Jane Austen in Manhattan (1980) - full transcript
Two teachers vie for the right to stage a play written by Jane Austen when she was twelve years old.
And now lot 577.
The manuscript ofSir Charles Grandison,
or “The Happy Man“ byjaneAusten.
And what should we say, $15,000 for this?
At$15,000. NOW bidding at 15,000.
- Sixteen.
- $16,000 -
- Seventeen.
- Now $17,000.
- Bidding at17,18,19...
- Eighteen.
$20,000 on the left.
At $20,000 now.
- One.
- Twenty-one. At 27. Twenty-two on the r/ght.
- $22,000 AtZZ.
- Three!
$23, 000 n0 w.
On the fiar right at 23. 24, 000.
$24, 000 now. At 24, 000.
- Five.
- Twenty-five, 26, 27,000.
$28, 000 now. At $28, 000.
Are we all through at 28, 000?
- 29,000.
- 29,000
- 30, 000.
- $30, 000.
- It'; up fiont at 30, 000. Next at 32,500.
- Five.
- At $35, 000.
- Five.
Now it's up front at $35,000.
At $35,000 now.
Thirty-five. $37,500 now.
- 37,000
- Forty
- $40,000 on my/efi'. At 42,500
- Forty-two, five.
Al' 42,500 Al' 42,500
- 45, 000.
- Forty-seven, five.
- 47,500 At 47,500
- 50,000.
$50, 000 now/s up fiom'.
B/dzfing at $50, 000.
It's up front at $50,000.
At 50,000. At $52,500.
On the lefi' at 52,500.
At52,500. At52,500.
- 55, 000.
- $5.6', 000 now.
It'; up fiont again at $5.6', 000.
At $55, 000.
At $5.6', 000. Are we all through?
At $55, 000.
Now, it'; up fiont at $551000.
Fairwarning, then, at $55,000.
$5.6', 000, 50/0'.
And now lot 578. Twenty-two letters
fiomjean Rhys t0 Ford Madox Fora'.
"Paddington. Mrs. A wber/y'; par/or.
"Enter Miss Byron dragged in
by Sir Hargra ve Pol/exfen...
“Mrs. Awberry and her two daughters.
Sir Hargrave brings Miss Byron a seat.“
“Miss Awberry goes to a closet
and takes out a long cloak.
Attempts to put it 'round Miss Byron.“
“But my dear young lady...
"think what a large fortune
Sir Hargra ve has got good...
“and he intends you nothing but marriage.
“Oh, Mrs. Awberry...
“doyou thinkl can marrya man
whom I always disliked...
“andnowhate?
"/5 not this yourhouse?
Can not you fiavormy escape?
"My dear madam, that is impossible
without detection.
“Sir Hargra ve is here, there...
“and everywhere, all around the room.
“My dear Mrs. Awberry...
“you shall ha ve all the money
in this purse...
if you will release me. ”
“Sir Hargrave bursts into the room.“
"Mrs. A wber/y
/ see you are not t0 be trusted with her.
"You are s0 tender/Hearted Ironic.
And you, madam -”
“He snatches the purse out of
her hand and fling; it 0n the ground
- He goes to the doorano' cal/s -”
- "Mr. Foot, we are ready
"Miss A wber/y you will be bridesmaid
if you please.
“Now, madam...
all your purses will not save you.“
All right.
Ariadne, what did I askyou to do?
Reco/lect.
It's an 18th-century kidnap scene.
Sir Hargra ve Pol/exén has kidnapped
Miss Harriet Byron...
who was on her way t0 a masquerade...
and now he 's brought her
to Mrs. A wber/y'; house...
and is trying to forcibly marry her.
Doesn 't mean anything toyou?
Right.
I would like you to think
ofa kidnap scene in your own life.
Someone kidnapping you, Afladne.
Forcibly marrying you.
Has anyone married you?
- Victor.
- Forcibly?
Did he kidnap you?
L ea ve her alone.
No one...
has ever kidnapped you?
N0 one?
Not e ver?
Has anyone kidnapped you?
Abducted you?
Forcibly taken you away?
You did.
I did?
Forcibly tookyou away from whom?
From Victor.
You did.
It was the dayhe went t0 auziition for Luce.
- Where's the audition?
- It's upstairs.
Great.
- Listen, will you?
Why don't you go ahead home and l'll meet you later, okay? - No.
- Yes. You go first.
- No.
- Come on.
- You go first.
L loveyou.
- See you later. Bye.
- Bye.
That was like our last time together...
Victor and me.
g,'
g,'
Do you come here a lot?
I used to.
Can you do it?
Why don't you want to stay?
Keep sol/zfizj/ing
the information you 're gathering
Know what you're doing.
Focus.
Now you're watching
a very, very small creature...
on the ground in front ofyou.
N0 w, ho we ver small that creature is...
it 's just become microscopic
/t is the smallest thing
you ever thought of
Be interested in what you're doing.
Hey sit do wn.
L et your interest be more intense.
Has someone come in?
Bil/y...
ask him to leave.
Pierre's very sensitive to people.
Now...
very ve/ys/o w/y without losing it,
start to grow
just like Alice in Wonderland.
Getting b/gger-
You are going to assume
mythological proportions.
Enormous.
Don't lose it.
What is your creature
most afraid of?
Don't answer! Don't answer. Don't look.
Just try and sense it
inside yourself.
Now, very, very slowly...
split apart.
Are you happy t0 be onyourown?
How does it fee/
t0 be split 290m your other half?
All right.
He likes you.
G,'
,'I sat and watched the rain last n/ght,'
,'Andnear t0 me the clouds appeared,'
,'And when I tried t0 touch their flare,'
,'Theydrewup 290m myreach,'
gjust as my/overrfid t0 me,'
,'When he saidgood-bye,'
,'It'; al/right, you had t0 g0,'
♪ I never wondered why so much ♪
♪ Or how a simple touch ♪
♪ Could be so beautiful ♪
♪ I see you felt it too ♪
JThis time, you needn't ask;
♪ I needn't answer;
♪ It's all right, itwon't be long ♪
♪ Whenever I get crazy ♪
♪ I look to see your smile ♪
♪ Ifeverl get lonely;
♪ It's only for a while ♪♪
G,'
tyfffltf]
Here, my dear. Here is your dress.
I hope it will fit. For/fit does not,
you will hard/y ha ve time t0 alter it.
We will take it upstairs,
if you please, and look at it.
For Mr. Reeves is coming,
and we shall ha ve some ofh/k rai/le/y.
Why are you here?
Here, my dear -
Here, my dear -
They wanted to rehearse.
You're smoking that stuffagain.
You know Pierre doesn't want us to.
Ariadne.
“Safe in Stjames Square, I hope.“
“Why, my dear, will you continue to think
yourselfso much indebted to him...
when he only did his duty?“
Ariadne, I want to go.
“But what must -“ Uh -
“But what must he have thought ofme
in such a dress?
Oh, this odious masquerade.“
“La, my dear.“
- We're in the middle.
- I'm tired.
I've been working all night!
“La, my dear, what does it signify
what he thinks?
“You will understand it all in time. Come.
Ifyour stomach pains you,
you had better go to bed again.“
“No, it does not pain me at all.
But how kind itwas...
of my cousin Reeves
to come and see me.“
Want to do it again?
- Okay.
- “And where is this brother ofyours to whom -“
I have to go.
Here. Take a breath.
You're crying-
You are.
Shut your eyes.
Go to sleep.
All right.
I have worn this, uh,
rather startling belt this morning...
to remind you all that the secret
ofprojection is in the diaphragm.
This is Liiiianna Zorska.
I can't answer the phone now,
but this machine will record your message.
Please wait for the tone
before speaking.
You have 30 seconds.
Here comes the tone. Bye.
Hi, uh, this is Victor Charlton.
I've got to talk to you.
It's about Ariadne.
Pierre and his gang
are keeping her from seeing me.
It's like a conspiracy.
I can't even get to her on the phone anymore
unless she wants money for that damn commune.
Then they let her see me.
I have written...
but Pierre is -
Look, I want to come and talk to you.
Let'; try/t fiom, "Oh what the hell, ”
and all the wa y down.
/'m not sure
what word /'m going down.
Uh-
J50 tell mewhy;
♪ So tell me why ♪♪
- 5/1/1. Okay
- Y-Yea h.
- Oh. Canyou- Can you all g0 that way?
- Whoa! Not too far. That's all right.
Can you all go that way
and then come back this way?
- Yeah.
- And then g0 back that way
Okay, now. Can you do -
Step together, step together, step, look.
And change your looks. You would look up.
You look in the other direction.
You look another direction.
You take another direction.
And then, if you a// just me/t away
fiom him afler that
Like you roll down to the floor.
You roll down to the floor.
And you roll down - Good. And -
- Lower.
- Straight down?
You know, I like that. Yeah.
Go straight down. Don't - Yeah.
Just straight down and pivot on yourself.
- Can you do that? That's it. Great.
- We still have to smoke cigarettes too.
Pull them up so-
Can we put a beat in the music?
G,'
Great.
- Good. Good.
- Uh, for the cigarette puff.
All right. So, you would go,
JWe have got so ♪
And ifyou look at them -
/t has to look like one energy
No space between anything through there.
- Now you want it straight-legged until...
- Yeah.
-;So tell me why;
- Right.
- Sorry.
- Thankyou.
,'Five, six, seven, eight,'
♪ So, what the hell ♪
Boom. Ah.
- ♪ You're looking swell ♪
- Boom.
J50 tell me;
JWhy should I care ♪♪
Two. Now, on this, can you
melt down t0 the floor?
Can you, like, me/t back that way?
And I can see him.
He's still looking at me.
He's still looking at me,
and I want him to-l want him to go away.
And I can feel -
I can feel how hotl am.
I can feel my heart beat.
I can feel it beating.
And I can see him looking at me!
Less force.
I can see how he's looking at me.
And I want to leave.
I wish the door would open.
I want to get out. There are people pushing.
- / can feel someone pushing -
- Victor.
