PREVIOUSLY ON THE L WORD...
THE HORSE RACES WILL BLOW YOUR MIND.
[LAUGHS]
100,000 ON IN THE PINK.
I THOUGHT IT WAS A SURE THING.
HI, SHANE.
HEY, JARED.
DO YOU MISS SHAY?
YEAH, I DO.
I'M HERE TO BACK UP MEGAN REED.
WHAT DO YOU MEAN?
I KNOW FOR A FACT
THAT MITCH DOESN'T SUPPORT WOMEN.
WELL, HOW DO YOU KNOW THAT?
BECAUSE HE DID IT TO ME.
PRIVATE BROWN.
WHAT ARE YOU DOING HERE?
I WAS JUST GOING TO SAY THE SAME THING TO YOU.
[ALICE]: HE DIDN'T SEE ANYTHING.
WE WEREN'T EVEN TOUCHING.
HE'S A BORN-AGAIN HOMOPHOBE
WHO THINKS HE SHOULD HAVE MY JOB.
IT'S A STRUGGLE TO TRY TO DO SOMETHING
THAT YOU REALLY BELIEVE IN--
ALL THESE FUCKING HOLLYWOOD SUITS
TRYING TO PIGEONHOLE YOU.
PRESENT HOLLYWOOD COMPANY EXCLUDED.
ALTHOUGH YOU WOULD LOOK
REALLY HOT IN A SUIT.
I THINK WE FOUND OUR DIRECTOR.
[VOICE BREAKING]: I WANT TO BE IN A RELATIONSHIP
WITH SOMEONE WHO WORKS WITH ME.
YOU WANT TO BE IN A RELATIONSHIP
WITH SOMEONE
WHO WORKS FOR YOU.
[KIT MOANING SOFTLY]
* BRING IT BACK TO THE MIDDLE AND AROUND AGAIN *
* WHIP IT UP SHAKE IT DOWN *
* SLIDE IT BACK ON IN ALL RIGHT *
[MOANING]
* OH, RIGHT
* KNOCKIN' ON HARD WOOD LIKE I KNOW YOU SHOULD *
* YOU'LL BE SHAKIN' ON THE KITCHEN FLOOR *
* COOKIN' UP YOUR TV DINNER SUNDAY AFTERNOON SINNER *
* TURN IT OFF, TURN IT OFF SWITCH IT ON *
* CAN I GET AN ANGEL UP IN HERE... *
OH...
NO. NO. NO, NO, NO.
JUST STOP.
JUST...
FUCK.
LISTEN, YOU KNOW--
THIS HAS NEVER HAPPENED TO ME
BEFORE, KIT.
YOU ARE THE SEXIEST,
HOTTEST, BADDEST
MOTHERFUCKIN' HOT, SEXY BITCH.
THEN WHAT?
[SIGHING]
I GUESS...
I GUESS I'M NOT A LESBIAN.
[**]
* GIRLS IN TIGHT DRESSES WHO DRAG WITH MUSTACHES *
* CHICKS DRIVING FAST INGENUES WITH LONG LASHES *
* WOMEN WHO LONG, LOVE, LUST WOMEN WHO GIVE *
* THIS IS THE WAY IT'S THE WAY THAT WE LIVE *
* TALKING, LAUGHING LOVING, BREATHING *
* FIGHTING, FUCKING CRYING, DRINKING *
* WRITING, WINNING LOSING, CHEATING *
* KISSING, THINKING, DREAMING
* THIS IS THE WAY...
* IT'S THE WAY THAT WE LIVE *
* IT'S THE WAY THAT WE LIVE
* AND LOVE
OKAY, SLOW DOWN, SLOW DOWN.
HERE. PARK HERE.
OKAY. SHH--
SLOW DOWN.
ALL RIGHT.
SHIT.
[SHUTS MOTOR OFF]
WELL, I DID GET UP UNTIL...
THERE YOU GO.
YOU GOT IT? OKAY.
ALL RIGHT. PRETTY GOOD, RIGHT?
PRETTY GOOD?
[INDIFFERENTLY]: YEAH.
COME ON.
[LAUGHING]
I DIDN'T KILL YOU.
YEAH. SHIT.
THIS TIME.
OKAY, LISTEN, I HAVE A REALLY GREAT IDEA
THAT I-- WELL, I WANTED TO SURPRISE YOU,
BUT I'M KIND OF TOO EXCITED.
I WANT TO TAKE YOU TO MEXICO.
MM...
I DO, BECAUSE I THINK IT'D BE REALLY FUN,
BECAUSE THERE'S THIS GREAT SPA,
AND IT'S ON THE BEACH,
AND-- AND WE COULD RENT MOTORCYCLES...
AH, THAT SOUNDS...
REALLY EXPENSIVE, ALICE.
DON'T WORRY ABOUT THE MONEY.
YOU'VE GOT YOURSELF A DADDY.
[BOTH LAUGHING]
WHAT DO YOU THINK?
LIKE THE FIRST OF MAY, WHEN MY WEBSITE'S DONE.
WOW. FIRST OF MAY?
THAT'S FAST.
OH, YOU'RE TOO FANCY, NOW.
MAX IS FAST.
I WISH I HAD HIM FULL-TIME.
WHAT DO YOU THINK?
[SQUEALING]
ALICE, WATCH IT!
[SHOUTING]
[GUNFIRE]
FUCK YOU!
FUCK YOU, DYKE.
[TIRES SQUEALING, ALICE SHOUTING]
FUCK, MY HAND.
TASH, YOU OKAY?
HEY. ARE YOU OKAY?
YEAH, I'M-- SHIT, I'M SORRY, COME ON.
ARE YOU OKAY?
OW. OW, MY HAND, MY HAND.
[SIGHING]
OH, GIRL. YOU OKAY?
YEAH, GIRL. GET SOMETHING, OKAY?
ALL RIGHT.
WHOA.
HAVE YOU READ THIS?
BETTE IS GOING TO BE PISSED.
FUCK BETTE.
SHE CAN KISS MY BLACK ASS.
ARE YOU--
ARE YOU INVOLVED WITH HER?
WHY IS EVERYBODY IN MY BUSINESS?
I DON'T KNOW WHAT YOU'RE DOING, KIT.
YOU'RE SO NOT A LESBIAN.
WHAT THE FUCK DO YOU KNOW?
HMM?
I KNOW THAT YOU'RE DRINKING,
AND I KNOW THAT IF SHE CARED HALF AS MUCH ABOUT YOU AS I DO
THAT SHE WOULDN'T LET YOU.
YOU KNOW, YOU SHOULD HAVE THOUGHT ABOUT THAT
BEFORE YOU HAD THE NANNY'S LIPS WRAPPED AROUND YOUR DICK.
[PILLS RATTLES]
[MURMURING AND LAUGHING SOFTLY]
[GIGGLING]
IS IT TRUE
THAT ONE OF THE CHARACTERS IN THIS BOOK
IS BASED ON YOU?
WHO TOLD YOU THAT?
EVERYONE'S TALKING ABOUT IT ON CAMPUS.
IT'S A CAUSE CELEBRE.
LET'S SEE.
"THE SEXUALLY PREDATORY,
EMOTIONALLY ABUSIVE BEV," THAT'S YOU,
"WHO USES HER PROFESSIONAL STATURE
TO BED EVERY GIRL AND WOMAN WHO CROSSES HER PATH"?
I HAVEN'T EVEN READ THE FUCKING THING,
BUT I CAN'T IMAGINE
THAT IT HAS ANYTHING TO DO WITH ME.
DID THIS UPSET JODI?
IS THAT WHY SHE'S LEAVING?
WHO SAID JODI'S LEAVING?
IT SAYS IT IN THE MEMO THIS MORNING.
SHE'S BEEN...
CHOSEN TO CREATE A NEW SCULPTURE
AT THE FOREST REFUGE ART CENTER
IN MOUNTAINVILLE, NEW YORK,
THIS MARCH.
I DON'T KNOW ANYTHING ABOUT IT.
