A Different World (1987–1993): Season 1, Episode 16 - The Show Must Go On - full transcript
Denise and Whitley both appear in a play, and each believes the leading man is interested in her.
£ I KNOW MY PARENTS LOVE ME £
£ STAND BEHIND ME
COME WHAT MAY £
£ I KNOW NOW THAT I'M READY £
£ BECAUSE I FINALLY
HEARD THEM SAY £
£ IT'S A DIFFERENT WORLD £
£ FROM WHERE YOU COME FROM £
£ HERE'S A CHANCE TO MAKE IT £
£ IF WE FOCUS ON OUR GOAL £
£ IF YOU DISH IT,
WE CAN TAKE IT £
£ JUST REMEMBER
YOU'VE BEEN TOLD £
£ IT'S A DIFFERENT WORLD £
£ FROM WHERE YOU COME FROM £
£ IT'S A DIFFERENT WORLD £
£ FROM WHERE YOU COME FROM £
"STAY WITH ME.
I'LL TAKE CARE OF YOU."
"WE DON'T NEED HIM.
WE CAN TAKE CARE OF US."
"CAN WE?
WE ARE AFRAID."
WE ARE ALSO CONFUSED.
WHO ARE WE?
YOU'RE EVE.
I THOUGHT I WAS EVE.
BUT YOU'RE EVE, TOO.
YOU, EVE/GIRL
AND YOU, EVE/WOMAN--
YOU REPRESENT THE INHERENT
DIALECTICAL CONFUSION
IN THE FEMALE PSYCHE.
OOH, THAT'S CLEAR AS MUD.
YOU'RE TWO SIDES
OF THE SAME PERSONALITY.
WHO AM I?
YOU'RE ADAM.
YOU REPRESENT
THE MALE PRINCIPLE.
AH.
I CAN PLAY THAT.
RON, WE'LL LET YOU KNOW.
GIRLS.
BRILLIANT.
PRETTY GOOD AUDITION.
NOT AS GOOD AS YOU.
TRUE, BUT YOU DIDN'T
EMBARRASS YOURSELF.
OKAY, WE HAVE
DENISE AND WHITLEY FOR EVE.
AND EVE.
WE BETTER MAKE
A DECISION ON ADAM.
NOT UNTIL
YOU'VE SEEN RICK.
HE'S REALLY INCREDIBLE.
AND MINE IS THE ONLY PLAY
IN THE SPRING FESTIVAL
HE'LL AUDITION FOR.
IF HE DOESN'T
GET HERE SOON
HE'LL BE TRYING OUT
FOR THE FALL FESTIVAL.
JUST GIVE HIM
FIVE MORE MINUTES.
HE'S THE ONE I DREAMED OF
WHEN I WROTE THE PART.
EVEN SIGHT UNSEEN, HE'S
BETTER THAN THE ALTERNATIVE.
IN THE MEANTIME,
JUST A THOUGHT...
DENISE AND WHITLEY,
WHY DON'T YOU SWITCH ROLES?
BRILLIANT.
BRILLIANT.
AND PERHAPS OUR STAGE MANAGER
CAN HELP US OUT AND READ ADAM.
UM, LETTIE, I WOULD BE HAPPY
TO HELP YOU READ.
I'LL DO IT AGAIN.
THANK YOU, DWAYNE
BUT FOUR READINGS WERE ENOUGH
TO ASSESS YOUR "TALENT."
"WE DON'T NEED..."
MAGGIE, I'D LOVE
TO BE IN YOUR PLAY.
STOP.
AREN'T YOU..?
YES, YOU ARE.
RICK EVANS.
YOU REMEMBER
HIS "OEDIPUS."
OH, YEAH, I SAW THAT.
THAT WAS EXCELLENT.
AND I WILL NEVER FORGET
YOUR "KING LEAR."
IN THE STORM SCENE,
I SHIVERED WITH YOU.
I REALLY BELIEVED
YOU WERE COLD.
THANK YOU.
THANK YOU VERY MUCH.
I'D BE COLD, TOO,
IF I WERE WEARING TIGHTS.
MAGGIE, THE PART OF ADAM,
WHAT CAN I SAY?
IT'S AN ACTOR'S DREAM.
AND IT IS MY DREAM
TO CONTINUE THE AUDITIONS.
RICK, WE'LL BE READING
FROM THE TOP OF ACT SIX.
BY THE WAY
WE'RE REALLY GOING
TO HAVE TO TRIM THIS.
WHY?
IT'S FOUR HOURS LONG.
YEAH, BUT IT MOVES.
UH...
PAGE 195, AT THE TOP.
YOU'RE READING ADAM.
THE GUY'S NO GOOD.
"THOUGHTS ARE DANGEROUS THINGS,
MY SWEET EVE.
"THEY LEAD YOU INTO PLACES
THAT YOU SHOULD NOT GO.
I WILL THINK FOR YOU."
"OH, ADAM, YOU LIFT ALL
WORRY FROM OUR SHOULDERS
AND WE RISE LIKE A BIRD."
"BUT HE HAS
CLIPPED OUR WINGS
AND WE CAN FLY NO HIGHER
THAN HE ALLOWS."
I'D LIKE HIM
TO CLIP MY WINGS.
MILLICENT.
I CANNOT BELIEVE
THEY CHOSE LARRY LEOTARD
OVER US.
TOO MACHO.
THAT WAS THE PROBLEM.
TOO MACHO.
YOU'RE RIGHT.
I WAS.
NO, NOT YOU.
ME.
I SHOWED MY MASCULINITY,
AND THEY COULDN'T DEAL.
RICK CAN'T TOUCH YOU.
HE BETTER NOT TOUCH
DENISE, EITHER.
SO WHAT IF SHE'S
HIS LEADING LADY?
DENISE IS TOO DEEP TO FALL
FOR JUST MUSCLES AND GOOD LOOKS.
I'VE GOT TO GET INTO THIS PLAY.
MAGS, I KNOW WHAT
YOUR PLAY NEEDS:
A NARRATOR.
A WHAT?
A NARRATOR, LIKE IN
OUR TOWN--
SOMEONE TO HELP EXPLAIN
THE PLAY TO THE AUDIENCE.
AND TO THE ACTORS.
MY WORK SPEAKS
FOR ITSELF.
NO, WAIT.
RON, DWAYNE,
WHAT WE NEED
IS SOMEONE WHO CAN CONCEPTUALIZE
AND MOUNT THE ENTIRE PRODUCTION
SOMEONE WITHOUT WHOM
THERE WOULD BE NO PLAY.
WE'LL DO IT.
WHAT IS IT?
