425 MCU Lolita as the car blows a tire and throws her. An explosive sound. (2:04:26)

Lolita grips the seat.

426 MCU Humbert gripping the wheel of the car. (2:04:27)

427 LS the car out of control. (2:04:28)

428 MCU Humbert and Lolita in the car. (2:04:31)

Humbert manages to stop the car.

LOLITA: I told you not to drive so fast!

HUMBERT: Leave me alone, can't you!

LOLITA: Don't talk to me that way.

HUMBERT: Do you think I wanted to have a blow out?

LOLITA: Hey, look, all the nines changed to the next thousand.

HUMBERT: Shhh! There it is.

LOLITA: What?

HUMBERT: The car. Don't you recognize it now?

LOLITA: No.

HUMBERT: Don't look now. I don't want him to think that we've seen him. What's he stopping for?

LOLITA: Maybe he's going to help us.

HUMBERT: He can't help us, stopping way back there like that. It can't be the police because if they were the police they'd just drive up beside us and start writing a ticket.

LOLITA: But the police...

HUMBERT: Shut up! I am trying to think. Maybe it's a special kind of police who are just supposed to follow people.

LOLITA: Yeah, like the vice squad! Scaddy, wow!

HUMBERT: Be quiet! Stop talking! We've got to think about this. What are we going to do?

LOLITA: Am I being quiet enough?

HUMBERT: Don't try to be clever, please. I've got a terrific pain in my arm.

LOLITA: Really?

HUMBERT: I don't know what I did to it.

LOLITA: Well, what are we going to do now?

HUMBERT: Well, I'll tell you what I'm going to do, I'm going to get out of this car and walk down the road and speak to him face to face. I'm going to say, "What's all this about? What are you doing?"

LOLITA: I wouldn't do that.

HUMBERT: Why not?

LOLITA: Well, it might be dangerous.

HUMBERT: My arm is killing me. I don't seem to be able to breathe properly.

LOLITA: It's probably just gas pains.

HUMBERT: Yeah, it must be that.

LOLITA: Maybe you ought to see a doctor in the next town?

HUMBERT: No, I'll be all right. It's probably just something I ate.

LOLITA: Wait a minute. I once read in a "Reader's Digest" that this is the way heart attacks start.

HUMBERT: Shut up, will you?

429 MCU Lolita. (2:06:27)

LOLITA: Shut up yourself! I'm tired of hearing about your moans and groans. If you want to know something, I feel pretty lousy myself.

We hear the car behind them start its engine.

430 MCU Humbert and Lolita. (2:06:36)

HUMBERT: He's moving.

LOLITA: Big deal!

HUMBERT: He's turning around. He's going away.

HUMBERT: Are you feeling cold?

LOLITA: Yeah. I feel all achy. I bet I'm getting the Asiatic flu.

HUMBERT: Here, let me feel your head.

431 Humbert feels her head. (2:07:11)

HUMBERT: We make a fine pair, don't we? You just relax and stretch out on the seat, if that will make you feel better and I'll see what I can do about changing the tire.

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Nabokov as Compared to Kubrick

In the screenplay, after the pair leave Beardsley (which is in Idaho rather than Ohio) Humbert's intention is that they make their way to Mexico via Arizona. Quilty is revealed in the screenplay as following Humbert but takes care to be a "fleet shadow, a ghostly predator...now overtaking...now awaiting his passage." After a description of their travel, the next dialogue that Nabokov provides concerns Humbert staring in the rear view mirror and remarking on how he is certain they are being followed.

The book has the narrative, retained in the film, "The brakes were relined, the waterpipes unclogged, the valves ground and a number of other repairs and improvements were paid for by not very mechanically-minded but prudent papa Humbert...We had promised Beardsley School...that we would be back as soon as my Hollywood engagement came to an end (inventive Humbert was to be, I hinted, chief consultant in the production of a film dealing with 'existentialism,' still a hot thing at the time)."

When they reach the Midwest, at a gas station "under the sign of Pegasus" Humbert briefly loses Lolita but she eventually appears having gone to use the bathroom elsewhere.

