- 1 day ago
First broadcast 27th June 1990.
When Sarah, a New York actress, calls Joe, a London playwright they begin a very special relationship conducted through trans-Atlantic phone calls.
Rosanna Arquette - Sarah Weiss
David Suchet - Joe
When Sarah, a New York actress, calls Joe, a London playwright they begin a very special relationship conducted through trans-Atlantic phone calls.
Rosanna Arquette - Sarah Weiss
David Suchet - Joe
Category
📺
TVTranscript
00:00:27This is a production of WGBH.
00:00:36I love eating them.
00:00:39Whenever I went in the restaurant, I took something that I knew would have taken hours to prepare.
00:00:45It wouldn't get me ordering a good steak.
00:00:47It would always be something I love.
00:00:50To get your own back, there is.
00:00:52Hello, yes?
00:00:54Yes, Nancy.
00:00:55Yes, this is Joe Green speaking.
00:00:58Hey, and you're Sarah Wise from New York.
00:01:03I can tell there's a sort of gap and then a click.
00:01:05I can tell.
00:01:07Well, look, thanks for phoning back so quickly.
00:01:08You've got my message on your answer phone, right?
00:01:11Look, hang on for a second, can you?
00:01:12I'm just going to switch the television off.
00:01:14Will you hold on for a second?
00:01:15Can you wait?
00:01:16Of course.
00:01:18Really, my book Civil War was a book for everyone who hates housework
00:01:21because it was a book about minimising housework and giving you lots of easy...
00:01:42Hello, right, yes, done man.
00:01:43Right, hello.
00:01:45Yes, yes, hello.
00:01:47Well, this is nice.
00:01:50So, you want to perform my play, The Empty Pallet,
00:01:54in an off-off Broadway theatre, correct?
00:01:58I'd like to do that very much, Mr. Green.
00:02:00Well, of course you can perform my play there.
00:02:02I'll tell my agent and she'll draw up a contract with you.
00:02:04Oh, my God!
00:02:05Now, look, there is one tiny problem, though, that came to me this morning.
00:02:08I mean, don't worry, it's not going to stop this going ahead or anything.
00:02:11But, by the way, are you rich?
00:02:14Excuse me?
00:02:15What? I'm sorry, I...
00:02:16Is it all right for us to talk?
00:02:17Can you afford the call?
00:02:18Or shall I call you back?
00:02:20Oh!
00:02:22No, no, I'm not rich, no.
00:02:24I just do a clerical job when I'm not acting.
00:02:27But it's fine to go on talking, Mr. Green.
00:02:29Um, Mr. Green, thank you, so...
00:02:32Right, well, look, my problem is that having had two productions with it in New York,
00:02:35I'm afraid that people will think I'm some kind of a megalomaniac
00:02:38who keeps shoving my play down their throats.
00:02:41Can't we put something in the programme about your... situation?
00:02:45Which will explain why I am allowing the play to be put on their third time.
00:02:48Now, can we do that?
00:02:51I understand what you're saying, Mr. Green.
00:02:53Now, look, look, I know you actresses.
00:02:56You probably feel that if we state your situation in the programme,
00:02:59people will start making allowances and not judge you on your merits, etc.
00:03:03Now, what's your illness called, by the way?
00:03:07Relapsive peripheral polyneuropathy of unknown origin.
00:03:11My God, is it as bad as it's long?
00:03:14Well, it's pretty bad, I guess.
00:03:16In fact, it stinks.
00:03:17I can imagine.
00:03:19Now, are you in a wheelchair like your character in the play,
00:03:21or on crutches, or what?
00:03:23Well, I was in a wheelchair for a time after I left the hospital,
00:03:26but for now, it's just crutches outdoors, and sometimes indoors, too.
00:03:31I see.
00:03:32And is it like the illness of the woman in the play?
00:03:35Frankly, I haven't heard of your one.
00:03:37Well, hers is psychosomatic, of course.
00:03:41Mine's neurological.
00:03:43It means you can drop dead from mine.
00:03:47But don't worry, Mr. Green.
00:03:48No one has ever dropped dead from it on stage.
00:03:50You get warnings, I promise you.
00:03:53I see.
00:03:54I understand.
00:03:55Well, I mean, look, I don't understand, of course.
00:03:59Look, let's forget about my heightened sensibilities,
00:04:02about what New York will think of my motives.
00:04:04I'll tell my agent you just go ahead and do it.
00:04:07Thank you, Mr. Green.
00:04:08Thank you very, very much.
00:04:10Right, so, look, you won't have acted for some time, I suppose, at all.
00:04:14Is that right?
00:04:15Um, that's right.
00:04:16Not since my relapse seven years ago.
00:04:18It could be the first time for seven years.
00:04:20I thought not.
00:04:21Well, I hope this goes well for you.
00:04:24Will you be able to come and see the production?
00:04:27Oh, no.
00:04:28I don't know about the films or anything.
00:04:31Um, Sarah, the short answer is,
00:04:36no, I won't be coming.
00:04:38No.
00:04:39For the longer answer,
00:04:41just so that you know,
00:04:42it's not because I spit
00:04:44on your off-off Broadway version.
00:04:50I'm agoraphobic,
00:04:51amongst other things.
00:04:53Something to do with being sent away
00:04:55from my parents when I was very young.
00:04:57Anyway, I creep to my analyst
00:04:58every day in terror.
00:05:00I shop at the corner for food.
00:05:02And the furthest I can get from my home
00:05:04is the three-mile drive to Kneesden,
00:05:06which, believe me,
00:05:07is still some considerable distance
00:05:08from New York.
00:05:10Oh.
00:05:11I see.
00:05:12Yes.
00:05:12Another little illusion shattered?
00:05:15I fear you probably thought
00:05:16I sat here all day
00:05:17creating dramatic works
00:05:18in between going to cocktail parties
00:05:20on the arms of screen goddesses.
00:05:21Hmm?
00:05:22Well, to be honest, Mr. Green,
00:05:24that's exactly what I did think.
00:05:26Take the stardust from your eyes,
00:05:28Miss Wise.
00:05:30I live alone in a small flat
00:05:32or apartment,
00:05:34as I have done for the past five years,
00:05:37during which time
00:05:37I have written absolutely nothing.
00:05:41I'm fat.
00:05:43No friends visit me
00:05:44as they are powerless
00:05:45in the face of my determined despair.
00:05:47I rise from a sleepless night,
00:05:50occasionally wash,
00:05:51and then lie all day on my sofa
00:05:53and have to put up
00:05:53with the endless dribble
00:05:55of my mother,
00:05:56and I eat.
00:05:57Mr. Green...
00:05:58And at night, for company,
00:05:59I take an assortment
00:06:00of magazines to bed.
