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Subtitles by LeapinLar

 

Each day I'll hand you
a scrap of paper.

It'll tell you
what happened to you that day.

You felt a lump in your breast.

You looked at your wife
and saw a stranger, et cetera.

Caden?

What?

When are we gonna
get an audience in here?

 

It's been 17 years.

 

All right, I'm not excusing
myself from this either.

I will have someone play me

to delve into the murky,

cowardly depths

of my lonely,

fucked-up being.

 

And he'll get notes too,

and those notes
will correspond

to the notes
I truly receive

every day
from my god!

 

Get to work!

 

[¢Ü¢Ü¢Ü]

 

They fired me.

 

I caused an outbreak
of conjunctivitis.

CADEN:
Oh, God.

.
I didn't wash my hands

I had pinkeye hands.

Oh, God.
I'm such a stupid cow.

Fucking private Christian
school is killing us.

.
You know, it's not cheap

It's Derek's thing.

I don't believe in that shit,
you know.

You try to be a good person.

I mean, that's all there is.

 

Do you have anything
for me, Caden?

Uh...

 

I mean, I already
have an assistant.

You know, I don'¡¯t ha
ve a box office yet, but--

Please, Caden.

Please, Caden. I...

 

Please, Caden.

 

Sammy Barnathan?

 

This is Sammy Barnathan.

 

?
I don't have a r?sum

or a picture.

 

I've never worked as an actor.

Good.

Tell me why you're here.

.
Well, I've been..

 

I've been following yo
u for 20 years.

So I knew about this audition
because I follow you.

And I've learned
everything about you

by following you.

So hire me,

and you'll see
who you truly are.

 

Peek-a-boo.

 

Okay.

 

Hazel, I don't think
we need to talk to anyone else.

This guy has me down.

I'm gonna cast him right now.

And then maybe you and I
can get a drink.

And we can try to figure out
this thing between us...

why I cried.

'Cause I've never
felt about anybody

the way I feel about you.

 

And I wanna fuck you

until we merge into a chimera,

a mythical beast

with penis and vagina
eternally fused,

two pairs of eyes

that look only at each other,

 

and lips ever touching.

And only one voice

that whispers to itself.

 

Okay.

 

You'¡¯ve got the part.

 

[TOILET FLUSHES]

 

I've never seen
your shit gray.

 

It's new.

 

That's a good--
Good boy.

 

[HUFFS]

[SIREN WHOOPS]

 

When is it opening?

.
When it's ready

We need to get in.
It's bad out here.

Sorry.

[CLEARS THROAT]

 

You know, I was thinking
of calling itSimulacrum.

I-I-I don't even know
what it means.

Can I have a nickel

if I doesn't play
with my pee-pee no more?

 

Yeah.

 

How aboutThe Flawed Ligh
t of Love and Grief?

I'm not sure.

 

Claire, I want you
to play yourself.

Sammy's gonna move
into your apartment set as me.

It, uh...

 

It would be my honor
to play your husband, Claire.

You're an amazing actress.

No, I saw you
do Bernarda Alba

last year
at the Roundabout.

Yeah?

That was a fun play.

Emotionally, it was tough,

but fucking fulfilling.

Plus, I loved working with
so many strong female actresses.

[LAUGHS]

 

I'm gonna start thinking
about myself.

 

Start, huh?

[BOTH LAUGH]

 

Claire Keen. Claire Keen.

Why did we
leave Adele, Caden?

 

She left us.

 

Now, you know that
better than anybody.

 

Except me.

An amazing
artist though.

The best living artist.

I mean, there's no one who
stares the truth in the face

like she does.

Sweet pussy too.

 

How do you know that?

 

Oh, I read it.

 

[BOTH CHUCKLE]

 

Anyway...

 

I mean, I don't know
where she is.

[DRONE SOUND]

SAMMY:
Well, maybe she's got

a sublet in New York.

Maybe she'¡¯s got
a retrospective at the Met.

Maybe...

baby.

 

CADEN:
Why are you giving me this?

SAMMY:
I wanna follow you there

and see how you lose
even more of yourself.

 

Research.

 

You know,
for the part.

Partner.

[¢Ü¢Ü¢Ü]

 

[BUZZES]

[BEEPS, DOOR OPENS]

 

[DINGS]

 

MAN:
Hold it. Hold it, please.

