People Places Things (2015) - full transcript
PEOPLE PLACES THINGS tells the story of Will Henry (Jemaine Clement), a newly single graphic novelist father balancing single-parenting his young twin daughters, writers block, a classroom full students, all the while exploring and navigating the rich complexities of new love and letting go of the woman who left him.
[MUSIC - MARK ORTON, "MOONS AND
FLOWERS"]
[music playing faintly]
Dad, I made this
flower for you.
Oh, thank you.
Exactly what I needed.
Hey, don't think about eating
that cake yet, Clio, please.
- Aw, please?
- Thank you.
Have you seen your mother?
BOTH: No.
Well, there, soldier.
Watch out.
Don't concuss anyone.
There you go.
Could someone superv-- we
need an adult supervisor.
Hey, Meanne.
Have you seen Charlie anywhere?
I don't see anything.
[sigh]
The party's outside.
That's not your cape.
I know your parents.
I just, I--
I don't think I want
to have kids with you.
And it's not-- it's
not your fault.
It's not anything you've done.
It's just that I've thought
a lot about it, and I don't--
Hey, have you
guys seen Charlie?
Who's Charlie?
H--Have a great pa--party
[music playing faintly]
Charlie?
CHARLIE: Oh, wait!
Wait!
[RECORD SCRATCHING, MUSIC
STOPPING]
[nervous chuckle]
It's not what you think.
I think you've
been having sex.
OK.
It is what you think, but
you pushed me into this.
I was just looking
for the matches.
I think I better go.
No, stay.
I want you to be here.
I'd really like to go.
Yeah, why don't you go?
He's not going anywhere.
OK.
Well, could he at
least put on a shirt?
This isn't about him.
No, I know.
It's about ask, but I
would feel more comfortable
if he had a shirt on.
- Fine.
You want him to put a shirt on?
There.
Is that better?
No, of course not.
That's much worse.
I don't care.
Stop looking.
What happened?
I thought we were happy.
You thought we were happy?
Well, happiness is not
really a sustainable condition.
Right?
See what I mean?
Just take it easy.
I'm sure it's
really hard for him
to process all this so suddenly.
Shut up!
Hey, man.
I'm-- Um, I know that you're
upset, but I'm just--I'm trying
to help here.
I'm going to fight you.
Please don't.
Don't do that.
CLIO: Will--
GARY ST. GRAY: There
are children downstairs.
Whoa!
[will yelling]
Oh, my god.
No.
No.
Careful!
Will!
[grunting]
Stop holding me.
[gary shh-ing]
Get your arms off my arm.
- Calm down.
Calm down.
The kids are ready to--
- OK, take it easy.
- Never mind.
WILL HENRY: Oh, I
want to punch you.
GARY ST. GRAY: I'm not
going to do that to you.
Calm down.
[will yelling]
On your feet.
Relax .
Breathe.
- Forget it, Will.
It's over.
WILL HENRY: Ow!
What's over?
Us.
Us?
What, just like that?
It didn't happen
just like that.
We have kids.
Don't drag them into this.
What do you mean, don't
drag them into this?
They're having a birthday
party downstairs.
It takes a lot of courage
to try and change your life.
Ah, yeah.
Well, I admire your bravery.
Don't be bitter, Will.
It doesn't suit you.
Don't be bitter?
Well, how should I be?
I love you.
Then what's the problem?
The problem is I
don't love my life.
I'm sorry.
(WEAKLY) Oh, you're sorry?
(WHISPERING) I'm sorry too.
Are ya?
Yeah.
[music playing]
(SINGING) Happy
birthday to you.
Happy birthday to you two.
Happy birthday,
Colette and Clio.
Happy birthday to--
You.
(SINGING) --you.
OK, who wants cake?
Let's blow it out.
OK, there's a tiny,
tiny bit for you.
I can't believe you
guys are six years old.
It's like it was
yesterday you were five.
It was yesterday, Dad.
You know what I mean.
Uh, who wants presents?
(BOTH) Me!
OK.
I got you iPads!
[clio and colette giggling]
They're not iPads.
CLIO: Run!
[MUSIC - MARK ORTON, "THEY'RE
NOT IPADS"]
[clio and colette giggling]
[phone ringing]
Oh, hey.
Hey, Charlie.
How are you?
Yeah, we're at the park.
CHARLIE (ON PHONE):
How's it going?
Oh, yeah.
I made them some kites.
CHARLIE (ON PHONE): Oh, OK.
Yeah, I made them myself.
No, m-- No, you know, I--I--
my--myself, I made them.
CHARLIE (ON PHONE): Oh, uh--
Yeah, they're flying.
Well, they're--
they're kind of flying.
Yeah.
Hey, uh, I hope you don't
mind, the girls asked if they
could stay a little bit longer.
CHARLIE (ON PHONE): OK, um--
OK.
Great.
Are you sure you don't mind?
CHARLIE (ON PHONE): Yeah.
OK.
Yeah, I'll have them
back before bed.
Yeah.
CHARLIE (ON PHONE): I don't
want them eating pizza.
OK.
Thanks a lot.
Hey, girls.
Your mum asked if I could keep
you guys busy a little longer.
Sound OK?
Yeah?
Oh--
[sigh]
[doorbell ringing]
Oh, hey.
Hey, Gary.
Girls.
(BOTH) Hey, Gary.
[weak chuckle]
Uh, I'll get Charlie.
Um, (SHOUTING) Charlie!
You can go in.
You can go in.
Hi, girls!
Oh, hi.
Happy birthday.
Oh, my gosh.
Those are so cool.
Go show Gary your kites.
Those are awesome.
Have a great week, girls!
Does he have to answer the door?
He thought you
were the Thai food.
Not surprising.
Um, can I talk to you?
Sure.
Uh, not now.
Tomorrow, noon, Ted & Honey?
I'll buy you a cookie.
Are you OK?
Yeah, noon.
Noon's fine.
Good night, girls.
I love you.
CLIO AND COLETTE: Bye, Dad.
I love you too.
[MUSIC - MARK ORTON, "YOU'RE
LONELY"]
[sigh]
Mate, you're lonely.
[music playing]
[baby fussing]
Sorry I'm late.
I promised you a cookie.
WILL HENRY: I'm fine.
- I promised.
- It's OK.
I promised.
Oatmeal chocolate chip.
No, I said I was fine.
It's your favorite.
I'm not-- I'm trying
to give up sugar.
Take a bite.
It's your favorite.
I'm trying to--
Just take a bite.
Thank you.
How's work?
Teaching?
It's good.
Gives me an excuse
to put off the book.
You should be doing both.
I know.
I've been getting
over a big breakup.
I'm well.
Thanks for asking.
Oh, how are you?
I'm taking improv classes.
Oh, that's funny.
Why is that funny?
No, I just mean, isn't it--
is it supposed to be funny,
improv?
I don't know much about it.
There's a lot more to
it than just being funny.
Oh.
Yeah.
Gary thinks I have a lot
of unexplored talent.
Does he?
I'm sure you do then.
Gary wants to get married.
- Well--
- I know.
It's crazy.
I-- I still don't know
how I feel about it.
What did you tell him?
I don't know.
I--I'm still thinking about it.
I thought you never
wanted to get married?
I know.
You said it was the surest
way to ruin a relationship.
Well, not getting married
doesn't seem to work either.
Are you kidding me?
Look, I know this is sudden,
but if I'm going to do this
I'd really like your support.
I thought you were
still thinking about it.
I am.
I am still thinking about it.
You're thinking right now
about it, like as we speak.
I'm pregnant.
Oh.
Oh, wow.
Is it his?
Of course, it's his.
Just asking.
Look, I just want to know
there's going to be someone
there when I'm old and gross.
I was going to be there.
Don't.
I think I should go.
Why?
I don't know.
Just feels like what
I should do right now.
Will--
Yeah?
Take the cookie.
Good.
Great.
[door creaking open]
[MUSIC - MARK ORTON,
"WHY DOES LIFE SUCK?"]
Why does life suck--
double underline-- so hard?
Any thoughts?
Because people are
selfish and petty.
I love that passion, but no.
It doesn't?
No, life sucks because my
ex left me for an off Broadway
monologist who just knocked her
up and asked her to marry him.
Now Gary is going to see my
daughters more than I do.
He's going to live
in my old house.
He's going to take
over my family
while I eke out a lonely
existence in a studio apartment
in Astoria.
You been to Astoria?
Uh, I think, like, once
for a party or something.
Yeah, once.
What's a monologist?
It's like a comedian
without the jokes.
That's a thing?
Yeah, that's a thing.
According to the MacArthur
Foundation, it's a thing.
He's probably monologuing
to my daughters right now.
I don't get it.
Does any of this have to
do with the graphic novel?
Why are we here?
To learn?
You're on fire today, Paul.
To learn-- to learn what?
How to tell a story.
Why does anyone need to tell
a story in the first place?
Because?
You did it again.
Anyone else?
To understand
ourselves better.
OK, that sounds nice.
But if that's the
only reason, then
why not just go to therapy?
Because therapy is stupid.
Yeah.
Maybe it's stupid.
Yeah.
Can I go home?
Just take--
Let's take a break.
Let's take a break.
Great comments, guys.
Thank you.
[chairs screeching]
Uh, Mr. Henry?
Uh, yeah?
Are you OK?
Yeah, I'm fine.
I'm just having a bad life.
It will be over eventually.
Um, I don't want this
to seem weird or anything,
but would you maybe want to
come to my place for dinner?
Uh, listen,
thank you so much--
- Kat.
- --Kat.
Yeah, Kat.
Th- That-- That's a
really kind offer, Kat.
Uh, but (WHISPERING) we're--
we're not supposed to date
students at this school.
- No.
Oh, my god.
No.
Oh, this?
Yeah, no.
Never.
Did you think I
was asking you out?
No.
- Oh, my god.
- Oh, no.
No.
Defi-- Definitely not.
No, no, no.
I-- I would never do that.
That is so gross.
Wow.
I-- Sir, I would never.
I would never,
ever, ever do that.
- OK, I'm not the Elephant Man.
- No.
No, I know.
You're just-- you're so old.
Why the hell did you ask
me over for dinner for?
Because I want
you to meet my mom.
Oh, y-- your mum?
Yeah, a cute mom.
How old is your mum?
45.
How old do you think I am?
Probably-- I don't
know, like be--
like between 50 and 62?
I'm only 39-- no, I turned 40.
I'm a young 40.
Well, here she is.
Oh, th-- that's your mum?
Yeah.
And she likes your work too.
Oh, th-- that's sweet.
Mm-hmm.
She's sweet.
Listen, Kat, I'm--
I'm still getting over my ex.
Look, you should
just meet my mom.
I promise you won't
meet anybody nearly as
hot as her in your apartment.
OK?
God, I hate that apartment.
You know what, Kat?
What the hell, I'll
meet your cute mum.
Great.
Here's the address.
Be there at 8:00.
And wear something nice.
I-- like this kind of thing?
[MUSIC - MARK ORTON, "HERE FOR
THE DATE']
[door ringing]
DIANE: Who is it?
- Hey.
Uh, it's Will Henry.
I'm here for the--
the date.
[gate buzzing]
[sigh]
Gosh, you brought wine.
This is just so awkward.
Oh, sorry.
I didn't re-- realize
it would be awkward.
Uh, you must be--
Oh, I am Diane, Kat's mom.
Oh, well, I am, uh--
Will.
Yes, I know, and it's
nice to meet you too.
Look, I don't mean to be rude,
but I just wanted to let you
know that I'm seeing someone.
Oh.
Uh, well--
Yeah.
You know, Kat doesn't know,
which is why she set this up.
Truth is, I don't think
she'd like the guy.
I'm not even sure if I like him,
but we've had a couple of dates
and I just--
I don't know.
I feel as though I should
be straightforward with you.
I know a lot of people date
a lot of people nowadays,
and, I don't know, I'm not
comfortable with that sort
of thing.
Yeah.
No judgment, of course,
if-- if that's what you do.
I mean, you could be
coming from a date
right now for all I know, right?
You're not coming from a
date right now though, huh?
Uh-uh.
No.
No, don't answer it.
Don't answer it.
And, as a matter of
fact, just forget it.
That is none of my business.
Hm.
But I did hear you recently
split up, and I'm sorry.
Dating sucks.
It does.
Erm, well, OK.
I guess I'll--
I guess I'll just go home then.
Uh, no.
You can't go.
Why not?
Well, Kat's here.
All right, listen,
I'm unsure about this.
It s-- It seems
very messy to me.
I-- I don't really
want to be involved
with deceiving a student.
Uh, Mr. Henry?
Hey, Kat.
Hey.
What are you guys
doing out here?
Nothing.
Mm-hmm.
I, uh, just, uh, am
getting to know your teacher.
KAT: Tight.
Yeah.
Very tight.
Very tight friends.
So how long have you
been making comic books?
I'm not sure.
Um, ever since I was
a kid, I suppose.
Mm, really?
Were your parents encouraging?
Oh, not at all.
Why not?
Not a lot of successful comic
book artists where I'm from.
Oh, and where are you from?
New Zealand.
Mm, it's a beautiful place.
Oh, you-- you've
been to New Zealand?
No, but Kat makes me go see
all the Hobbit movies, so--
Oh, so you know all
about us and our ways.
That was sassy.
Yeah, I'm a sassy
little hobbit.
