Interview: L.A. Times

Los Angeles Times, Written By Kenneth Turan
December 2007

An intense actor and director make for a fiery combination in 'Blood.'

"THERE Will Be Blood," the joint venture between actor Daniel Day-Lewis and director Paul Thomas Anderson, might be the most incendiary combination since the Molotov cocktail. Though it can be over the top and excessive, this morality play set in the early days of California's oil boom also creates considerable heat and light and does some serious aesthetic damage.

Interview: Indiewire

Indiewire, Written by Eugene Hernandez
December 24, 2007

iW PROFILE | "There Will Be Blood" Director Paul Thomas Anderson

Sitting down with indieWIRE earlier this month in New York City for a one-on-one conversation about "There Will Be Blood," the exceptional new film that dominated iW's 2007 film critics' poll, American auteur Paul Thomas Anderson caught a first glimpse of Upton Sinclair's re-issued 1920s novel, "Oil!" resting on a small table nearby. Examining the book's cover, he groused briefly about the need to place an image of Daniel Day-Lewis on the front of the book, explaining that he had intially hoped the promotional item could be re-released with that same simple cover that first caught his eye in a London bookstore years ago. Picking up the book back in Britain started him on the long journey to making his epic new film.

Sinclair's novel is at the core of "There Will Be Blood," its script loosely adapted by P.T. Anderson from essentially the book's first 150 pages or so. But, to flesh out his story about the emergence of a powerful California oil baron who f inds himself at odds with a skillful young preacher leading a growing congregation, Anderson spent years immersing himself in the history of oil in America, studying photographs and visiting numerous museums dedicated to the subject. He also relied on Margaret Leslie Davis' biography of infamous oil tycoon Edward Doheny, The Dark Side of Fortune. Anderson's rich story -- opening in limited release on Wednesday, Dec. 26th -- examines a dynamic intersection of oil and religion, family and greed, driven by capitalism and corruption. Connections to America one hundred years later are subtle but striking.

Interview: L.A. Times

Los Angeles Times, Written By (??)
December 2007

Prospectors Anderson and Day-Lewis strike black gold

PAUL THOMAS ANDERSON is one of a handful of auteurs who is actively evolving the cinematic language. Known for his nerve-jangling urban stories (set usually in the San Fernando Valley), his new film, "There Will Be Blood," is inspired by "Oil!," an Upton Sinclair novel about the burgeoning petroleum industry in turn-of-the-century California. To star in his first period piece, a dark, propulsive character study, Anderson landed Daniel Day-Lewis.

In a suite at the Four Seasons hotel in Beverly Hills to talk about the movie, which opens in Los Angeles on Dec. 26, the two notoriously media-shy artists are disarmingly loose and engaging. Day-Lewis, with shaggy, graying hair, golden hoops in his ears and tattoos covering his right arm, liberally interjects mischievous remarks into the conversation. Anderson is unshaven and rumpled, and radiates the youthful energy of someone who is still very much in love with film.

Interview: Daniel Day-Lewis & Paul Thomas Anderson

The Moving Image Source has made an Mp3 Interview featuring Daniel Day-Lewis and Paul Thomas Anderson on their website. Their description:

Daniel Day-Lewis's magnificent performance as the ambitious and ruthless oil tycoon Daniel Plainview is at the core of Paul Thomas Anderson's critically acclaimed movie There Will be Blood. In this discussion, which followed a Museum of the Moving Image preview screening of the film, the actor and director playfully and thoughtfully discussed their intense collaborative process.

You can listen to the interview here or for less entertainment, read the html or pdf versions of the transcript which are also provided under the audio links on their page.

Interview: Hollywood Elsewhere (Audio)

Hollywood Elsewhere, Interview by Jeff Wells
November 2007

Listen here.

