0:01:13 > 0:01:17- BOY:- Get out of my house! I don't want you here no more!
0:01:17 > 0:01:22- Very well, Bertram. Give me my bag. - First, give me some medicine!
0:01:22 > 0:01:28All right. This is special medicine. I wouldn't give this to anyone else.
0:01:28 > 0:01:34I told you five times, I won't take it! You deaf or something?
0:01:34 > 0:01:37You will take it. Stop annoying Dr Aswell.
0:01:37 > 0:01:40- Am I annoying you?- Not at all.
0:01:40 > 0:01:43- I'm not annoying him. - Go back to bed!
0:01:43 > 0:01:49I've changed my mind! Add cherry flavour and I'll take the medicine!
0:01:49 > 0:01:52One cherry flavour coming up.
0:01:52 > 0:01:55There you are, Bertram.
0:01:58 > 0:02:00Good day.
0:02:00 > 0:02:03I don't know how you do it. He's impossible.
0:02:03 > 0:02:11So rebellious, so disrespectful. Is there anything wrong with him? Something psychological?
0:02:11 > 0:02:13- Definitely, Mrs Faraday.- What?
0:02:13 > 0:02:16- His parents.- You shock me!
0:02:16 > 0:02:21Good. Fracture the parents and heal the children.
0:02:21 > 0:02:24Bertram will be all right in a few days.
0:02:24 > 0:02:27DRAMATIC PIANO MUSIC
0:02:58 > 0:03:01HE SOBS
0:03:17 > 0:03:22- HE THINKS:- 'Hmm-hmm, seems we have a visitor.'
0:03:27 > 0:03:31That piano - wonderful the way I play. Such anguish.
0:03:31 > 0:03:36People think I feel it. That shows how stupid some people are.
0:03:36 > 0:03:39My tears, how I suffer. What a joke!
0:03:39 > 0:03:42I don't know how to suffer!
0:03:42 > 0:03:50Empty...An empty nothing in the bottom of a hole of endless nothing. Allow me to introduce myself.
0:03:55 > 0:03:57Hmm!
0:03:57 > 0:04:01Would you mind putting that opinion into words?
0:04:01 > 0:04:04- You want the truth? - Who knows the truth?
0:04:04 > 0:04:08- Tell me what you think. - In one word - junk!
0:04:08 > 0:04:13- Why?- It's a man beating himself to death over nothing at all.
0:04:13 > 0:04:18That's it! The final convulsion of the truth of my emptiness.
0:04:18 > 0:04:23- It's magnificent.- Nonsense! It's a childish feeling of rejection.
0:04:23 > 0:04:29Petulant precocious pyrotechnics. It's not art. It's not truth. Junk!
0:04:29 > 0:04:34- HE THINKS:- 'No-one tells a shoe-maker how to make shoes.
0:04:34 > 0:04:38'Or a chemist how to mix chemicals. Or a pilot how to fly.
0:04:38 > 0:04:41'But everybody is an art critic.
0:04:41 > 0:04:48'Quaglini, this one you must teach a lesson - one he'll never forget.'
0:04:48 > 0:04:53Two years that door has been open! At last, a friend. Octavio Quaglini.
0:04:53 > 0:04:56Perry Aswell. Quaglini's friend.
0:04:56 > 0:05:01- A doctor? You can be my doctor. - But I'm a paediatrician.
0:05:01 > 0:05:06- A child doctor? - A psychologist. I charge more. - I won't quibble about money.
0:05:06 > 0:05:09You need a psychoanalyst.
0:05:09 > 0:05:12Listen. Freud! Jung! Adler!
0:05:12 > 0:05:16And all their neophytes and satellites!
0:05:16 > 0:05:22There isn't an analyst's couch left in this town upon which I haven't lain. In fact...
0:05:22 > 0:05:26- You know what they said? - I can imagine.
0:05:26 > 0:05:29Absolutely hopeless. Incurable!
0:05:29 > 0:05:34A man without inhibitions. No dreams, no subconscious.
0:05:34 > 0:05:37That couldn't be what they said.
0:05:37 > 0:05:41So it's what I say. Anyway, I just can't grow up.
0:05:41 > 0:05:45Some problem, eh? A grown man trying to grow up.
0:05:45 > 0:05:48I want to show you something.
0:05:48 > 0:05:51- I have to get back to my office. - Wait a minute!
0:05:51 > 0:05:57You walked in, destroyed my art. You can't leave me like this.
0:05:57 > 0:06:00- You've got a responsibility. - I have patients.
0:06:00 > 0:06:06- Don't get sore. Take it easy. Humour me.- All right. What is it?
0:06:06 > 0:06:09You've got to see this.
0:06:15 > 0:06:17Do you like this one?
0:06:17 > 0:06:21- Hmm, that's good. Who painted it? - Can't you read?
0:06:21 > 0:06:26- But who painted it?- Talented fellow, works in the post office.
0:06:26 > 0:06:31The marchesa doesn't understand my work, so I buy this stuff, sign it.
0:06:31 > 0:06:36She shows it to her friends. Big fat cheques every month.
0:06:36 > 0:06:42- What if she finds out?- She knows. - She doesn't mind?- She's my mother.
0:06:42 > 0:06:44Your mother?
0:06:44 > 0:06:47Mother a marchesa, father a fish pedlar.
0:06:47 > 0:06:51Mother poor, wants dough. Father rich, wants refinement.
0:06:51 > 0:06:59- I was rejected. Too much aristocrat for father, too much fish pedlar for mother. Get it?- Perfectly.
0:06:59 > 0:07:02Father dies. Marchesa gets the dough.
0:07:02 > 0:07:06- So you ingratiate yourself with her. - Wrong!
0:07:06 > 0:07:11I terrorise her. If she barks that much, I threaten to kill myself.
0:07:12 > 0:07:15And she believes this?
0:07:15 > 0:07:18Oh, yes. I'm very convincing.
0:07:18 > 0:07:22You put on an act and you get hoisted by your performance.
0:07:22 > 0:07:25I'll show you how I do it.
0:07:25 > 0:07:28Stop it. I don't want to see it.
0:07:28 > 0:07:33My mother doesn't care if I live or die.
0:07:33 > 0:07:37Let me recommend a good psychiatrist. Your neuroses...
0:07:37 > 0:07:40Leave my neuroses alone.
0:07:40 > 0:07:44Here I am, a great artist. Never mind what you think.
0:07:44 > 0:07:49Assume I'm great. What would you do if you were me and had my talent?
0:07:49 > 0:07:52- Paint people.- People?
0:07:52 > 0:07:55- You mean everyday people?- Yes.
0:07:55 > 0:07:59The people I see in my office. Plain, ordinary people.
0:07:59 > 0:08:02Forget it. I'll paint you.
0:08:02 > 0:08:06- I didn't mean me. - Are you rejecting me?
0:08:06 > 0:08:11- I have to get back.- Are these people waiting for you?- I hope so.
0:08:11 > 0:08:13- I'll go with you.- Wait!
0:08:13 > 0:08:17I want to see what it is you think I ought to paint.
0:08:17 > 0:08:20Fine. I'll call you in a few days.
0:08:20 > 0:08:24- I want to go now! - Take it easy. I'm not the marchesa.
0:08:24 > 0:08:28I bared my soul. I thought you were my friend.
0:08:28 > 0:08:33- All right. Come on. - Why do you have to torture me?
0:08:33 > 0:08:37You've never felt an honest emotion in your life.
0:08:37 > 0:08:40You see right through me!
0:08:49 > 0:08:54You MUST talk to Dr Aswell. I'll tell him when he comes in.
0:08:57 > 0:09:00MAN: 'Have Mrs Pennypacker come in.'
0:09:00 > 0:09:05Mrs Pennypacker? Dr Sturdivant will see you now.
0:09:05 > 0:09:09- Why do you pass me off on Dr Sturdivant?- Room three.
0:09:09 > 0:09:12TELEPHONE RINGS
0:09:12 > 0:09:15< Dr Aswell's office.
0:09:15 > 0:09:17Yes, Mrs Totchkil.
0:09:17 > 0:09:20A penny? When did he swallow it?
0:09:20 > 0:09:25There's nothing to be worried about. Give him a piece of dried bread.
0:09:25 > 0:09:28No, Dr Aswell isn't here.
0:09:28 > 0:09:30Just give him a piece of...
0:09:30 > 0:09:35I expect him any moment. Give the boy a piece...
0:09:35 > 0:09:38Yes, Mrs Totchkil, I'll tell him.
0:09:38 > 0:09:40INTERCOM BUZZES
0:09:40 > 0:09:45Oh, here's the doctor. Now you can tell him all about it.
0:09:45 > 0:09:48'Doctor? Call for you. Go ahead, please.'
0:09:51 > 0:09:53Hello.
0:09:53 > 0:09:56Yes, Mrs Totchkil. ..Oh, he did?
0:09:56 > 0:09:59Give him a piece of dried bread.
0:09:59 > 0:10:03He doesn't like bread? Put some butter on it.
0:10:03 > 0:10:06Oh, he prefers marmalade?
0:10:06 > 0:10:09Well, put some marmalade on it... Yes.
0:10:09 > 0:10:16You don't think he should have marmalade? You think he should be punished?
0:10:16 > 0:10:21All right, Mrs Totchkil. Do that right away. It'll solve everything.
0:10:21 > 0:10:24- Goodbye.- What's she going to do?
0:10:24 > 0:10:28Have a nervous breakdown. Take off the coat.
