Sybil (1976) - full transcript
The story tells of a young woman admitting to having blackouts, fearing they are getting worse. She is diagnosed as suffering from multiple personalities, as a result of severe abuse at the hands of her mother, whom her psychiatrist, Cornelia Wilbur, believes was schizophrenic. The movie Sibyl is based upon author Flora Rheta Schreiber's biography of Shirley Ardell Mason, an American psychiatric patient, suffering from multiple personality disorder. The book, also called Sibyl, was in its turn based largely on the actual accounts of psychiatric treatment that Shirley Ardell Mason underwent, documented by American psychiatrist Cornelia Wilbur
**[voice humming]
[telephone ringing]
HELLO. ERNA.
[sighing]
LISTEN, I NEED YOUR SUPPORT.
I, UH...
SYBIL HAS DISSOCIATED
INTO A BABY.
I CAN'T GET HER BACK.
A BABY.
OH, I--I WAS TOO EAGER.
I PUSHED HER OVER THE EDGE.
WELL, I CAN'T GET HER
HYPNOTIZED. I-- IF I COULD,
I'D--I'D CONTACT VICKY,
BUT SHE WON'T FOCUS
ON--ON--ON--ON ANYTHING
AND--AND SHE DOESN'T
UNDERSTAND A WORD I SAY.
SHE'S--SHE'S PREVERBAL.
YEAH, BUT WHAT IF
SHE STAYS LIKE THAT?
NO. NO. NO HOSPITALS.
NO, NOT WITH HER HISTORY.
[sighing]
COULD YOU?
COULD YOU PLEASE, ERNA?
I HATE TO DRAG YOU OUT
ON A NIGHT LIKE THIS,
BUT I--I...
OH! HOLD ON A SECOND.
DR. WILBUR, UH,
I'M GETTING HER A SNACK.
[exclaims]
SWEETIE, HOW DO YOU FEEL?
A LITTLE WOOZY. HUNGRY.
WELL, THERE'S--THERE'S FOOD
IN THE KITCHEN.
GO GET SOME CHEESECAKE
OR SOMETHING.
I'LL BE THERE IN A MINUTE.
OH, ERNA, IT'S OK. IT'S OK.
[sighing]
ONWARD AND UPWARD,
SHE CAME TO AS SYBIL.
(Dr. Wilbur)
SYBIL DORSETT,
PSYCHOANALYTIC SESSION 251.
I'D HARDLY BREATHED
A SIGH OF RELIEF
ABOUT SYBIL'S MAKING
HER SPONTANEOUS REENTRY
OUT OF THE BABY,
WHEN, SUDDENLY, WE'RE FACING
THIS GHASTLY SEASON OF MIRTH.
CHRISTMAS SEEMS TO BE
A STRESSFUL TIME FOR SYBIL.
THE OTHER PERSONALITIES
HAVE BEEN STIRRED
INTO A KIND OF
FRENZIED WAKEFULNESS
AND SOME WHO'VE BEEN DORMANT
UNTIL NOW HAVE COME OUT.
[bell ringing]
ONE OF THEM, MARY,
IS A DEVOUT,
OLD-FASHIONED
LITTLE HOMEMAKER
WHO SEEMS ALMOST
THE REINCARNATION
OF SYBIL'S GRANDMOTHER.
(as Mary)
I WISH YOU ALL
A HAPPY HOLIDAY.
JOY IN THE NEW YEAR.
NOBODY ANSWERS, VICKY.
(as Vicky)
MARY, THIS IS NEW YORK.
THIS IS NOT WILLOW CORNERS.
DON'T BE UPSET.
LET ME CARRY
THE PORTFOLIO FOR YOU.
IT'S GETTING AWFULLY HEAVY.
(as Mary)
THANK YOU, DEAR.
I CAN VAGUELY
REMEMBER WHAT'S IN IT.
EVERYTHING'S BEEN
GETTING SO DIM LATELY.
MUST BE SENILITY.
[moaning]
ANGELS.
(as Vicky)
THEY'RE ONLY DECORATIONS,
MARY.
GRANDMA'S WITH THE ANGELS.
SO AM I.
AM I GOING TO
SEE GRANDMA, VICKY?
NOT YET.
WE'RE GOING TO SEE
DR. WILBUR FIRST.
COME AWAY, MARY, PLEASE.
(as Mary)
MARCIA PROMISED THAT SHE'D
SEND ME TO GRANDMA SOON.
WHY DOESN'T SHE DO IT?
I'M GETTING
SO TIRED OF WAITING.
[knocking on door]
(Dr. Wilbur)
COME IN.
OH, VICKY, COME ON IN.
DR. WILBUR.
PARDON ME FOR
BARGING IN ON YOU LIKE THIS.
I'M SORRY,
BUT IT ALL SEEMS
TO BE FALLING APART.
I DON'T SEEM TO BE ABLE
TO CONTROL THINGS ANY LONGER.
IT'S ALL RIGHT.
TELL ME ABOUT IT.
MARCIA IS CONSTANTLY
THINKING OF SUICIDE.
MARY THINKS
SHE'S IN HEAVEN.
AND SYBIL HAS INVITED
RICHARD OVER
FOR CHRISTMAS DINNER.
NOW, I KNOW
SHE ISN'T ABLE TO HANDLE IT.
I KNOW THIS.
IT'S ALL JUST AWFUL.
WELL, WHAT MADE IT GO AWFUL?
WHAT HAPPENED THIS TIME?
HMM?
IT'S CHRISTMAS.
THE TREES AND THE WINDOWS
AND EVERYBODY ALL COZY.
EVERYBODY HAVING TO
RUSH AROUND, HURRY BEFORE...
BEFORE WHAT?
WE'VE MADE YOU THIS.
IT'S A CHRISTMAS CARD,
FOR YOU.
FOR OUR DR. WILBUR.
THANK YOU.
SORRY ABOUT THE COLOR.
SYBIL TRIED
FOR RED AND GREEN,
BUT IT JUST
KEPT GETTING PURPLE
AND SHE WASN'T ABLE
TO STOP IT.
DO YOU KNOW WHAT SHE DID?
SHE TOOK THE CRAYON,
AND SHE JUST
SCRUBBED ON THE PAPER
AND SCRUBBED ON IT LIKE THAT,
AND SHE GRIT HER TEETH
AND THEN SHE WADDED IT UP
AND THREW IT IN THE TRASHCAN.
WE RESCUED IT.
WE--WE TRIED
TO MAKE IT PRETTIER, YOU SEE.
PEGGY ADDED THE RED,
AND WE SMOOTHED IT OUT.
WE--WE ALL TRIED.
THANK YOU. WELL, SIT DOWN.
I'VE BROUGHT YOU THESE, TOO.
[horn blaring]
BUT YOU MUSTN'T TELL HER.
THEY'RE OUR PAINTINGS.
WE DO THEM AT NIGHT.
WE HIDE THEM
ON A SECRET SHELF
ON TOP OF THE CLOSET
THAT MIKE MADE.
WE WANT YOU TO HAVE THEM
FOR SAFEKEEPING.
THE WAY YOU SAY
THAT VANESSA KEEPS THE MUSIC.
BECAUSE SOMETHING AWFUL
IS GOING TO HAPPEN.
I CAN FEEL IT.
IT'S GOING TO FALL APART,
OR--OR BLOW UP,
OR THERE'S GOING
TO BE AN EARTHQUAKE.
SWEETIE, THERE'S NOT GOING
TO BE AN EARTHQUAKE.
OR A TIDAL WAVE, OR--OR
A GLACIER, OR SOMETHING.
I DON'T KNOW WHAT.
JUST SOMETHING AWFUL
IS GOING TO HAPPEN.
THE END OF THE WORLD IS NOT
WHAT YOU'RE AFRAID OF, VICKY.
PLEASE KEEP THEM
FOR SAFEKEEPING. PLEASE.
ALL RIGHT.
THANK YOU.
VICKY, SAFEKEEPING FROM WHAT?
HMM?
NOW, WHAT IS THE CONNECTION
BETWEEN PURPLE
AND CHRISTMAS
AND THINGS BLOWING UP?
HMM?
WHAT DID MOTHER DO
TO MAKE THE PURPLE?
THERE ARE GUARDS
AROUND THE PALACE.
[sighing]
VICKY, WE'VE GOT TO
GET PAST THE GUARDS
AROUND THE PALACE NOW.
I MEAN, WE HAVE TO GET DOWN
TO THE BOTTOM
WHERE EVERYBODY
IS JOINED TOGETHER
AND REMEMBERS EVERYTHING
AND IT'S ALL RIGHT TO SAY IT.
NOW, YOU KNOW
THERE IS A WAY TO DO IT.
WE'VE DISCUSSED
THE WAY BEFORE.
YES, I KNOW.
HYPNOSIS.
YES.
SYBIL'S DADDY
WOULDN'T LIKE IT.
WELL, WHAT ABOUT SYBIL?
IS SYBIL LISTENING NOW?
SHE-- SHE'S SO AWFULLY AFRAID,
DOCTOR.
I THINK SHE WOULD
ALMOST DO ANYTHING
IF IT WOULD HELP MAKE US
NOT BE SO AFRAID.
GOOD.
ALL RIGHT.
COME ON.
JUST LIE HERE,
PUT YOUR FEET UP AND RELAX.
IT'S ALL RIGHT.
IT'S ALL RIGHT.
WHAT WOULD YOU
LIKE TO LOOK AT?
NEHEMIAH, THE LITTLE HORSE
THAT PEGGY MADE YOU.
[chuckling]
ALL RIGHT.
HERE, COME ON, LIE BACK.
PUT YOUR FEET UP.
THAT'S RIGHT.
NOW YOU JUST RELAX.
RELAX.
AND WHEN YOU'RE READY,
YOU LOOK AT NEHEMIAH.
HERE,
YOU WILL LOOK AT NEHEMIAH.
SYBIL'S HEART IS POUNDING SO.
IT'S ALL RIGHT.
IT'S ALL RIGHT.
YOU WILL BE WITH ME,
AND WE WILL
TAKE THIS UP TOGETHER.
YOU'LL BE SAFE.
NOW JUST RELAX.
LOOK AT NEHEMIAH.
NOW, YOU'RE GOING TO SLEEP.
DEEPLY, DEEPLY ASLEEP.
ALL RIGHT?
NOW, WE WILL COME
CLOSE TO THE PURPLE.
YOU WILL REMEMBER
BUT YOU WON'T FEEL THE HURT.
THE HURT IS IN THE PAST.
NOW, WHEN DID
THE PURPLE HAPPEN?
5 YEARS OLD.
ANY PARTICULAR DAY?
DAY BEFORE CHRISTMAS,
LIKE NOW.
ALL RIGHT.
NOW, WHEN I TOUCH
YOUR LEFT SHOULDER,
YOU WILL LISTEN
WITH THE OTHERS
WHILE I SPEAK WITH SYBIL.
SYBIL.
SYBIL.
(as Sybil)
YES.
ARE WE GOING
TO GRANDMA'S ROOM?
IS THAT WHERE YOU WERE?
I LIKE IT THERE.
IT'S NICE IN GRANDMA'S ROOM.
ALL RIGHT.
WHEN I COUNT TO 5,
YOU WILL BE IN
GRANDMA'S ROOM.
YOU COUNT WITH ME. 1.
2.
3. COUNT WITH ME.
4.
4.
5.
5.
**[voice humming]
(Dr. Wilbur)
I'M RIGHT HERE, SYBIL.
YOU CAN GO TO HER.
[whimpering]
WHAT IS IT, DEAR HEART?
MY GRANDMA.
YOU CAN GO TO HER.
SHE'S DEAD.
THIS IS A MEMORY, SWEETIE.
[chair creaking]
GUESS WHO'S HERE, GRANDMA?
GIVE ME A HINT.
SUGAR AND SPICE
AND EVERYTHING NICE.
IS THIS, BY ANY CHANCE,
MY LITTLE
DOWNSTAIRS NEIGHBOR?
IS THIS MY SYBIL?
YOU GUESSED RIGHT.
(Sybil)
GRANDMA.
I LOVE MY GRANDMA.
YOU CAN SAY IT TO HER
IF YOU WANT TO, SWEETIE.
I LOVE YOU, GRANDMA.
LITTLE ROUND SCISSORS,
I FOUND THEM.
GOOD! HURRAY!
(Dr. Wilbur)
WHAT ARE YOU DOING
WITH THE LITTLE SCISSORS?
CUTTING.
CUTTING WHAT?
LITTLE PICTURE OF SANTA CLAUS.
AND I STAY INSIDE
THE LINES REAL GOOD.
LIKE THIS.
AND I MAKE A LITTLE STAR
OUT OF TINFOIL. LIKE THIS.
AND MY GRANDMA'S
REAL NICE TO ME,
AND SHE DOESN'T HOLLER AT ME,
AND I DON'T HAVE TO BE AFRAID
IN MY GRANDMA'S ROOM.
NO.
[gasping]
IT'S ALL RIGHT, SWEETIE.
YOU'RE STILL
WITH YOUR GRANDMA.
A BEAUTIFUL STAR.
SEE HOW IT TWINKLES.
I MAKE A GOOD SANTA, TOO?
IT ALL RIGHT?
OH, MY.
YOU DIDN'T CUT A WHISKER.
HE LOOKS SO HAPPY.
I DON'T THINK
HE LIKED BEING COOPED UP
IN THAT OLD MAGAZINE.
CAN I PASTE HIM ON MY STAR?
THAT A GOOD IDEA?
WONDERFUL.
YOU SHOW ME.
YOU CAN SHOW ME.
THEN HE CAN TWINKLE
WAY UP HIGH ON MY TREE
WHERE HE WILL--
[object thudding]
(Hattie)
SYBIL!
YOU COME DOWN HERE,
YOUNG LADY!
YOU'VE BEEN PESTERING
THAT OLD WOMAN LONG ENOUGH!
(Sybil)
I DON'T WANT
TO GO DOWNSTAIRS.
YOU CAN FACE IT, SWEETIE.
THERE'S TOO MUCH PURPLE.
WE'RE GONNA
GO DOWNSTAIRS TOGETHER
AND YOU'RE GONNA REMEMBER
THE PURPLE
AND THIS IS THE WAY
YOU'RE GONNA REMEMBER IT.
(Sybil)
MAYBE THERE'S
NOTHING TO REMEMBER.
(Dr. Wilbur)
SWEETIE, YOU'RE GOING
DOWN THE STAIRS,
AND I'LL BE WITH YOU.
CHOCOLATE.
CHOCOLATE CHIPPIE.
THAT'S RIGHT. COME ON.
WATCH YOUR FEET.
YOU KNOW HOW CLUMSY YOU ARE.
COME ON.
COME ON.
HAVE A NICE TRIP.
SEE YOU NEXT FALL.
(Grandma)
HATTIE, IS SYBIL ALL RIGHT?
IT'S JUST
ONE OF HER FALLS, GRANDMA!
OH, GRANDMA,
WHAT BIG EARS YOU HAVE.
HERE.
MADE 4 DOZEN FOR THAT POOR
WOEBEGONE FLOYD FAMILY
'CAUSE IT'D BE
A BLEAK CHRISTMAS
IF NOBODY HELPED THEM OUT.
COME ON. KEEP MOMMA COMPANY.
"UNDER THE SPREADING
CHESTNUT-TREE
"THE VILLAGE SMITHY STANDS
"THE SMITH,
A MIGHTY MAN IS HE
WITH LARGE AND SINEWY"
SINEWY.
MOMMA.
"HIS HAIR IS CRISP"
CRISP? I NEVER NOTICED THAT.
ALL THESE YEARS,
I NEVER NOTICED THAT.
LETTUCE IS CRISP.
"LETTUCE HEAD
GO TO BED
"YOUR NOSE IS RED
YOUR NAME IS FRED
I'LL KILL YOU DEAD"
MOMMA.
I'M BUSY.
LOOK WHAT I MADE
FOR THE CHRISTMAS TREE.
WHAT DO YOU MEAN MADE?
OH, THAT'S JUST
A PICTURE OUT OF A MAGAZINE
WITH A PIECE OF TINFOIL
STUCK TO IT.
GRANDMA SAYS IT'S PRETTY.
I GO HANG IT
ON THE CHRISTMAS TREE.
I TOLD YOU NOT TO
RUN THROUGH THE HOUSE!
I'M SORRY.
YES, WELL.
"WORDS ARE CHEAP
HILLS ARE STEEP
SORROW'S DEEP"
* OH, FOR THE WINGS *
* FOR THE WINGS OF A DOVE *
* FAR AWAY *
* FAR AWAY WOULD I ROAM *
* OH, FOR THE WINGS *
* FOR THE WINGS OF A DOVE *
* FAR AWAY *
* FAR AWAY *
* FAR AWAY FAR AWAY *
* WOULD I ROAM **
[door creaking]
MOMMA, COME SEE WHAT I DID.
YOU DIDN'T GO HANG THAT THING
ON THAT TREE
AFTER I SAID THAT?
SAID WHAT?
TAKE IT OFF.
TAKE IT OFF!
TAKE IT OFF!
YOU GO AWAY FIRST.
REACH AROUND ME.
GO ON. I DARE YOU.
COME ON. COME ON,
REACH AROUND ME.
I TOLD YOU NOT TO
RUN IN THE HOUSE.
[sobbing]
[Hattie whacking]
(Hattie)
DON'T YOU CRY.
DON'T YOU MAKE FACES.
DON'T YOU GET MAD.
MAD DOGS GET MAD, NOT PEOPLE.
NOW, DON'T WORRY.
I'M NOT GONNA HIT YOU
THIS TIME.
THIS TIME
I'M ONLY GONNA KICK YOU.
[moaning]
YOU ARE SO ADORABLE
WHEN YOU DO THAT.
YOU LOOK JUST LIKE
A LITTLE BABY CRAB.
WHAT ARE YOU GOING TO DO?
DRAW A PICTURE?
UH-HUH.
WHO FOR?
MOMMA'S CHRISTMAS STOCKING.
OH, WHAT A LOVELY THOUGHT.
EVEN IF I DON'T
LIKE MADE-UP THINGS
AS MUCH AS FACTORY ONES.
WHEN I'M A BIG GIRL,
I GO WORK IN A FACTORY
AND MAKE YOU
SOMETHING REAL PRETTY.
* OH, CHRISTMAS TREE *
* OH, CHRISTMAS TREE *
* HOW LOVELY ARE
THY BRANCHES *
COME ON, SING.
[both singing]
* NOT ONLY GREEN
WHEN SUMMER GLOWS *
* BUT IN THE WINTER
WHEN IT SNOWS *
[clearing throat]
WELL, WHO EVER HEARD OF
A GREEN CHICKEN
WITH PURPLE FEET?
CAN YOU PICTURE
WHAT KIND OF EGGS
THAT LAYS?
SET A PLATTER OF THEM
IN FRONT OF GRANDPA
SOME FINE SABBATH MORNING,
HE'D SURE TAKE THAT
FOR A SIGN NOW,
WOULDN'T HE?
"ARMAGEDDON!"
[laughing]
(Sybil)
* OH, CHRISTMAS TREE
OH, CHRISTMAS TREE *
* YOU ARE THE TREE
MOST LOVED *
* HOW OFT
YOU'VE GIVEN ME DELIGHT *
* WHEN CHRISTMAS FIRES *
* ARE BURNING BRIGHT **
YOU THINK IT'S JUST
SUNSHINE AND SINGING
AND PRETTY COLORS
WHEN YOU GROW UP?
WELL, I SHOULD SAY NOT.
YOU ARE BAD.
YOU ARE SPOILED ROTTEN.
AND YOU BETTER LEARN QUICK.
[stomping]
MINE! MINE!
WANNA BREAK GLASS.
WANNA BREAK GLASS.
HEY! WAIT A MINUTE. HERE.
HERE,
YOU WANNA TEAR SOMETHING UP?
COME ON, TEAR IT. THAT'S IT.
I LOVED MY COLORS.
OF COURSE YOU DID.
MY COLORS ARE ME.
THOSE ARE MY COLORS.
SWEETIE, HASN'T IT
EVER OCCURRED TO SYBIL
THAT GOOD MOMMIES
DON'T HURT THEIR GIRLS?
MOMMIES PUT YOUR FINGERS
IN THE MEAT GRINDER.
NO, THEY DON'T.
NOT GOOD ONES.
MOMMIES ARE ONLY GOOD
WHEN OTHER PEOPLE AROUND
NOT WHEN THEY GET YOU ALONE.
DR. WILBUR DOESN'T HURT YOU
WHEN YOU'RE ALONE, DOES SHE?
NO, DR. WILBUR THINKS THAT
LITTLE GIRLS SHOULD BE HAPPY,
ESPECIALLY LITTLE GIRLS
WHO CAN PAINT GREEN CHICKENS
WITH PURPLE FEET.
MOMMA.
WHAT'S THE MATTER, SWEETIE?
[Sybil moaning]
WHAT'S HAPPENING?
MY WRISTS ARE GOING NUMB.
CAN YOU TELL
DR. WILBUR ABOUT IT?
TELL ME ABOUT IT.
[Sybil whimpering]
[Sybil crying]
WELL, TELL ME ABOUT IT.
TELL ME.
WHAT'S HAPPENING? TELL ME.
WHAT'S HAPPENING, PEGGY?
YOU BETTER SAY,
"GOD IS LOVE," REAL QUICK.
GOD IS LOVE.
BECAUSE GOD HATES BAD GIRLS.
AND IF THEY'RE REAL BAD,
HE TAKES THEM
BEFORE THEIR TIME.
WHERE DOES GOD TAKE
BAD LITTLE GIRLS, MOMMA?
WHERE, MOMMA?
[Hattie cackling]
HE TAKES THEM WAY
UP INTO THE DARK
AND LEAVES THEM THERE.
HE LETS THEM
DROWN IN THE WHEAT.
THEY CAN'T BREATHE
AND THEY DIE.
AND THAT'S WHAT'S
GONNA HAPPEN TO YOU.
(Hattie)
HAVE TO DO IT.
UH-HUH. YES, MA'AM.
HAVE TO.
GOD IS LOVE.
(Dr. Wilbur)
WHO GOT YOU OUT, SYBIL?