Interview: Coming Soon.net

Coming Soon.net, Written By Edward Douglas
November 19, 2007

P.T. Anderson's There Will Be Blood

P. T. Anderson's fifth movie There Will Be Blood has very little in common with his previous four in that there's very little deliberate humor in its exploration of the early days of the oil drilling business in California as told through the rise and fall of oilman Daniel Plainview (Daniel Day-Lewis), whose oil drilling business is thriving until he arrives at the ultra-religious town of Little Boston and finds himself in conflict with their young evangelical minister Eli Sunday (Paul Dano). Even as the town proves to be a bonanza of oil profits, Plainview's personal life takes a downturn as the important things in his life like family succumb to his greed and lust to find oil.

Anderson and actors Daniel Day-Lewis and Paul Dano held a press conference in New York City to talk about the movie that was inspired by Upton Sinclair's novel "Oil!" and ComingSoon.net was there to take notes.

Interview: NY Times

New York Times, Written By Lynn Hirschberg
November 2007

The New Frontier’s Man
By LYNN HIRSCHBERG; New York Times

IN 1976, WHEN HE WAS 19, Daniel Day-Lewis, who is British and was trained in the grand theatrical tradition of Shakespeare and the classics, saw “Taxi Driver” and, despite the considerable weight and seeming obligation of his heritage, realized that what he longed to be was an American actor. “It was a real illumination,” Day-Lewis told me late in August as he sat at the rough wood dining table of a duplex apartment in downtown Manhattan, where he and his wife, Rebecca Miller, and their two boys stay when in New York. “I saw ‘Taxi Driver’ five or six times in the first week, and I was astonished by its sheer visceral beauty. I just kept going back — I didn’t know America, but that was a glimpse of what America might be, and I realized that, contrary to expectation, I wanted to tell American stories.” It was raining hard outside, and Day-Lewis, who has the look of an elegant vagabond, was wearing clothes seemingly chosen many years ago for their utility and subtle details. His loose denim jeans were worn soft and white by use and the once-vibrant red plaid of his shirt had aged into a warm maroon. Day-Lewis is tall and lean and has tattoos circling his lower arms and the permanently inked handprints of his and Miller’s two sons climbing up his body to his shoulders. There were gold loops in each earlobe, and although he had left his sturdy, beat-up leather work boots outside the front door and was padding around in his socks, Day-Lewis still had a kind-of-jaunty porkpie hat on his head. The hat covered his long black hair and set off the contours of his face, which is dominated by his noble, bashed nose.

Interview: Entertainment Weekly

Entertainment Weekly, Written By Chris Willman
November 8, 2007

There Will Be Music
''There Will Be Blood'' director Paul Thomas Anderson and composer Jonny Greenwood (a.k.a. Radiohead's guitarist), chat about their unique collaboration on December's historical epic

At or near the top of most cinephiles' list of the most exciting filmmakers working today is Paul Thomas Anderson. Fill in ''music fans'' and ''bands'' in the above construction, and Radiohead is the no-brainer choice to end that sentence. Now, Anderson and Radiohead guitarist Jonny Greenwood have teamed up. The director of such landmark films as Boogie Nights and Magnolia enlisted one of the main creative forces behind such landmark albums as OK Computer and Kid A to score the highly anticipated There Will Be Blood (opening Dec. 26). There will be strings... often abrasive, dissonant, disturbing, and always very loud strings.

Blood marks a departure for both mavericks, though maybe even a little more so for Anderson, who'd never done a period piece before tackling this tale of a misanthropic oil man (Daniel Day-Lewis) in California at the turn of the last century. Though it's not widely known, Greenwood is no neophyte to orchestration, having done one film score before (for an experimental documentary called Bodysong), in addition to being commissioned by the BBC to compose a piece called ''Popcorn Superhet Receiver,'' which is excerpted in Blood and helped get him this gig.

If you can't wait for the film to hit theaters at Christmas time, a soundtrack CD on Nonesuch will precede the movie. But if you really, really can't wait, EW got the two collaborators on the phone together, trans-Atlantically, to talk about their collaboration.

