# My grandma and your grandma sittin' by the fire #
# My grandma said to your grandma I'm gonna set your fIag on fire #
# Talkin' 'bout Hey now, Hey now #
# Iko, iko, unday #
# Jockamo feeno ai nane Jockamo fee nane #
# Look at my king all dressed in red Iko, iko, unday #
# Bet you five dollars he'll kllI me dead #
# Jockamo fee nane #
# Talkin' 'bout Hey now, Hey now #
# Iko, iko, unday #
# Jockamo feeno ai nane Jockamo fee nane #
# My flag boy and your flag boy sittin' by the fire #
# My flag boy said to your flag boy I'm gonna set your flag on fire #
# Talkin' 'bout Hey now, Hey now #
# Iko, iko, ai nane #
# Jockamo feeno ai nane Jockamo fee nane #
# Jockamo fee nane #
# Hey now, Hey now #
# Jockamo fee nane Iko ##
[ Woman Speaking Itallan ]
[ Man #1 ] I've got four Lamborghinis that can't meet smog emission standards.
How many times you wash out with E.P.A.?
[ Man #2 ] Sir, they're clearing E.P.A. in a few days.
Three times? You're on a roll.
Four cars, three times each. That's zip for twelve.
Are you a mechanic or a NASA engineer?
I told you I've never dealt with Lamborghinis...
and yet you assured me that you could dellver the cars within that time frame.
Don't tell me that, 'cause I'm not even llstening.
Sir, I hardIy think that's necessary.
I'll expIain that to my swing Ioan.
I'm into him for 200,000. That's thousand, three zeros.
I got my money tied up in these cars. If I don't get it, I am finished.
- Do you understand that? - You have to understand our situation.
I got a shark snappin' at my heeIs.
They could've taken the car and my business 11 days ago.
I am hoIding them off with a whip and a chair.
I understand that. I know dellvery is way overdue.
This fuckin' E.P.A.! The whole world is chokin' on smog...
and they're gonna correct the situation by keeping my four cars off the road?
- [ Ringing ] - Babbitt Collectibles.
Have you tried cash? How much do these E.P.A. guys earn?
Charlle, Mr. Wyatt.
- Wyatt? - Yeah, about the swing Ioan.
If he doesn't get the money by 5:30, he's gonna come and seize all the cars.
- I have to call you back. - You shouId taIk to Mr. Babbitt.
Tell him you watched me sign the check on Tuesday, then you put it in the mall.
I need this. Come on.
I wouIdn't do that untll you taIk to Mr. Babbitt.
His number? He's on the road now.
- He wants you to call him immediately. - Charlle--
Tell him I'm connecting to Barbados, arriving 1:30 a.m.
- Charlle! - Lenny, I'm standing right here.
Mr. Bateman wants to back out on his car and he wants to take Mr. Webb with him.
They want their down payments back. They found two cars at Valley Motors.
Tell him that that was me on the llne, the cars just passed emissions...
and the E.P.A. paperwork wllI be in here momentarlly.
- You payin' attention to me? - Yeah, I'm llstening.
Tell them also that I'm knocking off five grand on both their deals.
- Do you understand that, Lenny? - I got it.
Mr. Bateman, that was Mr. Babbitt on the other llne.
As it happens, the cars are passing emissions--
What am I saying? The cars have passed emissions.
We're waiting for the E.P.A. paperwork. We'll have that momentarlly.
And because of your incredible patience...
we're going to knock off $5,000 on each car.
Well, yes, you've been most patient.
We really appreciate your patience. Well, thank you.
Thank you.
Ready for Palm Springs?
You stllI want to go with all these probIems?
We're seconds away from closing this deal, clearing 75 grand.
- Not bad for a couple of phone calls. - No, not bad at all.
- You know where to find us, right? - Right.
I got it under controI.
I don't want to be demanding...
but could you possibly say 10 or 12 words before we get to the hotel?
Hmm? Consider it foreplay.
Can you include me in some of your thoughts?
I'm just thinkin'. Nothing speciaI.
Maybe there's something that you're thinking about that we can talk.
If there was, Susanna, we'd be taIkin' about it.
What's the big to-do about me thinkin'?
I just feeI llke I'm going away for a few days with someone. Call me crazy.
You wanna talk? Let's talk. How was your day?
I feeI you're excIuding me from what's going on. It's not that I wanna taIk.
One of these again, Susanna. How did we get back to one of these?
I don't want to-- I don't know why I put up with all of this.
You wanted to go to Palm Springs, and we're goin'.
But I didn't wanna go aIone. I've been sitting in this car for--
You wanna talk? Let's talk!
- This is not talking. - [ Phone Ringing ]
- Yeah? - Charlle, this is Lenny.
I've been trying to contact you for a whlle.
I got a Iong-distance call from Mr. Mooney, your father's Iawyer.
He's been trying to reach you.
Your father has died, Charlle.
- Charlle? - Uh-huh?
I'm sorry. The funeraI's tomorrow in Cincinnati. He said you'd know where.
- I've got his number. - That's not necessary.
- Anything else? - No.
- If there's anything I can do-- - All right.
- I'm sorry about the weekend, hon. - Charlle, the weekend?
I toId you before, we had a falling-out a Iong time ago.
My mother died when I was two. It was just him and me.
We just didn't get along.
- You're going to the funeral, no? - Yeah.
- I'm coming with you. - That's sweet, but there's no point.
I want to.
All right. Sorry. I forgot who I was taIkin' to.
...to our beloved neighbor...
for our memory, admiration and respect for him...
wllI llve beyond the years of his llfe on Earth.
Let us consecrate ourselves to follow his example of zest for llfe...
dedication to famlly...
and charity to all.
And now, with sure and certain hope of resurrection llfe...
we commend to you the souI of our departed friend.
Just have to go over the detalls of the wllI with him, and then we Ieave.
I can wait in the car.
Somebody should be watering those roses. They're all dying.
Knew this car my whole llfe. Only drove it once.
A 1949 Buick Roadmaster convertible. Only 8,000 production models made.
Straight-Eight. Fireball Eight.
It was the first full year of the DynafIow transmission.
Know it by rote.
[ Susanna ] You were his only chlld.
You came along when he was...
what, 45 or something?
He probably thought he was never going to have a son...
so he had to Iove you.
I think you're exaggerating. You were his chlld, his son, his bIood.
In these pictures here, he doesn't Iook llke a man who doesn't Iove his son.
What are you doin' Iookin' at this? Put that away.
- You want to hear a story? - Don't get mad.
You know the convertible in the garage? His baby, that and the goddamn roses.
- The Buick. - The car was off-llmits to me.
'That's a classic,' he'd say. 'It's not for chlldren.'
Tenth grade, I'm 16 years oId, and for once...
I bring home a report card and it's aImost all A's.
I go to my oId man, 'Can I take the car out?'
Take the guys out in the Buick, sort of a victory drive.
He says, 'No.' I steaI the keys, I sneak it out.
You took the car with no permission? Why? Why then?
Because I-- I deserved it.
Nothing I did was good enough for this guy. Don't you understand that?
We're on Columbia Parkway, four kids.
- We get pulled over. - An accident?
Uh, pulled over.
- What is pulled over? Pollce? - Yes, pollce.
Can I finish? He called in a report of a stoIen car.
Not 'his son took the car without permission.' Just 'stolen.'
CentraI Station. The other guys' dads ball 'em out in an hour.
- He Ieft me there two days. - He Ieft you in prison two days?
Two days.
Were you scared?
Yeah, I was scared.
Left home. I never saw him again.
Charlle, after a year we've been together...
this is the first time I've heard this story.
It's strange, huh?
I mean, how can you keep all this inside you and not say anything?
When I was a kid and I got scared, the Rain Man wouId come and sing to me.
The rain what?
You know, one of those imaginary chlldhood friends.
- What happened to him? - Nothin'. I just grew up.
Not so much.
[ Man ] 'And I remember, too, the day you Ieft home...
so full of bitterness and grandiose ideas.
So full of yourself.
And being raised without a mother, the hardness of your heart...
is understandable as well.
Your refusaI to even pretend that you Ioved or respected me...
all these I forgive.
But your fallure to write, to telephone, to reenter my llfe in any way...
has Ieft me without a son.
I wish you all I ever wanted for you. I wish you the best.'
'I hereby bequeath to my son, CharIes Sanford Babbitt...
that certain Buick convertible...
the very car that, unfortunately, brought our relationship to an end.
Also, outright title to my prizewinning hybrid rose bushes.
May they remind him of the value of excellence...
and the possibllity of perfection.
As for my home and all other property, reaI and personaI...
these shall be placed in trust in accordance with the terms of...
that certain instrument executed concurrently herewith.'
What does that mean?
It means that the estate, in excess of $3 mllllon...
after expenses and taxes, wllI go into a trust fund...
for a beneficiary to be named in this document.
- Who is that? - I'm afraid I can't tell you that.
- Who controls the money? You? - No. He's called a trustee.
What is that? How does that work?
Forgive me, but there's nothing more I can say.
I'm sorry, son. I can see that you're disappointed.
Why should I be disappointed? I got rose bushes, didn't I?
What's his name got--
- What'd you call him? The-- - Beneficiary.
He got $3 mllllon, but he didn't get the rose bushes.
I definiteIy got the rose bushes.
- Charles. - I mean, those are rose bushes.
- There's no need-- - To what?
To be upset?
If there is a hell, sir, my father's in it...
and he is Iooking up right now and he is Iaughing his ass off.
Sanford Babbitt. You wanna be that guy's son for five minutes?
- Were you llstening to that Ietter? - Yes, sir, I was.
Were you?
No. Could you repeat it? 'Cause I can't belleve my fuckin' ears.
I was Iooking for you.
How did it go?
I got what I expected.
Susanna, this could take a few minutes.
- Can I heIp you? - I think you can.
I have a probIem with a private trust and-- That's a terrific suit.
- Thank you. - My father was Sanford Babbitt.
Is this Wallbrook?
Excuse me. Is this Wallbrook?
Excuse me.
Dr. Bruner is stllI in conference.
Would you llke to wait in his office?
No, we'll stay here. Thank you.
Maybe we're not supposed to be Iooking around here.
Good to have you here. Good Iuck to all three of you.
Twenty dollars starts you all on an important match.
In what 1980 comedy fllm did GoIdie Hawn get away from it all? Lisa?
- 'Private Benjamin.' - Excuse me, please.
I'd llke to watch the TV, pIease.
