Loving (1970)

[bunniefuu]

[♪♪♪]

[MUSIC CONTINUES]

[INAUDIBLE]

[INAUDIBLE]

[INAUDIBLE]

[INAUDIBLE]

[HORNS HONKING]

[INAUDIBLE]

- I've got to go.
- Grace!

[TRAIN WHISTLES]

[PIANO PLAYING]

[♪♪♪]

[COUGHS]

Hi.

Hi.

No smoking.

[WATER RUNNING]

[PLAYING NOTE]

[SONG PLAYING]

[CROWD OF PEOPLE TALKING]

[CHILDREN LAUGHING]

Aah.

Hello, Nelly.

Brooksy,
I thought that was you.

How are you?

You're looking beautiful,
lost a lot of weight.

- No, I didn't, Nelly.
- Where have you been,
lover?

There's Will.
Hello, Will.

- Brooks.
- Here comes old Goony Bird.

Come on, let's go.
The kid's tired.

Of course she is.

She's had a hard day
on the stage, haven't you?

We all have
to work hard. Come on.

See you, folks.

You've got a lot
of charm, Will.

Hello. Hello.

How are you,
Brooks?

Daddy, did
you see me?

See you?

You were the best
thing in the show.

Hello.

Glad you could
make it.

See you,
Ralph.

Come on.
Any word on Lepridon?

They still haven't
come to a decision.

Oh.

Okay, Sel. Come on.

Come on.

You're never going
to see me again.

This is goodbye.

Come on. No, no, no.
Put your hands around me.

Don't fool around.
Come on. Okay.

Mm!

Come on, come on, Sel.

What?

Sel...

Oh.

Come on, come on.
See the camera?

Mm-hmm.

I want to feel the nails
on my neck.

Okay, you got it?

Uh-huh.
All right.

Let me see some more face.

More face,
that's right.

Mouth open...
just nice.

Okay.

[TRIGGERS SELF-TIMER]

Okay, hands on my neck.

Put the nails on.
Oh...oh.

- Brooks...
- Mm?

Come on.
It's getting late.

I've got to start on this thing
first thing in the morning.

They want the rough sketches
by Tuesday.

- Brooks?
- Hmm?

If we get the truck account,

think we could start
looking for that new house?

We'll see.
Come on, get back in bed.

Okay.

Had plans
for four years.

You need your work space.

This is just before
the kiss goodbye.

Now, open your mouth.

CHILD 1:
Leave that alone.

CHILD 2:
You said
I could have it.

I did not.

You did too.

I did not.

You did too.

Mom! Mom!

Mom!

Boy, you tear that,
you'll see what I do.

So how come you're
tearing my stuff?

Why is it
on the floor?

Because I was coloring
on the floor.

Well, you could have
picked the book up.

Well, I wanted to
leave it on the floor.

[CONTINUES INDISTINCTLY]

[TELEPHONE RINGING]

Instead of leaving it,
I'll put it by Baby Lionel.

You do, and I'll rip every
single hair out of your head.

[LAUGHING]

Well, I'll rip everything
out of your head too.

[RINGING STOPS]

Hannah, Mommy
wants you.

Brooks, telephone.

Hannah, come on,
she wants you.

Brooks, telephone.

Brooks, long distance.

Brooks, your agent's
on the phone.

Hurry up, Brooks.
It's station to station.

All right.

Sel, where's my bathrobe?

Sel,
can I have some coffee, please?

All right.

Hello, Edward.

Hello, Edward!

Yeah, yeah, yeah.

Look, Brooks, two things.

First, I've got bad news
about the Fields job.

The client's not happy with it,
so they're not going to run it.

They want to know

if you'll play ball with them

and settle for half your fee.

Oh, for God's sake, Edward!

Brooks, why, you've got
to think their side of it.

I worked two weeks
on that thing,

and they weren't paying
anything to begin with, anyway.

I know, I know.

I just think you ought
to go along with them.

Well, the hell with that.
I'm not going to do it.

Now, second--
this ought to cheer you up--

I got a call this morning
from Skip Geyser,

and he wants to see you
at 9:45.

Today?

[CUP SHATTERS]

- Selma!
- What was that?

Nothing, nothing.

What is so important
about today?

Well, Lepridon
is leaving for Indiana,

and he wants to meet you today.

You land this job
and your troubles are over,

and listen,
after it's over,

after you're through there,
come on down to my office, okay?

Okay, I will.

All right.

Good morning.

Good morning.

Oh, Dad...

Aren't we saying
"good morning?"

Morning, Dad.

I've got a 9:45 appointment.

- Lepridon?
- Yeah.

What do you think?

Hannah, Lizzie,
breakfast!

It's with Lepridon
himself.

Oh!

He wouldn't be
meeting with you

to tell you you
didn't get the job.

[DOORBELL RINGS]

Who the hell is that?

Lizzie, answer
the door, please.

What do you think?

I think it looks
pretty good.

Daddy, it's
for you.

I don't believe this.

♪ Mary Mack, Mack, Mack

♪ All dressed
In black, black, black... ♪

Yes, Mr. Kramm?

