, Audrey? Merry Christmas. | 0:46:56 | 0:47:00 | |
Hi. Merry Christmas. | 0:46:58 | 0:47:00 | |
I talked to Tom Townsend the other night - he spoke highly of you. | 0:47:00 | 0:47:06 | |
Really? | 0:47:04 | 0:47:06 | |
Yes. He said you were very... erm... | 0:47:06 | 0:47:09 | |
..well read. | 0:47:09 | 0:47:11 | |
# O, come, all ye faithful | 0:47:12 | 0:47:17 | |
# Joyful and triumphant | 0:47:18 | 0:47:22 | |
# O, come, ye, O, come, ye, to Bethlehem | 0:47:23 | 0:47:32 | |
# Come and behold Him | 0:47:34 | 0:47:38 | |
# Born the King of Angels... | 0:47:40 | 0:47:44 | |
TV CANNED MUSIC: # JINGLE BELLS # | 0:47:47 | 0:47:54 | |
# Oh, come, let us adore Him | 0:48:02 | 0:48:05 | |
# Oh, come, let us adore Him | 0:48:05 | 0:48:10 | |
# Oh, come, let us adore Him | 0:48:11 | 0:48:16 | |
# Christ, the Lord # | 0:48:17 | 0:48:22 | |
Jane, are you familiar with Dr Pomeroy's work? | 0:48:34 | 0:48:39 | |
Who? | 0:48:37 | 0:48:39 | |
"Girls and Sex" by Wardell B Pomeroy. | 0:48:39 | 0:48:43 | |
"The long-needed guide to understanding girls growing up." | 0:48:43 | 0:48:48 | |
Quote - "The most frank and objective book currently available" - Library Journal. | 0:48:48 | 0:48:55 | |
"Puberty is difficult and frightening for many girls." | 0:48:55 | 0:48:59 | |
"It's the time they need objective facts... | 0:48:59 | 0:49:03 | |
..and sympathetic advice about physical and emotional changes." | 0:49:03 | 0:49:06 | |
We don't have enough - there's only seven of us. | 0:49:06 | 0:49:12 | |
That's impossible. | 0:49:09 | 0:49:12 | |
Tom's not here yet. | 0:49:10 | 0:49:12 | |
Is he coming? | 0:49:12 | 0:49:13 | |
-Sure... He -is -coming, isn't he? | 0:49:13 | 0:49:17 | |
You didn't call him? | 0:49:18 | 0:49:22 | |
I thought there were eight of us. | 0:49:19 | 0:49:22 | |
You told me he was... | 0:49:20 | 0:49:22 | |
Call him. He won't be doing anything | 0:49:22 | 0:49:29 | |
Surely someone in New York plays bridge other than Tom Townsend. | 0:49:24 | 0:49:29 | |
Seven can play. | 0:49:29 | 0:49:33 | |
What have you got against Tom? | 0:49:30 | 0:49:33 | |
Just one thing. He's not a good person. | 0:49:33 | 0:49:36 | |
What nonsense. | 0:49:36 | 0:49:38 | |
Go ahead, call him, I don't care. | 0:49:38 | 0:49:40 | |
Tom disapproves of bridge - we should ask him, anyway. | 0:49:40 | 0:49:45 | |
Have a seat. | 0:49:50 | 0:49:52 | |
Just say you pass. | 0:49:53 | 0:49:55 | |
I pass. | 0:49:55 | 0:49:57 | |
I couldn't believe it? Bridge is such a cliche of bourgeois life. | 0:49:57 | 0:50:02 | |
That's exactly why I play. I don't enjoy it one bit. | 0:50:02 | 0:50:06 | |
I got as far as the door. | 0:50:06 | 0:50:10 | |
And? | 0:50:08 | 0:50:10 | |
My mother was upset at being alone on Christmas Eve... | 0:50:10 | 0:50:13 | |
..and said it was important to be together. | 0:50:13 | 0:50:17 | |
My brother never comes home. | 0:50:17 | 0:50:19 | |
So I stayed and had a traditional Channel 11 Yule log Christmas. | 0:50:19 | 0:50:26 | |
Yeah, I think I've seen that. | 0:50:23 | 0:50:26 | |
Christmas Day every other year we go to my father's. | 0:50:26 | 0:50:30 | |
I was reluctant as I hadn't been able to get in touch with my father. | 0:50:30 | 0:50:34 | |
Mother insisted. It was a nightmare. | 0:50:34 | 0:50:36 | |
The doorman wouldn't let me in. | 0:50:36 | 0:50:39 | |
He didn't remember me. | 0:50:39 | 0:50:41 | |
Then there was some whispering. | 0:50:41 | 0:50:44 | |
Finally, he gave me a piece of paper with a Santa Fe address. | 0:50:44 | 0:50:48 | |
He'd moved to Santa Fe. I couldn't believe it. | 0:50:48 | 0:50:52 | |
They took me to the apartment - apart from litter and coat hangers it was empty. | 0:50:52 | 0:50:59 | |
He hadn't told me about moving. | 0:50:59 | 0:51:02 | |
It was quite a surprise. | 0:51:02 | 0:51:04 | |
That's awful. There must be some explanation. | 0:51:04 | 0:51:08 | |
He must have written and the letter got delayed. | 0:51:08 | 0:51:12 | |
< I don't know. | 0:51:10 | 0:51:12 | |
And you had such a good relationship. | 0:51:12 | 0:51:15 | |
In retrospect, I wonder how good. I hadn't seen him since spring. | 0:51:15 | 0:51:20 | |
Maybe I was just kidding myself. | 0:51:20 | 0:51:22 | |
I'm reading Jane Austen. Persuasion - I like it. I was surprised. | 0:51:24 | 0:51:29 | |
The titled aristocracy are the scum of the earth. | 0:51:45 | 0:51:48 | |
What maddens me is a whole class of people, mostly European, | 0:51:48 | 0:51:53 | |
looking down on me. | 0:51:53 | 0:51:54 | |
You always say "titled" aristocrats. What about untitled aristocrats? | 0:51:54 | 0:52:00 | |
I couldn't despise them. | 0:51:58 | 0:52:00 | |
That would be self-hatred, which is unhealthy? | 0:52:00 | 0:52:04 | |
You're so conceited? | 0:52:04 | 0:52:11 | |
Saying titled aristocracy are the scum of the earth is exaggeration. | 0:52:05 | 0:52:11 | |
It's true the forces that oblige the UHB to appear to act productively and responsibly... | 0:52:11 | 0:52:18 | |
..carries little weight with members of society... | 0:52:18 | 0:52:21 | |
..whose social positions are secure no matter what they do. | 0:52:21 | 0:52:24 | |
You had a trust fund? The pieces fall into place. | 0:52:29 | 0:52:33 | |
Not any more. | 0:52:33 | 0:52:38 | |
(STAMMERS) That's less important. | 0:52:35 | 0:52:38 | |
What's important, sociologically, is growing up | 0:52:38 | 0:52:42 | |
with the assumption of material security. It says a lot. | 0:52:42 | 0:52:47 | |
I call. | 0:52:47 | 0:52:49 | |
You had no cards. Why'd you call? | 0:52:49 | 0:52:54 | |
I felt like it. | 0:52:52 | 0:52:54 | |
Playing strip poker with an exhibitionist takes the challenge away. | 0:52:54 | 0:52:58 | |