0:10:28 > 0:10:34Don't get excited. If I'm snooping around, I should look like I fit in.
0:10:34 > 0:10:37- Oh, all right. - INTERCOM BUZZES
0:10:37 > 0:10:41- Yes? - 'Will you see Mr and Mrs Feltham?'
0:10:41 > 0:10:46Send them in. Tell the staff we have an observer with us.
0:10:46 > 0:10:51- 'Shall I have a nurse show him around?'- No. He can do that himself.
0:10:51 > 0:10:53Quaglini.
0:10:53 > 0:10:56I'll be busy. You go out that way.
0:10:56 > 0:11:01The reception room is a good place for you to start. Then come back in.
0:11:01 > 0:11:04OK, Doc.
0:11:04 > 0:11:09- Hello, Gloria, Mr Feltham. - Good afternoon.- Sit down.
0:11:09 > 0:11:13We'd like you to settle a disagreement.
0:11:13 > 0:11:17Is Atlantic City the only place where the sun shines?
0:11:17 > 0:11:22- Is it right to take the child from me?- He never sees her anyway.
0:11:22 > 0:11:26Her mother's in Atlantic City, the old bat.
0:11:26 > 0:11:32- That's the reason.- Who went to Atlantic City last year? You did.
0:11:32 > 0:11:35I can't afford Atlantic City.
0:11:35 > 0:11:40- Your partners' wives are in Atlantic City.- That's up to them.
0:11:40 > 0:11:45- You make me sick!- Good.- That's the way it goes - night and day.
0:11:45 > 0:11:48Gloria, don't talk that way...
0:11:48 > 0:11:52- Can I go out and play? - You do what you like, dear.
0:11:52 > 0:11:55- INTERCOM BUZZES - Yes?
0:11:55 > 0:11:58'It's Sturdivant. I have a problem.'
0:11:58 > 0:12:02- I'll be free in a moment. - 'Thank you, Doctor.'
0:12:05 > 0:12:08The child goes, alone if necessary.
0:12:08 > 0:12:13- But I can't afford Atlantic City. - You play poker?- Yes...- The horses?
0:12:13 > 0:12:16Give up. He's got you cold.
0:12:16 > 0:12:18Thank you, Doctor.
0:12:18 > 0:12:21I'm free, Dr Sturdivant. Goodbye.
0:12:23 > 0:12:26Goodbye, Doctor.
0:12:27 > 0:12:31I have just received the greatest compliment of my life.
0:12:31 > 0:12:37Mrs Pennypacker says I act so like you, she can hardly tell us apart.
0:12:38 > 0:12:41Of course, a man should know his limitations.
0:12:41 > 0:12:48- The bright moon always reflects the sun.- What about the child? - Tonsils should come out.
0:12:48 > 0:12:53- Did you order a tonsillectomy?- No. Not without your confirmation.
0:12:53 > 0:13:00There must be a spark of real fire in you somewhere. You need the right girl.
0:13:00 > 0:13:03Then you'll light up inside like a bonfire.
0:13:03 > 0:13:06- Where's the child?- Number three.
0:13:12 > 0:13:16Miss Darlington, will you go out with me tomorrow?
0:13:16 > 0:13:20- Was it Dr Aswell's idea? - Well, generally, yes.
0:13:22 > 0:13:27He did not specify as to the individual. That was my idea.
0:13:27 > 0:13:34- Dr Aswell shouldn't give advice about women. Look at his wife. - I disagree, Miss Darlington.
0:13:34 > 0:13:39Not until he met her did his fire burst into flame.
0:13:39 > 0:13:42I have a fire too.
0:13:42 > 0:13:47We all have fires. Do I bother you? The Collymore baby's in room two.
0:13:47 > 0:13:51The Steins are waiting in X-ray.
0:13:51 > 0:13:55That's settled. The Pennypacker tonsils are coming out.
0:13:59 > 0:14:03Dr Verik phoned. Did you get the message?
0:14:03 > 0:14:06No. Would you get me Dr Verik?
0:14:07 > 0:14:10She forgets those important details.
0:14:10 > 0:14:15- Vitamin A.- I suppose she does. She has more important functions.
0:14:15 > 0:14:18Vitamin B.
0:14:18 > 0:14:21Anything else, Doctor?
0:14:21 > 0:14:26When will you take a vacation? It's been five years. You have ten weeks.
0:14:26 > 0:14:29When did you last take a vacation?
0:14:29 > 0:14:32- 'Miss Darlington, room two.'- Coming.
0:14:32 > 0:14:37- I'm your employer.- You employ my work, not my worries.
0:14:37 > 0:14:41I have the right to worry about anyone I please.
0:14:44 > 0:14:46- KNOCK ON DOOR - Come in.
0:14:48 > 0:14:51Here are your calls.
0:15:04 > 0:15:08You forgot to tell me Dr Verik called.
0:15:08 > 0:15:11If you don't like my work, fire me.
0:15:12 > 0:15:15- Still have our date?- Five o'clock.
0:15:18 > 0:15:23- 'Will you see the Carol child?'- Yes, Miss Foster, I'll see anyone now.
0:15:34 > 0:15:38They're waiting for you in X-ray, Mr Wilson.
0:15:58 > 0:16:02- What's your IQ? - Ah, go away. You make me nervous.
0:16:02 > 0:16:05What's your IQ? I'm a genius.
0:16:05 > 0:16:09- So what?- So nothing! Your father's harmonica.
0:16:09 > 0:16:12Beat it, will you?
0:16:12 > 0:16:14No.
0:16:14 > 0:16:17I'm bigger than you.
0:16:17 > 0:16:21Now, wait till I get you outside.
0:16:21 > 0:16:25Just try. I'll find out where you live.
0:16:25 > 0:16:28I'll go up on the roof.
0:16:28 > 0:16:33One morning, a nice big brick will conk you right on the head.
0:16:33 > 0:16:37- Are you trying to terrorise me? - Yeah.
0:16:37 > 0:16:39OK.
0:16:39 > 0:16:43- What do you want?- I want to draw.
0:16:48 > 0:16:52I can't draw on that. I've got big ideas!
0:16:57 > 0:16:59(How about that wall?)
0:17:09 > 0:17:12- Will you back me up?- OK.
0:17:20 > 0:17:22Arthur! What are you doing?
0:17:22 > 0:17:29The doctor told me to draw, Mother. Ask him if you don't believe me.
0:17:29 > 0:17:31Is Arthur telling the truth?
0:17:31 > 0:17:34Certainly not. Just look at the boy.
0:17:34 > 0:17:37But Doctor, you said...!
0:17:37 > 0:17:39Ow!
0:17:43 > 0:17:46What's the matter with your arm?
0:17:46 > 0:17:49Ready? Aim!
0:17:49 > 0:17:51Fire!
0:17:56 > 0:17:59How do you do? I'm Dr Sturdivant.
0:17:59 > 0:18:04- Quaglini, skin specialist. - Isn't that rather superficial?
0:18:04 > 0:18:09On top, yes. But I don't work on top. I get under.
0:18:14 > 0:18:17You may dress the child now.
0:18:22 > 0:18:26- Did you find anything interesting? - More than I expected.
0:18:26 > 0:18:31I can see why you're in heaven down here. What's up there?
0:18:31 > 0:18:36- Where heaven ends - where I live with my wife. - Did you have to marry her?
0:18:36 > 0:18:41What was the deal? Her old man put you through medical school?
0:18:41 > 0:18:46Where heaven ends, Quaglini, paradise begins.
0:18:52 > 0:18:57- HE THINKS:- 'Did you hear that? Did you hear what he said?
0:18:57 > 0:19:00'Some operator, this Aswell.
0:19:00 > 0:19:04'Downstairs heaven, upstairs paradise.'
0:19:08 > 0:19:12'What are you going to do, Quaglini?
0:19:12 > 0:19:15'Oh, come on, leave him alone.
0:19:15 > 0:19:18'Leave him alone? You're an artist.
0:19:18 > 0:19:22'Don't be silly! An artist has to see everything.'
0:19:25 > 0:19:28'Conscience, Quaglini.
0:19:28 > 0:19:33'What about HIS conscience, with a dame downstairs and a wife upstairs?
0:19:33 > 0:19:36'Oh, what are you doing, Quaglini?
0:19:36 > 0:19:41'You're going up there anyway, whatever you decide.'
0:20:09 > 0:20:12# La la la la la la la la la
0:20:12 > 0:20:15# La la la la la la la la la. #
0:20:15 > 0:20:20ON RADIO: "Station WRST, New York City..."
0:20:20 > 0:20:23JAUNTY ADVERTISING JINGLE BEGINS
0:20:26 > 0:20:28MUSIC STOPS
0:20:29 > 0:20:32Well, hello.
0:20:32 > 0:20:35What are you doing up here?
0:20:35 > 0:20:39Funny. I was going to ask you the same question.
0:20:39 > 0:20:42But I asked first. What are you doing?
0:20:42 > 0:20:45- Cooking dinner.- Why?- Why what?
0:20:45 > 0:20:49- Why are you?- That's a good question. Come in.
0:20:49 > 0:20:53Why am I? Why is anyone? I often wonder about that.
0:20:53 > 0:20:59- That's not what I meant.- But it's important. We must discuss it.
0:20:59 > 0:21:03- What's this for?- To put peas in after you shell them.
0:21:03 > 0:21:06I never shell peas.
0:21:06 > 0:21:09Very simple. See.
0:21:09 > 0:21:11Try one.
