All language subtitles for Before.You.Know.It.2019

[MUSIC - JERRY PAPER, "GREY
AREA"]

(SINGING) Grey area, come and
find me in the noise of life.

I've got a funny feeling
I'm in transition

till out goes my light.

[car horn honking]

Stable ground is hard to come
by in this big, old world.

[chatter]

How are you not hot
in that turtleneck?

I have bad circulation.

Oh my god.

Did you just to Google
Manic Pixie Dream Girl?

I don't know that is.

Oh, I just couldn't go to an
urban farming talk at my local

co-op alone.

OK.

I didn't know that
was happening.

Uh-huh.

Then I'll just bring
a stranger to IHOP

because I'm super relatable
and very spontaneous.

You said cheap and close.

Did I mention that my
father was a playwright

and my mother was an actress?

OK.

That is unconfirmed
because my mom

died when I was really
little and my dad hates

talking about her.

And I think my sister
made up the actress part.

Likely story.

Do I just sound like
a, like, big faker?

Is that what a
manic whatever is?

No.

I'm just-- I'm negging you.

I don't-- I don't
know what that means.

Oh, girl, you have got
to leave your house more.

It's like, oh,
you're a producer?

Yeah, right.

Only guys are producers.

Well, technically
I am a stage manager.

OK.

It doesn't work when
you neg yourself.

What is it supposed
to accomplish?

It's supposed to make a woman
insecure so that she likes you.

This is me.

You live in a theater?

Above it.

Do you have roommates?

Are they cool?

There's nothing
worse than living

in a theater with randos.

Wow.

Goodnight.

It worked.

What worked?

The negging did.

[laughter]

I could get another
drink if you want.

[police sirens]

[car horns]

So do you want to--

This was really fun.

[music playing]

JACKIE: I won.

DODGE: No, Mom, you have
to go out on a Dis card.

JACKIE: No.

I don't have any
cards left I won.

DODGE: I have, like, three
times more points than you.

JACKIE: Rachel, did you
know that I'm good at cards?

No.

I didn't know that
you're good at cards.

You guys been
playing since I left?

- Do you want to play again?
- No.

You cheat.
JACKIE: No.

I'm on a strict--

Hey, Dad, do you
have pages to show me?

No.

What?
You were gone forever.

You were gone for
like, five hours.

I was gone for two hours.

Did you get my nut cheese?

You have lipstick
on your face.

JACKIE: Oh, my god.

You little dirty girl.

Tell me.
I won't freak out, just tell me.

Did you kiss somebody?

I wish you would
have told me that.

I have to live
vicariously through you.

Hey, Dad, I'm not
trying to be a nag.

It's just that--

[blender mixing]

--if we don't get them
the new draft by tomorrow,

all of your mentors will
be working off of the old,

old draft, which kind
of defeats the purpose.

You get what I'm--

Was she pretty?

Was she like, my kind of
pretty or your kind of pretty?

- You had one job.
- OK.

What has he been
doing all night?

I don't know what
he's been doing.

We were hanging out.

MEL: Jackie, tell
your sister what

we were working on tonight.

OK.

Oh, yeah.

Now?

So Dad and I were talking
about how we really

want to see "Kristoff's
Death," you know?

Mm-hmm.

Yeah.

We want to see it, literally.

And I just think
performance-wise it

would be really juicy.

You OK?

Mm-hmm.

You seem mad.

I'm not.

OK.

Because I thought
a lot about it.

And I feel like as an
actor coming into it,

it's going to be
pretty powerful.

I mean, it's like
a Madea, you know,

when she kills the kids
off-stage and nobody sees it.

And they're like, what happened?

It's a nosedive so early.

And I don't want that to--

you know, it's like, why would
people go to the show anymore?

And I want people to do
the show for a long time.

Also, we already blocked it.

So basically, your job is done.

It's already written for
you, so congratulations.

Did you use my toothbrush?

I think Dad did,
because I accidentally

used his to clean my boots.

But look.

No shoes in the
bathroom, please.

So Dad really thinks that we
need to see "Kristoff's Death."

What do you think?

(WHISPERING) This
is the part where

you tell me what you think.

You don't have anything to say?

OK.

Well, maybe we'll just
show you tomorrow.

Sound good?

Dad, we're going to
show her tomorrow!

MEL: I'm working!

[MUSIC - JERRY PAPER, "GREY
AREA"]

MEL (AS KRISTOFF):
[groaning in pain]..

Kristoff.

Ah!

Ah!

[crying]

That's enough.

OK.

I really thought that the
idea of not showing the death

was brilliant.

That was your idea.

But you agreed it was right.

MEL: Well, I think
it's too ambiguous.

But the ambiguity is good, no?

JACKIE: I think that catharsis
is better acting-wise.

Can we pick this up later?
- No.

Yes.

JACKIE: I have to take Dodge to
her first therapy appointment.

I already told you I
don't want you to come.

I just need to grab
your metro card.

RACHEL: Hey, Dad--
DODGE: Mom, seriously.

You're going to
have so much time

to work on this
at The Fellowship.

But right now, you really got
to focus on getting that end.

Your sister and I aren't done.

I totally hear that.

We just have to get
the draft in today.

JACKIE: Honey, I want to
be a mother, not a smother.

But I do think that you need
a grown-up to accompany you

because it's your
first therapy meeting.

She's right, Dodge.

You guys go.
- Great.

Dad, you and I can write.

I really wish you
wouldn't do that in here.

WOMAN: Hello.
- We're working.

Well, we booked this space--

Expecting Mommies Improv Troop.

Yes, hi.

- Is that a real cigarette?
- Yup.

No.
JACKIE: Ooh, I'm sorry.

I'm sorry.
I have to.

I love you're performing
when you're preggie.

It's so good.

It's good for you,
it's good for them.

OK.

Let's not touch them.

Come on, sweetie.

I'll take you.

[music playing]

MEL: Where we going?

Are you already
thinking about schools?

You can't think about
that stuff too early.

We were home schooled, actually,
which I highly recommend.

Thank you.
JACKIE: Oh, I'm jealous.

RACHEL: We'll get
out of your way.

- Thank you very much.
- Yeah.

Is it your first?
RACHEL: Jackie, let's go.

'Cause I only have one.

And I really want
to have another.

Have fun.
Break a leg.

Make yourselves at home.

Jackie, come on.

Why is Dodge in therapy?

Because she doesn't
have any friends, sweetie.

Well, how are
we paying for it?

Friends and family discount.

Remember that really
smart guy I told you

that I met last weekend?

Please tell me that
Dodge's therapist isn't a guy

you met at a bar.

No, silly goose.

I met him at this really
beautiful wine tasting

that I technically didn't
pay for, I snuck into.

But he is great.

I'm just here to listen.

You can tell me
anything, first thing

that comes into your mind.

A dream you had, what
you ate for breakfast--

Well, sometimes, uh...
sometimes my mom is--

Uh, that's
decorative from 1920.

I don't think it would be very
much fun to play with, anyway.

Uh, this is, uh,
this is sort of fun.

Lots of stuff you
can do with that.

So you were saying?

Um, just that my
mom is sometimes--

PETER: Hold up.

I owe you an apology.

I've been working on
becoming more flexible.

It's so funny.

You create all these systems
and mechanisms of control

until one day you wake
up and you realize

that they're controlling you.

Are you sure there isn't
anything you want to talk
about?

[music playing]

MEL: Just tell her, not for me.

I'm like Grandpa, not for me.

DODGE: Yeah.

That's 'cause she
listens to you.

Hey.

JACKIE: Wait.

My love, my baby,
how was therapy?

Did you talk about me?

You want to check this out?

I think this is a little
more what you were going for.

You obviously will be tweaking
it at The Fellowship, but just,

you know, for the purposes
of getting it in today--

I don't want a bunch of
hacks changing my work.

They're just
giving you feedback.

I don't want
any more feedback.

Can you focus on the
fact that this gives you

a guaranteed premiere and a
real run at their theater?

I have a theater,
an incredible theater.

Tennessee Williams
sat on my stage.

RACHEL: Yeah.

The Montgomery has a built-in
audience, that's all this is.

You've written a
really good play, Dad.

People deserve to see your play.

And they want you to
say something tonight

about your work.

They do?

RACHEL: Yeah.

Here.

You work on that.

Am I good to type this
up and turn it in?

Yeah, yeah.

It's fine.

OK.

[music playing]

JACKIE: Here we are at the
world's greatest theater.

And here we are with the
world's greatest playwright.

He's walking up the stairs.

He's loving his life.

He's doing-- oh, my god.

Dad.
MEL: Woo!

JACKIE: Dad!
- Whoa!

JACKIE: Dad!
- Dad!

Help me!

Help me sir, please.

Help me.
- Oh, I don't know this man.

I'm so sorry.
MEL: My god.

I'm sorry.
He's fine.

I'm so sorry.

MEL: Have you no feelings?

Let's do that again.

What, do I got dandruff?

No.

You just have some fuzz.

I got to go over my speech.

How long is it?

Just-- just out of curiosity.

Do you want to read it?

Do you want me to read it?

Mel Gurner.

I am such a fan of
"The Way I See It."

Such elegant writing.

(SINGING) There
is an open bar.

Two for you.
Hi.

Two for you.

Going to get me one.

These are my daughters.

No, Jackie.

WOMAN: A-ha.

I knew there was a reason
you wrote women so well.

Have you met everyone?

No.

WOMAN: We are so happy
you're bringing a little age

diversity into the group.

We, the
underrepresented majority,

will no longer be
pushed to the margins.

Because we are the
future of theater.

[applause]

You may know, our next
fellow from his groundbreaking

performance in the 1971 Broadway
production of "A Doll's House."

But tonight we're celebrating
his more recent accomplishment

as a playwright.

Please welcome Mel Gurner.

[applause]

(SINGING) Gee, I'm great.

Gee, I'm grand.

Pat me on the back
and shake my hand.

[blows raspberries]

Break a leg.

[laughter]

Woo!

[sparse applause]

[music playing]

RACHEL: It reflects
really badly on me.

JACKIE: Yeah, I get that.

But I really think
you're overreacting.

Who the fuck does
he think he is?

My recent accomplishment
as a playwright?

How about mentioning
the other 50 plays

I wrote and produced myself.

Which nobody saw
or cares about.

Me thinks I have [inaudible]
Coward, you coward.

DODGE: I'm a coward.
MEL: You're a coward?

- I'm a coward!
- You're a coward?

I'm a coward!

You're a coward?

Oh, my beauty, they're
bound to recast you.

You don't know that.

MEL: We don't need the
circle jerk players theater.

We own a theater.

That we need to
be renting out.

MEL: I'm sick of
pimping this place out.

It's my play.

We're doing it at my theater.

With what money?

Have a little imagination,
Rachel, for Christ's sake.

Imagination's not
really Rachel's thing.

Rachel is more of
a logic guy, dad.

Can we not fight please?

This was actually
almost something real.

MEL: (SINGING) It's my play.

It's my play.

Don't rewrite a word I say.
OK?

OK.
OK?

OK.
OK.

OK.
OK.

OK.

OK.

OK.

OK.

OK.

Why do you care so much?

I don't know.

Huh?

I don't know.

It's my play.

It's my play.

I should be able to do
whatever I want with it.

Right?

[music playing]

You disagree?

Inserting yourself
into the process

does not make you a playwright.

You're very good stage manager.

Be happy about that.

I don't really care about
your stupid fucking play.

I just need you to have a life
so that I can finally have one.

I didn't realize
this wasn't a life.

We're doing the show here.

You don't have to
be a part of it.

[breathing heavy]

Hey, ho, Daddio.

You hens make up?

That was a stressful one.

Aw, buddy.

Want a hug?

Aw, Dad.

[laughs] You want to
rehearse right now?

OK.

Let's go from the part
where I put in the knife.

Ugh.

Ow.
OK.

DODGE: What are you guys doing?
- Get up now, Daddy.

It's OK, baby.
- Grandpa?

We're just running the scene.
Dad, get up.

You're hurting me.
Daddy.

- Grandpa.
- Dad?

Don't touch him, baby.
Rachel!

- Rachel!
- Dad, get up.

Can you hear me?
Daddy?

Rachel!

Rachel!

Dad?

Grandpa.

Dad?
Rachel, help me get him up.

I don't think he's breathing.
He just slumped over.

I don't know what happened.
Help me get him up!

Get his body!

[MUSIC - MANDY PATINKIN,
"RAGGEDY ANN"] Gobbly,

obbul obbully gumbo, be biki lie
bye biki like bono, oh, no, no,

no, no, no, yes,
yes, yes, yes, yes.

She's my Raggedy Ann,
now you know what I mean?

Her eyes are made
out of tangerine.

And her hair is
bright, bright green.

Oops, I mean red.

I mean, my Raggedy Ann,
now you know what I mean.

Her eyes are made
out of tangerine.

And her lips are made
out of cellophane.

Only for me she goes gobbly
gobbul obbul obbully gumbo,

be biki lie bye biki lie
bono, oh, no, no, no, no, no--

I just want you to know
that the only reason that I'm

the executor is
because I'm older.

OK.

Then you should know we have
an accountant coming tomorrow.

Cool.

You can get him set up and
then you can have a job, too.

That's cool.

MICHAEL: MTJ is here
to save that day.

- Hi.
- Hello.

Hey, hold my calls.

I'm in a very important meeting.

Thank you very much.

Come, give me one.

Give me two.
Hi, lovely to meet you.

We're a little too far.
It's a little awkward.

- Not a problem.
- Right?

Let's admit it.

[chuckles] I was
closing on a new car.

What kind of car?

MICHAEL: Chevy Malibu.

Super fast.

I hope you don't mind me showing
up instead of my old man.

You see, you probably weren't
expecting such a young guy.

This is the will?

MICHAEL: Uh-huh.

Be careful.

Cool.

Um, Rach, I'm the executor
so first eyes on it.

Yeah.

That looks good.

MICHAEL: OK, jumping right in.

I like it.
I like it.

Good game plan.

Let's see what we got here.

Wow.

Ladies, all right, this
has not been updated

in a-- in a very long time.

No funeral.

Building goes to the co-owner.

And he left you some photos.

What co-owner?

Yeah, what?

Our dad is the sole
owner of our building.

No.

Co-owner was Sharon Gurner.

Is that your mom?

She's dead.

MICHAEL: OK.

Not to worry, not to worry.

Let me just look up your
building's public property

records.

Brand new computer, super fast.

Have it in a jiffy.

No Sharon Gurner.

Yeah.

Sherrell Gerhart
is the co-owner.

OK.

MICHAEL: Sounds French,
Sherrell Gerhart.

Excuse me.

OK, taking charge.

Why is a soap actress
listed as the co-owner

of our building?

[music playing]

JACKIE: Let me do it.

Let me do it.

Please, god, let him live.

JACKIE: [chuckle] Oh, my god.

You know who she
kind of looks like?

Looks a lot like you.

We should go.
We'll get to the bottom of this.

Thank you.
JACKIE: Wait.

Why would Dad--
RACHEL: Jackie.

--co-own a building
with this woman?

[music playing]

RACHEL: Why don't you
remember anything?

I was four, Rach.

We had a funeral.

Was I suppose to
know that was fake?

You mean this?

You mean us dressed in
black at Coney Island?

- OK, whatever.
- Where are you going?

We're this way.

No. Those soap citiers
are on the West Side.

You want to meet
her right now?

- Yes.
- No.

We're not doing that.

- I'm doing that.
- Nope.

We are not.
- Ow.

Stay.

Come on.

Look at me.

She owns our building.

I know.

As far as we know, she doesn't
know that Dad's dead yet.

We don't know what she'll do.

She might want to sell it.

She might want us out of there.

We don't know her.

She's our mother.

Don't you think if she
thought of herself that way,

we would have met her by now?

I don't know.

Let's get a drink.

You want a drink?

Yeah.

Do you want one?

Yeah.

[music playing]

We got to tell Dodge.

No.

Please promise me we won't
tell Dodge about this.

[sigh]

Promise me.

I take it you
didn't like the will?

You have a grandmother.

The will was fine.

Should we watch a
movie or something?

Yeah, sure.

OK.

Why don't you set
up the projector?

OK.

Great.

This was grandpa's
favorite part.

What?

Nothing.

[music playing]

JACKIE: Shit.

RACHEL: Jackie?

Jackie?

[music playing]

[phone ringing]

Hello?

CHARLES (ON PHONE):
Hey, this is Charles.

Are you here?

Yes.

Yeah, I'm coming.

I'm on my way out.

Thanks.

Dodge, you got to get up.

The new accountant's here.

Baby, you got to wake up.

I'm so sorry.

Come on.
I know.

I know.

OK.

I'll get your pants.

Can you hold these
for me, please?

Thank you.

Hi.

I'm so sorry.

I'm Rachel.

Hi.

Nice to meet you.

Dodge, Charles is helping
us out with some accounting

to figure out how we can
afford to do Grandpa's play.

I left my dad's
financials in the office.

If you can't find
anything, just ask her.

She grew up here.

I'll be back in a bit.

Cool.

Cool.

Uh, it's locked.

Um--

Seriously?

I don't have my--

ooh, my key.

Uh, we could try breaking in.

No, no, no, no, no.

We're-- we're not breaking in.

Just one second.

[phone ringing]

I'll call my mom.

[music playing]

Where is my fucking phone?

[cell phone ringing]

Jackie, I see you.

I see you.

Jackie!

You do not want to
meet this woman.

If you tell them
you are, you're just

going to sound like a crazy fan.

I know!

I'm not crazy!

You're jeopardizing our
home and our business.

Hi.
We need to be closing right now.

Do not go in there.
Jackie!

Yeah.

I've got RKO banging
down my door.

Well, if she's on uppers,
then put her on some downers.

SECURITY GUARD: Miss.
- You know what I mean?

I'm a producer.
SECURITY GUARD: Miss.

Well, you tell
them America doesn't

want to see a pregnant whale--
- Hey!

- --on the screen.
- I'm calling the cops.

- Jackie!
- Who do I have to t--

It's OK.

We're leaving right now.

I'll call you back.

OK.

What is your name, ma'am?

How is it pronounced?

Rhonda.

OK.

Thank you for your time.

Sorry.

I'm sorry.

Thank you.

Where's is your metro card?

Well, I'd say we could
just flirt our way in,

but you decided to dress like
a Mennonite caterer today.

And that's not going
to work, is it?

Buddy, I know that you're
processing a lot right now.

Yes.

I just don't want
you to get arrested.

Well, then help me.

I'm trying.

I promise you if after
talking about this

and getting a little more
information you still want

to meet her, I will help you.

I just want to see her.

I totally get that.

I mean, it's not like
I'm going to tell about Dad

or tell her who
we are or anything

if I think she's a dick.

OK.

Well, let's talk
about it at home.

We have got to get you a wallet.

Oh, sorry.

I respect your decision!

Hi.

I'm friends with
Rhonda from parking,

and I left my phone
in the bathroom.

No.
Uh-uh.

SECURITY GUARD: Be quick.

No, no, no, no, no,
no, no, no, no, no, no.

[elevator bell]

I'm a caterer, as well.

[chatter]

Excuse me.
Thank you.

MAN: It was a 6:30
call for makeup.

WOMAN: I don't know who taught
you how to make a call sheet,

but this is completely
unacceptable.

No.
I did--

The level of incompetence
you've exhibited--

MAN: But he-- he told me
wardrobe and [inaudible]..

[chatter]

What?

You're not supposed
to be here yet.

And you cut your hair?

Your agent didn't
even tell me that.

Guys, I'm sorry.

This is Eleanor Peabody.

She's early.

We're not ready for you.
MAN: We're ready.

Stay.

MAN: Ron, you ready?

Born ready.

DIRECTOR: OK.

So kids, we're just going to
start with a little improv.

Um, I'm not who
you think I am.

Great.

No, you're not.

But I will spend the rest of
my life trying to figure out

who you really are.

To hell with your past.

Veronica, I've loved you from
the moment I laid eyes on you.

No.

No.

Come here.
Come here.

- No.
- Beautiful--

- No.
- --angel.

No!
I said no!

Oh.

Oh!

Shame on you!

Shame on you!

Oh.

Oh.

That girl is a psychopath.

The worse.

JACKIE: Oh, yay!

I did not want to have
to do this on my own.

Yeah.
I didn't want to do this at all.

MAN (ON RADIO): We got a psycho
up here on the second floor.

[music playing]

They should have a bathroom
somewhere back there, I'm sure.

[music playing]

We'll order as soon as my
friend gets out of the bathroom.

[music playing]

Oh, look, it's my friend.

Hey, maybe we should
grab my daughter.

Not grab her, but--

it's a lot weirder for
me than it is for you.

Trust me.

[music playing]

OK.

Hi.

Just sit down.

OK.

So I can figure out how
to get us out of here.

Hi.

We're with production.

OK.

I'm just going to go
over some dos and don'ts.

I don't care how many of you
have done extra work before.

No eating from crafty.

Who here knows what
I'm talking about?

Do not, I repeat, do not
speak to the principals.

You may think whatever
you have to say

is interesting and funny.

I promise you, it isn't.

No looking at the camera.

No getting involved
in the scene.

It's called background
work for a reason.

Let's go!

Move!

No.

Rachel, I just want
to see her one time.

Please?

What is the hold up?

I need this.

I won't fuck it up.

I'm begging you.

Please?

CASTING DIRECTOR: Come on.

We're not talking to her.

We're just going to look at her.

OK.

CASTING DIRECTOR: Don't
make me physically move you.

Here we come.

And we're coming.

Let's go.

Faster.

Come on.

She's [inaudible]

MALE ACTOR: You got a knot.

FEMALE ACTOR: You'd
better get it out.

MALE ACTOR: You need some
deep tissue right here.

[chatter]

No.

Excuse me?
Sorry.

Hi.

I just wanted to say, really
creative choices in the Roger

funeral scene, the second one.

Because I'm a
theater actor, so I

can really tell when
somebody's drop dead.

Honestly, it was like
watching Shakespeare.

So good job.

OK.
[bell ringing]

DIRECTOR: Great.

Here we go.

Camera speed.

Sound speed.

And action.