Deleted Scene: Magnolia, The Worm Subplot

The most talked about deleted sequences revolve around the "Worm" subplot. This involves five characters from the film: Marcie Her Husband (The Dead Guy in the Closet) The Worm (Marcie's Son) Dixon (Worm's Son/Marcie's Grandson) Stanley Spector
Dixon was featured prominently in the teaser trailer ("I'm Dixon") & this subplot was included in the preview screening done in Australia in late August 1999 & Fall 1999 in New York (critics screenings).

Here are some of PTA's comments on why it was cut out: "there was more of that, and I took it out, but here's the thing. I stand by the fact that it does function really well the way it is now. It is the most truncated and elliptical bit of the movie, but I thank God that there is something truncated and elliptical in the movie, which does pretty much hit its points. The movie needs something that has mystery, and this one is sort of a representation of spending a couple of days in the Valley: that's how much color would come into your life." Courtesy of Nitrate Online - Cynthia Fuchs - 1/7/00 

"Yeah, the worm stuff. There’s sort of, a little bit more of a follow through on the mystery character, who’s in it now. It’s better to remain sort of a mystery character. The brown jacket and the little kid (Dixon). And that stuff is sort of better served as something to truly think about as opposed to something to answer and in an effort to make it more mysterious and make it shorter…I just took it out." © 2000 cigarettes & coffee - Greg Mariotti - 12/11/99 

Here's the complete script excerpt. As you know, Magnolia is constantly switching back & forth between the various plots & characters. To make things easier, I've combined all the various segments below (with a quick description of where they fit in the movie).

(After Kurring loses gun, during Partridge's monologue)

INT. HOLDING ROOM - THAT MOMENT
 

     CAMERA pushes in on Marcie.  She's crying and looking down.
     She lifts her head, speaks to an UNSEEN OFFICER nearby, guarding
     her cell;

                                 MARCIE
                      I wanna confess what I've done.

(Frank meets Phil right before his "reunion" with Earl)

INT. LAMPLIGHTER - THAT MOMENT

      CAMERA with Stanley, sitting alone in a booth with a Coke and a cookie.
     He's reading a book.  BEAT, HOLD, THEN:

      CAMERA pans/dollies away and booms up -- moving across the
     restaurant -- across the way, sitting in a booth by the opposite
     window, out of view from Stanley;

      Dixon, the little kid from earlier, sitting in a booth with a
     young black male, WORM (20s) This is clearly the back figure
     we've been seeing glimpses of --

      ANGLE, AT THE BOOTH.

     Dixon eats same pudding.  Worm mumbles to him, various jabs.
     "...sit up straight..." "...world is hard..." "..little brat..."

      HOLD.  Worm glances across the coffee shop -- he sees Stanley.

      Worm HOLDS his look, thinks a moment.  He looks up at the
     WOMAN behind the counter...she's doing a crossword puzzle.

      Worm looks back to Dixon, subtle mumbles and gestures and
     few moments later, Dixon stands from the booth and exits the
     coffee shop.

      HOLD w/WORM.  He sticks a finger down his throat, makes himself
     well with tears.  He stands up OUT OF FRAME.

      ANGLE, COUNTER NEAR STANLEY.
     Worm sits into FRAME, near to Stanley.  Stanley glances up, they
     make a quick moment of eye contact, then look away.  BEAT. HOLD.

                                                                 CUT TO:

      EXT. PARKING LOT/BEHIND LAMPLIGHTER - MOMENTS LATER

      CAMERA follows Dixon as he walks towards an old beat up PARKED CAR.
     He stops, hesitates, looks across the way --
     LINDA'S MERCEDES is parked.

      He hesitates a moment, looks left and right and all around
     and then he starts to walk over to the car...

      AT LINDA'S CAR.  Dixon sees that she's passed out, knocks on
     the window...