Hold it, please.

 

or.
I asked you
to hold the do

I'm sorry, I, uh,
pressed the button,

.
but I think it was too late.
You didn't press it

 

Have a good night.

Yeah, thanks.

 

WOMAN:
Are you Ellen?

What?
Ellen.

Are you Ellen Bascomb?

What?

I'm to give the key to 31
Y to Ellen Bascomb.

Yes, I'm Ellen.

She said you should just
go ahead and get started.

And don't forget
to change the sheets.

Okay, thanks.

 

Oh, sweetheart.

 

CADEN:
Adele?

 

Adele?

 

ADELE:
Hi, Ellen.

Be a doll and do the sheets

and whatever's in the hamper.

[COUGHS]

Your money's under the toaster.

Kisses. Mwah, Adele.

P.S. Bag of stuff in bedroom
closet for Goodwill.

Take what you want.

 

CADEN:
Went for a walk.

I had to think.

 

All night?

You smell weird.

Are you wearing lipstick?

 

No.

 

ke?
What do I--?
What do I smell li

Like bad?
Like an old person?

I don't know.
Like mold and cleaning products.

Like you'¡¯re menstruatin
g. I don't know.

Menstruating?

You tell me.

I-I don't menstruate.

So I don't know how I could
smell like I'm menstruating.

I wouldn't know.

 

I don'¡¯t like the guy
you got to play you.

You don't like Sammy?

Why? I-I think he's good.

I think you should fire him.

.
Fuck you. I'm 45 years old

I don't wanna
do this shit anymore.

I won't fire him, he's the bes
tthing in the play except you.

me.
He's coming on to

He'¡¯s grabbing my ass
in rehearsal.

He's your husband.
[POUNDING AND YELLING]

.
Good, Jimmy.
He's not my goddamn husband

You are. What the fuck
is wrong with you?

 

.
I'm going to rehearsal

It's about the play. We're
getting at something real here.

That's great, you guys.

Beautiful, Sammy.

 

Caden? Time-out?
Yeah.

?
What's up

Well, I feel we need
a, uh-- A Hazel in here.

I mean, there'¡¯s a whole
side of Caden

.
I can't explore without a Hazel

 

I guess, yeah.

HAZEL:
I get to be a character?

Yeah.

Hurray.

 

ADELE:
Hi, Ellen.

Crackerjack job last night.

[COUGHS]

Would you do sheets again?

We had quite a fuck,

and it's musky and gross.

Kisses, A.

CAMDEN:
Hi, Adele.

Relined the cabinets.

I just wanted to let you know
I won a MacArthur Grant.

And I'¡¯m mounting a play

which I think is gonna
be pure and truthful.

Best, Ellen.

 

I went for a walk.

I had to think.

 

Caden, what are you
doing at night?

I have a right
to fucking know.

 

e.
I've been going
to Adele'¡¯s plac

 

And cleaning it.

 

Do you have any idea
what I've given up for you?

For this? For you?
[KNOCKING]

For you?
Could you please get that?

[KNOCKING CONTINUES]

 

Uh-oh, this looks serious.
Am I interrupting?

What's going on, Hazel?

I just wanted you to know
that the actress playing me

is ready to start today.

That's great,

that's all we need
around here; two Hazels.

Okay, I'll take that
as my cue.

 

Maybe you could
clean her toilet.

Maybe I will.

 

This is over.

No, Claire--

I'm not
talking to you.

I didn't say I was gonna
clean Hazel's toilet.

He did.
But you thought it!

I thought it,
but I didn't say it.

I got an offer to do
Needleman in a Haystack.

 

.
And I'm gonna take it

I want you
out of the apartment.

The real one.
You can keep this one.

Claire.

Jesus.

Claire.

[DIALING]

Hi, yeah, we're gonna need
a Claire replacement.

Claire!

I didn't say it!

 

I already
put out a call

for a Claire
replacement.

 

But I'm afraid
I'm gonna have to move on.

Just like that?

You don't give a gu
y even a chance?

I'm not a chance-giving girl.

I'm a fun-loving girl,
remember?

I try and be
fun-loving, see?

Ha-ha-ha! Sorry.

My analyst says
you have complexes.

.
Once you enjoyed
Needleman's complexes

That'¡¯s before
my analyst taught me--

This is the last of my stuff.

Bye.
Bye.

