?? [MELLOW JAZZ]
[WORKERS CHATTERING]
[MAN ON TV] THEN YOU REALIZE YOU'RE THIS LITTLE COG IN A MACHINE.
A COG THAT WORKS 40 TO 50 HOURS A WEEK
FOR 40 TO 50 YEARS, AND FOR WHAT?
THANKS.
[MAN] I KNOW WE' VE ONLY JUST MET,
BUT IT FEELS COMFORTAB LE, YOU KNOW?
AN. DOES THAT SOUND STUPID ? [WOMAN] NO, I KNOW WHAT YOU ME
IT'S LIKE YOU MEET SOMEO NE, AND YOU JUST CLICK.
I CAN'T BELIEVE HE'S ACTUALLY DOING IT.
OH, HE'S DOING IT, ALL RIGHT.
WHAT KIND OF GUY BETS HE CAN PICK UP THE FIRST GIRL
TO WALK THROUGH THOSE DOORS?
THAT KIND OF GUY RIGHT OVER THERE.
'CAUSE I FEEL LIKE I'VE KNOWN YOU FOR AGES.
AND, UH, I...
NO, I'M-I'M SORRY. I CAN'T DO THIS.
T? CAN'T DO WHA
THIS IS GONNA SOUND TERRIBLE.
YOU SEE THE THREE PEOPLE SITTING BEHIND ME?
TWO GUYS AND A GIRL?
THE ONES SPYING ON US?
YEAH, UH, SOUNDS LIKE THEM . WE ALL WORK IN THE AREA.
MOST NIGHTS, BEFORE AND AFTER SHIFTS,
WE SIT AROUND, DRINK COFFEE, PASS THE TIME, YOU KNOW?
AND, UM, TONIGHT THEY SAW YOU COME IN, WENDY,
AND SIT DOWN BY YOURSELF.
WHAT TIME ARE YOU DUE BA CK? HALF AN HOUR.
HAVE YOU SPOKEN TO HER YET ? SPOKEN TO WHO?
! SEAN! YOU TWO, SHH
I'M TRYING TO LEARN SOMETHING HE RE. WHAT IS IT?
THEY BET ME I COULDN'T SIT DOWN HERE AND PICK YOU UP WITHIN TEN MINUTES.
T? THEY DID WHA
UH-OH. OH, LOOKS LIKE HE'S BLOWN IT.
MAYBE SHE'S ACTUAL LY GOT TASTE.
[WENDY] YOU EXPECT ME TO SIT HERE AND LISTEN TO THIS?
ER. [VINCENT] NO, I DON'T. I'M SORRY I EVER CAME OV
YOU DIDN'T DESERVE THIS.
AND FOR WHAT IT'S WORTH, I MEANT WHAT I SAID ABOUT YOU AND ME.
IT'S MY OWN STUPID FAULT FOR BLOWING IT.
YOU'RE NOT THAT SORT OF GIRL. I MEAN, YOU'RE... LOOK AT YOU, WOW!
OH. WAIT.
. [WENDY] THIS IS GONNA SOUND STUPID
WELL, I WAS SORT OF PLEASE D WHEN YOU SAT DOWN. REALLY?
YEAH. I MEAN, BEFORE I FOUND OUT WHY . REALLY?
. YEAH. IT SOUNDS STUPID , DOESN'T IT? IT DOESN'T SOUND STUPID AT ALL
UM, LISTEN.
I HAVE GOTTA GO BACK, BUT, UM, CAN I TAKE YOUR NUMBER?
[WENDY] I DON'T NORM ALLY. I'D GIVE ANYTHING TO KNOW WHAT'S GOING ON.
[SEAN] LOOKS LIKE YOU'RE ABOUT TO FIND OUT.
WELL?
VINCENT!
GOD. HOW ANNOYING CAN YOU BE?
I'M DYING HERE. WHAT HAPPENED?
. I HAVEN'T FINISHED WITH THAT. I HAVE
THAT'S VERY MATU RE, VINCENT.
WELL, I AM TRYING TO BE AS ONE-DIMENSIONAL AS POSSIBLE.
?? SUN IS SHINING THE WEATHER IS SWEET, YEAH ??
?? BOY, MAKES YOU WANNA MOVE THOSE DANCING FEET ??
[BEEPING]
?? TO THE RESCUE, OH ??
?? HERE I AM ??
?? I WANT YOU TO KNOW NOW ??
?? HERE I STAND ??
?? AS THE MORNING GATHERS A RAINBOW ??
LENNY SPEAKING. WHICH NAME, PLEASE?
THANK YOU.
CAN YOU SPELL IT, PLEASE? AND WHERE IS THAT?
?? 'CAUSE I'M A HERO LIKE ROBERT DE NIRO ??
?? I KNOW AM ITAL RASTA MAN GOT TO KEEP I HEIGHT ??
?? PROTECTION UNTIL TIME ??
?? THE SUN IS SHINING, YEAH BOY ??
HELLO, DIRECTORY. LENNY SPEAKING. WHICH NAME, PLEASE?
?? YOU'VE GOT TO DEMONSTRATE DEMONSTRATE ??
?? YOU'VE GOT TO DEMONSTRATE DON'T FIGHT ??
?? 'CAUSE THE SUN IS SHINING FOR YOU ??
?? ?? THERE'S NOTHING ELSE TO DO
?? AS THE MORNING GATHERS A RAINBOW ??
?? I WANT YOU TO KNOW NOW THAT I'M A RAINBOW WITH YOU ??
?? WHOA, WHOA, WHOA, YEAH ??
?? TEST THE EYE TEST THE EYE ??
?? FEAR NO EVIL ??
?? CHANNEL LIKE A LION CHANNEL LIKE A LION ??
?? SUN IS SHINING THE WEATHER IS SWEET, YEAH ??
?? BOY, MAKES YOU WANNA MOVE YOUR DANCING FEET ??
?? BOY ??
?? TO THE RESCUE OH, HERE I AM ??
?? I WANT YOU TO KNOW, Y'ALL HERE I STAND ??
?? AS THE MORNING GATHERS A RAINBOW ??
?? I WANT YOU TO KNOW NOW THAT I'M A RAINBOW WITH YOU ??
?? SOME SAY, YEAH ??
?? MONEY IN MY ONE ON ONE ??
?? MONEY IN MY POCKET, BUT I JUST CAN'T GET YOUR LOVE ??
HT. [SEAN] I READ A TH ING IN A MAGAZINE, RIG
THERE WAS THIS LANDLOR D IN OSAKA. HE RENTED OUT THIS APARTMENT.
[VINCENT] WHERE WAS THIS?
PAN. [SEAN] OSAKA . IT'S IN JA
RIGHT. GOT YOU.
S. THIS LANDLORD RENTS OUT AN APARTMENT TO TWO DIFFERENT TENANT
ONE OF THEM WO RKS NIGHT SHIFT... LIKE US.
YEAH. AND THE OTHE R WORKS DAY SHIFT.
NE. NEITHER OF THESE TENAN TS KNOW ABOUT THE OTHER O
R. BECAUSE THEY WORK DIFFERENT SHIFTS, THEY NEVER RUN INTO EACH OTHE
TAKES SIX MONTHS BEFORE THEY REALIZE THEY AREN'? ’T ACTUALLY LIVING ALONE.
AH. AND THIS IS A TRUE STORY? YE
WELL, THAT'S RUBBISH. WHAT ABOUT WEEKENDS?
I DON'T KNOW. MAYBE THEY'RE AVOIDING EACH OTHER.
THAT'S NOT THE POI NT OF THE STORY. THERE'S A POINT?
YEAH. IT'S PRETTY MUCH THE SAME SITUATION AS ME AND MY GIRLFRIEND.
OH, I GET IT. A METAPHOR, RIGHT.
AND THAT'S WHY YOU'VE BEEN LOOKING FOR CLUES THAT SHE'S STILL THERE?
WELL, YEAH . SEAN, THAT IS SAD.
AND I MEAN THAT IN THE CRUELEST SENSE OF THE WORD.
W. SO, WHEN DID YOU LAST SEE HER? ABOUT THREE WEEKS AGO NO
WHAT'S SHE LIKE? WELL, SHE'S GR EAT, YOU KNOW.
Y. SHE'S SMAR T, FUNNY, PRETT
WHAT KIND OF CLOTHES DOES SHE WEAR?
ES. WELL, YOU KNOW , GIRL'S CLOTH
WHAT COLOR UNDERWEAR? WHAT'S THAT GOT TO DO WITH ANYTHING?
I'M JUST TRYING TO ESTABLISH THE FACTS.
YOU KNOW, LIKE, RATINGS WISE. FIGURE, FACE, PERSONALITY.
GIVE HER MARKS OUT OF TEN.
ARE YOU SERIOUS?
T. YEAH. FORGET I
WHAT I MEAN IS, IF YOU SAW HER SITTING BY HERSELF, IN A BAR,
WOULD YOU GO CHAT HER UP?
SHE'S MY GIRLFRIEND. OF COURSE I WOULD.
LENNY? YEAH, HOLD ON.
YEAH, SORRY. WHAT IS IT?
UM, WOULD YOU SAY I'M,
YOU KNOW?
YOU KNOW? ER, CAN WE START AGAIN?
I THINK I GOT LOST AFTER ABOUT THE THIRD WORD.
USEFUL.
USEFUL?
. NO. ATTRACTIVE
WELL, I-I DON'T KNOW. I MEAN, WHAT KIND OF QUESTION IS THAT?
G. I'M JUST ASKIN
ALL RIGHT. I MEAN, WOULD YOU RATE ME?
JESUS, JODY. I DON'T KNOW.
[VIDEO GAME SOUNDS]
OUT. IT'LL SORT ITSELF
. [SLURPING] THESE THINGS ALWAYS DO
YOU KNOW HOW IT WORK S. NO, I DON'T.
WHAT? YOU SAID, "YOU KNOW HOW IT WORKS."
I SAID, "NO, I DON'T," 'CAUSE I DON'T.
I THINK ANYBODY WHO MOVES IN WITH HIS GIRLFRIEND IS INSANE.
'COURSE, IF YOU'RE MARRIED, IT'S PROBABLY UNAVOIDABLE.
OTHERWISE, IT'S JUST INSANE.
[JODY] I'M ONLY ASKING QUESTIONS.
ALL RIGHT.
YOU'RE ALONE IN YOUR ROOM AND YOU WANT TO HAVE, YOU KNOW, FUN FOR ONE.
IT! WHAT? OH, SH
YOU KNOW, A PERSONAL TOUCH. A ONE-MAN BAND.
I DON'T BELIEVE YOU'RE ASKING ME ABOUT THIS. GROW UP, LENNY.
WOULD YOU EVER CONSIDER DOING IT ABOUT A GIRL?
FOR EXAMPLE, LIKE ME?
UM, JODY.. . JUST ANSWER THE QUESTION.
NO! WELL, I ME AN, PROBABLY NOT.
. WHY NOT? LOOK, JODY, PLEASE
OW. LENNY? LOOK, I DON'T KN
YOU'RE A FRIEND. IT'D BE RUD AND YOU'RE NOT MY TYPE.
NOT YOUR TYPE? WHAT'S WRONG WITH ME ? LOOK, THAT'S IT.
SEAN? [LENNY] THIS CONVERSATION IS OFFICIALLY OVER.
IF THAT'S A BAR OF SOAP, THERE'S GONNA BE TROUBLE.
[COINS CLINK]
HEY. HEY.
YOU OKAY? YEAH, NO.
IT'S JUST, THIS MACHINE, IT KEEPS EATING MY MONEY.
OH, YEAH. YOU'RE NOT M EANT TO PUT MONEY IN IT.
OH. YOU HAVE TO GIVE I T "THE FONZ."
[WHIRRING SOUND]
THANKS.
OH, UH, THAT'S THE OTHER THI NGI WOULDN'T DRINK THE COFFEE.
YEAH.
. I REALLY DIDN'T MEAN TO END UP WORKING HERE
. I'D ALWAYS PLANNED TO BE AN ASTRONAUT OR A RACING CAR DRIVER
TYPICAL BOY. HMM.