Frank Goodrich handles financial things for my father. | 0:53:02 | 0:53:06 | |
It's a relief not having it hanging over my head. | 0:53:07 | 0:53:10 | |
Really? | 0:53:10 | 0:53:11 | |
The guilt that went with it although it wasn't money I counted on. | 0:53:11 | 0:53:16 | |
You're tragic. You've been robbed and you're relieved. | 0:53:16 | 0:53:21 | |
In part. Regarding my relationship with my father, I'm concerned. | 0:53:21 | 0:53:26 | |
He moves without telling me, doesn't contact me, and has me disinherited. | 0:53:26 | 0:53:32 | |
Our relationship is not what I thought. | 0:53:32 | 0:53:36 | |
Jeez (?) | 0:53:34 | 0:53:36 | |
It's as if he were angry and I can't think why. I don't know what it is. | 0:53:36 | 0:53:42 | |
You don't? | 0:53:42 | 0:53:45 | |
No. | 0:53:43 | 0:53:45 | |
One word. | 0:53:47 | 0:53:49 | |
Stepmother. | 0:53:49 | 0:53:50 | |
I hope I can talk to them and straighten things out. | 0:53:53 | 0:53:57 | |
Nothing you did or said has anything to do with it. Nothing you say or do will change anything. | 0:53:57 | 0:54:04 | |
That's awfully pessimistic. | 0:54:04 | 0:54:10 | |
It's the way things are. The most important thing to realise... | 0:54:05 | 0:54:10 | |
..is there's nothing you can do about parents. | 0:54:10 | 0:54:13 | |
You look terrific? | 0:54:15 | 0:54:17 | |
Like it? | 0:54:17 | 0:54:19 | |
That's really decadent? | 0:54:19 | 0:54:21 | |
That's nothing? | 0:54:19 | 0:54:21 | |
# BACKGROUND MUSIC DROWNS SPEECH | 0:54:29 | 0:54:32 | |
Something's happened to Nick? | 0:54:36 | 0:54:38 | |
(MOANS) It's my head. It's my head. | 0:54:39 | 0:54:42 | |
< What happened? | 0:54:42 | 0:54:48 | |
There was a guy at school who took mescalin and went around doing this. | 0:54:43 | 0:54:48 | |
It's my head... it's my head... | 0:54:48 | 0:54:50 | |
Nick took mescalin? | 0:54:50 | 0:54:55 | |
No, the other guy. | 0:54:52 | 0:54:55 | |
We did take mescalin. | 0:54:55 | 0:54:58 | |
You what? | 0:54:56 | 0:54:58 | |
He shouldn't be reacting this way. It was really mild. | 0:54:58 | 0:55:02 | |
Are you joking? | 0:55:04 | 0:55:06 | |
It's "Truth" - stretch the Kleenex over the glass and put a dime on it. | 0:55:11 | 0:55:15 | |
We each burn holes with a cigarette. If the dime falls in you lose... | 0:55:15 | 0:55:22 | |
..and have to answer whatever you're asked. No matter how embarrassing. | 0:55:22 | 0:55:27 | |
The more embarrassing the better. | 0:55:29 | 0:55:32 | |
What are you reading? | 0:55:36 | 0:55:39 | |
"The Story of Babar" | 0:55:39 | 0:55:41 | |
I forgot how beautiful it was. | 0:55:42 | 0:55:46 | |
You can find out amazing things. It can really be incredible. | 0:55:46 | 0:55:50 | |
I don't think we should play. | 0:55:50 | 0:55:54 | |
Why not? | 0:55:52 | 0:55:54 | |
There are good reasons people don't tell their intimate thoughts. | 0:55:54 | 0:55:58 | |
What do you have to hide? | 0:55:58 | 0:56:03 | |
Games like this can be dangerous. | 0:56:00 | 0:56:03 | |
Dangerous? | 0:56:02 | 0:56:03 | |
I don't see what's dangerous. | 0:56:03 | 0:56:06 | |
You don't have to. Others have. That's how it became a convention. | 0:56:06 | 0:56:10 | |
People saw the harm excessive candour can do. | 0:56:10 | 0:56:15 | |
It's just a social convention. | 0:56:12 | 0:56:15 | |
Possibly, among people who don't know each other well, not us. | 0:56:15 | 0:56:21 | |
Then it's even worse. | 0:56:19 | 0:56:21 | |
Let's discuss this. Basically what this game needs is complete candour. | 0:56:21 | 0:56:26 | |
Honesty. Openness. I don't see how that can be bad. | 0:56:26 | 0:56:33 | |
It can. | 0:56:31 | 0:56:33 | |
Don't play, but don't wreck it for everyone. | 0:56:33 | 0:56:37 | |
If we're playing, we all should. That's the point. | 0:56:37 | 0:56:42 | |
If one isn't going to, none should. | 0:56:39 | 0:56:42 | |
(STAMMERS) Maybe Audrey's right. | 0:56:42 | 0:56:49 | |
Let's not disagree. You're really both saying the same thing. | 0:56:44 | 0:56:49 | |
That we should all play or none should. | 0:56:49 | 0:56:52 | |
It's all up to Audrey, then. | 0:56:52 | 0:56:55 | |
It isn't fair. If Audrey doesn't... | 0:56:57 | 0:57:01 | |
No, go ahead. I'll play. | 0:56:59 | 0:57:01 | |
LAUGHING | 0:57:20 | 0:57:22 | |
What now? | 0:57:22 | 0:57:23 | |
Ask the most embarrassing question you can think of. | 0:57:23 | 0:57:26 | |
I ask you the most embarrassing question I can think of? | 0:57:26 | 0:57:29 | |
What's the most embarrassing thing that's ever happened to you? | 0:57:29 | 0:57:32 | |
Something specific. Who was your most recent conquest, or something.> | 0:57:32 | 0:57:37 | |
Who was your most recent conquest? | 0:57:37 | 0:57:40 | |
You mean who did I sleep with last? | 0:57:38 | 0:57:40 | |
You don't have to answer that. | 0:57:40 | 0:57:43 | |
It's okay. I'm not embarrassed. | 0:57:41 | 0:57:43 | |
It was Nick. | 0:57:43 | 0:57:46 | |
After all that about what a slut she was? | 0:57:46 | 0:57:52 | |
But a very attractive slut. | 0:57:50 | 0:57:52 | |
You're just another hypocrite. | 0:57:52 | 0:57:55 | |
That's not hypocrisy. It's sin. | 0:57:55 | 0:57:58 | |
It's hardly that? | 0:57:58 | 0:58:01 | |
LAUGHING | 0:58:12 | 0:58:13 | |
A question? With absolute honesty and frankness... | 0:58:14 | 0:58:18 | |
..list the girls you're interested in romantically... | 0:58:18 | 0:58:21 | |
..in descending order with significant detail. | 0:58:21 | 0:58:28 | |
I thought that was pretty obvious. | 0:58:25 | 0:58:28 | |
I've had a crush on Serena for two years. | 0:58:28 | 0:58:31 | |
Lately it developed into something more serious. | 0:58:31 | 0:58:34 | |
