All language subtitles for A.Bread.Factory.Part.Two.2018.1080p.WEBRip.x265-RARBG1_English

[upbeat music]

- You're back!

- Look who I found.

- Margreta.

- Linda, it's been too long!

- It's only been--

- No, too long, I'vedecided, Linda, too long.

What do you have for us this
time?

- Pieces of Henry Kissinger'sheart.

I'm branching out into fantasy.

- Wonderful, only you couldmake something wonderful

out of Henry Kissinger's heart.

Oh let me show you.

Would you like some coffee?

- [Linda] God, why do I ever
leave?

[phone ringing]

- Bread Factory.

Just give me a second.

You wanna see Mahagonny.

You know the opera?

Yes, I like it, too, I
just wanted to be sure

you knew what you were in for.

And your name is?

Toni with an I.

And do I know you, Toni?

Well, okay then, welcome.

And you need to sit where?

You have what kind of condition?

How do you spell that?

Just so when we're in theambulance, I can let them know.

- There's nothing.

- There are many things.

- No note, no clue.

I can't figure out where shewent, if something happened.

- These, what are these?

- Bills that came in, I don'tknow what to do with them.

- You have Jan's checks?

- Yeah, but like I don't know

if there's money in the
accounts or what.

- Well, you are a journalist.

- Hi, I'm calling from
the Checkford Journal.

We have a check--

Oh hi, Bill.

Yeah, yeah, I'm good what
about you?

I don't know if you heard,

but Jan, she's kind of gonemissing.

Yeah, yeah, no one really knows.

You haven't seen her lately,have you?

Have you seen her lately?

Okay, and when was that?

And did she say anything then?

Like anything unusual?

Okay, yeah.

Anyway, we're like getting all
these bills

and I didn't know if there'smoney

in the account to pay them or?

Do I need--

Sure, he's checking, hesays he can only tell me.

Hello? Yeah, yeah I'm here.

I am? He said I'm on the
account.

So I can write checks?

Okay, do you know when she did
that?

So that's the date when it waseffective,

but do you know when she did it?

And what would she have to do?

Just send you guys a form orsomething?

She could just talk to someone?

Okay, do you know who shetalked to?

Yeah, yeah can you ask andsee if anyone remembers?

Thank you, yeah that'd
be really great to know.

So just my signature?

Okay yeah, yeah sure,I'll come by later today.

And sorry, Bill, can
you check the account.

Is it just the one the 3314 one?

Yeah, yeah can you just
check it and tell me

how much is left, just so Idon't--

Right.

Sorry? Sorry, how much?

For the newspaper?

- [Jean] You can pay these
bills?

- Yeah, we can totally pay thebills.

- What do you want?

You got the vote.

What, I didn't invite you in!

You want something, you get it
yourself.

- You didn't deserve it, Alec.

All your years with the mayor.

And it's crummy that you
had to hear it from me.

What are you gonna do?

- Not your problem.

I don't know.

I can do tech!

He didn't have to bring
in that other woman!

I can run a tech program
for the goddamn city.

Who can run a tech programbetter than me?

- I've met that woman who'srecruiting tech companies for,

God, what do they call it?

- I don't care.

- What's our mayor gotten
himself into?

- Not my mayor, not my
problem, not anymore.

It's good to stick it to 'emone last time with the vote.

They don't get everything!

- Thanks for that, Alec.

- Didn't do it for you.

- A girl can dream.

There's got to be somebody
else you could work for.

- Nobody else left, I tookcare of that.

There's nobody else.

- All that fighting,
so much time fighting.

Somehow we both lost.

- We're ancient, theworld's not ours anymore.

Good talk, Dorothea.

- So you want a job?

- Working for you?

- You get to yell at people.

- Where you going?

- Sorry?

- You going here to this place?

- Uh, we're going--

- Can't park here.

Go to the Bread Factoryor get out, factory only.

That's it, go on, go on!

Good!

- Did you bring Linda here for
me?

- Marvin had to reschedule so--

- I know.

I know, but then you
bring Linda here for me?

You did, thank you.

I'm ready.

I'm ready to rehearse.

We have to get back to the play.

- You're sure you're...

- We are so behind, so
behind the schedule.

We'll have to start over orthe role,

I will forgot, it will
fall out of my head.

How will we find a new Polyxena?

- Fine, I'll do it.

- You will not play my daughter.

- Elsa will do it.
- No.

- She translated it.
- No.

- She knows all the lines.

- Oh no please, no.

- I'll talk to her about it
tomorrow.

- You will not say this toher, Dorothea.

Not even as a joke.

She is such a nervous woman.

[Dorothea laughs]

Can you imagine?

Promise me you will notsay this to her, Dorothea.

- I promise.

- She may never come back.

- What about Wendy?

- No.

- No?
- No, she is very smart.

But we cannot cast the cat.

- Fuck!

Sorry, Sir Walter, what
are you doing here?

How'd you get in?

- I don't remember.

- Want some coffee?

- Could I trouble you for some
tea?

- Sorry, I don't think Jandrank tea.

[phone rings]

Checkford Journal.

Two o'clock, yup.

- Is this your network, Journal?

- Yeah.

- What's the password?

- Journal.

- Thanks, man.

- No problem, you want coffee?

- Thanks, man.

[phone rings]

- Can you grab some water?

It's just down the hall.

- Cool.

- Checkford Journal.

- You really don't know?

- No, sorry.

- Darren will know.

Darren, you know who Kissinger
is, right?

- Sounds really familiar.

- Really? Maybe Rasputin?

You know who Rasputin was?

- The guy with the spinningwheel?

- That's Rumpelstiltskin.

[everyone laughs]

- That's right.

Wait, Henry Kissinger, of
course I know who he is.

You didn't say Henry.

Why are we talking about him?

- It's Linda's exhibit.

- I'm doing an installation.

It's called Henry Kissinger's
Heart.

- Oh, did he have a heartproblem?

- Yes, yes, he did.

- Dima will know who Rasputin
is.

- Why are we talking aboutRasputin?

- Dima is Russian, of coursehe knows.

- Well that's actually so funny.

I was just reading those stories

that Teffi wrote about meetinghim.

- Who's Teffi?

- Oh my God, you don't know
who Teffi is?

[Darren laughs]

- That was good, Teresa.

[everyone laughs]

- Teresa!

- What?

- Teresa.

- Ah!

- Okay, whoa, like youguys were making more sense

when you were talking about
Kissinger.

- How would you like to be ina play?

- You're kidding.

- No, you would be perfect.