NEVER HAD HOSPITAL POR TER DOWN ON THE LIST, BUT,
. WELL, IT PAYS OKAY AND I'M PRETTY MUCH LEFT TO MY OWN DEVICES
AND, UM, A HOSPITAL AT NIGHT,
FEELS KIND OF CREEPY, DON'T YOU THINK?
YEAH.
SO WHAT ABOUT YOU? WHAT ARE YOU DOING HANGING AROUND HERE?
SEAN, YOU KNOW WHAT I FEEL LIKE DOING?
NOT HAVING THAT CONVERSATION
WHERE TWO PEOPLE BORE EACH OTHER WITH THEIR LIFE STORIES.
DIDN'T REALI ZE I WAS BORING Y OU. NO, YOU WEREN'T.
JUST... GUY WHO WORKS NIGHTS IN HOSPITAL.
THINK I CAN FILL IN THE BLANKS.
[BEEPING]
[VINCENT] WHAT ARE WE TALKING ABOUT AGAI N? [SEAN] SUSIE.
NOT YOUR GIRLFRIEND? NO, NOT MY GIRLFRIEND.
HERE. A GIRL CALLED SUSIE, AT THE HOSPITAL. I'M DRAWING A BLANK
TS. DO YOU EVER LISTEN TO ANYTHING ANYONE ACTUALLY EVER SAYS? SEAN, THAT HUR
IF I DON'T TAKE IN ALL THE DETAILS OR HEA R EVERY WORD YOU SAY,
R. IT'S BECAUSE I'M A NON-JUDGMENTAL LISTENE
ST. A NON-JUDGMENTAL LISTENER? YEAH. I'M AN EAR YOU CAN TRU
THE POINT IS, I ASK HER WHAT SHE'S DOING HANGING AROUND THE HOSPITAL,
SHE CHANGES THE SUBJECT.
DON'T YOU THINK THAT'S A LITTLE WEIRD?
SEAN, MY LAST THRE E GIRLFRIENDS
HAVE ALL SAID THEY 'RE INTO MODERN JAZZ.
H THAT'S WEIRD. THIS IS JUST A GUY WIT
. TOO MUCH TIME ON HIS HAN DS PLAYING AT BEING COLUMBO
ENCE. THERE'S A DIFFER
I'M GONNA GO GET MYSELF ANOTHER COFFEE.
[VINCENT] LIKE YOU NEED ANY MORE COFFEE.
VE. SEAN? I PERSONALLY THINK YOU'RE VERY ATTRACTI
NO, SEAN. CHECK YOUR WATCH.
UH-HUH. IF YOU GO NOW, YOU CAN GET YOUR TRAIN, GET HOME.
SHE'LL BE THERE, YOU CAN SORT OUT THIS PROBLEM.
SHE MIGHT NOT BE THERE . THAT IS THIS PROBLEM. SEAN, I'M RIGHT.
YOU KNOW I'M RIGHT. I'M ALWAYS RIGHT.
OKAY.
. THANKS
SPELL IT FOR ME.
THANK YOU.
HELLO, DIRECTORY. LENNY SPEAKING. WHICH NAME, PLEASE?
WHAT TOWN'S THAT IN?
THANK YOU.
P, P. OKAY, THANK YOU.
DIRECTORY. LENNY SPEAKING. WHICH NAME, PLEASE?
COULD YOU SPELL THAT FOR ME? THANK YOU.
HELLO, DIRECTORY. LENNY SPEAKING.
WHICH NAME, PLEASE?
[WOMAN] ?? 'CAUSE I'M SO BORED OF ROMANCE ??
?? OF ROMANCE ??
?? MY FINGERS PRICKLE WITH THE MEMORY OF FEELING ??
?? GOING OVER YOU YET AGAIN ??
?? HE'S SITTING IN THE CORNER WITH HIS EYES HALF-OPEN ??
?? HE'S A BACKSEAT DRIVER IN MY GAZE ??
?? I'LL TAKE MY CREDIT DUE WHAT YOU WOULD DO ??
HEY, JOE, WHAT'S THE TIME?
. YOU DO NOT WANT TO KNOW. AH. THIS IS KILLING ME
IF IT'S KILLING YOU, YOU SHOULD BUY A WATCH.
I'VE GOT A WATCH . A WATCH THAT WORKS.
RM. THIS WORKS. IT'S A LUCKY CHA
IT'S THE FABLED WATCH OF ERROL... YEAH, YEAH, I KNOW.
THE FABLED WATCH OF ERROL FLYNN.
DON'T MOCK THE POWER.
WHILE WE STAND AROUND HERE PUTTING FUCKING TINS ON SHELVES,
THERE ARE BEAUTIFUL
19-YEAR-OLD GIRLS IN SHO RT SKIRTS AND TIGHT TOPS
G, GOING TO CLUBS, DRINKING, DANCIN
HORMONES EXPLODI NG LIKE ATOM BOMBS.
. BUT LET'S NO T GET TOO UPSET HERE
E THERE'S ALWAYS THAT FINAL HOURWHEN THE LADIES GET DESPERAT
. AND THEIR STANDARDS PLUMMET FASTER THAN THE SPEED OF LIGHT
AND THAT, THAT IS THE SAME HOUR I GET OFF WORK.
?? 'CAUSE I'M SO BORED OF ROMANCE ??
[SEAN] WHAT I REALLY DON'T GET IS WHY I HAVE TO WEAR A UNIFORM. YOU KNOW?
E. I MEAN, IT'S NOT AS TH OUGH I EVER HAVE TO SEE ANYON
T. AND LET'S FACE IT, I COU LD DO THIS JOB IN A MONKEY OUTFI
W. NO ONE WOULD KNO
WELL, YOU COULD DO IT IN A MONKEY OUTFIT,
BUT PERSONALLY, I JUST LOVE A MAN IN UNIFORM.
DIRECTORY. LENNY SPEAKING. WHICH NAME?
THANK YOU.
? NAME, PLEA SE. WHICH TOWN
HI THERE. IT'S...
OH, OH, YOU RECOGNIZE THE VOICE.
[GIRL CRYING]
I JUST DON'T UNDERSTAND.
I'M SORRY.
BUT YOU KNEW THIS WHEN WE STARTED.
"I'M A BIG GIRL. I CAN HANDLE MYSELF."
I THOUGHT IT WOULD BE DIFFERENT.
LOOK, THIS WAS SUPPOSED TO BE FUN, OKAY?
I MEAN, "LET'S FOOL AROUND. IT'LL BE FUN."
AND IT WAS FUN. IT'S LIKE A GAME, RIGHT?
RIGHT? I SUPPOSE.
AND LIKE ANY GAME, THERE ARE RULES, BABE.
AND ONE OF THE RULES WAS WE COULD ONLY DO THIS THREE TIMES.
YOU KNOW, THREE STRIKES AND YOU'RE OUT.
I THOUGHT YOU WERE JOKIN G. AH, I DON'T JOKE ABOUT THIS STUFF.
VINCENT! BABE, COME ON.
DON'T MAKE ME OUT TO BE A BASTARD OVER THIS.
ST. IF I SOUND HARSH, IT'S 'CAUSE I'M BEING HONE
I'D EXPECT YOU TO APPRECIATE THAT.
. MAYBE I BETTER JUST GO
NO, DON'T BE LIKE THAT.
COME ON. COME BACK TO BED.
YOU KNOW, WE CAN WATCH TV OR SOMETHING.
I JUST GOT CABLE. YOU EVER SEEN THE HOME SHOPPING CHANNEL?
NO. OH, YOU GOTTA SEE IT.
IT'S LIKE THE LAST REFUGE OF CIVILIZATION.
YOU GOTTA SEE SOME OF THE CRAP THESE PEOPLE ARE SELLING.
COME ON, YOU.
NOW, JUST BECAUSE THIS IS THE LAST TIME WE'RE GONNA BE TOGETHER
DOESN'T MEAN WE HAVE TO PART ON BAD TERMS, DOES IT?
NO, I SUPPOSE NOT.
[MAN] AND THAT IS IMPRESSIVE , CONSIDERING THAT IT COMES WITH THE CHAIN TOO.
WANT A CIGARETTE?
E. I DON'T SMOK
AH. THAT'S GOOD.
...AND WE HOPE THAT YOU WILL EXPERIENCE...
YOU KNOW THAT THING
WHEN YOU SEE SOME COUPLE IN THE STREET HAVING A DRUNKEN ARGUMENT?
SHE'S YELLING AT HIM BECAUSE HE NEVER DOES ANYTHING FOR HER.
NEVER MAKES ANY BIG ROMANTIC GESTURES.
OH, YEAH. I LOVE WATCHING THEM.
RIGHT, WELL,
THAT WAS THE ARGUMENT THAT WE HAD.
OH . I SAID SOME THINGS THAT I REGRET.
SHE SAID SOME THINGS SHE SHOULD DEFINITELY REGRET, AND IT JUST SNOWBALLED FROM THERE.
BUT THAT WAS, WHAT, WEEKS AGO.
IT STARTED OUT AS THOUGH I WAS JUST AVOIDING HER.
THAT TURNED INTO HABIT, AND NOW, WELL, I'M JUST GETTING THIS FEELING THAT...
SEAN, YOU WANT A SIMPLE SOLUTION?
[JODY] HARDWARE STORE. BIG POT OF PAINT. PAINTBRUSH.
YOU GO HOME, YOU PAINT ON THE BEDROOM WALL IN BIG "FUCK OFF" LETTERS,
"DO YOU STILL LIVE HERE?"
YOU COME HOME FROM WORK ONE DA Y AND SHE'S STANDING THERE
THROWING A HISSY FIT ABOUT THE STATE OF THE WALLPAPER.
THEN I THINK YOU'VE GOT YOUR ANSWER.
NO, I DON'T KNOW. WE JUST REDECORATED.
SEAN? OKAY, LOOK.
WHAT IF I WAS TO DO THAT, AND IT TURNS OUT THAT IT IS ALL OVER BETWEEN US?
THAT'S WHAT I'M REALLY SCARED OF.
LLED? THAT SOUNDS LIKE... WHAT'S THAT GUY THING CA
THE FEAR?
YEAH. THE FEAR.
[OPERATORS CHATTING]
[WOMAN SINGING BREATHLESSLY] ?? OH ??
[RECORD NEEDLE SCRATCHING]
?? OH ??
?? OH, YEAH ??
?? OH ??
RS. I'VE WORKED IN J OBS LIKE THESE FOR YEA
I DEVISED SO MANY WAYS TO MAKE THE CLOCK GO FASTER.
ME. FIRST OF ALL, I TRIED DOING THE JOB IN RECORD TI
. WELL, THAT SOUNDS LIKE FUN
THEN SEEING HOW SLOW I COULD GO.
THEN MARKING OFF THE QUARTER HOURS.
THEN DIVIDING THEM UP INTO FIVE MINUTE SEGMENTS.
. BUT YOU CAN'T BEAT THE CLOCK
THAT MAKES ME FEEL MUCH BETTER.
TTY. TRY NOT TO THINK ABOUT IT BECAUSE YOU'LL SEE THE BIG PICTURE AND THAT'S NOT PRE
THEN YOU REALIZE YOU'RE THIS LITTLE COG IN A MACHINE.
A COG THAT WORKS 40 TO 50 HOURS A WEEK FOR 40 TO 50 YEARS, AND FOR WHAT?
SO YOU CAN SPEND YOUR DECLININ G YEARS SITTING IN AN EASY CHAIR PISSING AND SHITTING YOURSELF.
JOE, MUCH AS I LOVE YOU, MAN, THAT'S DEPRESSING.
WELL, LET ME PUT I T ANOTHER WAY.
WHAT, FOR EXAMPLE, ARE YOU GONNA DO WHEN YOUR LOOKS GO?
Y. IT'S NEVER GONNA HAPPEN. THIS FACE DEFIES PLASTIC SURGER
BESIDES, I GOT THIS.
VINNY, LOVERS LEAVE, PARTIES END, BAD JOBS GO ON FOREVER.
SERIOUSLY, WHAT ARE YOU GONNA DO WITH THE REST OF YOUR LIFE?
BIG QUESTION. LET'S SEE...
SAVE UP SOME MONEY, PAY OFF MY DEBTS.
LEAVE THIS MICKEY MOUSE JOB FOR DUST.