Oh, excuse me, Wilson,
but is this yours?

Why, yes, I believe
it is, Mr. Kramm.

It was out in the middle
of the road.

Could lead to an accident.

Thank you.

You want to be more careful.

Well, in the future,
I will.

Thank you. Bye.

Oh, by the way,
you know...

you know,
your house needs painting.

I know that, Mr. Kramm,
but I don't want to paint it.

Oh, I understand.
I understand perfectly.

Now, I've got the name

of a nice inexpensive
house painter, if you want.

I don't want.

Brooks, your breakfast
is getting cold.

My breakfast is getting cold,
Mr. Kramm.

I have to sit across the street
and look at your house, Wilson.

I understand, Mr. Kramm.

I have the name of a nice
inexpensive house mover.

You never shovel
your snow in winter,

and you grow
crab grass in summer.

I happen to like
crab grass, Mr. Kramm.

I think it's pretty.

Then grow it
in your house.

Grow it inside your house,
Mr. Kramm.

- Now, look--
- I've got to catch the 8:10.

Thank you, thank you,
Mr. Kramm.

You should be
tarred and feathered--

Thank you, Mr. Kramm!

Feel better?
Get it out of your system?

Selma, I don't like
frozen orange juice.

Neither do I.

Me too.

Now, you see what
you started?

Well, whatever happened
to fresh oranges?

I think they d*ed.

[LAUGHING]

Now what's the matter?

Can I have a comb
for the eggs?

What about tweezers?

Ew!

Ew!
Ew!

Tweezers,
tweezers!

All right,
that's enough.

That's enough.
That's enough.

Shh.

Just eat
your breakfast.

Mommy, Daddy's
eating my cupcake.

Come on, here's one
just for you.

No, I don't want that one.
I want the one he ate.

Oh, shut up, Hannah.

We don't say "shut up"
in our house.

Okay.

I've got to go.

What's the matter
with Daddy?

He's just tired.

But he just got up.

Lizzie, eat
your breakfast.

Hi, Nelly.

- What a coincidence.
- Why?

Because I dreamed
about you last night.

Well, you'll have to tell me
about it sometime.

I could be
in town later.

Let's have lunch.

Well, I'd love to, Nelly,

but I've got a very important
business meeting.

All day?

Well, no, not
all day, but...

I'm a lot of fun
at lunch, Brooks.

I'll bet you are, Nelly.

Will's watching.

Bye, Nelly.

Hi, Will.

How are you?

I'm okay.

Looks like snow.

Yeah.

I was just saying to Nelly

how we haven't seen you
in some time.

Yeah.

[♪♪♪]

Listen, I only got
the word two hours ago.

I know. We tried to call you
at home, but you'd already left.

2:30, huh?

Right. That's at the new
Lepridon building.

Don't be late, please.
Look, Brooks, I'm sorry.

I didn't mean to foul up
your whole day.

[TOILET FLUSHING]

MAN:
Charles, open
the door, please.

Charles, how many times
do I have to tell you?

It's in, not out.

[JIGGLES HANDLE]

Charles, get
the pliers, please.

Where are they, Edward?

On the desk.

Hey, who is that?

Brooks Wilson.

Brooks,
how are you?

Hello, Edward.
I don't see them.

Well, Brooks--

please keep looking
for them, will you?

You know they changed the time
for the Lepridon appointment?

Yeah. It went
beautiful.

I made a luncheon date
for you with Benny Sloane

over at the
Illustrators Club.

He wants a cover
from you.

I can't do that, Edward.
I've already made plans.

Brooks, have
you gone crazy?

I k*ll myself looking
for jobs for you

because you tell me
you're starving,

then when I find one,
you won't pick it up.

Where are the pliers?

I'm looking for them,
Edward.

You know, these small jobs
are k*lling me, Edward.

I could earn more
parking cars.

What about
the Lepridon thing?

Is he in there?
Yes, yes, yes.

Charles, will you
open this damn door?

You should be glad
for those small accounts.

Most of the guys
on this street

are not even working.

Edward, I have been hanging
on the Lepridon thing

for five months.
Just answer me.

Do I have it
or don't I?

Oh, it looks real good.

Well, what did
Skip Geyser say?

Lepridon himself
wants to meet you.

Well, I know that, Edward.
I'm seeing him at 2:30.

Oh, by the way,
fix this door.

Well, did you speak
to Skip Geyser?

What's that
in your hand?

This is rubber cement.

Another can
of rubber cement, huh?

What's all that
over there?

I don't know how much cement
is left in those cans.

Oh, I see.

Well, tell you what you do.

You empty out
all the rubber cement

that's left
in these cans,

and you put them
into one can,

and then you will have
more room, see?

Yeah, but what if there's
more cement in those cans

than fit in one can?

Then use two.
I won't mind.

And fix the door?

Brooks...

Easy on that
sauce, huh?

You've got a very important
engagement today.

[♪♪♪]

[CLARINET PLAYING]

[PLAYING CONTINUES]

Yes?

Is Grace here?

No.

Do you know where she is?

I think she's working.

Anything I can do?