From the top?

Oh, Needleman,
you had such potential.

But I'm afraid
I'm gonna have to move on.

 

[CLAIRE LAUGHING]

I'm sorry. Okay.

 

Oh, Needleman,
you had such potential.

But I'm afraid--

.
[LAUGHING]:
I'm going to have to move on

NEEDLEMAN:
Just like that?
Don'¡¯t give a guy a chance?

CLAIRE:
I'm not a chance-giving girl.

I'm a fun-loving girl.

NEEDLEMAN:
Once you enjoyed
Needleman's complexes.

CLAIRE:
That'¡¯s before my analyst
taught me--

This is a lie.

NEEDLEMAN:
Come here. I try to be
fun-loving, see?

CLAIRE:
She told me your hatred of--

Will.

Wall it up.

All of it.

 

Claire.

 

[CLAIRE GROANS]

[BEEPING]

CLAIRE:
Oh, Needleman, oh...

[LAUGHS]

All right.

 

[DINGS]

ADELE [COUGHING]:
Good for you with your grant.

Listen, I fixed up the walk-in
as a sort of bedroom

if you want.
We'd love to have you

and you wouldn't have to schlep
all the way to Queens.

[CONTINUES COUGHING]

It's just a thought.
Kisses, A.

 

OLIVE [AS ADULT]:
Dear diary,

I'm afraid I'm gravely ill.

 

It is perhaps times like these

that one reflects
on things past.

An article of clothing

from when I was young.

A green jacket.

A walk with my father.

A game we once played.

Pretend we're fairies.
Pretend we're fairies.

I'm a girl fairy.
I'm a girl fairy,

and my name is Lauralee,
and my name is Lauralee.

and you're a boy fairy,
and your name is Teetery.

Pretend when we're fairies,
we fight each other.

And I say,
"Stop hitting me or I'll die."

And you hit me again,
and I say:

"Now I have to die."

And you say,
"But I'll miss you."

And I say, "But I have to.
But I have to.

"And you'll have to wait

"a million years
to see me again.

"And I'll be put in a box

"and all I'll need
is a tiny glass of water

"and lots of tiny
pieces of pizza.

And the box will have wings
like an airplane."

And you ask,

"Where will it take you?"

"Home," I say.
Home.

 

This is to hear.

 

So words--
English here, yeah?

 

[SPEAKING GERMAN]
TRANSLATOR:I'm dying

as I'm sure Maria told you.

The flower tattoos have become

infected and they're dying.

 

So I am as well.

This is life.

It's Maria.

She did this.

Maria gave me a reason to live

once you left.

The flowers defined me.

Your mother and Maria
took you away.

I've tried for years
to find you.

I didn'¡¯t leave you.

I want to talk to you
about your homosexuality.

[SIGHS]

I'm not a homosexual.

Maria said you would deny it.

Well, she's a liar.

She'¡¯s lying to you.

I had the same struggle

when I first
fell in love with Maria

and we began to have
dirty, aching sex.

Maria is your lover?

Of course,
she introduced me to myself.

 

To my vagina and to hers.

But you have no idea

how evil she is.

I need to forgive you
before I die

but I can't forgive someone

who has not asked
for forgiveness.

I just want--
I have no time.

 

I need you to ask
for forgiveness.

 

Can you ever
forgive me?

 

For what?

For abandoning you.

For abandoning you
to have anal sex

with my homosexual lover, Eric.

 

[CRYING]

I will, I'll say it.

 

For abandoning you...

 

to have anal sex

with my homosexual
lover, Eric.

 

No.

 

[CRYING]:
Oh.

[CRYING]

[SNIFFLES]

No, I'm sorry.

 

I cannot.

 

[GROANS]

 

I hope you are happy,
faggot.

I'm not happy.

I'm not happy.

 

I've talked to you before.

This is not a play about dating.

It's about death.

Make it personal.
Move along.

 

He doesn't need to
yell at them.

[CLEARS THROAT]

It is a play
about dating.

It's not a play
just about death.

It's about everything.

Dating, birth, death,
life, family...

 

...all that.

l.
This doesn't look rea

What?

It's not real.
I can't hear you.

 

[TRAFFIC NOISE]

 

Morning, Hazel.

Hi, Caden.

How was your night?

It was okay.
Yours?

Ugh, Phillip was colicky.