FEMALE ACTOR: Sorry I'm late.

MALE ACTOR: Better
late than never.

FEMALE ACTOR: Mom would kill
me if she knew I was here.

MALE ACTOR: Not if
I kill her first.

FEMALE ACTOR: Oh, you are bad.

MALE ACTOR: Did you
bring the money?

FEMALE ACTOR: They'd only let
me take out $10,000 in cash.

MALE ACTOR: We need more.

SHERRELL: What are
you doing here?

FEMALE ACTOR: Mom?

SHERRELL: You think
you could just

show up like this out of
nowhere, with no warning?

You took everything I had--

my inheritance, my dignity.

And now you want my daughter?

DIRECTOR: Cut.

Oh, I'm sorry.

I'm sorry.

I just-- I-- Ronnie,
I mean Rick--

MALE ACTOR: Jesus
Christ, Sherrell.

Sherell!
[chatter]

Before you say anything--

MALE ACTOR: Come on.

SHERRELL: --I thought Miranda
is not going to be intimidated

by this guy--
DIRECTOR: Right.

SHERRELL: --or anybody.
DIRECTOR: Right.

SHERRELL: So I just thought,
I really just think that--

So this is the line I wrote.

I know what you wrote.

So just say that.

I just--

I don't want to say that.
- Just say that.

I feel something diff--

And don't hit him.

Fuck.

[chatter]

SHERRELL: What do I know?

I've just been living with
this woman for 30 years.

Let's get out of here.

No.

We shouldn't be here.

CASTING DIRECTOR: You, out.

You looked right into camera.

No, I didn't.

She looked right into camera.

The take's no good.

It's OK, because
we're leaving.

No, I'm staying.

Jackie, they
asked us to leave.

Let's go.
- I want to talk to [inaudible].

SECURITY GUARD: Let's go.
JACKIE: No.

That is really unnecessary.

CASTING DIRECTOR:
What is going on?

I'm Sharon Gurner's
daughter, and so is she.

That's not my name.

That's me.

RACHEL: We didn't want
to bother you at work.

We--
- Yeah.

We just didn't know
where else to find you.

[bell ringing]

DIRECTOR: Well, we're not
going to get another shot in,

so that's lunch.

We're eating outside today.

Happy anniversary.

[chatter]

Come on, guys.

That's it for now.

Time for lunch.

[chatter]

[music playing]

Would you like to
join me for lunch?

100%

[music playing]

SHERRELL: Let's take this
back to my dressing room.

JACKIE: OK.

RACHEL: OK.

[speaking russian]

SHERRELL: Oh, do you
do speak Russian?

No.

That's the only thing
in Russian that I know.

Yup.

Can I just say also
that I just love

how you've decorated in here?

Thank you.

This stuff, the
pink, it's really--

SHERRELL: Do you two do
a lot of background work?

Oh, no.
No, no.

I'm-- I'm an actress,
actress, mostly theater.

And she is my producer.

The stage manager.

SHERRELL: Well, that's
where I started,

which is why I have such a
low tolerance for bad writing.

They bring in these young kids
who know nothing about drama.

JACKIE: Probably
like that little guy

that was trying to tell
you what to do, huh?

SHERRELL: Yes.

I also have a very low
tolerance for controlling men.

[chuckles] I run screaming
in the other direction of I

have a sense that someone
is trying to box me in.

Excuse me.

Ain't that just the way?

Because honestly, I'm the exact
same way with controlling men.

[music playing]

JACKIE: Dad, sit up!
Help me get his head, Rachel.

He can't breathe.
Dodge, call 911.

DODGE: OK.
JACKIE: Call 911.

Tell them the address.
Hold his head.

Hold his head.
He can't get air.

Dad?

He wasn't like, a
bad guy, bad guy--

SHERRELL: Uh-huh.

Like, the kind of guy that
you, like, head for the hills

because of.
SHERRELL: Oh.

He was just the kind
of guy that could only

really hold a conversation
for 30 seconds

before he wanted to--

Jackie, let's go.

I'm not leaving.

RACHEL: We have that
thing we have to do.

JACKIE: Malarkey.

What thing?

You know what I was
going to say before

and it totally
skipped my mind is

that I can run lines with you.

Really?
JACKIE: Yeah.

I'm actually one of those
actors that likes doing it.

And we have a space we can
use because our dad used

to run a theater company.

So we-- and--

well, he did-- it doesn't--

sorry.

I forgot I was--

what was I saying?

(SINGING) Sometimes the words
come out of my mouth and I'm--

what were you saying before,
though, right before?

It's nice to meet you.

It was nice to meet you, too.

JACKIE: Actually, can I-- um,
I'm going to give you my cell

just because I think--
SHERRELL: Wonderful.

In case you want
to get a hold of us.

I tend to be the one doing
the secretarial duties.

[chuckle] OK.

My sevens look like nines,
so just be cognizant of that.

Um-- it's--

it's great, um, thank--

thank you.

Thank you.

JACKIE: I'm pretty free.

Good-- good to know.

Jackie.

JACKIE: You're a good hugger.

OK.

Bye.

Bye.

Yeah.

She was going to find
out eventually anyway.

Yeah.
No shit.

But I'd like to at least get
through the play, our father's

literally dying wish, before
we get kicked to the curb.

Oh, that's what
you think this is?

That woman's not going
to screw us over.

She was so sweet.

Oh, my god.

She wanted to love us.

Jackie, we don't know her.

Well, I want to
get to know her.

Yeah.

I think I have a pretty
good idea of who she is.

Oh, my god.

What?
What?

Who is that?
- Nobody.

What are you doing?

Nobody.

Stop it.

I'm going to go over and
I'm running lines with her

at her house tonight.

What?

[music playing]

CHARLES: I'm not an idiot.

I know what pot smells like.

All right?
- It's not even that bad.

OK?
- Take your shoes off.

Kendra does it
with her family.

Kendra?
What kind of shit?

I don't give a shit what
Kendra does with her family.

All right?

She's 16, and you're my kid.

I don't have to listen to what
Kendra does with her family.

Nonsense.

OLIVIA: It's not like I'm
becoming a hooker or anything.

Hooker?
Who says hooker anymore?

It's sex worker.

I've worked so hard to make
sure that you can just be a kid.

Just enjoy it.

I don't want to be a kid.

Well, I'm sorry.

You are a kid.

Um, where's your bathroom?

Upstairs.

CHARLES: You got it from
that kid your age [inaudible]

OLIVIA: Oh, my god.

Relax.

[muffled arguing]

[music playing]

Hi!

Come on.

Oh, you're here, too.

Yes.

A decorator helped
me with most of it.

- Wow.
- Yeah, I know.

It's beautiful.

It's sort of a little
bit of the Hall of Fame.

And I--
- Oh, it's you.

Yes.

And I-- I love pink roses.

I don't know if either
of you gals like--

oh.

[laughs] This is for you.

This is for me?

Yes.

I know it's silly.

But I realized that I had them.

I hung onto them.

For 28 years?

JACKIE: I love presents!

You can ask Rachel.

I flip out.

Oh, my g-- oh, my
god, every birthday.

[gasp] Oh, my god.

So sweet, right?

You can feed them.
JACKIE: I know.

And they poop.

That's amazing.
Rachel, open yours.

Here's a script.

Didn't you want to run lines?

If you don't turn off
the path of destruction

you're headed down,
I'm going to have

to cut you off at the pass.

And there's bound
to be a collision.

I don't want us to both go
down in flames for this, Carl.

Isn't that awful?

JACKIE: Yeah.

