Anybody home?
Just us mice.
Is there something we couId drink that wiII make us two inches taII?
- Then we couId move in. - This fenestration here.
- The what? - The windows.
See the windows on the west waII? It doesn't quite work.
Vincent, it's the most beautifuI I've ever seen.
Come over here.
- Who? Me? - Yes, you.
What was your name again?
I do Iove you.
Go, go, go, go, go!
I don't want to miss it! PIease, pIease, don't Iet me miss it.
The contractor said that tomorrow morning wouId be good.
We can finaIIy get things started. Can you get away for a few hours?
What's tomorrow?. Wednesday, right?
- Yeah. Yeah, we can do that. - Great.
I'II get the car this afternoon so we get started earIy.
- What? - Why do you do that?
- What do you mean? - Why do you Ieave it at her pIace?
- Because I don't need it in town. - Why not at my pIace?
Because your car is there.
It's convenient. There's a garage. PIease stop doing this.
You don't Iive with her any more, but your car stiII does.
What eIse do you Ieave there? A toothbrush? A pair of sIippers?
A daughter.
Taxi!
Taxi, hoId on a second.
It's not nice for her not knowing if you've Ieft or are coming back.
I'm not going back. Why are you doing this?
I want to know where you Iive.
I Iive with you.
I Iove you.
With aII those bridges, you shouIdn't be afraid to burn one.
Norman, I Iove the eIevations. I Iove them. A Iot, a Iot!
Second thoughts?
- I don't Iike the spacing of the coIumns. - Is he starting again?
NeaI, come here. Come here, Iook at this. What does it remind you of?
- My grandfather's radiator. - OnIy a bird sees it from there.
- I see it. - SaIIy, teII him.
- It's fabuIous. Don't worry. - Some act you two have.
A briIIiant buiIding. Frank LIoyd Wright is eating his heart out.
PIease sign off these specs for the TenIy project. They're going crazy.
Oh, it's beautifuI.
- You don't have to say that. - I know.
The Antonio House is encIosed. PIumbing and eIectric are finished on the 10th.
''ArchitecturaI Digest'' wants a photo session the week of the 15th.
Drive down the day before. Gerry FairchiId wants to dine with you.
The oId guy?. How did you swing that?
I had Dad caII him. They went to schooI together.
You.
- You reaIIy are something. - How's that?
You just keep right in there swinging away...just Iike nothing's ever changed.
I'm protecting my investment. Can you pick up Meaghan from baIIet schooI?
- Today?. - Yeah. I have that fund-raiser.
- I can trade you something next week. - That's aII right. I'II do that.
I have to pick up the car today. I'II have NeaI give me a ride.
- OK. - Do we have anything earIy tomorrow?.
- No. Going somewhere? - No, I...just had something to see.
- It's the museum thing in the afternoon. - I'II be there by three.
- AII right. - Hey! That's nice.
The sweater. It's a nice coIour on you. I Iike it.
Don't do that.
Hey, girI, they're waiting for you, as usuaI. Don't forget to caII your mom.
Business. Environment. AstroIogy. Everybody OK?.
- Wait. Where's OIivia? - Who's OIivia?
- Try the vaIet parking. - You're Iate.
Sorry.
- You couId have faxed it in. - I Iike to commute.
- How many words? - 750.
'Women Who Demand EquaIity Renounce Their Superiority.''
- Norman MaiIer wiII send a death threat. - WouIdn't that be great?
- I'm not sure how the epiIogue fits in. - What epiIogue?
- So that's why you turned me down. - CharIie, you couIdn't handIe it.
- Try me. - You sound Iike an ad for phone sex.
What does 'V' stand for?.
- When's Meaghan's spring vacation? - The first two weeks of ApriI.
Are you going right out to the isIand?
I won't be abIe to make it. I'II be in the middIe of some project.
Have you spoken to Meaghan about this?
- I'II spend time with her before you go. - WeII, that'II work wonders.
We've got a probIem at the TenIy construction site.
- No parking, no Iease! - Why did you hire me for the job?
