Nuptials (2026)

[bunniefuu]

[crashing waves]

[Voices overlapping] -[Hannah]

The nerves are bad tonight.

[Stephen] The sky has echoes.

-[Stephen] Your ears have...

-[Hannah] Do not place your habits

next to the dishes, dear.

-[Stephen] Of whom do you speak?

-[Hannah] And yet our speech

is awash in becoming.

-Of what matter is a thought?

-[Stephen] Quit the forge dear and continue...

-[Hannah] In silent moments, I split upon myself...

-[Stephen] That I have read

-that we are inside a rats nest...

-[Hannah] ...a self that has

-in itself a self of another self...

-[Stephen] It has been said

-that the dead lose their bones.

-[Hannah] To this word

-this...

-[Stephen] Are we living amongst them

-[Hannah] this word...

-[Stephen] ...or are we living amongst them?

-But how can we proceed...

-[Hannah] Of the matter of our vivid souls

that has yet to be solidified

on the windowpane.

are we not cellmates?

[dramatic music plays]

[Hannah] It felt like I was in a grave.

Like, I had woken up in a grave.

The weight of the Earth

weighed in on me on either side.

But I could feel the outline

of the coffin with my hands.

And scarier still, the sense

that on the outside of the coffin,

there was a million tons of dirt

and mud pushing against me.

I could hear the worms

moving in the ground.

But I couldn't be sure of that because

there seemed to be some aspect

of the worms that resonated

from inside my own head.

Like, they were making sounds inside of me

and not outside in the

ground, beneath the cemetery.

I imagine there must be a cemetery, right?

It's all very hard to describe.

[tense music plays]

[rain pattering]

[thunder rumbling]

[dramatic music plays]

You're late.

Darling! Is it dinner time?

It was dinner time at 6:15,

which is when we agreed to meet back here.

Back here.

Hardly feels like I've been gone,

you know, painting so immersive.

How was your day?

I've been waiting here for

you for an hour and a half.

I've been waiting for you my whole life.

Don't try that sh*t with me.

I told you, dear, not to get

in the way of my painting.

And I haven't.

You were gone for most of

the day, and I didn't complain.

I didn't say anything

about you and your painting.

But what I do take issue

with is the fact that you think

you can just waltz in

here an hour and a half late

on our honeymoon no less and expect me

to take it all in stride.

This is our honeymoon,

even though you seem

to want to forget that.

I haven't forgotten.

Why did you come here?

To marry you.

Sometimes I believe that,

and sometimes I don't.

I think you came here to paint.

I also think you married me

out of some misplaced notion

of social convention.

Social convention?

Your term, not mine.

You walk around going on

and on about social convention.

It's all you ever talk about.

You're always worried

about offending others

based on some neurotic

idea of social convention.

Yet, at the same time,

you seem dead set to k*ll

all social convention.

Meaning?

You walked in here wearing a pig's mask.

Yeah, I don't see your point.

How long have you been

wearing this damn thing?

All day.

-Did you paint with it on?

-Yes.

That's crazy.

I don't see why.

Then that's f*cking crazy.

I usually paint with a mask on.

Yeah, you and all your ski masks.

You know I don't like people

watching me while I paint.

You seem tense.

You know what my dad used to say about you?

No, what?

He said that you had all

the markers of a normal man.

But you aren't.

I'm not?

Dad says you try to fool everyone

into thinking that you're a man.

Let's face it,

you aren't a typical man.

You're a painter.

All you read is poetry.

You're not into fitness.

Or sports. Or sex.

You don't even like cars.

I didn't know you were this conventional.

And I can't believe this is happening.

This is our honeymoon.

It is.

How did this all start?

What? Us?

You know what I mean.

How did we get here... and where is here?

What?

Don't you have the sense that there's

something strange about this place?

Strange how?

Well I feel like something

in this room is watching us.

-Watching us?

-Yes, it feels like this room has eyes.

Nothing is watching us.

I wonder if we're not fully alone here.

We aren't. Most of my

family is in this hotel with us.

-That's not what I mean.

-What do you mean?

I mean, I feel like this room

is like a third wheel on our honeymoon.

-My mom was right.

-[Stephen] Right about what?

What you just said is crazy.

Come on, it's not crazy.

There's been a lot of research

about spaces and the ways

in which they have memories

of their own, you know?

Spaces aren't passive.

Spaces breathe... spaces watch.

[Hannah] They breathe and they watch?

Yes!

[Hannah] They breathe and they watch what?

Us.

So you're saying that this room,

this very room right here

is somehow... what? Living?

Okay, not living per se.

I'm saying...

I'm saying there's a system

of surveillance in place.

What? How? What the hell?

I'm saying there are forces

at play that are watching us.

I'm saying this room

might somehow be bugged.

Bugged?

-[Stephen] Yes.

But how?

You know, I've... I've... read

extensively on paramilitary tactics

-and the strategies of MK Ultra.

-Not this again.

Yes. Remember when I was

posting on my "Wag The Puppy" blog?

-[Hannah] Yes.

-Well, I was posting on the happenings

of the U.S. military's

MK Ultra experiments.

And then when I started making the

connection between those experiments

and their continuation, that's

when they started to surveil me.

Who was surveilling you?

The government.

The government was surveilling you?

The government is

surveilling me to this day.

I had assumed that my blog

had been hijacked by Anonymous,

but I later realized it

was the government itself.

No, okay.

It's... it's okay.

[Stephen] What is?

It's okay that you were late,

but I needed to tell you

how your lateness hurt me.

It sometimes feels intentional.

I'm not joking. I think

something is watching us.

There's nothing watching us.

You think we're safe?

Let's just have dinner.

What is it?

What is what?

When I came back, you

were frustrated with me.

I was. I still am.

[Stephen] You said I was late.

You were.

You said a lot of mean things to me.

[Hannah] I know.

You said a lot of things that

hurt me, hurt me very deeply.

I know

I was trying to hurt you.

What you did, it hurt me.

When you're like that,

-I could... I could just...

-[Hannah] Just what?

Nothing.

Now, let's eat.

-We should toast.

-[Stephen] Alright.

[Hannah] What should we toast to?

I don't know, what do newlyweds toast to?

Love?

Health?

Nah, come on, I hate both those toasts.

What should we toast to then?

We should toast to the

fact that we're not related.

That's an unconventional toast.

Yeah, that's true.

But it's a legitimate toast and it's

very good that we're not related.

That's true. But what

made you say that now?

Well, there have been numerous

stories of siblings and half siblings,

you know, separated by oceans,

not knowing about each other.