(Sybil)
DADDY.
MOMMA TOLD HIM
THE LITTLE BOY
DOWN THE STREET DID IT.
WHAT DID DADDY SAY?
DADDY SAID, "OH."
DADDY ALWAYS BELIEVED MOMMA.
YOU DIDN'T TELL DADDY
THE TRUTH?
NO, NOT SUPPOSED TO.
MOMMA WOULD SEND ME TO GOD.
WHAT ARE YOU DOING?
DRAWING WITH
MY PURPLE CRAYON.
WHY?
SO SOMEONE WILL KNOW
I WAS HERE.
SWEETIE, THAT BAD
END-OF-THE-WORLD FEELING
IS NOT THE END OF THE WORLD.
IT'S JUST THE COMING
OF YOUR OWN ANGER
AND THE COLOR
OF THAT ANGER IS PURPLE.
I DON'T WANT IT.
I'M AFRAID OF IT.
I KNOW, BUT AVOIDING IT
IS JUST WHAT'S
GETTING IN THE WAY
OF YOUR DOING ANYTHING.
DON'T YOU BE MAD AT MOMMA,
OR SHE'LL GET YOU.
NO, SWEETIE.
SHE WON'T GET ME.
I'M STRONGER THAN SHE IS.
AND I'LL GET JUST AS MAD
AT MOMMA AS I LIKE
AND I'LL STAY
MAD AT HER FOR YOU
UNTIL YOU ARE ABLE
TO DO IT FOR YOURSELF.
[sighing]
ALL RIGHT, WE'RE GONNA LEAVE
WILLOW CORNERS NOW.
I DON'T EVER WANNA
GO BACK THERE AGAIN.
WE'RE COMING BACK
INTO THE PRESENT.
YOU'RE 6, 14, 21, 29.
THIS IS TOO FAST.
IT'S ALL RIGHT TO COME INTO
THE PRESENT, SWEETIE,
BECAUSE I'M IN THE PRESENT.
YOUR MOTHER IS DEAD
AND BURIED IN A GRAVE
IN KANSAS CITY.
MOTHER'S DEAD?
SHE'S DEAD.
IT'S ALL RIGHT.
NOW YOU'LL ONLY REMEMBER
WHAT IT'S SAFE TO REMEMBER.
[Dr. Wilbur exhaling]
(Sybil)
I'M SO ANXIOUS.
(Dr. Wilbur)
SWEETIE, YOU'VE SURVIVED.
THAT YOU'VE FOUND
SUCH A CREATIVE ALTERNATIVE
TO INSANITY
IS MIRACULOUS
AND IT--IT WILL PROTECT YOU
TILL YOU DON'T
NEED IT ANYMORE.
BUT WHAT IF I CAN'T
COOK DINNER FOR RICHARD?
(Sybil)
I'M SO WORRIED
ABOUT BEING EMBARRASSED.
(Dr. Wilbur)
YOU'RE PROTECTED, SWEETIE.
VICKY WOULDN'T LET
YOU BE EMBARRASSED.
SHE'LL CALL ON
ONE OF THE OTHERS.
VANESSA'S MORE COMFORTABLE
WITH RICHARD THAN YOU ARE.
I ENVY HER SO.
AND NOW I'M GONNA SUGGEST
THAT WHEN YOU WAKE UP
IN THE MORNING,
AND IT'S CHRISTMAS,
YOU WILL HAVE
A BEAUTIFUL DAY.
A DAY THAT'S ALL YOURS,
THAT YOU CAN DO
ANYTHING YOU LIKE WITH.
PAINT PRETTY PLACE CARDS
FOR RICHARD AND MATTHEW
AND PUT RED CANDLES
ON THE TABLE.
OH, IT'LL--IT'LL BE SO NICE.
HANDS, PLEASE.
[chuckling]
CAN WE REACH? YEAH, I GUESS.
[chuckling]
(Richard)
OK, LADIES FIRST.
UM, I WISH...
WELL,
MY WISH IS TAKEN CARE OF
BECAUSE YOU'RE BOTH HERE
AND THAT'S MY WISH.
I WISH FOR A RED DUMP TRUCK.
[chuckling]
LOVE, JOY,
AND PEACE TO US ALL.
WHEN IN DOUBT, EAT.
SO LET'S BEGIN.
I USED TO HATE
CHRISTMAS AT HOME.
ALL THOSE AUNTS AND UNCLES
SPRAWLING AROUND,
TOO FULL TO MOVE
WINDING THEIR WATCHES
AND SAYING,
"DON'T YOU THINK
IT'S ABOUT TIME
WE GOT THIS SHOW
ON THE ROAD?"
[chuckling]
I THINK I'LL SEE
ABOUT THE CHICKEN.
STAY, PLEASE.
IT WON'T RUN AWAY.
YOU KNOW, SOMETIMES IT'S NICE
TO BE QUIET FOR A CHANGE.
[sighing]
I--I FEEL ALL OUT
HERE SOME PLACE.
I FEEL LIKE
I'M FLOATING AROUND
OUTSIDE MYSELF.
I THINK I'D FEEL CLOSER
IF WE TALKED LONG DISTANCE.
WE HAVE TIME.
WE'LL GET THERE.
(Matthew)
WHERE ARE WE GOING,
DADDY?
NOT THAT KIND
OF GETTING THERE, MATTHEW.
ANYBODY INTERESTED IN
A DRUMSTICK?
ME, PLEASE.
HELLO?
HELLO?
THIS IS LONG DISTANCE.
THIS IS LONG DISTANCE
CALLING MISS SYBIL DORSETT.
HELLO.
HIYA, SLATS.
UH, MY NAME IS LEFTY.
HOW DO YOU DO, LEFTY?
WELL, UH, I'LL TELL YOU.
DON'T TRACE THIS CALL, SEE,
AND DON'T ASK NO QUESTIONS.
BEFORE I GO ON THE LAM
WITH MY SIDEKICK HERE
MATT THE RAT,
I, UH...
I WANT YOU TO SLIP ME THE KEY
TO THE DOWNSTAIRS DOOR
SO I CAN GET BACK IN.
OK, SLATS?
'CAUSE I DON'T LIKE
LONG DISTANCE.
SLATS?
YOU STILL THERE?
I THINK SO.
YEAH, WELL, UH, YOU GOTTA
GIVE ME AN ANSWER QUICK.
I DON'T WANT YOU
TO BE DISAPPOINTED, LEFTY.
I GOT NO EXPECTATIONS, SLATS.
**[voice humming]
[knocking on door]
(Sybil as Vanessa)
BE RIGHT THERE.
OH, VANESSA,
YOU LOOK JUST FINE.
YOU KNOW,
A KEY WOULDN'T DO MUCH GOOD
AGAINST ALL THIS.
YOU NEED A SCALING LADDER.
(as Vanessa)
I GUESS IT'S CALLED SECURITY.
OPEN YOUR CHRISTMAS PRESENT.
OH, RICHARD.
[mimicking]
"OH, RICHARD."
I THOUGHT WE AGREED
WE WEREN'T GONNA DO THIS.
I'M A CONGENITAL LIAR.
OH!
REMIND ME NEVER TO LET YOU
TAKE OFF A BANDAGE.
WELL, IF I'M VERY CAREFUL
AND DON'T TEAR IT,
THEN I CAN DRAW
ON THE BACK OF IT.
YOU DRAW ON THE WHOLE THING.
IT'S ONLY WATERCOLOR PAPER.
OH, RICHARD.
IT'S THE MOST BEAUTIFUL PAPER.
THANK YOU.
I WANT-- I WANT YOU--
YOU DON'T HAVE
TO SAY ANYTHING.
THE NIGHTGOWN SAYS IT ALL.
YOU WANT CLOSENESS,
THAT'S ALL.
I--I NEVER
EXACTLY HAD CLOSENESS.
LOVE, I TOLD YOU ONE TIME,
YOU'RE ONLY 12 YEARS OLD.
NOW, ANYTHING MORE
WOULD BE ILLEGAL.
YOU MIND IF I UNDRESS?
I'M REALLY INTERESTING.
WE HAD MALE MODELS
IN ART SCHOOL.
[paper rustling]
[shoes thudding]
OK.
WELL, I DON'T THINK
THIS BED WAS MADE
FOR MASCULINE SHOULDERS
BECAUSE THERE'S
NO ROOM FOR ME.
THERE'S ROOM.
THERE IS.
WELL, WELL, WELL.
[chuckling]
[exhaling]
I THINK I'M GONNA FALL OUT.
[kissing]
LEFTY.
SLATS.
THIS IS A VERY
UNEXPECTED CHRISTMAS.
YEAH. FOR ME, TOO.
WHEN YOU TALK,
YOUR CHEST VIBRATES
LIKE A PIANO
WITH THE HOOD DOWN.
* O, TANNENBAUM,
O, TANNENBAUM **
YOU'RE TICKLING MY EAR.
**[singing]
**[singing]
**[humming]
**[both humming]
(Hattie and Sybil)
* OH, CHRISTMAS TREE *
* OH, CHRISTMAS TREE *
* HOW LOVELY ARE
THY BRANCHES **
[kittens mewing]
[cat snarling]
[screaming]
[gasping]
[cat snarling]
[cat snarling]
[cat snarling]
[Sybil gasping]
[cat snarling]
[panting]
[cat snarling]
[exclaiming]
[gasping]
[cat snarling]
[panting]
[cat snarling]
[door rattling]
[cat snarling]
[cat snarling]
[Sybil gasping]
[moaning]
[Sybil moaning]
[moaning]
HEY, COME ON. IT'S OK.
WAKE UP. YOU'RE DREAMING.
[whimpering]
COME--COME-- COME ON.
LET ME HELP YOU DOWN, OK?
(as Peggy)
I DON'T WANT TO SEE
THE KITTY CAT.
THERE IS NO KITTY CAT.
I DON'T WANT TO SEE IT.
NO, DON'T.
YOU GOT SUCTION CUPS
ON YOUR TOES OR SOMETHING?
IT'S NOT THERE?
IT'S NOT THERE?
THE KITTY CAT IS NOT THERE?
NO.
I DON'T WANNA SEE IT.
I DON'T WANNA SEE IT.
NO, DON'T.
YOU'RE NOT DANNY.
NO.
THE PEOPLE. THE PEOPLE.
THEY WATCH. THEY WATCH.
[mumbling]
NOW,
WHAT'RE YOU TALKING ABOUT?
[exclaiming]
OUT, I WILL GET OUT.
I WILL GO SOME PLACE.
I WILL GO SOME PLACE.
I'LL GO TO-- I'LL GO TO
NEW YORK. I'LL GO TO NEW YORK.
YOU'RE IN NEW YORK.
I'LL FIND MY DR. WILBUR.
SHE'LL BE GLAD TO SEE ME.
WHO'S DR. WILBUR?
SHE'LL KNOW WHAT TO DO.
I HAVE TO FIND PURSE.
PURSE.
WHO'S DR. WILBUR?
THAT'S ALL RIGHT. I'LL
HITCHHIKE. I'LL HITCHHIKE.
I WANT MY SUITCASE.
YOU'LL HITCHHIKE WHERE?
YOU CAN'T GO ANYWHERE
UNLESS YOU ARE SOMEWHERE
AND YOU DON'T KNOW
WHERE YOU ARE.
SUITCASE.
I WANT MY SUITCASE.
SYBIL!
SYBIL, WHO IS DR. WILBUR?
DON'T DO THIS TO ME!
WHO IS--
DON'T DO THIS TO ME!
[Sybil crying]
(as Sybil)
THEY SAID NOT TO
GO TO THE MOVIES.
THE MOVIES WERE...
DO I GO TO THE MOVIES? NO.
(Richard)
WE WENT TO RADIO CITY
THIS MORNING.
SYBIL, IS DR. WILBUR
A PSYCHIATRIST?
WERE WE TALKING ABOUT ART?
WERE WE TALKING
ABOUT THE BALLET?
I CAN'T COOK DINNER.
OH!
IS THIS MARCIA?
IS SHE DOING THIS TO ME?
IT'S NOT THE END OF THE WORLD.
IT'S THE END OF ME.
SYBIL.
STAY. DON'T LEAVE!
**[voice humming]
INFORMATION, I--I NEED
A--A NUMBER
FOR A DR. WILBUR.
A PSYCHIATRIST.
[sighing]
**[voice humming]
(as Marcia)
NOTHING MATTERS NOW.
**[voice humming]
[people chattering]
THANK YOU.
HELLO.
WHO?
RICHARD LOOMIS?
WHAT'S THE MATTER?
WELL, HOW DID THE DINNER GO?
YES, WELL, THE THING
ABOUT IT IS, YOU SEE,
YOU PROBABLY DON'T KNOW
WHO YOU'RE DEALING WITH.
SO I'M GONNA HAVE TO, UH...
TO BREAK
A PROFESSIONAL CONFIDENCE.
OH, MY GOD.
MY LITTLE BOY
TRIED TO TELL ME THAT,
YOU KNOW, IN DIFFERENT WORDS.
IF SHE'S FEELING THE WAY
THAT YOU SAY SHE IS,
SHE'S PROBABLY MARCIA.
SO YOU CAN JUST FEEL FREE
TO CALL HER BY HER NAME.
BUT WOULD YOU TELL HER
SOMETHING FOR ME?
TELL HER I SAID
IT'S PERFECTLY OK
TO THINK ABOUT
KILLING HERSELF
BUT WOULD SHE
PLEASE JUST WAIT
UNTIL I GET THERE.
[door thudding]
SHE'S ON THE ROOF.
I GOTTA GO.
[people chattering]
[car honks]
SYBIL.
SYBIL.
(as Marcia)
THERE IS NO SYBIL NOW.
DON'T YOU COME NEAR ME.
I WON'T.
HEY, I--I DON'T THINK
WE'VE MET YET.
MY NAME IS RICHARD. HI.
AREN'T YOU GONNA TELL ME
WHO YOU ARE?
WELL, I'VE BEEN TALKING
TO DR. WILBUR
AND SHE THOUGHT
THAT MAYBE YOU WERE MARCIA
SO I'M GONNA
CALL YOU MARCIA, OK?
HOW--HOW ARE YOU,
MARCIA?
THAT'S A VERY PRETTY SCARF
YOU HAVE ON.
YOU'RE TRYING
TO GET ME TO WAIT
UNTIL DR. WILBUR GETS HERE.
WELL, IT WON'T WORK.
MARCIA!
MARCIA. MARCIA, YOU KNOW,
THAT-- THAT'S AN AWFULLY
LONG FALL DOWN THERE.
IT'S 5 STORIES. NOW,
I'M ONLY CONSIDERING MATTHEW.
D-D-DO YOU KNOW MATTHEW?
HE LIKES YOU.
[inhaling]
HE LOVES VANESSA.
NO, NOT--NOT--NOT
JUST VANESSA.
H-HE KNEW ABOUT ALL OF YOU
LONG BEFORE I EVER DID.
I MEAN, HE SENSED IT.
ANYWAY, HE SAID TO ME,
"DADDY, SYBIL IS JUST
STUFFED WITH PEOPLE."
HE DID?
YEAH.
I GUESS THAT'S BECAUSE
WE'RE ALL CHILDREN, TOO.
YEAH, AND--AND YOU SEE,
THE POINT--THE POINT IS
THAT-- THAT'S--THAT'S
MATT'S WINDOW
RIGHT DOWN THERE.
THAT'S THE LAIR
OF MATT THE RAT, SLATS,
AND--AND IF-- AND IF YOU LAND
DOWN THERE IN THAT COURTYARD,
THAT'S WHAT MATT
IS GONNA REMEMBER
FOR THE REST OF HIS LIFE.
HIS GOOD FRIEND
LOOKING LIKE--
THEN I'LL GO OVER THERE,
ON THE OTHER SIDE,
WHERE HE CAN'T SEE.
WHERE? OVER THERE?
THAT-- THAT'S A STREET.
YOU MIGHT HIT SOMEBODY.
I WON'T KNOW THEM.
OH, YEAH.
YEAH, YEAH,
THAT--THAT--THAT MAKES SENSE.
[car honking]
YOU MOVE BACK OVER THERE.
WHERE? WHERE? HERE?
FURTHER.
HERE?
AND PROMISE ME NOW,
YOU PROMISE ME
YOU WON'T TRY TO STOP ME.
WELL, I PROMISE.
[crying]
NO! YOU PROMISED.
YOU PROMISED.
I TOLD YOU
I WAS A CONGENITAL LIAR.
DON'T. DON'T TRAP ME.
IT WILL GET WORSE.
IT'LL GET WORSE.
LET ME DO IT.
OH, PLEASE. PLEASE,
WHY WON'T YOU LET ME DO IT?
WHY WON'T YOU LET ME DO IT?
[child chattering]
(as Peggy)
THE PEOPLE, THE HAND.
AND THE PEOPLE.
AND THE PEOPLE.
THEIR HANDS, AND THE WATER.
THE WATER, AND THE WATER.
[in Hattie's voice]
YOU JUST LAY STILL,
YOUNG LADY.
YOU JUST LAY STILL.
YOU MOVE A MUSCLE AND...
YOU MOVE A MUSCLE AND...
I CAN SEE IT. I CAN SEE IT.
IN THE KITCHEN.
IN THE KITCHEN.
IT'S ALL GREEN,
AND IT'S DRIPPING,
AND IT'S IN THE SINK.
I CAN SEE IT. I CAN SEE IT.
[in Hattie's voice]
IT'S NOT COLD ENOUGH,
YOUNG LADY.
IT'S NOT COLD ENOUGH.
YOU JUST LAY STILL.
(Richard)
PLEASE, DON'T!
I KNOW WHO YOU ARE.
I KNOW WHO YOU ARE.
YOU'RE DANNY.
YOU'RE DANNY. I KNOW DANNY.
UH-HUH.
DANNY LIKES ME.
I LIKE DANNY.
HE DANCES FOR ME,
AND HE SINGS.
HE DANCES.
HE SINGS LIKE FRED ASTAIRE.
* LOVELY *
I KNOW HIM.
I KNOW HIM. I KNOW HIM.
* NEVER, EVER CHANGE *
I KNOW HIM.
I KNOW HIM. I KNOW HIM.
I KNOW HIM.
* KEEP THAT
BREATHLESS CHARM **
I KNOW HIM.
[grunts]
(as Sybil)
DON'T TOUCH ME.
YOU'RE BURNING MY SKIN OFF.
YOU'RE BURNING MY SKIN OFF.
SYBIL!
(Sybil)
WHY ARE WE HERE?
MARCIA'S TRYING
TO KILL HERSELF.
SHE'S TRYING TO KILL YOU.
DON'T HOLD ME.
DON'T HOLD ON TO ME.
SWEETIE, SWEETIE, SWEETIE.
PLEASE LET HER DO IT.
[shushing]
PLEASE LET HER DO IT.
PLEASE LET HER DO IT.
IT'S ALL RIGHT.
I'M AFRAID TO LET HER GO.
SYBIL. SYBIL!
DR. WILBUR.
IT'S ALL RIGHT.
IT'S ALL RIGHT.
DR. WILBUR.
OK, JUST HOLD ON A MINUTE.
DR. WILBUR.
LET ME GET...
DEAR, IT'S ALL RIGHT.
OH, YOUR COAT IS SO PRETTY.
IT'S ALL RIGHT.
IT'S ALL RIGHT.
I'M GONNA GIVE YOU...
YOU'RE GONNA GET
YOUR DRESS DIRTY, DR. WILBUR.
NO, NO. NO.
I'M GONNA GIVE YOU SOME
SEDATION IS WHAT I'M GONNA DO
AND IT'S GONNA
MAKE YOU FEEL BETTER
AND TAKE AWAY THE HURT, OK?
DR. WILBUR,
PLEASE LET HER DO IT.
DR. WILBUR,
PLEASE LET HER DO IT.
NO, NO. NO, NO, NO.
PLEASE DON'T GET
YOUR DRESS DIRTY.
DON'T GET DIRTY, PLEASE.
YOU LOOK SO PRETTY.
OH, I'M SCARED OF THAT.
SCARED.
IT'S OK.
I'M SCARED.
NO, IT'S ALL RIGHT.
[moans]
THERE, OK?
[groaning]
[sobbing]
YOU HAVE 4 EARRINGS.
YEAH, I GOT 4 EARRINGS,
BUT I ONLY GOT 2 ON.
THAT'S JUST THE MEDICINE, OK?
GIVE ME A HAND.
COME ON, SWEETIE.
ALL RIGHT.
ALL RIGHT?
YEAH.
OK.
COME ON, SWEETIE.
IS HE GONE?
I DON'T WANT HIM TO SEE ME.
IT'S ALL RIGHT.
HERE. COME ON.
THERE YOU GO.
HE'S SO THOUGHTFUL.
YOU KNOW, IF HE GOES TO GET
A GLASS OF WATER FOR HIMSELF
HE NEVER JUST BRINGS ONE.
HE BRINGS 2,
AND THEN HE SAYS,
"I THOUGHT MAYBE
YOU'D BE THIRSTY."
ISN'T THAT THOUGHTFUL?
(Dr. Wilbur)
MMM-HMM.
ISN'T THAT CONSIDERATE?
THAT'S QUITE CONSIDERATE,
YES.
YOU DON'T FIND THAT
VERY OFTEN NOWADAYS.
WHAT IS IT I FELT
FOR MY GRANDMA?
WAS THAT LOVE?
YEAH, THAT WAS LOVE,
SWEETIE.
AND DANNY, WAS THAT LOVE?
MMM-HMM.
[exhaling]
THAT'S WHAT IT IS
WITH RICHARD THEN.
DR. WILBUR.
(Dr. Wilbur)
MMM-HMM?
IS IT ALL RIGHT IF I
DON'T SEE HIM AGAIN
UNTIL AFTER WE PULL
OURSELVES TOGETHER?
MMM-HMM.
I DON'T KNOW HOW TO TELL HIM.
I THINK HE'LL KNOW
WITHOUT YOU TELLING HIM.
[children chattering]
(man)
$0.21 A POUND.
ALL RIGHT, I'LL TAKE IT.
PAY THE GIRL.
I'LL GO INSIDE.
GO INSIDE.
AH, THAT'S NICE.
