Opening Night Page #4

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Where were you?

I've been home all afternoon.

I've been home

for a couple of hours.

Hey.

Marty, I want

to tell you something.

Is it the end of the world?

You want a drink?

No, it's not

the end of the world.

What is it?

I'm not good enough for you.

- You're not good enough for me?

- No.

Well, I don't want to hear that.

I really don't want to hear that.

You're my inspiration.

Before I met you, I was -

I was a bum. I was a drunk.

I was a drunk with a pad.

I was W.C. Fields without a nose.

I was Dean Martin without any charm.

I was no good, really.

I -

I thought that

small talk was too small.

I thought big talk

was too pretentious.

I thought music was noise...

and I thought art was bullshit.

That's what I thought.

I know you're no good, Virginia.

You're just a girl, two legs.

I know that.

But I love you.

You see, I'm not too secure.

I'm step by step.

But I know you, you see.

I know you because I look at you

while you sleep.

Did you know that you sleep with half

your eyes open? Did you know that?

I went to see my first husband today.

Oh. Well. Really?

How was he?

Was he interesting?

Was he good-looking? Still?

Was he...

disappointing?

No, I guess not.

Well, that's normal, you know.

Listen, I promised

I'd never double-cross you.

I told you as long as I was here,

I'd be straight with you.

[Sighing]

I was very much in love

with you, Virginia.

When was that?

No, come on, really.

I would like to know.

You don't get to me.

You want to get to me?

You don't get to me.

There's no way

for you to get to me.

You want to take dope? Go ahead.

You want to get drunk? Go ahead.

You want to go out with some guy,

4:
00 in the afternoon?

Be with some guy? Go ahead.

That's your problem.

What a mess I am.

I'm begging again.

You want to be young

again, is that it?

Oh, Marty.

[Shouts]

[Sobbing]

All right, get up.

Sweetheart, get -

Sweetheart, did I hurt you?

[Continues Sobbing]

Virginia, I didn't hit you that hard.

[Whispers]

For Christ's sakes, get up!

[Continues Sobbing]

I'll -

Are you all right?

I was gonna call a doctor.

Don't be afraid.

I - I love you.

You're a wonderful actor, Maurice.

We must never forget

this is only a play.

Well...

[Chuckling]

[Laughs]

[Manny] I think it's wonderful how

you told everyone Maurice is an actor.

I mean, no one would have known

if you hadn't told 'em.

And I think it's marvelous...

how accurately

you described to the audience...

what they were watching: a play.

- Bravo.

- [Myrtle] You're being sarcastic.

[Sarah Sighs]

Then you understand something.

- Myrtle, do you like the part?

- No!

- You feel she's confused?

- She's not confused, no.

You feel she's happy?

You feel she's sad? What is it you feel?

[David]

Manny, excuse me a minute.

But does she -

does she wreck you?

Does she distress you so much

you can't sleep at night?

[Manny]

David, I know you're trying to help, but--

How can you represent someone

if you have no respect for her?

I mean, we all know

you changed all the lines tonight.

Doesn't that tell you something?

Don't you say to yourself...

"Myrtle, maybe I'm not so smart."

"Maybe Sarah's play has something to say."

"Maybe I haven't

loved anything in my life."

Maybe I should've gotten married.

Maybe I should've had children."

Did that ever occur to you?

Years ago.

I don't want any smart answers!

I don't know what the hell this is.

What is it?

You want to be loved on the stage?

- No.

- You feel this woman is sick?

- No.

- You feel she's confused?

[Sighs]

She's not confused.

You feel she's happy? You feel she's sad?

What is it you feel about her?

Nothing.

[Sarah]

Listen, every word that Myrtle says...

is on paper.

Here we're sitting around talking

like she has to manufacture the words.

[Chuckles]

You see,

there's Act I, Act II, Act III.

All you have to do

is say the lines clearly...

and with a degree of feeling.

And then the -

Virginia will appear.

Oh.

Now the goddamn tears.

[Chuckling]

Keep me up all night.

I have to tell you I love you

in front of my wife.

Now we get your goddamn tears.

[David] Aw, come on, Manny.

That's too strong.

All right.

David, I want to talk to her.

Wait outside, will ya?

Okay.

I'm not sore at you.

[Sarah]

Come on in.

I have a bar set up.

How about a drink?

- No, thanks.

- Oh, come on.

Loosen up a little.

Have a drink.

No, thank you.

I don't want one.

Sit down.

Should we call room service?

- You're not hungry?

- No, thanks.

How old are you really?

I'm trying to be patient.

How old are you, hmm?

I'm 65.

How old are you?

Well, if you can't say your age,

then you can't accept my play.

I accept my age.

- Why can't you read my lines?

- Listen, Sarah.

Every playwright

writes a play about herself.

You've written a play about aging.

- I'm not your age.

- What is your age?

I am aware that, uh, playing

an older woman is part of my problem.

I have no illusions

about being a teenager.

But on stage, you have

Virginia having hot flashes.

I don't have hot flashes.

I'm not going through menopause.

I'm not ready to play grandmothers yet.

You know, you're very clever.

If I'm good at this part,

my career is severely limited.

- Limited to what?

- Once you're convincing in a part...

- the audience accepts you as that.

- As what?

As old, that's what. Old.

- Are you gonna quit?

- No.

I'm looking for a way to play this part

where age doesn't make any difference.

Age isn't interesting.

Age is depressing. Age is dull.

Age doesn't have anything

to do with anything.

Listen, Sarah,

I don't have a husband.

I don't have a family.

This is it for me.

I mean, I get my kicks

out of acting.

If I can reach a woman

sitting in the audience...

who thinks that nobody

understands anything...

and my character goes through

everything that she's going through...

I feel like I've done a good job.

You think that anyone who's old

can't be vulnerable?

That's not what I'm saying.

Well, what are you saying?

When I was 18,

I could do anything.

My emotions were

so close to the surface...

I could feel everything easily.

But now -

This is years later-

Plays later.

Years later.

So, what's the answer?

I have this dead girl.

You know. You remember that kid

that was in the accident.

She's, uh -

She's so open. She's -

She's really-

She's really just on top

of everything emotionally.

She's -

She reminds me -

You said you have this dead girl.

What does "have" mean?

Is she here now?

In this room?

Good night, Sarah.

David?

- I've been waiting for you.

- Oh, I've been with Sarah.

I thought I'd buy you a drink.

I'm so tired, David.

[Phone Ringing]

Hello?

[Ringing]

Hello?

No, I -

I can't see you now.

- I don't want to see you.

I'm with someone.

- [Hangs Up]

I'm very concerned.

[Door Opens]

Well, as long as somebody's

going to be with you...

I'll say good night.

- Good night.

- Good night, David.

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