(GENTLE MUSIC PLAYING)
(MUSIC FADES)
LILLIAN HALL: I've spent a
lifetime observing other people.
And a lifetime of
being observed.
So yes, I'm ready.
(GENTLE PIANO
MUSIC PLAYING)
What a marvelous garden.
Masses of white
flowers, blue sky.
Oh!
(HUMMING LEZGINKA TUNE)
Eto Kavkaz
Da, da, da, da,
da Gorniy peyzazh
Vey, vey, vey, vey,
vey Solnechniy krai
Vey, vey, vey, vey, vey...
(ACTORS CLAPPING, CHEERING)
LILLIAN: "I'll
have some coffee."
I'll have some coffee.
"And then we'll all go."
And then we can
all go. (CHUCKLES)
"Oh, my dear little cupboard."
And there, my dear little
cupboard. (CHUCKLES)
(LAUGHTER)
LILLIAN: I've always
scattered money about
like a madwoman.
And I married a man.
I married a man.
Good morning, Ms. Lillian.
"Oh, thank you, dear old man."
Thank you, dear old man.
"I'm so glad you're
still with us."
I'm so glad you're
still with us.
(MUSIC CONTINUES)
Oh, my God, are you...? You...
- You're Lillian Hall!
- (CHUCKLES)
Oh, my God! I saw
you in The Visit.
It was my first Broadway show.
"You were only a boy then."
I was. I was about nine.
"Why have you grown so old?"
Why have you grown so old?
- Morning, Ms. Hall.
- LILLIAN: Good morning.
No, I can't sit still.
I am not in a state to do it.
FLO: Morning, Lillian.
- "Morning, my lovely one."
- (CHUCKLES)
Places in ten, and then we
go straight through to lunch,
so I hope you ate
a big breakfast.
"I ate crocodiles."
PISCHIN: Tell us
about Paris, eh?
Did you eat frogs?
- I ate crocodiles.
- (PISCHIN LAUGHS)
FLO: Speaking of crocodiles,
the video guys are
here for the press kit.
Is that today?
- FLO: Yes.
- (GROANS)
I've slept through more
plays than I can remember.
So what makes her so special?
They don't make 'em
like her anymore.
From here, I would look
out into the orchard.
Happiness used to wake
with me every morning.
And then it was
just as it is now.
Nothing has changed.
No costumes this morning.
We're starting at the top.
And are you really
still a student?
I suppose I shall always be...
- Ooh! No, wait. Ah.
- (MUSIC STOPS ABRUPTLY)
EVAN: Sorry. I'm sorry.
Hey, David, I thought
I was gonna sit here.
Yeah, no, that's right. We
re-blocked that on Monday.
- LILLIAN: What?
- DAVID FLEMING: On Monday, we re-blocked
that he's gonna sit, you stand.
Oh, yeah. Okay.
I mean, let's... We could
maybe keep it, if you...
No. No, no, no, no, no, no.
- No, I'll get it. It's okay.
- DAVID: Okay. Great.
Thanks, guys. Let's,
uh... Let's take a break,
and we'll pick up right
on Evan's entrance.
Everything else was terrific.
And we'll push all the way
through no matter what.
- Thank you, everybody.
- (ACTORS CHATTERING)
All the way through,
yes, please.
It's nearly midnight.
Well, I do some of my
finest work after midnight.
(CHUCKLES) So I've heard.
There's not enough coffee
in the world for this.
(SIGHING)
- (SCOFFS)
- (DOOR SLAMS)
(WHISPERS) sh*t.
Okay.
(SIGHS DEEPLY) "Sit."
On stage left.
- Thanks.
- CARLA: Mm-hmm.
(MUTTERING INDISTINCTLY)
(UNNERVING MUSIC PLAYING)
(LILLIAN CONTINUES MUTTERING)
MAN: (ECHOING) Oh, Lilly, love.
Hmm.
David, those trees on stage
left are still throwing shadows.
If we move those trees
any further upstage,
they're gonna be
out on 48th Street.
Okay. Take a breath
We'll figure this out.
It's what tech is for.
All right, go ahead. Show
me what you want me to see.
Okay. You see right here?
- (DOOR OPENING)
- (INDISTINCT CHATTER)
- FLO: That was a good day.
- Well, I don't know.
- (PHONE RINGING)
- Oh, God. I gotta take this.
- Yeah.
- Good night, Lillian.
- See you tomorrow.
- See you tomorrow.
Hello?
- KEITH: If we do this...
- Yeah.
KEITH: I'm gonna need
the truth from you.
The complete truth.
(SMACKS LIPS)
(SCOFFS SOFTLY)
I've lived my entire life...
in a place that
creates illusions.
Lies, you might call them.
But my goal has
always been the truth.
KEITH: Then tell me,
when did you first know?
(LILLIAN GASPING)
(UNNERVING DREAMY
MUSIC PLAYING)
(BREATHES HEAVILY, GROANS)
- (MUTTERS INDISTINCTLY)
- (MUSIC FADES)
- (LILLIAN GROANS)
- Well, well, well.
Since when does
Lillian Hall sleep in?
(GROANS) Since never.
EDITH WILSON: Well, don't
get used to this, missy.
All right, your unread emails.
Oh, here's one from Flo.
Rehearsal today has
been pushed an hour.
Good thing we caught that.
And there's one, two,
from the American Theatre Wing.
You know, you might want
to check your computer
once in a while, just
for shits and giggles.
- (SIGHS)
- (DOORBELL RINGING)
Oh, Christ.
- Who could that be?
- How should I know?
- Well, I can't...
- EDITH: I know.
- (DOOR OPENING)
- EDITH: Margaret!
- How nice to see you.
- MARGARET TANNER: Hi.
- EDITH: What a surprise.
- MARGARET: Is she still in bed?
EDITH: Yep.
- Hi.
- LILLIAN: Oh, hi, sweetheart.
Sorry, Mom. I was stuck in
the tunnel for 35 minutes,
sucking exhaust. I can
still taste it in my mouth.
I didn't know you
were coming in today.
Yes, you did. I
told you last week.
We made a date for
breakfast. I made a quiche.
Oh!
MARGARET: Because I
was coming in today
for that writing thing at
the ASPCA to write the...
the dog biographies.
- Dog what?
- Dog biographies.
Remember, I told
you all about this.
I walk the dogs. I
see what they're like.
If they're hyper,
I don't say that.
I say "good jogging buddy."
If they're old, I say
"comfort companion."
All my dogs get
adopted. You know this.
Yes. Yes, I do now. Yeah.
And... And so we were
gonna have breakfast.
And so I made a... quiche.
My neighbor with the chickens
brought over all
these fresh eggs.
And I figured, why
not make a quiche?
You have a neighbor
with chickens?
- (LAUGHS)
- I do.
Did you hear that, Edith?
Yeah, well, when
I lived in Jersey,
my neighbors had chimpanzees.
Why am I not surprised?
It was a very nice
neighborhood in Passaic.
There is no such thing.
Sweetheart,
I am so, so sorry, but... Well,
- I have rehearsal this morning.
- Yeah, yeah.
Yeah, yeah, well, another time.
- And you have your...
- Dog biographies.
(PHONE RINGS)
- MARGARET: So, Mom?
- LILLIAN: Huh?
- Before I go, I took Finn...
- (PHONE RINGING)
to the orthodontist this week.
- I didn't even want him to go.
- Edith! Phone!
Kept telling him about
all the brilliant writers
with crooked teeth.
Lillian Hall's residence.
Yes, how are you?
Anyway, according to this
orthodontist, he has, uh...
Well, you're in luck.
She's just, uh...
She's just finishing
up a meeting.
- And, uh...
- malocclusion problem.
EDITH: Sorry about the emails.
- Oh, that doesn't sound good.
- EDITH: Our internet was down for a while.
- EDITH: Is that...
- Uh, Edith, who is it?
The problem is that between
the extractions and the braces,
it's gonna cost
like eight grand.
- EDITH: Alright, hold on, honey.
- Whoa, wow. Huh.
EDITH: It's Bill Long.
LILLIAN: Bill?
American Theatre Wing?
Lifetime Achievement Award?
- LILLIAN: Oh.
- Oh, oh my God, Mom! Really?
How old do they think I am?
By now, 104.
Just tell him I...
I... I can't talk now.
- EDITH: No, Lillian. Lillian.
- That we are in rehearsal.
- And I've got, I'm doing a play.
- EDITH: You tell him. I've told him multiple times.
- LILLIAN: No, come on!
- EDITH: Lillian.
You're acting like a child.
- I don't care.
- Argh!
She's finished with the meeting.
Bill, you have perfect timing.
Oh, she's dying to talk
to you. Here she is.