THERE,
THAT SHOULD DRIVE THE WINTER
OUT OF THE CORNERS.
YEAH. I, UH, I PASSED
THE PARK ON THE WAY
TO WORK THIS MORNING.
THERE WAS A GUY
CUTTING THE GRASS.
I GOT ONE WHIFF
AND ALREADY I'M THINKING
ABOUT 2 WEEKS
IN THE MOUNTAINS, HUH?
HAVE A CARE, MR. RIZO.
SPRING IS THE MISCHIEF IN US,
AS THE POET SAYS.
YEAH. HAVE A GOOD DAY.
[cat meowing]
(Sybil)
RICHARD MOVED AWAY.
DID I TELL YOU?
(Dr. Wilbur)
NO, MARCIA DID.
HOW DID THAT MAKE YOU FEEL?
MY KITTY BOTHERS ME.
[meowing]
I ASK YOU HOW IT FEELS
TO HAVE RICHARD MOVE
AND YOU TELL ME
YOUR KITTY BOTHERS YOU.
THAT'S INTERESTING.
LET'S NOT TALK ABOUT IT.
IT'LL JUST OPEN UP
A WHOLE CAN OF PEAS.
NO, WHAT IT MIGHT OPEN UP
IS A WHOLE NEST OF KITTENS,
WHICH IS SOMETHING
WE'VE AVOIDED
EVERY TIME YOU'VE
DREAMED ABOUT THEM.
NOW, MAYBE THERE IS
A CONNECTION
BETWEEN YOUR ANGER
AT RICHARD MOVING
AND YOUR--
THERE ISN'T ANY ANGER.
SWEETIE, YOUR ANGER
AT THE HEADLESS CAT.
CURIOSITY KILLED THE CAT,
SO DON'T WONDER.
[sighing]
CURIOSITY DIDN'T
TEAR ITS HEAD OFF.
NOW, WHO DID THAT?
YOU WANTED TO GET
RID OF MOMMA, RIGHT?
THAT'S ONE THEORY.
THERE ARE A MILLION THEORIES.
YOU PICK ONE.
I'LL AGREE TO ANYTHING.
I SEE.
YOU ALWAYS SAY, "I SEE."
YOU KNOW,
MARCIA WAS SO AFRAID
OF WANTING TO KILL MOMMA
THAT SHE ALMOST
KILLED HERSELF
FOR JUST HAVING THE THOUGHT.
I DON'T KNOW MARCIA.
I'M NOT INTERESTED.
MARCIA TOLD ME
ABOUT A MEMORY SHE HAD
ABOUT A LITTLE BOX.
WHY DO I HAVE TO
REMEMBER SOMETHING
THAT DIDN'T HAPPEN TO ME?
WHY CAN'T I BLANK OUT?
BECAUSE YOU CAN STAND
SOME OF THOSE FEELINGS NOW,
SWEETIE.
YOU'RE GETTING STRONGER.
NOW, CAN'T YOU TELL ME
ABOUT THE LITTLE BOX?
IT STARTED TO GROW.
IT GOT BIGGER.
THAT'S RIGHT.
AND IT GREW BIGGER
UNTIL IT WAS BIG ENOUGH
TO PUT MOMMA IN.
IN FACT, IT TURNED
INTO A COFFIN, DIDN'T IT?
I DID NOT WANNA
GET RID OF MOMMA.
I WANTED TO GET RID
OF THE HURT.
I WANTED THE HURT TO
GO AWAY, NOT MOMMA.
I DIDN'T MEAN ANYTHING BAD.
SWEETIE, IT'S NOT BAD
TO WANNA GET RID OF
SOMETHING THAT HURTS.
AND MOMMA WAS
JUST ONE BIG HURT
WITH A NAME ATTACHED TO IT.
IT WAS STILL MY MOMMA.
THAT WAS
AN ACCIDENT OF NATURE.
SYBIL,
A WISH CAN'T KILL PEOPLE.
NOW, IF THE WORLD
HAS TO TURN PURPLE
AND LITTLE CHILDREN
HAVE TO KILL THEMSELVES
BECAUSE THEY WISH
THEIR MOTHERS WERE DEAD,
THERE WOULDN'T BE
ANYBODY LEFT ON EARTH.
SYBIL, YOU'RE NOT
LISTENING TO ME.
YOU'RE THINKING ABOUT
SUICIDE AGAIN, AREN'T YOU?
WHY DO YOU
WANNA KILL YOURSELF
INSTEAD OF DOING
WHAT WE HAVE TO DO?
WHY DO YOU WANNA KILL THIS
WONDERFULLY
CREATIVE ORGANISM
BEFORE YOU'VE
EVEN BEGUN TO LIVE?
I DON'T LIKE IT
WHEN YOU'RE ANGRY.
I'M NOT ANGRY. I'M DEFINITE.
YOU INSULT ME, MY DEAR.
YOU INSULT MY HEART.
WELL, JUST LOOK AT ME.
CAN'T YOU SEE WHAT I AM?
I HAVE LOOKED AT YOU
AND LOOKED AT YOU
FOR MONTH AFTER MONTH AFTER
MONTH AND I HAVE SEEN YOU.
YOU HAVEN'T SEEN ANYTHING.
AND I WASN'T THINKING
ABOUT SUICIDE.
I WAS THINKING ABOUT
WHAT A CHARADE THIS IS.
DR. WILBUR,
I CAN'T GO ON LIKE THIS.
YOU BETTER SIT DOWN.
I HAVE A BIG SHOCK FOR YOU.
IT'S A LIE.
THE WHOLE THING.
I DON'T HAVE
MULTIPLE PERSONALITIES.
NOT EVEN ONE.
IT'S JUST ME.
I--I DON'T-- I DON'T EVEN KNOW
WHY I GOT STARTED.
ALL THE THINGS
I TOLD YOU ABOUT MY MOTHER,
THEY'RE ALL LIES,
EVERY ONE OF THEM.
SHE SPOILED ME ROTTEN,
WATCHED ME
EVERY SINGLE SECOND.
YOU KNOW,
IT INTERESTS ME, SYBIL
THAT THE DENIAL COMES AT
THIS PARTICULAR TIME.
THIS IS NOT A DENIAL.
EXCUSE ME, SWEETIE,
BUT IT COMES ON THE EVE
OF MY CHICAGO LECTURES
WHICH MUST SEEM LIKE SOME
KIND OF ABANDONMENT TO YOU
THE WAY RICHARD
ABANDONED YOU.
NO, IT'S NOTHING LIKE THAT.
AND 2, WE ARE AT A PLACE
WHERE THE MOST
TERRIFYING MEMORIES OF ALL
ARE JUST BELOW THE SURFACE.
DR. WILBUR, EXCUSE ME,
BUT THIS SIMPLY IS NOT
DENIAL OR RESISTANCE
OR ANY OF THOSE
PATIENT TRICKS.
IT IS AN ADMISSION
OF CULPABILITY.
I'M SORRY.
I KNOW I OWE YOU A FORTUNE,
AND YOU'LL BE PAID.
BUT TO GO ON LIKE THIS
WOULD BE VERY CRUEL.
YOU'RE TOO GOOD
A PERSON FOR THAT.
SO I THINK WHAT I SHOULD DO
IS TAKE MY FATHER
UP ON HIS OFFER
AND STAY IN THAT
SUNNY LITTLE ROOM
WHERE ALL MY THINGS
WILL FIT JUST PERFECT
AS THE FAMOUS FRIEDA SAYS.
ARE YOU SYBIL?
OF COURSE I'M SYBIL.
WHO ELSE WOULD I BE?
WHAT HAPPENED IN
THE GREEN KITCHEN?
THAT'S MY CUE TO
TURN INTO PEGGY, RIGHT?
DR. WILBUR, THERE IS
NO PEGGY TO TURN INTO.
DO YOU MIND IF I TEST THAT?
HYPNOSIS? BE MY GUEST.
ALL RIGHT, WOULD YOU
LIE DOWN ON THE SOFA?
SUR LE COUCH?
ONLY VICKY'S SUPPOSED
TO KNOW THAT, RIGHT?
[mimics Dr. Wilbur]
"NOW, DEAR HEART,
"I WANT YOU TO
LOOK AT NEHEMIAH.
"YOU WILL LOOK AT
NEHEMIAH, SWEETIE,
AND I WILL ASK TO
SPEAK TO THE OTHERS."
I'VE REALLY GOTTEN IT DOWN,
HAVEN'T I, DOCTOR?
(Dr. Wilbur)
IN MY CHICAGO HOTEL ROOM,
I STARTED TO THINK
THAT SYBIL'S DENIAL
MIGHT ACTUALLY HAVE BEEN
HER FIRST BREAKTHROUGH.
MAYBE THE SELVES
HAD BANDED TOGETHER
TO STOP ME FROM
TAKING SYBIL DOWN
TO THE MOST
DANGEROUS PLACE OF ALL.
HELLO. YEAH,
I'D LIKE ANOTHER
CHICAGO NUMBER, PLEASE.
WELL, I'M SORRY,
BUT I'LL JUST HAVE
TO KEEP ON ASKING
UNTIL SOMEBODY PUTS
A PHONE BOOK IN HERE.
I'VE GOT 2 BIBLES
AND NO PHONE BOOK.
[laughing]
THE PERSON I'M LOOKING FOR
ISN'T IN THE BIBLE.
A DORSETT, WILLARD DORSETT.
(Dr. Wilbur)
YOU UNDERSTAND,
MR. DORSETT, I JUST WANNA
TIE UP SOME LOOSE ENDS,
SO TO SPEAK.
SO YOU CAME TO
THE HORSE'S MOUTH.
IS THAT IT?
IT SEEMED
THE SENSIBLE THING TO DO.
I, UH...
I DO RECALL A BRUISE OR 2
FROM TIME TO TIME.
I SEE.
WELL, TELL ME, DO YOU RECALL
A BROKEN LARYNX?
WELL, NOW YOU SAY IT,
IT SEEMS I DO.
RAN INTO A CLOTHESLINE,
I BELIEVE.
OH, WHO SAID THAT?
MY WIFE, I SUPPOSE.
SHE DRIED THE WASH OUT BACK.
NOW, BY WASH, YOU MEAN,
UH, THINGS LIKE--LIKE
SHEETS AND TOWELS
AND THINGS LIKE THAT?
SURE.
SOMETHING... SO YOU'D HAVE
TO HANG THEM UP PRETTY HIGH
IN ORDER TO KEEP THEM
OFF THE GROUND. HMM?
IS THAT RIGHT?
THAT'S RIGHT.
YEAH.
WELL,
IT SEEMS TO ME IT WOULD TAKE
AN AWFUL LOT OF DETERMINATION
FOR A LITTLE 4-YEAR-OLD
TO GET HER THROAT UP,
YOU KNOW, HIGH ENOUGH
TO BREAK HER LARYNX.
WOULDN'T YOU SAY?
WHEN YOU STOP TO
THINK ABOUT IT.
YOU KNOW, MR. DORSETT,
I HAVE HERE
A CATALOG OF
HURTS.
AND WHAT I'D LIKE TO STOP
AND THINK ABOUT IS, UH,
HOW MRS. DORSETT EXPLAINED
THE REST OF THESE.
OR PERHAPS EVEN IF, UH...
DID YOU EVER ASK SYBIL?
UH, SOMETIME WHEN YOU
WERE ALONE TOGETHER WITH HER
AND SHE MAYBE FELT
A LITTLE FREER TO CONFIDE?
DID YOU?
I DON'T GET THE DRIFT
OF THIS CONVERSATION.
WELL, I'LL GIVE IT
TO YOU. I...
WHAT I'D LIKE TO KNOW IS
DO YOU THINK IT'S POSSIBLE
THAT YOUR WIFE INFLICTED
THESE INJURIES HERSELF?
ABSOLUTELY NOT.
YOU UNDERSTAND,
WHAT I MEAN IS,
DO YOU THINK
THERE WAS ANYTHING
IN HER PERSONALITY,
IN HER CHARACTER--
ABSOLUTELY NOT.
THAT WAS A FINE WOMAN.
I'M SURE SHE WAS
A FINE WOMAN,
BUT EVEN THE FINEST PEOPLE
CAN GET VERY SICK,
MR. DORSETT
AND WHAT I'M TALKING ABOUT
HERE IS SICKNESS.
NOW, WAS SHE EVER SICK?
UH, EMOTIONALLY SICK,
I MEAN, NOT--
I KNOW WHAT YOU MEAN.
I LIVE IN
THE SAME CENTURY YOU DO.
I BEG YOUR PARDON. I'M SORRY.
SHE WAS NERVOUS.
NOT SICK, JUST NERVOUS.
SHE JUST TALKED SO MUCH,
THAT'S ALL.
SHE'D TELL POEMS OUT LOUD,
AND GET UP AND DANCE IN
RESTAURANTS, THINGS LIKE THAT.
JUST TOO BIG A HEAD
OF STEAM, THAT'S ALL.
FRUSTRATED WITH
THE SMALL-TOWN LIFE
OR ME OR SOMETHING.
I DON'T KNOW.
SHE'D GET
REAL LOW SOMETIMES.
"LOW DOWN AND BLUE,"
SHE'D CALL IT.
ONE YEAR, SHE JUST SAT
QUIET THAT WHOLE WINTER.
WOULDN'T EVEN FEED HERSELF.
GOT SO BAD I DROVE HER UP
TO THE STATE HOSPITAL.
WELL, THEN WHAT HAPPENED?
WHAT DID THEY SAY?
OH, THEY
SAID SHE HAD
THE PARANOID SCHIZOPHRENIA.
WELL, MR. DORSETT, THAT'S...
THAT'S VERY SICK.
IT'S--IT'S...
IT'S CERTAINLY TOO SICK
TO BE RAISING A LITTLE GIRL.
THEY--THEY WERE WRONG,
YOU SEE.
WELL, HATTIE TOLD ME HERSELF
A-AFTER I GOT HER HOME
THAT ALL THAT DOCTOR DID
WAS SIT AND STARE AT HER
THE WHOLE TIME
SHE WAS WITH HIM.
SAID IF ANYONE WAS GONNA
TELL HER SHE WAS A LOONY,
HE BETTER GET
SOMEONE TO DO IT
BESIDE ONE OF THE LOONS.
WELL, YOU CAN'T ARGUE
WITH THE LOGIC OF THAT,
NOW CAN YOU?
YOU CALL THAT SICK?
[birds chirping]
[dog barking]
EXCUSE ME.
COULD YOU TELL ME
IF DR. QUINONESS
STILL IS, UH, LIVING IN
WILLOW CORNERS, IN TOWN?
YOU BET.
STRAIGHT ON INTO TOWN.
CORNER OF 4TH AND MAPLE.
4TH AND MAPLE? THANK YOU.
YEAH.
(Dr. Quinoness)
I HOPE YOU DON'T MIND
CARRYING THE OATMEAL COOKIES
BUT JULIA GETS POOPED
ON THESE STAIRS NOW.
OLD PLACES ARE
BUILT FOR GOATS ANYWAY.
WELL, I APPRECIATE
YOUR TAKING TIME OUT
TO SEE ME, DR. QUINONESS.
NOT TAKING TIME OUT
FROM MUCH.
[laughing]
WELL, HERE WE BE.
THE MUSEUM.
USED TO BE THE ONLY SURGERY
FOR 40 MILES
TILL THEY BUILT THE HOSPITAL
OUT ON ROUTE 9.
I USE IT NOW MAINLY BECAUSE
THE SUN LASTS LONGER
THAN ANY OTHER ROOM
IN THE HOUSE.
LATELY, I'VE BECOME
GREEDY ABOUT SUNLIGHT.
PLEASE SIT.
THANK YOU.
YES, I SEEM TO
REMEMBER HEARING
THAT SYBIL WAS
IN NEW YORK CITY.
OF COURSE, NOWADAYS,
WITH ALL THE FAMILY
EITHER DEAD OR MOVED AWAY,
DON'T KEEP TABS
LIKE I USED TO.
THANK YOU.
SHE, UH,
HAS A NERVOUS CONDITION,
HAS SHE?
MMM-HMM. YES.
AH, LITTLE SYBIL.
LITTLE SPARROW OF A THING.
NOT SURPRISED
IT'S COME TO THAT.
YOU KNOW,
SHE HAD A NERVOUS MOTHER.
SO I UNDERSTAND.
HATTIE. PILLAR OF THE TOWN.
DID EVERYTHING.
WELL, I WOULD APPRECIATE IT
IF I COULD SEE
SYBIL'S RECORDS, DOCTOR.
WELL, I DON'T KNOW
WHAT LIGHT THAT WOULD SHED.
YOU SEE, I--I NEVER,
NEVER TREATED HER FOR NERVES
ONLY FOR THE USUAL
CHILDHOOD ACHES AND PAINS.
I UNDERSTAND, BUT I--I WOULD
CONSIDER IT A GREAT COURTESY.
I DON'T KNOW THAT
I HAVE ANYTHING.
LET ME SEE.
DORSETTS.
DORSETTS. OH, YES.
HERE WE ARE. SYBIL.
TONSILLECTOMY.
I REMEMBER THAT.
SHE FOUGHT SO HARD
WE COULD HARDLY GET THEM OUT.
TORN LIGAMENTS,
RIGHT SHOULDER.
FRACTURED CLAVICLE.
PALM OF RIGHT HAND
BURNED ON STOVE.
FRACTURED LARYNX.
BEANS STUCK UP HER NOSE.
GAS INHALATION.
USUAL CHILDHOOD
ACHES AND PAINS, HUH?
DID YOU EVER SPECULATE?
YOU KNOW,
YOU CAN LIVE TOO LONG, DOCTOR.
I NEVER TOLD ANYONE THIS.
SYBIL CAME TO ME
WITH A BLADDER COMPLAINT.
VERY UNUSUAL IN
A LITTLE GIRL.
COULDN'T PASS HER WATER.
I HAD TO CATHETERIZE HER.
IF YOU DID A GYNECOLOGICAL
ON HER RIGHT NOW,
I'D WAGER YOU'D SEE
WHAT I SAW.
SCARIFICATION OF
THE INNER WALL,
DESTRUCTION OF
CERTAIN TISSUES.
I DON'T BELIEVE
SHE CAN EVER BECOME A MOTHER.
YOU KNOW, THE GOOD LORD
SHIPS US INTO THIS WORLD
NOT A WHOLE HECK
OF A LOT BETTER
THAN THE U.S. MAILS.
BUT THE HAND OF THE ALMIGHTY
HAD NOTHING TO DO
WITH WHAT I FOUND
INSIDE THAT CHILD.
YOU'VE BEEN VERY GENEROUS,
DOCTOR.
YOU WANNA GIVE ME
A TIP, DOCTOR?
IF I CAN.
IN YOUR...
IN YOUR TRADE, YOU HEAR
A LOT OF CONFESSIONS.
DR. QUINONESS,
IT WAS A LONG, LONG TIME AGO.
HOW DO I FIND ABSOLUTION?
[birds chirping]
[dog barking]
[door squeaking]
**[voice humming]
[water dripping]
[gasping]
[water continues dripping]
[dog barking]
**[voice humming]
(Dr. Wilbur)
IT HAPPENED, SWEETIE.
THOSE ARE
THE CRAYON SCRATCHES YOU MADE
WHEN MOMMA PUT YOU
IN THE WHEAT BIN.
THEY WERE YOUR CRY FOR HELP.
YOUR PURPLE ANGER.
IT DOESN'T SEEM REAL.
WELL,
IT HAPPENED.
I CAN'T BELIEVE
YOU WENT TO ALL
THIS TROUBLE AFTER I...
I DIDN'T MEAN TO
BE MEAN TO YOU.
OH, I KNOW THAT.
IT'S JUST I WAS AFRAID.
NOT OF WHAT WE
TALKED ABOUT SO MUCH.
CAN YOU TELL ME NOW?
I WAS AFRAID OF THE HOPE.
THE HOPE?
THE HOPE THAT I
MIGHT GET WELL.
YOU BEGAN
TO MAKE ME BELIEVE
I COULD, ALMOST.
FOR A WHILE,
I COULD SEE MYSELF
PAINTING,
OR PLAYING THE PIANO OR...
YES?
BEING WITH PEOPLE.
THEN I REALIZE
THAT THE ONLY WAY
THAT HOPE CAN EVER BE REAL
IS YOU.
AND IF YOU'RE THE ONLY HOPE,
AND THIS IS THE ONLY WAY,
AND IF IT DOESN'T WORK,
THEN I'M A GONER.
I JUST...
I HAVE TO BE WITH PEOPLE,
DR. WILBUR.
I KNOW THAT.
I'VE NEVER REALLY
BEEN LET IN MOST PLACES.
WELL,
RICHARD LET ME IN FOR A WHILE
AND YOU LET ME IN A LITTLE
BECAUSE YOU HAVE TO.
BUT THEN,
WHEN HE LEFT
AND YOU WERE GONE
I REALIZED THAT
THERE WASN'T A HOUSE
IN ALL OF NEW YORK
THAT I COULD GO IN.
QUITE HONESTLY,
[sighing]
I...
I HAILED A CAB
A COUPLE OF TIMES.
I THOUGHT I'D MAKE
UP FOR IT SOMEHOW.
I'D EAT LESS OR SOMETHING.
BECAUSE I HAD TO
TALK TO SOMEBODY.
AND ONE CAB DRIVER
TALKED TO ME.
HE WAS VERY INTERESTING.
WE DROVE AROUND
FOR ABOUT 15 MINUTES.
YES?
AND HE DROVE ME BY HERE.
AND I LOOKED UP
IN YOUR APARTMENT
TO SEE IF THERE
WAS A LIGHT ON.
I KNOW THAT WAS WRONG.
WHY?
I DON'T KNOW. IT SEEMED
LIKE AN INVASION OF
YOUR PRIVACY SOMEHOW.
WITH A LOOK?
I KNOW IT'S SILLY.
NO, IT ONLY MEANS
THERE WAS
A WISH THAT WENT ALONG
WITH THE LOOK
THAT YOU THINK
IT WAS WRONG TO HAVE.
MAYBE SOMEBODY ELSE
HAD A WISH
JUST FOR A SECOND.
