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