00:06:02I throw them away
00:06:03when the pages
00:06:03get stuck together,
00:06:05if you follow me.
00:06:10Well,
00:06:11they say exercise is good for you
00:06:13if you're a little overweight.
00:06:19I'm sorry.
00:06:21A midlife crisis
00:06:23is my excuse,
00:06:23and I'm sticking to it.
00:06:25Okay, well,
00:06:26I hope you have a good time
00:06:27with my play.
00:06:28I am sure you'll act me
00:06:31brilliantly.
00:06:32Thank you, Mr. Green.
00:06:33Goodbye, Clarence.
00:06:35Goodbye, Mr. Green.
00:06:37Goodbye, Mr. Green.
00:06:55Goodbye, Mr. Green.
00:06:56Come on, Mother.
00:06:57Talk to me.
00:06:59Yee-haw!
00:07:01Fuck!
00:07:13Oh God, oh God, oh God, come here, come here, come here.
00:07:36Oh, come on, please, oh, come on, hello, hello, is that Alice Campbell, are you Alice Campbell?
00:07:47Ah, well, this is Joe Green. You stage managed my play Dovetail years ago. We met once at rehearsals.
00:07:55I'm fat. I'm the fat writer. Yes, I know. I know it's three o'clock in the morning and I'm
00:08:02sorry, but I'm panicking and I'm afraid I'm going to die.
00:08:04You couldn't come over, could you? You're quite near me. 86 Alderman Road I am. 86. Could you come over
00:08:09quickly, please?
00:08:10It's just that I'm afraid I'm going to die. Do come over, couldn't you?
00:08:15Oh, I, no, no, of course, you mustn't leave them on their own, obviously.
00:08:22Well, couldn't your husband look after them while you come over?
00:08:26Oh, I see. Yes, no, no, no, no, look, I'm divorced too. So yes, I, I do see.
00:08:33Oh, God, I think it's a little better now anyway. Do you think you could just stay on the line
00:08:40and talk for a minute or just, just stay there and just talk for a little?
00:08:46Oh, well, my heart rate goes to about 160. I can't breathe. I keep thinking I'm going to fall over
00:08:52and I'm completely convinced I'm going to die on the spot.
00:08:54They call them panic attack.
00:08:59Sorry? Awful?
00:09:03Yes, I suppose you're right.
00:09:05Well, it's certainly not as much fun as lying on a beach in Ibiza.
00:09:08Well, though I can't get to Ibiza because I'm agoraphobic too, you see.
00:09:12And I can't...
00:09:15No, I haven't written anything since the Empty Pallet.
00:09:20Well, I just mess around. I watch the telly.
00:09:27I'm not in touch with anyone, really.
00:09:29Except there is this tiny production of the Empty Pallet going on in New York
00:09:33and I occasionally talk to the actress there about her part and so on, but that's just about it, really.
00:09:41No, I know I'm not really dying, but you don't know that at the time, you see.
00:09:49Yes, I am now. Thanks.
00:09:53And look, thanks very much for putting up with me and not slamming the phone down.
00:10:02Oh, well, yes, okay. Maybe we will. You never know.
00:10:08Fine. Okay. Right. Bye. Bye.
00:10:29Bye.
00:10:33Bye.
00:10:42Hello.
00:10:43It's Joe Green from London again. I was passing, so I thought I'd drop in.
00:10:49Hello, Joe Green from London again. Welcome. And enter.
00:10:53It's not a bad time. You wish to do it. A bit later.
00:10:57No, I'm just up looking at my...
00:10:59My God. It must be the middle of the night for you.
00:11:03Well, more or less. Well, not exactly the middle.
00:11:07When is the middle of the night, actually?
00:11:09It's a pity you're not writing.
00:11:12Some writers find it good working at night, don't they?
00:11:14Oh, yes, I do. Well, when I do, I do.
00:11:17If you see what I mean.
00:11:20Hello?
00:11:22Yeah, I'm here.
00:11:23Listen, can we drop this?
00:11:27Successful writer advises minor actress charade a little.
00:11:32It's like talking through an ocean of cotton wool.
00:11:35I mean, what's happening over there, really?
00:11:39I'm a long way off here, you know.
00:11:42Sorry, I've...
00:11:43I've just been so wrapped up and...
00:11:46Okay.
00:11:48Cyrano's diary.
00:11:51Well, it's ten days into rehearsals and we're still finding our feet.
00:11:55Excuse the pun.
00:11:58Your explanations on the phone have been invaluable
00:12:00since our director is...
00:12:02well, limited.
00:12:06Let's say the part's just as exciting as ever
00:12:09and I'm propelled by complete panic.
00:12:13Panic?
00:12:14Did you say panic?
00:12:15Why panic?
00:12:16Mr. Green, I didn't want...
00:12:19Well...
00:12:19Okay, look.
00:12:22I have no feeling in my feet, right?
00:12:26So walking for yourself is one thing,
00:12:28but I worry about turning and stopping
00:12:31and putting things down exactly where the director wants them
00:12:33and stuff like that.
00:12:35Also, it's so different acting
00:12:37when your body can't obey the commands you'd like to give it.
00:12:41Then I've got some discomfort in my urethra.
00:12:44And what should I tell you?
00:12:46Alicia Makova, I'm not, right?
00:12:48No, but you're managing, though, aren't you?
00:12:52Joe?
00:12:55I hope this isn't a stupid question.
00:12:59In the play, her parents send her to America
00:13:03when she's two and a half or five years.
00:13:06She's totally alone, longs for them,
00:13:09and hates them at the same time for throwing her out.
00:13:12In desperation, she transfers her love to the foster parents,
00:13:16but to her, that's like killing her natural parents.
00:13:19Result? Guilt.
00:13:20Seeds of self-loathing.
00:13:23All erupting when she meets a parallel situation in adult life.
00:13:27My stupid question is,
00:13:31if you know so much about yourself,
00:13:36how come you're not well yet?
00:13:45Because it's not just a question of knowing generally.
00:13:52It's a question of re-experiencing each detail.
00:14:05I understand.
00:14:07Yes, well, look, if there's nothing else,
00:14:09I'll let you get on with your lines.
00:14:11Well, good night.
00:14:13I hope you can get some sleep now.
00:14:15Good God, bound to. No problem.
00:14:18Good night.
00:14:24Hello?
00:14:26Joe?
00:14:28If you want a phone any time,
00:14:31I mean, just for a chat or whatever,
00:14:34that's okay.
00:14:36I'm here all the time now.
00:14:38I mean, at night.
00:14:39Well, that's very decent,
00:14:40but we'll be talking regularly about the play anyway, won't we?
00:14:44That's right.
00:14:45Well, thanks again.