WOULD YOU LOOK
THE OTHER WAY, PLEASE?
SWEETIE,
IT HELPS ME IF I CAN SEE YOU.
THEN I'LL LOOK THE OTHER WAY.
IT HAS TO DO WITH A DREAM.
IT HAS TO DO WITH YOU.
MMM-HMM.
YOU AND THIS LITTLE GIRL.
THIS FUNNY LITTLE GIRL
WITH A SCRUNCHED-UP FACE.
AND SHE'S VERY YOUNG,
SO WHAT SHE FEELS IS...
WELL, MAYBE IT'S EXCUSABLE.
WHAT DOES SHE FEEL?
SHE'S TOO YOUNG TO REALIZE
THAT YOU'RE A DOCTOR,
NOT HER FRIEND.
GO ON.
WELL
SHE WANTS TO SIT BESIDE YOU
IN YOUR BIG CHAIR.
AND SHE ASKS.
AND SHE DOES.
BUT SHE'S JUST
A LITTLE GIRL, UNDERSTAND,
AND IT'S JUST A DREAM.
WHAT WORRIES YOU ABOUT HER?
I'M AFRAID TO TELL YOU.
THAT YOU FEEL
SATISFACTION IN THE DREAM?
IT'S NOT A DREAM, SYBIL.
EVERY TIME YOU
COME HERE AS PEGGY,
YOU SIT HERE IN
THIS CHAIR BESIDE ME
AND YOU PUT MY ARM
AROUND YOU,
AND YOU REST YOUR HEAD
ON MY SHOULDER
AND YOU FEEL SATISFACTION.
OH, I COULDN'T.
I KNOW YOU COULDN'T,
BUT PEGGY CAN.
AND YOU ALLOW IT?
OF COURSE I ALLOW IT.
SOMETIMES BEING CLOSE
IS THE ONLY NOURISHMENT
THAT COUNTS.
IT SEEMS LIKE TOO MUCH
TO DO FOR HER.
WELL...
DON'T YOU THINK I MIGHT BE
DOING IT FOR MYSELF ALSO?
DON'T YOU THINK, UH,
I MIGHT DO IT
BECAUSE I ENJOY
BEING ALLOWED
TO EXPRESS
MY AFFECTION FOR YOU?
YOU MEAN FOR HER.
NO, FOR YOU.
FOR SYBIL,
FOR THE TOTALITY OF YOU.
DON'T YOU KNOW THAT?
I LOVE YOUR COURAGE.
I LOVE YOUR HUMOR.
I LOVE YOUR TALENT.
I LOVE YOUR TENDERNESS
WITH OTHER PEOPLE.
I LOVE YOUR QUICKNESS.
I LOVE YOUR COMPANY.
I LOVE YOU.
NOW THE ONLY THING THAT'S
HOLDING YOU ON THAT CHAIR
IS THE LAW OF GRAVITY.
SYBIL, DO YOU KNOW
WHAT THOSE WET THINGS
ARE ON YOUR FACE?
OH.
THOSE ARE
SYBIL'S FIRST TEARS.
[laughing]
THE FIRST ONES YOU'VE HAD
SINCE GRANDMA DIED.
I LOVED MY GRANDMOTHER.
I KNOW YOU DID.
I LOVE YOU, TOO.
WOULD YOU LIKE ME TO
TELL YOU A TRUE STORY?
WELL,
ONCE, A LONG TIME AGO,
WHEN I WAS A LITTLE GIRL
IN MONTANA,
I WAS LYING OUT ON
THE GRASS ONE DAY
JUST LOOKING AT THE ANTS.
[both laughing]
AND THE GRASS WAS SWEET
AND DEEP AND SOFT,
AND THE SUN WAS
WARM ON MY BACK,
AND THE INSECTS WERE
BUZZING AND IT WAS...
EVERYTHING WAS DROWSY.
AND ALL OF A SUDDEN,
I SAW ONE ANT
WHO WAS STRUGGLING TO PICK UP
THIS GRAIN OF SAND
[laughing]
THAT WAS FAR TOO HEAVY
FOR IT TO LIFT.
AND HE STRUGGLED
AND HE STRUGGLED.
AND PRETTY SOON,
ANOTHER ANT CAME BY
AND TOGETHER, THE 2 OF THEM
LIFTED THE GRAIN OF SAND
AND STARTED TO CARRY IT AWAY.
[laughing]
WELL, I GOT SO EXCITED
THAT I HOLLERED TO MY MOMMA,
AND SHE RAN OUT
AND SHE FLOPPED
DOWN IN THE GRASS
BESIDE ME AND SHE SAID
"NOW, ISN'T THAT MIRACULOUS
"HOW MUCH 2 CREATURES
CAN ACCOMPLISH TOGETHER
WHEN THEY CARE
ABOUT EACH OTHER."
AND YOUR MOTHER
WAS BESIDE YOU?
MMM-HMM. IN THE GRASS.
WATCHING ANTS?
ON A SUMMER'S DAY.
HELPING EACH OTHER.
(Sybil)
IT'S TOO GREEN.
WHY DID GOD HAVE TO MAKE
EVERYTHING GREEN?
GREEN TREES, GREEN GRASS.
(Dr. Wilbur)
GREEN KITCHENS.
I'M NOT EVEN GONNA
LOOK AT THE GREEN.
I'M JUST GONNA
LOOK AT THE BLOSSOMS.
SWEETIE, I KNOW
THIS IS THE MOST
DIFFICULT HURDLE OF ALL,
BUT WE'VE GOTTA GET
INTO THAT KITCHEN NOW
AND FACE WHAT WENT ON THERE.
I'M TOO SCARED OF THAT.
YOU'RE JUST SCARED
OF BEING SCARED.
YOU SURVIVED IT
WHEN IT HAPPENED,
AND YOU'LL SURVIVE
REMEMBERING IT.
YOU KNOW HOW MUCH
RELIEF YOU FELT
WHEN WE FACED
THE OTHER THINGS,
THE HANDS, THE--THE PEOPLE,
AND CHRISTMAS?
SO WE WILL FACE THIS,
TOO, FINALLY,
AND--AND--AND
LEAVE IT BEHIND FOREVER.
LEAVE ALL THAT PAIN BEHIND.
AND WE'LL FIND
A NICE QUIET PLACE
FOR A PICNIC,
AND WE'VE GOT ALL
YOUR PAINTING THINGS,
AND WE'RE JUST
GONNA LET IT HAPPEN, OK?
OK.
DID WE BRING NEHEMIAH
IN CASE WE NEED HIS HELP?
MMM-HMM. HE'S WITH US.
[birds chirping]
[ducks quacking]
WHAT IS IT, SWEETIE?
WHAT'S IN THE WAY?
I DON'T KNOW. I CAN'T SEE IT.
I CAN FEEL IT. IT'S
FEAR.
PEGGY'S PETRIFIED RIGHT NOW.
(Sybil)
THIS IS THE FIRST STROKE
I'VE DARED TO PAINT.
[panting]
OH, DR. WILBUR.
(Dr. Wilbur)
WHAT?
[panting]
THIS IS COMING.
JUST ALLOW IT, SWEETIE.
JUST ALLOW IT.
OH, IT'S LIKE
WAVES,
WAVES THROUGH ME.
IT'S AWFUL.
(Dr. Wilbur)
ALLOW IT. GO WITH IT.
(Sybil)
OH, NO, NO.
GO WITH IT.
JUST ALLOW IT, SWEETIE.
OH, IS THIS PEGGY?
IT'S ONLY A HINT OF
WHAT SHE FEELS, SWEETIE.
SHE FEELS MUCH
MORE THAN THAT.
OH, IT'S THE WORST FEELING.
OH, IT'S SO AWFUL.
JUST GO WITH IT.
TRY TO GO WITH IT.
STAY WITH IT
AND SEE IF YOU CAN FIND OUT
WHAT'S UNDERNEATH.
CAN YOU REMEMBER?
WHAT'S UNDERNEATH IT,
SWEETIE?
I'M SCARED.
[panting]
I'M SCARED.
[sobbing]
NO.
WHAT IS IT?
WHAT ARE YOU LOOKING AT?
IT'S ALL GREEN.
AND THE PEOPLE, THE PEOPLE.
PEGGY, WHERE ARE YOU?
ARE YOU IN THE KITCHEN?
[panting]
[water dripping]
[clearing throat]
HAVE TO DO IT.
(Sybil)
IT'S DRIPPING.
IT'S DRIPPING.
YOU CAN HEAR IT DRIPPING.
(Dr. Wilbur)
I KNOW. THERE'S EVEN
A RUST SPOT UNDER THE TAP.
HAVE TO DO IT.
[Sybil wailing]
WHAT DOES MOMMA
HAVE TO DO?
EVERY MORNING.
EVERY MORNING,
AFTER I EAT MY PRUNES
AND EVERYBODY'S GONE,
SHE PULLS DOWN THE SHADES.
SHE PULLS DOWN THE SHADES
SO NOBODY WILL SEE.
AND SHE'S GOT ME
TIED UP ON THE TABLE.
OH, IT'S SO COLD.
THAT'S BECAUSE
IT'S METAL, SWEETIE.
AND THE WATER,
THE WATER'S RUNNING.
THE WATER'S RUNNING.
IT HAS TO RUN A LONG TIME
TILL IT'S COLD ENOUGH.
WHAT DOES SHE
NEED COLD WATER FOR?
SHE GIVES ME AN ENEMA.
[Sybil sobbing]
IT SMELLS ALL DISINFECTANNY.
OH, MY GOD.
[Sybil panting]
AND MY FEET,
MY FEET ARE TIED
TO THE BROOM HANDLE.
WHY?
THEY'RE TIED TO
THE BROOM HANDLE.
WHY?
SO SHE CAN PULL ME UP
AND PULL ME UP AND
TIE ME TO THE LIGHT.
TO THE LIGHT. TO THE LIGHT.
SHE'S GONNA BRING IT.
OH, NO. NO, PLEASE.
PLEASE, IT'LL TEAR ME.
IT'LL TEAR ME.
OH, GET IT AWAY.
WHAT WILL TEAR?
WHAT'S SHE BRINGING, SWEETIE?
[Sybil panting]
WHAT'S SHE BRINGING?
[Sybil sobbing]
WHAT IS IT? WHAT WILL TEAR?
WHAT IS SHE BRINGING?
WHAT IS SHE BRINGING?
THE KNIFE AND THE BUTTONHOOK.
THE KNIVES.
I CAN SEE THEM.
I CAN SEE THEM.
OH, PLEASE.
IT'S ALL RIGHT, SWEETIE.
IT'S ALL RIGHT.
ONCE WE'RE THROUGH THIS,
YOU'LL BE AT THE BEGINNING
OF EVERYTHING GOOD.
BUT WE'VE GOT TO
GET THROUGH THIS.
IT'S ALL RIGHT, SWEETIE.
IT'S ALL RIGHT.
OH, OH. OH, DEAR LORD.
OH, DEAR LORD.
OH, DEAR LORD.
WHEN I GROW UP,
I WILL HAVE LOTS
AND LOTS OF CHILDREN
AND I WILL BE GOOD TO THEM.
GO AWAY. GO AWAY.
OH, AND I WILL LET THEM DO
WHAT THEY WANT TO DO.
AND THEY CAN BRING
THE NEIGHBORHOOD
CHILDREN OVER TO PLAY.
AND THEY CAN PLAY
ALL OVER THE HOUSE
IF THEY WANT TO.
I DON'T CARE.
THEY CAN PLAY IN THE SUNROOM.
OH, PLEASE, DON'T DO THIS!
AND THEY CAN RUN IN THE HOUSE
IF THEY WANT TO. I DON'T CARE.
AND MY CHILDREN CAN MAKE
ANY COLOR CHICKENS
THEY WANT TO.
AND I WON'T PUT THEIR HEADS
IN THE OVEN AND
TURN ON THE GAS.
AND I WON'T BURN THEIR HANDS
WITH THE HOT IRON.
AND I WON'T THROW THE SHOE
AND HIT THEM IN THE THROAT.
I WON'T HURT THEM
WITH THE BUTTONHOOK
AND THE KNIVES AND
THE RUBBER TUBES.
AND I WON'T PUT
A FLASHLIGHT INSIDE OF THEM
AND SAY,
"YOU BETTER GET USED TO IT
"BECAUSE THAT'S
WHAT MEN WILL DO
WHEN YOU GET OLDER.
"THEY'LL PUT
THINGS INSIDE OF YOU,
AND THEY WILL HURT YOU."
I DON'T WANNA GROW UP,
AND I DON'T
WANNA BE LIKE THAT.
NO, NO, NO.
NO, NO. NO, PLEASE.
PLEASE PUT ME DOWN.
PLEASE PUT ME DOWN.
DON'T TAKE ME IN THERE.
DON'T TAKE ME IN THERE.
PLEASE. PLEASE.
WHERE IS SHE
TAKING YOU, SWEETIE?
WHERE IS SHE TAKING YOU?
OH, IT HURTS ME.
AND THE MUSIC, AND BRAHMS
AND BEETHOVEN AND
BACH AND--AND DVORAK.
DVORAK AND
THE NEW WORLD SYMPHONY,
AND YOU CAN'T GET AWAY.
AND THEY'RE COMING CLOSER,
AND THEY'RE MARCHING.
DON'T YOU LET GO, YOUNG LADY.
YOU HOLD YOUR WATER.
HOLD YOUR WATER TILL
THE VERY LAST NOTE.
[ducks quacking]
[birds chirping]
I AM SYBIL.
AND I REMEMBER.
AND I HATE HER.
I HATE HER.
I WANT TO HURT HER.
I WANT TO STOMP ON HER
AND TEAR HER APART
AND CUT HER ARMS OFF
AND PUT THINGS INSIDE HER
AND KILL HER.
HOW COULD SHE DO THAT TO ME?
OH, GOD.
I HATED HER SO MUCH.
I WANTED HER DEAD.
I STILL DO.
I DO. I WANT HER DEAD.
OH, DR. WILBUR, HELP ME.
HELP ME. THIS SCARES ME.
(Dr. Wilbur)
SHE HAD REACHED
THE CENTER OF THE MAZE
AND COME OUT WHOLE.
ANGER COULD BE
HER FRIEND NOW.
GREEN AND PURPLE
WERE ONLY COLORS.
SHE DIDN'T NEED TO
FEAR THEM ANYMORE.
YOU CAN REMEMBER
WITHOUT PAIN NOW.
WITHOUT PAIN?
NONE OF YOU WILL EVER
HAVE TO FEEL THE PAIN AGAIN.
[sighing]
I THINK IT'S TIME
YOU MEET THE OTHERS.
(Dr. Wilbur)
1.
2.
3.
FALLING ASLEEP.
4.
DEEPLY, DEEPLY ASLEEP.
5.
NOW, I'D LIKE TO
SPEAK TO ALL OF YOU,
AND SYBIL CAN LISTEN.
HOW DO YOU ALL FEEL
ABOUT MEETING SYBIL?
HMM?
WELL, IS ANYBODY THERE?
VICKY?
(as Vicky)
YES.
PEGGY?
(as Peggy)
I'M HERE,
BUT I DON'T WANNA BE.
HOW ABOUT THE REST OF YOU?
(as Mike)
DR. WILBUR,
WE WANNA KNOW,
IF WE MEET SYBIL
WILL WE STILL BE ABLE TO GIVE
A BABY TO A GIRL
LIKE DADDY DID?
WHO IS THAT?
I'M MIKE,
AND SID'S HERE, TOO.
AND WE WANNA KNOW
IF WE'LL BE ABLE
TO DO THAT LIKE DAD.
WELL, YOU BOYS HAVE A PROBLEM
BECAUSE YOU LIVE
IN A WOMAN'S BODY.
YOU'RE NOT BUILT LIKE THAT.
WE WILL BE
WHEN WE'RE BIG.
WELL, HOW ARE YOU
GONNA MANAGE THAT?
WE'LL PUSH IT OUT.
WELL, I THINK THAT'S
EASIER SAID THAN DONE.
WELL, YOU CAN HELP.
MIKE, CAN WE SET
THIS PROBLEM ASIDE,
SWEETIE,
UNTIL YOU ALL MEET SYBIL?
'CAUSE WHAT SHE
NEEDS RIGHT NOW
IS TO KNOW ALL OF YOU
AND TO UNDERSTAND
HOW MUCH YOU'VE
ALL BEEN HELPING HER
AND HOW MUCH MORE
YOU CAN HELP HER
WHEN YOU ALL
JOIN HANDS TOGETHER.
(as Mike)
ALL FOR ONE AND ONE FOR ALL?
(Dr. Wilbur)
MMM-HMM.
WILL YOU STILL LIKE US THEN?
I'LL LOVE YOU.
WOULD YOU PUT
YOUR ARM AROUND US?
(Dr. Wilbur)
SYBIL, ARE YOU READY?
(Sybil)
YOU'RE THE DOCTOR.
(Dr. Wilbur)
WHO WOULD YOU
LIKE TO MEET FIRST?
WELL, I'VE ALWAYS
WANTED TO MEET VICKY.
(Dr. Wilbur)
ALL RIGHT.
VICKY.
VICKY COME ON OUT, SWEETIE.
**[voice humming]
BONJOUR.
(Dr. Wilbur)
VICKY, HERE'S SYBIL.
(Sybil)
LOOK, SHE HAS HER ARMS
OUT TO ME.
SHE'S SMILING.
LOOK HOW PRETTY HER HAIR IS.
DOES SHE WANNA BE FRIENDS?
VICKY, DO YOU WANNA
BE FRIENDS WITH SYBIL?
(as Vicky)
UH-HUH.
YOU THINK YOU'D
LIKE TO HAVE VICKY
WITH YOU ALWAYS?
YES.
I'VE ALWAYS NEEDED
SOMEONE LIKE VICKY.
YOU WENT ON AHEAD FOR ME.
WHENEVER I DIDN'T HAVE
THE STRENGTH TO DO SOMETHING,
YOU'D GO ON AND DO IT FOR ME.
I LIKE HER, DR. WILBUR.
YES, SHE'S A PART OF YOU
THAT'S VERY STEADY
AND VERY LIKEABLE.
WILL SHE BE WITH ME ALWAYS?
MMM-HMM.
VICKY WILL BE
WITH YOU ALWAYS.
YOU AND SHE
HAVE JOINED HANDS.
LET'S DON'T SAY
ANYTHING TO SPOIL IT.
IT'S SO NICE LIKE THIS.
IT'S SO NICE TO
HAVE A FRIEND.
AND SHE CAME RIGHT TO ME.
THE OTHERS WILL COME TO YOU.
(Dr. Wilbur)
NOW THE OTHERS
ARE RIGHT HERE,
AND THEY WILL
COME TO YOU ALSO.
HERE'S MARCIA, DEAR.
COME, GIRLS.
CLARA, HELEN, MARGIE.
AND THIS IS VANESSA,
WHO KEPT YOUR MUSIC FOR YOU.
SID, MIKE, HOP OUT, BOYS.
NANCY.
NANCY KEPT WAITING
FOR THE END OF THE WORLD
AND SHE'S THE ONE
WHO DREADED ARMAGEDDON.
AND MARY,
THE MEMORY OF GRANDMA.
SYBIL ANN.
SYBIL ANN,
DON'T BE SHY, SWEETIE.
HERE'S SYBIL.
COME ON, PEGGY.
I'M AFRAID TO
MEET PEGGY RIGHT NOW.
(Dr. Wilbur)
SHE'S AFRAID OF SCARING YOU.
SHE DIDN'T MEAN TO
BREAK THE WINDOWS.
SHE GOT IT CONFUSED
WITH SOMETHING ELSE,
WITH GETTING OUT
OF THE KITCHEN.
HOW DO YOU KNOW THAT?
SHE'S SPEAKING
TO YOU, ISN'T SHE?
WHERE IS SHE? IS SHE THERE?
(Dr. Wilbur)
OF COURSE.
PEGGY.
PEGGY.
OH, COME NOW, PEGGY.
DON'T BE SILLY.
I DON'T THINK I'M READY YET.
DR. WILBUR?
IT'S ALL RIGHT, SWEETIE.
I'M STILL HERE.
IS THAT ALL SHE IS?
JUST THAT LITTLE THING?
I'M NOT A LITTLE THING.
I'M A PERSON.
(Sybil)
I'M SORRY.
YOU DON'T BE AFRAID OF ME,
AND I WONT' BE AFRAID OF YOU.
WHAT HAVE YOU GOT
BEHIND YOUR BACK, PEGGY?
HAVEN'T YOU GOT ANY HANDS?
I GOT FISTS.
OH, MY.
LOOK AT THOSE KNUCKLES.
THEY'RE SO WHITE.
[crying]
IT'S ALL RIGHT, SWEETIE.
IT'S ALL RIGHT, SWEETIE.
[sobbing]
(Sybil)
IT'S ALL RIGHT.
IT'S ALL RIGHT.
(Dr. Wilbur)
IN ACCEPTING
PEGGY INTO HER ARMS,
SYBIL BEGAN
THE DEEPEST HEALING
OF HER SELVES.
IN EMBRACING PEGGY,
SHE EMBRACED HERSELF.
IN CALMING HER,
SHE WAS CALMING
HER OWN HEART.
AS I WATCHED HER
BECOMING MOTHER TO HERSELF
I FELT MY OWN LONG
MOTHERHOOD ENDING.
I RELEASED WHAT
I HAD HELD SO LONG.
I CELEBRATED THE BEGINNING
OF HER EMANCIPATION.
I LET GO.
OUR WORK TOGETHER
LASTED 11 YEARS.
TODAY SYBIL LIVES PEACEFULLY
IN A SMALL COLLEGE TOWN
WHERE SHE'S
A PROFESSOR OF ART.
THERE'S NOT
ENOUGH TIME IN THE DAY
FOR HER TO DO
EVERYTHING SHE WANTS
BUT THAT TIME,
IN EVERY SENSE, IS HER OWN.
SHE TELLS ME SHE'S HAPPY.
I KNOW SHE'S FREE.