                                 DIXON
                      Lady...hey Lady...Lady....you ok?
                      you alive...huh...hey?

      He looks around again, then gets in the passenger's side of the
     car, shakes her same more.

                                 DIXON
                      Lady.  Lady. Hey wake up.  Lady?

      Dixon reaches down and takes her PURSE, takes the MONEY out of the
     WALLET and then reaches for her CEL PHONE and dials 911.

                                 DIXON
                      Hello?  Hello?  I have an emergency
                      situation -- this lady -- this lady
                      seems like she's dead -- hello?
                      She's in the parking lot -- (etc. gives
                      information regarding location. etc.)

      Then he gets out, walks back across parking lot...and into the
     concealed parked car he came from –

(Jimmy confesses to Rose)

 INT. LAMPLIGHTER - THAT MOMENT

      Through the window, the AMBULANCE passes in the b.g., heading
     nearby...and OC we hear the siren throughout scene;

      Stanley looks up at Worm, who's crying harder now, they make
     another moment of eye contact.  BEAT, THEN:

                                 WORM
                      Hi.

                                 STANLEY
                      Hi.

                                 WORM
                      ..sorry...

                                 STANLEY
                      It's ok.

      BEAT.

                                 STANLEY
                      Are you alright?

      Worm looks up.

(Frank with Earl on his deathbed)
 

INT. LAMPLIGHTER - THAT MOMENT

      Worm is in tears, talking to Stanley. SLOW ZOOM IN.

                                 WORM
                      ....you have it...easy....you know?
                      You have a father who loves you, huh?

                                 STANLEY
                      Yes.

                                 WORM
                      You know what it's like to come home
                      scared, scared that maybe if you don't
                      have the money you're supposed to
                      go out each day and get that you're gonna
                      get beaten....by a belt...he hits me
                      with a belt, Stanley....

                                (beat)

                      I'm supposed to sell those candy bars,
                      and if I don't, I come home without
                      the money....

                                 STANLEY
                      ....Why does he do it...?

                                 WORM
                      Cause he hates me....he hates me so much.

                                 STANLEY
                      It's not right.

                                 WORM
                      I hate it.

      CU - Worm.  He hesitates...looks at Stanley and says:

                                 WORM
                      I'm sorry to put all this on you, Stanley --

                                 STANLEY
                      I have money.

                                 WORM
                      ...what...?

                                 STANLEY
                      I have money to give you.

                                 WORM
                      No.  No.  I have to do this on my own.

                                 STANLEY
                      I can take you to get money.  I don't
                      need it...I don't need it -- listen to me:
                      I can let you have money so your father
                      won't hit you ever again -- you'll have the
                      money because I don't need it.

      CAMERA pushes in a little on Worm, he looks up. 30fps.

                                 WORM
                      Where do you have it?

      CAMERA holds 2-shot, looking out the window onto the street.
     We PUSH PAST THEM AND THROUGH THE WINDOW, picking up with
     a YELLOW CAB as it drives by, PAN with it....

 (The rain of frogs has begun.)

 INT. LAMPLIGHTER - THAT MOMENT

      Stanley and Worm.  CAMERA holds as all around...through the glass
     windows...it RAINS FROGS....smashing to the ground.....hitting a couple
     odd parked cars...they sit, watching, stunned...in a sort of daze.
     Stanley seems almost happy.  Worm shocked, scarred;

                                 WORM
                      What is that?

                                 STANLEY
                      It's frogs.  It's raining frogs.

                                 WORM
                      ...fuck you mean, it's raining frogs?

                                 STANLEY
                      It's raining frogs from the sky.

                                 WORM
                      ....what the fuck, what the fuck....

                                 STANLEY
                      This happens....this is something that happens.

                                 WORM
                      What the fuck is goin' on, WHAT THE
                      FUCK IS GOING ON?

      CU - STANLEY.  HOLD ON HIS FACE extremely tight.

