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00:01Hi.
00:02Nadia.
00:02Pat.
00:03Pat.
00:04Nice to meet you.
00:05Hi, Nadia.
00:06Pat.
00:07Pat and Pat.
00:09Yes.
00:10Talk soon.
00:11You gave him your phone number.
00:14What is this?
00:17Oh, John!
00:20This is Hugo, my right hand.
00:22Yes, the one who doesn't always know what the left hand is doing.
00:26Richard, the proper espresso machine arrives tomorrow.
00:29Bigger one.
00:29And it'll need to be plumbed in.
00:31Okay.
00:32Not a problem.
00:32Whatever that is.
00:33We can afford it.
00:35We can afford artisans of every stripe.
00:37Painters, carpenters.
00:38I told Kristen it was only a phone call away.
00:40Who's paying for this?
00:41This is a result of a very delicate back-channel operation with the Nederlanders.
00:48I'm sorry.
00:49Which Nederlanders are we talking about?
00:51Richard Biela meeting your dad.
00:53He's like old you.
00:55Hello.
00:56Yes.
00:57He went that way after all.
00:58He's got hidden resources.
01:00Yes.
01:01I'm going to be here.
01:02Right?
01:03Our town.
01:05What is it?
01:08It's...
01:09Randall?
01:10It's a play.
01:11Exactly.
01:12It's a play.
01:13Set in Grover's Corners in Hampshire at the turn of the last century.
01:18It is a moving portrait of what it means to be human.
01:27Traditionally, productions adhere to the first stage direction in the text.
01:31No curtains.
01:32No scenery.
01:34No.
01:34The audience arrives and sees an empty stage.
01:37Well that, my friends, is the past.
01:42Hugo, I have a vision for another town.
01:49I see it as full of sensuous detail.
01:54Richard Bean, are these people in this photo naked?
01:59What?
02:00No, they're not naked.
02:03What the?
02:04Hugo?
02:04It's sex workers in a bordello in Boston 1905.
02:09So you will ask us maybe all to be naked?
02:12No, no, no.
02:13These are called mood boards.
02:15Because you are a great artist, Richard Bean.
02:18I will be naked for this art.
02:20Now, who is with me?
02:21No, no, no, no, no, no, no.
02:24No one is naked in my vision, no.
02:27But what I do see are sunflowers and heliotropes and mud, real mud in the cemetery.
02:34I see a real working soda fountain.
02:37I see a horse.
02:38I see real rain.
02:40Yes?
02:41Is this rehearsal deal going to be during the daytime?
02:44Uh, Hugo?
02:46Uh, yes.
02:47Ten till six.
02:48Yeah.
02:48I can't quit my job for play practice.
02:51What?
02:51I can't quit my job for play practice.
02:54But I would remind you that you're going to be paid for it.
02:58Uh, Hugo, what is the current, uh, Broadway minimum for...
03:01Just now, it's 2,439 US dollars per week.
03:07So, that's what you'll be paid.
03:09This is my new job.
03:12This is the magic ball.
03:13What makes it magic is that you can only speak when you hold it in your hand.
03:18You will tell us your name, the role that you play in the show, your astrological sign, and, um...
03:27Something about you.
03:28And something about me.
03:29No, no.
03:29Something about themselves.
03:31And something...
03:32Something about them.
03:34Something about yourselves.
03:35Yeah.
03:35So, I have the ball.
03:37So, I might as well begin.
03:38Richard Bean.
03:41I am the director.
03:43I am a Scorpio.
03:45I've been praised as an actor my whole life, but I really just consider myself a humble storyteller.
03:56I'm Pat Patterson.
03:57I play Mrs. Webb.
03:59I'm an Aries.
04:01People see me as kind of maybe buttoned up, but inside I'm this massive romantic.
04:07Uh, I'm also Pat Patterson.
04:11Um, I play her husband and I'm her real husband.
04:15And, uh, I'm a Cancer.
04:17You're actually a Leo.
04:18July is Cancer.
04:19I was born in July.
04:21You were born on the cusp.
04:22You're a Leo.
04:22Fine.
04:23I'm a Leo, but if you ask me all this astrology, it's just a bunch of bullcrap.
04:26Pardon my French.
04:27You're really married.
04:29Not fake married.
04:31You know, intimately and, uh, somewhat passive-aggressively.
04:34Enmeshed.
04:35I'm Dr. Derek Seal.
04:38Uh, I play Doc Gibbs and, um, I'm a Leo.
04:41I'm recently divorced.
