Strangers Episode Guide
139 - The Play's the Thing
First Air Date: March 21, 1992
Filming Date: December 13, 1991
Nielsen Rating: 6.1 HH
Produced by: Alan Plotkin
Created by: Dale McRaven
Written by: Thomas R. Nance
Directed by: Judy Pioli
Bronson Pinchot: Balki Bartokomous
Mark Linn-Baker: Larry Appleton
Rebeca Arthur: Mary Anne Spencer
Melanie Wilson: Jennifer Appleton
Belita Moreno: Lydia Markham
Patrick Cupo: Trevor McNeil
Robert Gary Lee: Brad Oliver
Dimitriís photo can
be seen on the mantel of the fireplace.
"Feed a cold, starve an actor?"
"So thatís why they called you
Donít be ridiculous: Not said in this
Other catchphrases used in this episode:
There are no other catchphrases in this
Other running jokes used in this episode:
A joke is made about Larryís height
Larry makes several suggestions about
something even though Balki is repeatedly telling him the answer
Balki grabs Larry by the shirt
Larry has a plan
- The title is derived from the classic
Shakespeare play, Hamlet, in which Hamlet says the line, "Iíll have
relative than this-- the playís the thing; Wherein I'll catch
the conscience of the King."
Larry has always had a habit of
pronouncing words which begin with a ĎWí with a whispy sound, but never has
it been more evident than when he pronounced the word "wheat" in this
- The woman who was always seen working in
the background of the Chronicle basement can be seen as one of the actors in
this episode. But she would have her biggest appearance yet, and even a spoken
line, in the following episode!
- Robert Gary Lee was hilarious as Brad in
this episode. The resident warm-up comic at the filmings of the show, Robert had
previously appeared as the tongue-tied delivery man who always managed to mangle
Balki (and even Larryís) name! Robert would have another notable appearance in
a later episode this season. You can visit his official website by clicking
- The scripts for Larryís play, ĎWheat,í
were bound in the same yellow cover paper as the scripts for Perfect
- Larry obviously still has issues with
his brother, Billy, since he portrays Billy in such a vicious way in his play!
- Lydia is struck dumb by stage fright in
this episode, which is very much in character for her. As youíll recall, she
previously displayed a mortal fear of cameras, so she obviously doesnít like
to be stared at. Itís a shame she didnít remember the technique she learned
to talk using her hand . . . it certainly couldnít have hurt the play any!
- Actor Patrick Cupo was likewise
hilarious and smarmy in his role as the director, Trevor. Patrick had previously
made appearances on the series Cagney and Lacey, Whoís the Boss? and Valerie,
and would go on to appear on Star Trek: Deep Space Nine and Criminal
Minds. He has also worked in Hollywood as a writer and a producer.
The episode begins at the house one
evening. Larry is sitting on the couch in the living room, reading a newspaper.
Balki runs in saying excitedly, "Cousin . . . Cousin . . . Cousin . . .
" He stoops down next to the couch, holding a rolled up sheet of paper.
" . . . Iíve got some amazing news. Youíd better sit down."
"I am sitting," Larry points out. "Well, then stand up,"
Balki suggests. They both stand up. "All right, now sit down," Balki
says. Larry sits down and Balki kneels beside him again. "I have been
waiting and waiting to find just the right time to tell you," Balki begins,
"Do you know how Miss Lydia is always wanting exciting new scripts for her
theater group?" "Oh . . . oh, donít tell me you gave Lydia my
play!" Larry cries in an unhappy tone. "Okay, I wonít tell you but
then I wonít have any news," Balki says, stunned at being cut short.