      In the reflection of his eye, we see the Frogs falling....
     past the neon sign that reads "Fresh Coffee."

      ANGLE, DIXON.  He comes running into the Lamplighter and over to Worm
     and Stanley....he's scarred shitless and frantic --

                                 DIXON
                      DADDY! DAD! DAD WHAT THE HELL IS GOIN' ON?

                                 WORM
                      Stay quiet...stay quiet, son --

                                 DIXON
                      LET'S GO, LET'S GO, LET'S GET HIS MONEY
                      AND GO -- DID YOU GET HIS MONEY? DID
                      YOU GET IT?  DID YOU GET HIS MONEY, DAD?

                                 WORM
                      No, Son...be quiet...be quiet now...

                                 DIXON
                      C'mon, Dad.  We gotta just GET HIS
                      MONEY AND GO, LET'S GO. Let's get the money --

                                 WORM
                      We're not gonna do that now.  We're
                      not gonna do that now and that's over.

                                 DIXON
                      BULLSHIT. BULLSHIT, DAD WE NEED
                      TO GET HIS MONEY AND GO.

      Dixon takes out a large POLICE ISSUED REVOLVER, AIMS at STANLEY'S FACE.

                                 DIXON
                      GIVE US YOUR MONEY MAN.

                                 WORM
                      Son, don't --

                                 DIXON
                      BULLSHIT, BULLSHIT DAD WE GOTTA GET
                      HIS MONEY --

                                 WORM
                      -- no.

                                 DIXON
                             (to Stanley)
                      GIVE US YOUR MONEY.

                                 WORM
                      Put the gun down, please, boy.

                                 DIXON
                      GIVE US YOUR MONEY, KID.

                                 WORM
                      Son, please, now....

                                 DIXON
                      DAD --

                                 WORM
                      Please, boy, put it down and it's ok.

      Dixon starts to get nervous and well with tears...he shakes a
     little....

                                 WORM
                      It's ok --

                                 DIXON


                      We gotta get his money so we can get
                      outta here -- we gotta --

                                 WORM
                      That idea is over now.
                      We're not gonna do that now.

      Dixon starts crying and shaking and backing away --

                                 DIXON
                      DADDY, FUCK, DADDY, DON'T GET MAD AT ME.
                      DON'T GET MAD AT ME --
                                (to Stanley)
                      JUST GIMME YOUR MONEY.

                                 WORM
                      I'm not mad, son, I will not be mad
                      at you and it's ok and please put it
                      down and I won't be mad and I won't --

                                 DIXON
                      DAD.

      Dixon starts to lower the gun a bit, crying and shaking....He lowers
     the gun and hands it over to his Father....Dixon is sort of
     flinching....the possibility that his Father may strike him...

      ...Stanley is frozen...Dixon is hyperventilating....

                                 DIXON
                      I - just - thought - that - I - didn't
                      want - I - didn't - I - didn't -

                                 WORM
                      It's ok, boy.

      HOLD.  Que. "Bein Green," by Kermit the Frog/Aimee

                                                                 CUT TO:

     EXT. LAMPLIGHTER/VENTURA BLVD. - THAT MOMENT          

     CAMERA holds a wide angle on the Lamplighter Coffee Shop.
     Frogs falling from sky onto and around the streets....

                                                                 CUT TO:

      EXT. THE SKY - THAT MOMENT

      CAMERA up with the Falling Frogs....CAMERA is moving down with them...
     it becomes almost musical....like Busby-Berkely-style choreography of
     Frogs That Fall In The Sky...

                                 MUSIC/KERMIT THE FROG
                      "It's not that easy bein' green...
                      Having to spend each day the color
                      of the leaves..."

 EXT. EMPTY PARKING LOT AREA - DAWN

      CU - Dixon as he gets into the old beat up car with Worm.
     Their call pulls away and drives off.  Dixon looks at Linda's Mercedes
     which is still parked way across the lot -- they exit FRAME.