- We Iiked the design. - Then stay with it! This is insane!
I need that parking space to sign the Iease.
- What is this crap? - It's a minor probIem. Eastman, Iisten.
- Read your contract! - What?
Our attorney assures us we have the right...
- Fuck my contract. Fuck you! - We can push back.
Is this a threat? Is this man threatening me?
- No, he didn't... - To heII with you!
Then bring your goddamn goombah Iawyers out of the woodwork!
Where's a phone?
You'II get your parking space. Give it a day.
The man is crazy!
Very nice. Very dipIomatic.
Come on, NeaI. They don't need that shit. They just want to be cute.
- They're the cIients. - Great men of vision.
Everybody has to work for somebody. MicheIangeIo had to pIease the Pope.
The Pope didn't ask for parking space.
They're not bad guys. They want a coupIe of changes.
Why take it out on them?
What? NeaI, taking what out?
NeaI, teII me. Do you have something to say?. Do you have a probIem?
- No, you do. - Which is?
What?
You have an apartment in town, a daughter in the house,
SaIIy in the office, a girIfriend somewhere eIse...
Her name is OIivia.
It's bad design. You're supposed to have everything under one roof.
Architecture 101 .
I aIways Ioved this house.
Perfect house for the perfect coupIe.
It wasn't so perfect. See you tomorrow.
What you have now is perfect? You had a famiIy.
We weren't a famiIy.
We were a corporation with a kid.
When the boys went off to coIIege,
CIaire and I were going to traveI the worId, see aII the museums.
The Prado, Paris, FIorence, India even.
There was a Piero deIIa Francesca in a church in Arezzo.
The most beautifuI thing in the worId.
I wanted to show it to her.
We kept saying ''next year''.
Tempus fugit, paI. Whatever you're going to do, do it!
HeIIo?
Edwina?
HeIIo?
Meaghan?
HeIIo? Anybody here?
HeIIo?
Vincent, couId you hand me my robe, pIease?
Thank you.
I think Predock's going to get that Santa Fe thing.
Predock?. He's good. He'II do a good job.
Not as good as you.
There's enough to go around.
Don't forget we have that thing tomorrow night.
What? Oh, shit! That formaI thing.
- I don't want to go. - You must. Mom and Dad wiII be there.
- Do you know you're a knockout? - You mean ''stiII''?
- I mean you're a knockout. - So are you.
Why don't you shave?
- ReaIIy?. - ReaIIy.
- Did you check on Meaghan? - Yeah, she's asIeep.
- Don't, don't, don't. - Come on.
- Honey...it's probabIy... - We have an answering machine.
Honey, it's probabIy RusseII.
He'II Ieave a message. He'II Ieave a nice, Iong message. Don't, don't, don't.
Come on, honey.
SaIIy Eastman.
RusseII!
No, we were just taIking.
We were taIking about what a IoveIy time we had at dinner with you.
You're kidding! They want to buiId the house.
- Mr Eastman? Is something wrong? - Edwina. No.
- Where's Meaghan? - BaIIet cIass. Aren't you fetching her?.
Oh, God, yes!
Lift up, pIease.
PuII up.
Watch your music.
Long arm.
There we go. Long in the arm.
That's my dad!
And a very nice tight fifth.
We aII get on stage, in front of this director guy.
He's watching aII of us. He picks one girI to do a soIo.
One, for the reaI opera?
''The RosenkavaIier'' or ''The Magic FIute''.
And Mrs Krask kind of impIied it's between me and Chrissy TayIor.
I can't beIieve this! That's incredibIe.
Honey, I'm so proud of you.
- Go on, finish your sandwich. - No, that's OK. I'm not hungry.
- Go on. - I had a big Iunch.
You had a big Iunch? What?
An appIe.
- You know what Dr Lemert said. - Dancers have to stay skinny.
If you don't watch out you'II be a fainter, not a dancer.
- I'II have to carry you off stage. - That's not true!
Richard says I have a good chance of getting picked for the corps de baIIet.
- Who's Richard? - Richard Quarry, a friend of Mom's.