Eventually Humbert realizes they are being followed by a red car. He stops for sunglasses and sees a man approach Lolita, who has remained in the car, to speak with her. The man resembles Gustave Trapp, a cousin of his father's from Switzerland. It's after this Humbert and Lolita have the conversation about the man wanting a map. his is followed by the "What did that man ask you?" conversation in which Lolita says he had lost his way and wanted a map. Humbert says he doesn't know if Lolita is lying or insane but they are being followed, he believes by a cop. Lolita notes the odometer's nines having changed to the next thousand. When she was a child, she says, "I used to think they'd stop and go back to nines, if only my mother agreed to put the car in reverse." Humbert realilzes this is the only time she had spoken spontaneously of her pre-Humbertian childhood. They continue being followed as the days proceed. They pass through Soda, pop 1001.

Having had mail forwarded to Wace and Elphinstone (predetermined destinations) Lolita receives a letter from Mona talking about the play.

As expected, poor Poet stumbled in Scene III when arriving at the bit of French nonsense. Remember? Ne manque pas de dire a ton amant, Chimene, comme le lac est beau car il faut qu'il t'y mene. Lucky beau! Qu'il t'y--What a tongue-twister!

Humbert fears he has lost Lolita in Wace when she disappears for a period of time.

Like a Proteus, the person following them changes from one automobile to another.

They are in Colorado, between Snow and Champion, "the gray mist behind us" deepening and concentrating into a Dominion Blue sedan, when they suddenly "slither" from side to side with a flat. The other car stops some yards behind. Humbert gets out to change the tire, and the car begins to roll slowly away, whether by accident or Lolita's design he doesn't know. He catches up with the car, which Lolita says rolled on its own and that she got it under control. During this, the person following pulls a U-turn and drives away.

There are more pages about tennis and swimming pools and peculiar things happening. It is outside Elphinstone that, followed still by the shadow car, Lolita says she feels sick, she's dying and wants to stop at a motel at Elphinstone, which was one of her desired destinations. There's no talk of her feeling cold, of the Asiatic flu. There's no blow-out. There's no car following that then turns around. Humbert takes Lolita's temperature and, realizing she's ill, takes her to the hospital.

In the film, the gas station scene is compressed with the earlier one in which Lolita speaks with a man (Quilty) who wants directions. In the film, we have already seen in shot 411 the white car with the dark body is already following, and as it is the one that will pull up behind them when they have a flat, it doesn't seem likely that Quilty would have changed from one car to another and then back to the first car. It seems then, in the film, that Humbert's suspicions over the car at the gas station, that it is the individual following them, would be mistaken. In fact, the car with the white hood and dark body appears to have perhaps continued down the road when they pulled into the gas station.

The 1001 population of Soda, in the book is clearly intended to play off the odometer's all 9s rolling over.

Trapp, in the book, is a play off the idea of a "trap" as well as the Swiss Trapp family singers. The uncle is believed to have been seen at the hotel as well and in the book Humbert states he shares Humbert's proclivities. One time, Humbert believes he sees Gustave watching when Lolita is playing tennis. He's convinced it must be Gustave and his reaction is one of nausea to the point of throwing up. No history is related about Gustave other than the fact he was married to Humbert's father's sister, but obviously a troubling history appears to exist between the two or else Humbert would not be made so physically ill by him, and would not have fixated on the conclusion that it must be Gustave following them. One is led to wonder if Humbert had been molested by Gustave as a child.

I've read discussion on whether or not Humbert's uncle, Ruka, on his mother's side may have been a pedophile, this based on a passage in Nabokov's Speak, Memory.

When I was eight or nine, he would invariably take me upon his knee after lunch and (while two young footmen were clearing the table in the empty dining room) fondle me, with crooning sounds and fancy endearments."

The fondling has been treated by some as referring to sexual abuse. But Nabokov speaks well of his uncle and writes of him lovingly. Perhaps far too much is read into his description of fondling. Yet, from Look at The Harlequins!...

There was also a child of ten or so cradling a large yellow beach ball in her bare arms. She seemed to be wearing nothing bu a kind of frilly harness and a very short pleated skirt revealing her trim things. She was what in a later era amateurs were to call a "numphet." As she caught my glance, she gave me, over our sunny globe, a sweet lewd smile from under her auburn fringe.

"At eleven or twelve," said Iris, "I was as pretty as that French orphan. That's her grandmother all in black sitting on a spread Cannice-Matin with her knitting. I let smelle gentlemen fondle me. I played indecent games with Ivor--oh nothing very unusual, and anyway he now prefers dons to donnas--at least that's what he says."

And...

She had always had a crush on me, oh yes, ever since I used to mesmerize her in my lap, playing sweet Uncle Gasper, muffling every other line, and now all had come back and she certainly wished to do something about it.

