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00:17Previously on American Classic, I'm producing and directing Thornton Wilder's Our Town.
00:23We 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.
00:40Holy shit, you got into Penn!
00:41Do not tell my mom, okay?
00:43It's been dream of life to see Paris in France.
00:47How much would it cost to put her into the show?
00:49Can we just keep this between the two of us?
01:01Hi.
01:03Nadia.
01:03Pat.
01:04Pat.
01:05Nice to meet you.
01:06Hi.
01:07Nadia.
01:07Pat.
01:08Pat.
01:08Pat.
01:09Pat and Pat.
01:10Yes.
01:11Talk soon.
01:12You gave me your phone number.
01:13You bet.
01:14Perfect.
01:16What?
01:17What 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, bigger one, and it'll need to be plumbed in.
01:33Okay.
01:34Not a problem.
01:35Whatever that is.
01:36We can afford it.
01:37We can afford artisans of every stripe.
01:39Painters, carpenters.
01:41I 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 Biel, I'm meeting your dad.
01:57He's like old you.
01:59Hello.
02:00Huh.
02:00Yes.
02:01He went that way after all.
02:02He's got hidden resources.
02:07Our town.
02:09What is it?
02:13It's...
02:13Randall?
02:14It's a play.
02:16Exactly.
02:17It's a play.
02:18Set in Grover's Corners, New Hampshire at the turn of the last century.
02:24It is a moving portrait of what it means to be human.
02:32Now, traditionally, productions adhere to the first stage direction in the text.
02:37No curtains.
02:38No scenery.
02:40No.
02:40The audience arrives and sees an empty stage.
02:43Well, that, my friends, is the past.
02:48Hugo, I have a vision for another town.
02:56I see it as full of sensuous detail.
03:01Richard Biel.
03:03Richard Biel, are these people in this photo naked?
03:06What?
03:07No, they're not naked.
03:10What 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.
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, no, no, no, no, no.
03:32No one is naked in my vision.
03:35No.
03:35But what I do see are sunflowers and heliotropes and mud.
03:41Real mud in the cemetery.
03:43I see a real working soda fountain.
03:46I see a horse.
03:47I see real rain.
03:49Yes?
03:50Is this rehearsal deal going to be during the daytime?
03:54Hugo?
03:55Uh, yes.
03:56Ten till six.
03:57Yeah.
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.
04:08Uh, Hugo, what is the current, uh, Broadway minimum for...
04:11Just now, it's 2,439 US dollars per week.
04:17So, that's what you'll be paid.
04:19My new job.
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,
04:37and, um...
04:39Something about you.
04:40And something about me.
04:41No, no.
04:41Something about themselves.
04:43And something...
04:43Something about them.
04:46Something about yourselves.
04:47So, I have the ball, so I might as well begin.
04:50Richard Bean.
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 kind of maybe buttoned up, but inside I'm this massive romantic.
05:21Uh, I'm also Pat Patterson.
05:24Um, 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.
05:38But if you ask me all this astrology, it's just a bunch of bullcrap.
05:41Pardon my French.
05:42You're really married.
05:44Not fake married.
05:45You know, intimately and, uh, somewhat passive-aggressively.
05:49Enmeshed.
05:50I'm Dr. Derek Seal.
05:52Uh, I play Doc Gibbs and, um, I'm a Leo.
05:56I'm recently divorced.
05:59Uh, my daughter said I should do something.
06:00So I'm doing this.
06:04Oh, I don't have the ball.
06:06Sorry.
06:07Yes.
06:07And I also don't have the ball.
06:11Hi.
06:12Uh, 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.
06:29I'm chill.
06:29He doesn't have the ball.
06:30Jesus.
06:32Um, Heath.
06:34Uh, Heath McArdle.
06:37Uh, George.
06:39Emily's love interest.
06:41Jim and I, as we already said before.
06:43And 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 whatever.
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.
07:11Ah!
07:12Oh!
07:14Oh!
07:15All right, all right.
07:16What are you doing?
07:17Oh, my God!
07:19Are you okay?
07:22What are you doing?!
07:25Oh.
07:26Oh!
07:26Oh!
07:27Oh!
07:27Oh!
07:29Oh!
07:30Oh!
07:32Oh!
07:33Let's read the play.
07:34Hugo will read the stage directions.
07:37Our Town, act one, no curtain, no scene, oh, um, lots of scenery.
07:49I vouched and ironed the blue gingham for you special.
07:55Gingham.
07:58Gingham.
07:59Gingham.
08:01Gingham.
08:01Gingham.
08:02Gingham.
08:04Gingham.
08:05Gingham.
08:05Gingham.
08:12Great work.
08:14Yeah!
08:15Yeah!
08:17Mother Gibbs, it's George.
08:20Chh.
08:21Dear, just rest yourself.
