Melinda and Melinda

The essence of life isn't comic.

lt's tragic.

There's nothing intrinsically funny

about the terrible facts of human existence.

l disagree. Philosophers call it absurd

because, in the end, all you can do is laugh.

Human aspirations

are so ludicrous and irrational.

l mean, if the underlying reality

of our being was tragic,

my plays would make more than yours,

because my stories would resonate

more profoundly with the human soul.

l mean, it's exactly because tragedy

hits on the truly painful essence of life

that people run to my comedies for escape.

No, no.

Tragedy confronts. Comedy escapes.

Look, you guys,

what are we discussing here?

ls there a deeper reality in comedy or

tragedy? Who can make such ajudgment?

Look, let me tell you a story and you tell me,

is it material for a comedy or a tragedy?

This happened to some people l know.

lt's a small dinner party. The hosts

are trying to impress one of their guests.

Suddenly the doorbell rings and out of

nowhere an unexpected person shows up.

- A man or a woman?

- A woman. l'll give you the details

and you tell me comedy or tragedy.

So, the guest enters and

everyone is surprised, especially the host.

Turns out she's got a particular problem...

My God, that's quite amusing.

l mean, she barges in unannounced

while they're eating.

What you told us

would make a very good romantic comedy.

- Because you see the world comically.

- You're missing the tragic implications.

The entanglement it suggests.

No, l see the whole thing quite differently.

l see this lone figure -

a woman who's maybe just come off a bus.

She's toting a suitcase. Maybe

she's searching nervously for an address.

Hello?

Who is it?

Hello?

Hello?

- Can l help you, miss?

- The Springers.

Top floor.

- lt's really good.

- These speakers are wonderful.

You do pick up

every little nuance of the orchestra.

Tell me again

why l can't have a glass of wine?

Every pregnancy,

she asks the same question.

This is the ''Concerto in D''.

Yes. My God,

you really know your Stravinsky.

This would be good theme music for the play.

- Lee?

- That's a brilliant idea.

l need a little help with the final touches.

- Can you get the two big serving dishes?

- l'm running out of obsequious banter.

- How's it going?

- He thinks l'm perfect for the part.

The goddamn producer

wants more of a name.

l don't understand why they make

such a big deal. lt's not like it's the lead.

My first audition went better.

l don't know what happened.

- And l know it's not the lead, Laurel.

- Doesn't he have any clout?

They want a name. l'm not a name.

You didn't marry a name.

- Sally said how much she loves your place.

- How long are you here?

Six months, and we're still not finished.

We have to furnish slowly

cos we used up all our money.

We could not go on in that one-bedroom.

The piano ate up the living room.

We're living beyond our means. l get nervous.

Laurel is certain God will provide.

- They're poor, but happy.

- Definitely poor.

- What do you do, Peter?

- l'm a lawyer. No jokes, please.

Think the music's a little too loud?

l saw you listening to the Mahler and crying.

You should have seen her.

She was listening to Mahler

with tears streaming down her face.

She looked so beautiful. l wanted to hug her.

Yeah. But l had to get up early

and film a deodorant commercial.

That's work at least, right?

l think someone rang before. Did you hear?

- So, how do you all know each other?

- We grew up together, Cassie and l.

We were those little girls at school

with the plaid skirts.

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