Who else do you like romantically? | 0:58:34 | 0:58:40 | |
I don't think it works that way. | 0:58:37 | 0:58:40 | |
If you're really interested in one person you're not in anyone else. It's possible, but what's the point? | 0:58:40 | 0:58:46 | |
If that doesn't work out there must be someone else. | 0:58:46 | 0:58:49 | |
If it doesn't work out I'll be off romance for a long time. | 0:58:50 | 0:58:54 | |
I suppose it's embarrassing, but it's hardly a revelation. | 0:58:54 | 0:58:58 | |
I'm sorry I asked him that. It was my fault. | 0:59:04 | 0:59:08 | |
I always think other people are foolish. I'm the big fool. | 0:59:09 | 0:59:14 | |
It's better to know the truth. The truth can't do any harm. | 0:59:16 | 0:59:21 | |
It's how and when you learn it. | 0:59:21 | 0:59:23 | |
I don't accept that. | 0:59:23 | 0:59:26 | |
(STAMMERS) You're right about that game - it's terrible. | 0:59:27 | 0:59:31 | |
You may not know, Audrey, but everyone likes you a lot. | 0:59:31 | 0:59:36 | |
I find that very hard to believe. | 0:59:36 | 0:59:38 | |
It's the truth. | 0:59:38 | 0:59:40 | |
Not just because you're smart and good-looking and charming... | 0:59:40 | 0:59:46 | |
..and have principles. | 0:59:46 | 0:59:48 | |
It's because they can see you're a good person. | 0:59:48 | 0:59:52 | |
This is not the best time to tease. | 0:59:52 | 0:59:55 | |
I know it isn't the best time. But for some time now, I... | 0:59:55 | 1:00:00 | |
..well, I like you very much. | 1:00:00 | 1:00:03 | |
I know you don't yet feel that way.. | 1:00:03 | 1:00:07 | |
No? Please? Stop? | 1:00:05 | 1:00:07 | |
Doesn't Serena look awful here? She's not exactly photogenic. | 1:00:14 | 1:00:18 | |
There's one of you and Tom. | 1:00:19 | 1:00:22 | |
There it is. | 1:00:23 | 1:00:25 | |
Maybe Cynthia's right. | 1:00:32 | 1:00:35 | |
That's impossible. | 1:00:33 | 1:00:35 | |
Her view is that experience is good and she's set out to acquire it. | 1:00:35 | 1:00:39 | |
I'm the opposite. Everything's in my imagination. The romance is imaginary | 1:00:39 | 1:00:44 | |
She's a slut. | 1:00:45 | 1:00:48 | |
That's what Nick says. | 1:00:46 | 1:00:48 | |
He proved it. | 1:00:48 | 1:00:50 | |
That's unfair. | 1:00:49 | 1:00:50 | |
I don't think so. | 1:00:50 | 1:00:52 | |
I'm catching the dawn train upstate to East Aurora, father's place. First invitation in years. | 1:00:54 | 1:01:01 | |
I wonder why my stepmother's suddenly so willing to have me come. | 1:01:01 | 1:01:06 | |
If I should die there, would you see there's a thorough investigation... | 1:01:06 | 1:01:11 | |
..even if it looks like an accident or natural causes? | 1:01:11 | 1:01:15 | |
Promise? | 1:01:15 | 1:01:19 | |
Yes. | 1:01:17 | 1:01:19 | |
Even if I do return alive I won't be attending any dances after this. | 1:01:19 | 1:01:24 | |
It's probably the last deb season. I don't want to watch the decline. | 1:01:24 | 1:01:30 | |
Everyone's going tonight? | 1:01:30 | 1:01:37 | |
No, just me. The International's an inorganic debutante ball. | 1:01:31 | 1:01:37 | |
The others were natural outgrowths of UHB formations. This is more of a tourist attraction. | 1:01:37 | 1:01:45 | |
Each girl has two escorts, a cadet in uniform from one of the academies | 1:01:45 | 1:01:50 | |
..and a civilian like myself. | 1:01:50 | 1:01:53 | |
< It's televised on Channel 9. | 1:01:53 | 1:01:55 | |
You're kidding. | 1:01:55 | 1:01:56 | |
No. It's extremely vulgar. I like it a lot. | 1:01:56 | 1:02:03 | |
And these Texas and Oklahoma debs are really nice. | 1:02:03 | 1:02:07 | |
A real relief from these hypercritical New York girls. | 1:02:07 | 1:02:11 | |
What's everyone else doing, then? | 1:02:11 | 1:02:14 | |
They'll be glued to the set. | 1:02:14 | 1:02:16 | |
(TV) "From the state of Texas, Miss Sabina Johnson,..." | 1:02:16 | 1:02:22 | |
She's cute. | 1:02:22 | 1:02:23 | |
What about the dress?? | 1:02:23 | 1:02:25 | |
-TV - # "YELLOW ROSE OF TEXAS" -Nick said this would be the last real deb season. | 1:02:25 | 1:02:29 | |
How come? | 1:02:29 | 1:02:30 | |
Because of everything going on. | 1:02:30 | 1:02:32 | |
Like what? | 1:02:32 | 1:02:33 | |
Well, everything. | 1:02:33 | 1:02:36 | |
(STAMMERS) Stock market, economy, contemporary social attitudes. | 1:02:37 | 1:02:41 | |
Is Audrey coming tonight? | 1:02:41 | 1:02:44 | |
She said she felt tired and might stay home. She can watch Channel 9. | 1:02:44 | 1:02:48 | |
ENTRYPHONE RINGS | 1:02:50 | 1:02:52 | |
I'll get it. | 1:02:52 | 1:02:54 | |
Thanks. > | 1:02:53 | 1:02:54 | |
TV - # "MY OLD KENTUCKY HOME" | 1:02:54 | 1:02:57 | |
"Ms McLean and Mr Von Sloneker." | 1:02:59 | 1:03:02 | |
(STAMMERS) Cynthia's coming up with Rick Von Sloneker. | 1:03:02 | 1:03:08 | |
She mentioned they might come by. | 1:03:05 | 1:03:08 | |
What would Nick say? | 1:03:08 | 1:03:13 | |
What Nick says or thinks, I couldn't care less. | 1:03:09 | 1:03:13 | |
PHONE RINGS | 1:03:17 | 1:03:19 | |
Hi? This is Rick Von Sloneker and Victor Lemley - Tom Townsend. | 1:03:22 | 1:03:28 | |
I've heard a lot about you. | 1:03:28 | 1:03:35 | |
Of course you have. So, who was talking about me? Nick Smith? | 1:03:29 | 1:03:35 | |
Yes, actually. | 1:03:35 | 1:03:42 | |
Jerk. How could anyone take him seriously? | 1:03:36 | 1:03:42 | |
He's just a jerk. | 1:03:38 | 1:03:42 | |
He feels threatened by you. | 1:03:42 | 1:03:45 | |
What a clown. | 1:03:42 | 1:03:45 | |
Is it true you're a baron? | 1:03:45 | 1:03:52 | |
As a matter of fact, it is. I don't take that sort of thing seriously. | 1:03:47 | 1:03:52 | |
That was Audrey. She is coming, after all. | 1:03:52 | 1:03:55 | |