I like it.
Now, tell me truthfully, are
there any successful comic book
writers anywhere?
Well, the School of Visual
Arts has had its share, yeah.
Right, SVA.
Do you have a
problem with SVA?
No.
It's just, um-- well, I
wanted Kat to go to Columbia.
Oh, Columbia's a good school.
Columbia is a great school.
And what do you do?
I teach at Columbia.
Oh.
Wow.
That's, uh-- Wow.
Really, wow.
What do you teach?
American literature.
American literature.
Early American,
pre-comic book.
Is, uh-- is that
supposed to be a joke?
Maybe.
So hilarious.
You do realize that,
uh, comic books
are part of American
literature, don't you?
I don't know if I
would necessarily--
Well, how many comic
books have you read?
Oh, gosh.
Including yours?
Sure, including mine.
Mm, actually I've
only read yours.
Unbelievable.
And this is why people still
don't take comics seriously,
because the
literature department
of Columbia University
doesn't even
recognize it as literature.
Listen, I liked
your little book.
My little book?
I liked your comic book.
Better?
My little comic book?
Oh, my god.
Are you guys arguing already?
Please mind your
business, Kat.
Mind your business, Kat.
[sigh]
It's good wine.
Would you like some more?
Really, no.
I actually shouldn't.
- Good.
Anyway, I might want
to take the rest home.
Well, uh, thank you.
Have a good night.
It really was, um, I don't know.
It was something.
Yes.
Thanks for helping
with Kat tonight.
It was nice meeting you.
Yeah.
Thank you for the pork cutlets.
Delicious.
Mm, it was swordfish.
(CONFUSED) Oh-- (WITH
UNDERSTANDING) Oh.
Listen, Kat told me
you're kind of really
going through something.
Believe me, I--
I know how that is.
So for what it's worth, I--
I just want you to
know that I really
do think that you are nice.
Thank you.
I think you're
nice too, I guess.
Good night.
Yeah.
Bye, Kat.
KAT: Bye!
How'd it go?
Mm, he's a bit of a snob.
OK, well, you're a
bit of a snob, so--
[MUSIC - MARK ORTON, "BRICK BY
BRICK"]
[heavy sigh]
Daddy!
Daddy!
Are you girls ready for the
greatest weekend of your lives?
You say that every weekend.
Yeah.
We're doing it again.
Come on.
There you go.
Where did you get this car?
I borrowed it from a student.
We're going upstate.
What for?
What do you mean, what for?
To get out of the city.
Are you in trouble?
No, I'm not in trouble.
Where would you get a
crazy idea like that?
What a crazy question.
I just thought, uh, you
girls spend too much
time cooped up in New York.
Are we staying in a hotel?
Uh, no.
I thought we could go camping.
Camping?
Yeah.
Like in a tent?
Yeah.
Do you own a tent?
I do not own a tent, but
there is a tent in the car.
Momma says to practice
cello this weekend.
You can practice
cello in the woods.
[giggling]
[MUSIC - MARK ORTON, "CAMPING
TRIP"]
Get back here!
[whispering]
[will shouting, girls screaming]
Here we go.
Here we go.
Here we go!
[splash]
[cellos playing]
WILL HENRY: Ow.
Sounds beautiful, girls.
That sounds amazing.
What song is that?
[groan]
It's OK.
I'll sleep outside,
under the stars.
It'll be romantic.
It's fine.
Don't worry.
[cellos playing]
[fire crackling]
So how are you guys?
Fine.
Yeah?
How's your mum?
She's a pain.
Did she tell you about her--
Yeah.
And how are you
feeling about everything?
I don't know.
How are you feeling?
I don't know.
Good.
Fine.
You guys know I'll always
be your dad, right?
Yeah?
Are you going to the wedding?
I'm not sure that's
such a good idea.
Dad, do you hate mom?
Of course not, Clio.
Colette says you hate her.
I love your mother.
Does she love you?
Yeah.
I think, you know,
in a way, yeah.
Sure.
Yeah, she does.
Then why is she marrying Gary?
Love is complicated, girls.
Mom's a bitch!
Hey, Collette!
I'm telling mom you said that.
Go ahead and
you're a bitch too.
Girls, listen.
Stop.
OK?
It's really important we give
your mum our support right now.
You understand?
Why?
Because she needs it.
Don't-- I know you're
trying to knock
my hot dog off into the fire.
You want me to starve.
[clio and colette giggling]
OK, good night, girls.
I love you.
- Love you too, Dad.
Love you too, Dad.
[crickets chirping]
CLIO: Dad?
Yeah.
CLIO: Are you seeing anyone
No, honey.
CLIO: Good.
[doorbell ringing]
[doorbell dinging]
[heavy knocking]
[phone buzzing]
[grunting and growling]
INSTRUCTOR: Time.
(BOTH) Rhinoceros?
Oh, yeah!
Oh, my god.
[door opening and closing]
Hi.
(WHISPERING) Hey.
How did you get in here?
I texted you.
You said you could
keep them tonight.
Yeah, sure.
That's fine.
I can keep them.
I meant at your place.
Oh, I'm sorry.
I'm sorry.
I want more time with them.
What?
Where's this coming from?
I need to see them more.
I want some weekdays.
You live in Astoria.
So what?
So that's an hour and a half
commute to school every day.
I can can move closer.
Since when can you
afford to move closer?
I'm a good father.
You're good at
having fun with them.
They're six years old.
They should always
be having fun.
They should be
learning things.
Did they practice their
cellos this weekend?
Yes.
They need to practice
that every day.
I want more time with them.
[sigh]
Look, can we talk
about this tomorrow?
I'm tired.
Where's, uh, Gary,
the monologist?
He's at his apartment.
He has an apartment?
Yeah.
He keeps it as a workspace.
Why, do you think that's weird?
[will gulping]
It is.
Yeah, it is.
Shit.
What am I getting into?
Don't answer that.
[click]
WILL HENRY: What
is happening here?
Uh, An eye is blinking.
Why do you say that, Paul?
Because that's
what's happening.
Do you see any eye
actually blinking
in either of these two images?
Well, no.
No.
You see an eye open, then
the next image we see an eye
closed.
And we create the
blink in our minds,
and this is called closure.
What's it called?
Closure.
- What's it called.
- (COMBINED) Closure.
Yeah.
So respect that gap
between your panels.
It could do a lot
of work for you.
It can travel time and space.
It can create and
destroy whole worlds.
Ka-boom!
[class chuckles]
In some way, that little
gap between the panels
is just as important as
the images in the panels
themselves, because there
is the story you're telling
and then there are the things
that you're leaving out.
And in that way, the
story becomes a shared
creation between the writer,
you guys in the future,
and the reader.
I don't get it.
What's supposed to
be happening here.
It's not always as
simple as a blink.
I don't know.
It just seems random.
(UNDER BREATH)
You seem random.
OK, that's enough for today.
I want sketches for your
memory pieces next week--
everyone.
No exceptions-- Celia,
(UNDER BREATH) Paul.
[MUSIC - MARK ORTON, "BRICK BY
BRICK"]
[door ringing]
Oh, hey.
Hey.
I've been thinking--
Hey, girls.
Yeah?
Wh-- What are you doing here?
You said you wanted
more time with the girls--
Yeah.
Let's give it a try.
What, right now?
Yeah.
Are you busy?
Well, I was kind of--
I was kind of
working on a thing.
OK.
So you can't take them?
No, of--
Yeah, of course,
I can take them.
Yeah.
Come in.
Come in, girls.
Uh, I could have
used a little notice.
I don't even have any groceries.
You said you wanted
more time with them.
I've only got one egg.
Figure something out.
Go to the store.
[exhaling]
What's-- what's going on?
Why are you here?
- Meanne quit.
- She quit?
Yeah.
Why did she quit?
She got a job
with Jon Stewart.
What, Jon S-- the Jon Stewart?
Whoa, really?
What's she doing?
Sketches or--
No, not sketches.
Watching his kids.
What do you think?
Oh.
Oh, yeah.
Of course.
They during my
improv showcase.
[will chuckling]
Oh, that's not--
Oh, yeah.
That's not funny, so--
- Yeah.
It's terrible timing.
Gary's doing this new
monologue and his family's
in town for it.
It's just kind of awful.
Which, the monologue
or the family?
The combination?
God, I'm just--
I'm so pissed at Meanne.
The girls must be sad.
She's been around
since they were babies.
OK.
Here's their schedule
for the rest of the week.
Make sure they
practice their cello
for at least 20 minutes a day.
No problem.
And cook them vegetables.
I don't want them eating pizza.
Bye, girls!
CLIO AND COLETTE: Bye, Mom.
I love you.
(BOTH) Love you too.
All right, call me.
CLIO: OK.
COLETTE: OK.
Are you guys hungry?
Bath and bed straight
after dinner, OK?
We're going to have
to wake up super early
to make it to school on time.
- How early?
- 6:00 AM.
6:00 AM?
Are you kidding me?
[will blowing]
No, I'm serious.
We've never woken up
that early in our life!
You're going to tomorrow.
No, we're not.
Pardon?
No, we're not.
Yes, you are.
Do you want to bet?
I'm not going to bet you.
Have you ever
woken up that early?
OK, 6:45, but we're going
to have to move really fast.
I don't want to be late.
Stop the look.
Don't give each
other secret looks.
[clio and colette giggling]
CLIO: Uh, Dad? (VOICE
DISTORTED) Uh, Dad?
[MUSIC - MARK ORTON, "LATE TO
SCHOOL"]
COLETTE: Dad?
(VOICE DISTORTED) Dad?
Wake up!
(VOICE DISTORTED) Wake up!
- Shit.
Shit.
You shouldn't say
shit. (VOICE DISTORTED)
You shouldn't say shit.
Stop playing with my phone and
get dressed. (VOICE DISTORTED)
Stop playing with my
phone and get dressed.
Are you guys OK with
pizza for breakfast?
Don't answer that.
I have to poop--
[phone ringing]
--really bad.
OK.
Just wait.
Just wait a little--
W-- Hey, Charlie.
CHARLIE (ON PHONE): You're late.
Yeah.
We're al-- almost there.
CHARLIE (ON PHONE):
I can't believe you.
Did you set your alarm?
No, I did set my alarm.
CHARLIE (ON PHONE): No,
you didn't set your alarm.
Of course, you
didn't set your alarm
or you would be here by now.
- Yeah.
CHARLIE (ON PHONE): Why
don't you use an alarm--
No, I set--
CHARLIE (ON PHONE): --to
get here when [inaudible]..
But--
CHARLIE (ON PHONE):
Like, is it impossible
for you to [inaudible].
- --I set my--
I set my alarm.
CHARLIE (ON PHONE): Could
you not interrupt me.
I'm trying to--
- I set my alarm.
CHARLIE (ON PHONE): What
did they have for breakfast?
Did they have breakfast?
Yeah, they're
having breakfast.
CHARLIE (ON PHONE):
What are they eating?
Are they eating pizza?
Uh, y-- you know,
some cheese and--
CHARLIE (ON PHONE): Huh?
- --tomatoes.
OK!
CHARLIE (ON PHONE): [inaudible].
You are so irresponsible.
- OK.
I'll-- I'll call you when
they get to school, all right?
OK.
CHARLIE (ON PHONE): [inaudible].
OK, OK.
I'm sorry.
OK, bye.
Mom says good morning.
[MUSIC - MARK ORTON, "LATE TO
SCHOOL"]
Wait.
Wait, wait, wait.
Let's take a look at you.
You look wonderful.
Have a great day.
(WHISPERING) Yeah, sorry.
Sorry.
Sorry.
So what did you guys
do at school today?
I don't know, kid stuff.
Just kid stuff?
I just did grown up stuff.
CLIO: What kind
of grown up stuff?
You know, like just
walking around, doing a job,
talking in a serious voice.
Like this, (DEAD PAN) "Hello."
What did you do today?
Same as her.
- What?
- Kid stuff.
Kid stuff?
Just kid stuff.
Is that all the information
I'm going to get out of you?
Yeah.
Yeah.
[phone ringing]
Hold on.
Uh-oh.
Hey, Charlie.
CHARLIE (ON PHONE): Hey.
Can I call you back later?
We're just in the
middle of this supper.
CHARLIE (ON PHONE): You missed
the girls' French lesson.
I thought it was on Tuesday.
CHARLIE (ON PHONE):
It is Tuesday, Will.
Oh--
CHARLIE (ON PHONE):
It's Tuesday.
Today is Tuesday.
--right.
Well, I didn't realize
it was Tuesday.
CHARLIE (ON PHONE): Are
you fucking kidding me?
OK.
CHARLIE (ON PHONE):
It's Tuesday, Will.
It's Tuesday.
Always Tuesday--
Yeah, I know.
CHARLIE (ON PHONE):
--because Sunday--
OK.
CHARLIE (ON PHONE):
--fucking Tuesday--
Hey!
That's where some of the--
That's why the kids have
picked up some bad language.
CHARLIE (ON PHONE):
Look, can you do this?
I can do it.
CHARLIE (ON PHONE):
Can I count on you?
I can do this.
They're eating
vegetables right now.
CHARLIE (ON PHONE):
--on time tomorrow?
Yes, they'll be at
school on time tomorrow.
CHARLIE (ON PHONE): Fine.
- All right, OK.
OK, see you.
Bye, bye.
