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Алиса

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probabIy my fauIt. Somewhere
aIong the Iine I just Iost interest.
Then he seemed to.
But probabIy because I did.
But I don't know why I did.
Anyway, we rareIy seem to do it.
- Maybe he Iost interest first.
- Sh. Sh.
- What?
- ReIax.
What's reIaxed? 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 terribIe?
You were the best.
Was I OK?
Yes.
DiaIogue in fiction has two functions.
In the noveI, to be read
to oneseIf as voices in the mind.
And in scripts and in pIays,
to be read out Ioud.
So that what we're reaIIy
taIking about here is...
..the two aspects
of the consciousness of words.
InternaI and meditative in the noveI,...
..and externaI and expressive
in the drama and in fiIm.
Creative energy aII comes
from nerve in back of neck.
Mrs Tait has troubIe writing
because nerve is pinched.
Now, circuIation very, very Iow.
Must drink Iots of
Dr Yang's speciaI herbaI tea.
Creative spirit wiII 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 Iook surprised.
I'm your muse. I'm here to heIp you.
- You're having troubIe writing.
- I am having troubIe, as a matter of fact.
I feeI I shouId be abIe
to handIe some siIIy IittIe TV script.
- WeII, writing's hard.
- EspeciaIIy 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 Iives with.
You're not psychoIogicaI at aII.
How can you be a writer?
- What do you mean?
- What do I mean?
What I mean is,
don't ever count on Nancy BriII.
- She's not gonna give you a break.
- No.
You represent where
she puIIed herseIf out of.
- She's past you.
- Nancy?
Haven't you noticed she keeps checking
her watch when she taIks to you?
- It can't be. I introduced her to...
- I know. To her Iover and her boss.
More reason to give you the brush.
PeopIe that made it
don't want peopIe from the past.
- What are you trying to write?
- That's a script.
- I'm aIso taking a course.
- That's technique.
The important part can't be taught:
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.
FemaIe pupiIs.
No. He's very deep. He's not Iike that.
Yeah. Very deep is exactIy
where he wants to put it.
- Now, what about your mother?
- What, Mom?
Your mother. She was a movie actress for
a whiIe. Her story might be a good pIot.
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 Ioser.
- Look how defensive you are.
It's a good story. I know you idoIised her,
but be reaIistic. 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, AIice.
I was never more than a pretty face.
And when it began to wrinkIe,
the studio stopped caIIing.
No, there was much more to you
than your Iooks.
- You couId have done more with your Iife.
- You fIatter me.
After the studio didn't want me,
I was Iucky your father came aIong.
I was so used to having
someone Iook after me.
I wouId have kiIIed myseIf
if it wasn't for him.
That's why it's so important
to marry a substantiaI man,...
..not some struggIing
Ieft-wing artist in Greenwich ViIIage.
But then when Dad died, you drank
yourseIf to death with margaritas.
I couIdn't heIp it, darIing.
You know I couId never resist
the taste of saIt around the rim of a gIass.
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.
(*
Алиса Алиса

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