Weekend with the Babysitter (1970) - full transcript
A middle-aged husband falls for his childrens' teenaged babysitter.
[MUSIC PLAYING]
[DOORBELL]
[DOORBELL]
MONA: Dammit, Jim.
There's somebody at the door.
[DOORBELL]
-Hello, Mr. Carlton.
-Hello, Candy.
-Why are you here tonight?
-Mrs. Carlton asked me to come.
-Hm, that's funny.
I'll go ask her.
Candy Wilson's downstairs.
-What for?
-I don't know.
She said you asked
her to come tonight.
-But we don't need her tonight.
She's made a mistake.
-But I was thinking, as long
as she is here, why don't we
take advantage of
it-- go out to dinner?
-What?
-You know, do
something together--
have dinner, be together.
-You know I've been
planning this for a week--
almost two weeks.
Here, help me with my coat.
-You could call your
mother, and you and Mike
could go down in the morning.
-No.
I'm going.
-Why?
Do you know how long it's been
since we've been together?
It's been months.
We're always apart.
We're going in different
directions all the time.
Now this is a perfect chance.
-Look, mother will
have dinner planned.
And you know how she's looking
forward to seeing Michael.
I don't want to disappoint her.
-How about me?
She could afford to
lose a few hours.
-We spend months together
when all I can get
is a grunt out of
you, because you've
got your nose stuck
in some script.
Now I've got something
I want to do.
You want me to drop everything,
go someplace with you?
Well, that's not fair, and
I'm not going to do it.
-OK.
Stop dramatizing.
Why in the hell shouldn't
I work all the time?
I can't talk to you anymore.
You take so many pills.
You're in a daze.
It's like talking to a stump.
-Stop it!
Oh, let's not argue.
You're making me nervous.
Here, take my bag downstairs.
-Nervous?
Dammit, Mona.
-Please, stop it!
-There's been a mix up,
so we don't need you.
Sorry.
-Oh, that's OK, Mr. Carlton.
-Candy, I'm so
sorry you came all
the way over here for nothing.
-It happens sometimes.
Hi, Mike.
-Hi, Candy.
-Will you please
help me with the car?
I'm running awfully late.
Come on, Mike.
Let's go.
Bye, Candy.
-I don't know what the
big rush is all about.
-Wait for me.
When I get back, I'll pay you,
so it won't be a total loss.
-You don't have to do that.
-Wait for me.
I'll be right back.
Drive carefully, honey, and
say hello to your mom for me.
Bye-bye, Michael.
-Bye, Daddy.
-We'll be back sometime
the first part of the week.
-Mona, dammit.
Baby.
-You'll feel better
when I get back.
Bye, Jim.
CANDY: What does "MOS" mean?
-What?
-What does it mean in a
script when they write "MOS"?
-Oh, well, believe it or not.
That means without sound.
-Without sound?
-Yeah, there used to be this
old German director, you see.
Every time he wanted to shoot
without sound-- you know,
silent footage-- he'd
say [GERMAN ACCENT]
"dis ve shoot
mithout sound"-- MOS.
-Hey, that's really wild.
-Yeah, the gag stuck, and
now it's used every place.
What's the matter?
-Well, it's really
none of my business,
but I think they
should use MOS more
often when they make movies.
-That's interesting.
You think they ought to go
back to silent pictures?
-Why not, when
they're going to write
stuff like this
for people to say?
Like this.
-You really turn me on.
We should make the
scene together sometime.
What's the matter with that?
-Oh, brother, you're kidding.
-No, I'm not.
Tell me what's wrong.
-Nobody talks that way.
-Hippies do.
You know, long-hairs, young
people, younger people.
-Nobody talks that way.
-Well, I didn't write it.
-I'm sorry.
Forget it.
-I'm just supposed to
direct the picture.
It starts in two weeks.
-Lots of luck.
-What are we supposed
to do-- hire a teenager
to write our shooting scripts?
-Look at this.
Do you think it's the kind of
life we can really dig, Frank?
And how about this--
the firelight reflected
in their eyes symbolized the
passionate that inflamed them?
-Don't go.
-I wasn't leaving Mr. Carlton.
I just thought you
might like a martini.
-Good idea.
The gin's to the
left of the sink.
Use the Tanqueray and
put it on the rocks!
Well, thank you very much.
It's a good martini.