CHARLIE (ON PHONE): Bye.
Girls, you could
have told me you
had your French lesson today.
Merde.
Hey, that's a
bad word in France!
[sigh]
Look, ladies-- we're all
on the same team here.
I can use a little help,
especially if you want
to spend more time with me.
OK?
OK.
[MUSIC - MARK ORTON, "BOMB
THREAT"]
Wake up.
Wake up.
It's 6:00 AM.
Are you crazy?
I'm not crazy.
Come on.
--but even if they
have the popcorn.
I don't know if the animals
should be eating popcorn.
Yeah.
What happened?
Bomb threats.
A bomb threat?
How long do we have to wait?
School canceled.
It can't be canceled.
I have to teach today.
[sighing]
[MUSIC - MARK ORTON, "LATE TO
SCHOOL"]
[door ringing]
KAT (ON INTERCOM): What?
Hey, it's, uh, Will
Henry, your teacher.
Look, can we talk for a second?
[gate buzzing]
Here.
Come on.
What are you doing here?
I need someone to
look after my girls.
You want-- You want
me to babysit your kids?
I'm sorry.
I don't have anyone else to
call on such short notice.
Charlie got all our
friends when we spit.
Please, I'm desperate.
I've got a class in an hour.
Yeah, I know.
I'm in that class.
Well, I'll-- I'll
excuse your absence.
Really?
That's unbelievable.
I--I can pay you.
Do they watch TV?
They love TV.
Right, girls?
You like TV, right?
Come on!
Yeah.
OK, fine.
Whatever.
- Thank you so much.
- Sure.
What is this?
These are, uh, just
a couple of cellos.
A couple of cellos?
Are they supposed to
play this right now?
No.
No, of course not.
OK, girls, this is Kat.
What's up?
That means hello.
Come on.
Y'all carryin' your own cellos.
All right, memory pieces--
who wants to share theirs first?
Tom.
Yeah.
Hi.
I decided to write about
how I learned to masturbate.
I was 12.
So one day, I walked
into my dad's office
where he kept all of
his dirty magazines,
and, uh, I found some lotion.
And--
You have a lot of
nerve, do you know that?
Is this because
I didn't call you?
Because I thought you
were dating someone.
- No.
- I also--
No.
--wasn't sure
if the chemistry--
What are you
even talking about?
This has nothing to do with us.
What's this to do with then?
This is about the
fact that you asked
my daughter to skip
your class so that she
could babysit your kids.
I'm sorry.
I was in a desperate
situation this morning.
But you didn't think to
ask any of your male students
for help.
- Are you kidding?
My male students are idiots.
Oh, so the idiots
get to go to class
while the bright
girl stays at home
and takes care of your kids?
What kind of message
does that send
to Kat or to your
daughters, for that matter?
I'm sorry.
I just didn't think.
I--
- Yeah.
Well, guys never do.
Is she here?
She went out after she
put your girls to bed.
They're asleep?
It's only 7 o'clock.
They were exhausted.
What are you doing to them?
I just wanted
more time with them.
Go inside.
Look, it's-- it's
none of my business,
but it just seems to me like
you and your ex are a little
loose about all of this.
I mean, they're children.
You can't just pass them
back and forth like puppies.
Yeah, I know.
Why not-- why not?
They need
structure, stability.
They get that
most of the time.
Look, it's pretty simple.
In this kind of
situation, a child
just wants to know where
they're going to sleep at night.
You shouldn't change
that on a whim.
Yeah.
Our kids are so screwed.
No.
Believe me, I've made just about
every mistake there is to make.
And if it's any
consolation, Kat made it
through intact, more or less.
Hey, Kat's a great kid.
Yeah, she is.
She really admires you.
She does?
Why?
She thinks you're
a great teacher.
Not counting today maybe.
No, minus today.
Wow, that's-- that's
really nice to hear.
I think she was a
little disappointed
when we didn't hit it off.
Yeah.
Ah, well, we should get going.
What?
You're not leaving.
Your girls are still sleeping.
Yeah, we can't stay here.
Sure, you can.
I don't know.
I do, and I'm not letting
you drag them back to Astoria
in the middle of the night.
What is that, a $40 cab ride?
I was going to
take the subway.
[diane sighing]
Come on.
I'm going to get you some
blankets for the couch.
I can probably find you
some pajamas in there too.
Oh, no.
That's OK.
I can just sleep in, uh,
(SCUFFING SHOE) my clothes.
I see you've been
doing some reading.
Oh, yeah.
I felt bad after
our whatever it was,
and I thought I
should at least see
what you were talking about.
So what did you think?
I think that you were right.
Comic books are an
under-appreciated part
of American literature.
Really?
Yeah.
I had no idea what people
were doing in the form.
I mean, there's some
really complex, emotionally
wrenching stuff going on there.
What?
That's-- That's amazing.
I-- I'm so surprised
to hear you say that.
(EXHALING) Actually, I--
I need to thank you.
What for?
Well, I have a new
appreciation for what
Kat wants to do with her life.
I can't believe I was
being so dismissive.
I really am turning
into my mother.
Well, that's wonderful.
Not that you were
turning into your mother.
I mean that you would--
you know what I mean.
- Oh, yeah.
I do.
I get it.
I, uh--
Uh, so, uh, you still
seeing that guy, the one
you weren't sure if you liked?
Oh, no.
No.
No.
I broke it off after our dinner.
Just, uh-- Yeah.
Oh.
[sighing]
Oh, I have your blankets.
Oh, thanks.
Holding these.
[nervous laugh]
Got you the soft
ones that I had so
you could be
comfortable out there.
Th-- These are
really nice blankets.
It's no problem.
Are you OK with me
standing this close?
Yeah.
I like it, actually.
Is this OK here?
Oh, this is--
This is good.
I like it here.
We probably shouldn't
be doing this.
No.
We probably.
OK, let's stop.
OK, let's stop.
Oh, let's stop.
(MUFFLED) I'm
going to stop soon.
(WEAKLY) Stop.
Mm, you smell so good.
OK.
Listen, we have to be quiet.
I don't want to
wake up the kids.
(WHISPERING) Yeah.
OK, I'm going to be so quiet.
Mm-hmm.
But not too quiet.
I like to be affirmed.
(WHISPERING) OK, I'll be
whispering affirmations.
I have to tell you.
Is something wrong?
No.
I just, uh--
I want to just say
no bullshit, OK?
Oh, yeah.
No.
I mean, I, uh--
I'm a big girl and I
don't need this to be
anything more than what it is.
But just don't bullshit me?
I, uh-- Do you understand
I've been through enough.
Yeah.
I understand.
I've been hurt too.
I know.
I could tell the minute we met.
It's actually one of the first
things I liked about you.
That's funny.
Do you know what the first
things I liked about you was?
What?
Your tits.
That's so nice.
Please touch them.
[moaning and laughing]
CLIO: Daddy?
Oh, no.
No.
Oh, you have to go get her.
CLIO: Daddy, are you here?
No, no, no, no, no.
OK.
I'm uh-- I'm going
to be right back.
OK.
I'll be here.
[sigh]
Hey.
Where were you?
I was, uh, just getting
some blankets from Kat's mom.
She's invited us all to
have a sleepover tonight.
Isn't that fun?
Where are the blankets?
Let's, uh-- Let's,
uh, get you back to bed.
Where are you going?
Just stretching.
[MUSIC - MARK ORTON, "ASLEEP
WITH THE GIRLS"]
Well, this is
wildly inappropriate.
Oh.
Hey, Kat.
Hi, good morning.
Where have you been all night?
What?
None of your business.
Is your, uh-- is your mum up?
Actually, no.
She just left for work.
But she did tell me
to tell you goodbye.
Oh, yeah?
Mm-hmm.
How did she say it?
(FLATLY) Tell him I said bye.
Do you know where
my children are?
Yeah.
They're in the kitchen
eating breakfast.
OK, good.
Good.
Hey, I'm sorry about yesterday.
Yeah.
Nah, it's fine.
I actually, like, really
like your kids though.
They are very, very, very fun.
Yeah.
Thank you.
Uh, I want to
make it up to you.
How does $20 sound?
Sounds like you don't know
how much to pay a babysitter.
How much, uh--
How much would you like?
$350.
$350?
KAT: Yeah.
Could you give me a month?
Um, you know, you c--
do you think you could just read
this, please, if you have time?
What is this?
It's like a story I've been
working on for, like, forever.
WILL HENRY: Uh-huh.
Um, I don't know, actually.
It's pretty dumb.
It's not, like, really
finished so, like--
No, I would--
No, I would love to read it.
No, I'll take it.
Not, it's fine.
I'll take it.
I-- I--
I would love to read it.
You would?
Sure.
It would be my pleasure.
Thank you.
Um, now get out of my room.
Oh, yeah.
Of course.
Yeah.
And take the sheets
with you please.
Burn them.
Dad?
Why did we sleep at
Kat's last night?
Mm, because, uh,
you guys fell asleep
and I didn't want to wake you.
- Do you like her?
- Who, Kat?
Of course, I do.
I like all my students.
Are you going to marry her?
No.
She's only 19.
So I'm not going to marry her.
OK, have a great day, girls.
Hey, what's wrong?
What did I do?
We don't want
you to marry Kat.
I'm not going to marry Kat.
I miss mommy.
Oh, my god.
Come here.
[music - mark orton, "up notes"]
It's OK.
[doorbell ringing]
Hi.
Was it today?
No, I'm in a fitting.
Oh--
What are you doing here?
Can we-- Can we talk?
Yeah.
Are you going to sit?
I can't sit in this.
OK, well, you look r--r--
really good.
Oh.
I-- I don't know.
I-- I'm going to be showing
so much by this wedding,
I feel like I should
wear something
that reveals more leg, kind
of distract from the belly.
So you wanted to talk
to me about something?
Yeah.
I-- I just think that the
kids are very confused.
Why?
What have you been
doing to them?
I haven't been doing
anything to them.
They weren't confused when I
dropped them off at your place.
No, I'm not sure that's true.
What do you mean?
I just think the
girls are struggling
a little with all
of the changes that
are going on at the moment.
Which changes?
Like, you know, like
all of the changes.
Are you seeing someone?
W-- What?
Oh, my god.
You're seeing someone.
Oh, well, I wouldn't--
I wouldn't say we're
seeing each other.
Unbelievable.
I can't believe you picked the
one week I give you the girls
to start seeing someone.
I thought you
wanted me to date.
How old is she?
I hope she's not a student.
She's not a student.
She's a student's mother.
Wow.
Where were the girls
when you were with her?
They were sleeping in her
daughter's bed, the dau--
the student.
Oh, right.
OK.
No wonder they're confused.
Well, but--
Yeah, that sounds bad,
but it's not like that.
No, it's-- it's fine.
I-- I love that you're
seeing somebody.
I think that's awesome.
I'm not seeing--
Look, this isn't
about me or you.
I just want the
kids to be happy.
I thought happiness was
not a sustainable condition.
You're absolutely correct.
It's not.
But I don't think they
need to live in chaos.
There is nothing
chaotic about the world
I provide for my girls.
You left their father
on their fifth birthday.
Now you're marrying the
guy who broke us up.
Their nanny left them.
Have you told them?
OK.
You haven't told them.
I don't want to hear this.
Good night.
Have you?
Have you told them?
Have you t-- you haven't told--
- Stop.
--them yet?
You drop them off at
my place on a whim.
I think their lives are
pretty fucking chaotic.
- Here.
- What is this?
The girls' schedule--
French, cello, tap, museum
Mondays, alternate cooking play
date with the Shelton
girls every Thursday
afternoon, oral storytelling
workshop for spring break.
Then there's breakfast
and dinner everyday,
cello practice
everyday, reading them
to sleep for an hour every day.
Don't tell me their
lives are chaotic.
Well, I'm glad you
feed them regularly.
I'm not implying that
you're a bad mother.
I'm a great fucking mother.
I know you are.
Their lives have never
been chaotic with me.
It's my life that's
been chaotic,
because I was unhappy
for years and didn't
do anything about it.
Because first I was
taking care of you,
and then I was taking care
of them, (RAISING VOICE)
and no one was ever
taking care of me.
Well, I'm sorry
I didn't know you
wanted to take improv classes.
Fuck you.
Charlie--
I could be so much
more than what I am.
What does that mean?
I don't even know
what that means.
Of course, you don't
(SCOFFING) Of course,
you don't.
God, I can't believe you're
dating a student's mother.
We're not dating.
Do you like her?
I told you, I barely know her.
I think you like her.
[music - mark orton, "texting"]
[phone vibrating]
[phone vibrating]
[phone vibrating]
[phone vibrating]
[phone vibrating]
Dad, who are you texting?
No one.
Is it Kat?
No, it's not Kat.
[sighing]
This is a really nice office.
Yeah.
I thought you would like it.
I do.
I actually do.
I mean, I'm not that--
I'm not using it as a euphemism.
I do like your office, really.
And I believed you.
I didn't receive it negatively.
Can I ask you something?
Anything.
What happened
with you and your--
My baby mama?
Please don't ever
say "baby mama" again.
My baby mama.
[diane laughing]
Don't.
You said it--
She's my baby mama.
That's three times.
I don't know.
You don't know?
We were always very different.
And it was really fun at
first, and then gradually less
and less fun as it went on.
Different, how?
Lots of ways.
She was outgoing, I was quiet.
