Thursday, January 17, 2019

dueling paradigms




Larry joins Carol in the CAMERA shot.

LARRY
Uh, the dead woman passed you on a bus?  Which bus was this, the bus to Heaven?

             Larry walks away toward the kitchen.  Carol follows him.

CAROL
No, but I'm not, I'm not joking.  I mean, I'm telling you something.  I'm telling you, I really saw her.  I actually saw her.

INT.  Kitchen

Larry is checking his dinner-in-progress.

LARRY
Uh-huh.  Uh-huh.

CAROL
Yeah.



                       Larry takes two wine glasses out of the sink.

LARRY
You want to lie down for a while?  We'll put a cold compress on your head, or a hot compress on your back, or...

CAROL
No, Larry, you know, I was at the wine-tasting, right?  And I was just...  I was sitting at, you know, a bay window.  I-  I happened to look out.  A bus passed, and she was on it, Larry.

LARRY
Remember I said to you?  Yes, remember I said to you, spit it out?

CAROL
I...



LARRY
I said don't drink it.  You said you were going to a wine-tasting?

CAROL
But?

LARRY
You said you were going to taste wine all afternoon?  I said spit it out?

CAROL
Yeah...

LARRY
I said don't swallow it?  You swallowed it.  And that's why you're this way.

CAROL
I know.  I know.  Okay.  I - I...  Yeah.  I had a few drinks, but it's- it's not...  I mean, I saw her.

                              Larry puts the glasses on the table.

LARRY
Yeah, I'm sure you saw her.

CAROL
I ...

LARRY
How could you see her?  She's dead.  Not only is she dead, she's been cremated.  It's not even Halloween.



INT.  Sitting-room

They enter the room.

CAROL
Okay.  Are you telling me that you...  That, that, that, that you...  That I didn't see her?  Is that what you're saying?

LARRY
I think it's a pretty fair assumption that if a person is dead, they don't suddenly turn up in the New York City transit system.

CAROL
I just...  I just don't know what's happening, Larry.  I-I-I don't know what's going on.

LARRY
What's going on?

CAROL
What's... yeah.

LARRY
Let me put it this way:  total psychotic breakdown.  Okay?  Is that enough?

CAROL
I...

LARRY
Maybe, look.  Maybe she's a twin.  That's possible.  Now forget this.

CAROL
Why?

LARRY
Taste my tuna casserole.  Tell me if I put in too much hot fudge.

                              He opens the dish.

CAROL
Honey, you're getting so closed-minded these days.  I just...

                    The phone rings.

CAROL
Oh.  Oh, God.

                      She picks up the phone from the wall.  Larry sits at the table.

CAROL
Hello?  Ted.  Ted.

LARRY
Oh, Ted.  Ted.

CAROL
(on the phone)
Ted, you're not going to believe this, but, Ted, I saw Mrs. House.  Yes, Mrs. House.  Yeah.  Mrs....  The murdered woman.  That's right.

                            Larry opens a bottle and pours some wine in his glass.

LARRY
She wasn't murdered.  It was a coronary.  It was a coronary, folks.  It was a coronary.  She wasn't murdered.  I don't know what they're talking about.

CAROL
Yeah.  No, I'm sure.  I'm sure I saw her.  She was on a bus, you know?  I mean, I-  I saw her just moments after you left.  I was looking out the...

                           Larry puts the cork back in the bottle.

LARRY
He was at the wine-tasting, too.  Sure, why not.



CAROL
(on phone)
Would you?

LARRY
They're both at the wine-tasting.

CAROL
Would you really?  Oh, that would be so great.  You'd just run a check on Paul and Lillian House.

                           Larry stands up and walks toward Carol.

LARRY
Don't run a check.  Don't run a check.

                                He takes the phone from Carol's hand.

CAROL
What are you talking...

LARRY
Stop.

CAROL
What are you doing?  I mean...

                             Larry talks to Ted on the phone.

LARRY
Listen, could you call back later, because my marriage is falling apart.

                             He hangs up the phone.

CAROL
Larry, what are you...  But, what?

LARRY
Forget it.  Will you?  If you're gonna have an affair with the guy, you don't need a murder to do it.

