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