But then they meet and they

fall in love, and get married,

and then they don't realize

they're related until much later.

Okay then, here's to not being related.

To not being related.

You know, my original

question still stands.

And what was your original question?

Where are we?

And how did we get here?

Can you actually remember?

Well, he's been acting

rather strange lately.

[Alice] Strange how?

He seems pretty sullen most of the time,

and he keeps talking about how he

came here to paint his masterpiece.

[Alice] Really? He says that?

Yeah, but I'm sure he doesn't mean it.

[Alice] It's your honeymoon! It's

his honeymoon! How inconsiderate.

Hannah, I had talked

to you about him before.

You remember how he was at Thanksgiving?

That strange behavior with the dog?

You were all just making

way too big of a deal out of it.

[Alice] It scared the kids.

Dear, we are all worried about you.

Some of us don't think

you're safe to be around him.

That's nonsense. Stephen

is perfectly trustworthy.

He's never hurt me.

[Alice] There was that one

time that he bruised your arm.

He just grabbed me too quickly, that's all.

He didn't mean to hurt me.

He just grabbed me too fast.

[Alice] And why did he grab you?

Oh, mom.

[Alice] No. Seriously, why did he grab you?

He said there was a helicopter

monitoring us from the sky.

[Alice] And? Was there a helicopter?

Well I didn't see one.

[Alice] And no one can hear one either.

That happened at Easter.

He gets nervous at family functions.

[Alice] He gets nervous

as our family functions.

Well, I get nervous

at his family functions.

[Alice] With good

reason. His family is crazy.

His family is not crazy,

you're being unfair.

[Alice] Not crazy? Really?

I'm simply suggesting that maybe

you should have reconsidered

this entire enterprise.

You can still get an annulment.

Mom, I just got married.

You were there, so, you know, it's crazy

that I should even be

considering getting an annulment.

[Alice] Well it isn't like

this is all a surprise is it?

Your father and I have been

saying this from the beginning.

And yet you insisted on being stubborn.

You used to listen to your parents.

You're so dramatic. This is not

as serious as you're making it.

[Alice] What if he follows his

mother and has a breakdown

and attacks you in a delusional episode?

You don't have to worry about that anymore.

-It's my problem now.

-[Alice] Yes, dear.

That's what worries me.

[dramatic music plays]

[Bellhop] Welcome to the bridal suite.

The patio is over there.

It has excellent views over the ocean.

The bedroom is over there.

The minibar is in the corner.

You have a full entertainment

system with surround sound.

Bed sheets of the highest thread count.

If you need anything, you can

just ring down to the main desk

and they will send you whatever you want.

Thanks so much.

We want you to have so much

fun over the stay of your wedding

and honeymoon that a part of you will

never want to leave this exquisite spot.

Never want to leave?

We want you to return here

regularly for your celebrations

that will no doubt proceed

from this successful union.

Thanks.

[door closes]

[ominous music plays]

Ah, young love.

Oh, wow.

You have to see this bathroom.

This hotel is amazing.

Remember the reception is in an hour.

[Stephen] Right. And I can't

believe your uncle Jonas decided

to show up.

The last time you saw him was...

[Hannah] Yeah, you're right.

And Martin.

Martin wouldn't have

missed this for anything.

He never seemed to like me.

Neither did mom.

Yeah.

I still don't understand

what it is about me

she finds so disagreeable.

She's a conservative.

I don't know what that means.

She's never met someone like you.

A communist?

An artist.

[Stephen] And what is it about

artists that she finds so unnerving?

It's not the artist quality. You just

have some quirks she finds surprising.

Like what?

You wore a cape to family dinner.

Okay, that was my classic Victorian cape.

-I know.

-It's a completely functional cape.

-I know.

-It's the same cape that Charcot wore

at evening functions.

-I know.

At the time I was working

on that series of paintings...

Hystrie -...that explored

the embodied forms of hysteria.

You had all those disembodied

limbs hanging around the exhibit.

[Stephen] They were made to look real.

I know, but you had those

cinema to graph reenactments.

I think after that, mom just started

to have some issues with you.

Why?

You had all those women masturbating.

[Stephen] But it was black and white.

Well, I think... It's just

a little strange for mom.

Okay. Yeah, but you see,

this is why I find the whole

notion of marriage hypocritical.

Essentially, marriage

is the public presentation

of two people's sexuality.

I mean it. Historically speaking,

marriage is the public acknowledgment

of two people's sexuality,

a sexuality that was prohibited

prior to their "holy union."

In a church, before the eyes of God,

two people, a man and a

woman commit to a sexual union.

I'm pretty sure that's wrong.

Marriage is traditionally the

patrilineal transfer of property.

It has nothing to do with

the lifting of some prohibition.

Marriage has nothing to do with

sex. It has to do with property.

It's about men handing

over land to other men

and using the passive construction

of femininity as an excuse.

Well, I think it still has to do with sex.

It doesn't.

[Stephen] Part of the purpose of

the wedding ceremony is to be vetted

in the eyes of God by a

certified vetter of the church

that you and your

betrothed, are ideal fits.

Genetically, spiritually, and in

as straight a way as possible.

No, you're still wrong.

But for the sake of argument, I'll bite.

What does this vetting achieve?

It achieves the lifting of the prohibition,

the sex that was once prohibited

suddenly becomes permitted. Okay?

And in front of the whole social order,

all of these people now know that you

and this other person will be f*cking away

in the evenings or at least on that

very first evening after the marriage,

and that all of this f*cking will

hopefully produce a little mewling human

who will grow up, become a member of

the church, and do its own little f*cking.

Instead of f*cking can we say lovemaking?

[chuckles]

Dear, that's just a semantic distinction.

I don't think that it is.

It is.

No it's not. They describe very

different experiences for the person.

How so?

There's a distinct difference

between making love, f*cking,

or being f*cked.

-Yeah, but the act remains the same.

-I don't think it does.

-I do.

-The very word f*cked suggests some sort of violence,

doesn't it? It sounds violent.

f*ck.

Also, from my perspective as a woman

and soon to be wife,

I think there is a very big

difference depending on which side

of the equation you fall. For me: I

am f*cked. And for you: You f*ck.

This is not a simplistic difference.

Okay, yeah, that might be true.

But I do have to say that

there is a difference in power

between the terms "f*cking" or

"making love." Both parties can make love.

There is not one active

participant or one passive recipient.

Okay, but I think you'll agree

that distinction does not

transfer to the real world.

How so?

Well, uhm, your distinction

is primarily a semantic one.