Mm.
WILL HENRY: She had
money and I didn't.
Mm, that's a big one.
It wasn't that.
Charlie was always
generous with what she had.
She actually gave up
everything so that I
could concentrate on my comics.
She had so much
confidence in me,
probably more than I had
in myself at that time.
So what went wrong?
I guess she just
stopped talking,
and I enjoyed the
silence too much.
What happened with
you and your ex?
Well, it's not
that interesting.
He was just a fucking asshole.
Who can tell me what this is?
A pipe.
Hasn't anyone here ever
taken an art history class?
All right, does
anyone speak French?
Is it a French pipe.
It's "The Treasury
of Images" by Magritte.
Those words say, "This is
not a pipe," in French.
Correct.
"Ceci n'est pas une pipe."
That's confusing.
Well, the truth is
that it's not a pipe.
Then what is it?
It's only a picture of a pipe.
Well, actually,
it's a projection
of a picture of a pipe.
OK, slow down.
We don't need to get that meta.
I'm just using it to
get at the relationship
between words and images.
Sometimes the
graphic storyteller
will use words simply to
describe what we're seeing.
Other times, he will use
them to say the opposite
of what we're seeing.
Is this a happy man?
If he's happy, why does
he look so miserable?
Maybe misery is inexorably
linked to happiness.
Is this what the
writer's trying to say?
Who the hell knows.
I just know that I'm interested.
I'm involved.
Isn't that you?
It looks like you.
Picture of m--
let's go back to this.
I'm really confused.
And yet we're just
starting to explore
the possibilities of this.
Wh--
PAUL: Huh?
[MUSIC - MARK ORTON, "WHAT
ARE WE MAKING HERE?"]
[phone ringing]
Hey.
CHARLIE (ON PHONE): You
have to get here now.
OK, calm down.
CHARLIE (ON PHONE):
This is an emergency.
Calm down.
CHARLIE (ON PHONE):
I need your help.
OK.
I'm going to be right over.
All right?
Calm down.
[door opening and closing]
Charlie?
You're here.
What's the problem?
The girls locked
themselves in the bathroom.
What?
Why?
Colette said she
wanted to live with you.
Just Colette?
What about Clio?
Did Clio-- Wow, what did
you-- what did you tell them?
(VOICE BREAKING) I don't
want the girls to leave me.
I-- I put my whole
life into who they are.
I don't even know who
I am without them.
And improv is
really, really hard.
I-- maybe they
should stay with you.
I'm such a mess.
Hey, it's OK.
It's OK.
The girls aren't going to
leave either one of us.
This is your fault.
Uh, how is it my--
how is it my fault?
You make them kites.
You take them camping.
You show more initiative
now than you ever
showed in our relationship.
I don't no.
I guess I just get comfortable
with you taking the lead.
Yeah.
Well, I never wanted
to be the leader.
WILL HENRY: I'm sorry.
You're sorry?
Jesus, Charlie!
What do you want from me?
We made mistakes.
You're getting married.
He's having doubts.
Who?
Gary?
Why?
I mentioned your girlfriend.
She's not-- what's it-- what's
she got to do with anything?
Gary thinks I'm jealous.
Of Diane?
That's ri-- That's ridiculous.
He thinks I have
unresolved issues.
Everyone's got
unresolved issues.
He thinks I have
unresolved issues with you.
Well, what did you tell him?
Maybe you're right.
Maybe happiness is not
a sustainable condition.
Maybe I didn't know what
I had when I had it.
I don't know.
I'm just feeling very confused.
Hey, it's OK.
It's OK.
It's OK.
Everything is going to be OK.
How do you know?
I don't, but it just
helps sometimes to say that.
I think I miss you.
Oh, Charlie--
Do you ever think about me?
All the time.
Dad?
What are you doing here?
Who wants ice cream?
I do.
- Can we have some sprinkles?
- You can get whatever you want.
You can get whatever you want.
We should talk.
Yeah.
Oh, shit.
What's he doing here?
- Talk later?
- Yeah, sure.
I guess.
OK.
[will sighing]
I thought you
wanted ice cream?
I do want ice cream.
[MUSIC - MARK ORTON, "GARY WITH
FLOWERS"]
[phone vibrating]
[door ringing]
DIANE (ON INTERCOM): Who is it?
It's Will.
[gate buzzing]
Shh, we have to be quiet.
Kat fell asleep on the couch.
Where have you been?
I've been trying to get
in touch with you all day.
Yeah.
Yeah, I know.
Is something wrong
with your phone?
We need to talk.
Oh, shit.
Yeah.
Well, what is it?
I-- I kissed Charlie.
Oh.
I'm sorry.
You said no bullshit.
Yeah.
No, I meant, like,
don't fuck me if you
still have feelings for your ex,
but I appreciate your candor.
I didn't plan for
any of this to happen.
So you do still
have feelings for her?
I don't know.
I-- You've been through
all this before.
Do they ever go away?
Are you really asking me that?
I'm sorry.
I'm confused.
Yeah, I can see that.
[sigh]
I didn't mean to hurt you.
No, I know.
You're a good guy.
Don't say that.
Well, what do
you want me to say?
I-- I don't know.
Shouldn't you get mad?
Slap me or something.
[slap]
Ow.
Ow.
You told me to do it.
But I said "or--
or something."
I didn't hear that part.
Do you want some ice?
No.
I'm going to let it sting.
[exhale]
They do go away, you know?
When?
[MUSIC - MARK ORTON, "SO YOU DO
STILL HAVE FEELINGS"]
Good luck, Will.
It was nice while it lasted.
Diane-- I really do like you.
You didn't even get
a chance to know me.
[kids laughing]
Oh, you're it!
[kids screaming]
I'm going to go talk to Daddy.
OK, girls?
- OK.
- OK.
Thanks.
So, uh, I told Diane--
the student's mum
about our kiss.
Really?
I thought you two
weren't even dating.
We're definitely not now.
I'm sorry.
[sigh]
Yeah.
Well, it's whatever.
How are you?
I'm OK.
Yeah?
Did you talk to Gary?
Yeah, actually, I did.
[exhaling]
How'd that go?
Good.
Good.
I-- I think we were able to
work through most of his doubts.
Hm?
Did you tell him about the kiss?
I didn't tell him about it.
What?
- Why would I tell him that?
- Why not?
Why didn't you?
It was just a kiss, Will.
It was more than just a kiss.
Maybe.
I'm still marrying Gary.
I can't believe you.
I-- I just entered the first
adult relationship I've
had in a year over that kiss.
No one told you to do that.
You're about to commit to this
guy for the rest of your life,
possibly.
Don't you think you
should be honest with him?
Hey, look, I'm sorry you're
confused about our kiss.
I'm not confused.
You're confused.
OK, you're right.
I'm confused.
You see?
I-- I knew it.
I'm having his baby, Will.
What about our babies?
[clio and colette giggling]
CHARLIE: They're
not babies anymore.
You should tell
Gary about our kiss.
He deserves to know.
Since when do you
care about Gary?
I don't.
I care about you.
Then let this go.
Unbelievable.
Where are you going?
What do you care?
You're not going
to tell him, are you?
Oh, yeah.
We're best buddies.
I'm going to have a sleepover
with him in his apartment.
Ah, f--
[music - mark orton, "graffiti"]
[MUSIC - MARK ORTON, "KAT'S
BOOK"]
[bell jingling]
(WHISPERING) Kat, hey.
What are you doing here?
Uh, came to visit you.
How did you find
out where I was?
Called your mother.
Oh, really?
I am surprised she answered.
Yeah, no.
She-- She didn't answer.
She refused my call
and then she texted me.
Mm.
And I texted back and she
texted me where you were.
I know how texts work.
I'm sorry.
Yeah.
No.
It's fine.
Things don't work out.
Happens all the time.
I already knew that.
I just thought that you would be
at least nice to her, at least.
I read your book.
It's really great.
Is it about your mother?
I thought this was
not a pipe, remember?
Yeah.
You're right.
It's not a pipe.
It's a great story though.
You think?
Yeah, I do.
I really do.
Thank you.
Have you shown any
of it to your mother?
No.
She wouldn't get it.
I don't think you're
giving her enough credit.
No, she'd think
I'm exploiting all
of her terrible life decisions.
Well, uh, to be honest, her
character is a bit of a mess
but it feels very real, and
she's very lovingly portrayed.
I think she would be really
proud to see the book.
The pictures are beautiful.
Look, why did you have to
turn out to be such an asshole?
I don't mean to hurt anyone.
Yeah.
So what?
Are you going to get
back with your ex?
I don't know what's going on.
Do you want to
know the best part
about my parents splitting up?
Yes, please tell me.
They split up.
That is a beautiful story.
Thank you.
It's my life, so--
What is this?
It is a giant
magical book that
takes you into a
slightly depressing,
but hopefully amusing world.
What, you want
me to read this?
Yeah.
Holy crap.
Are these original drawings?
Let me know what
you think, OK?
Uh, yeah.
OK.
See ya.
[bell jingling]
[door shutting]
[MUSIC - MARK ORTON, "I HAVE
SOME NOTES"]
[door ringing]
I have some notes.
What do you mean, notes?
You need an ending.
How do-- How do you
know where I live?
What?
Dude, come on, I'm 19.
I know everything
about everything.
So are you going to
let me in or what?
So what's this guy going to do?
Which guy?
This guy.
I don-- I don't know.
What do you think he should do?
Move on with his life.
I think he i--is trying to.
Is he?
Because he seems kind of stuck.
Stuck in what?
It's the middle of
the day and you're
still wearing your pajamas.
These are golf pants.
I'm--
They're so ugly.
--working.
Can I see?
It's not really--
Those are just things
that I painstakingly
drew out of anger.
You gotta let her go.
Let who go?
The person you keep drawing.
I don-- I don't know what
we're talking about now.
Yes, you do.
So you don't like the book?
No, I love the
book but I especially
like this character--
a lot.
Yeah, thank you.
I like that character, as well.
Mm.
You know, I showed it to her.
- Why would you do that?
- I live with her.
It's a big book.
She has a few notes.
They're very good.
Maybe you should call
her up and talk to her.
I'm not going to call her.
Why not?
Because she told me
not to call her again.
Then call her anyway.
But she had--
only had one rule,
don't call her.
Look, call her.
Who cares?
Just call her or,
like, don't call her.
Just do something-- anything.
Otherwise, what is the
whole point of this thing?
This place is gross.
[music playing]
Hi.
WEDDING PLANNER: Please
don't touch the flowers, sir.
Oh, no.
I wasn't.
I was just--
The flowers are
looking, not touching.
Oh.
This is a private event.
Yeah, I'm invited.
Bride or groom?
I'm neither.
Are you here for
the bride or groom?
I'm was just--
(COMBINED) Daddy!
I'm with these guys.
Hey.
What are you doing here?
Mommy didn't think
you were coming.
Do you know where mum is?
I kind of need to talk to her.
Is everything OK?
Uh--
Are we still going to
have to play the cello?
Hold that thought.
[clearing throat]
Oh.
Hey, uh, it's you.
Hey, Gary.
I didn't think
you were coming.
I need to--
I need to tell you something.
Oh, boy.
Yeah?
I, uh--
I'm going to punch you.
Oh.
No, I, uh--
I understand and I
think you should.
I don't care what you think.
Stop nodding.
Right, sorry.
Oh, I just did it again.
Um, what should I--
would should I do?
You could either fight back
or you could close your eyes.
I th-- I think I
choose closing my eyes.
I'm just-- please don't
hit me in the face.
I'll punch you
wherever I like.
That's fair.
Stop agreeing with me.
Sorry.
You're right.
Just whenever you're-- oh!
Jesus!
Ow.
(SCREAMING) Ow!
Are you-- Are you OK, Gary?
No.
That was my ear, man.
- I know.
Well, you said not the
face so I didn't know--
- God damn it.
- It wasn't--
The ear is the face!
I don't think of the
ear as the part of--
The ear is part of the face.
I don't think of it
as part of the face.
Well, that's not true.
That's definitely not true.
The ear is part of the face.
I think the face
is this oval here.
That's what I teach
in drawing class.
OK.
I-- I don't think so.
That's not the way
I was taught, but--
Should we agree to disagree?
Sure, agree to disagree.
[groan]
That was-- That was
a good hit, man.
Thank you.
My hand really
hurts from your ear,
so if that's any consolation.
Well, do you
know where she is?
Nobody-- nobody can find her.
She's not answering her phone.
Are you serious?
- Why would I kid about that?
- Well, I don't know.
I don't know you.
I don't know your
sense of humor.
I'm not kidding.
Ow.
Ow.
Well, hey!
I love her, you know?
Yeah, I know now.
You came.
I came.
Your pants are too short.
Yeah, I just got them.
You look good.
There are people
looking for you.
But only you know
where to find me.
It kind of helped that you
texted me where you were.
What are you doing?
I'm afraid I'm
making another mistake.
I don't think of what
we did as a mistake.
It didn't work out.
It did, and then it didn't.
CHARLIE: What does that mean?
(SIGHING) It means we can't
predict what's going to happen
or how we're going to change.
[music - mark orton, "parents"]
I love you.
I love you too.
But if you wait
any longer, you're
going to miss your wedding.
Are we friends?
We're more than that.
What are we?
We're parents.
[cellos playing]
CLIO: OK, you first.
COLETTE: No, you first.