Uh...

No.

Are you a friend of Grace's?

Yes.

Well, I just have
to get something.

I won't be a second.

[PLAYING CLARINET]

Find it?

Yeah.

Well, I guess I'll be going.

Any message?

Uh, no, tell her--

tell her I'll call her later.

Are you
all right?

No, I'm fine.

Listen, I was up
at the apartment.

Grace, who's the guy?
Who's the Japanese guy?

I don't want
to talk about it.

Grace...

Look, I don't want
to sound cruel or anything,

but I just don't think
it's any of your business,

and I'd appreciate it if
you'd give me back my key.

Well, who is he?

Is he an old friend
or your cousin,

because boy, he was really
making himself at home.

Can I have my key now?

Well, I guess he wouldn't
be your cousin

because the features
are different.

I'm meeting
with Lepridon today.

I think I'm going
to get the account.

I really don't care.

What do you mean?

What's that supposed to mean?
You don't care?

It said it all.

Well, what do you
want me to do?

You mean you
really don't know?

I'll tell her.

I just don't
believe you anymore.

I'll tell her.

You mean you'll
tell her

if you get the
Lepridon account?

I'll tell her tonight.

So I said, "Not only
can I do silkscreens,

but I use my wife's stockings."

Hi. How are you?
How you doing?

Bo?

On Mr. Wolfman's tab again?

No, no,
I'll pay for it.

I'm sorry, sir.
Only members can buy drinks.

Bo, put it on my tab,
will you?

Excuse me.

- Hi.
- Hi, and thank you.

It's all right.
I'm Tom Plommer.

- First time at the club?
- Uh, no.

Oh, well, that's funny.
I hardly ever forget a face.

We haven't met, have we?

Yeah.

Oh, boy. I really am
getting old.

I know you're a friend
of Willy Wulfman.

I saw you come in together.

Well, don't tell me
I'm wrong about that too.

No, no, we
came in together.

How are you?
Hey, Willy.

Just talking about you.

Oh, nothing good, I hope.

You know Brooks Williams,
obviously.

Of course I do.

- Wilson. Brooks Wilson.
- Oh!

I really must be drunk.
How do you like that? Williams?

What do you do,
Williams? Wilson?

I'm an illustrator.
He's an illustrator.

And a damn good talent,
too.

Been in our
business long?

Oh, long. As long as I have,
right, Brooks?

Sure.
Sure.

We graduated Pratt together.

- Oh.
- Brooks here went free.

He had a free ride
on the G.I. bill.

I had to work my way through,
huh?

Oh, yeah.
The old army days.

You know, I did a lot
of illustrations
in those days.

Inspirational stuff.

Boy, that really
goes back.

A lot of water
under the bridge.

- Well, listen--
- You know, I--

It was nice talking to you.
I really got to be pushing on.

I thought you wanted
to meet Benny?

- Right.
- I'll call you, Brooks.

- We should get together.
- So long.

WILLY:
He's a good man
with an airbrush.

Brooks, sorry we're late.
I hope you haven't eaten yet.

No, no, I haven't.

Brooks, I guess you know Al.
Al is president of the club.

And this is--
- Susan.

Right. Come on in.
I'm starving. Let's eat.

Boy, was that traffic
terrible today.

We all missed you.
Frank came up to fill in,

and we finished the layout
in about three hours.

I'm sorry I missed that. Bebe
had one of her 24-hour things.

I asked Lester
to call you. Did he?

Yeah, he did.

So the couple comes back
from the little girl's funeral,

and they're standing,
grief-stricken,

in the playroom,
and then the husband

accidentally bumps
into one of the kid's toys,

and the damn thing

starts playing
the music box theme.

Naturally, both break up,

but we show it
before they break up.

A crying woman
looks like nothing.

She's negative,
you know what I mean?

Yeah, I do.
You got the galleys, Benny?

Brooks, it's your baby.

Do it your own way,
your own style,

have fun with it,

only don't screw up
the broad's face.

I left the galleys
in the office.

Well, I'll send them
over to Edwards.

All right.

Listen, everybody,
I'm late. I gotta run.

Al, I'll call you.

AL: Right.

Nice meeting you,
Susan.

Should I call
you, Benny?

Yeah, give me a call,
Willy.

What month were you born?

February 25th.

Pisces. I thought so.

What's that supposed to mean?

Nothing.

Well, it must
mean something.

What did you think
of the new exhibit, Wilson?

Fairly nice stuff,
huh?

Oh, Brooks loved it.

I was just telling
them downstairs,

it's a good thing
all those guys are dead.

Competition is tough enough
as it is.

That's a terrible
thing to say, Willy.

Can I join the party?

Oh, hi, Plommie.

Hi.

Hi. Hi.

How come a show
just about dead guys?

What?

The exhibition
downstairs,

how come it's just
a show of dead guys?

Well, we thought that--
all the old members

have left such a wealth
of illustrations--

How about a show
of just the guys

who committed su1c1de?

Was that a...

fun idea, Wilson?

Is it like a joke?

It's a serious idea.

There's Bert Maloney,

Pavlo Marx...