Balki gets up and walks past Larry to sit on the couch, asking, "You wanna
make popcorn or . . . "
"Balki, I canít believe you gave
her my script without my permission," Larry moans as he stands up, "My
play, ĎWheat,í is still a work in progress. Oh, Iíll be humiliated!
theater group will hate it! I . . . Iíll be a laughing stock!"
stands up, unrolling the paper to show Larry a poster for the play,
"Cousin, um . . . it opens on Friday . . . theyíve been rehearsing for
weeks . . . everyone loves it!" "Well, of course they love it, itís
a brilliant piece of writing," Larry recovers quickly. Larry takes the
poster to gaze at it in amazement. "Well, Cousin, Iíve never actually
read it but as the author youíll be particularly pleased to know that the
stage is brilliantly managed by me. Iím the stage manager!" Balki points
to the poster to point out his name, then stops and realizes in despair,
"They forgot my name!" Larry pulls the poster away and Balki
continues, "My duties include opening and closing the curtain. Iíve been
practicing in the shower all week."
We see the exterior of a recreation center
with the caption "The Next Night." Balki leads Larry in through a side
door and onto the stage, saying, "Cousin, Cousin, come on. Iím gonna give
you . . . Iíve gonna give you a complete tour of the theater." They stop
in the center of the stage where several actors are standing or sitting in the
background. "Now this . . . is the stage," Balki explains.
takes Larry down the steps to the audience seats and continues, "And . . .
and these . . . these . . . are the chairs. And thatís . . . just about
it." Lydia enters through the side door and says, "Oh hi, Larry!
love your play! I bet you were really excited when Balki told you weíre doing
it." "I sure was!" Larry smiles, "You know, the play is, uh,
somewhat autobiographical. I based the character of Lawrence on, well . . .
me." "Well, despite that opening nightís already sold out!"
Lydia informs them, then she hurries away.
Two men walk on stage.
"Cousin! Cousin, Cousin, look!" Balki directs Larryís attention to the men,
"Look. See them two guys? The guy on the left, heís the director, Trevor
McNeil, and the guy on the right is the star of the show, Brad Oliver. Youíve
seen him before!" "I have?" Larry asks, impressed. "Yes!" Balki smiles, "Last week at Little Tonyís Pasta Palace.
He was our waiter." Larry looks less impressed. Trevor directs Brad,
saying, "Okay, in this scene your brother Billy erupts in a fit of anger.
Now Brad, your character of Lawrence is . . . is basically a buffoon. So your
underlying motivation is . . . ?" "Bu . . . buffoonery?" Brad
guesses. "Bravo, Brad!" the director compliments him. "Thanks,
Trevor," Brad smiles, "Iím depending on your guidance to help make
this Lawrence character a complete bonehead." Larry hears this and his
mouth drops open. "Good, good," Trevor replies, "And look, donít
let the words get in your way. We can always change them later, huh?"
"Ho . . . ho . . . whoa, whoa,
no!" Larry walks on stage to protest, "No . . . no no . . . no, you .
. . you canít change the words. The words are sacred." "Who are
you?" Trevor asks. "Iím Larry Appleton, the author of ĎWheat.í
And ĎWheatí is perfect as it is. Every word is in its proper place."
Trevor and Brad share a knowing look and nod. "Oh," Trevor smirks,
"I see whatís going on here. This is your first play and you think youíve
written a masterpiece. Well, Iíll tell you what . . . if you work real hard
maybe someday youíll have a career writing game show questions, huh?"
Balki steps forward to defend Larry, saying, "Excuse me . . . excuse me . .
. just a minute. Cousin Larry happens to be a published writer. He fills in the
bubbles for the cartoon ĎDimitriís World.í" "Ooh, thatís very
impressive," Trevor says sarcastically, "Now be a good little
playwright and get off my stage." "You, sir, are theatrically
illiterate!" Larry counters, "I . . . I . . . I bet you thought ĎThe
King and Ií was the story of Elvis and Priscilla!" "You mean itís
not?" Balki asks.
"I donít need this aggravation,
huh?" Trevor states, "I donít need this play! I quit!"
throws his script down on the stage and storms off. Larry picks up the script
and looks shocked, then decides, "Well . . . good! Who needs him?"
"I do!" Brad answers, "Heís my ride! I quit!"
