:02:01
Sorry, the second scene
of the first act.
:02:03
Second scene of the first act. Right.
Begin when you're ready.
:02:06
Yes, of course.
:02:14
Oh, sweetheart, do you know what
it was like waking up in Paris...
:02:17
...seeing the empty pillow where--
:02:20
Wait! Cover your breasts. Kevin is
downstairs! My God, what are you?
:02:25
I'm a woman. Not Felicia's mother.
Not Kevin's wife.
:02:28
Thanks very much.
We need someone a little older.
:02:33
Mom! Dad! Uncle Pete, come quick!
:02:36
Something's wrong with Biscuit!
I think he's dead!
:02:39
We're looking for someone younger.
:02:41
"They have dinner--" Can I start again?
I didn't get kicked off right.
:02:46
The reading was fine.
You're the wrong height.
:02:48
I can be taller.
:02:50
No. We're looking
for somebody shorter.
:02:53
Look. I don't have to be this tall.
:02:56
See, I'm wearing lifts.
I can be shorter.
:02:59
I know, but we're looking
for somebody different.
:03:02
I can be different.
:03:04
We're looking for somebody else.
:03:06
What do you care more
about than working?
:03:09
The part's the most important thing.
But love sometimes is too.
:03:13
With improvisation, you're the writer.
When somebody writes a play...
:03:16
...they decide where the highs are,
where the lows are. Now you do it.
:03:20
And you may not be high where
they're high in the writing.
:03:23
You may not be low where they're low.
:03:26
You may be high on "but."
You may be high on "and."
:03:29
Of course, they were doing it
for dough...
:03:31
...the same as everybody
does it for dough.
:03:34
But the question is in
the last analysis.
:03:37
What were they doing for dough?
:03:39
You and me were advancing our
little non-Prussian careers.
:03:43
So when all hell broke loose,
and the Germans ran out of soap...
:03:48
...and figured, "What the hell?
Let's cook up Mrs. Greenwald!"...
:03:52
...who the hell do you
think stopped them?