1
00:00:11,300 --> 00:00:12,833
PREVIOUSLY
ON THE L WORD...

2
00:00:12,867 --> 00:00:14,533
IS THAT COMMON? YOU GUYS
JUST SHARE CHICKS AND SHIT?

3
00:00:14,567 --> 00:00:16,533
WE DON'T SHARE.
I DON'T DATE CARMEN ANYMORE.

4
00:00:16,567 --> 00:00:17,667
HEY, JENNY.

5
00:00:17,700 --> 00:00:19,567
HEY...HUNTER.

6
00:00:19,600 --> 00:00:22,567
YOU READY?
YES.

7
00:00:22,600 --> 00:00:23,900
THAT'S WHAT I CALL

8
00:00:23,933 --> 00:00:24,967
GOOD FILMMAKING.

9
00:00:25,000 --> 00:00:26,167
I'VE NEVER SEEN A GIRL

10
00:00:26,200 --> 00:00:28,067
HAVE THAT KIND OF EFFECT
ON OTHER GIRLS.

11
00:00:28,100 --> 00:00:30,467
SOUNDS LIKE
SHE'S WORKING ON YOU, TOO.

12
00:00:30,500 --> 00:00:34,767
I REALLY, REALLY
WANT TO BE WITH YOU.

13
00:00:34,800 --> 00:00:38,767
I THINK WE'LL BOTH BE GLAD
THAT WE REALIZED IT IN TIME

14
00:00:38,800 --> 00:00:41,733
BEFORE MAKING A HUGE MISTAKE
LIKE GETTING MARRIED.

15
00:00:41,767 --> 00:00:43,333
I DIDN'T KNOW
YOU HAD CHILDREN.

16
00:00:43,367 --> 00:00:45,467
THIS IS WILSON
AND THIS IS JUN YING.

17
00:00:45,500 --> 00:00:46,933
I WANT TO HAVE A PLACE
IN THIS BABY'S LIFE.

18
00:00:46,967 --> 00:00:48,467
THIS IS OUR BABY, TINA.

19
00:00:48,500 --> 00:00:49,967
WE SEARCHED
FOR A DONOR TOGETHER.

20
00:00:50,000 --> 00:00:51,233
IN FACT,
I FOUND THE DONOR.

21
00:00:51,267 --> 00:00:52,600
LOOK, I JUST NEED
TO THINK ABOUT IT.

22
00:00:52,633 --> 00:00:54,167
GIVE TINA
THE FLOWERS

23
00:00:54,200 --> 00:00:57,733
AND SAY,
"YOU HOLD ALL THE CARDS."

24
00:00:57,767 --> 00:01:03,233
NO MATTER WHAT SHE SAYS,
SAY, "YOU HOLD ALL THE CARDS."

25
00:01:03,267 --> 00:01:05,233
[RINGING]

26
00:01:05,267 --> 00:01:07,867
[***]

27
00:01:11,067 --> 00:01:12,833
[***]

28
00:01:20,367 --> 00:01:23,733
[***]

29
00:01:23,767 --> 00:01:27,500
JUST TELL ME,
WHAT APPEALS TO YOU?

30
00:01:27,533 --> 00:01:29,067
I DON'T KNOW, HENRI.

31
00:01:29,067 --> 00:01:32,333
IT'S NEVER BEEN ONE OF
MY ABIDING FANTASIES.

32
00:01:32,367 --> 00:01:34,967
WHY DON'T YOU MAKE
THE DECISION?

33
00:01:35,067 --> 00:01:36,233
WELL, DO YOU
LIKE SLEEK?

34
00:01:37,967 --> 00:01:40,300
HMM, BROWN AND WIRY?

35
00:01:40,333 --> 00:01:42,200
TALL?

36
00:01:42,233 --> 00:01:44,233
TALL'S GOOD.

37
00:01:46,267 --> 00:01:47,533
SHORT?

38
00:01:50,433 --> 00:01:52,900
ZAFTIG?

39
00:01:55,233 --> 00:01:56,067
WHAT ABOUT HER?

40
00:01:56,067 --> 00:01:57,300
SHE LOOKS LIKE

41
00:01:57,333 --> 00:02:01,767
SHE COULD BE
WILD AND CRAZY.

42
00:02:01,800 --> 00:02:03,567
SHE'S NOT A SHE,
MADELAINE.

43
00:02:06,200 --> 00:02:08,467
[LAUGHING]

44
00:02:13,067 --> 00:02:16,600
OKAY, NOW, THIS IS JUST
WHAT WE'RE LOOKING FOR.

45
00:02:16,633 --> 00:02:19,500
WHICH IS
EXACTLY WHAT?

46
00:02:19,533 --> 00:02:20,633
SHE LOOKS SWEET.

47
00:02:20,667 --> 00:02:21,700
A LITTLE GAMINE,

48
00:02:21,733 --> 00:02:24,067
BUT YOU CAN SEE
SHE'S NASTY.

49
00:02:24,067 --> 00:02:26,233
THIS GIRL HAS TRICKS
UP HER SLEEVE.

50
00:03:09,800 --> 00:03:16,100
* GIRLS IN TIGHT DRESSES
WHO DRAG WITH MUSTACHES *

51
00:03:16,133 --> 00:03:22,633
* CHICKS DRIVING FAST
INGENUES WITH LONG LASHES *

52
00:03:22,667 --> 00:03:28,800
* WOMEN WHO LONG, LOVE, LUST
WOMEN WHO GIVE *

53
00:03:28,833 --> 00:03:36,133
* THIS IS THE WAY
IT'S THE WAY THAT WE LIVE *

54
00:03:42,967 --> 00:03:44,567
* TALKING, LAUGHING
LOVING, BREATHING *

55
00:03:44,600 --> 00:03:46,567
* FIGHTING, FUCKING
CRYING, DRINKING *

56
00:03:46,600 --> 00:03:47,733
* WRITING, WINNING
LOSING, CHEATING *

57
00:03:47,767 --> 00:03:49,267
* KISSING, THINKING, DREAMING

58
00:03:49,300 --> 00:03:51,267
* THIS IS THE WAY...

59
00:03:51,300 --> 00:03:54,100
* THIS IS THE WAY
THAT WE LIVE *

60
00:03:54,133 --> 00:03:59,633
* IT'S THE WAY THAT WE LIVE

61
00:03:59,667 --> 00:04:03,400
* AND LOVE *

62
00:04:07,967 --> 00:04:09,967
WE HAVE TO DO IT.

63
00:04:10,067 --> 00:04:11,800
BUT WE DID IT
ALL NIGHT LONG.

64
00:04:11,833 --> 00:04:13,600
WE JUST WENT TO SLEEP
THREE HOURS AGO, ALICE.

65
00:04:13,633 --> 00:04:16,433
I'M BEGINNING TO THINK
YOU'RE A SEX MANIAC.

66
00:04:16,467 --> 00:04:18,100
NOT THAT.

67
00:04:18,133 --> 00:04:20,133
SOUNDS GREAT, THOUGH.

68
00:04:20,167 --> 00:04:21,900
[SIGHS]

69
00:04:21,933 --> 00:04:23,300
WE HAVE TO TELL
OUR FRIENDS.

70
00:04:23,333 --> 00:04:24,300
OH, GOD.

71
00:04:24,333 --> 00:04:25,367
I KNOW.

72
00:04:25,400 --> 00:04:27,933
THEY'RE GOING TO FREAK.

73
00:04:27,967 --> 00:04:29,567
IT'S A LESBIAN CURSE,
YOU KNOW.

74
00:04:29,600 --> 00:04:30,967
WHENEVER TWO PEOPLE
IN A GROUP OF FRIENDS

75
00:04:31,067 --> 00:04:32,733
BECOME GIRLFRIENDS,

76
00:04:32,767 --> 00:04:35,967
IT THROWS OFF
THE WHOLE BALANCE.

77
00:04:36,067 --> 00:04:37,600
BUT THEY SHOULD BE
HAPPY FOR US.

78
00:04:37,633 --> 00:04:40,133
I KNOW.

79
00:04:40,167 --> 00:04:41,500
IT'S JUST...

80
00:04:41,533 --> 00:04:44,467
I DON'T KNOW,
IT MESSES THINGS UP.

81
00:04:44,500 --> 00:04:46,167
IT'S LIKE, ONE MINUTE

82
00:04:46,200 --> 00:04:47,300
WE'RE EACH THEIR FRIENDS
INDIVIDUALLY,

83
00:04:47,333 --> 00:04:48,600
AND THE NEXT MINUTE
IT'S LIKE, "OKAY, WELL,

84
00:04:48,633 --> 00:04:50,167
"IF I WANT TO HANG OUT
WITH ALICE,

85
00:04:50,200 --> 00:04:53,800
DOES THAT MEAN I HAVE
TO INVITE DANA, TOO?"

86
00:04:53,833 --> 00:04:56,367
THANKS, AL.

87
00:04:56,400 --> 00:04:57,633
I DIDN'T MEAN IT
LIKE THAT.

88
00:04:57,667 --> 00:04:59,200
MM-HMM.

89
00:05:00,367 --> 00:05:02,433
OKAY.

90
00:05:02,467 --> 00:05:04,067
THANKS.

91
00:05:04,100 --> 00:05:05,067
FUCK.

92
00:05:05,100 --> 00:05:07,267
GOOD MORNING.

93
00:05:07,300 --> 00:05:08,300
GOOD MORNING.

94
00:05:08,333 --> 00:05:09,300
HOW ARE YOU?

95
00:05:09,333 --> 00:05:12,233
ARE YOU OKAY?

96
00:05:12,267 --> 00:05:13,767
AGHH?
AGHH.

97
00:05:13,800 --> 00:05:16,667
SIT DOWN.

98
00:05:16,700 --> 00:05:18,300
SUN.

99
00:05:18,333 --> 00:05:21,067
YEAH, IT IS NICE.

100
00:05:21,100 --> 00:05:25,767
WHAT DO YOU SUPPOSE IT IS
ABOUT SHANE THAT...

101
00:05:28,167 --> 00:05:29,167
[LAUGHS]

102
00:05:29,200 --> 00:05:30,633
PERIOD, QUESTION MARK...

103
00:05:30,667 --> 00:05:31,667
YOU KNOW?

104
00:05:31,700 --> 00:05:33,900
UM, I THINK IT'S...

105
00:05:33,933 --> 00:05:35,800
I DON'T KNOW,
ABOUT THE UNATTAINABLE.

106
00:05:35,833 --> 00:05:37,233
RIGHT?

107
00:05:37,267 --> 00:05:40,800
BECAUSE I THINK THAT MOST PEOPLE
WANT WHAT THEY CAN'T HAVE.

108
00:05:40,833 --> 00:05:42,633
I MEAN, DO YOU THINK
THAT IT'S--

109
00:05:42,667 --> 00:05:44,067
SHE'S FANTASTIC IN BED?

110
00:05:44,067 --> 00:05:46,800
NO-- I HAVE NO IDEA.

111
00:05:46,833 --> 00:05:48,767
THAT'S SUCH AN
OVER-SIMPLIFICATION OF THINGS.

112
00:05:48,800 --> 00:05:50,300
NO. I HAVE NO IDEA.

113
00:05:50,333 --> 00:05:52,067
WELL, AREN'T YOU AT ALL
CURIOUS?

114
00:05:52,100 --> 00:05:53,300
NO.

115
00:05:53,333 --> 00:05:55,333
SHANE IS MY GOOD FRIEND.

116
00:05:55,367 --> 00:05:56,333
SO...

117
00:05:56,367 --> 00:05:57,333
WHAT?

118
00:05:57,367 --> 00:05:58,333
WHAT ABOUT CARMEN?

119
00:05:58,367 --> 00:05:59,667
OH, CARMEN.

120
00:06:02,900 --> 00:06:04,700
HAS SHE EVER MENTIONED ANYTHING

121
00:06:04,733 --> 00:06:05,900
ABOUT WHAT SHANE
WAS LIKE TO--

122
00:06:05,933 --> 00:06:07,067
OH, MY GOD.

123
00:06:07,067 --> 00:06:08,067
STOP.

124
00:06:08,067 --> 00:06:09,400
MARK, YOU'RE WEIRD.

125
00:06:09,433 --> 00:06:10,800
YOU'RE WEIRD.
YOU'RE WEIRDER THAN ME.

126
00:06:10,833 --> 00:06:11,767
YOU'RE-- OKAY.

127
00:06:11,800 --> 00:06:12,733
STOP IT.

128
00:06:46,900 --> 00:06:49,733
MM, THIS IS A NICE
WAY TO WAKE UP.

129
00:06:51,400 --> 00:06:52,567
MUMMY!

130
00:06:52,600 --> 00:06:54,333
MUMMY, WAKE UP.

131
00:06:54,367 --> 00:06:55,867
MORNING, BABIES.

132
00:07:02,200 --> 00:07:04,067
HEY, IT'S ALL RIGHT.

133
00:07:04,100 --> 00:07:06,467
NO, NO, NO,
IT'S NOT.

134
00:07:06,500 --> 00:07:07,700
I PROMISE YOU,

135
00:07:07,733 --> 00:07:10,533
THEY HAVE A VERY HEALTHY
ATTITUDE TOWARDS--

136
00:07:10,567 --> 00:07:11,767
IT'S NOT ALL RIGHT.

137
00:07:11,800 --> 00:07:13,900
THEY SHOULDN'T BE
SEEING THIS.