IN FACT, THAT'S PROBABLY TOP OF MY LIST.
AND THEN WHAT?
WELL, THEN I'LL GET A BETT ER JOB, MOVE INTO A NICER FLAT,
. PROBABLY CONTINUE DATING GIRLS WITH SEVERE EMOTIONAL PROBLEMS
AND THEN WHAT?
. THEN..
UH-HUH?
I THINK I PREFERRED IT WHEN YOU WERE RAMBLING ON
ABOUT BEING A COG IN THE MACHINE.
I MEAN, I WASN'T LISTENING TO HALF OF IT, BUT AT LEAST IT DIDN'T CONCERN ME.
OH, COME ON, JOE. GIVE ME A BREAK.
JUST THINK ABOUT IT.
NO, THE WHOLE REASON I DO A MIND-NUMBING JOB IS
HINK. SO I DON'T HAVE TO T
HENCE "MIND-NUMBING."
[RESPIRATOR OPERATING]
SUSIE. SEAN.
WHAT ARE YOU DOING? SNOOPING AROUND?
AH. NO... WELL, YE
UM, SEAN, MEET DAVID.
AN. DAVID, MEET SE
DAVID'S...
YEAH, HE'S MY BOYFRIEND.
WELL, AREN'T YOU GONNA SHAKE HIS HAND?
SEAN, I WAS JOKING.
[VINCENT] I JUST DON'T KNOW HOW LONG I C KEEP GOING. WHAT'S TO KNOW?
YOU SIT THERE TAKING CALLS , GIVING OUT PHONE NUMBERS.
COUPLE OF YEARS, THEY' LL TRAIN MONKEYS TO DO IT A ND YOU CAN FIND A NEW JOB.
[LENNY] I DON'T KNOW, VINCENT. I MEAN, SEE LAST NIGHT...
I'M SITTING AT MY TERMINAL AND LOOKING AT THE GUY WHO SITS ACROSS FROM ME.
AND I'VE BEEN THERE NEARLY TWO YEARS, AND THIS GUY
PROBABLY SITS ACROSS FROM ME SIX, SEVEN NIGHTS A WEEK.
AND I REALIZE I DON'T EVEN KNOW HIS NAME,
WHERE HE'S FROM, YOU KNOW, ANYTHING.
AND I LOOK AROUND THE PLACE,
AND I KNOW MAYBE FOUR OR FIVE PEOPLE'S NAMES AT A PUSH.
THIS IS MEANT TO BE THE HEART OF THE COMMUNICATIONS INDUSTRY, FOR CHRIST'S SAKE.
TWO YEARS AND I CAN'T EVEN NAM HALF THE PEOPLE I WORK WITH.
FUCK 'EM!
WHAT? FUCK 'EM.
WHO WANTS TO KNOW THE NAMES OF A BUNCH OF WING-DINGS, RIGHT?
LENNY, THESE PEOPLE SPEND THEIR TIME GIVING OUT PHONE NUMBERS TO THE GENERAL PUBLIC.
THEY'RE FUCKING TELEPHONE OPERATORS.
WHY WOULD YOU WANNA KNOW THEIR NAMES?
YEAH, BUT I'M A TELEPHONE OPERATOR.
. SURE, SURE
N. LOOK, MAYBE I'M NOT THE BEST PERSON TO CONFIDE I
BUT I THINK YOU'RE LOOKING AT ALL WRONG. IT'S JUST A JOB.
YOU PLUG IN, SWITCH OFF,
AY. THEN GET THE FUCK OUT AND WAIT FOR PAY D
THAT WASN'T WHAT I WAS GETTING AT.
Y. WHAT YOU NEED IS A DECENT HOBB
AN INTEREST OUTSIDE WORK TO HELP THOSE EIGHT HOUR SHIFTS FLY BY.
A HOBBY, LIKE WHAT YOU HAVE?
E. THAT'S R IGHT, LIKE I HAV
AND THEN...BOOM!
T. THREE STRIKES AND THEY'RE OU
. THEN I JUST GET MYSELF A NEW HOBBY
LIKE I SAY, YOU NEED TO GET YOURSELF A DECENT HOBBY.
T. I CAN'T DO THA
WHY NOT?
T? CAN YOU KEEP A SECRE
LENNY, THIS IS ME, VINCENT, YOU'RE TALKING TO.
THINGS HAVE BEEN ON THE SLIDE BETWEEN US FOR MONTHS, REALLY.
I WAS JUST ABOUT TO FINISH IT WITH HIM.
I EVEN HAD THE WHOLE STRATEGY WORKED OUT.
INE. THE WHOLE, YOU KNOW, "IT'S NOT YOU, IT'S ME" ROUT
INE. [SEAN] THAT'S A GOOD ROUT
YEAH. YEAH, IT IS.
E. [SUSIE] THEY RUSHED HIM TO THE NEARE ST HOSPITAL, BUT IT WAS TOO LAT
HE'D ALREADY SLIPP ED INTO A COMA.
SHIT. THAT'S TERRIBLE.
YOU'RE TELLING ME. I COU LDN'SPLIT UP WITH HIM THEN.
R. I'D HAVE BEEN BITCH OF THE YEA
THE THING IS I'D ONLY BEEN GOI OUT WITH HIM FIVE OR SIX MONTHS.
HE'S BEEN IN A FUCKING C OMA FOR LONGER THAN THAT.
I'VE GOT PORNO REACTIONS.
AT? YOU GOT WH
PORNO REACTIONS. PORNO REACTIONS?
JESUS, VINCENT, KEEP IT DOWN.
S? WHAT THE HELL ARE PORNO REACTION
I KNEW THIS WAS A BAD IDEA.
Y. LENN
? BEFORE I WORKED IN THE CALL CENTER... MM-HMM
I HAD A JOB FOR TWO OR THREE YEARS...
WRITING FORMEN ONLY.
AT? WRITING FOR WH
YOU KNOW,MEN ONLY. THE "JAZZ" MAG.
I'M WELL AWARE WHATMEN ONLYIS. YOU WROTE FOR IT?
FUCK, YEAH! FUCK ME!
WELL, YOU KNOW THE KIND OF THING.
"DEARMEN ONLY,
"I NEVER THOUGHT I'D WRITE TO A MAGAZINE SUCH AS YOURS,
"BUT SOMETHING HAPPENED TO ME LAST WEEK I JUST HAD TO SHARE.
"I'M AN ATTRACTIVE BLOND E, AGED 19.
"SMALL, BUT PERFECTLY FORMED,
"WITH A BUST SIZE THAT CAN ONLY BE DESCRIBED AS A HANDFUL.
"I WORK IN A HAIRDRESSING SALON AND OFTEN FLIRT WITH CUSTOMERS.
"BUT NONE REALLY CAUGHT MY EYE UNTIL I SAW...PETER.
"A REGULAR, WHO JUST RETURNED FROM WORK ABROAD.
"WELL, WITH HIS RIPPLING MUSCLES, SUNTAN AND SEXY SMILE,
"I COULD HARDLY RESIST, WHEN HE...
CONTINUED PAGE 64."
ET CETERA, ET CETERA, ET CETERA.
I SPENT SO LONG WRITING THAT SHIT
THAT NOW I'VE GOT PORNO REACTIONS TO EVERYTHING.
AND HOW DO THESE PORNO REACTIONS MANIFEST THEMSELVES?
IT'S NOT FUNNY.
EVERY GIRL I MEET.
EVERY GIRL I HALF LIKE, MY MIND GOES "CLICK."
STARTS IMAGINING THEM IN SOME X-RATED SKIN FLICK.
EVERY GIRL ? YEAH.
Y. I MEAN, AUTOMATICALL
URSE. IT'S A FUCKING C
IT'S NOT A FUCKING C URSE. IT'S A GIFT.
?? [SULTRY SAXOPHONE, MOANING NOISES]
[BELL DINGS]
VINCENT...
DON'T YOU TELL A SOUL.
SO, TELL ME ABOUT YOUR GIRLFRIEND.
END? HOW DO YOU KNOW I'VE GOT A GIRLFRI
SEAN, YOU'VE GOT IT WRITTEN ALL OVER YOUR FACE.
TRUST ME.
LY. NOT MUCH TO TELL, REAL
P? [SUSIE] WAIT. YOU ACTUALLY EXAMINE THE SOA
YEAH, TO SEE IF IT'S, YOU KNOW, GETTING SMALLER.
SEE IF SHE STILL ACTUALLY LIVES WITH ME.
D. SEAN, THAT'S REALLY SA
AND I MEAN THAT IN THE CRUELES T SENSE OF THE WORD.
THANKS.
T. NO, I MEAN I
YOU SHOULD JUST TAKE THE NIG HT OFF WORK AND FIND OUT.
BELIEVE ME, I KNOW.
IT'S JUST WITH EVERYTHING IN A STATE OF LIMBO,
YOU GET USED TO IT.
IT'S ALMOST...
AND THIS IS FUCKING SAD, BUT IT'S ALMOST COMFORTING.
YOU KNOW WHAT I MEAN?
AH. YE
N. YEAH, I KNOW WHAT YOU MEA
[CLEARS THROAT] WELL, BETTER GET GOING.
HAVE GOT A JOB TO DO.
SOME J OB. YEAH.
HI.
CAN I ASK YOU A QUESTION?
SS. LET ME GUE
" "WHAT'S A GIRL LIKE YOU DOING IN A NICE PLACE LIKE THIS?
NO. "A NICE GIRL LIKE YOU DOING IN A PLACE LIKE THIS."
ORY. IT'S A LONG ST
WELL, JUST GIVE ME THE SHORT VERSION THEN.
ALL RIGHT.
T. I WAS OUT WITH SOME FRIENDS. I WASN'T REALLY ENJOYING I
AND I COULDN'T FACE GOING HOME.
SO YOU CAME HERE?
ROWS. THOUGHT I'D DROWN MY SOR
IN HOT CHOCOLATE?
YOU WOULDN'T UNDERSTAN D. IT'S A GIRL THING.
. I'VE GOT TO ADMIT THE WHOLE THING IS JUST VERY, VERY WEIRD
IN A WEIRD SORT OF WAY . WAIT, WAIT. LET ME GET THIS RIGHT.
TV YOU SAW THIS DOCUMENTARY ON
ABOUT THIS UNIVERS ITY OF PHILADELPHIA... MM-HMM.
G WHERE THEY HAVE A "CODE OF CONDUCT" REGARDIN
BOYS AND GIRLS . BOYS AND GIRLS, RIGHT.
AGE AND AT EACH ST
? OF THE DATE, THEY HAVE TO ASK PERMISSION TO DO THINGS, RIGHT
. YEAH. GIVE ME AN EXAMPLE
OH, OKAY, UM ...
LET'S SAY IT'S YOU AND ME,
AND WE'RE WALKING THROUGH THE SNOWBOUND STREETS OF PHILADELPHIA,
AND I LOOK OVER TO YOU AND I THINK, "WOW, THIS GIRL IS NICE."
NICE?
YOU DON'T LIKE "NICE"?
WELL...
SEEING AS THE STREETS OF PHILADELPHIA WERE ALL SNOW-BOUND
. I WAS HOPING FOR SOMETHING A WEE BIT MORE IMAGINATIVE
OKAY, UM...
THIS GIRL IS GREAT.
AND I THINK I'D LIKE TO HOLD THIS GIRL'S HAND.
I'D HAVE TO ASK YOU, IS IT OKAY TO HOLD YOUR HAND? AND YOU'D SAY YES OR NO.
IT. SO, WE WALK ON FOR A B
IRL." I'M LOOKING OVER, THINKI NG "I'D LIKE TO KISS THIS G
? SO I'D HAVE TO ASK Y OU, IS IT OKAY TO KISS YOU
AND YOU'D SAY YES OR NO AGAIN.
AND HOW LONG IS THIS GOING ON FOR?
ALL THE WAY HO ME. EVERY STAGE.
KISSING, CARESSING , UNDRESSING.
WHOA, WHOA, WHOA, WHOA, WHOA, WHOA, WHOA ...
HOW MUCH HAVE I HAD TO DRINK BY THAT POINT?
AS LONG AS YOU CAN WRITE YOUR NAME I'D BE OKAY.