00:14:47Good night.
00:14:48Goodbye.
00:14:48Goodbye.
00:14:49I'm sorry.
00:14:50Good night.
00:15:04I'm sorry.
00:15:06Good night.
00:15:16Oh, my God.
00:15:42hello yes sarah we were a hit it was perfect so perfect of course you were a hit you're
00:15:49performing a brilliant play oh joe they applauded for so long and my parents flew over from brussels
00:15:54and was my father proud he nearly burst out of his tuxedo so it was really good sarah i'm
00:16:00absolutely delighted for you but listen did you really feel my god i nearly forgot that a director
00:16:06was in from san francisco and he wants to take the show can i do it joe are the rights
00:16:09available come
00:16:10on tell me they are please yes of course the rights are available yes you can do it and that's
00:16:14wonderful but now listen do you really feel you've understood her character now joe i have just opened
00:16:21the play to the thunderous applause of 60 of new york's most discriminating theater goers you phone
00:16:27me with advice practically every other day i do yes fully understand her yes i do but i don't just
00:16:33mean understand her in words i mean in the bone in the marrow look has she really become a part
00:16:45of
00:16:45you because that's what i mean by understand because it's you isn't it what is me oh come
00:16:53on joe in the play being sent away to america for five years blaming herself turning rage into
00:16:59self-destruction she's you right you said so listen young lady one of my plays a few years back was
00:17:09about a mother-son relationship and in the belgian production they set the whole thing in a womb you
00:17:19know for all i know the entrance of the back of the stage was the vagina yeah no i'm telling
00:17:24you it's
00:17:25true look i'm three thousand miles away here how can i know if you've really understood her joe
00:17:33i first caught this shitty disease when i was 13 when i came back seven years ago i nearly died
00:17:40my parents stood over my bed and looked very sad and i hated them because they were going to live
00:17:46and i wasn't so this young lady understands the dynamics of separation old man in the bone
00:17:56and in the marrow but i didn't know that you nearly would that you almost died
00:18:03i got funny insides and my legs don't work too well you wrote a play about me remember
00:18:07what'd you expect flojo listen you stick with me kid from now on you can act exclusively in my plays
00:18:14i can fix it for you in the writing so you're either in a bed or on crutches or in
00:18:18a wheelchair right
00:18:22you like your women a little crippled don't you i think you're present
00:18:26you guys who are afraid of vaginas you like us a little crippled don't you makes us less scary
00:18:32less of a chance of getting it bitten off right who said i was afraid of vaginas may i ask
00:18:37i have
00:18:38been married well you're not going out in the arms of any screen goddesses that much we do know
00:18:45listen i don't know what you're talking about all i said was that i'd write some plays for you that
00:18:49took into account your handicap but since i can't write i can't give them to you anyway so i don't
00:18:54know how
00:18:54you get from that to me liking crippled women or whatever you meant joe dearest we're having our
00:19:00first tiff isn't it grand joe this is yuck but i have to say it i'm sorry what's yuck what
00:19:10do you
00:19:10mean i'm sending you a little six inch statue of joe lewis you're what anyway it's a little six inch
00:19:18statue of joe lewis and silver and my father put it next to me in the hospitals kind of the
00:19:24big
00:19:24symbol the fight back when i was dying it's really ghastly thank you very much uh look sarah
00:19:40if you can go with the play to san francisco but you i didn't know you could travel so
00:19:49well what i mean is would would you care to um
00:19:56pop by here or just drop in for a visit say yes joe i thought you'd never ask
00:20:02ah these last few phone calls i've been like a teenager on her 10th date with the
00:20:05white
00:20:09of course i want to come see you don't panic don't panic
00:20:13of course i want to come see you what kind of person you think i am well i just didn't
00:20:17know
00:20:17whether physically you know well i can physically you might want to come well why do you want to
00:20:26come anyway i don't believe this green you gave me a start i'm born again i'm the only born again
00:20:34jew in new york anyway i like you like me what do you mean you like me you've never even
00:20:38met me
00:20:39well i like you so i'm coming but sarah this is a fantasy you you really are you know you're
00:20:44just
00:20:44making a fantasy out of me how can you like what you don't even know well i do know and
00:20:49i think
00:20:49you're nice there's a specialist over there who understands my illness so i'm coming next question
00:20:55well i am not nice to use your shallow term i am a fat middle-aged insane pudding that's what
00:21:01i am
00:21:02there's nothing nice about it well i'm coming and it's not a fantasy i like you and i'm not going
00:21:07to discuss it sarah please it's a lot more complicated than that no i have relapsed peripheral
00:21:14puke i am very tired and i have a long show tonight and for the next two weeks
00:21:19and then i'm going to do this show for the rest of my life because there aren't any other plays
00:21:23i
00:21:23can do so goodbye sarah i wish i could write for you don't worry about writing we'll get you writing
00:21:33bye no sarah please you don't understand listen
00:21:38i hardly ever brush my teeth hardly ever and i won't go to the dentist and i use a roll
00:21:47on
00:21:47deodorant if i haven't washed for a bit and i sometimes sit in a chair all day and do nothing
00:21:51and feel as if my head is full of concrete and i'm very bitter and i'm very angry don't you
00:21:56see i'm a
00:21:56mess i'm not this polite voice you hear down the phone i'm a mess
00:22:03green well that's a privilege you have not made me deaf i did hear you invite me over there right
00:22:08i mean that happened right yes of course it happened joe i'm not coming over there to marry you i'm
00:22:13just
00:22:13coming over to visit a friend now all i want is for you to say sarah wise i want you
00:22:20to visit me just
00:22:20say that and we'll both know what's going on okay
00:22:35sarah of course i want you to visit wonderful now screw up go away hang up your artistic temperament
00:22:40is keeping me awake why are you coming when sarah you haven't fed
00:23:00what i mean is with brando you always have this sense of something going on behind what he's
00:23:07actually saying i mean the human condition is always in there somewhere i think i think that's
00:23:13what i really mean i'll give you my considered opinion when i finish this apple do you go to the
00:23:21movies much yep i'm going again now i'm not a fanatic or anything just your average moviegoer i guess
00:23:29and the theater do you go to the theater much oh god yes whenever i can oh sure
00:23:37and you go alone or you have to go with friends do you
00:23:45sarah i'd sit my elbow on the side of the bed oh right no i i was just asking you
00:23:50know how does
00:23:50going to the theater work out you you have to go with a friend i suppose to help you physically
00:23:56probably i'm not a virgin joe and i enjoy sex uh yes right sarah now that should tell you that
00:24:03i
00:24:03have had relationships but i should also add that there is no one special at this precise moment
00:24:09well why are you telling me i think that gives you all the information you're seeking behind those so
00:24:14you go to the theater with friends type questions doesn't it uh yes i think uh yes it does
00:24:26sarah what
00:24:29you're still angry about san francisco aren't you i mean that's the real reason you haven't been over to
00:24:35see me isn't it joe i told you i just had to have a couple routine checkups just two appointments
00:24:43i had
00:24:43to keep that's all it's medical yeah but you are upset about san francisco aren't you can we close
00:24:50the chapter please you get dozens of requests to do your play i absolve you not guilty but i should
00:24:56have
00:24:56checked when i got a request for the play in san francisco whether it was your production and by not
00:25:00checking i'm responsible for you not doing it somebody else doing it there okay you messed up san
00:25:06francisco for me you've ruined my life and i never want to see you as long as i live is
00:25:10that what
00:25:10you wanted to hear you feel better now right i'm sorry joe let's be careful can we
00:25:22what do you do you're my friend right yes of course i'm your friend yeah that'll just mean
00:25:33for giving me the plane when i said just now that there was no one special that doesn't apply to
00:25:40you
00:25:43you are special to me now okay sarah you're special to me too
00:25:50okay then just don't turn against me turn against you what on earth are you talking about
00:25:59don't be too grabby joe don't grab oh my god sarah look i know i'm over demanding but
00:26:09by understanding it i've more and more dealt with it i can handle it truly
00:26:17sarah i can joe i don't know if you're more scared of me coming or more scared of me not
00:26:25coming
00:26:26but when i get there let me breathe okay
00:26:33sarah i will open all the windows i will open all the doors the drafts will be like a typhoon
00:26:40and breathing sarah is my main talent
00:26:49my doorbell's wrong
00:26:52there's a little problem could you hold on a sec
00:26:55yes of course
00:27:10there's a little discomfort
00:27:13you need to be ripping
00:27:20um
00:27:21uh
00:27:43Oh, my God.