Brad throws his
script down and walks off. Larry picks up the second script and asks the
players, "Well . . . well . . . well, you still want to put on this play,
donít you?" The actors all throw down their scripts and walk off the
stage. "Boy, Iím guessing Trevor has a van," Balki speculates.
enters through the side door and runs onto the stage, scolding, "Larry, I
just ran into Trevor in the hall! I cannot believe that you made him quit!"
"Well, so youíll get another director," Larry says, "And . . .
and some more actors. You can open in a couple months."
Balki looks excited and says, "You
know, that . . . that would really help me out a lot. It . . . it would give me
time to perfect my curtain-closing. Every time I practice in the shower someoneís
in it and they scream and ruin my timing." "Well, I suppose we could
postpone but I . . . I donít know if Clive Rich will be available in two
months," Lydia states. "Clive Rich?" Larry asks, "Clive
Rich? The Clive Rich was going to review my play?" "He was
going to be here on opening night but now Iíll just have to call him and tell
him itís off," Lydia sighs. She starts to walk away but Larry stops her.
"No, wait, Lydia! Donít call anyone. You . . . you know the old show
business saying . . . " "Feed a cold, starve an actor?" Balki
guesses. "No, itís ĎThe show must go on,í" Larry corrects,
"And it will. I will be the director and I, Larry Appleton, will star in
The next day we again see the recreation
center and the caption, "The Rehearsal." Larry runs in through the
side door with a sweater over his shoulders and a stack of scripts in his hand,
which he hurries up to the stage where Balki, Jennifer, Mary Anne and Lydia are
waiting. "All right! All right, everybody!" Larry calls, "People!
People! Gather Ďround! Here we go . . . okay." Larry sets the scripts on
a table set in the middle of the stage. "I know itís only a few days
until we open but Iíve been up all night rewriting ĎWheatí so that the
five of us can handle it. All right, now I will play Lawrence, the lead role and
narrator." He sets a script aside for himself. "Balki, you will be my
brother Billy," Larry says, handing Balki a script, then he hands out the
other parts, saying, "Jennifer . . . Lois. Mary Anne . . . Bobbi Sue.
Lydia . . . the Apple Lady." "Larry, we have never acted," Lydia
points out, "Weíre gonna make fools of ourselves."
"The only thing I ever acted in was
the sixth grade hygiene pageant," Mary Anne agrees, "I played Little
Miss Gingivitis." "There is nothing to worry about," Larry
assures them, "I will guide you through. I know everything there is to know
about the theater. In college I was the head ticket taker." "So thatís
why they called you Stubby," Balki deduces. Jennifer is looking at her
script and says coolly, "Larry . . . I just read the description of Lois.
And when we get through this weíre going to have a nice, long discussion about
why you think your wife should play your mother." "W . . . w . . . w .
. . weíll talk about it later," Larry quickly changes the subject,
"Why donít you go with Lydia and Mary Anne, learn the lines for the
wheatfield scene and Balki and I will start rehearsal on stage." As the
girls walk off stage, Mary Anne is looking at her script and notes, "At
least in this play I wonít be washed off the stage by a giant Waterpik."
"Cousin, um . . . I have two small
problems," Balki begins, "Iíll give you the big one first. If I play
your brother Billy, how . . . how am I still gonna be able to pull the curtain?
Iíve got a lot of time invested in that." "You can still pull the
curtain," Larry assures him. "Really?" Balki smiles happily.
"Yes," Larry says, "Now whatís your second problem?"
"I donít think I can play your brother Billy," Balki sighs, throwing
his script onto the table. "Why not?" Larry asks with surprise.
"Well, because Billy in the script is a mean, angry person and I donít
think I can be someone mean and angry," Balki explains, "Itís too
different from what I am. So, um . . . I was thinking . . . maybe if Billy was
an immigrant mail boy who now draws a cartoon . . . I think I could get
that." Larry leads Balki around the table and explains, "Balki, you
donít have to be a mean person to act a mean character in a
play. See, you just . . . you just have to think of a mean person and then you
become that person. You think of a mean person, then you become that person.
just . . . just think of somebody who is really mean."