I'm loathe to read pellmell into fiction hints of the life of the author, but I too have wondered about Nabokov and if something happened with his uncle that pursued him and made him wish to understand it.

Fondled is a word that Nabokov does use in a sexualized manner. It appears in Lolita before he even meets Lolita, when he believes he will be staying at the home of the McCoos who have a twelve-year-old daughter.

I...spent a fantastic night on the train, imagining in all possible detail the enigmatic nymphet I would coach in French and fondle in Humbertish.

The McCoos were relatives of a former employee of his Uncle Gustave. Instead he ended up with Charlotte Haze as the McCoo's home burned down.

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The DROME Ad

Here's the photo montage of Clare Quilty overlooking Humbert in Lolita's bedroom.

The shadows are long in shot 411 when we are shown Lolita and Humbert being followed. Something about those 3 long shadows in shot 411, when we are first shown Humbert and Lolita being followed resonates (to me) with those three cigarettes sticking out of the Drome pack.

Also making an appearance, with the old man on his cane, is the "What goes on three legs in the evening?" portion of the stock Oedipal riddle.

Nabokov makes so much about these Drome cigarettes in the book that it's difficult to imagine they are only an allusion to Camel cigarettes and there isn't anything else to them. All that I do know is that Kubrick makes parts of the DROME ad on Lolita's wall unreadable as far as we can't tell exactly what's going on visually, it's a collaged image, and we know that hidden within it is a visual reference to the faux psychologist who shows up at Humbert's at Beardsley and talks him into letting Lolita be in the school play. As the psychologist was hidden in the ad, I wouldn't be surprised to have a part of the ad hidden in this scene, such as with the 3 cigarettes.

Kubrick simply may be referring to the DROME ad in Lolita's bedroom just to signal that Quilty is in that car following Humbert.

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Followed! (Shots 411 and 412)

For further elaboration on locations that take place in the Black Hills and Badlands and have been located, see Unexpected Lolita Locations - Identifying the Black Hills Cafe and the Badlands of South Dakota (We Are Not in the Southwest). I have identified the Black Hills cafe shot as being in Hill City, South Dakota, shot and 411 as being in Scenic, South Dakota. I also have a section "114, Dr. Strangelove, and Lolita Collide in Scenic" which relates to CRM-114.

How to tackle this except to say, "Interesting thing and may warrant attention. But maybe not an interesting thing to some."

In the above linked post I deal with how shot 411, which occurs in Scenic, South Dakota, at Bombing Range Road, relates to Dr. Strangelove and CRM-114.

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The Asiatic Flu

Now to try to deal with Lolita's Asiatic flu, which isn't in the book, but it seems it would be connected with the TOKYO poster in Lolita's bedroom and perhaps Lolita's speaking of Quilty going by a certain "Oriental" philosophy. The TOKYO poster is an odd one as it shows what looks like the stereotypical (of the time) "Eskimo" (Inuit) standing atop the world. I'm not saying it's not a Japanese poster, it probably is, but I think we've got a couple of things going on here...

There is an easily overlooked section in the book where Humbert goes on an arctic expedition in Canada, which is a wasteland of "blankness and boredom". It was one of the only places where Humbert had no trouble with his obsession with nymphets for, as he wrote, "The plump, glossy little Eskimo girls with their fish smell, hideous raven hair and guinea pig faces, evoked even less desire in me than Dr. Johnson had. Nymphets do not occur in polar regions." Humbert's job was to record the "psychic reactions" of the team to their confinement but he gave this up due everyone's irritation with his questions. Later he learned the real purpose of the expedition was "hush-hush" but had been achieved.

The idea of the arctic is later returned to with the man Lolita marries having arctic blue eyes. Plus, Lolita and her husband, with the arctic blue eyes, are moving to Alaska.

Lolita has on her wall, in the film, a poster of the very type of child to whom Humbert would not be attracted. A curious Kubrick addition.

To continue on, in the TOKYO poster in the bedroom Kubrick has rather given us a glyph that is satisfied in the scene in which Lolita announces she has the Asiatic flu. We have Asia with TOKYO, the cold, artic north with the person (whether Inuit or Japanese) standing atop the world, and we have the hood wrapped around the face.

The TOKYO poster is recalled in the Badlands with Lolita (1) putting on her sweater as she's cold, (2) the hood wrapped up around her face just as the child in the poster has a hood around her face, (3) Lolita stating she believes she has the Asiatic flu, and (4) though Humbert and Lolita are in the desert, the brilliant white of the desert landscape through the car's windows could also be tied with the arctic as it such high contrast that it creates a brilliant white wasteland effect, as if is instead snow.