- Okay, you're definitely
kidding.

What do I know about being ina play?

- You would play my daughter.

- Dima will do it, he's theartsy one.

- Oh Teresa, you would beperfect.

You have a strong spirit,just like the character.

- So this is how you geteveryone to be in your plays?

- It's a right of passage.

Every citizen of Checkford
appears

on the stage at the BreadFactory.

- Teresa, you would be soperfect to play Polyxena.

- My name would be Polyxena?

- Yes, and you die, but
beautiful.

- Ooo, I've always
wanted to die beautiful.

- So you'll do it!

- Whoa, whoa, whoa, whoa.

I don't know if Sam is gonna--

- I'll talk to him.
- Dorothea!

- This is real, this is
happening!

- I don't--

- Don't resist the Greta.
- But I haven't,

I don't, look, things are busy.

- How can you resist the Greta?

- You know him?

- No, must be one of the tech
guys.

- You alright, Sam?

- Yeah, just a little tired.

- Yeah, and things at home?

- I don't really know.

- Well if you ever needcompany, you know where we are.

We'd love to see you.

- Yeah.

- We'll even cook for you for
a change.

- Alright, yeah, thanks.

- Well it's the least I can do

for how I'm about to
complicate your life.

- Okay.

- We'd like Teresa to be in
the play.

- Because of Julie?

- Yeah, in Julie's role.

- Sorry about that.

- No, you don't have to be
sorry.

Just tell me straight.

Will it be a problem foryou if she does the play?

- Shouldn't be, it's mostly
nights right?

She works days, it'll be
harder for her than me.

- All right, we'll give it atry.

But let me know if it becomesa problem.

- Sure.

- Stop, stop!

You can't park here!

Didn't you see me?

Turn around!

[gentle orchestra music]

♪ Is this the place

♪ Can it be

♪ Are we finally here

♪ Is this the place

♪ It's so lovely

♪ It's a parking lot Alice

♪ It's the loveliest parking
lot ♪

♪ Yes it is

♪ It is in fact the oldest
parking lot in America ♪

♪ Yes the oldest parking lotin America ♪

♪ Designed by Benjamin
Franklin ♪

♪ After the French style
of lotted parking ♪

♪ Take a look, take it in

♪ This is history

♪ Checkford is history

♪ Look down Look down at
history ♪

♪ Come along and look upon

♪ All of this history

♪ This is the place
where God was invented ♪

♪ Where God was invented

♪ Where Adam and Eve dated

♪ They dated

♪ Each other

♪ This is the bench where
Julius Caesar ♪

♪ Julius Caesar

♪ Dreamt of an empire

♪ And a salad

♪ Nice

♪ This is the inn where
Abraham Lincoln ♪

♪ Heard of him

♪ Had intimate relations

♪ Oh

♪ With vampires

♪ Oh my God it's May Ray

♪ Everyone it's May Ray

♪ These are the homes

♪ Where children are happy
texting their families ♪

♪ Occasionally

♪ These are the streets lined
with golden intentions ♪

♪ And five bar reception

♪ And well hello there

♪ Would you like to make a
home ♪

♪ Here in Checkford

♪ A little home away from home

♪ Here in Checkford

♪ Come live

♪ By the river

♪ Let it carry your cares
downstream ♪

♪ Imagine life by the river

♪ Apple blossom breezes

♪ In the evening

♪ The gentlest breezes

♪ Carrying you home

♪ To your new home

♪ Come to our open homes

- [Max] Just a sec, hey, did
anyone see

the accident on Boone Road?

The one on Sunday?

- Yeah.

- [Max] Okay, cool, and you
saw it right?

- Like after with the policethere.

- [Max] Okay, great. Can yougo out there and show Allie?

- Who?

- [Max] Her.

- Okay.

- Meet her at Boone and the
bridge.

- [Joe] Okay.

- Okay, Joe's coming out
there to meet you now.

Omar, your aunt lives bythe Feeling Place, right?

- Yeah.

- Okay, cool, like from
her place, can you see--

[phone rings]

Checkford Journal.

Wait, what happened?

Okay, how late?

Well no they'll adjourn
by then if no one--

No, go I, go, I'll send
someone to stall.

Okay, you want something to do?

- Yes!

- Okay, you good at math?

- No!

- Okay, do you have money?

- Do I look like I have money?

- Okay, pretend you did.

- Cool.

- And then they just took it
all from you.

- They did what?

- Right now you can't
get it back but at least

they can tell you what they'regonna do with it, right?

- Uh, yeah.

- Okay, I'm texting you where
to go.

In the room there's a mic.

Go to the mic and find out

what they're doing with yourmoney, okay?

Keep asking questions
until Marek gets there.

Keep asking questions, andthey're not allowed to go home.

[boy laughs]

[typewriter clunks]

- Music do I hear?

How the thoughts keep time.

Tell me my friend by samovar,

where has she gone?

- Which she do you mean?

- She, she who sat over there.

- I don't believe a she sat
there.

Those are all boys.

- Tragedy.

No, there was a she.

Chekhov's woman.

- Chekhov's woman?

You've lost me.

- Not only you my friend.

So many.

I have lost so many.

Another samovar.

I remember a time by another
samovar,

like this, but larger.

All was larger then.

Those summer days.

They never wanted to end, did
they?

Those country nights.

How they glowed.

Inspiring a love that would
not sleep.

That was the time of my Tanya.

Have I told you of Tanya?

- No, but you will.

- She was the doctor's daughter.

When they first arrived,
she and the doctor,

I feared she was the doctor'syoung wife.

I saw her and thought I am lost.

She is the doctor's young wife.

But no, she was the
daughter and unattached.

And I immediately made
plans to extend my stay.

At the time I was staying

with my cousin called Sigizmund.

- Is it important?

- What?

- That he is called Sigizmund.

- I'm sure it was to him.

But once she arrived,

I thought no more of him.

She spoke so little inthe beginning, this Tanya.

She was hard to know.

She agreed to come with mefor walks among the fir trees.

But she stayed silent.

And then one day

while she was tending the
samovar,

her back to me, she asked me aquestion.

I remember it all.

The shape of her back.

Like a question itself.

She asked what I, esteemed
actor,

thought of the plays of Lemkov.

- [Jean] Lemkov?

- Lemkov!

Never heard of the man.

Finally my Tanya was wishing
to engage me,

and I could give her nothing.

She named the plays.

I knew none.

How, I asked, might one
encounter

the great man's manuscripts

for I desired to know

the man she regarded so highly.