0:21:12 > 0:21:15Now you're an expert.
0:21:15 > 0:21:19I asked you a question. What are you doing up here?
0:21:19 > 0:21:22- I'm cooking dinner.- But why?
0:21:22 > 0:21:25Why am I? Why are you?
0:21:25 > 0:21:29- You are Dr Aswell's receptionist. - I am.
0:21:29 > 0:21:33- And you cook for him?- Yes. - But what about his wife?
0:21:33 > 0:21:36- I'm his wife too.- You're Mrs Aswell?
0:21:36 > 0:21:41April Aswell, born April Muihard, Vienna. How do you do?
0:21:41 > 0:21:43How do you do?
0:21:43 > 0:21:48Vienna? He the medical student, you the landlady's daughter?
0:21:48 > 0:21:51The professor's daughter.
0:21:52 > 0:21:57A Sunday date, a walk, a shack, a kiss, a wedding, a one-room flat.
0:21:57 > 0:22:04- Two-rooms.- You cook, clean. He needs you, you need him, you are very happy.
0:22:04 > 0:22:08- You can see all that in my palm? - And more in your eyes.
0:22:08 > 0:22:13The diploma, America, and in a few years, success.
0:22:13 > 0:22:18You still need him, but he doesn't need you. But you both pretend.
0:22:18 > 0:22:21You still cook and clean.
0:22:21 > 0:22:24He thinks it makes you happy.
0:22:24 > 0:22:27What do you think? Don't answer that one.
0:22:27 > 0:22:30Don't you want to know who I am?
0:22:30 > 0:22:33You're the observer.
0:22:33 > 0:22:35Octavio Quaglini.
0:22:35 > 0:22:40- Rome, Paris, New York. - Octavio Quaglini. The artist!
0:22:40 > 0:22:44- Do you know my work?- No. - How do you know I'm an artist?
0:22:44 > 0:22:47It's in your eyes.
0:22:47 > 0:22:52The way you look at me with that probing sensitivity,
0:22:52 > 0:22:57as if knowing you'll be hurt, you still have to find the truth.
0:22:57 > 0:23:00You can see all that in my eyes?
0:23:00 > 0:23:03- And even more on your face.- What?
0:23:03 > 0:23:06A smudge. From that charcoal pencil.
0:23:06 > 0:23:10With which you draw in your sketch book.
0:23:11 > 0:23:14Oh, what's this?
0:23:14 > 0:23:17A very acute observation.
0:23:18 > 0:23:21Yes, he's Perry's parrot.
0:23:21 > 0:23:26A man doesn't become a parrot by himself. Someone trains him.
0:23:26 > 0:23:30- How did you get here? - Dr Aswell invited me.
0:23:30 > 0:23:35He suggested that I study and paint people. My work is too subjective.
0:23:35 > 0:23:39I didn't know Perry was into art. That's a new one.
0:23:39 > 0:23:42Miss Darlington
0:23:42 > 0:23:44when she talks to my husband.
0:23:45 > 0:23:49Miss Darlington when she talks about me.
0:23:49 > 0:23:54- Yes, she's crazy about him. - Yes. And what use he makes of it.
0:23:58 > 0:24:03Perry is wonderful. He gives free advice and everybody worships him.
0:24:03 > 0:24:07He won't be happy until he sprouts wings.
0:24:07 > 0:24:11Get back to those peas. I'm way behind schedule.
0:24:18 > 0:24:22- They're alive. - That's how you cook them - alive.
0:24:22 > 0:24:25- Horrible.- Aren't they?
0:24:25 > 0:24:32A present from a grateful parent. Perry adores lobsters. He can eat plenty.
0:24:32 > 0:24:35Come along, little fella.
0:24:36 > 0:24:39All right...
0:24:39 > 0:24:42Why spare him? Why not massacre him?
0:24:42 > 0:24:46No room. He can live until tomorrow.
0:24:46 > 0:24:50But that's not fair. Why should he go free?
0:24:50 > 0:24:52All right. You pick one.
0:24:52 > 0:24:55They should have an equal chance.
0:24:55 > 0:24:59We'll draw lots - democratic procedure.
0:25:01 > 0:25:04You write the tickets - one to five.
0:25:28 > 0:25:30Draw.
0:25:32 > 0:25:35Number four. One, two, three, four.
0:25:35 > 0:25:40- What's the salt for? - He can't live in freshwater.
0:25:40 > 0:25:45- Where are you going? - It's his last day on Earth.
0:25:45 > 0:25:47I'm putting him in the bathtub.
0:26:03 > 0:26:06SHE THINKS 'What are you laughing about?
0:26:06 > 0:26:09'There is something in what he says.
0:26:09 > 0:26:14'Beware, Mrs Aswell. He's putting doubts in your mind about Perry.
0:26:14 > 0:26:17'Get rid of him. But what if he's right?
0:26:17 > 0:26:21'You must find out.
0:26:21 > 0:26:23'You can stop it if it goes to far.'
0:26:49 > 0:26:52Now what's the matter?
0:26:52 > 0:26:55Poor ugly things.
0:26:55 > 0:26:58Don't you dare start that again.
0:27:01 > 0:27:04They know exactly what you're doing.
0:27:04 > 0:27:08- Nonsense. They can't feel anything. - Are you sure?
0:27:08 > 0:27:13Everything has a mission in life. This is theirs.
0:27:13 > 0:27:18Why is it? Why can't they live out their lives like everybody else?
0:27:18 > 0:27:23Because I promised Perry lobster for dinner and he'll get it.
0:27:23 > 0:27:27All right. But it's such a horrible way to die.
0:27:30 > 0:27:35It's much less cruel than letting them die of arthritis or old age
0:27:35 > 0:27:38somewhere in a cold clammy ocean.
0:27:45 > 0:27:51- I can't do it.- Good! We can put them all in the bathtub.
0:27:54 > 0:27:57No. I won't!
0:27:57 > 0:27:59You can't make me!
0:27:59 > 0:28:03Sorry, but Perry must have his lobster.
0:28:03 > 0:28:07- Then let him commit murder. - It is not his job.
0:28:07 > 0:28:09- Nor mine.- It is now.
0:28:21 > 0:28:25Look at the time. I'll never be ready.
0:28:25 > 0:28:28Put the pot on.
0:28:32 > 0:28:34You mix the cocktails.
0:28:34 > 0:28:39Here are all the ingredients. About four to one.
0:28:40 > 0:28:45Bring them in here. I've got to get out of these.
0:28:52 > 0:28:55You're still here?
0:28:58 > 0:29:02I thought I told you - it's nearly five o'clock.
0:29:02 > 0:29:04What happens then?
0:29:04 > 0:29:07From five to seven, Perry must relax.
0:29:07 > 0:29:10No patients, no phones, no visitors.
0:29:10 > 0:29:14I hate to throw you out, but it's the rules.
0:29:14 > 0:29:17- Unbreakable.- I understand.
0:29:17 > 0:29:22After all we've been through, you might've offered me a drink.
0:29:22 > 0:29:25Octavio?
0:29:31 > 0:29:33No time to sip. Swallow.
0:29:38 > 0:29:41I'd like to paint you.
0:29:41 > 0:29:45That would be nice. Talk to Perry about it.
0:29:45 > 0:29:48I will.
0:29:49 > 0:29:52Octavio?
0:29:54 > 0:29:56I like you.
0:29:56 > 0:30:00I must...paint you.
0:30:07 > 0:30:12'That did it. Go on, Mr Quaglini, shake us up a little.
0:30:12 > 0:30:14'Maybe we need it.
0:30:14 > 0:30:18'But you do too.'
0:30:19 > 0:30:22'Why did she say that, Quaglini?
0:30:22 > 0:30:26'She didn't have to say she liked you.
0:30:27 > 0:30:30'What was she really trying to say?
0:30:33 > 0:30:36'He doesn't understand her.
0:30:36 > 0:30:39'She's unhappy.
0:30:39 > 0:30:42'But why was she so gay?
0:30:42 > 0:30:46'Of course, she has to act gay. She's hiding a tragedy.
0:30:46 > 0:30:50'Have you ever met a woman like her?
0:30:51 > 0:30:55'No. You've got to do something!
0:30:55 > 0:30:58'But what?
0:31:00 > 0:31:04'No! No, no, impossible. No, Quaglini, you can't.
0:31:04 > 0:31:08'Quaglini...you wouldn't!
0:31:09 > 0:31:13'Hmm, well, try it anyway, what can you lose?'
0:31:13 > 0:31:16Quaglini?
0:31:16 > 0:31:20Well, you get around. I thought you'd gone.
0:31:20 > 0:31:24- I'm still here. - Did you find something to paint?
0:31:24 > 0:31:27Doc, have you got a minute?
0:31:27 > 0:31:31- My wife is expecting me. - I know. It's five o'clock.
0:31:31 > 0:31:36She asked you to leave? She wasn't rejecting you. It's just...
0:31:36 > 0:31:39..a sacred ritual. Can't it wait?
0:31:39 > 0:31:44In a happy marriage, these rituals are important.
0:31:44 > 0:31:48Look, you helped me. You forced me to see the truth.
0:31:48 > 0:31:52- Now, I must help you. - I appreciate that.
0:31:52 > 0:31:55I've only one problem - my wife is waiting.
0:31:55 > 0:32:01Doc, I know something about your marriage that you don't know.
0:32:01 > 0:32:04You like to shock people, don't you?
0:32:04 > 0:32:07You do that to attract attention to yourself.