I was up all night.

SAMMY:
Oh, sorry.

Sorry.

Everybody here?

Sammy's not here.

Jimmy called and--
[CLEARS THROAT]

Said there's some
subway problem.

Sorry. Sorry.

Hi, Hazel.

Hi, Sammy.

 

Sammy likes you.

 

I need you to build this.

This is just the fa?ade.

It's Adele's place.

We'll be casting an Ellen.

I can give you
the interiors later.

 

A few days?

 

[INDISTINCT CHATTER]

 

Millicent Weems?

 

Caden, this is--

Hazel, what do you
think of this title?

 

Unknown, Unkisse
d and Lost?

 

Meh...

 

Anyway, uh, this
is Millicent Weems.

CADEN:
Have a seat.

 

How are you
at cleaning?

 

Very, very
good at it.

Because this part
requires a lot of it.

You'd be playing
a cleaning lady.

I played Egga,

the cleaning lady,
inHedda Gabler

at the Roundabout.

Great. Okay.

 

And, uh, Mrs. Dobson

inScrub-A-Dub
at the Pantages.

 

You're weirdly close
to what I visualized

for this character.

 

Glad to be weirdly close.

 

MAURICE:
Sorry, everybody.

 

?
Maurice,
what's going on

I'm sorry.

We have a couple
of new guys on.

We're not in sync yet.

We good to go?

Yes, sir.

 

[COUGHS]

.
I'm sorry

 

Are youEllen?

Are you
Ellen Bascomb?

Shit.

Line, please?

 

"What?"

Right, right.

What?

I'm to give the key to 31Y

to Ellen Bascomb.

Yes, I'm Ellen.

 

Oh, dear.
It's the wrong key.

ADELE:
I'll be in, in a second.

Did you hear that?
What?

 

Uh, Caden, you're breakin
g the fourth wall.

This is the wrong key.

r.
I can open--
I'¡¯m supposed to open the doo

Hold on.

Are you in there?

There's no one
in there.

Adele?
Caden.

 

ADELE:
I'm jumping in the shower.

I'll be out in a second.

 

If you want some coffee

I can make a fresh pot.

Did you look at
the new painting on my easel?

What do you think?

Hey, thanks for the fuck
this morning.

.
People don't walk like that

What? Too...?

No, just walk
like yourself.

Watch. Watch this.

 

I gotta go.

Watch this.

 

Where's, uh,
Hazel and Sammy?

 

Sammy.

Sammy.

[BOTH LAUGHING]
Sammy.

 

Hi, Caden.

What are you doing?

I was being you, I...

 

You know, you like Hazel,
I like Hazel.

This Hazel
doesn't exist for you.

If you wanna like a Hazel,
like that one.

That's what I
tried to tell him.

No harm, no foul, Caden.

It's equity
break anyway.

Ten minutes,
everybody!

 

Hazel.
What?

Well, you don't
like him, do you?

HAZEL:
Yeah, he reminds me of you.

[LAUGHS]

I'm me.

You don't need someone
to remind you of me.

Oh, don't worry,
Caden.

I like you more.

I do.

.
It's just, Sammy's fun

[LAUGHS]
[PHONE RINGS]

I'm fun.

.
Oh, sweetie, no, you're not

Hold on a sec. Yes?

MAN:
Is this Caden Cotard?

Yes.

This is Officer Melnin
of Schenectady P.D.

I'm sorry to inform you

your mother's been the victim
of a home invasion.

What does that mean?

She is dead.

 

Was my father standing with us?

.
I don't know what he looks like

He's dead.

So he looks dead, I guess.

n.
Probably wasn'¡¯t him, the

He was a big guy.

 

Anyway...

 

Thanks for coming with me.

 

That's okay.

 

I asked Hazel

but she was busy tonight,

.
and you'¡¯re the next best thing

 

I mean, it'¡¯s not that
you're the next best thing

 

but because you play her,
it feels comforting.

 

Does that make sense?

[LAUGHS]

 

Although the thing is,

off-stage you're
nothing like her.

But you play her
very well, though.

 

Did Hazel mention what
she was doing tonight?

Because I called
her house before we left

and her husband told me

she wasn't gonna
be back till late.

And I just thought
that was weird

because she said
Phillip was sick.

She's having dinn
er with Sammy.