Balki thinks for a moment then sighs,
"I donít know anyone really mean." "Sure you do," Larry
says, "Uh . . . wait . . . oh wait, you were always telling me back on
Mypos there . . . there was a bully. Used to always steal your lunch when you
were going over Goat Water Bridge to get to school? Uh . . . Brunos."
"I canít talk about that, Cousin," Balki insists, moving away to the
back of the stage, "I . . . I . . . I still get nightmares." "No,
thatís all right . . . all right," Larry assures him, "You . . . you
. . . you donít have to think about what he did to you. Just . . . just think
about who he was. Just . . . just describe him. Hmm?" "Well . . .
" Balki thinks, " . . . he was as big as an ox." "Mm
hmm," Larry hums. "He was as strong as an ox." "Mm
hmm." "He smelled like an ox." After a moment Balki says, "W
. . . wait a minute . . . he was an ox. Iím thinking of the family ox,
Mikey." Balki laughs at his mistake.
"Brunos," Larry tries to get
Balki back on track, "Think of Brunos. Think of Brunos." Balki thinks
again and his face grows serious. "Oh!" he says, "Yeah . . . I
got him. I got him." "Okay . . . all right . . . all right . . . just
describe him," Larry says, "What . . . what . . . what did he sound
like?" "When he talked it was like thunder," Balki recalls.
"Mm hmm, okay, okay," Larry says, "How did he move?" "When he walked the whole island shook," Balki recounts dramatically,
"He wasnít invited out very often." "He wasnít invited out
very often?" Larry asks. "No," Balki answers. "Why
not?" Larry asks. "Because he was big and smelly and scary,"
Balki remembers. "And have you ever thought how that made him
feel?" Larry ventures. Balki thinks about this a moment, then suddenly
shouts, "Angry! Angry!!" "All right, all right!
Larry says, "Become Brunos!" Balki turns to Larry and lifts him up by
the neck to throttle him, shouting, "Ah! Itís Friday night and Iím all
alone and I smell bad!" "Great! Great! Youíre doing great!"
Larry says as Balki sets him down, "Youíre doing great! Oh!"
Larry picks up a script and opens it,
saying, "All right . . . all right . . . now come on, letís just . . .
letís just try it with the lines. Okay?" "Okay," a stunned
Balki agrees. "All right, all right . . . here we go." "Yeah," Balki looks at the script.
"Here we go. All right . . .
angry." "Angry!" Balki shouts again. "Angry!" Larry
repeats, "Good! Okay, okay . . . all right . . . " Larry reads from
the script, "ĎBilly . . . " "Yeah!" Balki says.
parked the thresher down by old creek road?í" Balki reads the line with
no emotion or anger, saying, "ĎI did what . . . are you going to do about
it?í" Balki looks at Larry excitedly, thinking heís nailed it.
takes the script from Balki and sets it down, saying, "No." "Did
I . . . ?" Balki begins. "No, no, no . . . you lost the anger,"
Larry explains, "You lost the anger. It all went right out the
window." Balki turns to try to look out one of the prop windows but Larry
pulls him back.
"All right, what you have to do . . .
you have to retain the anger when you say the lines," Larry explains, then
says, "All right, all right . . . what we need is a word that will help you
to become Brunos. A key word that will set off your memory of Brunos when he was
at his meanest. All right . . . all right . . . where would you see Brunos?"
"Uh . . . well, uh, when I was on my way to school . . . " "Yeah,
youíd be on your way to school . . . " Larry repeats. "Yeah, I . . .
I would have . . . " " . . . youíd have your lunch," Larry
reminds him. "Iíd have my lunch and Iíd be crossing over the . . . the
bridge," Balki finishes. "Okay . . . school over the . . . "
Larry thinks, then he snaps his fingers and says, "Okay, all right, Iíve
got it . . . lunch." "Bridge," Balki says, with anger glowing in
his eyes. "All right . . . " Larry tries again, " . . . uh, uh .
. . school." "Bridge," Balki repeats, getting angrier.