0:32:07 > 0:32:12- You didn't mean what you just said. - Are you afraid to listen?
0:32:12 > 0:32:15Let's go into my office.
0:32:22 > 0:32:25Now, what's troubling you?
0:32:25 > 0:32:28This time, you're the patient.
0:32:28 > 0:32:31Now, prepare yourself, Doc.
0:32:31 > 0:32:34What don't I know about my marriage?
0:32:34 > 0:32:37Yours is not a marriage. It's a tragedy.
0:32:37 > 0:32:40- INTERCOM BUZZES - My wife.
0:32:40 > 0:32:43Yes, dear? How's my date?
0:32:43 > 0:32:48- 'She's waiting.'- I was just having a few words with our artist friend.
0:32:48 > 0:32:52- 'Is Octavio still here?' - He's just leaving.
0:33:00 > 0:33:06- I didn't realise I was living a tragedy.- You've enslaved your wife.
0:33:06 > 0:33:10You've fallen in love with April.
0:33:10 > 0:33:12All my friends love her.
0:33:12 > 0:33:18You don't understand. I don't just love her. I'm in love with her.
0:33:18 > 0:33:24- Quaglini, for once in your life, face reality.- I love your wife.
0:33:24 > 0:33:28I'm doing fine. It's you who is not facing reality.
0:33:28 > 0:33:32I know what you're up to. You're trying to provoke me.
0:33:32 > 0:33:35You want me angry.
0:33:36 > 0:33:39You sure like yourself, don't you?
0:33:39 > 0:33:44I might, if I knew which one of my personalities was truly myself.
0:33:44 > 0:33:47Just how many of you are there?
0:33:47 > 0:33:50Oh, two, three, maybe four.
0:33:50 > 0:33:53They keep increasing all the time.
0:33:53 > 0:33:57How do you go about making up a mind?
0:33:57 > 0:34:03Whenever I have to make a decision, I call a conference of all my personalities.
0:34:03 > 0:34:07We argue it out and we come to an agreement.
0:34:07 > 0:34:12- Typical neurotic.- Don't you have a personality to argue with?- No!
0:34:12 > 0:34:15Don't worry. You will.
0:34:17 > 0:34:20Who is this supposed to be?
0:34:20 > 0:34:23- April.- That fat cook, my wife?
0:34:23 > 0:34:27Why? Does it upset you? Don't you like it?
0:34:27 > 0:34:33- It's idiotic!- But you like her to cook for you.- She enjoys it.
0:34:33 > 0:34:38Well, there it is. That's what it says. She cooks and enjoys it.
0:34:38 > 0:34:42- We agree.- Is this the April you're in love with?- No.
0:34:42 > 0:34:46That's the April you love! Only you won't admit it.
0:34:46 > 0:34:49- Quaglini... - INTERCOM BUZZES
0:34:52 > 0:34:55- Yes, dear?- 'Anything wrong?'
0:34:55 > 0:35:01- No. Everything is fine.- 'Is Octavio still here?'- He's leaving now.
0:35:04 > 0:35:07Does April inspire you?
0:35:07 > 0:35:10Beyond anything I've ever felt before.
0:35:10 > 0:35:15Why don't you pour this inspiration into your art and paint?
0:35:15 > 0:35:17Go away and paint.
0:35:17 > 0:35:21You are just trying to get rid of me.
0:35:21 > 0:35:26- That's a lie. Didn't I invite you here?- You did. I'm grateful.
0:35:26 > 0:35:31- I want to paint your wife.- As a fat cook?- And whatever else she is.
0:35:31 > 0:35:35I'm going to probe every facet of her character.
0:35:35 > 0:35:41Then I'll put her on canvas. She'll see that her life is tragic!
0:35:41 > 0:35:44You're insane. You're not painting her.
0:35:44 > 0:35:47OK.
0:35:47 > 0:35:50But you'll have to tell her why.
0:35:50 > 0:35:53Get out of here.
0:35:54 > 0:35:58I've already asked her. She'll want to know.
0:35:58 > 0:36:03- You're not afraid to tell her?- Why should I discuss it with my wife?
0:36:03 > 0:36:06If you don't, I will.
0:36:06 > 0:36:08- Put up your hands.- Why?
0:36:08 > 0:36:11You'll find out. Put them up.
0:36:11 > 0:36:15OK, Doc. But I'm warning you.
0:36:15 > 0:36:18I've got a punch like a mule.
0:36:21 > 0:36:26- Touche, Doc.- Come on, get up. - And resort to brute force?
0:36:26 > 0:36:30- Get up and fight. - I prefer to fight with my mind.
0:36:30 > 0:36:35You provoked me to violence. You won't win this.
0:36:35 > 0:36:37- Get up.- Then what?
0:36:37 > 0:36:41- I have no further plans. - OK. Let's fight.
0:36:41 > 0:36:46But if you don't let me paint her, you'll never know if I was right.
0:36:46 > 0:36:49- That's very interesting.- Well...
0:36:49 > 0:36:54- Oh, hello, dear.- Why didn't you say you were relaxing down here?
0:36:54 > 0:37:00- I'd have joined you.- I'm sorry. I'll go now.- Just a minute.
0:37:00 > 0:37:04- Octavio would like to paint you. - I know. He told me.
0:37:04 > 0:37:07Is that all right with you?
0:37:07 > 0:37:12- It might be fun, if nothing else. - Thank you. Come to the studio.
0:37:12 > 0:37:15I'll be waiting for you. Day, night.
0:37:15 > 0:37:18Any time you say.
0:37:18 > 0:37:22I couldn't do that. I couldn't leave my work.
0:37:23 > 0:37:27But you can come here. Paint me here.
0:37:27 > 0:37:30Shall we say between five and seven?
0:37:30 > 0:37:35- Any time BEFORE five or AFTER seven. - Why don't we ask Octavio for dinner?
0:37:35 > 0:37:38He helped prepare it.
0:37:38 > 0:37:41Oh, did he? I didn't know.
0:37:41 > 0:37:45- Will you have dinner with us? - Is it all right?
0:37:45 > 0:37:48Of course it is.
0:37:56 > 0:37:58HE SINGS TO HIMSELF
0:38:05 > 0:38:09I'll check dinner. Mix some more cocktails.
0:38:09 > 0:38:13- More cocktails? - You'll have to catch up with us.
0:38:13 > 0:38:16Bring Perry the cocktail-shaker, will you?
0:38:23 > 0:38:28- It doesn't take you long to find your way about.- Keen observation.
0:38:31 > 0:38:34What made you decide to let me paint her?
0:38:34 > 0:38:37So she'll see what a fraud you are.
0:38:37 > 0:38:40If you think that, why not tell her?
0:38:40 > 0:38:46I'll leave that job to you. I'll have more pleasure that way.
0:39:34 > 0:39:38Succulent little beasts, aren't they?
0:39:54 > 0:39:56What's so funny?
0:39:58 > 0:40:00Nothing.
0:40:03 > 0:40:06Nothing, dear. It's silly.
0:40:09 > 0:40:12You're not eating.
0:40:12 > 0:40:15It still looks alive.
0:40:16 > 0:40:20Why aren't you eating? You like lobster.
0:40:20 > 0:40:22I knew him alive, too.
0:40:22 > 0:40:26- Well, I didn't. - That doesn't excuse you.
0:40:26 > 0:40:32I'm not sensitive, but I should not be seen as a lobster cannibal.
0:40:32 > 0:40:37- Perry is right.- Yes. Because he's not sensitive, he should eat them.
0:40:37 > 0:40:40- I'd love an egg.- Chicken!
0:40:40 > 0:40:43- Soft boiled.- I'll fix you one.
0:40:43 > 0:40:46I'll help you. You go right ahead, Doc.
0:40:52 > 0:40:56LAUGHTER >
0:41:24 > 0:41:27It's late. Why don't you go to bed?
0:41:27 > 0:41:31He's been at that piano three hours!
0:41:31 > 0:41:36How can I sleep when a man exposes his emotions in my living room?
0:41:36 > 0:41:38It's obscene!
0:41:38 > 0:41:41PIANO MUSIC STOPS
0:41:44 > 0:41:47FOOTSTEPS
0:41:51 > 0:41:53DOOR SLAMS
0:42:13 > 0:42:16- HE THINKS:- 'Well, enough for one day.
0:42:16 > 0:42:19'But how far can you go?
0:42:19 > 0:42:24'He didn't pamper you, did he? Why pamper him?
0:42:24 > 0:42:28'If he can dish it out, he ought to be able to take it.'
0:42:31 > 0:42:35Do you think it's a good idea to let him paint you?
0:42:35 > 0:42:39You started it. You told him to paint people.
0:42:39 > 0:42:43You can't turn him away now. It wouldn't be fair.
0:42:43 > 0:42:47But it'll upset everything, our whole routine.
0:42:47 > 0:42:53If we're such slaves to routine, it'll be good to have it upset.
0:42:53 > 0:42:55Don't you agree?
0:42:55 > 0:42:57Well...
0:43:00 > 0:43:03A routine can mean being in a rut.
0:43:03 > 0:43:07But it can also mean efficiency. Good organisation.
0:43:07 > 0:43:13Just to upset things for the sake of a change is not for the better.
0:43:13 > 0:43:16Take that foot stool, for instance.
0:43:16 > 0:43:20It serves a good and comfortable purpose for two feet.
0:43:20 > 0:43:25Let's change it, upset it. Now, is it a better foot stool?