00:28:03Hi, is that you?
00:28:04Hi, yes.
00:28:06Have you finished your lunch yet?
00:28:08I have indeed. I'm just reading the sundaes.
00:28:10And may I inquire, without any hint of pressure, what you ate?
00:28:17Uh, two ounces of cottage cheese and tea with saccharine and skimmed milk.
00:28:26Oh, I won't recognize you.
00:28:29Oh, yes, indeed. When you come over, you'll be meeting the invisible man.
00:28:32Yes, indeed.
00:28:33You do realize I'm only doing this so we don't get jammed in my living room door when we try
00:28:37to get through it side by side.
00:28:40Can you see your what's-it over the horizon yet, or do you still have to look in a full
00:28:44-length mirror?
00:28:47Mind your own business.
00:28:50If you must know, if I bend very far forward, I am just starting to catch sight of the end
00:28:59of it without using a mirror.
00:29:00So there.
00:29:02Anyway, what are you doing today?
00:29:04You going out with one of your non-special friends, or having one round to tea, or are you just
00:29:09having one?
00:29:13I got a part in a play, Joe.
00:29:18Uh, you what?
00:29:21I got a part in a play. I've been rehearsing a week.
00:29:25Sarah, this is brilliant. I mean, what is it? How did you get it?
00:29:28I think it's like a dream come true for you. Are you in a wheelchair or on crutches? What's the
00:29:33deal?
00:29:34Well, that's what's so great. I guess she's neither. They just gave me the part and said the crutches would
00:29:39be fine.
00:29:41Absolutely extraordinary.
00:29:42Be happy for me, Joe.
00:29:44Because guess what? I got the part from the empty pallet.
00:29:47I did not audition. They just saw me and chose me, and...
00:29:52So I got the part.
00:29:53They'll be happy for you. What have I been saying, for Christ's sake?
00:29:56I think it's just wonderful.
00:30:01Ah, Joe.
00:30:04I have to laugh.
00:30:05There's this really steep iron staircase where we rehearse, and naturally some of the actors want to help me up
00:30:11and down, and I say no.
00:30:13I tackle it myself.
00:30:16I so much want to be independent.
00:30:19I overcompensate.
00:30:21You know what I mean?
00:30:23You do realize you're on your way out of the handicapped life?
00:30:30I mean, that's what this means.
00:30:32Come on, Joe.
00:30:33One rose doth not a summer make, right?
00:30:36The industry's not really...
00:30:39No, it does. That's exactly what it means.
00:30:41You'll be up and away getting work.
00:30:44You'll be going to auditions with your non-special friends,
00:30:48reminding directors of the success you had in the empty pallet,
00:30:52and the old fat fart who set the whole thing in motion will soon be forgotten,
00:30:58which is why you haven't been to see me
00:31:01as soon as you got some tiny part in an eminently forgettable play, right?
00:31:07Joe, I told you, it's purely medical reasons which have kept me from...
00:31:11Oh, come on.
00:31:12Come on. It happens all the time.
00:31:14You know, people do your plays.
00:31:17They come over to tea for little chats about their character.
00:31:20They reveal little bits of themselves to ingratiate themselves with you.
00:31:23You know, the writer who gives them life.
00:31:25But actually, they conceal everything.
00:31:28They pretend love.
00:31:29They conceal mere need.
00:31:33No, I'm saying with us, it's different.
00:31:35With us, it's very, very...
00:31:39Don't bleed all over me, okay?
00:31:42We're not in the operating theatre now.
00:31:46You're going to bugger off just like the rest of them.
00:31:48You, of course, can act while I can't write.
00:31:52So I'm left once again to sit on my slowly thinning arse
00:31:56and wonder why I persist and persist and persist
00:32:00in choosing faithless, phony women
00:32:03who begin by showering me with their most ardent displays of affection and love
00:32:07and then throw me out like a dead dog over a cliff
00:32:10and that doctor is the little problem
00:32:12we will spend the next 40 years or so looking into.
00:32:15Wouldn't you say so, eh, Doc?
00:32:16Well, wouldn't you say so, Sarah?
00:32:20You bastard.
00:32:22You absolute bastard.
00:32:25I'm in pain again and it could be a relapse
00:32:28and I don't know if it is and the doctor doesn't know
00:32:31and I didn't want to load it onto you so I didn't tell you
00:32:33and that's why I haven't been to see you, you bastard.
00:32:37I've always been straight with you, you bastard.
00:32:41And then we...
00:32:42We did become friends.
00:32:45We did.
00:32:46And you became...
00:32:50You became...
00:32:52My doorbell ringing.
00:32:54You stay there, you hear me?
00:32:56You stay there.
00:32:58You bastard.
00:33:01You bastard.
00:33:03You bastard.
00:33:04You bastard!
00:33:07You bastard.
00:33:27You bastard.
00:33:29Yes.
00:33:30We heard a lot about your problems, Joe.