LILLIAN: Bill. Oh, darling.
What a wonderful treat
to hear from you today.
Oh, I would be honored.
I would be so honored.
But listen, dear,
we're in rehearsal.
Previews start next week.
I mean, is there any possibility
that perhaps this
could wait until...
Well, until after we open?
Why can't she just
accept it now?
Oh, it's an actress
thing. Don't even try.
LILLIAN: I knew you
would understand.
Oh, Bill, wait, wait.
Will I see you opening night?
- (SCOFFS)
- (LILLIAN GIGGLES)
Okay! (LAUGHS)
Yes. And the same
to you. Bye now.
- And the Oscar goes to...
- Oh, shut up.
Oh, honey,
I'm sorry we got interrupted.
What was it you were saying?
- MARGARET: About the braces.
- LILLIAN: Yes, yes, yes.
Well, George has
a new commission.
He's doing a... restoration
on a brownstone in Brooklyn.
But until that gets started...
Lillian, It's time to get
your bony a*s in gear.
Well, isn't he painting?
Well, yeah, yeah, yeah.
He's doing some really
fantastic watercolors,
but he's between jobs, you know.
- LILLIAN: Uh-huh.
- And he still hasn't been paid for the last one.
- So...
- Oh.
Lillian. You're
leaving in 20 minutes.
Twenty minutes?
Oh my God, I'm not dressed.
I haven't combed my hair. I
haven't even brushed my teeth.
Listen, sweetheart.
We will talk about
this very soon.
- Okay? All right.
- Okay, yeah.
Yeah, yeah. Whoa!
I gotta go too.
- So, okay.
- LILLIAN: Dogs and chickens.
- Chickens and dogs.
- Bye.
Bye, Edith.
Goodbye, Margaret.
Bye, Mom.
(BREATHES DEEPLY)
Okay.
Eight thousand dollars?
What do I look like, a bank?
On a good day, yeah.
(SCOFFS) Dog biographies.
EDITH: I think autobiographies
would be a lot more fun.
Hey, I'll do it.
- (LILLIAN SCOFFS)
- "My name is Watson.
I'm a corgi. I'm very agile."
(LILLIAN GIGGLES)
(CHUCKLING) "Yesterday,
I jumped right over
the neighbor's fence."
- (LILLIAN LAUGHS)
- "And I ate a chicken."
(BOTH LAUGH)
(SIGHS HEAVILY)
I don't know, Edith.
Do you think actors
should have children?
You want an argument
or an answer?
LILLIAN: An answer.
No.
Why not?
- Now you want an argument.
- LILLIAN: Come on.
There are a lot of actors
who are also parents.
That's known as an oxymoron.
Speaking of, it
wouldn't k*ll you
to pay for your
grandkid's braces.
It's a fortune!
- Oh!
- EDITH: Jesus Christ, Lillian!
(LILLIAN PANTS)
- (EXHALES) Oh, wow!
- Lillian.
- No, I...
- Look at me.
What? I'm fine.
I'm fine.
I'm fine, I'm fine.
- Okay.
- Just don't go anywhere.
- Okay? I'm gonna call the car.
- (BREATHES DEEPLY)
God, I thought I was
gonna have a heart attack.
Good news is, her
quiche? Superb.
(EXHALES DEEPLY)
Hmm.
Weird.
I was born here.
My father and my
mother lived here.
My grandfather too.
I love this house.
I can't imagine my life
without the cherry orchard.
So if it must be sold,
then sell me along with it.
Have pity on me, dear
kind man. (KISSES)
But you know I
sympathize with you.
LILLIAN: Yes, but you ought
to say it differently.
Oh, I'm so sick at heart today.
You can't imagine. And
it's so noisy here.
My soul shakes at every sound.
I can't get away from myself.
Because I'm afraid of the...
I'm afraid of...
I'm afrai... (HESITATES)
- I'm...
- "I'm afraid of the silence."
- What?
- "I'm afraid of the silence."
Because I'm afraid
of the silence.
Don't judge me too
harshly, Peter.
I've loved you as though you...
Line?
FLO: "As if you belonged
to my own family."
I've loved you as if you
belonged to my own family.
No, I can't sit still. I'm
not in a state to do it.
Now let me try to remember.
- Red to the corner.
- Wait.
- Twi... twice to the center.
- That's act one.
- LILLIAN: What?
- "Red into the corner."
That's from act one.
Yes.
Of course it's act
one, I know that.
But that's what's on
her mind right now.
You know, it's
called, uh, subtext.
Anybody here ever
heard of subtext, huh?
- Okay, here we go.
- LILLIAN: All right.
What about emotional
recall or sense memory?
Does the name Stanislavski
mean anything to anyone?
I mean, we are doing
Chekhov, aren't we?
Or is this just a sitcom
where we hit our marks,
say our lines, maybe we can
add a laugh track to it?
- DAVID: Hey, Lillian.
- (SHOUTS) What?
- DAVID: Lillian.
- What? What?
- (MUSIC FADES)
- We're okay.
I think a laugh
track's a fine idea.
- (ACTORS LAUGHING)
- Oh, shut up.
DAVID: It's a beautiful
scene. I'd like us to reset.
Pick up from your entrance.
And subtext, by the way, works.
More subtext, the better.
When you're ready.
(SIGHS)
Sorry, David.
I apologize.
(CHUCKLES NERVOUSLY)
I'm so sorry. I didn't
sleep last night.
That was uncalled for.
Please tell me you got that.
I did.
LILLIAN: Okay, from
my entrance, then.
Sorry. Sometimes I
just... I don't know,
like to work in a...
in a non-linear way.
That's okay.
DAVID: Thank you. Let's reset.
Formation looks beautiful.
Nice and tight.
(ACTORS CHATTERING QUIETLY)
Whew! (SIGHS)
There's no excuse. I don't
care how old you are.
You learn your lines.
You stay on top of
it. Aware. Alert.
- (SIGHS)
- What?
She's struggling.
It's been weeks of rehearsal,
and she's still not there.
David, we have to talk
about the possibility
of replacing her
before it's too late.
We're ten minutes from previews.
- It's already too late.
- It's not too late.
Haley Bemmel just played
this role in Boston.
The Times, they loved
her, they went nuts.
She could walk in here right
now and give a real performance.
What are you talking
about? She's an understudy.
She's not an understudy.
She's standing by
as a favor to me
because we are in
trouble, David.
And she's brilliant, and
we're lucky to have her.
Okay. Well, people are
coming to see Lillian Hall.
- What do you want?
- (SCOFFS) No.
People are coming
to see the downtown
genius David Fleming.
With or without Lillian Hall.
TECH: David, please.
I have 15 cues on those lines.
DAVID: I got you. You're right.
Okay, we're gonna go back.
- She'll get it.
- Will she?
Yes. She's the first lady
of the American theater,
for Christ's sake. Come on.
She was the first lady
of the American theater.
Haley Bemmel is the first lady
of the contemporary
American theater.
She's new, she's
fresh, she's exciting,
and she is ready to take off.
Just 'cause you shagged
Haley Bemmel, I am not...
(SPUTTERS) Stop.
Yes.
- And?
- This whole thing is a marriage, Jane.
It's the old and the new.
Dirty downtown meets
uptown royalty.
I need her for this, okay?
FLO: (ON INTERCOM) Ready
when you are, David.
I need her to be wonderful.
All right, ladies and
gentlemen, let's stay focused.
- FLO: Reset, everyone.
- (CLEARS THROAT)
Cue Lillian.
Cue Lillian, please!
FLO: Somebody back there,
cue Lillian, please.
Hey, um, she went back
to her dressing room.
- DAVID: Goddammit.
- Oh, great. This is insane.
- We gotta do something.
- DAVID: I got it.
All right.
(BREATHES DEEPLY)
FLO: (ON INTERCOM) Good
night, ladies and gentlemen.
Company call is
12 noon tomorrow.
- (ACTORS COMPLAINING)
- FLO: Twelve noon for half hour.
- (KNOCKING ON DOOR)
- (DOOR OPENING)
- Lillian, darling.
- Oh, David. Heh.
- Good day today?
- Yeah.
I was, um...
(SNIFFLES) Ah.
- I was thinking we could...
- You were thinking,
"Please, dear God, let
Lillian remember her lines."
- (BOTH CHUCKLE)
- Well, yeah, but no.
I'm sorry. You know, I think...
(COUGHS, CLEARS THROAT)
It must be the
allergies, my allergies.
It's this time of year.
- Sure.
- (HESITATES)
I don't know, it just
muddles me, but...
Oof! I'll get there,
you know I will.
- You always do.
- I always do.
- Yeah.
- Na zdorovie.
- Lubov Andreyevna Ranevskaya.
- (CHUCKLES)
Right. Yes, of course.
To my health. (CHUCKLES)
It is a little like
making love, isn't it?
- What is?
- Directing.
Like Nichols said,
kind of like having
sex with someone.
You're worried that...
Are you doing it right?
Yes, I suppose you never
really do know, do you?
Or if you're as good
as the other fellow.
But David, even if you weren't
as good as the other fellow,
I mean, what would you do, huh?
What else would you do?
What would any of us do?
- (KNOCKING ON DOOR)
- (DOOR OPENING)
Repetition, darling.
That's the secret.
Repetition,
repetition, repetition.
(LILLIAN LAUGHS)
(SIGHS)
What's this?
That's our production doctor.
I've already called him.
Can see you first thing,
get you fixed right up.
David, I am not some broken
down old Chevy, all right?
I dropped a few lines.
A few lines a few times,
and now an entrance.
Right, at this point,
it's an insurance thing.
- LILLIAN: What is?
- And Jane insists on it.
Jane, yeah, of course, Jane.
- Well, you know what?
- (HAND SLAMS)
Thank her for her
thoughtfulness.
Okay.
- I'll do that.
- Yeah.
David.
Do I have a choice, hmm?
Do I?
Good night.
Good night, Lillian.
LILLIAN: sh*t. (SIGHS)
(BREATHES DEEPLY)
(GENTLE JAZZ MUSIC PLAYING)
LILLIAN: Take me home, please.
(MUSIC CONTINUES)
(EXHALES)
- TY MAYNARD: "She walks in beauty..."
- (YELPS)
Jesus.
Hi.
"Like the night of cloudless
climes and starry skies."
Must you always lurk?
I'm retired. Lurking
is all I have.
(LILLIAN CHUCKLING)
God, I could look at this
view all day, couldn't you?
I do. All day.
(MUSIC FADES)
Every day.
(CHUCKLES)
Don't suppose you got 16 across?
Seven letters for "washed up."
Want to talk?
- LILLIAN: No.
- TY: Hmm.
Someday you'll say yes to me.
Seriously doubt it.
And there aren't that
many days left. (EXHALES)
Yeah. Isn't that the truth?
You ever gonna do anything
with that block of wood?
It's been sitting
there for months now.
Waiting to find the shape in it.
LILLIAN: Ah.
TY: Can't do anything
until you see it,
then you go to work,
revealing what really
is already there.
LILLIAN: Hmm.
Locked inside.
(SIGHS) Elusive.
TY: Yes.
How was Mr. Chekhov today?
Also elusive.
TY: How rude.
(GENTLE JAZZ MUSIC PLAYING)
Yes, yes, yes.
TY: Wait, wait,
wait, wait, wait.
Don't go now. The
show's just starting.
Oh, good night, you cretin.
TY: "Night falls,
the Moon rises",
- the firmament divides the primal sea."
- (LILLIAN LAUGHING)
"And stars break
from the heavens."
Flotsam.
Flotsam what?
Seven-letter word for washed up.
Thank you, fair Lillian.
(MUSIC FADES)
KEITH: So, you
went to the doctor?
LILLIAN: Yes, of course I went.
I take direction.
That's what I do.
DEMAYO: So, David tells me
you're having some trouble.
Trouble? Is that
what he told you?
- (LAUGHS)
- Forgetting some lines?
Uh, yes, you know,
I think it must be
the allergies, Doctor.
Fogging my brain.
So if there's anything
you can give me for it...
Sure. Sure. But first,
if you don't mind,
I'd like to run a
simple diagnostic test
just to rule out
everything else.
Test?
Oh, I love tests. (CHUCKLES)
But can I take it
home and fill it out?
Because I have to
get to the theater.
I'm late for rehearsal.
DEMAYO: The Cherry Orchard.
We already have tickets.
My husband and I,
we wouldn't miss it.
- We're big fans.
- LILLIAN: Hmm?
Ever since we saw you
in Streetcar. (SCOFFS)
(CHUCKLES)
(IN SOUTHERN ACCENT)
"Young man..."
has anyone ever told you
you look like a young prince
out of the Arabian Nights?"
(LAUGHS)
- (LILLIAN LAUGHS)
- That's it.
- That's it.
- That was a long time ago.
DEMAYO: Oh, wow. Please sit.
This will only take a minute.
Okay.
First, I'd like you to
remember these three words.
I'll ask for them
again at the end.
Ball.
Tree.
Flag.
Ball, tree, flag. (CHUCKLES)
What's today's date?
The day and the month.
LILLIAN: Um, Tuesday, April 3rd.
DEMAYO: And what's the
name of this hospital?
Rikers Island.
(BOTH LAUGH)
- Riverside Memorial.
- DEMAYO: Very good.
And I'd like you to
start counting backwards
from 100 for me, by sevens.
- By sevens?
- DEMAYO: Mm-hmm.
Um...
One hundred.
Um...
Ninety-three.
- What, 86?
- DEMAYO: Mm-hmm.
Seventy-nine.
Uh, 71.
No. Seventy...
two, six... (GROANS)
You know, math was never
my strongest subject.
- Me either.
- (BOTH CHUCKLE)
Uh, so what's this?
Something to write
an exit line with.
(DEMAYO CHUCKLING)
LILLIAN: Now, if I could get
that prescription from you,
um, I'll be on my way.
- Yes, of course.
- LILLIAN: Mm-hmm.
DEMAYO: How long have you been
clenching your fist like that?
Oh, I don't remember. (CHUCKLES)
Well, I do hope
you enjoy the play.
- Well, I know that I will.
- LILLIAN: Good.
Eh, eh. Those three
words that I mentioned.
(SHAKILY) Um, mm-hmm.
Well...
(BREATHES DEEPLY)
A bird, uh...
fell out of the tree,
and...
the mother was looking for
it. (HESITATES, CHUCKLES)
Come on. Who besides an elephant
could remember all of this?
Fair enough. Just
one more thing.
I promise, and that's it.
I want you to take
this piece of paper.
Fold it in half, then
fold it in a quarter,
and fold it in half again,
then place it on the floor.
You do that, and you
are free of me forever.
(SIGHS)
(WHIRRING BUZZ)
(LOUD REPEATING BUZZING)
(BUZZING STOPS)
- (LOUD CLUNK)
- (RAPID ALTERNATING BUZZING)
- (BUZZING STOPS ABRUPTLY)
- MAN: Oh, Lilly, love.
(ECHOING FOOTSTEPS)
(CAR HORNS BLARING)
(INDISTINCT CHATTER)
ALVIN WILLIAMS: Lillian.
LILLIAN: Alvin, what
are you doing here?
David called me about
this doctor thing.
(CHUCKLING) Oh my God.
I see a doctor, and
they call my agent.
If it was something serious,
I would have called you.
But it's true?
Allergies, just
like I told them.
- Allergies.
- Allergies. I'm perfectly fine.
Thank God. I'm so relieved.
- I lost Billy Wilding last week.
- I know.
And Jerry, well, you know,
he... he can barely walk
and talk anymore,
not without a cane
and four Boy Scouts
holding him up.
We're dropping like flies.
- Not me, my dear.
- No, not you.
- Never you.
- Never me.
You're my
indestructible champion.
Come on, darling. Walk me in.
Oh, Lillian, how
are you feeling?
We were so worried.
LILLIAN: Perfect
shape, thank you.
DAVID: Lillian.
- David.
- How'd it go?
The doctor says I'm
the picture of health.
It was just allergies.
Good. I'll tell Jane.
Yes.
Tell Jane to f*ck off.
- (EVAN LAUGHS)
- Twenty minutes.
- Okay. Thanks.
- All right.
JANE STONE: This is it.
- HALEY BEMMEL: Oh, Jane, this is gorgeous.
- Thank you.
Oh, it's beautiful.
JANE: This has all of
her blocking in it.
I think Flo will just go over
everything with you on Monday.
- You good with that? Yeah?
- Great. Absolutely.
- Thank you very much.
- I'm very glad...
DAVID: Hey, what's going on?
LILLIAN: I'm sorry.
Did you call me to the
stage, or my understudy?
DAVID: You.
LILLIAN: Uh-huh.
Ms. Hall, no disrespect.
I was just getting a head
start on the blocking.
But it's just a great privilege
to watch you work, really.
Of course. (CHUCKLES)
And that privilege is
all yours, isn't it?
Well, shall we rehearse?
Yes, please.
- Very helpful. Thank you.
- (SCOFFS) Okay. All right.
DAVID: That's exactly how you
undermine her confidence, Jane.
And mine.
DEMAYO: You see these
dark areas here?
These are proteins, like
sugars on the brain.
Well, I mean, a
little brain sugar
doesn't sound so bad, does it?
As a matter of
fact, yes, it does.
It is bad.
These are called Lewy bodies.
It's a form of dementia.
Dementia? No.
That's not possible.
I mean, I haven't
decided what age I am,
but I'm not that old.
Dementia with Lewy bodies
can exhibit as early as 50.
And it can progress rapidly.
Well, there must be something
you can give me for it.
DEMAYO: There are drugs
that can slow things down,
but they work best
when it's caught early.
So...
What... What's...
What's going to happen to me?
Cognitive decline.
Executive functioning
impairment.
Aural and visual hallucinations.
- That seem very real.
- DEMAYO: Yes.
- And?
- DEMAYO: Sleep disorder?
Yes.
DEMAYO: Memory problems?
Yes, yes.
This is a multi-system
degeneration
that will eventually lead to...
My final exit, huh?
It sounds like a real picnic.
So...
You said rapid. How rapid?
DEMAYO: Well, when did you first
notice a trembling in your hand?
Christ, I don't
know. (HESITATES)
It was, uh, Shakespeare
in the Park.
What was that?
Two seasons ago.
Two years ago.
Uh, two years ago,
July, I guess.
- That sounds about right.
- Yeah.
DEMAYO: You will go in
and out of remission.
Sometimes abruptly.
Good days, bad days.
And eventually...
fewer and fewer good days.
Are you okay, Ms. Hall?
- What?
- DEMAYO: Are you okay?
Well, I'm pretty far from okay.
But I'm trying to
formulate a... a plan.
(AMBIENT MUSIC
PLAYING OVER SPEAKERS)
(INDISTINCT CHATTER)
GEORGE TANNER: You know,
I wish we could've met
at that new Asian fusion
restaurant uptown.
Andrew ate there, said
the dumplings were insane.
- Hello, my angels.
- MARGARET: Hi, Mom!
- FINN TANNER: Nana, Nana!
- Hi.
- (GIGGLES)
- MARGARET: Hi.
This is so, um...
Well, it's so nice. It
just took us by surprise.
Yes. Me too. Me
too. (CHUCKLES)
I just, uh, felt like
being with my family.
- Is everything all right?
- (CHUCKLES)
- Hello, George.
- Hello, Lillian.
LILLIAN: I have two whole hours
before I have to be
back at the theater.
- So I just wanted to see you.
- What about?
Hi there. Can we get an
order of egg rolls to start?
I think we're gonna order
just a little bit later.
MARGARET: Oh, Mom, look.
I was going to give
these to you later,
but I brought you these
for after the
run-through tonight.
They are strawberry
rhubarb cupcakes.
The rhubarb is from the garden.
- Wow.
- And I canned it last summer.
(CHUCKLES) Rhubarb?
- And chickens.
- MARGARET: Mm.
Ah, the fruits and pleasures
of New Jersey. (CHUCKLES)
So, how's the play
going, Lillian?
Um, good. Bad.
(CHUCKLES) And what about you?
- Margaret said you have, uh...
- GEORGE: Yeah.
- Some kind of, uh...
- Yeah. You know, the restorations.
Eighteenth century
wood paneling.
What about the painting?
Nobody buys paintings from
an artist who doesn't sell.
It's one of life's
great catch-22s.
So, what was it? What did
you wanna see us about?
- Huh?
- What did you wanna talk to us about?
So, um...
- Oh, I just...
- (TAPPING ON TABLE)
MARGARET: Hey, what did I say?
Nicely done.
I see fortune cookies
in your future.
- WAITER: Order of egg rolls?
- FINN: Yay!
- MARGARET: Great. Love it.
- FINN: And maybe some dessert.
Lillian?
- MARGARET: Did you order? No.
- No, I... I... Thanks.
- (OVERLAPPING CHATTER)
- GEORGE: Sweetheart, egg rolls?
- Oh.
- FINN: Thank you.
Hmm?
What did you want
to talk to us about?
- No, I just...
- MARGARET: Oh, no.
I just wanted to
see you. That's all.
Oh. Do... Okay.
- Here, what is it gonna be?
- So, I just thought about it.
Definitely want the dumplings,
and then I'm gonna go
with the firecracker.
MARGARET: That looks very spicy.
FINN: I can handle spicy food.
- Since when?
- I... I...
Why don't you order
the same as last time?
FINN: It was between the
tofu and the moo shu,
but I think in the end,
I'm gonna get the moo shu.
(MUFFLED OVERLAPPING CHATTER)
- MARGARET: You want chicken?
- FINN: No, chicken...
(UNNERVING MUSIC PLAYING)
(MUSIC STOP ABRUPTLY)
Is this a cupcake
I see before me?
A little bribery
from my daughter.
Oh, business of family.
By any chance, is one of
those earmarked for me?
I will give you one, if
you put some clothes on.
(TY CLEARS THROAT)
There was a time
when people bribed me
to take my clothes
off, not put them on.
I doubt it. Here.
Ugh. Grotesque.
Have you no decorum?
TY: I gave that up 20 years ago.
We're all dead in
the end, my dear.
Doesn't matter much,
really, what you wore
or when you wore it, or
how you chewed your food.
- Mm.
- I don't know.
- (TY GROANS)
- What does matter?
It's the little things, I guess.
- LILLIAN: Hmm.
- Just the little things.
(DOORBELL RINGING)
(GENTLE JAZZ MUSIC PLAYING)
Are you expecting... company?
Well, I guess I could be.
Mm. Someone you, uh...
undressed for?
Yeah, I mean, it appears so.
You would. Mm.
- (BOTH LAUGH)
- Yes.
- Oh.
- You'd better go.
Before my curiosity
kills the cat.
Yes, before I get too old.
Anyway, thanks for the cupcake,
cupcake.
(DOOR OPENING)
(UNNERVING DREAMY
MUSIC PLAYING)
Step back!
Or I'll strip naked.
- Woo-hoo.
- (GASPS)
(DOOR CLOSING)
KEITH: Did you really
consider ending it all?
(MUSIC CONTINUES)
(BREATHES DEEPLY)
- (KNOCKING ON DOOR)
- What?
These guys from the
EPK, they're here.
They said they just
need two minutes.
- LILLIAN: (GROANS) Really?
- Yeah.
- All right. Okay, okay.
- EDITH: Okay, guys. Come on.
- Super quick.
- KEITH: Hello, Ms. Hall.
- Hi.
- KEITH: It's an honor.
- I'm Keith, and this is Phil.
- Phil.
LILLIAN: Phil. Nice
to meet you both.
- Good. All right.
- Let's do it on the sofa.
Yeah. Right over
here would be great.
LILLIAN: Great. Right here?
- KEITH: Thank you so much for having us.
- Okay. Of course!
Yes, yes, yes. All right.
- I have rehearsal. Quickly.
- Oh, sure. Yeah.
- Let's go.
- KEITH: You good?
- PHIL: Yep. Rolling.
- Okay.
KEITH: Ms. Hall, 49
years, 206 plays,
sometimes two
years, three years,
the same part every night.
How do you keep it
from getting old?
LILLIAN: Well, it's not old
for the audience, is it?
I mean, they're seeing
it for the first time.
- So, there's that.
- KEITH: Mm-hmm.
Even when you're sick? Have
you ever been really ill?
LILLIAN: Oh, yeah. (CHUCKLES)
Practically on death's door.
Um, but it doesn't matter.
If I say I'm gonna
show up, I show up.
EVAN: Do not deceive yourself.
For once in your
life, at any rate,
you must look the truth
straight in the face.
No, don't!
Don't say anything to me.
(VOICE BREAKING) I
want to go to him.
I want to be with him.
Luba.
(UNNERVING DREAMY
MUSIC PLAYING)
(SOBS QUIETLY)
Huh.
I'm nothing without him.
(SOFTLY) Nothing.
Nothing. I'm
nothing without him.
Nothing.
(MUSIC CONTINUES)
(GRUNTS SOFTLY)
(BREATHES HEAVILY)
MAN: (ECHOING) Oh, Lily, love.
(DOGS BARKING)
MAN: Forever and
always. Always and ever.
Greatness lies just beyond
the greatest fear.
(ECHOING CHATTER)
(BIRDS CHIRPING)
(DOG BARKING)
(MUSIC FADES)
You planning to hide this
from me indefinitely or what?
What? It's... I mean,
it's... It's nothing.
- It's just to help me remember.
- Remember what?
- My lines.
- Don't say your lines.
Galantamine is...
"The swine that will show
me where the truffles are."
EDITH: Don't quote Albee to me.
I've been running lines with you
for 25 years, so cut the crap.
- I'm on to you.
- What? I'm not doing anything.
EDITH: Yes, you are.
- This is not...
- An act.
I know what these are for.
I went through this
with my father.
So please, spare me the charade.
- Your father had...
- EDITH: Yes.
- Oh, I didn't know that.
- Well, you didn't ask, did you?
How bad is it?
"Something is
taking its course."
Oh, for Christ's sake, Lillian!
- How bad is it?
- What difference does it make?
A hell of a lot. You trust me.
It's not important.
EDITH: It's not important?
If this isn't important,
what the hell is?
And don't say the play.
This is your life we're
talking about here.
The play is my life right now.
And no one is going
to take that from me.
I'm going to get through this.
And you are going to help me.
Oh, no. The hell I am.
I have the medication.
The medication only
takes you so far.
- It'll take me far enough.
- EDITH: No.
- It won't. No.
- (PILL BOTTLE RATTLING)
"No." What does "no" mean?
"No" means there is no way
I'm gonna let you go out there
in front of 2,000
people every night...
- What? Broadway theaters don't have 2,000 seats.
- risk your life,
- and ruin your reputation.
- I mean, the Lyceum only has 950.
I don't care if it's 47
elves and three gorillas!
I'm not going through that!
And neither should you!
And neither should
your audience,
so count me out!
Edith, stop!
No!
I won't be a part of this!
(SOMBER DRAMATIC
MUSIC PLAYING)
(INDISTINCT CHATTER)
FLO: (ON INTERCOM) Places
please, ladies and gentlemen
We're going to re-stage
Lubov's entrance.
- (HORSES GALLOPING)
- LOPAKHIN: I hear the carriages.
- DUNYASHA: They're coming!
- LOPAKHIN: There they are.
- Right enough.
- Let's go in there!
Let's come through here.
Fast, fast. Let's
find our places.
Settle for a moment,
and first line.
Do you remember what
room this is, Mother?
The nursery.
(GASPS) Oh.
I used to sleep here as a baby.
Now here I am, like
a little girl again.
Now let me remember.
Oh, holy mother of God.
You haven't forgotten, Luba?
I'm sorry, David. I'm done.
LILLIAN: Red, into the corner.
JANE: It's called show
business, isn't it?
It's not called show art.
It's called show business.
(SORROWFUL MUSIC PLAYING)
JANE: So, would I be
doing Chekhov on Broadway
if I didn't think I
could turn a profit?
No.
But I am doing Chekhov
on Broadway, aren't I?
At least it's not another
f*cking jukebox musical.
It's f*cking Chekhov.
You didn't record that, did you?
Word gets out, it's
not gonna be good.
They don't care because
it's a business.
(OVERLAPPING CHATTER)
Shh.
EVAN: Hey, Lillian.
Listen, they, um, they're
canceling previews.
Yes, it's true.
Where's Jane?
LILLIAN: You're
canceling previews?
That's right, technical
issues with the set.
- (MUSIC FADES) - Everyone
is gonna know that's a lie.
I'm just trying to keep
this train on the tracks.
You have a day off tomorrow.
We're gonna cancel Tuesday.
We will pick back
up on Wednesday.
We'll rehearse
until we're ready.
And when we're ready,
then we'll preview.
LILLIAN: So you are going
to publicly compromise
the artistic integrity
of this entire company?
You don't really
wanna talk to me
about artistic integrity,
do you, Lillian?
Because one of our backers
has already pulled out.
But if you'd rather
that I tell them the real
reason we're canceling,
I can.
Or I can just say,
technical issues with the set.
(JANE BREATHING DEEPLY)
Good night, Lillian.
(DOOR OPENING)
(BREATHES DEEPLY)
(EXHALES)
(CIGARETTE CRACKLING)
- (SIGHS)
- (TY EXHALING)
Ty, do you ever sleep?
- Waste of time, sleep.
- (CHUCKLES)
Waiting for one of your
late-night visitors?
Well, already come and gone.
- Oh.
- Just enjoying the afterglow.
- (LAUGHS)
- Post coital bliss.
You satyr.
(CHUCKLES)
Uh-huh.
(GROANS)
And what's keeping
you awake, hmm?
I haven't bought any...
opening night gifts yet.
The Barrymores... (CHUCKLES)
used to give each other apples.
An apple for opening night.
- Very sweet.
- LILLIAN: Yeah.
Do you think...
art transcends life?
Yeah.
Tuesdays and Thursdays, usually.
(BOTH CHUCKLE)
TY: Hmm.
- Seriously.
- (STAMMERS)
- (LAUGHS)
- Seriously?
That's... That's
too serious for me.
I mean, what does
that mean, transcend?
- Transcend. To elevate.
- Uh-huh.
To reach for something
greater, something more.
Yes, I see.
It is possible, you know.
On stage.
(SIGHS)
That leap every night
into the unknown.
Hmm.
Carson used to call it,
"eternity in a moment."
(CHUCKLES)
You miss him?
I see him every day.
It feels like he's
waiting for me,
drawing me closer and closer.
It's where I belong, with him.
Everything I've ever
known about life at all
is with him.
- Yeah.
- LILLIAN: Mm.
"Wine comes in at the mouth."
- (GENTLE JAZZ MUSIC PLAYING)
- "And love comes in at the eye."
That's all we shall know of life
before we grow old and die.
I lift the glass
to my mouth,
I look at you,
"and I sigh."
(CHUCKLES) Hmm.
- Ty?
- TY: Yeah?
Will you kiss me?
Please, just once.
I want to remember
what it's like.
I want to take that
memory with me.
Please.
Oh, Lilly.
(GIGGLES)
(BOTH BREATHE HEAVILY)
- Yes.
- (BOTH LAUGH)
Well... (LAUGHS)
So lovely.
(MUSIC FADES)
LILLIAN: (OVER PHONE)
Edith, I'm on the floor.
I've fallen. I've
broken something.
I can't get up.
Lillian, believe it or not, I
can tell when you're acting.
(LAUGHS)
(SIGHS)
(PHONE CLATTERS)
(LAUGHS)
(HIGH-PITCHED RINGING)
(RINGING CONTINUES)
- (RINGING ENDS ABRUPTLY)
- (SIREN BLARING)
(CAR HORNS HONKING)
Wait.
DRIVER: Where to?
Where are we going, lady?
128... West...
59th Street.
DRIVER: Central
Park South. Got it.
Ms. Lillian?
(CHUCKLES) Ben.
(CHUCKLES)
(CAR DOOR CLOSES)
Ben. Ben.
Uh, a gentleman's
been waiting for you.
DAVID: Yeah, I don't
remember who said it.
Someone said being a director
is like being an obstetrician.
You know, you deliver
the baby. It's not yours.
You know that. You're
not the parent.
You're more like,
um... the midwife.
- Lillian.
- LILLIAN: David.
Hey.
- I'm sorry, I... Did I forget...
- DAVID: No, no, I'm sorry.
I just kind of showed
up on you unannounced.
- LILLIAN: Oh.
- I thought we could maybe talk
outside of the
theater, privately.
So I... Whoa, whoa, whoa.
- Whoo!
- I got you. Okay?
Let's, um...
- Want to sit down?
- Yeah.
- You all right?
- (SIGHS) I just suddenly felt...
a little, I don't
know, lightheaded.
It's your job to make
sure nothing goes wrong.
Something always goes wrong.
So when it does,
it's your job to act.
Do you have family?
Not to speak of, no.
Um, married?
No.
- Children?
- No, Lillian.
It's really only
the play, isn't it?
Yeah.
Yeah.
So...
you save the child,
no matter what.
Hey.
Do you have a car?
(DOORBELL RINGS)
(BIRDS CHIRPING)
- (DOOR OPENS)
- MARGARET: Mom?
Huh? Oh.
Oh, my God! What are you...
What are you doing here?
Why didn't you tell me
that you were coming?
Oh, it's my day off.
So I just thought it
might be nice to, uh,
you know, pay a visit
to the chickens.
- Yes, that's great. Um...
- (LAUGHS)
- This is... this is David.
- MARGARET: Hi! Oh, gosh.
- Sorry. Hi.
- Nice to meet you.
- This is my daughter Margaret.
- Nice to meet you.
- Yeah. Well...
- Well?
Well, may we come in?
- May we come in?
- Yes! Of course!
No, come in.
Sorry. Come in. Here you go.
LILLIAN: Well, where
are you going to live
if you sell the house?
We'll rent for the time being.
Less maintenance, less overhead.
More, more, more freedom.
- (YELPS)
- Oh, no.
Oh, sh**t.
Mm. I'm sorry.
- David?
- MARGARET: Are you okay?
Yes?
Would you mind slicing
these strawberries?
Because I just seem to be making
a whole mess out of everything.
- You don't have to do anything.
- Oh, I've got it. No problem.
- Sure.
- Thank you.
Let's see if I
can make it worse.
- Nana! Nana's here!
- Oh, look who's home!
(LAUGHS) Oh, my sweet soul.
- David.
- George, this is David Fleming.
He's the director.
- Oh, the director of the play.
- Nice to meet you.
- Beautiful work, by the way.
- Thank you.
- (LILLIAN CHUCKLES)
- GEORGE: What's going on?
- Is everything okay?
- LILLIAN: Yeah, everything's fine.
Why, can't Nana come and
visit sometimes? (CHUCKLES)
Of course she can.
- She just usually doesn't.
- Usually doesn't.
- Will you set the table?
- Yes.
And Finn, wash your hands.
- Help your dad.
- Oh, I can help with that.
- Oh, no, Lillian, it's fine.
- No, no.
Just make yourself
at home, please.
LILLIAN: I should do
something around here.
I'm practically useless.
- (INTRIGUING MUSIC PLAYING)
- That's not true.
- Thank you so much for doing this.
- Of course, of course.
LILLIAN: I can
still set a table.
We need salad plates.
George, are you showing
anywhere right now?
(OVERLAPPING CHATTER)
We need one more
placemat, honey.
MARGARET: I don't know if
we have another one, Mom.
LILLIAN: No? We have four...
(OVERLAPPING CHATTER)
LILLIAN: Take one of those
that was on the counter before.
- But why? It doesn't...
- LILLIAN: Okay, all right.
- Never mind. It doesn't matter.
- GEORGE: It's an old table.
- LILLIAN: Alright.
- MARGARET: Hey, David.
Can I get you a
drink or something?
- DAVID: Uh...
- Will you sit down, please?
GEORGE: You got your
hands full. No problem.
(OVERLAPPING CHATTER)
- MARGARET: What?
- Do we have another chair?
(OVERLAPPING CHATTER)
DAVID: I can stand.
- No, no. (SCOFFS)
- No!
- I'll go get it.
- (LAUGHS)
- (BIRDS CHIRPING)
- (MUSIC CONCLUDES)
MARGARET: She said she
was tired all of a sudden.
DAVID: Yeah, these rehearsals
have been a rough road.
It's not an easy play.
MARGARET: No, it's not
like her, taking naps.
DAVID: When you were a kid,
and your mom was always in
the theater, what did you...
Who looked after you?
How did that work?
- Well...
- DAVID: I mean,
it's like your whole
childhood, right? Your mom's...
Eight shows a week, six nights,
two matinees. I can't imagine.
- Yep, pretty much on her own.
- MARGARET: Oh, George, don't.
- Well, it's... it's the truth.
- MARGARET: I was not.
I wasn't. I wasn't... on my own.
I was never alone.
I was with my dad
when he wasn't
directing something,
and, uh, my
housekeeper, Loretta,
when I wasn't with him.
Loretta.
And every night when mom
got home from the show,
she would come into my room,
sit on my bed.
I was always half
asleep, it was nice.
She would sing to me.
She would sing...
Hush, little baby
Don't say a word
Mama's gonna buy
you A mockingbird
If that mockingbird
Don't sing
Mama's gonna buy
you A diamond ring
Anyway.
DAVID: And your father?
Gosh, they were just...
they were in it together.
DAVID: In what way?
MARGARET: He directed her in,
what was it, like six or seven...
I think it was seven plays.
Maybe it was more.
And when he wasn't
directing her,
he would go down to the theater,
and walk her home
after the performance,
and they would talk
about how it went.
They were just...
They were inseparable.
Mom, Dad, the theater.
And there really wasn't
room for anything else.
(DOOR OPENING)
(MARGARET SIGHS)
Hush, little baby
Don't say a word
Mama's gonna buy you
A mockingbird
And if that
mockingbird Don't sing
Mama's gonna buy you
A diamond ring
And if that diamond
ring Turns to brass
Mama's gonna buy
you A looking glass
And if that looking
glass Gets broke
Mama's gonna buy
you A billy goat
And if that billy
goat Won't pull
Mama's gonna buy
you A cart and...
(CHUCKLES)
MARGARET: She gave me a
present for my birthday.
It was this handmade doll.
I loved it.
So there I am playing
with it backstage
when this prop guy comes
over and starts telling me
how I can't just go taking
things from the show
and how now he would
have to replace it.
And, uh, he goes
and gets my mother,
who comes over and...
makes me give my doll
back to this guy.
She stole it.
She said she didn't have time
to shop for birthday presents
while she was doing
the play, so...
(CHUCKLES)
I stopped going to the
theater with her after that.
And she stopped inviting me.
I was... never a good mother.
Never.
Just like my own mother.
That's the truth.
A good mother? No.
I... I don't know. A good wife?
(CHUCKLES)
By whose definition?
But a good actor, yes.
Yes, I can claim that. I was...
I have been a good actor.
That's it.
Only the play?
(HAND PATTING)
Only the play.
I won't let you down, David.
I promise. I won't let you down.
- I know.
- (CHUCKLES SOFTLY)
Okay.
- LILLIAN: Thanks.
- Thank you.
Oh, thank Christ. I was
about to call the cops.
I'm sorry. "Do I know you?"
EDITH: Oh, you know
exactly who I am,
and you cannot disappear
on me like that.
(LILLIAN SCOFFS)
Oh, I'm afraid my disappearing
on you is a foregone conclusion.
Oh, my God, I went
to the theater,
I went to the library,
I went to the park, the bench
you and Carson used to sit on.
I mean, where the hell were you?
Down the road, not taken.
Okay, just stop.
Stand still.
- All right. I'm standing still.
- And listen to me, okay?
I am.
I promised Carson
I'd take care of you.
He even paid me 20 years
in advance to do it.
So I can't just abandon you,
even though it's tempting.
My cats are so needy, I
just gotta get out of there.
(SIGHS HEAVILY)
What? What is it?
(SIGHS) I found a way to
help you with the play.
"Well, whoever you are,
I've always depended on
the kindness of strangers."
Yeah, and I've always
wanted to play Cyrano.
So what is it?
The ear mics money can buy.
(CHUCKLES)
Uh-huh.
- (CHUCKLES)
- (EDITH LAUGHS)
What would I ever
do without you?
Work in retail.
- (BOTH CHUCKLE)
- (DRAMATIC MUSIC PLAYING)
(INDISTINCT CHATTER)
FLO: Hey, guys?
Places in 15. Come on in.
LOPAKHIN: You must make
up your mind, definitely.
Are you willing to lease
the land for villas or not?
Just give me an answer, please.
(SIGHS) I had a lot of money...
(OVER MIC) ...yesterday,
but there's very little...
today.
Please, sir, put this on.
It's damp.
You're such a nuisance, old man.
Well, that may very well be,
but you went away this
morning without telling me.
I used to look out from here
into the cherry orchard.
Happiness would wake with me
every morning.
EDITH: (OVER MIC) No,
that's from act one.
"I've always scattered money."
I've always
scattered money about
without holding myself in,
like a mad woman.
And I married a man.
(UNNERVING DREAMY
MUSIC PLAYING)
(ECHOING FOOTSTEPS)
Oh.
No. What's this now?
And I married a man...
but he died.
My husband died
and to my misfortune.
LOPAKHIN: You must
make up your mind.
- There's no time to waste.
- (MUSIC FADES)
EDITH: "What are we to do?"
"Tell us what."
What are we to
do? Tell us what.
I tell you every day.
- The same thing. Every day.
- (FOOTSTEPS DEPARTING)
The land and the cherry
orchard must be leased off.
- (MUSIC RESUMES)
- Don't, don't! Please don't go!
Christ al-f*cking-mighty.
LILLIAN: It's so much
nicer when you're here.
Oh, that's the happiest moment,
when it's all done,
when we can... Stop!
When we can just
stop! (GROANS)
- EVAN: Lillian!
- sh*t!
Oh sh*t.
- Lillian?
- LILLIAN: No, no.
I'm okay. No, I'm...
It's okay. It's okay.
Let's just keep going, okay?
- DAVID: Oh, my God!
- (ANYA SCREAMS)
(GASPS)
EDITH: Lillian.
Lillian.
- Hi.
- NURSE: Hi.
Hi, I'm looking for my
mother, Lillian Hall.
They said that she
was on this floor.
NURSE: Yeah.
- Hi.
- Oh!
- Oh my God, are you okay?
- Margaret.
What happened? You
fell? She... She fell?
- It's just...
- (CHUCKLES) Here you all are.
I'm the luckiest person
to have all you beautiful
people around me.