Because it said down in flames.

It's barely English.

It's up in flames.

You can't go down in flames.

RACHEL: No.

It's a really convoluted way of
saying if you keep doing this,

there will be consequences
for both of us.

SHERRELL: Exactly.

That-- that's right.

That's-- that's perfect,
and this is awful.

I actually don't
think it's that awful.

Um, if you tried, like,
if you don't turn off

the path of destruction
you're headed down,

I'm going to have to
cut you off at the pass.

And there's bound
to be a collision.

I don't want us to both go
down in flames for this, Carl.

What did you just say before?

Um--

If you can do that for
all these garbage lines,

I would give you my first born.

Oh, that's you.

JACKIE: Yeah.

[laughs] Whoops.

Don't give me away.

[laughs]

Do you have a pen?

JACKIE: Great.

Then you can do that, and
then I can run lines with you.

So you've got-- it's
a two member team.

[music playing]

SHERRELL: Oh, you're just
making Miranda human again.

You really tapped into the fact
that she's a wounded woman.

And-- and-- and I-- and I think
the jealousy with Chloe comes

from the fact that--

that Miranda never
really wanted children.

She was running away from
abusive parents and, um,

a series of abusive boyfriends.

And, uh, when she
met Chloe's father,

thought that because
somebody loved her and wasn't

beating her up that she
owed them something.

And he wanted a family,
but she never wanted one.

Oh, open your present.

You-- you used to squat like
that when you were a baby.

It was so-- [laughs] It was
so funny and so strange.

Jackie, get up.

Get up.

We're going.

JACKIE: What?

RACHEL: Come on.

It's time to go.

JACKIE: Thank you.
- Sure.

JACKIE: Bye.

RACHEL: We have
squatter's rights.

She can't do shit
for like, six months.

If we start casting now, that's
two weeks, a month to rehearse.

We want at least
a two month run.

That's fine.

She was so sweet, though.

No.

No, Jackie.

She abandoned her children.

She's not s--

Dodge.

Dodge.

[footsteps]

OLIVIA: I made you
a vision board.

It's my vision for you look
because if you could actually

be very pretty.

It's my girl, Queen of Hearts.

Don't touch that.

Those were my grandfather's.

Where are you from?

The Village.

No.

My ancestors are French-Hatian.

Your dad's Asian.

Right?

Yeah.

Why don't you know your roots?

Because I don't know my dad.

That's why you're acting
all intense about your grandpa

being dead.

And you miss your mom, which
is why you hang out with girls

were lame enough to
get a 12-year-old high.

I'm 13.

Cool.

OLIVIA: What are
you looking for?

Here.

These ones are a
little harder to use,

but they're better
for the environment.

Do you have a pad?

Ew, no.

Those things are like diapers.

You've never used a
tampon before, have you?

Um--

It will change your life.

Here.

Take off the plastic.

Come on, do it.

Here, on three.

Uh, I've got it.

Thanks.

OK, Miss Modesty.

Good luck.

On three.

One, two, shoot it up there.

Did you get it?

Yeah.

Great.

Now wash your hands.

[music playing]

CHARLES: Hey Dodge,
your mom's on her way!

[music playing]

The wiser I become,
the more debased.

"De-based", debased?

[crying]

OK.

That was great.

Thanks, Rodney.

Good job.

Yes.

We'll be in touch.

Does the scene feel weird?

No.

It's not the scene,
it's the actors.

Dad could pull it off.

But it's just a little intense
to do it over and over again.

Woo!

So hot.

Hey, you got a sec?

Yes, hi.

I'm so sorry.

I wanted to apologize
for the other night.

Jackie gave me a Starbucks
gift card to apologize,

and explained to
me about your dad.

I get it.

Thanks.

Were normally very on top of it.

Totally.

Listen, can I talk to you
about this credit card stuff?

[phone ringing]

I'm actually the executor.

Oh, shit.

It's the morgue.

Sorry.

I'll take it.

I got it.

This is Jacqueline Gurner.

Go ahead.

So you-- you know
about this debt, yeah?

Because you and your sister's
names are also on the account.

Yeah.

That's the company card.

It's not that much, right?

Um, maybe we're talking
about a different company card.

I don't think your
support group rentals are

paying all the bills.

Listen, this-- this can
be put on a payment plan.

So just take a deep breath, OK?

But there is one other thing.

Um, it's not a big deal.

But the theater's license
has expired by two years.

Look, look, it's an
easy thing to fix.

OK?

So I already printed out the
forms for you and your sister.

I just need your
signatures right there.

You need the owner of
the building's signature.

Only if you want
an audience in here.

OK.

Cremation's scheduled.

Jackie, I need you to
text Sherrell and tell her

that we want to hang out.

OK.

Thank you.

Finally.

Grab that folder.

Oh, by the way, I'm
doing taco night tonight.

And Olivia wanted to--
- Amazing.

--invite Dodge.

Oh, great.

That works out perfectly.

I have plans.

And yeah, that-- I think
she would really like that.

She's allergic to
dairy, and she doesn't

like things that are green.
But--

RACHEL: Jackie!
- Got it.

Cool.

Coming!

Bye.

All right.

If there's any way you
guys can come back tomorrow

same time, that
would be amazing.

Thank you so much.
- Oh, sure.

Ooh.

I hope you guys can do something
nice for yourselves today.

Thanks.

[music playing]

Well-- um, welcome.

Is everything all right?
- Yeah.

Yeah.

Just wanted to see how
those scenes were going.

Good, thank you.

This is so fun.

It's so fun, all of us
together just hanging out,

Three Musketeers.

Oh, I already got you, so
I might as well get you.

Woo!

MAN: Sherrell, could
I invite you to set?

SHERRELL: Oh.
- Is that you?

Let's go.

JACKIE: Um, will I
miss anything if I pee?

[scream] No!

No!

No!

My baby!

Mom!

Mom!

Who would do this?

Everything's OK, baby.

Everything's fine.

I'm sure-- I'm sure she
just got hit by a car

and crawled into
the garden to die.

DIRECTOR: Cut!
[bell ringing]

OK.

So that's not what we
talked about, but fine.

WRITER: No, no, no, no.

It's not fine.

She completely
rewrote that scene.

SHERRELL: It didn't mess
up any of the plot points.

And we felt that Miranda--

DIRECTOR: We?

SHERRELL: --would want
to protect her daughter.

DIRECTOR: Who's we?
- Wait.

I'm sorry.

Who are you?
MALE ACTOR: Morning, everyone.

Whoa.
No, no, no, no, no.

This-- this woman is
actually a safety issue.

- Oh, I'm a safety issue?
- You darling, are a psychopath.

I don't know if you
remember what happened, but--

OK, listen, haircut.
You do not talk to her that way.

SHERRELL: Yeah.
- How dare you?

This is a woman.
- OK.

How dare you talk
to her that way?

She is the smartest
person I know.

She has more talent
in her little finger

than you have in
your entire body.

I am so appalled with
the way they treated you

after you saved that scene.

Little window into my life.

Yeah.

[knock on door]

I'm so sorry to bother you.

But I have Michael here for you.

Hi.

Can we talk out in the hallway?

I am not reshooting this.

Rachel, I really feel
like we should be focused

on Dad's cremation right now.

I can't leave.

[sigh] What are
we even doing here?

You don't even like her.

You think she's a B-I-T-C-H.

Who said that?

Hm.

They're putting me in a coma.

What does that mean?

SHERRELL: They say
it's only temporary,

but that's the way
they kill people off.

I don't want you to think
that this is your fault.