- Pushing on myback
- Forgive me, Mariannejust one second.
I'll be right back.
Excuse me.
- Victor.
- Great timing.
- Oh, no.
- Do you have a second?
Uh, everyone, I'd like you to meet
a superb young actor, Victor Charlton.
Rememberl put his rave reviews
from Luce up on the board?
He's gonna be in Merle Dante's
new musical.
- When?
- Soon.
Too soon, I suspect.
Pierre's a devil.
We must help each other, Victor.
- We have to fight him.
- How?
He's the most destructive person
I've ever met, Pierre.
He used to stay here.
In this room.
I used to like having my favorite students
living with me, so we could...
be learning together all the time.
He was glad to move in.
He had nowhere else
to stay at the time.
So it suited him.
I never got it straight
where he'd been before.
Sometimes, he -
he said he 'd been in M072...
meditating in a cave in the Himalayas.
A-And then he Hsay
he 'd been in L 0s Ange/es...
working as a stuntman.
He said he wanted t0 /earn
eveg/thing lhad t0 teach him.
But then when the time came t0 work,
he was never there.
Ne veravai/ab/e.
He 'd only tum up
when it suited him.
And then eveg/thing had t0 stop.
Then and there.
JM Humming]
- Would you mind?
- No.
You have magic in your hands, Mother.
Hmm.
You're the only one I have left now.
Why did you let yourself
fall under the influence ofthat man?
You don't understand him, Kostya.
His books make me sick.
Hmm? Mediocre people have to
run down people with real talent.
Real talent?
I have more talent than the lot ofyou!
You and he and your-
your boring old ideas.
You 've taken over the arts.
You won 't tolerate or recognize anything...
excep t your 0 wn can ven tiona/ trivia.
You're decadent.
Get back to your lovely theater...
and your shabby, third-rate plays!
I have never acted
in shabby, third-rate plays.
You're a nobody.
A nothing.
No, don't cry.
No, no. You mustn't cry. You mustn't.
Oh, my darling child, forgive me.
Forgive your wicked mother. Forgive -
Where are you going?
Pierre, where are you going?
It's all right.
Don't be afraid.
Come on.
Come on. Stand up.
Don't be afraid.
Come on.
Easy.
I'm not taking you back
where you've been. Where you been, in jail?
Hospital? It's all right. It's all right.
It's okay. I'm not a doctor or nurse.
Come on.
There you go.
Who's this?
What's your name?
Billy.
Billy.
- The least he can do is take his shoes off.
- Shh.
He's going to work with us.
Oh, don't tell me he's an actor.
I know. You got him out of
one ofthose halfway houses.
We can use that.
He can't stay here.
/'ve had enough of Pierre.
Believe me. I'm on your side, Victor.
If' j
“l wish women were not quite so delicate...
with all their faints and fits.“
“Burn. Quick, quick.
The clergyman runs to the fire and cries out.
Oh, Sir Hargrave, you must buy me another.“
Uh-“l will, sir, and 20 more
ifyou will do the -“ ls that-
- “Business?
- “Business? Ah, yes. “ls the book burnt?“
How could you, George...
give it to him for his experiments?
She cou/dn? have been
more than 70 when she wrote it.
Pierre is far ahead ofhis time.
I don't thinkyou understand
Pierre's experiments.
No.
DO you?
I try to.
You've been brainwashed.
He's brainwashed you
the way he does everyone.
It's very hard to say no to Pierre.
I wonder why. He's not actually
very different from anyone else.
As a matter offact, he reminds me
of my Uncle Farkash who lived in Morocco.
He was always sending home
for more money.
Has Pierre been asking you
for more money?
Yes.
- And you?
- Mm-hmm.
And you?
- A little.
- Often.
What does he do with it?
God knows.
Very interesting soup.
- What is it, cabbage?
- Mmm.
Well, yes, ofcourse. It's Romanian.
This cabbage has been soaked in brine...
for two years in great vats.
But there was some thxhg e/se x}? it that Mother used t0 put.
- C orrlandert
- Something very special...
- Tastes like garlic t0 me.
Miss Fairbanks.
Fairbanks, do ask Ruthy what it was...
that veg/special something
that Mother put in this.
- Thankyou.
- I do this gazpacho with broccoli.
Have you ever tried that?
It's very interesting.
- You use a chicken base to begin with.
- Oh.
Then you sauté
the onions in butter.
- Use large chucks of the broccoli -
- I have nightmares...
literally nightmares...
that Pierre is stranglingjane Austen -
Miss Fairbanks -
You know -
You know what the worst of it is?
You are giving him foundation money.
Madam Zorska -
[ust Lil/ianna.
Zorski's been gone a long time.
- Oh.
- E ve/yone said I -
- Thankyou, Miss Fairbanks.
- l married him for his Polish name.
Couldn't have been for anything else.
It is our duty,
our duty and our policy...
to give our grants
for experimental work.
And also, mayl claim,
to be ourselves experimental.
L-lt's personal involvement.
I always told my students you gotta catch fire.
That's what I told 'em.
- There we are.
- We have to challenge them.
Lastyear we ga ve out grants
t0 the tune of more than $2 mil/ion.
That's not chopped liver.
- We give something more than money
- We 're giving ourselves.
Quince! Quince it was!
- Quinqe?
- Yes, qu/nce.
- Who would have thought?
- Let'; get back to the soup.
Yes, what of Mother's specialty soup?
She was an artist in the kitchen.
She considered it another form
ofself-expression.
George, you've inherited her taste
and her culture.
Oh.
And her money.
Are you sure...
you're using it the way
she would have wanted you to?
Well, Mother would have wanted me
to support the best things today.
Pierre...
and the Manhattan
Encounter Theater Laboratory?
I suppose Mother wouldn't
have understood, but, uh...
I find Pierre's experiments very interesting.
Give me the manuscript.
Give me the money.
Let me do the play the way
Jane herselfwould have wanted it.
G,'
JOh, save me, ladies
Oh, save me ♪
Urffnds]
- But, my dearyoung lady...
Sir Hargrave intends you
nothing but marriage.
Oh, madam, doyou think
I could marrya man...
whom I always disliked
and now hate?
Oh, think how he has tricked me.
To abduct me from the masquerade,
away from all my friends.
Oh, dear ladies, have pity on me.
- Save me!
- g,'
♪ Save me ♪
♪ See me safe ♪
JTake all I have ♪
♪ Can you look on and see
a poor creature so treated ♪
; And so ♪
♪ Betrayed ♪
♪ Betrayed ♪
♪ Speak for me ♪
♪ Plead for me ♪
J5peak;
♪ Plead for one ♪
♪ So basely used ♪
♪ Oh, plead ♪
♪ Plead for one ♪
♪ So basely ♪
♪ Used ♪♪
Um, Pierre said you had $120.
It's cold out there.
I want to buyjamie a pair ofgloves.
It's very cold driving in that cab.
Oh.
Billy.
- You know what it's for.
- I know it's for all ofus.
- Yeah.
- And it's for the laboratory.
Yeah, but what else?
To teach us to give.
Right.
Thank you, jenn y.
Mmm. Look at this.
- Hi, there.
- Hi.
- You should buy this for her.
- Oh, I don't want it.
I don't really want it.
I'll let you have it for 7.50.
Where did you get all that money?
Uh - Uh, some crap games.
- Why haven't you given it to Pierre?
- Crap games. Um - Um -
- jamie.
- I have been working, and I haven't seen him.
Those are the main reasons.
I think my mother's calling mejust a second.
I'll be right back.
- Jamie!
- What?
Are you sureJamie?
- Are you sure you didn't meet Pierre?
- I told you I didn't. I've been working.
- How much money do you have?
- I don't know. I haven't counted ityet.
- You better tell me.
- I'll tell you as soon as I've counted it, okay?
He needs it, jamie.
He needs it for all ofus.
- Yeah.
- jamie!
I mean, for Christ's sakes,
Sir Charles Grandison.
Jane Austen. What is this?
That's the text.
Yeah, okay.
Well, then where is the subtext?
Where's the supertext?
Where's my part?
Jamie, we're not learning parts.
We're learning-
We're learning-
What?
To be.
Jamie, why are we fighting?
I'm not fighting.
Not with you.
I can't bear it when we fight.
It's like we're not together.
We're still together.
I'll get it tomorrow.
G,'
♪ Stronger than the light ofday ♪
♪ Mylove is longer than
the darkest night ♪
JWOuld you leave me this way;
,'Now what can lsay,'
,'Staybeside me,'
♪ Longer than the span oftime ♪
♪ It could reach farther than ♪
; The wild birds fly;
,'Don 't be tell/Mme no,'
,'Don? be leavi/fme so,'
,'Staybeside me,'
Thankyou. Hello.
It's me, Ariadne.
Hi. How are you doing?
Can you give me $50 for Pierre?
- Again?
- Can you bring it here?
Okay.
Could I bring it somewhere else?
Do you want to meet me here or somewhere?
I don't care. Anywhere you say.
- Ariadne.
- It's difficult this week.
Maybe next time.
- Okay.
- Thankyou.
,'l/l/ith nothing but sorm w,'
Bye.
,'L anger than the darkest night,'
,'Would you leave me this way,'
♪ Now what can I say;
♪ Stay beside me ♪
,'Don 't saygood-bye,'
,'Don 't sayg00d-bye,','
l/mpe you will not be mkappointed
What?
You're like a sleepwalker.
Look at me!
Are you on anything?
You know you can't take it.
No.
Pierre would never allow it.
Ifyou can't get high from within yourself...
it's no good.
You are sleepwalking.
J-'IC/mral]
They're taking the text as animals.
Walk there.
This is the damnedest sensation
I ever felt.
I'd have thought that forjane Austen
you'd want something a little more stable.
But, ofcourse, Pierre,
I'm utterly wrong.
Oh, no, no. A formal drawing room.
Yes, the - the classical domesticity.
Yes, the discipline ofmanners,
the - the formal gesture.
It feels like a padded cell, doesn't it?
Yes! The 18th century was an age of reason,
ofoptimism.