04:44My daughter said I should do something.
04:46So, I'm doing this.
04:49Oh, I don't have the ball.
04:51Sorry.
04:51Yes, and I also don't have the ball.
04:55Hi.
04:56Uh, I'm Miranda Bean.
04:58I play Emily.
05:00Uh, I'm a Gemini.
05:01I'm an actor and a singer and newly vegetarian.
05:05Uh, I'm a Gemini too.
05:07We're twins.
05:07Oh.
05:08Excuse me, dude.
05:08You don't have the fucking ball either.
05:10Randall, chill.
05:12I'm chill?
05:13He doesn't have the ball.
05:13Jesus.
05:15Um, Heath.
05:17Heath McArdle.
05:20George.
05:22Emily's love interest.
05:24Jim and I, as we already said before, and I have my equity card.
05:29What's an equity card?
05:31Um, I'm Randall Potts.
05:34I play Wally Webb, who's like 11 years old and dead for most of the play, so.
05:39Whatever.
05:40Um, but I am Miranda's real life, a lot of interest, because I'm her boyfriend.
05:44And I am a Sagittarius, so I'm also creative and a warrior.
05:51Take fast!
05:53Oh!
05:54Oh!
05:55Oh!
05:56Oh!
05:56Oh!
05:56Oh, my God!
06:00Are you okay?
06:01Oh, my God!
06:04What are you doing?
06:05Oh!
06:07Oh!
06:07Oh!
06:08Oh!
06:10Oh!
06:10Now that the bleeding has stopped, let's read the play.
06:14Hugo will read the stage directions.
06:17Our Town.
06:18Act One.
06:19No curtain.
06:20No scene.
06:21Oh.
06:22Um.
06:23Lots of scenery.
06:28I bought shit and iron-aid the blue gingham for you special.
06:34Gingham.
06:36Gingham.
06:38Gingham.
06:40Gingham.
06:41Gingham.
06:43Gingham.
06:44Perfect.
06:51Great work.
06:55Mother Gibbs, it's George.
06:59Dear, just rest yourself.
07:02Mother Gibbs?
07:03Yes, Emily?
07:06They don't understand, do they?
07:09No, dear.
07:10They don't understand.
07:16Oh, take a break.
07:18Wonderful work.
07:20Give them a ten.
07:20Yeah.
07:21Take ten minutes, everyone.
07:22Yeah, just ten minutes.
07:23Thanks.
07:24Dad is doing unbelievable work.
07:26And Miranda is going to be a better Emily than you.
07:30Yeah.
07:31You should come and join in.
07:33Maybe come on Monday and join our circle of truth.
07:36You know something I don't miss?
07:40Theater games.
07:41I honestly can't think of anything I'd rather do less.
07:44So this is the temple of art.
07:48Yes.
07:49Oh.
07:51Who do I give my cabaret seat to?
07:54Oh, uh, oh, there he is.
07:56Hi, Polly.
07:57Good to see you.
07:58You go.
07:59Thank you for doing this.
08:01Oh, uh, this is, uh, this is Polly.
08:04Kristen.
08:05Oh, my God.
08:07This is the famous Kristen.
08:12It's very nice to finally meet you.
08:15Of course, I'm a big fan, and I can't wait to see what you do with Richard's vision.
08:20Oh, me too.
08:21Thank you, no.
08:22Thank you, darling.
08:23Oh, can I just, just, A, you are gorgeous.
08:29And, B, you don't know what it means to me to meet another person who has had to live with
08:34this man.
08:35Did he ever steal your concealer?
08:37Uh, borrowed.
08:39Never stole.
08:40Oh, come on.
08:41But you're not to, you're not to be trusted around reflective surfaces, are you?
08:45No.
08:46No.
08:47Are you, darling?
08:47Paco says you spend hours in the bathroom.
08:50My son is an actor.
08:52His face is important to him.
08:53It's important to many.
08:55Why don't we change the subject from me to, well, the play, for instance.
08:59Yes, let's move on from my big brother's eccentricities, and just take a moment, you're good?
09:05No, I'm good.
09:05Take a moment to marvel at the fact that he has managed to secure a blank check from the Nederlanders.
09:13The Nederlanders?
09:15Yes, and it's not just for the play.
09:16He is spreading money all over this town, like, like fairy dust.
09:21The Nederlanders.
09:23Yes, they're backing our town.
09:25You have to admit, that's pretty incredible.
09:28Incredible.
09:28Yes, because I was with James Nederlander at the Jimmy Awards last week, and he told me that you called
09:36and asked him to invest.