DOES THIS MEAN
SHE'S NOT FINISHING OUT THE SEMESTER?
YOU TELL ME.
WELL, IF THAT'S WHAT SHE WANTS.
I MEAN, I GUESS WE SHOULD JUST LET HER GO
IF SHE'S NOT HAPPY HERE.
"ORIGAMI WITH STEEL."
THAT'S A NICE WAY TO DESCRIBE HER WORK.
FOREST REFUGE ART CENTER-- IT'S A BIG DEAL.
I'M SURE SHE FEELS VERY HONORED.
PLEASE DON'T TELL ME YOU'RE SPLITTING UP.
REMEMBER WHEN YOU CAME TO MY HOUSE,
AND THE TWO OF YOU WERE SO MUCH IN LOVE--
PHYLLIS...YOU TAUGHT ME SO MUCH ABOUT LOVE.
PHYLLIS.PLEASE DON'T TELL ME YOU'RE SPLITTING UP.
I WOULD RATHER NOT TALK ABOUT IT.
OKAY?
[KNOCKING AT DOOR]
I HAVE ELI BROAD'S OFFICE ON LINE ONE FOR YOU.
[SIGHS]
WELL, I JUST CAN'T WAIT TO FIND OUT WHAT HAPPENS
WITH BEV AND THE PLUMBER.
[SIGHS]
JAMES.
YEAH?
CAN YOU GET ME A COPY
OF THAT FUCKING BOOK, ASAP?
YEAH, AND MAKE SURE
YOU GET A COMP COPY.
I DON'T WANT TO HAVE TO PAY FOR IT.
THESE NUMBERS ARE PROJECTED
FOR THE FOURTH QUARTER.
REALISTIC NUMBERS.
ALL RIGHT, TIME TO GET STARTED, PEOPLE.
LET'S BEGIN WITH AN UPDATE ON SPACE GATE.
THE NEXT STEP OF THE SPACE GATE PROJECT
IS THE STABILIZER MODULE...
FOR THE NEOVECTOR COMMUNICATION SATELLITE.
OUR PROJECT GOAL
IS TO INCREASE THE MEAN ORBITAL ALTITUDE
BY 18%
AND THE ORBITAL VELOCITY BY 20%.
SWEENEY. WE'RE ALSO--
YOU'RE NOT ON THE ACCOUNT ANYMORE.
WHAT ARE YOU TALKING ABOUT?
WE HAD TO REPLACE YOU.
MEGAN TOOK OVER.
I'VE BEEN ON SPACE GATE FOR NINE MONTHS.
BRANDON STOPPARD AND I HAVE
A GREAT WORKING RELATIONSHIP.
YOU WENT ON A VACATION
DURING A CRITICAL TIME FOR THEM.
THEY HAD A CRISIS WHILE YOU WERE AWAY.
IT WAS A NEAR DISASTER.
I WENT TO MY MOTHER'S FUNERAL.
BRANDON WAS REALLY HAPPY
WITH THE WAY MEGAN SAVED THE DAY.
HE ASKED
THAT SHE TAKE OVER THE ACCOUNT.
IT WAS THE CLIENT'S REQUEST.
[EXHALES]
EXCUSE ME.
WHERE THE HELL DO YOU--
LEAVE IT BE.
MEGAN.
[**]
[KNOCKING AT DOOR]
COME IN.
YOU WANTED TO SEE ME, SIR?
CLOSE THE DOOR.
I WANT YOU TO KNOW THAT CERTAIN THINGS
HAVE COME TO MY ATTENTION.
THINGS THAT COULD HAVE
VERY SERIOUS CONSEQUENCES FOR YOU.
NOW, YOUR LIFESTYLE IS YOUR LIFESTYLE,
BUT I DON'T WANT TO SEE IT OR HEAR ABOUT IT EVER AGAIN.
AM I CLEAR ON THAT?
VERY CLEAR, SIR.
OTHER SOLDIERS LOOK UP TO YOU, WILLIAMS,
AND THEY DON'T NEED TO SEE IT
OR HEAR ABOUT IT EITHER.
I UNDERSTAND, SIR.
I'M NOT GOING TO SUBMIT YOU FOR REVIEW.
HOPEFULLY NO ONE ELSE WILL EITHER,
BUT YOU NEED TO BE MORE CAREFUL.
THIS HAPPENS AGAIN, I WILL BE FORCED TO TAKE ACTION.
YES, SIR.
DISMISSED.
HEY, ALICE. IT'S MAX.
HEY, MAX.
LISTEN, WHAT DO YOU THINK YOU COULD AFFORD TO PAY ME
IF I WORKED FOR YOU FULL-TIME?
WELL, I DON'T KNOW, MAX.
I MEAN, YOU MADE THE BUSINESS PLAN,
SO YOU TELL ME.
YEAH, I CAN MANAGE.
YOU KNOW, I DON'T NEED TO MAKE A LOT OF MONEY.
I JUST...
I NEED TO LIVE A DECENT LIFE.
IT'S VERY EXCITING.
I MEAN, I WAS JUST
TELLING TASHA THIS MORNING
THAT I WISHED THAT I HAD YOU.
YEAH, WE'LL GET TOGETHER,
WE'LL-- WE'LL WORK IT ALL OUT.
HEY, HEY, HEY.
HEY!
OKAY, I'VE GOT TO GO. GOOD LUCK.
I THOUGHT YOU TOTALLY DITCHED US.
I NEED YOUR HELP.
OKAY, DO YOU THINK THAT THIS WATCH HERE
IS TOO, LIKE, FEMMY
FOR TASHA?
YEAH.
YOU DO? MM-HMM.
THOUGHT SO. FUCK.
WHICH ONE DO YOU LIKE?
WHAT, OUT OF THOSE?
YEAH. GIRLS?
UH, THIS ONE.
WHAT DO YOU THINK?
I CAN'T DECIDE.
HOW MUCH ARE THEY?
I THINK YOU SHOULD UNDERWRITE
A THIRD WORLD COUNTRY INSTEAD.
WELL, CATHERINE'S BUYING THEM.
SHE'S GIVEN ME HER CREDIT CARD.
WE HAVE SOME EVENT
OR SOMETHING TO GO TO NEXT WEEK
WHEN SHE GETS BACK.
AND WHERE IS SHE NOW?
SHE'S IN GENEVA.
OH. GENEVA.
MM.
AND ALICE, I...
I AM GOING TO INVEST IN OURCHART
JUST AS SOON AS I WIN BACK THE MONEY
THAT I LOST AT THE RACES.
HELENA, DON'T WORRY.
I REALLY DON'T EXPECT YOU TO, LIKE--
I WANT TO. OKAY?
I'VE LEARNED MY LESSON NOW.
I SHOULD NEVER HAVE RISKED MY MONEY
AT THE HORSE RACES LIKE THAT.
IT WAS STUPID.
WAIT, WAIT. I'M SORRY.
DID CATHERINE TELL YOU THAT?
YEAH, BUT SHE'S RIGHT.
OH, PLEASE!
IT WAS HER TIP ON THE HORSE.
YEAH, BUT I'M THE ONE WHO SHOULD HAVE KNOWN BETTER.
OH, PLEASE! THAT IS A SET-UP.
NO, IT'S NOT! DO YOU BELIEVE HER?
THAT IS A SET-UP.
LOOK, SHE'S JUST TRYING TO HELP ME
LEARN TO STAND ON MY OWN TWO FEET.
THAT'S ALL SHE'S DOING.
NO, SHE'S NOT. REALLY?
YOUR TINY LITTLE FEET?
[SIGHING]
SHE IS. I DON'T KNOW.
SHANE?
YEAH?
WHAT ARE YOU DOING?
NOTHING.
I'M JUST...TAKING A LOOK.
WHO IS THAT FOR?
WHAT, THIS? YEAH.
IS IT FOR PAIGE?
I DON'T KNOW, NANCY DREW.
FIGURE IT OUT.
SHANE, YOU'RE--
NO... ARE YOU SEEING SOMEONE ELSE?