The world has been analyzed...
and annotated an' nauseam.
And it's time to get out ofit.
And I mean, get out.
We 're not senzfing man into space.
We 're bringing space into man.
The chaos ofthe universe...
reflected in the human psyche.
Madness.
Tra vai/
- But janeAusten -
- [ane Austen was ne veraware -
But that's what we're here for,
to make her aware.
To bring her up to date. That's what you agreed
when you gave me the manuscript.
That we ought to bring
Jane Austen up to date.
This much up to date?
Lillianna's been talking to you.
She wants the manuscript.
She wants a grant.
She wants my actors.
She wants to do the play.
- Well -
- No, no.
I'm not going back to any ofthat.
You needn't think that.
Let's go.
I'm really working now, Victor.
I've really dedicated myself.
The way we always said we had to do
to get anywhere.
Ariadne, where have you got to?
I don 't believe in
your sort ofthea ter anymore.
All those roles have been played.
All that dialogue's been spoken.
I'm sick ofit.
- No.
- I'll go home then.
I'll followyou.
Catch us there.
I have got to talk to you.
You need not 5a y "but, ” Charlotte...
for you know we are to zfine
at one ha/fafler 4:00 today
Wh- Wh- Wh- What an odd girl is Charlotte!
I believe she likes you,
though she won 't own it.
She is the happymezfium...
between gr-gr-gr-gr-gra vity...
and 0 ver-l/ve/iness.
What a live/y coup/e they are.
Charlie, hold your tongue.
“And where have you been to,
my dear Caroline?“
“Only shopping!"
"But, Charlotte,
where /s Miss B. P”
"Ve/ysafi m her own room. ”
"/ belie ve it is because L 0m' G.
a/ways comes about at that time. ”
"Yes, she is s0 sorry t0 see
her poor Charlotte plagued s0. ”
Right.
- Hi. You're Victor Charlton.
- Yes.
- L sawyou in Luce.
- Oh.
- It's good. You were good.
- Thankyou. Thanks.
- Cigarette?
- Sure.
/ a/ways send away when she gapes.
- Are you a member ofthis company?
- I hope she does not gape t0 us!
You belong t0 this group?
- Yeah.
- Ohh, creature!
You kno w her?
She's my wife.
Did you know she was married?
Well, she's with Katya.
Um-
Um, pe - people change around a lot...
I guess.
I - I mean you come to expect it.
Not me.
I've known her for a long time.
We used to find o/o' clothes
in herattic and dress up and act, you kno w?
One ofus would bang around
on the piano...
and the other would orate.
We both were very good
at passionate speeches.
When she turned 18, we got on a bus
and came to New York City.
Took us four days to get here.
And when we final/y arrived
we got married
She's so intense.
She's very ardent.
And the way she is about this now
she used to be about me.
I don't understand what she's doing. I -
How valuable is this?
La, Lady L.
You are so afraid
I shall not take care of her.
She always encouraged me
t0 do s0 much more than /'m doing
And I actually thought
we had something to contribute...
to the theater together.
Whatevershe does, it'; 700 %
I mean, she doesn't hold back on anything.
And I keep thinking
how she used to be that way with me.
At least I've stopped hoping that
that will ever be again.
But I have to see her.
Listen, it was nice to meet you. Thanks.
Good luck.
Yo, Victor.
Let me give you a ride.
This is my cab.
Yeah, I drive a cab.
- Okay.
- Because, listen, I gotta talk to you.
It's about something important.
It's important to me anyway.
- Where are you going?
- /'m taking him uptown.
In the middle of rehearsal?
Listemjenny, I need to talk to him.
I need a break.
- / want t0 work.
- But you are working.
- You're the clergyman. You're Mr. Foot.
- Oh, thanks. Thanks very much.
Listen to this. Pierre wants me to play
this clergyman as a i 0-year-old.
- A 10-year-old clergyman. It's great.
- Listen, we gotta go back in.
I'm not going back in there!
He's waiting for us.
We're in the middle of rehearsal.
What's the matter with you?
Are you crazy? My God!
I -l should be auditioning.
Calling an agent. Ofcourse, the minute
they hearyou're with Pierre's group...
they get all freaked out.
I get freaked out myself.
I don't know ifl'm any good anymore.
Pierre says we're all stuck in cliches.
And that only he can release.
S 0, i t 's like being reborn.
Regenerated.
- Do you believe that?
- N0.
I don't believe I should be driving a cab...
and living the wayl do with nothing.
- Why do you stay with him?
- D0n 't you think lask myself that question?
Why-Why do I staywith him?
What am I learning?
“Change your character,“ he says.
He says, “Change your soul.“
I haven't changed.
I'm not a better person.
Well, sometimes you 've got
t0 become worse in order t0 become better.
Listen.
I'm finished with him.
I'm through.
WelLJamie...
just take me back.
Okay.
Um -
Uh, you know why he limps, don't you?
It's his split hoof.
{Laughing}
- Whose?
Pierre 'sl Did you hear that one?
You shouldn't talk about him like that.
Have fun.
No, thanks.
What am I gonna do?
[am/e, there is someone
whoH/ike to work with you.
You know, Lillianna is trying to do her own
production of Sir Char/es Grandson.
She's gonna take it away from Pierre?
[enn y won 't lea ve him.
She is crazy.
They all are.
He has that effect on people.
You know something?
I think I'm crazy too.
You decide.
Okay, you know where I'm staying?
Where?
Michael's loft.
- And the number?
- 431-5825.
Let goJenny-
Let go.
Utter rubbish and nonsense.
You know he's right.
One has to have vision.
You've got lots ofvision.
George, you bought the manuscript.
And haven't we talked about
all the wonderful things we're gonna do with it?
Yes, but when I'm with him,
I believe everything he says.
And I want to do what he says.
I'm convinced that he's right.
And then afterwards it's like you say...
utter rubbish and nonsense.
When I was small...
Mother and I used to go
to a seaside place in Belgium.
Mother felt very comfortable there.
She would read her book,
and I would play in the sand.
And one year, there was a bigger boy.
And he asked to help me
with my sand castle.
And he built itwith me.
And I liked ita lot.
It was much better
than anything I ever made.
And then he did a very funny thing.
He- Hejumped all over
the sand castle...
we had spent so much time
and trouble building.
He- Hejumped on it
with two feet...
and trampled it down.
And when I cried, he laughed.
And what did your mother say?
Oh, she was deep into her book.
She was reading Henryjames that year.
And then the next day, he came again.
And you know what happened?
I let him playwith my sand castle again.
And then he did the exact same thing.
The exact same thing happened.
And then he came every day.
And every day I waited for him.
And every dayl waited
for him tojump on it.
And every day he did.
And every dayl cried.
And then one day, Mother noticed.
And she said, “What's the matter?“
And he said, “Why don't you tell her?“
Butl didn't.
Ijust said, “We're playing, Mother.“
And she - she went back
to The Golden Bowl
Oh, no, Lillianna.
I'm getting much too fat.
0h, all right.
You should've told your mother
about that boy.
- She'd have helped you.
- l know.
- Will you promise me something?
- Ofcourse, Lillianna.
Tell me, what is it?
What?
That you'll let me helpyou
fight those bigger boys.
When theyjump all over my sand castles?
Or whatever wicked thing they do.
G,'
♪ So you are too
tenderhearted with her ♪
♪ Leave the room, madam
Leave her to me, I say;
♪ Oh, pray deliver me ♪
; Soyou have killed me I hope;
Leave her with me.
♪ Oh, pray deliver me ♪
♪ Sweet and ever adorable ♪
♪ Your very terror ♪
Jls beautiful ♪
JYOu shall be mine;
JYOu shall be mine;
JYOur fate is determined ♪
♪ I've won you from my rivals ♪
; You're mine ♪
JMine;
JMine;
JMine;
JAII your fits and faints
shall never save you ♪
♪ No, they shall not ♪
♪ Shall not, shall not ♪
♪ Shall not ♪
♪ Madamyou shall be mine;
♪ Give me your
Give me your hand ♪
Jl will be paid forall my pains;
JYou cannot fly, you cannot fly
You cannot ♪
JYOu shall be mine;
JYOu shall be mine;
JYOur fate is determined ♪
♪ Your friends cannot save you ♪
♪ They cannot, cannot ♪
JCannot;
JCannot;
♪ Madamyou shall be mine;
♪ Give me your
Give me your hand ♪
♪ Give me your hand ♪♪
Yes?
Lil/ianna.
Ariadne.
Excuse me.
Thankyou.
I love your hair.
It looked so wonderful
in 77s a Pity
- ltwas awig.
- ltwas awig? Hmm.
Itsuited you.
Oh, I could make something ofyou,
ifonlyyou'd let me.
You need training desperately.
And instead, Pierre is ruining you.
And for what?
To try to fityou into his theories.
Ifonlyyou'd listen to me, darling.
You know howl see you?
As one ofthose Russian girls.
You have dreams,
beautiful dreams oflove.
Victor!
Congratulations.
I haven't seen the show,
but everybody tells me how great it is.
- Really.
- Thankyou.
- Now, what are you doing down here?
- Waiting.
- You waiting for Ariadne?
- Yes.
Well, come on up.
Don't wait down here in the cold.
Pierre will use you...
and he'll be finished with you.
That's what it all comes to.
The experiments, the encounters,
the laboratories.
When he's tired ofit all,
he'll take off.
Lillianna, what a surprise!
To what do we owe
the pleasure ofthis visit?
My, oh, my.
You look wonderful.
Radiant.
Younger and even more beautiful
than I remember.
Mmm.
You've come to take
little Ariadne away, haven't you?
Hmm.
You're right.
This is not a place for her, no.
You don't interfere.
You don't come between them.
I'm telling her to go.
- Ifyou try to keep them apart -
- I'll even help her pack.
Gregory-
Come with me.
- Don't you want to?
- I can't.
Why?
My hair's wet.
It's not personal.
Ifthat's what I was interested in,
why should I have left?
I wouldn't ever-
I mean, that way.