"All right . . . all right,"
Larry tries again, "Path." "Bridge!" Balki shouts,
"Bridge!! BRIDGE!!!" "Iíve got it," Larry states,
"Bridge!" Balki flies into a rage and picks up Larry by the throat
again, throttling him. "Great! Great! Youíre doing great!" Larry
enthuses as Balki sets him down, "Yes! Yes! Yes! All right!
All right! Every time you hear that word you will become Brunos! Now we can put that word
anywhere in the script! All right, come on. Letís try it with the lines.
we go." He hands Balki a script and they move to the front of the table.
"Here we go," Larry says, "Come on, come on. One more time.
we go. All right, ready?" "Yeah," Balki confirms.
right, here we go," Larry begins, "ĎBilly, who parked the thresher
down by old creek bridge?í" Balki drops the script and grabs Larry
by the shirt, pulling him close and screaming, "I did! What are you gonna
do about it?!?" Balki throws Larry off the stage and he falls into the
aisle between the seats as the scene fades to black.
Act two begins with an establishing shot
of the recreation center at night and the caption, "Opening Night."
The audience is full. People whisper amongst themselves as the lights dim.
spotlight hits he stage, revealing Larry standing with a bundle of wheat in his
hand. He recites, "Wheat. Miles and miles of wheat. In an era of depression
and hardship there emerged a young man struggling to save his family from a
failed wheat crop and economic decline, all while trying to realize his dream of
becoming an author. Iím Lawrence and this is my story . . . Wheat."
curtains open, revealing the small home set with wheat showing in every window.
Jennifer is standing by the stove with her back to the audience as she stirs
something in a pot. Larry introduces her, "This is my mother . . .
Ma." Jennifer turns to the audience to reveal she is dressed as a dowdy
older woman. "Ma was a hard-working woman who paid the price of pioneer
life," Larry explains, "Her face was as dry and cracked as the
drought-ridden earth." Jennifer gives Larry a dirty look.
"She was forty but looked
sixty," Larry continues. Jennifer looks even angrier. "Every afternoon
Ma summoned me to supper with her pleasant, almost melodic, voice," Larry
says. "Come and get it, Lawrence," Jennifer says in a very angry,
hostile voice. She reaches into the pot and pulls out a sandwich which she slams
down on the kitchen table. "But she wasnít feeling well today,"
Larry covers her disposition, "But, no matter how she felt, Ma was always
waiting there to greet me with a hug." Larry crosses the stage to hug her,
but Jennifer turns her back on him. "Except Tuesday," Larry covers,
"There was no hugging on Tuesdays. We always used to enjoy . . . "
Balki suddenly barges on stage, looking scruffy and wearing overalls, and begins
to recite, "Hello, Lawrence. It is I, your brother Billy!"
now! Not now!" Larry snarls at him, "Get off the stage! Not now!
go, go, go! Go away! Go away!" Balki hurries back off the stage.
There is a
crashing noise in the wings. "We always used to enjoy a visit . . . "
Larry begins again, and Balki comes back out with the intention of explaining
what the noise was but Larry snarls at him again and Balki hurries back off,
making more noise.
Larry moves to the front door of the set
and begins again, struggling to be able to open the door. "We always used
to enjoy a visit from . . . " He finally manages to push the door open.
" . . . from the Apple Lady." Larry looks out the door, but Lydia
enters as the Apple Lady from the wings, looking lost as she wanders on stage.
Lydia crosses to Jennifer and stands with her back to the audience, holding out
an apple. Jennifer motions with her head for Lydia to interact with Larry, and
Lydia holds the apple out to Larry. Larry speaks as he tries to motion Lydia to
turn around and face the audience. "One of the Apple Ladyís favorite
activities was to gossip. Once she started talking there was no stopping her.
So, Apple Lady, whatís new?" Lydia finally turns to the audience and
begins, "Well . . . " As soon as she sees all the people staring at
her, Lydia freezes completely, her mouth hanging open in frightened shock.
"So, Apple Lady . . . whatís new?" Larry prompts her again. Lydia
still stands frozen. "Lydia . . . Lydia . . . " Larry says quietly,
trying to snap her out of it, but itís no use.