YOU BUILD THE SETS.
HERE'S $35.
I WANT RECEIPTS.
NO PROBLEM.
DOES THIS MEAN WE HAVE
TO READ THAT WHOLE PLAY?
MILLIE, THE MAN
IS SMITTEN.
RICK?
NO, THE MAN IN THE MOON.
DID HE TELL YOU?
NOT EXACTLY, BUT HE SHARED
A VERY PRIVATE MOMENT WITH ME.
HE DID AN ACTING EXERCISE
WHERE HE RELIVED LOSING
HIS TEDDY BEAR AS A TODDLER
AND HE ACTUALLY SOBBED.
( gasp )
WHAT DID YOU DO?
I RELIVED THE TIME
THAT I LOST THE ELECTRICITY
IN MY DOLL HOUSE
AND I CRIED AND CRIED.
OH, IT'S SO GOTHIC.
"ADAM, YOU ARE THE SUN,
AND IN YOUR GOLDEN ARMS
"I EVAPORATE AND RISE
LIKE A PHOENIX
INTO THE CLOUDS
OF YOUR LOVE."
RICK HELPED ME
WITH THE NUANCES.
MM, I'LL BET HE DID.
OOH.
LAST NIGHT HE DID
AN ACTING EXERCISE
WHERE HE RELIVED LOSING
HIS TEDDY BEAR WHEN HE WAS FIVE.
HE ACTUALLY CRIED.
THERE HE IS.
Jaleesa:
WAIT A MINUTE.
HERE.
YOU MAY NEED THIS.
"OH, ADAM, IT IS I, EVE, AND
I BRING YOU THE FRUITS OF..."
I FORGOT THE REST
OF MY SPEECH.
I LIKE WHAT
I HEAR SO FAR.
REALLY?
DENISE, I'VE GOT
TO TELL YOU SOMETHING.
I HAVEN'T BEEN PROUD
OF THE WORK I'VE DONE LATELY.
I MEAN, SURE,
THE AUDIENCE LOVED IT
BUT IT WASN'T
SATISFYING TO ME.
I WAS JUST GOING
THROUGH THE MOTIONS.
I WAS FORGETTING
WHY I WAS ON THAT STAGE
AND THEN I MET YOU,
AND I REMEMBERED.
YOU DID?
WELCOME TO
THE THEATER, DENISE.
HELLO, FELLOW THESPIANS.
EVE/WOMAN, JOIN US.
YEAH, WHITLEY,
SIT DOWN.
WE WERE JUST TALKING
ABOUT ACTING.
I'M SURE YOU HAD
A LOT OF QUESTIONS.
THIS IS DENISE'S FIRST PLAY.
HE KNOWS, WHITLEY.
WHITLEY, YOU STUDIED
DANCE, DIDN'T YOU?
BALLET, TAP AND JAZZ
SINCE I WAS THIS HIGH.
OH, IT SHOWS.
WELL, THANK YOU.
YOU HAVEN'T HAD ANY
DANCE TRAINING BEFORE
HAVE YOU, DENISE?
SINCE I WAS THIS HIGH.
RICK, I AM SO CONFUSED
ABOUT THIS LINE.
SHOULD I MAKE IT
"I'VE CHANGED, AND YOU HAVEN'T"
OR "I'VE CHANGED,
AND YOU HAVEN'T"?
HELP ME.
WHITLEY, YOU'RE
SUCH A PERFECTIONIST.
YET UNDERNEATH
YOUR COMPOSURE
I SENSE A HUNGER
FOR REASSURANCE.
RICK, I FEEL AS THOUGH YOU'VE
OPENED THE DRAPES ON MY SOUL.
WHITLEY, I'VE GOT
TO TELL YOU SOMETHING.
THE THEATER HAD
GROWN STALE FOR ME
UNTIL I DISCOVERED
THE JOY OF WORKING
WITH A PARTNER
WHO PUSHES YOU
TO THE LIMIT.
IT'S LIKE PLAYING
TENNIS WITH AN ACE.
WELL, I PLAY TENNIS, TOO.
I'D LOVE TO PLAY
WITH YOU SOME TIME.
CLAY OR GRASS?
EXCUSE ME.
I'M SORRY
FOR THE DELAY.
RICK, LET'S CONTINUE WITH
YOUR LINE, "YOU'RE DIFFERENT."
THAT'S REVISED PAGE 109.
HOW MANY PAGES
HAVE WE CUT?
FORTY, BUT I SEE WHOLE CHUNKS
THAT CAN GO IN ACT TWO.
NO, WHITLEY, YOU'RE NOT
THAT CLOSE TO RICK JUST YET.
WHEN WE DID THIS YESTERDAY,
I WAS RIGHT HERE.
FINE.
RICK, WOULD YOU STEP BACK
ABOUT FIVE PACES, PLEASE?
GOOD.
WHENEVER YOU'RE READY.
"YOU'RE DIFFERENT.
I HARDLY RECOGNIZE YOU."
THAT'S BECAUSE I'M STANDING
SO FAR AWAY.
WHITLEY, PLEASE
STAY ON SCRIPT.
"THAT'S BECAUSE I'VE CHANGED,
AND YOU HAVEN'T."
"LOOK INTO MY EYES...
AND TELL ME
YOU DON'T WANT ME."
"I DON'T WANT YOU.
"AND WHAT'S MORE THAN THAT,
I DON'T NEED YOU.
"YOU THOUGHT OF ME AS
A PLAYTHING, NOT AS A PARTNER.
NOW THINK OF ME AS GONE."
UM, WHITLEY, YOU'RE
SUPPOSED TO LEAVE NOW.
SO SOON?
DO YOU THINK
SHE'S READY?
IT'S PAGE 109.
SHE'S READY.
"OH, ADAM, I WANT
TO STAY YOUR EVE/GIRL
BUT I FEAR EVE/WOMAN
IS TRYING TO TEAR US APART."
EXCUSE ME.
THAT WAS LOVELY, DENISE.
I HATE TO BE A PROBLEM
BUT I REALLY THINK THAT
RICK AND I WOULD BENEFIT
FROM MORE
REHEARSAL TIME.
WHITLEY, I WOULDN'T CHANGE
A THING ABOUT YOUR PERFORMANCE.
I NEED TO REHEARSE.
NONSENSE, DENISE.
I DON'T THINK YOU'LL GET
ANY BETTER THAN YOU ARE NOW.
LADIES, I THINK BOTH OF YOUR
PERFORMANCES ARE RIVETING.
NOW IF WE CAN JUST
GET BACK TO THE PLAY.
MILLIE, MY TOWEL.