JESUS CHRIST! THE HARDY GIRLS.
FIGURE IT OUT.
ARE YOU UP TO YOUR OLD TRICKS?
OH, MY--
I FEEL VERY COMFORTED BY THAT SOMEHOW.
I DON'T KNOW WHY.
[CELL PHONE RINGS] OKAY, I'M ON TO YOU.
THIS PURSE THING.
CATHERINE.
WHAT TIME IS IT THERE?
BIRDIE LAMB?
NO, I DON'T THINK I DO KNOW HER.
THAT'S ALL VERY WELL, BUT WHERE AM I SUPPOSED--
OKAY, I'LL SEE IF THEY HAVE A ROOM FOR ME.
YES.
YES. OKAY.
WELL, I'LL GET--
I'LL GET OVER THERE RIGHT NOW.
MORE TOUGH LOVE?
YEAH, UM,
HER FRIEND, BIRDIE LAMB,
GETS INTO TOWN THIS AFTERNOON,
AND SHE SAID
THAT SHE CAN HAVE HER HOTEL SUITE.
WHERE ARE YOU GOING TO STAY?
WHY DON'T YOU COME STAY BACK WITH ME?
NO, ALICE, I CAN'T.
YOU'RE TOTALLY WELCOME.
ALICE, IT'S FINE, ALL RIGHT?
I DON'T WANT TO GET
IN YOURS AND TASHA'S WAY.
I...
YOU KNOW, I SHOULD GET BACK THERE.
I'VE GOT TO GET MY STUFF OUT.
WE DON'T WANT BIRDIE TO FEEL GUILTY
JUST BECAUSE SHE'S PUTTING ME OUT IN THE STREET.
YOU KNOW WHAT? I'M GOING TO GET BOTH OF THESE.
OH, AND SHE'LL TAKE THE UGLY PURSE.
OH, AND SHE'S GOING TO TAKE THAT UGLY WATCH.
AND WHY DON'T WE PUT IT ALL ON CATHERINE'S CARD, EH?
EGOBOOST HAS A MARKET EXPANSION STRATEGY
THAT THEY'RE RELYING ON US TO HELP THEM IMPLEMENT.
THE TECHNOLOGY COMPONENT IS IN THE EARLY STAGES,
AND WE'RE JUST AWAITING APPROVAL
ON THE FINAL PLANS.
WHAT NEXT WE'RE GOING TO
MOVE INTO IS THE...
SORRY TO INTERRUPT.
I JUST CAME TO SAY GOODBYE.
IT'S GOOD KNOWING YOU.
I'VE REALLY ENJOYED BEING YOUR COLLEAGUE.
I'VE LEARNED A LOT FROM YOU.
THANK YOU
FOR EVERYTHING YOU'VE TAUGHT ME.
I WISH YOU CONTINUED SUCCESS.
GIVE MY BEST TO YOUR WIFE AND YOUR KID.
PHYLLIS.
LEONARD. WHAT ARE YOU DOING HERE?
WELL, I JUST WANTED TO CONGRATULATE YOU.
CONGRATULATE ME ON WHAT?
ONCE AGAIN,
YOU HAVE TAKEN THE OLD
CONVENTIONAL HETEROSEXUAL PARADIGM
AND TURNED IT ON ITS EAR.
PARADIGM?
I MEAN, CONVENTIONALLY, I AM SUPPOSED TO BE THE ONE
WHO HAS THE MID-LIFE CRISIS, GOES OFF, AND FINDS
A SASSY LITTLE GIRL HALF MY AGE.
ALICE IS NOT HALF MY AGE.
[CHORTLING]
OKAY, LOOK.
YOU KNOW, THE AFFAIR'S OVER,
YOU HAD YOUR LITTLE FLING
WITH YOUR CREAM-PUFF,
NOW I JUST WANT TO TELL YOU
THAT I FORGIVE YOU AND I'LL TAKE YOU BACK.
LEONARD,
I THINK YOU'RE FORGETTING ONE SMALL POINT.
ONE LITTLE PIECE OF--
NO, I'M NOT FORGETTING ANYTHING, PHYLLIS.
I WAS THERE, I SAW THOSE GIRLS.
YOU'RE NOTHING LIKE THEM.
WHAT DO YOU MEAN, "NOT LIKE THEM"?
I MEAN, I HONESTLY DON'T THINK YOU'RE A LESBIAN.
REALLY?
I DON'T THINK
YOU KNOW WHAT THE FUCK YOU'RE TALKING ABOUT.
AND STOP PSYCHOANALYZING ME.
I'M NOT PSYCHOANALYZING YOU.
YES, YOU ARE.
NO, I'M NOT. THAT'S BULLSHIT.
BUT LET'S GET REAL HERE, ALL RIGHT?
MAYBE YOU HAVE SOME, UH...
SOME LESBIAN TENDENCIES OR WHATEVER,
BUT IT'S NOT YOUR COLLEGE DAYS ANYMORE--
WHAT IS A LESBIAN TENDENCY?
CAN YOU EXPLAIN THAT TO ME?
WELL, YOU KNOW,
EVERY TIME WE'VE SEEN A MOVIE IN THE LAST 20 YEARS--
"OH, I LOVE SALMA HAYEK.
YOU KNOW, SHE REALLY TURNS ME ON."
WHERE DID YOU GET THAT CRAP?
THAT'S WHAT YOU TELL ME.
I NEVER TOLD YOU--
OKAY, OKAY, NOW, JUST...
LET'S GET REAL HERE FOR A MINUTE NOW.
IT'S A LITTLE LATE IN THE GAME FOR YOU, PHYLLIS.
YOU'RE 58 YEARS OLD--
I AM NOT 58.
I'M 56!
LOOK AT YOUR DRIVER'S LICENSE--
WELL, YOU LOOK IN THE MIRROR.
I AM A MAN!
SO WHAT?
LOOK...
NOBODY IS GOING TO BE AS GOOD FOR YOU
AS I AM.
NOW THAT IS A FACT OF LIFE.
YOU REALLY WANT TO TAKE ALL OF OUR LIFE TOGETHER
AND JUST THROW IT IN THE TOILET?
YES. I DO, LEONARD.
PHYLLIS, COME ON.
I WANT TO THROW IT IN THE TOILET.
I WANT TO THROW YOU IN THE TOILET RIGHT NOW.
BUT DO YOU THINK THAT YOU'RE ACTUALLY
GOING TO GET ME TO COME BACK TO YOU
BY INSULTING ME AND EXALTING YOURSELF?
I DON'T CARE
IF I NEVER HAD A LOVER FOR THE REST OF MY LIFE.
MY LIFE IS GOING TO BE SO WONDERFUL
BECAUSE I KNOW WHO I AM
AND I'M BEING HONEST WITH MYSELF.
DON'T YOU GET IT?
IT HAS NOTHING TO DO WITH YOU.
YOU, WITH YOUR MALE EGO, STOMPING AROUND HERE.
WHAT IS THE--
LOOK, YOU'RE JUST SO THREATENED BY IT.
[KNOCK ON DOOR] OKAY--
EXCUSE ME, CHANCELLOR KROLL.
THE SELECTION COMMITTEE IS HERE.
OH, YES. YES, THANK YOU.
I'LL BE RIGHT WITH YOU.
YOU'RE LEAVING ME NO CHOICE.
OH.
WHAT DO YOU MEAN, "NO CHOICE"?
HI. HAVE A SEAT.
I HAVE TO CATCH UP WITH MY EXPENSE REIMBURSEMENTS.
DO I HAVE ANYTHING AFTER THE THESIS REVIEWS?
UH, YOU HAVE A CONFERENCE CALL
WITH CHANCELLOR KROLL AND ELI BROAD
ABOUT THE MEDIA LAB BUILDING.
OH, SHIT! I'M SO NOT PREPARED FOR THAT.
DO YOU WANT TO RESCHEDULE?
NO, YOU DON'T RESCHEDULE ELI BROAD.
[KNOCK ON DOOR]
ATTENDANCE
IS GOING TO SKYROCKET.