08:24Mother Gibbs?
08:25Yes.
08:26Emily?
08:28They don't understand, do they?
08:31No, dear.
08:32They don't understand.
08:39Oh.
08:40Take a break.
08:42Wonderful work.
08:43Give him a ten.
08:43Yeah.
08:44Take ten minutes, everyone.
08:45Yeah?
08:46Just ten 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.
08:59You know something I don't miss?
09:04Theater games.
09:05I honestly can't think of anything.
09:07I'd rather do less.
09:08So this is the temple of art.
09:12Yes.
09:13Oh.
09:16Who do I give my cabaret seat to?
09:18Oh.
09:19Oh.
09:20Oh, there he is.
09:21Hi.
09:21Hi, Polly.
09:22Good to see you.
09:22You go.
09:23Hi.
09:24Thank you for doing this.
09:26Oh.
09:27This is Polly.
09:29Kristen.
09:30Oh.
09:31My.
09:32God.
09:33This is the famous Kristen.
09:36Oh.
09:38It's very nice to finally meet you.
09:41Of course, I'm a big fan.
09:43And I can't wait to see what you do with Richard's vision.
09:46Oh, let me too.
09:48No.
09:48Thank you, darling.
09:49Oh.
09:50Can I just...
09:52A.
09:53You are gorgeous.
09:56And B.
09:57You don't know what it means to me to meet another person who has had to live with this man.
10:02Did he ever steal your concealer?
10:05Borrowed.
10:06Never stole.
10:07Oh, come on.
10:08But 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.
10:31And just take a moment.
10:32You good?
10:33No, 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.
10:44And it's not just for the play.
10:45He is spreading money all over this town like fairy dust.
10:50The Nederlanders.
10:52Yes.
10:53They'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.
11:03And he told me that you called and 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...
11:15Listen.
11:16I didn't want to bring this up.
11:18I didn't want to make it all about me.
11:19But I've decided to pay for the production myself.
11:22Would you?
11:23But with what?
11:25I mean, no, I don't mean to sound bleak.
11:27Pet.
11:28But you have no money.
11:30At least that's what you claimed when we got divorced.
11:33Don't forget, I have...
11:35It was the art collection.
11:36I have the art collection.
11:38I believe he got that in the settlement.
11:39You sold our art collection?
11:42I didn't sell the whole art collection, darling.
11:44Oh.
11:44No, don't be silly.
11:45I only sold the...
11:46What?
11:47The, uh...
11:49Schicklgruber.
11:50The Schicklgruber?
11:51Wait, which one was that?
11:53The Schicklgruber was the big, the big moody, dark, dark, dark, crazy, crazy, crazy thing.
12:01Expressionistic-ish.
12:03Um, yeah.
12:04It was, uh, I sold it to a very moody, uh, Japanese businessman from, uh, Japan somewhere.
12:15Mm-hmm.
12:15Yeah.
12:16For a very good price.
12:18Schicklgruber is Adolf Hitler's family name.
12:22No, no relation.
12:24No, no, no.
12:25These, um, these Schicklgrubers were from Lichtenstein.
12:28Yeah, the Lichtensteinian Schicklgrubers.
12:29The Schicklgrubers.
12:30I don't remember the Schicklgruber.
12:33Oh, darling, it was in storage most of the time because 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.
12:57Even with my whole family beating up on me all at once, I, I'm happier now than I've
13:02been in years.
13:03Here.
13:07Try these.
13:09They're very hot.
13:12Glamorous peas.
13:18The hell good?
13:20Good?
13:20They're, um, magnificent.
13:24You 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.
13:51You know, you, you've got the talent and, uh, you clearly have some resources now and,
13:56well, you know, you gotta make a success out of this show, I know that.
14:00And if things go back to how they were, I mean, not a dinner theater, a lot of things
14:07become possible for everybody.
14:10Like what?
14:15Boyle has offered to build a restaurant for me in the casino.
14:19Or me the chef.
14:20Oh, ho, ho, ho, ho.
14:22I see.
14:23You know, making real money.
14:24Yeah.
14:24Making the food I want to make.
14:26I mean, that would be incredible, right?
14:27You know, Miranda, she goes to college in the fall and that.
14:31We got a little bit put away, but, you know, four years, that's a massive whack.
14:36And I just, I want to give her every opportunity.
14:40I 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 feasting on people's broken dreams.
14:50I mean, you talk about him like he's Satan.
14:52Yes, exactly.
14:53Satan.
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
15:13because there's this fabulous restaurant in hell and you are the head chef.
15:18We're not getting any younger.
15:20Uh, 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.
15:41Oh, good of you to have the ex over.
15:45Oh, you know, I must say this is kind of my weird confession.
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.
16:04And 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.
16:29I know.
16:31The career.
16:33The fans.