She revealed that she
had copies of his plays

but they were at her home.

And her home was far away.

However.

- [Jean] However.

- However, she had committed

certain scripts to memory.

And if I so desired she would
teach me

the monologues and dialogueson our walks.

I so desired.

And so it was that Tanya,the doctor's daughter, and I

we began these little dramas
on our walks.

So many lives we lived.

The emotional history we
amassed.

The words were brilliant.

And so was she.

If anyone belonged on the stage,

it was she.

How I fantasized about
our touring the world.

Performing to an audienceof more than trees.

But it was not to be.

For all our spiritual
coupling that season,

for all my devotion to her,

her position was an impossibleone.

For she was not only
the doctor's daughter,

she was also his assistant.

And as she was my superior

so was she his.

The doctor without herwould be a complete failure.

So tight was his grip on her,

she would never be free of him.

The gods let giants

walk among us.

They give us a chance to save
ourselves

and watch as we choke themwith our fears

chain them to our pettiness.

- And what was to become ofyoung Tanya?

- Of Tanya?

- Yes, Tanya.

- Alas, she died in the War of
1812.

I lost my one true love

in the War of 1812.

Let me never forget.

God, let me keep the memory

of my dear Tanya.

Of our walks.

Oh God you great shower

and subtractor of beautiful
things

let me keep this one
miraculous memory!

- So Teresa, this is yourfirst entrance.

It's an easy one, your
mother calls to you.

Euripides has written in yourcue.

So she says...

- O daughter, O child ofa most unfortunate mother.

Come out now, come out of the
house.

- And that's you, got it?

- When she says, come out now,I come out.

Yeah, I think I got it.

- Okay, well it can pile on
pretty fast,

so you want to start slow.

- Okay, but I'm a grown up.

- Well that's a rarity in ourwork.

- Don't say that.

- Greta is a rarity too.

Look, a whole room of rarities.

So this first time around,

you just do what you want.

And we'll see what happens
and take it from there.

From O daughter, O child.

- O daughter, O child ofa most unfortunate mother

come out now, come out of the
house.

Come and hear your mother'svoice, oh my child.

[Teresa whistling]

- Mother why are you shouting?

What's next, what's the news?

Mother, you've startled
me out of the house

like a terrified bird.

- Alas, my child.

- What is this unholy prelude
to sorrow?

- Ah, your life.

- Speak out, please, conceal
it no longer.

I'm afraid, I'm afraid, mother.

Why are you weeping?

- My child--

- Great, let's stop there.

Let's do it again.

And this time around you don't
have

to be so respectful of mama.

You're letting her finish

and then there's a littlespace before your line.

- Oh really, sorry, I didn'tknow.

- No, don't be sorry.

Just try it again and thistime just have a conversation.

Okay? Okay.

- O daughter, O child ofa most unfortunate mother

come out now, come out of the
house.

[Teresa whistling]

Come and hear your mother's
voice, oh my child.

- [Dorothea] Sorry, you'rewhistling?

- Yes.

- On purpose?

- Yes.

- [Dorothea] Oh?

- It says.

- [Dorothea] It says to whistle?

- Well it says she enters
singing.

I didn't know what you wanted me

to sing so I just whistled.

- It does say she enters
singing.

- Great, we won't worry aboutthat now.

- [Teresa] Oh, okay.

- Well we'll get there, once
more.

- O daughter, O child ofa most unfortunate mother

come out now, come out of the
house.

Come and hear your mother'svoice, oh my child.

- Mother, why are you shouting?

What's next, what's the news?

Mother, you've startled
me out of the house

like a terrified bird.

- Alas, my--
- What is this unholy

prelude to sorrow?

- Ah your--
- Speak out.

- Great, sorry, my fault.

Conversation means somethingdifferent to everyone.

So you don't need to interrupt.

- [Teresa] Am I in trouble?

- No, no, it's just that Gretaknows

I can't resist her coming close.

But this is a good idea.

Let's just forget all aboutwho's talking and how fast.

And Greta's gonna,

well, we'll make it simple.

Greta's going to give yousomething like a performance.

- [Greta] Something like a
performance?

- Greta's going to transcendperformance

and you just feel what's
happening,

and respond, react, go with it.

If you're worried for her, goto her

and whatever you want,
whatever makes sense.

- [Greta] Sure.

- Okay, so we're going
to back up a little bit.

And get more of a runway intothe scene.

And we're going to...

146.

- [Greta] Yes, yes, that is
perfect.

- Alright, here we go.

Oh! Whistle for me again.

[Teresa whistles]

Slower.

[Teresa whistles]

Fewer gaps.

[Teresa whistles]

You're right, she'swhistling when she enters.

Or actually Sandra is
whistling, Sandra?

[Sandra whistles]

And you know when?

Okay, here we go.

- Oh unhappy me, what cry,

what lament, what weeping

can help an old woman unsaved?

Unsalved, enslaved.

Unbearable, unendurable.

Who defends me?

What family, what city?

The old man is gone.

The children are gone.

I don't know which direction
to step.

This way? That way?

Where will I be safe?

What god, what divinity stands
at my side?

O daughters of Troy
bearing tidings of pain

you have borne so much pain

you've destroyed me.

Destroyed me.

The daylight no longer
means anything to me.

My life means nothing now.

This way, poor old foot.

Carry an old woman

to this homestead, this tent.

O daughter, O child of
a most unfortunate woman

come out of the house, comeout now,

come and hear your mother'svoice, oh my child.

- Mother, why are you shouting?

What news, what's next?

Mother, you've startled me

out of the house like a
terrified bird.

- Alas, my child.

- What is this unholy prelude
to sorrow?

- Ah, your life.

- Speak out!

Please, conceal it no longer.

I'm afraid, I'm afraid, mother.

Why are you weeping?

- My child O child,

of a most unhappy mother.

- What are you telling me?

- The Argives' consensusimpels them to slaughter you

upon the tomb of Peleus' son.

- Sorry, sorry.

- [Greta] No.

- [Dorothea] No, don'tbe sorry, that was great.

Really great, did it feel good?

- Yeah, Greta was doing
all the work though.

Oh my God, you're amazing.

- No you, Teresa, it is
unbelievable.

You must always be on stage.

- Sorry but we got to thatlast line

and I heard everything youwere saying

like each word I got

it just like didn't
make sense all together.

- [Dorothea] Yes, okay.

Teresa, what happened there
that feeling

that you had that this
was right, this wasn't.

Hold on to that.

- Okay.

- [Dorothea] It's good to stop
then.

When it doesn't feel good.

- Okay, it just confused mewas all.

[Greta laughs]

- What?

- Your next line.

- Oh, alas, mother, what are
you saying?

[Greta laughs]

Okay.

- Get back here

we're not done yet.
- What for? What for?

- What makes you think
you get to decide this?

- The law!

- It's not about the law, it's
your life.

- Yes, my life!

- We get it, she left you.

She fucked up your life,

so now you're going to
fuck it up even more!

That'll show her.

- This isn't about her!

- Of course it's about her!

Get over it.

- Jason.
- She wanted more,

but she was beneath you!

- What the fuck does

that even mean?
- Get over it.

- This is me getting over it!

This is what I want to do!

- Oh this week, this is whatyou think

you want this week.

- Why do you care?

Why do you suddenly care?

Oh I know, because this
might look bad for you.

The great Jason Beck, whathis kid dropped out of school?

Maybe we won't have him- You don't think coz I said--

on our TV show.

- Look I don't care what you
think.

- Obviously!

- Obviously!- I don't care what you think

you know--

- I know how to run a newspaper!

- Listen to how ridiculous you
sound!

- You only care--

- A newspaper, that's the
future!

- I'm good at it!

- Of course you are dear.

- How would you know?

- [Jason] Hey, don't youtalk to your mother that way!

- Coming from you.

Lessons on how to treat mom?

- Get out.

- [Elsa] Jason!

- Don't do anything rash.

- No get out, justbecause the girl left you.

- Oh no, no, no, no.

[taps feet]

- Can I get you anything else?

[taps feet]

[taps feet]

[taps feet]

[phone rings]

- Checkford Journal office.

Yeah we're still in business.

That's how come there's a
paper today.

You want an ad or something?

How come?

You can talk to him in a minute.

You've got what?

How can anyone see that?

No, look on page four,

that's an ad, that's what you
want.

- I know Jan would be proud.

You did good Max.

Yeah, you could use some more

arts coverage but you did good.

Yeah, next week you
should interview Teresa.

Everyone knows her from thediner

so they'd like to know
this new side of her.

Who have you got doing your adsales?

Can I borrow him?

We're proud of you Max.

We're lucky to have you doing
this, okay.

- Yes, no, I know, I know.

That's what it'll have to be.

But if it's fast enoughwe can make it look like--

We'll make it a good thing.

Okay, in this order I need May,

Ambassador Chang, Stan.

- From ELA?

- From ELA.

- Ellen, the casting one and
Ed's away?

- Joe's covering.

- Okay, Joe and please ask himto staff up two associates.

- [Voiceover] I have May for
you.

- May, Hi.

- Yes it worked but just for a
week.

It's the exact same--

- It's the other line now,
it's running.

I don't know where to shut itoff.

- It's right by the, hold on.

It's by the, you know theblue thing which has the...

Just do it!

Both, it's both lines now.

Yes, Frank, I need you to fix
it now.

In a couple hours there'llbe 60 kids running around.

You know kids, they like
to use the bathroom?

Yes, well, yes tell me what todo.

Yes, the first section it'scoming up the first section.

And then the other line whichcrosses

where you were working,
it's got the same issue.

Yeah, and what if it doesn't--

Okay but--

Frank stay by the phone.

Don't you dare not answer the
phone.

You're not plumbers by chance?

No, I think I know what you are.

♪ Dorothea

- Yeah, I know this song.

♪ Dorothea Dorothea

♪ We'd like to talk to
you about the barn ♪

- My barn?

♪ Your barn

♪ The old barn

♪ 80 years ago Dorothea

♪ It had a purpose

♪ 80 years ago

♪ Was its time

♪ 40 years ago Dorothea

♪ You must have had a purpose

♪ When you purchased it

♪ You must have had some plans

♪ But 40 years on

♪ What's it become

♪ An older barn

♪ In times when farms

♪ Are long gone

♪ Sell the barn Dorothea

♪ Sell the barn

♪ Sell the worry

♪ Buy you some relief

♪ Buy someone to care

♪ For all of the repairs

♪ Free yourself to see

♪ Life beyond property

♪ Beyond Checkford

♪ Sail the sea Dorothea

♪ Sail the sea

♪ Let it cradle you

♪ In ancient secret ways

♪ Feel the sun Dorothea

♪ Feel the sun

♪ See it shine

♪ Upon unpainted skies

♪ Sail the sea

♪ See the sun

♪ Sell the barn

♪ Dorothea sell the barn

♪ You've done your part

♪ You can sell

♪ The barn

- It's being used, we store
props.

It's a build space, a workspace.

I know that it's the new inn

that wants it for a patio.

That's progress?

Going from a place where
artists make things

to where you pay to sit insomeone's yard?

No thank you.

Well you don't each need to...

Christ, thank you, thank you.

Goodbye, come see a play.

- It's still running.

- Oh right, here's what we
need to do.

[phone rings]

- What would Hecuba do ifPolydorus did not also die?

- What would she do?

- Yes, her daughter dies

then she learns that her son
is dead.

With her son she can takerevenge on Polymestor.

It feels easy.

- What do you mean?

- Well it feels easier in the
end.

- It feels easier if
both her children die?

- No, it's easier to know whatto do.

My son is dead, Polymester didit.

Here he is, okay.

But what would she do
if it is just Polyxena?

If it is only her daughterwho is sacrificed.

She has her grief.

But no action.

- What's the action you--

- No revenge.

- What's wrong with that?

- She gets so angry when her son

is killed and wants revengebut not for her daughter.

That is what is wrong.

No? It doesn't feel right.

- Don't think so little of her.

- No, I am going to think
little of her?

No Dorothea, I have to play her.

I cannot think little of her.

But I have to understand.

That is okay, to understand?

- What do you wanna understand?

- The play.

If I learn that my daughter is
killed

but no news about my son,

what would I do?

Kill myself?

Take revenge?

She doesn't seem to--

- Who would she take revenge on?

- Who? Odysseus.

She saves his life before.

And he does nothing for her
now, nothing!

First, revenge.

Then the Greeks.

- Revenge on the Greeks?

- Theseus' sons.

They are the ones first totalk to sacrifice Polyxena.

They are the leaders.

Theseus' sons, why not?

You don't get mad at them?

- Yeah I get mad.

- Well then, why no revenge?

- She has the line about Helen.

- What line about Helen?

- Revenge on Helen.

- What?

- Line five, 458.

- Come on.

This is not revenge.

She says screw Helen for
what she did to Troy.

Her eyes, what her eyes did toTroy.

She is not going to take
revenge on Helen.

- Okay.

- This doesn't bother you?

- It does now.

Of course it bothers me if
Hecuba

cares more about her son thanher daughter

or if her revenge is easy.

- Well, her revenge doesn't have

to be easy but Sir Walter...

- I know, I know.

God, I love these lines.

Oh poor me.

Don't tell me it'sCassandra you're carrying.

The prophet, the baccante.

- You love those lines?

- Yeah, the rhythm.

Oh poor me, don't tell me it's
Cassandra

you're carrying, the
prophet, the baccante.

Elsa really, really nailed this.

Maybe it's the hope.

Polydorus was safe, free
with money and allies.

He was hope.

Suddenly he's dead, the lasthope for the family is dead.

You're most desperate
when there's no hope.

Maybe?

- Maybe.

- To be continued?

- Maybe.

- I screwed up.

- How is that?

- Ray lost his job.

I didn't mean for him to lose
his job.

- You wrote an article only.

- Yeah but I should have
known, right?

You see, it's basic politics.

I should have known.

- Max, there is a vast
history to the world.

- Yeah, but this was basic.

I should have known, or lookedit up.

I screwed up.

- You screwed up!

Someone yelled that atme once when I was young.

Someone I idolized.

That moment it is indented
in my spine, it hurt.

But it was what I needed.

And I was always amazed how heknew this.

Just as I am amazed how you canplay this role for yourself.

That you can yell to correctyourself.

Now Max, you wrote avery interesting profile.

I learned a great dealabout May and Ray from it.

More than the many articlesthat others have written.

How was it I never knewthat she was from Alabama?

And he was from Australia?

This is valid information

for a pair that traffics in
identity.

Now you wrote that Ray'smother was Taiwanese, yes?

If you were more familiar
with the politics

between China and Taiwan
you might have foreseen

that this could cause himproblems.

So in one sense, you screwed up.

But in another you did not.

You have learned your lesson.

You'll move on.

- Jan wouldn't have made this
mistake.

Why did she leave?

I don't know what I'm doing.

- Max, if I may, I have an idea.

A theory why Jan left.

It's just a theory.

- Yeah, okay.

- It starts with a story.

- Going to tell us a story,
are you?

- If I may.

- Right on, make it count.

- Once there was a young
British couple

traveling through the south ofFrance.

- Oh, I like this.

- They were on their way toItaly when their car broke down.

Now, to the young, this is no
tragedy.

They had only vague aims andno agenda.

Harold, the young man,
was on his way to Italy

to study with the great
architects.

The woman, Susan, took
portraits.

Now, while their car was beingrepaired

they decided to explore theplace

that they had so nearly flownby.

They were young and curious.

They made friends easily.

And one young friend,

Claire she took them up to the
mountains.

She knew a young man, Pierrewho ran a restaurant there.

The restaurant was soon toclose.

And she wanted to eat thereone last time.

Harold and Susan how theyloved that food.

You see, mountain food isunique.

Yes, every pile of earthhas its own point of view.

Every piece invents its own

roots and leaves.

Well that afternoon, it
changed Harold.

All these tastes.

He was so full of questions.

And Pierre answered them
all, but it took months.

But at the end it became clear

that the restaurant should notclose

but should pass to Harold, andso it did.

And he did marvelous thingswith it.

For 20 years.

Now when Harold died, it was
unclear

what should become of therestaurant.

Susan kept it open whileshe searched for a new chef.

The search was long and
difficult

but in the end it revealedthe perfect person

to run the place.

It turned out to be Susan
herself.

And so for the next 20
years she ran the place.

She even achieved a certainnational fame.

If one can be famous up in themountains.

Now Susan, she thought ahead.

She could have continued
working,

but she knew that with everyyear

there were fewer young people

who were interested in thiskind of work.

So at the height of
the restaurant's renown

she searched for her
replacement.

When she found him,

a young man, not an obvious
candidate to the others

but she saw something in him.

She found him, and she
left, she disappeared.

She loved the place, but sheleft.

She knew that if she stayed

she would cast a long shadow.

She knew the best gift shecould give

this new young chef was anempty kitchen.

The work would teach him allthe rest.

- Your stories always make mehungry.

- Now Max, I have watched you.

I have seen how you
have avoided Jan's desk.

Even now as you sitthere you avoid the place

where her typewriter was.

Now, it is possible she
took this typewriter

because, it is true that writers

have a close connection
with these machines.

But it is also possible thatshe took it

to make room for you.

That she left you an empty
kitchen.

She saw something in you.

And I now see she couldn't

possibly have chosen better.

- Here, here!

Here's to the chosen

and capable young Max.

To young Max!

- Thank you, Sam.

- Sure.

- And how are--

- Sorry, Greta, just a sec.

- Be right back, Sam.

- Hello, Simon, sorry, Idon't mean to disturb you.

[taps feet]

Did you see--

♪ Can you believe the prices

♪ Can you believe how cheap it
is ♪

- I see that--

♪ How did we get so lost

♪ Just two square miles

♪ How did we get so lost

- I just wanted--

♪ Oh

♪ She took my lake house

♪ I wanted that lake house

[taps feet]

- Hey, Max.

- I can't believe it.

- Max.

- He fucking changed the locks.

- Max, he didn't mean to.

- How do you not mean to
change the locks?

- He's not here is he?

- No.

Max, I told you he wouldn't be.

- He's probably on some TV show.

He is, isn't he?

- Your father is very good on
TV.

- Yeah, of course he is.

He knows it all, he's perfect
for TV.

I'll get my things.

- Oh but you don't have to.

Right away, don't you want to
sit a bit?

You look tired, Max, you look--

- I am, I've been working,it's hard.

- Will you sign it for me?

- What do you want me to signit for?

- Please.

- Mom, editors don't sign
newspapers.

- Okay.

- I got kicked out of the
house for it,

now you want me to sign it?

- You don't have to.

That's okay, but don't you
want to sit for a while?

He's not gonna be home untillate.

Dinner's--

- I can't, mom.

- I made spaghetti the way you
like.

- I can't, mom, I have work.

- I made it the way you
like, except I put--

- Do you have any idea howmuch work I have to do?

You can't just sit--

- No! Jesus, mom, no, I can't!

How many times do I have to
tell you?

No! I can't!

Fine.

- You'll stay?

- Yeah, I'll stay, I'll stay.

- Is it okay?

- Yeah.

- Yeah? You like it?

- Yeah, it's good, tastes good.

[gentle music]

- Ow! Jesus!

- Ray?

- Ow...

- What the fuck are you doing?

- I was kidnapping you, it was
awesome.

- You were what?

- Kidnapping you.

- Ray.

- Yeah?

- I asked you to meet me here.

- May, a lot of people
know their kidnappers.

- So what, am I kidnapping younow?

No, this isn't ridiculous atall.

You licked me!

- Mmmh [laughs].

- It's like you're six years
old.

- We should do a piece likethis!

- Lick the kidnapper?

- Lick the kidnapper, that's
right!

That's brilliant, we can--

- Ray.

- You know what--

It's what we're good at, May.

- Yeah.

- Is it like this with him?

- No, he is much more mature.

It's no fun at all.

Why'd you do it, May?

- You told me to!

- I told you not to!

- After you told me to!

After I did it!

- Well why'd you have to
listen to me in order?

You should know better.

- Boy, I really should.

- No, you should do it.

- Oh, Jesus.

- You should.

- I did.

- We worked so hard for it.

- Yeah.

- I don't want it to just
disappear.

But fuck! The new guy.

It's so hard seeing you with
the new Ray.

I bet his name isn't even Ray.

I bet that's not his real name.

Fuck, it is!

You even found a new
Ray who's really a Ray.

It's so...

You look so happy together.

Why do you always look so happy?

- Why do you always looklike you're selling clothes?

It's who we are, babe.

People believe me.

- That's such a fucking
mindfuck!

- What?

- I don't know whether tobelieve anything from you.

How do I know you're not into
him?

- I'm not, Ray.

He's not you.

- See?

Mindfuck, how do I know?

Fine, I believe you.

How am I not gonna see you
every day, May?

How come we not work togetherany more?

- I don't know.

- The hierarchy of furniture
is cruel.

- Yes.

- The suffering of furniture
is real.

- Yes.

♪ This is the place

[tapping feet]

♪ I have been to so many
places ♪

♪ French palais to the
Himalayas ♪

♪ But it's all pieces of thepast ♪

♪ No clue what the future hasfor me ♪

♪ No don't do it that way

♪ No don't make me give it allaway ♪

♪ My aby baby baby baby

♪ We are like strangers now

♪ Living in the same old house

♪ How did we get here

♪ Longer days that feel
emptier ♪

♪ How does home

♪ Suddenly disappear

♪ How did we

♪ Get here

♪ Longer days

♪ That feel emptier

♪ I know a world where

♪ They walk on the sunny side

♪ But only at night

♪ I started drinking

♪ When I finally

♪ Got a sober look

♪ At life

♪ Baby baby baby

[everyone singing]

[tapping feet]

- Jesus, what's the--

- I'm sorry, they voted.

The school board they voted
last night.

It's a new board, and
I'm not on it anymore.

I just heard.

The school arts funding
is going to them now.

To May Ray.

It's the same proposal as before

so they didn't need the notice
period.

It's done, I'm sorry.

And it's not Pat's fault, you
know.

There was nothing she could'vedone,

it was all the new people.

I'm sorry, they kept it reallyquiet.

I just found out.

- Yeah.

[wind blowing]

- Hold me steady there,children and help me go out.

Keep me straight!

That's the way.

I'm not young anymore,
dear daughters of Troy.

I'm a servant like you thoughI once was your mistress.

Blazing sunlight of
Zeus, and obsidian night

when will these phantoms andnight terrors leave me alone?

O Holy One Earth below motherof black-winged dreams

may the vision I saw in thenight stay away leave me be!

There, in my dream, was my child

whom I sent off to Thrace forsafekeeping.

There was Polyxena, too.

My dear daughter appeared in
this vision

and it shook me with panic.

Gods of earth down below,

keep my child safe from harm!

He alone is my anchor.

A friend of his father
watches over him now,

here in Thrace, land of snow.

How I fear what comes next.

Our refrain will be wailing.

We're wailing already.

I'm quailing and trembling
like never before.

The gods granted Helenus
insight, where is he?

Where's my Cassandra?

O daughters of Troy where's
the judge

that can help me decipherthese dreams?

Here's what I saw in my vision:

a dappled deer being slaughtered

slain by a wolf's bloody claw

and torn from my knees withoutpity.

[gentle music]

- Mother, why are you shouting?

What's next, what's the news?

You've startled me out of thehouse like a terrified bird.

- Alas, my child.

- What is this unholy prelude
to sorrow?

- Ah, your life.

- Speak out!

Please, conceal it no longer.

I'm afraid, I'm afraid, mother.

Why are you weeping?

- My child, O child of an
unhappy mother.

- What are you telling me?

- The Argives' consensus
impels them

to slaughter you upon
the tomb of Peleus' son.

- Alas, mother, what are yousaying?

- Look here comesOdysseus, in quite a rush.

- He'll tell you, Hecuba,
what will be next.

- Woman I think you know thearmy's mind

and what has been decreed.

Still, I will tell you.

The Achaeans have resolved
to sacrifice Polyxena,

your daughter at the site

of Achilles' lofty burialmound and grave.

They designated me to be herconvoy and to escort her there.

The appointed priest presiding

at the sacrificial rite
will be Achilles' son.

You are aware of how you
must conduct yourself.

Don't think your hands' andarms' strength

can contend with mine.

Don't make me have to
drag you off by force.

Recognize where your safetylies.

Acknowledge your present
troubles.

The better part of wisdom

is to keep your thoughtsin line even in troubles.

- If it's allowed for servants

to ask questions that cause no
pain,

and do not sting the heart.

- [Odysseus] It is allowed,ask, I don't begrudge the time.

- You know when you came toIlion a spy,

disguised in shabby clothes

with drops of blood trickling

from your eyes down to your jaw?

- Yes, I know, it touched myinmost heart.

- And Helen knew you, and toldonly me?

- I remember, I was in greatdanger.

- You were humbled and
took hold of my knees?

- I gripped your robe so
hard my hand went dead.

- Well, then, I saved you,and sent you from our land?

- Because of that, I liveto see this daylight.

- What did you tell me,then, when you were my slave?

- The words came easily,
I didn't want to die.

- Well, aren't you ashamed,then, of these counsels?

You whom I treated just as youdescribe

and now instead of showing anykindness

intend to do us all the harmyou can?

You're an ungracious breed,

you demagogues lusting foracclaim.

You don't care if you hurt afriend

or a loved one if your wordsfind favor with the masses.

Tell me, now, were you
compelled to slaughter

a human victim at a tomb
where cattle sacrifice

would be more proper?