Audrey Rouget? | 1:03:54 | 1:03:55 | |
Uh-huh. | 1:03:55 | 1:03:59 | |
She's getting pretty attractive. What are we watching? | 1:03:56 | 1:03:59 | |
The International. | 1:03:59 | 1:04:01 | |
In a little more than an hour the season will be over. | 1:04:01 | 1:04:06 | |
You take that seriously? I can't. | 1:04:06 | 1:04:09 | |
You don't take much seriously. One might think you're not very serious. | 1:04:10 | 1:04:16 | |
Who's this? A Nick Smith mimic? I was already sick of the original. | 1:04:16 | 1:04:19 | |
Tom, cut it out. It's tiresome. What Nick said was untrue. | 1:04:19 | 1:04:24 | |
I'm sorry about last night. I didn't mean what I said. | 1:04:26 | 1:04:30 | |
No, it was idiotic to approach you that way. | 1:04:30 | 1:04:35 | |
I hadn't intended to. | 1:04:35 | 1:04:36 | |
It wasn't idiotic. | 1:04:36 | 1:04:38 | |
Miss Sabina Johnson of Texas, and Cadet Holly of our armed services. | 1:04:45 | 1:04:51 | |
ALL GREET VISITORS | 1:04:51 | 1:04:53 | |
GENERAL CONVERSATION | 1:04:56 | 1:04:58 | |
I go away for a couple of hours and you get Von Sloneker up here? | 1:04:58 | 1:05:02 | |
I can invite anyone I want. | 1:05:02 | 1:05:04 | |
So you invited him? | 1:05:03 | 1:05:04 | |
I didn't. But even if I did, it's none of your business. | 1:05:04 | 1:05:08 | |
How can you say that? Knowing the type? > | 1:05:08 | 1:05:11 | |
I don't. It's just what you say and you're completely untrustworthy. | 1:05:11 | 1:05:15 | |
Not about something serious. > | 1:05:15 | 1:05:16 | |
Hey, Smith? You're a liar. | 1:05:16 | 1:05:19 | |
I heard the crap you've been talking. | 1:05:19 | 1:05:23 | |
Oh, you have? | 1:05:21 | 1:05:23 | |
About how I supposedly mistreated Polly Perkins. | 1:05:23 | 1:05:27 | |
There isn't any Polly Perkins. The girl never existed. | 1:05:27 | 1:05:32 | |
Go on, tell 'em. You made it up. | 1:05:32 | 1:05:36 | |
< Is this true? | 1:05:37 | 1:05:42 | |
Yes and no. | 1:05:39 | 1:05:42 | |
Oh, God, Nick? | 1:05:41 | 1:05:42 | |
You did make it up. | 1:05:42 | 1:05:43 | |
There is no one Polly Perkins. There are many. | 1:05:43 | 1:05:49 | |
So you lied? | 1:05:46 | 1:05:49 | |
Polly Perkins is a composite. Like "New York" magazine does. | 1:05:49 | 1:05:54 | |
Name one girl. | 1:05:54 | 1:05:56 | |
Girls degraded by you | 1:05:56 | 1:05:58 | |
don't need their names bandied about non-exclusive Park Ave afterparties. | 1:05:58 | 1:06:05 | |
There isn't even one. | 1:06:02 | 1:06:05 | |
This looks bad, Nick. | 1:06:05 | 1:06:07 | |
Cathy Livingstone. No harm can be done to her now. | 1:06:11 | 1:06:14 | |
I had nothing to do with that. She was unstable. | 1:06:14 | 1:06:17 | |
It didn't stop you boozing her up to pull a train for you and Lemley. | 1:06:17 | 1:06:20 | |
That is not how it happened. | 1:06:20 | 1:06:24 | |
Oh? So what did happen, Rick-ee? | 1:06:23 | 1:06:24 | |
What happened between Cathy and myself is private and nothing to do with her suicide... | 1:06:24 | 1:06:32 | |
..which was months afterwards. | 1:06:32 | 1:06:34 | |
She tried to call you but you wouldn't even see her. | 1:06:34 | 1:06:41 | |
I liked Cathy but when things don't work out a clean break is best. | 1:06:37 | 1:06:41 | |
Spare us fake sensitivity. Are her panties still in your collection? | 1:06:41 | 1:06:45 | |
He has panties of girls he seduced. | 1:06:45 | 1:06:48 | |
When they kill themselves do you do anything to memorialise them? | 1:06:48 | 1:06:53 | |
I don't let anyone say that kind of thing to my face. | 1:06:53 | 1:06:56 | |
You complained I said it behind your back. Now it's to your face. How can you tell which is which? | 1:06:56 | 1:07:00 | |
He had that coming. | 1:07:06 | 1:07:09 | |
How dare he hit me. | 1:07:12 | 1:07:15 | |
-He's the scoundrel. I should've thrashed -him. | 1:07:15 | 1:07:18 | |
You missed your chance. | 1:07:18 | 1:07:24 | |
I tried my damnedest not to splatter blood all over the apartment. | 1:07:19 | 1:07:24 | |
Nobody did anything to help. | 1:07:24 | 1:07:27 | |
I face one of the worst guys of our times and get whining criticism. | 1:07:27 | 1:07:32 | |
"This looks really bad, Nick." | 1:07:32 | 1:07:34 | |
Why should we believe you over Rick? | 1:07:34 | 1:07:36 | |
You're a hypocrite and your Polly Perkins story was a lie,... | 1:07:36 | 1:07:42 | |
A composite. | 1:07:40 | 1:07:42 | |
..you're out of control with a drug problem... | 1:07:42 | 1:07:46 | |
..and a fixation on Rick Von Sloneker's "wickedness". | 1:07:46 | 1:07:50 | |
You're a snob, a sexist, totally obnoxious and tiresome and weird. | 1:07:50 | 1:07:55 | |
Why believe anything you say? | 1:07:55 | 1:08:01 | |
I am not tiresome. | 1:07:57 | 1:08:01 | |
What's Rick to you, anyway? | 1:07:59 | 1:08:01 | |
Your shy friend hits me in the face. | 1:08:01 | 1:08:04 | |
I go to the domaine of a stepmother of untrammelled malevolence - maybe to be killed - and I get this. | 1:08:04 | 1:08:11 | |
Who can blame her? If not spouting blood was your objective you weren't terribly successful. | 1:08:11 | 1:08:19 | |
Well. I'm going to Grand Central. The people are friendly there. | 1:08:22 | 1:08:28 | |
I'll help you with your stuff. | 1:08:28 | 1:08:31 | |
Why don't we all go see Nick off? | 1:08:32 | 1:08:35 | |
This group has certain standards. I failed to live up to them. | 1:08:45 | 1:08:50 | |
Thanks for coming. | 1:08:54 | 1:08:56 | |
Goodbye, and thanks for coming. | 1:08:56 | 1:09:00 | |
Goodbye, Tom. | 1:09:01 | 1:09:04 | |
Good luck. | 1:09:02 | 1:09:04 | |
I'm counting on you and Charlie to maintain the ideals of the UHB where I obviously failed. | 1:09:04 | 1:09:10 | |