And sex is often a wordless activity.

That is so not true.

Ah, I know what you're thinking.

-You're thinking about talking dirty.

-Yeah, I am.

Which is something

you never do, by the way.

It makes me uncomfortable.

It takes me out of the moment.

I find it exciting.

Yeah, well, for me, it

feels like I'm put on the spot

as though I'm expected to create

some sort of coherent fantasy narrative

that both you and I can fit into.

Whoa, what?

Well, it's not like I can

just say something like,

"Hey, baby, I want to

strangle you hard while I... ."

Why not?

Because seeing something

like that, as a man,

means I would be immediately

implicated in a larger power differential.

You know, saying something

like that would be reenacting

thousands of years of female repression.

Whoa, are you

misinterpreting sexual fantasy?

How do you mean?

Well it's supposed to be a

fantasy, that's what it does.

It reenacts a fantasy, that's it.

It does, however, change if you

actually want to do those things to me

in real life.

In real life?

Yeah. Outside of the fantasy.

Those are different realms.

You just have to think it through.

The fact that you possibly feel guilty for

thinking or feeling these things means that,

at some level you actually have

violent intentions towards me.

That is completely untrue.

Then why did you sneak

a g*n into our hotel room?

[suspense music plays]

[knock at the door]

[Clarissa] Oh, there you are.

Oh, you're not ready.

What do you mean, "I'm not ready"?

The rehearsal's in an hour.

But it's a rehearsal.

It is.

Okay. I don't understand.

Why aren't you dressed?

I am not going to wear my actual

wedding dress for the rehearsal.

Wait, do brides usually wear their

wedding dress for the rehearsal?

Of course you're not

wearing your actual dress,

but you need to wear

something more than that.

Okay, well, I think my maid of

honor has something white for me.

[Clarissa] Okay, well, call her.

I'll call her shortly.

When?

Soon.

Why soon? What are you waiting for?

You said it's in an hour.

[Clarissa] I did, but I'm surprised

at this laissez faire attitude.

I don't have a laissez faire attitude.

[Clarissa] Yes, you do.

You were excited leading up to

this weekend, what's happening now?

Nothing's happening now.

Okay, the rehearsal is happening soon,

which would put an

end to the nothing that...

-That's not what I mean.

-Okay, what? What do you mean?

This whole thing is a

kind of nothing, isn't it?

-Dear, you're not making any sense.

-And this place is a kind

of nothing?

It is most definitely a something.

Like the idea of marriage...

It's kind of a nothing.

It is a very important something.

I think you're spending too

much time with that fianc of yours.

He talks like this and it's catching.

Nothing is catching.

[Clarissa] Oh, something is catching.

I'm fine.

[Clarissa] You're not fine.

You need to get dressed.

Okay, that may be true, but

like, I'm okay. Everything's okay.

If everything were okay you wouldn't

be falling into this depressive abyss.

I'm not falling in a depressive abyss.

[Clarissa] Darling, It's okay.

Everybody gets cold feet.

I don't have cold feet.

Or, at least, I don't

think I have cold feet.

You don't "think?" Well,

something is going on.

Nothing is going on.

Did you and Stephen have a fight?

-No.

-[Clarissa] So you did.

No, if we did, I would have said we did.

[Clarissa] Okay, then what was it?

A conversation.

-A conversation?

-Yeah, a conversation.

[Clarissa] About what?

About marriage.

What about marriage?

That it's like kind of nothing.

-Oh my... Not this again!

-No, seriously.

Like the whole thing

is just kind of like

a nothing nothing.

Or we said it was like a

something nothing or nothing some...

Oh, I don't know, we

didn't clear that part...

These are the things

that you guys talk about?

We talk about a lot of things.

[Clarissa] But at your own wedding,

this is the discussion that you're having?

We talk about other things as well.

-Oh, like what?

-I'd rather not say.

Oh, why not? It can't be more than nothing.

It's private.

Oh, so it's something romantic then?

It's more of a nothing that's romantic.

[suspense music plays]

[Clarissa] I can't believe he

didn't show up to his own rehearsal.

Unbelievable.

At least I know what's going to happen.

You're far too understanding of that man.

Stephen doesn't like rehearsals.

Oh, and he's had a lot of

experience with rehearsals, has he?

He says that "life isn't a

rehearsal." This is just linked to that.

Guys, he's going to

show up for the wedding.

I'm glad one of us is sure of that.

I'm certainly not convinced

that he will show up tomorrow.

I agree. Where on earth was he today?

He was probably painting

and it slipped his mind.

He came here to get married, not to paint.

He can paint any place, any time.

No, actually, he can't.

He needs that spark of inspiration.

Since coming here he's found

a surge of creative energy.

Well, that may be, but I

think it is unconscionable

for a groom to not show

up to his own rehearsal.

We all have a rough idea of

how wedding ceremonies go.

-[Clarissa] Your mother was very annoyed.

-[Hannah] Yeah, so was my dad.

So was, like well, everyone.

She's never liked Stephen.

-[Clarissa] Who does?

-[Melody] Well, it's not like he's...

Right.

Like who?

-[Melody] Like Adam.

He had class -And wit.

-And those eyes.

-Those eyes were so dreamy.

It was like he was

staring right into your soul.

Too bad you had to mess that up.

I did not mess that up.

-Then what happened?

-Actually, you never really did talk much about that.

He just wasn't right for me.

And Stephen is?

I don't think anyone is

really "right" for anyone.

Oh, I can't believe what I'm hearing.

On the eve of your wedding no less...

Yeah, I don't know. I'm

going to get some sleep.

-[Clarissa] Is he in there?

-[Melody] Oh, can we see?

No. Guys, just go get some sleep.

We all need it for tomorrow.

[door opens and shuts quietly]

Well, you're back early.

From what?

Oh, from wherever you were.

Where was I?

[Stephen] Well,

certainly an other location.

One that, I'm positive, was not here.

How do you know I'm early?

Pardon me?

[Hannah] You said I was "early."

What am I back early from?

Ah, confusing question.

When was I supposed to be back?

Why are you speaking in riddles?

[Hannah] No, really. When

was I supposed to be back?

[Stephen] Well, certainly not now.

When is now?

Now is now. Now is certainly now.

Okay, what time is it then?

What time is now? I can

only answer the question,

"What time is now?" If I

have a sense of what time is.

And I can only answer "what

time is" if I know for me what time is.

[Hannah] What time is?

-Exactly.

-[Hannah] For you?

-Yes.

-What time is it then?

Well, that's an unfair question.