It's poor
taste, Wilson.

Yes, it is.

Maybe he was just
making a kind of joke

and it didn't come off.
Yeah.

No, no joke.

I wouldn't joke
about a thing like that.

Well, come on, Susan.

Willy, I have an engagement.
I'll say so long. Buzz me.

Sure, Al.

Susan?

Come on, it's getting late.

All this booze...
Let's get out of here.

For Christ's sake, Brooks,
what did you have
to do that for?

He's the president.

Willy, he's not
the president.

[GLASS SHATTERS]

I'm terribly--
Terribly sorry.

Are you all right?

I think he's had
too much to drink.

Don't bother!
I'll do it.

Look, Brooks,
I'll see you, huh?

Willy?

MAN: Uh-oh. Looks like a fight.

[MEN AND WOMEN CHATTERING]

Why don't you watch
what you're doing?

I'm sorry.

Bo?

You want to put up
a double vodka?

Sorry, sir, the board's
for members only.

Oh, yeah,
I forgot. Sorry.

[♪♪♪]

Brooks!

Where the hell
have you been?

Now, look, I'm not going
to stall you,

but I think you got it if they
don't switch to photography.

- Photography?
- Yeah, he's got
a bug in his ear.

I've been trying to talk him
out of it all day.

[JACKHAMMER]

Did you meet Lepridon
when you went to Indiana?

No.

Well, how did you know
to send that card?

What card?

The Christmas card
with the fold-out angel.

Oh, that was...
that was Selma.

We were
a little plastered.

It did more for you
than your samples.

Yes, but it was
a joke.

Yeah, well, wait
'til you meet him.

You'll understand.

Frankly, I don't like drawings.

My daughter draws.

Photographs,
on the other hand,

tell the whole story,
and no mistakes.

For example, I know
it's a small point,

but it happens
to irritate me.

We sell heavy-duty
trucks

to hard-headed,
engineering-minded,

cost-conscious
businessmen.

Why you fellas find it
necessary

to put half-naked girls
in our advertisements

is...it's beyond me.

Mr. Lepridon, we could
take the girls out.

Look, I'll stay with him.
I'll call you later.

I tell you,
we built things

that people said
couldn't be done,

except
at financial loss,

so we went ahead
and built them anyway.

Well, everything seems
to be coming along just fine.

Of course, I really don't know

what the hell it is
I'm looking at.

I guess you might say
the only thing I know is trucks,

but I know
I like that bridge out there,

that Brooklyn Bridge.

If they ever condemn that,
why, I'm going to buy it.

Have it transported
to Indiana by truck.

[LAUGHS]

Now, tell me when
we can move in.

Skip here tells me
that you went out

to our plant in Indiana
at your own expense.

That's right, sir.

What did you think?

I was impressed, sir.

I was very
impressed.

And how so?

I love trucks.

You know, I should think
that an artist

would find trucks, uh...
pedestrian.

Well, that may be true
for most artists, sir,

but I was a trucker
long before I was an artist.

You know, you...

you don't look
exactly like an artist.

Artists are sort of...
effeminate, you know?

So you drove a truck.

Well, I...I grew up
with--with trucks.

I have a very strong
feeling for trucks.

What did you drive?

Well, I drove the old
Flintstone Two

from...Galveston
to...to Key West.

Well, I'll be a son of a bitch.

By the way, I--

I want to thank
you and Mrs. Wilson

for your outstanding
Christmas card

to Mrs. Lepridon
and myself.

Too few people these days
seem to remember

that Christmas is a...
religious holiday.

Thank you, sir.

I'll take this.
I'll call you later.

Galveston to Key West.

- You blinked.
- Did not.

Liar.

[GARBAGE CANS CRASHING]

Mommy, Daddy's home.

- This time you blinked.
- Did not.

Cheater.

Are you all right?

- What?
- Are you all right?

Perfect.

I just don't understand
all this drinking

every time you're
in the city.

Give me a g*n.
I'll k*ll myself.

You'll k*ll yourself
all right, with my car.

- It's my car.
- My car. Look
at the registration.

Did you ever hear of the right
of evident domain?

Ever hear
of Alcoholics Anonymous?

Hello, everybody.

[CAT YOWLING]

Mommy, Daddy stepped
on Baby Lionel's tail!

It was an accident.
It was not.

He didn't mean to.
He did too!

Don't apologize for me.

I did mean to step on
Baby Lionel's tail!

See? You hate Baby Lionel!

Poor cat.

Come on.

Well...

are you going to tell me

what happened
with Lepridon today?

It went okay.

Do you have it?

I don't know.

You still don't know.

Edwards says I got it.

Well, that's wonderful.

99%.

I think I'll throw up.

Don't work tonight.

Come on.

Take a hot bath,
and let's go to bed.

Sel, I've got to finish
looking through this stuff.

Suit yourself.

Hey, is there anything to eat?

[DOOR SLAMMING]

What's the matter?

Never mind.
You wouldn't understand.

- Well, try me.
- Forget it. It's nothing.

I don't want to forget it.
Let's get it out in the open.

Look, I know you're worried
about that truck account.