ALTHOUGH WE MIGHT LOSE
A FEW CHRISTIAN FOLK ALONG THE WAY.
LEZ GIRLS-- WAY TO GO, "BEV".
SO FUCKING UNACCEPTABLE.
IT'S UNACCEPTABLE.
[SIGHING]
HELLO?
TINA. HI, BETTE.
I'M SITTING HERE WITH JENNY'S LITTLE FUCKING TOME,
WONDERING WHY YOU DIDN'T GIVE ME A HEADS-UP.
WELL, YOU KNOW WHAT?
IT DIDN'T EVEN OCCUR TO ME TO TALK ABOUT IT.
I DON'T KNOW.
YOU'RE THE ONE THAT SAID-- YOU SAID IT WAS FLUFF, REMEMBER?
YOU SAID IT WAS FRIVOLOUS ENTERTAINMENT.
WELL, I HADN'T READ THE WHOLE BOOK.
LOOK, LOOK, IT'S NOT YOU.
IT'S A CHARACTER.
ALL IT IS IS A CHARACTER.
IT'S NOT YOU.
YOU'RE PERSONALIZING IT WAY TOO MUCH.
NO, NO--
LOOK, NO, YOU'RE NOT NARCISSISTIC.
IF ANYTHING, YOU'RE JUST A LITTLE BIT OF A CONTROL FREAK,
BUT YOU KNOW WHAT?
IT'S ENDEARING. IT'S ENDEARING.
EVERYBODY--
YOU KNOW WHAT? I HAVE TO GO.
I'M HAVING LUNCH WITH MY DIRECTOR.
OH, YOU MEAN KATE ARDEN?
YOU'RE HAVING LUNCH WITH KATE ARDEN?
ENJOY YOURSELF.
TWO PELLEGRINOS, ACTUALLY, OVER AT THAT TABLE.
THANKS.
HI.
SUIT.
NICE.
THANKS.
[CHUCKLES]
HEY. LARRY KENNAR.
OH, SORRY.
THAT'S MY MANAGER.
HEARD A LOT OF GREAT THINGS ABOUT YOU
FROM KATE.
SO HOW'S IT GOING WITH JENNY?
I CAN'T WAIT TO TAKE A LOOK AT THE SCRIPT.
UM...
IT'S-- IT'S-- IT'S ALL RIGHT.
YOU KNOW, IT'S, UH...
LIKE, JUST...
[SIGHING]: A LITTLE CHALLENGING AT TIMES.
LOOK, HERE'S THE DEAL, OKAY?
KATE'S DOING ALL THE WORK,
AND, YOU KNOW,
THIS WRITER'S COMPLETELY INCOMPETENT,
I GOT TO TELL YOU.
ABSOLUTELY NOTHING AGAINST JENNY.
SHE'S A GREAT NOVELIST,
SHE'S JUST REALLY NOT A SCREENWRITER YET.
SHE DOESN'T THINK VISUALLY.
SHE DOESN'T KNOW STRUCTURE,
ALL OF HER CHARACTERS SPEAK THEIR SUBTEXT,
AND SHE WRITES PAGE AFTER PAGE OF DESCRIPTION
THAT JUST HAS NOTHING
TO DO WITH MOVING THE STORY FORWARD.
SO YOU'VE READ IT.
OH, YEAH.
YOU SLIPPED HIM THE PAGES?
CAN YOU SLIP ME THE PAGES?
I'D LIKE TO TAKE A LOOK AT IT.
WELL, YOU KNOW, KATE DID WRITE THE SCREENPLAY
FOR PANDORA'S FLIGHT. LARRY.
I'M NOT ANGLING TO WRITE THIS.
LOOK-- I'M TALKING!
THAT'S NOT MY AGENDA.
SHE'S BEING SHY, BUT HERE'S THE DEAL.
YOU KNOW WHAT?
WHETHER SHE'S ANGLING FOR IT OR NOT,
JENNIFER SCHECTER
IS A COMPLETE WASTE OF HER TIME.
KATE'S GOT TOO MANY PROJECTS
TO MESS AROUND WITH THIS, YOU KNOW?
YOU'VE GOT TO GET RID OF HER.
OKAY, WHOA, WHOA, WHOA.
I GET WHAT YOU'RE SAYING, ALL RIGHT?
LOOK, SHE'S A FRIEND OF MINE, ALL RIGHT,
AND SHE OWNS THE RIGHTS TO THIS.
THIS IS HER STORY.
IT'S VERY PERSONAL TO HER.
I LIKE JENNY.
YEAH, WELL, I THINK JENNY LIKES YOU, TOO.
I JUST THINK THE MOST IMPORTANT THING
IS THAT WE GO INTO THIS MEETING
WITH A REALLY STRONG WORKING SCRIPT.
YEAH, I REALLY BELIEVE IN THIS.
I'M NOT GIVING UP ON THIS OR ANYTHING.
AND I LOVE WORKING WITH YOU.
YOU KNOW, I THINK WE COULD DO, UH,
GREAT THINGS TOGETHER.
AT THIS MIDPOINT OF MY PROJECT,
I'M FINDING THAT I'M RETHINKING
MY CORE CONCEPT.
I'M STILL EXPLORING LANDSCAPE, BUT--
[DOOR OPENS]
I FOUND MYSELF
MORE DRAWN TO PAINTING.
ISN'T THE MIDPOINT A LITTLE LATE
TO BE RETHINKING YOUR CORE CONCEPT?
THIS IS A SCULPTURE STUDIO.
[TOM]: THIS IS AN ART SCHOOL.
THERE'S VALUE
IN A STUDENT DISCOVERING SOMETHING
HE WASN'T EXPECTING,
AND THERE'S ALSO VALUE IN EVERYONE ELSE
LISTENING TO HIS PROCESS.
THIS IS A SCULPTURE STUDIO,
AND THIS IS A PAINTING THESIS.
I'D HAVE TO SAY THAT I AGREE.
I THINK IT WOULD BE IRRESPONSIBLE
FOR YOU TO GO FORWARD WITH THIS THESIS.
YOU'RE GOING TO NEED TO FIND
A SCULPTURAL INTERPRETATION,
ESPECIALLY SINCE YOUR ADVISOR
MIGHT BE LEAVING MID-SEMESTER.
[SIGHS]
I CAN TRY TO TAKE IT INTO THREE DIMENSIONS.
IT JUST FELT LIKE AN ARTIFICE.
YOU KNOW?
YOU'RE NOT GOING TO PASS
THE SCULPTURE REVIEW BOARD
WITH A PAINTING.
I DON'T HAVE TIME TO DO IT OVER.
I'VE GOT, LIKE, A HALF A SEMESTER LEFT
TO DO THIS?
COME ON, LOOK WHAT I DID.
LOOK AT ALL THIS.
[DOORBELL CHIMES]
HI.
HOW ARE YOU? HI, MY FRIEND.
GOOD TO SEE YOU.
I GOT IT...
I HAVE SOMETHING FOR YOU.
IT'S A DAY EARLY, BUT, UH,
I DON'T WANT YOU TO BE MAD.
I KNOW IT'S NOT HIS BIRTHDAY,
BUT I KNOW HE WANTS IT, SO...
THIS IS FOR YOU.
THANK YOU.
OH, THAT'S SO SWEET.
AH, WELL, IT'S JUST A LITTLE SOMETHING.
YOU LOOK GOOD.
THANK YOU.
SO DO YOU...
AS ALWAYS.
EL PANDA! AWESOME!
AND IT'S THE SWEET-AND-SOUR EDITION,
AND THERE'S ONLY A HUNDRED MADE, SO...
YOU'RE ONE OF THE LUCKY HUNDRED.
COOL!
HE IS UGLY.
SEE, THIS HAS THE WHOLE HISTORY,
RIGHT HERE.
LOOK AT THAT.
"DESPITE NOT SPEAKING THE LANGUAGE
"AND ASSERTING THAT CHOP SUEY,
IS A TRADITIONAL DISH OF MAINLAND CHINA--"
[SHANE AND JARED]: "EL PANDA BELIEVES
"HE IS CHINESE.