That's interesting.

me.
He's supposed to like

.
I'll have another talk with him

 

Will you excuse me?

I need to go to the bathroom.

 

.
Don't forget your phone

Hmm.

 

Thanks, Yammy.

 

[RINGS]

HAZEL:
It's Hazel.
Leave a message or not.

It's your dime.

 

.
You can stay
in my parents' room

 

[DIAL TONE BEEPING]

[GASPS]

 

CADEN:
I thought someone
would have cleaned it up.

 

TAMMY:
Who?

I don't know. Someone.

 

This is my room.
You can sleep here.

Where are you going to sleep?

h.
[SIGHS]
The living-room couc

?
Don't you want to sleep with me

 

It's just sex.

Okay.

.
If you think it's okay

 

How can you be like that?

TAMMY:
I get undressed every day.

In front of someone
is different.

 

I don't see why.

Maybe because you have
a beautiful body.

Maybe that makes it easier.

TAMMY:
Yeah, I suppose it might.

 

Do you want to fuck?

 

I do. Um, do you?

 

Take your clothes off.

.
I'm sorry

.
I'm very, very lonely

 

I don't, ah...

 

know what's wrong. I-I just--

[SNIFFLES]

I'm sorry.

 

Do you understand?

I mean, can--? Can you
understand loneliness?

 

Yeah. I mean--

 

I don't know, I--

I feel okay, mostly.

 

Fucking might help.

 

[SOBS]

I'm sorry.

It'¡¯s okay, I don't mind.

Take your clothes off.

 

You're very pretty.

Thanks.

Sometimes I wish
I could be pretty like that.

 

What, you wish you were a girl?

Sometimes I think
I might have been better at it.

Interesting.

It's kind of a drag
in a lot of ways.

 

Do you like guys?

No.

I only love women.

Well, I'm getting cold.

 

[¢Ü¢Ü¢Ü]

You're pretty, Caden.

[SIGHS]

Thanks for saying that.

 

Come to bed, pretty Caden.

 

I shouldn't have drunk
so much fucking beer last night.

 

ACTOR:
What are you gonna do about it?

ACTRESS:
Get lunch. What are you
going to do?

ACTOR: For chrissake.
Good, Roland.

ACTOR:
Thanks, Caden.

We need to fire him.

 

.
We don't need to fire him

 

Jeremy'¡¯s playing to us.

Tell him to talk to Donna
and we'll hear what we hear.

Sammy's explaining too much.
It feels expository.

It needs to be shorthand,
like, "Jeremy, big."

 

Caden, can we stop a second?

Sure.

,
If Hazel's in love with Sammy

l
and Caden's in love with Haze

there would be a big
confrontation

where Caden turns
to me and says:

"It's obvious he's
a substitute for me."

Then I think Hazel would have
a good moment where she cries

or gets ang--
Gets angry,

I'm not sure which,
but I think it's sound--

.
HAZEL:
That didn't happen

I think Hazel would do that.

But Hazel hasn't
done that, Tammy.

Caden, what do you think?

 

I-- I feel like we could--
We could try it.

 

Great.
Fuck.

 

Let's try it.

[COUGHS]
Maybe it could happen
at the director's table.

 

[CLEARS THROAT]
Fuck.

 

.
You know, Tammy's right

.
I don't understand
why you're with Sammy

He's nice, he's available,
he fucks me without crying.

Since when are you available?

 

Derek left because of you.

 

When?

How come you never told me?

I don't know, Caden.
How come a lot of things, huh?

Fuck.

I gotta let go of the actor
who played Derek.

?
What's his name

What? That is such
a romantic response.

.
I am touched.
It's not my response

Derek is played by...
It crossed my mind.

We have enormous
budgetary concerns here.

Oh, oh...

 

Joe.

Stop. Okay? No, just stop.

I do not like Tammy,
and she's nothing like me.

How can you like her, anyway?

She looks like you.

Joe Abernathy.
No, she does not.

She offered to have sex with me.

Ugh.
Abernathy?

Yeah.

Was it good?

It was nice.
Oh.

.
I'm just being honest

g.
It was nice.
It wasn'¡¯t earth-shatterin

 

Did you cry?
No.

[SCOFFS]
You're making progress.

 

Okay, I cried a little before.

 

Hazel, you've been
a part of me forever.

?
Don't you know that

 

I breathe your name
in every exhalation.