EDITH: They gave her something.
- She's, you know, a little out of it.
- MARGARET: Okay.
We jumped in the car
as soon as we heard.
- LILLIAN: You didn't need to come.
- MARGARET: What happened?
I don't understand.
What happened? You fell?
I didn't have anything
to eat before I went on.
- It was...
- EDITH: Oh, she got dizzy.
Foolish of me. I got dizzy.
She was sitting on a swing.
She didn't have far to
go. You know, just boom,
- And that was it.
- (LAUGHS)
Thank God she didn't
break anything, right?
And we got you here
as fast as we could.
And they got me here
as fast as they could.
Jane and I are gonna give you
all a little bit of space.
- LILLIAN: Okay, David.
- Check in on you in a little bit, okay?
Oh, David. (CHUCKLES)
- Okay? Thanks, Doc.
- DEMAYO: Yeah.
Fly away, little birds.
Little birds, fly
away. (CHUCKLES)
Well, she fell as a result
of a neurological condition.
- It's typical.
- Typical of what?
What, what, what? What kind
of neurological condition?
- What?
- She hasn't told you.
Told me what?
Your mother... Your mother
has a form of dementia.
I'm sorry, what did you say?
I guess she didn't
want anyone to know
because of the play.
MARGARET: Because of the play?
Of course it's the play
she's worried about.
(SCOFFS) She can't do...
She can't do the play.
DEMAYO: Well, she shouldn't.
I'm sorry. Um...
What should we be doing now?
Well, you need to
start making decisions
regarding her health care.
And you should coordinate
all of that with Edith.
- With Edith?
- DEMAYO: Mm-hmm.
(SCOFFS)
GEORGE: Margs.
MARGARET: Why
didn't you tell me?
Were you ever gonna tell me?
And why is Edith making all
your health care decisions?
Please, sweetheart.
No, no, don't sweetheart
me. Just tell me.
- GEORGE: Margs, don't.
- No, tell me. Why Edith?
- Because I asked her.
- MARGARET: Oh.
Yeah, so let me get this right.
You chose an employee over me
to take care of you?
Why did you even call to tell me
that you were in the hospital?
No, you didn't. You
didn't. You never would.
She did that for you, just
like she does everything.
Maybe now is not the best time.
Now is absolutely the time.
So, this is what your visit to
see us was really all about?
What were you doing?
Auditioning me?
No.
MARGARET: Wondering what life
could have been like with us?
With the chickens?
Oh, God, I should've known.
You would never just drop by
on your precious day
off. Jesus Christ.
- So I didn't get the part.
- I don't like it either,
- but your mother's lying in a hospital bed right now.
- That's fine. No, it's fine.
Edith did.
Congratulations, Edith.
Congratulations. She's
all yours. Have a blast.
- Oh my God.
- LILLIAN: No, please, do not blame Edith.
(SOBS)
I'm your... I'm your daughter.
Why didn't you tell me?
(SOBS)
Because I wanted to spare you.
MARGARET: Spare me what?
The chance to be
together, the chance...
to have some time
together before...
Spare me what?
Spare you my disappearing
act as long as I could.
But you disappeared
a long time ago.
God, I've tried
everything I could
to fight my way back into
your life, but I'm done.
I'm done. I'm just...
I'm done. I'm done.
You never really
wanted to be my mother.
You just wanted to...
You just wanted
to play the part.
- (SOBS)
- (ECHOING FOOTSTEPS)
(UNNERVING DREAMY
MUSIC PLAYING)
Oh. (CHUCKLES)
You came.
You called. I came.
That's how it works.
Oh, my darling, my darling.
- Yes.
- Mom.
Enter stage right.
- Enter stage right.
- CARSON: Cross down left.
- LILLIAN: Wait. Enter stage right.
- GEORGE: Lillian?
Cue the music.
- Yes. Yes.
- Mom.
- ("SHINE ON, HARVEST MOON"
PLAYS DISTORTED) - Shine on
Wait. Okay.
Shine on, harvest Moon
DEMAYO: She's seeing
something. She'll be fine.
Up in the sky
Enter stage right.
I ain't...
No, I have to rehearse.
Had no lovin'
No.
Since January...
- No! No! No!
- You cannot move.
June or July
- No! No!
- You have a concussion.
Snow time
- LILLIAN: He's waiting for me!
- Ain't no time to stay
Wait! Don't!
- Outside and spoon
- (OVERLAPPING SHOUTING)
So shine on
- Shine on, harvest Moon
- (OVERLAPPING SHOUTING)
For me and my gal
(SHRIEKS) Don't! Don't go!
- (MUSIC FADES)
- (WAILING) No!
No! No! No!
(SOBBING) No! No!
Oh, no, no, no!
(WAILING, SOBBING) Why? Why?
Why? Why?
(MARGARET SOBBING)
(EXHALES)
I was eight years old.
It was summer. I remember
it being so damn hot.
My parents and I were on a boat
with some of their friends.
(LIVELY CHATTER)
Everyone was
laughing and talking,
having a grand time.
And I could feel
how invisible I was to
them, like I didn't exist.
You know, the child
they never wanted
and had no idea what to do with.
And all I wanted was
for them to notice me,
just to look at me,
to see me.
So I stood up on
the bow of the boat.
And dove in.
And then, that first instant,
oh, the water felt so
cool and wonderful.
And then in the next
moment, the boat struck me.
(WATER SPLASHING)
Hit me in the head and the face.
And there was blood
everywhere in the water.
I'd ruined the party.
(CHUCKLES SOFTLY)
All I wanted, all I needed,
was to be seen.
For people to look at me.
Hmm.
And I found that
stepping onto the stage,
made that happen.
There was a light, and
when I walked into it...
(SIGHS) ...I wasn't me anymore.
I was...
I was strong and I was brave
and interesting and...
Beautiful.
Hmm.
And people saw me.
I was seen.
(MONITOR BEEPING)
(COUGHS)
There you are.
There you are.
(CHUCKLES)
Here you go.
(SLURPING)
Well, you sure know how
to clear out a room.
(LILLIAN EXHALES)
- Sorry.
- It's okay.
I needed a good scare to
liven up my dull existence.
Well,
took ten years off my life,
but I lost a few pounds.
So, you know, all in
all, it was worth it.
(BOTH LAUGH)
How long have I been out?
Eh, a day.
So, does everybody know?
- Just Margaret.
- No one at the theater?
Not yet.
Oh, no. Not ever. Not ever.
(BREATHES HEAVILY)
They are rehearsing without you.
Edith. (COUGHS) Are
they gonna replace me?
They tried.
What happened?
Well, I mean, the only
person available is Haley.
I mean, who's gonna buy
tickets to see an understudy?
Come on.
- Haley's a standby.
- Oh, whatever, Lillian.
- Okay.
- Come on.
It's Lillian Hall or
nothing for their money.
Well, then Lillian Hall
is what they're gonna get.
Oh, Lil, please.
LILLIAN: Now, now,
listen to me, Edith.
I can still do this.
When I'm me, I can do this.
And I'm still more me than not.
Right?
We're gonna do this.
We're gonna do it.
(SOFT DRAMATIC
MUSIC PLAYING)
LILLIAN: "You ought to do
something to your beard
to make it grow better.
Ha, ha, ha, you're funny."
Blah, blah, blah.
"I would never stoop
to such vulgarity."
We need to get serious
about pushing the opening.
- Okay? It could help...
- No. No way.
"Save me, Petya.
Say something, say something."
"You must look the truth
straight in the face."
This telegram is from Paris.
I get one every day.
There are no more press
dates available to open.
So if you want press reviews,
yeah, there wouldn't be any.
LILLIAN: "You see
where truth is,
where untruth is.
But I seem to have lost
my sight. I see nothing."
It says here they
embrace. Should we just...
Uh, no.
JANE: Lillian doesn't
want to push either,
so Lillian Hall is gonna
open this play on the 21st.
LILLIAN: I want to go to him.
I want to go to
Paris to be with him.
No, there is no turning back.
"I can't get away from myself.
"I'm afraid of..." Jesus Christ.
You're afraid of...
- LILLIAN: What?
- "The silence."
Oh.
I can't do this, Ty.
And if Lillian Hall
falls on her face
on the 21st, then what?
That would be tragic.
TY: The Lillian Hall, I know.
No play has ever been written
that could defeat her.
Until now.
(SIGHS)
Oh, Lillian Hall.
Thief. Pothead.
(VOICE BREAKING) Like
a stone around my neck,
dragging me down.
(SOBS, SNIFFLES) But a stone,
oh God, I cannot live without.
You got anything
to say about that?
She's amazing.
But will she be
amazing again tomorrow?