LET'S TAKE IT FROM
THE PHOENIX SPEECH.
"EVE/GIRL, MY BUDDING FLOWER,
YOUR FRAGRANCE MAKES ME DIZZY."
"OH, ADAM, YOU ARE THE SUN,
AND IN YOUR GOLDEN ARMS
"I EVAPORATE AND RISE
LIKE A PHOENIX
INTO THE CLOUDS
OF YOUR LOVE."
HOLD IT.
HOLD EVERYTHING.
WE ARE HERE WITH
THE SET DESIGN.
IT'S DEEP, AND IT'S CHEAP.
YOU GUYS
WE'RE IN THE MIDDLE
OF AN INTIMATE SCENE.
OH, I'M SO SORRY.
I FEEL TERRIBLE.
ALL RIGHT, LET'S SEE
WHAT YOU GUYS GOT.
VOILA.
OKAY, NOW THIS PLAY
TAKES PLACE AT HOME.
WE FEEL THIS IS
THE UNIVERSAL SYMBOL OF HOME.
IT LOOKS LIKE A COUCH.
IT IS A COUCH.
I LIKE IT.
IT'S AVANT GARDE.
IT'S MINIMALIST.
IT'S BACK TO
THE DRAWING BOARD.
DAG, THE THEATER
CAN BE CRUEL.
WHAT DO THEY EXPECT
FOR $35, THE TAJ MAHAL?
I JUST LOVE WHAT THE THREE
OF YOU ARE DOING WITH MY WORDS.
IT'S RICK.
ACTING WITH HIM IS LIKE MAGIC.
I BET WHITLEY'S
FEELING THE MAGIC, TOO.
YOU NOTICE HOW SHE'S
THROWING HERSELF AT HIM?
WHITLEY IS THROWING
HERSELF AT RICK?
YEAH, WHITLEY.
WHAT DO YOU MEAN BY THAT?
WHAT DO I MEAN?
"OH, ADAM, YOU ARE THE SUN
"AND IN YOUR BIG, STRONG,
POWERFUL ARMS
I MELT LIKE A RAINDROP."
MAGGIE WROTE IT.
I'M JUST SAYING IT.
AND WITH SUCH FEELING.
YOU KNOW, IT'S LIKE
WHEN YOU PLAY TENNIS
WITH SOMEONE WHO
RETURNS EVERY SERVE.
YOU'VE WORKED UP
A FINE DEW OF PERSPIRATION
AND YOU KNOW THAT
WHEN THE MATCH IS OVER
YOU'RE GOING INTO THE CLUBHOUSE
FOR SOMETHING TALL AND COOL.
( sigh )
BUT HE'S AN ACTOR.
ARE YOU SURE
HE REALLY LIKES YOU?
MILLIE, A WOMAN
KNOWS THESE THINGS.
OF COURSE, SOME DON'T.
HAVE YOU SEEN THE WAY
DENISE HUXTABLE
HAS BEEN THROWING
HERSELF AT HIM?
SHAMELESS.
"ACTOR": A FIVE-LETTER WORD
FOR "FOOL."
YOU TAKE AWAY THE BOY'S SCRIPT,
HE'S GOT NOTHING TO SAY.
HE'S GOT NO RAP.
NO RAP.
HEY, DWAYNE, RON.
RICK!
WE WERE JUST
TALKING ABOUT YOU.
GOOD THINGS.
I JUST WANTED
TO TELL YOU GUYS HOW MUCH
I LIKED THE COUCH CONCEPT.
BRILLIANT.
YOU LIKED THAT?
COMING FROM YOU, RICK,
THAT MEANS SO MUCH.
HEY, THE PLAY GOES UP
IN THREE DAYS.
WHERE'S MY SET?
MAGS, IT'S
ALL UP HERE.
HOW ABOUT GETTING
THIS UP ON THE STAGE?
NEXT PLAY,
WE GO UNION.
I HEAR YOU, BROTHER.
WHAT?
I HAVE TO GO CUT
ANOTHER 40 PAGES.
UM, RICK, I
WAS WONDERING
IF WE COULD WORK ON
THE PHOENIX SPEECH
AFTER REHEARSAL.
YOU MEAN THE EMBRACE?
YEAH.
DENISE
IF IT WILL HELP YOUR
PERFORMANCE, I'M THERE FOR YOU.
OH, WELL, IT WOULD HELP.
HI, RICK. DENISE.
WHITLEY.
I WANTED TO TELL YOU
THAT TODAY WHEN YOU SAID
"I'VE CHANGED,
AND YOU HAVEN'T"
IT WASN'T ACTING.
IT WAS REAL.
WASN'T IT, DENISE?
DEFINITELY WASN'T ACTING.
AHEM.
AHEM!
BEHOLD...
THE SET.
THE SET!
I LOVE IT!
WHAT IS IT?
FIRST, THE MOON
REPRESENTING THE CHANGING
FACES OF A WOMAN.
THREE DOLLARS.
NEXT, A BARREN TREE
REPRESENTING THE FRUITLESSNESS
OF EVE'S RELATIONSHIP WITH ADAM.
$7.50.
AND LASTLY,
A CUBE.
AND WHAT DOES
THIS REPRESENT?
A PLACE
TO SIT DOWN.
$11.75.
WHERE'S MY CHANGE?
LABOR.
WELL, AS PROMISED,
IT IS CHEAP AND DEEP.
I LOVE IT.
IT'S LIKE YOU WERE
INSIDE MY MIND.
UH-OH.
RON, DWAYNE, THANK YOU.
DENISE, WHITLEY, LET'S TAKE IT
FROM REVISED PAGE 75.
AND MAGGIE...
NO, I CAN'T
CUT ANYMORE.
CALM DOWN, DEAR.
I WAS GOING
TO COMPLIMENT YOU.
OH.
WELL DONE.
THANK YOU.
CAN SOMEONE
HOLD THE SCRIPT
IN CASE SOMEONE
FORGETS HER LINES?
GREGORY?
YES, MA'AM.
I'M HERE.
I'M READY.
I'M HERE.
OH, WE'RE IN GOOD HANDS.
OKAY, LET'S GO.
COME WITH ME
TO A BRAVE NEW WORLD.
I CAN'T, I'M AFRAID.
EVE/GIRL, EVE/WOMAN--
NOW THIS IS THE POINT
WHERE YOU ARE SUPPOSED
TO JOIN TOGETHER.
YOU LOOK MORE LIKE TWO PEOPLE
STUCK IN AN ELEVATOR.
COME ON!
ADAM IS NO LONGER THE BEACON
THAT GUIDES US THROUGH THE DARK.