'CAUSE IF WE WERE TO GO ALL THE WAY,
YOU'D HAVE TO SIGN A CONTRACT OF CONSENT
ESPECIALLY DRAWN UP BY THE UNIVERSITY ITSELF.
A CONTRACT? MMM.
WHAT ELSE DO WE NE ED? A LAWYER PRESENT?
PID. IF YOU LIKE THAT KIND OF THING. THAT'S STU
ONE OF THE NICEST PARTS OF ROMANCE IS,
YOU KNOW, NOT KNOWING WHAT'S COMING NEXT.
THE MOMENT BEFORE THE KISS , THAT SORT OF THING.
WHAT'S YOUR FULL NAME? HUH?
MADELINE.
MADELINE ZOZZOCOLOVICH.
IS THAT ONE Z OR TWO?
THREE.
VINCENT.
YOUR NAME'S VINCENT?
THAT'S RIGHT.
HEY, SLEEPING BEAUTY.
OH, SHIT, I MISSED THE ENDING.
WHAT ENDING?
VINCENT WAS FIRI NG INTO SOME GIRL.
T. LOOKED ODDS ON TO HIT THE TARGE
THAT'S ALWAYS SOMETHING TO SEE.
T. YEAH, YOU REALLY MISSED OU
YOU ALL RIGH T? YEAH.
NO, NOT REALLY.
UP? WHAT'S
OH, IT'S A LONG STORY. MAYBE ANOTHER TIME.
E? YOU WANNA GET OUT OF HER
? GO FOR A DRI VE OR SOMETHING
[LAUGHTER]
I'M JUST GOING TO FRESHEN UP.
SURE.
[GIGGLES]
[WATER RUNNING]
?? [TECHNO DANCE]
YOU EVER GET THE FEELING WE' REMISSING OUT ON SOMETHING?
YEAH, ALL THE TIME.
DON'T TOUCH THAT DIAL!
?? I DON'T KNOW IF I CAN FACE IT AGAIN ??
K? WHAT THE FUC
?? CAN'T STOP NOW, I'VE TRAVELED SO FAR ??
IT'S THE FUCKING CAR!
THE RADIO DIAL GETS STUCK ON SOME FUCKING 80'S REVIVAL STATION.
F. SWITCH IT OF
IT DOESN'T SWITCH OFF.
? ?? I WANT TO KNOW WHAT LOVE IS ?
? ?? I WANT YOU TO SHOW ME ?
? ?? I WANT TO FEEL WHAT LOVE IS ?
THIS IS...
I WANT YOU TO KNOW THAT I DON' NORMALLY DO THIS SORT OF THING.
I KNOW.
[SEAN] I REMEMBER WHEN I WAS 13.
I WENT WITH THIS GIRL IN MY CLASS TO THE SCHOOL DISCO.
SAT AND WATCHED HER DANCE ALL NIGHT LONG WITH HER FRIENDS UNTIL THE LIGHTS WENT UP.
? I'M SICK OF IT, YOU KNOW
THE FEAR.
AR. OH, YE AH. THE FE
ER. STILL, IF IT'S OVER, IT'S OV
FUCK, FOR ALL I KNOW IT COULD BE OVER BETWEEN ME AND MY GIRLFRIEND FOR WEEKS NOW.
IT'S VERY WEIR D, YOU KNOW THAT?
WHAT?
YOU ALWAYS REFER TO THE GIRL AS "HER" OR "MY GIRLFRIEND".
HER PARENTS NOT GIVE HER A NAME?
YEAH.
MADELINE.
NAME. IT'S A COOL
YEAH?
YOU SHOULD HEAR HER SURNAME.
[RINGS]
OH, SHIT... SHIT!
NG] [BEEPI
[JODY] YOU DON'T GET IT, DO YOU?
WE'RE NOT FRIENDS.
LENNY, DON'T LOOK AT ME LIKE THAT.
I'M JUST TRYING TO EXPLA IN SOMETHING HERE.
WE'RE ACQUAINTANCES, NOT FRIENDS.
. WELL, I FOR ONE AM CRUSHED
TRUE. WELL, SEE, I DON'T THINK THAT'S
WE SPEND MOST NIGHTS OF THE WEEK HANGING OUT HERE,
TALKING CRAP, YOU KNOW, I MEAN THAT'S WHAT FRIENDS ARE FOR.
HERE'S THE LITMUS TEST.
THREE QUESTIONS:
? NUMBER ONE - WHAT'S MY SURNAME
OKAY, TWO - WHERE DO I WORK?
AH, UM, SOMETHING TO D O WITH CHILDREN, RIGHT?
? AND THREE - WHAT'S MY FAVORITE COLOR
BEIGE? NO, GREEN.
I REMEMBER WE HAD THAT ARGUMENT ABOUT IT A COUPLE WEEKS AGO. IT'S DEFINITELY GREEN.
ONE OUT OF THREE. MAGNIFICENT.
LS? WHAT ARE YOU GETTING AT? WE DON'T PAY ATTENTION TO DETAI
G. NO, THAT WE'RE NOT REALLY FRIENDS. DON'T GET ME WRON
I ENJOY SITTING HERE, PASSING THE TIME, TALKING, TALKING, TALKING,
BUT YOU'VE GOT TO ADMIT,
IT'S OUT OF CONVENIENCE RATH ERTHAN ANYTHING DEEPER.
I STILL THINK WE'RE FRIENDS.
[JODY] IT'S NOT A PERSONAL THING.
? HOW IS FRIENDSHIP NOT A PERSONAL THING, JODY
LISTEN, LENNY, I NEED A FAVOR.
WHAT KIND OF FAVOR ? CAR FAVOR, RIGHT NOW.
WHAT? RIGHT NOW? I JUST GOT HERE.
I KNOW, BUT IT'S IMPORTANT.
LENNY, VERY IMPORTANT.
LET ME JUST SAY HELLO TO SEAN AND...
NO, WE HAVE TO GO NO W. WHAT?
COME ON.
HOW LONG WAS I AWAY FOR?
[LENNY] VINCENT, WHAT'S GOING ON?
VINCENT?
N. IT'S, UH... IT'S ABOUT SEA
[SEAN] WHAT DO YOU MEAN, IT'S ABOUT VINCENT?
IT'S THE WAY HE TREATS ME, YOU KNOW.
. I MIGHT AS WELL HAVE SECOND-CLASS CITIZEN STAMPED ON MY FOREHEAD
JODY, HE'S JUST LIKE THAT. YOU'RE A GIRL, HE'S VINCENT.
IT PISSES ME OFF NO END.
THE WAY HE AND LENNY ARE ALWAY S RUNNING ROUND DOING SHIT.
IT MAKES ME FEEL LIKE A WEE GIRL STAMPING HER FEET
AT THE BOTTOM OF THE TREE WHILE THE BOYS PLAY IN THE TREE HOUSE.
YOU WANT TO PLAY IN VINCENT AND LENNY'S TREE HOUSE?
NO.
IT'D JUST BE NICE TO B E INVITED UP OCCASIONALLY.
[VINCENT] REMEMBER THE OTHER NIGHT WHEN THAT GIRL CAME INTO THE CAFE?
[LENNY] YEAH.
I WAS SITTING THERE, GOING THROUGH SOME OF THE OLD TRIED AND TESTED ROUTINES.
NEW THOUGHT I'D MAYBE HAVE TO COME UP WITH SOMETHING
SEEING AS SHE WAS DUTCH OR SOMETHING. UH-HUH?
?? I WANNA FEEL WHAT LOVE IS ??
?? I KNOW YOU CAN SHOW ME ??
IS EVERYTHING OKAY?
YEAH.
INE. EVERYTHING'S F
[LENNY] YOU'RE SERIOUS?
YOU SLEPT WITH SEAN'S GIRLFRIEND?
MADELINE, RIGHT?
YEAH. MADELINE.
JESUS, VINCENT, THAT'S PRETTY OFF THE SCALE.
YEAR? DO YOU KNOW HOW MANY GIRLS I'VE FUCKED IN THE PAST
CALE. THAT'S OFF THE S
. THAT WAS A SHITTY THING TO DO. I KNOW
I DIDN'T EVEN WANT TO, BUT IT WAS...
ALL OUT OF MY HANDS. OUT OF YOUR HANDS?
WELL, FIGURATIVE LY SPEAKING, YEAH.
IT WAS THE LITTLE GU YS DOWNSTAIRS.
MILLIONS OF THEM, ALL SWIMMI NG ABOUT, LOOKING FOR AN EXIT.
S, THEY SHOULD FUCKING REWRITE THE BIOLOGY BOOK
'CAUSE WHEN IT COM ES TO THE BRAINS
S, VERSUS THE LIT TLE GUYS DOWNSTAIR
ALWAYS BET ON THE LITTLE GUYS.
IS THAT WHAT YOU'RE GONNA TELL SEAN?
N. I'M NOT GONNA TELL SEA
YOU'VE GOT TO TELL HIM.
M? WHY SHOULD I TELL HI
HE'S YOUR FRIEND.
HUH? LIKE JODY SAYS "WE'RE ACQUAINTANCES, NOT FRIENDS".
THAT'S SHIT, THAT IS.
SHE SAYS THAT TO KID SHE'S BETTER THAN THE REST OF US.
DO YOU WANNA KNOW SOMETHING? ABOUT YOU?
I DON'T KNOW.
YOU COME TO ME BECAUSE YOU FUCKED SEAN'S GIRLFRIEND
AND YOU'RE WORRIED ABOUT IT.
SOUNDS AS IF YOU'RE WRACKED WITH GUILT
AND YOU'RE LOOKING FOR ME TO SET YOUR MIND AT REST
BECAUSE YOU KNOW YOU FUCKED OVER A FRIEND.
[SEAN] YOU KNOW, FOR A WHILE IT ALMOST SEEMED FUNNY.
TWO PEOPLE LIVING TOGETHER WHO NEVER SAW EACH OTHER, BUT NOW...
Y? NOT FUNN
. YOU KNOW HOW IT IS. NO
AH. WELL, IT'S THE LITTLE THINGS. YE
IT'S WAKING UP NEXT TO HER IN THE MORNING.
IR? THE WAY HER HAIR LOOKS. HER HA
EVERY TIME WE GO TO THE CINEMA WE ALWAYS HOLD HANDS
WW. THROUGHOUT THE ENTIRE MOVIE. AW
THERE'S ALWAYS SOMEONE ONE OR TWO ROWS BEHIND WITH AN ANNOYING LAUGH.
ND. ASK FOR A REFU
YEAH, WELL, ANYWAY, I'VE DECID THAT TONIGHT I'M GONNA DO IT.
I'M GONNA GET SOMEONE TO PUNCH OUT MY TIME CARD FOR ME,
GO HOME, SEE MADELINE
AND TELL HER HOW I FEEL.
? ABOUT HER HAIR
I'VE BEEN REALLY STUPID.
I DIDN'T REALIZE HOW MUCH I MISSED HER UNTIL...
WELL, UNTIL ...
. WAIT, WAIT, WAIT, LET ME GUESS
G. I SEE WHERE THIS IS HEADING, IF IT'S A TYPICAL GUY THIN
YOU WERE EITHER DRUNK AND HEAR D A SONG ON THE JUKEBOX THAT REMINDED YOU OF HER,
OR YOU HAD YOUR DICK IN SOMEONE ELSE.
SEAN?
IT WAS THE DICK THING.
REALLY? SHIT.
AY. I WAS ONLY JOKING, I JUST THOUGHT IT WAS A SMART THING TO S
WITH EVERYTHING IN A STATE OF LIMBO, YOU GET USED TO IT.
IT'S ALMOST...
AND THIS IS FUCKING SAD, BUT IT'S ALMOST COMFORTING, YOU KNOW WHAT I MEAN?
YEAH.
WELL... I'D BETTER GET BACK TO IT.
HAVE GOT A JOB TO DO.
SOME J OB. YEAH.
. SEAN..
YOU KNOW THE NICE THIN G ABOUT BEING IN LIMBO?
NT. YOU CAN DO ANYTHING YOU WA
[JODY] VINCENT, I CAN'T BELIEVE YOU DID THAT.