It's not your fault.
They're trying

to appeal to a younger audience.

But that's bullshit.

It's that little shit, Damien.

I mean, you
rewrote that scene.

He would rather kill
Miranda off then come up

with a good storyline
for her because he can.

I can come up with
a good storyline.

I-- I can do that.

We can come up with something
that's very current.

And then if they say no to
it, you just call them out

for age discrimination.

They can't fire you.

Oh, that's perfect!

And we can pitch it at the
anniversary party tonight.

Perfect.

Well, we have plans tonight.

So--

Oh.

Oh, my god.

You saved my life.

You are the best.

Oh, and if your plans change,
you could join us later,

sweetheart.

All right.

So let's think.

Let's put on our thinking caps.

Oh, what-- what if we do
a denying the gay character

a wedding cake storyline?
- I'm going to go.

RACHEL: Miranda we're out of
her coma and suddenly she's--

she's a conservative baker.

And she is not going to
give that guy his cake.

And he's played by a younger
character, than that involves

the younger characters and it--

it's very current-ish.

Oh, oh, oh, that's--

that's interesting.

But a baker-- they just wouldn't
want me to be unattractive.

OK.

Just keep thinking.

Keep thinking.

We're on to something.

Yes.

OK.

SHERRELL: And I'll get rid
of the rest of this blood.

[music playing]

Where have you been?

You look really good.

You look good.

And.

Here you go It's a Pino.

I'm sorry, it's
just all we have.

I love Pinos.

Oh, good.

So what did you want
to, uh, talk to me about?

Her daughter, Dodge,
is a patient of mine.

- Oh, of course.
- Yes.

She's really been missing you.

It's been a very hard
week for her, very hard.

But we are seeing each
other on Thursday, aren't we?

Mm-hmm.

She respects that you
have other clients,

but she's just still
needs to feel like she's

a priority in your life.

Miss Gaynor--

Gurner.

Uh, I'm not at liberty
to discuss my patients

in front of my wife.

We can go in another room.

[laughs] How old
is your daughter?

She's 12.

Oh, what a tough age.
Huh?

Mm-hmm.

We don't have kids
of our own, but we

do have two nephews
who live in Tucson

that we don't see
near enough of.

I keep telling him.

And just every time that my
sister posts a picture of them,

I literally melt. Get this.

OK, so they love Batman
more than anything else

in the world.

But they're not old
enough to pronounce it.

And so they say Bahma.

[laughs]

That's funny.

Uh, it's not
uncommon for children

to develop an attachment
to their therapist.

And I take responsibility for
thinking that you could handle

a more casual rapport with me.

But I do think it's in
her interest at this point

to find another therapist.

I'm really glad that you were
picking up on those signals.

Because that's actually
why I came over here,

was just to tell you that
you are unfortunately fired.

So we won't be needing
your services anymore.

And, um, thank you for that.

Thank you for your time.

And you are very pretty.

You're pretty.

Thank you.

What did I tell you about
fucking your clients' parents?

It's pedestrian.

Right.

[music playing]

[cell phone buzzing]

Hey, Jackie.
What's up?

JACKIE (ON PHONE): Hey, Chuck.

Does anyone call you chuck?

No.

Well, they should.

What's-- how's my kiddo?

CHARLES (ON PHONE):
She's doing great.

She's out there kicking
Olivia's butt at, uh, cards.

You want me to have
her call you later?

Well, I was actually
wondering what you were doing.

And I was wondering
if you wanted to get

a glass of wine or something.

CHARLES (ON PHONE):
Listen, uh, I'm

just going to hang
here with the girls.

Yeah, yeah, yeah.

No, actually-- you know what?

When I think of it, today is
actually not great for me,

either.

Because I've got
to get a massage.

So I--

CHARLES (ON PHONE):
Check in later.

Yeah.

Why don't I check in later?

And you guys have fun.

CHARLES (ON PHONE): Um--
- Yeah.

CHARLES (ON PHONE): Maybe all
four of us could do something.

Awesome.
CHARLES (ON PHONE): Sounds good.

OK.
Thanks, Chuck.

CHARLES (ON PHONE): Yeah.
- Sorry.

Thanks, Charles.
CHARLES (ON PHONE): For sure.

Sure.
- OK.

CHARLES (ON PHONE): OK.
- Bye-bye.

CHARLES (ON PHONE): Bye.

[music playing]

RACHEL: What do we know about
Miranda's family history?

Just that she was left on
the doorstep of a nunnery.

REBECCA: Sherrell!

Where's the network now?

I have young fans.

Hello.

hello, hello, hello, hello.

Oh, you're twins.

Oh, you're adorable.

What's your name, cutie?

Um, I'm Rebecca.

But this is for my
grandmother, Ruth.

She's like, your biggest fan.

Evil twin.

Right?

Miranda can die or stay
in a coma or whatever.

But you come back as her
super with-it evil twin.

Who orchestrated
the whole thing.

You were the reason
she's in the coma

because you were always
jealous of your sister.

[gasp]

And now is your chance
to have everything

she always had that you
always felt like you deserved.

This is brilliant!

I've always wanted
to play a bad guy.

Fuck your grandmother.

Just getting into character.

Oh, you can't wear that tonight.

That's good.

No, that's me.

Hm.

Hm?

Hm?

I feel like what
I'm wearing is fine.

It is fine.

But why have fine when
you can have fabulous?

OK.

Pick out anything,
anything you want.

This?

OK, honey.

Um, I see that
you're a lot like me.

You're in control.

You know what you want.

You're ambitious.

I'd love to see you in something
that shows a little bit more

of that power.

Take off your clothes.

[music playing]

You have no taste.

[music playing]

Wow.

Mm-hmm.

You sure about this?

Mm-hmm.

Yes.

You look fabulous.

We look fabulous.

[music playing]

Oh.

CHARLES: Dodge, it's your call
if you want to invite your mom

or not.

No.

No.

Absolutely not.

OK, hang on.

If our parents liked each
other we could be sisters.

You do not want
my mom as your mom.

What do you like about her?

Is she nice?

Too nice to the wrong people.

So she has a big heart.

Is there anything you like
about yourself that you

think you got from her?

Loyalty, I guess.

Is she funny?

Not on purpose.

As someone who didn't
understand how cool their mom

was until she was gone, I think
you're being a little harsh.

Can I ask what
happened to her?

[cell phone buzzing]

My love, my
heart, my princess.

No.

Uh, you know, I have
one other thing earlier.

But I'm-- what time is it?

I'm going to make it work.

So my mom's coming
from an event,

which means she'll be dressed
in a very intense outfit.

She has a great singing voice.

My dad knows how
to play guitar.

They'll totally fall in love.

To our potential sisterhood.

Yeah

Oh.

[music playing]

[chatter]

PHOTOGRAPHER: This is boring.

Let's get a kiss.

Yeah.

Don't they play father
and daughter on the show?

Some people will do
anything for attention.

OK, it's our turn.

Oh, no.

No, no.

Come on.

Come up and smile.

PHOTOGRAPHER: Sherrell,
who's your friend?

Let's get another one like that.

Sherell, is that your sister?

SHERRELL: Oh, I don't think so.
PHOTOGRAPHER: Oh, I don't know.

SHERRELL: Well, ma-- maybe.

Oh, we miss you already.

This is red carpet only.

Oh, no.

No.

I'm with them.

That's my--

Oh, so great to see you again.

You look amazing.

That's my mom.

Sherrell is my mom.

All right, ma'am.

I'm Jackie.

The regulations entrance
is right over there.