What do you mean,
“She took offwith Victor“?
Why would she do that?
Where did they go?
Didn 't she lea ve a telephone number
or an address or anything?
Well, she must have said something.
She must have.
Listen.
Fritz, please tell me.
She wouldn't leave
without saying anything.
Come on!
Why don't you tell me?
Come 0n, damn it!
Don't play so damn dumb, Billy.
You stupid creep!
They're all the same.
just like my mother.
- Where is she?
- Dead.
The whole dramatic first part.
You roll that in.
You gotta make a big contrast
when you go into the second thing...
- when it gets into this pseudo-vaudeville-type sound.
- Yeah, okay.
50290m that real crisp -
into the -
♪ Now and then we get together;
♪ Friends are like the weather ofthe soul ♪
♪ Changing from hot to cold ♪
♪ Summer, autumn, winter, spring ♪
JAII I wanna do is sing oflove;
JAgain and again ♪
♪ So here ♪
JWe are;
JAgain;
Tyfffltf]
6000f that'; it. Got it.
Pierre says keep it.
He says you andjamie will need it.
Pierre 5a ys you should g0 too.
I'm not interested in
working with Lillianna.
I tried t0 g0 away once...
'cause I was sick ofeverything.
Cooking in the restaurant.
New York, all that.
So I joined this other company
and we went to L.A.
“La-la.“
Yeah, they were doing the Oresteia.
And they paid me.
And I couldn't stand it.
Sol came back.
I mean, to Pierre.
I thought we weren't supposed
to have personal attachments.
Here.
Keepit
You've gotta get away from him.
You gotta get away from there.
Jamie, I'm working.
I'm totallyinvolved.
Who you with, him or me?
Listen, baby, I don't want my girl in bed
with me thinking about Pierre all the time.
I'm not thinking about Pierre.
Really.
Yeah, but he wants you to.
And I don't blame him. No, I don't.
But he's gotta have
a person all the time...
all ofthe person.
And I'm not gonna give him me.
And I'm not gonna give him you.
"Okay?
_ Okay» Okay
You wanna get your stuff
and come on over to Michael's?
I don't mean now.
,'lsg w you _
Your mountams were call/mg,'
,'Here am I bound t0 LA.,'
,'T0 LA,'
JM Ends]
I'm sure, so sure.
You know...
you could be a great dramatic actress.
I can see it in your face, here and there.
It was you who made her
go back to Victor.
It was you.
It was you.
You have a strong head.
And a heart...
that's much too passionate, Katya.
Ifyou don't look out...
you'll be in bad trouble.
You'll lose everything.
You'll drown.
What month were you born in?
You don't need to tell me.
I know it's the same as mine.
It couldn't be anything else.
Same sign...
same heart, Katya.
We belong together.
Mm-mmm.
You'll see.
I can't pretend
that I wasn't like you...
once upon a time.
Just the same, Katya.
Sol know all about it, unfortunately.
That's the one thing Pierre taught me:
never to care too much
for one single person.
Excuse me.
♪ Oh, what the hell ♪
; You're looking swell ♪
♪ So tell me why should I care ♪
JWe have got so much to share ♪
♪ Sometimes it doesn't seem fair ♪
♪ Every now and then
we get together ♪
♪ Friends are like the weather ofthe soul ♪
♪ Changing from hot to cold ♪
♪ Summer, autumn, winter, spring ♪
JAII I wanna do is sing oflove;
JAgain and again ♪
♪ So here ♪
JWe are;
JAgain;
tyfffltf]
Ah, Victor, here it is.
“At what point does frivolity
transform itselfinto art?
It is reached in Victor Charlton's
performance in Here WeAreAga/n. ”
That's wonderful, Victor.
- But why frivolity?
- It goes on.
“It is not generally realized that on
the stage, the more frothy the surface...
“the more solid the foundation...
“that unless they are
supported on iron girders...
our butterflies' wings will break.“
Wonderful It'; immortal prose.
What does it mean?
I have a flair
for dramatic structure...
butl have difficulty
with the dialogue.
You can always get
some writer to fix it up foryou.
He came 290m San Francisco
with his who/e fiami/y
Sister, brother-in-law, and all ofthem.
Bigjewish family.
- It folded after two nights.
- l loved it.
The thing is, they fix up
their dressing room for pictures.
Mai/grams and things.
Then they ha ve t0 take them all down.
Hi, how are you? Ariadne.
Katya's outside.
Well, how doyou like
working with Lillianna?
- It's great.
- Wonderful.
Great.
I have to askyou both a favor.
Really, a great favor.
The committee wanted to see my play
to decide about the grant.
And l'mjust gonna
have to have both ofyou.
I can't start with new actors now.
You'll have to come.
What about Lillianna?
Ah, yes. Lillianna.
- What a shame.
- She used to give quite good parties too.
- Excuse me.
- Ah, Pierre.
- George, how are you?
- How's our project coming?
We can't say no, jamie.
Not to him.
Why frivolity?
Would somebody explain that to me?
Isn't he cute? No, but seriously...
The thing about it
that I didn't understand...
was the complete lack ofiogic that was
in the damn thing from beginning to end.
All set?
You go ahead.
I'll be there.
- I'll come later.
- Ariadne.
I promise. Go ahead.
Go on.
Don't torment me, Boris.
I'm just an ordinary woman.
Am I really so old and ugly...
that you don't mind speaking to me
about other women?
I musfve gone mad, but you...
you're the last page of my life...
myjoy. my happiness.
If you lea ve me, even for an hour,
/ shal/go out of m y mind
My beautiful, wonderful man.
My master.
- Someone might come in.
- Let them.
I'm not ash -
Billy, where'd you get that?
- Did you steal it?
- Damn you, Bil/y!
Lunatic! Get out of my house.
L unatic/ Get out!
Come on, Billy. Come on.
Come on now. You're not hurt.
A// nght? L ook,
nobody'; gonna hurt you.
The work means nothing to you?
After everything we've done together?
You're not serious.
Get out, both ofyou!
Get out of here.
Come on, Billy.
All right, get out.
Good. Suits me fine.
I've had enough of both ofyou.
Just leave me alone.
The mistakel made was
to thinkyou cared about all this.
You never did.
Yes, I did... once, a lot.
I guess I sort ofgrew out ofit. I'd like
you to come to my dress rehearsal.
You're planning a dress rehearsal?
You sure you'll have all your actors?
You know, I get the feeling...
that George and the committee would really
like us to collaborate on thejane Austen.
You and I can't work together.
We could.
Why not, ifyou were willing?
That's finished.
- Good night.
- Good night.
Let's go.
Go ahead.
Go around again.
Five minutes.
Why don't you come back?
Stand up.
Come here.
Being with Victor has changed you.
All the work we did together.
It's all gone.
Can't I talk to her
for five minutes alone?
Yeah, sure.
No.
We all used to be together.
It - It was perfect.
All right.
Supposing you do come back.
That means no more -
no more first nights.
No more Lillianna.
No more Victor...
anything-
As a matter offact, no more Ariadne.
It'sjust one big negative, you see.
That's all.
That's all I have to offer.
Why don't you take her back home?
Where is she?
Oh, Mrs. Awberry.
Doyou thinkl could marrya man
whom I always disliked and now hate?
Is not this your house?
Cannot you favor my escape?
Oh, my dear madam.
That is impossible without detection.
And you kno w Sir Hargra ves is here...
and there...
and everywhere.
My dear Mrs. Awberry.
You shall have
all the money in this purse.
Ifyou will release me.
Mrs. Awberry, I see you
cannot be trusted with her.
You are so tenderhearted.
And you, my dear.
Ha!
♪ Leave the room, madam
Leave her to me, I say;
♪ Oh, pray deliver me ♪♪
I will see ifl cannot reason
with this perverse girl.
Here, Deb and Sally, come out.
Oh, do not leave me alone with him.
Let me go out too.
No, no, no!
No, no, no!
It's my sand castle all over again
being stepped on.
Bring some water directly.
- Sol hope you have killed me at last.
- Oh.
I think we'll have to review
our entire policy.
How can wejustify our position?
Well, we must respect his originality.
Yes, but the manuscript,
the manuscript.
What about respect for the manuscript?
No, I thankyou.
I want nothing that can give me life.
Well, then, Mrs. Awberry.
You had better get out
the black cloak, then.
It's 4:00.
And she ma y as well
zfie in my house as in yours.
Shall I bring the chaflot, sir?
If you please, madam.
I will put it on, Mrs. Awberry...
ifshe will not let you.
,'0h, prayde/iverme,'
♪ Sweet and ever adorable ♪
♪ Your very terror ♪
Jls beautiful ♪
,'You shall be mine,'
,'You shall be mine,'
,'Your fiate is determined,'
,'/'ve wonyou 290m myr/va/s,'
,'Y0u're mine, mine,'
Mrs. Awberry.
- Will you help me lead her downstairs?
- Yes, sir.
,'Shall neversave you
N0, theysha/lnot,'
,'Shall not, shall not,'
,'Sha/lnot,'
,'Madam, you shall be mine,','
Can I be ofany service, sir?
You...
may hold the candle.
You don't even know where you're going.
You haven't even asked.
You're not supposed to ask.
just follow.
I mean, once you've found someone.
Do you want me to come with you?
Well, if-
lfyou need anything,
you know, money or anything.
And ifyou need me...
I'll come.
Iwill.
Whoa.
Hasn't he told you anything?
No use asking you, I guess.
- What about you?
- He'sjoining Lillianna.
Well, he's the only one
with any sense around here.
Lillianna's got the grant.
She's got the play. She wants us.
Why shouldn't we go?
I can't.
Why not?
I'm not going on with Pierre.
Fmjoining Lillianna.
She wants both of us.
Would you leave without me?
- Would you?
- Hey Afladne.
Would you, Ariadne?
Hey-
Send it all to Lillianna.
H0 w do you spell "L il/ianna ”?
Can I go with you?
I'd likeyou to go with Lillianna.
What's her last name?
Zorska.
"Z",
Z-O-R -
-
_ Na “R,,
It'; not two "L ms?