 

What are we doing?

I don't know.

[¢Ü¢Ü¢Ü]

 

HAZEL:
Oh,

this is the place
Yeah.

I stayed with Derek
and the kids.

Yeah, we're almost--

Caden.

Oh.

Caden.

 

Caden. Caden, look at me.

CADEN:
What are you doing?

Sammy, stay right where you are.
I'm coming up.

There's nothing to talk about,
Hazel. It's not your fault.

What are you doing?

.
I've watched you forever, Caden

f.
But you'¡¯ve never really look
ed at anyone other than yoursel

So watch me.

[SNIFFLES]

Watch my heart break.

Watch me jump.

[LAUGHS]

Watch me learn that after death
there's nothing.

No more watching, there's
no more following, no love.

Say goodbye to Hazel for me.

And say it for yourself too.

None of us has much time.

Sammy! Come down!

SAMMY:
Hazel, I love you!

CADEN:
Sammy!

 

I didn't jump, Sammy.

A man stopped me before
I jumped. Get up!

 

I didn't jump.

 

I know how to do it now.

There are nearly 13 million
people in the world.

I mean, can you imagine
that many people?

And none of those people
is an extra.

They're all leads
in their own stories.

They have to be given their due.

I know how to do it now.

There are 13 million
people in this world.

Can you imagine
how many people that is?

None of those people
are an extra.

They're all a lead
in their own story.

They have got
to be given their due.

Do you see what
I'm saying?

Come over tonight.

 

Please.

 

You know, we could get
a place together.

We could get a loft.

HAZEL:
God, Caden, that sounds nice.

.
I miss my daughter

Maybe she could come
live with us.

I miss Olive.

And the other one.

.
I'm a bad person

Oh, no, you're not.

am.
I

I should never have gone
out with Sammy.

I was just trying to get to you.

You can't cause someone
to kill himself.

He was very troubled.

God, Caden.

 

I wish we had this
when we were young.

[SIGHS]

And all those years in between.

My heart aches so much for you.

We're here, Caden.

.
I'm here

I'm aching for it being over.

 

Yeah,

the end is built
into the beginning.

What can you do?

God, you'¡¯re just perfect.

I'm a mess.

[CHUCKLES]

But we fit,

?
don't we

Yeah.

 

CADEN:
It doesn't always
happen for me now

because of the medication
and everything.

I take a lot of pills.

It's okay.

 

I'm-- I'¡¯m embarrassed.

I don't want you to think
it's about you or-- Or me.

It's okay.

 

[SIGHS]

 

[¢Ü¢Ü¢Ü]

 

I have a title.

 

The Obscure Moon
Lighting an Obscure World.

 

I think it might be too much.

 

Yeah, probably.

[CHUCKLES]

 

MAN:
Sir, could you come
up here, please?

 

Oh.

 

[¢Ü¢Ü¢Ü]

 

n.
Might be smoke inhalatio

[SOBS]

 

[¢Ü¢Ü¢Ü]

HAZEL:
It's Hazel. Leave a message
or not. It's your dime.

[BEEPS]

I know how to do the play now.

 

It'll all take place
over the course of one day

 

and that day will
be the day before you died.

 

It was the happiest
day of my life.

 

And I'll be able
to relive it forever.

See you soon.

 

MICHAEL:
So have you got any thoughts

for today's rehearsal?

 

I have a new title, maybe.

Oh.

Infectious Diseases in Cattle.

Oh.

 

The title means a lot of things.

You'll see, it means a lot.

 

I need a Caden for my Hazel.

I'd very much like
to play Caden.

 

I-I know that--

I know that it would
be nontraditional casting

but I think, ah, I could do it.

I think I understand him.

.
I don't understand him

Well, Caden Cotard
is a man already dead.

He, um, lives in a half world
between stasis and antistasis

and time is concentrated,

chronology confused.

Yet up until recently he's--

He's strived valiantly

to make sense of his situation.

But now he, ah--
He's turned to stone.

Okay. Sounds good.

Okay.

 

Thanks.

?
She's right

all.
I didn't see that at

I saw it as much more hopeful.

 

None of those people is extras.

They're all leads
in their own stories.

 

No, this is tedious.
This is nothing.

 

MILLICENT:
Your scene's over.
Would you leave the stage?

What is she doing?

He'¡¯s directing.