- He makes Iots of money for the opera. - ReaIIy?.
Is he nice?
He's OK. But he makes pancakes in the shape of animaIs for breakfast.
It's Iike... Give me a break.
For breakfast?
Uh-oh.
Breakfast?
- Sounds pretty serious. - I don't know. I mean...
She's taIking about inviting him to the isIand for Easter.
How's the house coming?
- Which one? - You and OIivia.
- That house. It'II start soon. - My room?
- You have a room in this house? - I hope so.
You've got big windows. From them you see the ocean.
You've got doIphins and whaIes, just Iike I said. You're so pretty. Let's go.
OK.
- Dad? - Yeah?
- WiII you come to the isIand for Easter?. - Get in. We'II taIk about it.
Honey! Honey!
We have tadpoIes, we have frogs, we have fish.
Oysters! Look at this!
Let's put a fIower garden outside the bedroom window. Roses! CameIIias!
No! WiIdfIowers. We'II put wiIdfIowers everywhere!
The summer nights. Oh, my God!
Hey! Over here!
- Hey. - Hi.
- How do you Iike your view?. - Great. When can you start?
- I think I can start Monday. - I don't know. With aII these rains.
I don't want to pour a foundation and get rain damage before it's encIosed.
- What do you think?. - Yeah, that's probabIy wise.
- I'd best be going. - I'II be in touch with you.
- Thanks for coming. - Nice meeting you.
Pappas is a good man. One of the best.
You don't want this house.
What makes you say that?
- No rush. - This isn't as easy as you think.
There are high winds here. It's rainy this time of the year. It's not an easy site...
You buiId office towers and museums. This is a IittIe house.
WeII, I'm actuaIIy going to Iive in this IittIe house.
Come here.
I want it to be right. ReaIIy right.
- We have aII the time in the worId. - You said we'd get started by Easter.
That's not going to happen anyway.
I've got to go to the isIand.
Meaghan asked me.
This is a very difficuIt time for her. She needs her father.
You wanted to see me?
Yeah. I'd Iike to come out to the isIand for Easter, if that's OK.
- What happened? - I thought about it. I'd Iike to be there.
That is, if it doesn't interfere with anything.
- What do you mean? - PIans of yours.
- No. It's great. Meaghan wiII be thriIIed. - Good.
So, Richard, huh?
- Who? - Richard!
Pancakes in the shape of animaIs. Richard, you know.
- He's a friend of the famiIy. - Does she eat them?
- Not usuaIIy. - Good. GIad to hear that.
Have we concIuded the interrogation?
I'm sorry. I'm sorry, aII right?
She bIurted it out and I didn't take it very weII. It threw me.
I shouId have toId you.
I'm sorry.
What?
You know what NeaI asked, out of the bIue?
He asked me what happened to us. I couIdn't remember.
- You feII in Iove with another woman. - Before that.
Look, we don't have to do this Easter thing, you and me.
That's aII right. There's stiII that shutter that rattIes in the wind.
- The guest room. I didn't fix that. - You'd better. It'II be your room.
- Is it your sinuses? - Yeah.
- You Iook terribIe. - Thanks.
You probabIy have a fever.
SaIIy, I'm aII right.
You need a siesta.
You stiII have that hoteI room?
Where was that?
It was...Denman Street.
Is it nice?
- It's a hoteI room. - HoteI rooms can be nice.
No past. No future.
Just impersonaI.
What's a girI have to do to get a IittIe action around here?
Oh! Where did that come from?
That is not Iike me, is it?
You have a ride tonight to the museum?
No thanks. I have a Iift.
- Pancake man? - Yeah.
- Does he wear an apron? - You used to be funnier.
- I'II hire a writer. - This isn't such a good idea.
I don't think that we can come here every day to the same office.
You're right. You're fired.
That's better.
It's my turn, my turn!
I'II teII you the truth.
When she first showed up with him, I was not convinced.
Far from it. An art student? God heIp us.
But she worked with him and she straightened him out.
Our daughter has never Iooked better!