09:37And he told you that he was just dying to get into bed with a raging psychopath.
09:41Didn't he, darling?
09:42Yes, that was the general thrust of what, listen, I didn't want to bring this up, because I didn't want
09:48to make it all about me,
09:49but I've decided to pay for the production myself.
09:52What, with you?
09:53But with what?
09:54No, I don't mean to sound bleak.
09:56Pet, but.
09:58You have no money.
09:59At least that's what you claimed when we got divorced.
10:02Don't forget, I, I, I have.
10:03It was the art collection.
10:05I have the, yes, the art collection.
10:06What's in it, Richard?
10:07I believe he got that in the settlement.
10:08You sold our art collection?
10:10I didn't sell the whole art collection, darling, no, don't be silly, I only sold the, uh, the, uh, Schickle
10:18Gruber.
10:18The Schickle Gruber?
10:19Wait, which one was that?
10:21The Schickle Gruber was the big, the big moody, dark, dark, dark, crazy, crazy, crazy thing.
10:28Expressionistic-ish, um, yeah, it was, uh, I sold it to a very moody, uh, Japanese businessman from, uh, Japan
10:41somewhere.
10:41Mm-hmm, yeah.
10:43For a very good price.
10:45Schickle Gruber is Adolf Hitler's family name.
10:49No, no relation.
10:51No, no, no.
10:51These, um, these Schickle Grubers were from Lichtenstein.
10:54Yeah, the Lichtensteinian Schickle Gruber's.
10:57I don't remember the Schickle Gruber.
10:59Oh, darling, it was in, it was in storage most of the time because it, it, it troubled people.
11:05You would have hated it.
11:10I come seeking refuge.
11:12Put me to work.
11:13You, ah, here, can juice these lemons and oranges.
11:19Sure.
11:21You know, it's funny, even with my whole family beating up on me all at once, I, I'm happier now
11:26than I've been in New Year's.
11:28Here.
11:31Try these.
11:33They're very hot.
11:36Glamorous peas.
11:42The hell good?
11:43Good?
11:44They're, um, magnificent.
11:48You make perfect food, little brother.
11:52Here's a question for you.
11:55Would you consider coming back here?
11:58I am back here.
12:00No, no, I, I mean, I mean, staying in Millersburg, running the theater.
12:09Yeah, you might want to run that idea by Kristen first.
12:11She sees what you're pulling off, you know, you, you've got the talent, and, uh, you clearly have some resources
12:17now, and, well, you know, you gotta make a success out of this show, I know that.
12:22And if things go back to how they were, I mean, not a dinner theater, a lot of things become
12:29possible for everybody.
12:31Like what?
12:36Boyle has offered to build a restaurant for me in the casino.
12:40For me, the chef.
12:41Oh, ho, ho, ho, I see.
12:43You know, making real money.
12:45Yeah.
12:45Making the food I want to make.
12:46And that would be incredible, right?
12:48You know, Miranda, she goes to college in the fall, and, uh, we got a little bit put away, but,
12:54you know, four years, that's a massive whack.
12:56And I just, I want to give her every opportunity, and, I mean, I'm not saying I take Boyle up
13:02on the deal.
13:03I just, I know you don't trust him, and you're always saying how he's buying up all these properties, he's,
13:07he's feasting on people's broken dreams.
13:09I mean, you talk about him like he's Satan.
13:11Yes, exactly, Satan.
13:13You know, he offers you what you want, but he always wants something in return.
13:16Usually it's your soul.
13:17That's not a good thing.
13:18There may be a time when you and the devil want sort of the same thing, and so, in that
13:24case, it might be all right, then.
13:26So you're saying the devil wants you in hell, but you don't mind being in hell, because there's this fabulous
13:34restaurant in hell, and you are the head chef.
13:37We're not getting any younger.
13:38Uh, I would say go for it.
13:43That makes a lot of sense.
13:44Carpe diem.
13:45Carpe diem.
13:48How many of these are there?
13:50Come on, here, let me do this.
13:51Uh, just, you know, like this.
13:55You make it look so easy.
13:58Oh, good of you to have the ex over.
14:02Oh, you know.
14:04I must say, this is kind of my weird confession.
14:08Hmm.
14:09I always wondered if I'd like you.
14:13Well, the reviews are mixed.
14:15No, but I do.
14:17I mean, I really do.
14:20And you were always, you were always so good to Miranda when she was in the city.
14:23She'd come back just, you know, full of all the wonderful times you had.