HIS DISTORTED INTERPRETATION..."
[MUTTERING TO SELF]: IT'S NOT A BIRTHDAY PRESENT OR ANYTHING,
BECAUSE TOMORROW'S NOT HIS BIRTHDAY.
HEY, PAIGE,
I WAS HOPING I COULD PICK HIM UP TOMORROW
AND TAKE HIM
TO THE THIRD STREET PROMENADE,
BECAUSE THEY HAVE THIS NEW COLLECTION
OF THESE THINGS CALLED SUBSERVIENT CHICKENS.
THEY'RE SO COOL. YOU LIKE THEM, RIGHT?
YES. THAT'S WHAT I THOUGHT.
AND I WANT TO SHOW IT TO HIM, IF YOU DON'T MIND.
WELL, YEAH, SURE,
JUST AS LONG AS YOU DROP HIM AT HIS VIOLIN LESSON.
WHAT DO YOU THINK? VIOLIN AND CHICKENS?
OKAY.
DOES HIS HEAD MOVE?
[JARED]: YEAH, MM-HMM. IT DOES.
IT'S KIND OF STICKY, THOUGH.
[NAIL CLIPS]
[SIGHING]
CAN YOU DO THAT IN ANOTHER ROOM?
CAN'T YOU GO SOMEWHERE ELSE?
[TELEPHONE RINGING]
KATE.
YEAH, I KNOW, I'M READING IT.
NO, I'M READING IT RIGHT NOW.
IT'S SO BAD. IT'S SO BAD.
[LAUGHING]: NO. WHAT?
NUH-UH. NO!
[LAUGHING]
YEAH.
REALLY?
I DON'T KNOW ABOUT THAT.
WELL, NO, NO, I'D LOVE TO GO OUT WITH YOU,
BUT, UH, I'M ACTUALLY, UH...
I TOLD HENRY I'D STAY IN.
I DON'T EVEN KNOW WHY I DID THAT.
TO FREEDOM.
FREEDOM.
[GLASSES CLINK]
* ...NOBODY WANTS TO HEAR
* MY DEAR, I FEAR WE CLEAR A MERE TEAR... *
I'M REALLY PROUD OF YOU.
I'M PRETTY PROUD OF MYSELF...
ACTUALLY.
* ...HAVE SEX WITH YOU?
* NO THANKS I ALREADY GOT A GIRL *
* NOT OUT TO FUCK THE WORLD 'CAUSE YOU THINK I'M A PERV *
* DESERVE TO SERVE, UNNERVED NOT IMPERVIOUS TO HURT *
* I'M DIRT TO THE DIRT BURIED IN EARTH *
* YOU'RE SCARED OF THIS BIRTH
* IT CAME WITH A CURSE A MAN WITH A PURSE, PUSS *
* OF COURSE I PUSH BACK IF PUSHED FIRST *
* I ATTACK THE LACK OF THOUGHT-OUT PLANS *
* AND WHITE MAN POPPIN' BEER CANS *
* THEY FEAR TRANS WITH OVERLY SUNTANNED NECKS *
* THAT'S WHY WE STILL GET NO RESPECT *
* IF YOU DIDN'T UNDERSTAND TRY TO *
* WOMAN OR A MAN NOT TRUE *
* I'M SOMETHING DIFFERENT
* IF YOU DIDN'T UNDERSTAND TRY TO *
* WOMAN OR A MAN NOT TRUE *
* I'M SOMETHING DIFFERENT
* I TELL YOU WHAT I AM
* A MAR ON THE GAY COMMUNITY
* TO SOON FOR ME TO PROMOTE UNITY *
* WHEN WE ONLY SEE AS FAR IN FRONT AS A MIRROR *
* AND FEAR OR HATE KEEP US IN OUR PLACE *
* TRY TO SAVE FACE INSTATE GRACE *
* IN A RAT RACE
* WHERE FREEBASE IS BOUGHT BY THE CASE *
* ONCE YOU HAVE YOUR FIRST TASTE YOU WON'T REMEMBER... *
TAKE IT OFF.
* ASK ME TO CONCENTRATE
* BECOME A PRODUCTIVE MEMBER OF SOCIETY *
* CALL ME AN INGRATE AND LEGISLATE IN EVERY STATE *
* AND TELL ME NO ONE'S LIED TO ME *
* BUT I TRIED TO BE PROVIDE THE *
* GUIDE TO BE A DECENT HUMAN BEING *
* DOESN'T LEAVE THE PEOPLE FUMING AND FLEEING *
* AND DOOMING WITH ME IN THE DRIVER'S SEAT *
* I'LL SURVIVE THE HEAT REVIVE THE BEAT *
* ALIVE TO MEET ANOTHER DAY CONNIVE DECEIT *
* AND FIND SOME OTHER WAY
* TO DESTROY SECOND-HAND NOTIONS... *
[MOANING SOFTLY]
* IF YOU DIDN'T UNDERSTAND TRY TO *
* WOMAN OR A MAN NOT TRUE *
* I'M SOMETHING DIFFERENT
* IF YOU DIDN'T UNDERSTAND TRY TO *
* WOMAN OR A MAN NOT TRUE *
* I'M SOMETHING DIFFERENT
* ARE YOU FORGETTING? UPSETTING THE DELICATE BALANCE *
* I CHALLENGE VALIANT VIOLENCE WITHOUT SILENCE *
* AND START GETTING MY FRIENDS TO FORGET *
* WHY WE FENCED PAST-TENSE PROGRESSIVENESS *
* THIS OBSESSIVENESS MAKES DENSE TENSE *
* HENCE THE AGGRAVATED
* I'M NOT MAD, JUST HATED
* BERATED FOR WHAT FATE DID DISASSOCIATED *
* JUST SUPPOSED TO PLAY DEAD SIMON SAID *
* BUT I DON'T WANT TO PLAY THIS GAME... *
UH-UH.
LET ME TOUCH YOU.
UH-UH.
I DON'T WANT TO.
DON'T HIDE FROM ME, MAX.
I WANT TO FEEL YOUR BODY.
IT'S NOT MY BODY.
I MEAN, IT'LL BE MY BODY IN A COUPLE OF WEEKS
WHEN I GET THE SURGERY.
BUT YOU KNOW...
YOU WERE HOT FOR ME JUST NOW.
YEAH.
THAT WAS YOUR BODY.
IT FELT GOOD.
I DON'T FEEL COMFORTABLE WITH IT.
I DO.
YOU DO?
YEAH.
I THINK YOU'RE SO HOT...
AND ALL I WANT TO DO IS SUCK ON YOUR COCK.
YOU TURN ME ON SO MUCH.
WILL YOU LET ME?
[**]
CAN YOU FEEL THAT?
YEAH.
IT FEELS GOOD, DOESN'T IT?
YEAH.
[GASPING]
[MOANING SOFTLY]
I WANT YOU TO COME IN MY MOUTH.
[GASPING]
FUCK YOU, JENNY.
THIS IS COMPLETE AND UTTER TOTAL FUCKING BULLSHIT.
I WOULDN'T SAY THAT.
NEVER.
THAT'S NOT EVEN GRAMMATICALLY CORRECT,
YOU FUCKING IDIOT.
YOU'RE DEAD MEAT.
YOU'RE JUST DEAD FUCKING MEAT, JENNY SCHECTER.
HEY.
[EGGS SIZZLING]
CAN WE TALK?
OKAY.
I'M NOT HAPPY.
NOT HAPPY HOW?
I FEEL LIKE WE'RE DRIFTING APART.
RIGHT.
OKAY.
DO YOU AGREE WITH ME?
YEAH, I MEAN, I... I GUESS.
I THOUGHT IT MIGHT PASS, YOU KNOW.
I KNOW YOU'RE REALLY BUSY RIGHT NOW,
ALL WRAPPED UP IN YOUR WORK.
WELL... I DON'T KNOW.