0:43:28 > 0:43:32Quite the contrary. Now it is a useless piece of wood.
0:43:32 > 0:43:35Think it over, Mrs Aswell.
0:43:41 > 0:43:45April! What the...! What's this doing in my bath?
0:43:53 > 0:43:57I'm sorry. I forgot to tell you. I can explain.
0:43:57 > 0:44:02Yes. I would like to hear an explanation for this.
0:44:02 > 0:44:06Well, he wouldn't fit into the pot. It was too small.
0:44:06 > 0:44:11- So you cooked him in the bath? - It had to be democratic.
0:44:11 > 0:44:15- So now it's political? - Please listen. We drew lots.
0:44:15 > 0:44:19And the teapot did a dance on the ceiling?
0:44:19 > 0:44:22It was his last day on Earth.
0:44:22 > 0:44:27If they hadn't fallen into the pot by themselves, there'd be no lobster.
0:44:27 > 0:44:31- Please put that back in the bath. - I will not!
0:44:32 > 0:44:36No lobster's going to dawdle in by bathtub!
0:44:36 > 0:44:41If he's good enough to fill your stomach, he's good enough to dawdle!
0:44:41 > 0:44:44What lobster filled my stomach?
0:44:44 > 0:44:50I haven't had any dinner or rest. A mad man plays music in my parlour.
0:44:50 > 0:44:54I walk in my bathroom and this beast peers at me.
0:44:54 > 0:44:57I insist you put him back.
0:44:57 > 0:45:00I'll put him in the garbage can.
0:45:00 > 0:45:04- That's murder. - All right! I'm a murderer!
0:45:29 > 0:45:31Ha!
0:45:48 > 0:45:54You're not angry, Perry? That's just a useless piece of wood.
0:46:14 > 0:46:16Ha!
0:46:17 > 0:46:20- Where's another bulb?- I don't know.
0:46:20 > 0:46:24- It's your job to know. - It WAS my job. I just quit.
0:46:26 > 0:46:30I'm not going to sleep. I'm going to lie here awake.
0:46:30 > 0:46:35Do that. And if you get lonely, sing.
0:46:35 > 0:46:39All right, I will sing. I can act crazy too!
0:46:39 > 0:46:42HE HUMS
0:46:42 > 0:46:45HE WHISTLES
0:46:52 > 0:46:55RUSTLING
0:47:17 > 0:47:20What's that? What's that noise?
0:47:20 > 0:47:23Don't pretend you don't know.
0:47:27 > 0:47:30What is it?
0:47:31 > 0:47:34He's dying. You murderer.
0:47:34 > 0:47:36Oh...
0:47:39 > 0:47:42Can't you sleep, dear?
0:47:42 > 0:47:44No!
0:47:46 > 0:47:51Oh, don't let it bother you. It'll end soon.
0:47:51 > 0:47:53How soon?
0:47:53 > 0:47:56Two hours. Maybe three.
0:48:03 > 0:48:08This is ridiculous. You've built this silly thing up.
0:48:08 > 0:48:11I can't stand it!
0:48:28 > 0:48:30Ha!
0:48:45 > 0:48:48Don't put in a bulb. Don't turn on a light.
0:48:48 > 0:48:51What do you care if I break my neck?
0:48:54 > 0:48:58- What are you doing? - Fishing for lobster! What else?!
0:49:08 > 0:49:11Darling, let's not fight any more.
0:49:11 > 0:49:16- My heart isn't in it. - Neither is mine. Mine never was.
0:49:16 > 0:49:21- After that garbage can, he really needs a bath.- Let's give him one.
0:49:27 > 0:49:29There.
0:49:29 > 0:49:32Look at him. Isn't he cute?
0:49:32 > 0:49:35So cute, I could eat him.
0:49:37 > 0:49:39Darling...
0:49:39 > 0:49:42Our first battle.
0:49:42 > 0:49:46The honeymoon is over. Now we're married.
0:50:05 > 0:50:09- Good morning, Mr Zitfleisch! - Good morning!
0:50:09 > 0:50:14- What am I having for breakfast? - Orange juice, chicken liver satay.
0:50:14 > 0:50:18Eggs, sunny side up, buckwheat cakes and coffee.
0:50:25 > 0:50:27Hmm. Mrs Aswell.
0:50:27 > 0:50:30It'll be ready in a minute.
0:50:43 > 0:50:46- What's the matter?- Nothing.
0:50:46 > 0:50:49I'm so hungry, I'm so delighted.
0:50:49 > 0:50:54Well, why are you staring at me, as though you've never seen me before?
0:50:54 > 0:50:57Of course I've seen you before.
0:50:57 > 0:51:00Do you know, darling - before I met you,
0:51:00 > 0:51:03I used to dread the idea of cooking.
0:51:03 > 0:51:09Now, all I want to do is cook, cook, cook, all day long. I love it.
0:51:12 > 0:51:17There is something about me that's bothering you.
0:51:17 > 0:51:19It's nothing, dear. Believe me.
0:51:19 > 0:51:22I just can't help staring at you.
0:51:22 > 0:51:27Did you just realise what a beautiful wife you've got?
0:51:27 > 0:51:29I'll be at the table, dear.
0:51:57 > 0:52:03- There is something wrong. What? - I'll be all right when I eat.
0:52:24 > 0:52:27- Why don't you eat?- I'm not hungry.
0:52:27 > 0:52:31Perry, what in heaven's name is the matter with you?
0:52:31 > 0:52:34- Are you happy?- Do I look sad?
0:52:34 > 0:52:38- I mean inside. Deep inside. - Why do you ask?
0:52:38 > 0:52:41You've been working too hard.
0:52:41 > 0:52:46- You ought to go away for a few days. - And leave you here alone?
0:52:46 > 0:52:49We can manage the office without you.
0:52:54 > 0:52:57Wouldn't you like to come with me?
0:52:57 > 0:53:01- Yes, but... - Then pack a bag and we'll be off.
0:53:01 > 0:53:05- Where do we go? - Anywhere we can be alone.
0:53:05 > 0:53:10- Just like that?- Yes! - Oh, Perry, I love you.
0:53:10 > 0:53:12DOORBELL
0:53:12 > 0:53:15I'll see who that is.
0:53:18 > 0:53:22Good morning! How are you this morning?
0:53:26 > 0:53:29- Aren't you early?- May we come in?
0:53:29 > 0:53:32Louis, set it up over there.
0:53:32 > 0:53:35OK, Quagi. Morning, lady.
0:53:35 > 0:53:38I see what you mean.
0:53:38 > 0:53:44- We were just having breakfast. - You're angry. Let me capture your eyes.
0:53:46 > 0:53:49Excuse me.
0:53:49 > 0:53:51OK, Louis. There you are.
0:53:51 > 0:53:57- I got a hot tip at Belmont in the fifth.- Put a fin down for me.
0:53:58 > 0:54:01- All right?- Oh...
0:54:02 > 0:54:05Now, relax. That's it.
0:54:11 > 0:54:14Now, just be yourself.
0:54:14 > 0:54:17Don't hide anything and don't pretend.
0:54:17 > 0:54:20That's it! That's it exactly!
0:54:22 > 0:54:25Morning. Aren't you late for work?
0:54:25 > 0:54:29- Changed your mind, dear? - Changed my mind?
0:54:29 > 0:54:32I thought we were going to the country.
0:54:32 > 0:54:35Oh, the country! Of course.
0:54:35 > 0:54:38If you don't want to go, say so.
0:54:38 > 0:54:42- Oh, but I want to go.- Well, then...
0:55:01 > 0:55:05Sorry, Octavio, but I promised Perry I'd go away.
0:55:05 > 0:55:08All right...
0:55:11 > 0:55:13Go away.
0:55:13 > 0:55:16My needs don't matter.
0:55:16 > 0:55:19I'm only an artist. An unknown artist.
0:55:19 > 0:55:22Don't worry about my feelings.
0:55:22 > 0:55:25Trample on them. Everyone else does.
0:55:27 > 0:55:30Please, Octavio.
0:55:30 > 0:55:32This is just an act.
0:55:32 > 0:55:35Give us the complete performance.
0:55:35 > 0:55:40You cruel, destructive, sceptical man.
0:55:40 > 0:55:43Did I ask you to come into my life?
0:55:43 > 0:55:46There I was, at a moment of ecstasy,
0:55:46 > 0:55:49about to paint a masterpiece
0:55:49 > 0:55:52and then he appeared behind me
0:55:52 > 0:55:59and in his cold, casual diabolic way, he paralysed me with his criticism.
0:56:03 > 0:56:08I felt as though an icicle had been driven...right into my heart.
0:56:08 > 0:56:14Octavio, don't exaggerate. You won't convince me of anything that way.
0:56:14 > 0:56:20How could I resist entering your studio? It was like a circus!
0:56:20 > 0:56:25He was banging away on the piano, wasting good canvas with gibberish.
0:56:25 > 0:56:30"If you think I'm suffering," he said. "I am painting my emptiness."
0:56:30 > 0:56:34Like a child, I bared my soul to you.
0:56:34 > 0:56:39You bared more than that! This artist defrauds his own mother!
0:56:39 > 0:56:42He signs paintings that aren't his.
0:56:42 > 0:56:46If she's rich and doesn't understand art, why not?
0:56:46 > 0:56:50Thank you. I thought he understood that.
0:56:50 > 0:56:54He pretended he did and wormed his way into my confidence.
0:56:54 > 0:57:00Fiend! You terrorise your mother by threatening to kill yourself!