ARE WE NOT LOST
AND TREMBLING?
"SHIVERING."
IT'S "SHIVERING"!
RIGHT. THAT'S RIGHT.
SHIVERING, OKAY?
OH, THAT'S
A PROFESSIONAL ATTITUDE.
I WAS GETTING IN TOUCH
WITH THE EMOTION!
I'VE SEEN BETTER ACTING
IN A PUPPET SHOW.
YOU SHOULD KNOW
A LOT ABOUT PUPPETS.
YOU ACT LIKE A STICK!
( whistle )
RELAX!
ADAM MAY HAVE BEEN
THE ONLY MAN IN EDEN
BUT RICK IS NOT
THE ONLY MAN AT HILLMAN.
RICK?
I DON'T KNOW WHY YOU'RE
DRAGGING RICK INTO THIS.
NEITHER DO I.
EXCUSE ME.
SOMEBODY JUST DELIVERED THESE.
Whitley:
WHAT AN ANGEL!
BRING 'EM HERE.
HOW DO YOU KNOW
THOSE ARE FOR YOU?
WHO ELSE WOULD
THEY BE FOR?
I'M IN THIS PLAY, TOO.
THEY'RE FROM RICK.
ACTUALLY,
THEY'RE FOR RICK.
"TO MY DARLING RICK.
"BREAK A LEG.
ALL MY LOVE... SARAH."
"SARAH"?
"SARAH"?
YES.
RICK TELLS ME
SHE'S TERRIFIC.
GOES TO GEORGETOWN.
GREGORY, WILL YOU PUT
THESE FLOWERS BACKSTAGE?
IT'S A LOVELY
ARRANGEMENT.
IF THIS IS
THE GARDEN OF EDEN
I HAVE CERTAINLY
FOUND THE SNAKE.
MILLIE.
ACTORS.
THEY'RE LIKE CHILDREN.
HE HAS A GIRLFRIEND.
NO ONE TOLD ME.
YOU DIDN'T ASK.
YOU SAW HOW HE ACTED WITH ME.
EXACTLY.
WHAT I SAW WAS ACTING.
HE WAS ACTING WITH WHITLEY,
NOT WITH ME.
THAT'S WHAT MAKES HIM GOOD.
HE BELIEVES WHAT HE'S SAYING.
HE SAID MY AIR OF AUTHORITY
WAS VERY ATTRACTIVE.
HE SAID I HAD GREAT DEPTH
AS A DIRECTOR.
HE SAID
HE LOVED MY PLAY.
HE'LL OBVIOUSLY
SAY ANYTHING.
WHAT A SLIME BUCKET!
WHAT DID HE DO?
"WHAT DID HE DO"?!
HE LED ME ON.
HOW?
"HOW"?
WELL...
HE...
THAT SOUNDS TERRIBLE.
YOU DON'T UNDERSTAND, OKAY?
HE TOLD ME I WAS SPECIAL.
YOU ARE SPECIAL.
AND...
THAT WE HAD A REAL CONNECTION.
THE MAN IS
A SLIME BUCKET.
I'VE KNOWN A FEW
SLIME BUCKETS IN MY TIME.
BELIEVE ME, RICK DOES NOT
FIT INTO THAT CATEGORY.
OH... PFFT!
YOU SAW WHAT HE WAS DOING...
I SAW AN ATTRACTIVE YOUNG MAN
FLIRTING WITH TWO YOUNG WOMEN
WHO WERE DOING A LOT
OF FLIRTING OF THEIR OWN.
OKAY, SO I WAS
FLIRTING A LITTLE.
I'VE NEVER SEEN YOU
THROW YOURSELF INTO ANYTHING
WITH SUCH ZEAL!
NOW ALL YOU HAVE TO DO
IS TO HOLD ONTO
SOME OF THAT ENERGY
FOR TONIGHT'S PERFORMANCE.
YES, THIS IS
A WONDERFUL OPPORTUNITY
FOR YOU TO GROW AS AN ACTRESS.
I'M SO EXCITED FOR YOU.
BREAK A LEG.
I'M GOING TO BREAK HIS.
EVE/GIRL,
MY BUDDING FLOWER.
YOUR FRAGRANCE
MAKES ME DIZZY.
OH, ADAM, YOU ARE THE SUN.
IN YOUR GOLDEN ARMS
I EVAPORATE
AND RISE LIKE A PHOENIX
INTO THE CLOUDS OF YOUR LOVE.
EVE/GIRL, KISS ME.
EVE/GIRL, I LOVE YOUR SHYNESS.
YOU'RE DIFFERENT.
I HARDLY
RECOGNIZE YOU.
THAT'S BECAUSE
I'VE CHANGED
AND YOU HAVEN'T.
LOOK INTO MY EYES
AND TELL ME YOU DON'T WANT ME.
I DON'T WANT YOU,
AND YOU CAN BELIEVE THAT.
EXCUSE ME?
YOU THOUGHT OF ME
AS A PLAYTHING.
NOW, THINK OF ME AS GONE!
BUT BEFORE I GO...
I'LL TELL YOU
WHAT I THINK OF YOU
YOU HALF-BAKED HAMLET!
YOU MAY RISE LIKE A PHOENIX
FOR YOUR FRIEND SARAH
BUT YOU'RE A TURKEY TO ME!
OH, MY GOD!
EVE/GIRL, AM I
GLAD TO SEE YOU.
I'M NOT HERE FOR YOU.
YOU THOUGHT YOU CRIED
WHEN YOU LOST YOUR TEDDY BEAR?
YOU DON'T KNOW
WHAT REAL TEARS ARE!
WHAT ARE THEY DOING
TO MY PLAY?!
EVE/WOMAN,
COME WITH ME!
YES, GO WITH EVE/GIRL, NOW!
EVE/WOMAN, I'M READY
EVEN THOUGH WE MAY BE
LOST AND SHIVERING.
THAT'S RIGHT,
"SHIVERING"!
EVE/WOMAN,
WE WERE ANGRY
BUT WE ARE
NO LONGER ANGRY.
HE'S ASHES TO US...
AND SO'S HIS
TEDDY BEAR.
HE TOLD YOU ABOUT
THE TEDDY BEAR?
WE DON'T NEED
HIS TOYS.
COME WITH ME.
WE'LL BE THERE SOON.
THE SOONER, THE BETTER.
GREGORY,
HIT THE CURTAIN!
IS IT OVER?
TRUST ME,
IT'S OVER.
AUTHOR! AUTHOR!
AUTHOR! AUTHOR! AUTHOR!
AUTHOR! AUTHOR! AUTHOR!