14:27And, you know, I must say, I hope it's okay I say this, but, you know, I was surprised when
14:34I heard that you and Richard were getting divorced.
14:37Well, I guess I just don't like playing second fiddle.
14:41Oh, yeah, yeah, yeah, I know.
14:45Well, the career, the fans, the mirror.
14:54No, no.
14:56Darling, I was, I was fine with all of that.
14:58But second fiddle to you.
15:03You were the great love of his life.
15:07I was just someone to drink with.
15:14Speaking of which, I forgot my bottle.
15:36Yeah.
15:37Yeah.
15:37No.
15:38No, I don't want him.
15:40Ah, he's a total gobshite.
15:42Yeah, never liked him.
15:43Catch you later.
15:44Bye.
15:44Bye.
15:46Thank you for seeing me, Mr. Boyle.
15:48Connor, it is a treat to have you here.
15:51So, how's our resident genius this fine day?
15:54Oh, he's well.
15:55He's well.
15:56You know, the show looks terrific.
15:57Oh, I'm not talking about your brother, mate.
15:59I'm talking about you.
16:02Oh, thanks.
16:04I'm good.
16:07So, I, um, I've been thinking about your restaurant proposal.
16:14And I would love, I guess, to, uh, move forward.
16:22You guess.
16:24You guess.
16:26No, geniuses don't guess.
16:28I mean, your brother is gifted.
16:30But what you do with food is of far greater value than what he does playing make-believe all day
16:36long.
16:37You know, people are going to spend a lot of money eating the food that you make.
16:41Listen, can I offer you a wee nip?
16:42Well, it's a little early to...
16:44So, I mean, all I'm saying is, I'm all in.
16:49So, I've got investors who want to meet you.
16:51Wait, investors?
16:52Yeah.
16:52So, we're going to drive down to Atlantic City tomorrow after lunch.
16:55You know, you fix them a meal, they fall in love, write big checks, we're at the crap tables by
16:5910, shit face by midnight.
17:01What do you think?
17:01Oh, I, um, I should call Richard, because, you know, I'm doing company management now.
17:07You know what?
17:07Your brother's grand.
17:08But he's all about Richard.
17:10Which is all right.
17:12And do you know how I know that, John?
17:15It's because I'm all about me.
17:18Now, what we need to do is to make you a little bit more about yourself.
17:29Well, I guess I could do that.
17:32I mean, I can do that.
17:35I'm in.
17:37Good lad.
17:38Sláinte.
17:40I do love craps.
17:44This is the circle of truth.
17:47As the stage manager says, people in our town want to know the facts about everyone.
17:55Since our play is about people living together on this earth, given the brief amount of time that we have
18:01here,
18:02I thought it would be good to learn some truths about each other.
18:09I would stress that anything that is said in the circle of truth stays in the circle of truth.
18:18Okay?
18:19So, who wants to start?
18:22I'll go.
18:25This probably won't come as a surprise for some of you here.
18:29I want to move to New York.
18:31I want to be an actor.
18:33You can stay in my alcove studio in Brooklyn.
18:36Yeah, dude, I'm pretty sure it's not your turn right now.
18:40The thing is, my mom doesn't want me to be an actor.
18:43She wants me to go to college.
18:45And I just got in.
18:48I got accepted.
18:50Congratulations.
18:51But my mom doesn't know about it.
18:53And she also doesn't know that I'm going to turn it down.
18:58Interesting.
18:59Yes.
19:01So, now that we're playing husband and wife, I really feel that we're complete opposites on almost every level.
19:12We're fine.
19:12I never said we weren't fine.
19:14I said we're different people.
19:15Can I fire myself?
19:16I mean, can I play another character in the play?
19:18Here it comes.
19:19I mean, one where I'm not married to her.
19:21The choir director, that kills himself.
19:23Yeah.
19:23Well, if we're picking parts, I want that guy to play my husband.
19:30Oh, my God.
19:31Oh, my God.
19:33I just feel totally, completely alone.
19:38Wow.
19:39This is great.
19:40This is marriage.
19:42Kenny, has something to say?
19:43Kenny!
19:44This is crazy.
19:46I think I'm kind of afraid of dying.
19:53But aren't you like The Undertaker?
19:54I know.
19:55It makes no sense.
19:56But being around so much death and now working on this play just makes me extra aware that time is
20:07running out.
20:08This is fucking depressing.
20:10Yes!
20:11Isn't it?
20:12I want to speak from the heart.
20:15Go ahead.