0:57:00 > 0:57:04The parent is to blame, not the child.
0:57:04 > 0:57:08- I'm surprised at you. - He forced me to come to his office.
0:57:08 > 0:57:14Bald-faced liar! You clung to me like glue! I couldn't shake him off.
0:57:16 > 0:57:20In agony and hope I came here, on his advice.
0:57:20 > 0:57:23I was appalled at what I saw.
0:57:23 > 0:57:27Everyone worships him. Miss Darlington won't take leave.
0:57:27 > 0:57:33- Neither will Sturdivant.- You've enslaved them to serve your ego,
0:57:33 > 0:57:38while you sit, feet up, handing out wisdom, as if you were God.
0:57:38 > 0:57:41- Thank you.- That's unfair, Octavio.
0:57:41 > 0:57:45- You don't need to defend me. - She was protecting you.
0:57:45 > 0:57:50In my office, he hid behind a screen and spied on me.
0:57:50 > 0:57:56When I went and asked him humbly to let me paint you, he refused.
0:57:56 > 0:57:58Absolutely refused.
0:57:58 > 0:58:00I didn't refuse.
0:58:00 > 0:58:05Do you know why I was on the floor in his office yesterday?
0:58:05 > 0:58:09He had struck me and knocked me down.
0:58:09 > 0:58:11Perry! You didn't!
0:58:11 > 0:58:14Yes, I did. Right in the kisser.
0:58:14 > 0:58:18- Perry!- He deserved it. Tell her why I smacked you.
0:58:18 > 0:58:24- You tell her.- He said I enslaved you, that you were living a tragedy.
0:58:27 > 0:58:30Do you really think that?
0:58:31 > 0:58:36- Are you asking him seriously? - He has a right to his own opinions.
0:58:36 > 0:58:42- That's ridiculous!- If it's ridiculous, why are you so angry?
0:58:42 > 0:58:44Tell her what else I said.
0:58:44 > 0:58:48- All right! - Could you pass me the hotcakes?
0:58:48 > 0:58:51This monster is in love with you.
0:58:51 > 0:58:55Oh, Perry, that's charming. Aren't you being silly?
0:58:55 > 0:58:59He's not being silly. I mean it.
0:59:00 > 0:59:02Oh...
0:59:02 > 0:59:05You see now?
0:59:07 > 0:59:13He can't help it. Miss Darlington's been in love with you for years.
0:59:13 > 0:59:18- Miss Darlington... - Is it a crime to fall in love?
0:59:18 > 0:59:21I never said I would do anything about it.
0:59:21 > 0:59:27This man shivered and shook as if the end of the world had come.
0:59:27 > 0:59:31Did he congratulate me for my honesty? No!
0:59:31 > 0:59:34He is mad with jealous insecurity.
0:59:34 > 0:59:39He is trying to rob me of the one inspiration I can build my life on.
0:59:45 > 0:59:49Now you know why he decided to take you to the country.
0:59:57 > 1:00:00The trees and the grass and the cows.
1:00:00 > 1:00:03While I perish!
1:00:04 > 1:00:09(Perry? I can't go away with you. Not now.)
1:00:09 > 1:00:13Don't be fooled. This is a stupid neurotic.
1:00:13 > 1:00:17There isn't an analyst's couch upon which he hasn't lain.
1:00:17 > 1:00:21Octavio? Are you really suffering?
1:00:21 > 1:00:26Wait. In two seconds, he'll get a knife and threaten to kill himself.
1:00:26 > 1:00:28I want him to have a sharp one.
1:00:28 > 1:00:31Right!
1:00:33 > 1:00:36Cremate me and scatter my ashes.
1:00:36 > 1:00:41- No! No!- Go ahead. This is the world's greatest fraud.
1:00:41 > 1:00:43No! No! Octavio! No!
1:00:43 > 1:00:46Thank you.
1:00:46 > 1:00:51That's all I wanted to see. You are truly concerned about me. Wonderful.
1:00:52 > 1:00:56You mean you did all this just...
1:00:56 > 1:00:59- Octavio, you ARE a fraud.- Of course.
1:00:59 > 1:01:04- Everything he said is true.- That's the first true thing you've said.
1:01:04 > 1:01:10But why am I doing this? I know no other way to show that I love you.
1:01:13 > 1:01:17- You know, I do believe you mean that.- I don't!
1:01:19 > 1:01:22I'm going now.
1:01:25 > 1:01:30I'll live out my life in the loneliness of my love for you.
1:01:30 > 1:01:33There is no other way.
1:01:33 > 1:01:40In this world, joy and misery can only be separated if someone takes all the misery,
1:01:40 > 1:01:43leaving happiness behind for the other.
1:01:43 > 1:01:46Poor Octavio.
1:01:48 > 1:01:50Just a minute.
1:01:55 > 1:02:00That was a pretty speech. Take your stuff, along with your phoney love.
1:02:00 > 1:02:05Being so sincere, I'm sure you won't want an excuse to come back.
1:02:12 > 1:02:15Insufferable lout!
1:02:15 > 1:02:17Let me strangle you!
1:02:17 > 1:02:20- Release him! - You didn't see the sketch!
1:02:20 > 1:02:26I'll tell you what I DID see - you are a vicious, uncontrollable brute!
1:02:38 > 1:02:40What are you doing?
1:02:40 > 1:02:44We're going to the country, aren't we?
1:02:52 > 1:02:55'Now we're in business. Now we're cooking.
1:02:55 > 1:02:59'You know, Quaglini, you really are a monster.'
1:03:04 > 1:03:11I'm sorry I lost my temper, but look at this. This is what he accused me of doing to you.
1:03:11 > 1:03:14Have I made you obese?
1:03:14 > 1:03:19- You like to cook?- I do. But look what it's doing to me.
1:03:19 > 1:03:23In another year's time, I may look like that.
1:03:23 > 1:03:27Octavio is merely pointing out the future.
1:03:32 > 1:03:35So I made you a fat cook.
1:03:35 > 1:03:38But do I also do this to you?
1:03:38 > 1:03:46Do you expect me to control myself when a man accuses me of making my wife into that. Look at it!
1:03:52 > 1:03:59Let's face it, I do lead a sheltered life. Perhaps a bit too sheltered.
1:03:59 > 1:04:01In many ways.
1:04:01 > 1:04:04The artist in Octavio saw that.
1:04:07 > 1:04:12- I don't believe it. - 'Perry, you're staring at me again.'
1:04:12 > 1:04:15Yes.
1:04:15 > 1:04:20I am staring at you. I mean, not at you. I don't know.
1:04:20 > 1:04:23'You look at me as though I were an hallucination.'
1:04:36 > 1:04:39Now you're grinning.
1:04:39 > 1:04:42You've just become yourself again.
1:04:42 > 1:04:47Darling, you worry me. Octavio has really upset you.
1:04:47 > 1:04:51It's not his fault that he understands me.
1:04:51 > 1:04:54You're a doctor. He's an artist.
1:05:01 > 1:05:05Why aren't you packing? You were in a hurry to go.
1:05:05 > 1:05:10- We're not going to the country. - It'll do you good.
1:05:10 > 1:05:13Besides, it'll take us away from Octavio.
1:05:13 > 1:05:16I don't want us to be away from him.
1:05:16 > 1:05:22- But he's in love with me.- I want him to paint you in his studio.
1:05:22 > 1:05:27Have you forgotten the sketches? My sheltered life? My repression?
1:05:27 > 1:05:30Either I'm right or he is.
1:05:30 > 1:05:34I agree. Why should either of us live in doubt?
1:05:34 > 1:05:36BANGING
1:05:36 > 1:05:39I couldn't help overhearing.
1:05:39 > 1:05:41I admire your courage.
1:05:41 > 1:05:47Why should any of us live in doubt? At your service, madam.
1:06:04 > 1:06:07- Goodbye, dear.- Goodbye.
1:06:17 > 1:06:20Doc, you're a gentleman.
1:06:39 > 1:06:42Goodbye, Mrs Faraday.
1:06:42 > 1:06:45- Goodbye, quarterback. - I'm not a quarterback!
1:06:45 > 1:06:50- No?- I'm the captain. I play any position I want!
1:06:51 > 1:06:56- I'll be back again tomorrow for another check-up.- Thank you.
1:06:59 > 1:07:04'That boy doesn't need a check-up. He's healthier than you are.
1:07:04 > 1:07:07'You know what you're here for.
1:07:07 > 1:07:10'No.
1:07:10 > 1:07:13'You're not going to look at his door again.
1:07:17 > 1:07:20'Don't stop. Keep going.
1:07:20 > 1:07:23'Oh, go on. Turn back.
1:07:25 > 1:07:28'Maybe you'll hear something.
1:07:28 > 1:07:30'No.
1:07:33 > 1:07:39'You've done this for two weeks. Once more makes no difference.
1:07:50 > 1:07:53'Why don't you knock and walk in?
1:07:56 > 1:07:59'Go on. Take a peep.
1:08:00 > 1:08:03'No. That's spying.
1:08:03 > 1:08:07'Go on. Just a little peep.
1:08:09 > 1:08:12'Are you afraid?
1:08:12 > 1:08:15'You don't trust her.
1:08:16 > 1:08:19'Then what are you afraid of?'
1:08:33 > 1:08:37- Dr Aswell.- I'll see you later. My calls, please.
1:08:37 > 1:08:41- I'll bring them in. - I'll see them now.
1:08:48 > 1:08:53- I was expecting one from Mrs Aswell. - Those are all your calls, as listed.