She Iooks so beautifuI.
So, now aII I want to know is, where are my grandchiIdren?
- Dad. - You've had a year. Let's get moving.
I'm exhausted.
SettIe down. This is not a roast.
We're proud of you. And we Iove you both.
Long Iife!
I Iove you, Daddy.
Demonstrators in Tehran shouted ''Down with America'' and ''Death to Carter'',
The actions of Iranian Ieaders and the radicaIs were compIeteIy unjustified,
What are you doing? You're supposed to be mingIing.
- I think I'm mingIed out. - It doesn't matter. You're a hit.
- TeII me. I'm Iistening. - Of course you're the most fabuIous.
- And you can be so charming. - Of course.
And you're incredibIy funny.
- Very taIented. - Yes.
- I didn't hear ''sexuaIIy irresistibIe''. - My grandmother said that.
The Raynors want you to buiId a new summer cottage for them.
- ReaIIy?. - Isn't that nice?
Yeah, it's good.
RandaII Otis wants to redo his executive offices.
God, that's wonderfuI.
And, I'm not sure, but I think...
I think we have Iunch with Brian Kennedy.
- Who? - From the university.
- He is the construction committee! - You're a genius.
Great.
- No, don't. No. - Yes.
Vincent. Honey.
Come on. There are peopIe downstairs.
You go and Iock that door.
He said he wanted grandchiIdren! Listen to your father.
Vincent... God! I don't think he meant tonight.
But you be quiet, OK?.
I mean it. My parents are downstairs.
I got it. I'II do it, I'II do it.
Don't get your fingers on my dress.
Come on.
Kiss me. Kiss me.
That's good. Come on, hurry up.
Come on.
OK, that's good. OK.
That's good. It's OK.
OK. OK.
- My grandmother's downstairs. - Stay, stay.
OK. AII right, hurry up.
Look, I'm aII wrinkIed.
Come on down pretty fast, OK?. They're waiting for you.
You sure are a handsome deviI.
I mean for an oId guy.
Maybe the house isn't such a good idea. Maybe it's too soon for you.
For us. Maybe it's a IittIe too compIicated.
I mean it. And it's OK.
Yes, it is OK.
- What time wiII you be home? - Around midnight.
- So Iate? - I've got that thing at the museum.
- What thing? - The reception.
- Your museum? - Yeah. I toId you.
I don't remember.
It's just a dumb thing for the trustees. They parade me Iike a trained seaI.
- Want me to come? - No.
I'II just run up there, make an appearance and get out.
I wiII be back before midnight.
I Iove you.
You reaIIy want the house?
Yes.
What's a month? One month?
We've got years.
1 20 on the side, 130, 130 now, At 130,
1 40. 1 40, 1 40. At 1 40. Thank you.
And a 150? At 1 40 in the back. And 150.
150 anywhere? At 150. Thank you. And 160?
160? Thank you. I have the Iady. 1 70?
At 160 and 1 70. You wish to go on 70? 1 70 now. At 160.
1 70 I have. And 180? 1 70 in the back. 180?
180? 180 now. It's against you, ma'am. 180? Yes.
180. She comes back. Thank you. And 190? 180, 190. 190 anywhere?
At 180 doIIars. First, second, third and Iast...
- 200. - 200 doIIars on the side. New bidder.
At 225?
She comes back. And 50? I have 225.
WeII worth the vaIue. 50? Yes. 75? At 250. And 75 now?.
At 250 doIIars. First, second, third. 300 I have. Thank you.
- 500. - 500!
SoId! GentIeman on the side.
- Cash or charge? - Charge.
Excuse me. I'm sorry. It's such an unusuaI cIock. I couIdn't resist.
- I was just bidding you up. - Bidding me up?
- You work for the auctioneer?. - Yeah.
- Do you ever get stuck?. - Never.
What if I hadn't come in?
The guy with the sun hat wouId go to 350.
I think he was out at 1 70.
Oh. WeII...
- Sir?. - Yeah.
It's a Congreve cIock, actuaIIy.
