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GRANT: Vicky?
Grant Dempson speaking.
File number F/45786/V.
New Burbage Festival claim for $2.17 million.
Name and title?
Geoffrey Tennant, artistic director.
GRANT: Mr. Tennant, when did you first realize
that your leading actor, Charles Kingman, was dying?
When he shot up with *** in front of me.
And you knew that he'd been given just three months to live?
GEOFFREY: Yes.
But his contract was for nine months.
GEOFFREY: Yeah, that's standard.
GRANT: Mr. Kingman collapsed how many times
during this process?
Three times in rehearsal,
and he collapsed on both opening nights.
I thought he was drunk. I'm sorry.
Um -- [ Clears throat ]
Hi, Vicky. Richard Smith-Jones here, executive director.
I thought it was a conflict with his meds.
Oh, please.
How much time elapsed
between your learning of Mr. Kingman's condition
and Mr. Smith-Jones' discovery of the same?
Two weeks.
GRANT: Two weeks?
Two weeks that you withheld information.
ANNA: I'm sorry, Richard.
I couldn't tell you.
I know you think I betrayed you,
but I couldn't break a promise to a dying man.
It -- [ Cries ]
Uh, that's, um -- That's enough.
Thank you.
Thank you. I'll just take that.
Can you...
Is there any justification for doing what you did?
I believed that Charles Kingman
would deliver one of the greatest Lears ever.
[ Sniffles ]
We're done -- pending review.
Mr. Smith-Jones, it appears that your claim is valid.
[ Exhales ]
While your management awareness
did not reach the threshold of negligence,
um, they certainly are, um, ***.
Uh, we will pay in full,
with the proviso that Miss Conroy is suitably reprimanded
and Mr. Tennant, uh, signs this.
What is that?
That is Mr. Tennant's letter of resignation.
God damn that ***!
Did you see me?
I nearly punched him in his *** face!
Give me the letter, Richard.
-What are you doing? -RICHARD: No.
I have to show this to the board first.
GEOFFREY: Why?
They're just gonna tell you to fire me anyway.
Well, yeah, 'cause it's cheaper than letting you resign,
but -- Wait. They do not tell me what to do.
[ Chuckles ] Give me the letter, Richard.
Don't you dare!
Geoffrey, come on.
You cannot resign.
Now, just take a couple of days.
Cool off, you know?
This is *** ***!
He's right. It's *** ***.
Oh, would you both stop being so upset for me?
It's very...upsetting.
No!
All right. But it's ***.
I think you should take a couple minutes
and really think about that, Geoffrey.
Don't sign that letter, Geoffrey.
Don't sign that letter.
Please.
*** *** going on!
Running away -- that's what you always do.
Don't you think for once in your life you should stay and fight?
Don't bother.
Geoffrey, please, this is your home.
It's your family.
Please don't leave me alone.
Oliver, wherever it is that I'm going, please --
and I do underscore "please" -- don't be there.
[ Soft folk music playing ]
Anna, can you give this to Richard?
You're not gonna say goodbye?
I am -- to you.
And I'm sorry I got you into this.
No.
Don't.
What do you think Granny Conroy would say?
She would say...
"No pasarán."
No pasarán.
What does that mean?
It means, "Never surrender."
[ Laughs ]
Anna...you I will miss.
Me too.
Goodbye, Geoffrey.
[ Clears throat ] Adiós.
[ Speaking Spanish ]
He's gone.
ELLEN: Your bags are blocking my way.
BARBARA: I've got a cab coming.
I've got a cab coming,
and like hell if I'm gonna let you leave first.
Ellen, there are breakables.
You know, there were good actresses up for this role,
better actresses,
actresses who spent their lives working in the theater.
I've been acting just as long as you.
What you do is not acting.
You put on a lizard queen's costume and gesticulate.
You star in plays by dead men for no money or audience.
You told Richard that Charles was dying.
That was a betrayal.
I'd do it again.
You are a shallow, vain, selfish ***.
I came here for one reason.
ELLEN: You don't think of anyone but yourself.
One reason -- to spend a season with you.