                                                                 CUT TO:

      EXT. MAGNOLIA - DAWN

      Worm's car drives down the street. LONG LENS.  ANGLE, at the car,
     Dixon leans up and out the window a bit....he's got the gun wrapped
     in newspaper, taking the fingerprints from the gun....he throws
     the POLICE ISSUED WEAPON from the speeding car...

                                                                 CUT TO:

      INT. LAMPLIGHTER - DAWN

      Stanley sits in the back of a squad car....an OFFICER watching
     him...probably supposed to be comforting him, but instead drinking
     coffee, chatting with other OFFICERS questioning the coffee shop
     employees --

  (Right after Earl's body is taken away)

INT. POLICE STATION - MARCIE

      Marcie looking down at the table in front of her, tape recorder
     and microphone in front of her, (and all that goes along w/full
     confession/etc.)

                                 MARCIE
                      I killed him.  I killed my husband.
                      He hit my son and he hit my grandson
                      and I hit him.  I hit him with the ashtray
                      and he was knocked out and I killed him,
                      I strangled him.  I strangled my husband
                      to protect my boys.  I protected my boys.

Deleted Scene: Magnolia, Frank & Earl Say Goodbye (Much different version)

A much different, less angry version than what appeared on screen (which isn't nearly as dramatic). This is presented together (the scene would have appeared cut up in the film as it jumps from different storylines).

INT. EARL'S HOUSE - THAT MOMENT

      Frank and Phil stand in the foyer.  They're quiet a moment, then:

                                 FRANK
                      So....Phil....um...I think I'm gonna
                      step in and try and see him and say
                      something if he can...talk...I mean:

                                 PHIL
                      ...ok...

                                 FRANK
                      Can you stand...back...maybe, I mean...
                      just a little bit...in the room is
                      ok, but back from us a little...

                                 PHIL
                      yeah.

      Frank walks slowly into the Living Room and over to Earl's
     bedside.  He's holding back his tears.  He sits.  Earl
     is eyes closed, breathing a bit irregular....HOLD.

                                 FRANK
                      ...Dad...Dad...hey...Earl?

      He tries to wake him a bit, but Earl is not moving.

                                 FRANK
                      ...hey...Dad...Dad can you wake up
                      a minute Dad?

      He turns to Phil, crying now, says:

                                 FRANK
                      He's not waking up. 

INT. EARL'S HOUSE - THAT MOMENT

      Frank and Earl.  Earl opens his eyes a bit.

                                 FRANK
                      Dad...dad it's me...it's Frank...
                      It's Jack....It's Jack....Dad....

      Earl can barely make it but he touches Frank....Frank holds
     his Dad's hand....Phil steps up closer....

                                 FRANK
                      I'm here.  I'm here now.  What do you want?
                      Do you want anything?

                                 PHIL
                      I don't think, he can't...

                                 FRANK
                      ...just wait...Dad...you want
                      something...can you say...

                                 EARL
                      .....fuck...fuck...fuck...

      Earl is in PAIN and his hallucination make him a bit angry.

                                 EARL
                      ...thismssm....

                                 FRANK
                      Oh, Dad.  It's ok. jesus. ok.
                      it's ok...I'm here with you now, please.
                      i'm sorry...it's ok. alright..ok. 

INT. EARL'S HOUSE - THAT MOMENT

      The CAMERA holds on Earl and Frank.  Frank has his head buried
     in Earl's bed holding his hand, crying....it's very quiet....

      CU - Phil.  He's crying a bit standing off to the side.
     He looks out the window's and the glass doors and sees the FROGS
     come raining down.  His mouth drops and he can't speak.

      Frank doesn't notice.  The FROGS fall in the backyard and into THE POOL.

                                 PHIL
                      There are frogs falling from the sky. 

INT. EARL'S HOUSE - THAT MOMENT

     Frank lifts his head and watches the FROGS FALL outside the house.
     Earl looks to Frank....he musters something...Frank notices....