-------------------------------------------



{screenplay / Manhattan Murder Mystery}

paintings by Leonid Afremov

-30-

Wednesday, January 16, 2019

his movies often have characters who are late for their shrink




{Manhattan Murder Mystery.  Directed by Woody Allen; produced by Robert Greenhut; written by Woody Allen and Marshall Brickman; cinematography by Carlo Di Palma.  Dist. - TriStar Pictures.  Starring Alan Alda; Woody Allen; Anjelica Huston; Diane Keaton.  1993.}



_________________________

..."Well, you know...
You
would be my first choice."

CAROL
Me, huh?

TED
Yeah.

CAROL
(with a little laugh)
Well.  Oh, boy.

TED
Well, you...  Can I give you a lift?  Do you, uh, I'm gonna go east.  Do you...

CAROL
Thanks.  No, I- I think I'll stick around, I need to think.  I need my...  I feel a little, you know, tipsy.

TED
I didn't offend you by what I said, did I?

CAROL
No, no, no, no, no, no, no, no, no, no.  You didn't offend me, no, I was very, uh, flattered by this, Ted.  Flattered.  Well, anyway.



TED
See you later.

                                  He stands up and bumps into a low table in front of the sofa.

CAROL
See you.  Oops, careful.  Whoops.

TED
Sorry.  Excuse me.

CAROL
Excuse me.

                    She watches him walking away.

EXT.  New York street - Day

MED. TRACKING SHOT of Ted walking toward us.  It's a pensive moment.

In one of the lounge windows, Carol can be seen, looking out.

A bus approaches and stops.  CAMERA ZOOMS in on the bus; behind one of the windows is Lillian House, Paul's wife who was supposed to be dead.  


She is not dead.  Her eyes are open, she's sitting up; her expression is the bored/patient/semi-relaxed one that many people have on when they are riding on public transportation.


Carol stares, an astonished look on her face.  She stands up a little, then sits back.




INT.  Lounge - Day

Full view of the room.  In the background, Carol, still seated by the window.  She stands up, picks up her purse, and starts crossing the room, bumping into people.  She reaches the staircase, and hurries downstairs.

She comes out of the building onto the sidewalk, looking around.  The bus is gone.  Carol walks toward CAMERA in a tracking shot.

INT.  Lipton apartment - Day

Larry is working in the kitchen, putting things away in cupboards.  Behind him, in the front hall, door opens and Carol enters.


She leans against the wall, still shocked by what she saw.  Larry doesn't notice that she's upset -- he keeps going around doing things, and talking to her:

LARRY
I got a great sweater at Brooks Brothers today, for Nick.

(from the sitting room) --
Really beautiful.  It's cashmere.  Very expensive.  The kid looked so handsome in it, though.  Also, I decided I'd cook dinner tonight.  My one dish -- tuna casserole.

                             He starts setting the table.

CAROL
Well, no wonder he had her cremated.

LARRY
What?



CAROL
(voice over)
Mrs. House.

LARRY
Oh, Jesus.  You're not on about Mrs. House again.  I thought we'd have a light dinner, you know, because we had a rich lunch at Twenty-One, I thought.

CAROL
Larry.

LARRY
(voice over)
What?

CAROL
I just saw Mrs. House.

LARRY
(voice over)
What are you talking about?  The ashes?

CAROL
No, no, no.  A bus.  It passed me, and she was on it!






"Central Park" by Leonid Afremov

-30-

Tuesday, January 15, 2019

balance


Yeah -- when you have something you need to "sweep under the rug" and it's a wall-to-wall carpet ... that's what you call one of your Murphy's Law Days....

(I love that.)

     The scene where the Liptons (Carol, eagerly and Larry, reluctantly) search through Paul House's apartment is followed by a scene at the 21 Club, a famous New York City restaurant.





     Larry and Carol are there with their college-age son Nick, played by Zach Braff.  (When I watched a couple of scenes from this film on You Tube, some of the Comments typed in by younger Commenters were all excited -- "That's Zach Braff!  That's Zach Braff when he was younger!"  Apparently he is an actor who has impact and, dare we say it, "cred" with the Young People Of Today....)



     In the 21 Club scene, the three Liptons are on their way out after enjoying a lunch together.  Larry spots his author, Marcia Fox, in a group nearby, and waves to her; she comes over and Larry introduces her to his wife and son.

LARRY
It's his birthday, so we took him to Twenty-One.

                           Marcia shakes hands with Nick.