- Okay okay okay
_ R_l
The manuscript ofSir Charles Grandison,
or “The Happy Man“ byjaneAusten.
And what should we say, $15,000 for this?
At$15,000. NOW bidding at 15,000.
- Sixteen.
- $16,000 -
- Seventeen.
- Now $17,000.
- Bidding at17,18,19...
- Eighteen.
$20,000 on the left.
At $20,000 now.
- One.
- Twenty-one. At 27. Twenty-two on the r/ght.
- $22,000 AtZZ.
- Three!
$23, 000 n0 w.
On the fiar right at 23. 24, 000.
$24, 000 now. At 24, 000.
- Five.
- Twenty-five, 26, 27,000.
$28, 000 now. At $28, 000.
Are we all through at 28, 000?
- 29,000.
- 29,000
- 30, 000.
- $30, 000.
- It'; up fiont at 30, 000. Next at 32,500.
- Five.
- At $35, 000.
- Five.
Now it's up front at $35,000.
At $35,000 now.
Thirty-five. $37,500 now.
- 37,000
- Forty
- $40,000 on my/efi'. At 42,500
- Forty-two, five.
Al' 42,500 Al' 42,500
- 45, 000.
- Forty-seven, five.
- 47,500 At 47,500
- 50,000.
$50, 000 now/s up fiom'.
B/dzfing at $50, 000.
It's up front at $50,000.
At 50,000. At $52,500.
On the lefi' at 52,500.
At52,500. At52,500.
- 55, 000.
- $5.6', 000 now.
It'; up fiont again at $5.6', 000.
At $55, 000.
At $5.6', 000. Are we all through?
At $55, 000.
Now, it'; up fiont at $551000.
Fairwarning, then, at $55,000.
$5.6', 000, 50/0'.
And now lot 578. Twenty-two letters
fiomjean Rhys t0 Ford Madox Fora'.
"Paddington. Mrs. A wber/y'; par/or.
"Enter Miss Byron dragged in
by Sir Hargra ve Pol/exfen...
“Mrs. Awberry and her two daughters.
Sir Hargrave brings Miss Byron a seat.“
“Miss Awberry goes to a closet
and takes out a long cloak.
Attempts to put it 'round Miss Byron.“
“But my dear young lady...
"think what a large fortune
Sir Hargra ve has got good...
“and he intends you nothing but marriage.
“Oh, Mrs. Awberry...
“doyou thinkl can marrya man
whom I always disliked...
“andnowhate?
"/5 not this yourhouse?
Can not you fiavormy escape?
"My dear madam, that is impossible
without detection.
“Sir Hargra ve is here, there...
“and everywhere, all around the room.
“My dear Mrs. Awberry...
“you shall ha ve all the money
in this purse...
if you will release me. ”
“Sir Hargrave bursts into the room.“
"Mrs. A wber/y
/ see you are not t0 be trusted with her.
"You are s0 tender/Hearted Ironic.
And you, madam -”
“He snatches the purse out of
her hand and fling; it 0n the ground
- He goes to the doorano' cal/s -”
- "Mr. Foot, we are ready
"Miss A wber/y you will be bridesmaid
if you please.
“Now, madam...
all your purses will not save you.“
All right.
Ariadne, what did I askyou to do?
Reco/lect.
It's an 18th-century kidnap scene.
Sir Hargra ve Pol/exén has kidnapped
Miss Harriet Byron...
who was on her way t0 a masquerade...
and now he 's brought her
to Mrs. A wber/y'; house...
and is trying to forcibly marry her.
Doesn 't mean anything toyou?
Right.
I would like you to think
ofa kidnap scene in your own life.
Someone kidnapping you, Afladne.
Forcibly marrying you.
Has anyone married you?
- Victor.
- Forcibly?
Did he kidnap you?
L ea ve her alone.
No one...
has ever kidnapped you?
N0 one?
Not e ver?
Has anyone kidnapped you?
Abducted you?
Forcibly taken you away?
You did.
I did?
Forcibly tookyou away from whom?
From Victor.
You did.
It was the dayhe went t0 auziition for Luce.
- Where's the audition?
- It's upstairs.
Great.
- Listen, will you?
Why don't you go ahead home and l'll meet you later, okay? - No.
- Yes. You go first.
- No.
- Come on.
- You go first.
L loveyou.
- See you later. Bye.
- Bye.
That was like our last time together...
Victor and me.
g,'
g,'
Do you come here a lot?
I used to.
Can you do it?
Why don't you want to stay?
Keep sol/zfizj/ing
the information you 're gathering
Know what you're doing.
Focus.
Now you're watching
a very, very small creature...
on the ground in front ofyou.
N0 w, ho we ver small that creature is...
it 's just become microscopic
/t is the smallest thing
you ever thought of
Be interested in what you're doing.
Hey sit do wn.
L et your interest be more intense.
Has someone come in?
Bil/y...
ask him to leave.
Pierre's very sensitive to people.
Now...
very ve/ys/o w/y without losing it,
start to grow
just like Alice in Wonderland.
Getting b/gger-
You are going to assume
mythological proportions.
Enormous.
Don't lose it.
What is your creature
most afraid of?
Don't answer! Don't answer. Don't look.
Just try and sense it
inside yourself.
Now, very, very slowly...
split apart.
Are you happy t0 be onyourown?
How does it fee/
t0 be split 290m your other half?
All right.
He likes you.
G,'
,'I sat and watched the rain last n/ght,'
,'Andnear t0 me the clouds appeared,'
,'And when I tried t0 touch their flare,'
,'Theydrewup 290m myreach,'
gjust as my/overrfid t0 me,'
,'When he saidgood-bye,'
,'It'; al/right, you had t0 g0,'
♪ I never wondered why so much ♪
♪ Or how a simple touch ♪
♪ Could be so beautiful ♪
♪ I see you felt it too ♪
JThis time, you needn't ask;
♪ I needn't answer;
♪ It's all right, itwon't be long ♪
♪ Whenever I get crazy ♪
♪ I look to see your smile ♪
♪ Ifeverl get lonely;
♪ It's only for a while ♪♪
G,'
tyfffltf]
Here, my dear. Here is your dress.
I hope it will fit. For/fit does not,
you will hard/y ha ve time t0 alter it.
We will take it upstairs,
if you please, and look at it.
For Mr. Reeves is coming,
and we shall ha ve some ofh/k rai/le/y.
Why are you here?
Here, my dear -
Here, my dear -
They wanted to rehearse.
You're smoking that stuffagain.
You know Pierre doesn't want us to.
Ariadne.
“Safe in Stjames Square, I hope.“
“Why, my dear, will you continue to think
yourselfso much indebted to him...
when he only did his duty?“
Ariadne, I want to go.
“But what must -“ Uh -
“But what must he have thought ofme
in such a dress?
Oh, this odious masquerade.“
“La, my dear.“
- We're in the middle.
- I'm tired.
I've been working all night!
“La, my dear, what does it signify
what he thinks?
“You will understand it all in time. Come.
Ifyour stomach pains you,
you had better go to bed again.“
“No, it does not pain me at all.
But how kind itwas...
of my cousin Reeves
to come and see me.“
Want to do it again?
- Okay.
- “And where is this brother ofyours to whom -“
I have to go.
Here. Take a breath.
You're crying-
You are.
Shut your eyes.
Go to sleep.
All right.
I have worn this, uh,
rather startling belt this morning...
to remind you all that the secret
ofprojection is in the diaphragm.
This is Liiiianna Zorska.
I can't answer the phone now,
but this machine will record your message.
Please wait for the tone
before speaking.
You have 30 seconds.
Here comes the tone. Bye.
Hi, uh, this is Victor Charlton.
I've got to talk to you.
It's about Ariadne.
Pierre and his gang
are keeping her from seeing me.
It's like a conspiracy.
I can't even get to her on the phone anymore
unless she wants money for that damn commune.
Then they let her see me.
I have written...
but Pierre is -
Look, I want to come and talk to you.
Let'; try/t fiom, "Oh what the hell, ”
and all the wa y down.
/'m not sure
what word /'m going down.
Uh-
J50 tell mewhy;
♪ So tell me why ♪♪
- 5/1/1. Okay
- Y-Yea h.
- Oh. Canyou- Can you all g0 that way?
- Whoa! Not too far. That's all right.
Can you all go that way
and then come back this way?
- Yeah.
- And then g0 back that way
Okay, now. Can you do -
Step together, step together, step, look.
And change your looks. You would look up.
You look in the other direction.
You look another direction.
You take another direction.
And then, if you a// just me/t away
fiom him afler that
Like you roll down to the floor.
You roll down to the floor.
And you roll down - Good. And -
- Lower.
- Straight down?
You know, I like that. Yeah.
Go straight down. Don't - Yeah.
Just straight down and pivot on yourself.
- Can you do that? That's it. Great.
- We still have to smoke cigarettes too.
Pull them up so-
Can we put a beat in the music?
G,'
Great.
- Good. Good.
- Uh, for the cigarette puff.
All right. So, you would go,
JWe have got so ♪
And ifyou look at them -
/t has to look like one energy
No space between anything through there.
- Now you want it straight-legged until...
- Yeah.
-;So tell me why;
- Right.
- Sorry.
- Thankyou.
,'Five, six, seven, eight,'
♪ So, what the hell ♪
Boom. Ah.
- ♪ You're looking swell ♪
- Boom.
J50 tell me;
JWhy should I care ♪♪
Two. Now, on this, can you
melt down t0 the floor?
Can you, like, me/t back that way?
And I can see him.
He's still looking at me.
He's still looking at me,
and I want him to-l want him to go away.
And I can feel -
I can feel how hotl am.
I can feel my heart beat.
I can feel it beating.
And I can see him looking at me!
Less force.
I can see how he's looking at me.
And I want to leave.
I wish the door would open.
I want to get out. There are people pushing.
- / can feel someone pushing -
- Victor.
- Pushing on myback
- Forgive me, Mariannejust one second.
I'll be right back.