And frankly, I don't think it was worth the price.
What price?
-Our friendship. -[ Horn honks ]
Oh. There's my cab.
Come on, Ellen.
Silence!
This is my house, and I am going to have the last word.
Uh, Geoffrey, we're still waiting on Barbara and Ellen,
and you should know that Jerry...
Jesus. What happened to you?
MARIA: Bar fight.
But, uh, he wants you to know
that if you need him to go on for Charles,
he's there for you.
Well, um... [ Clears throat ]
The first thing you should know
is that our production is canceled.
Um, Charles is still in the hospital,
and it doesn't appear as if he's ever gonna get out.
He has cancer.
I, uh -- I made a judgment call
in keeping his condition a secret.
And for that,
as artistic director of the New Burbage Theatre Festival,
as of today...
I'll be stepping down.
What did he say?
He's leaving.
No.
Frank?
FRANK: I've given my whole life to this place.
I've been here ever since it was under a tent.
I've played every duke, lord, and first messenger,
every one in the canon.
Now, finally, after all that,
this year I made it to Broadway.
Sean Penn finally got to see our Shakespeare, thanks to you.
Yeah, thanks to you, yes.
CYRIL: You can't leave.
Well, um...
[ Chuckles ]
...I'm sorry.
I am.
Best of luck with what's left of your lives.
Well, I guess y-you're all released.
Hi.
Hi.
[ Indistinct speaking over P.A. ]
[ Heart monitor beeping ]
[ Sighs ]
CHARLES: I thought you might turn up.
Jesus.
-[ Chuckles ] -Wait. What happened?
Why are you dressed?
Ah, some sort of remission.
Not a long one.
We don't have another opening night tonight, do we?
No. No.
No, the "Lear" is canceled,
and, uh -- and I have been fired.
Oh.
So, we're both unemployed?
Yeah.
Want to go bowling?
Yeah!
Four-bagger!
Having fun?
Oh, yeah. I'm getting my *** kicked.
I love it.
CHARLES: Well, what else have you got to do?
I could be sifting through my job offers.
Seriously?
No. I'm never gonna work again.
-[ Pins clatter ] -[ Laughs ]
Bedposts!
Excuse me?
A 1-5 split. Nearly impossible to make.
Well, then there's no point in finishing the game, is there?
CHARLES: Well, you still have a chance.
The trick is you've got to spin the ball
along the edge of the gutter.
Ah.
Easy.
Shake all cares and business from our age,
conferring them on younger strengths,
while we, unburthen'd, crawl towards death.
But he doesn't mean it, of course.
He doesn't really think he's going to die.
No one does.
I don't.
That's the real insanity of it.
Geoffrey, I want to do "Lear" again,
all the way through this time.
Sure.
But first, I -- I got to make this shot.
[ Telephone ringing ]
I don't like emergency meetings, Richard.
My marriage is ending.
-I'm so, so sorry. -Emergency meetings
mean time away from screwing my girlfriend.
Here.
What are you waving around in my face?
It's Geoffrey Tennant's letter of resignation.
Really?
So, he's out. He's gone.
Yes, but the integrity that he brought to this festival
over the last two and a half years...
Sweet. Richard, shut the *** up.
...will be imprinted on all of us.
Oh, this is good news.
I mean, you play your cards right, you got a job for life.
You think I could be artistic director?
[ Chuckling ] What?
No, you idiot.
What, you direct one musical,
you *** think you're Harold Prince?
-Huh? -Then what are you saying?
Here's what's gonna happen. You're gonna go in there,
and you're gonna tell them we're striking a search committee.
Oh, and I'd be on it?
No, you'd be the search committee.
You don't have to be artistic director around here to be king.
And we don't want another Geoffrey Tennant...
in the way.
You follow me?
I follow.
Good man. Now, come on.
Stand straight. Remember, they're all old,
so don't mumble when you read Tennant's letter.
This is your shot, so don't blow it...
Big ***.
Ladies and gentlemen, thank you so much for coming.
-I have some news. -[ Bowling pins clatter ]
Charles, we can't do this.
We have no venue. We have no set.
We have no costumes. We have no props.
