The House of Yes Page #6

Synopsis: 'Jackie-O' is anxiously awaiting the visit of her brother home for Thanksgiving, but isn't expecting him to bring a friend. She's even more shocked to learn that this friend is his fiancée. It soon becomes clear that 'Jackie-O's obsession is nothing compared to her obsession with her brother, as it also becomes clear she isn't the only member of the family with problems...
Genre: Comedy, Drama
Director(s): Mark Waters
Production: Miramax
  1 win & 5 nominations.
 
IMDB:
6.7
Metacritic:
54
Rotten Tomatoes:
62%
R
Year:
1997
85 min
Website
2,359 Views


I have chosen to love her.

- It wasn't thrust upon me by...

- Destiny?

I'm going to bed.

- Can I come?

- No.

- Jackie, I love her.

- Love.

Yes, love. Love.

I'm tired of being above everything.

- I wanna be a human being.

- Okay, then, let's be human beings.

You don't know how!

You didn't come to my hospital.

You didn't come.

- I came.

- They didn't tell me.

I came at night.

I stood under your window.

I watched you put on your makeup.

I watched you cry it off.

I knew I was the one

making you crazy...

so I left and went to New York.

But I'm not crazy now.

I'm better.

I watch soap operas.

I bake brownies.

- Normalcy is coursing through my veins.

- I want you to have a life.

I want you to love someone

you're allowed to love.

I miss you.

I miss you so much.

I miss you.

When I was with Peter...

I couldn't come

without seeing your face.

When you make love to that Lesly girl,

do you see my face?

Sometimes.

My face how?

From when?

The night we went to the party.

The Ides of March party.

Yes.

You ran into the room.

Your slip.

Pillbox hat.

And heels.

I got to wear heels.

And Mama's stockings

with the seams.

You walked over to the couch.

I was waiting for my skirt.

Macaroni wouldn't dry.

And I followed the seams

of your stockings.

Then I was afraid.

So I began the game.

Marty, look.

Marty.

You look lovely.

I have everything.

The dress. Everything.

- The dress?

- The suit. I could put it on.

- Don't.

- Oh, for old time's sake.

- Lesly might come down.

- She won't come down.

- How do you know?

- She won't come down.

- Where you going?

- To Marty's room.

- He's not in his room.

- How do you know?

- Lesly, you don't want to go down there now.

- I have to.

Damn.

I broke my heel.

H-Here, give it to me. Let me fix it.

I always carry crazy glue.

- How long does that take?

- I have to read the instructions.

- Oh, Jesus!

- It works overnight.

I can't wait that long.

I'll go barefoot.

Wait. L-Let me fix it for you. It

doesn't need overnight. That was a lie.

Anthony, not five minutes ago, you said

you would always be honest with me.

I lied to keep you here,

upstairs.

I can't stay here.

- Is my shoe ready yet?

- Lesly, if you go down there, you might see something.

- I know.

- Carnal.

- I know.

- So, why put yourself through it? Don't go.

- Can I have my shoe now?

- No.

Fine.

I have the gun.

- Put it down.

- There's no bullets. See for yourself.

Just give it to me.

But the blank.

- They'll hear the blank.

- In the storm?

It's getting quiet.

We must be going into the eye.

The best part.

Do you still remember that day?

The day of the party?

The day he was shot.

Everybody remembers that day.

Exactly what they were doing.

The radio was on.

The TV was on.

Mama was crying,

and Daddy was crying.

And Daddy was leaving.

Finally leaving.

She covered him with her body.

She tried to keep him there.

She'd tried to keep his head on,

but it was falling off.

You be him.

Yes.

And I'll be her.

I'm him.

And I'm her.

- Did you see them?

- What?

- Jackie. Marty.

- Uh-huh.

- Was I right? Was it carnal?

- Yes.

No. I don't know.

Told ya not to go.

Didn't I tell you not to go?

You okay?

- No.

- Sweetie...

Why did you call me that?

I don't know.

It just came out.

My dad used to call me that.

- Before.

- Before what?

- Before he died.

- I could call you that again.

It's okay.

I don't know what to do.

I could stay with you.

Stay with me how?

Any way you want me

to stay with you.

- With your clothes on.

- Or off.

You look like Marty.

You look like Lesly.

- Lesly.

- Yes?

I love you, Lesly.

Marty.

Jeez. Was I

that terrible?

Supposed to last

longer, isn't it?

How long does, like, Marty last?

- Anthony...

- What?

Well, that's personal.

You won't tell him, will you?

How I was?

- No.

- But you're gonna tell him. About us.

- I don't know.

- What about honesty?

The importance of honesty

in a relationship?

- Where are my hose?

- Why don't you check the light?

- I don't want to.

- Why not?

I'm shy.

Lesly, w-we just...

That's different.

That was just something I did.

You have to be with someone for a while

before you let them really look at you.

- You let Marty look at you?

- Of course.

Anthony, you can't stay here.

I was confused before.

- I was in a state of confusion.

- That's because we were in the heat of passion.

- I wasn't in the heat of passion.

- I'm closin' my ears.

I was pretending

that you were Marty.

And it didn't work.

You're brothers,

but you're different.

Smell different.

Taste different.

- Everything.

- Oh.

I miss little things.

Like his scar.

You mean, Jackie's scar?

No. Marty's.

On his stomach?

From when he had

his appendix out.

- Marty had his appendix out?

- Didn't he?

- No. Jackie shot him.