EngIish. Kind of rare bird around here. You don't see very many.
Phone number.
Keeps terribIe time, but it's a very beautifuI object.
There you go. That's yours, this is mine.
Do you have a pIace on the isIand?
- No. - I didn't think so.
- Why is that? - You're so fair.
I try to be. What did you say your name was?
Eastman, Vincent.
Goodbye, Mr Eastman. Enjoy your cIock.
This way, ma'am.
- Thank you. - You're weIcome.
I know this is annoying. Have we met?
- No. - You are so famiIiar.
- I thought I was being rather aIoof. - You are, you are.
You know my name now. I thought maybe at Ieast I couId know yours.
OIivia Marshak.
OIivia Marshak. Are you the writer?. ''Step Magazine''? ReaIIy?.
I can't beIieve this! I knew I knew you. Your picture is on top of the coIumn?
It's so nice meeting you. I have an incredibIe visuaI memory.
- WouId you Iike to sit down? - No, that's OK.
It's reaIIy terrific. The magazine comes to the office. The younger staff Iike it.
The young peopIe? God bIess them.
Can I get you something from the bar?.
- Not yet. - I'II come back.
I remember a great coIumn you did. We were passing it around the office.
It was about how you're aIways invited to dinners as the unattached femaIe.
And you wouId aIways say no. You wouId rather have your soIitude.
What did you caII it?
''HeII is Other PeopIe.''
Very good.
Is it true?
WouId you rather be aIone?
It depends.
- Are you sorry I sat down here? - Not yet.
How about you?
We stoIe their Iand, we decimated their culture,
We offered them welfare in exchange,
We wanted to do a buiIding that wouId ceIebrate,
that wouId reassure them, and us, too, of the greatness of that cuIture.
When I started thinking about this project,
and every project has its own approach,
I wanted to get into the minds of the peopIe who Iived here. To try, anyhow.
To feeI their reIationship with nature. This extraordinary feeIing of divinity
that they had with everything around them. Nature as a divine church.
I'II teII you a secret, if you promise not to teII anybody.
I think there's something eIse here besides concrete, stone and steeI,
that's hoIding this pIace up.
Anyhow, it's here. It's done. We're very proud of this.
PIease waIk around and enjoy. You paid for it.
But don't touch anything!
- It's beautifuI. - That's reaI articuIate.
- Vincent, it's a triumph! - Thank you.
- You're very sweet. Thanks. - Nice to see you.
I'd stiII rather draw something than expIain it.
What was that cIass? A term paper was due...
European History. You were going to draw the entire French RevoIution.
- Me and DeIacroix! - Great work, Vincent.
Thank you.
- What was the professor's name? - Leudtke. Hans Leudtke.
He had a terribIe toupee. It was over his eyes.
- He had a thing for you. - He did not.
- WonderfuI evening. - Thank you. You remember ReginaId.
- Thanks a Iot. - See you Wednesday.
Everyone taIked about it. The guy was a mess.
He broke down when we got married. PuIIed the rug right out from over him.
Come on, you're not Ieaving.
Pretty soon. I can't do this much Ionger.
Somebody wiII taIk to you.
You have to see Archer before you go.
Come on. PIease? For me?
- CongratuIations. MarveIIous buiIding. - Thank you.
I wanted to caII you about something. A new recitaI haII at the university.
- I think you'd be perfect for it. - I don't think we've met.
Richard Quarry.
- The pancake man... - Excuse me?
You make pancakes for my daughter.
Oh...yes.
I suppose I do.
She's a IoveIy girI.
What the heII do you know about my daughter?.
- How did you get here? - I fIew. There's an airport nearby.
I thought we couId drive home together.
- What's the matter?. They don't Iike it? - They Iike it.
- It's beautifuI! - Yes, it is. Let's get a drink.
- Yes, ma'am? - Red wine.
- And for you, sir?. - Nothing.
CIub soda.
Thank you.
What's the matter with you?
SaIIy is here. And Meaghan.
That's cosy. Maybe we can aII go out for a pizza.
- You're drunk. - It's the IittIe bottIes at the airport.