We have -- We have no cast.
Let's not forget that.
And any of them showed up,
they'd be blackballed by the festival.
And to top it off, you have not made it through this play,
not once, not even close.
What makes you think you can do it now?
Me.
Well, uh, we've never had a -- a play in here before,
but I can show you the space.
We just -- We use it for Brownies.
Um, are -- are you all right?
Who knows?
[ Chuckles ]
Jesus Christ. Oh, sorry.
-Mm. -Sorry.
Well, a whole bunch of more résumés came in.
Oh, great!
More artistic visionaries.
Well, there's some pretty impressive candidates.
Anna, they're just looking for a theater
with a surplus they can *** away.
Thank you.
Richard, are we okay?
[ Laughing ] Oh, yeah, of course.
I mean, you apologized.
I accepted your apology.
We're friends.
-Okay. -Okay.
Will you get me a coffee?
I'm the associate administrative director here.
Anna, I'm asking you as a friend.
-Oh. -[ Both chuckle ]
Uh, Sophie?
We should talk.
There's nothing to say.
I was completely out of control.
The thing is, um, I always thought that --
I mean, I always assumed --
Please, Paul.
The whole thing is so very embarrassing.
[ Chuckles ]
PAUL: Yeah, it's just, um, all I was --
What I was gonna say was that, um...
Could you not?
In fact, why don't we all go out for a drink together,
you, me, and Megan?
I mean, I feel like I've been pretty unfair to her.
[ Chuckles ]
Really?
Uh, okay, sure, we can do that.
After the musical comes down tonight, like, 10:30?
That's great.
Okay, I have a voice class, so I guess I'll see you there. Bye.
[ Door closes ]
Mr. Waugh, thank you so much for coming in on such short notice.
Oh, really, it's my pleasure.
Richard?
You're so young.
Yes, well, I, uh -- I started early.
RICHARD: How early?
17. That's when I started my theater company.
Since then, I've traveled with 37 productions
across North America, Europe.
Have you ever worked with the Sierra system?
Uh, no, I haven't.
RICHARD: I have it in the theater.
$1 million system, does lights, lasers, wind, everything. No?
WAUGH: No.
And that's -- that's cool,
but I don't really think that theater's about technology.
I think it's about what happens right now,
in front of an audience.
MAN: For me, Richard, theater's very nature is ephemeral.
And its only reason for being
is to tell the story that we absolutely need to hear.
People are so sick of being sold to, of being bombarded.
They want a place to go
where they can actually hear the truth.
Oh.
That was amazing.
[ Sighs ]
I took a two-week workshop
with Laurie Turbitt at the Actors Incubator.
Do you know her?
-No, I don't know her at all. -Oh, she's fantastic.
She has this way of teaching.
It's called the chroma technique.
Chroma?
Yeah. Have you ever heard of it?
I'm sure I haven't.
Oh. The main idea is that all emotions are like colors.
So, before you start rehearsing, you look at your script
and decide what are the main emotions
your character is having and what colors they are.
So, before you start rehearsal, so you can attack the colors.
-Right. -Okay.
So, like, "anger" might be red, right?
-And, um, sadness is like... -Blue?
No, it's green, actually.
That's surprising.
-MEGAN: Yeah! -SOPHIE: Yeah.
Well, then you just play the colors you've decided on.
That's so, uh, kind of straightfor--
I wish we'd known this when we started doing "King Lear," Paul.
MEGAN: Oh, she's a totally amazing teacher.
And she has all these sayings,
like, "Any line can be said a thousand ways,"
which totally makes sense. [ Laughs ]
And, um, "There are no small parts, only small actors."
"No small actors, only small parts"?
No, no, no, no. "No small --"
It's, "No small parts..." Right, right.
"Only small actors."
Oh, that's great. That's good.
-Isn't it? -Uh-huh.
That's good. She sounds...
MEGAN: I'll have a Sea Breeze.
Okay, Charles Kingman, Monday night, "King Lear."
Are you in?
Charles?
But isn't he --
No, no, no. He had a reprieve.
In fact, we went bowling.