MILLICENT [WHISPERING]:
Can I get you down
at the coffin there?

MICHAEL:
She not getting
the feel of you, Caden.

You don't move around like that
. You don't talk to people.

 

Sit on the ground there.

Okay, everybody, let's run it.

 

ACTOR:
Everything is more complicated
than you think.

You only see a tenth
of what is true.

There are a million
little strings

attached to every
choice you make.

You can destroy your life
every time you choose.

But maybe you won't know
for 20 years

and you may never,
ever trace it to its source.

And you only get one
chance to play it out.

Just try and figure
out your own divorce.

And they say there is no fate,

but there is,

it's what you create.

And even though the world goes
on for eons and eons

you are only here for a fraction
of a fraction of a second.

Most of your time is spent being
dead or not yet born.

But while alive,
you wait in vain

wasting years

for a phone call
or a letter or a look

from someone or something
to make it all right.

And it never comes,

or it seems to,
but it doesn't really.

So you spend your time
in vague regret

or vaguer hope that something
good will come along.

Something to make
you feel connected.

Something to make
you feel whole.

Something to make
you feel loved.

 

And the truth is

 

I feel so angry.

 

And the truth is

I feel so fucking sad.

 

And the truth is,
I've felt so fucking hurt

for so fucking long.

And for just as long,
I've been pretending I'm okay

just to get along,

just for--

 

I don't know why.

Maybe because no one wants
to hear about my misery

because they have their own.

 

Well, fuck everybody.

 

Amen.

Amen.

 

[¢Ü¢Ü¢Ü]

 

Delightful.

Thanks.

I'm out of ideas.

 

I'm dead.

 

Well, I could take over
as you for a bit

until you feel refreshed.

n.
I think you'¡¯re tired, Cade

All these years
of creative work.

I think you just
need some time

to regroup.

I need to keep
my hand in.

Well, Ellen needs
to be filled.

What do you mean?

Her role. Just for a bit.

It's a choice role.

 

I do like to clean.

 

[¢Ü¢Ü¢Ü]

 

Ellen?

 

Yes?

Caden asked me to give you this.

You're to keep
it in all the time.

 

MILLICENT [OVER RADIO]:
So touched by the sadness

of Adele'¡¯s neighbor
so close to death.

 

Say, "Thank you,"
to Adele's neighbor.

Thank you.

.
You're very welcome, young lady

MILLICENT [OVER RADIO]:
Now say,
"Have a very good day."

Have a very good day.

I will indeed.

 

MILLICENT [OVER RADIO]:
Reach for the toilet paper.

Wrap some around your hand.

 

Wipe yourself.

 

There was supposed
to be something else.

You were supposed
to have something,

a calm.

Love.

Children.

A child, at least.

Children.

Meaning.

 

c?
Everything okay, Eri

 

Everything is everything.

ELLEN:
He hates me.

 

I disappointed him,
and he hates me.

 

Everyone is disappointing
when you know someone.

 

ELLEN:
I remember having that picnic
with my mother.

Look at me.

Ellen, what is it?

I was so young.

I'm going to remember
this moment

for the rest of my life, Mama,

and in exactly 20 years,
come here with my daughter

and have exactly
the same picnic.

ELLEN:
There was so much hope.

Baby, that the loveliest thing
I've ever heard.

 

ELLEN:
Oh, God.

Sorry, Mommy. I'm sorry.

 

[SOBS]

ELLEN:
Where is my little girl?

Where is my little girl?
Where is my little girl?

 

[BEEPS]

MILLICENT [OVER RADIO]:
Look at the night table
for a note from Adele.

 

MAN:
Adele died of lung cancer
last night.

You may stay on if you like.

 

MILLICENT [OVER RADIO]:
Stare out the window.

 

Remember the time
she got you to pose

for one of her paintings?

How she told you
how beautiful you were?

How she made you feel pretty
again for a little while?

Think how you'll miss her.

Stand up.

 

[¢Ü¢Ü¢Ü]

 

Now it is waiting,
and nobody cares.

And when your wait is over,
this room will still exist...

[PEOPLE CHANTING]

...and it will continue to hold
shoes and dresses and boxes

and maybe someday
another waiting person.

And maybe not.

PEOPLE:
Freedom. Two, four!

The room doesn't care either.

 

[INDISTINCT YELLING]

 

[YELLING STOPS]

 

[CRASH]

 

MILLICENT [OVER RADIO]:
Hello?

 

[CRIES OUT]

 

There's nobody running
the elevator anymore.

 

[¢Ü¢Ü¢Ü]

[MAN SCREAMS]

 

MILLICENT [OVER RADIO]:
What was once before you,

an exciting
and mysterious future

is now behind you,

lived, understood,
disappointing.

You realize
you are not special.

You have struggled
into existence

and are now slipping
silently out of it.

This is everyone's experience.

Every single one.

The specifics hardly matter.

Everyone is everyone.

So you are Adele,

Hazel, Claire,

Olive.

You are Ellen.

All her meager sadnesses
are yours.

All her loneliness.

The gray, straw-like hair.

Her red, raw hands. It's yours.

It is time for you
to understand this.

[RADIO CRACKLES]

 

[¢Ü¢Ü¢Ü]

MILLICENT [OVER RADIO]:
Walk.

 

As the people who adore
you stop adoring you

as they die, as they move on

as you shed them,
as you shed

your beauty, your youth

as the world forgets you,

as you recognize
your transience,

as you begin to lose

your characteristics one by one

as you learn
there is no one watching you

and there never was,

you think only about driving.

Not coming from anyplace,

not arriving anyplace,

just driving,

counting off time.

Now, you are here.

It's 7:43.

Now, you are here. It's 7:44.

Now, you are...

gone.

 

CADEN:
Where is everybody?

 

Mostly dead.

Some have left.

 

Would you sit
with me for a moment?

Because I'm very tire
d and-- And lonely.

 

[EXHALES]
Hmm.

 

I feel like I know you.

Well, I was, um, the mother
in Ellen's dream.

Yes.

 

You seem a bit older
than I remember.

That dream was quite
a while ago.

MILLICENT [OVER RADIO]:
Apologize.

I didn't mean to sa
y you looked old.

 

Ah--

 

[¢Ü¢Ü¢Ü]

CADEN:
There's everyone's dreams
in all those apartments.

 

[SIGHS]

All those thoughts

I'll never know

.
That's the truth of it

 

I wanted to do that picnic
with my daughter.

 

I feel like I've
disappointed you terribly.

Oh, no.

I am so proud of you.

MILLICENT [OVER RADIO]:
Ask her if you can put your
head on her shoulder.

Can I lay my head
on your shoulder?

Yes.

 

[SIGHS]
Hmm.

I love you.

 

I love you too.

[SOBS]

 

[¢Ü¢Ü¢Ü]

 

I know how to do this play now.

 

I have an idea.

I think...

if everyone--

MILLICENT [OVER RADIO]:
Die.

 

¢Ü I'm just a little person ¢Ü

¢Ü One person in a sea ¢Ü

¢Ü Of many little people ¢Ü

¢Ü Who are not aware of me ¢Ü

¢Ü I do my little job ¢Ü

¢Ü And live my little life ¢Ü

¢Ü Eat my little meals ¢Ü

¢Ü Miss my little kid and wife ¢Ü

¢Ü And somewhere
Maybe someday ¢Ü

¢Ü¢Ü Maybe somewhere far away ¢Ü¢Ü

¢Ü I'll find
A second little person ¢Ü

¢Ü Who will look at me and say ¢Ü

 

¢Ü I know you ¢Ü

¢Ü You're the one
I've waited for ¢Ü

 

¢Ü Let's have some fun ¢Ü

 

¢Ü Life is precious ¢Ü

¢Ü Every minute ¢Ü¢Ü

¢Ü And more precious
With you in it ¢Ü¢Ü

¢Ü So let's have some fun ¢Ü

 

¢Ü I'm glad I found you ¢Ü

 

¢Ü Like hanging round you ¢Ü

¢Ü You're the one ¢Ü

¢Ü I like the best ¢Ü

 

¢Ü Somewhere, maybe someday ¢Ü

¢Ü Maybe somewhere far away ¢Ü

¢Ü Somewhere, maybe someday ¢Ü

¢Ü Maybe somewhere far away ¢Ü

¢Ü¢Ü Somewhere, maybe someday ¢Ü¢Ü

¢Ü Maybe somewhere far away ¢Ü

¢Ü I'll meet
A second little person ¢Ü

¢Ü¢Ü And we'll go out and play ¢Ü