[cellos continue]
[MUSIC - MARK ORTON, "YELLOW
ROSES"]
[MUSIC - MARK ORTON, "MOONS AND
FLOWERS"]
FLOWERS"]
[music playing faintly]
Dad, I made this
flower for you.
Oh, thank you.
Exactly what I needed.
Hey, don't think about eating
that cake yet, Clio, please.
- Aw, please?
- Thank you.
Have you seen your mother?
BOTH: No.
Well, there, soldier.
Watch out.
Don't concuss anyone.
There you go.
Could someone superv-- we
need an adult supervisor.
Hey, Meanne.
Have you seen Charlie anywhere?
I don't see anything.
[sigh]
The party's outside.
That's not your cape.
I know your parents.
I just, I--
I don't think I want
to have kids with you.
And it's not-- it's
not your fault.
It's not anything you've done.
It's just that I've thought
a lot about it, and I don't--
Hey, have you
guys seen Charlie?
Who's Charlie?
H--Have a great pa--party
[music playing faintly]
Charlie?
CHARLIE: Oh, wait!
Wait!
[RECORD SCRATCHING, MUSIC
STOPPING]
[nervous chuckle]
It's not what you think.
I think you've
been having sex.
OK.
It is what you think, but
you pushed me into this.
I was just looking
for the matches.
I think I better go.
No, stay.
I want you to be here.
I'd really like to go.
Yeah, why don't you go?
He's not going anywhere.
OK.
Well, could he at
least put on a shirt?
This isn't about him.
No, I know.
It's about ask, but I
would feel more comfortable
if he had a shirt on.
- Fine.
You want him to put a shirt on?
There.
Is that better?
No, of course not.
That's much worse.
I don't care.
Stop looking.
What happened?
I thought we were happy.
You thought we were happy?
Well, happiness is not
really a sustainable condition.
Right?
See what I mean?
Just take it easy.
I'm sure it's
really hard for him
to process all this so suddenly.
Shut up!
Hey, man.
I'm-- Um, I know that you're
upset, but I'm just--I'm trying
to help here.
I'm going to fight you.
Please don't.
Don't do that.
CLIO: Will--
GARY ST. GRAY: There
are children downstairs.
Whoa!
[will yelling]
Oh, my god.
No.
No.
Careful!
Will!
[grunting]
Stop holding me.
[gary shh-ing]
Get your arms off my arm.
- Calm down.
Calm down.
The kids are ready to--
- OK, take it easy.
- Never mind.
WILL HENRY: Oh, I
want to punch you.
GARY ST. GRAY: I'm not
going to do that to you.
Calm down.
[will yelling]
On your feet.
Relax .
Breathe.
- Forget it, Will.
It's over.
WILL HENRY: Ow!
What's over?
Us.
Us?
What, just like that?
It didn't happen
just like that.
We have kids.
Don't drag them into this.
What do you mean, don't
drag them into this?
They're having a birthday
party downstairs.
It takes a lot of courage
to try and change your life.
Ah, yeah.
Well, I admire your bravery.
Don't be bitter, Will.
It doesn't suit you.
Don't be bitter?
Well, how should I be?
I love you.
Then what's the problem?
The problem is I
don't love my life.
I'm sorry.
(WEAKLY) Oh, you're sorry?
(WHISPERING) I'm sorry too.
Are ya?
Yeah.
[music playing]
(SINGING) Happy
birthday to you.
Happy birthday to you two.
Happy birthday,
Colette and Clio.
Happy birthday to--
You.
(SINGING) --you.
OK, who wants cake?
Let's blow it out.
OK, there's a tiny,
tiny bit for you.
I can't believe you
guys are six years old.
It's like it was
yesterday you were five.
It was yesterday, Dad.
You know what I mean.
Uh, who wants presents?
(BOTH) Me!
OK.
I got you iPads!
[clio and colette giggling]
They're not iPads.
CLIO: Run!
[MUSIC - MARK ORTON, "THEY'RE
NOT IPADS"]
[clio and colette giggling]
[phone ringing]
Oh, hey.
Hey, Charlie.
How are you?
Yeah, we're at the park.
CHARLIE (ON PHONE):
How's it going?
Oh, yeah.
I made them some kites.
CHARLIE (ON PHONE): Oh, OK.
Yeah, I made them myself.
No, m-- No, you know, I--I--
my--myself, I made them.
CHARLIE (ON PHONE): Oh, uh--
Yeah, they're flying.
Well, they're--
they're kind of flying.
Yeah.
Hey, uh, I hope you don't
mind, the girls asked if they
could stay a little bit longer.
CHARLIE (ON PHONE): OK, um--
OK.
Great.
Are you sure you don't mind?
CHARLIE (ON PHONE): Yeah.
OK.
Yeah, I'll have them
back before bed.
Yeah.
CHARLIE (ON PHONE): I don't
want them eating pizza.
OK.
Thanks a lot.
Hey, girls.
Your mum asked if I could keep
you guys busy a little longer.
Sound OK?
Yeah?
Oh--
[sigh]
[doorbell ringing]
Oh, hey.
Hey, Gary.
Girls.
(BOTH) Hey, Gary.
[weak chuckle]
Uh, I'll get Charlie.
Um, (SHOUTING) Charlie!
You can go in.
You can go in.
Hi, girls!
Oh, hi.
Happy birthday.
Oh, my gosh.
Those are so cool.
Go show Gary your kites.
Those are awesome.
Have a great week, girls!
Does he have to answer the door?
He thought you
were the Thai food.
Not surprising.
Um, can I talk to you?
Sure.
Uh, not now.
Tomorrow, noon, Ted & Honey?
I'll buy you a cookie.
Are you OK?
Yeah, noon.
Noon's fine.
Good night, girls.
I love you.
CLIO AND COLETTE: Bye, Dad.
I love you too.
[MUSIC - MARK ORTON, "YOU'RE
LONELY"]
[sigh]
Mate, you're lonely.
[music playing]
[baby fussing]
Sorry I'm late.
I promised you a cookie.
WILL HENRY: I'm fine.
- I promised.
- It's OK.
I promised.
Oatmeal chocolate chip.
No, I said I was fine.
It's your favorite.
I'm not-- I'm trying
to give up sugar.
Take a bite.
It's your favorite.
I'm trying to--
Just take a bite.
Thank you.
How's work?
Teaching?
It's good.
Gives me an excuse
to put off the book.
You should be doing both.
I know.
I've been getting
over a big breakup.
I'm well.
Thanks for asking.
Oh, how are you?
I'm taking improv classes.
Oh, that's funny.
Why is that funny?
No, I just mean, isn't it--
is it supposed to be funny,
improv?
I don't know much about it.
There's a lot more to
it than just being funny.
Oh.
Yeah.
Gary thinks I have a lot
of unexplored talent.
Does he?
I'm sure you do then.
Gary wants to get married.
- Well--
- I know.
It's crazy.
I-- I still don't know
how I feel about it.
What did you tell him?
I don't know.
I--I'm still thinking about it.
I thought you never
wanted to get married?
I know.
You said it was the surest
way to ruin a relationship.
Well, not getting married
doesn't seem to work either.
Are you kidding me?
Look, I know this is sudden,
but if I'm going to do this
I'd really like your support.
I thought you were
still thinking about it.
I am.
I am still thinking about it.
You're thinking right now
about it, like as we speak.
I'm pregnant.
Oh.
Oh, wow.
Is it his?
Of course, it's his.
Just asking.
Look, I just want to know
there's going to be someone
there when I'm old and gross.
I was going to be there.
Don't.
I think I should go.
Why?
I don't know.
Just feels like what
I should do right now.
Will--
Yeah?
Take the cookie.
Good.
Great.
[door creaking open]
[MUSIC - MARK ORTON,
"WHY DOES LIFE SUCK?"]
Why does life suck--
double underline-- so hard?
Any thoughts?
Because people are
selfish and petty.
I love that passion, but no.
It doesn't?
No, life sucks because my
ex left me for an off Broadway
monologist who just knocked her
up and asked her to marry him.
Now Gary is going to see my
daughters more than I do.
He's going to live
in my old house.
He's going to take
over my family
while I eke out a lonely
existence in a studio apartment
in Astoria.
You been to Astoria?
Uh, I think, like, once
for a party or something.
Yeah, once.
What's a monologist?
It's like a comedian
without the jokes.
That's a thing?
Yeah, that's a thing.
According to the MacArthur
Foundation, it's a thing.
He's probably monologuing
to my daughters right now.
I don't get it.
Does any of this have to
do with the graphic novel?
Why are we here?
To learn?
You're on fire today, Paul.
To learn-- to learn what?
How to tell a story.
Why does anyone need to tell
a story in the first place?
Because?
You did it again.
Anyone else?
To understand
ourselves better.
OK, that sounds nice.
But if that's the
only reason, then
why not just go to therapy?
Because therapy is stupid.
Yeah.
Maybe it's stupid.
Yeah.
Can I go home?
Just take--
Let's take a break.
Let's take a break.
Great comments, guys.
Thank you.
[chairs screeching]
Uh, Mr. Henry?
Uh, yeah?
Are you OK?
Yeah, I'm fine.
I'm just having a bad life.
It will be over eventually.
Um, I don't want this
to seem weird or anything,
but would you maybe want to
come to my place for dinner?
Uh, listen,
thank you so much--
- Kat.
- --Kat.
Yeah, Kat.
Th- That-- That's a
really kind offer, Kat.
Uh, but (WHISPERING) we're--
we're not supposed to date
students at this school.
- No.
Oh, my god.
No.
Oh, this?
Yeah, no.
Never.
Did you think I
was asking you out?
No.
- Oh, my god.
- Oh, no.
No.
Defi-- Definitely not.
No, no, no.
I-- I would never do that.
That is so gross.
Wow.
I-- Sir, I would never.
I would never,
ever, ever do that.
- OK, I'm not the Elephant Man.
- No.
No, I know.
You're just-- you're so old.
Why the hell did you ask
me over for dinner for?
Because I want
you to meet my mom.
Oh, y-- your mum?
Yeah, a cute mom.
How old is your mum?
45.
How old do you think I am?
Probably-- I don't
know, like be--
like between 50 and 62?
I'm only 39-- no, I turned 40.
I'm a young 40.
Well, here she is.
Oh, th-- that's your mum?
Yeah.
And she likes your work too.
Oh, th-- that's sweet.
Mm-hmm.
She's sweet.
Listen, Kat, I'm--
I'm still getting over my ex.
Look, you should
just meet my mom.
I promise you won't
meet anybody nearly as
hot as her in your apartment.
OK?
God, I hate that apartment.
You know what, Kat?
What the hell, I'll
meet your cute mum.
Great.
Here's the address.
Be there at 8:00.
And wear something nice.
I-- like this kind of thing?
[MUSIC - MARK ORTON, "HERE FOR
THE DATE']
[door ringing]
DIANE: Who is it?
- Hey.
Uh, it's Will Henry.
I'm here for the--
the date.
[gate buzzing]
[sigh]
Gosh, you brought wine.
This is just so awkward.
Oh, sorry.
I didn't re-- realize
it would be awkward.
Uh, you must be--
Oh, I am Diane, Kat's mom.
Oh, well, I am, uh--
Will.
Yes, I know, and it's
nice to meet you too.
Look, I don't mean to be rude,
but I just wanted to let you
know that I'm seeing someone.
Oh.
Uh, well--
Yeah.
You know, Kat doesn't know,
which is why she set this up.
Truth is, I don't think
she'd like the guy.
I'm not even sure if I like him,
but we've had a couple of dates
and I just--
I don't know.
I feel as though I should
be straightforward with you.
I know a lot of people date
a lot of people nowadays,
and, I don't know, I'm not
comfortable with that sort
of thing.
Yeah.
No judgment, of course,
if-- if that's what you do.
I mean, you could be
coming from a date
right now for all I know, right?
You're not coming from a
date right now though, huh?
Uh-uh.
No.
No, don't answer it.
Don't answer it.
And, as a matter of
fact, just forget it.
That is none of my business.
Hm.
But I did hear you recently
split up, and I'm sorry.
Dating sucks.
It does.
Erm, well, OK.
I guess I'll--
I guess I'll just go home then.
Uh, no.
You can't go.
Why not?
Well, Kat's here.
All right, listen,
I'm unsure about this.
It s-- It seems
very messy to me.
I-- I don't really
want to be involved
with deceiving a student.
Uh, Mr. Henry?
Hey, Kat.
Hey.
What are you guys
doing out here?
Nothing.
Mm-hmm.
I, uh, just, uh, am
getting to know your teacher.
KAT: Tight.
Yeah.
Very tight.
Very tight friends.
So how long have you
been making comic books?
I'm not sure.
Um, ever since I was
a kid, I suppose.
Mm, really?
Were your parents encouraging?
Oh, not at all.
Why not?
Not a lot of successful comic
book artists where I'm from.
Oh, and where are you from?
New Zealand.
Mm, it's a beautiful place.
Oh, you-- you've
been to New Zealand?
No, but Kat makes me go see
all the Hobbit movies, so--
Oh, so you know all
about us and our ways.
That was sassy.
Yeah, I'm a sassy
little hobbit.
I like it.
Now, tell me truthfully, are
there any successful comic book
writers anywhere?
Well, the School of Visual
Arts has had its share, yeah.
Right, SVA.