But you brought it up.

No, you brought it up.

How did I bring it up?

By coming back early.

[Hannah] Where did I come back early from?

I'm not sure, but you seem

rather evasive about it.

[Hannah] Evasive?

Yes. Like you're trying to goad me

into some larger discourse about time.

But I warn you, I'm not going to bite.

Okay, ah, new tactic:

What was today?

-[Stephen] What was today?

Well, can we ever be sure

that a day is really a thing?

Stephen! Today was important.

Why was it important?

Today was a Friday.

Yeah. Today was a Friday,

but it wasn't just any Friday, was it?

You're saying that there is

something about this particular Friday

that's lacking in some essential

aspect of "Fridayness...?"

Hey, no, just...

Today was our wedding rehearsal.

Wedding rehearsal.

[Hannah] Yup. Our wedding rehearsal.

[Stephen] Is it over?

It's most definitely over.

Finished almost 20 minutes ago.

And I missed the whole thing.

[Hannah] Yeah, you somehow

managed to miss the whole thing.

[Stephen] I can't believe this happened.

Neither can I.

How did this happen?

You're not going to like my answer.

I'm certain there isn't

an answer I would like.

[Stephen] I was painting.

My therapist tells me that I should

be more honest with my feelings.

It's a part of self-care, and

apparently I don't practice it enough.

In fact, I know I don't practice

it enough because it seems

as if my feelings are almost

unconsidered by the ones I love.

Besides you.

This goes beyond my family and whatnot.

But the real problem here is you.

The real problem here is me?

Yep, the real problem here today is you.

Okay. I can sense that

you're feeling troubled.

[Hannah] I'm not troubled.

You're concerned about my absence today.

[Hannah] I am most definitely

concerned about your absence today.

But what worries me more is

the general lackadaisical approach

you have to this whole thing.

-Well, you know what they say?

-[Hannah] What?

-Life isn't a rehearsal...

-[Hannah] No, that's what you say.

True, but I heard it from somewhere.

You hurt me a lot and you

don't seem to really care.

-[Stephen] I've never hurt you.

-You hurt me today.

That would be the most recent example.

Your approach to this

wedding has been deplorable.

Deplorable?

-[Hannah] Deplorable.

-That's a strong word.

-[Hannah] It is.

I don't think there's any need

to use such strong language.

The fact that I'm not beating your head in

with a hammer should be taken as a blessing.

Whoa, whoa, whoa!

Well, I'm not actually beating your

head and with a hammer, but if I was,

I'm sure there would be a ton of

people who would support my position.

There's no need to resort to violence.

[Hannah] But sometimes

violence is oh so necessary.

Okay, now wait a minute.

I'm tired of waiting.

[Stephen] What are you going to do?

I think I'm going to express

my frustration viscerally.

[Stephen] What does that mean?

I think you need to be taught a lesson.

[Stephen] What kind of lesson?

You need to learn how to respect others,

especially your fianc and

future wife, future as in tomorrow.

[Stephen] But I do respect you.

You don't seem to respect

this whole wedding process.

Okay, honestly, you haven't

seemed fully invested yourself.

I've been invested in my own way.

As have I!

I don't think that's true.

Okay, look, I'm very sorry

about what happened today.

And what happened?

-A very important event.

-[Hannah] Which was?

[Stephen] Our wedding rehearsal.

-And what happened?

-Well, I'm not sure: I wasn't there...

You missed it.

Yes, and I'm very sorry

about this whole mess.

[Hannah] Are you going to miss the wedding?

When is the wedding?

[moans]

[tense music plays]

Have we missed the rehearsal dinner?

No, it just started.

Maybe we should head down?

You actually want to go?

Of course.

Then why didn't you

show up for the rehearsal?

Come on, let's not start

that again, okay? Come on.

Let's just go. Let's go down.

[emotional music plays]

[Hannah laughs]

Wait.

Can you go into the bedroom

and get me my laptop?

Now?

Yes.

Okay.

Where is it?

It's by the window.

-[Stephen] Okay, got it.

-Great.

Can you hook it up to the TV?

[Stephen] Seriously?

Yes.

[Stephen] Okay.

All right. Where's your video cable?

Oh, it's back in the bedroom.

Alright.

Where is it?

It's also by the window.

[Stephen] Um...

-Got it.

-Great.

Can you hook it up to the TV?

[Stephen] Of course.

Alright.

Now what?

You see that video file on the desktop?

[Stephen] This one?

It says "SandH" with underscores.

No, no...

-Yeah.

-[Stephen] Okay, got it.

What is this?

You'll see.

What is it?

Is this a porn?

Is that us?

[Hannah] Yep.

When did we make a porn film?

I filmed it on your birthday.

You said you'd want that little surprise,

so I thought you might

want it saved for posterity.

But why didn't you ask my permission?

Permission?

You can't just randomly film somebody

having sex without their consent!

Well, we have that

conversation a few years prior.

[moaning sounds from the video] -How many?

[Hannah] Hard to remember.

Rough estimate.

Two maybe?

Two years.

What did I say?

You said that you wanted to maybe

someday make a sex tape with me.

[moaning continues louder]

I see.

I don't... I don't remember

the conversation at all.

Well, you were drunk.

I was drunk!

And you consider that consent

enough to make a sex tape?

Yeah, was that a bad conclusion?

Yeah, I'd say it's a fairly bad conclusion.

Why didn't you just

remind me on my birthday?

[Hannah] I didn't want

to belabor the issue.

Well, it's a big issue.

I know, I'm sorry.

I just thought it would be a nice surprise.

It's a surprise.

I feel very surprised.

Well, is it a nice surprise?

It's... a surprise.

There's my a*s.

Oh. Yeah, this part it's

zoomed in on your a*s for a bit.

We're on top of my pants. I

had the remote with the zoom,

so it's like this for the

next 20 minutes or so.

You filmed 20 minutes of my a*s zoomed in?

Not intentionally.

Ah, jeez. This is really not sexy.

I think I need some air.

Do you want me to pause it?

No, just let it... just

let it run. I'll be back.

[Hannah] Where are you going?

[Stephen] I just need some air.

[TV beeps off]

-[movie sound stops]

[ocean waves crash on the shore]

[emotional music plays]

Do you think that we make a good couple?

What's a "good couple?"

Do you think that we improve each other?

Depends what you mean by "improve."

Well, I always think the best couples

are the ones who ache for each

other and improve each other,

so that, if each person has

negative personality traits,

those traits are re-cast

in a positive light.

Honestly, that sounds

a little utopian to me.