      All SOUND DROPS OUT except for the breathing of Frank and Earl.

                                 EARL
                      You are not what you think you are.

      Frank breaks down.  

INT. EARL'S HOUSE - THAT MOMENT

      CAMERA w/Frank and Earl and Phil.  Earl's last couple
     of breaths are short and quick...short and quick...short and
     quick...and then he dies.....his eyes are open.....

Deleted Scene: Magnolia, Frank Meets Phil

INT. EARL'S HOUSE - THAT MOMENT

      The DOGS go crazy barking.  Phil walks away from Earl and answers
     the door.  Frank standing there.  Phil looks a bit surprised and
     fumbles a moment...They stand in doorway and speak very quietly;

                                 PHIL
                      Hello.  Frank.  Frank TJ Mackey.

                                 FRANK
                      ...are you Phil...?

                                 PHIL
                      Yeah. I was trying to get in touch
                      with you.  We got disconnected.

                                 FRANK
                      I got your message.  That you were
                      trying to get me -- right?

                                 PHIL
                      Yes.  I didn't know how to find you.
                      Earl asked me, so I looked through
                      the address books and there was no number,
                      nothing --

                                 FRANK
                      Is Linda here?

                                 PHIL
                      She's not here, she went out.
                      I'm sorry.  This is all just so,
                      I don't know what, what to do -- your
                      Dad asked me to try and track you down.
                      To get you and I did, I called the number --
                      Do you wanna come in?

                                 FRANK
                      Yeah let's...maybe just stand.

                                 PHIL
                      These Dogs'll calm down -- you just
                      have to come in --

      He steps in the door and the dogs start to settle down a bit.

                                 PHIL
                      He's in here.

                                 FRANK
                      Let's just wait one minute and stay here, okay?

 
                                PHIL
                      Ok.

      BEAT.  They stand in the foyer and the dogs eventually calm down
     and go away.  BEAT.

                                 FRANK
                      How long have you taken care of him?

                                 PHIL
                      For six months.  I'm the day nurse...

                                 FRANK
                      Uh-huh.  What's going on?

                                 PHIL
                      He's...I'm sorry...so sorry...I've seen
                      this before, you know and you don't....
                      He's going very fast....Frank...um....

                                 FRANK
                      Is he in pain?

                                 PHIL
                      I just...he was...but I gave him,
                      I just had to give him a small dose of
                      liquid morphine.  He hasn't been able to
                      swallow the morphine pills so we now,
                      I just had to go to the liquid morphine...
                      For the pain, you understand?

                                 FRANK
                      ...uh-huh...

      BEAT. Silence, then:

                                 FRANK
                      How long...you think?

                                 PHIL
                      Um...soon tonight...I think, yes?
                      Tomorrow...I mean...very soon...very...

                                 FRANK
                      When did he go off chemo?

                                 PHIL
                      About three weeks ago.

                                 FRANK
                      .....have you ever seen this..I mean,
                      never mind, you said --

                                 PHIL
                      I work as a nurse, for a profession --

                                 FRANK
                      Uh. huh.

                                 PHIL
                      I'm really sorry.

                                 FRANK
                      He's in here --?

                                 PHIL
                      Yeah.

      Phil starts to guide him, Frank holds him back.

                                 FRANK
                      No, let's just wait one minute,
                      let's just stand here one minute or so --

      BEAT.  They stand.  HOLD.

                                 PHIL
                      I've heard your tapes on the phone.

                                 FRANK
                      Oh yeah.

                                 PHIL
                      When they put me on hold, to
                      talk to you...they play the tapes.
                      I mean: I'd seen the commercials
                      and heard about you, but I'd never heard
                      the tapes ....

                                 FRANK
                      Uh. huh.

                                 PHIL
                      It's interesting.

                                 FRANK
                      Mmm.

      Long pause.  Then: