[birds chirping]
[children chattering]
(girl #1) I'M ALWAYS INCLUDED IN EVERYTHING.
(girl #2) MY MOTHER SAYS
IT'S NOT HEALTHY TO EAT SO LATE.
SO WHAT DO YOU DO?
I EAT ON THE CARD TABLE IN MY ROOM WITH MY SISTER
BECAUSE THAT'S WHAT CHILDREN ARE SUPPOSED TO DO.
SAYS YOU.
(Nerlinger) ALL RIGHT, YOUNG PEOPLE
I DON'T WANT TO HAVE TO CALL YOU CHILDREN, OK?
SO LET'S START FINISHING UP. COME ON, LET'S GO.
LET'S GATHER UP OUR THINGS, BOYS.
OH, BILLY, WHAT A PERFECTLY WONDERFUL PIG.
HOW DID IT GET INTO CENTRAL PARK?
SEARCH ME.
[laughing]
LET'S PUT IT AWAY, ALL RIGHT?
[swing creaking] ELI, LET'S GO OVER HERE.
PETER, LET'S PUT OUR PAPERS AWAY.
JUJU.
WHAT'S THE MATTER? AREN'T YOU DOING WELL TODAY?
[children chattering]
HOW COME? THOSE ARE VERY STRONG COLORS.
I CAN'T DRAW ANY PEOPLE.
I BET YOU CAN.
I BET THEY'RE JUST IN THEIR HOUSES
TILL THEY'RE READY TO COME OUT.
HOW ABOUT IT IF TOMORROW I HELP YOU BRING THEM OUT?
OK. OK.
LET'S GATHER UP OUR PAINTS.
(Nerlinger) ALL RIGHT, I WANT EVERYTHING PICKED UP.
LET ME SEE WHAT YOU DID TODAY.
I MADE A PICTURE OF THE GUY ON THE SKATEBOARD.
AND I MADE MY SKATER FALL DOWN 'CAUSE HE WAS SHOWING OFF
AND IT MADE THIS GUY MAD, SO HE SOCKED HIM.
AND BUSTED HIS HEAD.
OH, HE DID NOT.
[swing creaking]
[creaking]
(Nerlinger) I WANT EVERYTHING PICKED UP.
I DON'T WANT TO SEE A PAPER TOWEL.
I DON'T WANT TO SEE A GUM WRAPPER.
THERE ARE PLENTY OF PAPER TOWELS FOR EVERYBODY
IF YOU TAKE JUST ONE.
JEANNIE GRIFFIN, I AM TALKING TO YOU.
WILLFUL WASTE MAKES WOEFUL WANT.
MISS PENNY! MISS PENNY! MISS PENNY! QUIET. QUIET EVERYONE.
HOW CAN YOU HEAR INSTRUCTIONS IF YOU'RE MAKING SUCH A HUBBUB?
[children chattering]
(Nerlinger) QUIET! SILENCE!
(Nerlinger) DID YOU HEAR WHAT I SAID? WHAT?
I SAID MAYBE WE OUGHT TO LET 'EM BLOW OFF STEAM
BEFORE WE PUT 'EM BACK ON THE BUS.
MAYBE A GAME OF FOLLOW THE LEADER?
YES, FOLLOW THE LEADER.
THAT WOULD BE FINE.
MICHAEL.
ALL RIGHT, EVERYONE PUT THEIR SUPPLIES INTO THE BIG BOX
AND THEN LINE UP BEHIND MISS DORSETT
FOR A GAME OF FOLLOW THE LEADER.
(Sybil) NO, NO. BACK THIS WAY.
[children exclaiming] OK, EVERYBODY.
COME ON. PETER.
COME ON, GIRLS. NOW, LET'S NOT SHOVE.
GOODNESS SAKES, I'LL GET SQUASHED.
OK, HERE WE GO. IS EVERYBODY READY?
LET'S GO.
[children chattering]
**[scatting]
[swing creaking]
[bell tolling]
(Nerlinger) OH, MY GOD, SYBIL.
FOR HEAVEN SAKES, WHAT ARE YOU DOING IN THE WATER?
SYBIL.
WHAT?
YOU WENT EXACTLY THE OPPOSITE WAY FROM FIFTH AVENUE.
THE BUS DRIVER IS VERY ANGRY.
NOW, COME OUT OF THE WATER, SYBIL. WE'RE GOING TO BE LATE.
ALL RIGHT. NOW, CHILDREN,
YOU FORM UP IN A LINE RIGHT OVER HERE.
QUICKLY, PLEASE. COME ON.
(Nerlinger) I COULDN'T FIGURE OUT WHAT HAPPENED.
ALL OF A SUDDEN, YOU WERE RUNNING IN THE OPPOSITE DIRECTION.
I YELLED. I HOLLERED.
OH, SYBIL, LOOK AT YOUR SHOES.
I--I--I DON'T FEEL VERY WELL. I THINK I'D LIKE TO GO HOME.
MAYBE YOU OUGHT TO SEE THE SCHOOL NURSE.
NO, I CAN COPE.
BECAUSE, SYBIL, I DON'T KNOW IF I CAN COVER FOR YOU.
I MEAN, IF WE'RE LATE AND THE HOMEROOM TEACHER ASKS ME.
I'M SORRY. I-- I'LL SEE YOU TOMORROW, ALL RIGHT?
SYBIL.
ALL RIGHT, KIDS. COME ON, LET'S GO.
[traffic rumbling]
[car honks]
HEY, YOU'RE GONNA TURN INTO A BANANA, YOU KEEP LIVIN' ON FRUIT.
HA, MR. DARWIN SAYS WE'RE JUST A BUNCH OF MONKEYS ANYWAY.
YEAH, BUT THEY EAT LOTS OF PROTEIN, TOO, SYBIL.
THEY EAT ROOTS, NUTS, BUGS.
OH, I HAVE LOTS OF BUGS, THANK YOU.
[chuckles] HOW MUCH DO I OWE YOU?
THAT'S, UH, ONE NICKEL, HALF A DIME.
I DON'T THINK SO.
OH, COME ON, WILL YOU?
IF THESE HAD ANYMORE BRUISES ON 'EM,
I'D HAVE TO SEND 'EM TO THE HOSPITAL.
GO AHEAD.
THANK YOU, MR. RIZO.
HAVE A GOOD DAY.
**[piano playing]
HI, MISS DORSETT.
SCHOOL LET OUT EARLY?
SO IT SEEMS.
UH, WHEN DID THE PIANO MOVE IN?
TODAY, 2ND FLOOR, FRONT.
IT'S LOUD, ISN'T IT?
IT DON'T STOP BY 10:00 TONIGHT,
THEY GET MY FOOT THROUGH THE DOOR.
[baby crying]
**[piano playing]
**[piano playing loudly]
[Sybil in Hattie's voice] HOW COULD YOU EMBARRASS ME IN FRONT OF THEM ALL THAT WAY?
(Sybil as Peggy) GET AWAY.
PLEASE, GET AWAY.
I WILL NOT GET AWAY.
I WILL STAND HERE TILL YOU EXPLAIN YOURSELF.
I DON'T EVEN KNOW WHAT I DID. I DON'T--
DON'T YOU PLEAD IGNORANCE ALOUD ON ME.
OUT, OUT, OUT. I HAD TO GET OUT.
WHAT?
**[piano playing]
[screaming]
NO!
[sobbing]
[screaming]
(Hattie) THAT'S NOT A CHORD. THIS IS A CHORD.
YOU CAN'T SHARP A "G".
WHAT'S THE MATTER WITH YOU?
I'VE GOT MORE BRAINS IN MY LITTLE FINGER
THAN YOU'VE GOT IN YOUR WHOLE BODY.
[glass shattering]
[gasping]
(Hattie) YOU DIDN'T CUT DEEP ENOUGH, DID YOU?
NOW, WE GOTTA GET YOU TO THE HOSPITAL.
(as Peggy) I SEE
ONE EYE
AND--AND ANOTHER ONE
AND SOME GLASSES
AND
SOME RED KIND OF HAIR.
MMM-HMM. NOW, TELL ME WHEN YOU SEE MY FINGERS WIGGLE.
I SEE-- I SEE A PICTURE FRAME AND A...
THERE'S A DOCTOR, A LADY, IS IN IT.
OH, YEAH. YOU SEE A CIRCLE, RIGHT?
THERE'S A CIRCLE, AND IT'S DARK ON THE SIDES OF IT.
I SEE A WHITE COAT. IT'S A WHITE COAT.
WHAT'S THE MATTER? DOES MY WHITE COAT BOTHER YOU?
I SEE SOME FINGERS WIGGLING.
YOU HAVE A RING.
A MARRIED WEDDING RING.
MMM-HMM.
YOU HAVE A LITTLE GIRL ALL YOUR OWN?
NO.
YOU HAVE A LITTLE BOY?
MMM-MMM.
IS IT FUN TALKING LIKE A LITTLE GIRL, MISS DORSETT?
WHAT?
WHAT JUST HAPPENED? JETLAG?
I CUT MY WRIST.
THAT'S RIGHT.
WHY, DON'T YOU REMEMBER?
YES, OF COURSE.
I'M IN NEW YORK.
I'M IN A HOSPITAL. MMM-HMM.
I'VE CUT MY WRIST.
MMM-HMM.
AM I THROUGH? MAY I GO?
WELL, I'D LIKE TO FINISH THE NEUROLOGICAL EXAM.
WHY IS THERE A NEUROLOGICAL EXAM? I'VE CUT MY WRIST.
I THINK YOU HAVE THE CHARTS MIXED UP. IT'S, UH...
NO, IT JUST SEEMS
THAT WHEN THE SURGICAL RESIDENT WAS PATCHING YOU UP
HE THOUGHT YOU SEEMED KIND OF CONFUSED, SO HE CALLED ME IN.
DON'T YOU REMEMBER?
AND I ASKED YOU HOW I COULD HELP YOU, AND YOU TOOK MY HAND.
YOU CAME RIGHT ON IN HERE.
DON'T YOU WANT TO STAY?
COME ON. LET'S FINISH IT UP, OK?
HERE.
TELL ME WHAT YOU SMELL IN THESE LITTLE BOTTLES.
CLOVES.
MMM-HMM.
I...
I KNOW I SHOULD SMELL SOMETHING--
NO, YOU SHOULDN'T. IT'S WATER.
OH! DISINFECTANT.
IT'S ALL RIGHT.
WHAT'S THE MATTER? YOU SMELL SOMETHING LIKE THAT BEFORE?
YES.
I'M SORRY.
YOU ASKED ME SOMETHING?
NO, YOU WERE JUST TELLING ME ABOUT YOUR SYMPTOMS.
YOUR, UH, TUNNEL VISION AND YOUR BUMPING INTO WALLS AND...
YES. YES, I KNOW.
SOMETIMES, WHEN I'M HEADING FOR THE DOOR, BY MISTAKE, UH...
WHAT IS IT?
THIS IS YOUR OFFICE?
YES.
NO! WITHOUT LOOKING AT YOUR WATCH,
TELL ME WHAT YOU JUST SAID.
IS IT SO IMPORTANT?
YES.
I SAID,
"IS THIS YOUR OFFICE?"
THAT WAS A HALF AN HOUR AGO. IT'S NIGHTTIME NOW.
I DIDN'T...
I DIDN'T WANT YOU TO KNOW.
[sighing]
YES, YOU DID.
NOBODY KNOWS.
SOMEBODY KNOWS NOW.
ALL RIGHT? DO YOU REMEMBER ANYTHING?
DO YOU REMEMBER THE VOCABULARY TEST
OR SAYING THE NUMBERS BACKWARDS OR ANY OF THAT?
[sobbing] NO, I DON'T. I DON'T.
NONE OF IT? NO.
YOU DON'T KNOW WHETHER YOU'VE BEEN HERE FOR AN HOUR
OR A DAY OR A WEEK, DO YOU?
I DON'T THINK IT'S BEEN A WEEK.
HAS IT BEEN A DAY? NO.
I--I CUT MY WRIST.
MMM-HMM.
AND I DON'T KNOW HOW.
AND THEN I WAS HERE, TALKING TO YOU.
MMM-HMM.
HAVE I HURT SOMEBODY?
HAVE I DONE SOMETHING BAD? NO.
NO, OF COURSE NOT.
HAVE YOU ALWAYS LOST TIME LIKE THAT?
I'M SO AWFULLY ASHAMED, DOCTOR.
IT'S ALL RIGHT.
I'VE ALWAYS BEEN LIKE THIS.
ALWAYS.
AND I USED TO THINK THAT EVERYBODY WAS LIKE THIS.
THAT THEY WOULD JUST NATURALLY WAKE UP AND BE SOMEPLACE ELSE
OR A WHOLE LOT OLDER OR WEARING ANOTHER DRESS.
ONCE, I WOKE UP,
AND I WAS 2 YEARS OLDER.
AND...
IT WAS VERY HARD FOR ME TO GET THROUGH COLLEGE.
I WANT VERY MUCH TO BE A TEACHER.
I WANNA GIVE SOMETHING TO SOMEBODY.
YOU UNDERSTAND THAT?
SURE.
I SUBSTITUTE TEACH
BECAUSE I'M GONNA GET MY M.A. IN ART.
IT'S IN ART.
[sobbing]
IT NEVER HAPPENED BEFORE IN FRONT OF THE CHILDREN
BUT THINGS HAVE BEEN GETTING A LOT WORSE LATELY.
I CAN'T DO ANYTHING.
I CAN'T STUDY.
AND THEN,
I WOKE UP, AND I WAS IN THE WATER.
AND THE CHILDREN SAW ME.
SYBIL.
[gasping]
PLEASE DON'T TOUCH ME. IT HURTS ME.
IT HURTS TO BE TOUCHED?
HERE, HAVE A CRYING TOWEL.
NO, THANK YOU. I DON'T CRY TEARS LIKE PEOPLE.
YOU MUST HAVE CRIED LIKE PEOPLE ONCE UPON A TIME.
HERE. SYBIL, COME ON, SIT DOWN.
YOU KNOW,
I THINK THE FEAR THAT YOU'RE SUFFERING FROM
IS VERY, VERY DEEP.
AND I THINK YOUR--YOUR SYMPTOMS,
YOUR--YOUR TUNNEL VISION AND YOUR BLACKOUTS
ARE A RESULT OF THAT FEAR.
IT'S A KIND OF HYSTERIA.
YOU SEE?
YES.
YOU UNDERSTAND, IF YOU ARE--ARE
TOO SCARED TO FACE SOMETHING,
THEN IT JUST MAKES PERFECTLY GOOD SENSE TO BLACKOUT
AND THEN YOU NEVER HAVE TO KNOW WHAT YOU'RE SCARED OF.
NOTHING SCARES ME.
LISTEN, WOULD YOU LIKE TO COME BACK AND SEE ME AGAIN
ON, UM, THURSDAY?
UH, MY NAME IS DR. WILBUR BY THE WAY.
IS IT EXPENSIVE?
NO, NOT IN THE CLINIC.
I THINK YOU CAN AFFORD IT.
I HAVE TO ASK MY FATHER.
HE'S HERE ON HIS HONEYMOON.
MY MOTHER DIED A WHILE BACK. HE REMARRIED.
HAVE TO SHOW HIM THE SIGHTS TOMORROW.
(Sybil) IF YOU CAN CALL
LUNCHING AT THE MUSEUM CAFETERIA THE SIGHTS.
WELL, I MUST SAY THIS IS SURE A DELIGHTFUL NOTION.
EATING BY A REAL ROMAN POOL IN THE MIDDLE OF NEW YORK CITY.
I BETTER NOT SAY "ROMAN" OUT LOUD.
THE POPE MIGHT JUMP OUT AND EAT DAD.
NOW, YOU QUIT THAT.
WELL, WHAT'S THE NATIVE CUSTOM?
DO WE STACK OUR TRAYS OR EAT RIGHT OFF 'EM?
WELL, I'M SETTING MY PLACE PROPER.
WAIT, WILLARD,
TILL I SLIDE A NAPKIN UNDER YOUR PLATE.
THERE, NOW, ISN'T THAT MORE HOMEY?
HERE, YOU SEE HOW SHE BABIES ME?
WELL, HE IS A BABY.
JUST A BIG, STRONG, SWEET OLD BABY.
BUT HE'S JUST WHAT THE DOCTOR ORDERED.
AREN'T YOU, LOVEY?
HOW DO YOU LIKE CHICAGO, DAD?
OH, FINE. UM, PLENTY TO DO.
OH, MY SPAGHETTI LOOKS YUMMY.
NICE AND CRUSTY AND TOMATOEY.
WHAT DID YOU TAKE, SYBIL?
JUST CHICKEN SALAD?
NO, IT'S TUNA. OH.
THAT'S A PUNY KIND OF LUNCH FOR A GROWING GIRL.
I DON'T WANT YOU TO SKIMP ON YOUR FOOD.
WELL, I STOPPED GROWING A LONG TIME AGO, DAD.
IT'S FINE, A GRACIOUS SUFFICIENCY.
THANK YOU.
WE, UH, THANK THEE LORD
FOR ALL THY BOUNTIFUL BLESSINGS. AMEN.
AMEN. AMEN.
BUT, OH, THE PRICES OF EVERYTHING HERE.
I NEARLY DIE EVERY TIME A WAITER BRINGS THE CHECK.
(Willard) THAT'S WHAT YOU GET FOR LOOKING, HUH?
(Frieda) OF COURSE, THINGS ARE DEAR IN CHICAGO, TOO.
IT'S HARD TO MAKE ENDS MEET. HMM.
WHEN WE LIVED IN WILLOW CORNERS,
YOU COULD EAT A MEAL LIKE THIS.
OH, I USED TO GET YOUR MOTHER TO...
GOD REST HER SOUL.
TO GO DOWN TO THE GREEN--GREEN COMET CAFE
AND ORDERED A WHOLE COVERED DINNER ON A SABBATH
SO SHE WOULDN'T HAVE TO COOK. YES.
AND WHY, WHAT WITH THE ROASTED CHICKEN
AND YELLOW GRAVY AND THE FIXINGS IT DIDN'T COME TO $1.50.
DAD,
I--I HAVE AN ILLNESS.
IT'S WHAT YOU AND MOTHER CALLED MY MOODINESS.
AND IT'S GETTING WORSE AND WORSE.
IT WILL BE THE END OF EVERYTHING
UNLESS I CAN DO SOMETHING ABOUT IT.
I'M SORRY TO BRING YOU IN ON THIS, FRIEDA,
BUT YOU'RE NOT BLOOD FAMILY
AND I DON'T SEEM TO BE ABLE TO GET DAD ALONE.
WELL, UH, I FEEL LIKE FAMILY.
GOODNESS.
DAD, THERE'S A LADY,
A DOCTOR,
AND I-- I'VE TALKED TO HER.
SHE CAN HELP ME IN THE PURSUIT OF ME
AND SHE THINKS THAT THAT'S A USEFUL PURSUIT.
WILLARD, YOU SAID YOURSELF
WE HAVE A PERFECTLY GOOD SPARE ROOM
AND ALL HER THINGS WOULD FIT IN THERE JUST PERFECT.
NOTHING WILL FIT PERFECT ANYWHERE UNTIL I FIT PERFECT.
I'M SORRY.
I'M GOING TO THE RESTROOM.
I DON'T WANT IT SAID THAT I INFLUENCED ANYTHING.
BETWEEN A ROCK AND A HARD PLACE, SYBIL.
I MEAN, YOU KNOW HOW THE CHURCH VIEWS
THE PRACTITIONERS OF THE MIND.
I'M VERY FRUGAL.
IF I GIVE UP MY LUXURIES, TELEVISION,
AND I DON'T READ AFTER SUNSET
AND I-- AND I USE THE STOVE ONLY OCCASIONALLY TO COOK 3 DAYS AT A TIME,
I COULD-- I COULD GET BY ON WHAT YOU SEND ME.
THE DEVIL HATH POWER TO ASSUME A PLEASING SHAPE.
SHE'S NOT THE DEVIL, DAD. NOW, I--I KNOW THAT.
I DON'T KNOW THAT ABOUT ANYONE
EXCEPT THE PEOPLE IN OUR OWN CONGREGATION.
SHE'S A REPUTABLE DOCTOR.
FIRST THING YOU KNOW IT'S DRUGS,
THEN A HOSPITAL FULL OF LOST SOULS.
THAT'S THE WAY THEY BEGIN IT, SYBIL. OH, LORD,
I THINK I'M TRAPPED.
THE FINAL PREPARATION FOR THE HOLOCAUST.
IT'S ARMAGEDDON, SYBIL.
[groaning] "AND IT SHALL RISE UP IN THE EAST
AND THE RIVERS SHALL FLOW AS BLOOD."
[grunting]
SYBIL!
I'M SORRY. OH, DAD,
I'M--I'M SORRY.
I CAN PAY FOR IT. IT--IT--IT SURELY IS--IS ABOUT $2.
WHAT IS THE MATTER WITH YOU?
[groaning]
[Sybil groaning]
(Willard) SYBIL. SYBIL.
SYBIL! SYBIL!
SYBIL!
[voices chattering]
[clock ticking]
[voices continue chattering]
[voices chattering]
[sobbing]
[children shouting]
NOW, TELL ME WHEN YOU SEE MY FINGERS WIGGLE.
THE DEVIL HATH POWER TO ASSUME A PLEASING SHAPE.
[children shouting]
I'VE CUT MY WRIST.
YOU KNOW HOW OUR CHURCH FEELS
ABOUT THE PRACTITIONERS OF THE MIND.
[children shouting]
WHAT'S THE MATTER? MY WHITE COAT BOTHER YOU?
[sobbing] ALWAYS. ALWAYS. I WAS ALWAYS LIKE THIS.
FIRST THING YOU KNOW IT'S DRUGS,
THEN A HOSPITAL FULL OF LOST SOULS.
[children shouting]
[groaning]
IT'S ALL RIGHT. IT'S JUST DISINFECTANT.
THE FINAL PREPARATION FOR THE HOLOCAUST,
THE ARMAGEDDON, SYBIL.
[sobbing] I ALWAYS THOUGHT
THAT PEOPLE WOULD JUST NATURALLY BE SOMEPLACE ELSE
OR WEARING ANOTHER DRESS OR BE A WHOLE LOT OLDER,
LIKE WHEN I WAS IN THE 3RD GRADE AND MY GRANDMOTHER DIED
AND--AND I WASN'T ANYPLACE FOR 2 YEARS.
I JUST WASN'T ANYPLACE, NOT ANYPLACE AT ALL.
WOULD YOU LIKE TO COME BACK AND SEE ME ON THURSDAY?
WHAT IS THE MATTER WITH--
[telephone ringing]
IT'S ALL RIGHT. I'VE GOT IT.
YEAH.
WHO?
VICKY WHO?
IT BETTER BE AN EMERGENCY FOR "JUST VICKY" AT 3:00 IN THE MORNING.
OK, PUT HER ON.
(Sybil as Vicky) DR. WILBUR?
YEAH.
THAT WINDOW IS BEGINNING TO LOOK AWFULLY GOOD TO SYBIL.
WHAT WINDOW? WHO ARE YOU?
I'M SYBIL'S FRIEND.
IT'S VERY HIGH, DR. WILBUR.
IT'S UP 4 FLOORS.
YOU'D BETTER COME QUICK TO THE STATON HOTEL--
HOLD ON A SECOND. HOLD ON, OK?
STATON HOTEL--
HOLD ON. WAIT A MINUTE. WAIT A MINUTE. HOLD ON. YEAH.
ALL RIGHT, IT'S THE STATON HOTEL,
136 WEST 125TH STREET.
OPPOSITE THE ROSLYN.
OK.
WHAT IS SHE DOING IN HARLEM?
[cars honking]
[door rattling]
(Dr. Wilbur) VICKY?
(as Marcia) LEAVE ME ALONE.
VICKY, LET ME IN. IT'S DR. WILBUR.
THANK YOU.
SYBIL?
[gasping]
(Sybil) OH, NO.
I DIDN'T WANT TO DO THIS IN FRONT OF YOU AGAIN.
IT'S ALL RIGHT. IT'S ALL RIGHT.
LISTEN, WOULD YOU JUST WAIT DOWNSTAIRS, OK?
[window closing]
WHERE IS THIS?
HAVE I MISSED THURSDAY? DID I MISS THURSDAY?
THAT'S ALL RIGHT.
WHERE'S YOUR FRIEND VICKY?
I DON'T HAVE A FRIEND VICKY.
SHE HAS A FRIEND SYBIL.
WHAT KICKED IT OFF THIS TIME?
I LOST MY JOB.
AND I--I TRIED TO ASK...
MY... MY...
YEAH? YOU ASKED YOUR FATHER ABOUT SEEING ME.
WHAT HAPPENED? WHAT DID HE SAY?
SYBIL?
[sobbing]
(as Peggy) THE PEOPLE. THE PEOPLE. THE PEOPLE.
THE PEOPLE, THEY'RE EVERYWHERE.
THERE, THERE, THERE. THEY'RE EVERYWHERE.
NO, YOU KEEP THEM AWAY FROM ME.
I WILL, I WILL, I WILL DO IT. I WILL DO IT.
[sobbing] HE DOESN'T CARE. HE DOESN'T CARE.
SYBIL.
I HATE SYBIL. I HATE HER.
WHO ARE YOU?
I CAN DO ANYTHING.
I CAN DO ANYTHING I WANT TO.
I CAN DO ANYTHING.
I CAN WALK ON THE FURNITURE IF I TAKE MY SHOES OFF
LIKE THAT AND LIKE THAT AND LIKE THAT.
AND I CAN WALK ON THE CHAIR LIKE THAT AND LIKE THAT AND LIKE THAT.
AND YOU CAN'T STOP ME. I PROMISE YOU, SYBIL, I WOULDN'T STOP YOU.
YOU CAN'T STOP ME. I WON'T STOP YOU. IT'S ALL RIGHT.
[sobbing] IT'S ALL RIGHT. IT'S ALL RIGHT.
IT HURTS ME!
WHAT HURTS? WHAT HURTS YOU? WHERE DOES IT HURT?
I HAVE TO GET OUT. I HAVE TO GET OUT.
NO, WAIT!
I HAVE TO BREAK THE GLASS. NO, NO, NO, NO.
NO, WE DON'T--DON'T BREAK GLASS.
YOU WON'T LET ME OUT, AND YOU WON'T LET ME HAVE ANY PEACE
AND YOU LEAVE ME ALONE AND IT HURTS,
AND YOU DON'T LEAVE ME ALONE, IT HURTS.
WHO ARE YOU TALKING TO? WHO AM I?
WHO HURT YOU? OH, PLEASE, I HAVE TO GET OUT. GET OUT.
I HAVE TO GET OUT. WE'LL JUST GO DOWNSTAIRS, WE'LL GET IN THE TAXI
AND THEN YOU'LL BE OUT, ALL RIGHT? NO, NO, NO, SHE'S THERE.
WHEN SHE'S THERE, THE PEOPLE ARE THERE.
WHO'S THERE? WHO IS THERE? THE PEOPLE. I DON'T WANNA SEE THEM.
I DON'T WANNA FEEL THEM. WHERE IS SYBIL?
I DON'T WANNA KNOW. I DON'T WANNA KNOW.
WHERE IS SYBIL? TELL ME. I HAVE TO GET OUT.
I HAVE TO FEEL THE GLASS.
NO, NO. NO,
[sobbing] NO. NO, NO.
I HAVE TO FEEL THE-- DON'T BREAK IT.
I SEE THE KNOB.
I SEE THE KNOB ON THE WHITE HOUSE.
ON THE WHITE HOUSE, I SEE THE KNOB.
AND THE SHADES ARE PULLED DOWN.
I LIVE RIGHT THERE. I LIVE RIGHT THERE.
RIGHT THERE. 201 WEST 4TH STREET.
WILLOW CORNERS, WISCONSIN.
I LIVE RIGHT THERE. RIGHT THERE. RIGHT THERE.
(Dr. Wilbur) THAT'S HARLEM.
(Sybil as Peggy) I DON'T KNOW WHERE THE OTHER GLASS IS.
[sobbing] IT'S IN DR. QUINONESS' INSTRUMENT CASE,
AND IT'S ALL WHITE AND SHINY KNIVES.
AND MY MOMMA SAYS, "I WILL TAKE YOU
"TO PLAY WITH MONICA AND CHERYL
"BECAUSE YOU LIKE MONICA AND CHERYL."
AND MY GRANDMA SAYS... MY GRANDMA SAYS...
MY GRANDMA SAYS, "YOU--YOU GO LIKE MOMMA SAYS."
MY GRANDMA'S GOOD. SHE'S GOOD.
SHE LOVES ME. SHE LOVES ME.
I'M AFRAID! I'M AFRAID!
[gasping]
(Dr. Wilbur) THERE'S NOTHING TO BE AFRAID OF HERE.
(Sybil as Peggy) THEY NEVER FORGET ANYTHING,
AND THEY LISTEN TO EVERY SOUND.
AND THEY'RE EVERYWHERE, AND THEY'RE EVERYWHERE.
THEY'RE IN THIS ROOM AND THAT ROOM
AND EVERYWHERE YOU LOOK, AND EVERYWHERE YOU LOOK,
WHO? AND EVERYWHERE--
THE PEOPLE. THE PEOPLE. NO! NO!
NO, DON'T MAKE ME GO THERE.
[shushing] I DON'T WANNA GO UP THERE, PLEASE.
PLEASE DON'T MAKE ME GO UP THERE.
[sobbing] I WON'T GO UP THERE. PLEASE.
PLEASE DON'T MAKE ME GO UP THERE.
GO WHERE? GO WHERE? PLEASE.
IT'S NOT HAPPENING NOW. PLEASE.
IT'S NOT HAPPENING NOW. PLEASE DON'T DO THIS.
(Hattie) WELL, HERE WE ARE.
OH, LOOK, WHO ELSE GOT HERE.
DADDY'LL TAKE YOU UPSTAIRS, WON'T YOU, DADDY?
WHERE'S CHERYL AND MONICA? THEY'LL BE HERE LATER, SYBIL.
YOUR MOMMY'LL BRING YOU SOME ICE CREAM, WON'T YOU, MOMMY?
(Dr. Quinoness) YOU'RE JUST GOING UPSTAIRS FOR A LITTLE NAP.
WHAT KIND DO YOU LIKE? YOU CAN HAVE ANY KIND YOU LIKE.
NOW, HUSH NOW. DOUBLE, DOUBLE.
EASY DOES IT. DOUBLE DIP. THAT'S IT. THAT'S IT.
COME ALONG.
(Sybil) NO!
NO! NO!
NO!
NOW, NOW, BIG BREATH,
BIG DEEP BREATH. NO!
NOW, I CAN'T DO ANYTHING IF YOU'RE GONNA TO FIGHT ME.
NO!
[gasping]
(Dr. Wilbur) ALL RIGHT, THERE'S PLENTY OF AIR.
NOW, THERE JUST SEEMED TO BE NO AIR
BECAUSE YOU WERE BREATHING AIR MIXED WITH ETHER.
(as Peggy) THEY HAVE TO USE 2 CANS OF ETHER TO TAKE HER TONSILS OUT
BECAUSE SHE'S A REAL STRONG LITTLE GIRL.
RIGHT, RIGHT, AND A MAD LITTLE GIRL, TOO.
THEY LIED TO YOU, DIDN'T THEY?
YEAH, THEY GOT YOU THERE UNDER FALSE PRETENSES.
[sobbing]
THEY'RE GONNA KILL HER.
THAT'S WHAT THEY'RE GONNA DO.
NO, THEY'RE NOT GOING TO KILL YOU.
AND WHY DO YOU KEEP REFERRING TO YOURSELF IN THE THIRD PERSON, HMM?
BECAUSE SHE'S SYBIL.
[sobbing] BUT MY THROAT HURTS, TOO.
AND WHO ARE YOU, SWEETIE?
WILL YOU TELL DR. WILBUR NOW?
DR. WILBUR'S TOO FAR AWAY.
NO, NO. DR. WILBUR'S RIGHT HERE.
DR. WILBUR JUST SEEMED VERY FAR AWAY
BECAUSE ALL GOOD AND SAFE THINGS
MUST HAVE SEEMED VERY, VERY FAR AWAY.
DR. WILBUR, A WHITE COAT?
THAT'S RIGHT, BUT I'M NOT WEARING IT NOW.
[sobbing]
HI. EVERYTHING'S OK NOW.
YOU JUST TRY AND GET SOME SLEEP, OK?
I WANNA BE YOUR LITTLE GIRL.
PLEASE, TAKE ME TO YOUR HOUSE.
OH, HONEY, YOUR MOMMY AND DADDY LOVE YOU VERY MUCH.
THEY'D MISS YOU.
JUST TRY AND GET SOME SLEEP, OK?
YOU TAKE ME, PLEASE.
HONEY. HONEY, PLEASE, JUST--JUST TRY TO SLEEP, OK?
HELLO. HERE'S YOUR MOMMY, SYBIL.
EVERYTHING'S ALL RIGHT NOW. HELLO.
HOW'S MY LITTLE GIRL?
LOOK WHAT I BROUGHT YOU, SYBIL.
SYBIL?
SYBIL.
(Hattie) DON'T YOU TURN YOUR BACK ON ME.
I'M TALKING TO YOU.
SYBIL. SYBIL.
[groaning]
YOU'RE... NO CUTS. NO BRUISES.
I BUSTED IT ALL TO PIECES. YOU'RE ALL IN ONE PIECE.
IT'S ALL RIGHT. IT'S ALL RIGHT. IT'S EASIER TO FIX WINDOWS
THAN LITTLE GIRLS.
(as Peggy) LITTLE GIRLS ARE MORE IMPORTANT THAN WINDOWS?
THIS LITTLE GIRL CERTAINLY IS. SURE.
I GOT SOMETHING TO TELL YOU.
IT'S ABOUT SYBIL.
SHE PUTS GUCK ALL OVER HER HAIR
'CAUSE SHE HAS GRAY HAIR.
[laughing]
I DON'T. I'M NATURAL.
YOU LIKE THE WAY I LOOK?
I HAVE A REAL PRETTY FACE.
SEE ME IN THE MIRROR? AND A LITTLE NOSE
AND ALL MY FRECKLES AND MY BANGS.
I'M ONLY 9.
DO YOU BELIEVE ME?
YES, I BELIEVE YOU.
MY NAME'S PEGGY,
AND YOU'RE MY DR. WILBUR.
(Dr. Lazarus) TELL ME ABOUT YOUR PATIENT.
YOU THINK SHE'S REALLY A MULTIPLE PERSONALITY?
ERNA, I KNOW SHE IS.
I'VE--I'VE MET ONE ALTERNATE, I KNOW.
AND I'VE TALKED TO ANOTHER ONE ON THE TELEPHONE.
SUCH A COMPLIMENT THAT THEY SHOULD REVEAL THEMSELVES SO QUICKLY.
ERNA, THE--THE WAKING SELF,
THE SYBIL PART,
IS VERY REPRESSED AND--AND--AND VERY TROUBLED.
A GRIM--GRIM PERSON,
BUT THE--THE OTHER ONE,
THE--THE LITTLE PEGGY, IS JUST ENCHANTING.
SHE'S--SHE'S, UH,
SHE'S JUST ADRIFT IN TIME.
SHE DOESN'T KNOW THAT SHE'S IN NEW YORK
AND SHE'S--SHE'S ABSOLUTELY FULL OF MISCONCEPTIONS ABOUT EVERYTHING.
HOW ARE YOU GOING TO TREAT HER?
PSYCHOANALYSIS.
WHICH ONE?
ALL 3.
THAT'S UNPRECEDENTED.
WHY ARE YOU THE BIG PIONEER?
WELL, WHY DID YOU TEACH ME TO BE?
[both laughing]
BE CAREFUL.
CONNIE, BE CAREFUL.
DON'T FALL IN LOVE WITH HER ILLNESS.
OR SHE COULD BE OBLIGATED
TO SEEM JUST MORE COMPLEX THAN SHE IS
JUST TO KEEP YOUR APPROVAL.
YOU KNOW, THEY ARE NOT LITTLE GIRLS.
THEY'RE DEFENSES THAT BELONG TO SOMEBODY ELSE,
PIECES, FRAGMENTS, ONLY ILLUSIONS.
AND THEY ARE ACTING OUT A DRAMA
THAT HAS NOTHING TO DO WITH YOU.
WELL, I KNOW THAT.
SO YOU MUSTN'T ACT OUT ONE THAT HAS NOTHING TO DO WITH THEM.
OH, FOR INSTANCE?
FOR INSTANCE,
YOU ARE NOT THEIR MOTHER.
(Dr. Wilbur) IT WASN'T EASY TO HEED MY FRIEND'S WARNING.
EVERY TIME PEGGY LEAVES MY OFFICE TO DISAPPEAR INTO THE CITY,
I HAVE THE MOST AWFUL URGE TO CALL HER BACK
BECAUSE I KNOW THAT NEW YORK DOESN'T EXIST FOR HER.
SHE LIVES IN THE SMALL MIDWESTERN TOWN OF HER MEMORY 20 YEARS AGO
WHERE THERE WEREN'T ANY TAXIS OR BUSES OR STRANGERS TO HARM HER.
AND WHENEVER THE CITY SWALLOWS HER UP,
I WONDER IF I'LL EVER SEE HER AGAIN
UNTIL, BY SOME MIRACLE, SHE OR SYBIL APPEAR ON MY DOORSTEP.
I WONDER WHAT SHE DOES AND HOW SHE LIVES
OR WHO SHE SEES.
(Richard) * HUSH-A-BYE *
* DON'T YOU CRY *
* GO TO SLEEP-Y *
* LITTLE BABY *
* WHEN YOU WAKE *
* YOU WILL HAVE *
* ALL THE PRETTY LITTLE PONIES *
* BLACKS AND BAYS *
* DAPPLES AND GRAYS *
* COACH *
* AND 6 A-LITTLE HORSES *
* HUSH-A-BYE *
* DON'T YOU CRY *
* GO TO SLEEP-Y *
* LITTLE BABY **
**[Richard humming]
[snorting]
HEY, SYBIL DORSETT!
WANNA PET MY HORSE?
COME ON, MA'AM. NOW, HAVE NO FEAR OR TREPIDATION.
WE'VE FALLEN ON HARD TIMES, HIM AND ME,
SINCE WE WERE THE FINEST ROPING TEAM IN ALL THE WEST
AND IT KIND OF LOOKS LIKE IT'S GONNA BE THE DOG-FOOD FACTORY
UNLESS SOME KIND SOUL BELIEVES IN US ENOUGH TO TAKE A RIDE.
HOW ABOUT YOU?
WOULD YOU TAKE YOUR HAT OFF FOR A SECOND?
THINK YOU'VE SEEN ME IN THE PICTURES?
OH.
I DIDN'T KNOW YOU DID THIS.
I KNEW YOU DID THAT.
WHAT?
PAINT. THAT'S AN ART BOOK, ISN'T IT?
"TURNER." YEAH, I KNEW YOU WERE AN ARTIST.
I'VE SEEN YOU PAINTING IN THE MIDDLE OF THE NIGHT.
I DON'T DO THAT. I HAVEN'T PAINTED IN A LONG TIME.
YEAH, YOU DO. I WATCH YOU.
FROM WINDOW TO WINDOW, RIGHT ACROSS OUR BACKYARDS.
EACH WINDOW A STAGE IN THIS THEATER OF THE ABSURD
WHICH WE CALL LIFE.
YOU NEVER HAVE COMPANY.
YOU EAT BY YOURSELF.
YOU STILL PLAY WITH DOLLS.
AND YOU WATCH ME, TOO.
I'VE SEEN YOU OVER THERE WITH THE LIGHTS OUT
SEETHING WITH PASSION ON THOSE HOT SUMMER NIGHTS.
I DON'T HAPPEN TO BE SEETHING WITH ANYTHING.
I'M JUST TRYING TO KEEP MY ELECTRICAL BILL DOWN.
I HAVE TO GO.
WELL, WAIT. WHY?
SAY, "W-A-T-E-R," AND I'LL TELL YOU WHERE YOU COME FROM.
DO I HAVE TO?
YOU WANT YOUR BOOK BACK?
[sighing]
WATER.
ILLINOIS. IOWA.
IT'S WISCONSIN. I--I REALLY HAVE TO GO.
OH, COME ON, SYBIL. GET IN, I'LL GIVE YOU A FREE RIDE.
OH, EXCUSE ME. I'M SORRY.
WELL.
WELL, THAT'S THE 2ND TIME YOU'VE SAID IT,
SO I GUESS YOU WANT ME TO ASK.
HOW DO YOU KNOW MY NAME?
MY LITTLE BOY MATTHEW IS IN LOVE WITH YOU,
AND HE WANTED TO WRITE YOU A LETTER.
SO I WALKED AROUND THE CORNER,
LOOKED AT ALL THE NAMES ON THE BELLS
AND YOU'RE THE ONLY SINGLE ON 5.
I NEVER GOT A LETTER.
NO, WE NEVER SENT IT.
WE BOTH FORGOT HE HASN'T LEARNED TO WRITE.
[chuckling]
LOOK, I GOT AN ITALIAN SAUSAGE SANDWICH.
IT'S REALLY TOO BIG FOR ME, AND HE WON'T EVEN TOUCH IT.
WHO ARE YOU?
I HAVEN'T GOT A CLUE
BUT IT'S CALLED RICHARD J. LOOMIS.
AND JUST LIKE MY HORSE HERE, I CANNOT INFLICT HARM.
OH.
[speaking in French]
HEY, YOU'RE A LINGUIST.
I ONLY KNOW PIG LATIN.
[sighing] YES, I WAS BILINGUAL AS A CHILD. FRENCH.
THAT'S ALL I REMEMBER, AND I'M SORRY TO SAY IT'S ALL WRONG.
RAISED IN PARIS. COME ON, PONY.
PARIS? OOH-LA-LA!
YES.
C'EST BIEN.
WE PLAYED HOPSCOTCH IN THE BOIS.
WE HAD CAFE AU LAIT FOR BREAKFAST
AND PORRIDGE, IF YOU CAN BELIEVE IT.
OF COURSE, WE HAD AN ENGLISH NANNY.
YEAH? YES.
DID SHE SAY, "BOIS," TOO?
YOU GOT ME THERE.
HELLO...
[speaking in French]
OH, OH, WHAT'S YOUR NAME?
OH, I'M SORRY. YOU DON'T RECOGNIZE MY VOICE.
I'M VICKY. VICTORIA, SYBIL'S FRIEND.
VICTORIA ANTOINETTE SCHARLEAU.
ALLO. ALLO. HELLO.
GOOD TO SEE YOU.
ALLO A VOUS, TOO.
WELL.
WELL, COME. COME, RIGHT IN.
MERCI. MERCI.
OH!
QUEL JOLI BUREAU!
OH, THANK YOU.
UM...
ASSEYEZ-VOUS.
OU? SUR THIS COUCH
OU SUR THAT COUCH?
COMME VOUS VOULEZ.
JE CHOOSE THIS COUCH.
I DON'T BLAME YOU FOR NOT REMEMBERING.
IT WAS MONTHS AND MONTHS AGO SINCE I CALLED YOU
FROM THAT DREARY LITTLE HARLEM HOTEL.
MMM-HMM.
WELL, TELL ME, UM,
WHERE'S SYBIL?
SYBIL IS A BIT EMBARRASSED
ABOUT THE FINANCIAL ARRANGEMENTS.
SINCE YOU'VE BEEN SEEING HER IN YOUR PRACTICE PRIVEE,
SHE DOESN'T KNOW HOW SHE WILL EVER REPAY YOU.
SHE'LL REPAY ME WHEN SHE GETS HERSELF TOGETHER
[laughs]
IF YOU'LL EXCUSE THE PUN.
[both chuckling]
YES?
DR. WILBUR, MMM-HMM.
PEGGY IS VERY WORRIED.
SHE THINKS THAT PERHAPS YOU THINK SHE WANTS TO HURT YOU
BECAUSE SHE BREAKS THE WINDOWS.
(Dr. Wilbur) WELL, I DON'T.
NO, SHE WOULDN'T HURT ANYONE.
SHE'D BEEN SO HURT HERSELF.
I WOULDN'T HURT ANYONE EITHER, NOT BY WORD NOR DEED.
I DON'T EVEN LIKE TO HURT SOMEONE'S FEELINGS.
DO YOU KNOW?
IF SOMEONE CALLS ME SYBIL BY MISTAKE, DO YOU KNOW WHAT I DO?
I LOOK IN THEIR FACE AND I SAY, "YES. YES."
OR, "OUI. OUI. YOU'RE SPEAKING TO ME?"
BECAUSE IT HURTS TO BE EMBARRASSED, DO YOU KNOW?
MMM-HMM.
[sighing]
SYBIL IS SUCH A LAMENTABLE CREATURE.
(Dr. Wilbur) WHY DO YOU SAY THAT?
SHE CAN'T DO ANYTHING.
SHE STARTS TO PAINT, SHE CAN'T PAINT.
SHE WANTS TO PLAY THE PIANO, SHE CAN'T PLAY THE PIANO.
SHE WON'T HAVE FUN.
THE WOMAN REFUSES TO HAVE FUN.
SHE'S AFRAID OF PEOPLE, YOU KNOW.
I'M NOT. NO.
I SIMPLY ADORE PEOPLE.
DO YOU KNOW,
THE OTHER DAY, SHE WANTED TO TAKE A RIDE IN THE PARK
WITH THAT ATTRACTIVE YOUNG MAN, UH, RICHARD LOOMIS
WHO LIVES ACROSS THE YARD?
SHE WAS AFRAID TO TAKE HIS HAND.
SHE'S AFRAID OF HANDS. SO IS PEGGY.
I HAD TO GO.
I'M NOT AFRAID OF HANDS.
I'M NOT AFRAID OF ANYTHING. NO, SIR.
WHOSE HANDS ARE SYBIL AND PEGGY AFRAID OF?
[in Hattie's voice] DON'T YOU DARE TELL.
NEXT WORSE THING TO BEING A FIBBER IS BEING A TALEBEARER.
YOU TELL, AND I'LL FIX IT SO YOU AIN'T GOT NOTHING TO TELL WITH.
VICKY, DID YOUR MOTHER EVER HIT YOU?
OH.
MINE? NO.
MY MOTHER IS AN ABSOLUTE ANGEL.
SHE LIVES IN PARIS, YOU KNOW.
SHE'LL BE COMING FOR ME SOON.
WE'LL BE TOGETHER, ALL MY BROTHERS AND--
IS SYBIL'S MOTHER NOT AN ANGEL?
DO YOU LIKE MY HAIR?
IT'S CALLED A FRENCH TWIST. I DO IT MYSELF.
I LOOK A GREAT DEAL OLDER THAN 13, DON'T I?
THAT'S BECAUSE EUROPEAN CHILDREN MATURE SO MUCH SOONER.
BUT I'M SO THIN. THIS SUIT JUST HANGS ON ME.
MAYBE SYBIL ISN'T FEEDING YOU ENOUGH.
I NEVER COMPLAIN EXACTLY.
BUT ALL SHE EATS IS ROTTEN FRUIT.
THAT'S ALL SHE'S EATEN ALL MONTH LONG.
HER DADDY FORGETS TO SEND HER THE CHECK.
LOTS OF TIMES, HER DADDY FORGETS TO SEND A CHECK
AND THAT MAKES PEGGY VERY, VERY MAD,
AND SHE BARGES INTO THE STORES
AND SMASHES ALL THE CRYSTAL, AND SYBIL HAS TO PAY FOR IT.
BUT I DON'T CARE.
(Dr. Wilbur) DID YOU HAVE BREAKFAST THIS MORNING, HMM?
SWEETIE, ARE YOU HUNGRY?
IF I STAND VERY, VERY ERECT
WITH A CERTAIN AIR OF DIGNITY
YOU CAN'T TELL HOW THIN I AM, CAN YOU?
COME ON. I'M GONNA MAKE YOU A SANDWICH.
I SEE THE WHEELS GOING ROUND AND ROUND.
WHY DO THEY DO THAT?
WHY DO THEY GO ROUND AND ROUND AGAINST ME?
THEY'RE NOT GOING AROUND AGAINST YOU.
THEY'RE JUST MAKING A RECORDING.
REMEMBER PEGGY SAID I COULD WHEN SHE WAS HERE?
YES, I KNOW, TO HELP SYBIL.
MMM-HMM.
BECAUSE SHE SEEMS TO HAVE SO MUCH MORE INFORMATION THAN SYBIL DOES.
OH, I HAVE MORE.
I HAVE MORE THAN PEGGY. I HAVE MORE THAN ANYBODY.
I KNOW EVERYTHING.
EVERY THOUGHT SHE THINKS, EVERYTHING SHE DOES, I REMEMBER.
SHE CAN'T REMEMBER.
SHE MUSTN'T REMEMBER.
THAT'S WHY IT'S VERY, VERY IMPORTANT
THAT YOU DON'T TELL HER ABOUT US.
IT WOULD BE TOO BIG A SHOCK FOR HER.
SHE'S NOT READY TO TAKE IT.
HERE.
I HAVE A PEANUT BUTTER AND JELLY SANDWICH FOR YOU AND SOME BANANA BREAD
AND A BIG GLASS OF MILK.
NOW, I WANT TO SEE YOU JUST EAT AND EAT AND EAT, ALL RIGHT?
THANK YOU.
MMM-HMM.
MILK IS GOOD FOR GROWING GIRLS.
THAT'S RIGHT.
LOTS OF MUMMIES AREN'T LIKE YOU.
LOTS OF MUMMIES ARE REAL TRICKY.
VICKY,
DO YOU REMEMBER SYBIL'S TONSILLECTOMY, HMM?
I SAW. I WAS THERE.
IT MADE, UH, SYBIL'S THROAT HURT, DIDN'T IT?
YES, VERY MUCH.
MMM, HURT SO BAD SHE HAD TO WHISPER AND SHE COULDN'T TALK.
TALKED LIKE THIS ALL THE TIME.
FUNNY THING IS, IT MADE PEGGY'S THROAT HURT, TOO.
NOW HOW COME BOTH THEIR THROATS HURT
IF, IF ALL OF YOU ARE DIFFERENT PEOPLE?
VICKY? I KNOW. I'M THINKING.
DON'T I HAVE LOVELY TABLE MANNERS?
NOTICE HOW DELICATE MY HANDS ARE.
THE PINKIES, IT'S CALLED CONTINENTAL.
HMM, YES, IT'S LOVELY.
TELL ME, ARE YOU RELATED IN SOME WAY, ALL OF YOU?
I KNOW WHERE I AM. I'M IN NEW YORK. LOTS TO DO IN NEW YORK.
MUSEUMS TO GO TO, CONCERTS--
DO YOU THINK THAT SYBIL AND PEGGY
SHARE THE SAME MOTHER AND FATHER?
NOW HOW ARE THEY RELATED?
HMM?
ARE THEY SISTERS?
OR ARE YOU ALL PARTS OF THE SAME PERSON?
DON'T BE SILLY. IT CAN'T BE THAT.
NO, IT CAN BE THAT.
YOU CAN ALL BE ASPECTS OF THE SAME PERSON.
ALL PIECES OF SYBIL.
NO, NO.
WE'RE ALL PEOPLE. YOU CAN SEE US.
LOOK AROUND.
THERE'S NOBODY ELSE HERE, JUST YOU AND ME
AND THE SINK AND THE DISHES AND THE DOOR.
NOBODY ELSE HERE.
DO YOU BELIEVE ME?
SWEETIE, I BELIEVE THAT YOU BELIEVE.
COME ON, YOU HAVE YOUR SANDWICH.
QUESTIONS, QUESTIONS, QUESTIONS. MY GOODNESS, SO MANY.
LOOK, YOU EVEN HAVE QUESTIONS IN YOUR EYES RIGHT THIS MINUTE.
I'D LIKE TO ASK YOU A QUESTION.
ASK ME.
WHAT'S LOVE?
SWEETIE, DON'T YOU KNOW?
NO, I DON'T.
PLEASE TELL. WE ALL WANT TO KNOW, ALL OF US.
WHO'S ALL OF US?
EVERYBODY THAT LIVES WITH SYBIL.
(Dr. Wilbur) WHO ARE THE OTHERS, VICKY?
ARE THERE MORE BESIDES YOU AND--AND--AND SYBIL AND PEGGY?
VICKY?
(Sybil as Vicky) I HEAR YOU.
ARE YOU SEEING THEM NOW?
YES.
I DON'T WANT TO, BUT I CAN.
[creaking]
IT WAS SO NICE A MOMENT AGO WHEN THEY WEREN'T HERE.
I NEED TO KNOW WHAT YOU'RE SEEING, SWEETIE.
IF I DON'T KNOW WHO YOU ALL ARE AND WHAT YOU WANT,
I CAN'T HELP YOU AS EASILY AS I'D LIKE.
VICKY?
HELP, HELP, HELP, HELP.
WE ALL KEEP HOPING THINGS WILL GET BETTER
BUT I, I DON'T THINK SYBIL'S GOING TO LIVE THAT LONG.
WHY, SWEETIE?
WHY DO YOU HAVE THIS AWFUL FEELING OF DOOM?
BECAUSE OF MARCIA.
MARCIA'S GOING TO KILL SYBIL SOMEDAY.
LET IT COME. LET IT COME.
WE'RE WALKING CORPSES.
WE START DYING THE MOMENT WE'RE BORN.
(Dr. Wilbur) WHO'S MARCIA?
WHY DOES SYBIL NEED MARCIA?
VICKY?
ONE OF THEM PLAYS THE PIANO.
SHE'S THE PRETTIEST.
SHE'S THE ONLY ONE WITH ANY JOIE DE VIVRE.
WHAT'S HER NAME?
NO.
MUSTN'T TELL YOU. MUSTN'T TELL ANY MORE.
I SHOULDN'T HAVE EVEN TOLD YOU ABOUT MARCIA.
WHY NOT?
WHY ARE YOU SO AFRAID TO TELL ABOUT THE OTHERS, VICKY?
WHO TOLD YOU IT WAS WRONG TO TELL PEOPLE THINGS?
WHO SAID IT WAS DANGEROUS TO TELL?
VICKY?
MUSTN'T TELL.
CAN'T TELL.
THERE ARE GUARDS AROUND THE PALACE.
SWEETIE, EVEN THE GUARDS AROUND THE PALACE
WILL TELL IF THE QUEEN'S IN DANGER.
(Dr. Wilbur) MARCIA APPEARED FOR THE FIRST TIME
AT THE SESSION THE FOLLOWING THURSDAY.
SHE ADMITTED TRYING TO KILL SYBIL IN THE HARLEM HOTEL
AND WAS SORRY THAT VICKY STOPPED HER.
SHE ALLOWED ME TO PHOTOGRAPH HER, AS THE OTHER'S HAVE
SAYING THAT SHE WANTED THIS PICTURE PUBLISHED WITH HER OBITUARY.
WHEN I ASKED HER WHY SHE THOUGHT ABOUT SUICIDE SO OBSESSIVELY
SHE PRETENDED TO LOCK HER LIPS AND THROW THE KEY AWAY,
THEN PROCEEDED TO DRAW SCENES FROM A RECURRENT NIGHTMARE,
AS THOUGH THIS WERE A SECRET WAY OF REVEALING INFORMATION
SHE COULDN'T GIVE ME OPENLY.
BY DRAWING HER DREAMS IN SILENCE,
NOBODY COULD EAVESDROPS ON HER,
AND THAT SEEMED TO BE A CONSTANT DREAD
THAT SOMEONE WOULD FIND OUT THAT SHE'D CONFIDED IN ME.
IN THE DREAM,
A CHILD COMES UPON, UH, A LOST KITTEN
IN THE TUNNEL OF A GREAT PARK
AND THEN SHE DISCOVERS, UH,
A BOX WHERE OTHER KITTENS HAVE BEEN ABANDONED.
THE CHILD IS--IS OVERWHELMED WITH--WITH LOVE AND PITY
AND--AND RUNS OFF WITH THE BOX IN ORDER TO SAVE THE KITTENS.
SUDDENLY, SHE SEES A DEAD CAT,
WHICH HORRIFIES HER
BECAUSE IT'S BEEN BEHEADED.
BOTH THE HEAD AND BODY COME TO LIFE AND PURSUE HER.
MARCIA SAID THEY ALL SHARED THE SAME NIGHTMARES
BUT THAT SYBIL DOESN'T REMEMBER ANY OF THEM.
THE DREAMS ARE ALL OF ENTRAPMENT
AND RELENTLESS PURSUIT.
LARGE FAMILIES OF CHILDREN
AWAITING SOME TERRIBLE RETALIATION.
LONELINESS, THE HOPELESSNESS OF RESCUE.
PARALYZING FEAR PERVADE EVERYTHING.
WHEN I SUGGESTED THAT THE KITTENS
MIGHT BE THE VARIOUS ASPECTS OF SYBIL,
THAT SHE'S TRYING TO BRING ME FOR PROTECTION
AND THAT THE CAT MIGHT BE HER DESIRE TO DESTROY AGAIN AND AGAIN
SOME UNSPEAKABLE TORMENTOR WHO WON'T STAY DEAD,
MARCIA BECAME SO FEARFUL, SHE DISSOCIATED INTO PEGGY,
WHO WANTED TO ESCAPE WITH ME TO AMSTERDAM TO GET AWAY
FROM WHAT SHE CALLS "THE PEOPLE."
I LOOK AT ALL THE FACES, FURIOUS, TERRIFIED PEGGY,
SEPULCHRAL LITTLE MARCIA,
VICKY WITH HER SOCIAL EASE AND UNINTERRUPTED MEMORY,
AND SYBIL,
AND I WONDER, WHAT THERE WAS BACK THERE
THAT COULD'VE CAUSED SUCH A SHATTERING.
WHAT COULD'VE FORCED HER
TO THRUST ONTO CREATURES SHE DOESN'T EVEN KNOW EXIST
ALL THOSE CAPACITIES IN HERSELF SHE MUST DENY?
AND WHY IS IT SO VITAL THAT SHE DENY THEM?
WHAT WAS THE TORMENT?
WHO WAS THE TORMENTOR?
(Richard) HEY, SYBIL.
I KNOW YOU'RE THERE.
WHY DON'T YOU COME OVER?
WE CAN GO DOWNTOWN.
YOU CAN, UH, SEE ME IN ACTION, OK?
I'LL BUY YOU A HOTDOG, SAUERKRAUT, PICKLES.
YOU LIKE PICKLES?
I DON'T GO OUT AT NIGHT, BUT THANK YOU ANYWAY.
OH, COME ON. LOOK, UH, IT'S JUST FOR A LITTLE WHILE.
I ONLY GOTTA GO DOWN AND PLAY THE INTERMISSION
AND IF IT DOESN'T RAIN, UH, YOU KNOW, I'LL CATCH THEM GOING OUT.
CATCH THEM FOR WHAT?
BY DAY, I'M A CENTRAL PARK COWBOY
BUT BY NIGHT, A TONE-DEAF WANDERING MINSTREL.
STREET MUSICIAN.
SAY YES.
(as Vicky) SYBIL CAN'T SAY YES.
VANESSA, YOU GO. YOU LIKE MUSIC.
YOU MAY GO, VANESSA.
RICHARD?
RICHARD.
RICHARD!
HEY.
OK, BUT LOOK, I'M NOT ANY GOOD AT JUMPING OVER FENCES,
SO WHERE DO YOU LIVE?
UH, THE GRAY HOUSE, APARTMENT 5C.
OK.
HI.
GUESS WHAT I AM.
UH, A KUMQUAT.
NO.
A DONUT WITH EARS.
NO.
UM...
A SMILE THAT WENT LOOKING FOR A BOY, AND FOUND ONE.
NO. NO.
I'M A CLOWN.
A CLOWN.
SYBIL, THIS IS MATTHEW.
MATTHEW, SAY HELLO TO SYBIL.
I KNOW SYBIL.
I WATCH HER THROUGH THE WINDOW.
HE'S A LITTLE WOUND UP AT THE IDEA OF COMPANY.
I REALLY LOVE YOUR APARTMENT. IT'S, IT'S ALL LIT UP.
SYBIL BIBBLE DRIBBLE.
MATTHEW, SIMMER DOWN. SIT!
MATTHEW.
NOW, DON'T LET APPEARANCES DECEIVE YOU.
I AM REALLY NOT COMPANY.
YOU KNOW WHAT I AM?
I'M A PRINCESS WHO'S BEEN ASLEEP FOR 1,000 YEARS
IN A FOREST CALLED SIMMER DOWN.
AND YOU KNOW WHY?
THAT'S BECAUSE A WICKED WITCH PUT AN EVIL SPELL ON MY ICE-CREAM CONE
THE VERY DAY I WAS BORN, AND IF A PRINCE DOESN'T COME ALONG SOON
AND BREAK THE SPELL WITH A KISS,
I GUESS I HAVE TO GO ON FOREVER LOOKING LIKE SYBIL BIBBLE,
AND I WOULDN'T WISH THAT ON A DRAGON, WOULD YOU?
[yawning] OH, I'M GETTING SO SLEEPY.
[snoring]
[laughs]
SEE YOU BLINKING.
THAT'S BECAUSE PRINCESSES ALWAYS BLINK IN THEIR SLEEP.
THEY HAVE TO STAY ALERT FOR THE PALACE REVOLUTION
WHICH IS LIABLE TO TAKE PLACE ANY MOMENT.
[snoring]
(Matthew) IF YOU WAKE UP, I'LL SHOW YOU MY TOYS.
THERE'S ONLY ONE WAY.
[snoring]
[kisses]
OK. ENCHANTMENT'S BROKEN.
[Richard sighing]
(Richard) SAY GOODNIGHT TO SYBIL.
THAT'S NOT SYBIL. SYBIL STAYED HOME.
OK, BUT WE STILL GOTTA GET YOU NEXT DOOR.
SO HERE'S BEAR-BEAR.
AND HOW ABOUT NIGHT-NIGHT.
AND DOODY.
CAN'T FORGET DOODY, OK?
(Richard) AND WASH YOU FACE,
OR THERE'LL BE SMILES ALL OVER YOUR PILLOW.
THAT WOULDN'T BE SUCH A BAD THING
TO WAKE UP TO SOMETIMES, WOULD IT?
WHAT?
SMILES.
ALL OVER YOUR PILLOW.
[trumpet blowing]
(as Vanessa) I'VE BEEN WONDERING WHY YOU WEAR
THAT OUTRAGEOUS SMILE ALL THE TIME.
PEOPLE THINK YOU'RE SMILING, THEY SMILE BACK
AND THAT MAKES THEM FEEL GOOD.
SO THEY PUT MORE MONEY IN THE KITTY.
SEE HOW CRASS.
CLEVER, CLEVER MAN.
OF COURSE, MY FACE DOESN'T GET TIRED
SO I CAN KEEP GRINNING AWAY ALL NIGHT
AND NEVER HAVE TO SMILE AT ALL.
DO YOU MAKE FABULOUS AMOUNTS OF MONEY?
I MEAN, JUST TONS AND TONS OF MONEY?
WELL, OVER $5,000 LAST YEAR, TAX FREE.
AND THAT WAS JUST ON THE SIDEWALK IN FRONT OF CARNEGIE HALL.
THAT'S FABULOUS.
PLUS I GET COMPLIMENTS, YOU KNOW,
FROM THE GREAT AND NEAR GREAT.
I HAVE AN AUTOGRAPHED PICTURE FROM LAWRENCE WELK THAT SAYS
"GOOD LUCK AND SUCCESS, ALWAYS."
NOW, THAT REALLY MAKES ME FEEL NEAT, YOU KNOW?
LIKE ALL MY YEARS AT JULLIARD WERE REALLY WORTHWHILE.
ONCE, I YEARNED TO BE A CONCERT PIANIST.
WHAT STOPPED YOU?
I COULDN'T FIND THE RIGHT PIANO.
I MEAN, SHOULD IT BE A STEINWAY
OR A BECHSTEIN GRAND? I DIDN'T KNOW.
YOU ARE 12 YEARS OLD AT THE MOST, AND I GOTTA KISS YOU.
2 GENTLEMEN IN ONE NIGHT. FANCY THAT.
I GOT BLUE PAINT ALL OVER YOUR LIP.
OH.
GOT IT. GOT IT.
OK.
(Sybil as Vanessa) MY MOTHER WANTED TO BE A CONCERT PIANIST, TOO.
YEAH? YEAH.
THE BIGGEST DISAPPOINTMENT IN HER LIFE
WAS WHEN HER SISTER FAYE GOT MARRIED FIRST
AND LEFT HER BEHIND TO DEMONSTRATE PIANOS IN THE FAMILY MUSIC STORE
INSTEAD OF BEING ALLOWED TO PURSUE
HER DREAMS LIKE SHE'D BEEN PROMISED.
THAT WAS IN WILLOW CORNERS, WISCONSIN.
THAT'S MY NATURAL HABITAT, BELIEVE IT OR NOT.
WILLOW CORNERS, WISCONSIN. YEAH.
MY GOODNESS.
AFTER THAT, MOTHER WOULD JUST PUNISH THE MUSIC, YOU KNOW.
SHE'D JUST SIT THERE AND BANG ON THAT PIANO
AND CALL OUT THE TIME OUT LOUD
AND CALL OUT THOSE NOTES LIKE SHE HATED THEM.
YOU KNOW, JUST BANG ON THE PIANO.
YEAH, LOVE AND HATE.
PEANUT BUTTER AND JELLY.
I USED TO HATE MY LATE WIFE
WHO I SPEAK OF WITH A CERTAIN IRONY
SO AS TO KEEP A TOTAL COLLAPSE AT A DISTANCE.
I WISH YOU WOULDN'T MOCK YOURSELF.
YOU WANNA HEAR ABOUT IT?
'CAUSE I'D LIKE TO TELL YOU.
YOU WOULD? I'D LIKE TO HEAR.
I JUST DIDN'T THINK I SHOULD ASK.
BEEP-BEEP WITH THE HORN.
CHOO-CHOO WITH THE TRAIN.
CRASH-CRASH WITH THE CAR.
ALL BROKEN.
AS MATTHEW SAYS WHEN I DROP A DISH.
ANYWAY, UH,
HER NAME
WAS JANIE.
AND SHE WAS 19.
AND, UH, I NEVER THOUGHT I WAS GONNA BE ABLE
TO COPE WITH ANYTHING AFTER SHE GOT KILLED.
AND I HATED HER FOR FINKING OUT.
BUT ONE THING IT TAUGHT ME.
YOU'RE NEVER READY FOR WHAT YOU HAVE TO DO.
YOU JUST DO IT.
THAT MAKES YOU READY.
[sighing]
IT'S NEW YORK. NOBODY CARES.
THIS IS US.
IT IS? YEAH.
OH.
* HEY RIG-A-JIG KISS A LITTLE PIG *
* FOLLOW THE BAND *
* HEY RIG-A-JIG KISS A LITTLE PIG *
* FOLLOW THE BAND *
* JOIN IN AND FOLLOW THE BAND *
* MY HUSBAND IS A CABBIE *
* IS A CABBIE, IS A CABBIE *
* MY HUSBAND IS A CABBIE, IS HE *
* ALL DAY HE STRIPS GEARS *
* STRIPS GEARS, STRIPS GEARS *
* AND AT NIGHT HE COMES HOME *
* AND DRINKS TEA **
[all laughing]
* HEY RIG-A-JIG KISS A LITTLE PIG *
* FOLLOW THE BAND *
* HEY RIG-A-JIG KISS A LITTLE PIG *
* FOLLOW THE BAND *
* JOIN IN AND FOLLOW THE BAND *
**[scatting]
(Richard) GIVE ME A BITE.
**[scatting]
* HEY RIG-A-JIG KISS A LITTLE PIG *
* FOLLOW THE BAND *
* HEY RIG-A-JIG KISS A LITTLE PIG *
* FOLLOW THE BAND *
* JOIN IN AND FOLLOW THE BAND **
[cars honking]
**[both playing guitar]
**[both continue playing guitar]
[Sybil screaming]
(Hattie) YOU STOP THAT NOW.
THERE'S NOT A THING IN THE WORLD THE MATTER WITH THOSE SHOES.
(Willard) WHAT-- ARE THEY SO SMALL, DAUGHTER?
MAYBE THEY PINCH.
(Hattie) NO, I GREASED THEM MYSELF.
THERE'S PLENTY OF ROOM TO GROW IN.
FEEL THE TOE.
THEN WHY IS SHE SCREAMING SO, I WANT TO KNOW.
I CAN'T TELL YOU. I CAN'T TELL YOU.
I'M NOT SUPPOSED TO TELL YOU.
I CAN'T TELL YOU. I CAN'T TELL YOU.
[cars honking]
I CAN'T TELL YOU.
[in Hattie's voice] NOW YOU JUST COLLECT YOURSELF, YOUNG LADY,
OR WE'LL BE LATE FOR CHURCH. WE'LL BE LATE FOR CHURCH.
BEG YOUR PARDON?
YOU JUST COLLECT YOURSELF, YOUNG LADY.
(as Peggy) I WON'T GO! I CAN'T TELL YOU! I WON'T GO!
HEY, MAN, HOLD MY GUITAR. TAKE CARE OF IT.
PEOPLE, WHY DO THEY DO IT?
WHY DO THEY DO IT? WHY DO THEY DO IT? WHY DO THEY DO IT?
[muttering]
NO MOSS GROWING ON THAT GIRL.
THERE'S NO MOSS GROWING ON THAT GIRL.
I DON'T WANNA GO.
I WANNA GET OUT. I WANNA GET OUT.
[Sybil moaning]
[tires screeching]
[cars honking]
DON'T TOUCH ME.
I'M GOING TO GO RUN AWAY DOWN.
DON'T TOUCH ME.
SYBIL!
GET OUT.
[mumbling]
GOTTA BREAK THE GLASS.
I MUST BREAK THE GLASS.
[muttering]
GOTTA BREAK THE GLASS.
THE PEOPLE JUST GOTTA GET OUT. GET OUT!
NO, NO, DON'T TOUCH ME.
I KNOW. I KNOW. I KNOW.
WRITE, THEN YOU CAN SEE.
I KNOW. I KNOW. HOLD ON.
I HAVE TO DO IT. I HAVE TO DO IT.
[in Hattie's voice] I HAVE TO DO IT, YOUNG LADY.
YOU JUST LAY STILL.
JUST LAY STILL.
(Sybil as Peggy) IF I LAY STILL, IT HURTS ME.
OH, IT HURTS ME.
[Sybil sobbing]
[in Hattie's voice] I DID IT. I DID IT.
SYBIL.
WHAT?
[Sybil exclaiming]
[knocking on door]
(Richard) YOU OK IN THERE?
SYBIL.
WHO'S THAT?
WHO THAT WHO SAY, "WHO THAT"?
(Sybil) WHO THAT WHO SAY, "WHO THAT WHO SAY,
WHO THAT'?"
RICHARD LOOMIS, HELLO.
HELLO.
I DON'T UNDERSTAND.
DO YOU NEED TO?
WELL, I'D LIKE TO
BUT I DON'T HAVE TO.
HAVE I MENTIONED DANNY?
NO.
WHO'S HE?
WE WERE CHILDREN TOGETHER.
HE WAS AN OUTCAST LIKE ME, ONLY,
IN HIS CASE, IT WAS BECAUSE HE DANCED.
I USED TO BE SORT OF AN OUTCAST, TOO,
BECAUSE I COULDN'T PRONOUNCE MY S's.
WHENEVER I FEEL ESPECIALLY WARM TOWARD SOMEBODY,
ESPECIALLY GRATEFUL, I THINK OF DANNY.
HE HAD KIND OF A HOLY FORBEARANCE.
EVEN AT THE AGE OF 9 OR 10,
HOW HE GOT IT IN THAT BENIGHTED TOWN, I'LL NEVER KNOW.
(Sybil) HE NEVER ASKED FOR EXPLANATIONS.
NEVER. HE JUST ACCEPTED.
DANCE WITH ME.
I'D GET IN AWFUL TROUBLE.
I HAVE TO STAND UP IN CHURCH AND TELL IT OUT LOUD IN FRONT OF EVERYBODY.
* I WANT MY ARMS ABOUT YOU *
* THE CHARMS ABOUT YOU *
* WILL CARRY ME THROUGH *
* TO HEAVEN *
* IM IN HEAVEN *
* AND THE TEARS THAT CROWD AROUND ME *
* THROUGH THE WEEK *
* SEEMS TO VANISH *
* LIKE A GAMBLER'S LUCKY STREAK *
* WHEN WE'RE OUT TOGETHER *
[tapping]
(Danny) * OUT TOGETHER *
* OUT TOGETHER DANCING TO THE BEAT **
[siren wailing]
THANK YOU.
AM I GONNA SEE YOU AGAIN?
YOU DON'T HAVE TO BE POLITE.
I NEVER AM.
HEY.
UM, KISS A CLOWN, GET A SMILE ON YOUR PILLOW.
I DON'T SLEEP WITH A PILLOW. IT'S BAD FOR YOUR SPINE.
YOUR HAND AT LEAST?
[gasping]
BURNING KISSES. BURNING.
WHAT DID I DO?
(as Vanessa) ISN'T THAT NICE? MMM-HMM.
SOMETIMES, HE, HE PLAYS SONGS THAT ARE LIKE HAPPY AND GAY.
ONE TIME HE PLAYED, UM, WITH A SONG IN MY HEART.
YOU KNOW THAT ONE?
UH, IT GOES... YOU KNOW. YEAH, RIGHT.
* I ALWAYS KNEW *
* I'D LIVE LIFE THROUGH WITH A SONG IN MY HEART **
I CAN SEE YOU HAVE A LOVELY VOICE.
ONE TIME, WE WENT TO THE PARK, YOU KNOW,
'CAUSE WE WERE GONNA PLAY CATCH
AND THEN ONE OF THE BOYS CAME OUT
BECAUSE HE WANTED TO PLAY CATCH.
AND RICHARD THOUGHT IT WAS ME, SO HE WENT OVER TO MIKE
AND HE KISSED HIM RIGHT SMACK DAB ON THE LIPS.
HE WENT... AND MIKE WENT...
WHAT IS A BOY--
WAIT A MINUTE.
DO YOU MEAN SOME OF THE OTHERS ARE BOYS?
I WASN'T SUPPOSED TO TELL YOU THAT.
NOW VICKY'S GONNA BE MAD AT ME.
**[playing piano]
VANESSA, I DON'T UNDERSTAND.
IT HURTS.
WHEN RICHARD KISSES SYBIL, IT HURTS.
WHY IS THAT? WHY DOES LOVE HURT?
LOVE DOESN'T HURT, SWEETIE. LOVE HEALS.
IT SMELLED LIKE DISINFECTANT.
WHAT SMELLS LIKE DISINFECTANT?
THE HANDS IN THE GREEN KITCHEN.
LIKE THAT STUFF YOU MADE SYBIL SMELL THAT TIME, REMEMBER?
MMM-HMM.
[in Hattie's voice] I JUST LOVE YOU TO DEATH.
BUSHEL AND A PECK, A HUG AROUND THE NECK.
NOW, YOU JUST COME ON OVER HERE.
LET ME GIVE YOU A HUG, HONEY.
THAT'S A GIRL. DON'T HANG BACK LIKE THAT.
NO. ISN'T THAT FUN?
JUST TICKLE, TICKLE, TICKLE, TICKLE, TICKLE.
AND TICKLE, TICKLE, TICKLE, TICKLE, TICKLE.
[piano bangs]
(as Vanessa) THEN THERE'D BE A BIG PINCH.
BUT I WASN'T HURT BY LOVE BECAUSE I CAME LATER.
BESIDES THAT, I WAS QUICK AS GREASE LIGHTENING
AND I COULD ALWAYS GET AWAY.
SYBIL HAD A DREAM SHE COULD PLAY,
BUT I CAN REALLY PLAY.
**[Sybil humming]
**[playing piano] * DREAMER **
YOU HAVE EASTER... YOU HAVE EASTER BONNET.
I LOVE EASTER BONNET.
PLAY IT FOR ME, WILL YOU?
OH.
YOU COULD DO IT.
**[humming]
OK. I'M READY.
OK. OK, WAIT, WAIT. OK. START AGAIN.
* IN YOUR EASTER BONNET *
* WITH ALL THE FRILLS UPON IT *
* I'LL BE THE GRANDEST FELLOW *
* IN THE EASTER PARADE *
**[scatting]
* I'LL BE ALL IN CLOVER *
* AND WHEN THEY LOOK ME OVER *
* I'LL BE THE PROUDEST FELLOW *
* IN THE EASTER PARADE *
* ON THE AVENUE *
**[yodels]
* FIFTH AVENUE **
**[yodels]
**[piano playing]
[crying]
VANESSA, WHAT'S THE MATTER, SWEETIE?
(as Peggy) I'M NOT VANESSA.
I'M SORRY, PEGGY, BUT YOU POPPED OUT SO FAST.
WHAT'S THE MATTER, SWEETIE?
IT WAS MY IDEA AND SHE STOLE IT.
I WANTED TO SING EASTER BONNET REALLY, REALLY BAD.
WELL, YOU CAN SING EASTER BONNET.
I DON'T WANT TO. I WANNA DANCE.
WELL, FINE.
AND I WANT YOU TO WATCH ME.
ALL RIGHT. ALL RIGHT. I'M ALL EYES, ALL RIGHT?
OK.
ALL RIGHT.
VANESSA WILL BE MY STAGE MAN, AND YOU'RE GONNA WATCH ME.
OK. OK.
* HEAVEN, I'M IN HEAVEN *
* AND MY HEART BEATS *
* SO THAT I CAN HARDLY SPEAK *
* AND I SEEM TO FIND THE HAPPINESS **
I DON'T, I DON'T FIND HAPPINESS ANYWHERE.
WE'LL FIND IT, PEGGY.
IT JUST GOT LOST SOMEPLACE.
I--I WANT TO SIT IN THE BIG CHAIR WITH YOU.
WELL, YOU CAN COME SIT IN THE BIG CHAIR WITH ME.
OK.
DR. WILBUR, WOULD YOU HELP ME?
I--I CAN'T SEE ANYTHING.
WHAT'S THE MATTER?
I CAN'T SEE ANYTHING.
WHY CAN'T YOU SEE ANYTHING, HONEY?
THERE'S DISH TOWELS AROUND MY EYES,
AND THEY'RE AROUND MY WRISTS, TOO.
DISH TOWELS?
YES.
HERE, COME ON.
HERE. THERE YOU GO.
ALL RIGHTY? YEAH.
HERE. IS THAT BETTER? THERE. OK.
WELL, NOW, HOW DID THE DISH TOWELS GET THERE?
I DON'T KNOW.
I'M SCARED OF DISH TOWELS.
WELL, DISH TOWELS ARE JUST INANIMATE OBJECTS, PEGGY.
WILL YOU CALL ME "SWEETIE"?
I'M SORRY, SWEETIE, BUT, NOW, DISH TOWELS DON'T JUST
JUMP UP AND TIE THEMSELVES AROUND
LITTLE GIRLS' FACES AND AROUND THEIR WRISTS.
THEY HAVE TO BE PUT THERE BY SOMEBODY.
JUST HANDS, NOT SOMEBODY.
WELL, HONEY, THE HANDS HAVE TO BELONG TO SOMEONE.
NOW WHO--WHO DID THE HANDS BELONG TO?
JUST HANDS.
WELL, YOU WANT TO TAKE OFF THE DISH TOWELS AND LOOK AT THE HANDS?
WHY DON'T WE DO THAT? WILL YOU DO THAT?
WILL YOU HELP ME?
SURE.
OK. NOW ZIP AND ZIP.
NOW, THE DISH TOWELS ARE OFF.
NOW, WILL YOU LOOK AT THE HANDS?
NO. I DON'T WANT TO. I DON'T WANT TO.
WELL, TRY. TRY.
JUST TRY LOOKING AT THE HANDS, OK?
CAN YOU SEE THE HANDS?
HMM?
NOW CAN YOU SEE THE ARMS?
UP TO THE ELBOWS?
AND UP TO THE SHOULDERS?
CAN YOU SEE THE NECK?
NOW CAN YOU LOOK AT THE FACE?
NO. THERE ISN'T ANY FACE.
[shushing] THERE ISN'T ANY FACE.
THE HANDS DID IT OR THE TOWELS JUST DID IT ALL BY THEMSELVES.
I'M SCARED. I'M SCARED.
I KNOW. I KNOW.
I KNOW, BUT IF WE LOOK AT THE SCARY STUFF, IT'LL GO AWAY.
OH, IT HURTS ME. IT HURTS ME.
I KNOW, BUT WE HAVE TO FIND OUT
WHAT DID THE HANDS DO TO MAKE THAT HURT.
[groaning]
OH, COME ON, PEGGY. YOU DON'T HAVE TO DO THAT.
OH, MY GOD.
KEEP AWAY FROM THE WINDOW.
REMEMBER, YOU PROMISED YOU WOULDN'T BREAK GLASS IN MY OFFICE.
HANDS AND THE PEOPLE AND YOU COULD SEE THEM
AND THEY WALK AND THEY TALK AND YOU CAN HEAR THEM
AND, AND "A" SHARP AND "C".
OH, OH, IT HURTS ME.
WHO ARE THE PEOPLE, SWEETIE? WHAT HURTS? WHAT HURTS?
I WILL. I GOTTA GET OUT. I GOTTA GET OUT. PEGGY!
I WILL. I WILL. GLASS BREAK.
WHERE ARE YOU? WHERE ARE YOU, PEGGY? TELL ME.
THE KITCHEN, THE KITCHEN, THE KITCHEN.
IT'S ALL GREEN. IT'S ALL GREEN.
AND THE SINK AND THE TABLE AND THE LIGHT, YOU CAN SEE IT.
AND THE SHADE, AND THE SHADE, AND THE PIANO IN THE LIVING ROOM,
AND THE PIANO IN THE LIVING ROOM.
AND THE PEOPLE, AND YOU CAN'T GET AWAY FROM THE MUSIC,
AND IT DOESN'T MAKE ANY DIFFERENCE.
OH, DON'T HOOK ME. DON'T HOOK ME.
HOOK YOU WITH WHAT?
DON'T HOOK ME. DON'T HOOK ME.
I KNOW. YOU GOT A BIG HOOK. YOU GOT A BUTTON HOOK.
YOU'RE GONNA HOOK ME. YOU'RE GONNA HOOK ME. NO. NO. NO.
PEGGY, WHO ARE YOU TALKING TO? NO, YOU WON'T LET ME OUT.
YOU WON'T LET ME BREAK GLASS. YOU WON'T LET ME DRAW.
AND YOU WON'T LET ME DRAW. YES, I'LL LET YOU DRAW.
YOU WON'T LET ME DRAW. I'LL LET YOU DRAW.
YOU WON'T LET ME DRAW.
YOU WON'T LET ME DRAW BECAUSE I'LL DRAW MY WAY OUT.
I'LL DRAW MY WAY OUT.
AND ALL THE PEOPLE AND THE COLORS.
AND THE PEOPLE AND THE COLORS.
YOU WON'T BE MAD. YOU WON'T BE MAD.
NO, NO. DRAW. I'LL DRAW MY WAY OUT.
YOU WATCH. YOU COULD WATCH.
VICKY WOULD SAY "MAY," BUT I CAN SAY "CAN" IF I WANT TO.
I CAN SAY "CAN" IF I WANT TO.
THE PEOPLE, THE PEOPLE, THE PEOPLE.
IT'S ALL PURPLE. AND IT MOVES AND YOU WATCH THEM
AND YOU SEE THEIR FEET. AND YOU HAVE TO GET AWAY.
AND THERE'S ANOTHER AND ANOTHER AND ANOTHER.
AND THE MUSIC, IT GOES AROUND AND AROUND AND AROUND AND AROUND
AND OVER AND DOWN LIKE THAT, AND THEN LIKE THAT.
AND YOU COULD SEE, YOU COULD SEE,
AND THE PEOPLE HAVE HANDS.
PEGGY, WHO ARE THE PEOPLE?
I DON'T KNOW. I DON'T KNOW.
THEY'RE JUST PEOPLE. THEY'RE JUST PEOPLE.
AND IT'S LIKE THAT AND LIKE THAT AND OVER
AND AROUND AND LIKE THAT AND LIKE THAT.
AND YOU CAN HEAR IT, AND YOU CAN HEAR.
AND IT GOES SHARP, SHARP. IT GOES SHARP. "A" SHARP.
"A" SHARP AND "F" AND "F" AND--AND--AND "B" AND "D"
AND--AND--AND--AND--AND BRAHMS AND BEETHOVEN.
AND--AND--AND--AND--AND--AND
BRAHMS AND--AND--AND THE NEW WORLD SYMPHONY AND DVORAK.
AND DVORAK, YOU CAN HEAR IT.
YOU CAN HEAR IT. YOU CAN HEAR IT.
OH, OH, MUSTN'T WASTE PAPER.
MUSTN'T WASTE PAPER.
PAPER IS VALUABLE. PAPER IS VALUABLE.
YES, IT IS. YES, IT IS.
IT'S VALUABLE. IT'S VALUABLE.
[Sybil sobbing]
YOU CAN SEE NOW.
YOU CAN SEE THE PEOPLE.
YOU CAN SEE THE PEOPLE NOW.
YOU CAN SEE THEM.
YOU CAN SEE.
OH.
(as Sybil) OH.
IT'S ALL RIGHT. IT'S ALL RIGHT.
OH, GOD, HOW DID I GET UNDER HERE?
HOW DID I GET UNDER THERE?
YOU HAVE TO STOP ME FROM DOING THIS.
I CAN'T GO ON.
SYBIL, HOW DO YOU FEEL?
RELIEVED, A LITTLE.
HMM, I'M NOT SURPRISED.
YOU'VE ACCOMPLISHED A GREAT DEAL.
SYBIL, COME AND SIT DOWN.
I WANNA SHOW YOU SOMETHING.
COME ON. SIT DOWN.
NOW, YOU TOLD ME THAT
THIS WAS A PICTURE OF THE PEOPLE.
WHO DREW THAT? THAT'S MY MOTHER.
THAT'S A PICTURE OF MY MOTHER.
LOOK, THE LITTLE WISPS OF HAIR THERE AND,
AND YOU CAN'T SEE HER EYES.
HER EYES ALWAYS SCARED ME.
DID YOU DO THAT?
NO. NO, I DIDN'T DO IT.
LOOK. LOOK, THE LITTLE BOW AND HAIRPINS SHE ALWAYS WORE IN HER HAIR.
AND--AND THERE'S THE BUTTON HOOK.
I--I DON'T REMEMBER.
BUTTON HOOKS SCARE ME.
LIKE THEY'RE GONNA GET ME.
BUTTON HOOKS ARE GOOD THINGS.
WHAT ABOUT DISH TOWELS?
DO DISH TOWELS SCARE YOU?
HOW DO YOU KNOW ABOUT DISH TOWELS?
DO THEY SCARE YOU?
YES.
BUT NOW DISH TOWELS ARE GOOD AND USEFUL THINGS, RIGHT?
SYBIL, LOVE IS A NECESSARY THING.
BUT NOW IF A VOICE SAYS, "C-COME HERE, I LOVE YOU"
AND THEN A HAND REACHES OUT AND PINCHES YOU LIKE THAT, HARD,
THEN--THEN LOVE IS SPOILED BY THAT HAND, ISN'T IT?
AND--AND--AND MUSIC, NOW THAT'S SOMETHING THAT--THAT YOU LOVE VERY MUCH
AND YOU MISS VERY MUCH
BECAUSE SOMEHOW THAT WAS SPOILED FOR YOU, TOO, BY THE HAND.
WE DON'T KNOW HOW, BUT--BUT WE'RE GONNA FIND OUT.
AND THAT HAND BELONGS TO THE PEOPLE
AND THE PEOPLE WAS YOUR MOTHER.
(as Peggy) THE PEOPLE, I CANNOT SEE THE PEOPLE.
OH, PEGGY, STOP THAT!
(as Sybil) WHAT?
OH, DR. WILBUR, IT'S GETTING WORSE.
THIS IS GETTING A LOT WORSE, ISN'T IT?
HOW DO YOU KNOW THOSE THINGS?
I DON'T TELL YOU THEM.
AND WHO DOES THOSE DRAWINGS?
YOU DO.
OH, BUT YOU DO THEM AS OTHER PEOPLE.
DO YOU UNDERSTAND? MMM-MMM, MMM-MMM.
YOU DO THEM AS OTHER PARTS OF YOURSELF NO, I DON'T.
...WHO ARE STILL CHILDREN. NO, I DON'T.
IT'S TRUE. NO, IT'S NOT. IT IS NOT
SYBIL, YOU'VE GOT TO UNDERSTAND. IT IS TRUE. THIS IS NOT POSSIBLE.
IT'S POSSIBLE. MMM-MMM.
IN FACT, THROUGH MOST OF THE ANALYSIS,
I'VE BEEN TALKING TO YOU THROUGH THEM.
THEY ALL HAVE NAMES AND THEY COME HERE AND THEY PROTECT YOU.
THEY KEEP YOUR APPOINTMENTS AND THEY'RE THE ONES
WHO POUR OUT THIS INFORMATION THAT YOU'RE AFRAID TO FACE. OH, NO.
YOU'VE GOT TO UNDERSTAND THAT, SYBIL. NO, IT'S NOT TRUE.
IT'S TRUE. IT'S NOT TRUE. NO, IT'S NOT. NO. IT'S NOT TRUE.
SYBIL.
EVERYTHING YOU CARE ABOUT SURVIVES IN THOSE PARTS OF YOU
THAT YOUR MOTHER WASN'T ABLE TO REACH.
YOUR MUSIC, YOUR PAINTING,
EVEN YOUR ABILITY TO LOVE, THEY SURVIVE THERE.
SYBIL, I WANT YOU TO HEAR SOMETHING.
WHAT ARE YOU GOING TO DO?
I'M GOING TO LET YOU HEAR YOURSELF PLAY THE PIANO.
I--I CAN'T PLAY THE PIANO ANYMORE.
I USED TO PLAY IT. I--I CAN'T PLAY IT ANYMORE.
WELL, THIS IS A PART OF YOU WHO CALLS HERSELF VANESSA, AND SHE CAN.
SHE PLAYS BEAUTIFULLY.
I DON'T WANNA KNOW ABOUT HER.
SYBIL.
WE'VE GOT TO MAKE THIS REAL FOR YOU.
[crying]
DOCTOR, I DON'T THINK THAT I CAN TAKE IT.
MY HANDS ARE GOING NUMB.
THERE'S NO DANGER FOR YOU. THERE IS NO DANGER.
THERE ARE NO DISH TOWELS TYING YOUR WRISTS NOW.
MY HEART. MY HEART.
THAT'S ONLY ADRENALIN.
THERE IS NOBODY HERE TO HURT YOU, I PROMISE.
NOTHING BAD IS GOING TO HAPPEN. IT'S GONNA MAKE IT BETTER.
PLEASE, SYBIL, JUST RELAX AND LISTEN.
**[piano playing]
THAT'S VANESSA.
AND SHE'S GOT ALL YOUR MUSIC FOR SAFEKEEPING.
**[piano playing]
THAT'S ME?
PLAYING MOZART?
MMM-HMM.
AND YOU PLAYED SIBELIUS, TOO.
YOU PLAYED FINLANDIA.
[clicking]
[Sybil in Hattie's voice] DON'T YOU DARE TELL.
NEXT WORSE THING TO BEING A FIBBER IS BEING A TALEBEARER.
THAT'S MY MOTHER'S VOICE. THAT'S MY-- THAT'S MY MOTHER'S...
THAT'S MY MOTHER'S VOICE. THAT'S MY MOTHER'S VOICE.
SWEETIE, THAT'S NOT YOUR MOTHER'S VOICE.
THAT'S YOU IMITATING YOUR...
SYBIL?
SYBIL!
[moaning]
WHAT THE HELL DID THAT MONSTER DO TO YOU?
WHAT HAPPENED IN THE GREEN KITCHEN?
**[voice humming]
[telephone ringing]
HELLO. ERNA.
[sighing]
LISTEN, I NEED YOUR SUPPORT. I, UH...
SYBIL HAS DISSOCIATED INTO A BABY.
I CAN'T GET HER BACK.
A BABY.
OH, I--I WAS TOO EAGER. I PUSHED HER OVER THE EDGE.
WELL, I CAN'T GET HER HYPNOTIZED. I-- IF I COULD, I'D--I'D CONTACT VICKY,
BUT SHE WON'T FOCUS ON--ON--ON--ON ANYTHING
AND--AND SHE DOESN'T UNDERSTAND A WORD I SAY.
SHE'S--SHE'S PREVERBAL.
YEAH, BUT WHAT IF SHE STAYS LIKE THAT?
NO. NO. NO HOSPITALS.
NO, NOT WITH HER HISTORY.
[sighing]
COULD YOU? COULD YOU PLEASE, ERNA?
I HATE TO DRAG YOU OUT ON A NIGHT LIKE THIS, BUT I--I...
OH! HOLD ON A SECOND.
DR. WILBUR, UH, I'M GETTING HER A SNACK.
[exclaims]
SWEETIE, HOW DO YOU FEEL?
A LITTLE WOOZY. HUNGRY.
WELL, THERE'S--THERE'S FOOD IN THE KITCHEN.
GO GET SOME CHEESECAKE OR SOMETHING.
I'LL BE THERE IN A MINUTE.
OH, ERNA, IT'S OK. IT'S OK.
[sighing]
ONWARD AND UPWARD, SHE CAME TO AS SYBIL.
(Dr. Wilbur) SYBIL DORSETT, PSYCHOANALYTIC SESSION 251.
I'D HARDLY BREATHED A SIGH OF RELIEF
ABOUT SYBIL'S MAKING HER SPONTANEOUS REENTRY OUT OF THE BABY,
WHEN, SUDDENLY, WE'RE FACING THIS GHASTLY SEASON OF MIRTH.
CHRISTMAS SEEMS TO BE A STRESSFUL TIME FOR SYBIL.
THE OTHER PERSONALITIES HAVE BEEN STIRRED
INTO A KIND OF FRENZIED WAKEFULNESS
AND SOME WHO'VE BEEN DORMANT UNTIL NOW HAVE COME OUT.
[bell ringing] ONE OF THEM, MARY, IS A DEVOUT,
OLD-FASHIONED LITTLE HOMEMAKER
WHO SEEMS ALMOST THE REINCARNATION OF SYBIL'S GRANDMOTHER.
(as Mary) I WISH YOU ALL A HAPPY HOLIDAY.
JOY IN THE NEW YEAR.
NOBODY ANSWERS, VICKY.
(as Vicky) MARY, THIS IS NEW YORK.
THIS IS NOT WILLOW CORNERS.
DON'T BE UPSET.
LET ME CARRY THE PORTFOLIO FOR YOU.
IT'S GETTING AWFULLY HEAVY.
(as Mary) THANK YOU, DEAR.
I CAN VAGUELY REMEMBER WHAT'S IN IT.
EVERYTHING'S BEEN GETTING SO DIM LATELY.
MUST BE SENILITY.
[moaning]
ANGELS.
(as Vicky) THEY'RE ONLY DECORATIONS, MARY.
GRANDMA'S WITH THE ANGELS. SO AM I.
AM I GOING TO SEE GRANDMA, VICKY?
NOT YET.
WE'RE GOING TO SEE DR. WILBUR FIRST.
COME AWAY, MARY, PLEASE.
(as Mary) MARCIA PROMISED THAT SHE'D SEND ME TO GRANDMA SOON.
WHY DOESN'T SHE DO IT?
I'M GETTING SO TIRED OF WAITING.
[knocking on door]
(Dr. Wilbur) COME IN.
OH, VICKY, COME ON IN.
DR. WILBUR.
PARDON ME FOR BARGING IN ON YOU LIKE THIS.
I'M SORRY, BUT IT ALL SEEMS TO BE FALLING APART.
I DON'T SEEM TO BE ABLE TO CONTROL THINGS ANY LONGER.
IT'S ALL RIGHT. TELL ME ABOUT IT.
MARCIA IS CONSTANTLY THINKING OF SUICIDE.
MARY THINKS SHE'S IN HEAVEN.
AND SYBIL HAS INVITED RICHARD OVER FOR CHRISTMAS DINNER.
NOW, I KNOW SHE ISN'T ABLE TO HANDLE IT. I KNOW THIS.
IT'S ALL JUST AWFUL.
WELL, WHAT MADE IT GO AWFUL?
WHAT HAPPENED THIS TIME? HMM?
IT'S CHRISTMAS.
THE TREES AND THE WINDOWS AND EVERYBODY ALL COZY.
EVERYBODY HAVING TO RUSH AROUND, HURRY BEFORE...
BEFORE WHAT?
WE'VE MADE YOU THIS.
IT'S A CHRISTMAS CARD, FOR YOU.
FOR OUR DR. WILBUR.
THANK YOU.
SORRY ABOUT THE COLOR.
SYBIL TRIED FOR RED AND GREEN,
BUT IT JUST KEPT GETTING PURPLE
AND SHE WASN'T ABLE TO STOP IT.
DO YOU KNOW WHAT SHE DID?
SHE TOOK THE CRAYON, AND SHE JUST SCRUBBED ON THE PAPER
AND SCRUBBED ON IT LIKE THAT, AND SHE GRIT HER TEETH
AND THEN SHE WADDED IT UP AND THREW IT IN THE TRASHCAN.
WE RESCUED IT.
WE--WE TRIED TO MAKE IT PRETTIER, YOU SEE.
PEGGY ADDED THE RED, AND WE SMOOTHED IT OUT.
WE--WE ALL TRIED.
THANK YOU. WELL, SIT DOWN.
I'VE BROUGHT YOU THESE, TOO.
[horn blaring]
BUT YOU MUSTN'T TELL HER.
THEY'RE OUR PAINTINGS. WE DO THEM AT NIGHT.
WE HIDE THEM ON A SECRET SHELF
ON TOP OF THE CLOSET THAT MIKE MADE.
WE WANT YOU TO HAVE THEM FOR SAFEKEEPING.
THE WAY YOU SAY THAT VANESSA KEEPS THE MUSIC.
BECAUSE SOMETHING AWFUL IS GOING TO HAPPEN. I CAN FEEL IT.
IT'S GOING TO FALL APART, OR--OR BLOW UP,
OR THERE'S GOING TO BE AN EARTHQUAKE.
SWEETIE, THERE'S NOT GOING TO BE AN EARTHQUAKE.
OR A TIDAL WAVE, OR--OR A GLACIER, OR SOMETHING. I DON'T KNOW WHAT.
JUST SOMETHING AWFUL IS GOING TO HAPPEN.
THE END OF THE WORLD IS NOT WHAT YOU'RE AFRAID OF, VICKY.
PLEASE KEEP THEM FOR SAFEKEEPING. PLEASE.
ALL RIGHT.
THANK YOU.
VICKY, SAFEKEEPING FROM WHAT? HMM?
NOW, WHAT IS THE CONNECTION BETWEEN PURPLE
AND CHRISTMAS AND THINGS BLOWING UP?
HMM?
WHAT DID MOTHER DO TO MAKE THE PURPLE?
THERE ARE GUARDS AROUND THE PALACE.
[sighing]
VICKY, WE'VE GOT TO GET PAST THE GUARDS AROUND THE PALACE NOW.
I MEAN, WE HAVE TO GET DOWN TO THE BOTTOM
WHERE EVERYBODY IS JOINED TOGETHER AND REMEMBERS EVERYTHING
AND IT'S ALL RIGHT TO SAY IT.
NOW, YOU KNOW THERE IS A WAY TO DO IT.
WE'VE DISCUSSED THE WAY BEFORE.
YES, I KNOW.
HYPNOSIS.
YES.
SYBIL'S DADDY WOULDN'T LIKE IT.
WELL, WHAT ABOUT SYBIL?
IS SYBIL LISTENING NOW?
SHE-- SHE'S SO AWFULLY AFRAID, DOCTOR.
I THINK SHE WOULD ALMOST DO ANYTHING
IF IT WOULD HELP MAKE US NOT BE SO AFRAID.
GOOD.
ALL RIGHT.
COME ON.
JUST LIE HERE, PUT YOUR FEET UP AND RELAX.
IT'S ALL RIGHT. IT'S ALL RIGHT.
WHAT WOULD YOU LIKE TO LOOK AT?
NEHEMIAH, THE LITTLE HORSE THAT PEGGY MADE YOU.
[chuckling] ALL RIGHT.
HERE, COME ON, LIE BACK. PUT YOUR FEET UP.
THAT'S RIGHT. NOW YOU JUST RELAX.
RELAX.
AND WHEN YOU'RE READY, YOU LOOK AT NEHEMIAH.
HERE, YOU WILL LOOK AT NEHEMIAH.
SYBIL'S HEART IS POUNDING SO.
IT'S ALL RIGHT. IT'S ALL RIGHT.
YOU WILL BE WITH ME, AND WE WILL TAKE THIS UP TOGETHER.
YOU'LL BE SAFE.
NOW JUST RELAX. LOOK AT NEHEMIAH.
NOW, YOU'RE GOING TO SLEEP.
DEEPLY, DEEPLY ASLEEP.
ALL RIGHT?
NOW, WE WILL COME CLOSE TO THE PURPLE.
YOU WILL REMEMBER
BUT YOU WON'T FEEL THE HURT.
THE HURT IS IN THE PAST.
NOW, WHEN DID THE PURPLE HAPPEN?
5 YEARS OLD.
ANY PARTICULAR DAY?
DAY BEFORE CHRISTMAS, LIKE NOW.
ALL RIGHT.
NOW, WHEN I TOUCH YOUR LEFT SHOULDER,
YOU WILL LISTEN WITH THE OTHERS WHILE I SPEAK WITH SYBIL.
SYBIL.
(as Sybil) YES.
ARE WE GOING TO GRANDMA'S ROOM?
IS THAT WHERE YOU WERE?
I LIKE IT THERE.
IT'S NICE IN GRANDMA'S ROOM.
ALL RIGHT.
WHEN I COUNT TO 5, YOU WILL BE IN GRANDMA'S ROOM.
YOU COUNT WITH ME. 1.
2.
3. COUNT WITH ME.
4. 4.
5. 5.
**[voice humming]
(Dr. Wilbur) I'M RIGHT HERE, SYBIL. YOU CAN GO TO HER.
[whimpering]
WHAT IS IT, DEAR HEART?
MY GRANDMA.
YOU CAN GO TO HER.
SHE'S DEAD.
THIS IS A MEMORY, SWEETIE.
[chair creaking]
GUESS WHO'S HERE, GRANDMA?
GIVE ME A HINT.
SUGAR AND SPICE AND EVERYTHING NICE.
IS THIS, BY ANY CHANCE, MY LITTLE DOWNSTAIRS NEIGHBOR?
IS THIS MY SYBIL?
YOU GUESSED RIGHT.
(Sybil) GRANDMA.
I LOVE MY GRANDMA.
YOU CAN SAY IT TO HER IF YOU WANT TO, SWEETIE.
I LOVE YOU, GRANDMA.
LITTLE ROUND SCISSORS, I FOUND THEM.
GOOD! HURRAY!
(Dr. Wilbur) WHAT ARE YOU DOING WITH THE LITTLE SCISSORS?
CUTTING.
CUTTING WHAT?
LITTLE PICTURE OF SANTA CLAUS.
AND I STAY INSIDE THE LINES REAL GOOD.
LIKE THIS.
AND I MAKE A LITTLE STAR OUT OF TINFOIL. LIKE THIS.
AND MY GRANDMA'S REAL NICE TO ME,
AND SHE DOESN'T HOLLER AT ME,
AND I DON'T HAVE TO BE AFRAID IN MY GRANDMA'S ROOM.
NO.
[gasping]
IT'S ALL RIGHT, SWEETIE. YOU'RE STILL WITH YOUR GRANDMA.
A BEAUTIFUL STAR. SEE HOW IT TWINKLES.
I MAKE A GOOD SANTA, TOO?
IT ALL RIGHT?
OH, MY.
YOU DIDN'T CUT A WHISKER.
HE LOOKS SO HAPPY.
I DON'T THINK HE LIKED BEING COOPED UP IN THAT OLD MAGAZINE.
CAN I PASTE HIM ON MY STAR?
THAT A GOOD IDEA?
WONDERFUL.
YOU SHOW ME. YOU CAN SHOW ME.
THEN HE CAN TWINKLE WAY UP HIGH ON MY TREE WHERE HE WILL--
[object thudding] (Hattie) SYBIL!
YOU COME DOWN HERE, YOUNG LADY!
YOU'VE BEEN PESTERING THAT OLD WOMAN LONG ENOUGH!
(Sybil) I DON'T WANT TO GO DOWNSTAIRS.
YOU CAN FACE IT, SWEETIE.
THERE'S TOO MUCH PURPLE.
WE'RE GONNA GO DOWNSTAIRS TOGETHER
AND YOU'RE GONNA REMEMBER THE PURPLE
AND THIS IS THE WAY YOU'RE GONNA REMEMBER IT.
(Sybil) MAYBE THERE'S NOTHING TO REMEMBER.
(Dr. Wilbur) SWEETIE, YOU'RE GOING DOWN THE STAIRS,
AND I'LL BE WITH YOU.
CHOCOLATE.
CHOCOLATE CHIPPIE.
THAT'S RIGHT. COME ON.
WATCH YOUR FEET. YOU KNOW HOW CLUMSY YOU ARE.
COME ON.
HAVE A NICE TRIP. SEE YOU NEXT FALL.
(Grandma) HATTIE, IS SYBIL ALL RIGHT?
IT'S JUST ONE OF HER FALLS, GRANDMA!
OH, GRANDMA, WHAT BIG EARS YOU HAVE.
HERE.
MADE 4 DOZEN FOR THAT POOR WOEBEGONE FLOYD FAMILY
'CAUSE IT'D BE A BLEAK CHRISTMAS IF NOBODY HELPED THEM OUT.
COME ON. KEEP MOMMA COMPANY.
"UNDER THE SPREADING CHESTNUT-TREE
"THE VILLAGE SMITHY STANDS
"THE SMITH, A MIGHTY MAN IS HE
WITH LARGE AND SINEWY"
SINEWY.
MOMMA.
"HIS HAIR IS CRISP"
CRISP? I NEVER NOTICED THAT.
ALL THESE YEARS, I NEVER NOTICED THAT.
LETTUCE IS CRISP.
"LETTUCE HEAD GO TO BED
"YOUR NOSE IS RED YOUR NAME IS FRED
I'LL KILL YOU DEAD"
MOMMA.
I'M BUSY.
LOOK WHAT I MADE FOR THE CHRISTMAS TREE.
WHAT DO YOU MEAN MADE?
OH, THAT'S JUST A PICTURE OUT OF A MAGAZINE
WITH A PIECE OF TINFOIL STUCK TO IT.
GRANDMA SAYS IT'S PRETTY.
I GO HANG IT ON THE CHRISTMAS TREE.
I TOLD YOU NOT TO RUN THROUGH THE HOUSE!
I'M SORRY.
YES, WELL.
"WORDS ARE CHEAP HILLS ARE STEEP
SORROW'S DEEP"
* OH, FOR THE WINGS *
* FOR THE WINGS OF A DOVE *
* FAR AWAY *
* FAR AWAY WOULD I ROAM *
* OH, FOR THE WINGS *
* FOR THE WINGS OF A DOVE *
* FAR AWAY *
* FAR AWAY FAR AWAY *
* WOULD I ROAM **
[door creaking]
MOMMA, COME SEE WHAT I DID.
YOU DIDN'T GO HANG THAT THING ON THAT TREE AFTER I SAID THAT?
SAID WHAT?
TAKE IT OFF.
TAKE IT OFF!
YOU GO AWAY FIRST.
REACH AROUND ME.
GO ON. I DARE YOU.
COME ON. COME ON, REACH AROUND ME.
I TOLD YOU NOT TO RUN IN THE HOUSE.
[sobbing]
[Hattie whacking]
(Hattie) DON'T YOU CRY. DON'T YOU MAKE FACES.
DON'T YOU GET MAD.
MAD DOGS GET MAD, NOT PEOPLE.
NOW, DON'T WORRY.
I'M NOT GONNA HIT YOU THIS TIME.
THIS TIME I'M ONLY GONNA KICK YOU.
[moaning]
YOU ARE SO ADORABLE WHEN YOU DO THAT.
YOU LOOK JUST LIKE A LITTLE BABY CRAB.
WHAT ARE YOU GOING TO DO? DRAW A PICTURE?
UH-HUH.
WHO FOR?
MOMMA'S CHRISTMAS STOCKING.
OH, WHAT A LOVELY THOUGHT.
EVEN IF I DON'T LIKE MADE-UP THINGS AS MUCH AS FACTORY ONES.
WHEN I'M A BIG GIRL, I GO WORK IN A FACTORY
AND MAKE YOU SOMETHING REAL PRETTY.
* OH, CHRISTMAS TREE *
* HOW LOVELY ARE THY BRANCHES *
COME ON, SING.
[both singing] * NOT ONLY GREEN WHEN SUMMER GLOWS *
* BUT IN THE WINTER WHEN IT SNOWS *
[clearing throat]
WELL, WHO EVER HEARD OF A GREEN CHICKEN WITH PURPLE FEET?
CAN YOU PICTURE WHAT KIND OF EGGS THAT LAYS?
SET A PLATTER OF THEM IN FRONT OF GRANDPA SOME FINE SABBATH MORNING,
HE'D SURE TAKE THAT FOR A SIGN NOW, WOULDN'T HE?
"ARMAGEDDON!"
[laughing]
(Sybil) * OH, CHRISTMAS TREE OH, CHRISTMAS TREE *
* YOU ARE THE TREE MOST LOVED *
* HOW OFT YOU'VE GIVEN ME DELIGHT *
* WHEN CHRISTMAS FIRES *
* ARE BURNING BRIGHT **
YOU THINK IT'S JUST SUNSHINE AND SINGING
AND PRETTY COLORS WHEN YOU GROW UP?
WELL, I SHOULD SAY NOT.
YOU ARE BAD. YOU ARE SPOILED ROTTEN.
AND YOU BETTER LEARN QUICK.
[stomping]
MINE! MINE!
WANNA BREAK GLASS. WANNA BREAK GLASS. HEY! WAIT A MINUTE. HERE.
HERE, YOU WANNA TEAR SOMETHING UP? COME ON, TEAR IT. THAT'S IT.
I LOVED MY COLORS.
OF COURSE YOU DID.
MY COLORS ARE ME. THOSE ARE MY COLORS.
SWEETIE, HASN'T IT EVER OCCURRED TO SYBIL
THAT GOOD MOMMIES DON'T HURT THEIR GIRLS?
MOMMIES PUT YOUR FINGERS IN THE MEAT GRINDER.
NO, THEY DON'T. NOT GOOD ONES.
MOMMIES ARE ONLY GOOD WHEN OTHER PEOPLE AROUND
NOT WHEN THEY GET YOU ALONE.
DR. WILBUR DOESN'T HURT YOU WHEN YOU'RE ALONE, DOES SHE?
NO, DR. WILBUR THINKS THAT LITTLE GIRLS SHOULD BE HAPPY,
ESPECIALLY LITTLE GIRLS WHO CAN PAINT GREEN CHICKENS WITH PURPLE FEET.
MOMMA.
WHAT'S THE MATTER, SWEETIE?
[Sybil moaning] WHAT'S HAPPENING?
MY WRISTS ARE GOING NUMB.
CAN YOU TELL DR. WILBUR ABOUT IT? TELL ME ABOUT IT.
[Sybil whimpering]
[Sybil crying]
WELL, TELL ME ABOUT IT. TELL ME. WHAT'S HAPPENING? TELL ME.
WHAT'S HAPPENING, PEGGY?
YOU BETTER SAY, "GOD IS LOVE," REAL QUICK.
GOD IS LOVE.
BECAUSE GOD HATES BAD GIRLS.
AND IF THEY'RE REAL BAD, HE TAKES THEM BEFORE THEIR TIME.
WHERE DOES GOD TAKE BAD LITTLE GIRLS, MOMMA?
WHERE, MOMMA?
[Hattie cackling]
HE TAKES THEM WAY UP INTO THE DARK AND LEAVES THEM THERE.
HE LETS THEM DROWN IN THE WHEAT.
THEY CAN'T BREATHE AND THEY DIE.
AND THAT'S WHAT'S GONNA HAPPEN TO YOU.
(Hattie) HAVE TO DO IT. UH-HUH. YES, MA'AM.
HAVE TO.
GOD IS LOVE.
(Dr. Wilbur) WHO GOT YOU OUT, SYBIL?
(Sybil) DADDY.
MOMMA TOLD HIM THE LITTLE BOY DOWN THE STREET DID IT.
WHAT DID DADDY SAY?
DADDY SAID, "OH."
DADDY ALWAYS BELIEVED MOMMA.
YOU DIDN'T TELL DADDY THE TRUTH?
NO, NOT SUPPOSED TO.
MOMMA WOULD SEND ME TO GOD.
WHAT ARE YOU DOING?
DRAWING WITH MY PURPLE CRAYON.
WHY? SO SOMEONE WILL KNOW I WAS HERE.
SWEETIE, THAT BAD END-OF-THE-WORLD FEELING IS NOT THE END OF THE WORLD.
IT'S JUST THE COMING OF YOUR OWN ANGER
AND THE COLOR OF THAT ANGER IS PURPLE.
I DON'T WANT IT. I'M AFRAID OF IT.
I KNOW, BUT AVOIDING IT IS JUST WHAT'S GETTING IN THE WAY
OF YOUR DOING ANYTHING.
DON'T YOU BE MAD AT MOMMA, OR SHE'LL GET YOU.
NO, SWEETIE. SHE WON'T GET ME.
I'M STRONGER THAN SHE IS.
AND I'LL GET JUST AS MAD AT MOMMA AS I LIKE
AND I'LL STAY MAD AT HER FOR YOU
UNTIL YOU ARE ABLE TO DO IT FOR YOURSELF.
[sighing]
ALL RIGHT, WE'RE GONNA LEAVE WILLOW CORNERS NOW.
I DON'T EVER WANNA GO BACK THERE AGAIN.
WE'RE COMING BACK INTO THE PRESENT.
YOU'RE 6, 14, 21, 29.
THIS IS TOO FAST.
IT'S ALL RIGHT TO COME INTO THE PRESENT, SWEETIE,
BECAUSE I'M IN THE PRESENT.
YOUR MOTHER IS DEAD AND BURIED IN A GRAVE IN KANSAS CITY.
MOTHER'S DEAD?
SHE'S DEAD.
IT'S ALL RIGHT.
NOW YOU'LL ONLY REMEMBER WHAT IT'S SAFE TO REMEMBER.
[Dr. Wilbur exhaling]
(Sybil) I'M SO ANXIOUS.
(Dr. Wilbur) SWEETIE, YOU'VE SURVIVED.
THAT YOU'VE FOUND SUCH A CREATIVE ALTERNATIVE TO INSANITY
IS MIRACULOUS
AND IT--IT WILL PROTECT YOU TILL YOU DON'T NEED IT ANYMORE.
BUT WHAT IF I CAN'T COOK DINNER FOR RICHARD?
(Sybil) I'M SO WORRIED ABOUT BEING EMBARRASSED.
(Dr. Wilbur) YOU'RE PROTECTED, SWEETIE.
VICKY WOULDN'T LET YOU BE EMBARRASSED.
SHE'LL CALL ON ONE OF THE OTHERS.
VANESSA'S MORE COMFORTABLE WITH RICHARD THAN YOU ARE.
I ENVY HER SO.
AND NOW I'M GONNA SUGGEST THAT WHEN YOU WAKE UP IN THE MORNING,
AND IT'S CHRISTMAS,
YOU WILL HAVE A BEAUTIFUL DAY.
A DAY THAT'S ALL YOURS, THAT YOU CAN DO ANYTHING YOU LIKE WITH.
PAINT PRETTY PLACE CARDS FOR RICHARD AND MATTHEW
AND PUT RED CANDLES ON THE TABLE.
OH, IT'LL--IT'LL BE SO NICE.
HANDS, PLEASE.
[chuckling]
CAN WE REACH? YEAH, I GUESS.
[chuckling]
(Richard) OK, LADIES FIRST.
UM, I WISH...
WELL, MY WISH IS TAKEN CARE OF BECAUSE YOU'RE BOTH HERE
AND THAT'S MY WISH.
I WISH FOR A RED DUMP TRUCK.
[chuckling]
LOVE, JOY, AND PEACE TO US ALL.
WHEN IN DOUBT, EAT.
SO LET'S BEGIN.
I USED TO HATE CHRISTMAS AT HOME.
ALL THOSE AUNTS AND UNCLES SPRAWLING AROUND, TOO FULL TO MOVE
WINDING THEIR WATCHES AND SAYING,
"DON'T YOU THINK IT'S ABOUT TIME
WE GOT THIS SHOW ON THE ROAD?"
[chuckling]
I THINK I'LL SEE ABOUT THE CHICKEN.
STAY, PLEASE. IT WON'T RUN AWAY.
YOU KNOW, SOMETIMES IT'S NICE TO BE QUIET FOR A CHANGE.
[sighing]
I--I FEEL ALL OUT HERE SOME PLACE.
I FEEL LIKE I'M FLOATING AROUND OUTSIDE MYSELF.
I THINK I'D FEEL CLOSER IF WE TALKED LONG DISTANCE.
WE HAVE TIME. WE'LL GET THERE.
(Matthew) WHERE ARE WE GOING, DADDY?
NOT THAT KIND OF GETTING THERE, MATTHEW.
ANYBODY INTERESTED IN A DRUMSTICK?
ME, PLEASE.
HELLO?
THIS IS LONG DISTANCE.
THIS IS LONG DISTANCE CALLING MISS SYBIL DORSETT.
HELLO.
HIYA, SLATS. UH, MY NAME IS LEFTY.
HOW DO YOU DO, LEFTY?
WELL, UH, I'LL TELL YOU.
DON'T TRACE THIS CALL, SEE, AND DON'T ASK NO QUESTIONS.
BEFORE I GO ON THE LAM WITH MY SIDEKICK HERE
MATT THE RAT,
I, UH...
I WANT YOU TO SLIP ME THE KEY TO THE DOWNSTAIRS DOOR
SO I CAN GET BACK IN.
OK, SLATS?
'CAUSE I DON'T LIKE LONG DISTANCE.
SLATS?
YOU STILL THERE?
I THINK SO.
YEAH, WELL, UH, YOU GOTTA GIVE ME AN ANSWER QUICK.
I DON'T WANT YOU TO BE DISAPPOINTED, LEFTY.
I GOT NO EXPECTATIONS, SLATS.
**[voice humming]
[knocking on door]
(Sybil as Vanessa) BE RIGHT THERE.
OH, VANESSA, YOU LOOK JUST FINE.
YOU KNOW, A KEY WOULDN'T DO MUCH GOOD AGAINST ALL THIS.
YOU NEED A SCALING LADDER.
(as Vanessa) I GUESS IT'S CALLED SECURITY.
OPEN YOUR CHRISTMAS PRESENT.
OH, RICHARD.
[mimicking] "OH, RICHARD."
I THOUGHT WE AGREED WE WEREN'T GONNA DO THIS.
I'M A CONGENITAL LIAR.
OH!
REMIND ME NEVER TO LET YOU TAKE OFF A BANDAGE.
WELL, IF I'M VERY CAREFUL AND DON'T TEAR IT,
THEN I CAN DRAW ON THE BACK OF IT.
YOU DRAW ON THE WHOLE THING.
IT'S ONLY WATERCOLOR PAPER.
OH, RICHARD.
IT'S THE MOST BEAUTIFUL PAPER. THANK YOU.
I WANT-- I WANT YOU-- YOU DON'T HAVE TO SAY ANYTHING.
THE NIGHTGOWN SAYS IT ALL.
YOU WANT CLOSENESS, THAT'S ALL.
I--I NEVER
EXACTLY HAD CLOSENESS.
LOVE, I TOLD YOU ONE TIME, YOU'RE ONLY 12 YEARS OLD.
NOW, ANYTHING MORE WOULD BE ILLEGAL.
YOU MIND IF I UNDRESS?
I'M REALLY INTERESTING.
WE HAD MALE MODELS IN ART SCHOOL.
[paper rustling]
[shoes thudding]
OK.
WELL, I DON'T THINK THIS BED WAS MADE FOR MASCULINE SHOULDERS
BECAUSE THERE'S NO ROOM FOR ME.
THERE'S ROOM.
THERE IS.
WELL, WELL, WELL.
[chuckling]
[exhaling]
I THINK I'M GONNA FALL OUT.
[kissing]
LEFTY.
SLATS.
THIS IS A VERY UNEXPECTED CHRISTMAS.
YEAH. FOR ME, TOO.
WHEN YOU TALK, YOUR CHEST VIBRATES
LIKE A PIANO WITH THE HOOD DOWN.
* O, TANNENBAUM, O, TANNENBAUM **
YOU'RE TICKLING MY EAR.
**[singing]
**[humming]
**[both humming]
(Hattie and Sybil) * OH, CHRISTMAS TREE *
* HOW LOVELY ARE THY BRANCHES **
[kittens mewing]
[cat snarling]
[screaming]
[gasping]
[cat snarling]
[Sybil gasping]
[cat snarling]
[panting]
[cat snarling]
[exclaiming]
[gasping]
[cat snarling]
[panting]
[cat snarling]
[door rattling]
[cat snarling]
[Sybil gasping]
[moaning]
[Sybil moaning]
[moaning]
HEY, COME ON. IT'S OK.
WAKE UP. YOU'RE DREAMING.
[whimpering]
COME--COME-- COME ON. LET ME HELP YOU DOWN, OK?
(as Peggy) I DON'T WANT TO SEE THE KITTY CAT.
THERE IS NO KITTY CAT.
I DON'T WANT TO SEE IT. NO, DON'T.
YOU GOT SUCTION CUPS ON YOUR TOES OR SOMETHING?
IT'S NOT THERE? IT'S NOT THERE? THE KITTY CAT IS NOT THERE?
NO.
I DON'T WANNA SEE IT. I DON'T WANNA SEE IT. NO, DON'T.
YOU'RE NOT DANNY.
NO.
THE PEOPLE. THE PEOPLE.
THEY WATCH. THEY WATCH.
[mumbling]
NOW, WHAT'RE YOU TALKING ABOUT?
[exclaiming]
OUT, I WILL GET OUT. I WILL GO SOME PLACE. I WILL GO SOME PLACE.
I'LL GO TO-- I'LL GO TO NEW YORK. I'LL GO TO NEW YORK.
YOU'RE IN NEW YORK. I'LL FIND MY DR. WILBUR.
SHE'LL BE GLAD TO SEE ME. WHO'S DR. WILBUR?
SHE'LL KNOW WHAT TO DO. I HAVE TO FIND PURSE.
PURSE. WHO'S DR. WILBUR?
THAT'S ALL RIGHT. I'LL HITCHHIKE. I'LL HITCHHIKE. I WANT MY SUITCASE.
YOU'LL HITCHHIKE WHERE? YOU CAN'T GO ANYWHERE
UNLESS YOU ARE SOMEWHERE AND YOU DON'T KNOW WHERE YOU ARE.
SUITCASE. I WANT MY SUITCASE. SYBIL!
SYBIL, WHO IS DR. WILBUR? DON'T DO THIS TO ME!
WHO IS-- DON'T DO THIS TO ME!
[Sybil crying]
(as Sybil) THEY SAID NOT TO GO TO THE MOVIES.
THE MOVIES WERE...
DO I GO TO THE MOVIES? NO.
(Richard) WE WENT TO RADIO CITY THIS MORNING.
SYBIL, IS DR. WILBUR A PSYCHIATRIST?
WERE WE TALKING ABOUT ART?
WERE WE TALKING ABOUT THE BALLET?
I CAN'T COOK DINNER.
OH!
IS THIS MARCIA? IS SHE DOING THIS TO ME?
IT'S NOT THE END OF THE WORLD.
IT'S THE END OF ME.
SYBIL.
STAY. DON'T LEAVE!
**[voice humming]
INFORMATION, I--I NEED A--A NUMBER FOR A DR. WILBUR.
A PSYCHIATRIST.
[sighing]
**[voice humming]
(as Marcia) NOTHING MATTERS NOW.
**[voice humming]
[people chattering]
THANK YOU.
HELLO.
WHO?
RICHARD LOOMIS?
WHAT'S THE MATTER?
WELL, HOW DID THE DINNER GO?
YES, WELL, THE THING ABOUT IT IS, YOU SEE,
YOU PROBABLY DON'T KNOW WHO YOU'RE DEALING WITH.
SO I'M GONNA HAVE TO, UH...
TO BREAK A PROFESSIONAL CONFIDENCE.
OH, MY GOD.
MY LITTLE BOY TRIED TO TELL ME THAT, YOU KNOW, IN DIFFERENT WORDS.
IF SHE'S FEELING THE WAY THAT YOU SAY SHE IS, SHE'S PROBABLY MARCIA.
SO YOU CAN JUST FEEL FREE TO CALL HER BY HER NAME.
BUT WOULD YOU TELL HER SOMETHING FOR ME?
TELL HER I SAID IT'S PERFECTLY OK
TO THINK ABOUT KILLING HERSELF
BUT WOULD SHE PLEASE JUST WAIT UNTIL I GET THERE.
[door thudding]
SHE'S ON THE ROOF. I GOTTA GO.
[people chattering]
[car honks]
SYBIL.
(as Marcia) THERE IS NO SYBIL NOW.
DON'T YOU COME NEAR ME.
I WON'T.
HEY, I--I DON'T THINK WE'VE MET YET.
MY NAME IS RICHARD. HI.
AREN'T YOU GONNA TELL ME WHO YOU ARE?
WELL, I'VE BEEN TALKING TO DR. WILBUR
AND SHE THOUGHT THAT MAYBE YOU WERE MARCIA
SO I'M GONNA CALL YOU MARCIA, OK?
HOW--HOW ARE YOU, MARCIA?
THAT'S A VERY PRETTY SCARF YOU HAVE ON.
YOU'RE TRYING TO GET ME TO WAIT UNTIL DR. WILBUR GETS HERE.
WELL, IT WON'T WORK. MARCIA!
MARCIA. MARCIA, YOU KNOW, THAT-- THAT'S AN AWFULLY LONG FALL DOWN THERE.
IT'S 5 STORIES. NOW, I'M ONLY CONSIDERING MATTHEW.
D-D-DO YOU KNOW MATTHEW? HE LIKES YOU.
[inhaling]
HE LOVES VANESSA.
NO, NOT--NOT--NOT JUST VANESSA.
H-HE KNEW ABOUT ALL OF YOU LONG BEFORE I EVER DID. I MEAN, HE SENSED IT.
ANYWAY, HE SAID TO ME, "DADDY, SYBIL IS JUST STUFFED WITH PEOPLE."
HE DID? YEAH.
I GUESS THAT'S BECAUSE WE'RE ALL CHILDREN, TOO.
YEAH, AND--AND YOU SEE, THE POINT--THE POINT IS
THAT-- THAT'S--THAT'S MATT'S WINDOW RIGHT DOWN THERE.
THAT'S THE LAIR OF MATT THE RAT, SLATS,
AND--AND IF-- AND IF YOU LAND DOWN THERE IN THAT COURTYARD,
THAT'S WHAT MATT IS GONNA REMEMBER FOR THE REST OF HIS LIFE.
HIS GOOD FRIEND LOOKING LIKE--
THEN I'LL GO OVER THERE, ON THE OTHER SIDE, WHERE HE CAN'T SEE.
WHERE? OVER THERE? THAT-- THAT'S A STREET. YOU MIGHT HIT SOMEBODY.
I WON'T KNOW THEM.
OH, YEAH.
YEAH, YEAH, THAT--THAT--THAT MAKES SENSE.
[car honking]
YOU MOVE BACK OVER THERE.
WHERE? WHERE? HERE?
FURTHER.
HERE?
AND PROMISE ME NOW, YOU PROMISE ME YOU WON'T TRY TO STOP ME.
WELL, I PROMISE.
[crying]
NO! YOU PROMISED. YOU PROMISED.
I TOLD YOU I WAS A CONGENITAL LIAR.
DON'T. DON'T TRAP ME. IT WILL GET WORSE.
IT'LL GET WORSE. LET ME DO IT.
OH, PLEASE. PLEASE, WHY WON'T YOU LET ME DO IT?
[child chattering]
(as Peggy) THE PEOPLE, THE HAND.
AND THE PEOPLE. AND THE PEOPLE.
THEIR HANDS, AND THE WATER. THE WATER, AND THE WATER.
[in Hattie's voice] YOU JUST LAY STILL, YOUNG LADY.
YOU JUST LAY STILL.
YOU MOVE A MUSCLE AND... YOU MOVE A MUSCLE AND...
I CAN SEE IT. I CAN SEE IT. IN THE KITCHEN. IN THE KITCHEN.
IT'S ALL GREEN, AND IT'S DRIPPING, AND IT'S IN THE SINK.
I CAN SEE IT. I CAN SEE IT.
[in Hattie's voice] IT'S NOT COLD ENOUGH, YOUNG LADY.
IT'S NOT COLD ENOUGH. YOU JUST LAY STILL.
(Richard) PLEASE, DON'T!
I KNOW WHO YOU ARE. I KNOW WHO YOU ARE. YOU'RE DANNY.
YOU'RE DANNY. I KNOW DANNY. UH-HUH.
DANNY LIKES ME. I LIKE DANNY.
HE DANCES FOR ME, AND HE SINGS.
HE DANCES. HE SINGS LIKE FRED ASTAIRE.
* LOVELY * I KNOW HIM. I KNOW HIM. I KNOW HIM.
* NEVER, EVER CHANGE * I KNOW HIM. I KNOW HIM. I KNOW HIM.
I KNOW HIM.
* KEEP THAT BREATHLESS CHARM ** I KNOW HIM.
[grunts]
(as Sybil) DON'T TOUCH ME. YOU'RE BURNING MY SKIN OFF.
SYBIL!
(Sybil) WHY ARE WE HERE?
MARCIA'S TRYING TO KILL HERSELF. SHE'S TRYING TO KILL YOU.
DON'T HOLD ME. DON'T HOLD ON TO ME.
SWEETIE, SWEETIE, SWEETIE. PLEASE LET HER DO IT.
[shushing] PLEASE LET HER DO IT. PLEASE LET HER DO IT.
IT'S ALL RIGHT. I'M AFRAID TO LET HER GO.
SYBIL. SYBIL!
DR. WILBUR. IT'S ALL RIGHT. IT'S ALL RIGHT.
DR. WILBUR. OK, JUST HOLD ON A MINUTE.
DR. WILBUR. LET ME GET... DEAR, IT'S ALL RIGHT.
OH, YOUR COAT IS SO PRETTY.
IT'S ALL RIGHT. IT'S ALL RIGHT.
I'M GONNA GIVE YOU... YOU'RE GONNA GET YOUR DRESS DIRTY, DR. WILBUR.
NO, NO. NO. I'M GONNA GIVE YOU SOME SEDATION IS WHAT I'M GONNA DO
AND IT'S GONNA MAKE YOU FEEL BETTER AND TAKE AWAY THE HURT, OK?
DR. WILBUR, PLEASE LET HER DO IT.
NO, NO. NO, NO, NO.
PLEASE DON'T GET YOUR DRESS DIRTY.
DON'T GET DIRTY, PLEASE. YOU LOOK SO PRETTY.
OH, I'M SCARED OF THAT. SCARED.
IT'S OK. I'M SCARED.
NO, IT'S ALL RIGHT.
[moans] THERE, OK?
[groaning]
[sobbing]
YOU HAVE 4 EARRINGS.
YEAH, I GOT 4 EARRINGS, BUT I ONLY GOT 2 ON.
THAT'S JUST THE MEDICINE, OK?
GIVE ME A HAND.
COME ON, SWEETIE. ALL RIGHT.
ALL RIGHT? YEAH.
OK.
COME ON, SWEETIE.
IS HE GONE? I DON'T WANT HIM TO SEE ME.
IT'S ALL RIGHT. HERE. COME ON.
THERE YOU GO.
HE'S SO THOUGHTFUL.
YOU KNOW, IF HE GOES TO GET A GLASS OF WATER FOR HIMSELF
HE NEVER JUST BRINGS ONE.
HE BRINGS 2, AND THEN HE SAYS,
"I THOUGHT MAYBE YOU'D BE THIRSTY."
ISN'T THAT THOUGHTFUL? (Dr. Wilbur) MMM-HMM.
ISN'T THAT CONSIDERATE?
THAT'S QUITE CONSIDERATE, YES.
YOU DON'T FIND THAT VERY OFTEN NOWADAYS.
WHAT IS IT I FELT FOR MY GRANDMA?
WAS THAT LOVE?
YEAH, THAT WAS LOVE, SWEETIE.
AND DANNY, WAS THAT LOVE?
MMM-HMM.
[exhaling]
THAT'S WHAT IT IS WITH RICHARD THEN.
DR. WILBUR.
(Dr. Wilbur) MMM-HMM?
IS IT ALL RIGHT IF I DON'T SEE HIM AGAIN
UNTIL AFTER WE PULL OURSELVES TOGETHER?
MMM-HMM.
I DON'T KNOW HOW TO TELL HIM.
I THINK HE'LL KNOW WITHOUT YOU TELLING HIM.
[children chattering]
(man) $0.21 A POUND. ALL RIGHT, I'LL TAKE IT.
PAY THE GIRL. I'LL GO INSIDE.
GO INSIDE.
AH, THAT'S NICE.
THERE, THAT SHOULD DRIVE THE WINTER OUT OF THE CORNERS.
YEAH. I, UH, I PASSED THE PARK ON THE WAY TO WORK THIS MORNING.
THERE WAS A GUY CUTTING THE GRASS. I GOT ONE WHIFF
AND ALREADY I'M THINKING ABOUT 2 WEEKS IN THE MOUNTAINS, HUH?
HAVE A CARE, MR. RIZO.
SPRING IS THE MISCHIEF IN US, AS THE POET SAYS.
YEAH. HAVE A GOOD DAY.
[cat meowing]
(Sybil) RICHARD MOVED AWAY. DID I TELL YOU?
(Dr. Wilbur) NO, MARCIA DID.
HOW DID THAT MAKE YOU FEEL?
MY KITTY BOTHERS ME.
[meowing]
I ASK YOU HOW IT FEELS TO HAVE RICHARD MOVE
AND YOU TELL ME YOUR KITTY BOTHERS YOU.
THAT'S INTERESTING.
LET'S NOT TALK ABOUT IT. IT'LL JUST OPEN UP A WHOLE CAN OF PEAS.
NO, WHAT IT MIGHT OPEN UP IS A WHOLE NEST OF KITTENS,
WHICH IS SOMETHING WE'VE AVOIDED
EVERY TIME YOU'VE DREAMED ABOUT THEM.
NOW, MAYBE THERE IS A CONNECTION
BETWEEN YOUR ANGER AT RICHARD MOVING
AND YOUR-- THERE ISN'T ANY ANGER.
SWEETIE, YOUR ANGER AT THE HEADLESS CAT.
CURIOSITY KILLED THE CAT, SO DON'T WONDER.
[sighing]
CURIOSITY DIDN'T TEAR ITS HEAD OFF.
NOW, WHO DID THAT?
YOU WANTED TO GET RID OF MOMMA, RIGHT?
THAT'S ONE THEORY.
THERE ARE A MILLION THEORIES.
YOU PICK ONE. I'LL AGREE TO ANYTHING.
I SEE.
YOU ALWAYS SAY, "I SEE."
YOU KNOW, MARCIA WAS SO AFRAID
OF WANTING TO KILL MOMMA
THAT SHE ALMOST KILLED HERSELF FOR JUST HAVING THE THOUGHT.
I DON'T KNOW MARCIA. I'M NOT INTERESTED.
MARCIA TOLD ME ABOUT A MEMORY SHE HAD ABOUT A LITTLE BOX.
WHY DO I HAVE TO REMEMBER SOMETHING THAT DIDN'T HAPPEN TO ME?
WHY CAN'T I BLANK OUT?
BECAUSE YOU CAN STAND SOME OF THOSE FEELINGS NOW, SWEETIE.
YOU'RE GETTING STRONGER.
NOW, CAN'T YOU TELL ME ABOUT THE LITTLE BOX?
IT STARTED TO GROW. IT GOT BIGGER.
THAT'S RIGHT.
AND IT GREW BIGGER UNTIL IT WAS BIG ENOUGH TO PUT MOMMA IN.
IN FACT, IT TURNED INTO A COFFIN, DIDN'T IT?
I DID NOT WANNA GET RID OF MOMMA.
I WANTED TO GET RID OF THE HURT.
I WANTED THE HURT TO GO AWAY, NOT MOMMA.
I DIDN'T MEAN ANYTHING BAD.
SWEETIE, IT'S NOT BAD TO WANNA GET RID OF SOMETHING THAT HURTS.
AND MOMMA WAS JUST ONE BIG HURT
WITH A NAME ATTACHED TO IT.
IT WAS STILL MY MOMMA.
THAT WAS AN ACCIDENT OF NATURE.
SYBIL, A WISH CAN'T KILL PEOPLE.
NOW, IF THE WORLD HAS TO TURN PURPLE
AND LITTLE CHILDREN HAVE TO KILL THEMSELVES
BECAUSE THEY WISH THEIR MOTHERS WERE DEAD,
THERE WOULDN'T BE ANYBODY LEFT ON EARTH.
SYBIL, YOU'RE NOT LISTENING TO ME.
YOU'RE THINKING ABOUT SUICIDE AGAIN, AREN'T YOU?
WHY DO YOU WANNA KILL YOURSELF
INSTEAD OF DOING WHAT WE HAVE TO DO?
WHY DO YOU WANNA KILL THIS
WONDERFULLY CREATIVE ORGANISM
BEFORE YOU'VE EVEN BEGUN TO LIVE?
I DON'T LIKE IT WHEN YOU'RE ANGRY.
I'M NOT ANGRY. I'M DEFINITE.
YOU INSULT ME, MY DEAR.
YOU INSULT MY HEART.
WELL, JUST LOOK AT ME. CAN'T YOU SEE WHAT I AM?
I HAVE LOOKED AT YOU AND LOOKED AT YOU
FOR MONTH AFTER MONTH AFTER MONTH AND I HAVE SEEN YOU.
YOU HAVEN'T SEEN ANYTHING.
AND I WASN'T THINKING ABOUT SUICIDE.
I WAS THINKING ABOUT
WHAT A CHARADE THIS IS.
DR. WILBUR, I CAN'T GO ON LIKE THIS.
YOU BETTER SIT DOWN. I HAVE A BIG SHOCK FOR YOU.
IT'S A LIE.
THE WHOLE THING.
I DON'T HAVE MULTIPLE PERSONALITIES.
NOT EVEN ONE.
IT'S JUST ME.
I--I DON'T-- I DON'T EVEN KNOW
WHY I GOT STARTED.
ALL THE THINGS I TOLD YOU ABOUT MY MOTHER,
THEY'RE ALL LIES, EVERY ONE OF THEM.
SHE SPOILED ME ROTTEN, WATCHED ME EVERY SINGLE SECOND.
YOU KNOW, IT INTERESTS ME, SYBIL
THAT THE DENIAL COMES AT THIS PARTICULAR TIME.
THIS IS NOT A DENIAL.
EXCUSE ME, SWEETIE,
BUT IT COMES ON THE EVE OF MY CHICAGO LECTURES
WHICH MUST SEEM LIKE SOME KIND OF ABANDONMENT TO YOU
THE WAY RICHARD ABANDONED YOU.
NO, IT'S NOTHING LIKE THAT.
AND 2, WE ARE AT A PLACE
WHERE THE MOST TERRIFYING MEMORIES OF ALL
ARE JUST BELOW THE SURFACE.
DR. WILBUR, EXCUSE ME,
BUT THIS SIMPLY IS NOT DENIAL OR RESISTANCE
OR ANY OF THOSE PATIENT TRICKS.
IT IS AN ADMISSION OF CULPABILITY.
I'M SORRY.
I KNOW I OWE YOU A FORTUNE, AND YOU'LL BE PAID.
BUT TO GO ON LIKE THIS WOULD BE VERY CRUEL.
YOU'RE TOO GOOD A PERSON FOR THAT.
SO I THINK WHAT I SHOULD DO IS TAKE MY FATHER UP ON HIS OFFER
AND STAY IN THAT SUNNY LITTLE ROOM
WHERE ALL MY THINGS WILL FIT JUST PERFECT
AS THE FAMOUS FRIEDA SAYS.
ARE YOU SYBIL?
OF COURSE I'M SYBIL. WHO ELSE WOULD I BE?
WHAT HAPPENED IN THE GREEN KITCHEN?
THAT'S MY CUE TO TURN INTO PEGGY, RIGHT?
DR. WILBUR, THERE IS NO PEGGY TO TURN INTO.
DO YOU MIND IF I TEST THAT?
HYPNOSIS? BE MY GUEST.
ALL RIGHT, WOULD YOU LIE DOWN ON THE SOFA?
SUR LE COUCH?
ONLY VICKY'S SUPPOSED TO KNOW THAT, RIGHT?
[mimics Dr. Wilbur] "NOW, DEAR HEART,
"I WANT YOU TO LOOK AT NEHEMIAH.
"YOU WILL LOOK AT NEHEMIAH, SWEETIE,
AND I WILL ASK TO SPEAK TO THE OTHERS."
I'VE REALLY GOTTEN IT DOWN, HAVEN'T I, DOCTOR?
(Dr. Wilbur) IN MY CHICAGO HOTEL ROOM,
I STARTED TO THINK THAT SYBIL'S DENIAL
MIGHT ACTUALLY HAVE BEEN HER FIRST BREAKTHROUGH.
MAYBE THE SELVES HAD BANDED TOGETHER
TO STOP ME FROM TAKING SYBIL DOWN
TO THE MOST DANGEROUS PLACE OF ALL.
HELLO. YEAH, I'D LIKE ANOTHER CHICAGO NUMBER, PLEASE.
WELL, I'M SORRY, BUT I'LL JUST HAVE TO KEEP ON ASKING
UNTIL SOMEBODY PUTS A PHONE BOOK IN HERE.
I'VE GOT 2 BIBLES AND NO PHONE BOOK.
[laughing] THE PERSON I'M LOOKING FOR ISN'T IN THE BIBLE.
A DORSETT, WILLARD DORSETT.
(Dr. Wilbur) YOU UNDERSTAND, MR. DORSETT, I JUST WANNA
TIE UP SOME LOOSE ENDS, SO TO SPEAK.
SO YOU CAME TO THE HORSE'S MOUTH.
IS THAT IT?
IT SEEMED THE SENSIBLE THING TO DO.
I, UH...
I DO RECALL A BRUISE OR 2
FROM TIME TO TIME.
I SEE.
WELL, TELL ME, DO YOU RECALL A BROKEN LARYNX?
WELL, NOW YOU SAY IT, IT SEEMS I DO.
RAN INTO A CLOTHESLINE, I BELIEVE.
OH, WHO SAID THAT?
MY WIFE, I SUPPOSE.
SHE DRIED THE WASH OUT BACK.
NOW, BY WASH, YOU MEAN, UH, THINGS LIKE--LIKE SHEETS AND TOWELS
AND THINGS LIKE THAT? SURE.
SOMETHING... SO YOU'D HAVE TO HANG THEM UP PRETTY HIGH
IN ORDER TO KEEP THEM OFF THE GROUND. HMM?
IS THAT RIGHT? THAT'S RIGHT.
YEAH.
WELL, IT SEEMS TO ME IT WOULD TAKE AN AWFUL LOT OF DETERMINATION
FOR A LITTLE 4-YEAR-OLD TO GET HER THROAT UP,
YOU KNOW, HIGH ENOUGH TO BREAK HER LARYNX.
WOULDN'T YOU SAY?
WHEN YOU STOP TO THINK ABOUT IT.
YOU KNOW, MR. DORSETT, I HAVE HERE
A CATALOG OF
HURTS.
AND WHAT I'D LIKE TO STOP AND THINK ABOUT IS, UH,
HOW MRS. DORSETT EXPLAINED THE REST OF THESE.
OR PERHAPS EVEN IF, UH...
DID YOU EVER ASK SYBIL?
UH, SOMETIME WHEN YOU WERE ALONE TOGETHER WITH HER
AND SHE MAYBE FELT A LITTLE FREER TO CONFIDE?
DID YOU? I DON'T GET THE DRIFT OF THIS CONVERSATION.
WELL, I'LL GIVE IT TO YOU. I... WHAT I'D LIKE TO KNOW IS
DO YOU THINK IT'S POSSIBLE
THAT YOUR WIFE INFLICTED THESE INJURIES HERSELF?
ABSOLUTELY NOT.
YOU UNDERSTAND, WHAT I MEAN IS,
DO YOU THINK THERE WAS ANYTHING IN HER PERSONALITY,
IN HER CHARACTER--
ABSOLUTELY NOT.
THAT WAS A FINE WOMAN.
I'M SURE SHE WAS A FINE WOMAN,
BUT EVEN THE FINEST PEOPLE
CAN GET VERY SICK, MR. DORSETT
AND WHAT I'M TALKING ABOUT HERE IS SICKNESS.
NOW, WAS SHE EVER SICK?
UH, EMOTIONALLY SICK, I MEAN, NOT--
I KNOW WHAT YOU MEAN.
I LIVE IN THE SAME CENTURY YOU DO. I BEG YOUR PARDON. I'M SORRY.
SHE WAS NERVOUS.
NOT SICK, JUST NERVOUS.
SHE JUST TALKED SO MUCH, THAT'S ALL.
SHE'D TELL POEMS OUT LOUD,
AND GET UP AND DANCE IN RESTAURANTS, THINGS LIKE THAT.
JUST TOO BIG A HEAD OF STEAM, THAT'S ALL.
FRUSTRATED WITH THE SMALL-TOWN LIFE
OR ME OR SOMETHING. I DON'T KNOW.
SHE'D GET REAL LOW SOMETIMES.
"LOW DOWN AND BLUE," SHE'D CALL IT.
ONE YEAR, SHE JUST SAT
QUIET THAT WHOLE WINTER.
WOULDN'T EVEN FEED HERSELF.
GOT SO BAD I DROVE HER UP TO THE STATE HOSPITAL.
WELL, THEN WHAT HAPPENED?
WHAT DID THEY SAY?
OH, THEY
SAID SHE HAD THE PARANOID SCHIZOPHRENIA.
WELL, MR. DORSETT, THAT'S...
THAT'S VERY SICK.
IT'S--IT'S...
IT'S CERTAINLY TOO SICK TO BE RAISING A LITTLE GIRL.
THEY--THEY WERE WRONG, YOU SEE.
WELL, HATTIE TOLD ME HERSELF A-AFTER I GOT HER HOME
THAT ALL THAT DOCTOR DID WAS SIT AND STARE AT HER
THE WHOLE TIME SHE WAS WITH HIM.
SAID IF ANYONE WAS GONNA TELL HER SHE WAS A LOONY,
HE BETTER GET SOMEONE TO DO IT BESIDE ONE OF THE LOONS.
WELL, YOU CAN'T ARGUE WITH THE LOGIC OF THAT, NOW CAN YOU?
YOU CALL THAT SICK?
[birds chirping]
[dog barking]
EXCUSE ME.
COULD YOU TELL ME IF DR. QUINONESS
STILL IS, UH, LIVING IN WILLOW CORNERS, IN TOWN?
YOU BET. STRAIGHT ON INTO TOWN.
CORNER OF 4TH AND MAPLE.
4TH AND MAPLE? THANK YOU.
YEAH.
(Dr. Quinoness) I HOPE YOU DON'T MIND CARRYING THE OATMEAL COOKIES
BUT JULIA GETS POOPED ON THESE STAIRS NOW.
OLD PLACES ARE BUILT FOR GOATS ANYWAY.
WELL, I APPRECIATE YOUR TAKING TIME OUT TO SEE ME, DR. QUINONESS.
NOT TAKING TIME OUT FROM MUCH.
[laughing]
WELL, HERE WE BE.
THE MUSEUM.
USED TO BE THE ONLY SURGERY FOR 40 MILES
TILL THEY BUILT THE HOSPITAL OUT ON ROUTE 9.
I USE IT NOW MAINLY BECAUSE THE SUN LASTS LONGER
THAN ANY OTHER ROOM IN THE HOUSE.
LATELY, I'VE BECOME GREEDY ABOUT SUNLIGHT.
PLEASE SIT. THANK YOU.
YES, I SEEM TO REMEMBER HEARING
THAT SYBIL WAS IN NEW YORK CITY.
OF COURSE, NOWADAYS, WITH ALL THE FAMILY EITHER DEAD OR MOVED AWAY,
DON'T KEEP TABS LIKE I USED TO. THANK YOU.
SHE, UH,
HAS A NERVOUS CONDITION, HAS SHE?
MMM-HMM. YES.
AH, LITTLE SYBIL.
LITTLE SPARROW OF A THING.
NOT SURPRISED IT'S COME TO THAT.
YOU KNOW, SHE HAD A NERVOUS MOTHER.
SO I UNDERSTAND.
HATTIE. PILLAR OF THE TOWN. DID EVERYTHING.
WELL, I WOULD APPRECIATE IT IF I COULD SEE SYBIL'S RECORDS, DOCTOR.
WELL, I DON'T KNOW WHAT LIGHT THAT WOULD SHED.
YOU SEE, I--I NEVER, NEVER TREATED HER FOR NERVES
ONLY FOR THE USUAL CHILDHOOD ACHES AND PAINS.
I UNDERSTAND, BUT I--I WOULD CONSIDER IT A GREAT COURTESY.
I DON'T KNOW THAT I HAVE ANYTHING.
LET ME SEE.
DORSETTS.
DORSETTS. OH, YES.
HERE WE ARE. SYBIL.
TONSILLECTOMY.
I REMEMBER THAT.
SHE FOUGHT SO HARD WE COULD HARDLY GET THEM OUT.
TORN LIGAMENTS, RIGHT SHOULDER.
FRACTURED CLAVICLE.
PALM OF RIGHT HAND BURNED ON STOVE.
FRACTURED LARYNX.
BEANS STUCK UP HER NOSE.
GAS INHALATION.
USUAL CHILDHOOD ACHES AND PAINS, HUH?
DID YOU EVER SPECULATE?
YOU KNOW,
YOU CAN LIVE TOO LONG, DOCTOR.
I NEVER TOLD ANYONE THIS.
SYBIL CAME TO ME WITH A BLADDER COMPLAINT.
VERY UNUSUAL IN A LITTLE GIRL.
COULDN'T PASS HER WATER. I HAD TO CATHETERIZE HER.
IF YOU DID A GYNECOLOGICAL ON HER RIGHT NOW,
I'D WAGER YOU'D SEE WHAT I SAW.
SCARIFICATION OF THE INNER WALL,
DESTRUCTION OF CERTAIN TISSUES.
I DON'T BELIEVE SHE CAN EVER BECOME A MOTHER.
YOU KNOW, THE GOOD LORD SHIPS US INTO THIS WORLD
NOT A WHOLE HECK OF A LOT BETTER THAN THE U.S. MAILS.
BUT THE HAND OF THE ALMIGHTY HAD NOTHING TO DO
WITH WHAT I FOUND INSIDE THAT CHILD.
YOU'VE BEEN VERY GENEROUS, DOCTOR.
YOU WANNA GIVE ME A TIP, DOCTOR?
IF I CAN.
IN YOUR...
IN YOUR TRADE, YOU HEAR A LOT OF CONFESSIONS.
DR. QUINONESS, IT WAS A LONG, LONG TIME AGO.
HOW DO I FIND ABSOLUTION?
[birds chirping]
[dog barking]
[door squeaking]
**[voice humming]
[water dripping]
[gasping]
[water continues dripping]
[dog barking]
**[voice humming]
(Dr. Wilbur) IT HAPPENED, SWEETIE.
THOSE ARE THE CRAYON SCRATCHES YOU MADE
WHEN MOMMA PUT YOU IN THE WHEAT BIN.
THEY WERE YOUR CRY FOR HELP.
YOUR PURPLE ANGER.
IT DOESN'T SEEM REAL.
WELL,
IT HAPPENED.
I CAN'T BELIEVE YOU WENT TO ALL THIS TROUBLE AFTER I...
I DIDN'T MEAN TO BE MEAN TO YOU.
OH, I KNOW THAT.
IT'S JUST I WAS AFRAID.
NOT OF WHAT WE TALKED ABOUT SO MUCH.
CAN YOU TELL ME NOW?
I WAS AFRAID OF THE HOPE.
THE HOPE?
THE HOPE THAT I MIGHT GET WELL.
YOU BEGAN
TO MAKE ME BELIEVE I COULD, ALMOST.
FOR A WHILE, I COULD SEE MYSELF
PAINTING,
OR PLAYING THE PIANO OR...
YES?
BEING WITH PEOPLE.
THEN I REALIZE
THAT THE ONLY WAY THAT HOPE CAN EVER BE REAL
IS YOU.
AND IF YOU'RE THE ONLY HOPE,
AND THIS IS THE ONLY WAY,
AND IF IT DOESN'T WORK, THEN I'M A GONER.
I JUST...
I HAVE TO BE WITH PEOPLE, DR. WILBUR.
I KNOW THAT.
I'VE NEVER REALLY BEEN LET IN MOST PLACES.
WELL, RICHARD LET ME IN FOR A WHILE
AND YOU LET ME IN A LITTLE BECAUSE YOU HAVE TO.
BUT THEN,
WHEN HE LEFT AND YOU WERE GONE
I REALIZED THAT THERE WASN'T A HOUSE
IN ALL OF NEW YORK THAT I COULD GO IN.
QUITE HONESTLY,
[sighing]
I...
I HAILED A CAB A COUPLE OF TIMES.
I THOUGHT I'D MAKE UP FOR IT SOMEHOW.
I'D EAT LESS OR SOMETHING.
BECAUSE I HAD TO TALK TO SOMEBODY.
AND ONE CAB DRIVER TALKED TO ME.
HE WAS VERY INTERESTING.
WE DROVE AROUND FOR ABOUT 15 MINUTES.
YES?
AND HE DROVE ME BY HERE.