Oh, look, Ducky, we've got jobs.
Okay, the only thing is we've got to be quiet about this.
We don't want any news of it
to reach the ears of the evil Richard.
We could have some trouble with the new regime.
Maria, I'm relying upon you to reassemble the company, okay?
Yeah.
Yo, you!
Paul, over here.
I'm pretty sure I can get everybody.
Well, everybody except...
Barbara and Ellen.
God give me strength.
The lifeless bodies of our science team lie before you.
The Hercalean ambassador would have you believe
they were intending an invasion.
But what of the slaughtered children?
Were they invaders?
Were they killers bent on domination?
If they were not, the ambassador is not an honorable man.
He is a murderer.
MAN: And the ambassador goes for his laser.
Shoot him! Shoot him! Shoot him! Shoot him! Shoot him!
Okay, and the laser's knocked out of your hand!
And caveman!
-[ Growls ] -Aah! Aah!
Aah!
Cut it! Cut it! Cut it! Cut! Cut!
Check the gate.
Fan-***-tastic, everybody!
ELLEN: It's fantastic.
I love it.
It's so comfortable.
No more drafty rehearsal halls.
No more chipped cups in the sink.
And everyone is so nice.
So, you're happy?
I've never been so happy.
And you're really happy?
No.
Oh, I'm *** miserable.
There's never time to talk about anything.
Not a scene, not even a line of dialogue.
If you ask a question,
"They say, 'Oh, no, just shoot the alien!'"
I'm developing a new appreciation for Barbara.
Well, why don't you call her then and tell her that?
Are you kidding? She hates me.
And after the way we left it, I hate me.
Well, how about a face-to-face, then?
St. Aidan's, Monday night,
one performance only, "King Lear."
That's all that Charles figures he has left in him.
You two are insane.
Maybe. So?
No, I can't. Sorry, it's my schedule.
It's a conflict with everything.
Besides, I've given up the theater.
Well, if that is true and if you are done with the theater,
then I have this to say to you.
Thank you, because you are, without question,
the most aggravating, self-centered,
infuriating actress I have ever had to direct.
Oh, shut up, Geoffrey, and *** off.
You are also the most passionate...
the most sensual...
the most heartbreaking.
All right, I'll do it.
Great.
Can you, um -- Can you call Barbara?
Well, after an in-depth process
of communication and consultation
with and within the theater community,
I am very pleased to finally be able to recommend
your new artistic director.
He's a man with a long and fruitful association
with the New Burbage Festival,
a man with an impeccable international reputation.
Ladies and gentlemen, I am very pleased to give you...
Darren Nichols.
[ Applause ]
Let's talk box office.
-[ Chuckles ] -[ Alarm blaring ]
Anna, what the hell is that?
Calm down, Richard.
Somebody left the door open in the costume shop.
Where are you going?
Nowhere. A play.
A play? What play?
Darren Nichols, Richard?
RICHARD: Anna, get back here.
I need -- An--
Hello? Where's Nahum?
Ah, Maria, I see you've worked your dark artistry again.
-Save it, Geoffrey. -GEOFFREY: Okay.
It called theft. Do we have Barbara?
Oh, she should be here any minute.
MARIA: God damn it, if I have to cancel this play
one more *** time...
Ah, Nahum, fantastic.
Can you get your friends there, Los Perdidos, up on the stage?
I need them there for the storm scene
'cause I lost that whole Sierra thingy.
Okay, everybody, listen up.
The rule of thumb for blocking for tonight
is that if you can see an entrance here or here,
well, then the audience will be able to see you up here.
And I think we should start with --
Well, we should just start.
Cyril and, uh -- and, uh --
Okay, where the hell is Jerry?
His wife says he's on his way.
Okay, good. Well, all right, don't panic.
MARIA: 15 minutes, everyone.
It's just -- The thing is, he has the first *** line!
ELLEN: I begged.
Geoffrey, I left message after message after message.
Do you mean you never actually spoke to her?!
-Oh, sweet Jesus. -I'm sorry I'm late.
We were, uh, stuck at La Guardia for an hour.
We had the 15 5 minutes ago.