Excuse me.
- Victor.
- Great timing.
- Oh, no.
- Do you have a second?
Uh, everyone, I'd like you to meet
a superb young actor, Victor Charlton.
Rememberl put his rave reviews
from Luce up on the board?
He's gonna be in Merle Dante's
new musical.
- When?
- Soon.
Too soon, I suspect.
Pierre's a devil.
We must help each other, Victor.
- We have to fight him.
- How?
He's the most destructive person
I've ever met, Pierre.
He used to stay here.
In this room.
I used to like having my favorite students
living with me, so we could...
be learning together all the time.
He was glad to move in.
He had nowhere else
to stay at the time.
So it suited him.
I never got it straight
where he'd been before.
Sometimes, he -
he said he 'd been in M072...
meditating in a cave in the Himalayas.
A-And then he Hsay
he 'd been in L 0s Ange/es...
working as a stuntman.
He said he wanted t0 /earn
eveg/thing lhad t0 teach him.
But then when the time came t0 work,
he was never there.
Ne veravai/ab/e.
He 'd only tum up
when it suited him.
And then eveg/thing had t0 stop.
Then and there.
JM Humming]
- Would you mind?
- No.
You have magic in your hands, Mother.
Hmm.
You're the only one I have left now.
Why did you let yourself
fall under the influence ofthat man?
You don't understand him, Kostya.
His books make me sick.
Hmm? Mediocre people have to
run down people with real talent.
Real talent?
I have more talent than the lot ofyou!
You and he and your-
your boring old ideas.
You 've taken over the arts.
You won 't tolerate or recognize anything...
excep t your 0 wn can ven tiona/ trivia.
You're decadent.
Get back to your lovely theater...
and your shabby, third-rate plays!
I have never acted
in shabby, third-rate plays.
You're a nobody.
A nothing.
No, don't cry.
No, no. You mustn't cry. You mustn't.
Oh, my darling child, forgive me.
Forgive your wicked mother. Forgive -
Where are you going?
Pierre, where are you going?
It's all right.
Don't be afraid.
Come on.
Come on. Stand up.
Don't be afraid.
Come on.
Easy.
I'm not taking you back
where you've been. Where you been, in jail?
Hospital? It's all right. It's all right.
It's okay. I'm not a doctor or nurse.
Come on.
There you go.
Who's this?
What's your name?
Billy.
Billy.
- The least he can do is take his shoes off.
- Shh.
He's going to work with us.
Oh, don't tell me he's an actor.
I know. You got him out of
one ofthose halfway houses.
We can use that.
He can't stay here.
/'ve had enough of Pierre.
Believe me. I'm on your side, Victor.
If' j
“l wish women were not quite so delicate...
with all their faints and fits.“
“Burn. Quick, quick.
The clergyman runs to the fire and cries out.
Oh, Sir Hargrave, you must buy me another.“
Uh-“l will, sir, and 20 more
ifyou will do the -“ ls that-
- “Business?
- “Business? Ah, yes. “ls the book burnt?“
How could you, George...
give it to him for his experiments?
She cou/dn? have been
more than 70 when she wrote it.
Pierre is far ahead ofhis time.
I don't thinkyou understand
Pierre's experiments.
No.
DO you?
I try to.
You've been brainwashed.
He's brainwashed you
the way he does everyone.
It's very hard to say no to Pierre.
I wonder why. He's not actually
very different from anyone else.
As a matter offact, he reminds me
of my Uncle Farkash who lived in Morocco.
He was always sending home
for more money.
Has Pierre been asking you
for more money?
Yes.
- And you?
- Mm-hmm.
And you?
- A little.
- Often.
What does he do with it?
God knows.
Very interesting soup.
- What is it, cabbage?
- Mmm.
Well, yes, ofcourse. It's Romanian.
This cabbage has been soaked in brine...
for two years in great vats.
But there was some thxhg e/se x}? it that Mother used t0 put.
- C orrlandert
- Something very special...
- Tastes like garlic t0 me.
Miss Fairbanks.
Fairbanks, do ask Ruthy what it was...
that veg/special something
that Mother put in this.
- Thankyou.
- I do this gazpacho with broccoli.
Have you ever tried that?
It's very interesting.
- You use a chicken base to begin with.
- Oh.
Then you sauté
the onions in butter.
- Use large chucks of the broccoli -
- I have nightmares...
literally nightmares...
that Pierre is stranglingjane Austen -
Miss Fairbanks -
You know -
You know what the worst of it is?
You are giving him foundation money.
Madam Zorska -
[ust Lil/ianna.
Zorski's been gone a long time.
- Oh.
- E ve/yone said I -
- Thankyou, Miss Fairbanks.
- l married him for his Polish name.
Couldn't have been for anything else.
It is our duty,
our duty and our policy...
to give our grants
for experimental work.
And also, mayl claim,
to be ourselves experimental.
L-lt's personal involvement.
I always told my students you gotta catch fire.
That's what I told 'em.
- There we are.
- We have to challenge them.
Lastyear we ga ve out grants
t0 the tune of more than $2 mil/ion.
That's not chopped liver.
- We give something more than money
- We 're giving ourselves.
Quince! Quince it was!
- Quinqe?
- Yes, qu/nce.
- Who would have thought?
- Let'; get back to the soup.
Yes, what of Mother's specialty soup?
She was an artist in the kitchen.
She considered it another form
ofself-expression.
George, you've inherited her taste
and her culture.
Oh.
And her money.
Are you sure...
you're using it the way
she would have wanted you to?
Well, Mother would have wanted me
to support the best things today.
Pierre...
and the Manhattan
Encounter Theater Laboratory?
I suppose Mother wouldn't
have understood, but, uh...
I find Pierre's experiments very interesting.
Give me the manuscript.
Give me the money.
Let me do the play the way
Jane herselfwould have wanted it.
G,'
JOh, save me, ladies
Oh, save me ♪
Urffnds]
- But, my dearyoung lady...
Sir Hargrave intends you
nothing but marriage.
Oh, madam, doyou think
I could marrya man...
whom I always disliked
and now hate?
Oh, think how he has tricked me.
To abduct me from the masquerade,
away from all my friends.
Oh, dear ladies, have pity on me.
- Save me!
- g,'
♪ Save me ♪
♪ See me safe ♪
JTake all I have ♪
♪ Can you look on and see
a poor creature so treated ♪
; And so ♪
♪ Betrayed ♪
♪ Betrayed ♪
♪ Speak for me ♪
♪ Plead for me ♪
J5peak;
♪ Plead for one ♪
♪ So basely used ♪
♪ Oh, plead ♪
♪ Plead for one ♪
♪ So basely ♪
♪ Used ♪♪
Um, Pierre said you had $120.
It's cold out there.
I want to buyjamie a pair ofgloves.
It's very cold driving in that cab.
Oh.
Billy.
- You know what it's for.
- I know it's for all ofus.
- Yeah.
- And it's for the laboratory.
Yeah, but what else?
To teach us to give.
Right.
Thank you, jenn y.
Mmm. Look at this.
- Hi, there.
- Hi.
- You should buy this for her.
- Oh, I don't want it.
I don't really want it.
I'll let you have it for 7.50.
Where did you get all that money?
Uh - Uh, some crap games.
- Why haven't you given it to Pierre?
- Crap games. Um - Um -
- jamie.
- I have been working, and I haven't seen him.
Those are the main reasons.
I think my mother's calling mejust a second.
I'll be right back.
- Jamie!
- What?
Are you sureJamie?
- Are you sure you didn't meet Pierre?
- I told you I didn't. I've been working.
- How much money do you have?
- I don't know. I haven't counted ityet.
- You better tell me.
- I'll tell you as soon as I've counted it, okay?
He needs it, jamie.
He needs it for all ofus.
- Yeah.
- jamie!
I mean, for Christ's sakes,
Sir Charles Grandison.
Jane Austen. What is this?
That's the text.
Yeah, okay.
Well, then where is the subtext?
Where's the supertext?
Where's my part?
Jamie, we're not learning parts.
We're learning-
We're learning-
What?
To be.
Jamie, why are we fighting?
I'm not fighting.
Not with you.
I can't bear it when we fight.
It's like we're not together.
We're still together.
I'll get it tomorrow.
G,'
♪ Stronger than the light ofday ♪
♪ Mylove is longer than
the darkest night ♪
JWOuld you leave me this way;
,'Now what can lsay,'
,'Staybeside me,'
♪ Longer than the span oftime ♪
♪ It could reach farther than ♪
; The wild birds fly;
,'Don 't be tell/Mme no,'
,'Don? be leavi/fme so,'
,'Staybeside me,'
Thankyou. Hello.
It's me, Ariadne.
Hi. How are you doing?
Can you give me $50 for Pierre?
- Again?
- Can you bring it here?
Okay.
Could I bring it somewhere else?
Do you want to meet me here or somewhere?
I don't care. Anywhere you say.
- Ariadne.
- It's difficult this week.
Maybe next time.
- Okay.
- Thankyou.
,'l/l/ith nothing but sorm w,'
Bye.
,'L anger than the darkest night,'
,'Would you leave me this way,'
♪ Now what can I say;
♪ Stay beside me ♪
,'Don 't saygood-bye,'
,'Don 't sayg00d-bye,','
l/mpe you will not be mkappointed
What?
You're like a sleepwalker.
Look at me!
Are you on anything?
You know you can't take it.
No.
Pierre would never allow it.
Ifyou can't get high from within yourself...
it's no good.
You are sleepwalking.
J-'IC/mral]
They're taking the text as animals.
Walk there.
This is the damnedest sensation
I ever felt.
I'd have thought that forjane Austen
you'd want something a little more stable.
But, ofcourse, Pierre,
I'm utterly wrong.
Oh, no, no. A formal drawing room.
Yes, the - the classical domesticity.
Yes, the discipline ofmanners,
the - the formal gesture.
It feels like a padded cell, doesn't it?
Yes! The 18th century was an age of reason,
ofoptimism.
The world has been analyzed...
and annotated an' nauseam.