Do you have a
problem with SVA?
No.
It's just, um-- well, I
wanted Kat to go to Columbia.
Oh, Columbia's a good school.
Columbia is a great school.
And what do you do?
I teach at Columbia.
Oh.
Wow.
That's, uh-- Wow.
Really, wow.
What do you teach?
American literature.
American literature.
Early American,
pre-comic book.
Is, uh-- is that
supposed to be a joke?
Maybe.
So hilarious.
You do realize that,
uh, comic books
are part of American
literature, don't you?
I don't know if I
would necessarily--
Well, how many comic
books have you read?
Oh, gosh.
Including yours?
Sure, including mine.
Mm, actually I've
only read yours.
Unbelievable.
And this is why people still
don't take comics seriously,
because the
literature department
of Columbia University
doesn't even
recognize it as literature.
Listen, I liked
your little book.
My little book?
I liked your comic book.
Better?
My little comic book?
Oh, my god.
Are you guys arguing already?
Please mind your
business, Kat.
Mind your business, Kat.
[sigh]
It's good wine.
Would you like some more?
Really, no.
I actually shouldn't.
- Good.
Anyway, I might want
to take the rest home.
Well, uh, thank you.
Have a good night.
It really was, um, I don't know.
It was something.
Yes.
Thanks for helping
with Kat tonight.
It was nice meeting you.
Yeah.
Thank you for the pork cutlets.
Delicious.
Mm, it was swordfish.
(CONFUSED) Oh-- (WITH
UNDERSTANDING) Oh.
Listen, Kat told me
you're kind of really
going through something.
Believe me, I--
I know how that is.
So for what it's worth, I--
I just want you to
know that I really
do think that you are nice.
Thank you.
I think you're
nice too, I guess.
Good night.
Yeah.
Bye, Kat.
KAT: Bye!
How'd it go?
Mm, he's a bit of a snob.
OK, well, you're a
bit of a snob, so--
[MUSIC - MARK ORTON, "BRICK BY
BRICK"]
[heavy sigh]
Daddy!
Daddy!
Are you girls ready for the
greatest weekend of your lives?
You say that every weekend.
Yeah.
We're doing it again.
Come on.
There you go.
Where did you get this car?
I borrowed it from a student.
We're going upstate.
What for?
What do you mean, what for?
To get out of the city.
Are you in trouble?
No, I'm not in trouble.
Where would you get a
crazy idea like that?
What a crazy question.
I just thought, uh, you
girls spend too much
time cooped up in New York.
Are we staying in a hotel?
Uh, no.
I thought we could go camping.
Camping?
Yeah.
Like in a tent?
Yeah.
Do you own a tent?
I do not own a tent, but
there is a tent in the car.
Momma says to practice
cello this weekend.
You can practice
cello in the woods.
[giggling]
[MUSIC - MARK ORTON, "CAMPING
TRIP"]
Get back here!
[whispering]
[will shouting, girls screaming]
Here we go.
Here we go.
Here we go!
[splash]
[cellos playing]
WILL HENRY: Ow.
Sounds beautiful, girls.
That sounds amazing.
What song is that?
[groan]
It's OK.
I'll sleep outside,
under the stars.
It'll be romantic.
It's fine.
Don't worry.
[cellos playing]
[fire crackling]
So how are you guys?
Fine.
Yeah?
How's your mum?
She's a pain.
Did she tell you about her--
Yeah.
And how are you
feeling about everything?
I don't know.
How are you feeling?
I don't know.
Good.
Fine.
You guys know I'll always
be your dad, right?
Yeah?
Are you going to the wedding?
I'm not sure that's
such a good idea.
Dad, do you hate mom?
Of course not, Clio.
Colette says you hate her.
I love your mother.
Does she love you?
Yeah.
I think, you know,
in a way, yeah.
Sure.
Yeah, she does.
Then why is she marrying Gary?
Love is complicated, girls.
Mom's a bitch!
Hey, Collette!
I'm telling mom you said that.
Go ahead and
you're a bitch too.
Girls, listen.
Stop.
OK?
It's really important we give
your mum our support right now.
You understand?
Why?
Because she needs it.
Don't-- I know you're
trying to knock
my hot dog off into the fire.
You want me to starve.
[clio and colette giggling]
OK, good night, girls.
I love you.
- Love you too, Dad.
Love you too, Dad.
[crickets chirping]
CLIO: Dad?
Yeah.
CLIO: Are you seeing anyone
No, honey.
CLIO: Good.
[doorbell ringing]
[doorbell dinging]
[heavy knocking]
[phone buzzing]
[grunting and growling]
INSTRUCTOR: Time.
(BOTH) Rhinoceros?
Oh, yeah!
Oh, my god.
[door opening and closing]
Hi.
(WHISPERING) Hey.
How did you get in here?
I texted you.
You said you could
keep them tonight.
Yeah, sure.
That's fine.
I can keep them.
I meant at your place.
Oh, I'm sorry.
I'm sorry.
I want more time with them.
What?
Where's this coming from?
I need to see them more.
I want some weekdays.
You live in Astoria.
So what?
So that's an hour and a half
commute to school every day.
I can can move closer.
Since when can you
afford to move closer?
I'm a good father.
You're good at
having fun with them.
They're six years old.
They should always
be having fun.
They should be
learning things.
Did they practice their
cellos this weekend?
Yes.
They need to practice
that every day.
I want more time with them.
[sigh]
Look, can we talk
about this tomorrow?
I'm tired.
Where's, uh, Gary,
the monologist?
He's at his apartment.
He has an apartment?
Yeah.
He keeps it as a workspace.
Why, do you think that's weird?
[will gulping]
It is.
Yeah, it is.
Shit.
What am I getting into?
Don't answer that.
[click]
WILL HENRY: What
is happening here?
Uh, An eye is blinking.
Why do you say that, Paul?
Because that's
what's happening.
Do you see any eye
actually blinking
in either of these two images?
Well, no.
No.
You see an eye open, then
the next image we see an eye
closed.
And we create the
blink in our minds,
and this is called closure.
What's it called?
Closure.
- What's it called.
- (COMBINED) Closure.
Yeah.
So respect that gap
between your panels.
It could do a lot
of work for you.
It can travel time and space.
It can create and
destroy whole worlds.
Ka-boom!
[class chuckles]
In some way, that little
gap between the panels
is just as important as
the images in the panels
themselves, because there
is the story you're telling
and then there are the things
that you're leaving out.
And in that way, the
story becomes a shared
creation between the writer,
you guys in the future,
and the reader.
I don't get it.
What's supposed to
be happening here.
It's not always as
simple as a blink.
I don't know.
It just seems random.
(UNDER BREATH)
You seem random.
OK, that's enough for today.
I want sketches for your
memory pieces next week--
everyone.
No exceptions-- Celia,
(UNDER BREATH) Paul.
[MUSIC - MARK ORTON, "BRICK BY
BRICK"]
[door ringing]
Oh, hey.
Hey.
I've been thinking--
Hey, girls.
Yeah?
Wh-- What are you doing here?
You said you wanted
more time with the girls--
Yeah.
Let's give it a try.
What, right now?
Yeah.
Are you busy?
Well, I was kind of--
I was kind of
working on a thing.
OK.
So you can't take them?
No, of--
Yeah, of course,
I can take them.
Yeah.
Come in.
Come in, girls.
Uh, I could have
used a little notice.
I don't even have any groceries.
You said you wanted
more time with them.
I've only got one egg.
Figure something out.
Go to the store.
[exhaling]
What's-- what's going on?
Why are you here?
- Meanne quit.
- She quit?
Yeah.
Why did she quit?
She got a job
with Jon Stewart.
What, Jon S-- the Jon Stewart?
Whoa, really?
What's she doing?
Sketches or--
No, not sketches.
Watching his kids.
What do you think?
Oh.
Oh, yeah.
Of course.
They during my
improv showcase.
[will chuckling]
Oh, that's not--
Oh, yeah.
That's not funny, so--
- Yeah.
It's terrible timing.
Gary's doing this new
monologue and his family's
in town for it.
It's just kind of awful.
Which, the monologue
or the family?
The combination?
God, I'm just--
I'm so pissed at Meanne.
The girls must be sad.
She's been around
since they were babies.
OK.
Here's their schedule
for the rest of the week.
Make sure they
practice their cello
for at least 20 minutes a day.
No problem.
And cook them vegetables.
I don't want them eating pizza.
Bye, girls!
CLIO AND COLETTE: Bye, Mom.
I love you.
(BOTH) Love you too.
All right, call me.
CLIO: OK.
COLETTE: OK.
Are you guys hungry?
Bath and bed straight
after dinner, OK?
We're going to have
to wake up super early
to make it to school on time.
- How early?
- 6:00 AM.
6:00 AM?
Are you kidding me?
[will blowing]
No, I'm serious.
We've never woken up
that early in our life!
You're going to tomorrow.
No, we're not.
Pardon?
No, we're not.
Yes, you are.
Do you want to bet?
I'm not going to bet you.
Have you ever
woken up that early?
OK, 6:45, but we're going
to have to move really fast.
I don't want to be late.
Stop the look.
Don't give each
other secret looks.
[clio and colette giggling]
CLIO: Uh, Dad? (VOICE
DISTORTED) Uh, Dad?
[MUSIC - MARK ORTON, "LATE TO
SCHOOL"]
COLETTE: Dad?
(VOICE DISTORTED) Dad?
Wake up!
(VOICE DISTORTED) Wake up!
- Shit.
Shit.
You shouldn't say
shit. (VOICE DISTORTED)
You shouldn't say shit.
Stop playing with my phone and
get dressed. (VOICE DISTORTED)
Stop playing with my
phone and get dressed.
Are you guys OK with
pizza for breakfast?
Don't answer that.
I have to poop--
[phone ringing]
--really bad.
OK.
Just wait.
Just wait a little--
W-- Hey, Charlie.
CHARLIE (ON PHONE): You're late.
Yeah.
We're al-- almost there.
CHARLIE (ON PHONE):
I can't believe you.
Did you set your alarm?
No, I did set my alarm.
CHARLIE (ON PHONE): No,
you didn't set your alarm.
Of course, you
didn't set your alarm
or you would be here by now.
- Yeah.
CHARLIE (ON PHONE): Why
don't you use an alarm--
No, I set--
CHARLIE (ON PHONE): --to
get here when [inaudible]..
But--
CHARLIE (ON PHONE):
Like, is it impossible
for you to [inaudible].
- --I set my--
I set my alarm.
CHARLIE (ON PHONE): Could
you not interrupt me.
I'm trying to--
- I set my alarm.
CHARLIE (ON PHONE): What
did they have for breakfast?
Did they have breakfast?
Yeah, they're
having breakfast.
CHARLIE (ON PHONE):
What are they eating?
Are they eating pizza?
Uh, y-- you know,
some cheese and--
CHARLIE (ON PHONE): Huh?
- --tomatoes.
OK!
CHARLIE (ON PHONE): [inaudible].
You are so irresponsible.
- OK.
I'll-- I'll call you when
they get to school, all right?
OK.
CHARLIE (ON PHONE): [inaudible].
OK, OK.
I'm sorry.
OK, bye.
Mom says good morning.
[MUSIC - MARK ORTON, "LATE TO
SCHOOL"]
Wait.
Wait, wait, wait.
Let's take a look at you.
You look wonderful.
Have a great day.
(WHISPERING) Yeah, sorry.
Sorry.
Sorry.
So what did you guys
do at school today?
I don't know, kid stuff.
Just kid stuff?
I just did grown up stuff.
CLIO: What kind
of grown up stuff?
You know, like just
walking around, doing a job,
talking in a serious voice.
Like this, (DEAD PAN) "Hello."
What did you do today?
Same as her.
- What?
- Kid stuff.
Kid stuff?
Just kid stuff.
Is that all the information
I'm going to get out of you?
Yeah.
Yeah.
[phone ringing]
Hold on.
Uh-oh.
Hey, Charlie.
CHARLIE (ON PHONE): Hey.
Can I call you back later?
We're just in the
middle of this supper.
CHARLIE (ON PHONE): You missed
the girls' French lesson.
I thought it was on Tuesday.
CHARLIE (ON PHONE):
It is Tuesday, Will.
Oh--
CHARLIE (ON PHONE):
It's Tuesday.
Today is Tuesday.
--right.
Well, I didn't realize
it was Tuesday.
CHARLIE (ON PHONE): Are
you fucking kidding me?
OK.
CHARLIE (ON PHONE):
It's Tuesday, Will.
It's Tuesday.
Always Tuesday--
Yeah, I know.
CHARLIE (ON PHONE):
--because Sunday--
OK.
CHARLIE (ON PHONE):
--fucking Tuesday--
Hey!
That's where some of the--
That's why the kids have
picked up some bad language.
CHARLIE (ON PHONE):
Look, can you do this?
I can do it.
CHARLIE (ON PHONE):
Can I count on you?
I can do this.
They're eating
vegetables right now.
CHARLIE (ON PHONE):
--on time tomorrow?
Yes, they'll be at
school on time tomorrow.
CHARLIE (ON PHONE): Fine.
- All right, OK.
OK, see you.
Bye, bye.
CHARLIE (ON PHONE): Bye.
Girls, you could
have told me you
had your French lesson today.
Merde.
Hey, that's a
bad word in France!
[sigh]
Look, ladies-- we're all
on the same team here.