Okay, the kitchen is the dressing room.
But stay here. The light's better.
Geoffrey, get the hell out of the women's washroom.
I'm checking on Charles.
So, how's the TV show?
Oh, I quit.
Oh, God, I love you, El.
You are such a disaster. [ Laughs ]
[ Knock on door ]
Hey, Charles, just checking in. Uh, you feeling okay?
We're gonna make it all the way through the play?
Yeah.
Okay, well, we're almost at places.
Geoffrey, I need to ask you a favor.
[ Indistinct conversations ]
Uh, excuse me.
Uh, um...
It touches me deeply to be able to do this play
with such a fine, professional company,
even if it's only for one night.
And, uh, I just want to thank you, all of you.
And, Sophie, I have a few words for you.
Keep up the pace in act one, or I'll smoke you.
-[ Laughter ] -You're on, old man.
[ Laughing ] Yeah.
Um, hi.
One teeny announcement.
"Executive director Richard Smith-Jones wants you to know
that any member of the New Burbage company
participating in this performance
will find their contracts under serious reconsideration."
[ Laughter ]
Stupid old ***.
[ Indistinct conversations ]
I need the house, Geoffrey.
Well, we can't start without Jerry.
I've got Jerry.
Where the *** were you?
ELLEN: At the hospital,
where they just took the stitches out of his jaw.
Oh. Well, you look good.
JERRY: [ Slurring ] I'm having a little trouble with my diction,
but, really, I'm fine.
I thought the king had more affected the Duke of Albany
than Cornwall.
House is open, Geoffrey.
Jesus, it's -- it's not like Kent just comes on
and moves around a couple pieces of furniture!
He's the moral center of the play!
Okay, my therapist can do it.
He addresses whole congregations.
In iambic pentameter?
Okay, well, Jerry can walk through the part.
Maria, you'll yell out his lines.
ELLEN: Stop it, Geoffrey.
-We can bump up an apprentice. -What apprentice?
Look, I can't do it, Ellen.
I cannot.
Okay?
-Sure, anywhere you'd like. -Thank you.
Program? Quite welcome.
[ Indistinct conversations ]
I think Frank and I are gonna quit the theater,
start a garden shop on Main Street,
you know, sell, uh, seeds and trowels
and little concrete garden gnomes.
You know, Cyril, this really is not helping.
So sorry.
MARIA: Places, everyone. Here we go.
[ Sighs ]
-Break a leg. -[ Exhales ]
[ Inhaling and exhaling deeply ]
You're on first.
[ Exhales ]
I thought the king had more affected the Duke of Albany
than --
than...
Again.
It did always seem so to us.
But now, in the division of the kingdom,
it appears not which of the dukes he values most,
for equalities being so weighed,
curiosity in neither can make choice of either's moiety.
Do you know my son?
His breeding, sir, hath been at my charge.
[ Chuckles ]
I have so often blushed to acknowledge him
that I am brazed to it.
Maybe you can conceive me?
Maybe not.
OLIVER: Poor Cyril. Look at him.
He's talking for two people.
But then again, you do that all the time.
-Not now. -OLIVER: I know.
You begged me to stay away.
I thought you might need assistance.
This is not assistance.
...uh, some year elder than this,
uh, who yet is no dearer in my account.
-[ Audience murmuring ] -Um...
This is a nightmare.
Well, think what it must be like for Charles.
If you don't get past this part,
he won't even get to say his first line.
Oliver, what's my line?
Big breath.
Feel your back.
I'm right here.
Now, you know this inside and out.
I must love you, and sue to know you better.
[ Exhales heavily ]
Ah, here comes the king.
Attend the lords of France and Burgundy, Gloucester.
I shall, my liege.
Meantime, we shall express our darker purpose.
Give me the map there.
Oh, thank God.
Now let's just pray this next LX change
doesn't blow this place up.
BARBARA: Sister, it is not a little that I have to say
of what most nearly concerns us both.
I think our father will hence to-night.
That's most certain, and with you -- next month with us.
BARBARA: You see how full of change his age...
The TV star's not bad.