And it's time to get out ofit.
And I mean, get out.
We 're not senzfing man into space.
We 're bringing space into man.
The chaos ofthe universe...
reflected in the human psyche.
Madness.
Tra vai/
- But janeAusten -
- [ane Austen was ne veraware -
But that's what we're here for,
to make her aware.
To bring her up to date. That's what you agreed
when you gave me the manuscript.
That we ought to bring
Jane Austen up to date.
This much up to date?
Lillianna's been talking to you.
She wants the manuscript.
She wants a grant.
She wants my actors.
She wants to do the play.
- Well -
- No, no.
I'm not going back to any ofthat.
You needn't think that.
Let's go.
I'm really working now, Victor.
I've really dedicated myself.
The way we always said we had to do
to get anywhere.
Ariadne, where have you got to?
I don 't believe in
your sort ofthea ter anymore.
All those roles have been played.
All that dialogue's been spoken.
I'm sick ofit.
- No.
- I'll go home then.
I'll followyou.
Catch us there.
I have got to talk to you.
You need not 5a y "but, ” Charlotte...
for you know we are to zfine
at one ha/fafler 4:00 today
Wh- Wh- Wh- What an odd girl is Charlotte!
I believe she likes you,
though she won 't own it.
She is the happymezfium...
between gr-gr-gr-gr-gra vity...
and 0 ver-l/ve/iness.
What a live/y coup/e they are.
Charlie, hold your tongue.
“And where have you been to,
my dear Caroline?“
“Only shopping!"
"But, Charlotte,
where /s Miss B. P”
"Ve/ysafi m her own room. ”
"/ belie ve it is because L 0m' G.
a/ways comes about at that time. ”
"Yes, she is s0 sorry t0 see
her poor Charlotte plagued s0. ”
Right.
- Hi. You're Victor Charlton.
- Yes.
- L sawyou in Luce.
- Oh.
- It's good. You were good.
- Thankyou. Thanks.
- Cigarette?
- Sure.
/ a/ways send away when she gapes.
- Are you a member ofthis company?
- I hope she does not gape t0 us!
You belong t0 this group?
- Yeah.
- Ohh, creature!
You kno w her?
She's my wife.
Did you know she was married?
Well, she's with Katya.
Um-
Um, pe - people change around a lot...
I guess.
I - I mean you come to expect it.
Not me.
I've known her for a long time.
We used to find o/o' clothes
in herattic and dress up and act, you kno w?
One ofus would bang around
on the piano...
and the other would orate.
We both were very good
at passionate speeches.
When she turned 18, we got on a bus
and came to New York City.
Took us four days to get here.
And when we final/y arrived
we got married
She's so intense.
She's very ardent.
And the way she is about this now
she used to be about me.
I don't understand what she's doing. I -
How valuable is this?
La, Lady L.
You are so afraid
I shall not take care of her.
She always encouraged me
t0 do s0 much more than /'m doing
And I actually thought
we had something to contribute...
to the theater together.
Whatevershe does, it'; 700 %
I mean, she doesn't hold back on anything.
And I keep thinking
how she used to be that way with me.
At least I've stopped hoping that
that will ever be again.
But I have to see her.
Listen, it was nice to meet you. Thanks.
Good luck.
Yo, Victor.
Let me give you a ride.
This is my cab.
Yeah, I drive a cab.
- Okay.
- Because, listen, I gotta talk to you.
It's about something important.
It's important to me anyway.
- Where are you going?
- /'m taking him uptown.
In the middle of rehearsal?
Listemjenny, I need to talk to him.
I need a break.
- / want t0 work.
- But you are working.
- You're the clergyman. You're Mr. Foot.
- Oh, thanks. Thanks very much.
Listen to this. Pierre wants me to play
this clergyman as a i 0-year-old.
- A 10-year-old clergyman. It's great.
- Listen, we gotta go back in.
I'm not going back in there!
He's waiting for us.
We're in the middle of rehearsal.
What's the matter with you?
Are you crazy? My God!
I -l should be auditioning.
Calling an agent. Ofcourse, the minute
they hearyou're with Pierre's group...
they get all freaked out.
I get freaked out myself.
I don't know ifl'm any good anymore.
Pierre says we're all stuck in cliches.
And that only he can release.
S 0, i t 's like being reborn.
Regenerated.
- Do you believe that?
- N0.
I don't believe I should be driving a cab...
and living the wayl do with nothing.
- Why do you stay with him?
- D0n 't you think lask myself that question?
Why-Why do I staywith him?
What am I learning?
“Change your character,“ he says.
He says, “Change your soul.“
I haven't changed.
I'm not a better person.
Well, sometimes you 've got
t0 become worse in order t0 become better.
Listen.
I'm finished with him.
I'm through.
WelLJamie...
just take me back.
Okay.
Um -
Uh, you know why he limps, don't you?
It's his split hoof.
{Laughing}
- Whose?
Pierre 'sl Did you hear that one?
You shouldn't talk about him like that.
Have fun.
No, thanks.
What am I gonna do?
[am/e, there is someone
whoH/ike to work with you.
You know, Lillianna is trying to do her own
production of Sir Char/es Grandson.
She's gonna take it away from Pierre?
[enn y won 't lea ve him.
She is crazy.
They all are.
He has that effect on people.
You know something?
I think I'm crazy too.
You decide.
Okay, you know where I'm staying?
Where?
Michael's loft.
- And the number?
- 431-5825.
Let goJenny-
Let go.
Utter rubbish and nonsense.
You know he's right.
One has to have vision.
You've got lots ofvision.
George, you bought the manuscript.
And haven't we talked about
all the wonderful things we're gonna do with it?
Yes, but when I'm with him,
I believe everything he says.
And I want to do what he says.
I'm convinced that he's right.
And then afterwards it's like you say...
utter rubbish and nonsense.
When I was small...
Mother and I used to go
to a seaside place in Belgium.
Mother felt very comfortable there.
She would read her book,
and I would play in the sand.
And one year, there was a bigger boy.
And he asked to help me
with my sand castle.
And he built itwith me.
And I liked ita lot.
It was much better
than anything I ever made.
And then he did a very funny thing.
He- Hejumped all over
the sand castle...
we had spent so much time
and trouble building.
He- Hejumped on it
with two feet...
and trampled it down.
And when I cried, he laughed.
And what did your mother say?
Oh, she was deep into her book.
She was reading Henryjames that year.
And then the next day, he came again.
And you know what happened?
I let him playwith my sand castle again.
And then he did the exact same thing.
The exact same thing happened.
And then he came every day.
And every day I waited for him.
And every dayl waited
for him tojump on it.
And every day he did.
And every dayl cried.
And then one day, Mother noticed.
And she said, “What's the matter?“
And he said, “Why don't you tell her?“
Butl didn't.
Ijust said, “We're playing, Mother.“
And she - she went back
to The Golden Bowl
Oh, no, Lillianna.
I'm getting much too fat.
0h, all right.
You should've told your mother
about that boy.
- She'd have helped you.
- l know.
- Will you promise me something?
- Ofcourse, Lillianna.
Tell me, what is it?
What?
That you'll let me helpyou
fight those bigger boys.
When theyjump all over my sand castles?
Or whatever wicked thing they do.
G,'
♪ So you are too
tenderhearted with her ♪
♪ Leave the room, madam
Leave her to me, I say;
♪ Oh, pray deliver me ♪
; Soyou have killed me I hope;
Leave her with me.
♪ Oh, pray deliver me ♪
♪ Sweet and ever adorable ♪
♪ Your very terror ♪
Jls beautiful ♪
JYOu shall be mine;
JYOu shall be mine;
JYOur fate is determined ♪
♪ I've won you from my rivals ♪
; You're mine ♪
JMine;
JMine;
JMine;
JAII your fits and faints
shall never save you ♪
♪ No, they shall not ♪
♪ Shall not, shall not ♪
♪ Shall not ♪
♪ Madamyou shall be mine;
♪ Give me your
Give me your hand ♪
Jl will be paid forall my pains;
JYou cannot fly, you cannot fly
You cannot ♪
JYOu shall be mine;
JYOu shall be mine;
JYOur fate is determined ♪
♪ Your friends cannot save you ♪
♪ They cannot, cannot ♪
JCannot;
JCannot;
♪ Madamyou shall be mine;
♪ Give me your
Give me your hand ♪
♪ Give me your hand ♪♪
Yes?
Lil/ianna.
Ariadne.
Excuse me.
Thankyou.
I love your hair.
It looked so wonderful
in 77s a Pity
- ltwas awig.
- ltwas awig? Hmm.
Itsuited you.
Oh, I could make something ofyou,
ifonlyyou'd let me.
You need training desperately.
And instead, Pierre is ruining you.
And for what?
To try to fityou into his theories.
Ifonlyyou'd listen to me, darling.
You know howl see you?
As one ofthose Russian girls.
You have dreams,
beautiful dreams oflove.
Victor!
Congratulations.
I haven't seen the show,
but everybody tells me how great it is.
- Really.
- Thankyou.
- Now, what are you doing down here?
- Waiting.
- You waiting for Ariadne?
- Yes.
Well, come on up.
Don't wait down here in the cold.
Pierre will use you...
and he'll be finished with you.
That's what it all comes to.
The experiments, the encounters,
the laboratories.
When he's tired ofit all,
he'll take off.
Lillianna, what a surprise!
To what do we owe
the pleasure ofthis visit?
My, oh, my.
You look wonderful.
Radiant.
Younger and even more beautiful
than I remember.
Mmm.
You've come to take
little Ariadne away, haven't you?
Hmm.
You're right.
This is not a place for her, no.
You don't interfere.
You don't come between them.
I'm telling her to go.
- Ifyou try to keep them apart -
- I'll even help her pack.
Gregory-
Come with me.
- Don't you want to?
- I can't.
Why?
My hair's wet.
It's not personal.
Ifthat's what I was interested in,
why should I have left?
I wouldn't ever-
I mean, that way.
What do you mean,
“She took offwith Victor“?
Why would she do that?
Where did they go?