AT? [SEAN] SEAN. WH
YOU JUST CALLED ME VINCENT.
? YOU'RE NOT GONNA TURN INTO HIM, ARE YOU
NO, I'M NOT GONNA TURN INTO VINCENT.
I'M GONNA SORT EVERYTHING OUT.
[VINCENT] HEY, LENNY.
YOU ACTUALLY WROTE FOR THIS MAGAZINE?
YEAH, ABOUT TWO YEARS AGO.
I USED TO LOVE THESE LETTERS. GAVE ME SITUATIONS TO ASPIRE TO.
I'M NOT EASILY IMPRE SSED, BUT I'VE GOT TO SAY,
SED. I'M IMPRES
OOOH.
VINCENT, HOW CAN I PUT THIS?
ABOUT A MONTH OR SO AGO THIS NEW GIRL STARTS AT WORK.
THE EARLY EVENING SHIFT.
HELLO.
YEAH, HELLO.
SHE'S SOMETHING ELSE TOO, YOU KNOW.
THE MINUTE I SEE HER, I CAN'T EAT, I CAN'T SLEEP.
SOUNDS LIKE THE REAL THING.
WHAT'S A GUY LIKE ME GONNA DO? I'VE GOT PORNO REACTIONS, FOR CHRIST'S SAKE.
THERE'S NO WAY I CAN TALK TO HER WHEN I'M FACE TO FACE , WELL, WITH HER FACE.
SO, I DO SOMETHING STUPID.
I START PHONING HER ON MY BREAKS.
'PRETEND I'M A HIGH-FLYING BUSINESSMAN.
[LENNY] I'VE JUST COME BACK FROM HONG KONG.
MAKING JOKES, CHATTING AWAY, YOU KNOW.
E? YOU'RE CALLING HER UNDER AN ASSUMED NAM
Y? THAT'S STALKING, SUREL
NO, IT'S NOT STALKING. ALL RIGHT.
YOU SEE THE FILM CYRANO DE BERGERAC?
NO.
WELL, THE POINT IS, OVER THE PHONE, WE CLICK.
REALLY CLICK.
LAUGHING, JOKING. SHE EVEN SAYS SHE'S LOOKING FORWARD TO ME CALLING.
THIS IS ALL VERY TOUCHING, LENNY.
WAIT. IT GETS WORSE.
THE OTHER NIGHT, I BIT THE BULLET.
I ASKED HER OUT OVER THE PHONE.
WHAT SHE SAY? WELL, SHE SAID YES.
IT WAS A BIT NERVE-RACKING, BUT SHE SAID YES.
TONIGHT.
TONIGHT? LET ME GET THIS STRAIGHT.
SHE'S EXPECTING A JET-SE TTING BUSINESSMAN TO SHOW UP,
BUT INSTEAD SHE'S GONNA GET MILD MANNERED LENNY THE STALKER.
NY. I KNOW. I KNOW! JESUS, LEN
? HOW DO YOU THINK SHE'S GONNA REACT TO YOUR LITTLE DECEPTION
I DON'T KNOW!
I MEAN, WELL, YOU DECEIVE WOMEN ALL THE TIME.
YEAH, THE PROPER WAY.. . BEHIND THEIR BACKS.
NY. THIS WAY LIES INSANITY AND RUIN, LEN
DO. I DON'T KNOW WHAT I'M GONNA
UP. IT'S SIMPL E... DON'T SHOW
. DON'T DO ANYTHING. DON'T E VECALL HER AGAIN. JUST WALK AWAY
. JUST WALK AWAY FROM IT
WHY IS IT LOCKED?
FUCK KNOWS. IT'S A SECURITY THING.
WHAT, TO KEEP PEOPLE OUT OR PEOPLE LIKE YOU IN?
LISTEN, LENNY, REMEMBER WHAT I SAID.
JUST WALK AWAY.
CT] [ARGUING, INDISTIN
FUCK IT!
[MEDICAL EQUIPMENT BEEPING]
SUSIE?
[SUSIE] I THINK YOU LOOK REALLY NICE. I JUST LOVE A MAN IN UNIFORM.
SERIOUSLY? YES.
[SUSIE] THAT-- THAT GRAY ONE.
RD. YOU POOR BASTA
BY THE WAY, YOUR BOYFRIEND'S BACK.
[WOMAN LAUGHING, CROWD CHATTERING]
?? [FUNK]
VINCENT, WHAT ARE YOU DOING HERE?
P. HOW ARE YOU DOING? I SEE YOU DECIDED TO TAK E MY ADVICE AND NOT SHOW U
D? YEAH, WELL, DON'T WORRY, SHE'S BEEN AND GONE. WHAT HAPPENE
I JUST COULDN'T DO IT.
SHE WAS THERE AND SHE WAITED FOR A BIT AND
I SAT HERE LIKE THE USELESS FUCKING LUMP THAT I AM. THEN SHE LEFT.
AND I STILL SAT HERE, GOING OVER AND OVER
THE SORRY FUCKING MESS THAT PASSES FOR MY LIFE.
IT? YOU COULDN'T DO
THAT'S 'CAUSE YOU BUIL D IT UTO SOMETHING IT ISN'T.
. WHEN YOU BUILD IT UP, YOU ALSO BUILD UP THE FEAR
DEAL. IT'S NO BIG
EONE. IT'S JUST TALKING TO SOM
I DON'T REALLY NEED THIS JUST NOW.
YEAH, YOU DO, OTHERWIS E YOU'LL NEVER LEARN.
LOOK, I COULD PI CK ANY GIRL HERE,
. GO UP, HIT ON HER AND IT WOULD MEAN FUCK ALL
T UP. 'CAUSE I DON'T BUILD I
I DON'T OPEN UP THE DOOR, INVITE THE FEAR IN FOR A COFFEE.
. IT MEANS FUCK ALL BECAUSE IT IS FUCK ALL
H. WATC
WAIT, VINCENT, THIS REALLY ISN'T NECESSARY.
HI.
E? YOU WANNA HEAR SOMETHING STRANG
I THINK SO.
I SAW THIS THING ON TV ABOUT PHILADELPHIA.
. ACTUALLY, NO, IT'S THE UNIVERSITY OF PHILADELPHIA
APPARENTLY THEY HAVE THIS SORT OF CODE THERE,
WELL, NO, IT'S MORE OF... HOLD ON.
DO YOU KNOW WHO I AM?
WHAT? NO. I JUST SAW YOU SITTING HERE ALONE AND--
OH, I GET IT.
E. LOOK, IF IT'S ALL THE SAME TO YOU, I'M WAITING FOR SOMEON
G? BEEN WAITING LON
TEN MINUTES MORE, THEN I'M GONE.
SO, THIS THING IN PHILADELPHIA, YOU'VE GOT TO HEAR IT TO BELIEVE IT.
LOOK, I DON'T WANT TO BE RUDE, BUT I'M WAITING FOR SOMEONE.
OH, BOYFRIEND.
NO. IT'S A GUY I SPEAK TO ON THE PHONE AT WORK.
STUPID, HUH?
SHIT!
RRY. AH, I'M SO
. I'M A SHITHEAD
MMM.
HH. AH
LENNY.
OI, WAIT UP.
IZE. HEY! I DIDN'T REAL
RRY. I'M SO
YEAH, AND IF YOU HAD REALIZED, WOULD THAT HAVE MADE SUCH A DIFFERENCE?
? WHAT ARE YOU TALKING ABOUT
OULD. 'COURSE IT W
HAVE YOU SPOKEN TO SEAN YET?
. THAT'S A TOTALLY DIFFERENT ISSUE, LENNY
YEAH, RIGHT.
?? [DRUMS]
R? JOE, WHAT ARE YOU WAITING FO
RETIREMENT?
FUCKING CLOCK JUST MOVED BACKWARDS. I'M SERIOUS, VINNY.
YOUNG MAN, YOU'RE DEVELOPING A VERY SERIOUS ATTITUDE PROBLEM TO THIS JOB.
VINNY! IN A MINUTE.
I'VE GOT TO MOVE THESE PALLE TSOR ALEC'S GONNA KILL US.
[WHISPERING LOUDLY ] HEY, VINNY.
JUST KEEP WATCHING THE CLOCK, JOE.
HA HA!
JOE!
HEY! JOE?
E! JOE! JOE! JO
JOE!
SHIT!
WHAT ARE YOU GAWKING AT?
CALL A FUCKING AMBULANCE FOR CHRIST'S SAKE.
WHO'S FIRST AID?
RE! THERE'S MEANT TO BE A FUCKING FIRST AID HE
HE'S NOT BREATHING, RAY.
LOOK AFTER HIM.
WHERE'S THE AMBULANCE?
DID YOU CALL THE FUCKING AMBULANCE?
YEAH, YEAH, IT'S ON ITS WA Y. FUCK!
NOT WORKING AGAIN TONIGHT?
NO, NOT TONIGHT.
[SIRENS OUTSIDE]
HOW IS HE?
I DON'T KNOW.
SOMEBODY'S MEANT TO BE FIRST FUCKING AID.
TRY AND BREATHE INTO HIS MOUTH OR SOMETHING.
HIS MOUTH?
JUST FUCKING DO IT. [SIRENS APPROACHING]
. THANK FUCK
[BANGING ON DOORS]
COME ON!
THE KEYS! WHO'S GO T THE FUCKING KEYS?
THE KEYS!
WHO'S GOT THE FUCKING KEYS?
JESUS!
WHAT THE HELL'S GOING ON? ALEC, GIVE ME THE KEYS.
I HAVEN'T GOT THE KEYS, I GAVE THEM TO ONE OF THE GROCERY BOYS.
S? OH, FUCK, ALEC! WHO'S GOT THE FUCKING DOOR KEY
? PLEASE! WHO'S GOT THE KEYS
?? [MELLOW KEYBOARD]
SHOULDN'T WE COVER HIS FACE?
H. UH-U
CAREFUL.
DON'T WANT TO HAVE ANOTHER ACCIDENT.
VINCENT. WHAT ARE YOU DOING HERE?
OH, YOU KNOW, JUST HANGING OUT.
ARE YOU OKAY?
NO. I'M NOT.
THIS OLD GUY I WORK WITH, JOE,
JUST HAD A HEART ATTACK.
DIDN'T MAKE IT.
Y. OH, SHIT, I'M SORR
L? DID YOU KNOW HIM WEL
YEAH, PRETTY WELL.
WE DON'T REALLY KNOW ANYTHING ABOUT EACH OTHER, DO WE?
N. WHAT? OH, COME O
I DON'T KNOW THE NAME OF SOME GUY THAT YOU WORKED WITH?
. THAT DOESN'T MEAN ANYTHING. I BET YOU DON'T KNOW THE NAM ESOF HALF THE PEOPLE I WORK WITH
LENNY DOESN'T KNOW THE NAM ES OF ANYBODY HE WORKS WITH.
DS. YEAH, I SUPPOSE. VINCENT, WE'RE FRIEN
S. THE REST, IT'S JUST DETAIL
SHIT.
EVER HAD ONE OF THOSE DAYS WHEN THE CLOCK
JUST WOULDN'T MOVE QUICK ENOUGH FOR YOU?
ALL THE TIME.
YOU GOT SOMEWHERE IMPORTANT TO GO?
YEAH.
I'VE GOT TO FIND MY GIRLFRIEND AND TELL HER THAT I LOVE HER.
PROBABLY SOUNDS PRETTY LAME TO YOU.
. NO, NOT AT ALL
. SEAN, THERE'S SOMETH ING I'VE GOT TO TELL YOU
YOU KNOW, YOU'VE G OT A GREAT SMILE.
YOU'RE JUST SAYING THAT.
TRUE. DOESN'T MEAN IT ISN'T
. I KNOW THIS IS A LITTLE OFF THE SCALE
YOU'RE JOKING, RIGHT?
I MEAN, THIS HAS TO BE A JOKE.
I'M SORRY.
I DIDN'T REALIZE WHO SHE W AS UNTIL WE'D GONE TOO FAR.
YOU KNEW WHO SHE WAS BEFORE YOU...
FUCK, THAT IS FUCKING LOW. I KNOW.
I CAN'T BELIEVE I'M ACTUALLY HEARING THIS!