And Ellen is much better since you came back.
[ Groans ]
Okay, let's talk about the next scene.
Now, Kent's been banished,
but he doesn't want to abandon the king.
We have to hear that in your speech.
Look, I know what the scene is about.
No, you don't. You think it's about you.
It's not. It's about Charles.
So put your attention on him.
Protect him. Serve him.
Keep him alive. That's what Kent would do.
[ Groans ]
A higher purpose.
You're on.
[ Exhales ]
CHARLES: Let me not stay a jot for dinner.
Go get it ready.
How now. What art thou?
A man, sir, a very honest-hearted fellow,
and as poor as the king.
CHARLES: What wouldst thou?
Service.
Who wouldst thou serve?
You.
CHARLES: Dost thou know me, fellow?
GEOFFREY: No, sir.
But you have that in your countenance
which I would fain call master.
CHARLES: What's that?
Authority.
CHARLES: Ah!
-Cue the Bolivians. -[ Speaks Spanish ]
[ Rumbling ]
Blow, winds, and crack your cheeks!
Rage! Blow!
You cataracts and hurricanoes,
spout till you have drench'd our steeples, drown'd the ***,
you sulphurous and thought-executing fires.
Vaunt-couriers to oak-cleaving thunderbolts,
singe my white head!
And, thou all-shaking thunder,
strike flat the thick rotundity of the world!
Crack nature's moulds!
All germens spill at once that make ingrateful man!
I've always said a tin sheet and a great actor.
-That's all you really need. -***.
You'd have had the Sierra system going full tilt,
fog, thunder, lightning.
Christ, you'd have had Charles cowering in a corner,
chewing his hair out,
and all 'cause of your *** head games.
-I resent that deeply. -Oh, do you?
Well, you're the one who's made me terrified
of ever getting back on a stage.
You ruined my career, you ruined my life,
and you made me cry in front of strangers.
I wonder if there are still programs.
Oh, don't you dare leave.
I've heard this monologue, and you're not doing it very well.
Oh, that's hilarious. Now, listen to me --
Oh, isn't that your cue?
CHARLES: ...all patience.
***.
CHARLES: I will say nothing.
Alas, sir, are you here?
Things that love the night love not such nights as these.
Wrathful skies gallow the very wanderers of the dark
and make them keep their caves.
-You ready to poison me? -Yeah.
First I'll poison you,
and then I'll stab myself in the heart.
[ Both laugh ]
I could have done this all summer, you know.
Me too.
SOPHIE: Oh, my dear father,
restoration hang thy medicine on my lips.
And let this kiss repair those violent harms
that my two sisters have in thy reverence made.
Lovely, isn't she?
SOPHIE: Was this a face to be opposed
against the warring winds,
to stand against the deep, dread-bolted thunder
in the most terrible and nimble stroke
of quick, cross lightning?
Mine enemy's dog, though he had bit me,
should have stood that night against my fire.
No, sir, you must not...
One other thing --
What now? What else am I being blamed for,
your erectile dysfunction, your credit rating?
Oh, for God's sakes, listen to you.
You sound like a drama queen.
Me? Well, that's the pot calling the kettle --
Shh, shh, shh, shh.
CHARLES: ...not an hour more nor less.
And, to deal plainly, I fear I'm not in my perfect mind.
[ Voice breaking ] Do not laugh at me,
for, as I am a man, I think this child...
[ Crying ]
...to be my daughter Cordelia.
Listen to that Charles. He's like...
Breaks your *** heart.
SOPHIE: Will't please your highness walk?
What are we doing here, you and I?
CHARLES: You must bear with me.
Putting on a play.
[ Chuckles ]
Yeah. Putting on a play.
CHARLES: I am old...
This isn't about us, is it?
CHARLES: ...and foolish.
No.
Never was.
CHARLES: Come. Let's away to prison.
We two alone...
Geoffrey, I think I'm gonna go.
What, now?
I know.
Usually I go to the party and, after 12 drinks,
try to -- try to pick up the bartender,
but I think I've done everything I can here, so, um...
goodbye.
But what about the ending?
Oh, the ending will take care of itself.