Thank God! Usually you

find everything so dark.

I don't find anything dark.

I just focus on the

reality of the situation.

I really would not put you and

reality in the same sentence.

Okay, I can see why you'd say that.

I don't think that you do.

Well, either way, we're married now.

What should we cheers to?

I don't know.

We should cheers to Damien Hirst.

You want to cheers to Damien Hirst?

Kidding.

I wanted to get a rise out of you.

Mission accomplished.

[Stephen] My love is as a fever,

longing still for that which

longer nurseth the disease,

feeding on that which

doth preserve the ill.

The uncertain sickly appetite to please.

My reason, the physician to my love.

Angry that his prescriptions are not kept.

Hath left me, and I desperate now approve.

Desire is death, that physic did except.

Past cure I am,

my reason is past care,

And frantic-mad with evermore unrest.

My thoughts and my

discourse as is madmen's are,

At random from the truth vainly expressed:

For I have sworn thee

fair, and thought thee bright,

Who art as black as hell, as dark as night.

[Hannah] That's beautiful.

But are you saying that I'm

"black as hell and dark as night"...?

[Stephen] Well, I'm not.

So Shakespeare is...?

Well, yeah, but he

didn't write it about you.

Well, you chose to say it for me.

[Stephen] Well, it seemed appropriate.

Why? Because I'm "black

as hell" and "dark as night?"

I think you're focusing

too much on that last line.

[Hannah] Well, it's the last line.

It's a key one.

[Stephen] Yeah, but it's the volta.

I hate that band, I don't know

why you like them so much.

No, the volta is the turn at the end of...

[Hannah] I know. I'm kidding.

I know what the "volta" is.

Well, then you know that the

volta can't be taken seriously.

[Hannah] That's wrong.

The volta determines

the meaning of the poem,

it retroactively colors

everything that came before.

It's indispensable in the poem's meaning.

[Stephen] So what are you saying?

[Hannah] There is something very

telling in that last line. Something

a sort of darkness.

I don't feel any darkness.

Well, that doesn't explain

why you chose that sonnet.

You could have memorized another one.

I have more than one

Shakespearean sonnet memorized.

-Prove it.

-[Stephen] You're being silly.

I'm not.

[Stephen] Let's change the subject.

I don't think we should. I

think we should get to the root

of this "darkness" problem.

I still don't know what

you mean by "darkness."

I don't think you're fully

committed to this marriage.

Well, even if that were the case,

it's a little late to be

discussing this now.

Yeah, it is.

So there's nothing

"dark" in your love for me?

[Stephen] No, not at all. Of course not.

That doesn't sound convincing.

What would you find convincing?

Maybe an original poem?

You're kidding.

How about an original painting?

I'd settle for an original painting.

Well then, you, my dear, have an

original painting coming your way.

Have I ever told you about "mirror rim?"

[music swells]

[tense music plays]

You shouldn't be here.

Have you ever heard of "mirror rim?"

[Alice] "Mirror rim?"

-Yeah, "mirror rim."

[Alice] No, I certainly have not.

Neither have I.

[Alice] Why do you ask?

Stephen mentioned something about it.

[Alice] What did he say?

He said that the mystery of our marriage

is contained in the word "mirror rim."

[Alice] "Mirror rim" is one

word? I thought it was two...

But, what does it mean?

That's the thing. I don't know.

It's just a word he's been

obsessing over for the entire wedding

and honeymoon so far.

He said it first came to

him on the plane ride over.

[Alice] What do you mean?

[Hannah] He said he had been

thinking about the marriage,

he'd been thinking about

being married to me "forever,"

for the rest of our lives

and the term "mirror rim" came to mind.

[Alice] It came to his mind?

[Hannah] Yeah, like a

flash of light, he said.

Like a light bulb went off and

the only thing he could see were

two illuminated words: "mirror rim."

[Alice] That's interesting.

-I don't know.

-[Alice] I wonder what it is.

Me too.

[Alice] Well, the rim of a mirror

would be the wooden frame

that sits around a mirror. Wouldn't it?

I guess.

[Alice] But I don't see what the rim of

a mirror has to do with your marriage.

-Not at all.

-I asked him what it meant,

but he didn't have a really good answer.

[Alice] A "good answer?"

He didn't have any answer at all.

[Alice] Maybe...

-Yes?

-[Alice] Maybe the mirror is how a marriage is,

in the best circumstances,

a reflection of two people

where two people reflect the best

personality traits of the other person.

And a bad marriage would

reflect the negative traits?

[Alice] I guess.

Okay, no, but this is good.

A mirror is a reflective surface.

In some ways, a marriage

is also a reflective surface.

It does reflect the traits

of two people, you're right.

So maybe a marriage is just

the complicated negotiation

of two reflections?

Or mirror images?

[Alice] They also say that

when you look into a mirror,

you don't see yourself as you really are.

You are looking at the inverted

image of who you really are

so that your right side is on

your left and your left on your right.

In this sense, and maybe marriage

as a mirror image can only reflect back

who you really aren't for the other person.

Who you really aren't?

[Alice] Yes, maybe marriage is an

inverted mirror image for both people.

Neither one sees the real person.

That makes sense.

They would only see the

fantasy of the other person

or how they would want

the other person to be.

This lines up with a lot of the stuff

that Stephen's interested about:

Like Freud and Lacan and

all that psychoanalysis stuff.

[Alice] Psychoanalysis stuff?

Yeah, he's obsessed

with psychoanalysis stuff.

He says his paintings

are an attempt to capture

the unconscious on canvas.

[Alice] That must have been done before.

Yeah, by the Dadaists and the Surrealists,

but Stephen says that not a

lot of people know about them

so his work seems pretty original.

[Alice] But he's just ripping off the

what did you call them?

Dadaists and Surrealists?

Okay, but back to "mirror rim."

So you think that this phrase

is a metaphor for marriage itself,

in the way that marriage

mirrors two people,

but mirrors them in an inverted way?

[Alice] I don't know

if I'd put it that way.

But if you do mean it that way...

And if Stephen means it that way,

maybe he means it that way unconsciously.

[Stephen] I'm not sure

how to tell you this.

I think I may have

come here to k*ll myself.

But... I think I may have...

I think I may have already k*lled myself.

[Hannah] You think you

have already k*lled yourself?

[Stephen] Yes.

I feel like I'm already dead.

I think I may have k*lled

myself here, on our honeymoon,

and everything that is happening now,

everything, is only an

extended memory of my life

as it once was, combined with a

fantasy of what it could have been.