Well, so am I.
- You're worried?

Who the hell in his
right mind wants to spend

the rest of his life
drawing trucks?

I'm sick of Lepridon.

I don't even want
the damn account!

Now, will you get off my back?

[♪♪♪]

You live around here?

Not too far.

Married?

Not anymore.

Must get kind of dull.

Gives me plenty
of time to work.

[TELEPHONE RINGS]

I've got it.
I've got it.

Hello?

Hi, Shelley.
Just a second.

Hi, Shell.
Can you come over?

Oh, come on.
Ask her.

Yeah. Uh-huh.

Would you take it upstairs,
please?

Okay.

She'll just be a second,
Shelley.

You do a lot of modeling?

No.

What do you do?

I'm writing a novel.

Oh, a novel...

A novel, eh?

[DOORBELL RINGS]

Would somebody
get that, please?

SELMA:
Hannah!

Why, good morning,
and what's your name?

Hannah.

Hello, Charles, what
are you doing here?

Oh, Brooks. Listen,
I'm sorry to bother you,

especially on a Saturday,

but Edward has
some corrections for you,

and he needs
them by Monday.

Ann, take five.

Yeah, for instance,
this first one,

he wants you to remove
all the eyebrows

from the Indians.

Why?

- Indians don't have eyebrows.
-Who says so?

McDermott.

He says Indians
don't have eyebrows.

Oh, this one...
it's sunset, see,

so we want the sky
to be red,

but don't have it
conflict with the fire.

Yeah, and this one...

the bear isn't
menacing enough,

and we think it's because

he's not looking
directly at the man,

so if you could do
something with his eyes,

you know what I mean?

[BUZZER SOUNDING]

Oh, yeah,
everybody agrees,

the guy in the middle,
his wrists are too thin.

Selma!

Men have thick wrists.

Forgive me.

[BUZZING]

Selma!

Sorry.

Like a circus.

[DOORBELL RINGING]

Brooks, please?

Good morning,
Mr. Wilson.

Can't we have a nice
neighborly talk?

Wilson,
you must learn

to love...

Okay, Ann, let's go.

Brooks, there are still

just a couple
of little changes

I want to tell you
about in this one.

No.

- No what?
- I'm not going to do it.

You're not going
to do what?

The changes.

- None of them?
- Unh-unh.

Don't you want to get
paid for this stuff?

Charles, I don't
need the money.

Well, what will
I tell Edward?

Tell him to call me
when he hears from Lepridon,

yes or no.

Charles...

[♪♪♪]

Can't catch me, Hannah!

Come on, then.
You can't catch me.

No, I'm going
to get you.

No, no!

Yes, I am,
Hannah.

I'm going to get you.

Yes, I am.

Boy!

Boy!

What's the matter, Mom?

Oh. Come on.

This one's
prettier.

Get the blue,
get the blue.

All right, girls.

The blue's
prettier.

Come on, get
the black one.

All right, girls.
Outside.

Brooks, which one
do you like?

The black.

- The black?
- Mm-hmm.

Well, this is a pretty
shade of blue.

Well, try it on.

- The blue?
- The blue.

Okay.

[CHILDREN GIGGLING]

♪ My sister
is a ballerina ♪

♪ Yummy yum, P-yew.
Bang bang, you're dead ♪

♪ My mother is a baker
Yummy yum ♪

♪ My father is a garbage man
Yummy yum, P-yew. ♪

♪ My brother is a cowboy

♪ Yummy yum, P-yew.

Brooks?

Brooks!

Do you like it?

Yeah, it's nice.

I won't be wearing the boots.

My hair will be fixed.

What do you think?

I like it.
It's fine. Just fine.

Shall I buy it?

Yes, buy it.

- Hey there, Selma, Brooks!

- Hi.
- Hello, Marve.

What are you trying to do,
buy out the whole town?

Something like
that, yes, Marve.

You remember
my niece?

Oh, of course
I do, Diane.

How are you, Grace?

Fine, Selma,
how are you?

Brooks.
Hi.

I don't think you ever
met our children.

The tall one
is Lizzie,

and the smaller one
is Hannah.

Hi!

Are you still working
at the museum?

No, as a matter of fact,
my last day was yesterday.

She's decided
to go to Europe,

the lucky thing.

Oh, how exciting!

Holiday?

No, a kind of an extended stay.

I wish I'd had money
to do that sort of thing

when I was young
and unattached.

People are always using money
as an excuse not to do things.

Now, we've got to rush.

I swear this is
the last party

I'm ever going to throw.

You know, you say that
every year, Diane.

Why don't the two of you
come out early

so we'll have
a chance to talk?

You bet, Marve.
Nice seeing you.

Bye-bye.
So long.

She's a lovely girl.

Hello, Mrs. Wilson.

This is my husband,
Mr. Wilson.

How do you do?

Glad to meet you.

I'm afraid the house
is rather untidy.

Oh, we don't mind.

We'll start in here.

Mrs. Shavelson, is it all right
if we see the upstairs first?

Oh, certainly.
Come along.

Your studio.

I figured.

What do you think?