20:18I am a gay man.
20:21I was always a gay man.
20:25Oh, boy.
20:27This is harder than I thought.
20:29It doesn't have to be a track.
20:32Casters are fine.
20:33Most of the actors love pushing things on.
20:36If I do improve and make a big change,
20:40would you be?
20:41I mean, could you be?
20:44I am now.
20:46I always have been.
20:48Well, I love her.
20:50But she's not a horse.
20:51Oh, no, no.
20:52She's a pony.
20:53We couldn't fit a real horse in the wings.
20:55Oh.
20:59Hey, has anyone seen my backpack?
21:02No?
21:03No?
21:05No?
21:06No.
21:11Miranda.
21:12Oh, thank you.
21:13I was sitting on it.
21:15Nice.
21:15Listen, did you say no to Penn?
21:18Not yet.
21:20I'm not crazy, am I?
21:21No, you want to be an actress, so...
21:25I made a couple of calls, and there's an internship, if you're interested, at MCC in the fall.
21:31It's not the lead in a Broadway play, but it's working in the theater in New York.
21:35So, it's a start, you know?
21:38Thank you so much.
21:40I'd love it.
21:41My pleasure.
21:42You're very welcome.
21:43Okay.
21:44Okay.
21:55Good on you, Johnny!
21:58You're gonna win time!
22:01I'm excited!
22:05Let's do an exercise.
22:06Forget about the lines.
22:07You're just Mrs. Gibbs, turn-of-the-century wife of the town doctor.
22:15And, um, we're just going to chat.
22:18Okay.
22:19All right.
22:21So, good morning.
22:22How are you, Mrs. Gibbs?
22:23How are you?
22:24Hello.
22:25Hi, you guy.
22:29What did you do this morning?
22:35I w...
22:36I waked up!
22:37Okay, now, remember, you're a real person.
22:39Yeah.
22:39You do real things.
22:41Chores?
22:42Any chores?
22:43Be specific.
22:44Details are important.
22:45I...
22:46wash it...
22:47and ironed the flag.
22:50You what?
22:51I'm washing the flag,
22:52and I'm ironing the stars and the stripes,
22:57so they're lying perfectly straight.
23:00I see.
23:02Okay.
23:03Okay.
23:04Uh...
23:05One last question.
23:07Would you say you're a happy person?
23:09Oh, yeah.
23:11Yeah.
23:12I'm a happy American woman.
23:15Lady.
23:16Girl.
23:17Woman.
23:18And I'm wearing gingham.
23:20Gingham?
23:21Yes.
23:23Been working on that one.
23:32Mr. Bean.
23:34Hello.
23:35Where am I?
23:36Atlantic City.
23:38Who is it?
23:39Mel, your driver.
23:41Wait, just a second.
23:48I'm so sorry.
23:49I overslept.
23:50Is Mr. Boyle ready to go?
23:51No bother.
23:51He left hours ago.
23:52What?
23:53But he, uh...
23:54He wasn't as wasted as you were.
23:55What time is it?
23:56Uh, 2.35.
23:58In the afternoon?
23:59Jesus Christ.
24:00You had yourself quite a night.
24:02I did?
24:02I don't remember.
24:03Yeah, it's probably not a bad thing.
24:06You hit a hot streak, and you won, and you won.
24:08Why wouldn't I want to remember that?
24:09Because then you lost, and you lost.
24:12Lost?
24:12Like what?
24:14Like, I couldn't keep track.
24:16You kept running to the ATM, and then you started talking routing numbers and wire instructions,
24:20and finally I just got depressed.
24:23I went to bed.
24:25I'll wait for you downstairs.
24:27Okay.
24:27Take your time.
24:55Who told you?
24:56Does it matter?
24:57Does it matter who betrays me?
24:59Yes, it does.
25:00It was Randall, wasn't it?
25:00Do you ever stop to think that just maybe people are trying to do what's best for you?
25:03Do you ever just think that maybe I know what's best for me?
25:07You know what?
25:09Fuck Mirandall and fuck Penn, because I'm going to New York.
25:13No.
25:13No, you are not.
25:14Why not?
25:15You know how much acting means to me, because it meant the same thing to you.
25:18New York will eat you alive.
25:19Oh, sorry.
25:21Did I interrupt something?
25:23Uncle Richard found me a job.
25:24Tell her.
25:24What do you mean he found you a job?
25:26Oh, I made a couple of calls about an internship, and I offered her a place to stay with me.
25:32That's not a job.
25:33It is.