You and Charlie are the only ones who understand. | 1:09:10 | 1:09:14 | |
What? | 1:09:12 | 1:09:14 | |
Here. Thank you. | 1:09:14 | 1:09:16 | |
Also, remember, in case I die...? | 1:09:17 | 1:09:21 | |
Yes. | 1:09:19 | 1:09:21 | |
(ALL) Bye. | 1:09:21 | 1:09:24 | |
Is the Twenty-One Club very expensive? | 1:09:50 | 1:09:53 | |
< I believe so. | 1:09:53 | 1:09:56 | |
-That's priceless... -"They look awfully big for mice". | 1:09:58 | 1:10:02 | |
She believed it? Priceless. | 1:10:03 | 1:10:06 | |
You mentioned it in a letter. | 1:10:06 | 1:10:09 | |
Over Christmas I went through some letters. | 1:10:09 | 1:10:12 | |
You saved my letters? | 1:10:12 | 1:10:18 | |
Of course, I save all the personal letters I get. And you? | 1:10:14 | 1:10:18 | |
No. | 1:10:18 | 1:10:20 | |
You threw away all the letters I wrote you? | 1:10:21 | 1:10:24 | |
I throw away everything. | 1:10:24 | 1:10:26 | |
I don't want to go through life with the mail I got at sixteen. | 1:10:26 | 1:10:30 | |
I'm surprised. Someone goes to the trouble of writing - I'd save it. | 1:10:30 | 1:10:35 | |
People don't write personal letters any more. | 1:10:35 | 1:10:37 | |
People in boarding school do. | 1:10:37 | 1:10:44 | |
What if the writer became famous? | 1:10:41 | 1:10:44 | |
Those letters could be the only record of their ideas at that time. | 1:10:44 | 1:10:47 | |
Anybody who writes me and expects to become famous should keep carbons. | 1:10:47 | 1:10:52 | |
It's a kind of trust. | 1:10:52 | 1:10:54 | |
Someone takes the trouble to write a letter, you do not throw it out. | 1:10:54 | 1:11:00 | |
I didn't save your letters but I didn't throw them out. | 1:11:00 | 1:11:05 | |
I don't understand. Is that a riddle? | 1:11:05 | 1:11:08 | |
There was a girl at school with a crush on you. | 1:11:08 | 1:11:11 | |
When I was throwing things out I gave her your letters. | 1:11:11 | 1:11:17 | |
Really? | 1:11:15 | 1:11:17 | |
I know it sounds queer. | 1:11:17 | 1:11:19 | |
She kept them? | 1:11:19 | 1:11:26 | |
Uh-hmm. | 1:11:22 | 1:11:26 | |
Strange. She must be really odd. | 1:11:23 | 1:11:26 | |
No. She's very nice. | 1:11:26 | 1:11:29 | |
You know her. | 1:11:29 | 1:11:31 | |
Audrey Rouget. | 1:11:32 | 1:11:34 | |
You mean... you think you've gotten over Serena... again? | 1:11:40 | 1:11:45 | |
It's different this time. | 1:11:42 | 1:11:45 | |
I was involved with her, in a negative way,... | 1:11:45 | 1:11:50 | |
..and feeling bitter. I don't feel that way now. | 1:11:50 | 1:11:55 | |
DOORBELL > | 1:11:51 | 1:11:55 | |
Charlie's on his way up. | 1:11:52 | 1:11:55 | |
Damn. I wanted to ask you something. | 1:11:55 | 1:11:57 | |
What was that "surprising thing"? | 1:11:57 | 1:11:59 | |
You probably already knew, but I was surprised. | 1:11:59 | 1:12:02 | |
About Audrey saving my letters? | 1:12:02 | 1:12:04 | |
What letters? | 1:12:03 | 1:12:04 | |
< The ones I wrote Serena. | 1:12:04 | 1:12:11 | |
Audrey saved them? God, how queer? | 1:12:06 | 1:12:11 | |
Not so queer. Serena was throwing them out... | 1:12:11 | 1:12:14 | |
..and Audrey didn't think letters should be destroyed. | 1:12:14 | 1:12:19 | |
But while I was with Serena, who is nice and good-looking... | 1:12:19 | 1:12:25 | |
Serena's basically a good person. | 1:12:22 | 1:12:25 | |
..on a night I'd looked forward to.. | 1:12:25 | 1:12:27 | |
..I felt nostalgia for the talks with Audrey before the blow-up, | 1:12:27 | 1:12:33 | |
before I knew about the letters. | 1:12:33 | 1:12:35 | |
< I prefer arguing with Audrey to agreeing with Serena. | 1:12:35 | 1:12:39 | |
I had that calm perspective on our relationship with Serena for a while | 1:12:39 | 1:12:44 | |
..and I began getting this warm glow at the prospect of seeing Audrey. | 1:12:44 | 1:12:49 | |
Uh-oh? | 1:12:48 | 1:12:49 | |
I'd thought that if it didn't work out with Serena this time... | 1:12:49 | 1:12:54 | |
..I'd put romance on hold. | 1:12:54 | 1:12:57 | |
People shouldn't marry till the late twenties and that's a long way off. | 1:12:57 | 1:13:00 | |
Boy? Your timing's really awful. | 1:13:00 | 1:13:03 | |
How do you mean? | 1:13:02 | 1:13:03 | |
DOORBELL | 1:13:03 | 1:13:06 | |
Damn? I'll get it. I want to continue this. | 1:13:07 | 1:13:11 | |
Where's Jane? | 1:13:15 | 1:13:16 | |
Still in her room. What would you like to drink? | 1:13:16 | 1:13:20 | |
You're our host? | 1:13:19 | 1:13:20 | |
What do people who don't drink have? | 1:13:20 | 1:13:23 | |
Ginger ale? Iced water? Maybe a Coke and an aspirin. | 1:13:23 | 1:13:28 | |
You needn't put on eye shadow for us? | 1:13:29 | 1:13:31 | |
It's not for you. I have a date. | 1:13:31 | 1:13:34 | |
A date? What's that? Sounds like something from the 1950s. | 1:13:34 | 1:13:39 | |
Who's the feller? | 1:13:37 | 1:13:39 | |
None of you know him and I'd like to keep it that way. | 1:13:39 | 1:13:44 | |
Why did you say my timing was off? | 1:13:47 | 1:13:50 | |
Audrey's at Cynthia's for the weekend, and then goes back to France. | 1:13:50 | 1:13:55 | |
Besides that, she hates you. | 1:13:55 | 1:14:01 | |
Hates me? | 1:13:57 | 1:14:01 | |
Despises you. It's a bit my fault. | 1:13:58 | 1:14:01 | |
My "Truth" question was specifically to show you hadn't got over Serena. | 1:14:01 | 1:14:07 | |
A "Mr Andrews" is downstairs for you. | 1:14:07 | 1:14:09 | |
I'll be right down. | 1:14:09 | 1:14:13 | |
We'll go down with you. | 1:14:11 | 1:14:13 | |
No, you won't. | 1:14:12 | 1:14:13 | |
We can all go out together. | 1:14:13 | 1:14:14 | |
No. | 1:14:13 | 1:14:14 | |
It seems rude not to go down and check him out. | 1:14:14 | 1:14:18 | |
Please don't. Stay here, there's plenty of food and stuff. | 1:14:18 | 1:14:22 | |