How old are you, Candy?
-Does it matter?
-Well, no, I guess it doesn't.
-What's the matter with
having a teenage writer?
-Well, why not?
There's got to be some
way to make contact.
-Is that what you want?
To make contact?
-Well, we've got
to do something.
-If you really mean
it, we're going out.
-Out?
Where?
-There's something big and
new going on out there,
and it's-- I don't
know-- it's different.
And if you want
to understand it,
you've got to really go out and
look at it-- really look at it.
-Let's go.
-Mona really did ask you to
come tonight, didn't she?
-Yes, but that was a
week ago Wednesday.
She probably forgot.
She doesn't seem to pay much
attention to anything lately.
-Come on in.
Have a drink.
Uh, Sancho scotch and
soda for Mrs. Carlton.
Is that OK, Mona?
-Just ice water will be fine.
-Turn off the TV.
Now, go on.
Get out of here.
Go upstairs.
Mrs. Carlton doesn't
like to look at junkies.
-Don't call him that.
-Sure.
I'm sorry.
Forget it.
Come on.
Sit down.
Sancho, where's that drink?
Well, it's been a few
months since last time.
[MUSIC PLAYING]
-Hey, you guys, I'd
like you to meet
a friend of mine-- Jim Carlton.
This is A.K. And this is Snitch.
-Hey, man.
-And that's Mary Mary.
-Groovy.
-Since you're with Candy,
man, you're-- you're truly
one of us.
I sense you're truly one of us.
How would you like to
[INAUDIBLE] a round of beers?
-I don't know why I
didn't think of it myself.
Miss?
Miss?
-No, her name's Winona.
But she responds better
to a good whistle.
[WHISTLES]
-Did you bring it?
-Yes.
-All of it?
-Every cent.
-Ten grand feels pretty good
in one hand, doesn't it?
Hey, tell me, how do
you get so much money
without your husband
knowing about it.
-That's none of your business.
-I know, I just thought I'd ask.
Hey, put this away, will you?
And clean that ashtray.
This place would be a pigsty
if I didn't watch every minute.
-Look, I have to get
back to my mother's.
Michael's there.
Now where's the stuff?
-Why are you in such a rush?
We're not through yet.
-What are you talking about?
You've got the money.
I don't understand what
you're talking about.
[MUSIC PLAYING]
-Things have changed.
It's not enough.
Come on.
Sit down over here.
-Not enough?
But our agreement.
-Sit down.
I'm not talking about money.
-Then what are
you talking about?
-I want to use your boat.
-You're crazy.
That's Jim's boat.
Now what in the world do you--
-You get the picture.
-No way, Rich.
Don't involve me
in your business.
-We've done business for years.
And I've never asked
you for a favor.
You're my only retail customer,
and I always made sure
that you got a standard,
quality product.
Now I'm in a jam.
Why don't you help me?
-Forget it.
You're asking too much.
-Gotta have that boat.
-No.
-How long since
you've had a fix?
-Oh no, I'm fine.
I'm fine.
-Sancho, come here.
Hang on to that.
-What are you doing, Rich?
-I'm taking you off, junkie.
-Don't call me that.
-Junkie, you're a hop-head.
You're a needle freak.
Now look, just because you don't
have to steal to pay for it,
you're no better than
the rest of them, baby.
I'm going to go pick up Doris.
Have a few drinks.
Keep her here.
And don't let her
go near her purse.
-Wait, Rich, you can't do this.
-Oh, yes I can, Miss
[INAUDIBLE] Rich Bitch.
I can do it.
And I'm going to love doing it.
[INAUDIBLE]
By the time I get
back here, you're
going to want to kiss me.
-Rich.
-Mary Mary, huh?
How'd you ever end
up with two names?
-Ta-da.
-We, uh, figured
one name wouldn't
be enough to cover both of her.
-I see what you mean.
-Hey, Snitch, is there
anything new on the floor?
-Well, why don't
we go and find out?
-Cool.
Should you lead or should I?
-I will.
[MUSIC PLAYING]
-Hey, man, are you
making it with Candy?
-Wait a minute, now.
I want you to
understand something.
-Hey, hey don't get uptight.
It's a friendly question.
Let me tell you something, baby.
That little chick has
an [INAUDIBLE] you dig?
I mean there are cats
in here follow her
around like with their tongue
caught in their belt buckle,
and nothing.
So if she picked up on you,
it's because she digs you.
And if she digs you, we dig you.
Dig?
-Yeah, OK.
-Oh wow, is that great?
Come on.
You gotta try it.
-Oh, come on.
I can't do that.
-Listen, contact
starts with music.
Come one.
[MUSIC PLAYING]
Don't work so hard.
Let the music get into you.
Don't just listen to it.
Feel it.
[MUSIC PLAYING]
-I'm frightened.
-How much time do you have?
-I don't really
know, but I don't
want to go more than an hour.
You'll help me, won't you?
-No, Mrs. Carlton, not a chance.
Don't build up your hopes.
If he gets the boat,
he'll take care of things.
-But I can't take a chance
like that with Jim's boat.
-Don't worry about the boat.
I know about boats.
-But if we're caught.
-I've been running
boats up from Mexico
since I was 12 years old.
Started out by
smuggling lobsters.
Lobsters-- you believe that?
I know every foot of
water between here
and Cabo San Lucas
and every cop.
And that's why Harris needs me.
-But why?
What happened to his contacts?
-He's done a stupid thing.
He made a sale when he
had nothing to sell.
Then he made hasty arrangements
with our people in Mexico.
The buy was made,
but everybody knows
about it on both
sides of the border.
Some arrests have been made.
The motorist goes.
He must pick it up by sea
before it is confiscated.
If it is destroyed,
he is a dead man.
-Do you care?
-Yes.
He makes us a lot of money.
I need a lot of money.
-But why?
You're not a--
-A junkie?
I'm sorry, but that's
what they call it.
You're a junkie, Mrs. Carlton.
And so am I. Now
let's be just that.
-But you're clean.
-Sure, but it's a day
to-day proposition.
-I couldn't do that.
-Other people have.
[MUSIC PLAYING]
-It's just a matter of honesty,
A.K. We can't make pictures
about people who aren't there.
The good guys don't exist
anymore, mainly the bad guys.
We try to take
people, words put them
together and make
an honest picture.
Most of us just don't know how.
-Well, you stick around,
baby, and we'll lay it on you.
-Hey, man, you got any
bikes in this picture?
-Oh sure, lots of them.
-No more of the Hell's
Angels stuff, huh?
I mean, like, it's out.
Look at me.
I'm a biker, and I
took a bath today.
-That's right, man.
And you know I even
brush my teeth.
Now this may tarnish
my image, (WHISPERING)
but I got to tell you, I
got on clean underwear.
-Say, [INAUDIBLE]
-He was about to say that
everybody that rides bikes
doesn't go around
beating up old ladies.
-I never thought they did.
-Baby, we got a place down in
Seaview that you've got to see.
Mary Mary owns it, and me
and Snitch run it for her.
It's kind of a motorcycle
race track, you know?
And every weekend we
got cats coming in there
with their bikes
from everywhere.
-Oh man, you got to see
some of those bikes.
-OK, when?
-Well, what are
you doing tomorrow?
-I'm going down to
Seaview with you, right?
-We're going to tune you
in into what's happening.
-Groovy.
-Now, this here
is called a joint.
J-O-I-N-T. Joint.
Now, it may look like
an ordinary cigarette,
but I can guarantee you
there ain't no lung cancer
in this little
brain suppository.
-Yeah, but aren't you
afraid of getting busted?
-Well, not if you cool it.
Not if you cool it.
Listen, Jim.
Don't worry about this
stuff being illegal.
I mean, it was made that
way by the same cats who
used to say tomatoes
were poisonous.
Now, since you're the guest of
honor, and its an old custom,
you get the first hit.
-Come on, man.
Bang away.
-My god, man.
No, not that way.
You just blew away enough gas
to put us all around the block.
-I'm sorry.
I didn't know that you weren't--
-It's cool, man.
It's cool.
Really cool.
Come here.
You just need a
little instruction.
Now you watch old A.K. here.
First thing you've got to do
is take a very heavy drag, dig?
Then you just hold
it in, you see?
You hold it, and you
hold it, and you hold it,
till you can't hold it no more.
Then you let it out.
[INAUDIBLE]
Now, try it again.
Try again, man.
Go ahead.
JIM: Like this?
-Beautiful man.
You're on.
Beautiful, beautiful.
And now what you
do is you just pass
it over to Candy Candy there.
And then Candy Candy
pass it on to Mary Mary,
and then Mary Mary to A.K. A.K
., and then to Snitch Snitch,
and then to Jim Jim,
and then to Candy Candy,
and then do do do do do do do.
You can let it out now, man.
I mean, we don't want you
to pass out or anything.
You dig?
JIM: Man.
-Look at him, man.
He's hungry for
it again already.
-You'll burn your fingers.
-Why don't you ash it?
Here it goes.
-Yeah, I just did.
-Beautiful.
Lovely.
I now pronounce
you one us, my man.
-Groovy.
-I don't feel anything.
[LAUGHTER]
A.K.: You will.
[SOBBING]
[INAUDIBLE]
-Please.
-So Mrs. Carlton.
-Oh God.
-Relax.
-I'm dying.
I'm dying!
I hurt all over.
[INAUDIBLE]
-Yeah, come on.
Cry.
Cry.
Hold on to me.
Concentrate on my fist.
Try to keep thinking
it won't be long.
Easy.
Easy.
[DOOR CLOSING]
-Oh, would you look
at that, Doris?
The pretty junkie and
the nice Mexican boy.
What are you doing, Sancho?
Are you lining a little
something up for later?
-That's enough, Rich.
-Hey, you watch your mouth.
I don't like to pay $500 a
week to some smart ass greaser.
[SOBBING]
-What about her?
-Why don't you
look for yourself?
-How do you feel, junkie?
-Rich.
Oh, Rich.
Oh, God, I'm dying.
Give it to me!
Hurry.
-What about the boat?
-You can have the boat.
You can have anything.
Just give me a fix.
-But what about you, because
I want you on that boat too.
-You've got me too.
Just help me, please!
-OK.
All right.
-Take it easy.
It's over now.
-No.
No.
Not there.
Right there.
-OK, everybody,
let's get to bed.
We've got to get up
early in the morning.
You, Mona, call your mother.
JIM: [SINGING] She danced the
fandango on my cousin's turn.
That doesn't rhyme at all.
And then she danced the
fandango on her perm.
She burned.
And then she danced the
fandango on her turn.
-Mr. Carlton, we're home.
-Home!
-You'll wake the neighbors.
-Home?
That's out of sight.
How do you say
that-- out of sight?
Very good, Jim.
Grand.
To hell with the neighbors!
They're all philistines
and moneychangers.
That one over there
is a psychiatrist.
And that one over
there is a banker.
And they both make a
living telling lies.
-Come on.
-Philistines--
-Come on.
- --and moneychangers,
all of them!
And do you know what
movie producers are?
They're also philistines
and moneychangers.
They're little men with
steel-rimmed glasses who
are always telling you how much
sex to put in your picture.
You know?
-Yeah.
-And [INAUDIBLE] neighbors.
Would you please?
Thank you.
I've been reborn.
Look, my apricot fag shoes.
Thank you.
Mona bought them.
And on the other hand.
I mean to tell you
about the plot.
Was it movie producers?
-Mm-hm.
-Money, money, money,
money, money, money, money,
money, money.
[INAUDIBLE] and money.
Take very good
care of the shirt,
please, because it's
terribly expensive.
-All right.
-There you go.
Also, I would like to say
one other little thing.
-What?
-I always have trouble
getting my pants off,
because I don't know
whether I get them
off first, or the socks
second, or how it works.
-Let me help you.
-Oh, thank you.
Been a long day.
Been a long day, and
I've been reborn.
Everybody calls
me James Carlton,
including movie producers
and the Infernal
Revenue-- Infernal
Internal Revenue.
But because you are now my
friend-- my very good friend--
you may henceforth call me Jim.
Please repeat after me, Jim.
-Jim.
[MUSIC PLAYING]
-Hi there.
-Mr. Carlton aboard?
-Mrs. Carlton-- she is
-Sure is a nice day.
-Good morning, Smitty.
SMITTY: Well, good
morning, Mrs. Carlton.
Nice to see you again.
-Thank you.
-How's Mr. Carlton?
Oh, he's fine.
Um, he's been very busy lately.
-Have a good day.
[MUSIC PLAYING]
[DOOR CLOSING]
-Good morning.
-Hi.
How do you want your coffee?
-Black.
Were you here all night?
-Yeah, I hope it's OK.
It was pretty late last night.
-It's fine with me.
Won't somebody be worried
about you-- your folks maybe?
-Everything's cool.
I called the kids I live with.
-May I ask what you're doing?
-I'm doing a cheese
omelette with green onions.
-Sounds great.
Is that part of the service too?
-Part of the service.
-Boy, you were sure
stoned last night.
-Oh boy, was I out of line.
-Well, when we got up to the
bedroom, you gave me big kiss.
-Candy, now I want to
explain something to you.
-And then you fell asleep, and
I came down to the guest room.
-You know, last night is the
first time in a long time
that I've felt hope and relaxed.
Do you know what I mean?
-Free.
-Free-- that's a
good word, isn't it?
-You and Mrs. Carlton don't
really have much going, do you?
-No, we just kind of
move around each other.
We don't say much.
-Mona.
Poor Mona.
She used to be a
damned good actress.
I don't know what's
happened to her.
She started showing
up late at the studio,
didn't know her lines.
Then she started fighting with
the director and the crew,
and pretty soon she didn't
get any work anymore.
Of course, then I got
busy and was away a lot.
And when I was there, there
wasn't much communication.
Maybe she needs to be
turned on to people
like A.K. and Snitch and you.
-Do you still want to
go to the motocross?
-The what?
-They're the bike
races down in Seaview.
Remember, A.K. asked
you last night?
-Oh, sure.
Why not?
-Do you feel all right?
-Yeah, I feel fine.
-No hangover, right?
-No.
No, I feel great.
-Let's eat.
[INAUDIBLE]
All right, let out
this to give it gas.
Gas?
Gas.
Let out this easy.
OK?
Gas.
[MUSIC PLAYING]
[INAUDIBLE]
-Yeah.
OK!
I'll follow you.
ANNOUNCER: [INAUDIBLE]
Please stand by.
You have five minutes.
[MUSIC PLAYING]
RICH: Hey, Sancho, Come on down.
How far south are we?
-Oceanside.
-Take her out about 20
miles, then cut south again.
I don't want to get into
Mexico water till after dark.
-That's no good.
If somebody sees us zigzagging
on their radar-- look bad.
This way we are tourists
only on vacation.
-OK, we'll do it your way.
You know, this guy Carlton
serves second-rate scotch.
But at least it's scotch.
-I'll build a fire, if
you'll be the bartender.
-I'll do that.
-I think it's been a great day.
Don't you Wild, [INAUDIBLE]
exciting-- you were right,
you know?
A different world--
it's what I needed.
You know those guys are crazy?
Yeah, but isn't everybody
in their own way?
-Yeah, I guess so.
They're kind of special, though.
They're like-- those guys
would jump off the cliff
and not go cuckoo.
They're like skydivers.
-What do you do that's crazy?
-What do I do?
-Yeah.
-Sure you won't tell anybody?
-Promise.
-I talk to myself.
-Do you really talk to yourself?
-Sure.
I do it all the time.
-What do you talk about?
-Well, sometimes when I'm in
the shower, when I'm shaving,
driving the car I
talk about-- you
know what I mostly
talk about is my boat.
-Well, what do you-- your boat.
What about your boat?
-Well, I guess it's
a symbol to me.
I feel safe.
I feel protected when
I'm in that boat.
And I feel like
I'm away from all
the other things that
bug me every day.
-What's the boat like?
-The one I have is a 42-foot
Marquis The one I'd like,
oh, it changes
from time to time,
but it's big enough to
take me around the world.
It's maybe a return to
the womb kind of a thing
that I guess a lot of us have.
But it's tight.
It's cozy.
And it's warm.
And it's dark.
And I know where everything
is in there, you know?
-What do you do that's crazy?
-Um, well, it depends on what
someone would consider crazy.
A lot of people think
when I stare at them
that I'm crazy or
rude or something.
But that's just
what I like to do.
I get my enjoyment out
of staring at people
and watching their reactions
-Have you-- have
you ever been caught
looking into people's eyes?
Do they ever catch you?
-Sure, all the time, because
I make it so obvious.
I don't try to hide it.
-Doesn't it embarrass you?
-No, because that's what I do.
And if people don't like
it, then what can I say?
You can always tell if
someone's angry at you,
or if someone loves you.
You can just look in their
eyes, and you can tell.
You know, so I just
love watching people.
-Will you have dinner with me?
-Of course.
-All right.
-I'm not really hungry.
-I'll fix the fire.
-We don't need a fire, do we?
-No.
-Why don't you stretch out?
Feel good.
[INAUDIBLE]
[MUSIC PLAYING]
-I want to see the
firelight on your body.
[MUSIC PLAYING]
-If they're not on time,
they've never find us.
-They damn well better find us.
-Let me know when
you sight the boom.
Otherwise, you and
Leon stay up here.
-This fog's going to be
pea soup in another hour.
-Let's go topside
and use our eyes.
-Our little tester's all ready.
Aren't you honey?
-As soon as our Mexican
friends get here,
you'll be the first to
try the merchandise.
You'll like that.
-OK, [INAUDIBLE]
-You stay Leon.
You'll enjoy this.
Sancho will keep watch.
-Oh, it's good.
[MUSIC PLAYING]
JIM (VOICEOVER):
Tomorrow I'm going
to take you to a
very special place.
CANDY (VOICEOVER):
Is it very special?
JIM (VOICEOVER): I've never
taken anyone there before.
CANDY (VOICEOVER): Where is it?
JIM (VOICEOVER): It's very high
and very cold and very quiet.
CANDY (VOICEOVER):
Let's go there now.
JIM (VOICEOVER): The first
thing in the morning.
Right now we're going
to sleep very close.
CANDY (VOICEOVER): Right
now is all there is.
[MUSIC PLAYING]
-You look pretty good
in Mona's clothes.
-They're a little roomy.
-You know, I've had
this place a long time,
but I've never been able
to get her to come up here.
-I hate to leave
here and go back
and face all the
realities again.
-That's not until tomorrow.
Maybe I'm selfish, but I don't
want to think about your wife
or how the flight back will be
or your problems at the studio.
-I'm sorry.
-No, don't be sorry.
Just be with me now.
-I am with you.
-I want all of you.
And I want the
mountains and the snow
and the fresh air and the
smell of smoke from a chimney.
You said that today
was your gift to me,
and I don't want to share
it with anybody-- just you.
-You make me feel so important.
-But you are important.
-Right now you're
all that life is.
-That's what I said-- right now.
There is no other time or place.
-I love you.
-I know.
-I'm calling Jim-- Jim Carlton.
OPERATOR (ON PHONE):
Do you have the number?
-661-0361.
OPERATOR (ON PHONE): 0361.
Mr. Jim Carlton, please,
this is the marine operator.
He's not answering.
Just a moment.
We don't have a
location for him.
Is there a message?
-Let me speak to the
exchange operator.
OPERATOR (ON PHONE):
Go ahead, Shalamar.
-This is Mona Carlton.
Would you take a message?
Tell him I'm on the
Shalamar with some friends.
Tell him everything's
fine and not to worry.
EXCHANGE OPERATOR (ON PHONE):
Uh, yes, Mrs. Carlton.
Anything else?
-Have her call your mother.
-Would you please call my
mother in Newport Beach?
Give her the same message.
Do you have the number?
EXCHANGE OPERATOR (ON
PHONE): Uh, yes-- 398-0431.
-Yes, thank you.
Good night.
Will you keep your hands off me?
You've got what you want.
-Listen, you hotshot
junkie, you know
I'm the only thing
between you and hell.
-Oh, go roll around with Doris.
Just leave me alone.
-Rich, what's happening?
Come on to bed.
-Sure, honey.
And I've-- I've got
a present for you.
DORIS: OK, but hurry.
-Now you and me are
going to go down there
and show her a good time.
And anything she
wants, she gets.
You're going to be the star.
And you better be good.
-I can't do that.
-You're an actress.
You make people
believe anything.
Here's your surprise, Doris.
And she tells me
she's ready for you.
[MUSIC PLAYING]
Doris.
[MOANING]
-Oh, god, it's morning.
-Boy, are you a beaut.
Stay right there.
Come on, baby.
Upper time.
-Thanks.
-Sure, baby.
Anytime.
Leon, get down here.
-Hey, wait a miunte,
Let me get something on.
-Leon.
-Morning, Mr. Harris.
-She asleep?
-Yes, sir I guess so.
-Like hell.
What little goody did
she pay you off with?
-No, sir, I didn't touch her.
-Why, you little punk.
If you weren't a
lousy nigger junkie,
you might be big enough
to be a black man.
Get up there.
Help Sancho with the anchor.
Doris, baby, could you
fix me some breakfast?
-Let me.
I better call the office and
let them know where I am.
-0361.
-Hello, this is Jim Carlton.
I guess my wife isn't home.
-Apparently not, Mr. Carlton.
No one picked up the phone.
-Well, she's probably
not back yet.
Listen, call my
office, will you,
and tell my secretary I'll be
in sometime this afternoon.
Any calls for me?
-There was a call
from the Shalamar
through the San Pedro
Marina operator.
-My boat?
When?
-That was Sunday at 9:30 PM.
-You mean last night?
Well, that's funny.
What was the message.
All right.
Thank you very much.
She didn't say who
she was with, huh?
Anything else?
U.S. Customs?
Did they say what they wanted?
OK, thank you.
-Mm, you smell good
in the morning.
-Please, Candy,
not-- not right now.
-Well, I could eat
a side of beef.
What is it, Jim?
What's wrong?
-Well, I just found out that
my wife is out on my boat
with some friends.
-So, what's the
matter with that?
-Pretty funny, I haven't
been able to get her
on that boat for
the last two years.
Now all of a sudden-- I
just don't understand.
-Don't worry about it.
She's probably out
there having a ball.
Kiss me.
Are you mad at your wife
because she's out on the boat?
-Well, yeah.
She lied to me.
She told me she was going
down to her mother's
for the weekend.
Well, how the hell do I know
she isn't out with some guy?
-I think it's time to go.
-Candy, please understand
that I didn't mean to--
-Please, Jim.
Let's go.
-Candy, I'm sorry about
what happened back there.
-Don't be sorry.
-All of a sudden it hit me.
I was being jealous of my wife.
And then I looked at you.
I feel like such a bastard.
-No, you're not.
You're just a man.
-You're a strange girl
in many ways, Candy.
After being with you,
I just don't know.
I just--
-Don't say anymore, please.
-Do you think, I mean--
do you think you'll
want to stay with
Michael once in a while?
-Sure.
Why not?
-Well, I thought maybe that--
-Don't make a big
thing out of this.
It's very simple.
We picked up on each
other, and we swung.
And now it's too
heavy for both of us.
So don't worry about it.
I've been there before, OK?
-OK.
-If you want me in the
next couple of days,
I'll be at the Raceway with
Mary Mary and the guys.
-I'll call you.
-Yeah, do that.
-Good morning, Karen.
-Good morning.
-Morning, Cathy.
-Good morning.
-Good morning, Susan.
-Good morning, Mr. Carlton.
-Well, Smitty, what brings
you up to the big city?
Oh, I had to come up and get
some radio part and a couple
other things.
-Good to see you.
Is everything all right?
-Yeah, yeah.
Uh, look, could I talk to
you in there for a minute?
-Sure.
Sure, come on.
Hold the calls for a
minute, will you Sue?
Yes, sir.
Sit down, Smitty.
What can I do for you?
-Well, I'll tell
you, Mr. Carlton.
There's-- there's something
screwy going on down
at the harbor,
and-- and I thought
you ought to hear about it.
-Kind of screwy-- what?
-Well, I guess you know
Mrs. Carlton took out
the Shalamar last
Saturday morning.
-Yes, I know.
I don't suppose you know
who was with her, do you?
-No, a couple guys
I never seen before.
-What else?
-Well, anyway,
yesterday-- I guess
it was about noon-- these
cops show up to office
and start asking questions about
some boats, and one of them
was the Shalamar.
-The police?
-Yes, sir, and they
weren't just police either.
They was treasury men.
-And they were
asking about my boat?
-Let me tell you
what those guys did.
They were asking about
eight other boats
besides the Shalamar.
And as them boats
come in, they searched
every damned one of them.
-They searched them?
-And that ain't all.
I was talking to
a guy yesterday,
come up from
Coronado, he said they
was doing the same
thing down there.
-Smitty, when you saw my
wife Saturday morning,
did you talk to her?
-Yes, sir.
Said good morning.
Good to see her again.
-Did she say anything
about where she was going
or what she was going to do?
-No.
Look, Mr. Carlton, I-- I've
known you for a long time,
and if there's anything wrong--
-Smitty, how would you like to
take a little airplane ride?
-Oh, not too hot on airplanes.
-Come on.