For whose grandson was the presidentiaI retreat Camp David named?
- Lisa? - Eisenhower.
Right, for David Eisenhower. You've got another five.
Ten-dollar Iead for Lisa.
In days of yore, what wouId a swashbuckIer keep in his sheath?
Whatever this is, I don't understand the point of secrecy.
This patient is an old girlfriend of my father's?
I knew your father since you were two years oId.
The year my mother died.
I'm trustee of the fund, but this hospitaI receives nothing from that.
Maybe that's something we could discuss.
I took on this burden out of IoyaIty to your father. My IoyaIty ends there.
And you think I shouId feeI that IoyaIty?
I think you feeI cheated out of your birthright...
by a man who had difficulty showing love.
And I think if I were in your shoes, I'd probabIy feeI the same.
I was hoping that we couId taIk, that you wouId expIain my father's side...
help me understand the right in what he's done.
Because, falling that, I have responsibllities of my own...
and they have to be met, even if that means a fight.
I'm sorry, this is not your car.
Yeah, my dad Iets me drive sIow on the driveway.
- I'm an excellent driver. - Are you sure that you drive this car?
There's only 28 mlles on the odometer since I drove it a week ago Saturday.
- Should be more than 28 mlles. - Look, my boyfriend is coming.
Of course, today's Monday.
I aIways drive the car on Saturday. Never drive on a Monday.
- Who is this guy? - He jumped into the car.
- Well, he can jump out. - I'm an excellent driver.
Yeah, that's good. Come on. I don't have time for this shit.
Why'd you Iet him get in? This is not a toy.
- He says he drives this car. - Dad Iets me drive every Saturday.
Of course, the seats were originally brown Ieather.
Now they're pitifuI red.
You know, these seats were brown Ieather.
- You know this car? - I know this car.
- How do you know this car? - I definiteIy know this car.
It's a 1949 Buick Roadmaster. Straight-Eight. Fireball Eight.
Only 8,095 production models.
Dad Iets me drive on the driveway, but not on Monday.
- Definitely not on Monday. - Who's your dad?
- Sanford Babbitt. - Who? Sanford Babbitt?
10961 Beechcrest Street, Cincinnati, Ohio.
That's my address. What is it with this guy? Hey!
- Who's your mother? - Eleanor Babbitt.
- Eleanor? - Died January 5th, 1965.
Who the hell are you? Wait a second. Where are you goin'?
Thirteen minutes to Judge Wapner and 'The People's Court.'
I wanna ask you a question.
What you are witnessing is reaI. The participants are not actors--
- I'm taIkin' to you! - They're actuaI lltigants.
Bruner, who is this guy?
Raymond is your brother.
[ Raymond Continues Chatter ]
My brother? I don't have a brother.
...and have your disputes settled here in our forum:
'The People's Court.' Da-da-da-da.
'The People's Court.'
Hello, I'm Doug LIeweIyn, and weIcome to 'The PeopIe's Court.'
- What is he, crazy? - No.
- Is he retarded? - Not exactIy.
- Not crazy or retarded, but he's here. - He's an autistic savant.
I don't know what that means.
People llke him used to be called 'idiot savants.'
They have certain deficiencies, certain abllities.
- Well, he's retarded. - Autistic.
- Actually, high-functioning. - What does that mean?
It means that there's a disabllity that impairs the sensory input...
and how it's processed.
Engllsh here. You're talkin' over my head.
Raymond has a problem communicating and learning.
He can't even express himself or probably even...
understand his own emotions in a traditionaI way.
[ Man ] And after that, the dog bit him. I yelled at my dog.
There are dangers everywhere for Raymond.
Routines, rituals-- It's all he has to protect himself.
Rituals. That's a good one.
Well, it's the way he acts...
sleeps, eats, uses the bathroom, walks, talks, everything.
- Breaking a routine is terrifying. - How Iong has he been here?
- I came here in 1960. - How oId is he?
He was 18 or 20 then. I have to check the records.
- You've been here that Iong? - That's when I started.
So that's '65, '75, '85-- I was aImost three years oId.
You knew he had a brother. You knew I was his brother.
- Yes, but what's the point? - What's the fuckin' point?
- Why wasn't I toId I had a brother? - What wouId you have done about it?
I don't know.
Does he know how much money he's been Ieft?
No. He doesn't understand the concept of money.
He doesn't understand the concept of money.
He's just inherited $3 mllllon...
and he doesn't understand the concept of money?
Well, that is fuckin' poetic, don't you think?
Good oI' Dad.
[ Raymond ] What's his name? Yes. Then who's playing first? Yes.
Who? The fellow playing first base for St. Louie. Who?
Why is he doin' that?
Whenever he gets nervous, he does 'Who's On First?'
- Yeah, why? - Why?
It's his way of deallng with you touching his books and stuff.
- So he memorized 'Who's On First?' - That, among other things.
- Ted Kloszevski. - Kluszewski.
Ted Kluszewski. 'Big Klu.' First base.
- He played for Cincinnati. - Traded for Dee Fondee, 1957.
- Lifetime batting average, .298. - He reads all these great books, huh?
Reads and remembers whatever he gets his hands on.
Oh! Oh! Uh-oh!
Vern. V-E-R-N. Of course, these people are gonna be here all day, Vern.
This is an unannounced visit, Vern.
-This is definitely not a weekend visit. -He's gettin' anxious.
- [ Vern ] It's okay, Ray. - Vern. Oh. Uh-oh.
This is an unannounced visit, Vern.
- He said not to touch the books! - Not to touch books.
- You llke Shakespeare? - I don't know.
- Did you read all this? - I don't know. Vern?
- Did you read 'MacBeth'? - I don't know.
- Vern? - 'The Twelfth Night'?
- Stop it! - Yes.
You read all the stories in this book, and you don't know if you read the book?
- I don't know. - You don't know?
Maybe you'd better put it back.
You don't know. Okay, Ray, take it easy.
I won't touch anything eIse, Ray.
It's okay, Ray. Come on. My main man.
Vern, my main man. My main man Vern.
- It's okay, Ray. - Yeah.
- My main man. - My main man.
Here are your cards. I didn't know where you wanted me to put them.
Are you taking any prescription medication?
[ Vern Laughs ]
-That's his way of showing he llkes you. -Uh-oh.
But when I touched him before, he pulled away.
Don't take it personaI. He never touched me.
I'm cIoser to him than anybody. Known him for nine years. It's not him.
[ Vern ] If I Ieft town tomorrow and didn't say good-bye, he'd never notice.
[ Susanna ] He wouldn't notice?
[ Vern ] I'm not sure, but I don't think peopIe are his first priority.
Ray, you wanna go take a walk? Hmm, Ray?
Ray?
Can he hear us when he's llke that?
You wanna show your brother your ducks?
There's 27 minutes to 'Jeopardy.'
Don't worry. We'll bring you right back.
Practically 26 minutes to 'Jeopardy.'
- We'll bring him right back. - [ Ray ] Twenty-six minutes.
[ Susanna ] I won't do it.
First of all because of your tone of voice, this commanding--
You're upset. Raymond, I'm gonna taIk to Susanna aIone.
Susanna, just hold on. Okay? I'll be right back.
No. Just stay there.
No, Raymond, Raymond, Raymond!
Just stay there. Just stand stlll, okay? That's good.
I'll do it if you tell me why. Why do I do--
What?
Why do I have to take the car and go down there...
and wait for you again at the gate?
- Why? - It's for Raymond.
The car disturbs him.
- That's why? - That's why.
Okay, Raymond.
What are you Iookin' at? The ducks are over here.
I don't know.
Listen, our father died Iast week.
- Did they tell you? - I don't know.
You don't know if they told you, or you don't know what dead is?
That means he's gone. He's at the cemetery.
- You wanna go see him at the cemetery? - I don't know.
- Does that mean maybe you wanna go? - I don't know.
I thought maybe we couId go to Los AngeIes and see a Dodgers game.
- Go see the Dodgers play. - Today's an off day.
- We don't have to go today. - Monday, no games scheduled.
I just thought maybe you'd llke to go see Fernando VaIenzueIa pitch.
He pitched Saturday. Not scheduled to pitch 'tll Wednesday.
- He's gonna pitch Wednesday? - Wednesday.
- I'm not doin' anything on Wednesday. - Yeah, Wednesday.
- Let's go to L.A. - Yeah.
Come on, Ray.
It's a Iong way to Callfornia...
and I'm definiteIy not supposed to be off the grounds for more than two hours.
Have to be back in two hours.
The people, crowds cheering. You'll love it.
[ Tires Vibrate On Grating ]
[ Humming To Match Sound Of Tires ]
- This is the presidentiaI suite. - Dinner's at 6:30 p.m.
Here is Raymond's room.
- Look at this beautifuI room. - This is definiteIy not my room.
- It's just for tonight. - Have to go to Wallbrook for dinner.
Little guy! Whoa! This is gonna be terrific. We're brothers.
- Dr. Bruner wants us to have fun. - When did he say--
I don't have my tapioca pudding. We have that for dessert.
We can do that. I'm gonna call Lenny.
This is definitely not my room, and I don't have my tapioca pudding.
- The bed's in the wrong place. - You can move it.
- Where do you want the bed? - Should be near the window.
Of course, I don't have my books. Of course, there's no booksheIves.
I'm definiteIy out of books. I'm gonna be book-Iess.
Here's a book, a big telephone book. A lot of words.
[ Charlle ] Pick up, Lenny.
I got $200,000 going to the shithouse, and he doesn't answer the phone.
- 6:00 here means it's 9:00 there. - It's 3:00 there.
6:30 p.m. is dinner.
It's 3:00 there. He doesn't wanna answer the phone?
Orange soda.
[ Raymond ] Has to be in a can with a straw.
Bruner told you that you should do this?
- It doesn't make sense. - I know what's good for him.
Uh-oh! Uh-oh, V-E-R-N!
Oh, God. Go see what he's doin'.
- Ray? - V-E-R-N!
- What is it? - What's happening, homes?
Everything is fine. Charlle, let's take him home.
He's okay. Just get him some dinner.
Did you say you wanted hamburger?
Hamburger, Ray?
- We have pepperoni pizza Monday nights. - Pizza?
- You get pizza in the institution? - Monday night's Itallan night.
- Law offices of Mitchell and Mitchell. - Get me Stu.
- I'm sorry, he's not here. - I've got a bit of a IegaI probIem.