All right to stay and wait for everyone else? | 1:14:22 | 1:14:28 | |
Sure, but what "everyone else"? | 1:14:24 | 1:14:28 | |
The rest of the SFRP. | 1:14:28 | 1:14:31 | |
You are the SFRP tonight. | 1:14:31 | 1:14:33 | |
Could you be out by midnight? | 1:14:33 | 1:14:36 | |
Feel free to stay till then. Bye. | 1:14:36 | 1:14:38 | |
(ALL) Bye. | 1:14:38 | 1:14:40 | |
Out by midnight? | 1:14:41 | 1:14:42 | |
What's this? Jane brings a guy she hardly knows back on an assignation? | 1:14:42 | 1:14:50 | |
We don't know that. | 1:14:47 | 1:14:50 | |
I'm surprised at Jane. | 1:14:50 | 1:14:52 | |
Some guy asks her out and she abandons everything - we can all just go to heck. | 1:14:52 | 1:14:58 | |
The rat pack is disintegrating. | 1:14:58 | 1:15:01 | |
Rat pack is down to the rats. | 1:15:01 | 1:15:04 | |
This is depressing. Let's get out. | 1:15:04 | 1:15:07 | |
She would prefer to go out on a date which offers romantic promise,... | 1:15:13 | 1:15:18 | |
..even if slight, than stay with us. | 1:15:18 | 1:15:20 | |
It's disappointing. I thought we were better friends than that. | 1:15:20 | 1:15:24 | |
I wonder whether we were at all, or just way stations between dates. | 1:15:24 | 1:15:29 | |
For them men are either dates, potential dates or date substitutes. | 1:15:29 | 1:15:34 | |
I find that dehumanising. | 1:15:34 | 1:15:36 | |
That might be so with Cynthia or Sally but Audrey is different. | 1:15:36 | 1:15:41 | |
She'd keep up friendships, no matter what. | 1:15:41 | 1:15:44 | |
Audrey has a largeness of mind, not obsessed with her love life. | 1:15:44 | 1:15:49 | |
She's good-looking, smart, charming, | 1:15:49 | 1:15:53 | |
principled, an unusual combination. | 1:15:53 | 1:15:57 | |
What do you mean? > | 1:16:01 | 1:16:07 | |
You've given her nothing but grief all the past week... | 1:16:02 | 1:16:07 | |
I think I'll be going now. | 1:16:04 | 1:16:07 | |
I have nothing to say and I am boring without a drink. | 1:16:07 | 1:16:10 | |
It's only midnight. You can't go. | 1:16:10 | 1:16:12 | |
Yeah, but without cocktails, staying up all night loses its charm. | 1:16:12 | 1:16:17 | |
I haven't had anything amusing to say since I stopped drinking. | 1:16:17 | 1:16:20 | |
Did you before you stopped? | 1:16:20 | 1:16:26 | |
It seemed amusing. Now it doesn't. | 1:16:23 | 1:16:26 | |
You were asleep. | 1:16:26 | 1:16:33 | |
Was that it? Good night, Charlie. Ciao, Tommy. | 1:16:27 | 1:16:33 | |
Ciao, Fred. | 1:16:31 | 1:16:33 | |
When I was in college we'd go to dances. Does that still go on? | 1:16:38 | 1:16:43 | |
Yes. | 1:16:43 | 1:16:45 | |
Much reduced, though. I wouldn't put much stock in them. | 1:16:45 | 1:16:50 | |
You go to a party, meet people, and think, "These people will be my friends forever." | 1:16:50 | 1:16:55 | |
Then you never see them again. | 1:16:55 | 1:16:58 | |
Wonder where they go. | 1:16:58 | 1:17:00 | |
Are people from this background doomed to failure? | 1:17:00 | 1:17:04 | |
Doomed? No, that would be easier. | 1:17:04 | 1:17:07 | |
We simply fail without being doomed. | 1:17:07 | 1:17:11 | |
But you have failed? | 1:17:11 | 1:17:13 | |
Yeah. | 1:17:13 | 1:17:16 | |
You still come to places like this? | 1:17:14 | 1:17:16 | |
I've a good job that pays decently. | 1:17:16 | 1:17:19 | |
It's all so mediocre, unimpressive. | 1:17:19 | 1:17:23 | |
The test is if you take pleasure in responding to the question,... | 1:17:23 | 1:17:29 | |
.."What do you do?" I can't bear it. | 1:17:29 | 1:17:32 | |
You start out expecting something and some contemporaries achieve it. | 1:17:33 | 1:17:38 | |
You read about them in the papers. | 1:17:38 | 1:17:41 | |
The danger of mid-town Manhattan is meeting successful contemporaries. | 1:17:41 | 1:17:48 | |
I avoid them when I can. | 1:17:48 | 1:17:50 | |
When I can't they are always friendly. | 1:17:50 | 1:17:53 | |
But inevitably they ask what am I doing. | 1:17:53 | 1:17:57 | |
It's hard to believe people of our background are successful. | 1:17:57 | 1:18:02 | |
Aren't you confusing them with normal people you knew in college? | 1:18:02 | 1:18:07 | |
It's not surprising an energetic, self-confident achiever,... | 1:18:07 | 1:18:12 | |
..free of uhb-illusions, should be successful. | 1:18:12 | 1:18:15 | |
Uhb? What's uhb? | 1:18:15 | 1:18:17 | |
UHB, an acronym for urban haute bourgeoisie. | 1:18:17 | 1:18:21 | |
It's a more precise alternative to preppie or other terms. | 1:18:21 | 1:18:28 | |
Well, you're partly right. | 1:18:28 | 1:18:30 | |
Some of the people I mention are not from... uhb?... uhb backgrounds. | 1:18:30 | 1:18:35 | |
But you are going to have to accept that people from our background... | 1:18:35 | 1:18:41 | |
..are not "doomed" to failure. | 1:18:41 | 1:18:43 | |
I wonder if they were typical uhbs? | 1:18:43 | 1:18:46 | |
There was probably some factor which set them apart. | 1:18:46 | 1:18:51 | |
Their career is not over. | 1:18:51 | 1:18:53 | |
The failure could still be to come. | 1:18:53 | 1:18:56 | |
He seems less pessimistic than you. | 1:19:02 | 1:19:05 | |
I know. It doesn't ring true. | 1:19:05 | 1:19:08 | |
Look - there's a light on. | 1:19:11 | 1:19:13 | |
(STAMMERS) We can't go up to her place unannounced after midnight. | 1:19:13 | 1:19:20 | |
Depends on who's on the elevator. | 1:19:16 | 1:19:20 | |
That's not the question. | 1:19:17 | 1:19:20 | |
You've known Sally ten days? And you go barging in? | 1:19:20 | 1:19:27 | |
She said any time we saw the lights on, which they clearly are. | 1:19:23 | 1:19:27 | |
Call first. | 1:19:27 | 1:19:29 | |
What? And wake up her parents? | 1:19:29 | 1:19:35 | |