NICK
Nick.  How are you doing?

LARRY
It's a tradition we have in the family.

MARCIA
That's great.  Oh, your friend called me.  He's taking me to dinner in New Jersey next week.  Some Mafia joint.

LARRY
Oh, I fixed her up with Ted.  He's going to take her...

CAROL
Oh, you did.

LARRY
Yeah.  That place that we ate at.

CAROL
Well, very nice.  That's lovely.



LARRY
He's a lot of fun.  You'll have a very good time.

MARCIA
Great.  Great.

LARRY
That's great.  So.

MARCIA
Well, good to see you.  Good to see you.

CAROL
Okay, you too.

MARCIA
Take care.

CAROL
Goodbye.

                         Marcia walks away.

LARRY
Oh, it's great.  She'll have a great time.

CAROL
So, that's Marcia Fox, huh?

LARRY
S-So, what are you making a face for?  She's great.

CAROL
Well, do you think she's Ted's type?  Is that...

LARRY
Ted's type?

CAROL
Yeah.

                         Larry hands his ticket in to the cloakroom attendant.

LARRY
She's anybody's type.  She's brilliant, she's talented.  Yeah.  I gave you...

CAROL
Thank you.

LARRY
Here, your bag...

CAROL
You know, your pupils are dilating.

LARRY
(with a humorous edge -- drawing out the word "dangerously")
No, she's dangerously sexual.

                                  They start walking toward the entrance.

CAROL
I just wanted to tell you that.




LARRY
Let me tell you... Listen, when you go to the wine-tasting, honey...

CAROL
I see.

LARRY
Getting back to real life, spit it out.  Okay?  When you drink...

NICK
Yeah.  Don't drink too much, Mom.

LARRY
Yeah, spit...  and spit it out.

CAROL
What do you mean?  Nick.

LARRY
They spit it out at a wine-tasting, you know what I mean?  Because, yeah.  I don't want you to be lying on the bathroom floor with your head by the bowl tonight, you know?

                            They walk out of the club.

INT.  A lounge - Day

In this elegant spot, the wine-tasting is taking place.  Bunch of people around the room.  

Carol's learning about wine for when she has her restaurant.

We hear Ted and Carol's conversation without seeing them yet.  (The Voice-Over thing...)

TED
That Mouton 45.  That was...

CAROL
Didn't you love it?

TED
Oh, that was-was like, sublime, you know?

CAROL
Yeah.

TED
And the inexpensive Spanish one.  Wasn't that... wasn't that a nice surprise?



CAROL
It was very, very...

TED
Wasn't that great?

CAROL
Yeah.

TED
Look at these paintings.  Look at this.

CAROL
So, uh...

                              The CAMERA has reached Ted and Carol, and follows them walking through the room.

TED
I love the blue in that.

CAROL
So, Larry fixed you up with Marcia Fox, huh?  His, uh...

TED
Yeah, yeah, well, you know.  He's...

CAROL
His favorite writer.

TED
He says she's wonderful, and I'm...

CAROL
Oh.

TED
I'm trying to do everything I can to get out and meet people, you know.

CAROL
Sure.

TED
I'm -- I'm not looking forward to this.

CAROL
So, you're taking her to Vincent's out in Jersey?

TED
Yeah.

CAROL
Is that what you're...

TED
I-I guess.  She's not my first choice.

CAROL
No?  God, look at this!  Oh, that park is so beautiful.

                                   They have reached a large window, where they can get a view of the park on the other side of the street.

TED
Yeah, it's great.  Of course, I can't have my first choice.

CAROL
No?



TED
I'm getting drunk.  I don't know what I'm saying.

                         He sits down.  She sits down on the sofa beside him.  Behind them, we see the park through the windows.

CAROL
You're getting...  So am I.  I don't know about this.

                          Ted looks at his watch.

TED
I'm gonna be late for my shrink.  I've got a...

CAROL
You've got to go, huh?

TED
Yeah.

CAROL
Okay.

TED
Well, you know, you would be my first choice.





-30-

Thursday, January 10, 2019

happy glasses; sinister gloves




Songs used in the 1993 Woody Allen movie, Manhattan Murder Mystery:

"I Happen To Like New York"
     by Cole Porter
     performed by Bobby Short

"The Best Things in Life Are Free"
     by Buddy G. DeSylva, Lew Brown & Ray Henderson
     performed by Erroll Garner

"The Hallway"
     by Mikls Rzsa
     from the motion picture, Double Indemnity

"Der Fliegende Hollnder"
     by Richard Wagner
     performed by Chor and Orchester der Staatsoper Mnchen
     vocal performed by Hans Hotter
     conducted by Clemens Krauss



"Take Five"
     by Paul Desmond
     performed by The Dave Brubeck Quartet

"I'm In The Mood For Love"
     by Jimmy McHugh & Dorothy Fields
     performed by Erroll Garner

"The Big Noise From Winnetka"
     by Bob Haggart, Ray Baudue, Gil Rodin & Bob Crosby
     performed by Bob Crosby, his Orchestra and the Bobcats



"Out of Nowhere"
     by John Green & Edward Heyman
     performed by Coleman Hawkins and His All-Star Jam Band

"Have You Met Miss Jones"
     by Lorenz Hart & Richard Rodgers
     performed by Art Tatum - Ben Webster Quartet

Overture from Guys and Dolls
     by Frank Loesser
     performed by the New Broadway Cast

"Sing Sing Sing (With a Swing)"
     by Louis Prima



     performed by Benny Goodman & His Orchestra

"Misty"
     by Erroll Garner
     performed by Erroll Garner

--------------------------- Most of these songs are only heard a little bit -- a few measures, or "bars," to lend atmosphere, or to bridge between scenes or announce a new scene...

____________________________________

CAROL
What do you mean?

LARRY
Oh, my...

                          As he takes some more letters, Larry accidentally bumps a small porcelain statuette, and it falls on the floor and breaks.  He leans down to pick up the pieces.

LARRY
Jesus.  Oh, Christ!

CAROL
What are you do... Well, just... Clean it up, Larry.  Clean it up.

                             Larry stands up.

LARRY
What do you mean, clean it up?  What am I gonna do, vacuum?

CAROL
Put it under the rug, or something like that, okay?

LARRY
I can't.  It's a wall-to-wall carpet.  I broke his-his-his-his... porcelain...

                       He looks at the porcelain pieces in his hands.

CAROL
Well then glue it back to...

                                            She moves around the room.






LARRY
What do you mean, glue it?  What are you talking about?

CAROL
Oh, look.  Look.

LARRY
What?

CAROL
Look.

                       She shows him a pair of gloves she just picked up on a low table.

LARRY
So what?  Gloves.  I have gloves.  They keep my fingers warm.

CAROL
So?  I know.  I know, but do you keep yours out on the bureau in this kind of weather?  Huh?



LARRY
Let's get out of here, because this is a...

CAROL
I think something's very strange, here.  I mean, he left these out and ready.  I think the whole thing is really sinister.
                  
LARRY
It's in the eye of the beholder.  What you have... you've got to go to the eye doctor, get happy glasses.

                              He pushes her toward the exit of the room.

CAROL
What?

LARRY
Look, I'm gonna take the pieces with us, and we'll - we'll get rid of them.


EXT.  Club Twenty-One in NYC - Day





-30-

Wednesday, January 9, 2019

beat it down to the morgue





CAROL
Well, I didn't...

LARRY
Sleep!  I command it!

CAROL
No, I--

LARRY
I command it!  Sleep!

CAROL
Larry, all I can tell you is, if this had been a few years ago, you would have been doing the same thing.  Because if you recall, we solved a mystery!  Yep, we solved a mystery once.  Remember?  It was the -- it was the noises in the attic mystery.

LARRY
Uh, yes.  The country house.  The bluebird.  I know.

CAROL
That's right.  So...

LARRY
But that, though, was a sweet mystery.  This is murder.

CAROL
This... Wh...  You agree, right?  It's murder, Larry?  So, I'm right.



                         She opens the front door and walks out of the apartment.

LARRY
No, I... Yeah, look, no, I-I forbid you!  I forbid you to go!  It's a-a... I'm forbidding!  Is that what you do when I forbid you?  If-if that's what you...  I'm not going to be forbidding you a lot, if you do...

INT.  Landing and hallway - Night

Carol hurrying down the hall toward Paul's apartment, Larry behind her.  She tries key in the lock -- wrong key.

CAROL
Oh, damn it.

                        Larry puts his hands on her shoulders.