I can use a little help,
especially if you want
to spend more time with me.
OK?
OK.
[MUSIC - MARK ORTON, "BOMB
THREAT"]
Wake up.
Wake up.
It's 6:00 AM.
Are you crazy?
I'm not crazy.
Come on.
--but even if they
have the popcorn.
I don't know if the animals
should be eating popcorn.
Yeah.
What happened?
Bomb threats.
A bomb threat?
How long do we have to wait?
School canceled.
It can't be canceled.
I have to teach today.
[sighing]
[MUSIC - MARK ORTON, "LATE TO
SCHOOL"]
[door ringing]
KAT (ON INTERCOM): What?
Hey, it's, uh, Will
Henry, your teacher.
Look, can we talk for a second?
[gate buzzing]
Here.
Come on.
What are you doing here?
I need someone to
look after my girls.
You want-- You want
me to babysit your kids?
I'm sorry.
I don't have anyone else to
call on such short notice.
Charlie got all our
friends when we spit.
Please, I'm desperate.
I've got a class in an hour.
Yeah, I know.
I'm in that class.
Well, I'll-- I'll
excuse your absence.
Really?
That's unbelievable.
I--I can pay you.
Do they watch TV?
They love TV.
Right, girls?
You like TV, right?
Come on!
Yeah.
OK, fine.
Whatever.
- Thank you so much.
- Sure.
What is this?
These are, uh, just
a couple of cellos.
A couple of cellos?
Are they supposed to
play this right now?
No.
No, of course not.
OK, girls, this is Kat.
What's up?
That means hello.
Come on.
Y'all carryin' your own cellos.
All right, memory pieces--
who wants to share theirs first?
Tom.
Yeah.
Hi.
I decided to write about
how I learned to masturbate.
I was 12.
So one day, I walked
into my dad's office
where he kept all of
his dirty magazines,
and, uh, I found some lotion.
And--
You have a lot of
nerve, do you know that?
Is this because
I didn't call you?
Because I thought you
were dating someone.
- No.
- I also--
No.
--wasn't sure
if the chemistry--
What are you
even talking about?
This has nothing to do with us.
What's this to do with then?
This is about the
fact that you asked
my daughter to skip
your class so that she
could babysit your kids.
I'm sorry.
I was in a desperate
situation this morning.
But you didn't think to
ask any of your male students
for help.
- Are you kidding?
My male students are idiots.
Oh, so the idiots
get to go to class
while the bright
girl stays at home
and takes care of your kids?
What kind of message
does that send
to Kat or to your
daughters, for that matter?
I'm sorry.
I just didn't think.
I--
- Yeah.
Well, guys never do.
Is she here?
She went out after she
put your girls to bed.
They're asleep?
It's only 7 o'clock.
They were exhausted.
What are you doing to them?
I just wanted
more time with them.
Go inside.
Look, it's-- it's
none of my business,
but it just seems to me like
you and your ex are a little
loose about all of this.
I mean, they're children.
You can't just pass them
back and forth like puppies.
Yeah, I know.
Why not-- why not?
They need
structure, stability.
They get that
most of the time.
Look, it's pretty simple.
In this kind of
situation, a child
just wants to know where
they're going to sleep at night.
You shouldn't change
that on a whim.
Yeah.
Our kids are so screwed.
No.
Believe me, I've made just about
every mistake there is to make.
And if it's any
consolation, Kat made it
through intact, more or less.
Hey, Kat's a great kid.
Yeah, she is.
She really admires you.
She does?
Why?
She thinks you're
a great teacher.
Not counting today maybe.
No, minus today.
Wow, that's-- that's
really nice to hear.
I think she was a
little disappointed
when we didn't hit it off.
Yeah.
Ah, well, we should get going.
What?
You're not leaving.
Your girls are still sleeping.
Yeah, we can't stay here.
Sure, you can.
I don't know.
I do, and I'm not letting
you drag them back to Astoria
in the middle of the night.
What is that, a $40 cab ride?
I was going to
take the subway.
[diane sighing]
Come on.
I'm going to get you some
blankets for the couch.
I can probably find you
some pajamas in there too.
Oh, no.
That's OK.
I can just sleep in, uh,
(SCUFFING SHOE) my clothes.
I see you've been
doing some reading.
Oh, yeah.
I felt bad after
our whatever it was,
and I thought I
should at least see
what you were talking about.
So what did you think?
I think that you were right.
Comic books are an
under-appreciated part
of American literature.
Really?
Yeah.
I had no idea what people
were doing in the form.
I mean, there's some
really complex, emotionally
wrenching stuff going on there.
What?
That's-- That's amazing.
I-- I'm so surprised
to hear you say that.
(EXHALING) Actually, I--
I need to thank you.
What for?
Well, I have a new
appreciation for what
Kat wants to do with her life.
I can't believe I was
being so dismissive.
I really am turning
into my mother.
Well, that's wonderful.
Not that you were
turning into your mother.
I mean that you would--
you know what I mean.
- Oh, yeah.
I do.
I get it.
I, uh--
Uh, so, uh, you still
seeing that guy, the one
you weren't sure if you liked?
Oh, no.
No.
No.
I broke it off after our dinner.
Just, uh-- Yeah.
Oh.
[sighing]
Oh, I have your blankets.
Oh, thanks.
Holding these.
[nervous laugh]
Got you the soft
ones that I had so
you could be
comfortable out there.
Th-- These are
really nice blankets.
It's no problem.
Are you OK with me
standing this close?
Yeah.
I like it, actually.
Is this OK here?
Oh, this is--
This is good.
I like it here.
We probably shouldn't
be doing this.
No.
We probably.
OK, let's stop.
OK, let's stop.
Oh, let's stop.
(MUFFLED) I'm
going to stop soon.
(WEAKLY) Stop.
Mm, you smell so good.
OK.
Listen, we have to be quiet.
I don't want to
wake up the kids.
(WHISPERING) Yeah.
OK, I'm going to be so quiet.
Mm-hmm.
But not too quiet.
I like to be affirmed.
(WHISPERING) OK, I'll be
whispering affirmations.
I have to tell you.
Is something wrong?
No.
I just, uh--
I want to just say
no bullshit, OK?
Oh, yeah.
No.
I mean, I, uh--
I'm a big girl and I
don't need this to be
anything more than what it is.
But just don't bullshit me?
I, uh-- Do you understand
I've been through enough.
Yeah.
I understand.
I've been hurt too.
I know.
I could tell the minute we met.
It's actually one of the first
things I liked about you.
That's funny.
Do you know what the first
things I liked about you was?
What?
Your tits.
That's so nice.
Please touch them.
[moaning and laughing]
CLIO: Daddy?
Oh, no.
No.
Oh, you have to go get her.
CLIO: Daddy, are you here?
No, no, no, no, no.
OK.
I'm uh-- I'm going
to be right back.
OK.
I'll be here.
[sigh]
Hey.
Where were you?
I was, uh, just getting
some blankets from Kat's mom.
She's invited us all to
have a sleepover tonight.
Isn't that fun?
Where are the blankets?
Let's, uh-- Let's,
uh, get you back to bed.
Where are you going?
Just stretching.
[MUSIC - MARK ORTON, "ASLEEP
WITH THE GIRLS"]
Well, this is
wildly inappropriate.
Oh.
Hey, Kat.
Hi, good morning.
Where have you been all night?
What?
None of your business.
Is your, uh-- is your mum up?
Actually, no.
She just left for work.
But she did tell me
to tell you goodbye.
Oh, yeah?
Mm-hmm.
How did she say it?
(FLATLY) Tell him I said bye.
Do you know where
my children are?
Yeah.
They're in the kitchen
eating breakfast.
OK, good.
Good.
Hey, I'm sorry about yesterday.
Yeah.
Nah, it's fine.
I actually, like, really
like your kids though.
They are very, very, very fun.
Yeah.
Thank you.
Uh, I want to
make it up to you.
How does $20 sound?
Sounds like you don't know
how much to pay a babysitter.
How much, uh--
How much would you like?
$350.
$350?
KAT: Yeah.
Could you give me a month?
Um, you know, you c--
do you think you could just read
this, please, if you have time?
What is this?
It's like a story I've been
working on for, like, forever.
WILL HENRY: Uh-huh.
Um, I don't know, actually.
It's pretty dumb.
It's not, like, really
finished so, like--
No, I would--
No, I would love to read it.
No, I'll take it.
Not, it's fine.
I'll take it.
I-- I--
I would love to read it.
You would?
Sure.
It would be my pleasure.
Thank you.
Um, now get out of my room.
Oh, yeah.
Of course.
Yeah.
And take the sheets
with you please.
Burn them.
Dad?
Why did we sleep at
Kat's last night?
Mm, because, uh,
you guys fell asleep
and I didn't want to wake you.
- Do you like her?
- Who, Kat?
Of course, I do.
I like all my students.
Are you going to marry her?
No.
She's only 19.
So I'm not going to marry her.
OK, have a great day, girls.
Hey, what's wrong?
What did I do?
We don't want
you to marry Kat.
I'm not going to marry Kat.
I miss mommy.
Oh, my god.
Come here.
[music - mark orton, "up notes"]
It's OK.
[doorbell ringing]
Hi.
Was it today?
No, I'm in a fitting.
Oh--
What are you doing here?
Can we-- Can we talk?
Yeah.
Are you going to sit?
I can't sit in this.
OK, well, you look r--r--
really good.
Oh.
I-- I don't know.
I-- I'm going to be showing
so much by this wedding,
I feel like I should
wear something
that reveals more leg, kind
of distract from the belly.
So you wanted to talk
to me about something?
Yeah.
I-- I just think that the
kids are very confused.
Why?
What have you been
doing to them?
I haven't been doing
anything to them.
They weren't confused when I
dropped them off at your place.
No, I'm not sure that's true.
What do you mean?
I just think the
girls are struggling
a little with all
of the changes that
are going on at the moment.
Which changes?
Like, you know, like
all of the changes.
Are you seeing someone?
W-- What?
Oh, my god.
You're seeing someone.
Oh, well, I wouldn't--
I wouldn't say we're
seeing each other.
Unbelievable.
I can't believe you picked the
one week I give you the girls
to start seeing someone.
I thought you
wanted me to date.
How old is she?
I hope she's not a student.
She's not a student.
She's a student's mother.
Wow.
Where were the girls
when you were with her?
They were sleeping in her
daughter's bed, the dau--
the student.
Oh, right.
OK.
No wonder they're confused.
Well, but--
Yeah, that sounds bad,
but it's not like that.
No, it's-- it's fine.
I-- I love that you're
seeing somebody.
I think that's awesome.
I'm not seeing--
Look, this isn't
about me or you.
I just want the
kids to be happy.
I thought happiness was
not a sustainable condition.
You're absolutely correct.
It's not.
But I don't think they
need to live in chaos.
There is nothing
chaotic about the world
I provide for my girls.
You left their father
on their fifth birthday.
Now you're marrying the
guy who broke us up.
Their nanny left them.
Have you told them?
OK.
You haven't told them.
I don't want to hear this.
Good night.
Have you?
Have you told them?
Have you t-- you haven't told--
- Stop.
--them yet?
You drop them off at
my place on a whim.
I think their lives are
pretty fucking chaotic.
- Here.
- What is this?
The girls' schedule--
French, cello, tap, museum
Mondays, alternate cooking play
date with the Shelton
girls every Thursday
afternoon, oral storytelling
workshop for spring break.
Then there's breakfast
and dinner everyday,
cello practice
everyday, reading them
to sleep for an hour every day.
Don't tell me their
lives are chaotic.
Well, I'm glad you
feed them regularly.
I'm not implying that
you're a bad mother.
I'm a great fucking mother.
I know you are.
Their lives have never
been chaotic with me.
It's my life that's
been chaotic,
because I was unhappy
for years and didn't
do anything about it.
Because first I was
taking care of you,
and then I was taking care
of them, (RAISING VOICE)
and no one was ever
taking care of me.
Well, I'm sorry
I didn't know you
wanted to take improv classes.
Fuck you.
Charlie--
I could be so much
more than what I am.
What does that mean?
I don't even know
what that means.
Of course, you don't
(SCOFFING) Of course,
you don't.
God, I can't believe you're
dating a student's mother.
We're not dating.
Do you like her?
I told you, I barely know her.
I think you like her.
[music - mark orton, "texting"]
[phone vibrating]
[phone vibrating]
[phone vibrating]
[phone vibrating]
[phone vibrating]
Dad, who are you texting?
No one.
Is it Kat?
No, it's not Kat.
[sighing]
This is a really nice office.
Yeah.
I thought you would like it.
I do.
I actually do.
I mean, I'm not that--
I'm not using it as a euphemism.
I do like your office, really.
And I believed you.
I didn't receive it negatively.
Can I ask you something?
Anything.
What happened
with you and your--
My baby mama?
Please don't ever
say "baby mama" again.
My baby mama.
[diane laughing]
Don't.
You said it--
She's my baby mama.
That's three times.
I don't know.
You don't know?
We were always very different.
And it was really fun at
first, and then gradually less
and less fun as it went on.
Different, how?
Lots of ways.
She was outgoing, I was quiet.
Mm.
WILL HENRY: She had
money and I didn't.
Mm, that's a big one.
It wasn't that.
Charlie was always
generous with what she had.
She actually gave up
everything so that I
could concentrate on my comics.