Go on.
You won't be alone.
PAUL: Here comes Kent.
Don't make them wait.
[ Exhales ]
PAUL: Kent.
Howwwwwwwwl!
Howwwwwwwwl!
Howwwwwwwwl!
[ Crying ] Oh, you are men of stone!
Had I your tongues and eyes...
...I'd use them so that heaven's vault should crack!
She's gone forever!
I know when one is dead and when one lives.
She's dead as earth.
Lend me a looking-glass,
that if her breath or mist will stain the stone,
why, then she lives.
LX 57, go.
And standby for curtain call, everyone.
CHARLES: And my poor fool is hang'd.
No.
No, no life.
Why should a dog, a horse, a rat have life,
and thou no breath at all?
She'll come no more.
Never...
never...
never.
Never.
Pray you, undo this button.
Thank you, sir.
Do you see this?
Look on her.
Look -- her lips.
Her lips.
PAUL: He faints. My lord, my lord.
Break, heart. I prithee, break.
Look up, my lord.
Vex not his ghost. Oh, let him pass.
He hates him who would,
upon the rack of this tough world, stretch him out longer.
He's gone, indeed.
The weight of this sad time we must obey,
speak what we feel, not what we ought to say.
The oldest hath borne most.
[ Voice breaking ] We that are young
shall never see so much, nor live so long.
Charles?
Charles?
Charles?
Charles? Charles?
Pretty good, eh?
Oh.
[ Chuckles ]
Geoffrey?
Why aren't you out there for the curtain call?
Why aren't you?
Oh.
Mmm.
Oh, my God.
Hello.
How long has this problem been solved?
About eight seconds.
You know, I could relapse, though.
Maybe we should just skip the curtain call.
Oh, my God.
I know.
We have to do the curtain call.
And by the way, the answer's yes.
What?
The answer's yes!
It will always be yes.
You know, Ellen, I just suffered a really long psychotic episode.
Yes to what?
You'll figure it out.
Yeah!
What?
-Just -- Just -- Just -- -What?
Okay.
Uh...y--
Charles.
No apologies, please.
I remember getting laid in my dressing room
at the Old Vic after a matinee of "Oedipus Rex."
[ Both chuckle ]
We were, uh, just leaving.
[ Clears throat ]
It was a great show.
Yeah. It was.
Oliver.
Any notes?
So, that's what they were thinking.
[ Chuckles ]
A leave of absence?
Yeah. It's not me, Anna.
It's the board.
They're pretty upset, you know?
They want some consequences.
Just say it, Richard.
Say, "You're fired."
Anna, I'm not firing you.
-You're firing me. -[ Chuckles ]
No, Anna, I don't fire friends.
Richard, we're really not friends.
RICHARD: Okay, come on, Anna.
That's -- That's just the way you feel right now, you know?
It's 10:15 in the morning on whatever day it is,
in whatever year, you know?
You know. Besides, you're upset,
so, you know, I think that invalidates your opinion.
All right, I'll do it myself.
I do everything else around here.
Anna, you're fired.
Go clean out your desk.
Anna, I am not firing you, okay?
I don't fire friends. I don't.
Please!
Please.
Okay.
You're not firing me.
RICHARD: Yeah. Good.
Oh, Anna, don't cry.
Look, I know you're upset --
I mean, Charles dying and everything.
It's not Charles.
It's you.
You came so close, Richard -- [ Sniffs ] --
to becoming a human being.
But you lost your soul.
[ Sighs ]
And now you're just a fool.
Okay, Anna, clean out your desk.
Thank you, Richard.
Goodbye.
[ Telephone ringing ]
Okay, so, you know the routine.
GEOFFREY: I face the empty chair, and I talk.
Talk to Oliver.
Okay.
[ Sighs ]
Hi. How you doing?
Oh, good.
Let me see, uh -- Oh, Anna is finally taking a vacation.
In Bolivia.
Well, apparently there's some kind of counterrevolution
going on,
but I'm told that Anna has taken up
with the leader of the revolutionaries, so...
Richard?
Oh, God, well, Richard -- [ Chuckles ]
Richard is directing next season.