25:35All I have done is listen to your daughter.
25:39You ought to try that yourself.
25:41She wants to be an actress.
25:43Please stay out of this.
25:45She has the talent.
25:46She has the passion.
25:47So why shouldn't she?
25:49Because it will make her miserable.
25:51Because it made you miserable?
25:52Acting didn't make me miserable.
25:53You did.
25:54You gave up.
25:54You gave up on yourself and your talent, and you left.
26:00That's on you.
26:08You.
26:08Hey.
26:09Hey.
26:10I just came up with the sickest baseline for Best in Me.
26:14What?
26:15You're a total betrayer.
26:18I'm a what?
26:19You told my mom about school and New York, and now she's losing it, and you betrayed the circle of
26:24truth.
26:25You're the betrayer.
26:26You're betraying me with Mr. Actor Man.
26:28Heath?
26:28Yeah, but...
26:29Come to my tiny alcove in Brooklyn.
26:32Oh, my God.
26:33Randall, nothing is going on with Heath.
26:34You guys are always hanging out.
26:36It's like you're a couple.
26:37We're playing a couple.
26:38We're playing Emily and George.
26:39I don't like it.
26:40Well, I don't care.
26:41Go be a crazy, jealous person somewhere else.
26:43Don't go telling my mother my personal shit.
26:45Where are you going?
26:46Are you going to see him?
26:47Jesus Christ.
26:49What about Miranda?
26:58Hello, Richard B.
27:00Oh, Jesus.
27:02How did you get in here?
27:04I'm climbing like monkey.
27:10You are wanting to kiss me now?
27:12No.
27:13No, niet.
27:14Don't want to kiss you.
27:15I'm your mentor.
27:16I'm your director.
27:17And your boyfriend, he seems like a very violent type.
27:20If you're worried about Connor, you must know that he's not understanding how it is you touch me.
27:26I am dreaming all my life to be actress, and now I want everything that you can give me.
27:32There is genius in your fluids.
27:35Wow.
27:36That's very high praise, I'm sure.
27:40But it's probably a weird translation of a Russian idiom that sounds just like a bad idea.
27:49You're always talking about how you want these special alone times together, and I'm thinking,
27:55Oh my gosh, this guy, he has feelings for me.
28:00You are always telling me I am great.
28:03No, I don't think I...
28:04You said I am big actress.
28:05You said I am huge.
28:07Yes, when I said that, I meant that some of the choices you make are growing a little too large.
28:13They're outsized.
28:15They're not natural.
28:16So if I am not great, then what am I?
28:19You must tell me the truth.
28:21You cannot just, you cannot beat my bush around.
28:25Oh, you're the truth.
28:26Yes, you're my mentor.
28:27I'm your protege.
28:28What we have if we don't have truth, you know?
28:31So, mentor me.
28:32Now, go.
28:33Tell me.
28:34All right, well, you...
28:35Shape me.
28:36Coach me.
28:37Change my life.
28:38Go.
28:40Okay, don't get shy on me, little guy.
28:42There is a...
28:43What's that again, idiot?
28:45You're kind of...
28:46You're mumbling because you're always telling me articulate, but you're not doing that.
28:50You can't act.
28:51What do you say?
28:52You can't act.
28:53You can't...
28:53Don't be shy.
28:55Don't be shy.
28:56You can't say.
28:57But what do you say?
28:58You can't act.
29:00You can't act.
29:01What?
29:02You are not an actress that you're in the wrong line of work.
29:06You can't act.
29:08How do you mean?
29:09You can't act.
29:10You can't act.
29:12It's not your thing.
29:13I can't act.
29:14No.
29:17You wanted the truth.
29:19That's the truth.
29:20You're not an actress.
29:25So fire me, then.
29:26I can't fire you.
29:28I mean, I wouldn't think of firing you.
29:30I can't.
29:31Right.
29:32Because then you lose the rain and the little horse and the fountain.
29:37of soda.
29:38I understand why I am in show now, Richard Bean.
29:41There's another possibility.
29:42You could, of your own volition, simply quit.
29:45Just walk away.
29:47You insult me, Richard Bean.
29:50You insult my spirit.
29:53No one talking to Russian women in this way.
29:56Nadia.
29:57I'm knowing when it is I'm not wanted, Richard Bean.
30:00Nadia.
30:00Good evening.
30:01Nadia.
30:03Nadia.
30:04Nadia.
30:05Nadia.
30:07Nadia.
30:09Nadia.
30:10I'm fucked.
30:12Fuck.
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