She had so much
confidence in me,
probably more than I had
in myself at that time.
So what went wrong?
I guess she just
stopped talking,
and I enjoyed the
silence too much.
What happened with
you and your ex?
Well, it's not
that interesting.
He was just a fucking asshole.
Who can tell me what this is?
A pipe.
Hasn't anyone here ever
taken an art history class?
All right, does
anyone speak French?
Is it a French pipe.
It's "The Treasury
of Images" by Magritte.
Those words say, "This is
not a pipe," in French.
Correct.
"Ceci n'est pas une pipe."
That's confusing.
Well, the truth is
that it's not a pipe.
Then what is it?
It's only a picture of a pipe.
Well, actually,
it's a projection
of a picture of a pipe.
OK, slow down.
We don't need to get that meta.
I'm just using it to
get at the relationship
between words and images.
Sometimes the
graphic storyteller
will use words simply to
describe what we're seeing.
Other times, he will use
them to say the opposite
of what we're seeing.
Is this a happy man?
If he's happy, why does
he look so miserable?
Maybe misery is inexorably
linked to happiness.
Is this what the
writer's trying to say?
Who the hell knows.
I just know that I'm interested.
I'm involved.
Isn't that you?
It looks like you.
Picture of m--
let's go back to this.
I'm really confused.
And yet we're just
starting to explore
the possibilities of this.
Wh--
PAUL: Huh?
[MUSIC - MARK ORTON, "WHAT
ARE WE MAKING HERE?"]
[phone ringing]
Hey.
CHARLIE (ON PHONE): You
have to get here now.
OK, calm down.
CHARLIE (ON PHONE):
This is an emergency.
Calm down.
CHARLIE (ON PHONE):
I need your help.
OK.
I'm going to be right over.
All right?
Calm down.
[door opening and closing]
Charlie?
You're here.
What's the problem?
The girls locked
themselves in the bathroom.
What?
Why?
Colette said she
wanted to live with you.
Just Colette?
What about Clio?
Did Clio-- Wow, what did
you-- what did you tell them?
(VOICE BREAKING) I don't
want the girls to leave me.
I-- I put my whole
life into who they are.
I don't even know who
I am without them.
And improv is
really, really hard.
I-- maybe they
should stay with you.
I'm such a mess.
Hey, it's OK.
It's OK.
The girls aren't going to
leave either one of us.
This is your fault.
Uh, how is it my--
how is it my fault?
You make them kites.
You take them camping.
You show more initiative
now than you ever
showed in our relationship.
I don't no.
I guess I just get comfortable
with you taking the lead.
Yeah.
Well, I never wanted
to be the leader.
WILL HENRY: I'm sorry.
You're sorry?
Jesus, Charlie!
What do you want from me?
We made mistakes.
You're getting married.
He's having doubts.
Who?
Gary?
Why?
I mentioned your girlfriend.
She's not-- what's it-- what's
she got to do with anything?
Gary thinks I'm jealous.
Of Diane?
That's ri-- That's ridiculous.
He thinks I have
unresolved issues.
Everyone's got
unresolved issues.
He thinks I have
unresolved issues with you.
Well, what did you tell him?
Maybe you're right.
Maybe happiness is not
a sustainable condition.
Maybe I didn't know what
I had when I had it.
I don't know.
I'm just feeling very confused.
Hey, it's OK.
It's OK.
It's OK.
Everything is going to be OK.
How do you know?
I don't, but it just
helps sometimes to say that.
I think I miss you.
Oh, Charlie--
Do you ever think about me?
All the time.
Dad?
What are you doing here?
Who wants ice cream?
I do.
- Can we have some sprinkles?
- You can get whatever you want.
You can get whatever you want.
We should talk.
Yeah.
Oh, shit.
What's he doing here?
- Talk later?
- Yeah, sure.
I guess.
OK.
[will sighing]
I thought you
wanted ice cream?
I do want ice cream.
[MUSIC - MARK ORTON, "GARY WITH
FLOWERS"]
[phone vibrating]
[door ringing]
DIANE (ON INTERCOM): Who is it?
It's Will.
[gate buzzing]
Shh, we have to be quiet.
Kat fell asleep on the couch.
Where have you been?
I've been trying to get
in touch with you all day.
Yeah.
Yeah, I know.
Is something wrong
with your phone?
We need to talk.
Oh, shit.
Yeah.
Well, what is it?
I-- I kissed Charlie.
Oh.
I'm sorry.
You said no bullshit.
Yeah.
No, I meant, like,
don't fuck me if you
still have feelings for your ex,
but I appreciate your candor.
I didn't plan for
any of this to happen.
So you do still
have feelings for her?
I don't know.
I-- You've been through
all this before.
Do they ever go away?
Are you really asking me that?
I'm sorry.
I'm confused.
Yeah, I can see that.
[sigh]
I didn't mean to hurt you.
No, I know.
You're a good guy.
Don't say that.
Well, what do
you want me to say?
I-- I don't know.
Shouldn't you get mad?
Slap me or something.
[slap]
Ow.
Ow.
You told me to do it.
But I said "or--
or something."
I didn't hear that part.
Do you want some ice?
No.
I'm going to let it sting.
[exhale]
They do go away, you know?
When?
[MUSIC - MARK ORTON, "SO YOU DO
STILL HAVE FEELINGS"]
Good luck, Will.
It was nice while it lasted.
Diane-- I really do like you.
You didn't even get
a chance to know me.
[kids laughing]
Oh, you're it!
[kids screaming]
I'm going to go talk to Daddy.
OK, girls?
- OK.
- OK.
Thanks.
So, uh, I told Diane--
the student's mum
about our kiss.
Really?
I thought you two
weren't even dating.
We're definitely not now.
I'm sorry.
[sigh]
Yeah.
Well, it's whatever.
How are you?
I'm OK.
Yeah?
Did you talk to Gary?
Yeah, actually, I did.
[exhaling]
How'd that go?
Good.
Good.
I-- I think we were able to
work through most of his doubts.
Hm?
Did you tell him about the kiss?
I didn't tell him about it.
What?
- Why would I tell him that?
- Why not?
Why didn't you?
It was just a kiss, Will.
It was more than just a kiss.
Maybe.
I'm still marrying Gary.
I can't believe you.
I-- I just entered the first
adult relationship I've
had in a year over that kiss.
No one told you to do that.
You're about to commit to this
guy for the rest of your life,
possibly.
Don't you think you
should be honest with him?
Hey, look, I'm sorry you're
confused about our kiss.
I'm not confused.
You're confused.
OK, you're right.
I'm confused.
You see?
I-- I knew it.
I'm having his baby, Will.
What about our babies?
[clio and colette giggling]
CHARLIE: They're
not babies anymore.
You should tell
Gary about our kiss.
He deserves to know.
Since when do you
care about Gary?
I don't.
I care about you.
Then let this go.
Unbelievable.
Where are you going?
What do you care?
You're not going
to tell him, are you?
Oh, yeah.
We're best buddies.
I'm going to have a sleepover
with him in his apartment.
Ah, f--
[music - mark orton, "graffiti"]
[MUSIC - MARK ORTON, "KAT'S
BOOK"]
[bell jingling]
(WHISPERING) Kat, hey.
What are you doing here?
Uh, came to visit you.
How did you find
out where I was?
Called your mother.
Oh, really?
I am surprised she answered.
Yeah, no.
She-- She didn't answer.
She refused my call
and then she texted me.
Mm.
And I texted back and she
texted me where you were.
I know how texts work.
I'm sorry.
Yeah.
No.
It's fine.
Things don't work out.
Happens all the time.
I already knew that.
I just thought that you would be
at least nice to her, at least.
I read your book.
It's really great.
Is it about your mother?
I thought this was
not a pipe, remember?
Yeah.
You're right.
It's not a pipe.
It's a great story though.
You think?
Yeah, I do.
I really do.
Thank you.
Have you shown any
of it to your mother?
No.
She wouldn't get it.
I don't think you're
giving her enough credit.
No, she'd think
I'm exploiting all
of her terrible life decisions.
Well, uh, to be honest, her
character is a bit of a mess
but it feels very real, and
she's very lovingly portrayed.
I think she would be really
proud to see the book.
The pictures are beautiful.
Look, why did you have to
turn out to be such an asshole?
I don't mean to hurt anyone.
Yeah.
So what?
Are you going to get
back with your ex?
I don't know what's going on.
Do you want to
know the best part
about my parents splitting up?
Yes, please tell me.
They split up.
That is a beautiful story.
Thank you.
It's my life, so--
What is this?
It is a giant
magical book that
takes you into a
slightly depressing,
but hopefully amusing world.
What, you want
me to read this?
Yeah.
Holy crap.
Are these original drawings?
Let me know what
you think, OK?
Uh, yeah.
OK.
See ya.
[bell jingling]
[door shutting]
[MUSIC - MARK ORTON, "I HAVE
SOME NOTES"]
[door ringing]
I have some notes.
What do you mean, notes?
You need an ending.
How do-- How do you
know where I live?
What?
Dude, come on, I'm 19.
I know everything
about everything.
So are you going to
let me in or what?
So what's this guy going to do?
Which guy?
This guy.
I don-- I don't know.
What do you think he should do?
Move on with his life.
I think he i--is trying to.
Is he?
Because he seems kind of stuck.
Stuck in what?
It's the middle of
the day and you're
still wearing your pajamas.
These are golf pants.
I'm--
They're so ugly.
--working.
Can I see?
It's not really--
Those are just things
that I painstakingly
drew out of anger.
You gotta let her go.
Let who go?
The person you keep drawing.
I don-- I don't know what
we're talking about now.
Yes, you do.
So you don't like the book?
No, I love the
book but I especially
like this character--
a lot.
Yeah, thank you.
I like that character, as well.
Mm.
You know, I showed it to her.
- Why would you do that?
- I live with her.
It's a big book.
She has a few notes.
They're very good.
Maybe you should call
her up and talk to her.
I'm not going to call her.
Why not?
Because she told me
not to call her again.
Then call her anyway.
But she had--
only had one rule,
don't call her.
Look, call her.
Who cares?
Just call her or,
like, don't call her.
Just do something-- anything.
Otherwise, what is the
whole point of this thing?
This place is gross.
[music playing]
Hi.
WEDDING PLANNER: Please
don't touch the flowers, sir.
Oh, no.
I wasn't.
I was just--
The flowers are
looking, not touching.
Oh.
This is a private event.
Yeah, I'm invited.
Bride or groom?
I'm neither.
Are you here for
the bride or groom?
I'm was just--
(COMBINED) Daddy!
I'm with these guys.
Hey.
What are you doing here?
Mommy didn't think
you were coming.
Do you know where mum is?
I kind of need to talk to her.
Is everything OK?
Uh--
Are we still going to
have to play the cello?
Hold that thought.
[clearing throat]
Oh.
Hey, uh, it's you.
Hey, Gary.
I didn't think
you were coming.
I need to--
I need to tell you something.
Oh, boy.
Yeah?
I, uh--
I'm going to punch you.
Oh.
No, I, uh--
I understand and I
think you should.
I don't care what you think.
Stop nodding.
Right, sorry.
Oh, I just did it again.
Um, what should I--
would should I do?
You could either fight back
or you could close your eyes.
I th-- I think I
choose closing my eyes.
I'm just-- please don't
hit me in the face.
I'll punch you
wherever I like.
That's fair.
Stop agreeing with me.
Sorry.
You're right.
Just whenever you're-- oh!
Jesus!
Ow.
(SCREAMING) Ow!
Are you-- Are you OK, Gary?
No.
That was my ear, man.
- I know.
Well, you said not the
face so I didn't know--
- God damn it.
- It wasn't--
The ear is the face!
I don't think of the
ear as the part of--
The ear is part of the face.
I don't think of it
as part of the face.
Well, that's not true.
That's definitely not true.
The ear is part of the face.
I think the face
is this oval here.
That's what I teach
in drawing class.
OK.
I-- I don't think so.
That's not the way
I was taught, but--
Should we agree to disagree?
Sure, agree to disagree.
[groan]
That was-- That was
a good hit, man.
Thank you.
My hand really
hurts from your ear,
so if that's any consolation.
Well, do you
know where she is?
Nobody-- nobody can find her.
She's not answering her phone.
Are you serious?
- Why would I kid about that?
- Well, I don't know.
I don't know you.
I don't know your
sense of humor.
I'm not kidding.
Ow.
Ow.
Well, hey!
I love her, you know?
Yeah, I know now.
You came.
I came.
Your pants are too short.
Yeah, I just got them.
You look good.
There are people
looking for you.
But only you know
where to find me.
It kind of helped that you
texted me where you were.
What are you doing?
I'm afraid I'm
making another mistake.
I don't think of what
we did as a mistake.
It didn't work out.
It did, and then it didn't.
CHARLIE: What does that mean?
(SIGHING) It means we can't
predict what's going to happen
or how we're going to change.
[music - mark orton, "parents"]
I love you.
I love you too.
But if you wait
any longer, you're
going to miss your wedding.
Are we friends?
We're more than that.
What are we?
We're parents.
[cellos playing]
CLIO: OK, you first.
COLETTE: No, you first.
[cellos continue]
[MUSIC - MARK ORTON, "YELLOW
ROSES"]
[MUSIC - MARK ORTON, "MOONS AND
FLOWERS"]