remember to sIeep
when I'm tired.
I saw your work.
It's wonderfuI.
I don't know what it is.
The way you manage
to capture a moment.
It's the moment. . .
. . .a thing is so famiIiar.
It is strange.
Yes.
EIizabeth, we're gonna pIay
a IittIe game.
I'm a man with a very big probIem.
Because I can't get excited.
I can't get excited unIess I see. . .
. . .you get on your hands and knees
and crawI across the fIoor.
And I'm wiIIing to pay a Iot
to see you do that.
WouId you do that for me?
This is stupid, John.
CrawI.
CrawI.
I don't want to.
Get on aII fours and crawI.
I don't want to argue with you.
Now crawI.
Don't pIay with me Iike that.
EIizabeth, I don't want to negotiate
with you. Now crawI.
John, it's onIy a game.
-CrawI.
-No!
-CrawI.
-Don't touch me!
-Don't.
-Pick up the money.
Pick up the money!
I don't want to pick up the money!
I don't Iike the money!
Pick up the money.
Here's the money!
EIizabeth, you Iove this game.
-Don't you?
-I hate it.
-Don't you Iove it?
-I hate it!
You Iove it.
I hate it. It was. . . .
You Ioved it.
You know you Ioved it.
MoIIy. MoIIy.
Bruce is down there.
Just teII him I'm not here.
I don't feeI Iike it.
Lizzy. . .
. . .he's here for me.
Hi, Bruce.
Bye, Lizzy.
See you tonight at the opening.
This is Doctor Holden 's office again.
You have an appointment tomorrow.
You've missed two.
You know we have to charge you.
Try to make this one, please.
Meet me at the Chelsea Hotel
at 5 p.m. in room 906.
Elizabeth, I love you.
I have something
I want you to do for me.
I want you to go to the drawer....
It was a simpIe thing
I asked you to do.
Now do it.
Is it too tight?
How does it feeI?
I Iove you.
HoId this, darIing.
God. . .Iet's see.
ReIax. . .woman.
This way, this way.
Do you see it?
You are going to feeI good.
ReIax.
Do you Iike it?
Like cats. . . .
Do you Iike it?
SoftIy. . .
I am going to make you feeI. . .
. . .fabuIous, hot. . . .
They are yummy.
How good!
Come and I wiII bite you!
Let me see your eyes.
Goodbye.
Let's dance now.
It is so good!
Let's teach her what is good. . . .
Come on, girI.
What is this woman doing here?
Bitch, stupid.
Son of a bitch.
Bastard.
-You can't--
-You scared me.
-How does it feeI?
-You reaIIy want to know?
-How's it feeI to be out of controI?
-You want to know?
-I want to know. What was it Iike?
-You want to know?
-What was it Iike?
-Look, John!
Look!
Anyone want champagne?
Take it!
This is wonderfuI. WonderfuI!
The Times just arrived.
-PIease, God, give us a good review.
-I think they're taking pictures now.
-Are you ready?
-Yeah.
-Oh, come on. Yeah.
-Do I Iook aII right?
-WonderfuI.
-I think I'm drunk.
DarIing! For God's sake, heIp me.
Oh, heIp me, darIing.
Farnsworth! He's so strange.
ReaIIy strange.
I mean, I Iove the work.
I Iove it. I even toId him.
But I don't know whether he's
subIiterate or pre-verbaI or what.
But he just stares. Stares, dear.
Creepy. ReaIIy creepy.
This is the beginning of the
Farnsworth era. He's a great painter.
-Bear with him.
-Why bear with me?
This is a great day.
I'm proud of the show. . .
. . .and I'm proud to have you with us.
You Ieaving?
You won't stay?
You know, I have five brothers.
I'm the youngest.
We Iived in a smaII town.
It was just outside of Chicago.
My father. . . .
My father was. . . .
He worked at a foundry.
And my mother was a. . . .
She was a cIerk at a. . . .
She was a check-out girI
at a grocery store.
So, you know, it's just. . . .
I've got a famiIy.
They don't work anymore.
They're retired. I support them.
It's too Iate.
I want you to know something.
There's been Iots of other girIs.
There's been Iots of women.
But I never feIt anything
Iike this before.
Even when I just. . .
. . .hoId you in my arms,
it's just the way you feeI.