I DON'T KNOW WHAT TO DO ABOUT IT.
IS THERE SOMEBODY ELSE?
NO.
IS IT A WOMAN?
[SIGHS SOFTLY]
YOU KNOW, IT'S...
IT'S NOT ABOUT HER.
WHO IS IT?
YOU KNOW WHAT?
THIS ISN'T ABOUT THAT.
THIS IS ABOUT US.
THIS IS ABOUT YOU AND ME.
FUCK.
I FEEL LIKE AN ASSHOLE, YOU KNOW?
I MEAN, I JUST... I KNEW THIS WOULD HAPPEN.
WHAT DOES THAT MEAN, YOU KNEW IT?
COME ON, TINA!
ONCE A LESBIAN, ALWAYS A LESBIAN.
WHAT THE FUCK WAS I THINKING?
THAT WE LIKED EACH OTHER,
THAT WE WERE ATTRACTED TO EACH ANOTHER,
THAT WE LIKED FUCKING.
YOU WERE SO COOL WITH ME BEING A LESBIAN.
UNTIL YOU GOT WHAT YOU NEEDED,
AND THEN YOU WERE READY FOR A CHANGE OF PACE.
ISN'T THAT HOW THIS WORKS FOR YOU, TINA?
FUCK YOU.
NO, FUCK YOU. FUCK YOU.
THAT IS REALLY FUCKING UNFAIR.
WHAT DO YOU WANT ME TO SAY?
WHAT DO YOU WANT ME TO DO?
I DON'T KNOW. NOTHING.
[SIGHS]
NOTHING. DO NOTHING.
THAT'S WHAT YOU'RE GOING TO DO, RIGHT?
NOTHING.
[SIGHING]: WELL, THEN, YOU KNOW...
I GUESS WE NEED TO FIGURE IT OUT.
[SCOFFS]
FIGURE OUT WHAT?
FUCK IT.
THERE'S NOTHING TO FIGURE OUT, IS THERE?
[PAN CLUNKS IN SINK]
FUCK.
* DREAM A LITTLE DREAM
* A LITTLE DREAM FOR MY NIGHT *
* SMOKE A LITTLE SMOKE...
[DOOR OPENS]
[DOOR CLOSES]
ALICE?
* ...THAT YOUR VOICE IS TREMBLING *
* DREAM A LITTLE DREAM
* A LITTLE DREAM FOR MY NIGHT *
* SMOKE A LITTLE MORE
* A LITTLE MORE IN THE DARK
* WHEN YOU TALK I JUST HEAR *
* THAT YOUR VOICE IS TREMBLING
* DOO, DOO-DOO
* DOO-DOO-DOO-DOO
[WATCH TICKING]
* DOO, DOO-DOO...
[TICKING]
[HELICOPTER BLADES WHIRRING]
[WOMAN SOBS]
YOU'VE GOT TO HOLD YOURSELF TOGETHER.
[SOBBING]: BASTARD!
LISA, YOU'VE GOT TO HOLD ON TO YOURSELF.
I CAN'T.
I'VE GOT TO GO HOME AFTER ALL THIS, AND I...
[SOBBING]
I'M NOT EVEN GOING TO GET TO SEE MY BABY...
NO, YOU'RE GONNA GET YOUR BABY BACK.
[SOBS]
TRUST ME.
TRUST ME, TRUST ME, PLEASE.
[SOBBING]
NO COURT IS GOING TO GIVE HIM CUSTODY.
OKAY? YOU'RE HER MOTHER. YOU'RE HER MOTHER.
[SOBBING]
YOU'RE GOING TO GET HER BACK.
[SOBBING]
MEDIC!
[THROWS WATCH DOWN]
[DOOR OPENS AND CLOSES]
TASH?
TASH!
WHAT THE FUCK?
[**]
ALICE, WHAT ARE YOU DOING HERE?
WHERE THE FUCK DID YOU GO LAST NIGHT?
I CAN'T GET INTO THIS RIGHT NOW.
WELL, COULD YOU MAYBE RETURN
ONE OF MY FUCKING PHONE CALLS?
ALICE, I CAN'T DO THIS, NOT HERE.
I WOULD LIKE TO TALK ABOUT THIS, SO LET'S GO TO YOUR OFFICE--
NO, WE CAN'T GO TO MY OFFICE.
YOU'RE NOT EVEN SUPPOSED TO BE ON THE BASE.
I'VE ALREADY BEEN ON THE FUCKING BASE!
WHAT'S THE BIG DEAL?
GOD, THEY FRICKIN' LOVE ME HERE.
LOOK, ALICE...
BROWN IS AFTER ME, OKAY? ALL RIGHT?
HE REPORTED ME, AND IF MY C.O. WASN'T SO COOL,
THEN HE COULD START AN INVESTIGATION
AND I COULD GET CHAPTERED OUT.
FOR WHAT?
FOR HOMOSEXUAL CONDUCT.
YOU EVER HEARD OF THAT?
YEAH, WELL...
ALL RIGHT, I'M SORRY.
I-- IS THAT WHY YOU LEFT LAST NIGHT?
ALICE...BECAUSE YOU COULD'VE JUST SAID.
PLEASE.
NOT HERE. PLEASE.
I CAN'T FU--
[CAR APPROACHING]
WHAT THE HELL'S HE LOOKING AT?
LOOK, ALICE,
PLEASE LEAVE, OKAY?
BETTE?
NO, ANYBODY-- ANYBODY CAN USE IT.
FEEL FREE.
MOM, YOU'RE NOT A LESBIAN, YOU'RE MY MOTHER,
AND YOU DON'T JUST UP AND DECIDE AFTER 25 YEARS OF MARRIAGE
THAT YOU WANT TO BE GAY.
SHE'S PART OF THE FAMILY.
SHE HAS A RIGHT TO KNOW WHAT'S GOING ON WITH US.
I CAN'T BELIEVE YOU TOLD HER
WITHOUT CONSULTING ME. HOW DARE HE TELL ME--
YOU'RE GOING TO BREAK UP OUR FAMILY,
AND YOU'RE NOT EVEN GOING TO TELL ME?
OF COURSE I'M GOING TO TELL YOU--
WHAT'S DAD SUPPOSED TO DO?
WHO'S GOING TO TAKE CARE OF HIM?
WELL, I'M NOT A NURSEMAID, MOLLY.
HE'S A GROWN MAN.
HE CAN TAKE CARE OF HIMSELF.
AND HE SHOULD NOT HAVE BROUGHT HIS DAUGHTER
HOME FROM COLLEGE IN THE MIDDLE OF--
DON'T WORRY ABOUT ME.
NOT THAT YOU EVER WOULD.
ALL YOU EVER THINK ABOUT IS YOURSELF.
OH, MOLLY-- IT'S TRUE!
WELL, JUST--
I WOULD DO ANYTH--
YOU'RE EVERYTHING TO ME.
I HAVE BUILT MY WHOLE LIFE AROUND YOU.
THIS IS UNFAIR, LEONARD.
UNFAIR? WHO'S BEING UNFAIR HERE?
MOLLY...
YOU KNOW THAT I CARE MORE ABOUT YOU AND YOUR SISTER
THAN ANYTHING ELSE IN THE WORLD.
NO, MOM, I DON'T, OKAY?
I DON'T KNOW ANYTHING ANYMORE.
I CAN'T LIVE A LIE.
AND I LOVE YOUR FATHER--
HE'S THE MOST WONDERFUL MAN IN THE WORLD--
BUT ONCE YOU FINALLY FIGURE IT OUT,
WHO YOU ARE,
IT'S IMPOSSIBLE...
IT'S DEADLY TO IGNORE IT.
DEADLY? DEADLY?
IS THAT WHAT OUR LIFE TOGETHER HAS BEEN? DEADLY?
YES, LEONARD.
SO TYPICAL OF YOU.
YOU ARE SUCH A DRAMA QUEEN.
GOD. GROW UP.
I'M SORRY, MOLLY.
I'M SORRY.
I'M SORRY IF I'VE HURT YOU DEEPLY.