I JUST WANT TO FIND A WAY TO MAKE IT UP TO YOU.
HOW? YOU GONNA FLY AROUND THE WORLD THE WRONG WAY?
TURN BACK TIME, SO THAT YOU CAN DE-FUCK MY GIRLFRIEND?
IT WASN'T JUST MY FAUL T, YOU WERE IGNORING HER.
OU! AH, FUCK Y
LT. IT WASN'T MY FAU
T. FUCK IT, MAN, I DIDN'T EVEN WANT TO DO I
. LOOK, IT WAS THE LITTLE GUYS DOWNSTAIRS
S SEAT. THEY'RE IN THE DRIVER'
NG] [MOANI
AN. SE
I'M SORRY!
BUT ARE YOU GONNA SPEND WE EKS MOPING ABOUT THIS
OR ARE YOU FINALLY GONNA FUCKING DO SOMETHING?
[GROANS]
?? [WOMAN SINGING SOFTLY, INDISTINCT]
[KEYS JANGLING, LOCK TURNING]
MADELINE?
MADGE?
SHIT.
] [PHONE RINGING
[JODY] I WONDERED WHY I HADN'T SEEN HIM FOR A COUPLE OF NIGHTS
[SEAN] WELL, NOW YOU KNOW.
HOW HARD DID YOU HIT HIM? PRETTY HARD.
COOL. I'LL TELL YOU SOMETHING ELSE.
I DON'T CARE IF I EVER SEE HIM AGAIN.
LOOK AT YOU. WHAT?
YOU'RE TURNING INTO ACTION MAN . WHAT ABOUT MADELINE?
[PHONE RINGING] WELL, SOMEBODY PHONED,
BUT WHEN I PICKED UP, THEY HUNG UP.
. LENNY, YOU WORK IN TELECOMMUNICATIONS. UH-HUH
YOU RECOGNIZE THIS DIALING CODE?
O. MM-MM. N
NOT MANY PEOPLE WOULD.
IT'S THIS HORRIBLE LITTLE SEASIDE TOWN OUT IN THE MIDDLE OF NOWHERE.
THE KIND OF PLACE PEOPLE GO OUT OF THEIR WAY TO AVOID.
A FRIEND OF MADELINE'S HAS AN AUNT OUT THERE.
IT WAS MADELINE WHO CALLED?
I DON'T KNOW WHY I DIDN'T THINK OF IT SOONER.
. IT'S HER KIND OF CRISIS CENTER
HER CRISIS CENTER? IT'S A GIRL THING.
A GIRL THING? [BOTH MEN] YEAH.
I'M GONNA DO IT. I'M GONNA G OUT THERE, FIND HER.
I'M COMING T OO. WHAT?
AR. I'M COMING TOO. SEAN, YOU NEED A C
YOU NEED A DRIVE R. I'M THAT GUY.
WELL, I WASN'T PLANNING ON BRINGING ANYONE ELSE, BUT OKAY.
THAT'S IT, I'M COMING TOO. WHAT?
YOU REALLY THINK I'M GONNA LET THE TWO OF YOU GO OUT THERE UNSUPERVISED?
THAT'S AN ACCIDENT WAITING TO HAPPEN.
OKAY, BRING THE WHOLE GANG ALONG.
WHERE IS THIS PLACE?
IT'S, UH...
LIFT UP YOUR CUP, LENNY.
IT'S THERE.
?? [UP-TEMPO INSTUMENTAL]
[SEAN] LENNY, HOW CAN YOU BE CAR SICK?
CAR. IT'S YOUR
I KNOW! I'M FINE IN THE CITY.
IT'S JUST WHEN I GET OUT IN THE COUNTRYSIDE.
AY? ARE YOU OK
KIND OF. MY EYES ARE SMARTING A BIT.
YEAH, MINE TOO . MINE THREE.
MUST BE THE LI GHT OR SOMETHING.
LENNY, DON'T BE SO SQUAR E, SWITCH THE RADIO ON.
NO. IF IT GOES ON, IT DOESN'T GO OFF.
NOT EVEN WHEN YOU SWITCH THE ENGINE OFF?
JODY, WHEN YOU SWITCH THE ENGINE OFF, IT GOES OFF.
WHEN YOU SWITCH IT BACK ON, IT'S BACK ON.
THAT'S STUPID.
I KNOW IT'S STUPID.
UNFORTUNATELY, THAT'S JUST THE WAY IT IS.
?? IS IT TOO LATE TO SAY I'M SORRY ??
WHAT IS THIS MUSIC? IT'S TERRIBLE.
LENNY, SWITCH IT OFF.
IT DOESN'T SWITCH OFF.
?? I JUST CAN'T GO ON PRETENDING ??
?? THAT IT CAME TO A NATURAL END ??
?? YOU DON'T KNOW WHAT YOU MIGHT HAVE ??
?? SET UPON YOURSELF ??
HEY.
AD. WHAT? UP AHE
EH?
OH.
I DON'T BELIEVE IT.
PULL OVER AND BOTH OF YOU STAY IN THE CAR.
. [LENNY] SEAN, LISTEN. [SEAN] NO. STAY IN THE CAR
Y. NICE GOING, PORNO BO
F? WHAT WERE YOU THINKING O
VINCENT FORCED ME.
[GROANS]
JODY, HE'S VERY PERSUASIVE.
YOU ARE SUCH A GIRL.
YOU KNOW, I'VE NEVER FELT GUIL ABOUT ANYTHING IN MY LIFE. EVER.
. BUT THIS TIME I FUCKED U P, I REALLY FUCKED UP, SEAN
T. YOU GOT A REAL NERVE SHOWING UP HERE. I DON'T WANT US TO FALL OU
HING. IT'S A BIT LATE FOR THAT. ANYTHING I CAN DO, I'LL DO IT. ANYT
IT. YEAH, THERE IS SOMETHING. JUST NAME
? GIVE ME YOUR WATCH. YOU HEARD ME. EH
MATE, THIS WATCH BELON GED TO ERROL FLYNN.
IT DOESN'T EVEN WORK ... YEAH, YEAH, I KNOW ABOUT THE WATCH.
WAIT. THIS WATCH.. . THIS WATCH...
OM. BETWEEN YOU AND ME I THINK IT'S WHERE I GET MY POWER FR
OH, AND I THOUGHT IT WAS THE LITTLE GUYS DOWNSTAIRS.
ION. IT'S A UNIQUE COMBINAT
VINCENT, JUST GIVE ME THE WATCH.
AH. THIS WATCH REALLY BELONGED TO ERROL FLYNN, H UH? YE
I'VE EVEN GOT A CERTIFICAT E OF OWNERSHIP THAT PROVES IT.
H! AH, NOT THE FUCKING WATC
EN? I THINK WE'RE EVEN NOW. EV
ALL I DID WAS FUCK YOUR GIRLFRIEND.
THAT WATCH BELONGED TO ERROL FLYNN!
VINCENT, YOU REALLY WANT ME TO HIT YOU AGAIN?
YOU HIT LIKE A GIRL ANYWAY.
YEAH? WELL I IMAGINE YOU'VE BEEN HIT BY A LOT OF GIRLS.
?? ALL I WANT TO DO IS MAKE LOVE TO YOU ??
?? SAY YOU WILL YOU WANT ME TOO ??
VINCENT. WHAT?
JODY, THAT'S DANGEROUS. IF I HAVE TO BRAKE, JODY...
?? HEART, I JUST DIED IN YOUR ARMS TONIGHT ??
?? IT MUST HAVE BEEN SOMETHING YOU SAID ??
?? I JUST DIED IN YOUR ARMS TONIGHT ??
?? OH, HEART ??
?? I JUST DIED IN YOUR ARMS TONIGHT ??
?? I SHOULD HAVE WALKED AWAY ? ? [SEAN] THIS IS IT.
[LENNY] WHAT? [SEAN] THIS IS IT.
[VINCENT] OH. RIGHT.
[ENGINE STOPS, MUSIC STOPS]
[JODY] OH, THANK GOD FOR THAT.
[JODY] ARE YOU OKAY?
[SEAN] YEAH.
ARE YOU GETTING OUT THE CAR?
YEAH.
? IN THE NEAR FUTURE
[RINGS DOORBELL]
?? [KEYBOARD]
OW? SO, UH, WHAT N
[SEAN] I THINK I NEED TO WORK OUT A NEW PLAN.
N? THERE WAS AN OLD PLA
YEAH, THERE WAS A PLAN.
WELL, THE PLAN WAS TO COME HERE, FIND MADELINE AND SORT THINGS OUT.
T? AND THEN WHA
AND THEN, WELL, IF THE PLAN WENT ACCORDING TO PLAN
WE'D GO HOME TOGETHER TO THE CITY.
T? AND THEN WHA
HING. AND THEN BOWLING. WE'D GO BOWLING OR SOMET
YOU KNOW, DO THE FUN THINGS. GO ON DATES.
T? AND THEN WHA
THEN I GUESS I'D SWAP MY N IGHTSHIFT FOR A DAY SHIFT
SO I DIDN'T FEEL AS THOUGH I HAD PERMANENT JETLAG WITHO UT ACTUALLY GOING ANYWHERE.
OH. AND THEN WHAT? WHAT IS IT WITH YOU?
IM, WHAT? I'M NOT DISAGREEING WITH H
. I JUST DON'T SEE WHAT ELSE THERE IS
YEAH, WE CAN SWAP OUR MICKEY MOUSE NIGHT JOBS
FOR MICKEY MOUSE DAY JOBS, BUT FOR WHAT?
E, FOR NINE TO FIVE , WORK IN AN OFFIC
COMMUTE WITH EVERYONE EL SE TO AND FROM WORK.
IN BED BY ELEV EN, UP BY SEVEN.
I DON'T SEE WHAT THE BIG PAY-OFF IS . VINCENT!
D. [JODY] YOU REALLY A RE IN A BAD MOO
[VINCENT] I'M JUST B EING REALISTIC.
TER CAN YOU REALLY SAY YOUR LIFE WOULD BE BET
IF YOU SWAPPED YOUR NIGHT SHIFT FOR A DAY SHIFT?
PROBABLY, IF I STILL HAD A JOB.
WHAT? SAY THAT AGAIN.
I GOT FIRED.
. [SEAN] WHEN? [JODY] IT WAS ABOUT TWO WEEKS AGO
[LENNY] WHOA. [SEAN] WELL, WHAT HAPPENED?
[JODY] IT'S A LONG S TORY. [VINCENT] GIVE US THE SHORT VERSION.
THE SHORT VERSION? I HATED MY JOB AND IT SHOWED.
THEY SAID I WAS BRINGING EVERYONE ELSE DOWN.
[SEAN] BUT YOU WORK ON A CONVEYER BELT. YEAH, I KNOW.
LL HANG ON, HANG ON. IF YOU'VE BEEN OUT OF A JOB FO TWO WEEKS, HOW COME YOU'RE STI
HANGING AROUND EVERY NIGHT WITH US "ACQUAINTANCES"? YEAH.
BECAUSE...
BECAUSE I'VE NOTHING BETTER TO DO.
D. THAT'S THE SINGLE MOST DEPRESSING THING I THINK I'VE EVER HEAR
THANKS.
THANK YOU.
[SLURPING]
RT, LOOK, GUYS, I APPRECIATE THE SUPPO
BUT YOU REALLY DON'T HAVE TO HANG AROUND HERE WITH ME.
WHY DON'T YOU GO O FF AND HAVE SOME FUN?
L. YOU CAN HAVE FUN HERE? IT WAS RHETORICA
OH. OKAY.
COME ON, LENNY , LET'S GO.
HEY, INVITE ME.
WHAT?
INVITE ME. SORRY?
INVITE ME, INVITE ME, INVITE ME, INVITE ME, INVITE ME!
OKAY.
JODY, WOULD YOU LIKE TO COME WITH US?
WHERE ARE YOU GOING?
. WE'RE GOING TO PLAY CRAZY GOLF
NO, THANK YOU.
?? [KEYBOARD]
JESUS. WHAT A DEPRESSING PLACE.
I CAN FEEL THE LIFE BEING SUCKED OUT OF ME.
THAT WAS WEIRD , WASN'T IT?