I'll first comment on the idea of inversion with the high contrast, which I won't cover in full here as I have already discussed it in the Killer's Kiss analysis.

In Cocteau's Orphee, Orpheus is a poet, which will be given as the reason he is able to cross from the world of the living into that of death, which is just another form of being. At the film's beginning, he is present at a cafe when a younger rising poet is killed by Death's motorcyclists. Death, disguised as a princess, had arrived with the younger poet and has him put in her car. Orpheus doesn't know yet that she is Death when she calls upon him to accompany her in her car, transporting the youth who Orpheus believes only to have been injured. She states she needs him as a witness. In the car, he realizes the youth is dead. After they are briefly stopped by a train, Death instructs her chauffeur to take the "usual route" to her mansion. It is at this point that the normal landscape viewed outside the window switches to a negative view.

After this, Cocteau continues the theme of the inversion in connection with entry into the underworld via a mirror in Orpheus' bedroom.

In Killer's Kiss, we have Davey's negative effect dream/nightmare from which he awakens to hear Gloria screaming as she is assaulted. This dream/nightmare anticipates Davey's descent into the warehouse area later to search for Gloria, who has been kidnapped.

We have a similar inversion with Davey jumping out the window at the warehouse.

The plot of Orpheus involves his rescuing his wife, Eurydice, from Death and the Underworld, and one can look at Davey's journey in Killer's Kiss as possessing some of the same elements, he having to rescue Gloria from Vincent.

I think Kubrick is using, with the high contrast Badlands, that almost look like arctic ice rather than the desert, this same inversion that signals the underworld descent. You will also notice that the numbers on the license plate are normally white on a dark background, and this is inverted in the Badlands so the numbers are dark on a white background, as if confirmation of the negative/positive inversion.

Who is doing the rescuing, as Orpheus? Is Humbert, as Orpheus, trying to rescue from the underworld his original love Annabel? Do we see this again when Humbert visits Lolita toward the film's end and we have certain themes from here repeated there?

As seen above, another version of the hooded fgure again appears in a calendar showing an ice skater at Lolita's house where she discusses with Humbert her moving to Alaska with Dick.

But the hood is not simply a hood. As Dick, in The Shining, lies in Miami watching news on the blizzard that has blanketed Colorado in Arctic conditions (isolating the Overlook), we have the paintings of the women whose faces are framed by large afros.

We have much the same in the choking poster that appear s to show the face of a choking child in the middle of an O.

Moving on to Eyes Wide Shut, at Rainbow Fashions we have the Lolita-esque girl discovered with two Japanese men (again the Asian tie in), one of whom wears a wig that frames the face in the same spherical fashion.

This black wig on the Japanese man in his red thong is rephrased with the woman in the raven wig who steps forward to redeem Bill.

What I pay attention to are very specific differences from the literature, which become themes throughout Kubrick's films. A thread of resemblance weaves through these things which suggests a unifying vision had for them. I cover this more in The Shining as we have this particular theme used again and again in that film.

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Humbert's Arm

In the book, Dick Schiller's friend, Bill, has only one arm, he having lost the other in WWII due to injury by a jagger. In neither the screenplay nor the book do we have Humbert suffering, perhaps, a minor heart attack, though he does have heart problems, and I would argue that we have folded into him this characteristic of Bill, who retains both arms in the film. The problematic left arm seems to have an association with Humbert being kicked in his right arm when Lolita is climbing into the rear seat as she feels cold and wants a sweater. It is after this, and his divulging they are being followed, when they have the blow-out, the noise of which one could compare to a gun shot.

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Licenses

I'm not a big one for playing the numbers game with Kubrick, with the exception of 114 (and its permutations), 237 and 42/24, because Kubrick makes a point of them. Such as the license plate of the ambulance that arrived to ferry dead Charlotte away was 42Q, thus a variation on the 242 that was the Haze house number and the number of the hotel room at the Enchanted Hunters Hotel.

Nabokov is known to have played number games in his writing, but I know nothing about that.

If I pay attention to the licenses here, it's to point out the black and white inversion that happens with the blow-out, not to try to figure out anything to do with the numbers.

It's difficult to tell anything about the license plates with long shots of the car in the supposed American southwest (South Dakota). Long shots of the car arriving at Beardsley we definitely have the dark 17459 plates.