[Hannah] But... Everything is okay.

You're here with me.

We're safe in this room.

[Stephen] Yes, but don't you

find it strange that we can't seem

to leave this room anymore?

It seems like people can't come in either.

[Hannah] People have been coming in here.

[Stephen] Have they?

I feel like people have not

been coming into this room.

[Hannah] I haven't really thought about it.

[Stephen] But I think I may have

k*lled myself earlier this afternoon.

[Hannah] What makes you say that?

[Stephen] Well, I was painting

today. Early in the morning.

I was outside the room, of

course, but for some reason

it felt like it would be the last

time I would be outside of the room.

-[Hannah] The last time?

-[Stephen] Yes, the last time.

[Hannah] So what happened?

After you finished painting?

[Stephen] Well, I had my supplies

and I went down to the beach.

It was a beautiful morning.

I could smell the water.

Everything seemed to be at peace.

Then I saw a boy playing in the sand.

-[Hannah] A boy?

-[Stephen] Yes, a little boy. He was about eight or so.

[Hannah] Okay. And what happened?

[Stephen] We had a conversation.

[Hannah] About what?

[Stephen] Well, I had

brought the g*n with me.

[Hannah] You had?

-[Stephen] Yes.

[Hannah] I don't think I

want to hear anymore.

-[Stephen] But you have to.

-[Hannah] No, I don't.

You wanted to k*ll yourself

two days after our wedding.

[Stephen] It wasn't because of the wedding.

[Hannah] Why then?

[Stephen] It was because of me.

[Hannah] You?

-[Stephen] Yes, me.

[Hannah] Why did you want to k*ll yourself?

[Stephen] That's a longer conversation.

[Hannah] Well, let's have it.

[Stephen] What's more important

right now is my conversation

with the little boy, with Peter.

[Hannah] Okay. And what

did you two talk about?

[Stephen] It's really hard to say.

I asked him how he was

and what he was doing here.

He said he was on holiday with his parents.

He talked about how his dad was a broker

and his mom taught high school.

He talked about how much he loved his mom.

[Hannah] Okay.

[Stephen] Then I asked him what

he thought the meaning of life was...

[Hannah] Oh, Stephen, you didn't...

[Stephen] I did.

[Hannah] And, what did he say?

[Stephen] He seemed

puzzled by the question.

[Hannah] I don't blame him.

[Stephen] But he was

able to answer the question.

[Hannah] He was?

-[Stephen] He was.

[Hannah] And what did he say?

[Stephen] He said that the

meaning of life was ice cream.

-[Hannah] Ice cream?

-[Stephen] Yeah, ice cream.

Then he thought about it some more,

and he mentioned some TV

show that I had never heard of.

And then I realized that I couldn't come up

with two things that made life meaningful.

[Hannah] You couldn't?

[Stephen] No. But I

thought about it for a while,

and I realized that I wanted

to add painting to my list,

but even painting, I realized, was a

way for me to hold something at bay.

-[Hannah] Hold something at bay?

-[Stephen] Yes.

[Hannah] What?

[Stephen] Sometimes I

feel this yawning emptiness

that approaches from all sides.

A sort of deep emptiness

that is coming for me.

It comes from the trees,

the ground, the sky.

And there is nowhere to run.

[Hannah] You feel this a lot?

[Stephen] Certain things keep it at bay.

Painting.

And you.

[Hannah] Me? I keep this feeling at bay?

[Stephen] Of course you do.

I guess I was wondering while

I was there, talking to Peter,

what it is that keeps people

together and then I realized something.

[Hannah] What?

-[Stephen] It's love.

[Hannah] Love?

-[Stephen] Yes, love.

[Hannah] I don't think I've

ever heard you talk about love.

I think you once said something

like "Assuming all of these

provisions, I therefore love you..."

[Stephen] I remember. It

was very hard for me to say.

I always thought it was

too easy for you to say.

[Hannah] But you're wrong.

It's hard for me as well.

-[Stephen] I didn't know that.

-[Hannah] It is.

[Stephen] Maybe it's hard for everyone.

[Hannah] Maybe it's too easy.

[Stephen] But I realized that what

keeps people together is "love,"

but then I also realized that "love"

isn't what most people think it is.

-[Hannah] It isn't?

-[Stephen] No. Love isn't some excess of emotion

that comes out when you are with someone.

-[Hannah] It isn't?

-[Stephen] No. I don't think so.

Love is the name of a particular

sense of keeping that abyss at bay.

So, I love you because

there is something in you,

in the ways that we intersect

that help keep that feeling at bay.

Essentially, you make me feel healthier.

I think that's really what "love" is.

[Hannah] That's sweet.

I think.

But we started this

conversation with you telling me

that you had decided to

k*ll yourself that afternoon.

[Stephen] Yes, and I'm pretty sure I did.

-[Hannah] You did what?

-[Stephen] k*ll myself.

And then that feeling I was

talking about washed over me.

That feeling, that

terrifying sense of doom.

I still can't describe it. It's so scary.

I saw, in Peter, my entire life and yours,

and I saw our future together

and I saw our own child.

[Hannah] Our child? Like a premonition...?

[Stephen] A premonition in Technicolor.

And I left Peter and I knew

I was going to k*ll myself.

So I left the beach and

I came back to the hotel

and the entire time I felt

awful for what I was about to do.

I didn't want to hurt you,

but I knew this would hurt you.

Especially because I

chose to do it at our wedding

and I didn't want you to blame yourself.

But right at the moment of sh**ting

myself a thought flew threw my head.

[g*nsh*t]

I hadn't left a suicide note.

I hadn't left any indication

of why this was happening,

and I didn't want you to

feel in any way responsible

for my decision.

That's why I think I'm still here,

I must somehow leave an explanation behind.

[Hannah] Have you written the note?

Stephen?

Have you written the note?

[g*nsh*t echoes]

[tense music plays]

[voices played in reverse]

[ocean waves crashing] -[birds singing]

Morning.

How did you sleep?

I heard you get up in

the middle of the night.

Yeah, I did. I'm sorry if I woke you.

Still not sleeping well?

Not yet.

It seems I wake up at four a.m.

It doesn't matter what

happens, I'm just up at four.

But you seem good.

You seem happier than

I've seen you in a while.

Yeah, well, you know,

the wedding is finished

and I think we're falling

into our rhythm here.

I think so too.

How'd you sleep?

I had a bad dream.

Oh no! A bad dream?

-Yeah, it started off as a good dream.

-[Stephen] Oh.

But then, so strange,

it transitioned halfway through.

What happened?