00:33:33But it takes two to tango, my friend.
00:33:35So let me tell you about the male friends
00:33:38you're always making snidey inquiries about.
00:33:41Because all my life I have needed strong men.
00:33:44But they weren't strong men.
00:33:47They weren't.
00:33:48They were the screw-the-rubber-doll brigade.
00:33:51And they wanted to help me upstairs and into cars
00:33:54and run my life.
00:33:55But God help me if I ever suggested which restaurant to go to
00:33:59or any other sign of independence.
00:34:02Because they wanted me weak.
00:34:04That's what they liked about me.
00:34:06They liked my miserable illness.
00:34:12And then I met you, Joe.
00:34:16And you needed me, you big dumb bastard.
00:34:19You need me desperately, you stupid asshole.
00:34:23Yes.
00:34:25And suddenly, I was a somebody after all.
00:34:29Some poor, screwed-up, funny, intelligent writer needed me.
00:34:34Because I kept you going at the end of this goddamn phone.
00:34:38I kept you out of desperation.
00:34:40And that is a valuable deed.
00:34:42And what do you do?
00:34:44You deliberately screw up San Francisco for me
00:34:46in some childish attempt to stop me from getting away!
00:34:50I don't think I...
00:34:51You shut up!
00:34:52You shut up, you liar!
00:34:53You listen to me!
00:34:55You screwed up San Francisco for me to try and keep me.
00:34:58And now I have this new play, and you say,
00:35:00Sarah Wise, can I give you a choice?
00:35:03Stay in the rubber-doll-paralyzed necrophilia league
00:35:06and I accept you?
00:35:08Or be the struggling-to-be-human-being type
00:35:10and I throw you out?
00:35:12Well, you will stop this!
00:35:14You will stop this immediately now!
00:35:17You need me!
00:35:18And you will let me help you
00:35:20and help you right and have my place!
00:35:23You have the little total complaint, utter bastard!
00:35:39I am...
00:35:43I am, of course.
00:35:46I am, of course.
00:35:55I am, of course.
00:35:59I am, of course, conscious of your situation.
00:36:12But it's an old, ancient wound.
00:36:20And I thought, well, I had hoped
00:36:24and it does that although must heal.
00:37:07Hello.
00:37:10Hello.
00:37:14Hello.
00:37:17Nice to hear you're still alive. How are you?
00:37:20I'm fine. Thank you.
00:37:22I'm glad to hear it.
00:37:25How are you, Sarah?
00:37:27I'm fine.
00:37:29And I'm here.
00:37:32So what does that make you realize?
00:37:34It proves you haven't abandoned me.
00:37:36Exactly. It does, doesn't it?
00:37:39So your rather unoriginal theory about how all women betray you will now have to be readjusted, won't it?
00:37:45Yes, it will. Thank you.
00:37:48And thanks a lot for phoning so regularly and asking how the play was going.
00:37:52Sarah, look, I'm sorry. I haven't phoned.
00:37:54About it. I now realize that sending you away to America when you were two and a half was undoubtedly
00:38:02a mistake on my part.
00:38:04Yes, that was a slight miscalculation, I think.
00:38:09Anyway, I didn't want to phone you either, so we're even.
00:38:12Forget it.
00:38:15What?
00:38:16I thought about you a lot.
00:38:20I know.
00:38:21No, but I did.
00:38:22And I would have phoned, but I was...
00:38:27Well, I couldn't.
00:38:30But look, I've got something very important to tell you.
00:38:33Joe, it's okay, really.
00:38:34I was angry too for a while, and then I was running around between doctors and...
00:38:39Anyway, why don't we just turn the page, okay?
00:38:43Yeah, but I knew you were in pain.
00:38:44You told me, and I just left you.
00:38:46Oh, Joe.
00:38:48We nearly blew it.
00:38:51But in the end, we didn't.
00:38:54So we're smart, right?
00:39:00It obviously wasn't a relapse, so how are you?
00:39:03What was it?
00:39:06No, it's not a relapse.
00:39:09And don't panic.
00:39:12But I do have to have an operation.
00:39:13Oh.
00:39:15Yeah, I saw the specialist, and there's an infection, so he's going to operate.
00:39:18I see.
00:39:20I didn't want my first call back to mention this, because I knew you'd be upset,
00:39:24and because it means putting back flying over to see you.
00:39:28But it's irresponsible not to tell you, right?
00:39:31Uh, yes.
00:39:32Oh, no, look, if you have to have it, yes.
00:39:39So you did your play through all this pain and through all these medical examinations, did you?
00:39:43I didn't have any choice.
00:39:46You've got a lot of guts.
00:39:47Not really.
00:39:50I'm pretty scared, actually.
00:39:53I mean, the last few times I was in...
00:39:56Yeah, well, you know, all that cutting and thrusting is like something out of the Three Musketeers.
00:40:02I guess that's why I wanted to talk to somebody literary about it.
00:40:06So tell me something funny about yourself.
00:40:08You need it, believe me.
00:40:11Something funny?
00:40:14Uh...
00:40:14Well, this isn't funny, exactly, but something positive, okay?
00:40:21Remember when I said just now I had something very important to tell you?
00:40:26You mean when I phoned and you were doing your I Am Being Very Humble Act?
00:40:29I remember, yes.
00:40:30Maybe.
00:40:31But I didn't abandon you either.
00:40:35I've got an idea for a play, and I'm ready to start working.
00:40:40Oh, that's terrific.
00:40:42What happened?
00:40:43How come?
00:40:44Well, when I couldn't communicate with you, I just started to think about writing, and
00:40:52I don't know.
00:40:53It just started to come back.
00:40:56Oh, Joe, that's wonderful.
00:40:58You're starting.
00:40:59That's wonderful.
00:41:00And, of course, there'd be a leading part for you.
00:41:03I wish I'd think so.
00:41:04Yeah, but there is a catch.
00:41:05There's a little problem, see?
00:41:08Surprise me, Joe.
00:41:11I need you to help me with it.
00:41:14Ah.
00:41:15Ah, yeah, but not with the actual lines.
00:41:16I mean, with the preparation, talking through the structure, the plot, and so on.
00:41:21You see, I can't...
00:41:23Well, I just can't.
00:41:25Of course.
00:41:26You see, the plot is based on my childhood in America, when I was sent away, my family
00:41:31over there, and so on.
00:41:34Well, I go to the typewriter, and it's...
00:41:37It's...
00:41:38Well, it's too lonely.
00:41:40But, of course.
00:41:42What else?
00:41:45Look, let's forget my convoluted motives at this point, can we?
00:41:48If this works, I get a play, you get a part, partner.
00:41:51Now, let's just concentrate on that for a moment, can we?