AND I LOOKED UP IN YOUR APARTMENT
TO SEE IF THERE WAS A LIGHT ON.
I KNOW THAT WAS WRONG.
WHY?
I DON'T KNOW. IT SEEMED LIKE AN INVASION OF YOUR PRIVACY SOMEHOW.
WITH A LOOK?
I KNOW IT'S SILLY.
NO, IT ONLY MEANS THERE WAS
A WISH THAT WENT ALONG WITH THE LOOK
THAT YOU THINK IT WAS WRONG TO HAVE.
MAYBE SOMEBODY ELSE
HAD A WISH JUST FOR A SECOND.
WOULD YOU LOOK THE OTHER WAY, PLEASE?
SWEETIE, IT HELPS ME IF I CAN SEE YOU.
THEN I'LL LOOK THE OTHER WAY.
IT HAS TO DO WITH A DREAM.
IT HAS TO DO WITH YOU.
MMM-HMM.
YOU AND THIS LITTLE GIRL.
THIS FUNNY LITTLE GIRL WITH A SCRUNCHED-UP FACE.
AND SHE'S VERY YOUNG, SO WHAT SHE FEELS IS...
WELL, MAYBE IT'S EXCUSABLE.
WHAT DOES SHE FEEL?
SHE'S TOO YOUNG TO REALIZE THAT YOU'RE A DOCTOR,
NOT HER FRIEND.
GO ON.
WELL
SHE WANTS TO SIT BESIDE YOU
IN YOUR BIG CHAIR.
AND SHE ASKS.
AND SHE DOES.
BUT SHE'S JUST A LITTLE GIRL, UNDERSTAND,
AND IT'S JUST A DREAM.
WHAT WORRIES YOU ABOUT HER?
I'M AFRAID TO TELL YOU.
THAT YOU FEEL SATISFACTION IN THE DREAM?
IT'S NOT A DREAM, SYBIL.
EVERY TIME YOU COME HERE AS PEGGY,
YOU SIT HERE IN THIS CHAIR BESIDE ME
AND YOU PUT MY ARM AROUND YOU,
AND YOU REST YOUR HEAD ON MY SHOULDER
AND YOU FEEL SATISFACTION.
OH, I COULDN'T.
I KNOW YOU COULDN'T, BUT PEGGY CAN.
AND YOU ALLOW IT?
OF COURSE I ALLOW IT.
SOMETIMES BEING CLOSE IS THE ONLY NOURISHMENT THAT COUNTS.
IT SEEMS LIKE TOO MUCH TO DO FOR HER.
WELL...
DON'T YOU THINK I MIGHT BE DOING IT FOR MYSELF ALSO?
DON'T YOU THINK, UH, I MIGHT DO IT
BECAUSE I ENJOY BEING ALLOWED
TO EXPRESS MY AFFECTION FOR YOU?
YOU MEAN FOR HER.
NO, FOR YOU.
FOR SYBIL, FOR THE TOTALITY OF YOU.
DON'T YOU KNOW THAT?
I LOVE YOUR COURAGE. I LOVE YOUR HUMOR.
I LOVE YOUR TALENT.
I LOVE YOUR TENDERNESS WITH OTHER PEOPLE.
I LOVE YOUR QUICKNESS.
I LOVE YOUR COMPANY. I LOVE YOU.
NOW THE ONLY THING THAT'S HOLDING YOU ON THAT CHAIR
IS THE LAW OF GRAVITY.
SYBIL, DO YOU KNOW WHAT THOSE WET THINGS ARE ON YOUR FACE?
OH.
THOSE ARE SYBIL'S FIRST TEARS.
[laughing]
THE FIRST ONES YOU'VE HAD SINCE GRANDMA DIED.
I LOVED MY GRANDMOTHER.
I KNOW YOU DID.
I LOVE YOU, TOO.
WOULD YOU LIKE ME TO TELL YOU A TRUE STORY?
WELL,
ONCE, A LONG TIME AGO, WHEN I WAS A LITTLE GIRL IN MONTANA,
I WAS LYING OUT ON THE GRASS ONE DAY
JUST LOOKING AT THE ANTS.
[both laughing]
AND THE GRASS WAS SWEET AND DEEP AND SOFT,
AND THE SUN WAS WARM ON MY BACK,
AND THE INSECTS WERE BUZZING AND IT WAS...
EVERYTHING WAS DROWSY.
AND ALL OF A SUDDEN,
I SAW ONE ANT
WHO WAS STRUGGLING TO PICK UP THIS GRAIN OF SAND
[laughing] THAT WAS FAR TOO HEAVY FOR IT TO LIFT.
AND HE STRUGGLED AND HE STRUGGLED.
AND PRETTY SOON, ANOTHER ANT CAME BY
AND TOGETHER, THE 2 OF THEM
LIFTED THE GRAIN OF SAND AND STARTED TO CARRY IT AWAY.
[laughing] WELL, I GOT SO EXCITED
THAT I HOLLERED TO MY MOMMA, AND SHE RAN OUT
AND SHE FLOPPED DOWN IN THE GRASS BESIDE ME AND SHE SAID
"NOW, ISN'T THAT MIRACULOUS
"HOW MUCH 2 CREATURES CAN ACCOMPLISH TOGETHER
WHEN THEY CARE ABOUT EACH OTHER."
AND YOUR MOTHER WAS BESIDE YOU?
MMM-HMM. IN THE GRASS.
WATCHING ANTS?
ON A SUMMER'S DAY.
HELPING EACH OTHER.
(Sybil) IT'S TOO GREEN.
WHY DID GOD HAVE TO MAKE EVERYTHING GREEN?
GREEN TREES, GREEN GRASS.
(Dr. Wilbur) GREEN KITCHENS.
I'M NOT EVEN GONNA LOOK AT THE GREEN.
I'M JUST GONNA LOOK AT THE BLOSSOMS.
SWEETIE, I KNOW
THIS IS THE MOST DIFFICULT HURDLE OF ALL,
BUT WE'VE GOTTA GET INTO THAT KITCHEN NOW AND FACE WHAT WENT ON THERE.
I'M TOO SCARED OF THAT.
YOU'RE JUST SCARED OF BEING SCARED.
YOU SURVIVED IT WHEN IT HAPPENED,
AND YOU'LL SURVIVE REMEMBERING IT.
YOU KNOW HOW MUCH RELIEF YOU FELT
WHEN WE FACED THE OTHER THINGS,
THE HANDS, THE--THE PEOPLE, AND CHRISTMAS?
SO WE WILL FACE THIS, TOO, FINALLY,
AND--AND--AND LEAVE IT BEHIND FOREVER.
LEAVE ALL THAT PAIN BEHIND.
AND WE'LL FIND A NICE QUIET PLACE FOR A PICNIC,
AND WE'VE GOT ALL YOUR PAINTING THINGS,
AND WE'RE JUST GONNA LET IT HAPPEN, OK?
OK.
DID WE BRING NEHEMIAH IN CASE WE NEED HIS HELP?
MMM-HMM. HE'S WITH US.
[birds chirping]
[ducks quacking]
WHAT IS IT, SWEETIE? WHAT'S IN THE WAY?
I DON'T KNOW. I CAN'T SEE IT.
I CAN FEEL IT. IT'S
FEAR.
PEGGY'S PETRIFIED RIGHT NOW.
(Sybil) THIS IS THE FIRST STROKE I'VE DARED TO PAINT.
[panting] OH, DR. WILBUR.
(Dr. Wilbur) WHAT?
[panting] THIS IS COMING.
JUST ALLOW IT, SWEETIE. JUST ALLOW IT.
OH, IT'S LIKE
WAVES,
WAVES THROUGH ME.
IT'S AWFUL.
(Dr. Wilbur) ALLOW IT. GO WITH IT.
(Sybil) OH, NO, NO.
GO WITH IT. JUST ALLOW IT, SWEETIE.
OH, IS THIS PEGGY?
IT'S ONLY A HINT OF WHAT SHE FEELS, SWEETIE.
SHE FEELS MUCH MORE THAN THAT.
OH, IT'S THE WORST FEELING. OH, IT'S SO AWFUL.
JUST GO WITH IT. TRY TO GO WITH IT. STAY WITH IT
AND SEE IF YOU CAN FIND OUT WHAT'S UNDERNEATH.
CAN YOU REMEMBER?
WHAT'S UNDERNEATH IT, SWEETIE?
I'M SCARED.
[panting]
I'M SCARED.
[sobbing]
NO.
WHAT IS IT? WHAT ARE YOU LOOKING AT?
IT'S ALL GREEN.
AND THE PEOPLE, THE PEOPLE.
PEGGY, WHERE ARE YOU? ARE YOU IN THE KITCHEN?
[panting]
[water dripping]
[clearing throat]
HAVE TO DO IT.
(Sybil) IT'S DRIPPING.
YOU CAN HEAR IT DRIPPING.
(Dr. Wilbur) I KNOW. THERE'S EVEN A RUST SPOT UNDER THE TAP.
HAVE TO DO IT.
[Sybil wailing] WHAT DOES MOMMA HAVE TO DO?
EVERY MORNING. EVERY MORNING, AFTER I EAT MY PRUNES
AND EVERYBODY'S GONE, SHE PULLS DOWN THE SHADES.
SHE PULLS DOWN THE SHADES SO NOBODY WILL SEE.
AND SHE'S GOT ME TIED UP ON THE TABLE.
OH, IT'S SO COLD.
THAT'S BECAUSE IT'S METAL, SWEETIE.
AND THE WATER, THE WATER'S RUNNING. THE WATER'S RUNNING.
IT HAS TO RUN A LONG TIME TILL IT'S COLD ENOUGH.
WHAT DOES SHE NEED COLD WATER FOR?
SHE GIVES ME AN ENEMA.
[Sybil sobbing]
IT SMELLS ALL DISINFECTANNY.
OH, MY GOD.
[Sybil panting]
AND MY FEET, MY FEET ARE TIED TO THE BROOM HANDLE.
WHY? THEY'RE TIED TO THE BROOM HANDLE.
WHY? SO SHE CAN PULL ME UP
AND PULL ME UP AND TIE ME TO THE LIGHT.
TO THE LIGHT. TO THE LIGHT.
SHE'S GONNA BRING IT. OH, NO. NO, PLEASE.
PLEASE, IT'LL TEAR ME.
IT'LL TEAR ME. OH, GET IT AWAY.
WHAT WILL TEAR? WHAT'S SHE BRINGING, SWEETIE?
[Sybil panting] WHAT'S SHE BRINGING?
[Sybil sobbing]
WHAT IS IT? WHAT WILL TEAR? WHAT IS SHE BRINGING?
THE KNIFE AND THE BUTTONHOOK.
THE KNIVES.
I CAN SEE THEM. I CAN SEE THEM.
OH, PLEASE.
IT'S ALL RIGHT, SWEETIE. IT'S ALL RIGHT.
ONCE WE'RE THROUGH THIS,
YOU'LL BE AT THE BEGINNING OF EVERYTHING GOOD.
BUT WE'VE GOT TO GET THROUGH THIS.
IT'S ALL RIGHT, SWEETIE. IT'S ALL RIGHT.
OH, OH. OH, DEAR LORD.
OH, DEAR LORD. OH, DEAR LORD.
WHEN I GROW UP, I WILL HAVE LOTS AND LOTS OF CHILDREN
AND I WILL BE GOOD TO THEM.
GO AWAY. GO AWAY.
OH, AND I WILL LET THEM DO WHAT THEY WANT TO DO.
AND THEY CAN BRING THE NEIGHBORHOOD CHILDREN OVER TO PLAY.
AND THEY CAN PLAY ALL OVER THE HOUSE
IF THEY WANT TO. I DON'T CARE.
THEY CAN PLAY IN THE SUNROOM.
OH, PLEASE, DON'T DO THIS!
AND THEY CAN RUN IN THE HOUSE IF THEY WANT TO. I DON'T CARE.
AND MY CHILDREN CAN MAKE ANY COLOR CHICKENS THEY WANT TO.
AND I WON'T PUT THEIR HEADS IN THE OVEN AND TURN ON THE GAS.
AND I WON'T BURN THEIR HANDS WITH THE HOT IRON.
AND I WON'T THROW THE SHOE AND HIT THEM IN THE THROAT.
I WON'T HURT THEM WITH THE BUTTONHOOK
AND THE KNIVES AND THE RUBBER TUBES.
AND I WON'T PUT A FLASHLIGHT INSIDE OF THEM
AND SAY, "YOU BETTER GET USED TO IT
"BECAUSE THAT'S WHAT MEN WILL DO WHEN YOU GET OLDER.
"THEY'LL PUT THINGS INSIDE OF YOU, AND THEY WILL HURT YOU."
I DON'T WANNA GROW UP, AND I DON'T WANNA BE LIKE THAT.
NO, NO, NO. NO, NO. NO, PLEASE.
PLEASE PUT ME DOWN.
DON'T TAKE ME IN THERE.
PLEASE. PLEASE.
WHERE IS SHE TAKING YOU, SWEETIE? WHERE IS SHE TAKING YOU?
OH, IT HURTS ME.
AND THE MUSIC, AND BRAHMS AND BEETHOVEN AND BACH AND--AND DVORAK.
DVORAK AND THE NEW WORLD SYMPHONY, AND YOU CAN'T GET AWAY.
AND THEY'RE COMING CLOSER, AND THEY'RE MARCHING.
DON'T YOU LET GO, YOUNG LADY.
YOU HOLD YOUR WATER.
HOLD YOUR WATER TILL THE VERY LAST NOTE.
[ducks quacking]
[birds chirping]
I AM SYBIL.
AND I REMEMBER.
AND I HATE HER.
I HATE HER.
I WANT TO HURT HER.
I WANT TO STOMP ON HER AND TEAR HER APART
AND CUT HER ARMS OFF AND PUT THINGS INSIDE HER
AND KILL HER.
HOW COULD SHE DO THAT TO ME?
OH, GOD.
I HATED HER SO MUCH.
I WANTED HER DEAD.
I STILL DO.
I DO. I WANT HER DEAD.
OH, DR. WILBUR, HELP ME.
HELP ME. THIS SCARES ME.
(Dr. Wilbur) SHE HAD REACHED THE CENTER OF THE MAZE
AND COME OUT WHOLE.
ANGER COULD BE HER FRIEND NOW.
GREEN AND PURPLE WERE ONLY COLORS.
SHE DIDN'T NEED TO FEAR THEM ANYMORE.
YOU CAN REMEMBER WITHOUT PAIN NOW.
WITHOUT PAIN?
NONE OF YOU WILL EVER HAVE TO FEEL THE PAIN AGAIN.
[sighing]
I THINK IT'S TIME YOU MEET THE OTHERS.
(Dr. Wilbur) 1.
2.
3.
FALLING ASLEEP.
4.
DEEPLY, DEEPLY ASLEEP.
5.
NOW, I'D LIKE TO SPEAK TO ALL OF YOU, AND SYBIL CAN LISTEN.
HOW DO YOU ALL FEEL ABOUT MEETING SYBIL?
HMM?
WELL, IS ANYBODY THERE?
VICKY?
(as Vicky) YES.
PEGGY?
(as Peggy) I'M HERE, BUT I DON'T WANNA BE.
HOW ABOUT THE REST OF YOU?
(as Mike) DR. WILBUR,
WE WANNA KNOW, IF WE MEET SYBIL
WILL WE STILL BE ABLE TO GIVE
A BABY TO A GIRL LIKE DADDY DID?
WHO IS THAT?
I'M MIKE, AND SID'S HERE, TOO.
AND WE WANNA KNOW IF WE'LL BE ABLE TO DO THAT LIKE DAD.
WELL, YOU BOYS HAVE A PROBLEM BECAUSE YOU LIVE IN A WOMAN'S BODY.
YOU'RE NOT BUILT LIKE THAT.
WE WILL BE WHEN WE'RE BIG.
WELL, HOW ARE YOU GONNA MANAGE THAT?
WE'LL PUSH IT OUT.
WELL, I THINK THAT'S EASIER SAID THAN DONE.
WELL, YOU CAN HELP.
MIKE, CAN WE SET THIS PROBLEM ASIDE,
SWEETIE, UNTIL YOU ALL MEET SYBIL?
'CAUSE WHAT SHE NEEDS RIGHT NOW IS TO KNOW ALL OF YOU
AND TO UNDERSTAND HOW MUCH YOU'VE ALL BEEN HELPING HER
AND HOW MUCH MORE YOU CAN HELP HER
WHEN YOU ALL JOIN HANDS TOGETHER.
(as Mike) ALL FOR ONE AND ONE FOR ALL?
(Dr. Wilbur) MMM-HMM.
WILL YOU STILL LIKE US THEN?
I'LL LOVE YOU.
WOULD YOU PUT YOUR ARM AROUND US?
(Dr. Wilbur) SYBIL, ARE YOU READY?
(Sybil) YOU'RE THE DOCTOR.
(Dr. Wilbur) WHO WOULD YOU LIKE TO MEET FIRST?
WELL, I'VE ALWAYS WANTED TO MEET VICKY.
(Dr. Wilbur) ALL RIGHT.
VICKY. VICKY COME ON OUT, SWEETIE.
**[voice humming]
BONJOUR.
(Dr. Wilbur) VICKY, HERE'S SYBIL.
(Sybil) LOOK, SHE HAS HER ARMS OUT TO ME.
SHE'S SMILING.
LOOK HOW PRETTY HER HAIR IS.
DOES SHE WANNA BE FRIENDS?
VICKY, DO YOU WANNA BE FRIENDS WITH SYBIL?
(as Vicky) UH-HUH.
YOU THINK YOU'D LIKE TO HAVE VICKY WITH YOU ALWAYS?
YES.
I'VE ALWAYS NEEDED SOMEONE LIKE VICKY.
YOU WENT ON AHEAD FOR ME.
WHENEVER I DIDN'T HAVE THE STRENGTH TO DO SOMETHING,
YOU'D GO ON AND DO IT FOR ME.
I LIKE HER, DR. WILBUR.
YES, SHE'S A PART OF YOU THAT'S VERY STEADY
AND VERY LIKEABLE.
WILL SHE BE WITH ME ALWAYS? MMM-HMM.
VICKY WILL BE WITH YOU ALWAYS.
YOU AND SHE HAVE JOINED HANDS.
LET'S DON'T SAY ANYTHING TO SPOIL IT.
IT'S SO NICE LIKE THIS.
IT'S SO NICE TO HAVE A FRIEND.
AND SHE CAME RIGHT TO ME.
THE OTHERS WILL COME TO YOU.
(Dr. Wilbur) NOW THE OTHERS ARE RIGHT HERE,
AND THEY WILL COME TO YOU ALSO.
HERE'S MARCIA, DEAR.
COME, GIRLS. CLARA, HELEN, MARGIE.
AND THIS IS VANESSA, WHO KEPT YOUR MUSIC FOR YOU.
SID, MIKE, HOP OUT, BOYS.
NANCY.
NANCY KEPT WAITING FOR THE END OF THE WORLD
AND SHE'S THE ONE WHO DREADED ARMAGEDDON.
AND MARY,
THE MEMORY OF GRANDMA.
SYBIL ANN.
SYBIL ANN, DON'T BE SHY, SWEETIE.
HERE'S SYBIL.
COME ON, PEGGY.
I'M AFRAID TO MEET PEGGY RIGHT NOW.
(Dr. Wilbur) SHE'S AFRAID OF SCARING YOU.
SHE DIDN'T MEAN TO BREAK THE WINDOWS.
SHE GOT IT CONFUSED WITH SOMETHING ELSE,
WITH GETTING OUT OF THE KITCHEN.
HOW DO YOU KNOW THAT?
SHE'S SPEAKING TO YOU, ISN'T SHE?
WHERE IS SHE? IS SHE THERE?
(Dr. Wilbur) OF COURSE.
PEGGY.
OH, COME NOW, PEGGY. DON'T BE SILLY.
I DON'T THINK I'M READY YET.
DR. WILBUR?
IT'S ALL RIGHT, SWEETIE. I'M STILL HERE.
IS THAT ALL SHE IS?
JUST THAT LITTLE THING?
I'M NOT A LITTLE THING. I'M A PERSON.
(Sybil) I'M SORRY.
YOU DON'T BE AFRAID OF ME, AND I WONT' BE AFRAID OF YOU.
WHAT HAVE YOU GOT BEHIND YOUR BACK, PEGGY?
HAVEN'T YOU GOT ANY HANDS?
I GOT FISTS.
OH, MY.
LOOK AT THOSE KNUCKLES.
THEY'RE SO WHITE.
[crying]
IT'S ALL RIGHT, SWEETIE.
[sobbing]
(Sybil) IT'S ALL RIGHT.
(Dr. Wilbur) IN ACCEPTING PEGGY INTO HER ARMS,
SYBIL BEGAN THE DEEPEST HEALING OF HER SELVES.
IN EMBRACING PEGGY, SHE EMBRACED HERSELF.
IN CALMING HER, SHE WAS CALMING HER OWN HEART.
AS I WATCHED HER BECOMING MOTHER TO HERSELF
I FELT MY OWN LONG MOTHERHOOD ENDING.
I RELEASED WHAT I HAD HELD SO LONG.
I CELEBRATED THE BEGINNING OF HER EMANCIPATION.
I LET GO.
OUR WORK TOGETHER LASTED 11 YEARS.
TODAY SYBIL LIVES PEACEFULLY IN A SMALL COLLEGE TOWN
WHERE SHE'S A PROFESSOR OF ART.
THERE'S NOT ENOUGH TIME IN THE DAY
FOR HER TO DO EVERYTHING SHE WANTS
BUT THAT TIME, IN EVERY SENSE, IS HER OWN.
SHE TELLS ME SHE'S HAPPY.
I KNOW SHE'S FREE.
* COLORS OF DREAMS *
* RIBBONS OF RHYME *
* COME OUT, COME OUT *
* WHEREVER YOU ARE *
* WILLOWS AND WINDS *
* THAT WHISPER WORDS *
* OF A SPRING SO NEAR *
* A SUMMER SO FAR *
* MIRROR, MIRROR *
* IN MY MIND *
* THERE'S SO MUCH TO SEE *
* WALKING THROUGH *
* YOUR SILVER ROOMS *
* I REMEMBER *
* ME **