She's-- can I get in that way?

These are twins
I just met in line.

Hello.

Hi.

Did you get me one of those?

This?

Yeah.

No, they only gave us two.

But I don't want it.

It's fine.

I don't need it.

What are you wearing?

Oh, you made it.

Hi.

Hi.

So this is the one I
was telling you about.

She is totally brilliant.

You kneed Brant in the gonads.

She can be a little intense.

Intense can be a good thing.

Why don't you grab us a couple
of whatever the cocktail is?

So anyway, what I was telling
you is that she [inaudible]..

Really?

Party on.

[music playing]

[party chatter]

RACHEL: You don't have to
kill off your older characters

to keep your show current.

You just need to be reflecting
the current reality.

You're smart.

Isn't she great?

Because the
younger generations,

they want to see dynamic women.

And they want to
see older women.

Well, not older, older.

RACHEL: But the point
is, Miranda is someone

we only know as a mother,
and as somebody's ex.

Right?
We know nothing about her.

But with the evil
twin character,

you have a real opportunity
to flesh out this three

dimensional, deeply flawed--

But in a sexy way.

I like that.

JACKIE: Good evening.

Good evening.

Here are your drinks.

The bartender is a
B-I-T-C-H, for the record.

Where did you go
to school, Rachel?

I got into the
University of Chicago.

RACHEL: Yeah, but you didn't go.

Was unable to attend.

Have you ever
considered acting?

You really have a
face for television.

Oh.

Maybe the evil twin has a
daughter, like actor, writer,

mother, daughter duo.

That's good.

Then you guys can
start an evil empire.

Cool.

Jackie seems to be
enjoying the open bar.

Where were we?

Oh, right.

Girl power.

I just think you should have
a female character on your show

who isn't perfect.

But in an appealing way.

Sexy works.

Sexy is important.

DODGE: Now you want
to hear all the things

I don't like about my mom?

She's always late.

I'm pretty sure she
can't tell time.

She's overly
emotional and needy.

She pretends to have
hobbies, but never

actually learns to do anything.

She wants to be
part of everything

until she has
something better to do.

And then she's like, oh, sorry.

I forgot.

CHARLES: You ever
thought about talking

to your mom about
how annoying she is?

No.

No, I can't.

You sure?

You keep pressing this
kind of stuff down,

it festers and it grows.

And before you know
it, you are doing

something you really regret.

Like what?

CHARLES: Take a look.

Stronger on my knees.

Oh.

[laughs]

That's kind of homoerotic.

Try play intramural basketball
with that shit in your back.

Yeah, that's what I did
instead of talking to my dad.

Are you going to
get a face tattoo

instead of talking about mom?

Are you going to go?

[door slams]

I'll go.

[dance music playing]

[party chatter]

Don't lean on that.

There's nothing behind it.

Oh, I know.

You can't--

- Jackie.
- Sorry.

What the fuck are you doing?

I'm s-- I'm sorry.

I'm really sorry.

That is not safe.

Just-- that it's really,
really dangerous.

Stop doing that.

Stop.

Stop it.
That's enough.

Come on.
- I just spilled on the dress.

Stop that.

Take that off, please.

I'm going to.

I think I can get it out.

No, Jackie, not here.

This is public.
Go in there.

Don't push me.

Here.

I think it'll come out.

It's that cold water?

Yeah.

OK, just because you can't put
water on that kind of material.

No, Rachel, you c--

don't put soap on silk.

Yeah, I know.

It's my dress.

Oh, that's right.

I'm sorry.

I forgot that
everything is yours.

You know, The Fellowship, Mom,
and you're an actress now.

Yay!

That's so fun for me.

I'm just trying to make sure
that Sherrell can keep her job,

so that we can keep our
home, so that you and your--

Will you stop trying to
pretend like this is about us?

You don't give a fuck about us.

We have a year to figure it out.

I'm the one who told you that.

And I was wrong because we
inherited a bunch of debt.

Why don't I know about that?

Because, Jackie, I
can't trust you with shit.

[knock on door]

That's setting.

Just let me do that, please.

I was doing it fine.

I wasn't doing anything
that you weren't doing.

You have no idea how selfish
and controlling you are.

I'm selfish?

Yup.

I didn't get to go to
college because you had a baby.

[knock on door]

And I'm selfish?

Occupied.

That is so fucked.

Nobody made you stay.

It was your choice.

You wanted to do it.

Let me ask you this, Jackie.

If you see a person repeatedly
walking into traffic,

are you just going to be like,
they're cool, they'll be OK?

You're saying
I'm a blind person?

I have had a messy life,
and I know that I'm not

getting it all right.

I know that.

But I'm a nice person [crying]
and that counts for something.

I know trying to control
all the people around me

in order that I could
feel OK in the world.

And I love you, but
that's what you do.

I miss my dad.

[music playing]

Oh, Jackie-- well--

oh, oh, there you are.

Where did you disappear to?

Michael is very into our pitch.

He wants us to come back to
his place and keep talking.

I have to talk to
you about something.

Well, can it wait?
Michael's waiting.

No.

My dad died.

Oh, my.

Oh, oh, I'm--

I'm so sorry.

I'm so sorry, Rach--

It's OK.

I just need you to sign this.

Oh.

Well, what is it?

It's a permit for the theater.

Oh.

Oh.

Oh, thank god.

I switched business managers,
and I was so worried

that there would be a problem
with the payment or something.

Easy, peasy.

What payment?

Well, the mortgage,
the property taxes,

the expenses on the building.

I don't even know all what else.

I-- we set it up so long ago.

You were making
those payments?

Well, I wouldn't expect
your father to make them.

He was so committed to his
starving artist persona.

And I would never
leave you high and dry.

I'm not a monster.

What did Mel tell you about me?

That you were dead.

[music playing]

That's why it
took you so long.

For what?

To come and find me.

P Sherrell, give us another one.

Oh, sure.

You were waiting
for us to find you?

PHOTOGRAPHER: Sherrell,
who's your friend over there?

But you left.

That's insane.

That's an insane thing to say.

Can we not talk about
this right here, right now?

Do you know how any idea how
fucked up I am because of you?

Every person is responsible
for their own life

and their own--

Not children.

Parents are responsible
for their children.

Listen to me.

You have no idea
what it was like.

He couldn't stand my getting
work or having friends or doing

anything that didn't
involve taking care of him,

and you, and your sister.

I was so depressed.

I could barely breathe.

He convinced me that you
were better off without me,

and I believed him.

I just didn't feel
like I had a choice.

You did have a choice.

I needed you.

[MUSIC - ARTHUR RUSSELL, "I
COULDN'T SAY IT TO YOUR FACE]

(SINGING) I couldn't
say it to your face,

but I won't be around anymore.

MAN: Hey.

You looking for something?

I think I got it.

RACHEL: No.

That's so not OK.

MAN: Your loss.

Fuck you.

Fuck you!

ARTHUR RUSSELL: (SINGING)
I needed a place

so I walked in the door.

I couldn't say it to your face,
but I won't be around anymore.

Hi, baby.

Can I sleep here tonight?

Is it OK with Charles?

OK.

I love you.

[door slams]

ARTHUR RUSSELL: (SINGING)
In my arms you, girl,

you won't be here
to say I'm wrong.

I couldn't say it to your face,
but I won't be around anymore.

I couldn't say it to your face,
but I won't be around anymore.

I needed some space so
I walked out the door.

I couldn't say it to your face,
but I won't be around anymore.

Hey.

Get up.

We got to go.