The first time I'm able to read a plate number is with the arrival at Camp Climax. The license here is 2197.

The license plate number at Beardsley is different from Climax, which would be appropriate for license renewal (6 months have passed), and is the same as it will be when they stop for gas and Humbert goes to the rest room, but it is also the same as it will be at film's end though time has marched on by a couple of years.

The car, by the way, is a Ford Country Sedan, 1957 model.

The number is the same as at Beardsley and when Humbert visits Lolita at film's end.

We're given a clear view of the license plate of the car with which Lolita is talking at the gas station. All we can see is a number. 4304. I suppose one could pay some attention to this as it exhibits the same circularity of 242 but is not 242.

At film's end, again, the station wagon has the same license as at Beardsley and the gas station. But the fog light, observed in shots of the car done in England, is only on the car that we see James Mason exit. The bridge shot, that leads up to James Mason exiting the car at the Schillers', and which was filmed in New York, has the 17459 license. This is a number that is used both in shots made in America and England, so it's not a matter of, "Oh, that number is because it was in England and a different number was used in America". That's not the case. The Beardsley, gas station, and Schiller house scenes are all in England, but the below is a Rensselaer, New York shot and it uses the same license number.

With the blow-out, we have dark numbers on a white background. The numer is different as well but, as stated above, I'm more interested in the dark and light inversion.

Kubrick settles down low on that road and gives us a strategic look at the plate. It's a great effect and ensures we don't see who's actually doing the stunt driving in the car. But he does focus on that plate.

Why would the 17459 license plate, which was used in America, not be used in the blown tire shot?

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THE HOSPITAL

432 LS of hospital parking lot, Humbert baking into a parking place. (2:07:36)

433 MLS Hospital interior, Humbert entering with books and flowers. (2:07:41)

He passes by the front desk with a greeting, coughing.

HUMBERT: Good morning.

NURSE: Good morning, Mr. Humbert.

He continues on and runs into another nurse.

NURSE: Oh, good morning, Mr. Humbert. We seem to be going the same way. I was just about to give your daughter some medicine.

HUMBERT: How is she?

434 MLS Approaching Lolita's door. Number 3. (2:08:02)

NURSE: She's much better today. Her temperature's normal and her cough's gone.

435 MLS Lolita's room. (2:08:04)

NURSE: Here's your father, dear.

LOLITA: Hi!

HUMBERT: Hello.How are you feeling?

LOLITA: I feel fine.

HUMBERT: You're looking much better.

Lolita takes some medicine from the nurse.

LOLITA: What gruesome flowers. But thanks, anyway.

HUMBERT: Nurse, can you find some water to put these in, please?

NURSE (taking the flowers): Certainly.

HUMBERT (picking up an envelope from her tray): Have you been getting notes in the hospital?

NURSE (taking it): Excuse me. Does your father think that you get notes from my boyfriend?

HUMBERT (giving her the books): I just thought it might be a bill from the hospital or something.

LOLITA: Do you have to antagonize everybody?

HUMBERT: It was a perfectly reasonable question.

LOLITA: What's the matter with you anyway? You look kind of slimy.

HUMBERT: I'm afraid I'm coming down with a cold.

LOLITA: Caught it from me?

HUMBERT: I suppose.

436 MS Nurse returning. (2:08:59)

NURSE: Mr. Humbert, would you please move your car...

437 MLS Humbert and Lolita. (2:09:02)

NURSE (off screen): ...to the visitor's parking lot?

HUMBERT: I'm sorry. I was in a hurry and I didn't feel too bright this morning.

438 MS Nurse. (2:09:05)

NURSE: But you've parked it...

439 MLS Humbert and Lolita. (2:09:08)

NURSE (off screen): ...right next to a sign saying "Staff Only".

HUMBERT: All right. All right. I shall be leaving in a moment.

NURSE (off screen): I'm sorry...

440 MS Nurse. (2:09:11)

NURSE: ...but these are the hospital rules.

441 MLS Humbert and Lolita. (2:09:13)

LOLITA: Mary was only trying to be helpful.

HUMBERT: Yes, I know that sort of help. I've no doubt she's been just as helpful with you all the time.

LOLITA: She has.

HUMBERT: And I shouldn't wonder if you two have been exchanging the crummiest of confessions.

LOLITA: Come on now, let's not start that all up again.