16:35The mirror.
16:40No, no.
16:42Darling, I was, I was fine with all of that.
16:45Second fiddle to you.
16:49You 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.
17:37It is a treat to have you here.
17:40So, how's our resident genius this fine day?
17:43Oh, he's well.
17:44He'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.
17:51Oh, thanks.
17:53I'm, I'm good.
17:55Um, so I, um, I've been thinking about your, uh, restaurant proposal and I would love, I guess,
18:07to, uh, move forward?
18:12You guess.
18:14You guess.
18:16No, geniuses don't guess.
18:19I mean, your, your, your brother is gifted, but what you do with food is of far greater value than
18:25what 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, to have you.
18:36I 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 tables by
18:5110, shit face by midnight.
18:53What do you think?
18:53Oh, I, um, I should, I should call Richard.
18:57Cause you know, I'm doing company management 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?
19:07It'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, I, I guess I could do that.
19:25That, I mean, I, I can do that.
19:29I'm in.
19:31Good luck.
19:32Sláinte.
19:33Yeah.
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.
19:49Hmm.
19:50Since our play is about people living together on this earth, given the brief amount of time that we have
19:56here, 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.
20:25But I want to move to New York.
20:27I want to be an actor.
20:30Uh, you can, uh, you 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.
20:43And I just got in.
20:46I got accepted.
20:47Congratulations.
20:48But my mom doesn't know about it.
20:51And she also doesn't know that I'm going to turn it down.
20:55Interesting.
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.
21:12I 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.
21:18I mean, one where I'm not married to her, the choir director, that kills himself.
21:22Yeah.
21:23Well, if we're picking parts, I want that guy to play my husband.
21:29Oh.
21:30Oh, my God.
21:31Oh, my God.
21:33I just feel totally, completely alone.
21:38Wow.
21:39This is great.
21:40This is marriage.
21:42Kenny has something to say.
21:43Kenny!
21:44This is crazy.
21:46I think I'm kind of afraid of dying.
21:53But aren't you like The Undertaker?
21:55I know.
21:56It makes no sense.
21:57But being around so much death and now working on this play just makes me extra aware that time is
22:09running 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.
22:26I was always a gay man.
22:27I...
22:27Oh, boy.
22:29This is harder than I thought.
22:32It doesn't have to be a track.
22:34Casters are fine.
22:36Most of the actors love pushing things on.
22:38If I do improve and make a big change, would you be?
22:45I mean, could you be?
22:47I am now.
22:49I always have been.
22:51Well, I love her.
22:53But she's not a horse.
22:54Oh, no, no.
22:55She's a pony.
22:56We couldn't fit a real horse in the wings, could we?
22:59Oh.
23:03Hey, has anyone seen my backpack?
23:06No?
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.
23:24I'm not crazy, am I?
23:26No, you want to be an actress, so...
23:30I made a couple of calls, and there's an internship, if you're interested, at MCC in the fall.
23:37It's not the lead in a Broadway play, but it's working in the theater in New York, so...
23:42It's a start, you know?
23:44Thank you so much.
23:46I'd love it.
23:47My pleasure.
23:48You're very welcome.
23:49Okay.
23:50Okay.
24:02Good on you, Johnny!
24:04You're gonna win time!
24:08I'm excited!
24:12Let's do an exercise.
24:13Forget about the lines.
24:14You're just Mrs. Gibbs, uh, turn-of-the-century wife of the town doctor.
24:22Um...
24:22And, um, we're just going to chat.
24:26Okay.
24:27All right.
24:29So, good morning.
24:30How are you, Mrs. Gibbs?
24:31How are you?
24:32Hello.
24:33Hi, you guy.
24:38Yeah.
24:38What did you do this morning?
24:44I...
24:44I w...
24:45I waked up.
24:46Okay, now, remember, you're a real person.
24:48Yeah.
24:48You do real things.
24:50Chores?
24:51Any chores?
24:52Be specific.
24:53Details are important.
24:54I...
24:55I...
24:56Washed...
24:57And...
24:58Ironed the flag.
24:59You what?
25:00I'm washing the flag, and I'm ironing the stars and the stripes so they lying perfectly
25:09straight.
25:10I see.
25:12Okay.
25:14Uh...
25:16One last question.
25:18Would you say you're a happy person?
25:20Oh, yeah.
25:22Yeah.
25:23I'm a happy American woman.
25:25Lady.
25:27Girl.
25:28Woman.
25:28And I'm wearing gingham.
25:31Gingham.
25:33Yes.
25:34Been working on that one.
25:44Mr. Bean.
25:45Hello.
25:46Where am I?
25:48Atlantic City.
25:50Who...
25:50Who is it?
25:51Mel.
25:52Your driver.
25:53Wait, just...
25:54Just a second.