138
00:07:16,800 --> 00:07:20,100
BABIES, WHY DON'T YOU GO
AND WAKE UP NU NU

139
00:07:20,133 --> 00:07:21,633
AND GET HER TO TAKE YOU DOWN
TO THE RESTAURANT

140
00:07:21,667 --> 00:07:24,367
FOR CROISSANTS
AND CHOCOLAT CHAU HMM?

141
00:07:27,167 --> 00:07:29,467
I WANT TO EXAMINE
TINA'S TUMMY AGAIN.

142
00:07:29,500 --> 00:07:30,867
NOT RIGHT NOW,
WILSON. MAYBE LATER.

143
00:07:30,900 --> 00:07:33,200
DARLING, DO AS MUMMY SAYS.
GO ON.

144
00:07:33,233 --> 00:07:35,167
I WANT TO LISTEN
IF THE BABY'S HEART'S BEATING.

145
00:07:35,200 --> 00:07:36,500
GO AND WAKE UP
NU NU RIGHT NOW.

146
00:07:36,533 --> 00:07:40,067
LATER ON YOU CAN LISTEN
TO TINA'S BABY'S HEARTBEAT,

147
00:07:40,100 --> 00:07:41,933
AND IF YOU'RE A GOOD BOY,

148
00:07:41,967 --> 00:07:43,367
I HAVE A SUPER
SPECIAL TREAT

149
00:07:43,400 --> 00:07:44,567
IN STORE FOR YOU.

150
00:07:50,433 --> 00:07:52,500
CAN YOU CLOSE THE DOOR
ON THE WAY OUT?

151
00:07:53,067 --> 00:07:54,767
[DOOR CLOSES]

152
00:07:58,167 --> 00:08:02,700
THAT FREAKED ME OUT.

153
00:08:02,733 --> 00:08:05,767
CHILDREN ARE
SEXUAL CREATURES.

154
00:08:05,800 --> 00:08:06,867
THIS IS TOTALLY
NATURAL FOR THEM.

155
00:08:06,900 --> 00:08:08,067
IT'S NOT
NATURAL FOR THEM

156
00:08:08,067 --> 00:08:10,333
TO SEE THEIR MOTHER
FUCKING SOMEONE

157
00:08:10,367 --> 00:08:13,233
THEY BARELY KNOW.

158
00:08:14,133 --> 00:08:15,933
YOU'RE NOT
A PARENT YET.

159
00:08:15,967 --> 00:08:18,267
I'VE BEEN DOING THIS
FOR A WHILE...

160
00:08:21,467 --> 00:08:26,367
AND IF YOU'RE GOOD,

161
00:08:26,400 --> 00:08:27,500
I'LL LET YOU KNOW

162
00:08:27,533 --> 00:08:32,067
WHAT I HAVE IN STORE
FOR US THIS WEEKEND.

163
00:08:32,067 --> 00:08:34,933
I HAVE TO WORK
THIS WEEKEND.

164
00:08:34,967 --> 00:08:37,567
I'M DOING A YOUTH ARTS
OUTREACH PROGRAM

165
00:08:37,600 --> 00:08:41,133
FOR K THROUGH 6
AT VENICE BEACH. I...

166
00:08:41,167 --> 00:08:43,233
PAT AND HILMA
CAN HANDLE IT.

167
00:08:43,267 --> 00:08:44,967
WE'RE GOING TO SAN DIEGO,
YOU AND ME.

168
00:08:45,067 --> 00:08:48,500
WE'RE TAKING MY CHILDREN
TO SEA WORLD.

169
00:08:48,533 --> 00:08:49,767
I CAN'T, HELENA.

170
00:08:49,800 --> 00:08:51,700
YES, YOU CAN.

171
00:08:51,733 --> 00:08:53,067
I SPOKE TO THEM.

172
00:08:53,067 --> 00:08:54,133
THEY'RE COMPLETELY
CAPABLE

173
00:08:54,167 --> 00:08:56,400
OF RUNNING THAT
WORKSHOP ON THEIR OWN.

174
00:08:56,433 --> 00:08:58,067
YOU SPOKE TO
PAT AND HILMA?

175
00:08:58,067 --> 00:09:00,400
MM-HMM.

176
00:09:00,433 --> 00:09:02,167
HMM?

177
00:09:02,200 --> 00:09:03,167
MM?

178
00:09:03,200 --> 00:09:04,200
[GIGGLING]

179
00:09:08,067 --> 00:09:09,067
MIND IF I COME IN
FOR A MINUTE?

180
00:09:09,067 --> 00:09:11,067
I JUST WANTED
TO SAY WELCOME.

181
00:09:11,067 --> 00:09:13,433
I'M BETTE PORTER.

182
00:09:13,467 --> 00:09:15,367
WE'VE MET.

183
00:09:15,400 --> 00:09:19,900
BARBARA GLADSTONE'S DINNER
FOR MATTHEW BARNEY.

184
00:09:19,933 --> 00:09:21,233
OKAY, NEVER MIND.

185
00:09:21,267 --> 00:09:22,333
LEO HERRERA.

186
00:09:22,367 --> 00:09:24,067
NICE TO MEET YOU.

187
00:09:24,067 --> 00:09:25,300
WELL, YOU
SEEM TO BE

188
00:09:25,333 --> 00:09:28,333
MAKING YOURSELF
AT HOME.

189
00:09:28,367 --> 00:09:30,200
COME, SIT DOWN
FOR A MINUTE, CAN YOU?

190
00:09:30,233 --> 00:09:31,200
WELL, ACTUALLY
I HAVE--

191
00:09:31,233 --> 00:09:33,067
OH, JUST FOR A MINUTE.

192
00:09:33,067 --> 00:09:35,667
THERE'S SOMETHING I WANT
TO GET OUT OF THE WAY.

193
00:09:44,333 --> 00:09:45,400
I JUST WANT
TO REASSURE YOU

194
00:09:45,433 --> 00:09:46,500
THAT I AM TOTALLY
RESPECTFUL

195
00:09:46,533 --> 00:09:49,167
OF YOUR POSITION
AT CAC.

196
00:09:49,200 --> 00:09:50,267
ACTUALLY, I'M IN AWE

197
00:09:50,300 --> 00:09:51,433
OF THE WORK
YOU'VE DONE HERE.

198
00:09:51,467 --> 00:09:52,433
THAT'S NICE,
THANK YOU.

199
00:09:52,467 --> 00:09:54,967
I KNOW THIS COULD BE AWKWARD,

200
00:09:55,067 --> 00:09:56,900
BUT DON'T THINK IT HAS TO BE.

201
00:09:56,933 --> 00:09:59,067
WELL, THERE'S NO REASON
IT SHOULD BE.

202
00:09:59,100 --> 00:10:00,500
I HAVE TWO YEARS LEFT
ON MY CONTRACT.

203
00:10:00,533 --> 00:10:02,033
THEY WOULD BE SILLY
TO LET ME GO.

204
00:10:02,067 --> 00:10:03,067
I'M HERE TO RAISE
MONEY, BETTE,

205
00:10:03,100 --> 00:10:04,100
NOT TO TAKE
YOUR JOB.

206
00:10:04,133 --> 00:10:05,567
WE SHOULD WORK TOGETHER.

207
00:10:05,600 --> 00:10:06,600
I CAN HELP SECURE
THE AARON NOBLE SHOW

208
00:10:06,633 --> 00:10:07,733
AND THE JULIA SCHER.

209
00:10:07,767 --> 00:10:08,633
I MEAN, THOSE ARE
CHALLENGING PROJECTS

210
00:10:08,667 --> 00:10:10,167
TO FUND.

211
00:10:10,200 --> 00:10:12,100
YOU KNOW, I'VE BEEN MANAGING
VERY WELL ON MY OWN, LEO,

212
00:10:12,133 --> 00:10:14,700
APART FROM
HELENA PEABODY,

213
00:10:14,733 --> 00:10:16,067
WHICH I REALLY
DON'T THINK

214
00:10:16,100 --> 00:10:17,967
WAS THROUGH ANY FAILURE
ON MY PART, SO...

215
00:10:18,000 --> 00:10:19,067
HELENA CAN BE
AN IMPORTANT FRIEND

216
00:10:19,100 --> 00:10:20,233
TO THIS MUSEUM.

217
00:10:20,267 --> 00:10:22,500
WE NEED TO CULTIVATE
THAT RELATIONSHIP.

218
00:10:22,533 --> 00:10:25,367
WELL, IT SEEMS LIKE YOU'VE BEEN
CULTIVATING IT ALREADY.

219
00:10:33,000 --> 00:10:34,900
I MET YOUR EX THE OTHER NIGHT
WITH HELENA.

220
00:10:34,933 --> 00:10:37,767
GOD, THEY'RE SO EXCITED
ABOUT THE BABY.

221
00:11:00,300 --> 00:11:01,900
[SIGHS]

222
00:11:10,667 --> 00:11:13,600
[SIGHS]

223
00:11:13,633 --> 00:11:15,333
[CLEARS THROAT]

224
00:11:15,367 --> 00:11:16,800
HI. IT'S BETTE.

225
00:11:16,833 --> 00:11:18,300
AND I WOULD REALLY LOVE IT

226
00:11:18,333 --> 00:11:22,133
IF YOU COULD RETURN
SOME OF MY PHONE CALLS.

227
00:11:22,167 --> 00:11:23,800
[SIGHS]

228
00:11:23,833 --> 00:11:26,300
LISTEN, I KNOW THAT, UH...

229
00:11:26,333 --> 00:11:27,867
YOU DON'T REALLY WANT
TO DEAL WITH THIS RIGHT NOW,

230
00:11:27,900 --> 00:11:30,333
BUT I...

231
00:11:30,367 --> 00:11:32,800
I NEED TO HAVE
SOME KIND OF RESOLUTION

232
00:11:32,833 --> 00:11:36,200
BEFORE THE BABY IS BORN, OKAY?

233
00:11:36,233 --> 00:11:39,367
SO, UM...

234
00:11:39,400 --> 00:11:41,967
PLEASE CALL ME.

235
00:11:42,067 --> 00:11:42,933
BYE.

236
00:11:46,667 --> 00:11:47,733
OH, HEY--

237
00:11:47,767 --> 00:11:49,100
PLEASE
SHUT THE DOOR.

238
00:11:51,733 --> 00:11:54,467
UM...

239
00:11:54,500 --> 00:11:56,500
IT'S MOSTLY TRAVEL MEMOS
AND SHIPPING RECEIPTS.

240
00:11:56,533 --> 00:11:57,633
THERE WAS A BREAKDOWN
OF THE COSTS

241
00:11:57,667 --> 00:11:58,667
FOR THE AARON NOBLE,

242
00:11:58,700 --> 00:12:00,833
BUT MR. HERRERA'S
REVIEWING THAT.

243
00:12:00,867 --> 00:12:02,067
WELL,
THAT'S NOT GOING TO WORK.

244
00:12:02,100 --> 00:12:03,400
I WANT EVERYTHING
TO COME TO ME FIRST.

245
00:12:03,433 --> 00:12:05,833
SURE, OKAY, UM...
AND ALICE CALLED.

246
00:12:05,867 --> 00:12:06,867
SHE WAS WONDERING

247
00:12:06,900 --> 00:12:08,533
IF YOU CAN MEET HER
AT THE PLANET TONIGHT.

248
00:12:08,567 --> 00:12:09,533
I'M ALREADY GOING. WHY?

249
00:12:09,567 --> 00:12:10,733
WELL, SHE DIDN'T SAY,

250
00:12:10,767 --> 00:12:12,533
JUST IT WAS SOME KIND
OF EMERGENCY MEETING.

251
00:12:12,567 --> 00:12:15,100
[SIGHS]

252
00:12:15,133 --> 00:12:18,267
OH, AND THE, UH, THE CATALOG
FROM THE SCULPTURE

253
00:12:18,300 --> 00:12:20,100
FROM MICHAEL KOHN
GALLERY,

254
00:12:20,133 --> 00:12:22,700
LEIGH OSTIN?

255
00:12:30,767 --> 00:12:34,133
WOULD YOU CALL MICHAEL KOHN
AND GET ME A STUDIO VISIT TODAY?

256
00:12:34,167 --> 00:12:35,367
YEAH, ABSOLUTELY.

257
00:12:35,400 --> 00:12:36,767
THANKS.

258
00:12:39,667 --> 00:12:40,600
HMM.

259
00:12:43,900 --> 00:12:46,333
FUCKING
FUCK, FUCK, FUCK.

260
00:12:46,367 --> 00:12:49,800
HE GAVE ME HIS FUCKING
USELESS WORD.

261
00:12:49,833 --> 00:12:50,833
THE AIR HOSTESS
IS PRODUCING IT?

262
00:12:51,800 --> 00:12:52,767
[CLATTERING]

263
00:12:52,800 --> 00:12:54,933
JESUS.

264
00:12:54,967 --> 00:12:56,600
MARTY JUST DROPPED
OUT OF THE PROJECT.

265
00:12:56,633 --> 00:12:57,900
LET ME GIVE YOU
SOME ADVICE.

266
00:12:57,933 --> 00:13:00,667
NO, YOU LISTEN TO ME, RICHARD.

267
00:13:00,700 --> 00:13:02,700
IF YOU WANT TO KEEP MARTY
AS A CLIENT,

268
00:13:02,733 --> 00:13:03,767
YOU WILL PULL HIM
OFF THIS DEAL NOW,

269
00:13:03,800 --> 00:13:05,200
BECAUSE A YEAR
FROM NOW,

270
00:13:05,233 --> 00:13:07,067
HE IS GOING TO FIRE
YOUR SORRY ASS

271
00:13:07,100 --> 00:13:08,667
FOR BLOWING OFF
VERONICA BLOOM

272
00:13:08,700 --> 00:13:09,833
IN FAVOR
OF THE AIR HOSTESS

273
00:13:09,867 --> 00:13:11,867
WHO'S SUCKING HIS COCK!