You act as if her apartment were our living room. | 1:19:31 | 1:19:35 | |
It is. | 1:19:33 | 1:19:35 | |
(What are we doing here?) | 1:19:40 | 1:19:43 | |
(It'll be all right.) | 1:19:43 | 1:19:45 | |
What are you doing here? | 1:19:46 | 1:19:49 | |
You said to come up if we saw the lights on. | 1:19:49 | 1:19:55 | |
Sorry to bother you. | 1:19:51 | 1:19:55 | |
I was just about to go out. | 1:19:52 | 1:19:55 | |
Who is it? > | 1:19:55 | 1:19:59 | |
Just friends. | 1:19:57 | 1:19:59 | |
Come on in. | 1:19:59 | 1:20:01 | |
Al, these are my friends, Charlie and Tommy. | 1:20:05 | 1:20:09 | |
Alan is the record producer who discovered the "Hated Few". | 1:20:09 | 1:20:13 | |
They're very good. | 1:20:11 | 1:20:13 | |
Yes. And Sally will be very good. She has a wonderful voice. | 1:20:13 | 1:20:18 | |
So we have a friend in common. Rick Von Sloneker. | 1:20:18 | 1:20:22 | |
(STAMMERS) You're a friend of his? | 1:20:22 | 1:20:24 | |
Great guy. Our houses are next door in Southampton. | 1:20:24 | 1:20:27 | |
We'd better get going. There's no time for drinks after all. | 1:20:27 | 1:20:32 | |
Any idea when everyone's getting back? The SFRP's disintegrating. | 1:20:36 | 1:20:41 | |
We can't just keep getting together for the rest of our lives. | 1:20:41 | 1:20:46 | |
Why not? | 1:20:45 | 1:20:46 | |
It's inevitable that things get more back to normal. | 1:20:46 | 1:20:51 | |
This wasn't normal? | 1:20:49 | 1:20:51 | |
No. | 1:20:50 | 1:20:51 | |
Wish somebody'd told me. | 1:20:51 | 1:20:54 | |
When are Cynthia and Audrey back? | 1:20:54 | 1:20:58 | |
I don't know. That's their affair. | 1:20:56 | 1:20:58 | |
Cynthia's at Rick's house party. | 1:20:58 | 1:21:02 | |
< Southampton? | 1:21:00 | 1:21:02 | |
I'm not sure she was really going. You guys are so tiresome. | 1:21:02 | 1:21:05 | |
That was really embarrassing. Thank you for including me. | 1:21:20 | 1:21:23 | |
I can't believe it. God? | 1:21:23 | 1:21:28 | |
Maybe he's a nice guy. He doesn't make a good first impression. | 1:21:24 | 1:21:28 | |
No, what he said about Cynthia. | 1:21:28 | 1:21:31 | |
Audrey's meant to be visiting Cynthia, who's with Von Sloneker. | 1:21:31 | 1:21:36 | |
So they're in different states. | 1:21:36 | 1:21:41 | |
No, there's only one explanation. | 1:21:38 | 1:21:41 | |
Audrey has gone with Cynthia to Von Sloneker's house party. | 1:21:41 | 1:21:44 | |
You're always selling Audrey short. That's despicable. | 1:21:44 | 1:21:50 | |
I'm not being despicable. I'm worried about Audrey. | 1:21:50 | 1:21:54 | |
Jane says she's in a strange mood, saying she's not a "real woman". | 1:21:54 | 1:22:00 | |
She said that? | 1:22:00 | 1:22:04 | |
That's the way Cynthia talks. | 1:22:01 | 1:22:04 | |
I can't share your concern. Audrey wouldn't get in that situation. | 1:22:05 | 1:22:11 | |
She has very clear views on things. | 1:22:11 | 1:22:14 | |
She's a big admirer of Jane Austen? | 1:22:14 | 1:22:17 | |
She's turned her back on all that. | 1:22:17 | 1:22:19 | |
No, she's probably home, asleep, tucked up and surrounded by toys. | 1:22:19 | 1:22:25 | |
Let's call, then. | 1:22:25 | 1:22:29 | |
We can't. | 1:22:26 | 1:22:29 | |
It's only a local call. | 1:22:27 | 1:22:29 | |
It's 3am, we'll wake up her parents. | 1:22:29 | 1:22:32 | |
This is important to them, too. | 1:22:32 | 1:22:35 | |
If she's already at Von Sloneker's - I bet he's not asleep. | 1:22:35 | 1:22:40 | |
Older people tend to get up early. I'll call the Rougets at 7. | 1:22:41 | 1:22:44 | |
If there's any risk I'll give you a call. But I don't expect to have to. | 1:22:44 | 1:22:52 | |
Could you call me either way? | 1:22:52 | 1:22:53 | |
At seven? Okay. | 1:22:53 | 1:22:56 | |
Thanks. You're not such a bad fellow | 1:22:56 | 1:23:01 | |
I'll call you. | 1:22:58 | 1:23:01 | |
Call me. | 1:23:00 | 1:23:01 | |
"I hate him." | 1:23:13 | 1:23:14 | |
"Audrey Rouget? She's getting very attractive." | 1:23:17 | 1:23:21 | |
"She was the first girl to make him feel that way" | 1:23:21 | 1:23:24 | |
"She thinks you're a total jerk." | 1:23:24 | 1:23:26 | |
"None of the harm you do is intentional." | 1:23:26 | 1:23:29 | |
"She despises you." | 1:23:29 | 1:23:30 | |
"Him, Victor Lemley, the other crew member,..." | 1:23:30 | 1:23:34 | |
"I wanna be a real woman." | 1:23:34 | 1:23:35 | |
"You're the only girl who's ever made me feel this way." | 1:23:35 | 1:23:38 | |
"And she was completely unstable." | 1:23:38 | 1:23:40 | |
"I wanna be a real woman." | 1:23:40 | 1:23:42 | |
PHONE RINGS | 1:23:48 | 1:23:50 | |
I called Audrey's parents at 7am. | 1:23:51 | 1:23:54 | |
They're not such early risers. | 1:23:54 | 1:23:56 | |
They thought Audrey was with Cynthia | 1:23:56 | 1:24:00 | |
I called Cynthia's and her mother answered. She was sleeping late, too. | 1:24:00 | 1:24:05 | |
She said Cynthia was at Audrey's. | 1:24:05 | 1:24:09 | |
Jesus? | 1:24:09 | 1:24:10 | |
Cynthia borrowed her mother's car. | 1:24:10 | 1:24:13 | |
The last anyone saw them was four yesterday afternoon. | 1:24:13 | 1:24:17 | |
They'd have got to Von Sloneker's yesterday evening. | 1:24:17 | 1:24:20 | |
You're right. | 1:24:20 | 1:24:22 | |
-I -am -authorised to use my mother's card. I use it all the time? | 1:24:26 | 1:24:31 | |
She wasn't very polite. | 1:24:33 | 1:24:36 | |
No, she wasn't. | 1:24:34 | 1:24:36 | |
This should be plenty. | 1:24:37 | 1:24:40 | |
I can't believe you don't have a licence. | 1:24:52 | 1:24:54 | |
Course I don't. I live in Manhattan. | 1:24:54 | 1:24:57 | |
I'm surprised, that's all. | 1:24:56 | 1:24:57 | |
Give me a break. I don't go to the Hamptons. You could have got one. | 1:24:57 | 1:25:04 | |