* COLORS OF DREAMS *
* RIBBONS OF RHYME *
* COME OUT, COME OUT *
* WHEREVER YOU ARE *
* WILLOWS AND WINDS *
* THAT WHISPER WORDS *
* OF A SPRING SO NEAR *
* A SUMMER SO FAR *
* MIRROR, MIRROR *
* IN MY MIND *
* THERE'S SO MUCH TO SEE *
* WALKING THROUGH *
* YOUR SILVER ROOMS *
* I REMEMBER *
* ME **
[telephone ringing]
HELLO. ERNA.
[sighing]
LISTEN, I NEED YOUR SUPPORT.
I, UH...
SYBIL HAS DISSOCIATED
INTO A BABY.
I CAN'T GET HER BACK.
A BABY.
OH, I--I WAS TOO EAGER.
I PUSHED HER OVER THE EDGE.
WELL, I CAN'T GET HER
HYPNOTIZED. I-- IF I COULD,
I'D--I'D CONTACT VICKY,
BUT SHE WON'T FOCUS
ON--ON--ON--ON ANYTHING
AND--AND SHE DOESN'T
UNDERSTAND A WORD I SAY.
SHE'S--SHE'S PREVERBAL.
YEAH, BUT WHAT IF
SHE STAYS LIKE THAT?
NO. NO. NO HOSPITALS.
NO, NOT WITH HER HISTORY.
[sighing]
COULD YOU?
COULD YOU PLEASE, ERNA?
I HATE TO DRAG YOU OUT
ON A NIGHT LIKE THIS,
BUT I--I...
OH! HOLD ON A SECOND.
DR. WILBUR, UH,
I'M GETTING HER A SNACK.
[exclaims]
SWEETIE, HOW DO YOU FEEL?
A LITTLE WOOZY. HUNGRY.
WELL, THERE'S--THERE'S FOOD
IN THE KITCHEN.
GO GET SOME CHEESECAKE
OR SOMETHING.
I'LL BE THERE IN A MINUTE.
OH, ERNA, IT'S OK. IT'S OK.
[sighing]
ONWARD AND UPWARD,
SHE CAME TO AS SYBIL.
(Dr. Wilbur)
SYBIL DORSETT,
PSYCHOANALYTIC SESSION 251.
I'D HARDLY BREATHED
A SIGH OF RELIEF
ABOUT SYBIL'S MAKING
HER SPONTANEOUS REENTRY
OUT OF THE BABY,
WHEN, SUDDENLY, WE'RE FACING
THIS GHASTLY SEASON OF MIRTH.
CHRISTMAS SEEMS TO BE
A STRESSFUL TIME FOR SYBIL.
THE OTHER PERSONALITIES
HAVE BEEN STIRRED
INTO A KIND OF
FRENZIED WAKEFULNESS
AND SOME WHO'VE BEEN DORMANT
UNTIL NOW HAVE COME OUT.
[bell ringing]
ONE OF THEM, MARY,
IS A DEVOUT,
OLD-FASHIONED
LITTLE HOMEMAKER
WHO SEEMS ALMOST
THE REINCARNATION
OF SYBIL'S GRANDMOTHER.
(as Mary)
I WISH YOU ALL
A HAPPY HOLIDAY.
JOY IN THE NEW YEAR.
NOBODY ANSWERS, VICKY.
(as Vicky)
MARY, THIS IS NEW YORK.
THIS IS NOT WILLOW CORNERS.
DON'T BE UPSET.
LET ME CARRY
THE PORTFOLIO FOR YOU.
IT'S GETTING AWFULLY HEAVY.
(as Mary)
THANK YOU, DEAR.
I CAN VAGUELY
REMEMBER WHAT'S IN IT.
EVERYTHING'S BEEN
GETTING SO DIM LATELY.
MUST BE SENILITY.
[moaning]
ANGELS.
(as Vicky)
THEY'RE ONLY DECORATIONS,
MARY.
GRANDMA'S WITH THE ANGELS.
SO AM I.
AM I GOING TO
SEE GRANDMA, VICKY?
NOT YET.
WE'RE GOING TO SEE
DR. WILBUR FIRST.
COME AWAY, MARY, PLEASE.
(as Mary)
MARCIA PROMISED THAT SHE'D
SEND ME TO GRANDMA SOON.
WHY DOESN'T SHE DO IT?
I'M GETTING
SO TIRED OF WAITING.
[knocking on door]
(Dr. Wilbur)
COME IN.
OH, VICKY, COME ON IN.
DR. WILBUR.
PARDON ME FOR
BARGING IN ON YOU LIKE THIS.
I'M SORRY,
BUT IT ALL SEEMS
TO BE FALLING APART.
I DON'T SEEM TO BE ABLE
TO CONTROL THINGS ANY LONGER.
IT'S ALL RIGHT.
TELL ME ABOUT IT.
MARCIA IS CONSTANTLY
THINKING OF SUICIDE.
MARY THINKS
SHE'S IN HEAVEN.
AND SYBIL HAS INVITED
RICHARD OVER
FOR CHRISTMAS DINNER.
NOW, I KNOW
SHE ISN'T ABLE TO HANDLE IT.
I KNOW THIS.
IT'S ALL JUST AWFUL.
WELL, WHAT MADE IT GO AWFUL?
WHAT HAPPENED THIS TIME?
HMM?
IT'S CHRISTMAS.
THE TREES AND THE WINDOWS
AND EVERYBODY ALL COZY.
EVERYBODY HAVING TO
RUSH AROUND, HURRY BEFORE...
BEFORE WHAT?
WE'VE MADE YOU THIS.
IT'S A CHRISTMAS CARD,
FOR YOU.
FOR OUR DR. WILBUR.
THANK YOU.
SORRY ABOUT THE COLOR.
SYBIL TRIED
FOR RED AND GREEN,
BUT IT JUST
KEPT GETTING PURPLE
AND SHE WASN'T ABLE
TO STOP IT.
DO YOU KNOW WHAT SHE DID?
SHE TOOK THE CRAYON,
AND SHE JUST
SCRUBBED ON THE PAPER
AND SCRUBBED ON IT LIKE THAT,
AND SHE GRIT HER TEETH
AND THEN SHE WADDED IT UP
AND THREW IT IN THE TRASHCAN.
WE RESCUED IT.
WE--WE TRIED
TO MAKE IT PRETTIER, YOU SEE.
PEGGY ADDED THE RED,
AND WE SMOOTHED IT OUT.
WE--WE ALL TRIED.
THANK YOU. WELL, SIT DOWN.
I'VE BROUGHT YOU THESE, TOO.
[horn blaring]
BUT YOU MUSTN'T TELL HER.
THEY'RE OUR PAINTINGS.
WE DO THEM AT NIGHT.
WE HIDE THEM
ON A SECRET SHELF
ON TOP OF THE CLOSET
THAT MIKE MADE.
WE WANT YOU TO HAVE THEM
FOR SAFEKEEPING.
THE WAY YOU SAY
THAT VANESSA KEEPS THE MUSIC.
BECAUSE SOMETHING AWFUL
IS GOING TO HAPPEN.
I CAN FEEL IT.
IT'S GOING TO FALL APART,
OR--OR BLOW UP,
OR THERE'S GOING
TO BE AN EARTHQUAKE.
SWEETIE, THERE'S NOT GOING
TO BE AN EARTHQUAKE.
OR A TIDAL WAVE, OR--OR
A GLACIER, OR SOMETHING.
I DON'T KNOW WHAT.
JUST SOMETHING AWFUL
IS GOING TO HAPPEN.
THE END OF THE WORLD IS NOT
WHAT YOU'RE AFRAID OF, VICKY.
PLEASE KEEP THEM
FOR SAFEKEEPING. PLEASE.
ALL RIGHT.
THANK YOU.
VICKY, SAFEKEEPING FROM WHAT?
HMM?
NOW, WHAT IS THE CONNECTION
BETWEEN PURPLE
AND CHRISTMAS
AND THINGS BLOWING UP?
HMM?
WHAT DID MOTHER DO
TO MAKE THE PURPLE?
THERE ARE GUARDS
AROUND THE PALACE.
[sighing]
VICKY, WE'VE GOT TO
GET PAST THE GUARDS
AROUND THE PALACE NOW.
I MEAN, WE HAVE TO GET DOWN
TO THE BOTTOM
WHERE EVERYBODY
IS JOINED TOGETHER
AND REMEMBERS EVERYTHING
AND IT'S ALL RIGHT TO SAY IT.
NOW, YOU KNOW
THERE IS A WAY TO DO IT.
WE'VE DISCUSSED
THE WAY BEFORE.
YES, I KNOW.
HYPNOSIS.
YES.
SYBIL'S DADDY
WOULDN'T LIKE IT.
WELL, WHAT ABOUT SYBIL?
IS SYBIL LISTENING NOW?
SHE-- SHE'S SO AWFULLY AFRAID,
DOCTOR.
I THINK SHE WOULD
ALMOST DO ANYTHING
IF IT WOULD HELP MAKE US
NOT BE SO AFRAID.
GOOD.
ALL RIGHT.
COME ON.
JUST LIE HERE,
PUT YOUR FEET UP AND RELAX.
IT'S ALL RIGHT.
IT'S ALL RIGHT.
WHAT WOULD YOU
LIKE TO LOOK AT?
NEHEMIAH, THE LITTLE HORSE
THAT PEGGY MADE YOU.
[chuckling]
ALL RIGHT.
HERE, COME ON, LIE BACK.
PUT YOUR FEET UP.
THAT'S RIGHT.
NOW YOU JUST RELAX.
RELAX.
AND WHEN YOU'RE READY,
YOU LOOK AT NEHEMIAH.
HERE,
YOU WILL LOOK AT NEHEMIAH.
SYBIL'S HEART IS POUNDING SO.
IT'S ALL RIGHT.
IT'S ALL RIGHT.
YOU WILL BE WITH ME,
AND WE WILL
TAKE THIS UP TOGETHER.
YOU'LL BE SAFE.
NOW JUST RELAX.
LOOK AT NEHEMIAH.
NOW, YOU'RE GOING TO SLEEP.
DEEPLY, DEEPLY ASLEEP.
ALL RIGHT?
NOW, WE WILL COME
CLOSE TO THE PURPLE.
YOU WILL REMEMBER
BUT YOU WON'T FEEL THE HURT.
THE HURT IS IN THE PAST.
NOW, WHEN DID
THE PURPLE HAPPEN?
5 YEARS OLD.
ANY PARTICULAR DAY?
DAY BEFORE CHRISTMAS,
LIKE NOW.
ALL RIGHT.
NOW, WHEN I TOUCH
YOUR LEFT SHOULDER,
YOU WILL LISTEN
WITH THE OTHERS
WHILE I SPEAK WITH SYBIL.
SYBIL.
SYBIL.
(as Sybil)
YES.
ARE WE GOING
TO GRANDMA'S ROOM?
IS THAT WHERE YOU WERE?
I LIKE IT THERE.
IT'S NICE IN GRANDMA'S ROOM.
ALL RIGHT.
WHEN I COUNT TO 5,
YOU WILL BE IN
GRANDMA'S ROOM.
YOU COUNT WITH ME. 1.
2.
3. COUNT WITH ME.
4.
4.
5.
5.
**[voice humming]
(Dr. Wilbur)
I'M RIGHT HERE, SYBIL.
YOU CAN GO TO HER.
[whimpering]
WHAT IS IT, DEAR HEART?
MY GRANDMA.
YOU CAN GO TO HER.
SHE'S DEAD.
THIS IS A MEMORY, SWEETIE.
[chair creaking]
GUESS WHO'S HERE, GRANDMA?
GIVE ME A HINT.
SUGAR AND SPICE
AND EVERYTHING NICE.
IS THIS, BY ANY CHANCE,
MY LITTLE
DOWNSTAIRS NEIGHBOR?
IS THIS MY SYBIL?
YOU GUESSED RIGHT.
(Sybil)
GRANDMA.
I LOVE MY GRANDMA.
YOU CAN SAY IT TO HER
IF YOU WANT TO, SWEETIE.
I LOVE YOU, GRANDMA.
LITTLE ROUND SCISSORS,
I FOUND THEM.
GOOD! HURRAY!
(Dr. Wilbur)
WHAT ARE YOU DOING
WITH THE LITTLE SCISSORS?
CUTTING.
CUTTING WHAT?
LITTLE PICTURE OF SANTA CLAUS.
AND I STAY INSIDE
THE LINES REAL GOOD.
LIKE THIS.
AND I MAKE A LITTLE STAR
OUT OF TINFOIL. LIKE THIS.
AND MY GRANDMA'S
REAL NICE TO ME,
AND SHE DOESN'T HOLLER AT ME,
AND I DON'T HAVE TO BE AFRAID
IN MY GRANDMA'S ROOM.
NO.
[gasping]
IT'S ALL RIGHT, SWEETIE.
YOU'RE STILL
WITH YOUR GRANDMA.
A BEAUTIFUL STAR.
SEE HOW IT TWINKLES.
I MAKE A GOOD SANTA, TOO?
IT ALL RIGHT?
OH, MY.
YOU DIDN'T CUT A WHISKER.
HE LOOKS SO HAPPY.
I DON'T THINK
HE LIKED BEING COOPED UP
IN THAT OLD MAGAZINE.
CAN I PASTE HIM ON MY STAR?
THAT A GOOD IDEA?
WONDERFUL.
YOU SHOW ME.
YOU CAN SHOW ME.
THEN HE CAN TWINKLE
WAY UP HIGH ON MY TREE
WHERE HE WILL--
[object thudding]
(Hattie)
SYBIL!
YOU COME DOWN HERE,
YOUNG LADY!
YOU'VE BEEN PESTERING
THAT OLD WOMAN LONG ENOUGH!
(Sybil)
I DON'T WANT
TO GO DOWNSTAIRS.
YOU CAN FACE IT, SWEETIE.
THERE'S TOO MUCH PURPLE.
WE'RE GONNA
GO DOWNSTAIRS TOGETHER
AND YOU'RE GONNA REMEMBER
THE PURPLE
AND THIS IS THE WAY
YOU'RE GONNA REMEMBER IT.
(Sybil)
MAYBE THERE'S
NOTHING TO REMEMBER.
(Dr. Wilbur)
SWEETIE, YOU'RE GOING
DOWN THE STAIRS,
AND I'LL BE WITH YOU.
CHOCOLATE.
CHOCOLATE CHIPPIE.
THAT'S RIGHT. COME ON.
WATCH YOUR FEET.
YOU KNOW HOW CLUMSY YOU ARE.
COME ON.
COME ON.
HAVE A NICE TRIP.
SEE YOU NEXT FALL.
(Grandma)
HATTIE, IS SYBIL ALL RIGHT?
IT'S JUST
ONE OF HER FALLS, GRANDMA!
OH, GRANDMA,
WHAT BIG EARS YOU HAVE.
HERE.
MADE 4 DOZEN FOR THAT POOR
WOEBEGONE FLOYD FAMILY
'CAUSE IT'D BE
A BLEAK CHRISTMAS
IF NOBODY HELPED THEM OUT.
COME ON. KEEP MOMMA COMPANY.
"UNDER THE SPREADING
CHESTNUT-TREE
"THE VILLAGE SMITHY STANDS
"THE SMITH,
A MIGHTY MAN IS HE
WITH LARGE AND SINEWY"
SINEWY.
MOMMA.
"HIS HAIR IS CRISP"
CRISP? I NEVER NOTICED THAT.
ALL THESE YEARS,
I NEVER NOTICED THAT.
LETTUCE IS CRISP.
"LETTUCE HEAD
GO TO BED
"YOUR NOSE IS RED
YOUR NAME IS FRED
I'LL KILL YOU DEAD"
MOMMA.
I'M BUSY.
LOOK WHAT I MADE
FOR THE CHRISTMAS TREE.
WHAT DO YOU MEAN MADE?
OH, THAT'S JUST
A PICTURE OUT OF A MAGAZINE
WITH A PIECE OF TINFOIL
STUCK TO IT.
GRANDMA SAYS IT'S PRETTY.
I GO HANG IT
ON THE CHRISTMAS TREE.
I TOLD YOU NOT TO
RUN THROUGH THE HOUSE!
I'M SORRY.
YES, WELL.
"WORDS ARE CHEAP
HILLS ARE STEEP
SORROW'S DEEP"
* OH, FOR THE WINGS *
* FOR THE WINGS OF A DOVE *
* FAR AWAY *
* FAR AWAY WOULD I ROAM *
* OH, FOR THE WINGS *
* FOR THE WINGS OF A DOVE *
* FAR AWAY *
* FAR AWAY *
* FAR AWAY FAR AWAY *
* WOULD I ROAM **
[door creaking]
MOMMA, COME SEE WHAT I DID.
YOU DIDN'T GO HANG THAT THING
ON THAT TREE
AFTER I SAID THAT?
SAID WHAT?
TAKE IT OFF.
TAKE IT OFF!
TAKE IT OFF!
YOU GO AWAY FIRST.
REACH AROUND ME.
GO ON. I DARE YOU.
COME ON. COME ON,
REACH AROUND ME.
I TOLD YOU NOT TO
RUN IN THE HOUSE.
[sobbing]
[Hattie whacking]
(Hattie)
DON'T YOU CRY.
DON'T YOU MAKE FACES.
DON'T YOU GET MAD.
MAD DOGS GET MAD, NOT PEOPLE.
NOW, DON'T WORRY.
I'M NOT GONNA HIT YOU
THIS TIME.
THIS TIME
I'M ONLY GONNA KICK YOU.
[moaning]
YOU ARE SO ADORABLE
WHEN YOU DO THAT.
YOU LOOK JUST LIKE
A LITTLE BABY CRAB.
WHAT ARE YOU GOING TO DO?
DRAW A PICTURE?
UH-HUH.
WHO FOR?
MOMMA'S CHRISTMAS STOCKING.
OH, WHAT A LOVELY THOUGHT.
EVEN IF I DON'T
LIKE MADE-UP THINGS
AS MUCH AS FACTORY ONES.
WHEN I'M A BIG GIRL,
I GO WORK IN A FACTORY
AND MAKE YOU
SOMETHING REAL PRETTY.
* OH, CHRISTMAS TREE *
* OH, CHRISTMAS TREE *
* HOW LOVELY ARE
THY BRANCHES *
COME ON, SING.
[both singing]
* NOT ONLY GREEN
WHEN SUMMER GLOWS *
* BUT IN THE WINTER
WHEN IT SNOWS *
[clearing throat]
WELL, WHO EVER HEARD OF
A GREEN CHICKEN
WITH PURPLE FEET?
CAN YOU PICTURE
WHAT KIND OF EGGS
THAT LAYS?
SET A PLATTER OF THEM
IN FRONT OF GRANDPA
SOME FINE SABBATH MORNING,
HE'D SURE TAKE THAT
FOR A SIGN NOW,
WOULDN'T HE?
"ARMAGEDDON!"
[laughing]
(Sybil)
* OH, CHRISTMAS TREE
OH, CHRISTMAS TREE *
* YOU ARE THE TREE
MOST LOVED *
* HOW OFT
YOU'VE GIVEN ME DELIGHT *
* WHEN CHRISTMAS FIRES *
* ARE BURNING BRIGHT **
YOU THINK IT'S JUST
SUNSHINE AND SINGING
AND PRETTY COLORS
WHEN YOU GROW UP?
WELL, I SHOULD SAY NOT.
YOU ARE BAD.
YOU ARE SPOILED ROTTEN.
AND YOU BETTER LEARN QUICK.
[stomping]
MINE! MINE!
WANNA BREAK GLASS.
WANNA BREAK GLASS.
HEY! WAIT A MINUTE. HERE.
HERE,
YOU WANNA TEAR SOMETHING UP?
COME ON, TEAR IT. THAT'S IT.
I LOVED MY COLORS.
OF COURSE YOU DID.
MY COLORS ARE ME.
THOSE ARE MY COLORS.
SWEETIE, HASN'T IT
EVER OCCURRED TO SYBIL
THAT GOOD MOMMIES
DON'T HURT THEIR GIRLS?
MOMMIES PUT YOUR FINGERS
IN THE MEAT GRINDER.
NO, THEY DON'T.
NOT GOOD ONES.
MOMMIES ARE ONLY GOOD
WHEN OTHER PEOPLE AROUND
NOT WHEN THEY GET YOU ALONE.
DR. WILBUR DOESN'T HURT YOU
WHEN YOU'RE ALONE, DOES SHE?
NO, DR. WILBUR THINKS THAT
LITTLE GIRLS SHOULD BE HAPPY,
ESPECIALLY LITTLE GIRLS
WHO CAN PAINT GREEN CHICKENS
WITH PURPLE FEET.
MOMMA.
WHAT'S THE MATTER, SWEETIE?
[Sybil moaning]
WHAT'S HAPPENING?
MY WRISTS ARE GOING NUMB.
CAN YOU TELL
DR. WILBUR ABOUT IT?
TELL ME ABOUT IT.
[Sybil whimpering]
[Sybil crying]
WELL, TELL ME ABOUT IT.
TELL ME.
WHAT'S HAPPENING? TELL ME.
WHAT'S HAPPENING, PEGGY?
YOU BETTER SAY,
"GOD IS LOVE," REAL QUICK.
GOD IS LOVE.
BECAUSE GOD HATES BAD GIRLS.
AND IF THEY'RE REAL BAD,
HE TAKES THEM
BEFORE THEIR TIME.
WHERE DOES GOD TAKE
BAD LITTLE GIRLS, MOMMA?
WHERE, MOMMA?
[Hattie cackling]
HE TAKES THEM WAY
UP INTO THE DARK
AND LEAVES THEM THERE.
HE LETS THEM
DROWN IN THE WHEAT.
THEY CAN'T BREATHE
AND THEY DIE.
AND THAT'S WHAT'S
GONNA HAPPEN TO YOU.
(Hattie)
HAVE TO DO IT.
UH-HUH. YES, MA'AM.
HAVE TO.
GOD IS LOVE.
(Dr. Wilbur)
WHO GOT YOU OUT, SYBIL?
(Sybil)
DADDY.
MOMMA TOLD HIM
THE LITTLE BOY
DOWN THE STREET DID IT.
WHAT DID DADDY SAY?
DADDY SAID, "OH."
DADDY ALWAYS BELIEVED MOMMA.
YOU DIDN'T TELL DADDY
THE TRUTH?