Yeah. "Oklahoma!"
In fact, he has announced his intention
to work his way
through the entire canon of Rodgers and Hammerstein.
God help us all.
Oh, Ellen --
Well, Ellen is being sued by the producers of that TV show,
and she kind of said --
more or less said, you know, "Go ahead.
Take it all."
So, they did.
They took her house, which is why we're moving to Montreal.
Well, I kind of thought
that I would resurrect my old theater company,
Théâtre Sans Argent.
I think it could work, you know?
It's bilingual, for a start.
ANDREW: Good work.
Um, I'm just -- I'm not quite done.
And as for Charles, well, I, uh --
I would imagine you know all about him,
and thanks for all of that.
And, uh -- And as for you...
I want to thank you.
[ Clears throat ]
And I want to curse you.
[ Voice breaking ] And, uh, I have to say goodbye now, Oliver.
I love you.
I wish you could be here today.
Well done.
[ Exhales sharply ]
ANDREW: Now, if we could hurry.
I have a wedding to minister.
GEOFFREY: You know how to tie one of these things?
ANDREW: Uh, no, sorry, I don't.
GEOFFREY: What do you mean? You do thousands of weddings.
ANDREW: I marry people. I don't dress them.
GEOFFREY: Those bow ties are a disaster.
The whole thing's a disaster.
ANDREW: Well, maybe you should
just call the whole thing off, then.
GEOFFREY: What are you talking about? I already said yes.
Subtitling made possible by RLJ Entertainment
[ Piano plays intro to "I Played the Part" ]
♫ I should have been an actor ♫
♫ Such talent have I got ♫
♫ I'm brilliant at pretending ♫
♫ I'm someone that I'm not ♫
♫ When I was very small, they sent me off to school ♫
♫ To learn to read and write and recite the Golden Rule ♫
♫ I wasn't very clever, nor the least bit smart ♫
♫ But I acted like a scholar, and I played the part ♫
-♫ I played the part ♫ -♫ He played the part♫
-♫ To great acclaim ♫ -♫ To great acclaim ♫
♫ I got an "A" on every paper, and I couldn't spell my name ♫
-♫ I played the part ♫ -♫ He played the part ♫
-♫ And that was it ♫ -♫ He did his bit ♫
♫ Nobody knew I was a lazy little git ♫
♫ Lazy git ♫
♫ When I was 17, they sent me off to war ♫
♫ They stuffed me in a parachute and dropped me on the shore ♫
♫ I didn't know a rifle from a cherry tart ♫
♫ But I acted like a soldier, and I played the part ♫
-♫ I played the part ♫ -♫ He played the part ♫
-♫ I gave 'em heck ♫ -♫ He gave 'em heck ♫
♫ They put a stripe upon me elbow and a medal 'round me neck ♫
-♫ I played the part ♫ -♫ He played the part ♫
-♫ And that was that ♫ -♫ He laid 'em flat ♫
♫ Nobody knew I was a scaredy little cat ♫
♫ Scaredy-cat ♫
♫ I played the part of the loyal husband ♫
♫ While I kept a little cutie safely hid ♫
♫ Safely hid ♫
♫ I played the part of the trusty employee ♫
♫ And I hadn't the foggiest notion what I did ♫
♫ Rotten kid ♫
♫ When I have come to pass, they'll send me to my fates ♫
♫ At heaven's pearly gates, that is where St. Peter waits ♫
♫ I've been a sneaky devil from the very start ♫
♫ But I'll act like I'm an angel, and I'll play the part ♫
-♫ I'll play the part ♫ -♫ He'll play the part ♫
-♫ And knock 'em dead ♫ -♫ He'll knock 'em dead ♫
♫ I'll put a harp between my knees and a halo atop my head ♫
-♫ I'll play the part ♫ -♫ He'll play the part ♫
-♫ And do it well ♫ -♫ He will excel ♫
♫ And I'll be sent with the other actors straight to hell ♫
♫ Straight to hell ♫
♫ I'll be sent with the other actors straight to hell ♫
♫ Oh, go to hell ♫