I'm no jock. | 1:25:01 | 1:25:04 | |
What a disaster. | 1:25:02 | 1:25:04 | |
(STAMMERS) I'm gonna get a licence soon. | 1:25:04 | 1:25:08 | |
This must be how the failure starts. | 1:25:08 | 1:25:11 | |
An incompetence in mastering the common tasks of everyday life. | 1:25:11 | 1:25:18 | |
Doesn't Fred have a licence? | 1:25:15 | 1:25:18 | |
Okay... yeah. | 1:25:18 | 1:25:21 | |
Says he can't. He's about to get fired, as it is. | 1:25:23 | 1:25:27 | |
He always said what a lousy job it was. Did you say how serious it is? | 1:25:27 | 1:25:32 | |
Yes. | 1:25:30 | 1:25:32 | |
He was always complaining about his lousy job. | 1:25:33 | 1:25:36 | |
To other people the situation might not seem so ominous. | 1:25:36 | 1:25:41 | |
What could really happen? | 1:25:41 | 1:25:44 | |
You have been right up to now. And Von Sloneker is a bad guy, capable of anything. | 1:25:44 | 1:25:50 | |
It might sound melodramatic to say he's ruined girls. | 1:25:50 | 1:25:53 | |
What does that really mean today? True, he's done unspeakable things. | 1:25:53 | 1:25:59 | |
If Audrey's as upset and bitter as it seems, anything can happen. | 1:25:59 | 1:26:04 | |
We gotta get out there fast. | 1:26:04 | 1:26:06 | |
While we sit here, anything could be happening at Von Sloneker's. | 1:26:06 | 1:26:09 | |
Nick would know what to do. | 1:26:09 | 1:26:12 | |
He's got all sorts of credit cards. | 1:26:12 | 1:26:14 | |
< What would Nick do? How would he get out of this? | 1:26:14 | 1:26:18 | |
You've got a lot of cash on you. | 1:26:19 | 1:26:24 | |
Yes, lots. | 1:26:21 | 1:26:24 | |
Whenever I think we're overreacting I remember Polly Perkins. | 1:26:56 | 1:27:02 | |
Or Cathy Livingstone. | 1:26:59 | 1:27:02 | |
I think I knew her. | 1:27:02 | 1:27:04 | |
What are we gonna do when we get there? | 1:27:05 | 1:27:11 | |
I don't know. Depends on the situation. | 1:27:07 | 1:27:11 | |
Yesterday I was thinking, maybe Fourier wasn't correct. | 1:27:13 | 1:27:17 | |
His ideas are completely unworkable. | 1:27:17 | 1:27:19 | |
You don't want to live on a farm with a lot of people. | 1:27:19 | 1:27:23 | |
Rick's strange, and pretty violent. | 1:27:27 | 1:27:32 | |
He might not be pleased to see us. | 1:27:32 | 1:27:35 | |
I've thought of that. | 1:27:35 | 1:27:37 | |
Thanks a lot. We shouldn't be long. | 1:28:14 | 1:28:16 | |
Be as long as you want. I'm leaving. | 1:28:16 | 1:28:18 | |
No, we need you to take us back. That was understood. | 1:28:18 | 1:28:23 | |
If you think I'm gonna wait around, you're crazy. | 1:28:23 | 1:28:26 | |
But I... how are we gonna get back? | 1:28:33 | 1:28:35 | |
What's this shit? | 1:28:35 | 1:28:38 | |
A gratuity is included. | 1:28:38 | 1:28:41 | |
What's this shit? | 1:28:39 | 1:28:41 | |
(STAMMERS) I'm sure we agreed on 120 as the full price. | 1:28:48 | 1:28:53 | |
Look at this. Looks like some girl's panties. | 1:28:58 | 1:29:02 | |
Jesus? That bastard? | 1:29:02 | 1:29:05 | |
# LOUD POP MUSIC IN HOUSE | 1:29:06 | 1:29:08 | |
What are you clowns doing here? | 1:29:41 | 1:29:43 | |
What are you doing here? | 1:29:43 | 1:29:48 | |
It's my place. I do what I want. | 1:29:44 | 1:29:48 | |
That's not true. | 1:29:46 | 1:29:48 | |
How dare you break in? Did they break that? | 1:29:48 | 1:29:53 | |
What are you doing here? This is so embarrassing. | 1:29:50 | 1:29:53 | |
A little embarrassment could do you good. By the way - whose are these? | 1:29:53 | 1:29:58 | |
I haven't the slightest idea. Get out of here. | 1:29:58 | 1:30:01 | |
They buy them new and scatter them - Rick's little delicacies. | 1:30:01 | 1:30:05 | |
That's a lie. Get out and take this flat-chested goody-goody. | 1:30:05 | 1:30:10 | |
Thank you. | 1:30:09 | 1:30:10 | |
She is not a goody-goody. | 1:30:10 | 1:30:14 | |
And before you go...? | 1:30:12 | 1:30:14 | |
HEY? | 1:30:16 | 1:30:18 | |
Jesus? | 1:30:17 | 1:30:18 | |
Are you crazy? | 1:30:18 | 1:30:20 | |
I warn you, he's a Fourierist? | 1:30:20 | 1:30:22 | |
It's only a toy or an antique, Rick. | 1:30:22 | 1:30:26 | |
Let the jerk play his little get-even game. | 1:30:26 | 1:30:31 | |
No, it's not that far, about an hour... or two, probably. | 1:30:42 | 1:30:47 | |
Did anything happen? | 1:30:47 | 1:30:51 | |
Of course not. | 1:30:49 | 1:30:51 | |
Then you were never interested in Von Sloneker at all? | 1:30:51 | 1:30:56 | |
Then why come out here? | 1:30:56 | 1:30:58 | |
To get a suntan. | 1:30:58 | 1:31:01 | |
The rat pack was claustrophobic. Cynthia insisted I come. | 1:31:01 | 1:31:06 | |
She's terribly impressed with Rick. | 1:31:06 | 1:31:12 | |
It's not something Jane Austen would have done. | 1:31:08 | 1:31:12 | |
No. I suppose Europe is over there? | 1:31:12 | 1:31:17 | |
No. That would be more Brazil. Europe is more that way. | 1:31:17 | 1:31:20 | |
Are you still going back next week? | 1:31:20 | 1:31:23 | |
I guess so. | 1:31:23 | 1:31:25 | |
What can you study in France that you can't study here? | 1:31:26 | 1:31:31 | |
French. Actually I was thinking of coming back when this semester ends. | 1:31:32 | 1:31:37 | |
I thought of going over. | 1:31:37 | 1:31:38 | |
Not necessarily Grenoble, | 1:31:38 | 1:31:40 | |
but France or Italy. My resources are limited. | 1:31:40 | 1:31:43 | |
There are some cheap air fares. Shame not to take advantage. | 1:31:43 | 1:31:50 | |
That's the way I feel. | 1:31:50 | 1:31:52 | |
Do you think I'm flat-chested? | 1:31:55 | 1:31:59 | |
I've never thought about it. | 1:31:57 | 1:31:59 | |
I shouldn't say that. You look great, and that's what matters. | 1:32:00 | 1:32:04 | |
You don't want to overdo it. | 1:32:04 | 1:32:08 |