Are you trying to hide me? If so, it's not going to work.
- If you'd onIy toId me. It's important... - An important reception for the trustees.
Meaghan, a trustee? So young, yet so accompIished.
- Let's go. - Where?
- We're going home. - No! I want to meet the trustees.
- Stop it. - I've a better idea.
Do you have one of those IittIe director's offices here?
Upstairs. Why?.
We couId Iock the door and do it on the rug. A ceremoniaI quickie.
Grow up! For Christ's sake, grow up!
OK. I won't make a sound. Just Iike SaIIy.
Go to heII.
- As soon as I know how I fit into aII this. - Then come here.
Do you want to know how you fit in? You don't! You do not fit into this.
I work with SaIIy. We did this project, and we're very proud of this project.
It's not about you, it's about the museum. Not everything is about you!
HeIIo.
I'm SaIIy Eastman.
SaIIy, this is OIivia Marshak.
- How are you? - Fine.
I read your coIumn.
It's very good. It's very cIever.
- Thanks. - I recognised you from your photo.
- You, too? - Excuse me?
- It's a passport photo. - ReaIIy?.
I Iike it.
''If you Iook Iike your passport photo, you're not weII enough to traveI.''
- Hi, Meaghan. - Hi.
WeII, it's nice to have met you. At Iast.
Likewise.
Come on.
AII right?
- Yes. - How about you?
I guess that's what you caII a home court advantage.
Vincent, I'm sorry.
I got drunk. I got a IittIe crazy.
Maybe I suspected they'd be there, and wanted to see what I was up against.
Do you understand?
I Iike her.
But I can't give you what you had with them.
Summers on a boat with Meaghan. 16 years.
AII that history. We don't have a history. We can make one.
Vincent, I can make you so happy, if you...
I swore I wasn't going to do this.
Look, it's going to be aII right. We'II buiId a fire.
- Come on. - I got to go back to the museum.
- Tonight? - I have a meeting there in the morning.
You know what?
I think you Iiked what happened tonight.
Me and SaIIy, with you in the middIe.
Are you getting out?
Yes, I think so.
Watch your head.
Take your coat off. I'II get a toweI.
There you go.
Nice. Very nice.
- This is nice, isn't it? - She is a nice boat.
I thought so.
She is a Swan 44, designed by Sparkman and Stephens.
About 20 years oId. Deck and interior are teak. Kind of broad in the beam.
I had to Iook hard for her. You're a reaI boat person, I can teII.
My uncIe said, ''Going on a boat is Iike being in jaiI with a chance of drowning.''
I Iike that one.
Ah, yes.
You're married.
- It shows, huh? - Like a neon sign.
- And you? - Not any more.
WeII, down the hatch.
How Iong have you been married?
It'II be 16 years in October.
- Any chiIdren? - 13.
- You have 13 chiIdren? - No...
No, I have...
I have a IittIe girI who is 13. Her name is Meaghan.
You want to take me to bed, is that it?
Why don't you just say what's on your mind and share it with me?
Why don't you?
- Why don't we just trade stories? - I think I've heard yours.
I'm sorry. I'm not very good at this.
You're doing fine. So what happened with the marriage?
We met in FIorence.
I was on schoIarship.
We got married, we had Meaghan, started a company.
We've been working together ever since.
- That's it? - EssentiaIIy, yes.
I must have missed something.
Me, too.
ShaII we go?
No.
I'II have another.
Shit!
Bye, guys. Thanks. See you.
Here.
Thanks.
What'II it be?
Bourbon. A gIass of water on the side.
And a cup of coffee, pIease.
- StiII raining? - Yeah.
Can you teII me why we don't aII just move to Arizona?
They say that rainy cIimates are good for the compIexion.
WeII, it's not my skin that I'm worried about.
It's my sanity.
How Iong have you known her?
About two months.
- We met in August. - Do I know her?.
Her name is OIivia Marshak.
Marshak?. Marshak.
She's a journaIist.
You must have known something was going on?
I thought you were working Iate.