BUT I HOPE THAT SOME DAY
YOU CAN FIND IT IN YOUR HEART TO WISH FOR MY HAPPINESS
THE WAY THAT I WISH FOR YOURS.
OKAY. I'LL GET ON THAT.
I'LL DIG REAL DEEP, OKAY?
I'LL GET BACK TO YOU.
LET'S GO, DAD.
BYE, MISS PALMER.
[PAIGE]: THANK YOU.
NO PROBLEM, PAIGE.
WE'LL SEE YOU NEXT WEEK.
HI, HONEY. HOW WAS YOUR LESSON?
GOOD.
I'LL TAKE IT.
I'M HUNGRY.
YOU'RE HUNGRY?
WELL, DO YOU WANT TO GO OUT TO DINNER?
IT'S MY BIRTHDAY, AFTER ALL.
AW, I'M SORRY, MOM.
I FORGOT.
THAT'S OKAY, SWEETIE.
DID SHANE CALL YOU AND WISH YOU A HAPPY BIRTHDAY?
NO.
SHE MUST HAVE FORGOTTEN, TOO...
BUT, UH, THAT'S OKAY.
I DIDN'T REALLY EXPECT HER TO REMEMBER.
I ONLY MENTIONED IT ONCE, SO...
WHERE DO YOU WANT TO EAT?
THAT PLACE WE WENT WITH SHAY,
WHERE THEY HAD THE REALLY GOOD FRENCH FRIES.
THE PLANET?
YOU WANT TO GO TO THE PLANET?
ALL RIGHT. LET'S GO TO THE PLANET.
[BETTE SOBS]
I'M SORRY. FUCK.
I'M JUST... I'M SO SORRY.
IT'S OKAY, IT'S OKAY.
LOOK, IT'S OKAY TO CRY.
YOU CAN CRY WITH ME.
WHAT DO I DO WRONG, TINA?
WHAT DO I DO WRONG?
YOU DON'T DO ANYTHING WRONG.
NO, REALLY, I MEAN IT.
WHY IS IT SO FUCKING HARD
TO BE IN A RELATIONSHIP WITH ME?
LOOK, JUST TELL ME.
TELL ME EVERYTHING THAT I DID
TO MAKE YOU RUN FROM ME.
I'M BEGGING YOU. PLEASE.
[EXHALING]
YOU'RE A CONTROL FREAK.
[LAUGHS]
YOU ARE!
SO?
THAT'S FUCKING RIDICULOUS.
EVERYBODY'S A CONTROL FREAK SOMETIMES.
THAT'S WHAT YOU HAVE TO DO TO GET THINGS DONE.
YEAH, BUT YOU THINK YOUR THINGS ARE MORE IMPORTANT
THAN EVERYONE ELSE'S,
AND THAT'S REALLY, REALLY HARD IN A RELATIONSHIP.
WHEN YOUR WORK, YOUR NEEDS, YOUR IDEAS
ARE ALWAYS RIGHT, ALWAYS ON A HIGHER PLANE...
YOU'RE MORE ENLIGHTENED, YOU'RE MORE INFORMED,
YOU'RE MORE INTUITIVE--
IT MUST HAVE BEEN HIDEOUS.
I'M SORRY.
[VOICE BREAKS]: I'M SORRY.
I'LL TAKE IT OVER THE SAFE, BORING MAN
I'VE BEEN SEEING ANY DAY.
YOU WOULD?
YOU MET YOUR MATCH.
I THINK YOU MET YOUR MATCH IN JODI.
SHE'S AS STRONG AS YOU ARE.
IT'S UP TO YOU.
CAN YOU HANDLE IT?
WHAT ABOUT KATE ARDEN?
WHAT?
WHAT--
KATE ARDEN.
WHAT ARE YOU TALKING ABOUT?
T...
WHAT?
KATE ARDEN. COME ON.
WHAT ABOUT HER?
WHAT DO YOU WANT ME TO SAY?
I MEAN...
WHAT ABOUT KATE ARDEN?
OKAY. SHE'S ATTRACTIVE.
I'M ATTRACTED TO HER.
JUST...
SHE'S HOT.
SHE'S SMART.
IT'S CRAZY.
SHE'S NOT INTERESTED IN ME.
SHE'S INTERESTED.
THINKING ABOUT ME. SHE'S INTERESTED.
WHAT?
I'M NOT READY.
I WANT TO BE ON MY OWN.
BESIDES, THAT'S MESSY.
THAT'S REALLY MESSY.
I'M WORKING WITH HER.
THAT'D BE UNPROFESSIONAL.
AND NOW I'M GOING TO HAVE TO FIRE JENNY--
[GROANS]
WHICH IS COMPLETELY HORRIFYING TO ME.
FUCK JENNY! I KNOW.
JUST FUCK JENNY, PLEASE.
SHE DESERVES TO BE FIRED.
I'LL FUCKING FIRE HER FOR YOU.
WOULD YOU? YES, HAPPILY.
SHE'S FUCKING DRIVING ME CRAZY.
BITCH.
[SIGHING]
I JUST WAS STARTING TO DO SO WELL ON MY OWN.
FUCKING JODI.
FUCK.
I'M NOT SURPRISED
THAT YOU'RE RUNNING FROM HER.
YOU FINALLY MET SOMEONE WHO WON'T PUT UP WITH YOUR SHIT.
YOU NEVER PUT UP WITH MY SHIT.
WHAT?
[CHUCKLES]
RIGHT. OKAY.
DO YOU REALLY THINK I'M RUNNING FROM HER?
YEAH, I THINK YOU'RE RUNNING.
YOU'RE SCARED.
SHE'S AS ACCOMPLISHED AS YOU ARE.
SHE'S AS OPINIONATED.
SHE'S AS POWERFUL.
[SIGHING HEAVILY]
AND YOU GUYS,
YOU HAVE THIS INCREDIBLE ENERGY
BETWEEN THE TWO OF YOU.
I COULD FEEL IT FROM 10 FEET AWAY.
IT SUCKED.
IT WAS REALLY HARD FOR ME.
[**]
THE PIMPS AND THE HOS?
[LAUGHING]
[HELENA]: I LEFT MY DAMN TOILETRIES BAG
IN CATHERINE'S HOTEL SUITE,
AND I CAN'T GO BACK AND GET IT,
BECAUSE THAT FUCKING OLD LADY'S THERE.
GREAT STORY--
I WAS STAYING AT A FRIEND'S HOUSE,
AND EVERY TIME
SHE BROUGHT A GIRL HOME,
SHE USED TO KICK ME OUT!
REALLY? YEAH!
FASCINATING.
THAT WAS A GREAT STORY.
[LAUGHING]
WHAT IS IT?
WHAT?
I THINK THAT SHE'S FUNNY,
AND SHE'S KIND OF BRILLIANT.
WHO, ME?
HUH? NO, WE WEREN'T TALKING ABOUT YOU.
ALICE, WHERE'S TASHA?
I DON'T KNOW.
SHE'S HAVING A "DARK NIGHT".
DON'T ASK ME WHAT THE FUCK THAT MEANS.
IT'S THE MILITARY TERM
FOR WORKING AT NIGHT.
OH, HONEY.
THERE'S A SPECIAL SHOW ON TONIGHT.
WE MIGHT HAVE TO GO SOMEWHERE ELSE.
NO.
I DON'T THINK WE'RE GOING TO BE ABLE
TO GET IN, YOU KNOW?
LOOK AT ALL THESE PEOPLE.
THEY PROBABLY HAVE SPECIAL SEATS.
HEY, PAIGE, HOW YOU DOING?
GOOD.
ARE YOU HERE TO SEE GOLDFRAPP, GIRL?
GOLDFRAPP?
YEAH! HERE?
YEAH, HERE, GIRL.
THEY'RE ABOUT TO START, GIRL.
THEY'RE ABOUT TO START.
OH, MY GOSH, I DIDN'T EVEN KNOW.
YEAH, YEAH, SO WHY DON'T YOU COME ON IN AND GET A TABLE.