NO, NOT SUPPOSED TO.
MOMMA WOULD SEND ME TO GOD.
WHAT ARE YOU DOING?
DRAWING WITH
MY PURPLE CRAYON.
WHY?
SO SOMEONE WILL KNOW
I WAS HERE.
SWEETIE, THAT BAD
END-OF-THE-WORLD FEELING
IS NOT THE END OF THE WORLD.
IT'S JUST THE COMING
OF YOUR OWN ANGER
AND THE COLOR
OF THAT ANGER IS PURPLE.
I DON'T WANT IT.
I'M AFRAID OF IT.
I KNOW, BUT AVOIDING IT
IS JUST WHAT'S
GETTING IN THE WAY
OF YOUR DOING ANYTHING.
DON'T YOU BE MAD AT MOMMA,
OR SHE'LL GET YOU.
NO, SWEETIE.
SHE WON'T GET ME.
I'M STRONGER THAN SHE IS.
AND I'LL GET JUST AS MAD
AT MOMMA AS I LIKE
AND I'LL STAY
MAD AT HER FOR YOU
UNTIL YOU ARE ABLE
TO DO IT FOR YOURSELF.
[sighing]
ALL RIGHT, WE'RE GONNA LEAVE
WILLOW CORNERS NOW.
I DON'T EVER WANNA
GO BACK THERE AGAIN.
WE'RE COMING BACK
INTO THE PRESENT.
YOU'RE 6, 14, 21, 29.
THIS IS TOO FAST.
IT'S ALL RIGHT TO COME INTO
THE PRESENT, SWEETIE,
BECAUSE I'M IN THE PRESENT.
YOUR MOTHER IS DEAD
AND BURIED IN A GRAVE
IN KANSAS CITY.
MOTHER'S DEAD?
SHE'S DEAD.
IT'S ALL RIGHT.
NOW YOU'LL ONLY REMEMBER
WHAT IT'S SAFE TO REMEMBER.
[Dr. Wilbur exhaling]
(Sybil)
I'M SO ANXIOUS.
(Dr. Wilbur)
SWEETIE, YOU'VE SURVIVED.
THAT YOU'VE FOUND
SUCH A CREATIVE ALTERNATIVE
TO INSANITY
IS MIRACULOUS
AND IT--IT WILL PROTECT YOU
TILL YOU DON'T
NEED IT ANYMORE.
BUT WHAT IF I CAN'T
COOK DINNER FOR RICHARD?
(Sybil)
I'M SO WORRIED
ABOUT BEING EMBARRASSED.
(Dr. Wilbur)
YOU'RE PROTECTED, SWEETIE.
VICKY WOULDN'T LET
YOU BE EMBARRASSED.
SHE'LL CALL ON
ONE OF THE OTHERS.
VANESSA'S MORE COMFORTABLE
WITH RICHARD THAN YOU ARE.
I ENVY HER SO.
AND NOW I'M GONNA SUGGEST
THAT WHEN YOU WAKE UP
IN THE MORNING,
AND IT'S CHRISTMAS,
YOU WILL HAVE
A BEAUTIFUL DAY.
A DAY THAT'S ALL YOURS,
THAT YOU CAN DO
ANYTHING YOU LIKE WITH.
PAINT PRETTY PLACE CARDS
FOR RICHARD AND MATTHEW
AND PUT RED CANDLES
ON THE TABLE.
OH, IT'LL--IT'LL BE SO NICE.
HANDS, PLEASE.
[chuckling]
CAN WE REACH? YEAH, I GUESS.
[chuckling]
(Richard)
OK, LADIES FIRST.
UM, I WISH...
WELL,
MY WISH IS TAKEN CARE OF
BECAUSE YOU'RE BOTH HERE
AND THAT'S MY WISH.
I WISH FOR A RED DUMP TRUCK.
[chuckling]
LOVE, JOY,
AND PEACE TO US ALL.
WHEN IN DOUBT, EAT.
SO LET'S BEGIN.
I USED TO HATE
CHRISTMAS AT HOME.
ALL THOSE AUNTS AND UNCLES
SPRAWLING AROUND,
TOO FULL TO MOVE
WINDING THEIR WATCHES
AND SAYING,
"DON'T YOU THINK
IT'S ABOUT TIME
WE GOT THIS SHOW
ON THE ROAD?"
[chuckling]
I THINK I'LL SEE
ABOUT THE CHICKEN.
STAY, PLEASE.
IT WON'T RUN AWAY.
YOU KNOW, SOMETIMES IT'S NICE
TO BE QUIET FOR A CHANGE.
[sighing]
I--I FEEL ALL OUT
HERE SOME PLACE.
I FEEL LIKE
I'M FLOATING AROUND
OUTSIDE MYSELF.
I THINK I'D FEEL CLOSER
IF WE TALKED LONG DISTANCE.
WE HAVE TIME.
WE'LL GET THERE.
(Matthew)
WHERE ARE WE GOING,
DADDY?
NOT THAT KIND
OF GETTING THERE, MATTHEW.
ANYBODY INTERESTED IN
A DRUMSTICK?
ME, PLEASE.
HELLO?
HELLO?
THIS IS LONG DISTANCE.
THIS IS LONG DISTANCE
CALLING MISS SYBIL DORSETT.
HELLO.
HIYA, SLATS.
UH, MY NAME IS LEFTY.
HOW DO YOU DO, LEFTY?
WELL, UH, I'LL TELL YOU.
DON'T TRACE THIS CALL, SEE,
AND DON'T ASK NO QUESTIONS.
BEFORE I GO ON THE LAM
WITH MY SIDEKICK HERE
MATT THE RAT,
I, UH...
I WANT YOU TO SLIP ME THE KEY
TO THE DOWNSTAIRS DOOR
SO I CAN GET BACK IN.
OK, SLATS?
'CAUSE I DON'T LIKE
LONG DISTANCE.
SLATS?
YOU STILL THERE?
I THINK SO.
YEAH, WELL, UH, YOU GOTTA
GIVE ME AN ANSWER QUICK.
I DON'T WANT YOU
TO BE DISAPPOINTED, LEFTY.
I GOT NO EXPECTATIONS, SLATS.
**[voice humming]
[knocking on door]
(Sybil as Vanessa)
BE RIGHT THERE.
OH, VANESSA,
YOU LOOK JUST FINE.
YOU KNOW,
A KEY WOULDN'T DO MUCH GOOD
AGAINST ALL THIS.
YOU NEED A SCALING LADDER.
(as Vanessa)
I GUESS IT'S CALLED SECURITY.
OPEN YOUR CHRISTMAS PRESENT.
OH, RICHARD.
[mimicking]
"OH, RICHARD."
I THOUGHT WE AGREED
WE WEREN'T GONNA DO THIS.
I'M A CONGENITAL LIAR.
OH!
REMIND ME NEVER TO LET YOU
TAKE OFF A BANDAGE.
WELL, IF I'M VERY CAREFUL
AND DON'T TEAR IT,
THEN I CAN DRAW
ON THE BACK OF IT.
YOU DRAW ON THE WHOLE THING.
IT'S ONLY WATERCOLOR PAPER.
OH, RICHARD.
IT'S THE MOST BEAUTIFUL PAPER.
THANK YOU.
I WANT-- I WANT YOU--
YOU DON'T HAVE
TO SAY ANYTHING.
THE NIGHTGOWN SAYS IT ALL.
YOU WANT CLOSENESS,
THAT'S ALL.
I--I NEVER
EXACTLY HAD CLOSENESS.
LOVE, I TOLD YOU ONE TIME,
YOU'RE ONLY 12 YEARS OLD.
NOW, ANYTHING MORE
WOULD BE ILLEGAL.
YOU MIND IF I UNDRESS?
I'M REALLY INTERESTING.
WE HAD MALE MODELS
IN ART SCHOOL.
[paper rustling]
[shoes thudding]
OK.
WELL, I DON'T THINK
THIS BED WAS MADE
FOR MASCULINE SHOULDERS
BECAUSE THERE'S
NO ROOM FOR ME.
THERE'S ROOM.
THERE IS.
WELL, WELL, WELL.
[chuckling]
[exhaling]
I THINK I'M GONNA FALL OUT.
[kissing]
LEFTY.
SLATS.
THIS IS A VERY
UNEXPECTED CHRISTMAS.
YEAH. FOR ME, TOO.
WHEN YOU TALK,
YOUR CHEST VIBRATES
LIKE A PIANO
WITH THE HOOD DOWN.
* O, TANNENBAUM,
O, TANNENBAUM **
YOU'RE TICKLING MY EAR.
**[singing]
**[singing]
**[humming]
**[both humming]
(Hattie and Sybil)
* OH, CHRISTMAS TREE *
* OH, CHRISTMAS TREE *
* HOW LOVELY ARE
THY BRANCHES **
[kittens mewing]
[cat snarling]
[screaming]
[gasping]
[cat snarling]
[cat snarling]
[cat snarling]
[Sybil gasping]
[cat snarling]
[panting]
[cat snarling]
[exclaiming]
[gasping]
[cat snarling]
[panting]
[cat snarling]
[door rattling]
[cat snarling]
[cat snarling]
[Sybil gasping]
[moaning]
[Sybil moaning]
[moaning]
HEY, COME ON. IT'S OK.
WAKE UP. YOU'RE DREAMING.
[whimpering]
COME--COME-- COME ON.
LET ME HELP YOU DOWN, OK?
(as Peggy)
I DON'T WANT TO SEE
THE KITTY CAT.
THERE IS NO KITTY CAT.
I DON'T WANT TO SEE IT.
NO, DON'T.
YOU GOT SUCTION CUPS
ON YOUR TOES OR SOMETHING?
IT'S NOT THERE?
IT'S NOT THERE?
THE KITTY CAT IS NOT THERE?
NO.
I DON'T WANNA SEE IT.
I DON'T WANNA SEE IT.
NO, DON'T.
YOU'RE NOT DANNY.
NO.
THE PEOPLE. THE PEOPLE.
THEY WATCH. THEY WATCH.
[mumbling]
NOW,
WHAT'RE YOU TALKING ABOUT?
[exclaiming]
OUT, I WILL GET OUT.
I WILL GO SOME PLACE.
I WILL GO SOME PLACE.
I'LL GO TO-- I'LL GO TO
NEW YORK. I'LL GO TO NEW YORK.
YOU'RE IN NEW YORK.
I'LL FIND MY DR. WILBUR.
SHE'LL BE GLAD TO SEE ME.
WHO'S DR. WILBUR?
SHE'LL KNOW WHAT TO DO.
I HAVE TO FIND PURSE.
PURSE.
WHO'S DR. WILBUR?
THAT'S ALL RIGHT. I'LL
HITCHHIKE. I'LL HITCHHIKE.
I WANT MY SUITCASE.
YOU'LL HITCHHIKE WHERE?
YOU CAN'T GO ANYWHERE
UNLESS YOU ARE SOMEWHERE
AND YOU DON'T KNOW
WHERE YOU ARE.
SUITCASE.
I WANT MY SUITCASE.
SYBIL!
SYBIL, WHO IS DR. WILBUR?
DON'T DO THIS TO ME!
WHO IS--
DON'T DO THIS TO ME!
[Sybil crying]
(as Sybil)
THEY SAID NOT TO
GO TO THE MOVIES.
THE MOVIES WERE...
DO I GO TO THE MOVIES? NO.
(Richard)
WE WENT TO RADIO CITY
THIS MORNING.
SYBIL, IS DR. WILBUR
A PSYCHIATRIST?
WERE WE TALKING ABOUT ART?
WERE WE TALKING
ABOUT THE BALLET?
I CAN'T COOK DINNER.
OH!
IS THIS MARCIA?
IS SHE DOING THIS TO ME?
IT'S NOT THE END OF THE WORLD.
IT'S THE END OF ME.
SYBIL.
STAY. DON'T LEAVE!
**[voice humming]
INFORMATION, I--I NEED
A--A NUMBER
FOR A DR. WILBUR.
A PSYCHIATRIST.
[sighing]
**[voice humming]
(as Marcia)
NOTHING MATTERS NOW.
**[voice humming]
[people chattering]
THANK YOU.
HELLO.
WHO?
RICHARD LOOMIS?
WHAT'S THE MATTER?
WELL, HOW DID THE DINNER GO?
YES, WELL, THE THING
ABOUT IT IS, YOU SEE,
YOU PROBABLY DON'T KNOW
WHO YOU'RE DEALING WITH.
SO I'M GONNA HAVE TO, UH...
TO BREAK
A PROFESSIONAL CONFIDENCE.
OH, MY GOD.
MY LITTLE BOY
TRIED TO TELL ME THAT,
YOU KNOW, IN DIFFERENT WORDS.
IF SHE'S FEELING THE WAY
THAT YOU SAY SHE IS,
SHE'S PROBABLY MARCIA.
SO YOU CAN JUST FEEL FREE
TO CALL HER BY HER NAME.
BUT WOULD YOU TELL HER
SOMETHING FOR ME?
TELL HER I SAID
IT'S PERFECTLY OK
TO THINK ABOUT
KILLING HERSELF
BUT WOULD SHE
PLEASE JUST WAIT
UNTIL I GET THERE.
[door thudding]
SHE'S ON THE ROOF.
I GOTTA GO.
[people chattering]
[car honks]
SYBIL.
SYBIL.
(as Marcia)
THERE IS NO SYBIL NOW.
DON'T YOU COME NEAR ME.
I WON'T.
HEY, I--I DON'T THINK
WE'VE MET YET.
MY NAME IS RICHARD. HI.
AREN'T YOU GONNA TELL ME
WHO YOU ARE?
WELL, I'VE BEEN TALKING
TO DR. WILBUR
AND SHE THOUGHT
THAT MAYBE YOU WERE MARCIA
SO I'M GONNA
CALL YOU MARCIA, OK?
HOW--HOW ARE YOU,
MARCIA?
THAT'S A VERY PRETTY SCARF
YOU HAVE ON.
YOU'RE TRYING
TO GET ME TO WAIT
UNTIL DR. WILBUR GETS HERE.
WELL, IT WON'T WORK.
MARCIA!
MARCIA. MARCIA, YOU KNOW,
THAT-- THAT'S AN AWFULLY
LONG FALL DOWN THERE.
IT'S 5 STORIES. NOW,
I'M ONLY CONSIDERING MATTHEW.
D-D-DO YOU KNOW MATTHEW?
HE LIKES YOU.
[inhaling]
HE LOVES VANESSA.
NO, NOT--NOT--NOT
JUST VANESSA.
H-HE KNEW ABOUT ALL OF YOU
LONG BEFORE I EVER DID.
I MEAN, HE SENSED IT.
ANYWAY, HE SAID TO ME,
"DADDY, SYBIL IS JUST
STUFFED WITH PEOPLE."
HE DID?
YEAH.
I GUESS THAT'S BECAUSE
WE'RE ALL CHILDREN, TOO.
YEAH, AND--AND YOU SEE,
THE POINT--THE POINT IS
THAT-- THAT'S--THAT'S
MATT'S WINDOW
RIGHT DOWN THERE.
THAT'S THE LAIR
OF MATT THE RAT, SLATS,
AND--AND IF-- AND IF YOU LAND
DOWN THERE IN THAT COURTYARD,
THAT'S WHAT MATT
IS GONNA REMEMBER
FOR THE REST OF HIS LIFE.
HIS GOOD FRIEND
LOOKING LIKE--
THEN I'LL GO OVER THERE,
ON THE OTHER SIDE,
WHERE HE CAN'T SEE.
WHERE? OVER THERE?
THAT-- THAT'S A STREET.
YOU MIGHT HIT SOMEBODY.
I WON'T KNOW THEM.
OH, YEAH.
YEAH, YEAH,
THAT--THAT--THAT MAKES SENSE.
[car honking]
YOU MOVE BACK OVER THERE.
WHERE? WHERE? HERE?
FURTHER.
HERE?
AND PROMISE ME NOW,
YOU PROMISE ME
YOU WON'T TRY TO STOP ME.
WELL, I PROMISE.
[crying]
NO! YOU PROMISED.
YOU PROMISED.
I TOLD YOU
I WAS A CONGENITAL LIAR.
DON'T. DON'T TRAP ME.
IT WILL GET WORSE.
IT'LL GET WORSE.
LET ME DO IT.
OH, PLEASE. PLEASE,
WHY WON'T YOU LET ME DO IT?
WHY WON'T YOU LET ME DO IT?
[child chattering]
(as Peggy)
THE PEOPLE, THE HAND.
AND THE PEOPLE.
AND THE PEOPLE.
THEIR HANDS, AND THE WATER.
THE WATER, AND THE WATER.
[in Hattie's voice]
YOU JUST LAY STILL,
YOUNG LADY.
YOU JUST LAY STILL.
YOU MOVE A MUSCLE AND...
YOU MOVE A MUSCLE AND...
I CAN SEE IT. I CAN SEE IT.
IN THE KITCHEN.
IN THE KITCHEN.
IT'S ALL GREEN,
AND IT'S DRIPPING,
AND IT'S IN THE SINK.
I CAN SEE IT. I CAN SEE IT.
[in Hattie's voice]
IT'S NOT COLD ENOUGH,
YOUNG LADY.
IT'S NOT COLD ENOUGH.
YOU JUST LAY STILL.
(Richard)
PLEASE, DON'T!
I KNOW WHO YOU ARE.
I KNOW WHO YOU ARE.
YOU'RE DANNY.
YOU'RE DANNY. I KNOW DANNY.
UH-HUH.
DANNY LIKES ME.
I LIKE DANNY.
HE DANCES FOR ME,
AND HE SINGS.
HE DANCES.
HE SINGS LIKE FRED ASTAIRE.
* LOVELY *
I KNOW HIM.
I KNOW HIM. I KNOW HIM.
* NEVER, EVER CHANGE *
I KNOW HIM.
I KNOW HIM. I KNOW HIM.
I KNOW HIM.
* KEEP THAT
BREATHLESS CHARM **
I KNOW HIM.
[grunts]
(as Sybil)
DON'T TOUCH ME.
YOU'RE BURNING MY SKIN OFF.
YOU'RE BURNING MY SKIN OFF.
SYBIL!
(Sybil)
WHY ARE WE HERE?
MARCIA'S TRYING
TO KILL HERSELF.
SHE'S TRYING TO KILL YOU.
DON'T HOLD ME.
DON'T HOLD ON TO ME.
SWEETIE, SWEETIE, SWEETIE.
PLEASE LET HER DO IT.
[shushing]
PLEASE LET HER DO IT.
PLEASE LET HER DO IT.
IT'S ALL RIGHT.
I'M AFRAID TO LET HER GO.
SYBIL. SYBIL!
DR. WILBUR.
IT'S ALL RIGHT.
IT'S ALL RIGHT.
DR. WILBUR.
OK, JUST HOLD ON A MINUTE.
DR. WILBUR.
LET ME GET...
DEAR, IT'S ALL RIGHT.
OH, YOUR COAT IS SO PRETTY.
IT'S ALL RIGHT.
IT'S ALL RIGHT.
I'M GONNA GIVE YOU...
YOU'RE GONNA GET
YOUR DRESS DIRTY, DR. WILBUR.
NO, NO. NO.
I'M GONNA GIVE YOU SOME
SEDATION IS WHAT I'M GONNA DO
AND IT'S GONNA
MAKE YOU FEEL BETTER
AND TAKE AWAY THE HURT, OK?
DR. WILBUR,
PLEASE LET HER DO IT.
DR. WILBUR,
PLEASE LET HER DO IT.
NO, NO. NO, NO, NO.
PLEASE DON'T GET
YOUR DRESS DIRTY.
DON'T GET DIRTY, PLEASE.
YOU LOOK SO PRETTY.
OH, I'M SCARED OF THAT.
SCARED.
IT'S OK.
I'M SCARED.
NO, IT'S ALL RIGHT.
[moans]
THERE, OK?
[groaning]
[sobbing]
YOU HAVE 4 EARRINGS.
YEAH, I GOT 4 EARRINGS,
BUT I ONLY GOT 2 ON.
THAT'S JUST THE MEDICINE, OK?
GIVE ME A HAND.
COME ON, SWEETIE.
ALL RIGHT.
ALL RIGHT?
YEAH.
OK.
COME ON, SWEETIE.
IS HE GONE?
I DON'T WANT HIM TO SEE ME.
IT'S ALL RIGHT.
HERE. COME ON.
THERE YOU GO.
HE'S SO THOUGHTFUL.
YOU KNOW, IF HE GOES TO GET
A GLASS OF WATER FOR HIMSELF
HE NEVER JUST BRINGS ONE.
HE BRINGS 2,
AND THEN HE SAYS,
"I THOUGHT MAYBE
YOU'D BE THIRSTY."
ISN'T THAT THOUGHTFUL?
(Dr. Wilbur)
MMM-HMM.
ISN'T THAT CONSIDERATE?
THAT'S QUITE CONSIDERATE,
YES.
YOU DON'T FIND THAT
VERY OFTEN NOWADAYS.
WHAT IS IT I FELT
FOR MY GRANDMA?
WAS THAT LOVE?
YEAH, THAT WAS LOVE,
SWEETIE.
AND DANNY, WAS THAT LOVE?
MMM-HMM.
[exhaling]
THAT'S WHAT IT IS
WITH RICHARD THEN.
DR. WILBUR.
(Dr. Wilbur)
MMM-HMM?
IS IT ALL RIGHT IF I
DON'T SEE HIM AGAIN
UNTIL AFTER WE PULL
OURSELVES TOGETHER?
MMM-HMM.
I DON'T KNOW HOW TO TELL HIM.
I THINK HE'LL KNOW
WITHOUT YOU TELLING HIM.
[children chattering]
(man)
$0.21 A POUND.
ALL RIGHT, I'LL TAKE IT.
PAY THE GIRL.
I'LL GO INSIDE.
GO INSIDE.
AH, THAT'S NICE.
THERE,
THAT SHOULD DRIVE THE WINTER
OUT OF THE CORNERS.
YEAH. I, UH, I PASSED
THE PARK ON THE WAY
TO WORK THIS MORNING.
THERE WAS A GUY
CUTTING THE GRASS.