Well, I was who I am now,

but you were... a child.

You were a little boy.

You were on the beach building

a sand castle with a little girl.

That sounds nice.

Yeah, but then the little

girl stood up and she

stomped all over your sand castle.

She stomped all over my sand castle?

Yeah, and you were so distraught,

but you had noticed that

she was already distraught.

[Stephen] Why was she already distraught?

I don't know. Something "Dream

You" must have done to make her angry.

Okay, then what happened?

[Hannah] You seem nervous.

-I'm not nervous.

-You look it.

There's no reason for me to be nervous.

Well, you seem fairly nervous.

Well, now I'm getting nervous

because you keep saying

that word and your emphasis

on it is making me a little nervous.

-So now you're nervous.

-[Stephen] Yeah.

Now I'm getting nervous.

-But you weren't before?

-No, not at all.

[Hannah] You sure?

Pretty sure.

What's this about?

Nothing, I just, I thought

if you were nervous,

I would ease your mind.

OK, well, we've determined

that I'm not nervous. So please.

I thought you said you were nervous now.

Fine. Now I'm nervous.

Come on. Let's hear your dream.

[Hannah] Your sandcastle had been

destroyed and you were distraught.

Okay.

You saw me and you recognized me.

So, I went over to you. I

picked you up and I rocked you.

-[Stephen] Did that help?

-No.

You ordered me to k*ll the little girl.

I ordered you to k*ll the little girl?

Yeah, and I was so mad that you did that,

so I put you down and I scolded you.

You scolded me?

Yeah, but then I felt

bad for scolding, you so...

I did what you asked

and I k*lled the little girl.

[Stephen] You k*lled the little girl?

Yeah, and it feels so

real now that I'm saying it.

Was that the end of the dream?

No.

What happened next?

Well, you disappeared.

I felt guilty for k*lling the girl.

I felt as if the authorities were after me.

Where they?

Well, I couldn't see anyone. I

had a feeling someone was coming.

Who?

Well, over the hill there...

I recognized my ex.

Your ex?

-[Hannah] Yeah.

-Adam?

[Hannah] Yeah. Yeah, Adam.

All right.

He just kept walking towards me.

I thought he wanted to talk but he...

He didn't make eye contact.

He just kept going and

going until...

He was in the water and I

couldn't see him anymore.

You couldn't see him anymore?

He was just swallowed up by the waves.

Was that the end of your dream?

Yeah, but it was so scary.

Right.

[tense music plays]

But why Adam?

Why Adam?

Why was he in your dream?

It wasn't the real Adam.

Okay. Why was "Dream-Adam" in your dream?

What is wrong with you?

[panting]

-What are you doing?

-Nothing. Nothing.

You're painting?

Can't you just leave me alone?

-[Hannah] You want me to leave you alone?

-Yes!

You're being unfair.

You know I hate it when you bring him up.

Why do you hate it so much? I married you.

I know you did, but why did you?

I wouldn't be here if I didn't want to.

But why did you want to?

[Hannah] Everything is okay.

You're here with me.

We're safe in this room.

[knock at the door]

Who is it?

-[Melody] It's Melody.

Right now is not a good time.

[Melody] What's going on?

[through tears] Everything's broken down.

[Melody] What's happened?

I shouldn't have come here.

I don't think anyone should have come here.

-[Melody] Why?

-Don't you think

that there is something unspeakable

about this place? Something sinister?

[Melody] Something "sinister?"

What are you talking about?

I'm talking about this place!

Don't you think there's something...

I don't know, off about it?

The only thing off about

this place is her husband.

Shush...

Hannah?

Clarissa's here with me. You

need to tell us what's going on.

You need to explain why you

won't come out of this room.

I can't go outside anymore.

Everything is changed now.

[Clarissa] Why don't you let us in then?

I can't do that either. It's not...

It's not safe in here.

[Clarissa] Where is Stephen?

Can I talk with Stephen?

[Hannah sobs]

-No... no you can't...

You can't.

[Clarissa] Just get Stephen.

Why don't you let us in then?

I can't do that. It won't work.

[Clarissa] Hannah,

dear, just open the door.

[tense music plays]

[Stephen] I wouldn't

be here if I didn't want to.

[Alice] Then why did you come?

[Stephen] I needed to

see... and know the truth.

[Alice] "Truth?" The "truth" of what?

[Stephen] I need to

know the truth of... of...

[Alice] Try to put it into words.

[Stephen] I don't know how to explain it.

-I...

-[Alice] Yes?

[Stephen] I...

[Hannah] I knew I could never trust him.

[Alice] I've been saying

that to you for years, dear.

He's a dangerous person.

[Hannah] But he loves me.

[Alice] Yes, he loves you,

but what does his love consist of?

Not everyone's love is

made of the same stuff.

Everyone's love is composed of differences.

Differences in mood, rhythm,

texture, and commitment.

[Hannah] You think that his love

for me isn't as deep as it should be...

[Alice] I don't think he

really knows what love is.

[Hannah] But what is

love in the first place?

I don't even know if I love

him enough or in the right way.

[Alice] No one loves

in the "right way," dear.

We all just give what

we are capable of giving.

This amount is different for

every person, every union.

[Hannah] I think I really loved Adam.

I think maybe I always have.

[Alice] Dear, despite everything,

I think you want to love Adam,

but I think your stubbornness

keeps you stuck to Stephen like glue.

[Hannah] But Mom... What

is the secret of how to love?

I've been wondering if

weddings are acts of desperation.

"Acts of desperation?"

Yeah, I mean, I've been

wondering if people get married

because something happens,

you know, a line gets crossed

and that line depends on

time, not on a depth of

feeling or commitment.

And then the expectation becomes,

you know you get a shared house.

A little dog, a picket fence.

A child or children.

It does seem written

in the stars, doesn't it?

But that's just it, I don't know if it is.

I mean.

I know I love you.

I just don't know if I love you

in the way that I'm supposed to.

You know, like...

How can we be sure that we love somebody

in the way that we should or in

the way that they should be loved?

I think you're overthinking this.

Love is an emotion.

And all the socially expected behaviors

to that emotion are secondary.

Yeah, that seems right.

It is.

But then how do we know

that we're with the right person?

I mean.

Isn't love partly dependent on geography?

I mean.

You were born in the

same city that I was born in.

We happened to go to the same university.

We took some of the same classes

and we bonded over our

enjoyment of those classes.

Yeah.

But what if we were

born in different cities

and went to different universities

and took different classes and...

I mean, what would have happened then?

We still would have met somehow.