00:41:54Hmm?
00:41:57Joe, I never met anybody who needed me like you do.
00:42:02But if you try to nail me to the wall like a trophy, I'll hobble out of your life for
00:42:08good this time.
00:42:10I mean it.
00:42:12I understand.
00:42:14Yes, but I don't just mean understand in words, but in the bone, Joe, in the marrow.
00:42:25I mean it, I'll go.
00:42:27I under...
00:42:32Yes.
00:42:34Okay, I'll come and help you with your play.
00:42:36I was coming anyway, adult, so I'll come.
00:42:39When?
00:42:39When can we start?
00:42:41Well, the operation's on the 14th.
00:42:43I get out on the 17th.
00:42:45Give me 10 days to recover, Pac.
00:42:48I'll be with you on the 28th.
00:42:51Sarah?
00:42:53What?
00:42:55I'm sorry about San Francisco.
00:42:57You were right.
00:42:59I'm sorry.
00:43:01I'm watching you, Joe.
00:43:03I've got my eyes on your grabby little claws all the time.
00:43:09And what, Sarah?
00:43:11Oh, I've got to call the specialist.
00:43:14I've got to go.
00:43:18Joe?
00:43:21Don't die, Sarah.
00:43:27I'll see you on the 28th.
00:43:31I'll speak to you.
00:43:33Bye.
00:44:04Go right through, will you?
00:44:10I'll see you on the 28th.
00:44:16That's it.
00:44:18Hmm.
00:44:23Oh.
00:44:28Oh.
00:44:49Oh
00:44:53Shall I take your coat?
00:44:55Or would you rather?
00:44:57Oh, thank you.
00:45:00All right
00:45:03Chilet
00:45:05It's good, thank you.
00:45:09I'll just hang this out.
00:45:17And I'm sorry, do sit down.
00:45:19Sit down wherever you like.
00:45:47It's okay, is it?
00:45:50Would you rather sit on the sofa?
00:45:53Or is that too low?
00:45:54The sofa's too low, is it?
00:45:56This one's fine.
00:45:57It's very comfortable.
00:45:59Right
00:46:00So
00:46:02Tea?
00:46:03Coffee?
00:46:04Orange juice?
00:46:05Hot chocolate?
00:46:06Coca-Cola?
00:46:08Which?
00:46:08What would you like?
00:46:09Just a cup of hot water, if that's all right.
00:46:13Hot water?
00:46:14Hot water?
00:46:14Yes, please.
00:46:16Is that, I mean, you want boiled water, right?
00:46:19I mean, you don't want it hot straight from the...
00:46:20No.
00:46:22Okay.
00:46:24With sugar?
00:46:25Do you take sugar?
00:46:27Joe?
00:46:28Everything's all right.
00:46:30I feel fine.
00:46:32The operation was fine.
00:46:33I'm not going to fall apart.
00:46:36I flew across the Atlantic yesterday.
00:46:39I'm okay.
00:46:40Just a cup of plain boiled water.
00:46:43Right, I am a grown-up middle-aged man.
00:46:45And I will now go and get you a cup of plain boiled water.
00:46:56I head to shallwickuus and fatha-tele.
00:47:07Today we have been prepared for a while like this.
00:47:08I'm kind of sure like how he has Henry Heardif.
00:47:10I cannot do it.
00:47:14I can, I cannot make it.
00:47:22How are you doing this?
00:47:25I was really prepared for you.
00:47:25Right.
00:47:29The kettle's just boiling itself.
00:47:32Yeah, we'll hear the whistle.
00:47:36So, how are you?
00:47:38And look, how's the hotel?
00:47:40Are you jet-lagged?
00:47:41I don't think so.
00:47:43I slept most of yesterday, so I feel pretty good.
00:47:45And the hotel's pretty nice, yes.
00:47:48Oh, good.
00:47:50Oh, my God, Joe.
00:47:53You really are slim, aren't you?
00:47:56It's good, isn't it?
00:48:01This room is very pleasant.
00:48:07This is where I talk to you, right?
00:48:09Right.
00:48:11Hello.
00:48:14It's very nice.
00:48:16I feel comfortable in it.
00:48:19Good.
00:48:33I have hot water coming up.
00:48:50I have hot water coming up.
00:48:50I have hot water coming up.
00:48:51I have hot water coming up.
00:48:51I have hot water coming up.
00:48:51I have hot water coming up.
00:48:51I have hot water coming up.
00:48:51I have hot water coming up.
00:48:51I have hot water coming up.
00:48:54I have hot water coming up.
00:48:55I have hot water coming up.
00:48:56I have hot water coming up.
00:48:58I have hot water coming up.
00:49:01I have hot water coming up.
00:49:50Is it all right?
00:49:51Yes.
00:49:52No, I mean, is that how you have it?
00:49:54Joe, this is without any doubt the finest boiled water I ever drank anywhere in the world.
00:50:07Shit, I think I'll go and breathe into a paper bag or something.
00:50:14Right, I am a grown-up middle-aged man.
00:50:17I have given you a cup of boiled water.
00:50:18I am not a child.
00:50:26How do I look, Joe?
00:50:28Oh, you're beautiful.
00:50:32I mean, you look very nice.
00:50:38Stick with the beautiful, I like it.
00:50:43Do the crutches bother you?
00:50:46I mean, the slow walk and all.
00:50:48Not at all.
00:50:48Not in the slightest.
00:50:50You can say, Joe.
00:50:52Let's not start that way.
00:50:53It doesn't bother me at all.
00:50:56At all.
00:51:03How about me?
00:51:10You're not as good-looking as your voice.
00:51:13But you're very attractive.
00:51:16Oh.
00:51:19I'm not disappointed.
00:51:22Well, how do you mean my voice sounds good-looking?
00:51:26On the phone, your voice sounds like Richard Burton.
00:51:30Oh.
00:51:32Richard Burton had very bad spots, you know.
00:51:36I'm not disappointed, really.
00:51:42Nor am I.
00:51:44And I'm very glad you're here at last.
00:51:55Why do you drink hot water?
00:51:59Just some kind of cleaning my body out, I guess.
00:52:02Oh, right.
00:52:04I never even asked you how the play went, either.
00:52:06I am really sorry.
00:52:09Why don't we just work?
00:52:11I mean, this is crazy.
00:52:13We scream at each other down the phone
00:52:15and now we're sitting here like a North Korean
00:52:17and an Eskimo
00:52:18on a blind date in a Hilton.
00:52:23Schizophrenic.
00:52:26Why don't we just work a couple days
00:52:29and then, you know...
00:52:31I mean, this is horrible.
00:52:33The girl is right.
00:52:35She's absolutely right.
00:52:37Let's work.