I GOT ONE WHIFF
AND ALREADY I'M THINKING
ABOUT 2 WEEKS
IN THE MOUNTAINS, HUH?
HAVE A CARE, MR. RIZO.
SPRING IS THE MISCHIEF IN US,
AS THE POET SAYS.
YEAH. HAVE A GOOD DAY.
[cat meowing]
(Sybil)
RICHARD MOVED AWAY.
DID I TELL YOU?
(Dr. Wilbur)
NO, MARCIA DID.
HOW DID THAT MAKE YOU FEEL?
MY KITTY BOTHERS ME.
[meowing]
I ASK YOU HOW IT FEELS
TO HAVE RICHARD MOVE
AND YOU TELL ME
YOUR KITTY BOTHERS YOU.
THAT'S INTERESTING.
LET'S NOT TALK ABOUT IT.
IT'LL JUST OPEN UP
A WHOLE CAN OF PEAS.
NO, WHAT IT MIGHT OPEN UP
IS A WHOLE NEST OF KITTENS,
WHICH IS SOMETHING
WE'VE AVOIDED
EVERY TIME YOU'VE
DREAMED ABOUT THEM.
NOW, MAYBE THERE IS
A CONNECTION
BETWEEN YOUR ANGER
AT RICHARD MOVING
AND YOUR--
THERE ISN'T ANY ANGER.
SWEETIE, YOUR ANGER
AT THE HEADLESS CAT.
CURIOSITY KILLED THE CAT,
SO DON'T WONDER.
[sighing]
CURIOSITY DIDN'T
TEAR ITS HEAD OFF.
NOW, WHO DID THAT?
YOU WANTED TO GET
RID OF MOMMA, RIGHT?
THAT'S ONE THEORY.
THERE ARE A MILLION THEORIES.
YOU PICK ONE.
I'LL AGREE TO ANYTHING.
I SEE.
YOU ALWAYS SAY, "I SEE."
YOU KNOW,
MARCIA WAS SO AFRAID
OF WANTING TO KILL MOMMA
THAT SHE ALMOST
KILLED HERSELF
FOR JUST HAVING THE THOUGHT.
I DON'T KNOW MARCIA.
I'M NOT INTERESTED.
MARCIA TOLD ME
ABOUT A MEMORY SHE HAD
ABOUT A LITTLE BOX.
WHY DO I HAVE TO
REMEMBER SOMETHING
THAT DIDN'T HAPPEN TO ME?
WHY CAN'T I BLANK OUT?
BECAUSE YOU CAN STAND
SOME OF THOSE FEELINGS NOW,
SWEETIE.
YOU'RE GETTING STRONGER.
NOW, CAN'T YOU TELL ME
ABOUT THE LITTLE BOX?
IT STARTED TO GROW.
IT GOT BIGGER.
THAT'S RIGHT.
AND IT GREW BIGGER
UNTIL IT WAS BIG ENOUGH
TO PUT MOMMA IN.
IN FACT, IT TURNED
INTO A COFFIN, DIDN'T IT?
I DID NOT WANNA
GET RID OF MOMMA.
I WANTED TO GET RID
OF THE HURT.
I WANTED THE HURT TO
GO AWAY, NOT MOMMA.
I DIDN'T MEAN ANYTHING BAD.
SWEETIE, IT'S NOT BAD
TO WANNA GET RID OF
SOMETHING THAT HURTS.
AND MOMMA WAS
JUST ONE BIG HURT
WITH A NAME ATTACHED TO IT.
IT WAS STILL MY MOMMA.
THAT WAS
AN ACCIDENT OF NATURE.
SYBIL,
A WISH CAN'T KILL PEOPLE.
NOW, IF THE WORLD
HAS TO TURN PURPLE
AND LITTLE CHILDREN
HAVE TO KILL THEMSELVES
BECAUSE THEY WISH
THEIR MOTHERS WERE DEAD,
THERE WOULDN'T BE
ANYBODY LEFT ON EARTH.
SYBIL, YOU'RE NOT
LISTENING TO ME.
YOU'RE THINKING ABOUT
SUICIDE AGAIN, AREN'T YOU?
WHY DO YOU
WANNA KILL YOURSELF
INSTEAD OF DOING
WHAT WE HAVE TO DO?
WHY DO YOU WANNA KILL THIS
WONDERFULLY
CREATIVE ORGANISM
BEFORE YOU'VE
EVEN BEGUN TO LIVE?
I DON'T LIKE IT
WHEN YOU'RE ANGRY.
I'M NOT ANGRY. I'M DEFINITE.
YOU INSULT ME, MY DEAR.
YOU INSULT MY HEART.
WELL, JUST LOOK AT ME.
CAN'T YOU SEE WHAT I AM?
I HAVE LOOKED AT YOU
AND LOOKED AT YOU
FOR MONTH AFTER MONTH AFTER
MONTH AND I HAVE SEEN YOU.
YOU HAVEN'T SEEN ANYTHING.
AND I WASN'T THINKING
ABOUT SUICIDE.
I WAS THINKING ABOUT
WHAT A CHARADE THIS IS.
DR. WILBUR,
I CAN'T GO ON LIKE THIS.
YOU BETTER SIT DOWN.
I HAVE A BIG SHOCK FOR YOU.
IT'S A LIE.
THE WHOLE THING.
I DON'T HAVE
MULTIPLE PERSONALITIES.
NOT EVEN ONE.
IT'S JUST ME.
I--I DON'T-- I DON'T EVEN KNOW
WHY I GOT STARTED.
ALL THE THINGS
I TOLD YOU ABOUT MY MOTHER,
THEY'RE ALL LIES,
EVERY ONE OF THEM.
SHE SPOILED ME ROTTEN,
WATCHED ME
EVERY SINGLE SECOND.
YOU KNOW,
IT INTERESTS ME, SYBIL
THAT THE DENIAL COMES AT
THIS PARTICULAR TIME.
THIS IS NOT A DENIAL.
EXCUSE ME, SWEETIE,
BUT IT COMES ON THE EVE
OF MY CHICAGO LECTURES
WHICH MUST SEEM LIKE SOME
KIND OF ABANDONMENT TO YOU
THE WAY RICHARD
ABANDONED YOU.
NO, IT'S NOTHING LIKE THAT.
AND 2, WE ARE AT A PLACE
WHERE THE MOST
TERRIFYING MEMORIES OF ALL
ARE JUST BELOW THE SURFACE.
DR. WILBUR, EXCUSE ME,
BUT THIS SIMPLY IS NOT
DENIAL OR RESISTANCE
OR ANY OF THOSE
PATIENT TRICKS.
IT IS AN ADMISSION
OF CULPABILITY.
I'M SORRY.
I KNOW I OWE YOU A FORTUNE,
AND YOU'LL BE PAID.
BUT TO GO ON LIKE THIS
WOULD BE VERY CRUEL.
YOU'RE TOO GOOD
A PERSON FOR THAT.
SO I THINK WHAT I SHOULD DO
IS TAKE MY FATHER
UP ON HIS OFFER
AND STAY IN THAT
SUNNY LITTLE ROOM
WHERE ALL MY THINGS
WILL FIT JUST PERFECT
AS THE FAMOUS FRIEDA SAYS.
ARE YOU SYBIL?
OF COURSE I'M SYBIL.
WHO ELSE WOULD I BE?
WHAT HAPPENED IN
THE GREEN KITCHEN?
THAT'S MY CUE TO
TURN INTO PEGGY, RIGHT?
DR. WILBUR, THERE IS
NO PEGGY TO TURN INTO.
DO YOU MIND IF I TEST THAT?
HYPNOSIS? BE MY GUEST.
ALL RIGHT, WOULD YOU
LIE DOWN ON THE SOFA?
SUR LE COUCH?
ONLY VICKY'S SUPPOSED
TO KNOW THAT, RIGHT?
[mimics Dr. Wilbur]
"NOW, DEAR HEART,
"I WANT YOU TO
LOOK AT NEHEMIAH.
"YOU WILL LOOK AT
NEHEMIAH, SWEETIE,
AND I WILL ASK TO
SPEAK TO THE OTHERS."
I'VE REALLY GOTTEN IT DOWN,
HAVEN'T I, DOCTOR?
(Dr. Wilbur)
IN MY CHICAGO HOTEL ROOM,
I STARTED TO THINK
THAT SYBIL'S DENIAL
MIGHT ACTUALLY HAVE BEEN
HER FIRST BREAKTHROUGH.
MAYBE THE SELVES
HAD BANDED TOGETHER
TO STOP ME FROM
TAKING SYBIL DOWN
TO THE MOST
DANGEROUS PLACE OF ALL.
HELLO. YEAH,
I'D LIKE ANOTHER
CHICAGO NUMBER, PLEASE.
WELL, I'M SORRY,
BUT I'LL JUST HAVE
TO KEEP ON ASKING
UNTIL SOMEBODY PUTS
A PHONE BOOK IN HERE.
I'VE GOT 2 BIBLES
AND NO PHONE BOOK.
[laughing]
THE PERSON I'M LOOKING FOR
ISN'T IN THE BIBLE.
A DORSETT, WILLARD DORSETT.
(Dr. Wilbur)
YOU UNDERSTAND,
MR. DORSETT, I JUST WANNA
TIE UP SOME LOOSE ENDS,
SO TO SPEAK.
SO YOU CAME TO
THE HORSE'S MOUTH.
IS THAT IT?
IT SEEMED
THE SENSIBLE THING TO DO.
I, UH...
I DO RECALL A BRUISE OR 2
FROM TIME TO TIME.
I SEE.
WELL, TELL ME, DO YOU RECALL
A BROKEN LARYNX?
WELL, NOW YOU SAY IT,
IT SEEMS I DO.
RAN INTO A CLOTHESLINE,
I BELIEVE.
OH, WHO SAID THAT?
MY WIFE, I SUPPOSE.
SHE DRIED THE WASH OUT BACK.
NOW, BY WASH, YOU MEAN,
UH, THINGS LIKE--LIKE
SHEETS AND TOWELS
AND THINGS LIKE THAT?
SURE.
SOMETHING... SO YOU'D HAVE
TO HANG THEM UP PRETTY HIGH
IN ORDER TO KEEP THEM
OFF THE GROUND. HMM?
IS THAT RIGHT?
THAT'S RIGHT.
YEAH.
WELL,
IT SEEMS TO ME IT WOULD TAKE
AN AWFUL LOT OF DETERMINATION
FOR A LITTLE 4-YEAR-OLD
TO GET HER THROAT UP,
YOU KNOW, HIGH ENOUGH
TO BREAK HER LARYNX.
WOULDN'T YOU SAY?
WHEN YOU STOP TO
THINK ABOUT IT.
YOU KNOW, MR. DORSETT,
I HAVE HERE
A CATALOG OF
HURTS.
AND WHAT I'D LIKE TO STOP
AND THINK ABOUT IS, UH,
HOW MRS. DORSETT EXPLAINED
THE REST OF THESE.
OR PERHAPS EVEN IF, UH...
DID YOU EVER ASK SYBIL?
UH, SOMETIME WHEN YOU
WERE ALONE TOGETHER WITH HER
AND SHE MAYBE FELT
A LITTLE FREER TO CONFIDE?
DID YOU?
I DON'T GET THE DRIFT
OF THIS CONVERSATION.
WELL, I'LL GIVE IT
TO YOU. I...
WHAT I'D LIKE TO KNOW IS
DO YOU THINK IT'S POSSIBLE
THAT YOUR WIFE INFLICTED
THESE INJURIES HERSELF?
ABSOLUTELY NOT.
YOU UNDERSTAND,
WHAT I MEAN IS,
DO YOU THINK
THERE WAS ANYTHING
IN HER PERSONALITY,
IN HER CHARACTER--
ABSOLUTELY NOT.
THAT WAS A FINE WOMAN.
I'M SURE SHE WAS
A FINE WOMAN,
BUT EVEN THE FINEST PEOPLE
CAN GET VERY SICK,
MR. DORSETT
AND WHAT I'M TALKING ABOUT
HERE IS SICKNESS.
NOW, WAS SHE EVER SICK?
UH, EMOTIONALLY SICK,
I MEAN, NOT--
I KNOW WHAT YOU MEAN.
I LIVE IN
THE SAME CENTURY YOU DO.
I BEG YOUR PARDON. I'M SORRY.
SHE WAS NERVOUS.
NOT SICK, JUST NERVOUS.
SHE JUST TALKED SO MUCH,
THAT'S ALL.
SHE'D TELL POEMS OUT LOUD,
AND GET UP AND DANCE IN
RESTAURANTS, THINGS LIKE THAT.
JUST TOO BIG A HEAD
OF STEAM, THAT'S ALL.
FRUSTRATED WITH
THE SMALL-TOWN LIFE
OR ME OR SOMETHING.
I DON'T KNOW.
SHE'D GET
REAL LOW SOMETIMES.
"LOW DOWN AND BLUE,"
SHE'D CALL IT.
ONE YEAR, SHE JUST SAT
QUIET THAT WHOLE WINTER.
WOULDN'T EVEN FEED HERSELF.
GOT SO BAD I DROVE HER UP
TO THE STATE HOSPITAL.
WELL, THEN WHAT HAPPENED?
WHAT DID THEY SAY?
OH, THEY
SAID SHE HAD
THE PARANOID SCHIZOPHRENIA.
WELL, MR. DORSETT, THAT'S...
THAT'S VERY SICK.
IT'S--IT'S...
IT'S CERTAINLY TOO SICK
TO BE RAISING A LITTLE GIRL.
THEY--THEY WERE WRONG,
YOU SEE.
WELL, HATTIE TOLD ME HERSELF
A-AFTER I GOT HER HOME
THAT ALL THAT DOCTOR DID
WAS SIT AND STARE AT HER
THE WHOLE TIME
SHE WAS WITH HIM.
SAID IF ANYONE WAS GONNA
TELL HER SHE WAS A LOONY,
HE BETTER GET
SOMEONE TO DO IT
BESIDE ONE OF THE LOONS.
WELL, YOU CAN'T ARGUE
WITH THE LOGIC OF THAT,
NOW CAN YOU?
YOU CALL THAT SICK?
[birds chirping]
[dog barking]
EXCUSE ME.
COULD YOU TELL ME
IF DR. QUINONESS
STILL IS, UH, LIVING IN
WILLOW CORNERS, IN TOWN?
YOU BET.
STRAIGHT ON INTO TOWN.
CORNER OF 4TH AND MAPLE.
4TH AND MAPLE? THANK YOU.
YEAH.
(Dr. Quinoness)
I HOPE YOU DON'T MIND
CARRYING THE OATMEAL COOKIES
BUT JULIA GETS POOPED
ON THESE STAIRS NOW.
OLD PLACES ARE
BUILT FOR GOATS ANYWAY.
WELL, I APPRECIATE
YOUR TAKING TIME OUT
TO SEE ME, DR. QUINONESS.
NOT TAKING TIME OUT
FROM MUCH.
[laughing]
WELL, HERE WE BE.
THE MUSEUM.
USED TO BE THE ONLY SURGERY
FOR 40 MILES
TILL THEY BUILT THE HOSPITAL
OUT ON ROUTE 9.
I USE IT NOW MAINLY BECAUSE
THE SUN LASTS LONGER
THAN ANY OTHER ROOM
IN THE HOUSE.
LATELY, I'VE BECOME
GREEDY ABOUT SUNLIGHT.
PLEASE SIT.
THANK YOU.
YES, I SEEM TO
REMEMBER HEARING
THAT SYBIL WAS
IN NEW YORK CITY.
OF COURSE, NOWADAYS,
WITH ALL THE FAMILY
EITHER DEAD OR MOVED AWAY,
DON'T KEEP TABS
LIKE I USED TO.
THANK YOU.
SHE, UH,
HAS A NERVOUS CONDITION,
HAS SHE?
MMM-HMM. YES.
AH, LITTLE SYBIL.
LITTLE SPARROW OF A THING.
NOT SURPRISED
IT'S COME TO THAT.
YOU KNOW,
SHE HAD A NERVOUS MOTHER.
SO I UNDERSTAND.
HATTIE. PILLAR OF THE TOWN.
DID EVERYTHING.
WELL, I WOULD APPRECIATE IT
IF I COULD SEE
SYBIL'S RECORDS, DOCTOR.
WELL, I DON'T KNOW
WHAT LIGHT THAT WOULD SHED.
YOU SEE, I--I NEVER,
NEVER TREATED HER FOR NERVES
ONLY FOR THE USUAL
CHILDHOOD ACHES AND PAINS.
I UNDERSTAND, BUT I--I WOULD
CONSIDER IT A GREAT COURTESY.
I DON'T KNOW THAT
I HAVE ANYTHING.
LET ME SEE.
DORSETTS.
DORSETTS. OH, YES.
HERE WE ARE. SYBIL.
TONSILLECTOMY.
I REMEMBER THAT.
SHE FOUGHT SO HARD
WE COULD HARDLY GET THEM OUT.
TORN LIGAMENTS,
RIGHT SHOULDER.
FRACTURED CLAVICLE.
PALM OF RIGHT HAND
BURNED ON STOVE.
FRACTURED LARYNX.
BEANS STUCK UP HER NOSE.
GAS INHALATION.
USUAL CHILDHOOD
ACHES AND PAINS, HUH?
DID YOU EVER SPECULATE?
YOU KNOW,
YOU CAN LIVE TOO LONG, DOCTOR.
I NEVER TOLD ANYONE THIS.
SYBIL CAME TO ME
WITH A BLADDER COMPLAINT.
VERY UNUSUAL IN
A LITTLE GIRL.
COULDN'T PASS HER WATER.
I HAD TO CATHETERIZE HER.
IF YOU DID A GYNECOLOGICAL
ON HER RIGHT NOW,
I'D WAGER YOU'D SEE
WHAT I SAW.
SCARIFICATION OF
THE INNER WALL,
DESTRUCTION OF
CERTAIN TISSUES.
I DON'T BELIEVE
SHE CAN EVER BECOME A MOTHER.
YOU KNOW, THE GOOD LORD
SHIPS US INTO THIS WORLD
NOT A WHOLE HECK
OF A LOT BETTER
THAN THE U.S. MAILS.
BUT THE HAND OF THE ALMIGHTY
HAD NOTHING TO DO
WITH WHAT I FOUND
INSIDE THAT CHILD.
YOU'VE BEEN VERY GENEROUS,
DOCTOR.
YOU WANNA GIVE ME
A TIP, DOCTOR?
IF I CAN.
IN YOUR...
IN YOUR TRADE, YOU HEAR
A LOT OF CONFESSIONS.
DR. QUINONESS,
IT WAS A LONG, LONG TIME AGO.
HOW DO I FIND ABSOLUTION?
[birds chirping]
[dog barking]
[door squeaking]
**[voice humming]
[water dripping]
[gasping]
[water continues dripping]
[dog barking]
**[voice humming]
(Dr. Wilbur)
IT HAPPENED, SWEETIE.
THOSE ARE
THE CRAYON SCRATCHES YOU MADE
WHEN MOMMA PUT YOU
IN THE WHEAT BIN.
THEY WERE YOUR CRY FOR HELP.
YOUR PURPLE ANGER.
IT DOESN'T SEEM REAL.
WELL,
IT HAPPENED.
I CAN'T BELIEVE
YOU WENT TO ALL
THIS TROUBLE AFTER I...
I DIDN'T MEAN TO
BE MEAN TO YOU.
OH, I KNOW THAT.
IT'S JUST I WAS AFRAID.
NOT OF WHAT WE
TALKED ABOUT SO MUCH.
CAN YOU TELL ME NOW?
I WAS AFRAID OF THE HOPE.
THE HOPE?
THE HOPE THAT I
MIGHT GET WELL.
YOU BEGAN
TO MAKE ME BELIEVE
I COULD, ALMOST.
FOR A WHILE,
I COULD SEE MYSELF
PAINTING,
OR PLAYING THE PIANO OR...
YES?
BEING WITH PEOPLE.
THEN I REALIZE
THAT THE ONLY WAY
THAT HOPE CAN EVER BE REAL
IS YOU.
AND IF YOU'RE THE ONLY HOPE,
AND THIS IS THE ONLY WAY,
AND IF IT DOESN'T WORK,
THEN I'M A GONER.
I JUST...
I HAVE TO BE WITH PEOPLE,
DR. WILBUR.
I KNOW THAT.
I'VE NEVER REALLY
BEEN LET IN MOST PLACES.
WELL,
RICHARD LET ME IN FOR A WHILE
AND YOU LET ME IN A LITTLE
BECAUSE YOU HAVE TO.
BUT THEN,
WHEN HE LEFT
AND YOU WERE GONE
I REALIZED THAT
THERE WASN'T A HOUSE
IN ALL OF NEW YORK
THAT I COULD GO IN.
QUITE HONESTLY,
[sighing]
I...
I HAILED A CAB
A COUPLE OF TIMES.
I THOUGHT I'D MAKE
UP FOR IT SOMEHOW.
I'D EAT LESS OR SOMETHING.
BECAUSE I HAD TO
TALK TO SOMEBODY.
AND ONE CAB DRIVER
TALKED TO ME.
HE WAS VERY INTERESTING.
WE DROVE AROUND
FOR ABOUT 15 MINUTES.
YES?
AND HE DROVE ME BY HERE.
AND I LOOKED UP
IN YOUR APARTMENT
TO SEE IF THERE
WAS A LIGHT ON.
I KNOW THAT WAS WRONG.
WHY?
I DON'T KNOW. IT SEEMED
LIKE AN INVASION OF
YOUR PRIVACY SOMEHOW.
WITH A LOOK?
I KNOW IT'S SILLY.
NO, IT ONLY MEANS
THERE WAS
A WISH THAT WENT ALONG
WITH THE LOOK
THAT YOU THINK
IT WAS WRONG TO HAVE.
MAYBE SOMEBODY ELSE
HAD A WISH
JUST FOR A SECOND.
WOULD YOU LOOK
THE OTHER WAY, PLEASE?
SWEETIE,
IT HELPS ME IF I CAN SEE YOU.
THEN I'LL LOOK THE OTHER WAY.
IT HAS TO DO WITH A DREAM.
IT HAS TO DO WITH YOU.
MMM-HMM.
YOU AND THIS LITTLE GIRL.