HUMBERT: I brought you some books. My friend, Professor Baer (Behr), "The Romantic Poets", and here's something you might like, "The History of Dancing", and "A Portrait of the Artist as a Young Man" by James Joyce, you might like. (Picking up some sunglasses off the tray.) Whose are these? These are not yours.

LOLITA: Those are Mary's.

HUMBERT: And since when have nurses worn dark glasses when on duty?

LOLITA: There we go again!

HUMBERT: When did the doctor say that you can leave the hospital?

LOLITA: What?

HUMBERT: Are you going to read the magazine or talk to me for a while?

LOLITA: Sure.

HUMBERT: When did the doctor say that you can leave?

LOLITA: I think he wants me to stay another 48 hours.

HUMBERT: That's all right. We can start early on Tuesday morning and we'll make the Mexican border in three days, and that'll be the end of all those mysterious agents...

442 MS Nurse. (2:10:24)

HUMBERT (off screen): ...following us around.

NURSE: Mr. Humbert, I must...

443 MLS Humbert and Lolita. (2:10:26)

NURSE (off screen): ...ask you to move your car.

HUMBERT: I'm just leaving.

444 MS Nurse. (2:10:31)

445 MS Humbert. (2:10:33)

LOLITA: Goodbye.

446 MCU Lolita. (2:10:36)

Humbert leans over to kiss her. She draws away. He gives her a kiss on the cheek.

LOLITA: Might catch your cold.

HUMBERT: I shall stay in tonight and nurse my cold, so I shan't see you until tomorrow morning.

LOLITA: Bye-bye.

447 MLS Lolita and Humbert. (2:10:53)

He waves bye, she does so as well. He turns to leave as the screen fades to black.

455 LS Humbert entering the ward. (2:14:55)

KEAGY: Come back here, now. You can't go in there now, it's a hospital.

NURSE: Please, don't...

HUMBERT (grabbing her throat): Where have you put her?

ORDERLY (grabbing him): Get your hands off her!

HUMBERT: Where is she? Where is she?

Keagy and two orderlies struggle with Humbert as he tries to attack the nurse.

KEAGY: Hold him!

HUMBERT: Let go of me! Let go of me!

KEAGY: What do you think you're doing?

NURSE: No! Hold it!

HUMBERT: Where is she?

ANDRE: Easy, now,easy.

KEAGY: Sidney! Get a straightjacket.

456 MLS Humbert held by the orderlies. (2:15:12)

HUMBERT: All right. I'm calm.

NURSE: Doctor, this man must be psychotic. His stepdaughter was a patient in there and she left this evening in care of her uncle.

HUMBERT: Her uncle! Did you say "uncle"?

NURSE: Yes.

HUMBERT: Let me go!

KEAGY: Hold him!

457 MLS Humbert struggling with the orderlies. (2:15:22)

NURSE: Oh! Wait!

Largely inarticulate cries as Humbert continues fighting, the orderlies wrestling him to the floor.

KEAGY: Hold him now. Got him, Andre?

ANDRE: Yeah!

HUMBERT: All right. Let me go.

KEAGY: Now look, mister, you've caused quite a serious disturbance here. Now, hold it!

ANDRE: Easy.

KEAGY: Now, if you like, we'll call the police.

HUMBERT: The police! No, no, no. We don't need the police. It's quite all right.

KEAGY: All right. Let's get this business straight. This girl was officially discharged earlier tonight in the care of her uncle.

HUMBERT: If you say so.

KEAGY: Well, has she or hasn't...

458 MCU Humbert on the floor. (2:15:55)

KEAGY (off screen): ...she an uncle?

HUMBERT: All right, let's say she has an uncle.

KEAGY (off screen): What do you mean, "let's say she has an uncle"?

HUMBERT: All right, she has an uncle. Uncle Gus, yes, I remember now, he was going to pick her up here at the hospital. I forgot that.

KEAGY (off screen): You forgot?

HUMBERT: Yes, I forgot!

KEAGY (off screen): It's a strange thing to forget, isn't it?

HUMBERT: No, it's not so strange. You don't know my brother Gus. He's very easy to forget.

459 MLS The orderlies, Keagy and the nurse holding down Humbert. (2:16:20)

ANDRE: He's drunk, that's what's the matter with him.

HUMBERT: Yes. That's right, I've been drinking much too much. I have personal problems, you understand?

SIDNEY (with the straitjacket): Here it is, Doctor.

KEAGY: No, no, it's all right, Sidney.

460 MCU Humbert with the pen light in his eyes. (2:16:31)