"One of the Apple Ladyís second
favorite activities was to come into a room and stand there like a stone,"
Larry covers for her. Larry tilts his head toward the wings and calls under his
breath, "Mary Anne?" Balki comes on again and begins, "Hello,
Lawrence! It is I, your brother Billy!" "Not now, not yet!" Larry
scolds, pushing Balki back toward the wings, "No! Get Mary Anne!"
Larry pushes Balki off the stage and there is another clattering of noise.
moves to the door, again having trouble opening it as he says, "Some of my
fondest memories were of my sweetheart love . . . " Larry finally gets the
door open. " . . . Bobbi Sue. Hi, Bobbi Sue!" Larry is looking out the
door again but Balki pushes Mary Anne on stage from the wings. She stands,
looking out at the audience with one hand behind her back, and says in a loud,
clear voice, "Hi, Lawrence!" Larry steps to her and says, "Bobbi
Sue was very considerate. She always brought over a bottle of fresh milk from
her cow, Bessie." Mary Anne pulls her hand from behind her back to reveal
she is holding a bundle of wheat.
"I couldnít find the milk,"
Mary Anne explains in an aside to Larry, then she recites, "Lawrence, may I
pour you a tall, cold glass of . . . " Mary Anne motions with the wheat as
if it were a pitcher of milk then stops and exclaims, "Oh now that doesnít
work at all, does it?" Larry has had it and pushes Mary Anne toward the
wings, then gets Jennifer and Lydia as well, as he says, "And so Bobbi Sue
and Ma moved to the big city and they took the Apple Lady with them to use as a
doorstop." He pushes them all off stage. Larry then moves to the door
again, struggling to open it once more. "And . . . and with Ma and the . .
. and the rest of them gone . . . " He finally gets the door open.
. . I was able to spend time alone with my brother, Billy." Larry waits but
Balki doesnít enter. Larry looks skyward in exasperation and he tries again,
louder. "My brother, Billy!" Someone pushes Balki on stage from the
wings. Balki is eating a sandwich and has a small paper cup in his hand.
about to eat when he notices the audience. Larry closes the door and crosses to
Balki as Balki begins in a casual tone, "Hello, Lawrence, it is I . . .
Larry pats Balki on the back and Balki
snaps more into character, exclaiming, " . . . your brother Billy!"
Balki takes a bit of the sandwich and smiles at the audience.
surface, Billy was a . . . oh God . . . " Larry takes the cup and sandwich
away from Balki and sets them on the table. "On the surface, Billy was a .
. . " Larry sees Balki is still chewing and so he hits Balki on the back of
the head, causing Balki to spit out the food. The audience reacts with confusion
and disgust. "On the surface, Billy was a good kid but underneath there
lurked a time bomb waiting to explode." Larry turns to Balki and says,
"So, Billy, who parked the thresher down by Old Creek Bridge?" Balki
flies into a rage, grabbing Larry by the shirt and shaking him as he screams,
"I did! What are ya gonna do about it?! Huh?!?" "Nothing!
Nothing! Iím sorry I asked!" Larry cries, then he says quietly to
"Youíre doing great!" "Oh, thank you," Balki smiles in his
regular voice, "I . . . Iíve been practicing." Balki starts to look
down into the audience, recognizing someone, but Larry pulls him away and pushes
him toward the rear of the stage so he can continue.
"Sure, Billy had his problems,"
Larry says, "Heck, we all had our problems. But he was able to bridge that
gap." Balki immediately responds to the word, his face twisting in rage,
but Larry doesnít notice this. "Sometimes Billy could be an
understanding, kind, thoughtful and filled with compassion. A caring brother,
whose only thought was the happiness of his family." Balki is writhing
around the stage, barely containing his anger. "Wherever Billy went there
was only love," Larry says. Balki grabs Larry by the throat and starts to
throttle him, screaming, "Shut up and give me your lunch!" Balki drags
Larry off the stage by the throat and we hear the struggle continue in the
wings. Larry tries crawling back on stage but Balki grabs him by the ankles and
pulls him back into the wings. After more crashing sounds, Larry runs on stage
and tells the audience, "I guess todayís the day that Billy goes off to
college! Bye, Billy! Write! He never will." Larry regains his composure and
stammers, "Oh . . . so . . . w . . . where was I?" He picks up a
bundle of wheat and says, "Oh, um . . . wheat."