HARDLY. IT'S JUST KEEPING YOUR EYE ON THE BALL.
TS. LIKE I SAY, IT'S A GAME FOR IDIO
NO, I MEANT WEIRD AS IN JODY.
AH. OH, YE
ER. BUT YOU CAN HARDLY BLAME H
WE DO KIND OF CUT HER OUT THE LOOP.
ALMOST MAKES ME FEEL BAD.
REALLY? YEAH.
. I THOUGHT YOU DIDN'T LIKE JODY
JODY? NO, I THINK SHE'S FUCKING GREAT.
YOU DO? YEAH.
FIRST TIME I MET HER I TRIED TO HIT ON HER.
NO!
OF COURSE SHE KNOCKED ME BACK STRAIGHT AWAY...
. AS FAR FETCHED AS THAT SOUNDS
. IT'S JUST AS WELL THOUGH
ME. I THINK SHE'S WAY TOO SMART FOR
WELL, YOU DON'T ACT LIKE IT.
E. OF COURS
EVEN THOUGH WE'RE FRIE NDS, SHE'S STILL A GIRL.
. A LINE HAS TO BE DRAWN
WAIT YOU SAID "FRIENDS".
YEAH.
SO, EVERYONE IS FRIENDS?
OF COURSE WE'RE FRIEND S. LOOK AROUND YOU.
, WE'RE STANDING ON A FREEZING GOLF COURSE
E SURROUNDED BY KING KON G AND GOD KNOWS WHAT ELS
. IN THE MIDDLE OF FUCKING NOWHERE
R. THAT'S WHAT FRIENDS ARE FO
? GAIL, SEE THOSE GUYS THERE
K. VINCENT, GET BACK ON THE CLOC
WHAT IS IT?
WHATEVER YOU DO, DON'T LOOK AROUND.
SHIT.
OH...
SHIT.
WHAT IS IT ? BAD NEWS, I LOOKED.
OH, SHIT. THEY'RE COMING OVER.
OD. THIS ISN'T G OOD. THIS IS NOT GO
IS THIS GO OD? AS OPPOSED TO BAD? NO, IT'S NOT GOOD.
AIL. I CAN'T DO IT. I CAN'T FACE G
WHAT ARE YOU TALKING ABOUT? THAT'S MADELINE.
E? NEXT TO GAIL, THAT'S MADELIN
YOU THINK I'D BE WORRIED ABOUT GAIL?
ER. YOU'RE THE ONE WHO'S STALKING H
IT'S MADELINE THAT'S THE PROBL EM. OH, SHIT.
WHY ARE THEY BOTH HERE? AND WHY ARE THEY COMING OVER?
WHAT DO THEY WANT? WHAT ARE WE GONNA DO?
OL. SNAP OUT OF IT. WE HAVE TO STAY CO
I'VE BEEN IN TIGHTER SPO TS. JUST ACT DUMB.
WHATEVER HAPPENS, DON'T CONFES DON'T MENTION SEAN AT ALL.
IN FACT, DON'T EVEN SPEAK IF YOU CAN HELP IT.
ALL RIGHT?
FLOWERS.
I SHOULD HAVE BOUGHT HER FLOWERS.
FLOWERS DIE.
WELL, CHOCOLATES THEN.
THEY'RE ROMANTIC, RIGHT?
CHOCOLATES MAKE YOU FAT.
WELL, WHAT DO I DO? JUST BE MYSELF?
P. MIGHT WORK, JUST AS LONG AS YOU DON'T MENTION THE TRAM
THE TRAMP?
AS IN SUSIE, THE GIRL YOU SHAGGED IN THE HOSPITAL.
OH YEAH.
THAT'D BE A BAD IDEA, RIGHT?
. THIS IS...
D. TALK ABOUT A SMALL WORL
VERY SMALL.
. I CERTAINLY DIDN'T THI NK I'D RUN INTO YOU AGAIN
ESPECIALLY NOT , ER, HERE.
BUT IN A FUCKED UP WAY , I'M GLAD I HAVE
'CAUSE I WANTED TO T ALK ABOUT THE OTHER NIGHT.
YEAH? YEAH.
LOOK, I DON'T WANT T HIS TO SOUND COLD, BUT...
THAT WAS A MISTAKE.
A BIG MISTAKE.
YOU WERE JUST IN THE WRONG PLACE AT THE RIGHT TIME.
AND I'M NOT BLAMING YOU FOR THE PROBLEMS WITH ME AND MY BOYFRIEND,
. EVEN THOUGH YOU ARE PARTLY RESPONSIBLE FOR THINGS GOING WRONG
WHOA, WHOA, WHOA. DON'T GO BLAMING ME.
WHAT WE DID HAS NOTHING TO DO WITH SEAN AND YOU.
SEAN?
YEAH. YOU CAN'T BLAME ME.
" I NEVER SAID "SEAN." I SAID, "MY BOYFRIEND.
NO, NO, I DISTINCTLY HEARD YOU SAY "SEAN."
LENNY, BACK ME UP HERE.
THANKS, REALLY.
EAN? HOW DID YOU KNOW THAT MY BOYFRIEND'S NAME WAS S
LUCK?
CT... YOU KNOW, I WAS THINKING, WHILE WE'RE ON THE SUBJE
[SEAN] UH-HUH.
I THINK IT WAS A MISTAKE BRINGING US ALL ALONG.
BUT YOU WANTED TO COME.
THAT WAS JUST SO I COULD JOIN IN, BUT ON REFLECTION...
WHAT?
YOU'RE HERE TO SAVE A RELATIONSHIP
AND YOU'VE BROUGHT ALONG A SOCIOPATHIC SERIAL DATER,
A GUY WITH PORNO REACTIONS AND A MISS-KNOW-IT-ALL
TO WHO PRETENDS TO HAVE A JOB SO SHE DOESN'T HAVE TO STARE IN
THE BLACK ABYSS THAT IS HER LIFE.
I GUESS.
YOU MAY AS WELL HAVE BROUGHT THE TIN MAN, THE SCARECROW
AND THE COWARDLY LION FOR ALL THE HELP WE ARE.
WELL, YOU'RE HELPFUL.
AND AS FOR VINCENT AND LENNY ...
ONLY AN IDIOT WOULD LET THE TWO OF THEM GO OUT THERE UNSUPERVISED.
VINCENT, JUST ANSWER M E ONE QUESTION.
IEND? HOW LONG HAVE YOU KNOWN THAT I'M SEAN'S GIRLFR
NOW, HOLD ON. I DIDN'T KNOW ABOUT YOU AND SE UNTIL JUST BEFORE WE, YOU KNOW.
I MEAN, THE UNIVERSITY OF PHILADELPHIA...
WAIT, THAT'S WHE RE I KNOW YOU FROM.
HE TRIED TO PICK ME UP THE OTHER NIGHT. GAIL!
HOW DO YOU KNOW MY NAME?
JUST REWIND TH ERE FOR A SECOND.
YOU KNEW ABOUT SEAN AND ME BEFORE WE ENDED UP IN...
R. AND I'M REGRETTING IT AS I'M SAYING IT...IN BED TOGETHE
TECHNICALLY, YES. BUT WE'RE TALKING MINUTES BEFOREHAND.
WHOA, THAT SOUNDS SO MUCH WORSE THAN IT SOUNDS.
THE CAFEÉÉ, THE PHILADELPHIA STUFF,
THAT WAS GENUINE.
IF IT WAS GENUINE, THEN WHY DID YOU TRY IT ON ME?
I SAID GENUINE, NOT ORIGINAL.
YOU PAY TO SEE THE ROLLING STONES, YOU EXPECT TO HEAR THE CLASSICS.
AND I ONLY TRIED TO PICK YOU UP TO SHOW LENNY HOW, SO NO HARM DONE.
Y? WHAT? WHO'S LENN
AND YOU WORK IN THE CALL CENTER, RIGHT? NIGHT SHIFT?
THIS! I CAN'T BELIEVE
IEND HOW CAN YOU SAY SEAN'S YOUR FR
AND YOU STILL WENT AHEAD E VEN THOUGH YOU KNEW. YOU KNEW!
I'D LIKE TO KNOW HOW Y OU KNOW MY NAME. IS THIS SOME KIND OF SICK GAME?
THIS ISN'T SOMETHING YOU CAN EXPLAIN ON A CRAZY GOLF COURSE.
YOU'RE UNBELIEVABL E! ME?
HOW AM I THE BAD GUY ALL OF A SUDDEN?
I DIDN'T MAKE ANYBODY DO ANYTHING THEY DIDN'T WANT TO.
THE MAIN THING IS SEAN IS HERE.
SEAN IS HE RE? YEAH. AND THE IMPORTANT THING IS THAT...
IS. SEAN'S HERE. I CAN'T DEAL WITH TH
YES, YOU CAN. SEAN'S HERE.
YES, I THINK SHE GETS THE MESSAGE.
NO! I MEAN, SEAN'S HERE.
DO? GAIL, WHAT AM I GONNA
[GAIL] JUST SPEAK TO H IM. YOU CAN DO IT.
RIGHT.
I CAN DO THIS.
S! OH, NO. I CAN'T DO THI
WHAT'S SHE DOING?
SHE'S VERY BAD AT CONFRONTATIONS.
NO SHIT, SHERLOCK.
[CRYING]
HI, CAN I GET A COKE, PLEASE?
?? [MELLOW INSTRUMENTAL]
E. I JUST WANNA BE WITH MADELIN
SEAN.
NG? HEY. HOW'S IT GOI
AH, IT'S NOT. LISTEN, I CAN' TALK, I'VE GOT TO FIND HER.
SEAN?
SEAN!
WHAT?
IT'S MADELINE. SHE'S WAI TINGFOR YOU AT THE PIER.
AH. IS SHE? YE
HOW DO YOU KNOW?
SEAN, IT'S ME, JOD Y. I KNOW.
NG] [MADELINE CRYI
AT? WH
UH, YOU WOULDN'T HAPPEN TO BE MADELINE, WOULD YOU?
HEY, THAT PUTS ME IN THE LEAD. UH, GAIL?
NOT THAT I REALLY CARE,
BUT AREN'T YOU CONCERNED ABOUT YOUR FRIEND MADELINE?
D. TRUST ME, IT'S B ETTER NOT TO GET INVOLVE
THIS IS SOMETHING SHE REALLY NEEDS TO SORT OUT HERSELF.
LL. AND TO BE FRANK, I'VE BEEN GETTING A LITTLE TIRED OF IT A
ME. "BLAH, BLAH, BLAH, SEAN'S AVOIDING
KS. "BLAH, BLAH, BLAH, HAVEN'T SEEN HIM FOR WEE
. "BLAH, BLAH, BLAH, SLEPT WITH VINCENT
." BLAH, BLAH, BL AH, IT WAS RUBBISH
VINCENT WAS RUBBISH?
WELL, I DON'T KNOW IF THAT WAS HER EXACT WORDS.
ST... I KNOW THAT I SHOULD G O TALK TO HIM, IT'S JU
ING. I DID SOMETHING SO STUPID, IT'S GOING TO RUIN EVERYTH
P. MADELINE... I DON'T WANT US TO SPLIT U
THAT'S WHY I RAN AWAY HE RE, TO AVOID HIM.
YOU TWO MAKE THE PERFECT COUPLE.
JESUS, YOU'RE BOTH SO SELFISH!
YOU THINK THIS JUST AFFECTS THE TWO OF YOU?
N? WHY, WHAT DO YOU MEA
WHAT ABOUT ME?
I HAVE TO PUT UP WITH IT EVERY NIGHT.
SEAN GOING ON AND ON AND ON ABOUT IT.
IF YOU DON'T GET OUT THERE RIGHT NOW AND SORT THIS OUT...
I CAN'T FACE HIM. YES YOU CAN.
THIS ISN'T THE PLAYGROUND.
YOU'RE NOT FIVE YEARS OLD.
AND HE LOVES YOU.
HE LOVES ME?
IT'S SEAN, INACTION MAN.
AND HE'S COME ALL TO THE WAY OUT HERE.
YOU WORK IT OUT.
?? [MELLOW INSTRUMENTAL]
HEY. HEY.
IS THIS ABOUT THE WALLPAPER THING?
YEAH.