274
00:13:11,900 --> 00:13:13,433
THAT'S HIS WIFE.

275
00:13:13,467 --> 00:13:15,067
THE PROJECT'S GOING TO
FALL APART WITHOUT MARTY.

276
00:13:15,100 --> 00:13:16,467
SHE'S TAKING IT
ESPECIALLY HARD

277
00:13:16,500 --> 00:13:17,600
BECAUSE THEY USED
TO BE MARRIED.

278
00:13:17,633 --> 00:13:18,633
YOU KNOW?

279
00:13:18,667 --> 00:13:19,700
VERONICA CALLS
HIS NEW WIFE

280
00:13:19,733 --> 00:13:20,800
THE AIR HOSTESS.

281
00:13:20,833 --> 00:13:22,333
NO, RICHARD,
YOU AND YOUR CLIENT

282
00:13:22,367 --> 00:13:24,433
BETTER GET A FUCKING GRIP!

283
00:13:27,567 --> 00:13:28,833
UH...

284
00:13:28,867 --> 00:13:30,067
MAYBE WE SHOULD
GO TO NIGHT?

285
00:13:30,067 --> 00:13:32,333
HE'S APPARENTLY LOOKING
TO DO A PERIOD DRAMA, AND--

286
00:13:32,367 --> 00:13:35,300
YOU WANT ME TO GO FROM MARTY

287
00:13:35,333 --> 00:13:36,967
TO M. NIGHT FUCKING SHYAMALAN?

288
00:13:37,067 --> 00:13:39,067
WHERE WERE YOU
EDUCATED?

289
00:13:39,067 --> 00:13:40,533
DO YOU EVEN
KNOW THE DIFFERENCE

290
00:13:40,567 --> 00:13:42,933
BETWEEN WAR AND PEACE

291
00:13:42,967 --> 00:13:44,333
AND A MARVEL FUCKING
COMIC BOOK?

292
00:13:46,567 --> 00:13:47,433
GET OUT!

293
00:13:47,467 --> 00:13:49,433
UNLESS YOU HAVE
SOMETHING TO SAY,

294
00:13:49,467 --> 00:13:50,433
GET OUT!

295
00:13:50,467 --> 00:13:51,433
YOU'RE ALL
FUCKING USELESS!

296
00:13:51,467 --> 00:13:52,600
JUST LEAVE ME ALONE!

297
00:13:54,367 --> 00:13:55,300
NOT YOU.

298
00:13:57,100 --> 00:13:59,800
YOU STAY.

299
00:14:03,067 --> 00:14:04,100
CAN I GET YOU SOMETHING?

300
00:14:08,400 --> 00:14:10,100
WHY DO PEOPLE
ALWAYS LET YOU DOWN?

301
00:14:10,133 --> 00:14:12,667
NO MATTER HOW MUCH
YOU'VE DONE FOR THEM?

302
00:14:12,700 --> 00:14:15,067
DON'T YOU FIND THAT
TO BE TRUE?

303
00:14:15,067 --> 00:14:18,667
THAT'S WHY I TRY NOT TO NEED
ANYTHING FROM ANYONE.

304
00:14:23,633 --> 00:14:26,667
I WANT YOU TO TEACH ME
HOW TO DO THAT.

305
00:14:26,700 --> 00:14:28,133
COME ON.

306
00:14:28,167 --> 00:14:29,100
SIT DOWN.

307
00:14:38,500 --> 00:14:39,500
LET'S GO OUT.

308
00:14:39,533 --> 00:14:42,067
LET'S GO MAKE OURSELVES
FEEL BETTER.

309
00:14:56,400 --> 00:14:58,133
LUMINOUS...

310
00:15:18,067 --> 00:15:20,067
[GRUNTING]

311
00:15:22,833 --> 00:15:23,800
UH-HUH?

312
00:15:23,833 --> 00:15:25,333
OH...

313
00:15:25,367 --> 00:15:28,967
HELLO. I'M LOOKING
FOR THE FABULOUS VENUS DE MYLAR.

314
00:15:29,067 --> 00:15:31,333
YEAH, SO?

315
00:15:31,367 --> 00:15:34,167
I WAS TOLD SHE LIVED HERE.

316
00:15:34,200 --> 00:15:35,500
I'M HER, GIRLIE.

317
00:15:41,433 --> 00:15:43,367
[BANGING, GRUNTING]

318
00:15:43,400 --> 00:15:45,833
[THUDS AND GROANING]

319
00:15:54,667 --> 00:15:55,733
THAT BETTER?

320
00:15:57,467 --> 00:16:00,733
SO, WHAT'S YOUR NAME,
LITTLE GIRL?

321
00:16:00,767 --> 00:16:01,767
DEE DEE.

322
00:16:01,800 --> 00:16:02,833
DEE DEE STEINBERG.

323
00:16:02,867 --> 00:16:04,233
VICTOR BERNSTEIN.

324
00:16:05,767 --> 00:16:07,333
IT WOULDN'T FLY IN PEORIA.

325
00:16:09,600 --> 00:16:10,900
COME ON, HAVE A SEAT.

326
00:16:14,067 --> 00:16:15,500
SO...

327
00:16:15,533 --> 00:16:17,467
I TAKE IT YOU WANT
TO JOIN THE CIRCUS.

328
00:16:17,500 --> 00:16:18,833
YEAH. HOW DID YOU KNOW?

329
00:16:18,867 --> 00:16:23,133
VENUS CAN SENSE
THESE THINGS, GIRLIE.

330
00:16:23,167 --> 00:16:24,967
SO, WHAT'S YOUR STORY?

331
00:16:25,067 --> 00:16:27,233
I DON'T BELONG ANYWHERE ELSE.

332
00:16:27,267 --> 00:16:29,533
EVERYBODY IN MY FAMILY
THINKS I'M A FREAK, BECAUSE--

333
00:16:29,567 --> 00:16:30,800
YEAH, YEAH,

334
00:16:30,833 --> 00:16:32,100
BUT DO YOU HAVE ANY TALENT?

335
00:16:32,133 --> 00:16:34,300
ANY SPECIAL CIRCUS SKILLS?

336
00:16:40,667 --> 00:16:42,900
HOLY BEJEEZUS,
THAT IS SPECIAL,

337
00:16:42,933 --> 00:16:45,133
BUT IT'LL NEVER FLY IN PEORIA.

338
00:16:45,167 --> 00:16:47,800
"...THAT IS SPECIAL,

339
00:16:47,833 --> 00:16:51,500
BUT IT'LL NEVER FLY IN PEORIA."

340
00:16:51,533 --> 00:16:53,467
WELL, WELL.

341
00:16:53,500 --> 00:16:56,300
WHO'D LIKE TO START?

342
00:16:56,333 --> 00:16:59,167
I THOUGHT IT WAS EXTRAORDINARY.

343
00:16:59,200 --> 00:17:01,233
IT WAS REALLY
EXTRAORDINARY.

344
00:17:01,267 --> 00:17:02,700
IT CALLS TO MIND RICK MOODY.

345
00:17:02,733 --> 00:17:03,700
HAVE YOU EVER READ DEMONOLOGY?

346
00:17:03,733 --> 00:17:07,933
NO, I'M SORRY.

347
00:17:07,967 --> 00:17:12,867
UM, WHAT ABOUT
JENNY'S STORY "LUMINOUS"

348
00:17:12,900 --> 00:17:14,300
EVOKED RICK MOODY
FOR YOU?

349
00:17:14,333 --> 00:17:16,567
WELL, FIRST OF ALL,
THERE'S THAT STORY

350
00:17:16,600 --> 00:17:18,600
CALLED "THE CARNIVAL TRADITION."

351
00:17:18,633 --> 00:17:20,533
UH, BUT IT'S FAIRLY OBVIOUS,
I KNOW, BUT IT'S MORE--

352
00:17:20,567 --> 00:17:22,067
THAT'S VERY GOOD.

353
00:17:22,067 --> 00:17:25,467
SO IT WASN'T
THE CARNIVAL ALLUSION

354
00:17:25,500 --> 00:17:26,900
THAT REMINDED YOU OF MOODY.

355
00:17:26,933 --> 00:17:29,233
ISN'T IT MORE
THAT MOODY AND JENNY

356
00:17:29,267 --> 00:17:31,833
BOTH WRITE ABOUT
AND REVEAL

357
00:17:31,867 --> 00:17:33,900
THE GROTESQUE THAT'S HIDDEN
UNDERNEATH THE MUNDANE?

358
00:17:33,933 --> 00:17:36,067
ABSOLUTELY.

359
00:17:36,067 --> 00:17:38,300
I FEEL LIKE JENNY
IS TO THE MIDWEST

360
00:17:38,333 --> 00:17:39,333
AS CARSON MCCULLERS
IS TO THE SOUTH.

361
00:17:39,367 --> 00:17:41,700
IT'S, UH, IT'S GOTHIC.

362
00:17:41,733 --> 00:17:43,733
IT'S GROTESQUE,

363
00:17:43,767 --> 00:17:44,667
AND YET ALWAYS
DELIVERED

364
00:17:44,700 --> 00:17:46,467
WITH SELF-DEPRECATING
HUMOR.

365
00:17:46,500 --> 00:17:48,567
OH, THAT'S VERY
GENEROUS OF YOU.

366
00:17:48,600 --> 00:17:50,967
IT'S NOT EVERY DAY THAT A WRITER
IN THE BLOOM OF YOUTH

367
00:17:51,067 --> 00:17:53,467
GETS COMPARED
TO CARSON MCCULLERS.

368
00:17:53,500 --> 00:17:55,067
IT'S VERY GENEROUS,
DON'T YOU THINK, JENNY?

369
00:17:55,067 --> 00:17:56,633
YES, I DO.

370
00:17:56,667 --> 00:17:57,700
THANK YOU, HUNTER.

371
00:17:57,733 --> 00:17:59,733
CHARLOTTE,
DO YOU HAVE

372
00:17:59,767 --> 00:18:02,700
ANY QUESTIONS
OR COMMENTS FOR ME?

373
00:18:02,733 --> 00:18:03,833
IF I WERE YOU,

374
00:18:03,867 --> 00:18:05,100
I'D LEAVE WELL ENOUGH ALONE.

375
00:18:05,133 --> 00:18:07,767
I THINK HUNTER
HAS ACQUITTED YOU ADMIRABLY.

376
00:18:07,800 --> 00:18:10,867
THANK YOU, CHARLOTTE.

377
00:18:13,967 --> 00:18:17,533
SO WHY SHOULDN'T I
BECOME A LESBIAN?

378
00:18:17,567 --> 00:18:20,533
UH...

379
00:18:20,567 --> 00:18:22,633
BECAUSE WOMEN
ARE INTENSE.

380
00:18:22,667 --> 00:18:23,767
THEY'RE A LOT
OF WORK.

381
00:18:23,800 --> 00:18:26,400
THEY CAN
SUCK YOU DRY.

382
00:18:26,433 --> 00:18:28,100
YOU SURE YOU DON'T WANT
TO TRY THIS, SHANE?

383
00:18:28,133 --> 00:18:29,867
THE RESULTS
ARE AMAZING.

384
00:18:31,533 --> 00:18:33,100
THANKS.

385
00:18:33,133 --> 00:18:34,433
WHAT YOU DON'T
KNOW ABOUT ME

386
00:18:34,467 --> 00:18:35,667
IS THAT I LIKE
INTENSITY.

387
00:18:35,700 --> 00:18:36,833
[GRUNTS IN PAIN]

388
00:18:36,867 --> 00:18:39,133
WHEN THINGS AREN'T
INTENSE, I GET BORED...

389
00:18:39,167 --> 00:18:41,233
[WINCING] AND
WHEN I AM BORED,

390
00:18:41,267 --> 00:18:45,100
I WANT TO KILL MYSELF!

391
00:18:45,133 --> 00:18:46,200
WELL, WATCH OUT.

392
00:18:46,233 --> 00:18:49,200
MOTHERFUCKER!

393
00:18:50,133 --> 00:18:51,200
YOU KNOW WHAT?

394
00:18:51,233 --> 00:18:53,800
YOU HAVE POTENTIAL.

395
00:18:53,833 --> 00:18:55,100
YOU STICK WITH ME, KID.

396
00:18:55,133 --> 00:19:00,433
I'M GOING TO HELP YOU
REALIZE IT.

397
00:19:00,467 --> 00:19:02,967
[GRUNTING IN PAIN]

398
00:19:03,067 --> 00:19:05,333
OH, FUCK...

399
00:19:05,367 --> 00:19:09,100
[GROANING]

400
00:19:09,133 --> 00:19:10,167
OH, YEAH!

401
00:19:10,200 --> 00:19:13,067
EXQUISITE.

402
00:19:14,900 --> 00:19:18,067
THEY MUST TAKE FOREVER
TO ASSEMBLE.

403
00:19:18,100 --> 00:19:21,067
I WORK ON EACH PIECE
FOR ALMOST A YEAR.

404
00:19:21,067 --> 00:19:22,867
USUALLY I'M WORKING ON
TWO OR THREE PIECES

405
00:19:22,900 --> 00:19:24,567
AT A TIME,

406
00:19:24,600 --> 00:19:28,767
BUT AS YOU CAN IMAGINE,
I'M NOT EXACTLY PROLIFIC.

407
00:19:28,800 --> 00:19:31,067
WHY HAVEN'T I SEEN
THIS WORK BEFORE?