Captioning made possible by
WRIGLEY'S SPEARMINT CHEWING GUM
and NBC.
Captioned by
The Caption Center
WGBH Educational Foundation
£ STAND BEHIND ME
COME WHAT MAY £
£ I KNOW NOW THAT I'M READY £
£ BECAUSE I FINALLY
HEARD THEM SAY £
£ IT'S A DIFFERENT WORLD £
£ FROM WHERE YOU COME FROM £
£ HERE'S A CHANCE TO MAKE IT £
£ IF WE FOCUS ON OUR GOAL £
£ IF YOU DISH IT,
WE CAN TAKE IT £
£ JUST REMEMBER
YOU'VE BEEN TOLD £
£ IT'S A DIFFERENT WORLD £
£ FROM WHERE YOU COME FROM £
£ IT'S A DIFFERENT WORLD £
£ FROM WHERE YOU COME FROM £
"STAY WITH ME.
I'LL TAKE CARE OF YOU."
"WE DON'T NEED HIM.
WE CAN TAKE CARE OF US."
"CAN WE?
WE ARE AFRAID."
WE ARE ALSO CONFUSED.
WHO ARE WE?
YOU'RE EVE.
I THOUGHT I WAS EVE.
BUT YOU'RE EVE, TOO.
YOU, EVE/GIRL
AND YOU, EVE/WOMAN--
YOU REPRESENT THE INHERENT
DIALECTICAL CONFUSION
IN THE FEMALE PSYCHE.
OOH, THAT'S CLEAR AS MUD.
YOU'RE TWO SIDES
OF THE SAME PERSONALITY.
WHO AM I?
YOU'RE ADAM.
YOU REPRESENT
THE MALE PRINCIPLE.
AH.
I CAN PLAY THAT.
RON, WE'LL LET YOU KNOW.
GIRLS.
BRILLIANT.
PRETTY GOOD AUDITION.
NOT AS GOOD AS YOU.
TRUE, BUT YOU DIDN'T
EMBARRASS YOURSELF.
OKAY, WE HAVE
DENISE AND WHITLEY FOR EVE.
AND EVE.
WE BETTER MAKE
A DECISION ON ADAM.
NOT UNTIL
YOU'VE SEEN RICK.
HE'S REALLY INCREDIBLE.
AND MINE IS THE ONLY PLAY
IN THE SPRING FESTIVAL
HE'LL AUDITION FOR.
IF HE DOESN'T
GET HERE SOON
HE'LL BE TRYING OUT
FOR THE FALL FESTIVAL.
JUST GIVE HIM
FIVE MORE MINUTES.
HE'S THE ONE I DREAMED OF
WHEN I WROTE THE PART.
EVEN SIGHT UNSEEN, HE'S
BETTER THAN THE ALTERNATIVE.
IN THE MEANTIME,
JUST A THOUGHT...
DENISE AND WHITLEY,
WHY DON'T YOU SWITCH ROLES?
BRILLIANT.
BRILLIANT.
AND PERHAPS OUR STAGE MANAGER
CAN HELP US OUT AND READ ADAM.
UM, LETTIE, I WOULD BE HAPPY
TO HELP YOU READ.
I'LL DO IT AGAIN.
THANK YOU, DWAYNE
BUT FOUR READINGS WERE ENOUGH
TO ASSESS YOUR "TALENT."
"WE DON'T NEED..."
MAGGIE, I'D LOVE
TO BE IN YOUR PLAY.
STOP.
AREN'T YOU..?
YES, YOU ARE.
RICK EVANS.
YOU REMEMBER
HIS "OEDIPUS."
OH, YEAH, I SAW THAT.
THAT WAS EXCELLENT.
AND I WILL NEVER FORGET
YOUR "KING LEAR."
IN THE STORM SCENE,
I SHIVERED WITH YOU.
I REALLY BELIEVED
YOU WERE COLD.
THANK YOU.
THANK YOU VERY MUCH.
I'D BE COLD, TOO,
IF I WERE WEARING TIGHTS.
MAGGIE, THE PART OF ADAM,
WHAT CAN I SAY?
IT'S AN ACTOR'S DREAM.
AND IT IS MY DREAM
TO CONTINUE THE AUDITIONS.
RICK, WE'LL BE READING
FROM THE TOP OF ACT SIX.
BY THE WAY
WE'RE REALLY GOING
TO HAVE TO TRIM THIS.
WHY?
IT'S FOUR HOURS LONG.
YEAH, BUT IT MOVES.
UH...
PAGE 195, AT THE TOP.
YOU'RE READING ADAM.
THE GUY'S NO GOOD.
"THOUGHTS ARE DANGEROUS THINGS,
MY SWEET EVE.
"THEY LEAD YOU INTO PLACES
THAT YOU SHOULD NOT GO.
I WILL THINK FOR YOU."
"OH, ADAM, YOU LIFT ALL
WORRY FROM OUR SHOULDERS
AND WE RISE LIKE A BIRD."
"BUT HE HAS
CLIPPED OUR WINGS
AND WE CAN FLY NO HIGHER
THAN HE ALLOWS."
I'D LIKE HIM
TO CLIP MY WINGS.
MILLICENT.
I CANNOT BELIEVE
THEY CHOSE LARRY LEOTARD
OVER US.
TOO MACHO.
THAT WAS THE PROBLEM.
TOO MACHO.
YOU'RE RIGHT.
I WAS.
NO, NOT YOU.
ME.
I SHOWED MY MASCULINITY,
AND THEY COULDN'T DEAL.
RICK CAN'T TOUCH YOU.
HE BETTER NOT TOUCH
DENISE, EITHER.
SO WHAT IF SHE'S
HIS LEADING LADY?
DENISE IS TOO DEEP TO FALL
FOR JUST MUSCLES AND GOOD LOOKS.
I'VE GOT TO GET INTO THIS PLAY.
MAGS, I KNOW WHAT
YOUR PLAY NEEDS:
A NARRATOR.
A WHAT?
A NARRATOR, LIKE IN
OUR TOWN--
SOMEONE TO HELP EXPLAIN
THE PLAY TO THE AUDIENCE.
AND TO THE ACTORS.
MY WORK SPEAKS
FOR ITSELF.
NO, WAIT.
RON, DWAYNE,
WHAT WE NEED
IS SOMEONE WHO CAN CONCEPTUALIZE
AND MOUNT THE ENTIRE PRODUCTION
SOMEONE WITHOUT WHOM
THERE WOULD BE NO PLAY.
WE'LL DO IT.
WHAT IS IT?
YOU BUILD THE SETS.
HERE'S $35.
I WANT RECEIPTS.
NO PROBLEM.