- Stop.

- She did.

- Why?

'Cause she felt like it. He was gonna go to

New York, and she didn't want him to go.

I can't believe you guys.

Are you going to go now?

Let's wait till morning.

Then tell him it's over.

- What's over?

- You and him.

It's not over, Anthony.

We're over.

Over?

How can we be over?

- We just are.

- What if I don't want to be over?

Anthony. Please.

Let me help you with that, dear.

Now, there's croissants

in the kitchen.

They're filled with something.

I forget what.

- You can eat yours in the cab.

- I'm not taking a cab.

How are you getting

to the train?

- I'm not taking the train.

- Well, then how are you getting back to New York?

- Marty'll drive me.

- Marty's needed here.

- Marty's needed there.

- Oh!

- You'll find a replacement.

- No, I won't.

You already have.

- Were you spying on us?

- A mother doesn't spy. A mother pays attention.

Marty won't let me go without him.

He loves me.

You're just a symbol

to him, dear.

A symbol of all

that is good and pure.

I'm not a symbol.

Well, not anymore.

Please don't tell him about Anthony.

Please. It'll only hurt him.

It's a little late

to worry about hurting Marty.

- He never has to know about it.

- Now, you can see that Jackie was a very sick girl.

She needs her family.

She has you.

She has Anthony.

We were beside the point,

as far as Jackie was concerned.

Jackie-O should learn she can't

always have everything her way.

Listen to me, Little Miss Messy.

You have no idea how close you came

to getting badly hurt tonight.

You should feel lucky

that Jackie hasn't decided that...

what she wants is you...

out of the picture.

Jackie can have everything her way.

She always has.

Is that how you raised them?

- People raise cattle. Children just happen.

- They don't just happen.

You could read Dr. Spock from now until

doomsday, but children just happen all the same.

This one has blue eyes,

that one's insane.

Well, she can't have Marty.

Marty's mine.

Please. Marty's maybe been

sort of yours for... six months?

He's belonged to Jackie

for 20-odd years.

Really odd.

Leave this morning, or Marty

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Wendy MacLeod

Wendy A. MacLeod (born August 6, 1959) is an American playwright. MacLeod received a BA from Kenyon College in Gambier, Ohio, where she now teaches and is a playwright-in-residence. She received a MFA from the Yale School of Drama.Her works include the plays Sin and Schoolgirl Figure, both of which premiered at Chicago's Goodman Theatre and were directed by David Petrarca. Schoolgirl Figure was then optioned for film by HBO and Anvil Entertainment. The House of Yes, which premiered in San Francisco at the Magic Theatre and was the theatre's second-longest running show, became an award-winning film by the same name, starring Parker Posey, and earned a Special Jury Award at the Sundance Film Festival. Other works include The Water Children, Things Being What They Are, Juvenilia, Apocalyptic Butterflies. Apocalyptic Butterflies was filmed by the BBC as Nativity Blues 1988, starring Alfred Molina. Her play Juvenilia, a comic drama about college students "attempting to find love", premiered off-Broadway at Playwrights Horizons, as did her play The Water Children, both directed by longtime collaborator Petrarca, which has also been seen at Los Angeles’ Matrix Theater where it was cited as "the most challenging political play of 1998" by the L.A. Weekly and earned six L.A. Drama Critics Circle nominations. Things Being What They Are premiered at the Seattle Repertory Theatre and was then seen at Steppenwolf in Chicago in 2003 where its sold-out run was extended twice. The House of Yes has been performed at Soho Repertory Theatre, at the Maxim Gorki Theater in Berlin and at The Gate Theater in London, where it was published in Plays International. MacLeod's play, Find and Sign, premiered at Pioneer Theatre Company in Salt Lake City, Utah in 2012. Set in the New York City music industry (with a slight nod to Othello), Find and Sign is about a bumpy romance between an on-the-rise young record executive and an idealistic public school teacher.Her critically acclaimed comedy Women in Jeopardy! premiered at Geva Theater in 2015, directed by Sean Daniels, and her newest play Slow Food was invited to the 2015 National Playwrights Conference. The play will be premiering at Merrimack Repertory Theater in January 2019. She has been a guest professor at Northwestern University’s film and theater departments. MacLeod's essay "Name Brand Nostalgia" was recently featured in The New York Times and her essay/talk "The Daily Struggle" was given as part of the Kenyon Review's Writers-on-Writing series in October 2016. Her prose and humor pieces have appeared in Poetry magazine, The New York Times, Salon, The Rumpus, McSweeney's Internet Tendency, The Washington Post, and All Things Considered. MacLeod worked as the Executive Story Editor for ''Popular'' (TV Series) for the WB and wrote the pilot "Ivory Tower", commissioned by CBS, produced by Brillstein-Grey (The Sopranos) and Diane Keaton, with actress Jeanne Tripplehorn (Big Love). She currently serves as the Artistic Director of the Kenyon Playwrights Conference. The Kenyon Playwrights Conference supports the early-stage development of new work through its commissioning program and offers an intensive playwriting workshop for playwrights at all stages in their careers, led by artistic leaders of partner companies which have included The Atlantic Theater, Playwrights Horizons, Steppenwolf Theater, Roundabout Theatre, Hampstead Theater, The Old Vic, The Royal Court Theater, La Jolla Playhouse, and ACT Theatre in Seattle. She is married to Read Baldwin and has two sons: Foss and Avery Baldwin. more…

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Submitted on August 05, 2018

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