LARRY
Don't do this.  We should be asleep, now, in one of our many cuddling positions.


CAROL
Please, stop it, will you?  Please, be quiet, Larry.

LARRY
This is wrong.

CAROL
Be quiet.  You're gonna wake up the neighbors, okay?  Okay, I got it.  I got it.

                   She opens the door.

INT.  Paul's Living Room - Night

The door opens and Carol walks in, followed by Larry.

LARRY
This is no good.  I promise you, this can only lead to great unhappiness.



CAROL
Listen, Larry...  Relax, okay?

                  She closes the front door.

LARRY
Pl--I can't relax.  How can I relax?  I'm in a strange man's apartment in my, in my T-shirt and-and pajamas.

CAROL
Oh, don't worry about it.  All right, now Ted told me to try something here...  Yeah.


                      She rests her hands on the telephone, which is next to the lamp.


LARRY
What do you mean, Ted told you?  Who... Ted?  Ted?  What is he, your mentor?

                       CAMERA ZOOMS to a CLOSE SHOT on the telephone.  Carol picks up receiver.

CAROL
Um, 'Last number dialed'.

                      CAMERA ZOOMS back OUT to Carol with the phone to her ear.

LARRY
Ted is a sick schmuck.  He's -- He's home, and we're in...

CAROL
Just be quiet for a second, all right?

                       Listening on phone.

CAROL
Shhhh!



LARRY
I mean, I'm -- What if he comes back?  I'm... My heart is...

CAROL
Larry.

MALE VOICE-OVER FROM THE PHONE
Waldron.


CAROL
Uh, who?

MALE VOICE-OVER FROM PHONE
Who is this?  Who do you want?

CAROL
Um, who's this?

                        She puts her hand over the speaking end of the phone receiver and turns toward Larry.

CAROL
Do you know anybody named Waldron?  Waldron?

LARRY
Hang the phone up.

CAROL
Just be quiet.  Okay, wait.

LARRY
Hang the phone up, now.

                        She puts the phone back to her ear.

CAROL
Oh, great.  Now they -- they hung up on us.


LARRY
Good, good.

                            He takes the receiver and puts it back.




CAROL
Oh, great.

LARRY
Let's get out.  I wanna go home.  I want to go back to bed.

CAROL
No, just let me think for a second, now.  Waldron, right?  Helen Moss.  Okay.  He used the name Tom, right?  So, Tom Waldron.  We gotta run a check on that.

LARRY
Run a check on it?  What, do you want to beat it down to the morgue?  You've got all the jargon.

CAROL
Come on.

                                She walks away from the phone table.

LARRY
Where are you going?

CAROL
Right.

INT.  Paul's bedroom - Night

Carol and Larry enter.



LARRY
I'm not a night person.  I don't wanna be...  What are you -- I don't know what I'm looking for.

CAROL
 Oh, oh, wait.  Look.

                             She starts looking through the mail scattered on a table.

LARRY
What?  What -- do you wanna do, go through the guy's mail?  This is insane.

                                He starts looking through the mail.

__________________________________

  {Manhattan Murder Mystery.  Written by Woody Allen and Marshall Brickman.  Produced by Robert Greenhut.  Directed by Woody Allen.  Starring Alan Alda, Woody Allen, Anjelica Huston, Diane Keaton.  Distributed by TriStar Pictures.}



-30-                         

Tuesday, January 8, 2019

two elderly women were at a Catskill Mountain resort...


     I didn't have enough time to be a Movie Detective and find Diane Keaton and Alan Alda in that scene in Manhattan Murder Mystery.  (I "never" have any time!!!!  I'm never home, I'm always at work!!  I'm always at work and the work is never done!!!!!!!!!!!!!!!!!!!!!!

     All of the above!!!!!!!!!!!!!!!!!!!


_____________________________
______________________________________

[In this script, whenever it says the person's name and then "(voice over)" it means we can hear the person speaking and we know they are in the scene, but we don't see them; they are outside of the CAMERA shot.]


[In some movies "Voice Over" means an omnipotent voice from an unseen speaker who just tells the audience something about the story -- sets the scene...]


As far back as I can remember, I always wanted to be a gangster.  To me, being a gangster was better than being president of the United States....I knew I wanted to be part of them.  It was there that I knew I belonged....
_____________________________________
__________________________________

"It has such a lonely feeling."