(MUSIC CONTINUES)
(HAMMERS BANGING)
It's the house.
She paid it off.
(MUSIC CONCLUDES)
- Oh, your car isn't here yet.
- Oh, no, no, no.
I always walk to the
theater on opening nights.
Oh, well, then break a leg.
(CHUCKLES) Let's hope not.
(UNNERVING DREAMY
MUSIC PLAYING)
(GASPS)
You guys. Again?
We're waiting for Lillian.
FLO: Where the hell is Lillian?
She said she was
walking to the theater.
And you thought that
was a good idea?
When did she leave?
- An hour ago.
- FLO: Jesus Christ.
- Can you find her?
- Yeah.
What? She's not with you?
Is she coming?
ANYA: Excuse me, David.
Say something, Edith.
You better get Haley
ready, just in case.
FLO: (ON INTERCOM) This is your
one-hour call, ladies and gentlemen.
One hour to places.
(INDISTINCT CHATTER)
(CHATTER CONTINUES)
DRESSER: All right, good to go.
(MUSIC CONCLUDES)
(MUSIC SWELLS, FADES)
(CHUCKLES)
(LAUGHS)
- (CARSON CHUCKLES)
- Oh!
(SOFT MUSIC PLAYING)
Why did you leave me
without saying goodbye?
Couldn't help it.
Besides, when are
goodbyes ever good?
We should've had years
and years together.
CARSON: We did, didn't we?
No, no, no, not
enough, not for me.
I had plans for us.
CARSON: How do you
make God laugh? Hmm?
(BOTH LAUGH)
LILLIAN: You tell
him your plans.
- CARSON: Yes.
- (LILLIAN LAUGHING)
It's better to
make a quick exit.
We did have our time, didn't we?
Our day in the sun.
And we will again.
(MELANCHOLIC MUSIC PLAYING)
Will we?
You'll come for me?
When it's time?
(EXHALES)
You'll never
- leave me alone again.
- CARSON: Never.
Never.
(CHUCKLES)
CARSON: "We are such stuff
as dreams are made on."
BOTH: "And our little life
is rounded with a sleep."
(INDISTINCT CHATTER)
MARGARET: Alvin, hello.
It's so exciting.
She's doing great.
She's going to be so
good in this play. Enjoy.
- Well, I'll see you around.
- See you later.
DAVID: How do you wanna
handle the announcement?
JANE: What announcement?
That Hayley's going
on for Lillian.
- There's no Lillian on time.
- No.
And have half the audience
and the press walk out? No.
They're not gonna...
They wouldn't walk out.
JANE: Why take the chance?
There's no announcement.
That's how you make
theater history.
You surprise them.
- Really?
- Yeah.
Welcome to Broadway, huh?
- Hi.
- Welcome to Broadway.
EDITH: (ECHOING) I thought
I might find you here.
(MUSIC FADES)
- (BIRDS CHIRPING)
- (DISTANT CHATTER)
LILLIAN: It's over,
Edith. It's over.
Oh, is it?
I am nothing now, but...
a useless body of
rants and recitations.
Oh, I've heard
this speech before.
An empty vessel who's
poured her heart, nay,
- her very soul into the...
- Morning Dove.
(LILLIAN LAUGHS)
End of the second act.
(EDITH SCOFFS)
LILLIAN: We closed in Baltimore.
- With good reason. Yeah.
- (LILLIAN LAUGHING)
That speech wasn't
good enough then,
- and it's not good enough.
- LILLIAN: No.
Come on. Let's go.
Will I still be me, Edith?
You went through this
with your father.
Tell me.
Will I even know who I am?
Hmm?
Sometimes.
Sometimes not.
And when I'm gone,
when I don't know,
will you remind me?
Will you remind me who I was?
Will you do that for me?
Sure.
I'll remind you.
Till the cows come home.
This is New York, darling.
- Cows never come home.
- All right, enough.
Let's go.
Where to, my bird?
Home.
DUNYASHA: He's an unlucky man.
Every day, something happens.
We tease him about it.
They call him Two and
Twenty Troubles. (LAUGHS)
- There they come, I think.
- (HORSES GALLOPING)
- (HORSE NEIGHS)
- I hear the carriages.
They're coming.
ACTRESS What's the matter
with me? I'm cold all over.
LOPAKHIN: Let's go and meet
them. Will she know me?
We haven't seen each
other for five years.
I shall faint in a minute. Oh.
Let's go in there.
Let's come through here.
Do you remember what
this room is, Mother?
(MUSIC INTENSIFIES)
The nursery.
- Oh.
- (AUDIENCE APPLAUDS)
What a marvelous garden.
Fasten your seatbelts. It's
gonna be a bumpy night.
(DELICATE PIANO MUSIC PLAYS)
LILLIAN: I am so happy
to be home again!
Red into the corner,
twice into the
center. (CHUCKLES)
Right into the pocket.
Oh.
PISCHIN: Tell us about Paris.
Did you eat frogs?
LILLIAN: I ate crocodiles.
(AUDIENCE LAUGHS)
(ACTORS LAUGHING)
LOPAKHIN: You must make
up your mind, definitely.
There's no time to waste.
LILLIAN: What are we
to do? Tell us what.
I went away.
Far away.
So silly, so shameful.
My life, all of it.
- ACTORS: Aw! (CHUCKLE)
- (AUDIENCE CHEERS)
(LAUGHS)
(SOBBING) I love him!
I love him! I love him!
I love him! I love
him! I love him!
We must go now. Time to go away.
ANYA: Put on your
things. Now we can go.
Away! (GIGGLES) Away!
- Nature's marvel!
- Ooh! Let me get my breath back.
Everything in this
world comes to an end.
Goodbye, home!
Goodbye, old life!
(GIGGLING) Let's go! Let's go!
(MUSIC FADES)
EDITH: (OVER MIC)
"It's as if..."
"It's as if."
It's as if I never
really noticed
the walls and ceiling
of this house,
what they were like.
EDITH: "And now."
Lillian, stay with
me, goddammit.
"And now."
And now, I look on them
so greedily,
with such... tender love.
Oh, such love.
(MELANCHOLIC MUSIC PLAYING)
LILLIAN: If only
I could take this heavy burden
off my breast and shoulders.
If only I could forget my past
and just... just be your mother.
That's enough, Luba.
- That's enough.
- Huh?
Has everything been taken away?
Is everything gone?
Yes. Time to go.
- Time to go!
- (LAUGHS)
LOPAKHIN: There are a
few things in there.
- I must lock them up.
- Yes.
Time to go.
- (GASPS, SIGHS)
- (MUSIC FADES)
My house.
My youth.
(CHUCKLES) My happiness.
My life.
Goodbye.
Bye.
ANYA: Mother!
- (SOBS)
- LILLIAN: Yes.
Yes, I'm coming.
- (EDITH EXHALES)
- (FOOTSTEPS ON STAGE)
FIERS: They've all gone away.
Forgotten about me.
Oh, never mind.
I'll just sit here.
Life's gone on as if
I'd never lived at all.
Oh, you.
(AUDIENCE APPLAUDS)
- You did it! My genius.
- We did it.
She did it.
(APPLAUSE GROWS LOUDER)
(AUDIENCE CHEERS)
MARGARET: She made
it all the way.
And it wasn't easy.
There were times when
she did get lost.
But Edith was there.
And the other actors.
Just staying with her.
- Right to the...
- (APPLAUSE CONTINUES)
very edge sometimes.
And then, like
magic, she was back.
She was there again.
My mother,
the great Lillian Hall.
(SOFT DRAMATIC
MUSIC PLAYING)
(AUDIENCE APPLAUDING)
(MUSIC CONTINUES)
Hush, little baby
Don't say a word
Mama's gonna buy
you A mockingbird
If that mockingbird
Don't sing
Mama's gonna buy
you A diamond ring
("HUSH LITTLE BABY" PLAYING)
Sing me A song
of forgiveness
Sing me a song of peace
In the deep of the night
By the moon's tender light
When the sorrow
And anger cease
Sing me the song of lonely
Sad as the sigh of a dove
Sing me of things That
life always brings
Sing me a song
- Of love
- Hush, little baby
Don't say a word
Mama's gonna by
you A mockingbird
Sing me a song of remember
Sing me a song of forget
Of the tricks time will play
As life steals away
And you're left With
a dream and regret
Sing for the lovers
And loved ones
Who long to fit
Hand to a glove
And the price that is paid
For mistakes that are made
- All in the name
- Hush, little baby
- Of love
- Don't say a word
Mama is gonna buy
you A mockingbird
- Of love
- Hush, little baby
Don't say a word
(INTRIGUING MUSIC PLAYING)
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Great Lillian Hall, The (2024)
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