00:52:39And then in discussion
00:52:40and also, yes, in between cups of hot water.
00:52:42Absolutely right.
00:52:44Okay.
00:52:44So, I've, um...
00:52:47I've got a story
00:52:48and I've got the characters
00:52:49but
00:52:51how the story works itself out
00:52:53well, the through line,
00:52:54that I don't have.
00:52:56So, in other words,
00:52:56I've got Hamlet having to kill his uncle
00:52:58but the journey,
00:52:59how the thing unfolds,
00:53:01that I don't have.
00:53:03Okay.
00:53:04Let's hear what you do have.
00:53:07Right.
00:53:11Notes.
00:53:22Go on.
00:53:26Nice, huh?
00:53:29Long time, no touch.
00:53:34Wonderful.
00:53:38Sarah.
00:53:41Before I knew,
00:53:42your operation was all right.
00:53:44When I hadn't heard from you.
00:53:47And before I knew,
00:53:49well...
00:54:00Ah, right.
00:54:04Enough of that.
00:54:09Right.
00:54:16The story
00:54:17so far.
00:54:19That.
00:54:23You see,
00:54:27I have such
00:54:29rage
00:54:31towards my parents.
00:54:33I mean,
00:54:34rage.
00:54:37Buried still
00:54:38and still
00:54:38buried
00:54:39and
00:54:41that's why
00:54:42it's difficult
00:54:43to make it
00:54:45coherent
00:54:45as a play,
00:54:47you see.
00:54:48That's okay.
00:54:52Right.
00:54:53Excellent.
00:54:54So,
00:54:56here we go.
00:54:59Ah,
00:55:00right,
00:55:00well,
00:55:00look,
00:55:01we're
00:55:01in
00:55:02New York,
00:55:03World War II
00:55:04and the father's
00:55:06a sailor.
00:55:07Okay,
00:55:07so I've got mother,
00:55:08father,
00:55:09I've got two daughters,
00:55:10foster son,
00:55:11yours truly.
00:55:13Now,
00:55:13what I can't work out yet
00:55:15are the relationships.
00:55:16Is he
00:55:17accepted by
00:55:18the mother,
00:55:19or the foster mother
00:55:20in particular.
00:55:21That's what I can't
00:55:22work out yet.
00:55:23So,
00:55:24look,
00:55:25let's go right
00:55:26back
00:55:26to the very beginning.
00:55:28Вот Euinaza,
00:55:58the little girl
00:56:09ORGAN PLAYS
00:56:37Jo, I just finished my supper here at the hotel.
00:56:42I wanted to say a few things to you on tape before I went to bed.
00:56:48I thought you might not want to hear this face-to-face right now.
00:56:55First, it's been terrific working with you.
00:56:58I can tell from just these two days, it's going to be a wonderful play.
00:57:04I can tell from just these two days, it's going to be a wonderful play.
00:57:37Also, and this is why I'm making this little broadcast, really.
00:57:44I want to make love to you very much.
00:57:48I hope my handicap won't mean that we have to make love in ways that aren't exciting for you.
00:57:58But if you want to go ahead, I'm sure we can work things out.
00:58:06But of course, it's completely up to you.
00:58:34I'm going to leave this tape with you tomorrow after we finish.
00:58:38And if you want to talk to me about it on the phone, that's fine.
00:58:43Or if you don't, that's fine.
00:58:46No pressure.
00:58:52Well, good night now.
00:58:57I'll see you in the morning, Joe.
00:59:00Good night.
00:59:01Good night.
00:59:17Good night.
00:59:19Good night.
00:59:20Good night.
00:59:21Good night.
00:59:21Good night.
00:59:21Good night.
00:59:21Good night.
00:59:21Good night.
00:59:31yes I'd like a wake-up call in the morning please 830 yes it's 2670592
00:59:50thank you very much good night
01:00:09did you get a chance to look it over last night
01:00:12yes yes I did it's fine sorry well we got to the point of one of the daughter's jealousy
01:00:18didn't we should we start from there because I think the lead into that works don't you
01:00:24yes I think that's we're working very well
01:00:28you don't sound convinced should we go back over the notes from the start and see if we've missed
01:00:33anything no I don't think there's any need for that okay so we'll start from that point all right
01:00:43yes that's right from that point
01:00:51do you want a break today
01:00:55should we just talk or do nothing I mean this is all new to you writing again isn't it
01:01:08Sarah I can't write the play
01:01:14I can't write it
01:01:18we've got to stop
01:01:20I won't be able to write this play
01:01:23I'm feeling incredibly tense
01:01:25my head is full of concrete
01:01:28it's been like this since you came
01:01:33okay
01:01:33oh stop being so bloody understanding it's not okay
01:01:37this is the unresolved mess called me
01:01:42I throw out the only thing I love
01:01:44that came three thousand miles to see me
01:01:46that's how it is
01:01:50you love me
01:01:52why throw me out
01:02:01do you want me to stay and
01:02:04just talk I mean we don't have to work
01:02:06or anything
01:02:07it's impossible
01:02:14it's all right you're just not ready yet
01:02:17thought you were but you're not
01:02:18that's all
01:02:18that's right that's right I'm not ready
01:02:22don't feel bad
01:02:25if you can't you can't
01:02:27what a joke though isn't it
01:02:29I mean what a farce
01:02:31from the moment I knew you were coming
01:02:32I had these ridiculous fantasies of
01:02:34us making glorious love together
01:02:36living happily ever after
01:02:38all that guff
01:02:40and now look how it really is
01:02:42I told you didn't I
01:02:43I warned you
01:02:43I mean I did tell you on the phone
01:02:47you'll write when you're ready
01:02:49we're not talking about writing
01:02:52we're talking about me
01:02:53throwing you out and away forever
01:02:58oh John
01:03:22I'll call a cab
01:03:48I'll call a cab
01:04:06yes I would like a taxi right away please
01:04:09at 86 Alderman Road
01:04:14to go to Bellsize Park
01:04:202670592
01:04:23thank you
01:04:2810 minutes
01:04:56I'll get your coat
01:05:09I have a tape for you
01:05:12what is it
01:05:15just things I wanted to say
01:05:18maybe you'll listen to it
01:05:19when you're feeling better
01:05:26just put it somewhere
01:05:43is your air ticket valid for today
01:05:48I mean
01:05:49you're not going to have to buy
01:05:50another air ticket on top of everything else
01:05:52I
01:05:52no
01:05:54don't worry it's valid
01:06:10I'm going into the bedroom
01:06:14I love you Joe
01:06:16no don't say that to me
01:06:19don't say that thing
01:06:20to me
01:06:30I don't say that to me
01:06:37I don't know
01:06:40I don't know
01:06:40I don't know
01:06:42you'll listen to it
01:06:44I don't know
01:06:50I don't know
01:06:53What? What? I'm busy.