You honestly believe that?

Sometimes.

But then how do you know that the person

you're with is your "soulmate?" I mean...

What if there are... say twenty

"soulmates" in the entire world.

Right. I mean, there's a world

population of what? Seven billion?

In seven billion people there

could be a hundred "soulmates?"

I prefer the number twenty or... one.

All right, well, let's go with

twenty then I think it would be

in the hundreds but, all right, for

this, for the sake of this, twenty.

Even then, how would you know that

the person you're with is one of these

one of these "soulmates?" I mean, there would

have to be the corresponding geographical

and social connections.

How would you ever know

that the person you're with

is one of these "soulmates?"

Well, I guess that part requires

a leap of faith, doesn't it?

A "leap of faith?"

Yeah, a leap of faith.

But all your conclusions

only make sense if we accept

your argument for a

few hundred "soulmates."

Right.

But what if the whole thing is just random?

How do you mean?

But what if there are no "soulmates?"

Not one. Not twenty. Not a hundred.

Not a few hundred. None.

Then the whole thing would just

be through random connection.

No, no, no, no. That idea scares me.

I like the idea of a few hundred

"soulmates" running around.

Why? So you can have

backup if this doesn't work out?

No, no, no, no, no, no, not at all.

Of course not.

Good.

I'm just thinking about how we know that,

the person we're with is the

person we're supposed to be with.

I mean, how do you know you're

not supposed to be with Adam?

We don't need to talk about Adam.

-No, I mean.

-No, seriously,

we don't need to talk about Adam.

No, it's a serious question. I mean.

You just always get agitated

whenever we bring him up.

Oh.

Okay. Well, I won't get agitated this time

I brought him up.

Okay, it just... it just, it

wouldn't have worked out.

Why?

It... it's just a feeling.

It's just a feeling?

Well, it's an important feeling.

Sometimes you just know.

You just know?

And you just know?

Yeah?

Don't you?

[tense music plays]

See anything you like?

Do I really look like that when I wear it?

Well, you don't look like this.

[Stephen] Why are you wearing that?

Just want to be someone else.

Someone else? Like who? Me?

Yeah. Maybe.

[Stephen] Why?

Haven't you ever wanted to be someone else?

I've always felt like someone else.

But you're saying that as "Stephen"...

Haven't you ever wanted to

get away from being "Stephen?"

Most of the time I'm

just trying to be Stephen.

You're just trying to be Stephen?

Yeah.

Most of the time I'm trying to

figure out who Stephen is and

this...

That search alone is exhausting,

not to mention trying to be someone else.

I know who you are.

Oh, really? Who am I?

You're a pig.

[Stephen laughs]

I am not.

[Hannah] Yeah, I think you're a pig.

Well, if I'm a pig, then so are you.

Well, that goes without saying.

Do you ever want to be someone else?

Well, sometimes it feels like I'm acting

all the time. It feels as if

I'm forced into playing a role

and I don't know who it's for.

I don't know if it's a

role or if it's really real.

[Stephen] And you feel this way a lot?

Sometimes I just feel like Hannah.

Why "just" Hannah?

Because sometimes it feels

like Hannah isn't enough.

Well, I think she's more than enough.

No, like, Hannah isn't completely Hannah.

It's like who she is for

you is not who she is

for her mother or father or bridesmaids.

And who she is for herself

is completely different

than who she really is.

[Stephen] Is there

someone you "really are?"

I think so, but with you,

those rules become muddy.

[Stephen] "Rules?"

Who you are, in a large part,

defines who I am and who I can be.

Different people offer different horizons.

[Stephen] Like, who?

Who?

-[Stephen] Who.

Uhm, like my mother?

[Stephen] No.

Like Uncle Jonas?

No. I mean like Adam.

Adam would offer different horizons,

but I'm not sure they would be any better.

[Stephen] How?

Well, we're a man and a woman

lying on this bed for eternity.

And

any man and women would have the

same sort of norms associated to them.

All right, so you're

saying if I was an alien

and you were a polar bear,

there'd be different norms.

Yeah, completely.

Yeah, I think that's fair.

You know, there's

another mask in the drawer.

Oh, really?

Maybe you should put it on?

[Stephen] Maybe I should.

Then maybe we could...

[tense music plays]

[painful squeal]

[spitting]

Stephen, what's wrong with us?

Stephen?

Stephen.

[tense music plays]

[bartender] You shouldn't be here.

I've been telling you all along.

You shouldn't be here.

[waves crashing]

[Tense music plays]

-Is this mirror rim?

-Is what?

[Hannah] This place.

[Stephen] You think mirror rim is a place?

[Hannah] What else could it be?

[Stephen] I was never really sure.

I didn't know if it was

a place or a riddle,

or a person.

Or whether it was real or unreal.

It's real. This place is real.

This place does not seem like mirror rim.

[Hannah] What were you expecting?

[Stephen] I don't know.

Maybe a person?

A person somehow d*sfigured...

[Hannah] d*sfigured?

Monstrous.

What if mirror rim is a symbol?

A symbol?

Yeah, of the monstrosity of possession?

I don't follow.

Our own monstrous

possession over each other.

As if we haunt each other's waking world

and dreaming world.

[Stephen] You think we're monstrous?

[strange knocking]

-There is a knocking...

You hear that too.

[strange knocking continues twice more]

[tense music plays]

[Hannah] I'd settle

for an original painting.

[Stephen] Well then you, my dear,

have an original painting coming your way.

[sounds of water and thunder]

[tense music plays]

[strange knocking returns]

[suspense music plays]

[Hannah] The nerves are bad tonight.

[Stephen] The sky has echoes.

[Hannah] Do not place your

habits next to the dishes, dear.

[Stephen] Your ears have

enlightened the disquiet.

[Hannah] And yet our

speech is awash in becoming.

[Stephen] Of whom do you speak?

[Hannah] Of what matter is thought?

[Stephen] You mean of what matter?

[Hannah] In silent

moments, I split upon myself

a self that has in itself

a self of another self...

[Stephen] Quit the

forge dear and continue...

-[Hannah] To this word...

-[Stephen] ...That I have read, we are inside a rat's nest.

It has been said that

the dead lose their bones.

[Hannah] This... this word...

[Stephen] Are we living amongst

them or are we living amongst them?

But how can we proceed in this miasma?

[Hannah] Of the matter of our vivid souls

that has yet to be solidified

on the windowpane

are we not cellmates?

[Stephen] Soulmates?

[sound of wet, peeling flesh]

[tense music plays]

["Forever" by Cherry Blue]