tell you that I feel bad about this.
- I've been thinking about it and I'm sorry.
- Oh, honey. I know, I know.
Listen, I'm the big sister.
I'm... I should be kind, and I'm sorry.
- Do you want some tea?
- Um... No, no thank you.
- I didn't handle it Well. I apologise.
- You were right.
- Who am I to be judgmental of your life?
- Listen, be quiet for just a second.
I was... I was wrong. You know, I was...
There's something disgusting about all
the stuff I buy the kids and I buy myself.
- All of that. You were right.
- But it's your life, you know? Who am I?
You're my sister,
and I care about what you think.
- Yeah?
- And I miss being closer, you know?
When you guys moved to the city,
I was hoping that would happen.
I was hoping that too, you know?
I'm sorry, but I was really surprised
to see how you've changed.
- I didn't know how to handle it.
- You knew Doug was very wealthy.
Yeah, of course I knew that,
but when I walked in, you know, that...
Oh, God, your closet. CIothes,
and a hundred shoes and all that stuff.
- It was hard for me. I'm sorry.
- Yeah.
You know, you're just very...
You're different. You have different ideas
than when we were kids.
I know that. I know that.
I know that. You're right.
But don't you think I wanna be close?
I do.
God.
(* Bach's Violin Concerto No. 1 in A minor)
It's about her working in Calcutta, you
know. It's just so incredibly tragic there.
All these bigwigs are sitting there
with tears running down their faces.
It was just incredibly moving. She was
just so... so simple and unassuming.
You know? It was amazing.
I was... I was weeping.
The kids were cute though. Dennis,
I think, was just thrilled to be up so late.
But I really think Katie had a feel
for what was going on, you know?
- Why are you so nervous?
- I'm not. Why do you say nervous?
You keep talking.
I've heard this three times.
Really? Well, you know,
this is a big step for me.
I just feel... Shouldn't it happen
more gradually or something?
- It hasn't exactly been rushed.
- Rushed? I don't know.
It feels rushed. It feels rushed.
I've been married 15 years.
Probably I'm just out of practice.
It's not like juggling.
You don't have to practise.
I mean, Doug and I do have sex, but...
but not the way we used to.
Which is probably my fault. Somewhere
along the line I just lost interest.
Then he seemed to.
But probably because I did.
But I don't know why I did.
Anyway, we rarely seem to do it.
- Maybe he lost interest first.
- Sh. Sh.
- What?
- Relax.
What's relaxed? It's not even dark.
God, I prefer it when it's dark.
- Then you can't see anything.
- See?
I am going to be going on a diet.
(* "Darn That Dream"
by Thelonious Monk)
(Alice) Was I terrible?
You were the best.
Was I OK?
Yes.
Dialogue in fiction has two functions.
In the novel, to be read
to oneself as voices in the mind.
And in scripts and in plays,
to be read out loud.
So that what we're really
talking about here is...
..the two aspects
of the consciousness of words.
Internal and meditative in the novel,...
..and external and expressive
in the drama and in film.
Creative energy all comes
from nerve in back of neck.
Mrs Tait has trouble writing
because nerve is pinched.
Now, circulation very, very low.
Must drink lots of
Dr Yang's special herbal tea.
Creative spirit will come.
Drink tea next time
Mrs Tait sits down to write.
(* "Darn That Dream"
by Thelonious Monk)
- Who are you?
- I'm your muse.
My muse?
Yeah. You look surprised.
I'm your muse. I'm here to help you.
- You're having trouble writing.
- I am having trouble, as a matter of fact.
I feel I should be able
to handle some silly little TV script.
- Well, writing's hard.
- Especially with a friend buying.
- You don't think Nancy's a friend?
- Sure. We go back years.
I introduced her to her boss
and the man she lives with.
You're not psychological at all.
How can you be a writer?
- What do