1:08:55 > 1:08:58Get me Quaglini's studio.
1:08:58 > 1:09:00Later, Sturdivant!
1:09:05 > 1:09:08- How long can this go on? - I'll call Quaglini.
1:09:08 > 1:09:12- Suppose I ask him. - Don't get irritable.
1:09:12 > 1:09:14It won't last forever.
1:09:14 > 1:09:18Whatever he does, we must humour him.
1:09:21 > 1:09:25- What's happened to that call? - 'They don't answer.'
1:09:25 > 1:09:28- What's his number?- 'Ramsey 11121.'
1:09:37 > 1:09:39RING TONE
1:09:46 > 1:09:49'Why doesn't he answer?
1:09:49 > 1:09:53'He's painting her and doesn't want to be disturbed.
1:09:53 > 1:09:57'But it's ringing. It's annoying him.
1:09:57 > 1:09:59'He must answer.
1:09:59 > 1:10:02'Come on, Aswell.
1:10:02 > 1:10:06'You weren't born yesterday. Use a little imagination.
1:10:06 > 1:10:09'Why doesn't he answer?
1:10:11 > 1:10:14'Nonsense! He will answer.
1:10:15 > 1:10:18'All right. Suppose he does,
1:10:18 > 1:10:22'are you sure you want him to answer now?
1:10:25 > 1:10:29'Are you sure, Aswell? After it's taken so long?
1:10:32 > 1:10:39'Now control yourself. Let's be objective about this. Why are you torturing yourself?
1:10:39 > 1:10:43'Because you suspect that Quaglini's right,
1:10:43 > 1:10:47'that April is not really happy with you.
1:10:47 > 1:10:52'No. No, he's not right. He's mad. He can't be right.
1:10:56 > 1:11:01'What about Miss Darlington? She said she was in love with you.'
1:11:01 > 1:11:04Time for your vitamin pills, Doctor.
1:11:08 > 1:11:10'That's silly.
1:11:10 > 1:11:12'Is it?'
1:11:12 > 1:11:15Vitamin A.
1:11:15 > 1:11:18'Look at the way she hovers over you.'
1:11:18 > 1:11:20Vitamin B.
1:11:20 > 1:11:25'That's not love. That's efficiency. That's all it is.
1:11:26 > 1:11:28'You think so?
1:11:28 > 1:11:31'You're not sure, are you, Aswell?'
1:11:31 > 1:11:33Anything else?
1:11:33 > 1:11:36'Better find out.
1:11:36 > 1:11:39'Find out? How?
1:11:39 > 1:11:41'Oh, come now.'
1:11:41 > 1:11:44Oh, Miss Darlington?
1:11:54 > 1:11:57SHE SWOONS
1:12:01 > 1:12:04'Satisfied, Aswell?
1:12:06 > 1:12:09'That's no proof. She was taken by surprise.'
1:12:09 > 1:12:11Miss!
1:12:11 > 1:12:14'Wait.
1:12:16 > 1:12:19'Why not try Sturdivant now?'
1:12:20 > 1:12:23Send Dr Sturdivant in right away.
1:12:24 > 1:12:28'You have made a paragon out of him.
1:12:28 > 1:12:33'He won't believe what he sees - only what you tell him.'
1:12:41 > 1:12:43HE KNOCKS
1:12:43 > 1:12:46Come in.
1:12:50 > 1:12:53Yes, Doctor.
1:12:53 > 1:13:00I was trying to remember a statement I made on anorexia at a lecture a few months ago.
1:13:00 > 1:13:02How did I phrase it?
1:13:02 > 1:13:08"Most cases of anorexia in children is due to force-feeding by parents.
1:13:08 > 1:13:15"Perhaps the only cure is to strap the parents in high-chairs and feed them endless gobs of cereal."
1:13:15 > 1:13:19- Those were your exact words. - That's all. Thank you.
1:13:19 > 1:13:22- But Dr Aswell...- Yes.
1:13:22 > 1:13:26I can tell you what you said in the next paragraph.
1:13:26 > 1:13:29You've enlightened me enough.
1:13:29 > 1:13:31Oh, Sturdivant.
1:13:31 > 1:13:34Take Miss Darlington with you.
1:13:34 > 1:13:36Yes, Doctor.
1:13:36 > 1:13:38She fainted.
1:13:43 > 1:13:45'It's true. It's true.
1:13:45 > 1:13:48'Everything Quaglini said is true.'
1:13:54 > 1:13:57- Dr Sturdivant!- You fainted.
1:13:57 > 1:13:59Let me up.
1:14:01 > 1:14:05He kissed me. He must be losing his mind.
1:14:05 > 1:14:09It's terrifying. When I came in, you were in his arms.
1:14:09 > 1:14:14- His wife is driving him crazy. - She's having her portrait painted.
1:14:14 > 1:14:18You don't think... I don't believe it!
1:14:18 > 1:14:22- Then why are you so upset? - Aren't you?- Yes.
1:14:22 > 1:14:26But he's upset because that mad artist has us all upset.
1:14:26 > 1:14:29- Which upset him.- Which upsets us.
1:14:29 > 1:14:33There's something wrong here, Miss Darlington.
1:14:35 > 1:14:39I don't believe we're leading our own lives.
1:14:44 > 1:14:46TELEPHONE RINGS
1:14:46 > 1:14:49Hello. Doctor Aswell's office.
1:14:49 > 1:14:52Hello, Mrs Aswell. Just a moment.
1:14:52 > 1:14:54'Mrs Aswell calling.'
1:14:56 > 1:14:59- Hello?- 'Hello, darling.
1:14:59 > 1:15:04'Sorry about last night. Octavio said he couldn't paint.
1:15:04 > 1:15:08'I wanted to leave, then I had to stay. You understand?'
1:15:08 > 1:15:11Yes, of course.
1:15:11 > 1:15:15'You were sound asleep. I didn't want to wake you.'
1:15:15 > 1:15:18That's very sweet of you.
1:15:18 > 1:15:22I just called the studio. There was no answer.
1:15:22 > 1:15:27'Octavio needed relaxation. We're in the country now.
1:15:27 > 1:15:31'What's the matter? Anything wrong, dear?'
1:15:31 > 1:15:37Oh, no. I thought we might have dinner when you're not too busy.
1:15:37 > 1:15:40- 'How about tonight?' - Any time you say.
1:15:40 > 1:15:43'Cocktails at five o'clock.'
1:15:43 > 1:15:46Our five o'clock.
1:15:46 > 1:15:51- 'Yes, darling. OUR five o'clock. Don't be late. Bye.'- Bye.
1:15:56 > 1:15:59CUCKOO CUCKOOS
1:16:31 > 1:16:34'Aswell, you fool.
1:16:34 > 1:16:41'Look at her. How could you ever allow yourself to doubt her? Remember?'
1:17:24 > 1:17:27'That's the way to settle it.
1:17:27 > 1:17:31'The sanctity of the home has been tampered with.
1:17:31 > 1:17:33'Oh, Aswell.
1:17:33 > 1:17:39'So I sound old-fashioned, true. Kill him, then go to his funeral.
1:17:39 > 1:17:42'But Aswell, you'll never get to the funeral.
1:17:42 > 1:17:45'You'll be arrested. You'll be in jail.
1:17:45 > 1:17:48'It's worth it. Is it?
1:17:48 > 1:17:53'What about her? She'll convince everyone it was all your fault.
1:17:53 > 1:17:58'And what will she be doing while you're pounding rocks?
1:17:58 > 1:18:00'No, Aswell.
1:18:00 > 1:18:03'There must be a better way.
1:18:03 > 1:18:06'Yes. The better way.'
1:18:35 > 1:18:40'That's the way to settle it. She's equally responsible.
1:18:40 > 1:18:43'You mustn't be sentimental about her.
1:18:43 > 1:18:48'So now they're happily dead, where are you, Aswell?
1:18:48 > 1:18:54'You're on trial. Tell the whole world what they did to you.
1:18:54 > 1:18:58'But Aswell, no-one will care what they did to you.
1:18:58 > 1:19:02'People will hate you and feel sorry for them.
1:19:02 > 1:19:06'There still must be a better way.
1:19:08 > 1:19:10'There must be.'
1:19:24 > 1:19:27'That's the way to settle it.
1:19:27 > 1:19:30'But Aswell, what do you see?
1:19:32 > 1:19:35'That's right. Nothing.
1:19:35 > 1:19:38'Nothing at all.
1:19:38 > 1:19:43'And that's the way it's going to be. A big black nothing for ever.
1:19:43 > 1:19:46'Even blacker.
1:19:46 > 1:19:49'And much hotter.
1:19:51 > 1:19:54'Aswell, you are losing your mind.
1:19:54 > 1:19:58'You fool. You jealous fool.
1:19:58 > 1:20:01'If anyone deserves to be shot, it's you.
1:20:01 > 1:20:07'How could you doubt her? Calm down. Go and get some air. Take a walk.
1:20:07 > 1:20:11'Fresh air. That's it. Then you'll be all right.'
1:20:19 > 1:20:22Miss Darlington, Dr Sturdivant.
1:20:22 > 1:20:26- We'd like to talk to you. - Later. I'll be right back.
1:20:33 > 1:20:35KNOCK ON DOOR
1:20:41 > 1:20:44There's the sandwiches, Quagi.
1:20:44 > 1:20:47Sandwiches - don't you want them?
1:20:59 > 1:21:03'Look at him. So quiet and serious.