PAUL
That's because I'm the only one here.  And my assistant, Mrs. Dalton.  I'm gonna have this place fixed up, then I'm gonna sell it.  The money's gonna come in handy.

HELEN
It sure will.

                                   Paul looks around, a bit worried.

PAUL
What's that noise?

HELEN
Where?




                                            The CAMERA PANS to the other side of the room, where a middle-aged woman with curly auburn hair has just entered.  She is Gladys Dalton, Paul's assistant.  She is walking with the help of a cane.

PAUL
(voice over)
Oh, Mrs. Dalton.  I didn't know you were here so early.

GLADYS
Oh, uh, I-I didn't know whether an-anyone was here.  I-I'm sorry.  I-I-I heard the noise and I thought...


PAUL
It's quite all right.

GLADYS
But, but, uh...

PAUL
It's quite all right.

GLADYS
I apologize.

PAUL
Quite all right.

GLADYS
All right.

                                          Mrs. Dalton starts going out of the room and the CAMERA TILTS up on the stairway, on which Ted and Carol are still hiding.

HELEN
I'd love to really get an acting job.  I've had it with this modeling.

PAUL
Maybe you won't have to work at all.

                                  Ted and Carol are moving away from the stairway, which remains empty.


INT.  The Liptons' Apartment - Night

CLOSE SHOT of the clock on the wall:  the time is just after one o'clock.  The room is completely dark and the clock is the only source of light.  The CAMERA PANS to the bed and on Carol, who is asleep.

We hear a noise, like an object dropping down.

Carol instantly wakes up.  She gets up and the CAMERA PANS to Larry, still asleep.

He wakes up, moves around in the bed, takes his glasses from the night-table and puts them on.

CAROL
(whispering in Voice Over)
Oh, my God.

                                 Slowly, reluctantly, Larry gets out of the bed.

LARRY
What's the matter?    (What's-a mattah?)



CAROL
Larry, come with me, okay?

                              Larry starts walking along the corridor.

LARRY
(in a sleepy groaning tone)
Oh -- geez -- I was...

CAROL
Come on.

LARRY
I was fast asleep.  I was dreaming of round card girls.

                               Larry has reached the front hall.  Carol is looking through the peephole of the front door.

CAROL
Okay.  Uh, it looks like he's gone.  Yeah.  Yeah.  He's gone.

LARRY
Oh, Christ.  Not that again.  Please -- you know...

CAROL
Listen, Larry.  I want to take another look around his apartment.  Yeah.

                                      Carol walks back toward the bedroom.  Larry follows her.

LARRY
What are you talking about?  Where are you going?

CAROL
Listen.

LARRY
It's-It's one o'clock in the morn--

CAROL
He'll never be back, Larry.



LARRY
What?  What?

CAROL
(in bedroom)
No, he's not coming back.  Not for at least an hour, an hour and a half.

LARRY
What-what're you doing?  You got his key?

CAROL
Yeah.

LARRY
You're kidding!  What are you talking about?  You can't do... Why... because you-you followed him to the movie house, you-you said there was nothing happening!

CAROL
No, wait a minute, look, he was with this young model type, and they were talking about money.

                               Carol is putting her shoes on.

LARRY
Well, so what?  That's the...

CAROL
So, that's the motive.

LARRY
What...  Hey, listen to me.  Come here.

CAROL
What are you talking about?

                         Carol walks back through the corridor toward the front hall.  Larry follows her.

LARRY
Come here.  Wait a minute.  Come here.  Look, look.

CAROL
Come here.  What do you mean, Larry?

LARRY
I've been thinking about you.



CAROL 
(back in the front hall)
What do you mean?

LARRY
I think you gotta see... I gotta -- You gotta, you gotta go back to your shrink.

CAROL
What do you m--

LARRY
I want you to see Doctor Ballard again.

CAROL
Huh?  Larry, I went for two years.

LARRY
I'm s...  Yeah.  I know.  But you--

CAROL
Just come... come on.

LARRY
You know how General Motors will recall defective cars?  Well, you gotta go in for a tune-up.

CAROL
Larry, we'll be in and out in five minutes.

LARRY
You got...  No.  No.

CAROL
Five.  Only five.

LARRY
I... What... I'm telling you, I'm your husband!  I command you to sleep!

                                 He points to the bedroom.





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