DOES THIS MEAN WE HAVE
TO READ THAT WHOLE PLAY?
MILLIE, THE MAN
IS SMITTEN.
RICK?
NO, THE MAN IN THE MOON.
DID HE TELL YOU?
NOT EXACTLY, BUT HE SHARED
A VERY PRIVATE MOMENT WITH ME.
HE DID AN ACTING EXERCISE
WHERE HE RELIVED LOSING
HIS TEDDY BEAR AS A TODDLER
AND HE ACTUALLY SOBBED.
( gasp )
WHAT DID YOU DO?
I RELIVED THE TIME
THAT I LOST THE ELECTRICITY
IN MY DOLL HOUSE
AND I CRIED AND CRIED.
OH, IT'S SO GOTHIC.
"ADAM, YOU ARE THE SUN,
AND IN YOUR GOLDEN ARMS
"I EVAPORATE AND RISE
LIKE A PHOENIX
INTO THE CLOUDS
OF YOUR LOVE."
RICK HELPED ME
WITH THE NUANCES.
MM, I'LL BET HE DID.
OOH.
LAST NIGHT HE DID
AN ACTING EXERCISE
WHERE HE RELIVED LOSING
HIS TEDDY BEAR WHEN HE WAS FIVE.
HE ACTUALLY CRIED.
THERE HE IS.
Jaleesa:
WAIT A MINUTE.
HERE.
YOU MAY NEED THIS.
"OH, ADAM, IT IS I, EVE, AND
I BRING YOU THE FRUITS OF..."
I FORGOT THE REST
OF MY SPEECH.
I LIKE WHAT
I HEAR SO FAR.
REALLY?
DENISE, I'VE GOT
TO TELL YOU SOMETHING.
I HAVEN'T BEEN PROUD
OF THE WORK I'VE DONE LATELY.
I MEAN, SURE,
THE AUDIENCE LOVED IT
BUT IT WASN'T
SATISFYING TO ME.
I WAS JUST GOING
THROUGH THE MOTIONS.
I WAS FORGETTING
WHY I WAS ON THAT STAGE
AND THEN I MET YOU,
AND I REMEMBERED.
YOU DID?
WELCOME TO
THE THEATER, DENISE.
HELLO, FELLOW THESPIANS.
EVE/WOMAN, JOIN US.
YEAH, WHITLEY,
SIT DOWN.
WE WERE JUST TALKING
ABOUT ACTING.
I'M SURE YOU HAD
A LOT OF QUESTIONS.
THIS IS DENISE'S FIRST PLAY.
HE KNOWS, WHITLEY.
WHITLEY, YOU STUDIED
DANCE, DIDN'T YOU?
BALLET, TAP AND JAZZ
SINCE I WAS THIS HIGH.
OH, IT SHOWS.
WELL, THANK YOU.
YOU HAVEN'T HAD ANY
DANCE TRAINING BEFORE
HAVE YOU, DENISE?
SINCE I WAS THIS HIGH.
RICK, I AM SO CONFUSED
ABOUT THIS LINE.
SHOULD I MAKE IT
"I'VE CHANGED, AND YOU HAVEN'T"
OR "I'VE CHANGED,
AND YOU HAVEN'T"?
HELP ME.
WHITLEY, YOU'RE
SUCH A PERFECTIONIST.
YET UNDERNEATH
YOUR COMPOSURE
I SENSE A HUNGER
FOR REASSURANCE.
RICK, I FEEL AS THOUGH YOU'VE
OPENED THE DRAPES ON MY SOUL.
WHITLEY, I'VE GOT
TO TELL YOU SOMETHING.
THE THEATER HAD
GROWN STALE FOR ME
UNTIL I DISCOVERED
THE JOY OF WORKING
WITH A PARTNER
WHO PUSHES YOU
TO THE LIMIT.
IT'S LIKE PLAYING
TENNIS WITH AN ACE.
WELL, I PLAY TENNIS, TOO.
I'D LOVE TO PLAY
WITH YOU SOME TIME.
CLAY OR GRASS?
EXCUSE ME.
I'M SORRY
FOR THE DELAY.
RICK, LET'S CONTINUE WITH
YOUR LINE, "YOU'RE DIFFERENT."
THAT'S REVISED PAGE 109.
HOW MANY PAGES
HAVE WE CUT?
FORTY, BUT I SEE WHOLE CHUNKS
THAT CAN GO IN ACT TWO.
NO, WHITLEY, YOU'RE NOT
THAT CLOSE TO RICK JUST YET.
WHEN WE DID THIS YESTERDAY,
I WAS RIGHT HERE.
FINE.
RICK, WOULD YOU STEP BACK
ABOUT FIVE PACES, PLEASE?
GOOD.
WHENEVER YOU'RE READY.
"YOU'RE DIFFERENT.
I HARDLY RECOGNIZE YOU."
THAT'S BECAUSE I'M STANDING
SO FAR AWAY.
WHITLEY, PLEASE
STAY ON SCRIPT.
"THAT'S BECAUSE I'VE CHANGED,
AND YOU HAVEN'T."
"LOOK INTO MY EYES...
AND TELL ME
YOU DON'T WANT ME."
"I DON'T WANT YOU.
"AND WHAT'S MORE THAN THAT,
I DON'T NEED YOU.
"YOU THOUGHT OF ME AS
A PLAYTHING, NOT AS A PARTNER.
NOW THINK OF ME AS GONE."
UM, WHITLEY, YOU'RE
SUPPOSED TO LEAVE NOW.
SO SOON?
DO YOU THINK
SHE'S READY?
IT'S PAGE 109.
SHE'S READY.
"OH, ADAM, I WANT
TO STAY YOUR EVE/GIRL
BUT I FEAR EVE/WOMAN
IS TRYING TO TEAR US APART."
EXCUSE ME.
THAT WAS LOVELY, DENISE.
I HATE TO BE A PROBLEM
BUT I REALLY THINK THAT
RICK AND I WOULD BENEFIT
FROM MORE
REHEARSAL TIME.
WHITLEY, I WOULDN'T CHANGE
A THING ABOUT YOUR PERFORMANCE.
I NEED TO REHEARSE.
NONSENSE, DENISE.
I DON'T THINK YOU'LL GET
ANY BETTER THAN YOU ARE NOW.
LADIES, I THINK BOTH OF YOUR
PERFORMANCES ARE RIVETING.
NOW IF WE CAN JUST
GET BACK TO THE PLAY.
MILLIE, MY TOWEL.
LET'S TAKE IT FROM
THE PHOENIX SPEECH.
"EVE/GIRL, MY BUDDING FLOWER,
YOUR FRAGRANCE MAKES ME DIZZY."
