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Алиса

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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.
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.
- 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 you mean?
- What do I mean?
What I mean is,
don't ever count on Nancy Brill.
- She's not gonna give you a break.
- No.
You represent where
she pulled herself out of.
- She's past you.
- Nancy?
Haven't you noticed she keeps checking
her watch when she talks to you?
- It can't be. I introduced her to...
- I know. To her lover and her boss.
More reason to give you the brush.
People that made it
don't want people from the past.
- What are you trying to write?
- That's a script.
- I'm also taking a course.
- That's technique.
inspiration. That's where I come in.
I think the professor
thinks I have some promise.
- He's very encouraging.
- I know Professor Davis.
- He's trying to get you into the sack.
- No.
It's the reason he teaches.
Female pupils.
No. He's very deep. He's not like that.
Yeah. Very deep is exactly
where he wants to put it.
- Now, what about your mother?
- What, Mom?
Your mother. She was a movie actress for
a while. Her story might be a good plot.
She was just in the movies
for a very, very short time.
And she never made it.
Losers are much more interesting.
- Mom's not a loser.
- Look how defensive you are.
It's a good story. I know you idolised her,
but be realistic. This is important.
She was in the movies. She made two
or three movies, and then she met Dad.
And... Dad persuaded her to retire.
No, Alice.
I was never more than a pretty face.
And when it began to wrinkle,
the studio stopped calling.
No, there was much more to you
than your looks.
- You could have done more with your life.
- You flatter me.
After the studio didn't want me,
I was lucky your father came along.
I was so used to having
someone look after me.
I would have killed myself
if it wasn't for him.
That's why it's so important
to marry a substantial man,...
..not some struggling
left-wing artist in Greenwich Village.
But then when Dad died, you drank
yourself to death with margaritas.
I couldn't help it, darling.
You know I could never resist
the taste of salt around the rim of a glass.
Oh, Mom.
You were so charming.
But so misguided.
Why didn't I see it?
When it came to me and your dad,
you had stars in your eyes.
Can't say the same for your sister.
Gee,
Алиса Алиса

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