26:00I'm so sorry.
26:01I overslept.
26:02Is Mr. Boyle ready to go?
26:03No bother.
26:04He left hours ago.
26:05What?
26:05He, uh...
26:06He wasn't as wasted as he were.
26:08What time is it?
26:09Uh...
26:102.35.
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.
26:18What?
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?
26:26Like...
26:27Like what?
26:28Like, I couldn't keep track.
26:29You kept running to the ATM and then you started talking routing numbers and wire instructions
26:34and...
26:35Finally I just...
26:36I just got depressed and went to bed.
26:39Uh...
26:39I'll wait for you downstairs.
26:41Okay.
26:41Take your time.
26:55Oh!
26:58Oh.
27:04Oh!
27:06Oh...
27:06Oh!
27:07Oh!
27:07Oh.
27:08Uh...
27:08Oh.
27:10Oh.
27:11told you. Does it matter? Does it matter who betrays me? Yes, it does. It 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? Do you
27:20ever
27:20just think that maybe I know what's best for me? You know what? Fuck Miranda and fuck Penn because
27:28I'm going to New York. No, no, you are not. Why not? You know how much acting means to me
27:33because
27:33it meant the same thing to you. New York will eat you alive. Oh, sorry. Um, did I interrupt something?
27:40Uncle Richard found me a job. What do you mean he found you a job? Well, I made a couple
27:45of calls
27:45about an internship and I offered her a place to stay with me. That's not a job. It is.
27:53All I have done is listen to your daughter. You ought to try that yourself. She wants to be an
28:01actress. Please stay out of this. She has the talent. She has the passion. So why shouldn't she?
28:07Because it will make her miserable. Because it made you miserable? Acting
28:11didn't make me miserable. You did. You gave up. You gave up on yourself and your
28:16talent and you left. That's on you.
28:28Hey. Hey. I just came up with the sickest baseline for best of me. What?
28:34You're a total betrayer. I'm a what? You told my mom about school and New York and now she's
28:42losing it and you betrayed the circle of truth. You're the betrayer. You're betraying me with
28:47Mr. Actor Man. Heath? Yeah, what? Come to my tiny alcove in Brooklyn. Oh my God, Randall.
28:54Nothing is going on with Heath. You guys are always hanging out. It's like you're a couple.
28:57We're playing a couple. We're playing Emily and George. I don't like it.
29:01Well, I don't care. Go be a crazy jealous person somewhere else. Don't go telling my mother
29:05my personal shit. Where are you going? Are 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 monkey.
29:32You are wanting to kiss me now?
29:35No.
29:36No, not yet.
29:37Don't want to kiss you. I'm your mentor. I'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 and now I want everything that you can give me.
29:55There is genius in your fluids.
29:59Wow. That'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,
30:20oh my gosh, this guy, he has feelings for me.
30:25You are always telling me I am great.
30:28No, I don't think I...
30:29You said I am big actress. You 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. They're not natural.
30:42So if I am not great, then what am I?
30:45You must tell me the truth. You cannot just, you cannot beat my bush around.
30:51Oh, you want the truth?
30:52Yes. You're my mentor. I'm your protege. What we have if we don't have truth, you know?
30:57Well...
30:58So, mentor me. Now. Go. Tell me.
31:01All right. Well, you, um...
31:02Shape me. Coach me. Change my life. Go.
31:05Yeah, yeah. I'm not a guy.
31:07Okay, don't get shy on me, little guy.
31:09There is, uh...
31:10What's that? I can't hear you.
31:12You're kind of...
31:13You're mumbling because you're always telling me articulate, but you're not doing that.
31:17You kind of...
31:18What do you say?
31:19You kind of...
31:21Don't be shy. Don't be shy. You can say, but what you're saying?
31:26You can't act. You can't act.
31:29What?
31:30You are not an actress that you're... you're in the wrong line of work. You can't act.
31:36How do you mean?
31:37You can't act. You can't act.
31:41It's not your thing.
31:42I can't act.
31:43No.
31:46You wanted the truth. That's the truth. You're not an actress.
31:54So fire me then.
31:56I can't fire you. I mean, I wouldn't think of firing you. I can't.
32:01Right. Because then you lose the rain and the little horse and the fountain of soda. I understand why I
32:09am in show now, Richard Bean.
32:10There's another possibility. You could, of your own volition, simply quit. Just walk away.
32:17You insult me, Richard Bean. You insult my spirit. No one talking to Russian women in this way.
32:27Nadia.
32:27I'm known when it is. I'm not wanted. Richard Bean.
32:30No. Nadia?
32:31Good evening.
32:32Nadia!
32:34Nadia!
32:36Nadia! Nadia! Nadia! Nadia! Nadia!
32:56Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia!
33:09Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia!
33:09Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia!
33:15Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia! Nadia
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