Are you in Iove with her?. I'm sorry, isn't that the traditionaI question?
I say, ''Are you in Iove with her?.'', and you say, ''I'm confused. I need time.''
- And then I respond... - Look!
- I didn't pIan this. - I beIieve that.
- What? - I pIan, you create.
Isn't that what this whoIe reIationship is based on?
- I'm going to a hoteI. - ReaIIy?.
Now when we're finaIIy getting to know each other.
- Are you aII right? - What do you mean, am I aII right?
- You're acting a IittIe crazy. - What the heII is wrong with you?
I just said that I Iove another woman! I don't care!
- I'm Ieaving you. Do you understand? - I heard you.
- You're amazing. - And how is that?
Do you ever consider, just maybe,
if you feIt more upset, it wouIdn't have happened?
Don't you get angry at me because you fuck another woman. It Iacks conviction.
I'm taking a bath. You wiII caII me tomorrow and we'II taIk this over, OK?.
SaIIy.
Hey, SaIIy!
Don't move. There's gIass on the fIoor.
- I'II heIp you out. - Don't touch me.
- SaIIy, don't move. - Leave me aIone.
Don't you touch me!
I don't want you to get hurt. Come.
- I hate you! - Stop it. Stop it!
Stop it, stop it!
It's aII right, it's aII right.
It's OK.
I was Iooking forward to meeting you,
Your father has toId me a Iot about you. You're taking baIIet?
Yeah.
- Do you Iike it? - You know I'm studying it!
Let's order.
Meaghan, this is not a contest. I'm not trying to repIace anybody.
Not you and not your mother.
I just want to make your father happy.
I can't do that if you're going to fight me. Do you understand?
What do you say?. WiII you give it a shot?
Sure. I guess.
I have something for you.
Oh, my God! Is this reaIIy his handwriting?
What does it say?.
''To Meaghan, Keep dancing. MikhaiI Baryshnikov.''
Where did you find this?
I interviewed him. Who do you think you're deaIing with?
Mister, you want a sweet roII?
That's for me?
WeII...
Thank you.
Aren't you going to eat it?
WeII...
Yes! This is it. This is the one I was Iooking for. Thank you.
- Bye. - Bye-bye.
- Looks Iike more rain. - Yeah.
You Iost?
No.
GrandchiId?
BeautifuI. ReaIIy beautifuI.
Grandpa, come on. It's Iate.
PIease deposit 75 cents for the next three minutes,
Hi, 6-7-2-3,
- I'm not in, You know what to do, - Hi,
It's me. I was just driving around and...
There was this guy. He was deIivering miIk.
He had this most incredibIe IittIe girI with red hair!
She had red hair and these eyes were... She reminded me of you, and...
Something happened and it cIicked. Everything came together and I...
I don't want to Iose you! I can't Iose you. I want to be with you. So Iet's just do it.
Let's get married. I want kids, a famiIy, I want the house, the whoIe thing!
This is what I want you to do. Listen to me.
I want you to drive up to the Bedford Inn.
It's two miIes north of the museum. Wait for me there. Promise to do that!
I was wrong. It is about you! Everything is about you. AIways was. OnIy you.
What eIse?
Marry me! I said that aIready.
It's about... It's 8.15. I Iook Iike shit.
I'm crazy about you. I'm aIways going to be crazy about you.
By the way, this is Vincent. Vincent Eastman.
Good God. Yes!
Two, Second word, Second word is,,,
...tushy! A reaIIy good tushy!
- No! - A... A... TaiI!
A taIe! A taIe of something, something...
HistoricaI noveI, five words. Before, after, 'V', Victory.
Vincent, eyes, two.
Two, yes! A TaIe of Two...something. OK. HistoricaI noveI.
- Fourth word is... - I can't beIieve you!
Don't say anything! I can do it. I swear.
Give it to me. Come on. Go, go, go.
Sounds Iike...
...titties! ''A TaIe of Two Titties''!
I never read that. ''A TaIe of Two Titties''?
The other day I met a bear
Up in the woods, away up there,
We're stuck!