ARTHUR RUSSELL: (SINGING) I
heard them say maybe someday

I'd have to pay.

JACKIE: Let's go, Rachel.

ARTHUR RUSSELL:
(SINGING) I don't

say one word to let you
know I'm going away.

I couldn't say it to your face,
but I won't be around anymore.

I couldn't say it to your face,
but I won't be around anymore.

[crying]

ARTHUR RUSSELL: (SINGING)
I needed a place,

so I walked in the door.

I'm not doing that
scene right now, Rachel.

ARTHUR RUSSELL: (SINGING) But
I won't be around anymore.

Just give me a
minute to set up.

Thank you.

We'll be in touch.

Thanks.

Can you just send
the next guy in?

What do you want me to say?

No, what?

What do you want me to say?

Should I make something up?

Should I go away?

Then tell me what
you want me to say.

That you're proud of me.

[laughs]

[laughs]

(SINGING) Gobbly gobbul
obbul obbully gumbo,

be biki lie bye biki lie bono,
oh, no, no, no, no, no, no, no,

yes, yes, yes, yes, yes.

Going for me, gobbly
gobbul obbul obbully gumbo,

be bikie lie bye biki lie bono,
oh, no no, no, no, no, no--

[laughter]

--yes.

Yes, yes, yes, yes.

[laughs]

[music playing]

Honey, thanks for
giving me an us day.

Being without my
baby made me so sad.

How's that ice cream?

Oh.

It's fine.

Want some?

No, honey, I'm good.

Whew!

I'll have a little baby bite.

Ah!

That is heaven.

Yums.

Thank you.

I need to talk to you.

OK, baby.

What is it?

I think you are a bad mom.

I think you can be a good
mom if you apply yourself.

OK.

And stop drinking.

Yeah.

Baby, you know, it's
tough with grown ups.

Because I've been mourning and
it's a little fuzzy upstairs.

But I hear you.

I hear you.

It's on my radar.

What else?

Stop throwing yourself at men?

No.

I don't think I do that.

I don't do that.

I'm sorry, Bunny.

I think I just wanted you to
have two parents because I

didn't have that.

And maybe I just need to focus
on you having one parent.

I need you to buy me tampons.

Don't say anything.

You want to finish this?

Now it's all drippy.

Speaking of which, when you
got your period was it brown?

Oh, my god!

- Because when I got my mine--
- Mom!

No!
- -- it was brown and chunky.

I can say that.
You came out of this body.

Oh, Jesus.

[music playing]

I'm so sorry.

So I did some thinking, and
I figured out a way for us

to keep the theater for
the play if we rent out

a couple of rooms, we
set up a payment plan.

We'll have enough money
to get through casting,

and then assuming the
play's a huge hit,

you, me, and Dodge
will find a new place.

That's it.

It's me and you, kid.

We can do anything.

That all sounds really great.

I knew it.
I knew it.

I knew it.

But I don't want
to do the play.

What do you mean?

I think I need to get a
normal job so I can figure out

how to pay for my own
apartment and, like, date,

and have friends.

I'm your friend.

I know.

I have to learn how
to be an adult now,

or it's never going to happen.

Well, what am I going to do?

I think that's something you
get to figure out for yourself.

OK.

OK.

[music playing]

REPORTER (ON TV): And the
golden retriever pulled it off.

This piece is a
little unexpected.

We're having a mocktail party.

- Dodge.
- Yeah.

OLIVIA: Look.

REPORTER (ON TV): --only to
make a scene "Time Will Tell"

50th anniversary gala.

I guess time will tell if they
end up a happy family or not.

Sweetie, I really don't think
you want to meet this woman.

She's my grandmother.
I have a right to meet her.

Should have told her.

Ladies, if I--

I want to go it alone.

No, Dodge, that's--

I don't think that's
a good idea, sweetie.

--a really bad idea.

Guys, just let me have this.

OK.

OK.

All right.

Wait.

Olivia, stay.

Yeah, come on.

OK.

[knock on door]

They were in there
for a long time.

Right?
- Yeah.

- I'm going to go in there.
- I'm going to go.

You're looking at your
new landlord, bitches.

Yeah.
You better be nice to me.

What does that mean?

I'm always nice to you.

SHERRELL: She won it--
card shark over there--

oh, of course, it will have to
be in your name until she's 18.

But I want her to have it.

[music playing]

You've done a very good job.

Really?

Mm-hmm.

Thank you.

Do you girls have
plans for dinner?

Because I have some great
ideas for some plays for me.

[music playing]

[chatter]

You OK?

Why don't you take
the night to yourself?

There's no rush.

Are you sure?

Yeah.

I got this.

I love you.

Don't get me crying.

Do something nice for yourself.
Cut those toenails.

OK.

[music playing]

RACHEL: Celia!

Celia!

You run like a girl!

Sorry.

I was-- Hi.

Hi.

Rachel.

I was just trying to neg you.

Yeah, now I remember.

Um, if you're still single I--

I would love to have you
over for a-- a drink or--

Do you still live
at that theater?

I'm on my way out.

I'm good.

I'm kidding.

I'm kidding.

[laughs]

Oh, OK.

Do you want to go
over to my house?

Right now?

Yeah, why now?

Yeah.

Um, I just have to get my bag.

OK.

Don't run away.

Do you want to come with me?

No, you stay here
and I'll get my bag.

- Uh--
- OK.

You come with me.

[laughter]

[MUSIC - PAUL AND THE TALL
TREES, "ONCE IN A WHILE"]

MAN: (SINGING) Once in a
while, what could I say?

I thought out love
was bona fide.

But too, my eyes have cried.

Once in a while, once
in a while I lose it.

So have mercy.

Have mercy on me.

Go easy.

Have mercy.

Have mercy on me.

Go easy.

Have mercy.

Have mercy on me.

Go easy.

Have mercy.

Have mercy on me.

Go easy.

Because the two of
us will someday die.

[MUSIC - JOHN MORAN, "MAKE IT
WITH ME"]

MAN: (SINGING)
There's a name written

on my door and it's mine, could
be yours if you really want it

and more.

More.

I'm a mind for
security, so have you.

Don't you see, you could
lay all your troubles on me?

Me.

Put all your cares away.

Leave them to fade away.

Let them go flying.

I don't mind always being
there for you to come and tell

your troubles to, to.

Put all your cares away.

Leave them to fade away.

Let them go flying.

[MUSIC - MANDY PATINKIN,
"RAGGEDY ANN"]

MANDY PATINKIN: (SINGING)
And a one, and a two and--

Going for me, gobbly
gobbul obbul obbully gumbo,

be biki lie bye biki lie bono,
oh, no, no, no, no, no, no,

yes, yes, yes, yes, yes, yes.

Going for me, gobbly
gobbul obbul obbully gumbo,

be biki lie bye biki lie bono,
oh, no, no, no, no, no, no,

yes, yes, yes, yes, yes.

He's your raggedy Andy,
it's time to come clean,

a fingerless man
in an atomic dream.

And his hair his
bright, bright green.

Oops, I mean, red.

I mean, my Raggedy Andy,
you know what I mean?

My pudgy little friend with
those black-eyed beans.

And his legs are striped
like a candy cane.

Only for me he goes, gobbly
gobbul obbul obbully gumbo,

be biki lie bye biki lie bono,
oh, no, no, no, no, no, no,

yes, yes, yes, yes, yes.

Going for me, gobbly
gobbul obbul obbully gumbo,

be biki lie bye biki lie bono.

Oh, no, no, no, no, no, no,
yes, yes, yes, yes, yes.