WE GOT ONE FOR YOU.
OH, YOU DO? YEAH.
I'M SURE SHE'LL LOVE IT.
YEAH.
HAPPY BIRTHDAY!
OH, MY GOD.
WHAT, YOU THOUGHT I FORGOT?
I DID THINK YOU FORGOT!
OH, THAT'S SO SWEET...
I WOULDN'T HAVE FORGOTTEN.
NEVER, NEVER.
YOU'RE GREAT. OH, MY GOD.
[INDISTINCT CONVERSATION]
HI, HOW'S IT GOING?
HAPPY BIRTHDAY.
THANK YOU.
[WOLF-WHISTLING]
[TOM INTERPRETING]: THANK YOU.
THANK YOU SO MUCH.
I AM JUST... I'M IN AWE.
THIS HAS BEEN AN AMAZING EXPERIENCE FOR ME.
YOU ARE ALL INSPIRED AND INSPIRING.
YOU ARE VERY FORTUNATE
TO BE A PART OF THIS AMAZING INSTITUTION
AT SUCH A DYNAMIC TIME.
YOU ARE IN VERY GOOD HANDS
WITH DEAN PORTER.
SHE IS A PERSON
WITH THE MOST PASSION AND CONVICTION
OF ANYONE I HAVE EVER MET.
I KNOW THAT SHE HAS MADE A BIG DIFFERENCE
IN MANY OF YOUR LIVES.
SHE CERTAINLY HAS MADE
A BIG DIFFERENCE IN MINE.
I HAVE NO DOUBT THAT SHE WILL CONTINUE
TO PUSH THE BOUNDARIES OF YOUR LIVES
AS WELL AS WHAT THIS SCHOOL HAS TO OFFER.
AS SOME OF YOU ALREADY KNOW,
I HAVE BEEN OFFERED
A GREAT OPPORTUNITY
TO CREATE AN OUTDOOR PIECE
FOR THE FOREST REFUGE ART CENTER.
I'LL BE IN GREAT COMPANY--
WITH DAVID SMITH, ALICE AYCOCK,
AND SANDRA MAYO.
THEY ARE ALL WONDERFUL ARTISTS.
I LOOK VERY FORWARD TO IT.
THANK YOU SO MUCH FOR COMING.
[APPLAUSE]
[**]
* NOW TAKE ME DANCING AT THE DISCO *
* WHEN YOU BUY
* YOUR WINNEBAGO
* I WANNA RIDE ON A WHITE HORSE *
* I WANT TO RIDE ON A WHITE HORSE *
I CAN'T BELIEVE YOU PULLED THIS OFF.
* WHEN THE LIGHT TURNS INTO DARKNESS *
* WILL HE TURN UP TO EXPLAIN US *
* I WANNA RIDE ON A WHITE HORSE *
* I WANT TO RIDE ON A WHITE HORSE *
PAPI, UM, HAVE YOU TALKED TO TASHA?
I'M JUST KIND OF WORRIED ABOUT HER.
I WAS WONDERING IF SHE'S TOLD YOU ANYTHING.
REALLY--
YOU GUYS GOT TO TALK, ALL RIGHT?
OKAY.
* OH, OH...
* WHEN IS THERE EVER SENSE
I THINK THAT SHE SHOULD PLAY JESSIE.
THAT'S A GREAT IDEA.
COME ON, I SERIOUSLY THINK--
LOOK AT HER.
I'M SERIOUS.
THAT'S A GREAT IDEA.
OH, SHUT UP.
[**]
* I LIKE DANCING AT THE DISCO *
* I WANT BLISTERS
I'M GOING TO...
I'M GOING TO GO WATCH HER.
ALL RIGHT.
HEY, KIT!
HAVE A BUMP!
NO, IT'S SHIT!
EXACTLY.
[SNORTING]: WHOO!
THAT'S ALL RIGHT.
MM!
OH, YES!
THAT'S SWEET!
ONE MORE TASTE ONE MORE TASTE FOR THE ROAD.
I'M SOLD OUT, MAMA.
FUCK YOU, MOTHERFUCKER! FUCK YOU!
[**]
* OH, OH
* WHEN IS THERE EVER SENSE...
I'M REALLY, REALLY FUCKED UP.
I'M...
SO FUCKED UP.
WHAT ARE YOU GOING TO DO ABOUT IT?
I GOT TO GO TO A MEETING TOMORROW.
I GOT TO...
[SNIFFS]
WOULD YOU DRIVE ME?
WOULD YOU TAKE ME TOMORROW, PLEASE?
[**]
* I WANNA RIDE ON A WHITE HORSE *
* I WANT TO RIDE ON A WHITE HORSE *
* I WANNA RIDE ON A WHITE HORSE *
* I WANT TO RIDE ON A WHITE HORSE *
* I WANNA RIDE ON...
[SCREAMING AND CHEERING]
HAPPY BIRTHDAY, PAIGE!
[LAUGHING]
[CHEERING AND APPLAUSE]
HI, BETTE. HI.
THIS IS KAT.
HI.
YOU MISSED
A REALLY BEAUTIFUL SPEECH TONIGHT.
IT WAS VERY MOVING.
JODI SAID BEAUTIFUL THINGS ABOUT YOU.
REALLY FANTASTIC.
WHERE-- WHERE IS SHE?
YOU KNOW, I THINK SHE'S GONE ALREADY.
OH, SHIT.
DO YOU KNOW WHERE SHE IS?
I KNOW YOU THINK I'M THE ASSHOLE OF LIFE,
BUT SHE'S NOT RESPONDING TO ANY OF MY MESSAGES.
THAT'S PROBABLY BECAUSE SHE'S ON AN AIRPLANE.
YOU'RE KIDDING.
NOPE.
SHE TOOK A RED-EYE.
I TOLD HER I'D PACK HER STUFF AND SHIP IT.
SHE'S ON HER WAY TO NEW YORK.
[SIGHS]
[**]
* I LOVE YOU
* STEEL PAINTED EYES
* FEELS LIKE SNOW
* CHANGE MY HEAD
* DAYS SO LONG
* YOU NEVER KNOW YOU NEVER KNOW *
* YOU NEVER KNOW
YOU NEVER KNOW *
* YOU NEVER KNOW...
[GASPS]
OH, MY GOD.
TASHA.
WHAT ARE YOU DOING HERE?
THE WATCH IS REALLY BEAUTIFUL.
I'M SORRY I CAN'T ACCEPT IT.
WHAT DO YOU MEAN, YOU CAN'T ACCEPT IT?
BECAUSE OF WHAT HAPPENED TO LISA.
HER HUSBAND GAVE HER THIS WATCH.
IT WAS ALL INSCRIBED,
AND IT SAID THAT HE'D LOVE HER FOREVER.
AND THEN WHEN SHE WAS OVER THERE
RISKING HER LIFE,
HE LEFT HER FOR SOME NEIGHBOR OR SOMETHING.
WELL...
HE'S A FUCKING ASSHOLE.
HE TOOK THEIR DAUGHTER,
AND HE SAID IN HIS LETTER THAT LISA WAS A BAD MOTHER
BECAUSE SHE LEFT HER TO GO FIGHT IN A WAR.
WELL, I'M SURE SHE GOT HER DAUGHTER BACK
WHEN SHE CAME BACK FROM IRAQ, RIGHT?
[SIGHING]
LISA'S NEVER
GOING TO GET HER LITTLE GIRL BACK, ALICE.
SHE AIN'T NEVER COMING HOME FROM IRAQ.
FUCK.
THIS WASN'T SUPPOSED TO HAPPEN.
I WASN'T GOING TO FALL FOR ANYBODY
WHILE I WAS BACK.
WHAT DO YOU MEAN, WHILE YOU WERE BACK?
ARE YOU GOING SOMEWHERE?
MY ORDERS CAME DOWN.
MY UNIT'S BEING MOBILIZED BACK TO IRAQ.
I'M LEAVING IN TWO WEEKS.
[**]
YEAH.