"OH, ADAM, YOU ARE THE SUN,
AND IN YOUR GOLDEN ARMS
"I EVAPORATE AND RISE
LIKE A PHOENIX
INTO THE CLOUDS
OF YOUR LOVE."
HOLD IT.
HOLD EVERYTHING.
WE ARE HERE WITH
THE SET DESIGN.
IT'S DEEP, AND IT'S CHEAP.
YOU GUYS
WE'RE IN THE MIDDLE
OF AN INTIMATE SCENE.
OH, I'M SO SORRY.
I FEEL TERRIBLE.
ALL RIGHT, LET'S SEE
WHAT YOU GUYS GOT.
VOILA.
OKAY, NOW THIS PLAY
TAKES PLACE AT HOME.
WE FEEL THIS IS
THE UNIVERSAL SYMBOL OF HOME.
IT LOOKS LIKE A COUCH.
IT IS A COUCH.
I LIKE IT.
IT'S AVANT GARDE.
IT'S MINIMALIST.
IT'S BACK TO
THE DRAWING BOARD.
DAG, THE THEATER
CAN BE CRUEL.
WHAT DO THEY EXPECT
FOR $35, THE TAJ MAHAL?
I JUST LOVE WHAT THE THREE
OF YOU ARE DOING WITH MY WORDS.
IT'S RICK.
ACTING WITH HIM IS LIKE MAGIC.
I BET WHITLEY'S
FEELING THE MAGIC, TOO.
YOU NOTICE HOW SHE'S
THROWING HERSELF AT HIM?
WHITLEY IS THROWING
HERSELF AT RICK?
YEAH, WHITLEY.
WHAT DO YOU MEAN BY THAT?
WHAT DO I MEAN?
"OH, ADAM, YOU ARE THE SUN
"AND IN YOUR BIG, STRONG,
POWERFUL ARMS
I MELT LIKE A RAINDROP."
MAGGIE WROTE IT.
I'M JUST SAYING IT.
AND WITH SUCH FEELING.
YOU KNOW, IT'S LIKE
WHEN YOU PLAY TENNIS
WITH SOMEONE WHO
RETURNS EVERY SERVE.
YOU'VE WORKED UP
A FINE DEW OF PERSPIRATION
AND YOU KNOW THAT
WHEN THE MATCH IS OVER
YOU'RE GOING INTO THE CLUBHOUSE
FOR SOMETHING TALL AND COOL.
( sigh )
BUT HE'S AN ACTOR.
ARE YOU SURE
HE REALLY LIKES YOU?
MILLIE, A WOMAN
KNOWS THESE THINGS.
OF COURSE, SOME DON'T.
HAVE YOU SEEN THE WAY
DENISE HUXTABLE
HAS BEEN THROWING
HERSELF AT HIM?
SHAMELESS.
"ACTOR": A FIVE-LETTER WORD
FOR "FOOL."
YOU TAKE AWAY THE BOY'S SCRIPT,
HE'S GOT NOTHING TO SAY.
HE'S GOT NO RAP.
NO RAP.
HEY, DWAYNE, RON.
RICK!
WE WERE JUST
TALKING ABOUT YOU.
GOOD THINGS.
I JUST WANTED
TO TELL YOU GUYS HOW MUCH
I LIKED THE COUCH CONCEPT.
BRILLIANT.
YOU LIKED THAT?
COMING FROM YOU, RICK,
THAT MEANS SO MUCH.
HEY, THE PLAY GOES UP
IN THREE DAYS.
WHERE'S MY SET?
MAGS, IT'S
ALL UP HERE.
HOW ABOUT GETTING
THIS UP ON THE STAGE?
NEXT PLAY,
WE GO UNION.
I HEAR YOU, BROTHER.
WHAT?
I HAVE TO GO CUT
ANOTHER 40 PAGES.
UM, RICK, I
WAS WONDERING
IF WE COULD WORK ON
THE PHOENIX SPEECH
AFTER REHEARSAL.
YOU MEAN THE EMBRACE?
YEAH.
DENISE
IF IT WILL HELP YOUR
PERFORMANCE, I'M THERE FOR YOU.
OH, WELL, IT WOULD HELP.
HI, RICK. DENISE.
WHITLEY.
I WANTED TO TELL YOU
THAT TODAY WHEN YOU SAID
"I'VE CHANGED,
AND YOU HAVEN'T"
IT WASN'T ACTING.
IT WAS REAL.
WASN'T IT, DENISE?
DEFINITELY WASN'T ACTING.
AHEM.
AHEM!
BEHOLD...
THE SET.
THE SET!
I LOVE IT!
WHAT IS IT?
FIRST, THE MOON
REPRESENTING THE CHANGING
FACES OF A WOMAN.
THREE DOLLARS.
NEXT, A BARREN TREE
REPRESENTING THE FRUITLESSNESS
OF EVE'S RELATIONSHIP WITH ADAM.
$7.50.
AND LASTLY,
A CUBE.
AND WHAT DOES
THIS REPRESENT?
A PLACE
TO SIT DOWN.
$11.75.
WHERE'S MY CHANGE?
LABOR.
WELL, AS PROMISED,
IT IS CHEAP AND DEEP.
I LOVE IT.
IT'S LIKE YOU WERE
INSIDE MY MIND.
UH-OH.
RON, DWAYNE, THANK YOU.
DENISE, WHITLEY, LET'S TAKE IT
FROM REVISED PAGE 75.
AND MAGGIE...
NO, I CAN'T
CUT ANYMORE.
CALM DOWN, DEAR.
I WAS GOING
TO COMPLIMENT YOU.
OH.
WELL DONE.
THANK YOU.
CAN SOMEONE
HOLD THE SCRIPT
IN CASE SOMEONE
FORGETS HER LINES?
GREGORY?
YES, MA'AM.
I'M HERE.
I'M READY.
I'M HERE.
OH, WE'RE IN GOOD HANDS.
OKAY, LET'S GO.
COME WITH ME
TO A BRAVE NEW WORLD.
I CAN'T, I'M AFRAID.
EVE/GIRL, EVE/WOMAN--
NOW THIS IS THE POINT
WHERE YOU ARE SUPPOSED
TO JOIN TOGETHER.
YOU LOOK MORE LIKE TWO PEOPLE
STUCK IN AN ELEVATOR.
COME ON!
ADAM IS NO LONGER THE BEACON
THAT GUIDES US THROUGH THE DARK.
ARE WE NOT LOST
AND TREMBLING?
"SHIVERING."
IT'S "SHIVERING"!
RIGHT. THAT'S RIGHT.