It's very nice.

This is Mr.
and Mrs. Wilson.

They're looking
at the house.

This is my husband.

- SELMA: Hello.
- BROOKS: Hi.

[INAUDIBLE DIALOGUE]

Don't you want this?

No.

Well, it belongs to you.

You can have it.

Please take it.

[DOOR CLOSES]

We used this as a family room.

It's really kind of
a catch-all room.

The light's very good.
It's a north light.

My children always
liked this room,

especially in the rain.

I find even when
it's cloudy and gloomy

that the light here
is perfectly beautiful.

Well, you'll find...

it's a friendly
sort of a house.

I think you'd enjoy
living here.

Well, I'll show you
the rest of it.

[♪♪♪]

Sorry I brought
you here, Brooks.

Aw, come on, Sel,
how were you to know?

Well, I did know.

I knew they were
getting a divorce.

The realtor said we could
get a great buy.

I just wanted you
to see the house

before anybody else.

Sel, Sel...
it's a great house.

[DOG BARKING]

[CHILDREN GIGGLING]

Come on, everybody in back.
Come on.

Oh!

♪ Miss Mary Mack, Mack, Mack

♪ All dressed in black
Black, black ♪

♪ With silver buttons,
Buttons, buttons ♪

[GIGGLING]

Oh, I forgot my algebra book.

Thanks.

LIZZIE: Come on, I've got
some new records!

Did you get Mary Ann?

Yeah, can't
you hear her?

- The realtor called.
- Who?

The man handling the house
we saw this afternoon.

You know, he said
with the equity on this house,

we could move in
without any problem.

Sel, how come all teenage girls
are sex maniacs?

[LAUGHING]

There's only one
sex maniac around here.

Oh yeah?

Then how come a little kid
like Mary Ann

is just aching for me,

a guy twice her age?

Three times
her age.

She doesn't know
you're alive.

Do you know what she
called me in the car?

Grandpa.

"Mr. Wilson."
Oh.

Twice she called
me "Mr. Wilson."

Oh, she's obsessed,
all right.

Practically begging me

to take her to the gates
of ecstasy.

Oh.

Hmm. Mr. Wilson?
Mm-hmm?

Take me to the gates
of ecstasy, will you?

Mary Ann doesn't want it.

I certainly could use it.

Very funny.

Brooks, do you think
it's a good investment?

- What?
- The house.

Sel, I don't even know

if we can afford
this month's gas bill.

Oh, I mean if you get
the Lepridon account.

What do you think?

I think it's a trap.

A big, beautiful
30-year trap.

SEL: But our house
is a smaller trap,

is that what
you're saying?

BROOKS:
Oh, come on, Sel...

And I'm a trap and the kids are
traps? Is that what you meant?

All right, all right,
let's cut it off right now.

Brooks, I don't want to be
thought of as a trap.

Can you understand that?

I mean, if you're
so damned unhappy,

why don't you just
pack up and leave?

I'm not stopping you.

Who in the hell do you
think you are anyway?

Look, I don't know
how we got into this,

but let's pick it up
after the party, okay?

Yes, let's do that.

[♪♪♪]

I'd like to see it.

Hi. Nice to see you.

Hi. I haven't seen you
in a long, long time.

It's been a while.
You're looking good.

Come on, Selma.
We've got 40 rooms to go.

Oh, my.
We'll see you later.

Goodbye.

Well, that's
just a print I mean--

Hello, Grace.

Hi.
Hi.

Hello, Will.

Hi.

Nice place.

Yeah.

Hey, who's that?

Hi, Pisces,
how are you?

Hello. How are you?
Brooksy, how are you?

Good. This is, uh, Will.

Hey, welcome,
welcome to my house.

- Very beautiful.
- Well, thanks. Thanks a lot.

Will. Will Parse.
This is Will Parse.

You know each other?

- Yes, we had a lunch.
- We met each other.

Come over here.

I want to show you
something.

Sit down there.
That's the idea.

Now, just wait 'til you
see this little thing.

Listen, you know...

you know what
this thing is?

Just watch those
books, now, huh?

Here we go.

Hey, that's terrific.

Isn't that thing marvelous?
Isn't that wonderful?

Here, now wait a minute.
Look, look. Watch.

There. Now, isn't that
a beautiful picture?

It automatically
fine-tunes itself.

Oh, look at that color.

It's an electronic color.

Oh, it's like
a real painting.

But the thing I really
wanted to show you,

watch, watch.

Hey, Brooksy.

Brooksy,
who is that, huh?

That's Margaret
O'Brien.

No, that's not
Margaret O'Brien.

It's my daughter, Jody.

She's upstairs
in the bedroom reading.

It looks like
Margaret O'Brien.

Isn't that terrific,
that thing?

It's an amazing
safety device, this thing.

Now I can watch my daughter

when she's upstairs
in the bedroom

or if she's down
in the swimming pool,

or if she's outside
in the playhouse,

or if she's downstairs
in the rumpus room.

Now, isn't that an
amazing safety device?

It's really terrific,
I think.

Wait a minute.

Brooks, why aren't you eating?
There's tons of food.