He's out of town untll tomorrow afternoon.
All right, I'll call him tomorrow.
- Definitely not. - We can watch TV here. We're allowed.
[ Ray ] 'WheeI of Fortune'!
Look at this studio fllled with glamorous merchandise...
fabulous and exciting bonus prizes.
[ Raymond ] A pair of cars for today's busy couple.
Thousands of dollars in cash.
Over $150,000 just waiting to be won...
as we present our big bonanza of cash...
on 'WheeI Of Fortune'!
I'd llke to order a Iarge pizza. Pepperoni, right?
I don't want pepperoni.
Yeah, a Iarge pepperoni. How Iong is that gonna take?
Bring some beer up and orange soda. You got tapioca pudding?
- No, sir, we don't. - Just bring the closest thing.
Ray, take this. Food is coming shortly.
- I'll be right back. - Yeah.
Of course, I'm gonna be here for a Iong time, a very Iong time.
I'm gone for good, gone for good from my home.
- [ Creaking ] - [ Susanna Moaning ]
[ Moaning ]
[ Ray Imitates Moaning ]
[ Charlle Groaning ]
[ Ray Imitates Moaning ]
[ Susanna Moaning ]
[ Ray Imitates Moaning ]
- [ Susanna ] Si! Si! - [ Ray ] Si.
[ Ray Imitates Moaning ]
[ Susanna Moans Loudly ]
- [ Susanna Sighs Heavlly ] - [ Ray Sighs ]
- [ Charlle Sighs ] - [ Ray Sighs ]
What is that?
- I think Raymond is in the room. - Hmm?
- Raymond, are you in here? - Charlle Babbitt.
Well, get out! Get out!
- Go! - Stop it.
Uh-oh.
- Jesus Christ! - Go in there with him.
- Charlle, go in there. - Why?
He's afraid. He doesn't understand this.
Go in there.
Raymond, what were you doin' in my room? What were you doin' in my room?
- I don't know. - You don't know what you were doin'?
-Of course, there were noises. -Those noises are none of your business.
You understand that?
Stop actin' llke an idiot and go to sleep.
Did you hear what I said? Go to sIeep!
- Go to sleep! - It's nine minutes to 11:00.
- Lights out at 11:00. - Yeah, well, new rules.
No! You don't llsten to me.
- What are you talkin' about? - I asked you to apologize.
- You went there and insulted him again. - I'm not his mother.
Charlle, you're his brother!
They tell you today that you have a brother...
and I don't see in your face one llttIe reaction.
- I'm not saying joy. - You don't know what I'm goin' through.
What are you going through? Because I don't know.
You don't tell me anything.
- You just give me lles! - What lles?
This thing that Dr. Bruner asked you to bring him here, this is bullshit.
I know it's not true. So tell me, why is he here?
- I'm pissed at him. - At who?
- My father. - So you bring Raymond here. Why?
- 'Cause I got him and they want him! - This makes no sense!
- Raymond was Ieft all the money. - How much?
- $3 mllllon. Every penny of it. - So?
I'm gonna keep him 'tll I get my haIf!
What is this, huh? Susanna?
- Just take it easy. - I've had enough.
- What does that mean? - I'm Ieaving.
You're Ieaving me now? I need you!
You need nobody.
What does that mean?
Just take it easy! What is my crime here?
Your crime is that you use people!
- You're using Raymond, you're using me. - I'm using Raymond?
- Raymond, am I using you? - Yeah.
Shut up! He is answering a question from a half hour ago!
What good is $3 mllllon to him?
That money is only gonna sit there, and I need that money.
You need it, so it's not llke steallng. And then what happens to Raymond?
He'll go back to Wallbrook, or I'll put him in a better pIace.
- He is gonna be just the same. - Only you have his money.
His money? That man was my father too. Where's my fuckin' half?
- I'm entitIed to that money! - You kidnapped this man!
I did not take him. I took my haIf.
- Charlle, you're crazy. - It runs in the famlly.
You're soaking wet and you're gonna Ieave in the middIe of the night. Wait.
My father stuck it to me all my llfe. What do you want from me?
I want out.
[ Ray Reciting 'Who's On First?' ]
[ Continues Reciting ]
- Stop that. - Good morning.
- Coffee? - That'd be good.
Dibbs, Sally. 461-0192.
How did you know my phone number?
How'd you know that?
You said read the telephone book. Dibbs, Sally. 461-0192.
He remembers things, llttle things, sometimes.
Very clever, boys. I'll be right back.
- How'd you do that? - I don't know.
- Did you memorize the whole book? - No.
- How far did you get? - 'G.'
'G.' Gottsaken, Wllllam Marshall.
- You memorized to 'G'? - Yeah, 'G.'
- A, B, C, D, E, F, G? - Half of 'G.'
That's good, Ray. I llke that.
Yeah.
- You hungry? - Tuesday we have pancakes.
- That sounds good. - Maple syrup.
- You bet your butt. - Bet your butt.
- Uh-oh. - They got pancakes.
- What is this, Ray? - I don't have my toothpicks.
No. You don't need toothpicks.
That was okay in the hoteI with pizza, but in a restaurant you use a fork.
- I don't have my toothpicks. - You don't need toothpicks.
The pancakes wllI keep sllding off.
I don't have my mapIe syrup either. I'm gonna be without my mapIe syrup.
You don't see any pancakes, do you?
Of course, maple syrup is not here.
Ray, when we order the pancakes, they're gonna bring the maple syrup.
Maple syrup is supposed to be on the table before the pancakes.
We haven't ordered yet.
Maple syrup after the pancakes is definitely too late.
How is that gonna be too Iate? We haven't ordered the pancakes yet.
If we're gonna be here all morning with no mapIe syrup and no toothpicks...
I'm definiteIy not gonna have my pancakes with--
- Ow! - Don't make a scene.
- Stop actin' llke a fuckin' retard. - Uh-oh!
What are you writing?
What the fuck is this?
'Serious'-- 'Serious injury llst: Charlle Babbitt'?
'Serious injury llst'? Are you fuckin' kidding me?
Number 18 in 1988.
Squeezed and pulled and hurt my neck in 1988.
'Squeezed and pulled and hurt your neck in 1988'?
Dr. Bruner, it's Charlle Babbitt.
Where are you, son?
That's not important. What matters is who I'm with.
You have to bring him back, Mr. Babbitt. Do you understand me?
No problem.
That wllI be $1.5 mllllon. I'm not greedy. I just want my haIf.
Don't touch that.
I can't do that, Mr. Babbitt. You know I can't.
Just bring him back, and bring him back now.
He belongs here.
I'm his brother. It's not llke kidnapping here, is it?
He's always been a voluntary patient here, but that's beside the point.
This is where he can get the best care.
We're talking about his well-being.
Yeah. Let's just cut through the bullshit, okay?
I am entitIed to part of my father's estate.
If you won't cut a deaI with me, I'll fIy him back to Los AngeIes...
I'll stick him in an institution out there...
and we can have a custody battle over him.
Miss, he needs toothpicks.
Could you get him some? Thank you.
Now, you wanna battle me in the courts?
You think about that, Dr. Bruner. Think about that.
Or we can cut a deaI right now.
[ Dr. Bruner ] I don't think you have any idea of the severity of Raymond's condition.
Toothpicks. He needs toothpicks.
Can we just get him some toothpicks?
I cannot make money deaIs with you.
Then I'll see you in court.
Can I have the check? Sorry about the toothpicks.
82, 82, 82.
82 what, Ray?
- [ Charlle ] How much is this? - Toothpicks.
That's more than 82 toothpicks.
246 totaI.
Keep the change.
How many toothpicks are in there?
- 250. - Pretty close. Let's go, Ray.
246.
There's four Ieft in the box.
[ Ray ] I have to get my backpack.
[ Radio ] 97X. [ Explosion ]
The future of rock and roll.
[ Ray ] 97X. Bam!
The future of rock and roll.
97X.
Bam!
The future of rock and roll.
97X. Bam!
The future of rock and roll.
Ray, Ray, Ray.
Enough already. Change the channel.
97X. Bam!
The future of rock and roll.
97X. Bam!
The future of rock and roll.
[ Charlle ] Lenny, I don't care what you think. Did they say that?
You're gonna have to be more forcefuI with them.
Lenny, are you-- Lenny, shut up a moment.
I am in serious troubIe. I can't get to these cars.
I can't get the money. Do you understand that?
- My Ioan is past due. - I'll call the Ioan officer...
tell him we have a llttle problem.
- Listen, Charlle, Iet me taIk-- - Lenny, just llsten to me.
I'll be in LAX in three hours, okay?
Now, remember, the Buick is in A-3, main terminaI.
Make sure they pick it up. All right? See you in a few.
[ Sighing ]
[ Publlc Address Announcer ] WllI Dr. Andrew Baker...
please pick up a white courtesy phone?
- Dr. Andrew Baker. - Raymond, let's go.
Ray, let's go. Come on.
- What were you watching? - I don't know.
You don't know?
[ Publlc Address Announcer ] FinaI call for fllght 1559...
service to Salt Lake City and Los Angeles.
Uh-oh. There's an airplane out there.
That's right, and everybody's boarding. Let's go.
- Airllne traveI's very dangerous. - Don't be sllIy.
It's the safest traveI in the worId. You'll Iove this. Trust me.
- Yeah. - Now come on.
Oh, no.
- Ray. - Yeah.
We're in an airport. People fly out of airports.
- Why do you think we're here? - Flying's very dangerous.
In 1987, there were 30 airllne accidents.
211 were fatallties and 230 were definitely passengers.
This plane is very safe. Belleve me.
I gotta get to L.A. I don't have time for this shit.
Oh, I don't know. I don't know.
- You don't know? - No.
- Is it this airllne? - Yeah.
Okay, fine. We can-- There's an American plane.
American fllght 625...
crashed Aprll 27, 1976.
We don't have to take American. There's a Iot of fllghts.
[ Ray ] Pick another airllne.
- ContinentaI. We'll take ContinentaI. - ContinentaI crashed November 15, 1987.
Fllght 1713. 28 casualties.
- This is very serious. - Yeah, very serious.
I have to get to Los AngeIes. So you're gonna get on that pIane.
- Do you understand me? - Yeah.
- You have to get on a plane. - Yeah.
Now, there's a Delta.
- Yeah. - It Ieaves at midnight.
How's Delta?
Delta crashed August 2, 1985. Lockheed L-1011.
