1 00:00:02,546 --> 00:00:05,127 (techno music) 2 00:03:15,355 --> 00:03:16,354 - [Yvonne] One, two, 3 00:03:18,029 --> 00:03:19,660 three, 4 00:03:19,660 --> 00:03:20,493 four. 5 00:03:21,469 --> 00:03:23,686 Then, this open business, two, 6 00:03:25,661 --> 00:03:27,327 three, look, behind. 7 00:03:28,560 --> 00:03:30,708 Yeah, no, no, look at the paper, the paper. 8 00:03:32,358 --> 00:03:35,089 Yeah, now you go down stage. 9 00:03:35,089 --> 00:03:36,694 One, two, 10 00:03:36,694 --> 00:03:37,526 three. 11 00:03:39,214 --> 00:03:43,147 This is an open foot, but you're looking at the windows. 12 00:03:43,147 --> 00:03:47,366 It's behind, so, now, you go in that direction, two, three. 13 00:03:48,344 --> 00:03:51,069 Your feet will reverse, your gaze stays. 14 00:03:51,069 --> 00:03:52,231 No. Your gaze, 15 00:03:54,376 --> 00:03:56,154 is to the audience. 16 00:03:56,154 --> 00:03:59,451 Now you keep your body there, one, two. 17 00:04:00,537 --> 00:04:02,868 Keep your body there, three. 18 00:04:04,225 --> 00:04:07,692 Keep your body there, your gaze stays there, 19 00:04:07,692 --> 00:04:11,379 now your facing changes to the wall, 20 00:04:11,379 --> 00:04:15,142 one, two, keep your face in, three, keep in. 21 00:04:16,644 --> 00:04:19,827 Now we're going to reverse the feet, 22 00:04:19,827 --> 00:04:21,611 as the gaze comes to, 23 00:04:23,333 --> 00:04:24,165 the door. 24 00:04:39,474 --> 00:04:40,306 One, two, 25 00:04:41,745 --> 00:04:42,577 three. 26 00:05:05,208 --> 00:05:07,456 You're here, this is three. 27 00:05:11,269 --> 00:05:13,646 Yeah, this is, both feet going that way 28 00:05:13,646 --> 00:05:16,953 and you have to kinda lean forward to get a backward thing. 29 00:05:16,953 --> 00:05:19,331 That's the thing, when the foot is open, 30 00:05:19,331 --> 00:05:22,038 it's much easier to do the backward thing, right? 31 00:05:22,038 --> 00:05:25,115 But if both feet are going there, then... 32 00:05:34,985 --> 00:05:37,176 Leave your foot open, here. 33 00:05:43,379 --> 00:05:45,015 - [Yvonne] Both feet are going, 34 00:05:45,015 --> 00:05:47,965 this is everything to the wall, then just the foot. 35 00:05:50,238 --> 00:05:54,437 Now this is that same funny business here. 36 00:05:54,437 --> 00:05:59,008 Now take your focus to the, now you go down stage. 37 00:05:59,008 --> 00:06:00,709 One, two, 38 00:06:00,709 --> 00:06:03,117 three, the foot goes to the paper, 39 00:06:03,117 --> 00:06:05,774 the eyes go to the windows, 40 00:06:05,774 --> 00:06:08,804 now we're gonna walk to the windows, two, three, 41 00:06:10,467 --> 00:06:15,248 now, reverse the direction and the gaze is to the closet. 42 00:06:18,096 --> 00:06:20,053 - [Yvonne] Should we do that much again, or go on? 43 00:06:28,082 --> 00:06:29,760 Well, let's do a second one. 44 00:06:34,327 --> 00:06:35,261 One, 45 00:06:35,261 --> 00:06:36,174 two, 46 00:06:36,174 --> 00:06:37,026 wall, 47 00:06:38,372 --> 00:06:39,204 wall. 48 00:06:42,013 --> 00:06:43,779 No, it's that open business, foot. 49 00:06:45,884 --> 00:06:50,090 Team, you're facing to the paper on that last one. 50 00:06:50,090 --> 00:06:53,207 Now down stage, one, two, 51 00:06:53,207 --> 00:06:56,147 foot opens, gaze goes to window. 52 00:06:59,311 --> 00:07:01,930 Wait a minute, yeah, okay. 53 00:07:01,930 --> 00:07:02,762 One, two, 54 00:07:03,840 --> 00:07:07,036 three, keep reverse, gaze goes to closet. 55 00:07:09,930 --> 00:07:13,656 Yep, now, keep, now, this is the funny part. 56 00:07:13,656 --> 00:07:15,315 Keep your torso where it is. 57 00:07:15,315 --> 00:07:18,072 Your feet are gonna go toward the paper, 58 00:07:18,072 --> 00:07:22,717 and the torso and the face are gonna stay toward the closet. 59 00:07:22,717 --> 00:07:26,334 One, two, now your feet are gonna go upstage, 60 00:07:26,334 --> 00:07:28,881 your torso remains in that same relationship. 61 00:07:28,881 --> 00:07:32,331 So your torso will be facing the closet. 62 00:07:33,224 --> 00:07:36,533 - No, the paper, paper. 63 00:07:36,533 --> 00:07:38,424 (nervous laughing) 64 00:07:38,424 --> 00:07:40,222 Is there a closet behind that paper? 65 00:07:53,157 --> 00:07:54,755 - [Yvonne] This is the first of eight photos 66 00:07:54,755 --> 00:07:56,853 from Grand Union Dreams. 67 00:07:56,853 --> 00:07:58,661 Shirley was a mortal. 68 00:07:58,661 --> 00:08:00,959 Fernando and Valda were heroes. 69 00:08:00,959 --> 00:08:02,697 I was one of the gods. 70 00:08:02,697 --> 00:08:05,155 It was done about a year ago. 71 00:08:05,155 --> 00:08:08,901 In this first photo, Epp and James are engaged in a duet. 72 00:08:08,901 --> 00:08:11,479 David and Yvonne have just finished dragging them 73 00:08:11,479 --> 00:08:13,936 on the fake grass in a small arc. 74 00:08:13,936 --> 00:08:17,313 When they stand, they undulate their upper bodies in unison, 75 00:08:17,313 --> 00:08:19,990 while passing the red ball back and forth. 76 00:08:19,990 --> 00:08:21,678 They are about to pick up the grass 77 00:08:21,678 --> 00:08:23,636 and involve it in their undulations. 78 00:08:23,636 --> 00:08:25,544 Valda waits. 79 00:08:25,544 --> 00:08:27,572 My question is, what does it mean? 80 00:08:27,572 --> 00:08:29,201 Are they celebrating something? 81 00:08:29,201 --> 00:08:30,989 Yes, that sounds good. 82 00:08:30,989 --> 00:08:33,276 Epp and James are doing a dance of pleasure 83 00:08:33,276 --> 00:08:34,985 at the advent of spring. 84 00:08:34,985 --> 00:08:36,464 - [Shirley] It actually was spring 85 00:08:36,464 --> 00:08:38,881 when we began working on this piece, 86 00:08:38,881 --> 00:08:41,517 and I first met you Fernando. 87 00:08:41,517 --> 00:08:43,746 I think some people went over to your house 88 00:08:43,746 --> 00:08:45,597 after that first rehearsal. 89 00:08:46,592 --> 00:08:49,141 - [Fernando] You asked if we had any booze. 90 00:08:49,141 --> 00:08:52,349 That was where I first had a hint of your humor. 91 00:08:52,349 --> 00:08:54,592 The look on you face when you asked. 92 00:08:54,592 --> 00:08:57,582 - [Shirley] Yes, I remember the look you gave me. 93 00:08:57,582 --> 00:09:00,929 I thought, oh, I'm discovered in my discomfort, 94 00:09:00,929 --> 00:09:02,441 but he's sympathetic. 95 00:09:05,784 --> 00:09:07,992 - [Yvonne] There's the suitcase, and there's Trisha. 96 00:09:07,992 --> 00:09:10,010 Trisha has come down from Olympus, 97 00:09:10,010 --> 00:09:11,788 and has laboriously pulled her way 98 00:09:11,788 --> 00:09:13,387 toward the group of mortals, 99 00:09:13,387 --> 00:09:15,714 who are putting the squeeze on the heroes. 100 00:09:15,714 --> 00:09:19,271 Especially on Epp, who is squeezing the red ball. 101 00:09:19,271 --> 00:09:22,285 In this photo she has just said, "She is my very dear friend 102 00:09:22,285 --> 00:09:25,013 "and I don't like seeing her caught in the middle." 103 00:09:25,013 --> 00:09:26,693 - [Shirley] And there's Fernando in the box. 104 00:09:26,693 --> 00:09:28,312 - [Yvonne] With suitcase. 105 00:09:28,312 --> 00:09:30,529 Why does Fernando have the suitcase? 106 00:09:30,529 --> 00:09:33,057 Is he going away, or has he just arrived? 107 00:09:33,057 --> 00:09:35,395 Why is he in the box with the suitcase? 108 00:09:35,395 --> 00:09:38,392 Is he trying it out as a body supporting device? 109 00:09:38,392 --> 00:09:39,820 And what is in the suitcase? 110 00:09:39,820 --> 00:09:41,349 Dirty socks? 111 00:09:41,349 --> 00:09:44,046 - [Fernando] The complete works of Aristotle in Greek. 112 00:09:46,364 --> 00:09:47,832 On the stairs. 113 00:09:47,832 --> 00:09:50,819 I was going up the stairs and I heard my name. 114 00:09:50,819 --> 00:09:52,797 I didn't even know who was calling me, 115 00:09:52,797 --> 00:09:54,379 but I felt it in my spine. 116 00:09:55,215 --> 00:09:56,763 Something about your voice, 117 00:09:56,763 --> 00:09:58,974 and I turned around and it was you. 118 00:09:58,974 --> 00:10:01,678 - [Shirley] I didn't know there was anything special 119 00:10:01,678 --> 00:10:03,956 about my voice at that time, 120 00:10:03,956 --> 00:10:07,043 but I distinctly remember seeing you on the stairs, 121 00:10:07,043 --> 00:10:09,800 and realizing for the first time that you really 122 00:10:09,800 --> 00:10:12,547 were going to be taking this thing seriously, 123 00:10:12,547 --> 00:10:15,624 and I felt a strong surge of liking for you, 124 00:10:15,624 --> 00:10:17,962 and that must of shown in my voice. 125 00:10:17,962 --> 00:10:20,609 - [Valda] I was always aware of your presence. 126 00:10:20,609 --> 00:10:23,257 It was equivocal, sometimes sinister 127 00:10:23,257 --> 00:10:25,245 in that it didn't declare itself, 128 00:10:25,245 --> 00:10:26,623 especially on that ride we took 129 00:10:26,623 --> 00:10:29,351 into the Mennonite country with Shirley and Lena. 130 00:10:29,351 --> 00:10:30,839 I didn't know what you were about, 131 00:10:30,839 --> 00:10:32,385 or who you were attracted to. 132 00:10:32,385 --> 00:10:36,244 - [Fernando] Actually, I hadn't intended to ask you to go, 133 00:10:36,244 --> 00:10:39,679 but somehow, meeting you by accident like that, 134 00:10:39,679 --> 00:10:41,049 passing through the doorway, 135 00:10:41,049 --> 00:10:42,837 I did it on the spur of the moment. 136 00:10:42,837 --> 00:10:44,366 - [Valda] Yes, and I immediately asked 137 00:10:44,366 --> 00:10:45,954 if Shirley and Lena could come, 138 00:10:45,954 --> 00:10:47,712 because I didn't want to be alone with you. 139 00:10:47,712 --> 00:10:49,171 - [Shirley] Then he kept coming to the house 140 00:10:49,171 --> 00:10:51,139 with those messages for you. 141 00:10:51,139 --> 00:10:53,087 - [Valda] That really confused me. 142 00:10:53,087 --> 00:10:56,044 Not that I thought much about it in a personal way, 143 00:10:56,044 --> 00:10:58,432 but rather, you know, in that way that one does 144 00:10:58,432 --> 00:11:01,499 when you are trying to figure out someone else's intentions, 145 00:11:01,499 --> 00:11:03,836 whether or not they are directed at you. 146 00:11:03,836 --> 00:11:06,374 So I didn't really think anything about him personally 147 00:11:06,374 --> 00:11:08,102 until you told me about those talks 148 00:11:08,102 --> 00:11:10,050 you had with him about me. 149 00:11:10,050 --> 00:11:12,667 I think then I began to look at you differently, 150 00:11:12,667 --> 00:11:14,965 maybe with more curiosity. 151 00:11:14,965 --> 00:11:16,563 When we went to the theater that night 152 00:11:16,563 --> 00:11:19,291 I was very aware that you were sitting next to me. 153 00:11:19,291 --> 00:11:20,260 I don't know how aware I was 154 00:11:20,260 --> 00:11:23,187 that you had maneuvered to sit next to me. 155 00:11:23,187 --> 00:11:24,246 Do you remember? 156 00:11:24,246 --> 00:11:26,903 And the whole audience stood up so enthusiastically. 157 00:11:26,903 --> 00:11:28,981 I turned and looked at you as if to say, 158 00:11:28,981 --> 00:11:31,149 oh Christ, do we have to do this too? 159 00:11:31,149 --> 00:11:32,298 And we stood up. 160 00:11:32,298 --> 00:11:34,236 - [Fernando] Yes, I remember. 161 00:11:34,236 --> 00:11:37,772 Then later, I sat next to you in the Pancake House, 162 00:11:37,772 --> 00:11:40,360 and at one point I took out a pencil 163 00:11:40,360 --> 00:11:41,828 and I was writing something, 164 00:11:41,828 --> 00:11:44,296 which you noticed in a certain way. 165 00:11:44,296 --> 00:11:45,637 I was embarrassed. 166 00:11:52,428 --> 00:11:54,026 - [Valda] The night of our last performance, 167 00:11:54,026 --> 00:11:56,474 you said after it was over that you'd be coming to New York 168 00:11:56,474 --> 00:11:58,601 and that you'd like to look me up. 169 00:11:58,601 --> 00:11:59,780 I told you my address, 170 00:11:59,780 --> 00:12:02,527 and said that information had my phone number. 171 00:12:02,527 --> 00:12:05,155 Then later at that small party I was aware of you 172 00:12:05,155 --> 00:12:06,863 for no particular reason. 173 00:12:06,863 --> 00:12:09,640 You were across the room talking to Donald. 174 00:12:09,640 --> 00:12:12,088 I made that gesture with a bottle of brandy, 175 00:12:12,088 --> 00:12:14,296 offering the last drop to anyone who wanted it 176 00:12:14,296 --> 00:12:15,495 before I wolfed it down, 177 00:12:16,663 --> 00:12:20,000 and finally you sprang laughing up and accepted the bottle. 178 00:12:20,000 --> 00:12:21,661 Then later you were lying down. 179 00:12:22,527 --> 00:12:25,155 As I started to leave, on impulse I went over 180 00:12:25,155 --> 00:12:28,541 and laid down on top of you, saying, "Goodbye, Fernando," 181 00:12:28,541 --> 00:12:31,439 thinking it was the last time I was going to see you there. 182 00:12:31,439 --> 00:12:33,297 Almost instantaneously, 183 00:12:33,297 --> 00:12:35,614 as though you were expecting me to come to you, 184 00:12:35,614 --> 00:12:37,193 you grasped the back of my head 185 00:12:37,193 --> 00:12:39,091 and drew me down to your chest. 186 00:12:39,091 --> 00:12:41,492 You caressed my hair and sighed deeply. 187 00:12:42,917 --> 00:12:44,126 Then there was all that confusion 188 00:12:44,126 --> 00:12:46,174 about who would drive us to the airport. 189 00:12:46,174 --> 00:12:47,572 We didn't expect you. 190 00:12:47,572 --> 00:12:49,800 - [Shirley] Yes, I didn't know what to think either, 191 00:12:49,800 --> 00:12:51,828 although I sort of knew. 192 00:12:51,828 --> 00:12:54,246 I guess I was just a little uncomfortable 193 00:12:54,246 --> 00:12:55,824 because you had already showed me 194 00:12:55,824 --> 00:12:58,032 that piece he had written for you. 195 00:12:58,032 --> 00:12:59,630 - [Valda] I regretted that later. 196 00:12:59,630 --> 00:13:01,688 It seemed too intimate to show to anyone, 197 00:13:01,688 --> 00:13:04,006 even to Shirley, but I was still not ready 198 00:13:04,006 --> 00:13:06,394 to acknowledge your intentions toward me. 199 00:13:06,394 --> 00:13:08,921 So for the moment I had to pretend it was not as intimate 200 00:13:08,921 --> 00:13:11,499 or private as it later seemed to me. 201 00:13:11,499 --> 00:13:13,556 By the time you arrived to drive us to the airport 202 00:13:13,556 --> 00:13:16,184 I knew what was going on and I was getting excited. 203 00:13:16,184 --> 00:13:17,872 - [Yvonne] What made you excited? 204 00:13:17,872 --> 00:13:20,430 - [Valda] It was like the excitement of performance, 205 00:13:20,430 --> 00:13:22,537 experiencing my beauty and value, 206 00:13:22,537 --> 00:13:24,865 when all those eyes are focused on me. 207 00:13:24,865 --> 00:13:27,413 I am at my best as a performer. 208 00:13:27,413 --> 00:13:30,100 - [Yvonne] Why did you have to wait before getting excited? 209 00:13:30,100 --> 00:13:32,627 Don't you ever experience attraction to someone 210 00:13:32,627 --> 00:13:34,436 before you are sure whether or not 211 00:13:34,436 --> 00:13:36,094 they are attracted to you? 212 00:13:36,094 --> 00:13:38,062 - [Valda] Yeah, sure, but I really wasn't 213 00:13:38,062 --> 00:13:40,272 in that frame a year ago. 214 00:13:40,272 --> 00:13:42,787 You know what I had just come out of; I was very depressed, 215 00:13:42,787 --> 00:13:45,495 so I wasn't able to use my eyes too well. 216 00:13:45,495 --> 00:13:48,416 Besides, I really do enjoy performing. 217 00:13:48,416 --> 00:13:49,740 - [Yvonne] Okay. 218 00:13:49,740 --> 00:13:51,528 - [Fernando] When we went back to find-- 219 00:13:51,528 --> 00:13:53,676 - [Valda] Wait, Yvonne were you reading that? 220 00:13:53,676 --> 00:13:54,925 - What? - Those questions. 221 00:13:54,925 --> 00:13:56,474 - [Yvonne] Yes. Why do you want to know? 222 00:13:56,474 --> 00:13:59,301 - [Valda] I just wondered. Sorry Fernando. 223 00:13:59,301 --> 00:14:01,868 - [Fernando] We went back to find your eyeshade, 224 00:14:01,868 --> 00:14:05,195 went upstairs, looking through the rooms. 225 00:14:05,195 --> 00:14:07,033 There was hardly any light. 226 00:14:07,033 --> 00:14:09,031 - [Valda] I wondered why you didn't touch me. 227 00:14:09,031 --> 00:14:11,179 Wondered why I didn't I didn't touch you. 228 00:14:11,179 --> 00:14:13,666 - [Fernando] I stood on the landing beside the doorway, 229 00:14:13,666 --> 00:14:15,814 as we were going back downstairs. 230 00:14:15,814 --> 00:14:18,422 I thought you would have to squeeze through. 231 00:14:18,422 --> 00:14:20,692 - [Valda] Oh God! You gave me so much room. 232 00:14:22,178 --> 00:14:23,037 - [Yvonne] What else happened 233 00:14:23,037 --> 00:14:24,572 while we were rehearsing that piece? 234 00:14:24,572 --> 00:14:26,314 - [Shirley] The hotel. 235 00:14:26,314 --> 00:14:27,632 - [Fernando] The hotel. 236 00:14:27,632 --> 00:14:29,201 That's where I first got a sense 237 00:14:29,201 --> 00:14:31,469 of certain aspects of your mind, 238 00:14:31,469 --> 00:14:33,716 that made you seem very different to me. 239 00:14:33,716 --> 00:14:36,523 I was lying on the bed and you were sitting on it. 240 00:14:36,523 --> 00:14:38,292 I can't remember now exactly, 241 00:14:38,292 --> 00:14:41,129 what led us to talking about Henry Miller. 242 00:14:41,129 --> 00:14:43,616 - [Shirley] Somehow we got into who influenced him, 243 00:14:43,616 --> 00:14:46,503 and I said Blaise Cendrars influenced him 244 00:14:46,503 --> 00:14:49,750 and we started to argue, only it wasn't an argument 245 00:14:49,750 --> 00:14:51,858 because I simply repeated my opinion 246 00:14:51,858 --> 00:14:53,656 while you repeated yours. 247 00:14:53,656 --> 00:14:55,075 - [Fernando] Yes, I was trying to remember 248 00:14:55,075 --> 00:14:56,723 the name of someone else. 249 00:14:56,723 --> 00:14:58,771 I still think that it was someone else. 250 00:14:58,771 --> 00:15:00,080 His name starts with a K-- 251 00:15:00,080 --> 00:15:01,978 - [Shirley] No, it was Blase Cendrars. 252 00:15:02,857 --> 00:15:03,876 - [Yvonne] Cendrar, I think. 253 00:15:03,876 --> 00:15:06,404 So how the hell did that give you a sense of her mind? 254 00:15:06,404 --> 00:15:09,555 Did that seem like obscure information or something? 255 00:15:09,555 --> 00:15:12,188 - [Fernando] It just had to do with that moment and yes, 256 00:15:12,188 --> 00:15:15,418 I guess her access to that particular information. 257 00:15:17,622 --> 00:15:20,529 - [Yvonne] Here the mortals have become an inexorable wall, 258 00:15:20,529 --> 00:15:23,846 shuffling forward on Kleenex box-shod feet. 259 00:15:23,846 --> 00:15:26,124 On the right, one of the gods, David, 260 00:15:26,124 --> 00:15:30,270 is walking about in great agitation in very squeaky shoes. 261 00:15:30,270 --> 00:15:32,997 Doug stands behind Valda, obscuring her face 262 00:15:32,997 --> 00:15:34,915 with a gray cardboard disc. 263 00:15:34,915 --> 00:15:37,852 Dong stands behind Doug with a microphone. 264 00:15:37,852 --> 00:15:39,411 Doug reads a speech from Jung, 265 00:15:39,411 --> 00:15:41,588 about how if you don't pass through the inferno 266 00:15:41,588 --> 00:15:43,809 of your passions you'll never overcome them. 267 00:15:44,664 --> 00:15:48,139 Quote: "Whenever we give up, leave behind 268 00:15:48,139 --> 00:15:50,966 "and forget too much, there's always the danger 269 00:15:50,966 --> 00:15:52,524 "that the things we have neglected 270 00:15:52,524 --> 00:15:55,574 "will return with added force", unquote. 271 00:15:55,574 --> 00:15:57,073 Somehow I transposed that 272 00:15:57,073 --> 00:15:59,441 into David's squeaky, agitated walk. 273 00:15:59,441 --> 00:16:01,578 Understated passion. 274 00:16:01,578 --> 00:16:04,226 Fernando walks backwards before the greedy wall. 275 00:16:04,226 --> 00:16:06,633 They're eating from a big pot, as you can see. 276 00:16:06,633 --> 00:16:08,302 Fernando says: 277 00:16:08,302 --> 00:16:10,080 - [Fernando] See how cruel they look. 278 00:16:10,080 --> 00:16:13,127 Their lips are thin, their noses sharp, 279 00:16:13,127 --> 00:16:16,474 their faces furrowed and distorted by folds. 280 00:16:16,474 --> 00:16:18,611 Their eyes have a staring expression. 281 00:16:18,611 --> 00:16:20,809 They are always seeking something. 282 00:16:20,809 --> 00:16:22,727 What are they seeking? 283 00:16:22,727 --> 00:16:24,456 They always want something. 284 00:16:24,456 --> 00:16:26,763 They are always uneasy and restless. 285 00:16:26,763 --> 00:16:28,711 I do not know what they want. 286 00:16:28,711 --> 00:16:30,460 I do not understand them. 287 00:16:30,460 --> 00:16:32,298 I think that they are mad. 288 00:16:32,298 --> 00:16:33,916 - [Yvonne] That's also from Jung. 289 00:16:33,916 --> 00:16:36,434 He quotes a Pueblo Indian about the white man. 290 00:16:36,434 --> 00:16:38,851 The mortals have become cruel white men. 291 00:16:38,851 --> 00:16:40,899 - [Valda] I want to finish about the airport. 292 00:16:40,899 --> 00:16:42,977 I have to tell you this. 293 00:16:42,977 --> 00:16:44,745 When you kissed me goodbye, 294 00:16:44,745 --> 00:16:47,742 or rather you were leaning against that rail 295 00:16:47,742 --> 00:16:50,110 with your feet crossed the way you do, 296 00:16:50,110 --> 00:16:51,828 and I moved in to kiss you goodbye 297 00:16:51,828 --> 00:16:54,386 because people had begun to board the plane, 298 00:16:54,386 --> 00:16:55,964 you reached for the back of my neck 299 00:16:55,964 --> 00:16:58,322 with your left hand and drew me toward you. 300 00:16:58,322 --> 00:16:59,580 Your right arm was bent 301 00:16:59,580 --> 00:17:02,308 so your forearm was against your chest. 302 00:17:02,308 --> 00:17:04,755 As you pressed me against you and we kissed, 303 00:17:04,755 --> 00:17:06,444 my breast momentarily rested 304 00:17:06,444 --> 00:17:08,661 against your hand which didn't move. 305 00:17:08,661 --> 00:17:10,869 - [Fernando] Yes, is that what made you think of 306 00:17:10,869 --> 00:17:13,676 those lines, all day he sits before you 307 00:17:13,676 --> 00:17:15,944 face to face, like a card player. 308 00:17:15,944 --> 00:17:18,081 Your elbow brushes his elbow. 309 00:17:18,081 --> 00:17:20,450 If you should speak, he hears? 310 00:17:20,450 --> 00:17:22,867 - [Shirley] The touched heart madly stirs. 311 00:17:22,867 --> 00:17:23,698 - [Yvonne] Bullshit! 312 00:17:23,698 --> 00:17:26,063 - [Valda] Oh for Christ sake Yvonne, get with it. 313 00:17:26,063 --> 00:17:27,732 - [Yvonne] Okay okay, go on. 314 00:17:27,732 --> 00:17:29,331 I'm really enjoying all this. 315 00:17:29,331 --> 00:17:30,549 - [Valda] Then I watched very carefully 316 00:17:30,549 --> 00:17:33,786 while you kissed Lena and I saw it wasn't the same at all. 317 00:17:33,786 --> 00:17:35,455 You see, I was still not clear-- 318 00:17:35,455 --> 00:17:36,883 - [Shirley] It was so obvious. 319 00:17:36,883 --> 00:17:38,342 - [Valda] As I said before, 320 00:17:38,342 --> 00:17:41,209 I wasn't in a state of mind to think of such things. 321 00:17:41,209 --> 00:17:42,550 - [Fernando] When I got into New York 322 00:17:42,550 --> 00:17:44,416 I tossed a coin about whether to call you. 323 00:17:44,416 --> 00:17:47,203 - [Valda] What would you have done if it had come out tails? 324 00:17:47,203 --> 00:17:48,941 - [Fernando] I would have called you anyway, 325 00:17:48,941 --> 00:17:51,329 but I would have felt it was all wrong. 326 00:17:51,329 --> 00:17:52,957 - [Valda] You're funny. 327 00:17:52,957 --> 00:17:54,186 - [Yvonne] Now the hero James 328 00:17:54,186 --> 00:17:56,933 is reaching the climax of his brief odyssey. 329 00:17:56,933 --> 00:18:00,060 Tannis in the wings, harpy or avenging angel, 330 00:18:00,060 --> 00:18:01,369 waits to mount his back 331 00:18:01,369 --> 00:18:03,716 at the most difficult stage of his journey. 332 00:18:03,716 --> 00:18:07,213 Fernando and Valda aid and impede him at the same time, 333 00:18:07,213 --> 00:18:10,589 supplying resistance and support to his forward lean. 334 00:18:10,589 --> 00:18:13,716 The gods wait expectantly on Mount Olympus. 335 00:18:13,716 --> 00:18:16,723 This episode resolves itself as James, 336 00:18:16,723 --> 00:18:20,779 with Tannis riding piggy-back, clambers up the stairs. 337 00:18:20,779 --> 00:18:22,338 On reaching the top they crumple 338 00:18:22,338 --> 00:18:24,086 into the waiting arms of the gods, 339 00:18:24,086 --> 00:18:25,524 who then lower them to the floor 340 00:18:25,524 --> 00:18:27,532 on the other side of Olympus. 341 00:18:27,532 --> 00:18:30,487 As they are lowered, Yvonne reads from Jung. 342 00:18:30,487 --> 00:18:32,654 "At the beginning of the illness, I had the feeling 343 00:18:32,654 --> 00:18:34,792 "that there was something wrong with my attitude, 344 00:18:34,792 --> 00:18:38,109 "and that I was to some extent responsible for the mishap. 345 00:18:38,109 --> 00:18:40,646 "But when one affirms things as they are, 346 00:18:40,646 --> 00:18:44,033 "without subjective protests, accepts the conditions 347 00:18:44,033 --> 00:18:47,769 "of existence as one sees them, accepts one's own nature, 348 00:18:47,769 --> 00:18:51,256 "as one happens to be, when one lives one's own life, 349 00:18:51,256 --> 00:18:54,662 "then, one must take mistakes into the bargain. 350 00:18:54,662 --> 00:18:57,020 "Life would not be complete without them. 351 00:18:57,020 --> 00:18:59,607 "There is no guarantee, not for a single moment, 352 00:18:59,607 --> 00:19:01,246 "that we will not fall into error, 353 00:19:01,246 --> 00:19:03,344 "or stumble into deadly peril. 354 00:19:03,344 --> 00:19:05,132 "We may think there is a sure road, 355 00:19:05,132 --> 00:19:06,970 "but that would be the road of death. 356 00:19:06,970 --> 00:19:08,918 "Then nothing happens any longer. 357 00:19:08,918 --> 00:19:11,206 "At any rate, not the right things. 358 00:19:11,206 --> 00:19:14,446 "Anyone who takes the sure road is as good as dead." 359 00:19:14,446 --> 00:19:16,573 - [Shirley] Such righteous sentiments. 360 00:19:16,573 --> 00:19:18,492 Now at this remove from that piece 361 00:19:18,492 --> 00:19:19,960 it seems terribly burdened 362 00:19:19,960 --> 00:19:22,707 with a kind of relentless truth-mongering. 363 00:19:22,707 --> 00:19:23,586 - [Yvonne] What do you mean? 364 00:19:23,586 --> 00:19:26,853 In this last speech Jung seems anything but righteous. 365 00:19:26,853 --> 00:19:28,621 Righteousness connotes a certainty 366 00:19:28,621 --> 00:19:30,549 that he is arguing against. 367 00:19:30,549 --> 00:19:32,747 - [Shirley] It's the tone of self-congratulation, 368 00:19:32,747 --> 00:19:34,585 or complacency of someone who has 369 00:19:34,585 --> 00:19:37,832 had a revelation and is laying it out. 370 00:19:37,832 --> 00:19:41,489 Anyone who takes the sure road is as good as dead. 371 00:19:41,489 --> 00:19:42,667 Really! 372 00:19:42,667 --> 00:19:45,445 Maybe it's simply the fact of isolating such things 373 00:19:45,445 --> 00:19:48,192 from a longer text that bugs me. 374 00:19:48,192 --> 00:19:50,330 I just don't like the sound of it. 375 00:19:50,330 --> 00:19:51,449 - [Yvonne] Well, you know Shirley, 376 00:19:51,449 --> 00:19:53,097 that I have always had a weakness 377 00:19:53,097 --> 00:19:55,604 for the sweeping revelations of great men. 378 00:19:55,604 --> 00:19:58,831 That's why I'm going at this concert so differently. 379 00:19:58,831 --> 00:20:01,259 The line, oh God, you gave me so much room, 380 00:20:01,259 --> 00:20:03,437 is really very much more moving to me 381 00:20:03,437 --> 00:20:05,584 than anything I used last year, 382 00:20:05,584 --> 00:20:07,343 even though on an aesthetic level 383 00:20:07,343 --> 00:20:09,570 I'm simply doing another form of storytelling. 384 00:20:09,570 --> 00:20:11,558 More intimate, less epic. 385 00:20:11,558 --> 00:20:12,391 - [Shirley] What do you mean, 386 00:20:12,391 --> 00:20:14,815 oh God, you gave me so much room? 387 00:20:14,815 --> 00:20:15,647 - [Yvonne] For heaven's sakes, 388 00:20:15,647 --> 00:20:17,033 we've just been going through that, 389 00:20:17,033 --> 00:20:20,230 we said it, it was in the text. 390 00:20:20,230 --> 00:20:21,638 It's about these two people 391 00:20:21,638 --> 00:20:23,676 who are very attracted to each other 392 00:20:23,676 --> 00:20:25,664 and they go up in this room and there's not much light, 393 00:20:25,664 --> 00:20:27,185 and they're looking for this eyeshade, 394 00:20:27,185 --> 00:20:30,230 and they're maneuvering around and neither one of them 395 00:20:30,230 --> 00:20:31,798 is really sure of the other one's feelings, 396 00:20:31,798 --> 00:20:33,197 and there's this little landing 397 00:20:33,197 --> 00:20:34,795 and they go out on this landing, 398 00:20:37,421 --> 00:20:38,382 and the guy goes out on the landing 399 00:20:38,382 --> 00:20:40,529 and he thinks he's not leaving her much room 400 00:20:40,529 --> 00:20:42,078 and that she'll have to squeeze through, 401 00:20:42,078 --> 00:20:43,636 and later on he tells her that. 402 00:20:43,636 --> 00:20:44,792 When he tells her she says, 403 00:20:44,792 --> 00:20:48,429 "Oh God, you gave me so much room." 404 00:20:49,800 --> 00:20:52,468 - [Valda] Were you saying that or reading it? 405 00:20:52,468 --> 00:20:55,275 - [Yvonne] I was remembering it from Hofstra. 406 00:20:55,275 --> 00:20:56,324 - [Shirley] I get it. 407 00:20:58,192 --> 00:21:00,483 Lets go on. I'm tired of all this. 408 00:21:48,850 --> 00:21:51,198 Shirley is telling Fernando 409 00:21:51,198 --> 00:21:54,348 how she put it off as long as she could, 410 00:21:55,664 --> 00:21:57,472 but finally she went up to see 411 00:21:57,472 --> 00:21:59,183 the pictures of the rehearsal. 412 00:22:15,474 --> 00:22:17,505 Fernando was hardly listening. 413 00:22:25,314 --> 00:22:27,640 - There she's thinking-- - What is she thinking? 414 00:22:27,640 --> 00:22:29,803 - [Shirley] I look like an old-time movie star. 415 00:22:29,803 --> 00:22:32,634 (amused laughing) 416 00:22:35,384 --> 00:22:37,012 She's complaining about how 417 00:22:37,012 --> 00:22:39,293 she doesn't want to do it anymore. 418 00:22:40,978 --> 00:22:42,627 - [Yvonne] He says, "Then don't." 419 00:22:47,702 --> 00:22:49,999 - [Shirley] She thinks about leaving the room. 420 00:22:52,707 --> 00:22:56,096 - [Yvonne] She finds his inscrutability pretty hard to take. 421 00:23:00,059 --> 00:23:02,780 She wonders what he would do if she left the room. 422 00:23:04,005 --> 00:23:09,000 Would he feel remorseful, or would he follow her? 423 00:23:13,815 --> 00:23:14,917 - [Shirley] She resents the fact 424 00:23:14,917 --> 00:23:17,385 that he always seems on top of the situation. 425 00:23:54,245 --> 00:23:56,156 She would like him to speak to her. 426 00:23:58,171 --> 00:24:00,619 - [Yvonne] He's very tired of her indecisiveness. 427 00:24:11,038 --> 00:24:12,267 He says, "What?" 428 00:24:18,001 --> 00:24:19,230 - [Shirley] She says she doesn't know 429 00:24:19,230 --> 00:24:20,911 what to do with herself. 430 00:24:33,753 --> 00:24:35,819 - [Yvonne] You see, there's a lot of time, 431 00:24:35,819 --> 00:24:37,202 and you don't have to talk all through it, 432 00:24:37,202 --> 00:24:40,369 just put in an occasional comments about... 433 00:24:42,597 --> 00:24:44,025 We don't have to fill up that time 434 00:24:44,025 --> 00:24:45,873 with everything that may be going on. 435 00:24:59,330 --> 00:25:01,528 She's wondering why he doesn't say anything. 436 00:25:04,804 --> 00:25:06,640 She really wants him to talk to her. 437 00:25:19,899 --> 00:25:22,097 - [Shirley] She can't bear his indifference. 438 00:25:27,881 --> 00:25:30,229 - [Fernando] He wants to know why she's afraid. 439 00:25:34,375 --> 00:25:37,232 - [Shirley] She says that she's worked in a form always, 440 00:25:37,232 --> 00:25:40,762 which disappears as soon as it reveals itself. 441 00:25:46,023 --> 00:25:49,193 She does not want to be observed as fixed and final. 442 00:26:03,666 --> 00:26:08,001 - [Yvonne] She embraces him because she realizes that he may 443 00:26:10,189 --> 00:26:11,880 feel as frustrated as she. 444 00:26:26,673 --> 00:26:28,661 - [Shirley] She's surprised that she's told him 445 00:26:28,661 --> 00:26:30,702 about her ephemeral nature. 446 00:26:58,930 --> 00:27:01,328 - [Yvonne] She's thinking, what is it about him? 447 00:27:02,298 --> 00:27:04,080 She can't figure it out, 448 00:27:04,080 --> 00:27:06,952 whether it's his cunning or his docility. 449 00:27:06,952 --> 00:27:11,138 It always puts her on the defensive, 450 00:27:11,138 --> 00:27:12,896 makes her focus on herself. 451 00:27:23,226 --> 00:27:26,766 - [Shirley] He asks her whether she's afraid of failing. 452 00:27:34,005 --> 00:27:36,153 - [Yvonne] Here he's looking into her eyes. 453 00:27:57,532 --> 00:27:59,889 - [Shirley] She doesn't want to talk about it anymore. 454 00:27:59,889 --> 00:28:02,160 She feels he's not very sympathetic. 455 00:28:14,275 --> 00:28:16,253 - [Fernando] But Fernando is very confused. 456 00:28:16,253 --> 00:28:19,470 He doesn't know what she's talking about. 457 00:28:19,470 --> 00:28:20,772 She really confuses him. 458 00:28:22,667 --> 00:28:24,765 He loses track of the issues all the time. 459 00:28:25,684 --> 00:28:27,782 He only asks, why didn't you come with me? 460 00:28:31,762 --> 00:28:35,896 But the only answer that he gets is, do you have any money? 461 00:28:37,015 --> 00:28:40,542 (subdued laughing) 462 00:28:40,542 --> 00:28:43,456 - [Yvonne] It comes a little later. 463 00:28:45,726 --> 00:28:46,558 There! 464 00:28:46,558 --> 00:28:49,033 - [Shirley] She says, "Do you have any money?" 465 00:29:30,019 --> 00:29:31,691 - [Valda] Valda is disconsolate. 466 00:29:39,819 --> 00:29:42,400 She's remembering a visit to John's house. 467 00:29:47,682 --> 00:29:52,280 It was in the country, she enjoyed the fresh air, 468 00:29:54,463 --> 00:29:58,518 the flowers and the birds, food, vegetables from the garden. 469 00:30:03,206 --> 00:30:04,505 She said it was so beautiful 470 00:30:04,505 --> 00:30:07,002 she thinks maybe she'd like to live there forever. 471 00:30:16,982 --> 00:30:19,949 She talks about a movie they saw together. 472 00:30:19,949 --> 00:30:21,041 They both cried. 473 00:30:24,854 --> 00:30:26,783 There was an old woman in the film 474 00:30:26,783 --> 00:30:30,851 who's performance affected her very deeply. 475 00:30:34,185 --> 00:30:38,241 As usual John had turned critical when they left the theater 476 00:30:39,700 --> 00:30:43,209 and deemed his previous opinion sentimental. 477 00:30:56,593 --> 00:30:59,063 She's used to this kind of response in him. 478 00:31:29,140 --> 00:31:33,036 You might describe it that way, Valda replies. 479 00:31:33,036 --> 00:31:36,113 It's also a story about a man who loves a woman, 480 00:31:36,113 --> 00:31:38,121 and can't leave her when he falls in love 481 00:31:38,121 --> 00:31:39,859 with another woman. 482 00:31:39,859 --> 00:31:42,720 I mean, he can't seem to make up his mind. 483 00:31:43,556 --> 00:31:45,364 Or I could tell it from the point of view 484 00:31:45,364 --> 00:31:46,673 of the first woman. 485 00:31:46,673 --> 00:31:51,008 She loves him and endures his cruelties, yes, cruelties. 486 00:31:51,008 --> 00:31:54,425 You see, from her vantage point his weakness has become, 487 00:31:54,425 --> 00:31:56,872 yes, become, cruelties. 488 00:31:56,872 --> 00:32:01,478 Yes, endures his cruelties because he always returns to her. 489 00:32:01,478 --> 00:32:03,356 And although she won't acknowledge it, 490 00:32:03,356 --> 00:32:06,603 she really does think, no, feel, 491 00:32:06,603 --> 00:32:08,224 that she can't live without him. 492 00:32:09,100 --> 00:32:12,207 How did she ever get into such a fix? 493 00:32:12,207 --> 00:32:14,375 She also thinks that he loves her best, 494 00:32:14,375 --> 00:32:17,821 and that love will finally conquer all. 495 00:32:17,821 --> 00:32:20,941 After all, he always returns to her doesn't he? 496 00:32:22,147 --> 00:32:25,144 Or I could tell it through the eyes of number two woman. 497 00:32:25,144 --> 00:32:28,041 She loves him and wants him to leave number one. 498 00:32:28,041 --> 00:32:30,159 She even gets pregnant. 499 00:32:30,159 --> 00:32:32,687 Then her own husband demands a divorce. 500 00:32:32,687 --> 00:32:34,405 He's had enough. 501 00:32:34,405 --> 00:32:38,111 How did she ever get herself into such a fix? 502 00:32:38,111 --> 00:32:40,699 But I don't care to dwell on number two. 503 00:32:40,699 --> 00:32:43,696 How can such things continue to happen? 504 00:32:43,696 --> 00:32:47,322 As I said before, he can't make up his mind. 505 00:32:47,322 --> 00:32:49,969 Then number one gets sick, so he stays with her 506 00:32:49,969 --> 00:32:51,827 but doesn't give up number two, 507 00:32:51,827 --> 00:32:54,645 or rather number two doesn't leave him. 508 00:32:54,645 --> 00:32:56,083 I don't want to make it sound as though 509 00:32:56,083 --> 00:32:58,810 he holds the controls, even though the two women 510 00:32:58,810 --> 00:33:00,662 sometimes act as though he does. 511 00:33:28,481 --> 00:33:29,829 - [Shirley] Which woman is the director 512 00:33:29,829 --> 00:33:31,380 most sympathetic too? 513 00:33:34,525 --> 00:33:36,065 - [Valda] I think number one, 514 00:33:37,142 --> 00:33:40,081 maybe simply because she appears first. 515 00:33:43,296 --> 00:33:46,702 - [Yvonne] Now John is thinking of a particular event. 516 00:33:46,702 --> 00:33:50,638 It happened about six months earlier. 517 00:33:50,638 --> 00:33:55,577 He was outside their house, and some muggers attacked him, 518 00:33:56,473 --> 00:34:01,147 and he had come out of the house, and screamed, 519 00:34:01,147 --> 00:34:03,685 and if he hadn't heard her scream 520 00:34:03,685 --> 00:34:05,214 he would've plunged the knife 521 00:34:05,214 --> 00:34:07,342 that he'd taken out of his pocket 522 00:34:07,342 --> 00:34:10,762 into his would-be attacker's throat. 523 00:34:11,837 --> 00:34:13,499 And later she had clung to him. 524 00:34:14,475 --> 00:34:16,533 She seemed very excited and vulnerable, 525 00:34:16,533 --> 00:34:19,080 and he was very perplexed by this, 526 00:34:19,080 --> 00:34:20,472 and he felt rather bitter. 527 00:34:21,798 --> 00:34:25,547 They made love, but his mind was half elsewhere. 528 00:34:38,171 --> 00:34:39,800 I was reading a part that John 529 00:34:41,887 --> 00:34:43,646 would have read, I forgot to mention 530 00:34:43,646 --> 00:34:45,833 that I'm going to be, did I mention, 531 00:34:45,833 --> 00:34:48,264 that I'm going to be taking some of John's parts. 532 00:35:09,780 --> 00:35:12,760 - [Shirley] Valda says that they're waiting for Shirley, 533 00:35:14,004 --> 00:35:17,379 and that it would be a good idea for Shirley to go now. 534 00:35:20,179 --> 00:35:21,678 Shirley said they can wait, 535 00:35:21,678 --> 00:35:24,145 because she has always wanted to speak to Valda, 536 00:35:24,145 --> 00:35:26,756 to tell her how impressed she is with her. 537 00:35:28,800 --> 00:35:30,319 She was particularly impressed 538 00:35:30,319 --> 00:35:32,250 with something that Valda had said. 539 00:35:33,146 --> 00:35:36,566 It was that Asia is not clay in the hands of the West. 540 00:35:42,945 --> 00:35:45,604 - [Fernando] Here she said, "Wait a minute". 541 00:35:45,604 --> 00:35:48,251 But she leaves and he doesn't know, where did she go. 542 00:36:08,860 --> 00:36:10,961 - [Yvonne] Here they're waiting for her to come back, 543 00:36:13,286 --> 00:36:14,718 and she doesn't come back. 544 00:36:48,830 --> 00:36:51,328 - [Fernando] Here comes John, to pick up Fernando. 545 00:36:52,627 --> 00:36:54,555 The train will be leaving soon, 546 00:36:54,555 --> 00:36:56,253 and he's worried about being late. 547 00:36:57,132 --> 00:36:58,444 He's going to Chile. 548 00:37:02,541 --> 00:37:04,289 - [Yvonne] Very good. 549 00:37:42,027 --> 00:37:44,775 - [Shirley] Shirley tells Valda how fond she is of her. 550 00:37:46,323 --> 00:37:48,021 What a dear friend she is, 551 00:37:48,021 --> 00:37:50,519 and how she hates seeing her caught in the middle. 552 00:37:53,416 --> 00:37:54,745 - [Valda] Valda replies, 553 00:37:54,745 --> 00:37:57,302 that Shirley shouldn't worry about her. 554 00:37:57,302 --> 00:37:59,060 She thought she'd made her decision 555 00:37:59,060 --> 00:38:02,140 but now she's not so sure and that's what's confusing her. 556 00:38:05,744 --> 00:38:07,032 - [Shirley] Shirley's surprised 557 00:38:07,032 --> 00:38:09,503 because she thought that Valda was sure. 558 00:38:12,647 --> 00:38:14,295 - [Valda] Well Valda says it's not as easy 559 00:38:14,295 --> 00:38:17,032 as all that because other people 560 00:38:17,032 --> 00:38:21,628 become affected by the decisions one makes 561 00:38:21,628 --> 00:38:23,459 and what will Nina and Theresa do? 562 00:38:53,566 --> 00:38:56,213 - [Yvonne] Shirley tells Valda about a dream she had. 563 00:39:13,086 --> 00:39:15,034 - [Shirley] I had a dream about a wall. 564 00:39:16,193 --> 00:39:18,514 The wall is not concrete or metal. 565 00:39:19,460 --> 00:39:22,400 It is steel mesh, like a fence in a schoolyard. 566 00:39:23,925 --> 00:39:25,514 There are no doors. 567 00:39:25,514 --> 00:39:27,102 Rather it's the kind of a wall 568 00:39:27,102 --> 00:39:28,731 that I would like to climb rather 569 00:39:28,731 --> 00:39:30,662 than walk through a ready-made door. 570 00:39:32,777 --> 00:39:36,046 I do climb the wall and it feels terrific. 571 00:39:37,692 --> 00:39:40,649 I'm stretching my body as I climb, 572 00:39:40,649 --> 00:39:43,216 feeling the pull on my legs and arms 573 00:39:43,216 --> 00:39:45,537 as I reach the top and climb over. 574 00:39:49,340 --> 00:39:51,661 I enjoy going down the other side. 575 00:39:53,516 --> 00:39:56,533 What I like about this wall is that I have no fear 576 00:39:56,533 --> 00:39:59,033 of being locked out or locked in. 577 00:40:00,249 --> 00:40:03,905 I can always get in or out by climbing, 578 00:40:03,905 --> 00:40:06,696 by my own physical nimbleness and agility. 579 00:40:09,909 --> 00:40:13,786 On the other side, I find that I am in a schoolyard, 580 00:40:13,786 --> 00:40:16,233 which is in fact the schoolyard of the school 581 00:40:16,233 --> 00:40:18,943 across the street from the house where I was born. 582 00:40:21,058 --> 00:40:24,775 There are no children in the schoolyard on this day, 583 00:40:24,775 --> 00:40:27,315 although it is a beautiful spring day. 584 00:40:29,370 --> 00:40:32,909 I run around freely, the wind blowing in my hair. 585 00:40:34,575 --> 00:40:37,295 I am happy, bouncing a large volleyball. 586 00:40:39,150 --> 00:40:42,567 I bounce it up and down, and against a brick side wall. 587 00:40:44,265 --> 00:40:47,082 It feels good just to run around and be free, 588 00:40:47,082 --> 00:40:49,513 and have all that space to myself. 589 00:40:52,127 --> 00:40:54,775 I feel my body stretching, 590 00:40:54,775 --> 00:40:58,361 and I'm running around the yard very fast, 591 00:40:58,361 --> 00:41:01,501 but I am full of energy, not at all tired. 592 00:41:02,787 --> 00:41:07,055 I have an enormous sense of great physical well being. 593 00:41:07,891 --> 00:41:11,638 Of a stretching and toning up of all my limbs, 594 00:41:11,638 --> 00:41:13,149 and the back of my neck. 595 00:41:14,645 --> 00:41:17,115 When I wake up I am really happy. 596 00:41:19,280 --> 00:41:21,598 I remember that I have caught a glimpse 597 00:41:21,598 --> 00:41:24,438 of something alive and free within me. 598 00:41:44,587 --> 00:41:46,203 - [Valda] Valda thanks Shirley, 599 00:41:46,203 --> 00:41:48,251 she says she's made her feel much better. 600 00:41:49,809 --> 00:41:51,048 Shirley says she'll leave now, 601 00:41:51,048 --> 00:41:53,825 while she still has time to catch the train. 602 00:41:53,825 --> 00:41:55,624 She doesn't find it very easy to go. 603 00:42:36,313 --> 00:42:38,970 When Valda received this package in the mail 604 00:42:38,970 --> 00:42:43,144 and saw who it was from she was longing to open it, 605 00:42:43,144 --> 00:42:45,823 and could hardly wait until her friend left. 606 00:42:45,823 --> 00:42:48,591 But suddenly she felt less anxious, 607 00:42:48,591 --> 00:42:52,087 she wondered what she was getting into 608 00:42:52,087 --> 00:42:53,359 receiving gifts from him. 609 00:43:15,444 --> 00:43:19,680 (audience laughing mildly) 610 00:43:19,680 --> 00:43:22,757 - [Yvonne] The face of this character is a fixed mask. 611 00:43:22,757 --> 00:43:24,305 We shall have her wear an eyeshade 612 00:43:24,305 --> 00:43:26,992 to reveal her inner and outer appearance. 613 00:43:26,992 --> 00:43:28,651 The eyeshade hides the movement 614 00:43:28,651 --> 00:43:30,509 of the upper half of her face, 615 00:43:30,509 --> 00:43:34,055 but the lower half where the tongue works stays visible. 616 00:43:34,055 --> 00:43:36,822 She must function with a face of stone, 617 00:43:36,822 --> 00:43:40,412 and at the same time reveal her characteristic dissembling. 618 00:43:50,009 --> 00:43:52,257 - [Fernando] Here he is coming back from Santiago, 619 00:43:52,257 --> 00:43:53,476 holding that funny letter 620 00:43:53,476 --> 00:43:55,474 that he doesn't know where it came from. 621 00:43:56,603 --> 00:43:58,198 - [Valda] Valda asks if they had a good time, 622 00:43:58,198 --> 00:44:00,389 and he says, "So-so." 623 00:44:00,389 --> 00:44:04,122 - [Fernando] And she asked him if he had missed her, 624 00:44:04,122 --> 00:44:07,036 and of course, he missed her a lot. 625 00:44:19,878 --> 00:44:22,181 - [Valda] She decides to look at the letter later. 626 00:44:22,181 --> 00:44:25,088 She asks if he received her letter, 627 00:44:25,088 --> 00:44:27,315 and where he was in the house when he read it. 628 00:44:28,840 --> 00:44:32,307 - [Fernando] I was in the living room talking to Nina, 629 00:44:32,307 --> 00:44:35,903 when Theresa came in with the mail and handed me a letter. 630 00:44:35,903 --> 00:44:37,848 I looked at it, saw that it was from you 631 00:44:37,848 --> 00:44:40,609 and stuck it in my shirt pocket. 632 00:44:40,609 --> 00:44:43,216 I had to finish my business with Nina. 633 00:44:43,216 --> 00:44:46,593 Later I took it out of my pocket on the way upstairs; 634 00:44:46,593 --> 00:44:49,889 I paused half-way up the stairs to open the envelope, 635 00:44:49,889 --> 00:44:53,446 read the letter hurriedly, then continued on up 636 00:44:53,446 --> 00:44:56,196 to the bedroom to sit and pore over it. 637 00:45:52,137 --> 00:45:53,855 - [Shirley] I'm sorry about the whole thing, 638 00:45:53,855 --> 00:45:57,142 mostly for myself of course, but after that, for you. 639 00:45:57,142 --> 00:45:59,969 I think if you can stand it you should take him back. 640 00:45:59,969 --> 00:46:02,627 I will probably change my mind and want him back, 641 00:46:02,627 --> 00:46:05,074 but I've never, I don't know how to phrase it, 642 00:46:05,074 --> 00:46:07,502 except that I suppose that he is split, 643 00:46:07,502 --> 00:46:10,579 and I thought I could put them back together but I can't, 644 00:46:10,579 --> 00:46:13,696 and you have the constant half, and I'm simply not satisfied 645 00:46:13,696 --> 00:46:16,443 with the other transitory half that he gives me, 646 00:46:16,443 --> 00:46:19,560 that in the atrocious novel that is his emotional life, 647 00:46:19,560 --> 00:46:22,347 represents the evil feminine principle. 648 00:46:22,347 --> 00:46:24,665 I don't know how I got stuck in that category, 649 00:46:24,665 --> 00:46:27,072 but I'm stuck there in his neat little box 650 00:46:27,072 --> 00:46:30,589 labeled emotional, childish, demanding, bitchy, 651 00:46:30,589 --> 00:46:33,036 undisciplined, unintellectual, 652 00:46:33,036 --> 00:46:35,883 pleasure­oriented, etcetera, ad nauseam, 653 00:46:35,883 --> 00:46:38,691 while you are apparently are in an equally untrue box 654 00:46:38,691 --> 00:46:42,886 labeled unemotional, mature, fair, disciplined, etcetera. 655 00:46:42,886 --> 00:46:46,373 Passion versus companionship, sex versus work, 656 00:46:46,373 --> 00:46:48,631 child/mother versus sister/friend, 657 00:46:48,631 --> 00:46:50,149 and countless more sickening, 658 00:46:50,149 --> 00:46:53,146 cliché­ridden, schizophrenic categorizations, 659 00:46:53,146 --> 00:46:56,653 which I am sure are as unfair to you as they are to me. 660 00:46:56,653 --> 00:46:58,880 But maybe you are stronger and cleverer than me 661 00:46:58,880 --> 00:47:01,088 and can live with the pattern or break it. 662 00:47:01,088 --> 00:47:04,055 I can do neither. I think he needs you. 663 00:47:04,055 --> 00:47:05,364 Anyway, he needs somebody 664 00:47:05,364 --> 00:47:07,901 who won't let herself be destroyed by him, 665 00:47:07,901 --> 00:47:11,418 and unfortunately or fortunately, I am not that person. 666 00:47:11,418 --> 00:47:13,576 For one thing, I have less to fall back on 667 00:47:13,576 --> 00:47:15,214 every time he is cruel. 668 00:47:15,214 --> 00:47:19,000 Less work, less friends, less emotional independence. 669 00:47:19,000 --> 00:47:21,817 Less experience with his cruelty than you have. 670 00:47:21,817 --> 00:47:24,475 You have all that time with him to build on. 671 00:47:24,475 --> 00:47:26,323 I thought that wouldn't be so important, 672 00:47:26,323 --> 00:47:29,330 because I thought we would live in the present but he won't. 673 00:47:29,330 --> 00:47:31,997 He's either wallowing about in his past, 674 00:47:31,997 --> 00:47:35,284 or cruelly tempting us both with impossible futures, 675 00:47:35,284 --> 00:47:38,301 putting off making a life with me until we go away, 676 00:47:38,301 --> 00:47:41,188 get a house in the country, have children, etcetera. 677 00:47:41,188 --> 00:47:43,895 All of which he can't do, and even if he could, 678 00:47:43,895 --> 00:47:46,433 it wouldn't help because it's external. 679 00:47:46,433 --> 00:47:48,950 Anyway dear lady, I used to be afraid of you, 680 00:47:48,950 --> 00:47:50,709 but I am not anymore. 681 00:47:50,709 --> 00:47:52,846 It's him who is hurting me, not you. 682 00:47:52,846 --> 00:47:55,374 And I am free to like you, which I do. 683 00:47:55,374 --> 00:47:57,462 I gather that you're unhappy right now, 684 00:47:57,462 --> 00:47:59,110 but maybe that will make it easier 685 00:47:59,110 --> 00:48:01,388 for you and him to get back together. 686 00:48:01,388 --> 00:48:04,655 He is very unhappy too, and I can't help him. 687 00:48:04,655 --> 00:48:06,962 He doesn't really seem to want those things 688 00:48:06,962 --> 00:48:10,119 that perhaps he reproached you for not providing. 689 00:48:10,119 --> 00:48:13,556 I think he wants an essentially homosexual relationship, 690 00:48:13,556 --> 00:48:16,023 only with a woman instead of a man. 691 00:48:16,023 --> 00:48:19,260 Maybe you can make a good life with him, I hope so. 692 00:48:19,260 --> 00:48:22,187 I'm sick of all this unhappiness all the time. 693 00:48:22,187 --> 00:48:25,124 He doesn't deserve to punish himself so much. 694 00:48:25,124 --> 00:48:28,231 He's only bad because he demands to be so good. 695 00:48:28,231 --> 00:48:29,929 And I think he really does love you, 696 00:48:29,929 --> 00:48:32,896 much more than he will ever love anybody else. 697 00:48:32,896 --> 00:48:34,345 Most of the time I have felt 698 00:48:34,345 --> 00:48:37,262 that I am just some kind of strut, or support, 699 00:48:37,262 --> 00:48:39,270 in some incredibly complex 700 00:48:39,270 --> 00:48:42,097 and probable painfully beautiful structure, 701 00:48:42,097 --> 00:48:44,495 which is his relationship to you, 702 00:48:44,495 --> 00:48:46,443 which should flatter you immensely, 703 00:48:46,443 --> 00:48:49,120 but it sort of makes me feel a little stupid. 704 00:48:49,120 --> 00:48:52,597 I really think I deserve to have my own structure somehow, 705 00:48:52,597 --> 00:48:55,164 built by someone in me about us. 706 00:48:55,164 --> 00:48:56,603 Anyway, that's what I think, 707 00:48:56,603 --> 00:48:59,230 and I'm not sure why I feel I should tell you, 708 00:48:59,230 --> 00:49:00,978 but I feel some kind of compulsion 709 00:49:00,978 --> 00:49:04,874 to explain things to myself, by telling other people. 710 00:49:04,874 --> 00:49:07,931 And also, I just wanted to tell you that I like you, 711 00:49:07,931 --> 00:49:10,509 and that you should take him away from me now. 712 00:49:10,509 --> 00:49:13,336 Not that I have him, but you know what I mean. 713 00:49:13,336 --> 00:49:15,254 And really, I think it would be the best thing 714 00:49:15,254 --> 00:49:17,562 for him and me, and maybe you, 715 00:49:17,562 --> 00:49:19,320 although it would be presumptuous of me 716 00:49:19,320 --> 00:49:21,508 to pretend I know what you need. 717 00:49:21,508 --> 00:49:24,961 But if you need a very complex love, he has that for you. 718 00:49:37,827 --> 00:49:39,481 - [Fernando] Do you think that I should say that? 719 00:49:39,481 --> 00:49:40,848 - [Valda] What? 720 00:49:40,848 --> 00:49:43,696 - [Fernando] I mean about admitting that I feel superior? 721 00:49:57,905 --> 00:50:02,241 - [Yvonne] Shirley is asking John 722 00:50:02,241 --> 00:50:04,728 what he thinks of the performance, 723 00:50:04,728 --> 00:50:06,726 what he thought of the last performance. 724 00:50:07,845 --> 00:50:09,444 And he said he liked some of it, 725 00:50:11,287 --> 00:50:14,442 and some of it he disliked intensely. 726 00:50:16,646 --> 00:50:18,964 He was in such a bad mood at the end of it 727 00:50:18,964 --> 00:50:20,572 that he couldn't even applaud, 728 00:50:20,572 --> 00:50:22,174 and he couldn't come backstage. 729 00:50:25,158 --> 00:50:29,221 He apologizes, but he says, "You wouldn't want me 730 00:50:29,221 --> 00:50:32,401 "to pretend I was enthusiastic 731 00:50:33,946 --> 00:50:35,897 "when I wasn't, would you?" 732 00:50:35,897 --> 00:50:36,899 And she said, "No, 733 00:50:40,774 --> 00:50:42,757 "but I'm just sorry that 734 00:50:42,757 --> 00:50:46,124 "you can't take pleasure in a friend's success." 735 00:50:49,156 --> 00:50:50,410 And he says, "Well, I must admit 736 00:50:50,410 --> 00:50:54,785 "that a couple of hours later I felt pretty threatened by it 737 00:50:54,785 --> 00:50:57,283 "and I was wondering what I was going to do next." 738 00:50:58,934 --> 00:51:02,627 She's amused by that, and she says, 739 00:51:02,627 --> 00:51:04,765 "Well, at least you're forthright." 740 00:51:38,175 --> 00:51:41,472 Shirley asks Valda, "How did you feel?" 741 00:51:41,472 --> 00:51:43,380 - [Valda] Oh, I didn't really know what I was doing. 742 00:51:43,380 --> 00:51:46,017 There was so little time for adequate preparation, 743 00:51:46,017 --> 00:51:48,854 and I didn't always know what was expected of me. 744 00:51:48,854 --> 00:51:51,392 I mean, if I come in a door and see you two here, 745 00:51:51,392 --> 00:51:53,360 what am I supposed to register? 746 00:51:53,360 --> 00:51:54,192 Fear? 747 00:51:54,192 --> 00:51:55,761 Surprise? 748 00:51:55,761 --> 00:51:56,593 Nothing? 749 00:56:10,383 --> 00:56:12,720 - [Fernando] I don't know what to do next. 750 00:56:12,720 --> 00:56:15,654 I feel like a shell. I am so afraid. 751 00:59:07,745 --> 00:59:09,427 - [Yvonne] Fernando is watching them. 752 00:59:53,180 --> 00:59:54,029 - [Fernando] She says to him 753 00:59:54,029 --> 00:59:56,127 that they were discussing the performance. 754 00:59:57,396 --> 01:00:00,113 And he asked if they want something from the delicatessen, 755 01:00:00,113 --> 01:00:03,290 because he was going to get some cigarettes. 756 01:00:03,290 --> 01:00:05,178 But she tells him to wait, 757 01:00:05,178 --> 01:00:08,198 that she wants to show him something, 758 01:00:08,198 --> 01:00:11,195 and also the delicatessen is closed. 759 01:06:34,811 --> 01:06:36,209 Here they are back in the studio, 760 01:06:36,209 --> 01:06:40,074 and Fernando is saying to her why did he show her that, 761 01:06:40,074 --> 01:06:41,874 that he has seen it a hundred times. 762 01:06:42,919 --> 01:06:45,609 Though she said that she does it differently now, 763 01:06:45,609 --> 01:06:47,158 that she understands it better. 764 01:06:48,996 --> 01:06:51,750 But he said that it looks the same for him. 765 01:07:19,046 --> 01:07:21,693 - [Yvonne] He asks if they're waiting for the others, 766 01:07:22,742 --> 01:07:24,001 meaning 767 01:07:24,001 --> 01:07:24,833 Epp and 768 01:07:27,017 --> 01:07:28,827 Jim and Yvonne. 769 01:07:28,827 --> 01:07:31,597 And Yvonne has come in, meanwhile. 770 01:07:41,257 --> 01:07:43,455 Do you guys realize you can save your back-- 771 01:07:46,359 --> 01:07:48,650 As long as the hands, 772 01:07:49,696 --> 01:07:52,533 are in, the arms are always 773 01:07:54,138 --> 01:07:55,287 in this slot, Fernando. 774 01:07:57,268 --> 01:07:59,886 You see, it's as though a string between the hands, 775 01:07:59,886 --> 01:08:01,844 are always parallel to the wall. 776 01:08:11,993 --> 01:08:14,314 This is the beginning, the end of one. 777 01:08:16,729 --> 01:08:19,586 Now this left one is good, chase the right, 778 01:08:19,586 --> 01:08:21,774 think of it that way maybe, 779 01:08:21,774 --> 01:08:26,489 and they just about meet a little bit ahead of your body. 780 01:08:27,608 --> 01:08:32,095 Now they start separating, to make 180 degrees. 781 01:08:33,562 --> 01:08:37,078 This is parallel to the wall, perpendicular to the floor. 782 01:08:37,078 --> 01:08:38,986 Then you keep this 180 degrees 783 01:08:38,986 --> 01:08:40,392 and you start turning your body, 784 01:08:40,392 --> 01:08:44,141 and now you bring the left one up, keep turning your body, 785 01:08:44,141 --> 01:08:46,777 toward me, toward me, bring it around, 786 01:08:46,777 --> 01:08:49,124 until you start walking in the other direction, 787 01:08:50,235 --> 01:08:52,856 and start chasing the right hand again. 788 01:08:57,677 --> 01:08:59,899 Now you can start walking a little, 789 01:09:02,873 --> 01:09:05,500 avoid the step-together-step. 790 01:09:05,500 --> 01:09:08,986 You're either walking backwards, or you turn. 791 01:09:08,986 --> 01:09:11,784 Use as few steps as possible when you turn. 792 01:09:13,712 --> 01:09:16,907 Oh wait, look, no no, no no, 793 01:09:16,907 --> 01:09:21,902 not the cup, not the cup, the angle-- 794 01:09:55,800 --> 01:09:57,167 - [Babette] Shirley is already in position 795 01:09:57,167 --> 01:10:00,485 and I see the entrance of Fernando, and I stay a long time 796 01:10:00,485 --> 01:10:02,770 and there is something else in the box. 797 01:10:02,770 --> 01:10:05,596 I pan again and I see you move a lot. 798 01:10:05,596 --> 01:10:08,176 I pan again, I pan three times. 799 01:10:10,016 --> 01:10:12,347 (crosstalk) 800 01:12:02,133 --> 01:12:04,344 - [Yvonne] Now, keep your body, 801 01:12:05,250 --> 01:12:06,789 and, 802 01:12:06,789 --> 01:12:07,621 here, 803 01:12:08,887 --> 01:12:12,346 yeah, paper, now keep your body to the wall. 804 01:12:14,408 --> 01:12:16,369 But Shirley, wait, wait, wait, wait, 805 01:12:16,369 --> 01:12:18,909 Shirley, go back to this. 806 01:12:21,124 --> 01:12:25,540 Now the feet go to the window, the body faces the wall. 807 01:12:25,540 --> 01:12:27,738 No, not the paper, the wall. 808 01:12:27,738 --> 01:12:29,329 Paper, wall, window, closet. 809 01:12:30,435 --> 01:12:34,014 Scissors, rock! (mild laughing) 810 01:12:36,059 --> 01:12:36,945 Where are we? 811 01:12:44,611 --> 01:12:47,811 Okay, I'm gonna do a special thing here. 812 01:12:49,496 --> 01:12:53,005 We're gonna start, 813 01:12:53,005 --> 01:12:54,844 with some of you in the box, 814 01:12:57,268 --> 01:12:58,210 others of us, 815 01:13:08,906 --> 01:13:10,875 we will get out in character. 816 01:13:10,875 --> 01:13:12,083 Whatever you're doing, 817 01:13:12,083 --> 01:13:15,323 just start walking in that direction, 818 01:13:16,839 --> 01:13:18,054 and walk straight off. 819 01:13:35,895 --> 01:13:39,808 Okay, you're doing that, Fernando's in the box, 820 01:13:42,219 --> 01:13:43,051 Valda... 821 01:13:49,506 --> 01:13:50,898 Babette will say. 822 01:26:33,907 --> 01:26:38,902 ♪ Take me to the station ♪ 823 01:26:39,051 --> 01:26:44,046 ♪ And put me on a train ♪ 824 01:26:44,097 --> 01:26:49,092 ♪ I've got no expectations ♪ 825 01:26:49,337 --> 01:26:53,083 ♪ To pass through here again ♪ 826 01:27:02,756 --> 01:27:07,751 ♪ Once I was a rich man ♪ 827 01:27:07,950 --> 01:27:12,799 ♪ Now I am now so poor ♪ 828 01:27:12,799 --> 01:27:17,794 ♪ But never in my sweet short life ♪ 829 01:27:17,987 --> 01:27:21,900 ♪ Have I felt like this before ♪ 830 01:27:31,102 --> 01:27:36,097 ♪ Your heart is like a diamond ♪ 831 01:27:36,188 --> 01:27:41,183 ♪ You throw your pearls at swine ♪ 832 01:27:41,383 --> 01:27:46,378 ♪ And as I watch you leaving me ♪ 833 01:27:46,476 --> 01:27:50,139 ♪ You pack my piece of mind ♪ 834 01:28:28,113 --> 01:28:33,108 ♪ Our love was like the water ♪ 835 01:28:33,200 --> 01:28:38,195 ♪ That splashes on a stone ♪ 836 01:28:38,366 --> 01:28:43,361 ♪ Our love is like our music ♪ 837 01:28:43,651 --> 01:28:47,564 ♪ It's here and then it's gone ♪ 838 01:28:56,726 --> 01:29:01,721 ♪ So take me to the airport ♪ 839 01:29:02,039 --> 01:29:07,034 ♪ And put me on a plane ♪ 840 01:29:07,114 --> 01:29:12,109 ♪ I've got no expectations ♪ 841 01:29:12,212 --> 01:29:15,958 ♪ To pass through here again ♪