408
00:19:31,100 --> 00:19:32,367
I ACTUALLY THINK

409
00:19:32,400 --> 00:19:34,067
MICHAEL'S BEEN TRYING
TO GET YOU IN HERE FOR AGES.

410
00:19:34,100 --> 00:19:35,600
[LAUGHS SHORTLY]

411
00:19:35,633 --> 00:19:37,900
WELL, I'M GLAD I FINALLY
CAME TO MY SENSES.

412
00:19:37,933 --> 00:19:40,267
ME TOO.

413
00:19:42,500 --> 00:19:44,067
THIS WORK I DON'T
NORMALLY SHOW.

414
00:19:46,667 --> 00:19:48,133
THESE ARE ALL
STRAIGHT-UP COPIES

415
00:19:48,167 --> 00:19:49,833
OF CLASSIC
RENAISSANCE PAINTINGS.

416
00:19:49,867 --> 00:19:50,833
OH...

417
00:19:50,867 --> 00:19:52,600
I'M USUALLY WORKING ON
TWO AT A TIME.

418
00:19:52,633 --> 00:19:58,067
I DON'T THINK ANYBODY
DOES THIS ANYMORE.

419
00:19:58,100 --> 00:20:01,300
IT'S THRILLING,
ISN'T IT?

420
00:20:01,333 --> 00:20:02,933
LEIGH, DO YOU KNOW
MY SISTER'S CLUB,

421
00:20:02,967 --> 00:20:04,700
THE PLANET?

422
00:20:04,733 --> 00:20:06,000
IT USED TO BE A CAFE?

423
00:20:06,033 --> 00:20:08,033
YEAH, IT STILL IS
DURING THE DAY,

424
00:20:08,067 --> 00:20:09,900
BUT KIT'S HIRING A CHEF,

425
00:20:09,933 --> 00:20:11,433
AND SHE'S LOOKING
TO BRING IN MUSICIANS

426
00:20:11,467 --> 00:20:12,933
A COUPLE NIGHTS A WEEK.

427
00:20:12,967 --> 00:20:14,667
SHARON ISBIN IS PERFORMING
THERE TONIGHT.

428
00:20:14,700 --> 00:20:16,733
I SAW HER PLAY
WITH THE NEW YORK PHIL

429
00:20:16,767 --> 00:20:18,367
LAST JUNE AT AVERY FISHER HALL.

430
00:20:18,400 --> 00:20:19,933
LOOK, THE CD ACTUALLY
JUST CAME OUT.

431
00:20:23,400 --> 00:20:24,767
HERE.

432
00:20:26,600 --> 00:20:30,767
WELL, THIS WILL BE
A BIT MORE INTIMATE.

433
00:20:30,800 --> 00:20:31,867
DO YOU WANT TO JOIN ME?

434
00:20:35,533 --> 00:20:37,033
ACTUALLY, IT'S, UM, VALERIE

435
00:20:37,067 --> 00:20:39,433
WHO'S THE CLASSICAL MUSIC
AFICIONADO.

436
00:20:39,467 --> 00:20:40,433
WOULD IT BE ALL RIGHT
IF SHE CAME, TOO?

437
00:20:41,667 --> 00:20:42,633
HI.

438
00:20:42,667 --> 00:20:43,733
HI.

439
00:20:43,767 --> 00:20:45,133
HEY, SWEETIE.

440
00:20:45,167 --> 00:20:47,867
UM, YEAH, SURE.

441
00:20:47,900 --> 00:20:50,633
I DID JENNY,
SHANE, AND CARMEN.

442
00:20:50,667 --> 00:20:52,067
OH, CARMEN'S ALREADY
GOING TO BE WORKING THERE,

443
00:20:52,100 --> 00:20:53,600
BUT I THOUGHT
IT WOULD BE NICE

444
00:20:53,633 --> 00:20:55,733
IF I CALLED HER
AND OFFICIALLY ASKED HER.

445
00:20:55,767 --> 00:20:57,900
RIGHT, AND I DID
BETTE AND TINA.

446
00:20:57,933 --> 00:20:59,167
I MEAN, TINA WANTED
TO INVITE HELENA,

447
00:20:59,200 --> 00:21:00,267
AND I WAS LIKE, "TINA,

448
00:21:00,300 --> 00:21:01,333
THAT'S NOT COOL
TO BETTE."

449
00:21:01,367 --> 00:21:02,667
AW...

450
00:21:02,700 --> 00:21:04,400
YOU'RE SO SMART,
AND SO THOUGHTFUL.

451
00:21:04,433 --> 00:21:06,533
NAH,

452
00:21:06,567 --> 00:21:07,667
BUT YOU DIDN'T
TELL ANYBODY

453
00:21:07,700 --> 00:21:10,167
WHAT IT WAS ABOUT,
DID YOU?

454
00:21:10,200 --> 00:21:11,233
NO.

455
00:21:11,267 --> 00:21:12,567
OKAY,

456
00:21:12,600 --> 00:21:14,067
BUT IT'S, YOU KNOW...

457
00:21:14,067 --> 00:21:15,433
I JUST, I THINK
IT'S REALLY IMPORTANT

458
00:21:15,467 --> 00:21:16,900
THAT WE TELL EVERYONE
AT THE SAME TIME.

459
00:21:16,933 --> 00:21:18,067
BECAUSE SOMEONE'S
GOING TO FEEL LESS IMPORTANT

460
00:21:18,100 --> 00:21:19,133
THAN SOMEBODY ELSE.

461
00:21:19,167 --> 00:21:20,567
BUT SHANE
ALREADY KNOWS.

462
00:21:20,600 --> 00:21:22,833
YEAH, BUT SHANE
DIDN'T TELL ANYBODY.

463
00:21:22,867 --> 00:21:24,067
SHE'S, LIKE, THE ONLY
PERSON ON EARTH

464
00:21:24,067 --> 00:21:25,600
WHO CAN ACTUALLY
KEEP A SECRET.

465
00:21:34,767 --> 00:21:37,967
YOU GUYS, IT'S A BEAUTIFUL,
SUNNY AFTERNOON.

466
00:21:38,067 --> 00:21:39,900
WHAT ARE YOU DOING INSIDE
WATCHING TELEVISION?

467
00:21:39,933 --> 00:21:41,400
WE'RE WATCHING CARTOONS!

468
00:21:41,433 --> 00:21:43,600
WELL, I BROUGHT YOU SOMETHING

469
00:21:43,633 --> 00:21:45,800
THAT IS GOING TO BE
MUCH MORE FUN

470
00:21:45,833 --> 00:21:48,067
THAN SITTING INSIDE
AND GETTING CROSS-EYED.

471
00:21:48,100 --> 00:21:50,333
TINA, TINA,
POPSICLE STICKS!

472
00:21:50,367 --> 00:21:52,067
WILL YOU BUILD A FORT
WITH ME?

473
00:21:52,100 --> 00:21:53,533
YES.

474
00:21:53,567 --> 00:21:54,733
WILSON...

475
00:21:54,767 --> 00:21:56,267
NU NU WILL BUILD A FORT
WITH YOU, DARLING.

476
00:21:56,300 --> 00:21:59,700
TINA HAS TO COME AND SPEND
A LITTLE TIME WITH MAMA.

477
00:22:51,067 --> 00:22:52,633
HELENA...

478
00:22:52,667 --> 00:22:53,933
WHAT?

479
00:22:53,967 --> 00:22:57,200
YOUR CHILDREN
ARE JUST INSIDE.

480
00:22:57,233 --> 00:23:00,067
BUT THEY'RE
COMPLETELY ENGAGED

481
00:23:00,067 --> 00:23:03,400
IN BRILLIANTLY WHOLESOME
ART-MAKING ACTIVITIES.

482
00:23:03,433 --> 00:23:05,633
THANK YOU VERY MUCH.

483
00:23:09,833 --> 00:23:11,400
OH...

484
00:23:11,433 --> 00:23:12,967
MOMMY, MOMMY,
MOMMY!

485
00:23:13,067 --> 00:23:14,467
[LAUGHING AND SHOUTING]

486
00:23:14,500 --> 00:23:16,300
I DIDN'T KNOW
YOU WERE COMING!

487
00:23:16,333 --> 00:23:17,367
HOW DID YOU
GET HERE?

488
00:23:17,400 --> 00:23:18,400
I FLEW.

489
00:23:18,433 --> 00:23:19,567
LOOK WHAT TINA
BROUGHT US!

490
00:23:19,600 --> 00:23:20,833
WILL YOU BUILD
A FORT WITH ME?

491
00:23:20,867 --> 00:23:22,633
YES, I WILL SWEETHEART,
VERY SOON,

492
00:23:22,667 --> 00:23:23,633
BUT FIRST,
WHERE'S MUMMY?

493
00:23:57,800 --> 00:24:02,267
TINA, MEET MY EX.

494
00:24:02,300 --> 00:24:03,467
WINNIE MANN.

495
00:24:05,800 --> 00:24:08,233
[PERFORMANCE
OF CLASSICAL GUITAR]

496
00:24:17,467 --> 00:24:19,400
THIS IS
MY SISTER, KIT.

497
00:24:19,433 --> 00:24:21,867
KIT, THIS IS LEIGH,
AND THIS IS VALERIE.

498
00:24:21,900 --> 00:24:23,900
HI. NICE
TO MEET YOU.

499
00:24:23,933 --> 00:24:25,433
HI. WHAT A COUP
TO HAVE SHARON ISBIN.

500
00:24:25,467 --> 00:24:28,867
OH, YEAH,
MY FRIEND BENJAMIN HOOKED IT UP.

501
00:24:28,900 --> 00:24:30,167
HE THOUGHT SHE'D BE PERFECT

502
00:24:30,200 --> 00:24:32,500
FOR THE KIND OF MUSIC
WE DO IN HERE,

503
00:24:32,533 --> 00:24:34,500
AND...

504
00:24:34,533 --> 00:24:39,733
[SINGING] YOU SHOULD SEE
THE FLOWERS HE SENT ME.

505
00:24:41,433 --> 00:24:43,067
MM-HMM.

506
00:24:54,567 --> 00:24:57,467
YOU ARE NOT ACTUALLY
ABOVE THE LAW, HELENA.

507
00:24:57,500 --> 00:24:58,667
I KNOW YOU THINK
YOU ARE.

508
00:24:58,700 --> 00:24:59,767
DON'T BE ABSURD, WINNIE.

509
00:24:59,800 --> 00:25:00,867
I HAVEN'T BROKEN ANY LAWS.

510
00:25:00,900 --> 00:25:01,900
THEY WERE DUE
BACK WITH ME

511
00:25:01,933 --> 00:25:05,067
THIS MORNING AT 8:00 A.M.

512
00:25:05,067 --> 00:25:06,667
SO I HAD SOMETHING SPECIAL
PLANNED FOR THEM THIS WEEKEND.

513
00:25:06,700 --> 00:25:08,200
I DON'T SEE WHY
THEY SHOULD MISS OUT

514
00:25:08,233 --> 00:25:10,333
JUST BECAUSE YOU'RE RIGID
AND SMALL-MINDED,

515
00:25:10,367 --> 00:25:12,067
AND YOU DON'T--

516
00:25:12,067 --> 00:25:14,100
I'M SORRY, I'LL BE OUT OF HERE
IN A MINUTE.

517
00:25:14,133 --> 00:25:14,967
YOU DON'T HAVE
TO LEAVE.

518
00:25:15,067 --> 00:25:15,967
OH, YES, YOU DO.

519
00:25:16,067 --> 00:25:17,067
TINA, YOU KNOW

520
00:25:17,067 --> 00:25:18,433
THAT I HAD SOMETHING
SPECIAL PLANNED

521
00:25:18,467 --> 00:25:20,767
WITH THE CHILDREN
THIS WEEKEND AT SAN DIEGO.

522
00:25:20,800 --> 00:25:22,300
THIS IS BETWEEN
ME AND HELENA.

523
00:25:22,333 --> 00:25:23,500
YOU'D BE WELL ADVISED

524
00:25:23,533 --> 00:25:24,667
NOT TO GET
INVOLVED.

525
00:25:24,700 --> 00:25:25,567
I NEED YOU
AS A WITNESS.

526
00:25:25,600 --> 00:25:26,567
THEIR OTHER MOTHER

527
00:25:26,600 --> 00:25:28,133
IS PREPARING TO DEPRIVE THEM

528
00:25:28,167 --> 00:25:29,533
OF THAT ENRICHING EXPERIENCE

529
00:25:29,567 --> 00:25:32,200
OUT OF PURE PETTY SELFISH PIQUE.

530
00:25:32,233 --> 00:25:33,600
SHE VIOLATED
A COURT ORDER!

531
00:25:33,633 --> 00:25:34,600
TINA, I NEED YOU HERE!

532
00:25:34,633 --> 00:25:36,100
I REALLY HAVE TO GO.

533
00:25:36,133 --> 00:25:39,800
I REMEMBER, ALICE IS HAVING
THIS GATHERING AT THE PLANET.

534
00:25:39,833 --> 00:25:41,067
I SHOULD GO.

535
00:25:41,067 --> 00:25:43,900
DON'T BE
INTIMIDATED BY HER.

536
00:25:43,933 --> 00:25:45,067
NO, DO,

537
00:25:45,067 --> 00:25:46,800
BECAUSE WHEN IT COMES
TO MY CHILDREN,

538
00:25:46,833 --> 00:25:49,567
EVEN HELENA PEABODY
CAN'T MAKE ME ROLL OVER

539
00:25:49,600 --> 00:25:50,700
AND PLAY DEAD.