Dallas-Fort Worth. Terrible wind shear.
- All airllnes-- - 135 passengers.
All airllnes have crashed at one time or another.
That doesn't mean that they are not safe.
- Quantas. - Quantas?
Quantas never crashed.
- Quantas? - Never crashed.
- Well, that's-- - Never crashed.
That's gonna do me a Iot of good.
Quantas doesn't fly to L.A. out of Cincinnati.
- You have got to get to Melbourne... - Australla.
in order to get the plane that flles to Los Angeles.
- Do you hear me? - Canberra's the capitaI.
- 16.2 mllllon population. - Let's go.
Very IoveIy beaches.
- We're getting on this plane! - Oh, no!
[ Screaming ]
Ray! Ray! Ray!
We're not gonna take the plane. He's okay. He's okay!
We're not gonna take the plane.
Just relax. He was upset.
We were gonna take the plane. We're not gonna take it now.
- We're not gonna fly, okay? - No flying.
- We're not gonna fly. - No flying.
- You tire me, Ray. - Yeah.
We're gonna drive to Los Angeles.
Okay? Come on, Ray.
Ray? Come on.
- Yeah. - Come here.
- No flying. - We're not taking the plane.
- Just grab the fuckin' bag. - No flying.
You're klllln' me, Ray. I just want you to know.
- No flying. - I gotta be in L.A. in three hours.
It's gonna take me three days.
Come on!
No flying.
- No flying. - No flying.
I got 'Jeopardy' at 5:00.
- I watch 'Jeopardy' at 5:00. - Don't start with that.
'Jeopardy' at 5:00.
- Dispatch, this is 1-0-9. - Go ahead, 1-0-9.
Can you get another unit here for point controI?
[ Dispatcher ] Two more over to you. 10-40.
[ Officer ] Let's go!
- Bring some more up. - What's your E.T.A.?
Uh-oh.
Ray?
Get in the car.
Are you crazy?
We'll be outta this in a second.
- Yeah. - That's good.
It's okay. That's right.
Yeah. We'll be outta here in a few seconds. That's good.
- That's good. That's good. - There's a fataI accident over there.
- Ray? - We don't need your help.
Go back to your car.
- [ Horns Honking ] - Just a minute!
Ray. Ray! Ray!
Son of a bitch! Ray?
[ Horns Honking ]
[ Charlle ] Excuse-- Hey--
- Just wait-- - There's nothing to see here.
- Go back to your car. - Yes, sir.
- Wrecks make him nervous. - Get in your car.
Yes, sir. Just stay there by the side, okay, Raymond?
- Ray. Just stay there. - A Iot of traffic.
Yeah. Definitely a lot of traffic.
A Iot of work for $3 mllllon.
I'd llke to Ieave him on the highway and get outta here.
- [ Horns Honking ] - What? I hear ya! I hear ya!
- [ Dispatcher ] MemoriaI HospitaI is ready-- - [ Officer ] Stay in your car!
What's it gonna be, Ray?
This is a very dangerous highway.
How wllI I get to L.A.?
Driving a car on this interstate is very dangerous.
You wanna get off the highway? WllI that make you happy?
- Yeah. - Well, you gotta get in the car...
in order to get off the highway!
In 1986, 46,400 maIe drivers were invoIved in fataI accidents.
I got a great idea.
You'll stay in front of the car untll we get off the exit.
You'll get in, and we'll take the not-so-dangerous road.
- Is that an idea? - Yeah.
Give me five, Ray. That's a great idea.
Give me five. Yeah. This guy's a fuckin' fruitcake.
I'm asking you. Who's on first? That's the man's name.
That's whose name? Yes. Go ahead and tell me.
Who? The guy on first. Who? The first baseman.
Who is on first.
[ Ray ] Whose wife? Yes.
- After all, the man earns it. - Who does?
Absolutely.
All I'm tryin' to find out is what the guy's name on first base.
No, what is on second base.
I'm not asking you who's on second base? Who's on first?
- That's what I'm tryin' to find out. - Get in the car!
[ Ray ] Don't change the players. Yeah, get in the car.
Get in the car. Yeah. I have to be in bed by 11:00.
Lights out at 11:00. Have to watch TV.
Now it's almost 19 minutes to 11:00.
We have to be in bed by 11:00. Lights out.
We're not flying. We're not on the interstate.
I'm on some shit secondary road. I gotta make up time.
I shouId've been in Los AngeIes this afternoon.
My business needs me. I gotta make up time.
Definitely watch TV, but be in bed by 11:00. Lights out.
Forget it.
Uh-oh. 19 minutes to 11:00.
This is a good one. 'We don't go out when it rains.'
This is a good one. I hope you appreciate this...
because my business is going down the tollet.
I shouId be in L.A.
Instead I'm in the Honeymoon Haven MoteI in BumbIefuck, Missouri...
because you won't go out when it rains.
It's mystifying. It really is. Fuckin' mystifying.
What is this? Good news, bad news?
We passed D.O.T. but falled E.P.A. again.
It all ends up the same. I can't get my money.
Well, yes, sir. I'm just stuck in Cincinnati since the funeraI.
So many Ieftover detalls. My famlly is...
needless to say, quite overwhelmed.
Yeah, well, thank you. I appreciate it.
It is a shock, to say the Ieast.
Thank you. Can I get an extension on that Ioan?
A couple of days would make a big difference.
'We don't go out when it's raining.'
What? Speak up, Lenny.
I didn't buy that kind of time.
I want you to go down-- How much?
- It's 12:30. - What?
Lunch is 12:30.
- Hold on. What do you want for lunch? - Wednesday's fish sticks.
- Fish sticks? - Green llme Jell-O for dessert.
[ Sighing ] Green llme Jell-O. Want another apple juice?
I want orange soda. Oh, it's 12:31.
I gotta go. He's startin' to rock and moan.
- 12:32. Definitely 12:32. - It's okay. No.
[ TV ] - Give me that gun. - Where is he?
Where is he?
How did you figure to frame Vargas with it?
'Frame'? Where is he?
- There's four fish sticks. - Huh?
There's supposed to be eight. There's only four.
There's eight.
You take a shower, Ray?
- Ray, you take a shower, right? - Yeah.
It's the same as the rain. You get a llttIe wet.
What do you say, Ray?
'Course, the shower's in the bathroom.
That's the end of that conversation.
- Go again. - British Poetry for 200.
The answer: 'Shakespeare wrote over 150 poems in this 14-llne form.'
- What is a sonnet? - What is a sonnet?
- You got it. - Double letters for 200.
The top of that one. 'The Iast word in the PIedge of Allegiance.' Mark.
- What is 'stands'? - No.
Stu, Stu, Stu.
Legally, Bruner never establlshed a conservatorship of Raymond?
He didn't figure anyone would show up to contest his authority.
If that's the case, I definiteIy wllI get custody...
and the $3 mllllon, right?
And you set up a date-- Yeah, you set up a date for the custody hearing.
Stu, I want a firm date, and I want it earIy.
I found that it wasn't an originaI record...
because the originaI song had two verses--
She hasn't come in? She hasn't called?
If you hear from her, tell her to call me at this number.
[ Basketball Bouncing On TV ]
The Air Alpha Force, from Nike.
[ Charlle ] Look at that. 1957 Studebaker Goldenhawk.
0 to 60 in under 8 seconds.
275 supercharged horsepower under that hood.
- It's beautifuI. - 'Course, I'm an excellent driver.
- You know how to drive? - Yeah.
When did you drive?
I drove the Buick on the driveway when my dad came to Wallbrook.
Was Dad in the car, Ray?
Yeah.
- He Iet you drive the Buick? - Yeah, sIow on the driveway.
We'll have to Iet you drive sometime.
- [ Horn Honking ] - Hey, Raymond!
You never touch this steering wheeI when I'm driving! Do you hear me?
- Yeah. - Do you hear me?
- I don't have my underwear. - What?
I'm definiteIy not wearing my underwear.
-I gave you a pair of mine this morning. -They're not my underwear.
[ Charlle ] I toId you to put 'em on. Where are they?
They're in the pocket of my jacket.
- Where? - Here.
- These are too tight. - I don't want them back.
- Mine are boxer shorts. - What's the difference?
- These are Hanes 32. - Underwear is underwear.
My boxer shorts have my name. It says 'Raymond.'
All right. When we pass a store, we'll pick up some boxer shorts.
I get my boxer shorts at Kmart in Cincinnati.
We're not going back. Don't start with that.
- 400 Oak Street. - We're not going back.
You don't have to go to Cincinnati for boxer shorts.
- Oak and Burnett in Cincinnati. - What did I say?
- It's Kmart. - I know you hear me.
- My boxer shorts have-- - You don't fooI me.
Yours are too tight.
Did you fuckin' hear what I said?
Shut up!
[ Ray ] Cincinnati's a Iong way off.
You're getting further away from Kmart.
You don't have to go to Cincinnati to get underwear at Kmart.
You have to go to Kmart, 400 Oak Street.
We are not going to Cincinnati, and that's finaI.
- Get my boxer shorts at Kmart. - That is finaI. Did you hear me?
[ Shouting ]
I'm goin' out of my mind!
What difference does it make where you buy underwear?
What difference does it make? Underwear is underwear!
It is underwear wherever you buy it, in Cincinnati or wherever!
- Kmart. - You know what I think?
I think this autism is a bunch of shit.
You can't tell me that you're not in there somewhere.
Boxer shorts.
Boxer shorts. Kmart.
These are-- These are Hanes 32.
- Driving me crazy. - Mine are boxer shorts.
We have to make a llttle stop, find a psychiatrist...
'cause you're driving me crazy.
- Oak and Burnett. - You are driving me--
We have to buy them at Kmart, Oak and Burnett...
back in--
Uh-oh. You put your shorts on the highway.
We have to go back to Cincinnati and Kmart.
[ Train Horn Blowing, Crossing Gate Bells Ringing ]
[ Bells Ringing ]
[ Charlle ] Good Iuck finding a shrink in this town.
Raymond?
[ Horn Honking ]
- [ Horns Honking ] - [ Man ] Hey, you.
Dipshit, move it!
If you ain't gonna move, I'll move you.
Hey, buddy.
[ Man ] You'll get run over.
- You're gonna get hurt. - It said, 'Don't waIk.'
- Do you hear me? - It said, 'Don't waIk.'
- [ Man ] Move it. - Hey, it's all right, sir.
I'm sorry. Raymond?
- Yeah. - Come on.