I will.

- Don't I know you?
- No.

Oh.

Oh, come on.

Hey, Grace! Unlock the door.

What?

Come on, Grace.

What?

What do you want?

Nothing.

[♪♪♪]

Hello, Edward.
Brooks Wilson.

Brooks, I've been trying
to get a hold of you.

What the hell did you do
at the Illustrators' Club?

Nothing. Nothing, Edward,

and I already heard
what I'm supposed to have done.

Well, you've
got to watch

what you do
and what you say.

I can get hurt
by things like that.

All right,
I'll watch it.

Listen, Edward...

- Edward?
- Yeah?

Edward, what about
the Lepridon account?

What about it?

What do you mean, what about it?
Do I have it or don't I?

Well, don't get so excited.
You got it.

What?

I've got the papers right
in my pocket. Didn't I tell you?

I got it?

It's a magnificent deal.
You got top money.

Say, Skip Geyser said
you saved the whole account

from switching
to photography

with that truck driver
shtick.

That was great, you know
what I mean, Brooks?

Brooks?

Okay, Edward.
Okay. Goodbye.

Have they made
a decision?

No.

Brooks?

The hell with
the account. Okay?

The hell
with the new house,

The hell
with everything.

Let's go home.

Hey, Sel...
Sel, we just got here.

Come on, come on.
Let's go downstairs.

[♪♪♪]

- Hello, Ruth.
- Hi, how are you?

Nice to see you.

I'm just going
to get a drink.

Oh, go right ahead.

Take your hands
and put them like this.

Put them together.

I'm going to suggest that
you cannot part your hands.

Excuse me. Grace, there's
a telephone call for you.

Thanks.

I left it off the hook.

All right. I'll
be right back.

Listen,
in a couple of days,

I'll know for sure.

I'll be gone
in a couple of days.

Don't go. Don't go.

I love you.

Come on, come on.

Brooks, Brooks.

I've got
to know tonight.

Grace!
Grace, wait!

[♪♪♪]

She's stoned out
of her silly mind.

Any fool can
see that.

[GLASSES BREAKING]

Give over, girl.

Danny, you brought her,
now take her home.

I'm not
leaving the party.

All right, then
take her upstairs.

That's a very good idea.

Come on, my sweetheart,
and up we go.

There's a bedroom
right at the top.

Oh, thank you. Come on.

...like Van Gogh.

Van "Guck?"

Van "Gock."

It's a guttural
"G" sound.

Much more guttural.
No, no, no...

It's as if you've
got a piece of hair

stuck in the back
of your throat.

As though you're gargling.

With a guttural G.

You know Vermeer,
the Flemish guy?

He is buying...

- He's Dutch.
- What?

Vermeer. He's Dutch.

Yeah, that's right.

Did he ever paint
anything large?

No, he mostly painted small.

He was a realistic painter,
just like hundreds of others.

Of course, his
technique was fine,

but take Huls
or Terbruggen.

They were more concerned

with vital issues
of their times.

You don't know what
you're talking about.

What's that?

You don't know what
you're talking about.

At least we're sober.

I doubt if it would
make any difference

in the contexts...
of this exchange.

I think you'd better
apologize to the lady.

What lady?

Better watch your
mouth, buster.

You'd better watch
your mouth, buster.

Let's go outside.

Come on, d*ck.

Come on,
take it easy.

Take it easy,
take it easy.

Come on, come on,
this is a party.

You're supposed to be
having a good time.

Brooksy, what the hell
is the matter?

Nothing.

We were just having
a little conversation, Marve.

We were talking about
art, art history.

It's one of my
favorite topics.

You know, you're bombed
out of your mind.

You bet.

On the edge, Marve.

Hello.

You know, you should have
let him have it, Brooks.

I should have, huh?

You should have
given him a right.

I was just waiting for him
to take the next step.

Of course you were.

My right...
right arm was...

Hey, Nell?

Mm-hmm?

Let's have lunch.

Now?

Why not?

You little devil.

Come on.

Do you realize
that nobody is eating?

We're going to be
eating that garbage

for two weeks.

Listen, we can have

a nice little brunch
tomorrow.

I'm going to have to start
passing out doggie bags.

Listen, darling,

why don't you
liven things up?

Things aren't live enough?

This is why you don't need
the strength in driving

that a man has...

[♪♪♪]

Nelly, you're crazy.

Oh, Brooks, you're
spoiling everything.

I am not. You don't
need a drink.

I do.
I'll get it myself.

Wait. All right, all right.
I'll get it, I'll get it.

I'll get it.

Just get in the car.
All right, all right.

I'll wait.

Give me my pants, will you?
Nelly!

Hey! Hey, Nelly?

Nelly, I can't go up there
without my pants.

Brooks, you're
so middle class.

Oh yeah?

Yeah.

[WHISTLING]

Yay, Brooks!

Shh...

[♪♪♪]

Whew!

Nelly!

- Over here.
- Where are my pants?

I've got 'em.

Oh!

Got your drink.

Well, you passed
the knighthood test, Brooksy.

Hey, can I have
my pants, please?

What for?