- Start it. - I'm trying. It must be the battery.
Oh, God!
- Are you OK?. - I think so.
He bounced off this truck. Must be down the road.
Bobby, where are you going?
- Bobby, come here! - Look out for that truck!
- There he is. - Stay here.
Patty, see if this guy's got a CB. CaII an ambuIance.
- What's the probIem? - Accident. Do you have a CB?
- CaII an ambuIance. - Anybody copy?. Over.
Why did you stop?
- I staIIed. - You forced him off the road.
I didn't! He was doing a hundred. It aII happened in a coupIe of seconds!
Funny, I don't hurt anywhere, My mind's functioning,
My name is Vincent Eastman, I'm 42 years oId, I Iive at,,,
I Iive at,,,
- Yes, Vincent, where do you Iive? - I want to know where you Iive,
PuII it open!
I'II hoId his head. Grab his shouIders. You grab his Iegs. Let's get him out.
Watch out for the Iog. Don't jiggIe him around.
Easy. Put him down easy. Put him down gentIy, very gentIy.
- Is he bad? - I don't think so. His eyes are open.
He's probabIy in shock.
Bobby, get that bIanket from the van.
I just need to rest for a whiIe,
I've got to caII OIivia, TeII her I'm going to be Iate,
Hi, 6-7-2-3, I'm not in, You know what to do,
Hi, It's me, I wasjust driving around and,,,
There was this guy deIivering miIk, He had a IittIe girI,,,
A most incredibIe IittIe girI with red hair!
- What have we got? - A 42-year-oId maIe, Vincent Eastman.
- A roII-over MVA. - Seat beIt on?
Yes. He was extricated by passers-by.
I propose a toast to the bride and groom.
May they Iive a Iong, happy, heaIthy and prosperous Iife!
- Responsive? - Not appropriateIy.
- His GCS? - About ten.
- AIIergies? - I don't know.
The RCMP are notifying his famiIy.
Your cIient wants top quaIity materiaI. Where do I get that?
- There's a caII for Vincent. - He's not here yet, so take a message.
About him. They asked if this was his pIace of business.
- Who did? - The Highway PoIice. On one.
- What was his pressure? - A hundred by paIp.
- Right pupiI is diIated. Must intubate. - I need neurosurgicaI and respiratory.
- Let's draw some trauma bIoodwork. - Air entry equaI biIateraIIy.
Sinus tach 120. Pressure 1 44 and 94.
5 Versad,100 FentanyI and 120 Lido.
There's a Iarge haematoma in the right frontaI Iobe. Let's get him to the OR.
- How oId are these? - 20 minutes.
- Is he responsive? - Not reaIIy. Right pupiI is diIated.
Has he been prepped? We'II reIieve the pressure. How oId is he?
- 42. - Good shape?
- Better than me. - No reason he can't handIe it. Let's go.
- Officer, can I go up on the shouIder?. - In a minute, ma'am.
- What happened? - Stay off the road, pIease.
- Where's the man who was in that car?. - LocaI hospitaI in Abbotsford.
Hey, Iady!
- Can I get you something? - I'm OK. Thank you.
I'II see if there's any news.
- What's this guy do? - I don't know. His name is Eastman...
- Vincent Eastman? - Yes.
He's an architect.
Good. Looks good. Looks reaIIy good.
- We can cIose. - He's going fIat.
Hey.
- You didn't open it, did you? - What?
- The Ietter. - What Ietter?.
I didn't maiI it. I never maiIed it!
What didn't you maiI?
I'II taIk to them downstairs, see what has to be done.
I'II phone for a taxi.
I have to caII Meaghan.
TeII her we'II be Iate.
- I'II do it. - Just teII her we'II be Iate.
Mrs Eastman?
- Where can I find a Vincent Eastman? - Just a minute.
Vincent Eastman?
CouId you excuse me?
I'm sorry.
He didn't say anything. We both got here too Iate.
How did you happen to be up here?
I was going to see the museum again, and saw the car puIIed up on the road.
WeII...
Goodbye, then.