540
00:25:50,733 --> 00:25:53,067
I WILL NOT BEG FOR SCRAPS,

541
00:25:53,067 --> 00:25:54,133
AND ALL THE MONEY IN THE WORLD

542
00:25:54,167 --> 00:25:55,667
IS NOT GOING TO KEEP ME
IN MY PLACE.

543
00:25:55,700 --> 00:25:57,433
I'LL TALK TO YOU
TOMORROW, OKAY?

544
00:26:06,233 --> 00:26:07,533
[VERONICA]: YOU'RE
A LYING SCUMBAG,

545
00:26:07,567 --> 00:26:08,900
AND I'M NEVER
GETTING MARRIED AGAIN

546
00:26:08,933 --> 00:26:11,067
SO I CAN
COLLECT ALIMONY

547
00:26:11,100 --> 00:26:13,633
TILL THE DAY
YOU FUCKING DIE!

548
00:26:13,667 --> 00:26:14,967
YOU LISTEN TO ME,
YOU PIECE OF SHIT,

549
00:26:15,067 --> 00:26:16,233
DON'T YOU COME
CRAWLING BACK TO ME

550
00:26:16,267 --> 00:26:17,733
THE NEXT TIME
YOU NEED SOMETHING PRODUCED

551
00:26:17,767 --> 00:26:21,333
BECAUSE I'M GOING TO TELL YOU
TO SHOVE IT UP YOUR ASS!

552
00:26:22,667 --> 00:26:23,767
FUCK YOU, MARTY!

553
00:26:23,800 --> 00:26:24,800
FUCK YOU!

554
00:26:27,767 --> 00:26:29,233
THAT'S YOUR SISTER?

555
00:26:29,267 --> 00:26:31,333
THE ONE WHO JUST BROKE UP
WITH HER PARTNER?

556
00:26:31,367 --> 00:26:33,433
SO?

557
00:26:33,467 --> 00:26:36,233
SHE'S BEAUTIFUL.

558
00:26:36,267 --> 00:26:37,733
INTRODUCE ME TO HER IN...

559
00:26:37,767 --> 00:26:40,167
SIX MONTHS.

560
00:26:40,200 --> 00:26:42,333
[LAUGHS]

561
00:26:42,367 --> 00:26:43,867
YOU'RE A SMART WOMAN.

562
00:26:43,900 --> 00:26:45,067
BETTE?

563
00:26:45,067 --> 00:26:46,300
ALYSON PALMER FROM BETTY.

564
00:26:46,333 --> 00:26:47,833
WE PERFORMED HERE
A COUPLE OF WEEKS AGO.

565
00:26:47,867 --> 00:26:49,633
OH, RIGHT, RIGHT,
I SAW THE SHOW.

566
00:26:49,667 --> 00:26:50,800
YOU GUYS WERE GREAT.

567
00:26:50,833 --> 00:26:52,233
OH...

568
00:26:52,267 --> 00:26:55,467
THIS IS SO NOT
A FEMINIST THING TO SAY,

569
00:26:55,500 --> 00:26:58,767
BUT THERE IS A GROUP OF WOMEN
OVER AT THE BAR

570
00:26:58,800 --> 00:27:01,100
WHO HAVE YOU MEAT-TAGGED
LIKE NOBODY'S BUSINESS.

571
00:27:01,133 --> 00:27:02,133
I'M SORRY?

572
00:27:02,167 --> 00:27:03,900
MEAT-TAGGED.

573
00:27:03,933 --> 00:27:04,967
IT MEANS THAT
THEY'VE MARKED YOU

574
00:27:05,067 --> 00:27:06,367
AS A HOT ITEM.

575
00:27:06,400 --> 00:27:07,833
THOSE GIRLS
ARE LINING UP

576
00:27:07,867 --> 00:27:09,467
AROUND THE BLOCK
TO GET ON YOUR DANCE CARD.

577
00:27:09,500 --> 00:27:10,867
GREAT.
MY NEIGHBORS WILL LOVE THAT.

578
00:27:10,900 --> 00:27:13,433
FYI.

579
00:27:13,467 --> 00:27:14,300
MEAT-TAGGED...

580
00:27:14,333 --> 00:27:15,300
BETTE!

581
00:27:15,333 --> 00:27:17,067
HI. MERYL ROTHMAN.

582
00:27:17,067 --> 00:27:18,167
HI.

583
00:27:18,200 --> 00:27:19,567
HI. WE MET WHEN I WAS
AN EXECUTIVE AT DISNEY.

584
00:27:19,600 --> 00:27:21,067
RIGHT.

585
00:27:21,100 --> 00:27:22,067
MM-HMM.

586
00:27:22,067 --> 00:27:23,467
RIGHT.

587
00:27:23,500 --> 00:27:25,467
I'M A THERAPIST NOW,
IN PRIVATE PRACTICE,

588
00:27:25,500 --> 00:27:27,233
BUT I WOULD RATHER DATE YOU
THAN ANALYZE YOU.

589
00:27:29,200 --> 00:27:30,267
CALL ME.

590
00:27:30,800 --> 00:27:32,433
LADIES.

591
00:27:35,167 --> 00:27:36,633
YOU'VE BEEN
MEAT-TAGGED.

592
00:27:36,667 --> 00:27:38,633
[LAUGHS]

593
00:27:38,667 --> 00:27:42,133
WELL, THAT WOULD SEEM TO BE
MY NEW IDENTITY.

594
00:27:42,167 --> 00:27:47,233
[VERONICA, SLURRING WORDS]:
OH. YEAH...

595
00:27:47,267 --> 00:27:51,200
THAT SON OF A BITCH MARTY
RUINING MY MOVIE...

596
00:27:51,233 --> 00:27:53,867
OHH...

597
00:27:53,900 --> 00:27:59,233
NEVER GOING TO FORGIVE HIM.

598
00:28:02,600 --> 00:28:05,333
FUCK...

599
00:28:05,367 --> 00:28:08,667
HERE YOU GO.

600
00:28:08,700 --> 00:28:10,333
YEAH.

601
00:28:10,367 --> 00:28:11,167
THESE SHOULD MAKE
YOU FEEL BETTER

602
00:28:11,200 --> 00:28:12,767
IN A LITTLE WHILE.

603
00:28:15,067 --> 00:28:16,467
WHY DON'T YOU TAKE ONE?

604
00:28:16,500 --> 00:28:20,100
NO, I'M NOT...INTO XANAX,

605
00:28:20,133 --> 00:28:21,433
BUT YOU HAD SOME OXY
IN THERE.

606
00:28:21,467 --> 00:28:22,533
WOULD YOU MIND?

607
00:28:22,567 --> 00:28:23,867
GO AHEAD.
TAKE WHATEVER YOU WANT.

608
00:28:23,900 --> 00:28:24,833
REALLY?

609
00:28:26,867 --> 00:28:28,433
TAKE THE WHOLE BOTTLE.
I CAN GET MORE.

610
00:28:28,467 --> 00:28:30,967
ALL RIGHT.

611
00:28:31,067 --> 00:28:32,067
WHEN YOU
COME BACK,

612
00:28:32,067 --> 00:28:33,600
GET INTO BED
WITH ME.

613
00:28:33,633 --> 00:28:35,767
WE'LL GET FUCKED UP
AND WATCH FUNNY GIRL.

614
00:28:35,800 --> 00:28:38,567
BARBARA STREISAND MOVIES
HAVE ALWAYS BEEN MY TONIC

615
00:28:38,600 --> 00:28:39,800
WHEN I FEEL LIKE SHIT.

616
00:28:42,767 --> 00:28:45,933
LOOK, UM, THANKS,

617
00:28:45,967 --> 00:28:48,700
BUT I THINK I'M GOING TO GO.

618
00:28:53,200 --> 00:28:54,133
NO, YOU'RE NOT.

619
00:28:56,867 --> 00:28:58,833
YES, I AM.

620
00:28:58,867 --> 00:29:00,500
MY FRIENDS NEED ME TONIGHT--

621
00:29:00,533 --> 00:29:02,333
NO, THEY DON'T.

622
00:29:03,467 --> 00:29:04,767
YES, THEY DO.

623
00:29:04,800 --> 00:29:06,400
BUT LOOK, I CAN
STAY HERE UNTIL--

624
00:29:06,433 --> 00:29:08,633
I'M FUCKING
PAYING YOU.

625
00:29:08,667 --> 00:29:10,267
YOU WILL STAY HERE
UNTIL I TELL YOU YOU CAN GO.

626
00:29:10,300 --> 00:29:12,400
FUCK THAT.

627
00:29:14,333 --> 00:29:16,300
YOU WILL DO
WHAT I TELL YOU TO DO!

628
00:29:16,333 --> 00:29:17,433
YOU WILL FUCKING
WATCH A MOVIE WITH ME

629
00:29:17,467 --> 00:29:19,567
IF I TELL YOU TO!

630
00:29:19,600 --> 00:29:20,600
YOU'LL TICKLE MY BACK

631
00:29:20,633 --> 00:29:22,633
IF I TELL YOU
TO TICKLE MY BACK.

632
00:29:22,667 --> 00:29:26,133
YOU'LL FUCK ME
IF I TELL YOU TO FUCK ME!

633
00:29:26,167 --> 00:29:27,467
[DOOR OPENS]

634
00:29:27,500 --> 00:29:28,700
COME BACK HERE!

635
00:29:28,733 --> 00:29:30,067
[DOOR CLOSES]

636
00:29:30,100 --> 00:29:31,667
[***]

637
00:29:34,367 --> 00:29:35,800
YOU KNOW
SHARON ISBIN?

638
00:29:35,833 --> 00:29:37,300
SHE THINKS YOU'RE ALL THAT.

639
00:29:37,333 --> 00:29:38,300
THEN HOW COME

640
00:29:38,333 --> 00:29:39,867
SHE DIDN'T EVEN
TALK TO ME?

641
00:29:39,900 --> 00:29:41,133
WELL, SHE SAID

642
00:29:41,167 --> 00:29:42,367
SHE HEARD SOME OF
THE GIRLS SAY

643
00:29:42,400 --> 00:29:43,867
THAT YOU WERE--
WHAT DO YOU CALL IT?

644
00:29:43,900 --> 00:29:45,067
MEAT-TAGGED?

645
00:29:45,100 --> 00:29:46,367
YEAH. WELL,
WHAT IS THAT?

646
00:29:46,400 --> 00:29:48,300
HI, UM,

647
00:29:48,333 --> 00:29:49,867
MY FRIEND OVER THERE
WANTS TO KNOW

648
00:29:49,900 --> 00:29:52,500
IF YOU'RE READY
TO START DATING.

649
00:29:52,533 --> 00:29:56,400
SHE SAYS SHE COULD BE
YOUR REBOUND GIRLFRIEND.

650
00:29:56,433 --> 00:29:58,467
HEY, THAT'S
NOT A BAD OFFER.

651
00:29:58,500 --> 00:29:59,700
DOES IT HAVE
AN EXPIRY DATE?

652
00:29:59,733 --> 00:30:01,233
BECAUSE I THINK
I REALLY MIGHT NEED

653
00:30:01,267 --> 00:30:03,267
TO THINK ABOUT IT.

654
00:30:03,300 --> 00:30:04,767
I'LL GO ASK HER.

655
00:30:08,300 --> 00:30:10,133
YOU'RE BEING PIMPED.

656
00:30:10,167 --> 00:30:11,767
OKAY...

657
00:30:13,033 --> 00:30:16,400
WHAT DO YOU THINK
WE SHOULD SAY?

658
00:30:16,433 --> 00:30:18,267
I DON'T KNOW.

659
00:30:18,300 --> 00:30:19,800
THAT...

660
00:30:19,833 --> 00:30:22,167
I DON'T KNOW, THAT NOTHING MUCH
HAS CHANGED, YOU KNOW?

661
00:30:22,200 --> 00:30:24,300
THAT WE'RE STILL HANGING OUT
EVERY DAY AND NIGHT.

662
00:30:24,333 --> 00:30:25,967
IT'S JUST THAT NOW

663
00:30:26,000 --> 00:30:28,733
WE'RE HAVING
INCREDIBLE, MIND-BLOWING,

664
00:30:28,767 --> 00:30:30,067
EARTH-SHATTERING SEX.

665
00:30:35,000 --> 00:30:36,133
YEAH...

666
00:30:36,167 --> 00:30:38,567
WHAT TIME IS IT?

667
00:30:41,633 --> 00:30:42,700
WE'RE EARLY.

668
00:30:42,733 --> 00:30:43,333
YEAH.

669
00:30:43,367 --> 00:30:44,833
MM-HMM.

670
00:30:47,667 --> 00:30:49,467
[CLEARS THROAT]

671
00:30:51,033 --> 00:30:52,867
COME HERE.

672
00:30:52,900 --> 00:30:54,333
[***]

673
00:30:54,367 --> 00:30:56,100
OH...

674
00:30:56,133 --> 00:30:57,100
[HORN HONKS]

675
00:30:57,133 --> 00:30:58,267
OH, GOD!

676
00:30:58,300 --> 00:30:59,267
SHIT.
OKAY.

677
00:30:59,300 --> 00:31:00,500
OH, GOD...

678
00:31:00,533 --> 00:31:01,600
[PANTING]

679
00:31:01,633 --> 00:31:03,100
OH, FUCK.

680
00:31:03,133 --> 00:31:05,300
[***]

681
00:31:10,267 --> 00:31:11,500
MM-MM. NO.

682
00:31:11,533 --> 00:31:12,900
THESE GUYS?