It's cold.

It's warm in here.

You're right,
it's warm in here.

Besides,

I locked your pants
in the trunk of my car.

And you've
hidden the key.

You guessed it,
Charlie.

Mm-mm.

With new improved Snowdrift,

you can bake higher,
lighter cakes.

New, improved--

Each year,
as a new class of tomato

steps out to face the world,

Hunt's catsup
asks the question,

"How many are ready
for the big tomato taste?"

We choose carefully.

All right, calm down,
calm down.

[♪♪♪]

"Pop Goes the Weasel."

An oldie, but a goodie.

Um, "Mary Had
A Little Lamb."

Ho, ho, ho!

No?

"Three Blind Mice."

Oh, that's one of
my all-time favorites.

Mm-hmm.

And that's
"Humpty Dumpty."

There's "Little
Jack Horner."

Do you know that one?

Mm, do I.

♪ Four and 20 blackbirds

♪ Baked in a pie

♪ When the pie was over

♪ The birds began to sing

♪ Wasn't that a tasty dish
To set before the king? ♪

♪ The king was in
The counting house ♪

♪ Counting out
His money ♪

♪ The queen was
In the parlor ♪

♪ Eating bread
And honey ♪

♪ The maid was
In the garden ♪

♪ Hanging out
The clothes ♪

♪ Along came a blackbird
And bit her on the nose ♪

[BIRD SQUAWKING]

♪ Did you ever see a lassie

♪ A lassie, a lassie

♪ Did you ever see
a lassie ♪

♪ Go this way and that?

♪ Go this way and that way
Go this way and that way ♪

♪ Did you ever see a lassie
Go this way and that? ♪

♪ Did you ever
See a laddie ♪

♪ A laddie
A laddie ♪

♪ Did you ever
See a laddie ♪

♪ Go this way
And that? ♪

♪ Go this way and...

Hey, Grace?

Why don't you come back
and polka with us?

♪ Oh, the grand old
Duke of York ♪

♪ He had 10,000 men

♪ He marched them up
to the top of the hill ♪

♪ And he marched
them down again ♪

Roger, what are you looking at?

I don't know.

♪ And when they were
Only halfway up ♪

♪ They were neither
Up nor down ♪

[LAUGHING]

What on earth
are they doing?

What do you think
they're doing, my dear?

p*ssy Cat's licking
her whiskers.

What did you eat, p*ssy Cat?

You ate the dumpling?

Good for you.

Meow!

♪ The p*ssy cat
Ate the dumpling ♪

♪ The p*ssy cat
Ate the dumpling ♪

♪ Oh me, oh my
Please tell me why ♪

♪ The p*ssy cat
Ate the dumpling ♪

♪ The p*ssy cat
Ate the dumpling ♪

♪ The p*ssy cat
Ate the dumpling ♪

♪ Oh me, oh my
Please tell me why ♪

♪ The p*ssy cat
Ate the dumpling ♪♪

Listen to the bell.

Ding dong bell,
p*ssy's in the well,

but don't worry,
she'll get out all right.

♪ Ding dong bell
p*ssy's in the well ♪

♪ Who put her in?

♪ Little Johnny Green

♪ Who pulled her out?

♪ Big John Stout

Oh, you're dirty!

♪ What a naughty boy was that

♪ To tease
A little p*ssy cat ♪♪

Oh, this is fun!
Go on, you try now.

♪ All around the mulberry bush

♪ The monkey chased the weasel

♪ The monkey thought
'Twas all in fun ♪

♪ "Pop" goes the weasel

♪ A penny
for a spool of thread ♪

Hey, that's Brooks Wilson.

It is Brooks.

That's Brooksy!

[LAUGHTER]

Oh, Roger...

♪ Pop

[LAUGHING]

Will!

Get away!

[COUGHING]

Will, stop!
Will, stop!

Will, stop it!

What are you doing?

Get on your feet...

you dirty bastard!

Get up.

Get up!

Get up and fight!

Get up, you bastard!

Get up!

On your feet!

Get out of here! Will!

Stay out of my way.

Stop!

You go away!

Get out of here!

Will!

Get up and fight!

Will!

Come on!

Will, come on.

Take it easy, will you?

Brooks, are
you all right?

Fine, I'm fine.

Will, come on.
Let's go in.

I don't want to go.

Will...

I don't want to go.

Oh, come on, folks.

That was beautiful.

You give a party, baby.

What's next?

Come on, everybody,
it's cold out here.

I'm fine, Marve.
I'm fine.

Everybody inside.
Now, come on.

Go on in. Go on in.

I know you're all hungry.
Come on.

Now you're all going to get
pneumonia and sue us.

Come on, come on.
Everybody in, come on.

There's lots of goodies to eat.

Keep the party going on,
please.

Brad, go ahead,
go ahead.

Everybody...
Come on. That's it.

[DOOR CLOSING]

[ENGINE STARTING]

Sel!

Sel?

Sel!

Sel, it's a party.

By Monday it'll be
all blown over.

Sel? Sel, I got
the Lepridon account.

Sel, for Christ's sake!

[CRYING]