1:21:03 > 1:21:09'That isn't the Quaglini who PRETENDED to be in love. He IS in love.'
1:21:09 > 1:21:14'Well, it's finished. You've put her on canvas.
1:21:14 > 1:21:21'And now you're in trouble. That's not his child you've painted. It's your child.
1:21:21 > 1:21:24'Did you have to fall in love with her?
1:21:24 > 1:21:27'What happens now, Quaglini?'
1:21:27 > 1:21:31'What's he doing about this love? Nothing.
1:21:31 > 1:21:34'It's pure love now. Too pure to be demonstrated.
1:21:34 > 1:21:39'Where's Perry? At home with a book, too proud to be jealous.
1:21:39 > 1:21:42'And where are you?
1:21:42 > 1:21:46'High up on a pedestal too bored for words.
1:21:46 > 1:21:49'No, wait.
1:21:49 > 1:21:53'Something's happening there. That's not a look of purity.'
1:21:53 > 1:21:56'No, Quaglini. You can't do that.
1:21:56 > 1:22:00'You've never done anything like that before.
1:22:00 > 1:22:03'Never... Well, almost never.
1:22:03 > 1:22:08'But Aswell was noble and brave. How can you be such a heel?
1:22:08 > 1:22:11'Now, wait a minute.
1:22:11 > 1:22:15'He had no right to leave you alone. He knew your character.
1:22:15 > 1:22:20'How's that for a rationalisation? Not bad.
1:22:20 > 1:22:22'Not bad? It's perfect.'
1:22:26 > 1:22:29'Uh-huh.
1:22:29 > 1:22:32'Oooh.
1:22:32 > 1:22:36'Take a deep breath, Mrs Aswell. Here it comes.
1:22:36 > 1:22:38'Be gentle. Hmm-hmmm.
1:22:38 > 1:22:41'Entrance her with words.
1:22:41 > 1:22:48'You mustn't reject him. He's sincerely in love with you.
1:22:48 > 1:22:51'Why say anything? Be bold.
1:22:51 > 1:22:53'Crush her in your arms.
1:22:53 > 1:22:57'What are you going to do? Mrs Aswell? Mrs Aswell!'
1:23:01 > 1:23:03Good evening.
1:23:03 > 1:23:05Hello, Doc.
1:23:05 > 1:23:10- Perry.- I'm sorry to disturb you. I was passing.
1:23:10 > 1:23:13- It's all right.- Octavio...
1:23:13 > 1:23:15That'll be all for tonight.
1:23:15 > 1:23:23Sorry about our appointment, but Octavio decided to go on working and I simply couldn't leave.
1:23:23 > 1:23:26I shall get dressed now. Shan't be a minute.
1:23:39 > 1:23:42How long has this been going on?
1:23:42 > 1:23:44- What?- What I just saw!
1:23:44 > 1:23:49You came determined to fulfil your jealous thoughts!
1:23:49 > 1:23:52I demand to know what's been happening!
1:23:52 > 1:23:55Nothing.
1:23:55 > 1:23:58- Nothing?- Nothing.- She rebuffed you!
1:23:58 > 1:24:02- I've often been rebuked, but never rebuffed.- So you were!
1:24:02 > 1:24:07I don't know. You were so noble, you ennobled me!
1:24:07 > 1:24:10You inhibited me - up to the crucial moment.
1:24:10 > 1:24:13- What crucial moment? - When you walked in.
1:24:13 > 1:24:18Now, neither of us know and everything is just as it was.
1:24:18 > 1:24:21You've tortured yourself for nothing.
1:24:21 > 1:24:24I curse the day I walked in that door.
1:24:24 > 1:24:27You won't believe me, Doc.
1:24:27 > 1:24:32But I know how you feel. We're in the same boat. I love her.
1:24:32 > 1:24:35Octavio...
1:24:35 > 1:24:39Why do you blurt out everything you feel?
1:24:39 > 1:24:43I didn't say a word about it for two weeks.
1:24:43 > 1:24:48I felt my love so deeply. So sincerely.
1:24:48 > 1:24:52Then I must say, you're much more interesting as a fraud.
1:24:52 > 1:24:55Sincere, you're an awful bore.
1:24:55 > 1:25:00- Now, dear, let's not be unkind. - Don't patronise me!
1:25:00 > 1:25:04- If you hadn't come in... - Perry, let's leave.
1:25:04 > 1:25:07Quaglini, what about your portrait?
1:25:07 > 1:25:12- My work is my work. You may see the portrait.- Now all will be settled.
1:25:12 > 1:25:19- What will?- You can see yourself and know your life with me is tragic.
1:25:19 > 1:25:22- Right?- Right.- Go on. Look at it.
1:25:22 > 1:25:26If you agree with Quaglini, I won't stand in your way.
1:25:26 > 1:25:27I'll gladly give you up.
1:25:27 > 1:25:31- You'd give me up? - I wouldn't want you to be unhappy.
1:25:31 > 1:25:35Octavio was right. You don't need me any more.
1:25:35 > 1:25:40That's why you sent me here, why you were so kind.
1:25:40 > 1:25:44- You want to get rid of me. - No. I don't want to.
1:25:44 > 1:25:48- Then you were lying! - I will give her up!
1:25:48 > 1:25:51Please look at it. I want to expose him.
1:25:51 > 1:25:54I will not look at it.
1:25:54 > 1:25:59If you can even think of giving me up, then my life with you IS tragic.
1:25:59 > 1:26:04- Octavio, please take me home. - No. I tricked him.
1:26:04 > 1:26:10- Why are you on his side? - I understand him, now that I love you too.
1:26:10 > 1:26:15Then he has no will of his own. I might as well marry Sturdivant.
1:26:15 > 1:26:17He didn't trick me.
1:26:17 > 1:26:21Then you knew what you were saying and you meant it.
1:26:27 > 1:26:31Sorry, Doc. I did the best I could.
1:26:41 > 1:26:44MUSIC PLAYS
1:27:10 > 1:27:13- Arthur Murray?- Fred Astaire.
1:27:13 > 1:27:17- Have you been doing it long?- Since medical school. You?- Five years.
1:27:17 > 1:27:20- I don't believe it.- Neither do I.
1:27:28 > 1:27:31Why, Dr Sturdivant. And Miss Darlington.
1:27:31 > 1:27:37- How nice of you to drop in.- Why, Mrs Aswell, where have you been?
1:27:37 > 1:27:40- We missed you at the office. - Dr Aswell...
1:27:40 > 1:27:45- Do something for me. Get out, take Miss Darlington.- I will not.
1:27:45 > 1:27:51- I can't talk to you now.- What do you mean? Who do you think you are?
1:27:51 > 1:27:53Our lord and master!
1:27:53 > 1:27:56What is this?
1:27:56 > 1:28:00- HE PLAYS "La Marseillaise" - Oh, excuse me.
1:28:00 > 1:28:06- We don't like it, Dr Aswell.- What? - We're not leading our own lives.
1:28:06 > 1:28:08Who's stopping you?
1:28:08 > 1:28:11- She is.- No. He is. He upset us.
1:28:11 > 1:28:14- But she upset him. - He upset me.
1:28:14 > 1:28:18- You upset me, so I upset him. - No. She upset him.
1:28:18 > 1:28:21- He upset me!- She upset her and you!
1:28:21 > 1:28:25And you upset us and we just don't like it.
1:28:27 > 1:28:29Ha!
1:28:29 > 1:28:34- Take Miss Darlington out. She's fainted again.- Yes, Dr Aswell.
1:28:43 > 1:28:48He was right about Sturdivant being a parrot and Darlington loving me.
1:28:48 > 1:28:51But he's not right about you.
1:28:51 > 1:28:55Now, is that the real April? Go on. Look at it.
1:29:11 > 1:29:16- You really understand me. - You see? You're not angry?
1:29:16 > 1:29:18How could I be angry?
1:29:18 > 1:29:23You made me realise that my life has indeed been empty and tragic.
1:29:27 > 1:29:31Face it, Doc. That's life.
1:29:31 > 1:29:34You must, darling. He made me face it.
1:29:34 > 1:29:37I don't believe it.
1:29:49 > 1:29:54For a moment, I thought... Please forgive me for doubting you.
1:29:54 > 1:29:58That's true art. Now I realise what's been missing.
1:29:58 > 1:30:01I want to thank...
1:30:01 > 1:30:05- He's gone. - The knife! He's got the knife!
1:30:07 > 1:30:11Sorry. Purely an oversight.
1:30:17 > 1:30:20Something has happened to me.
1:30:20 > 1:30:23My emptiness has gone.
1:30:23 > 1:30:27I'm suffering, for the first time in my life.
1:30:27 > 1:30:30Such magnificent agony.
1:30:30 > 1:30:34Having loved you and lost you, the pain is quite exquisite.
1:30:34 > 1:30:37I can live on it for years.
1:30:39 > 1:30:44Doc? The next time you look at the work of an artist...
1:30:44 > 1:30:46think twice before you speak.
1:30:46 > 1:30:51In this imperfect world, not everybody's an art critic.
1:30:56 > 1:31:00- To little Perry. - Uh-huh. To little April.
1:31:00 > 1:31:05That is sweet of you, but he painted a little Perry.
1:31:05 > 1:31:10- He painted a little April. - Well, I know what I saw.
1:31:10 > 1:31:12- Let's settle it.- No.
1:31:12 > 1:31:17There comes a time when with a little help and lots of trouble,
1:31:17 > 1:31:20everyone sees what he has to see.