683
00:31:12,933 --> 00:31:13,700
I HEARD THEM
AT THE TROUBADOUR,

684
00:31:13,733 --> 00:31:15,100
AND THEY'RE
FUCKING AMAZING.

685
00:31:15,133 --> 00:31:17,633
THEY'RE FUCKING
AMAZING?

686
00:31:17,667 --> 00:31:18,667
YES.

687
00:31:18,700 --> 00:31:20,833
THEY ARE
FUCKING AMAZING.

688
00:31:20,867 --> 00:31:22,467
YOU KNOW WHAT I THINK'S
FUCKING AMAZING?

689
00:31:22,500 --> 00:31:23,467
NO.

690
00:31:23,500 --> 00:31:24,533
WATCHING
ALL THOSE PEOPLE

691
00:31:24,567 --> 00:31:25,567
ON THE DANCE FLOOR,

692
00:31:25,600 --> 00:31:26,733
AND THEN
YOU CAN FEEL THEM

693
00:31:26,767 --> 00:31:28,800
GETTING REALLY,
REALLY HOT.

694
00:31:28,833 --> 00:31:30,500
MM, I LIKE THAT, TOO.

695
00:31:30,533 --> 00:31:31,367
THEY SWEAT.

696
00:31:31,400 --> 00:31:34,100
YEAH, THEY GET
HOT AND SWEATY,

697
00:31:34,133 --> 00:31:35,300
AND I LOVE IT,

698
00:31:35,333 --> 00:31:37,667
BECAUSE YOU CAN JUST
FEEL THE CROWD, AND...

699
00:31:39,667 --> 00:31:41,333
AND YOU JUST FEEL THEIR ENERGY.

700
00:31:53,600 --> 00:31:54,467
HEY...

701
00:31:58,500 --> 00:31:59,433
HI, MAMA.

702
00:32:05,167 --> 00:32:06,433
GO ON OVER THERE.

703
00:32:06,467 --> 00:32:07,900
SHE'S GETTING RID OF THEM.

704
00:32:07,933 --> 00:32:09,100
WHAT DO THEY WANT?

705
00:32:09,133 --> 00:32:11,067
FILET MIGNON, HONEY.

706
00:32:22,300 --> 00:32:23,300
HI.

707
00:32:23,333 --> 00:32:26,767
HI.

708
00:32:26,800 --> 00:32:28,067
SORRY I DIDN'T CALL YOU BACK.

709
00:32:28,100 --> 00:32:31,133
CAN WE TALK
AFTER THIS WEEKEND?

710
00:32:31,167 --> 00:32:32,767
OKAY.

711
00:32:39,267 --> 00:32:41,500
CD PLAYER 2,

712
00:32:41,533 --> 00:32:44,133
WHICH CORRESPONDS WITH
THIS SLIDING BUTTON.

713
00:32:44,167 --> 00:32:45,767
CHANNEL 2.

714
00:32:45,800 --> 00:32:47,833
SHOULD WE DO IT?

715
00:32:47,867 --> 00:32:49,433
YOU WANT TO?
I DO.

716
00:32:49,467 --> 00:32:51,867
OKAY.

717
00:32:53,767 --> 00:32:55,800
[MUSIC CHANGES]

718
00:33:24,733 --> 00:33:25,900
WHOA! HI. HEY.

719
00:33:25,933 --> 00:33:27,633
SHANE, WHERE
ARE YOU GOING?

720
00:33:27,667 --> 00:33:28,833
LOOK, UM,
I'VE GOT TO GO,

721
00:33:28,867 --> 00:33:30,200
BUT EVERYONE'S INSIDE,
SO GO FOR IT.

722
00:33:32,233 --> 00:33:33,267
GO FOR IT.

723
00:33:36,567 --> 00:33:37,533
READY?

724
00:33:37,567 --> 00:33:39,467
[SIGHS]

725
00:33:39,500 --> 00:33:41,533
ALL RIGHT, ALL RIGHT,
EVERYONE!

726
00:33:41,567 --> 00:33:43,700
IF I CAN HAVE
YOUR ATTENTION PLEASE.

727
00:33:43,733 --> 00:33:45,333
THERE IS A HAPPY NEW COUPLE
IN THE HOUSE.

728
00:33:45,367 --> 00:33:50,700
GIVE IT UP FOR ALICE AND DANA!

729
00:33:50,733 --> 00:33:53,067
[CHEERING AND APPLAUSE]

730
00:33:54,867 --> 00:33:57,800
THIS ONE'S FOR YOU.

731
00:33:57,833 --> 00:33:58,933
[ROMANTIC MUSIC PLAYS]

732
00:33:58,967 --> 00:34:00,667
OH, THEY'RE SO CUTE
TOGETHER.

733
00:34:00,700 --> 00:34:02,333
THANKS, CARMEN.

734
00:34:02,367 --> 00:34:04,600
OH, CONGRATULATIONS.

735
00:34:04,633 --> 00:34:06,800
[***]

736
00:34:06,833 --> 00:34:08,067
THEY'RE GORGEOUS
TOGETHER.

737
00:35:28,133 --> 00:35:29,133
HI.

738
00:35:29,167 --> 00:35:32,133
[CHATTING INDISTINCTLY]

739
00:35:32,167 --> 00:35:35,633
[WOMAN]: WHAT ABOUT BEER?
DO YOU HAVE ANY BEER?

740
00:35:35,667 --> 00:35:37,300
[SHANE]: NO.

741
00:35:37,333 --> 00:35:39,567
MAYBE WE SHOULD GET
SOME PIZZA.

742
00:35:39,600 --> 00:35:40,567
NO. FUCK THE FOOD.

743
00:35:40,600 --> 00:35:41,567
NO WAY.

744
00:35:41,600 --> 00:35:42,567
HOW'S THIS?

745
00:35:42,600 --> 00:35:43,567
YEAH.

746
00:35:43,600 --> 00:35:44,967
OKAY.

747
00:35:45,067 --> 00:35:47,067
COME ON.

748
00:35:48,400 --> 00:35:49,367
WHAT WAS THAT?

749
00:35:49,400 --> 00:35:50,367
I DON'T...

750
00:35:50,400 --> 00:35:53,167
I DON'T REALLY THINK
I WANT TO KNOW.

751
00:35:53,200 --> 00:35:56,433
MAYBE WE SHOULD
CALL IT A NIGHT.

752
00:35:56,467 --> 00:35:59,567
LET'S JUST TAKE A BREATHER,
AND...

753
00:35:59,600 --> 00:36:01,900
THEN WE CAN VISIT IT AGAIN

754
00:36:01,933 --> 00:36:05,367
IN THE COOL CLEAR LIGHT OF DAY.

755
00:36:24,500 --> 00:36:26,667
I UNDERSTAND.

756
00:36:32,600 --> 00:36:34,933
[WOMEN LAUGHING]

757
00:36:42,567 --> 00:36:44,200
[SNIFFING]

758
00:36:44,233 --> 00:36:46,067
COME ON.
PLAY WITH US.

759
00:36:49,200 --> 00:36:51,333
[SNIFFING]

760
00:36:51,367 --> 00:36:53,167
COME ON.

761
00:36:56,600 --> 00:36:57,600
[SNIFFING]

762
00:36:57,633 --> 00:37:00,900
[WOMEN LAUGHING]

763
00:37:00,933 --> 00:37:04,967
COME ON.
PLAY WITH US, SHAWN.

764
00:37:05,067 --> 00:37:07,300
IT'S SHANE.

765
00:37:07,333 --> 00:37:09,700
SHANE, COME HERE.

766
00:37:09,733 --> 00:37:10,900
NO.

767
00:37:10,933 --> 00:37:12,933
LET'S TAKE THEM
OUT ONTO THE BEACH

768
00:37:12,967 --> 00:37:15,867
TO COLLECT SEASHELLS,
OR BEACH GLASS,

769
00:37:15,900 --> 00:37:18,067
OR ANYTHING THAT
THEY FEEL INSPIRES THEM,

770
00:37:18,067 --> 00:37:19,200
AND THEN AFTER THAT,

771
00:37:19,233 --> 00:37:20,367
WE'LL BREAK UP
INTO INDIVIDUAL GROUPS,

772
00:37:20,400 --> 00:37:24,467
AND THEN WE'LL
START TO WORKSHOP.

773
00:37:24,500 --> 00:37:25,900
TINA...

774
00:37:30,300 --> 00:37:32,133
EXCUSE ME.

775
00:37:32,167 --> 00:37:34,300
[KNOCKING ON DOOR]

776
00:37:34,333 --> 00:37:35,800
COME IN.

777
00:37:39,600 --> 00:37:41,533
HEY...

778
00:37:46,667 --> 00:37:49,233
WOULD YOU SAY
THAT THIS IS THE...

779
00:37:51,567 --> 00:37:54,600
COOL, CLEAR
LIGHT OF DAY?

780
00:37:56,533 --> 00:37:57,500
DO YOU WANT TO COME IN?

781
00:38:08,367 --> 00:38:09,933
UM...

782
00:38:13,233 --> 00:38:14,900
I'VE BEEN TRYING
TO FIGURE THIS OUT.

783
00:38:14,933 --> 00:38:16,200
MM-HMM.

784
00:38:16,233 --> 00:38:20,800
I DON'T KNOW WHY...I LEFT
LAST NIGHT.

785
00:38:20,833 --> 00:38:23,633
I REALLY WISH
I HADN'T.

786
00:38:27,267 --> 00:38:28,833
I THINK
BECAUSE YOU LIKE SHANE.

787
00:38:28,867 --> 00:38:32,733
I'M NOT SOMEONE
WHO FALLS FOR...

788
00:38:32,767 --> 00:38:34,467
FUCKED-UP UNAVAILABLE PEOPLE.

789
00:38:34,500 --> 00:38:36,967
I DON'T THINK
THAT WE REALLY HAVE A CHOICE

790
00:38:37,067 --> 00:38:40,067
IN THE PEOPLE
THAT WE FALL FOR, CARMEN.

791
00:38:57,800 --> 00:38:58,733
HERE.

792
00:39:45,600 --> 00:39:46,933
HI.

793
00:39:48,600 --> 00:39:50,467
HEY. HOW ARE YOU?

794
00:39:50,500 --> 00:39:52,967
I'M SURPRISED
TO SEE YOU.

795
00:39:53,067 --> 00:39:54,200
WHY WOULD YOU
BE SURPRISED?

796
00:39:54,233 --> 00:39:55,267
I DON'T KNOW.

797
00:39:55,300 --> 00:39:57,067
I THOUGHT YOU'D BE MAD AT ME

798
00:39:57,067 --> 00:39:58,300
FOR WALKING OUT ON
YOU LAST NIGHT.

799
00:39:58,333 --> 00:39:59,367
I JUST THOUGHT

800
00:39:59,400 --> 00:40:01,167
IT WAS BETWEEN
YOU AND WINNIE.

801
00:40:01,200 --> 00:40:04,233
YEAH, WELL, I'M SORRY
YOU HAD TO SEE THAT.

802
00:40:04,267 --> 00:40:06,200
BUT THEN AGAIN,
YOU KNOW,

803
00:40:06,233 --> 00:40:07,200
I'M NOT SORRY,

804
00:40:07,233 --> 00:40:08,333
BECAUSE AT LEAST NOW

805
00:40:08,367 --> 00:40:11,467
YOU GET TO SEE
JUST HOW COMPLETELY MAD SHE IS.

806
00:40:11,500 --> 00:40:13,133
WELL, SHE WAS ANGRY,

807
00:40:13,167 --> 00:40:15,200
BUT SHE WASN'T COMPLETELY
WITHOUT REASON.

808
00:40:15,233 --> 00:40:16,300
I KNOW
I SHOULDN'T HAVE

809
00:40:16,333 --> 00:40:19,033
KEPT THEM BEYOND MY CURFEW.

810
00:40:19,067 --> 00:40:22,200
I JUST GET SO CARRIED AWAY,
YOU KNOW.

811
00:40:22,233 --> 00:40:23,300
I WANT TO GIVE THEM

812
00:40:23,333 --> 00:40:24,400
SOMETHING WONDERFUL

813
00:40:24,433 --> 00:40:25,333
TO TAKE BACK
TO NEW YORK,

814
00:40:25,367 --> 00:40:26,633
SOMETHING THAT THEY
CAN THINK ABOUT

815
00:40:26,667 --> 00:40:28,133
WHEN THEY GET SAD

816
00:40:28,167 --> 00:40:31,267
KNOWING THEIR MOMMIES
ARE SPLITTING UP.

817
00:40:31,300 --> 00:40:33,967
TINA, WHEN THEY'RE IN NEW YORK,

818
00:40:34,000 --> 00:40:35,967
THEY SLEEP ON A MATTRESS
ON THE FLOOR,

819
00:40:36,000 --> 00:40:38,233
AND THEY EAT FOOD
THAT COMES OUT OF A CAN.

820
00:40:38,267 --> 00:40:40,633
OKAY...

821
00:40:40,667 --> 00:40:43,600
OKAY, WELL,
YOU SHOULD JUST TALK TO HER.

822
00:40:43,633 --> 00:40:44,867
I'VE OFFERED.

823
00:40:44,900 --> 00:40:46,600
YOU KNOW?

824
00:40:46,633 --> 00:40:47,900
WINNIE WON'T TAKE ANYTHING
FROM ME

825
00:40:47,933 --> 00:40:50,000
TILL WE'VE GONE THROUGH
THE WHOLE BARRAGE OF LAWYERS

826
00:40:50,033 --> 00:40:52,200
AND CUSTODY HEARINGS.

827
00:40:52,233 --> 00:40:53,733
SHE'S TRYING TO CUT ME OFF
FROM THEM.