- It's all right. - Gotta get to Kmart.
Raymond, come on.
Kmart, 400 Oak Street.
- It said, 'Don't waIk.' - Yes, it's broken.
It said, 'Don't waIk.'
- This way. - Have to get to Kmart.
400 Oak and Burnett.
He said, 'Young man, go west'...
and this is the way our country developed...
from the East Coast to the West Coast.
During that period of time...
- [ Shutter Cllcking ] - there was initiated...
what was known as the Pony Express.
I'm sure you have read something about it in the history of the United States.
I may not have the days or the years exactIy right...
but I'm more or Iess famlliar with the history of the United States.
- I Iove to tell the story-- - He's 'artistic'?
No, he's autistic.
I'm not famlliar with that.
What is the exact nature of the problem?
[ Man ] ...in St. Joe's, Missouri--
He llves in a world of his own.
I'm sorry, but what's wrong with him?
It was a probIem gettin' mall from the East Coast--
-Raymond, do 'What's On First?' for her. -Who's on first. What's on second.
- Huh? - [ Shutter Cllcking ]
They set up an initiaI program...
where the Pony Express...
would ride for approximately 20 mlles--
- [ Shutter Cllcking ] - What am I supposed to do?
There's gotta be something that I can do here.
[ Man ] Well, I'm not a psychiatrist...
but I do know his brain doesn't work llke other peopIe.
What he does isn't intended to be annoying.
If he's gettin' on your nerves, take a break.
- Spend time away from him. - I'll just send him back.
- Sorry? - Nothing.
Inside joke. You're telling me I just have to deaI with this?
I just gotta deaI with it.
- Yeah, that's about it. - [ Sighing ]
Out of curiosity, does he have any speciaI abllities?
Well, he's got a pretty good memory.
- He counts toothpicks. - Huh?
They spllled a box of toothpicks on the floor...
and he took one Iook and knew exactIy how many there were.
- He counted 'em in seconds. - Ray.
- Raymond. - Yeah.
Are you good with numbers?
- Yeah. - I read about this.
- I wanna try somethin' here. - Kmart, 400 Oak Street.
What'd I tell you? After this.
- Ray, can we try somethin'? - Yeah.
Do you know how much 312...
times 123 is?
- [ Sighing ] - 38,376.
He's right.
- What? - He's right.
- He's right? - Yeah. Ray.
How much is 4,343...
times 1,234?
5,359,262.
- He's a genius. - That's right.
- He's a genius. - Ray.
Do you know how much the square root of 2,130 is?
46.15192304.
- 2304. - [ Charlle ] That's amazing.
That is amazing. He should work for NASA or something.
If you had a dollar, and you spent 50 cents...
how much money would you have left?
About 70.
- Seventy cents? - Seventy cents.
- So much for NASA. - We should go to Kmart.
After this, Ray.
400 Oak Street.
Do you know how much a candy bar costs?
- About $100. - $100, huh?
You know how much one of those new compact cars costs?
About $100.
In his case, he's pretty well off. He's very high-functioning.
Most autistics can't speak or communicate.
- [ Doctor ] Ray. - Yeah.
Do you know what 'autistic' is?
- Yeah. - You know that word?
Yeah.
[ Doctor ] Are you autistic?
I don't think so.
No. Definitely not.
[ Lenny ] ...problem with the Lamborghinis.
[ Charlle ] Let me see if I understand this.
It's gonna cost me $10,000 additionaI for each car.
- It's very crowded in here. - Ray, pIease, just one second, okay?
What?
They wanna take out the manifold and the carburetors...
in order to put in a fueI injection system now?
That is nonsense.
- What are you doing? - Too crowded in here for a backpack.
Just Ieave this on. It's gonna cost me $40,000 just to meet E.P.A. now.
What? No.
You give me the number. I'll call the conversion shop myseIf.
That's my pen. That's definitely my book.
Taking your book is not a serious injury.
For serious injury, Iook at the red book. That book is bIue.
Forgive me. I've Iost my secret decoder ring. 4-5-4-5.
- You're already number 18. - Got it. 1988, I know.
It's my book. That's my pen.
Uh-oh. 12 minutes to Wapner.
- It's definiteIy very small in here. - Small... and safe.
- You don't wanna miss the party. - What you're witnessing is reaI.
Do you know that? There's a party in your honor, Ray.
When we get to L.A., a custody hearing. My Iawyer's setting it up.
You know why there's a party for you? 'Cause you're the 3-mllllon-dollar man.
- What you are witnessing is reaI. - Ken AIdorf.
- The participants are not actors. - Charlle Babbitt.
- Uh-oh. Fart. - Yeah, I'll hoId.
- Uh-oh. Fart. - Did you fart?
- Fart. - Did you fuckin' fart?
Oh, man. Get the smell out.
- How can you stand that? - I don't mind it.
- Ken Aldorf. - Ten minutes to Wapner.
Ken? How are you? This is Charlle Babbitt.
We're definitely locked in this box with no TV.
I just heard about this $10,000 charge for every car.
- They're definitely gonna start-- - How can this be?
- 'People's Court' starts on the-- - You're telling me another $40,000.
They start on the button. They definitely start on the button.
I've got a probIem. I'll call you from my next stop.
We're not gonna make it to the program.
- Definitely have to go now. - Yes, we're going, Ray.
- Just take it easy. - Eight minutes to Wapner.
Where am I gonna find a teIevision around here?
- Eight minutes to Wapner. - We got eight minutes to Wapner.
[ Charlle ] Come on. Come on.
You wanna get in there and see the show?
Wanna get in and see the show? Listen up.
There's not another farmhouse in sight. This is it.
You act weird, we don't get in. You llstening to me?
- Yeah. - I want you to Iook normaI.
As normaI as possibIe, all right?
Just put your hands down. Don't rock and moan.
- Four minutes to Wapner. - Just shut up and stand there.
- Yeah. Uh-- - Don't rock and moan.
Put your hands down.
Good afternoon, ma'am. I'm DonaId CIemons from the A.C. NieIsen Company.
- You're famlliar with our work? - You mean the TV ratings?
Yes, ma'am. You've been selected as a prellminary candidate...
to become our next Nielsen famlly in the tri-county area.
- My husband's not home. - If seIected, you'll heIp shape...
television programming viewed by our entire nation...
in return for which you'll receive a check...
in the amount of $286 each month.
- ## [ Ray Humming ] - Who's he?
That would be my partner, Mr. Bainbridge, who does sample--
- ## [ Hums 'The People's Court' theme ] - [ Charlle Sighs ]
- [ Charlle ] That's it. - Oh, boy.
You'll miss your program.
- It's finished. - One minute to Wapner.
[ Charlle ] One minute to Wapner.
- ## [ Humming ] - I had you in there, Ray!
Defendants! Plaintiffs! You had it all!
They're in there making IegaI history, Ray.
- LegaI history. - Oh, boy!
- [ Ray ] Oh, boy. - What is going on out here?
I'm sorry, ma'am. I lled to you. That man is my brother.
If he doesn't watch 'PeopIe's Court' in about 30 seconds...
he'll have a fit on your porch.
Now, you can help me, or you can stand there and watch it happen.
We llke to watch cartoons. You think he'd settle for that?
[ Judge Wapner ] ...and she sees an identicaI twin.
True, he didn't have his shirt on-- the other one did--
but they sure Iook allke to me.
If it got on his chest, even if it didn't burn or got reaI coId--
- I put my hand on the dry ice. - Daddy's not here now.
I wanted to take it off quickIy because it got very coId.
- [ Chlld Crying ] - I aIso confess, I was afraid I might burn my hand.
If I put it up against a bare chest--
Ken, work with me. I'll take care of you--
- ## [ Singing, Indistinct ] - [ Chlld Jabbering ]
- You know that song? - My judgment is for the defendant.
[ Doug Llewelyn ] We'll be back for the reaction...
to Judge Wapner's decision right after these messages.
- My credit card's been rejected? - Yes, sir.
Must be some accounting error. How much wllI this cost?
Twenty dollars, sir.
Thank you.
I'm never going back. It's gonna be a Iong time.
- Definitely gonna be a long journey. - Just a couple of more days.
Yeah. You know the fella's name? Yeah. Then who's playing first?
- The fella playing first for St. Louie? - You gonna start with this again?
It's just another moteI. You gotta do this every time?
That's the man's name. That's whose name.
What are you asking me for? I'm not asking you. I'm telling you.
Who is on first. I'm asking you, who's on first?
- Yo, Ray. - That's the man's name.
- This is not a riddle. - Yeah. Know the fella's name?
-Yeah. Then who's playing first base? -You'll never figure out who's on first.
Who is on first. That's the joke. It's comedy.
Sometimes his wife comes down and collects it.
- Whose wife? - It's comedy.
Every dollar of it. Yeah.
You got a first baseman on first? Yeah.
It's a routine between Abbott and Costello.
When you do it, you're not funny. You're Abbott and Abbott.
- Yeah. - You understand me?
Sometimes his wife comes down and collects it.
Whose wife? Yeah.
- Ray? Ray? Ray? - Yeah.
- You are never gonna solve it. - Yeah.
You know why? It's not a riddIe.
And if you understood that...
if you understood that it's funny, you might get better.
All I'm trying to find out is what's the guy's name on first base.
What's the guy's name on first base? No, what's the guy's name on second base.
Have you got a first baseman on first? Yeah.
Then who's playing first? Yeah.
You know the fella's name? Yeah.
Then who's playing first? Yeah.
The fella playing first for St. Louie. Who.
The guy on first. Who. The first baseman.
Who is on first. What are you asking me for?
Have you got a first baseman on first? Yeah.
All right, Ray. Come on.
We're gonna put the bed by the window...
we got your apple juice, we'll put the pens and paper on the table.
- Did I forget something? - The cheeseballs.
- Yes. - Definitely have cheeseballs.
- I forgot the cheeseballs. We got 'em. - I have to have 12 cheeseballs.
- [ Charlle ] Yes, definitely. - Get my tartar-control toothpaste.
We got that for you a couple of days ago.
Where's my toothpaste?
Raymond.
Remember that doctor asked you those number questions today?
- Yeah. - How did you do that?
- I see it. - Huh?
I see it.
What's that? WllI you stop for a second?
I see it.
Put that down. I'm trying to taIk to you.
When I say stop it, why don't you stop it?
Why do you always have to act llke an idiot?
- Yeah. - You think that's funny?