Perhaps Achilles wants his
just revenge,

murder, to strike back atmurderers.

But this girl hasn't done himany harm!

You once fell at my feet
and took hold of my hand

and touched the cheek of thisold woman.

Now I am touching yours.

I am your suppliant.

I am begging for repayment.

Please, be gracious.

Please, don't drag my child
from my arms.

Don't kill her.

Enough have died already.

She's my escape from sorrows.

My delight, my coolness,my relief from many things.

My city, my nurse,

my staff, my guide.

Those with power shouldstay within their limits.

The fortunate should realize

their joy may not go on forever.

Look at me, I'm not what I
once was.

A single day divested me
of all the wealth I had.

I beg you by your beard
show reverence and pity.

Go to the Achaean army
and change their minds.

Tell them killing women
will stir up grudges.

When you had the chance,

when you dragged them from the
altars,

you didn't kill them.

You had pity.

Tell them Greek law regarding
bloodshed

is the same for free men andfor slaves.

- I am prepared to save yourlife

and I stand by my statement.

You treated me kindly, I wasfortunate.

But I will not take back theproposition

I made to the assembly.

Now that Troy is taken we
should offer

to the army's greatest man

the sacrifice he asks for,your child.

So many cities are undone bythis mistake.

The noble man, the eager
benefactor

gets no more reward than
lesser men.

Achilles is deserving
of every honor, woman.

He has died a mostglorious death for Hellas.

For his country.

Well, isn't it shameful
to treat him as a friend

while he's alive but not
when he has perished?

What, then, will people say

if there's another marshalingof troops,

another contest against theenemy?

Will we fight then?

Or will we simply be in
love with our survival

since as we've seen the
dead receive no honor?

And as for all your pitifulsuffering,

I heard you out.

Now you listen to me.

We have old women whose sheer
wretchedness

outweighs yours and old men too,

and brides whose husbands,excellent young men,

lie dead here, the dust ofIda covering their bodies.

You must endure what happens.

Our Greek custom of honoringthe noble

may well strike you as idiotic.

All right, then, we're fools.

You barbarians go right on ahead

not treating friends as friends.

Not valuing those who die withglory.

Greece will have good fortune

and your fates will match yourcounsels.

- Ah, slavery is an evil.

Defeated by violence slavesendure

what they should never have to.

- My words are wasted,

flung up to the sky and gone.

My child I cannot prevent your
murder.

But you if you have more
strength

than your mother go on,

and like a nightingale
pour your voice out,

every note, to save your life.

Throw yourself pitifully atOdysseus' knee

and make your appeal on thesecounts:

he himself has children.

He may pity your hard fortune.

- Odysseus I see that you are
hiding.

You're off the hook, don'tworry.

I refuse to call on Zeus,protector of the suppliants.

Since I'm compelled I'll
follow you

and also since death is what Iwant.

If I resist I'll be no good,

in love with mere survival.

Why should I live?

My father was the lord
of all the Phrygians.

That was my starting point.

Then, I was raised on promises

and hopes of royal marriage,

and keen rivalries to seewhose hearth I would belong to.

Unlucky me.

I was the princess once.

First among the women of Ida.

Admired among the maidens,

equal to the gods

in all but one respect,
mortality.

And now I am a slave.

The name, to start with-so
unfamiliar

makes me long for death.

And then I might get
cruel-minded masters

whoever pays for me with silver.

Me, sister of Hector, and ofmany others!

Will give me orders?

Tell me that I must make thebread and sweep the house,

and do my weaving spendingpainful days under compulsion.

Some paid-for slave fromsomewhere will defile my bed

which was considered
prestigious once

and a prize for rulers.

No. I am free

to close my eyes forever,

turn away from this day'slight give my body to Hades.

Go ahead, Odysseus lead me
away now

and destroy me.

I have no hope of any future
joy.

And mother, please don't sayor do a thing

to try to stop me.

You should want, as much as I
do,

for me to die before
submitting myself

to shameful humiliation farbeneath

our family's level of
distinction.

- Nobility is clearly stamped.

- The sign is wondrous andimpressive.

- All the more so for
those who prove they're

worthy of distinction.
- I will not let go

of this child.

- Nor will I go away and leave
her here.

- Mother, listen to me.

And you, son of Laertes
ease up on her a little.

It's natural for her to fumewith rage.

Oh, mother, poor thing.

Don't fight this battle.

They're the ones in power.

Do you want to fall to theground cast down by force?

They'll lacerate your ancient
skin,

you'll lose your dignity.

Some youthful arm willgrab you and drag you off,

you'll suffer all these things.

O my dearest, give me your
sweet hand.

Place your cheek against
my cheek for after this,

I never will again see the sun's

great blaze or see its light.

These are the final
words I'll speak to you.

I'm going now, mother.

I'm going down below.

♪ Breeze

♪ Ocean breeze

♪ You spirit the oceangoing

♪ Barks away

♪ Far over the deep sea waves

♪ Now where will you lead

♪ Unhappy me

- Poor woman enduring more
than I can say.

- You exist no longer,though you see the daylight.

- You have no city.

- No husband.

- No child.

- You're crushed.

- You've told me nothing new.

Don't throw these words in my
face.

I know already.

Tell me now, why are youbringing me Polyxena's body?

I hear every Achaean hand
is busy with her burial.

- She doesn't know shehasn't grasped this new pain.

She laments Polyxena.

- Oh, poor me.

Don't tell me it'sCassandra you're carrying

the prophet, the bacchante!

- She lives, don't wail for
her sake.

Save your groans for him.

- This is the one who died.

Look, now.

- Alas, I see Polydorus,

he's dead.

My child, the one the Thracian

was keeping safe at home.

I am destroyed.

I exist no longer.

♪ O child O my child

- Alas.

♪ How did you die

♪ What doom

- Oh alas.

♪ Took you from your poor
mother ♪

- I now understand thevision I had in the night.

♪ What fate laid you low - The ghost with black wings!

I saw a vision of you, my child.

No longer living in Zeus'
daylight.

- [Young Women] Who killed him?

Did your dream reveal that?

- It was his host, the Thracian!

- I'm blinded!

Where's the daylight?

Aaah, my eyes!

Aaah, my children!

Oh alas,

your cruel slaughters!

I'll bash this house down.

Break through every corner!

Heal me, Helios.

Heal me!

Defeated by a woman!

A slave! Women destroyed me.

Captive women!

[audience applauds]

- Oh my goodness.

- What was that about?