828
00:40:53,767 --> 00:40:54,900
COMPLETELY?

829
00:40:54,933 --> 00:40:56,700
I MEAN, I STAND
A CHANCE WITH JUN YING,

830
00:40:56,733 --> 00:40:59,700
BUT SHE'S WILSON'S
BIRTH MOTHER, SO...

831
00:40:59,733 --> 00:41:01,367
YOU CAN'T SEPARATE THEM.

832
00:41:01,400 --> 00:41:02,533
THEY'RE TOO CLOSE.

833
00:41:02,567 --> 00:41:05,067
I WOULDN'T DO THAT.

834
00:41:05,067 --> 00:41:06,900
YOU KNOW--

835
00:41:06,933 --> 00:41:08,333
WINNIE AND I HAVE ALWAYS SAID

836
00:41:08,367 --> 00:41:10,100
THAT EVEN THOUGH
SHE GAVE BIRTH TO WILSON,

837
00:41:10,133 --> 00:41:14,067
WE BOTH EQUALLY
CONCEIVED OF HIM.

838
00:41:14,100 --> 00:41:15,567
FOR YEARS
WE TALKED ABOUT IT,

839
00:41:15,600 --> 00:41:18,933
WE PLANNED IT.

840
00:41:18,967 --> 00:41:21,333
I HELPED DREAM THIS FAMILY
INTO EXISTENCE.

841
00:41:21,367 --> 00:41:24,100
WELL, I HOPE YOU AND WINNIE
WORK IT OUT.

842
00:41:24,133 --> 00:41:26,333
WE WILL.

843
00:41:28,833 --> 00:41:30,067
DO YOU WANT TO COME HELP?

844
00:41:30,067 --> 00:41:32,233
YEAH.

845
00:41:32,267 --> 00:41:33,333
OKAY.

846
00:41:33,367 --> 00:41:35,067
YOU KNOW, I DID HAVE
SOME OTHER PLANS.

847
00:41:35,067 --> 00:41:36,533
[MUSIC BLARING,
TELEPHONE RINGING]

848
00:41:36,567 --> 00:41:39,267
FUCK, FUCK, FUCK,
I'M SO LATE FOR SCHOOL.

849
00:41:39,300 --> 00:41:41,067
FUCK.

850
00:41:41,067 --> 00:41:44,300
[SHOUTING] HELLO!

851
00:41:44,333 --> 00:41:47,267
YEAH, HANG ON A SEC.

852
00:41:47,300 --> 00:41:49,133
SHANE!

853
00:41:49,167 --> 00:41:51,800
IT'S FOR YOU!

854
00:41:51,833 --> 00:41:53,233
IT'S VERONICA BLOOM!

855
00:41:55,900 --> 00:41:57,333
[MOANS]

856
00:41:58,633 --> 00:42:00,500
TELL HER SHE CAN KISS MY ASS.

857
00:42:00,533 --> 00:42:04,067
UM...

858
00:42:04,100 --> 00:42:05,433
SHE'S NOT AROUND
RIGHT NOW!

859
00:42:05,467 --> 00:42:07,967
CAN I TAKE A MESSAGE?

860
00:42:08,067 --> 00:42:09,833
OKAY!

861
00:42:09,867 --> 00:42:11,900
[LAUGHING] BYE.

862
00:42:11,933 --> 00:42:13,267
SHANE.

863
00:42:13,300 --> 00:42:17,367
SHE WOULD LIKE YOU
TO PLEASE CALL HER BACK!

864
00:42:17,400 --> 00:42:19,933
GOODBYE!

865
00:42:19,967 --> 00:42:21,333
SHE CAN KISS--

866
00:42:21,367 --> 00:42:22,767
YOUR ASS.

867
00:42:31,967 --> 00:42:33,533
YOU WANT TO KNOW SOMETHING?

868
00:42:33,567 --> 00:42:35,967
YOU'VE BEEN GETTING
AWAY WITH THIS SHIT

869
00:42:36,067 --> 00:42:37,133
FOR FAR TOO LONG.

870
00:42:37,167 --> 00:42:38,400
I DON'T KNOW

871
00:42:38,433 --> 00:42:40,300
WHAT THAT POOR
ASS-KISSING WOMAN

872
00:42:40,333 --> 00:42:41,333
DID TO PISS YOU OFF.

873
00:42:41,367 --> 00:42:43,400
YOU KNOW, MAYBE YOU GUYS

874
00:42:43,433 --> 00:42:45,133
WERE WALKING DOWN THE STREET
ONE DAY,

875
00:42:45,167 --> 00:42:47,767
AND SHE SMILED AT YOU
TOO SWEETLY BY ACCIDENT.

876
00:42:47,800 --> 00:42:51,067
OKAY, BUT MAYBE
SHE BOUGHT YOU A GIFT

877
00:42:51,067 --> 00:42:52,667
TO LET YOU KNOW

878
00:42:52,700 --> 00:42:55,233
THAT YOU'RE KIND OF
SPECIAL TO HER,

879
00:42:55,267 --> 00:43:00,067
OR JUST MAYBE...

880
00:43:00,067 --> 00:43:02,933
MAYBE SHE REALLY LIKED YOU.

881
00:43:02,967 --> 00:43:06,967
I THINK THAT
THAT'S SOMETHING

882
00:43:07,067 --> 00:43:13,833
THAT YOU JUST DON'T KNOW
HOW TO HANDLE RIGHT NOW,

883
00:43:13,867 --> 00:43:18,333
AND, UH...

884
00:43:18,367 --> 00:43:23,267
AND I ALSO THINK THAT...

885
00:43:23,300 --> 00:43:24,900
THAT WE...

886
00:43:24,933 --> 00:43:28,633
SWEET SIMPLE FOLK...

887
00:43:32,133 --> 00:43:34,867
WILL NOT GO AROUND
KISSING YOUR ASS FOREVER.

888
00:43:41,367 --> 00:43:45,367
[DOOR OPENS, CLOSES]

889
00:43:50,067 --> 00:43:53,867
"WATCH MY COCK, MADELAINE,
WATCH ME BEAT IT AGAIN

890
00:43:53,900 --> 00:43:55,467
"WHILE MISS JASMINE
FATHOMS YOUR PUSSY

891
00:43:55,500 --> 00:43:59,067
"FOR THE 27TH TIME THIS MORNING.

892
00:43:59,067 --> 00:44:01,300
"THE SKY WAS CHARTREUSE,

893
00:44:01,333 --> 00:44:04,400
"WRETCHEDLY BEAUTIFUL
AND POISONOUS,

894
00:44:04,433 --> 00:44:07,867
"AND HENRI
PAID THE PROSTITUTE HANDSOMELY

895
00:44:07,900 --> 00:44:09,800
FOR HER SERVICES."

896
00:44:11,867 --> 00:44:13,300
OKAY, WHO WANTS
TO START?

897
00:44:13,333 --> 00:44:14,433
OH...

898
00:44:16,300 --> 00:44:18,300
UM, I'M JUST
WONDERING,

899
00:44:18,333 --> 00:44:19,533
WHAT WAS
THE SIGNIFICANCE

900
00:44:19,567 --> 00:44:20,633
OF THE BRAZILIAN
CROSS-DRESSER?

901
00:44:20,667 --> 00:44:21,767
WELL, SHE WASN'T
A CROSS-DRESSER,

902
00:44:21,800 --> 00:44:25,067
SHE WAS A FULL-ON TRANSSEXUAL,
AND, UH...

903
00:44:25,067 --> 00:44:27,067
I GUESS I PUT HER IN THERE
FOR LOCAL COLOR.

904
00:44:27,067 --> 00:44:28,067
COLOR'S GOOD.

905
00:44:28,067 --> 00:44:31,567
SOMETIMES A DETAIL
IS AN END OF ITSELF.

906
00:44:31,600 --> 00:44:32,567
JENNY?

907
00:44:32,600 --> 00:44:33,733
YES.

908
00:44:33,767 --> 00:44:37,067
I THINK THAT YOUR STORY
EVOKES HENRY MILLER.

909
00:44:39,200 --> 00:44:41,300
WELL, I THINK I DID HAVE
HENRY MILLER IN MIND

910
00:44:41,333 --> 00:44:42,333
JUST A LITTLE BIT.

911
00:44:42,367 --> 00:44:43,700
YEAH.

912
00:44:43,733 --> 00:44:46,500
YEAH, WITH YOUR PARIS SETTING,
AND, YOU KNOW, THE YOUNGER MAN,

913
00:44:46,533 --> 00:44:48,633
OLDER WOMAN
RELATIONSHIP,

914
00:44:48,667 --> 00:44:52,200
AND THE FIXATION
ON PROSTITUTES, RIGHT?

915
00:44:52,233 --> 00:44:54,133
OH, THOSE ARE ALL
HENRY MILLER THEMES,

916
00:44:54,167 --> 00:45:00,067
BUT WHAT ELSE ABOUT...
HUNTER'S STORY

917
00:45:00,067 --> 00:45:02,133
CALLS TO MIND
HENRY MILLER FOR YOU?

918
00:45:02,167 --> 00:45:05,367
I ACTUALLY THINK
THAT IT'S HENRY MILLER LITE.

919
00:45:05,400 --> 00:45:06,600
[CHUCKLES FROM CLASS]

920
00:45:06,633 --> 00:45:08,200
NO, NO, NO, BUT SERIOUSLY,
SERIOUSLY,

921
00:45:08,233 --> 00:45:10,467
BECAUSE IN YOUR STORY,

922
00:45:10,500 --> 00:45:12,067
ALL YOUR WOMEN,

923
00:45:12,067 --> 00:45:13,900
YOU'VE BASICALLY TURNED THEM

924
00:45:13,933 --> 00:45:17,533
INTO THESE NAMELESS, FACELESS,
BODY-PART WHORES.

925
00:45:17,567 --> 00:45:19,067
THAT IS NOT TRUE.

926
00:45:19,100 --> 00:45:21,867
I HONOR MY WOMAN CHARACTERS.

927
00:45:21,900 --> 00:45:24,067
I IMBUE THEM WITH SEXUAL AGENCY.

928
00:45:24,067 --> 00:45:25,233
YOUR MAIN CHARACTER, JASMINE,

929
00:45:25,267 --> 00:45:27,400
SHE, LIKE,
OPENS UP MADELAINE'S WORLD

930
00:45:27,433 --> 00:45:30,100
BY GIVING HER THE BEST
FUCKING ORGASM SHE'S EVER HAD--

931
00:45:30,133 --> 00:45:31,733
WHICH I DON'T KNOW
IF YOU KNOW THIS,

932
00:45:31,767 --> 00:45:33,367
IS THE PRIMARY SEX ACT

933
00:45:33,400 --> 00:45:35,300
THAT TWO WOMEN
CAN ACTUALLY HAVE--

934
00:45:35,333 --> 00:45:37,367
AND THEN YOU GO AHEAD,
AND YOU BELITTLE IT

935
00:45:37,400 --> 00:45:39,067
BY TURNING IT
INTO PORNOGRAPHY,

936
00:45:39,100 --> 00:45:40,300
AND I THINK

937
00:45:40,333 --> 00:45:41,867
THAT THE REASON
WHY YOU'RE DOING THIS

938
00:45:41,900 --> 00:45:43,667
IS BECAUSE MEN CAN'T HANDLE IT,

939
00:45:43,700 --> 00:45:46,567
THE FACT THAT THESE WOMEN
CAN HAVE THIS AMAZING,

940
00:45:46,600 --> 00:45:51,067
FUCKING BEAUTIFUL,
MIND-BLOWING ORGASM

941
00:45:51,067 --> 00:45:53,067
WITHOUT A FUCKING COCK.

942
00:45:53,067 --> 00:45:55,400
HMM.

943
00:45:55,433 --> 00:45:56,433
SOUNDS LIKE YOU KNOW

944
00:45:56,467 --> 00:45:57,633
WHAT YOU'RE TALKING
ABOUT, JENNY.

945
00:46:01,967 --> 00:46:03,933
[***]

946
00:46:06,967 --> 00:46:07,900
[CELLPHONE BUZZES]

947
00:46:11,100 --> 00:46:13,567
HELLO.

948
00:46:13,600 --> 00:46:15,267
HEY, HOW ARE YOU DOING?

949
00:46:15,300 --> 00:46:18,233
I DIDN'T RECOGNIZE
YOUR NUMBER.

950
00:46:18,267 --> 00:46:20,367
UM, YOU KNOW,
I THINK SHE LEFT.

951
00:46:21,667 --> 00:46:23,833
BUT, UM...

952
00:46:23,867 --> 00:46:25,667
YEAH, NO, SHE'S NOT BACK.

953
00:46:27,600 --> 00:46:29,967
IS EVERYTHING ALL RIGHT?

954
00:46:30,067 --> 00:46:31,133
HOLD ON, HOLD ON, SLOW DOWN.

955
00:46:31,167 --> 00:46:33,933
I CAN'T HEAR YOU.
SAY IT AGAIN.

956
00:46:36,167 --> 00:46:37,800
ALL RIGHT, UM...

957
00:46:37,833 --> 00:46:39,633
LISTEN, THAT'S TOTALLY NORMAL.

958
00:46:39,667 --> 00:46:41,167
JUST-- JUST BE COOL.

959
00:46:41,200 --> 00:46:44,767
TELL ME EXACTLY
WHERE YOU ARE, OKAY?

960
00:46:44,800 --> 00:46:46,267
UH-HUH.

961
00:46:46,300 --> 00:46:49,567
YEAH, OF COURSE,
BUT WHERE SPECIFICALLY?