THIS IS GONNA SOUND STUPID , BUT...
I'M REALLY PLEAS ED TO SEE YOU.
YEAH...
E... AND I ALMOST WISH YOU WEREN'T HERE 'CAUS
I'VE GOT SOMETHING TO TELL YOU.
I DID SOMETHING BAD.
REALLY BAD.
I SLEPT WITH YOUR FRIEND, VINCENT.
OH.
OH?
OH!
WOW.
I EXPECTED...
WELL, I DON'T REALLY KNOW WHAT I EXPECTED.
BUT SOMETHING A LITTLE MORE X-RATED THAN JUST "OH."
OH.
SEAN, IF YOU SAY "OH" AGAIN... I KNEW.
WHAT? I KNEW.
YOU KNEW?
OH, MY GOD.
AND STILL YOU CAME OUT HERE.
OH, YOU POOR THING.
. MADELINE, LISTEN..
NE. I'M THE LOWEST OF THE LO W. MADELI
NE. LOWER EVEN. MADELI
WHAT?
I DID SOMETHING BAD.
REALLY BAD.
WHAT?
WHAT DID YOU DO?
I DON'T BELIEVE THIS.
FOR A MINUTE THERE, WHEN I SAW YOU STANDING NEXT TO...
KING KONG, I WAS SO PLEASED THAT YOU CAME OUT HERE.
AND I, AND I THOUGHT MAYBE WE HAD A CHANCE.
BUT NOW...
. WE STILL HAVE A CHANCE
A CHANCE?
PEOPLE IN BURNING BUILDINGS HAVE A CHANCE.
PEOPLE IN COMAS HAVE A CHANCE.
FUCKING, WE DON'T HAVE A CHANCE, SEAN.
YOU FUCKING SLEPT WITH SOMEONE ELSE!
! YOU SLEPT WI TH SOMEONE ELSE
IT WASN'T LIKE THAT!
IT'S VINCENT. IT'S ALWAYS LIKE THAT.
IT WASN'T LIKE THAT.
I'M JUST GOING TO FRESHEN UP.
RE. SU
?? I WANNA KNOW WHAT LOVE IS ??
? ?? I WANT YOU TO SHOW ME ?
??I WANNA FEEL WHAT LOVE IS ??
?? I KNOW YOU CAN SHOW ME ??
[MADELINE] I DIDN'T DO IT BECAUSE I WANTED TO.
I DID IT BECAUSE I DID N'T KNOW ANYTHING ANYMORE.
.. I DIDN'T KNOW WHETHER I WAS PRETTY OR UGLY OR.
. WHAT WAS HAPPENING WITH US
D. AND NOW EVERYTHING'S RUINE
NE. EVERYTHING WE'VE EVER DO
. FROM OUR FIRST DATE, MOVING IN TOGETHER, EVERYTHING
WE COULD'VE JU ST COME OUT HERE,
STOOD AT THE PIER, SHOUTED AT EACH OTHER...
SKIPPED THE WH OLE MIDDLE PART.
[LENNY] I'LL SHOW YOU A TR ICK. [GAIL] UH-HUH.
ALL RIGH T? OKAY.
RIGHT. THIS POUND COIN.
I'LL SHOVE THROUGH MY BO DY... UH-HUH.
...INTO THAT HAND. OKAY? OKAY.
D. MOVE ALONG THERE. OVER T HE SHOULDERS, DOWN THIS HAN
. NO! THERE YOU GO. YEAH
DO IT AGAIN. DO IT AGAIN?
ME. UH-HUH. IT TAKES A LOT OUT OF
DO IT AGAIN. OKAY.
LISTEN. NORMAL POU ND COINS FOR THIS STU NT. UH-HUH. UH-HUH.
OKAY.
UH-HUH.
LET ME SEE... NO!
NG? SO, HOW'S IT GOI
IT'S WEIRD.
WE'RE SITTING THERE, JUST TALKING AWAY LIKE REAL PEOPLE.
ANY INTERESTING SIDE EFFECTS?
NO, NONE AT ALL.
I MEAN, I ACTUALLY, I ACTUALLY ASKED HER OUT.
STRAIGHT AND SIMPLE.
YOU ASKED HER OUT? WOW!
YE WHAT DID SHE SAY?
WELL, SHE SAID NO, BUT I ASKED HER.
I'M PROUD OF YOU, LENNY.
UM, EXCUSE ME. HAVE YOU LOST SOMETHING?
YEAH, YEAH, I HAVE.
I SEEM TO HAVE LOST MY PHONE NUMBER.
I WAS WONDERING IF I COULD HAVE YOURS?
ARE YOU TAKING THE PISS?
DID YOU SEE THAT?
SAW IT AND ENJOYED IT.
IF I WASN'T SUCH A SHALLOW PERSON, I'D PROBABLY BE HAVING
SOME SORT OF CRISIS OF CONFIDENCE RIGHT NOW.
VINCENT?
WHAT?
N. JUST BE GLAD YOU ARE SUCH A SHALLOW PERSO
YEAH. THANKS, JODY.
ARE YOU SURE YOU WANNA DO THIS?
IT SOUNDS WEIRD, BUT I JUST WANT SOME KIND OF...
I DON'T KNOW, SOME KIND OF MEMENTO. MEMENTO?
IT'S A GIRL THING. YOU KNOW. YEAH, SURE.
. GETTING YOUR PHOTOS TA KEN WITH YOUR EX-BOYFRIEND
WOW.
D. EX-BOYFRIEND. YEAH, IT DOES SOUND WEIR
OH, DAMN.
WE GOT THREE MOR E. YEAH.
RIGHT, WE CAN DO THIS.
MADELINE?
IF THIS IS THE END OF THE LI NE FOR US, WHO'S GONNA MOVE O UT? WHAT?
T. OF THE FLAT? ONE OF US WILL HAVE TO MOVE OU
I'M REALLY FOND OF THE FLAT. WELL, SO AM I.
SEAN? DAMN IT!
I'M NOT MOVING OUT, END OF STORY.
I'M NOT MOVING O UT, END OF STORY.
E ME. ONE OF US WILL HAVE TO MOVE OUT. IT'S NOT GONNA B
IT'S NOT GONNA BE ME.
HOW DO YOU THINK IT'S GOIN G? [ARGUING CONTINUES]
IS THAT A SERIOUS QUESTION?
YOU TWO, SHH!
I'M TRYING TO LEARN SOMETHING HERE.
[MADELINE] ME? SEAN, YOU'RE THE ONE BEING UNREASONABLE.
WE COULD ALWAYS SHAR E. WHAT?
I COULD SLEEP THERE DURI NG THE DAY. YOU COULD SLEEP THERE DURING THE NIGHT.
WHY DON'T WE JUST GO BACK OUT THEN? FINE. FORGET IT.
JUST LIKE THE BAD OLD DAYS, HUH? YEAH.
BAD. THEY WEREN'T THAT
I THINK IT'S ABOUT TO POP.
I KNOW.
IT'S OUR LAST CHANCE.
[WOMAN] ?? ...THAT HANGS OVER ??
?? THESE DREAMS IN THE MIST ??
?? DARKNESS ON THE EDGE ??
? ?? SHADOWS WHERE I STAND ?
? ?? I SEARCH FOR THE TIME ?
?? ON A WATCH WITH NO HANDS ??
? ?? I WANT TO SEE YOU CLEARLY ?
? ?? COME CLOSER THAN THIS ?
?? BUT ALL I REMEMBER ??
?? ARE THE DREAMS IN THE MIST ??
?? THESE DREAMS GO ON ??
?? WHEN I CLOSE MY EYES ??
? ?? EVERY SECOND OF THE NIGHT ?
?? I LIVE ANOTHER LIFE ??
? ?? THESE DREAMS THAT SLEEP ?
?? ?? WHEN IT'S COLD OUTSIDE
?? ?? EVERY MOMENT I'M AWAKE
?? ?? THE FURTHER I'M AWAY
?? FURTHER AWAY ??
?? IS IT CLOAK AND DAGGER ??
?? COULD IT BE SPRING OR FALL ??
[MAN] ?? MAKE IT ??
[GUITAR]
?? SUN IS SHINING THE WEATHER IS SWEET, YEAH ??
?? WHOA, MAKES YOU WANNA MOVE THOSE DANCING FEET ??
?? TO THE RESCUE AH, HERE I AM ??
?? ?? I WANT YOU TO KNOW, Y'ALL
?? HERE I STAND ??
?? AS THE MORNING GATHERS A RAINBOW ??
?? ?? I WANT YOU TO KNOW, Y'ALL
?? THAT I'M A RAINBOW WITH YOU ??
?? 'CAUSE I'M A HERO LIKE ROBERT DE NIRO ??
?? I KNOW AM ITAL RASTA MAN ??
?? I GOT TO KEEP I HEIGHT ??
?? PROTECTION UNTIL TIME ? ?
?? THE SUN IS SHINING, YEAH ??
?? WAR ??
?? WAR IS EXPLOSIVE ??
?? YOU GOT TO DEMONSTRATE ??
?? DEMONSTRATE YOU GOT TO DEMONSTRATE ??
?? DON'T FIGHT ??
?? 'CAUSE THE SUN IS SHINI NG FOR YOU ??
?? THERE'S NOTHING ELSE TO DO ??
?? SUN IS SHINING ??
?? THE WEATHER IS SWEET, YEAH, WHOA ??
?? IT MAKES YOU WANNA MOVE THOSE DANCING FEET ??
?? TO THE RESCUE ??
?? HERE I AM ??
?? I WANT YOU TO KNOW, Y'ALL ??
?? HERE I STAND ??
?? AS THE MORNING GATHERS A RAINBOW ??
?? I WANT YOU TO KNOW NOW ??
?? THAT I'M A RAINBOW WITH YOU ??
?? WHOA, WHOA, WHOA, YEAH ??
?? TEST THE EYE TEST THE EYE ??
?? FEAR NO EVIL ??
?? SHINING LIKE A LION SHINING LIKE A LION ??
?? SOME WOULD SAY ??
?? YEAH, MONEY IN MY ??
?? ONE ON ONE MONEY IN MY POCKET ??
?? BUT I JUST CAN'T GET YOUR LOVE ??
?? SOME SAY, YEAH ??
?? WHEN THE SUN IS SHINING DON'T FIGHT ??
?? YOU GOT SOUL, AND YOU'R E CHOPPING IT UP AERO ??
?? FOR YOU THERE'S NOTHING ELSE TO DO ??
[VINCENT] I KNOW WE'VE ONLY JU MET, BUT CAN I TELL YOU A STORY?
[WOMAN CHUCKLES] I SUPPOSE.
YEAH. THERE WAS THIS GUY I KNEW, WORKED NIGHT SHIFTS.
ONLY HIS GIRLFRIEND, SHE WORKED DAY SHIFTS.
ALTHOUGH THEY SHARED A FLAT, THEY NEVER GOT TO SEE EACH OTHER.
THAT'S A SHA ME. YEAH.
ANYWAY, THIS GUY USED TO GO HOME AFTER EACH SHIFT,
CHECK THE PILLOW, CHECK THE TOWELS, CHECK THE SOAP.
BASICALLY, LOOKING FOR SIGNS TO SEE IF HIS GIRLFRIEND STILL LIVED WITH HIM.
AND DID SHE? WELL, SHE DID.
BUT THEN THINGS WENT A BIT HAYWIRE. THAT'S NOT THE POINT.
THIS GUY... THINK ABOUT IT.
HE'S ACTUALLY CHECKING THE SOA TO SEE IF IT'S GETTING SMALLER .
DON'T YOU THINK THAT'S JUST SO... ROMANT IC.
ROMANTIC? DON'T YOU TH INK IT'S ROMANTI C?
LIKE THEY WERE LEAVING LITTLE CLUES FOR EACH OTHER.
I DON'T KNOW IF "ROMANTIC'S" THE WORD I WAS LOOKING FOR.
I THINK THAT'? ’S A LOVELY STORY .
SURE. LOOK, THE POINT IS... WHAT I'M TRYING TO GET AT IS.. .
WOULD YOU GO TO BED WITH ME?
WH AT?
[JODY] VINCENT, LEAVE THAT GIRL ALONE.