THIS FUNNY LITTLE GIRL
WITH A SCRUNCHED-UP FACE.
AND SHE'S VERY YOUNG,
SO WHAT SHE FEELS IS...
WELL, MAYBE IT'S EXCUSABLE.
WHAT DOES SHE FEEL?
SHE'S TOO YOUNG TO REALIZE
THAT YOU'RE A DOCTOR,
NOT HER FRIEND.
GO ON.
WELL
SHE WANTS TO SIT BESIDE YOU
IN YOUR BIG CHAIR.
AND SHE ASKS.
AND SHE DOES.
BUT SHE'S JUST
A LITTLE GIRL, UNDERSTAND,
AND IT'S JUST A DREAM.
WHAT WORRIES YOU ABOUT HER?
I'M AFRAID TO TELL YOU.
THAT YOU FEEL
SATISFACTION IN THE DREAM?
IT'S NOT A DREAM, SYBIL.
EVERY TIME YOU
COME HERE AS PEGGY,
YOU SIT HERE IN
THIS CHAIR BESIDE ME
AND YOU PUT MY ARM
AROUND YOU,
AND YOU REST YOUR HEAD
ON MY SHOULDER
AND YOU FEEL SATISFACTION.
OH, I COULDN'T.
I KNOW YOU COULDN'T,
BUT PEGGY CAN.
AND YOU ALLOW IT?
OF COURSE I ALLOW IT.
SOMETIMES BEING CLOSE
IS THE ONLY NOURISHMENT
THAT COUNTS.
IT SEEMS LIKE TOO MUCH
TO DO FOR HER.
WELL...
DON'T YOU THINK I MIGHT BE
DOING IT FOR MYSELF ALSO?
DON'T YOU THINK, UH,
I MIGHT DO IT
BECAUSE I ENJOY
BEING ALLOWED
TO EXPRESS
MY AFFECTION FOR YOU?
YOU MEAN FOR HER.
NO, FOR YOU.
FOR SYBIL,
FOR THE TOTALITY OF YOU.
DON'T YOU KNOW THAT?
I LOVE YOUR COURAGE.
I LOVE YOUR HUMOR.
I LOVE YOUR TALENT.
I LOVE YOUR TENDERNESS
WITH OTHER PEOPLE.
I LOVE YOUR QUICKNESS.
I LOVE YOUR COMPANY.
I LOVE YOU.
NOW THE ONLY THING THAT'S
HOLDING YOU ON THAT CHAIR
IS THE LAW OF GRAVITY.
SYBIL, DO YOU KNOW
WHAT THOSE WET THINGS
ARE ON YOUR FACE?
OH.
THOSE ARE
SYBIL'S FIRST TEARS.
[laughing]
THE FIRST ONES YOU'VE HAD
SINCE GRANDMA DIED.
I LOVED MY GRANDMOTHER.
I KNOW YOU DID.
I LOVE YOU, TOO.
WOULD YOU LIKE ME TO
TELL YOU A TRUE STORY?
WELL,
ONCE, A LONG TIME AGO,
WHEN I WAS A LITTLE GIRL
IN MONTANA,
I WAS LYING OUT ON
THE GRASS ONE DAY
JUST LOOKING AT THE ANTS.
[both laughing]
AND THE GRASS WAS SWEET
AND DEEP AND SOFT,
AND THE SUN WAS
WARM ON MY BACK,
AND THE INSECTS WERE
BUZZING AND IT WAS...
EVERYTHING WAS DROWSY.
AND ALL OF A SUDDEN,
I SAW ONE ANT
WHO WAS STRUGGLING TO PICK UP
THIS GRAIN OF SAND
[laughing]
THAT WAS FAR TOO HEAVY
FOR IT TO LIFT.
AND HE STRUGGLED
AND HE STRUGGLED.
AND PRETTY SOON,
ANOTHER ANT CAME BY
AND TOGETHER, THE 2 OF THEM
LIFTED THE GRAIN OF SAND
AND STARTED TO CARRY IT AWAY.
[laughing]
WELL, I GOT SO EXCITED
THAT I HOLLERED TO MY MOMMA,
AND SHE RAN OUT
AND SHE FLOPPED
DOWN IN THE GRASS
BESIDE ME AND SHE SAID
"NOW, ISN'T THAT MIRACULOUS
"HOW MUCH 2 CREATURES
CAN ACCOMPLISH TOGETHER
WHEN THEY CARE
ABOUT EACH OTHER."
AND YOUR MOTHER
WAS BESIDE YOU?
MMM-HMM. IN THE GRASS.
WATCHING ANTS?
ON A SUMMER'S DAY.
HELPING EACH OTHER.
(Sybil)
IT'S TOO GREEN.
WHY DID GOD HAVE TO MAKE
EVERYTHING GREEN?
GREEN TREES, GREEN GRASS.
(Dr. Wilbur)
GREEN KITCHENS.
I'M NOT EVEN GONNA
LOOK AT THE GREEN.
I'M JUST GONNA
LOOK AT THE BLOSSOMS.
SWEETIE, I KNOW
THIS IS THE MOST
DIFFICULT HURDLE OF ALL,
BUT WE'VE GOTTA GET
INTO THAT KITCHEN NOW
AND FACE WHAT WENT ON THERE.
I'M TOO SCARED OF THAT.
YOU'RE JUST SCARED
OF BEING SCARED.
YOU SURVIVED IT
WHEN IT HAPPENED,
AND YOU'LL SURVIVE
REMEMBERING IT.
YOU KNOW HOW MUCH
RELIEF YOU FELT
WHEN WE FACED
THE OTHER THINGS,
THE HANDS, THE--THE PEOPLE,
AND CHRISTMAS?
SO WE WILL FACE THIS,
TOO, FINALLY,
AND--AND--AND
LEAVE IT BEHIND FOREVER.
LEAVE ALL THAT PAIN BEHIND.
AND WE'LL FIND
A NICE QUIET PLACE
FOR A PICNIC,
AND WE'VE GOT ALL
YOUR PAINTING THINGS,
AND WE'RE JUST
GONNA LET IT HAPPEN, OK?
OK.
DID WE BRING NEHEMIAH
IN CASE WE NEED HIS HELP?
MMM-HMM. HE'S WITH US.
[birds chirping]
[ducks quacking]
WHAT IS IT, SWEETIE?
WHAT'S IN THE WAY?
I DON'T KNOW. I CAN'T SEE IT.
I CAN FEEL IT. IT'S
FEAR.
PEGGY'S PETRIFIED RIGHT NOW.
(Sybil)
THIS IS THE FIRST STROKE
I'VE DARED TO PAINT.
[panting]
OH, DR. WILBUR.
(Dr. Wilbur)
WHAT?
[panting]
THIS IS COMING.
JUST ALLOW IT, SWEETIE.
JUST ALLOW IT.
OH, IT'S LIKE
WAVES,
WAVES THROUGH ME.
IT'S AWFUL.
(Dr. Wilbur)
ALLOW IT. GO WITH IT.
(Sybil)
OH, NO, NO.
GO WITH IT.
JUST ALLOW IT, SWEETIE.
OH, IS THIS PEGGY?
IT'S ONLY A HINT OF
WHAT SHE FEELS, SWEETIE.
SHE FEELS MUCH
MORE THAN THAT.
OH, IT'S THE WORST FEELING.
OH, IT'S SO AWFUL.
JUST GO WITH IT.
TRY TO GO WITH IT.
STAY WITH IT
AND SEE IF YOU CAN FIND OUT
WHAT'S UNDERNEATH.
CAN YOU REMEMBER?
WHAT'S UNDERNEATH IT,
SWEETIE?
I'M SCARED.
[panting]
I'M SCARED.
[sobbing]
NO.
WHAT IS IT?
WHAT ARE YOU LOOKING AT?
IT'S ALL GREEN.
AND THE PEOPLE, THE PEOPLE.
PEGGY, WHERE ARE YOU?
ARE YOU IN THE KITCHEN?
[panting]
[water dripping]
[clearing throat]
HAVE TO DO IT.
(Sybil)
IT'S DRIPPING.
IT'S DRIPPING.
YOU CAN HEAR IT DRIPPING.
(Dr. Wilbur)
I KNOW. THERE'S EVEN
A RUST SPOT UNDER THE TAP.
HAVE TO DO IT.
[Sybil wailing]
WHAT DOES MOMMA
HAVE TO DO?
EVERY MORNING.
EVERY MORNING,
AFTER I EAT MY PRUNES
AND EVERYBODY'S GONE,
SHE PULLS DOWN THE SHADES.
SHE PULLS DOWN THE SHADES
SO NOBODY WILL SEE.
AND SHE'S GOT ME
TIED UP ON THE TABLE.
OH, IT'S SO COLD.
THAT'S BECAUSE
IT'S METAL, SWEETIE.
AND THE WATER,
THE WATER'S RUNNING.
THE WATER'S RUNNING.
IT HAS TO RUN A LONG TIME
TILL IT'S COLD ENOUGH.
WHAT DOES SHE
NEED COLD WATER FOR?
SHE GIVES ME AN ENEMA.
[Sybil sobbing]
IT SMELLS ALL DISINFECTANNY.
OH, MY GOD.
[Sybil panting]
AND MY FEET,
MY FEET ARE TIED
TO THE BROOM HANDLE.
WHY?
THEY'RE TIED TO
THE BROOM HANDLE.
WHY?
SO SHE CAN PULL ME UP
AND PULL ME UP AND
TIE ME TO THE LIGHT.
TO THE LIGHT. TO THE LIGHT.
SHE'S GONNA BRING IT.
OH, NO. NO, PLEASE.
PLEASE, IT'LL TEAR ME.
IT'LL TEAR ME.
OH, GET IT AWAY.
WHAT WILL TEAR?
WHAT'S SHE BRINGING, SWEETIE?
[Sybil panting]
WHAT'S SHE BRINGING?
[Sybil sobbing]
WHAT IS IT? WHAT WILL TEAR?
WHAT IS SHE BRINGING?
WHAT IS SHE BRINGING?
THE KNIFE AND THE BUTTONHOOK.
THE KNIVES.
I CAN SEE THEM.
I CAN SEE THEM.
OH, PLEASE.
IT'S ALL RIGHT, SWEETIE.
IT'S ALL RIGHT.
ONCE WE'RE THROUGH THIS,
YOU'LL BE AT THE BEGINNING
OF EVERYTHING GOOD.
BUT WE'VE GOT TO
GET THROUGH THIS.
IT'S ALL RIGHT, SWEETIE.
IT'S ALL RIGHT.
OH, OH. OH, DEAR LORD.
OH, DEAR LORD.
OH, DEAR LORD.
WHEN I GROW UP,
I WILL HAVE LOTS
AND LOTS OF CHILDREN
AND I WILL BE GOOD TO THEM.
GO AWAY. GO AWAY.
OH, AND I WILL LET THEM DO
WHAT THEY WANT TO DO.
AND THEY CAN BRING
THE NEIGHBORHOOD
CHILDREN OVER TO PLAY.
AND THEY CAN PLAY
ALL OVER THE HOUSE
IF THEY WANT TO.
I DON'T CARE.
THEY CAN PLAY IN THE SUNROOM.
OH, PLEASE, DON'T DO THIS!
AND THEY CAN RUN IN THE HOUSE
IF THEY WANT TO. I DON'T CARE.
AND MY CHILDREN CAN MAKE
ANY COLOR CHICKENS
THEY WANT TO.
AND I WON'T PUT THEIR HEADS
IN THE OVEN AND
TURN ON THE GAS.
AND I WON'T BURN THEIR HANDS
WITH THE HOT IRON.
AND I WON'T THROW THE SHOE
AND HIT THEM IN THE THROAT.
I WON'T HURT THEM
WITH THE BUTTONHOOK
AND THE KNIVES AND
THE RUBBER TUBES.
AND I WON'T PUT
A FLASHLIGHT INSIDE OF THEM
AND SAY,
"YOU BETTER GET USED TO IT
"BECAUSE THAT'S
WHAT MEN WILL DO
WHEN YOU GET OLDER.
"THEY'LL PUT
THINGS INSIDE OF YOU,
AND THEY WILL HURT YOU."
I DON'T WANNA GROW UP,
AND I DON'T
WANNA BE LIKE THAT.
NO, NO, NO.
NO, NO. NO, PLEASE.
PLEASE PUT ME DOWN.
PLEASE PUT ME DOWN.
DON'T TAKE ME IN THERE.
DON'T TAKE ME IN THERE.
PLEASE. PLEASE.
WHERE IS SHE
TAKING YOU, SWEETIE?
WHERE IS SHE TAKING YOU?
OH, IT HURTS ME.
AND THE MUSIC, AND BRAHMS
AND BEETHOVEN AND
BACH AND--AND DVORAK.
DVORAK AND
THE NEW WORLD SYMPHONY,
AND YOU CAN'T GET AWAY.
AND THEY'RE COMING CLOSER,
AND THEY'RE MARCHING.
DON'T YOU LET GO, YOUNG LADY.
YOU HOLD YOUR WATER.
HOLD YOUR WATER TILL
THE VERY LAST NOTE.
[ducks quacking]
[birds chirping]
I AM SYBIL.
AND I REMEMBER.
AND I HATE HER.
I HATE HER.
I WANT TO HURT HER.
I WANT TO STOMP ON HER
AND TEAR HER APART
AND CUT HER ARMS OFF
AND PUT THINGS INSIDE HER
AND KILL HER.
HOW COULD SHE DO THAT TO ME?
OH, GOD.
I HATED HER SO MUCH.
I WANTED HER DEAD.
I STILL DO.
I DO. I WANT HER DEAD.
OH, DR. WILBUR, HELP ME.
HELP ME. THIS SCARES ME.
(Dr. Wilbur)
SHE HAD REACHED
THE CENTER OF THE MAZE
AND COME OUT WHOLE.
ANGER COULD BE
HER FRIEND NOW.
GREEN AND PURPLE
WERE ONLY COLORS.
SHE DIDN'T NEED TO
FEAR THEM ANYMORE.
YOU CAN REMEMBER
WITHOUT PAIN NOW.
WITHOUT PAIN?
NONE OF YOU WILL EVER
HAVE TO FEEL THE PAIN AGAIN.
[sighing]
I THINK IT'S TIME
YOU MEET THE OTHERS.
(Dr. Wilbur)
1.
2.
3.
FALLING ASLEEP.
4.
DEEPLY, DEEPLY ASLEEP.
5.
NOW, I'D LIKE TO
SPEAK TO ALL OF YOU,
AND SYBIL CAN LISTEN.
HOW DO YOU ALL FEEL
ABOUT MEETING SYBIL?
HMM?
WELL, IS ANYBODY THERE?
VICKY?
(as Vicky)
YES.
PEGGY?
(as Peggy)
I'M HERE,
BUT I DON'T WANNA BE.
HOW ABOUT THE REST OF YOU?
(as Mike)
DR. WILBUR,
WE WANNA KNOW,
IF WE MEET SYBIL
WILL WE STILL BE ABLE TO GIVE
A BABY TO A GIRL
LIKE DADDY DID?
WHO IS THAT?
I'M MIKE,
AND SID'S HERE, TOO.
AND WE WANNA KNOW
IF WE'LL BE ABLE
TO DO THAT LIKE DAD.
WELL, YOU BOYS HAVE A PROBLEM
BECAUSE YOU LIVE
IN A WOMAN'S BODY.
YOU'RE NOT BUILT LIKE THAT.
WE WILL BE
WHEN WE'RE BIG.
WELL, HOW ARE YOU
GONNA MANAGE THAT?
WE'LL PUSH IT OUT.
WELL, I THINK THAT'S
EASIER SAID THAN DONE.
WELL, YOU CAN HELP.
MIKE, CAN WE SET
THIS PROBLEM ASIDE,
SWEETIE,
UNTIL YOU ALL MEET SYBIL?
'CAUSE WHAT SHE
NEEDS RIGHT NOW
IS TO KNOW ALL OF YOU
AND TO UNDERSTAND
HOW MUCH YOU'VE
ALL BEEN HELPING HER
AND HOW MUCH MORE
YOU CAN HELP HER
WHEN YOU ALL
JOIN HANDS TOGETHER.
(as Mike)
ALL FOR ONE AND ONE FOR ALL?
(Dr. Wilbur)
MMM-HMM.
WILL YOU STILL LIKE US THEN?
I'LL LOVE YOU.
WOULD YOU PUT
YOUR ARM AROUND US?
(Dr. Wilbur)
SYBIL, ARE YOU READY?
(Sybil)
YOU'RE THE DOCTOR.
(Dr. Wilbur)
WHO WOULD YOU
LIKE TO MEET FIRST?
WELL, I'VE ALWAYS
WANTED TO MEET VICKY.
(Dr. Wilbur)
ALL RIGHT.
VICKY.
VICKY COME ON OUT, SWEETIE.
**[voice humming]
BONJOUR.
(Dr. Wilbur)
VICKY, HERE'S SYBIL.
(Sybil)
LOOK, SHE HAS HER ARMS
OUT TO ME.
SHE'S SMILING.
LOOK HOW PRETTY HER HAIR IS.
DOES SHE WANNA BE FRIENDS?
VICKY, DO YOU WANNA
BE FRIENDS WITH SYBIL?
(as Vicky)
UH-HUH.
YOU THINK YOU'D
LIKE TO HAVE VICKY
WITH YOU ALWAYS?
YES.
I'VE ALWAYS NEEDED
SOMEONE LIKE VICKY.
YOU WENT ON AHEAD FOR ME.
WHENEVER I DIDN'T HAVE
THE STRENGTH TO DO SOMETHING,
YOU'D GO ON AND DO IT FOR ME.
I LIKE HER, DR. WILBUR.
YES, SHE'S A PART OF YOU
THAT'S VERY STEADY
AND VERY LIKEABLE.
WILL SHE BE WITH ME ALWAYS?
MMM-HMM.
VICKY WILL BE
WITH YOU ALWAYS.
YOU AND SHE
HAVE JOINED HANDS.
LET'S DON'T SAY
ANYTHING TO SPOIL IT.
IT'S SO NICE LIKE THIS.
IT'S SO NICE TO
HAVE A FRIEND.
AND SHE CAME RIGHT TO ME.
THE OTHERS WILL COME TO YOU.
(Dr. Wilbur)
NOW THE OTHERS
ARE RIGHT HERE,
AND THEY WILL
COME TO YOU ALSO.
HERE'S MARCIA, DEAR.
COME, GIRLS.
CLARA, HELEN, MARGIE.
AND THIS IS VANESSA,
WHO KEPT YOUR MUSIC FOR YOU.
SID, MIKE, HOP OUT, BOYS.
NANCY.
NANCY KEPT WAITING
FOR THE END OF THE WORLD
AND SHE'S THE ONE
WHO DREADED ARMAGEDDON.
AND MARY,
THE MEMORY OF GRANDMA.
SYBIL ANN.
SYBIL ANN,
DON'T BE SHY, SWEETIE.
HERE'S SYBIL.
COME ON, PEGGY.
I'M AFRAID TO
MEET PEGGY RIGHT NOW.
(Dr. Wilbur)
SHE'S AFRAID OF SCARING YOU.
SHE DIDN'T MEAN TO
BREAK THE WINDOWS.
SHE GOT IT CONFUSED
WITH SOMETHING ELSE,
WITH GETTING OUT
OF THE KITCHEN.
HOW DO YOU KNOW THAT?
SHE'S SPEAKING
TO YOU, ISN'T SHE?
WHERE IS SHE? IS SHE THERE?
(Dr. Wilbur)
OF COURSE.
PEGGY.
PEGGY.
OH, COME NOW, PEGGY.
DON'T BE SILLY.
I DON'T THINK I'M READY YET.
DR. WILBUR?
IT'S ALL RIGHT, SWEETIE.
I'M STILL HERE.
IS THAT ALL SHE IS?
JUST THAT LITTLE THING?
I'M NOT A LITTLE THING.
I'M A PERSON.
(Sybil)
I'M SORRY.
YOU DON'T BE AFRAID OF ME,
AND I WONT' BE AFRAID OF YOU.
WHAT HAVE YOU GOT
BEHIND YOUR BACK, PEGGY?
HAVEN'T YOU GOT ANY HANDS?
I GOT FISTS.
OH, MY.
LOOK AT THOSE KNUCKLES.
THEY'RE SO WHITE.
[crying]
IT'S ALL RIGHT, SWEETIE.
IT'S ALL RIGHT, SWEETIE.
[sobbing]
(Sybil)
IT'S ALL RIGHT.
IT'S ALL RIGHT.
(Dr. Wilbur)
IN ACCEPTING
PEGGY INTO HER ARMS,
SYBIL BEGAN
THE DEEPEST HEALING
OF HER SELVES.
IN EMBRACING PEGGY,
SHE EMBRACED HERSELF.
IN CALMING HER,
SHE WAS CALMING
HER OWN HEART.
AS I WATCHED HER
BECOMING MOTHER TO HERSELF
I FELT MY OWN LONG
MOTHERHOOD ENDING.
I RELEASED WHAT
I HAD HELD SO LONG.
I CELEBRATED THE BEGINNING
OF HER EMANCIPATION.
I LET GO.
OUR WORK TOGETHER
LASTED 11 YEARS.
TODAY SYBIL LIVES PEACEFULLY
IN A SMALL COLLEGE TOWN
WHERE SHE'S
A PROFESSOR OF ART.
THERE'S NOT
ENOUGH TIME IN THE DAY
FOR HER TO DO
EVERYTHING SHE WANTS
BUT THAT TIME,
IN EVERY SENSE, IS HER OWN.
SHE TELLS ME SHE'S HAPPY.
I KNOW SHE'S FREE.
* COLORS OF DREAMS *
* RIBBONS OF RHYME *
* COME OUT, COME OUT *
* WHEREVER YOU ARE *
* WILLOWS AND WINDS *
* THAT WHISPER WORDS *
* OF A SPRING SO NEAR *
* A SUMMER SO FAR *
* MIRROR, MIRROR *
* IN MY MIND *
* THERE'S SO MUCH TO SEE *
* WALKING THROUGH *
* YOUR SILVER ROOMS *
* I REMEMBER *
* ME **