962
00:46:49,600 --> 00:46:53,067
ON VENICE--
ON WASHINGTON, OKAY.

963
00:46:53,067 --> 00:46:54,267
ON THE WASHINGTON SIDE.

964
00:46:54,300 --> 00:46:57,100
SO THE PHONE BOOTH
RIGHT BY THE ALLEY.

965
00:46:57,133 --> 00:46:59,633
OKAY, I WANT YOU
TO JUST SIT DOWN RIGHT THERE,

966
00:46:59,667 --> 00:47:01,567
AND I'M GOING TO BE THERE
IN, LIKE, 20 MINUTES, ALL RIGHT,

967
00:47:01,600 --> 00:47:03,067
AND JUST-- JUST BE COOL,

968
00:47:03,100 --> 00:47:07,300
AND, UM, JUST-- JUST DON'T MOVE
FROM THERE, OKAY?

969
00:47:07,333 --> 00:47:09,967
UM, YOU'RE NOT DRINKING
TOO MUCH WATER, ARE YOU?

970
00:47:10,067 --> 00:47:11,433
BECAUSE I HEARD THIS THING
ABOUT THIS GUY

971
00:47:11,467 --> 00:47:13,767
WHO WAS
AT THE BURNING MAN FESTIVAL

972
00:47:13,800 --> 00:47:15,200
O.D.ing ON X,

973
00:47:15,233 --> 00:47:17,300
AND HE WOUND UP
DRINKING ALL THIS WATER--

974
00:47:17,333 --> 00:47:18,767
YEAH, JUST...

975
00:47:18,800 --> 00:47:20,167
I'M GOING TO BE THERE
IN, LIKE, 20 MINUTES.

976
00:47:20,200 --> 00:47:22,200
JUST DON'T DRINK A LOT OF WATER.

977
00:47:22,233 --> 00:47:23,267
[DOOR SLAMS]

978
00:47:27,133 --> 00:47:28,733
SCHECTER....

979
00:47:30,933 --> 00:47:33,633
THAT WAS TOTALLY UNNECESSARY,

980
00:47:33,667 --> 00:47:35,800
AND YOU KNOW BETTER.

981
00:47:35,833 --> 00:47:38,833
UM...

982
00:47:38,867 --> 00:47:40,500
BUT I-- BUT I--

983
00:47:40,533 --> 00:47:41,833
I SPOKE MY MIND.

984
00:47:41,867 --> 00:47:43,200
I MEAN, THE THING IS,

985
00:47:43,233 --> 00:47:46,800
I'VE BEEN SUBJECT TO SOME REALLY
HARSH CRITICISM IN THIS CLASS,

986
00:47:46,833 --> 00:47:48,067
AND I'VE BEEN ABLE TO TAKE IT

987
00:47:48,067 --> 00:47:49,633
BECAUSE I THINK THAT'S YOUR JOB
AS A WRITER,

988
00:47:49,667 --> 00:47:51,500
TO BE ABLE TO TAKE
THAT KIND OF CRITICISM.

989
00:47:51,533 --> 00:47:53,867
MY JOB IS TO MAKE SURE
THAT EVERYONE BECOMES

990
00:47:53,900 --> 00:47:55,667
THE BEST WRITER
HE OR SHE CAN BE.

991
00:47:55,700 --> 00:47:57,133
THERE ISN'T ONE STANDARD.

992
00:47:57,167 --> 00:47:58,200
THERE ARE MANY.

993
00:47:58,233 --> 00:47:59,533
AND I THINK
IT'S TIME

994
00:47:59,567 --> 00:48:01,467
THAT YOU STEP UP
TO THE PLATE

995
00:48:01,500 --> 00:48:02,533
AND START LIVING

996
00:48:02,567 --> 00:48:03,533
ACCORDING
TO THE STANDARD

997
00:48:03,567 --> 00:48:04,633
I'VE SET FOR YOU.

998
00:48:04,667 --> 00:48:06,667
OKAY, BUT WHAT
IS YOUR STANDARD?

999
00:48:06,700 --> 00:48:07,700
BECAUSE THE THING IS,

1000
00:48:07,733 --> 00:48:09,067
I DON'T KNOW
WHAT YOU THINK OF ME,

1001
00:48:09,067 --> 00:48:11,233
OR YOU THINK OF MY WRITING,
BECAUSE--

1002
00:48:11,267 --> 00:48:13,067
I HAVE AN ASSIGNMENT FOR YOU.

1003
00:48:14,733 --> 00:48:16,400
WHAT?

1004
00:48:16,433 --> 00:48:19,067
DO YOU WANT ME
TO BLINDFOLD MYSELF

1005
00:48:19,100 --> 00:48:21,833
AND WALK INTO
A BUSY INTERSECTION,

1006
00:48:21,867 --> 00:48:24,400
SO I CAN FEEL MORE
WITH MY WRITING?

1007
00:48:24,433 --> 00:48:25,567
I WANT YOU TO CALL MY FRIEND

1008
00:48:25,600 --> 00:48:26,633
BURR CONNOR.

1009
00:48:26,667 --> 00:48:27,700
DO YOU KNOW
WHO HE IS?

1010
00:48:27,733 --> 00:48:29,067
UM...

1011
00:48:29,067 --> 00:48:30,233
YES.

1012
00:48:30,267 --> 00:48:33,600
ISN'T HE, LIKE,
THAT OLD-SCHOOL MOVIE STAR?

1013
00:48:33,633 --> 00:48:36,467
IT'S NOT EXACTLY
THE SILENT ERA.

1014
00:48:36,500 --> 00:48:38,167
HE WAS AN ACTION STAR
IN THE MID-'80S.

1015
00:48:38,200 --> 00:48:39,400
BUT HE'S
AN INTERESTING MAN,

1016
00:48:39,433 --> 00:48:42,500
AND HE'S WRITING HIS MEMOIRS
FOR DUTTON.

1017
00:48:44,200 --> 00:48:45,400
WHY DO YOU WANT ME
TO CALL HIM?

1018
00:48:45,433 --> 00:48:46,567
BECAUSE
HE NEEDS HELP.

1019
00:48:46,600 --> 00:48:48,900
HE NEEDS SOMEONE
TO REDACT HIS STORIES,

1020
00:48:48,933 --> 00:48:51,067
SOMEONE
TO GIVE STRUCTURE,

1021
00:48:51,067 --> 00:48:54,867
AND HE NEEDS SOMEONE TO PUSH HIM
TO DIG A LITTLE DEEPER

1022
00:48:54,900 --> 00:48:57,133
TO TELL THE TRUTHS
THAT ARE HARDER TO FIND,

1023
00:48:57,167 --> 00:49:01,100
AND I TOLD HIM YOU WERE
MY MOST GIFTED STUDENT.

1024
00:49:08,500 --> 00:49:10,733
TAKE THE CARD.
CALL HIM.

1025
00:49:13,133 --> 00:49:15,100
SAILBOATS.

1026
00:49:17,133 --> 00:49:18,467
IT'S STAYING.

1027
00:49:18,500 --> 00:49:20,200
I KNOW, BECAUSE
YOU'RE SO GOOD AT IT.

1028
00:49:20,233 --> 00:49:22,833
DO YOU WANT TO DO
SOME MORE GLUE RIGHT HERE?

1029
00:49:22,867 --> 00:49:24,067
OKAY.

1030
00:49:24,067 --> 00:49:26,467
OKAY, SEE
IF YOU CAN DO THAT.

1031
00:49:26,500 --> 00:49:27,467
YEAH, THAT LOOKS GOOD.

1032
00:49:27,500 --> 00:49:28,533
THIS ONE'S
GOING TO BE HARD

1033
00:49:28,567 --> 00:49:29,633
BECAUSE IT'S,
LIKE, TILTED.

1034
00:49:29,667 --> 00:49:30,733
DO YOU THINK
MORE GLUE,

1035
00:49:30,767 --> 00:49:32,467
LIKE, ON THE ENDS?

1036
00:49:32,500 --> 00:49:33,533
JUST KEEP ON GLUING.

1037
00:49:33,567 --> 00:49:34,567
I'M GOING TO MAKE
A QUICK PHONE CALL.

1038
00:49:34,600 --> 00:49:36,500
OKAY?

1039
00:49:51,067 --> 00:49:54,067
BETTE, IT'S TINA.

1040
00:49:54,067 --> 00:49:57,233
I KNOW WE'RE GETTING TOGETHER
NEXT WEDNESDAY, BUT, UH...

1041
00:49:57,267 --> 00:50:00,133
I JUST WANTED TO LET YOU KNOW
THAT I'VE BEEN, UH...

1042
00:50:00,167 --> 00:50:04,533
THINKING ABOUT OUR BABY.

1043
00:50:04,567 --> 00:50:06,500
[***]

1044
00:50:19,867 --> 00:50:21,733
NO MORE, FUCKING
CRAZY BITCH!

1045
00:50:21,767 --> 00:50:23,567
FUCK YOU, MEL!

1046
00:50:24,667 --> 00:50:26,300
GET OUT OF HERE,
YOU LITTLE FREAK!

1047
00:50:26,333 --> 00:50:27,300
FUCKING LAY OFF!

1048
00:50:27,333 --> 00:50:29,233
YOU LITTLE FREAK.
EAT SHIT!

1049
00:50:30,800 --> 00:50:31,800
GET OFF, MAN.

1050
00:50:31,833 --> 00:50:33,267
FUCK YOU. GET OFF ME.

1051
00:50:33,300 --> 00:50:35,833
[GRUNTING]

1052
00:50:35,867 --> 00:50:37,800
YOU FUCKING PIECE OF SHIT.

1053
00:50:37,833 --> 00:50:40,233
SHE DON'T LOOK LIKE
NO FUCKING GIRL!

1054
00:50:40,267 --> 00:50:43,833
FUCK YOU,
FUCKING CUNT!

1055
00:50:43,867 --> 00:50:44,833
NO MORE.

1056
00:50:44,867 --> 00:50:45,833
FUCK YOU,
YOU KNOW?

1057
00:50:45,867 --> 00:50:47,467
FUCK OFF!

1058
00:50:47,500 --> 00:50:48,500
ALL RIGHT,
COME ON.

1059
00:50:48,533 --> 00:50:52,367
PIECE OF SHIT.

1060
00:50:52,400 --> 00:50:53,600
YOU'RE ALL RIGHT.

1061
00:50:56,100 --> 00:50:57,333
ALL RIGHT.

1062
00:50:57,367 --> 00:50:59,000
YOU'RE OKAY.

1063
00:50:59,033 --> 00:51:00,400
I GOT YOU NOW.

1064
00:51:03,833 --> 00:51:05,233
HI.

1065
00:51:05,267 --> 00:51:06,600
JEEZ, I'M SORRY,
I DIDN'T MEAN TO SCARE YOU.

1066
00:51:06,633 --> 00:51:08,700
I WAS JUST
LOOKING FOR TINA.

1067
00:51:08,733 --> 00:51:09,867
TINA DOESN'T LIVE HERE ANYMORE.

1068
00:51:09,900 --> 00:51:12,067
UH, I'M SANDY.

1069
00:51:12,067 --> 00:51:14,067
SHE USED TO BUY FROZEN MEAT
AND FISH FROM ME,

1070
00:51:14,067 --> 00:51:15,633
USUALLY STOCKED UP
A COUPLE OF TIMES A YEAR?

1071
00:51:15,667 --> 00:51:18,733
YEAH, I REMEMBER YOU.

1072
00:51:18,767 --> 00:51:21,233
DO YOU THINK
YOU MIGHT WANT SOMETHING?

1073
00:51:21,267 --> 00:51:23,867
UM, I DON'T REALLY DO THAT MUCH
COOKING ON MY OWN, SO--

1074
00:51:23,900 --> 00:51:25,200
WELL, LET ME
GIVE YOU A BOX

1075
00:51:25,233 --> 00:51:28,600
OF NEW YORK STEAKS ON ME.

1076
00:51:28,633 --> 00:51:31,467
MAYBE I COULD COME BY
AND COOK THEM FOR YOU SOMETIME.

1077
00:51:35,733 --> 00:51:38,167
[CHUCKLES]

1078
00:51:41,800 --> 00:51:43,933
OH, CHRIST...

1079
00:52:05,567 --> 00:52:09,167
YOU HAVE ONE UNHEARD MESSAGE.

1080
00:52:09,200 --> 00:52:10,633
[BEEP]

1081
00:52:10,667 --> 00:52:12,633
BETTE, IT'S TINA.

1082
00:52:12,667 --> 00:52:16,967
I KNOW WE'RE GETTING TOGETHER
NEXT WEDNESDAY, BUT, UH...

1083
00:52:17,067 --> 00:52:20,967
I JUST WANTED TO LET YOU KNOW
THAT I'VE BEEN, UH...

1084
00:52:21,067 --> 00:52:25,267
THINKING ABOUT OUR BABY.

1085
00:52:25,300 --> 00:52:27,967
WE CONCEIVED
OF THIS BABY TOGETHER,

1086
00:52:28,067 --> 00:52:34,800
AND YOU SHOULD ABSOLUTELY
BE PART OF HER LIFE.

1087
00:52:34,833 --> 00:52:35,900
[BEEP]

1088
00:52:35,933 --> 00:52:38,567
[***]

1089
00:53:04,867 --> 00:53:08,167
I THINK SHE'LL LIKE THIS.

1090
00:53:15,900 --> 00:53:18,067
[***]

1091
00:54:13,600 --> 00:54:15,233
[MEOWS]

1092
00:54:15,267 --> 00:54:16,500
[PURRS]