Larry sets down the wheat as Balki, still
in a rage, rushes on stage from the other side and screams, "Ah ha!"
"Spring break already?" Larry asks. Balki makes motions like heís
going to lunge around the table and Larry urges him, "Calm down, Balki."
Balki starts chasing Larry around the table.
"Billy had trouble adjusting
to college . . . " Larry tries to explain, then he runs around the table
again, pulling out the chairs to slow Balki down. Balki just tosses the chairs
aside, throwing a couple of them into the audience, where the people cringe
nervously. " . . . and like many struggling freshman he . . . he developed
a bizarre furniture throwing disorder." Balki throttles the bundle of wheat
and screams at Larry. "Sure . . . sure, there were barriers between us . .
. " Larry says as Balki grabs the table and throws it off the stage toward
the audience. " . . . but Billy was always able to tear Ďem down,"
Larry explains. Balki grabs Larry by the neck and pulls him to the edge of the
stage, snarling, "Now youíre going off the bridge!" Balki hurls
Larry off the stage and into the audience. A moment later, Larryís pained
voice calls out, "Curtain!" Balki immediately turns back into his
sweet self and says, "Curtain? Thatís my job!" Balki happily pulls
the curtains closed.
Early the next morning at the house, Mary
Anne opens the front door and Larry comes in behind her, wearing a neck brace
and a cast on his leg.
Larry is on crutches and moves slowly into the house,
followed by Jennifer and Balki. "Now letís get you comfortable,"
Mary Anne says as they move toward the couch. "Cousin, I . . . Cousin I . .
. Iím sorry I threw you off the stage," Balki offers, "Iíll never
forgive myself for causing you to black out and miss my curtain closing."
Larry sits on the couch and Mary Anne lifts his broken leg, preparing to drop it
onto a couch cushion which she has placed on the coffee table. "Oh no, no,
no, Mary Anne, Mary Anne," Balki stops her, "That . . . thatís gonna
be too high." Mary Anne takes the cushion away and turns to get a pillow,
dropping Larryís leg onto the hard coffee table and causing him pain. Mary
Anne gets a pillow and lifts Larryís leg again, about to put the pillow
beneath it when Balki stops her again. "No, Mary Anne, Mary Anne, thatís
the good cushion, donít do that." Mary Anne again drops Larryís leg
onto the hard coffee table. "Here, letís try this one, okay?" Balki
suggests as Mary Anne lifts Larryís leg again. "Okay," Larry sighs.
Balki throws a pillow to land on the
coffee table but it slides too far and Mary Anne drops Larryís leg on the
coffee table yet again as she grabs for it. Larry is beside himself in pain when
Mary Anne finally manages to get his leg rested on the pillow. "Oh . . . I
know, I know," Larry sighs, "I did it again.
I couldnít leave well
enough alone. If I hadnít taken over the play and insisted on doing it my way
everything would have been fine." "Oh now, come on, Cousin,"
Balki says, walking around behind Larry to rub his shoulders, "Donít be
so hard on yourself." "Larry, are . . . are you ready to read the
review yet?" Jennifer asks as she sits on the arm of the couch. Balki has
moved behind Mary Anne now. "Oh no, no, please," Larry whines, "I
. . . I donít want to hear anything that . . . that reminds me of ĎWheat.í
I . . . I mean . . . I . . . Iím just glad the whole thing is . . . is over
and done. As far as Iím concerned itís just all water under the
bridge." After a moment, Balki goes into a rage and grabs Mary Anne by the
head, pulling it up and causing her to scream. Balki lunges for Larry, who
pushes himself up and tries to hop away as the episode ends.
on to the next episode . . .