Yeah, funny Rain Man. Funny teeth.
- What'd you say? - Funny teeth.
Rinse.
Why'd you say-- Why'd you say funny teeth?
You said funny teeth, funny Rain Man.
'Rain man'? I said, 'Rain man'?
Yeah, funny Rain Man.
Was I trying to say 'Raymond' and it came out 'rain man'?
Yeah. Funny Rain Man.
You? You're the rain man?
- Who took this picture? - D-a-d.
- You llved with us? - Yeah, 10961 Beechcrest Street...
Cincinnati, Ohio.
When did you Ieave?
January 21, 1965.
- You remember then? - It was Thursday. Very snowy out.
7.2 inches. Snow that day.
- Just after Mom died. New Year's. - Yeah, Mom died.
January 5, 1965.
And you remember that day that you Ieft?
- Short and sudden lllness. - You remember that day you left?
Yeah.
Was I there? Where was I?
You were in the window. You waved to me.
'Bye-bye, Rain Man. Bye-bye, Rain Man.'
So, you--
- You were the one that sang to me? - Yeah.
What did you sing? What was that song?
What did you sing?
# She was just seventeen #
# You know what I mean #
# And the way she Iooked was way beyond compare #
# So how could I dance with another #
# Oooh #
# When I saw her standing there ##
## [ Ray Hums ]
Did I llke it when you sang to me?
Yeah.
Did we sing any other songs llke the Beatles?
Yeah. [ Yelling ]
Scary! Hot! Scary bad!
Scary bad! Scary!
[ Screaming ]
What's scary about it?
Hot water burn baby!
- Water! - 'Hot water burn baby'?
- What baby? Me? - Yeah.
- Easy, easy.
- Water-- Hot water burn baby. - I'm not burned.
I'm not burned. Look at me, pIease.
- Water burn baby. - Please. Please!
Hot water burn-- Tub burn baby.
- I'm not burned. - Tub burn baby.
- I'm not burned. - Yeah.
I'm not burned. It's okay.
- Yeah? - Yeah.
[ Panting ] It's okay.
Time for Wallbrook now.
That's why they put you away.
They thought you'd hurt me.
[ Whispering ] Never hurt baby.
Never hurt Charlle Babbitt.
Never hurt Charlle.
What? What?
[ Whispering ] Never hurt Charlle Babbitt.
What, Ray?
[ Whispering Continues ]
What?
Come on. It's 11:00, Ray.
- Lights out. - Yeah.
Never hurt Charlle Babbitt. Never hurt Charlle Babbitt.
There you go. Right where you llke 'em, at the end of the bed.
Come on, Ray.
[ Charlle ] Hi, it's me.
You didn't hang up. Does that mean we're engaged?
Listen, I, uh--
I just wanna hear it's not over.
I'm scared it's over.
[ Susanna ] Don't ask me tonight. I don't know what to say.
- Let it sit. - Something I'm not reaI good at.
There are a Iot of things that you're not good at.
I'll call you when I get back, okay?
Mm-hmm.
- I'll see you. - Ciao.
Why are you Iooking at that? I bought a TV, and you're watching a dryer.
I don't know.
Because at the shrink hearing, we'll have to prove...
you prefer to watch TV as opposed to the clothes dryer, you understand that?
- Yeah. - You llstening to me?
Yeah.
Turn this off when you're not watching it.
- Yeah. - You'll run down the batteries.
Then where wllI you be at 3:00 when Wapner's on?
Yeah. The red one always falls the same.
Why don't you llsten to me?
You don't wanna llsten to me, do you?
You wanna go back to Wallbrook?
Huh? I gotta make a phone call.
Lenny, it's me.
Where have you been? I've been sittin' by this phone for three hours.
I had to buy some cIothes.
Clothes? Charlle, we are in serious trouble.
- Why are you buyin' clothes? - Take it easy.
I'm in Tucumcari. I'll be there--
They repossessed the cars to pay off the Ioan.
The cars are gone, Charlle.
And Bateman wants his down payment back. They all do.
That's 80,000, Charlle.
80,000. I don't have it.
You gotta pay these people back, or it's all over.
We're out of business. What am I gonna tell 'em?
I don't know.
[ Charlle Hangs Up Phone ]
Son of a bitch!
[ Echoing ] Son of a bitch!
# Beyond the blue horizon #
# Lies the rising sun #
# Beyond #
# The blue horizon #
# Waits #
# A beautifuI day ##
This would be easier if you let me put the top up.
You wouldn't have to fry.
Put this Iotion on so you don't burn.
Don't start with that. You want me to put the top up?
- I definiteIy llke the top down. - I know. I don't want you to burn.
Definitely llke it when the top's-- Ow. Ooh.
It's all right. Just take it easy.
- Oh, no. - It's aImost over.
Uh-huh. All right. How does that feeI?
Very sllppery.
[ Announcer ] Maldonado swings, and there's a base hit into center field.
One run is in. Here's Brenly going to third.
The throw by Davis... not in time.
Brenly in safely at third base...
on Maldonado's single.
[ Announcer #2 ] He held that ball too long in center field, don't you think so?
[ Announcer #1 ] We'll Iook at it again.
Treadwell playing way over towards the right side, shaded him to pull.
Here's Davis.
Yeah, he seems to hold it there just a bit, Tom.
[ Announcer #2 ] Sort of double-pumped it. Watch the replay.
[ Announcer #1 ] He Ioses all chance on a pIay on BrenIy...
even though Brenly doesn't exactly run fast.
[ Announcer #2 ] And the throw into third base finally is a llttle bit high.
[ Clattering ]
## [ Jukebox Playing ]
[ Clattering Continues ]
WllI you give me a break with this?
Yeah.
Ray, stop it.
- [ Jukebox ] # Lonely women make good lovers # - J-7.
- K-7? What's that? - J-7.
What's J-7?
What's J-7? The song?
Yeah.
# Lonely women make good lovers ##
Look out there, Raymond. No, out here.
'18 Wheels and A Dozen Roses.'
- What's the number? - E-5.
'Cheating Heart,' Hank Wllllams.
'Your Cheating Heart.' 'Course, that's Hank Wllllams, Jr.
D-1. D-1.
'Blue Moon of Kentucky,' Blll Monroe.
And the Bluegrass Boys. K-5.
How many toothpicks came out of that box?
246.
- Yeah. - 246.
- Are you paying attention? - Yeah.
- You watching that? - Yeah.
- You seeing that, Ray? - Yeah. Falling on the ground.
Okay. Now what do I have Ieft?
Two jacks, one 8, one king, one 6...
two aces, one 10, one 9, one 5.
One 5.
You are beautiful, man.
- I'm an excellent driver. - You can't drive now, Ray.
You llstening to me? This is very important.
When there's Iots of tens and picture cards Ieft, then it's good for us.
- Say it. 'Tens are good.' - Tens are good.
- Okay. And you're gonna bet one-- - One if it's bad.
- Two if it's good. - That's right. Two if it's good.
Now, llsten. Casinos have house rules.
The first one is, they don't llke to Iose.
So you never, never show that you are counting cards.
That is the cardinaI sin, Ray.
Are you llstening to me? That's very, very important.
Yeah. Counting is bad.
Yes. Counting is bad.
[ Ray ] I llke to drive sIow on the driveway.
You get this right, you can drive wherever you want as slow as you llke.
[ Ray ] I'm an excellent driver.
[ Publlc Address Announcer ] Miss Sue Morgan, please pick up the hotel courtesy phone.
Raymond.
[ Jackpot SignaI Ringing ]
[ People Chattering, Machines Beeping ]
[ Jackpot SignaI Ringing, Woman Shouting ]
[ Beeping ]
[ Jackpot SignaI Ringing ]
- Rain Man? - Yeah.
- Let's play some cards. - Yeah.
- You want a hit? - No. You've got 18.
- Want a hit. - Sir, you have 18.
- He doesn't want a hit. Hit me. - Definitely want a hit.
Hitting 18.
- He doesn't want a hit. - Hit me.
You took my queen. I've got a ten. I needed that queen.
- I can't take it. - Sir, pIease don't touch the cards.
- I need my own queen. - There's Iots of them.
- 'There's Iots of them'? - Lots and Iots of them.
Hold on here for a second.
I'm gonna doubIe down.
[ Ray ] Queen. Queen.
- Queen. - Yes!
Yes, sir. You gotta Iove this town.
I'm goin' for it, Nick.
It certainIy Iooks llke it.
- You wanna bet one chip or two chips? - Bet two.
[ Charlle ] Bet two?
- Oh! - [ Onlookers Shouting ]
What's your secret, guys?
- [ Charlle ] We cheat. - [ Onlookers Laugh ]
This is Sam. Tape table 47.
- About 85,000. - 85,000?
- Yeah. - Did you call the eye in the sky?
- Sam did. - Okay, I'll take over from here.
[ Man ] Do it again. Do it again.
- Do it again. All right! - Yes!
You're doing well. I'm happy for you, sir.
[ Man #1 ] What do you see?
[ Man #2 ] He's not catching the hole card, and he's not past posting us.
- He's not using a computer. - No, but something's not right.
No one can count into a six-deck shoe.
[ Loud, Rapid Cllcking ]
[ Cllcking ]
Hold it here.
- Watch my chips. I'll be back. - [ DeaIer ] Go ahead, sir.
What are you doing? You don't Ieave in the middIe of a hand.
We are red hot! The Babbitt brothers, kickin' ass in Vegas!
- WheeI of Fortune. - CIeopatra and Caesar are over there.
-Come on, Ray. -Look at all this glamorous merchandise.
- A llttle one for bad, two for good. - Yeah. Twenty.
- Twenty? - Yeah.
- It's gonna hit on twenty? - Yeah. DefiniteIy twenty.
$3,000 on 20.
- Definitely twenty. - Definitely twenty?
Yeah.
Uh-oh.
- It's not your game. - Yeah.
- I Iost $3,000. - Yeah.
That's $3,000 I Iost. Come on, Ray.
Little black-- No? Easy, easy.
Don't start banging yourself.
- Maybe we'll play later. - Yeah.
- I'm gonna cash in. - Yeah, cash in.
- You make me sad, Ray. - Yeah.
Twenty.
We won $86,000 and some change.
- Right, Ray? - 86,500.
$80,000. Refund on the car payments.
And I owe--
What did I say I owe to get the RoIex back?
- $3,500, six months to pay. - $3,500.
We don't have to pay for a room. That's comped. I'm free and cIear.
I'm gonna take a ceIebration piss.
Don't go anywhere. Untll I get back, the sign says, 'Don't waIk.'
- Don't walk. - Don't walk.
Hey.
Are you Iookin' for a date?
I don't know.
- What's your name? - Raymond.
My name is Iris.
Raymond, you llke me?
I don't know.
You don't know.
If you gave me a chance, you wouId. Why don't we get to know each other?
- To get to know each other. - He doesn't have any money, honey.
That's all right, sugar, 'cause we are just talkin'.
[ Ray ] Yeah, we're just talking.
- Let's go upstairs. What are you doin'? - Getting to know each other.
- Just talking. - What room? I'll bring him up.
That's all right.
Do you want to stay and get to know each other?
Yeah, get to know each other. Just talking.
This wllI be interesting. I'll be over here.
- He doesn't seem to llke me. Who is he? - My brother. I'm llving in his room.
- He seems young to be your brother. - He was born August 12, 1962.
It was a Sunday.
What exactly do you guys do here?
- We're counting cards. - You're counting cards?
We're counting cards.
- Uh-huh. - We're counting cards.
What else do you do?
We're counting cards.
I know that. What eIse do you do?
Are you taking any prescription medication?
[ Scoffs ] Whoa. Look, I'm outta here.
- What time is the date? - Later.
- What time is the date? - It's 10:00.
I have to be in bed by 11:00. Lights out at 11:00.
10:00, dayllght saving time.
- 10:00, dayllght saving-- - 10:00?
- 10:00, dayllght saving time. - You llke her? You think she's pretty?
Yeah. She's very sparkly.
- Definitely very sparkly. - Very sparkly.
I've never seen you in a suit. He did a great job.
You don't reallze how good you Iook. Do you llke it?
It's not Kmart.
How could you not llke that suit? You look fantastic, Ray?
- It's not a Kmart suit. - Let me Iet you in on a secret.
- Kmart sucks. Okay? - Yeah.
- There you go, Ray. - Yeah.
It's a high roller's suite. This is for you. Huh?
- You ever seen a room llke this before? - Yeah.
What's up there?
You're not even Iooking.
- Yeah. Bed. - That's your bed.
I had them put it by the window, just the way you llke it.
- Right by the window. - Go on up.
- Just the way you llke it, isn't it? - Yeah.
Look at you with all those llghts, Ray.
You are Mr. Las Vegas now.
What do you think?
There's a Iot of llghts out there. It's very sparkIy. Very twinkIy.
We made a Iot of money today.
Forgetting the $3,000 that we tossed away at that wheeI of fortune.
Yeah, 'WheeI Of Fortune.'
And I'm sorry about that. I got a llttIe carried away.
- I got a llttIe hot, Ray. - Yeah.
I'm sayin' that I'm sorry, and I just want you to know that I am sorry.
I'm apoIogizing. I got a llttIe carried away. The money.
I got a llttIe greedy. Wanna say somethin'?
I have to be at the bar at 10:00 with Iris.
I gotta thank you, man.
You did it.
I was just there. You saved my ass.
I'm just aIong for the ride.
Be at the bar at 10:00. Have to go to a date with Iris.
Iris, that's her name.
Big date. Gonna go dancing.
I have to go to a date with Iris at the bar.
- Know how to dance? - I don't know.
You ought to Iearn sometime.
[ Ray ] Yeah, have to Iearn to dance with a date.
- I have to Iearn to dance with a date. - I was just kidding.
You're not gonna have to dance on this date.
I have to go to the date, Iearn to dance. DefiniteIy. Now.
You don't have to dance now...
but I'll teach you how to dance sometime.
- You won't have to dance on this. - Have to Iearn how to dance now.
I'm sorry I brought this up. All right, Ray, my mistake.
You got the only famous dancing hooker in Vegas.
Stand over there.
[ TV Cllcks On ]
- Come over here. - Yeah.
You hear the music? Just watch my feet.
- Raymond, watch my feet. - ## [ Radio Playing ]
Just do what I'm doin'. Okay?
You feeI the rhythm of the music? We're just movin' our feet.
You're the guy, so you're gonna have to Iead.
I'm the date, so you want to--
You wanna put your Ieft hand up llke this.
Raymond, don't stop movin'. Payin' attention?
Put your Ieft hand up llke this. Left hand. That's good.
Don't stop movin'. Good. Just llke that.
Take this other hand, put it behind my back.
- Ray, you wanna Iearn how to dance? - Yeah.
You gotta touch someone when you dance. I'm not gonna hurt you.
All right? Just put it right there.
I take my hand, I put it up here.
Watch my feet, Ray.
The rhythm, the rhythm. All right?
You can't watch my feet the whole time, so you're gonna have to look up.
Now when I tell you to, I want you to just Iook up...
reaI sIow, just keep movin'.
- You ready? - Yeah.
- Start Iookin' up. - Yeah.
A llttle more. Keep movin'.
- Just a llttle more. - Yeah.
A llttle more, Ray.
All the way up.
There you go, Ray. You're dancin'.
- Yeah, dancin'. - You wanna close your hand here.
You wanna put it llke that. You're gonna turn me llke this.
Just turn me. That's good.
- This is dancin'. - This is dancing.
I don't know about you, but I'm startin' to feeI a llttIe sllIy.
## [ Music Continues ]
- That's it. - Yeah.
All right!
You are a good dancer.
- You wanna give me a hug? - Yeah.
[ Screams ]
I just wanted to give you a hug, Ray.
[ Sighs ] I just feIt llke givin' you a hug.
What are you doin' here?
- I'm unempIoyed. - What do you mean?
- You don't know about the business? - Yeah, I know. Come on in.
I'm gIad to see you.
Ray, Iook who's here.
It's not right, what you're doing to Raymond.
- He's fine. - I know he's fine.
He's in Las Vegas in a suit in a big room. It makes me sad.
Six minutes to my date.
Six minutes to Iris.
He has a date?
Raymond, it'd be nice if you didn't carry that television everywhere we go.
Why do you have to bring a Watchman on your date?
A man's dancing.
But what does your date Iook llke, Raymond?
She's very sparkly. She looks llke a hollday.
- I haven't heard that one before. - Mr. Babbitt?
- Mr. Kelso would llke to see you. - I don't know Mr. Kelso.
He's director of security. Would you come with me, please?
Sure. Susanna, you stay with Raymond.
- Right this way. - Certainly.
10:01, she's not here.
She'll come. She wllI.
Congratulations, Mr. Babbitt. Counting into a six-deck shoe is a feat.
I don't understand what you're taIking about.
We make videotapes, Mr. Babbitt, and we analyze the tapes...
and we even share some of the information with the other casinos.
These tapes suggest that you should take your winnings and leave the state.
Someone has a good day at the tables...
and you accuse them of lllegal activities?
Is this how you treat all your guests?
All you have to do is close your mouth and go home.
Those are the best odds you're gonna see for a whlle. I'd take 'em.
- Did you want to dance on your date? - Yeah.
There'll be other chances. Many pretty girls would love to dance with you.
- Yeah. - It's gonna be okay.
## [ Music From TV ]
Uh-oh.
- I llke this music, Ray. - EIevator stopped.
It's okay. You think you couId show me how you were going to dance with Iris?
- Yeah. - Yes?
- Would you llke to dance with me? - Elevator's on hold.
- Give me this. - Yeah.
- Show me how.
Charlle Babbitt taught me.
- Charlle Babbitt? - Yeah.
Dancing in the elevator.
It's nice.
You're very good.
## [ Music Continues ]
- Iris missed a beautifuI dance. - Yeah.
- And a kiss. - Yeah, a kiss.
- Have you ever kissed a girI? - I don't know.
You don't know?
Open your mouth. Open.
- Yeah. - Like this.
Like you were tasting something very good...
and very soft.
Yeah.
Like this. Close your eyes.
- It's okay, Ray. - Yeah.
- How was that? - Wet.
- Then we did it right. - Elevator's definitely stuck.
No, it's not stuck.
Here.
Fred Astaire and Ginger Rogers.
- Like us. - Yeah, llke us.
What'd I tell you, Ray? I promised you you couId drive.
- At Wallbrook, I drive on the driveway. - Charlle, this is okay?
- I'm an excellent driver. - He's good on a driveway.
Ray, why don't you get in the front seat?
So, I'll wait to hear from you after Raymond's meeting?
- Yeah. - It's gonna be fine.
- Yeah. I'm nervous. - I know.
Listen, I'm gIad, happy-- I'm happy that you came to Vegas.
- I know. - [ Baseball Game On Radio ]
Ciao.
Ray, thank you for the date in the elevator. It was really nice.
- Yeah. - Ciao.
- Thank you for the what? - It's something between us.
- Between us? - Mm-hmm, us.
Us, Ray?
[ Charlle ] Here we go, Ray. This is your bedroom up here.
[ Ray ] Of course, there's definitely no bed there.
No, this is a magic bed, Ray. You just watch and see.
We got the table over here. We got the television, Ray.
Went to the video store. Got a surprise for you, Ray.
- Picked up a video for you. - [ Ray Muttering ]
Don't start with that, Ray.
It's not just another pIace, Ray. This is my pIace.
I'm asking you who's on first. That's the man's name.
Who? The first baseman. Who is on first.
You got a first baseman on first? Certainly. Then who's playing first?
- [ Abbott ] The man's entitled to it. - [ Costello ] Who is?
Yes.
- So who gets it? - Why shouldn't he?
Sometimes his wife comes down and collects it.
- Whose wife? - Yes.
- After all, the man earns it. - Who does?
Absolutely.
All I'm tryin' to find out is what's the guy's name on first base?
No, What is on second base.
- Don't you think this is funny? - Yes, it's funny.
- Where'd you see this first? - Dad gave me a book on baseball trivia.
- Dad, huh? - Yeah.
- Guess it didn't read as funny. - Definitely not.
Hello, this is Dr. Bruner. I'd llke you to call me.
Yeah, what is it?
- I thought I got the machine. - No.
I just got into town, and the psychoIogicaI interview is tomorrow.
Yes, sir, I know that.
I thought we shouId get together and taIk.
I think it might be in your best interests to meet me.
When?
I'm at the Bonaventure. How about tonight at 8:30?
## [ Music From Radio ]
Tomorrow you'll meet Dr. Marston, who's in charge of Raymond's evaluation.
- Yeah, I know. - I gave him boxes of flles on Raymond.
- Good Iuck. - This isn't a cIose call.
It's a formallty. Your brother's a very disabIed individuaI.
Are you trying to tell me that Marston's gonna rule against me?
No, I'm telling you it's aIways been a Iost cause.
- Then why did you call me? - Let me tell you something.
Your father put me in charge of all the money.
It doesn't matter whether or not you win custody of Raymond.
I won't have to pay you a dime. It's at my discretion.
- So you can't Iose? - I can Iose Raymond.
I care about your brother's llfe and the treatment he receives.
I made a commitment to your father some 20 years ago...
and I'm not wllllng to gambIe with that.
What is this?
It's a very big check.
$250,000.
And no strings attached. Just walk away, Charlle.
This isn't about you and me.
It's not about winning or Iosing.
I asked you a week ago, why didn't anyone ever tell me I had a brother?
You didn't have an answer.
I don't know.
I just reallzed I'm not pissed off anymore...
my father cut me out of his wllI.
You probably knew he tried to contact me over the years.
I never called him back. I was a prick.
If he was my son and didn't return my calls, I'd have written him out.
But it's not about the money anymore.
You know, I just don't understand.
Why didn't he tell me I had a brother?
Why didn't anyone ever tell me that I had a brother?
Because it'd have been nice to know him for more than just the past six days.
[ Alarm Blares ]
Ray! Ray!
Ray! Ray! Ray! Ray!
[ Alarm Stops ]
Ray! Ray! Ray! Ray!
Ray! Come on.
It stopped. It's all right.
V-E-R-N.
Vern. Vern.
My main man, Vern.
V-E-R-N.
Vern.
Uh-oh.
My main man, Vern.
V-E-R-N. Vern, my main man.
They got raspberry, blueberry...
whole wheat, peachy keen, beer nut, rocky road, buckwheat.
How about buckwheat? What kind of pancakes you want, Ray?
- Pancakes. - What kind?
- Pancakes. - Of course.
The maple syrup is supposed to be on the table before the pan--
- Ray? Ta-da. - Ha-ha-ha.
Ha-ha. Charlle Babbitt made a joke.
- I made a joke, Ray. - Yeah.
Step back a llttle bit.
Hello?
Why don't you go sit down over there?
Hello?
This is not a IegaI proceeding, so there's no judge present...
just the people who care about Raymond.
Raymond, have a seat over there. Mr. Babbitt, other side of the table.
Raymond, right here. How about this seat?
- Take this seat. - Put your knapsack on the floor.
This is a good opportunity to be honest with one another.
Ray, the TV? On the floor. I'm sorry.
I don't know an easy way to say this, Mr. Babbitt--
Have I Iost aIready?
No, you haven't Iost. I'm not the judge and jury.
I'm just making a recommendation to a court.
I must tell you that Dr. Bruner is a very respected professionaI.
Raymond's case has been meticulously documented over the years...
and Wallbrook is one of the finest institutions in this country.
You've made up your mind. I'll see you in court.
My brother came further with me than he did with you in 20 years.
- It's not necessary to-- - You don't know anything about us.
- It's not necessary to challenge him. - I'm sorry.
Exactly what happened this past week, Raymond?
- We got to know each other. - I was asking Raymond.
Raymond, what happened this past week?
- What did you do? - Counted cards.
- Counted cards? - Counted cards in Las Vegas.
- Your brother took you to Las Vegas? - Lost $3,000 on the wheeI of fortune.
Gave you $3,000 to gamble with?
- Lost $3,000 on pitifuI 20. - Uh-huh.
- And what else did you do? - Bet on number 20.
- What else did you do? - Danced with Charlle Babbitt.
- Danced with your brother? - He wanted to Iearn.
Danced in the elevator with Susanna. Kissed Susanna.
- You kissed Susanna? - Yeah, in the elevator.
- Did you enjoy kissing a woman? - I don't know.
- How did it feeI? - It feIt wet.
- Wet? - Yeah.
- Quite a trip, huh? - Yeah.
- Did you enjoy being on the road? - I'm an excellent driver.
- You drove? - Yeah.
-Your brother Iet you drive the highway? -SIow on the driveway.
- He didn't drive the highway. - Uh-huh.
- Did he have any emotionaI outbursts? - What do you mean?
Well, things they tend to do when-- Infllct bodlly harm on themseIves.
- Yeah, a couple of times. - A couple of times?
He had what you call an outburst at the airport because he didn't wanna fly.
- So we didn't fly. - When was his last outburst?
- This morning when-- - This morning?
This is bullshit, because I couId tell you anything or tell you nothing.
You'd never know the difference. This morning the smoke alarm went off.
He got nervous, but he's fine now.
Don't feeI as I'm pIacing any bIame.
We went out for pancakes. He's fine.
- You don't have to be defensive. - I'm just being honest with you.
- You're missing the point. - I'm being truthfuI about this.
I'm not pIacing any bIame--
I had a father I hardIy knew, a mother I didn't know at all.
I find out now that I have a brother, and I'm supposed to give him up?
No one is saying anything.
I didn't hurt him, he's not hurting me, we're not hurting you.
- Why are you interfering? - I'm not interfering.
- This is my famlly. - I understand that.
Your brother is not capable of having a relationship with you.
That's your opinion. Did you spend 24 hours a day, seven days a week with him?
You cannot care for your brother without professionaI guidance.
- That's your opinion. - Yes, it's my opinion.
There's some things I'd llke to go over.
Dr. Bruner states a week ago you stole Raymond out of the institution...
and were wllllng to trade him for $1.5 mllllon, correct?
My father died. I was upset.
That was wrong.
Last week you were upset, and this week you've found a devotion to him...
and you want to take care of him.
- Yes. - Mm-hmm.
From the beginning it was llke a kidnapping.
Kidnapping. That's very strong. I didn't kidnap my brother.
But in the course of a week, you came to have an understanding with him.
Yes.
- Look, that-- - Yes?
I understand that this sounds irrationaI to you.
When it started out--
- Don't feeI compelled to be defensive. - Can I taIk?
- Yes, you can. - Thank you.
There's no accusations. Go ahead.
No accusations?
[ Sighs ] See, you have to understand...
that when we started out together that he was only my brother...
in name.
And then...
this morning we had pancakes.
Maple syrup. Maple syrup on the--
- Mm-hmm. - Maple syrup on the table.
And Charlle Babbitt made a joke.
See, we--
I made a connection.
I think it's admirabIe that you made a connection...
but the purpose of this meeting is to determine what is best for Raymond...
whether or not he's capable of functioning in the community...
and what, in fact, he wants, if that's possible to determine.
I'm all for that.
- Raymond's unable to make decisions. - You're wrong.
[ Bruner ] He can't decide for himself.
[ Charlle ] He's capable of a lot more than you know.
[ Marston ] Why don't we ask Raymond?
Raymond, can I ask you a few questions?
- The doctor's talking to you. - Can I ask you a few questions?
Yeah.
Do you wanna stay with your brother?
Raymond, would you llke to stay with your brother in Los Angeles?
[ Charlle ] The doctor's asking you a question.
- So you llsten. - Yeah.
Raymond, do you wanna stay with your brother Charlle?
- Do you wanna stay with your brother? - Yeah.
- You do? - Yeah.
You wanna stay with your brother?
Yeah. I wanna stay with my brother Charlle Babbitt.
- That's what you want? - Yeah.
- You wanna stay with your brother? - Yeah.
- Can I ask you something eIse? - Yeah.
- You wanna go back to Wallbrook? - Yeah.
Raymond, can you make a distinction between your brother and Wallbrook?
Yeah.
- Do you wanna stay with your brother? - Yeah.
- Or do you wanna go to Wallbrook? - Yeah.
They're two separate things.
Your brother or Wallbrook? It's not one thing, Raymond.
- Back to Wallbrook, stay with Charlle. - Okay.
- Back to Wallbrook, stay with Charlle. - Can you make that choice?
- One or the other. - Go back to Wallbrook.
All right.
[ Charlle ] Just hold on here.
All right.
You made your point.
You don't have to humlliate him. Ray, it's okay.
- It's over. - Yeah.
Stay back at Wallbrook with Charlle Babbitt.
- Stay back at Wallbrook-- - It's over.
- Raymond? - Yeah.
Dr. Bruner, can I taIk to you?
Excuse me.
- You okay, Ray? - Yeah.
- You don't want more questions, do you? - No.
No.
I don't know.
- You don't want more questions, do you? - No.
- There won't be any more questions. - Yeah.
- I'll make sure of that. - Yeah, main man.
- What? - My main man.
Listen.
Ray, I don't know if I'm gonna have a chance to taIk to you again.
Because you see, these--
Dr. Bruner really llkes you a Iot, and he's probabIy gonna take you back.
- You know? - Yeah.
What I said about being on the road with you I meant.
Connecting.
- I llke having you for my brother. - I'm an excellent driver.
[ Chuckles ] Yes, you are.
I llke having you for my big brother.
Yeah.
C-H-A-R-L-I-E.
Main man.
[ Announcer ] May I have your attention, pIease?
Amtrak train number 36, the Desert Wind, eastbound...
now boarding, track number three.
- Fullerton, San Bernardino, Barstow... - Ray.
Las Vegas, Salt Lake City, Denver, Omaha, Chicago.
- Hello, Charlle. - Dr. Bruner.
Hello, Raymond.
Wouldn't you feel more relaxed in your favorite Kmart clothes?
Tell him, Ray.
- Kmart sucks. - I see.
I have the tickets, and I'll be on this car right here to the right.
Why don't you take a couple of minutes? See you, Charlle.
- You made a joke, Ray. - Yeah. Ha-ha-ha.
I guess I'd better give this to you. You're gonna have to carry this now.
It's got your cheeseballs, your appIe juice...
notebooks, pens and...
'Who's On First?' video that you llke.
- 'Who's On First?' is very funny. - I toId you it's funny.
Board!
- Better get goin'. - Very shiny train.
Yeah, it sure is.
Now llsten, Ray. Dr. Bruner only has custody of you.
That doesn't mean I can't visit.
I'm comin' to see you in two weeks.
- How many days is that? - Fourteen days from today.
- Today's Wednesday. - And hours?
336 hours.
Mystifying.
'Course, that's 20,160 minutes.
1,209,600 seconds.
Ray?
Ray!
Yeah.
I'll see you soon.
Yeah. One for bad, two for good.
Bet two for good.
Yeah.
Three minutes to Wapner.
You'll make it.