Didn 't she lea ve a telephone number
or an address or anything?
Well, she must have said something.
She must have.
Listen.
Fritz, please tell me.
She wouldn't leave
without saying anything.
Come on!
Why don't you tell me?
Come 0n, damn it!
Don't play so damn dumb, Billy.
You stupid creep!
They're all the same.
just like my mother.
- Where is she?
- Dead.
The whole dramatic first part.
You roll that in.
You gotta make a big contrast
when you go into the second thing...
- when it gets into this pseudo-vaudeville-type sound.
- Yeah, okay.
50290m that real crisp -
into the -
♪ Now and then we get together;
♪ Friends are like the weather ofthe soul ♪
♪ Changing from hot to cold ♪
♪ Summer, autumn, winter, spring ♪
JAII I wanna do is sing oflove;
JAgain and again ♪
♪ So here ♪
JWe are;
JAgain;
Tyfffltf]
6000f that'; it. Got it.
Pierre says keep it.
He says you andjamie will need it.
Pierre 5a ys you should g0 too.
I'm not interested in
working with Lillianna.
I tried t0 g0 away once...
'cause I was sick ofeverything.
Cooking in the restaurant.
New York, all that.
So I joined this other company
and we went to L.A.
“La-la.“
Yeah, they were doing the Oresteia.
And they paid me.
And I couldn't stand it.
Sol came back.
I mean, to Pierre.
I thought we weren't supposed
to have personal attachments.
Here.
Keepit
You've gotta get away from him.
You gotta get away from there.
Jamie, I'm working.
I'm totallyinvolved.
Who you with, him or me?
Listen, baby, I don't want my girl in bed
with me thinking about Pierre all the time.
I'm not thinking about Pierre.
Really.
Yeah, but he wants you to.
And I don't blame him. No, I don't.
But he's gotta have
a person all the time...
all ofthe person.
And I'm not gonna give him me.
And I'm not gonna give him you.
"Okay?
_ Okay» Okay
You wanna get your stuff
and come on over to Michael's?
I don't mean now.
,'lsg w you _
Your mountams were call/mg,'
,'Here am I bound t0 LA.,'
,'T0 LA,'
JM Ends]
I'm sure, so sure.
You know...
you could be a great dramatic actress.
I can see it in your face, here and there.
It was you who made her
go back to Victor.
It was you.
It was you.
You have a strong head.
And a heart...
that's much too passionate, Katya.
Ifyou don't look out...
you'll be in bad trouble.
You'll lose everything.
You'll drown.
What month were you born in?
You don't need to tell me.
I know it's the same as mine.
It couldn't be anything else.
Same sign...
same heart, Katya.
We belong together.
Mm-mmm.
You'll see.
I can't pretend
that I wasn't like you...
once upon a time.
Just the same, Katya.
Sol know all about it, unfortunately.
That's the one thing Pierre taught me:
never to care too much
for one single person.
Excuse me.
♪ Oh, what the hell ♪
; You're looking swell ♪
♪ So tell me why should I care ♪
JWe have got so much to share ♪
♪ Sometimes it doesn't seem fair ♪
♪ Every now and then
we get together ♪
♪ Friends are like the weather ofthe soul ♪
♪ Changing from hot to cold ♪
♪ Summer, autumn, winter, spring ♪
JAII I wanna do is sing oflove;
JAgain and again ♪
♪ So here ♪
JWe are;
JAgain;
tyfffltf]
Ah, Victor, here it is.
“At what point does frivolity
transform itselfinto art?
It is reached in Victor Charlton's
performance in Here WeAreAga/n. ”
That's wonderful, Victor.
- But why frivolity?
- It goes on.
“It is not generally realized that on
the stage, the more frothy the surface...
“the more solid the foundation...
“that unless they are
supported on iron girders...
our butterflies' wings will break.“
Wonderful It'; immortal prose.
What does it mean?
I have a flair
for dramatic structure...
butl have difficulty
with the dialogue.
You can always get
some writer to fix it up foryou.
He came 290m San Francisco
with his who/e fiami/y
Sister, brother-in-law, and all ofthem.
Bigjewish family.
- It folded after two nights.
- l loved it.
The thing is, they fix up
their dressing room for pictures.
Mai/grams and things.
Then they ha ve t0 take them all down.
Hi, how are you? Ariadne.
Katya's outside.
Well, how doyou like
working with Lillianna?
- It's great.
- Wonderful.
Great.
I have to askyou both a favor.
Really, a great favor.
The committee wanted to see my play
to decide about the grant.
And l'mjust gonna
have to have both ofyou.
I can't start with new actors now.
You'll have to come.
What about Lillianna?
Ah, yes. Lillianna.
- What a shame.
- She used to give quite good parties too.
- Excuse me.
- Ah, Pierre.
- George, how are you?
- How's our project coming?
We can't say no, jamie.
Not to him.
Why frivolity?
Would somebody explain that to me?
Isn't he cute? No, but seriously...
The thing about it
that I didn't understand...
was the complete lack ofiogic that was
in the damn thing from beginning to end.
All set?
You go ahead.
I'll be there.
- I'll come later.
- Ariadne.
I promise. Go ahead.
Go on.
Don't torment me, Boris.
I'm just an ordinary woman.
Am I really so old and ugly...
that you don't mind speaking to me
about other women?
I musfve gone mad, but you...
you're the last page of my life...
myjoy. my happiness.
If you lea ve me, even for an hour,
/ shal/go out of m y mind
My beautiful, wonderful man.
My master.
- Someone might come in.
- Let them.
I'm not ash -
Billy, where'd you get that?
- Did you steal it?
- Damn you, Bil/y!
Lunatic! Get out of my house.
L unatic/ Get out!
Come on, Billy. Come on.
Come on now. You're not hurt.
A// nght? L ook,
nobody'; gonna hurt you.
The work means nothing to you?
After everything we've done together?
You're not serious.
Get out, both ofyou!
Get out of here.
Come on, Billy.
All right, get out.
Good. Suits me fine.
I've had enough of both ofyou.
Just leave me alone.
The mistakel made was
to thinkyou cared about all this.
You never did.
Yes, I did... once, a lot.
I guess I sort ofgrew out ofit. I'd like
you to come to my dress rehearsal.
You're planning a dress rehearsal?
You sure you'll have all your actors?
You know, I get the feeling...
that George and the committee would really
like us to collaborate on thejane Austen.
You and I can't work together.
We could.
Why not, ifyou were willing?
That's finished.
- Good night.
- Good night.
Let's go.
Go ahead.
Go around again.
Five minutes.
Why don't you come back?
Stand up.
Come here.
Being with Victor has changed you.
All the work we did together.
It's all gone.
Can't I talk to her
for five minutes alone?
Yeah, sure.
No.
We all used to be together.
It - It was perfect.
All right.
Supposing you do come back.
That means no more -
no more first nights.
No more Lillianna.
No more Victor...
anything-
As a matter offact, no more Ariadne.
It'sjust one big negative, you see.
That's all.
That's all I have to offer.
Why don't you take her back home?
Where is she?
Oh, Mrs. Awberry.
Doyou thinkl could marrya man
whom I always disliked and now hate?
Is not this your house?
Cannot you favor my escape?
Oh, my dear madam.
That is impossible without detection.
And you kno w Sir Hargra ves is here...
and there...
and everywhere.
My dear Mrs. Awberry.
You shall have
all the money in this purse.
Ifyou will release me.
Mrs. Awberry, I see you
cannot be trusted with her.
You are so tenderhearted.
And you, my dear.
Ha!
♪ Leave the room, madam
Leave her to me, I say;
♪ Oh, pray deliver me ♪♪
I will see ifl cannot reason
with this perverse girl.
Here, Deb and Sally, come out.
Oh, do not leave me alone with him.
Let me go out too.
No, no, no!
No, no, no!
It's my sand castle all over again
being stepped on.
Bring some water directly.
- Sol hope you have killed me at last.
- Oh.
I think we'll have to review
our entire policy.
How can wejustify our position?
Well, we must respect his originality.
Yes, but the manuscript,
the manuscript.
What about respect for the manuscript?
No, I thankyou.
I want nothing that can give me life.
Well, then, Mrs. Awberry.
You had better get out
the black cloak, then.
It's 4:00.
And she ma y as well
zfie in my house as in yours.
Shall I bring the chaflot, sir?
If you please, madam.
I will put it on, Mrs. Awberry...
ifshe will not let you.
,'0h, prayde/iverme,'
♪ Sweet and ever adorable ♪
♪ Your very terror ♪
Jls beautiful ♪
,'You shall be mine,'
,'You shall be mine,'
,'Your fiate is determined,'
,'/'ve wonyou 290m myr/va/s,'
,'Y0u're mine, mine,'
Mrs. Awberry.
- Will you help me lead her downstairs?
- Yes, sir.
,'Shall neversave you
N0, theysha/lnot,'
,'Shall not, shall not,'
,'Sha/lnot,'
,'Madam, you shall be mine,','
Can I be ofany service, sir?
You...
may hold the candle.
You don't even know where you're going.
You haven't even asked.
You're not supposed to ask.
just follow.
I mean, once you've found someone.
Do you want me to come with you?
Well, if-
lfyou need anything,
you know, money or anything.
And ifyou need me...
I'll come.
Iwill.
Whoa.
Hasn't he told you anything?
No use asking you, I guess.
- What about you?
- He'sjoining Lillianna.
Well, he's the only one
with any sense around here.
Lillianna's got the grant.
She's got the play. She wants us.
Why shouldn't we go?
I can't.
Why not?
I'm not going on with Pierre.
Fmjoining Lillianna.
She wants both of us.
Would you leave without me?
- Would you?
- Hey Afladne.
Would you, Ariadne?
Hey-
Send it all to Lillianna.
H0 w do you spell "L il/ianna ”?
Can I go with you?
I'd likeyou to go with Lillianna.
What's her last name?
Zorska.
"Z",
Z-O-R -
-
_ Na “R,,
It'; not two "L ms?
- Okay okay okay
_ R_l