Don't worry about it.
I want you to help
me find the Shalamar.
[MUSIC PLAYING]
If the boats in the marina,
it'll be hard to spot.
I got a hunch they're
out in the channel,
or anchored by
themselves somewhere.
-Only sailboats.
-We used to anchor
in that cove a lot.
-Are they here?
-Hey, Morgan, send somebody
over to pick up the stuff.
-Sorry, baby, no go.
You're too hot.
No boats can get in
anywhere without a search,
and that goes for us.
-What about my stuff?
-Shove it, baby,
or dump it over.
I don't care.
I just came out here to tell
you to keep away from us.
I can't even use the radio.
-There are two boats out
there-- both cabin cruisers--
about two miles offshore.
-You can't do this
to me, Morgan.
I got people waiting.
-Man, that's your problem.
We're all in big trouble.
That cuts it.
We're getting out of here.
-Morgan.
Morgan!
Morgan!
-What do you think's
going on down there?
-I'll tell you what.
We sure scared off
that [INAUDIBLE] craft.
-Scared him off?
-He sure hightailed
it for someplace.
-You know that boat.
-If it's the one I
think it is, there's
only one around like her.
Can we take another look?
JIM: You bet.
-Hey, Rich.
-Leon, get a blanket
and some towels.
-Yep, that's her all right.
She's called The Easy Going.
Except there ain't
nothing easy about her.
I worked on her engines once.
She'll do 35 knots, flat out.
-You know the owner?
-Yep, belongs to some
investment company up in LA.
-Well, the greaser
is now a big hero
with his own private
little junkie.
Look, I don't pay
you all that bread
to swim around
collecting broads.
-Why don't you just shut
up and get out of the way?
-Where the hell do you
think you're going?
-I'm heading for shore.
-I didn't tell you where to go.
-I didn't ask you.
-Who the hell do you think
is running this show?
-I am.
I just took over.
-Yeah, well, I've
got news for you.
-Now, you listen.
You haven't done anything right
since you got on this boat.
We're almost out of fuel.
The Coast Guard
is looking for us,
and that airplane wasn't
exactly playing games either.
[INAUDIBLE]
-Rich, I know what I'm doing.
They're going to [INAUDIBLE]
us here by Seaview.
We'll go ashore there.
-Get away from that wheel.
Get away from that wheel.
[MUSIC PLAYING]
MONA: Oh my god.
Rich, no!
-You're going to
call the Coast Guard?
-We have plenty of
time to do that.
I want to take another
look at my boat first.
-What are you doing?
I'm going to put this
boat on the beach.
-On the beach?
But you'll sink it
if you try that.
-I don't give a damn.
-You want to kill us too?
-She's right.
The stuff's no good
to us if we're dead.
-Shut up, you junkies.
I don't listen to junkies.
-I may be a junkie,
Rich, but I'm no fool.
I know that old pier.
Let me take it in.
-I'm giving the
orders around here.
Now you take this boat,
put it up on that pier
just like Sancho said.
-They're headed for that pier.
They'll wreck the boat if
they hit those pilings.
Seaview UNICOM, this is
Cherokee 46 Whiskey, over.
UNICOM (ON RADIO):
46 Whiskey, go ahead.
-We'll be landing
in three minutes.
Will you please call
the Seaview Raceway?
Ask for Candy Wilson.
Tell her I need some wheels
and some people right away.
If she asks any
questions just tell her
that Jim Carlton's in trouble.
UNICOM (ON RADIO): Roger, 46.
Do you have an emergency?
-Negative.
Please give me runway
and traffic advisory.
-Jimbo, what's the trouble, man?
-Thanks for coming, guys.
Can you take me down
to the old pier?
I'll explain on the way.
-Sure, let's go.
-Hop on, man.
We're picking up some more guys.
-Hey, shouldn't I
call the sheriff?
-Sure, you do that.
Give me about a half
an hour, though.
I got lots of help here.
[MUSIC PLAYING]
-No. [GRUNTING]
-Hey.
-No!
[GRUNTING]
No.
No.
No.
Get off of me.
-Hash, man.
Hash.
Mother hashish is amongst us.
Woo!
Take care, brother.
-No.
Leon!
Leon!
I'll give you [INAUDIBLE]
Leon!
[LAUGHTER]
[MUSIC PLAYING]
-Ciao, baby.