SHIVERING, OKAY?
OH, THAT'S
A PROFESSIONAL ATTITUDE.
I WAS GETTING IN TOUCH
WITH THE EMOTION!
I'VE SEEN BETTER ACTING
IN A PUPPET SHOW.
YOU SHOULD KNOW
A LOT ABOUT PUPPETS.
YOU ACT LIKE A STICK!
( whistle )
RELAX!
ADAM MAY HAVE BEEN
THE ONLY MAN IN EDEN
BUT RICK IS NOT
THE ONLY MAN AT HILLMAN.
RICK?
I DON'T KNOW WHY YOU'RE
DRAGGING RICK INTO THIS.
NEITHER DO I.
EXCUSE ME.
SOMEBODY JUST DELIVERED THESE.
Whitley:
WHAT AN ANGEL!
BRING 'EM HERE.
HOW DO YOU KNOW
THOSE ARE FOR YOU?
WHO ELSE WOULD
THEY BE FOR?
I'M IN THIS PLAY, TOO.
THEY'RE FROM RICK.
ACTUALLY,
THEY'RE FOR RICK.
"TO MY DARLING RICK.
"BREAK A LEG.
ALL MY LOVE... SARAH."
"SARAH"?
"SARAH"?
YES.
RICK TELLS ME
SHE'S TERRIFIC.
GOES TO GEORGETOWN.
GREGORY, WILL YOU PUT
THESE FLOWERS BACKSTAGE?
IT'S A LOVELY
ARRANGEMENT.
IF THIS IS
THE GARDEN OF EDEN
I HAVE CERTAINLY
FOUND THE SNAKE.
MILLIE.
ACTORS.
THEY'RE LIKE CHILDREN.
HE HAS A GIRLFRIEND.
NO ONE TOLD ME.
YOU DIDN'T ASK.
YOU SAW HOW HE ACTED WITH ME.
EXACTLY.
WHAT I SAW WAS ACTING.
HE WAS ACTING WITH WHITLEY,
NOT WITH ME.
THAT'S WHAT MAKES HIM GOOD.
HE BELIEVES WHAT HE'S SAYING.
HE SAID MY AIR OF AUTHORITY
WAS VERY ATTRACTIVE.
HE SAID I HAD GREAT DEPTH
AS A DIRECTOR.
HE SAID
HE LOVED MY PLAY.
HE'LL OBVIOUSLY
SAY ANYTHING.
WHAT A SLIME BUCKET!
WHAT DID HE DO?
"WHAT DID HE DO"?!
HE LED ME ON.
HOW?
"HOW"?
WELL...
HE...
THAT SOUNDS TERRIBLE.
YOU DON'T UNDERSTAND, OKAY?
HE TOLD ME I WAS SPECIAL.
YOU ARE SPECIAL.
AND...
THAT WE HAD A REAL CONNECTION.
THE MAN IS
A SLIME BUCKET.
I'VE KNOWN A FEW
SLIME BUCKETS IN MY TIME.
BELIEVE ME, RICK DOES NOT
FIT INTO THAT CATEGORY.
OH... PFFT!
YOU SAW WHAT HE WAS DOING...
I SAW AN ATTRACTIVE YOUNG MAN
FLIRTING WITH TWO YOUNG WOMEN
WHO WERE DOING A LOT
OF FLIRTING OF THEIR OWN.
OKAY, SO I WAS
FLIRTING A LITTLE.
I'VE NEVER SEEN YOU
THROW YOURSELF INTO ANYTHING
WITH SUCH ZEAL!
NOW ALL YOU HAVE TO DO
IS TO HOLD ONTO
SOME OF THAT ENERGY
FOR TONIGHT'S PERFORMANCE.
YES, THIS IS
A WONDERFUL OPPORTUNITY
FOR YOU TO GROW AS AN ACTRESS.
I'M SO EXCITED FOR YOU.
BREAK A LEG.
I'M GOING TO BREAK HIS.
EVE/GIRL,
MY BUDDING FLOWER.
YOUR FRAGRANCE
MAKES ME DIZZY.
OH, ADAM, YOU ARE THE SUN.
IN YOUR GOLDEN ARMS
I EVAPORATE
AND RISE LIKE A PHOENIX
INTO THE CLOUDS OF YOUR LOVE.
EVE/GIRL, KISS ME.
EVE/GIRL, I LOVE YOUR SHYNESS.
YOU'RE DIFFERENT.
I HARDLY
RECOGNIZE YOU.
THAT'S BECAUSE
I'VE CHANGED
AND YOU HAVEN'T.
LOOK INTO MY EYES
AND TELL ME YOU DON'T WANT ME.
I DON'T WANT YOU,
AND YOU CAN BELIEVE THAT.
EXCUSE ME?
YOU THOUGHT OF ME
AS A PLAYTHING.
NOW, THINK OF ME AS GONE!
BUT BEFORE I GO...
I'LL TELL YOU
WHAT I THINK OF YOU
YOU HALF-BAKED HAMLET!
YOU MAY RISE LIKE A PHOENIX
FOR YOUR FRIEND SARAH
BUT YOU'RE A TURKEY TO ME!
OH, MY GOD!
EVE/GIRL, AM I
GLAD TO SEE YOU.
I'M NOT HERE FOR YOU.
YOU THOUGHT YOU CRIED
WHEN YOU LOST YOUR TEDDY BEAR?
YOU DON'T KNOW
WHAT REAL TEARS ARE!
WHAT ARE THEY DOING
TO MY PLAY?!
EVE/WOMAN,
COME WITH ME!
YES, GO WITH EVE/GIRL, NOW!
EVE/WOMAN, I'M READY
EVEN THOUGH WE MAY BE
LOST AND SHIVERING.
THAT'S RIGHT,
"SHIVERING"!
EVE/WOMAN,
WE WERE ANGRY
BUT WE ARE
NO LONGER ANGRY.
HE'S ASHES TO US...
AND SO'S HIS
TEDDY BEAR.
HE TOLD YOU ABOUT
THE TEDDY BEAR?
WE DON'T NEED
HIS TOYS.
COME WITH ME.
WE'LL BE THERE SOON.
THE SOONER, THE BETTER.
GREGORY,
HIT THE CURTAIN!
IS IT OVER?
TRUST ME,
IT'S OVER.
AUTHOR! AUTHOR!
AUTHOR! AUTHOR! AUTHOR!
AUTHOR! AUTHOR! AUTHOR!
Captioning made possible by
WRIGLEY'S SPEARMINT CHEWING GUM
and NBC.
Captioned by
The Caption Center
WGBH Educational Foundation