01:06:54What? Yes.
01:06:57Hello, it's me.
01:07:09Can you hear me?
01:07:27I'm only calling to say hello.
01:07:32Go!
01:07:36Jesus Christ.
01:07:40Who invented happiness anyway?
01:07:51Let's go.
01:07:54Let's go.
01:08:35hello hello good morning miss this is your early morning alarm call at the third stroke it will be
01:08:408 a.m. new york time glad to hear you're so cheerful joe and why shouldn't i be i am
01:08:47a man
01:08:47in tune with himself and i am eating a family-sized tin of peaches from an ovenproof glass bowl
01:08:55back to your old ways huh now when you see sarah life is very complicated
01:09:00for a pain in the ass who hasn't phoned for four months you sure come out with some very profound
01:09:04thoughts before breakfast friend i'm going for a pee well some people just cannot grasp profound
01:09:11ideas at eight o'clock in the morning without first going to the toilet
01:09:31i'm going to work i don't have long this better be good hello again and may i say straight away
01:09:37that i do not apologize for my recent behavior during your visit i have a sickness one which
01:09:42i hasten to add which is becoming less sick with every passing day i phoned you half a dozen times
01:09:49the first time you wouldn't talk to me the others you put the phone down i don't know what's less
01:09:53sick about that well i see i have not yet fully convinced you of the profound changes i am
01:09:57undergoing listen crud what do you mean you won't apologize to me for kicking me out and putting the
01:10:04phone down what the hell kind of person you think here we go recriminations your illness is an illness
01:10:10my illness is being a rat that's the way they slice it the world is full of priests you're moses
01:10:15with
01:10:16the tablets i am a bad person thus ignorance is satisfied joe my boss does not set the working
01:10:23hours of his employees to annoy you i do actually have in the real world to clock in on time
01:10:28at
01:10:28langland boyer bergson and smallwood attorneys at law i do i see so you do not wish to know the
01:10:34reason for my call you're a crud joe and i'm a crud for talking to a crowd very well on
01:10:40the round
01:10:41table behind me lie 73 pages of a corrected second draft of an as yet untitled play
01:10:52masterpiece it will elevate me from the level of a slightly known third rank writer to the level of a
01:10:57slightly better known third rank writer and the dedication on the first page is to you
01:11:08i didn't come over there for a play joe i came over there for you i know then apologize god
01:11:16damn you
01:11:18i'm sorry i apologize jesus
01:11:23it's the same play we started you know about my childhood in america and i i'd like you to perform
01:11:29it fine send it is it any good has it been produced yet no it's for you fine send it
01:11:39i'll have a look at
01:11:39it sarah what's going to happen i'm going to bergson and smallwood and you're sending me the play
01:11:46no i mean what's going to happen i'm going to work you'll send me the play and if i like
01:11:55it you'll
01:11:55try and set it up here and that's what's going to happen sarah come and live with me i knew
01:12:07it
01:12:07i knew it you're crazy you know that you have a genuine screw loose correction you had the whole
01:12:14deal corporation of america loose live with you i was living with you well over there and you and
01:12:20you threw me out you threw me out at ten minutes notice jesus sarah i genuinely believe and i just
01:12:25told you i wanted to sleep with you and out bingo goodbye sarah i genuinely believe i have good cause
01:12:30to know that it will not happen again it cannot you have good cause joe i really wanted to help
01:12:37i did i thought there was a home for me in that maelstrom inside of you i'm sick but i'm
01:12:44no
01:12:44masochist i was wrong forget it but you said you loved me so i need my head examined as well
01:12:51as my
01:12:51nervous system terrific i love you too wonderful tremendous
01:12:59joey
01:13:02please try and understand i don't trust you anymore i can't risk that again it was a nightmare for me
01:13:13you hurt me all right now look i don't believe there will be any need for this and i only
01:13:20offer it
01:13:20as a kind of reassurance but i could purchase a second-hand caravan and park it outside my flat
01:13:29you could always go to the caravan
01:13:31what
01:13:32oh sir i'm not going
01:13:34we actually get one
01:13:36no no no no i understand no really we're living together and suddenly rumble rumble rumble the neurotic
01:13:45volcano erupts me hobble hobble hobble to the caravan to safety the eruption is at its height
01:13:52we wave to each other through the window the eruption subsides it is safe to return to the sensitive
01:13:57damaged artiste i understand really i need you yeah and i need me too joe you think i'm a fish
01:14:07you put
01:14:07the play on a hook and dangle the line in the water and reel me in did you wrong the
01:14:13question is who
01:14:14needs me and that's where i come in that's where i choose but one thing you did to me by
01:14:20throwing me
01:14:21out you finally showed me my rights phone me at eight o'clock tonight i have things to do good
01:14:29morning
01:14:36now gypsies a handicapped jew isn't enough it's gypsies
01:14:49so
01:14:54i
01:14:55i
01:15:13i
01:15:14i
01:15:28hello the play is not to trap you
01:15:33the fact that i can write the play and give you the play
01:15:38means that i've begun to accept that it wasn't a betrayal of my natural parents to love my
01:15:43american family and that is why i can now love you and not have to throw you away
01:15:52and that is the meaning of giving you the play
01:16:02joe i can't
01:16:05i love you you have a friend for life but i can't risk all that again
01:16:11but i have to trust you i have to trust that you don't fall down on this carpet
01:16:18and a man in a white coat tells me you're dead
01:16:23and i am again utterly utterly alone
01:16:29i have to trust you for that
01:16:33and i do trust you for that
01:16:37i'll risk it
01:16:40i'll make the deal with you okay
01:16:42yes
01:16:49okay i'll come for a short stay
01:16:52i won't bring any books i won't bring any records
01:16:55just some clothes for a short stay
01:16:58and we'll see
01:17:00agreed
01:17:00yes
01:17:03forget about caravans trailers and shelters for battered lives
01:17:07agreed
01:17:08yes
01:17:11clause three
01:17:14if i get work over here
01:17:16i work
01:17:20no explosions
01:17:21or eruptions from you
01:17:23i work
01:17:27are all these points
01:17:29absolutely clear
01:17:31yes they are
01:17:32and understood
01:17:34yes
01:17:40from the marrow
01:17:41and in the bone
01:17:44in the marrow
01:17:47and in the bone
01:17:53there's a subclause
01:17:56i'm handicapped and even though i won't have that much hand luggage
01:18:01i'll need some help
01:18:03i want you to come out to the airport
01:18:06and meet me
01:18:21i'd rather you walked from the airport to me
01:18:25if it's not too much trouble
01:18:34you
01:19:15¶¶
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