- Pat, her son.

His boat accident, it was at
sea.

- Oh God.

- He died at sea.

- I didn't even think,and in the play Polydorus,

Oh my goodness.

- Oh, that's right, I forgot.

Have you seen Dorothea?

- She, it was a hard night for
her,

so she couldn't stay.

- Oh, was she not happy with
tonight?

- No, no, she's very happywith the play.

It was some other things.

- Oh, I'm sorry.

- And it was hard on her.

To see this smallaudience on opening night.

- I don't understand it.

I thought there would be more
people.

It was such a hit in the
Renaissance.

I hope it wasn't me.

Maybe if you had a more famous
translator.

- No, we had exactly the righttranslator.

And I know Dorothea she feelsthe same.

- You were so wonderful tonight.

I hope more people get to seeyou.

I know that Max is comingtomorrow.

I thought Sandra would
have been here tonight.

- Oh my goodness, you don'tknow.

- Know what?

- I'm sorry, Elsa.

But, Sandra a few days ago,

she went into the hospital...

- Oh my God, she...

- That's right, you weren't at
tech.

We found out that night.

- I didn't know.

- I didn't realize you didn't
know.

It was just last minute,

but we made a dedication
to her in the program.

I'm sorry no one told you, Elsa.

I hope it is okay with
you, the dedication.

- Yes, of course, of course.

She really won't be here
anymore.

Her singing...

She won't be singing anymore.

- Oh, Elsa, sweetheart.

- I didn't really know
anything about her.

Anything about her.

She was just here and I never...

She wanted to tell me.

It would have been so easy
just to listen.

She had stories.

- Oh, Elsa, Elsa.

That is not the thing to think
about.

You do know her.

She was here.

She loved to be with
us inside the theater.

So she was like you, like me.

- I think my husband is gonnaleave me!

I'm sorry.

I don't know why I said that.

This feels like therapy.

I've never been but if
my therapist hugged me,

it might feel like this.

- Elsa, you are in the theater.

Poor people therapy.

[laughs]

So, your husband.

I know, I know.

It was so nice of Claudiaand Linda to come, I think.

- Oh wasn't it?

- Yes, so nice.

- Hi.

- Hi.

- I'm sorry, I should
have brought flowers.

I realized after, after theshow,

I realized I should have
brought flowers.

And there's no place opentonight.

And so I walked down the street

thinking I could just
pick some from a yard

just this once.

But this turns out to be
the only goddamn street

in America without flowers, soI just...

There's just trees.

So I just uh...

And you two, you both deserve

there's still some sap here.

I'm sorry.

You both deserve...

- You were there tonight?

- Yeah, I was a little late
getting in.

I missed the,

I'll come back, I want to comeback anyway, I'll come back.

- She is the Euripidestranslator of her generation.

- Greta, stop.

- It was astonishing.

- Okay, goodnight.

- So were you.

- Thank you, gotta go.

Go and make sure Dorotheadoesn't bring home more cats.

- Hey, you wanna walk for a bit?

Maybe just down the block?

We could take a take a little
time

to smell the,

oh, wait, nevermind.

- The smell of nevermind at
midnight.

The Greeks had a word for that.

- I believe it.

[cat meows]

[phone rings]

- What is it?

What's in there?

More repairs, fewer people.

Is the party over?

Is the war over?

What happened, how'd it turn
out?

- You are always carryingthings.

It is hard to be always
carrying things.

- What are we doing?

What are we doing here?

I'm having a crisis here!

Could you be a little less
supportive?

I'm trying to come unanchored.

- Oh, I should go?

- No.

- But I've come unanchored.

- [Dorothea] How far are we
going?

- [Greta] How far do you feellike?

- [Dorothea] Could you leave?

Leave this beautiful sidewalk?

- [Greta] The sidewalk, yes,but not you.

I am forever your date.

To the next party, the next war.

Tell the joke.

- [Dorothea] What?

- [Greta] Please.

- [Dorothea] Seriously now?

- [Greta] Now is the perfect
time.

- [Dorothea] Ole and Lena--

- [Greta] No, with us, tell itwith us.

- Greta and Dorothea.
- Yeah.

- [Dorothea] Had beentogether for a long time.

- [Greta] And?

- [Dorothea] And, one day,
Dorothea,

she's not doing so well.

She's so weak, and shecalls Greta to her bedside.

And she tells Greta,

Oh we've seen so much.

Remember when our building
caught on fire

and you were evacuated to theroof,

me across the street.

For hours, we didn't knowwhat happened to each other.

- [Greta] I do remember.

I thought, maybe, I had lost
you.

- [Dorothea] Remember when thetheater

flooded on opening night?

- [Greta] On Seventh Street!

- [Dorothea] You were in
costume,

hiked up your skirt and helpedme bail

out the theater at half hour.

- [Greta] Yeah, I thought thisis going

to happen every night?

I will need an earlier call
time!

- [Dorothea] And remember whenmom died?

- [Greta] Yes.

- [Dorothea] We'd only beenon a few dates and you came.

Not to my hometown, but
to the next town over.

You stayed in that crummy motel.

Even though you knew thatyou couldn't be seen with me.

But you came to be near.

To give me a place to go whenthey were driving me bonkers.

- [Greta] Yes.

- [Dorothea] And remember
when May from Alabama

and Ray from Australia came totown.

And built that eyesore downthe street

and took away our school
funding?

- [Greta] Oh, yes.

- [Dorothea] All those
terrible times, Greta.

You were always there, by myside.

- [Greta] Yes.

- [Dorothea] All thoseterrible times, you were there.

- [Greta] Yes.

- [Dorothea] I'm startingto think you're bad luck.

[Greta and Dorothea laughing]

Why do you like that joke?

[somber music]

- [Man] Two, three, four.

[gentle guitar music]

♪ Could you be a little less
supportive ♪

♪ I'm trying to come
unanchored ♪

♪ I think I need a breakdown

♪ No please don't leave

♪ But could you be a littleless supportive ♪

♪ Your comfort is overwhelming

♪ And the truth's not in thetelling ♪

♪ Just your soft hand on mysleeve ♪

♪ Is the party over

♪ Has the war really ended

♪ No don't tell me

♪ Just walk with me a while

♪ What is that joke my dear

♪ That joke between the two of
us ♪

♪ You appear in all my toughtimes ♪

♪ I'm starting to think youare bad luck ♪

♪ Oh but that is just a jokemy dear ♪

♪ A joke between the two of us

♪ It has always been the twoof us ♪

♪ Come walk with me a while