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OLIVER: A king is murdered. Children are slaughtered.
Horses go mad.
That's a sure sign of evil -- horses going mad.
Okay, look, I'm not saying that evil isn't present in the play.
What I'm asking is,
are the events of the play driven by evil
or is it that the characters themselves
are just simply evil from the get-go?
-Yes. -Which?
The Scotsman is evil.
Both he and Banquo encounter the witches.
Both their futures are foretold.
But only the Scotsman goes on a killing spree.
The Scotsman?
Oh, do you mean Macbeth?
-Geoffrey, please. -What?
-Don't say his name aloud. -Who? Macbeth?
You're just asking for trouble.
Well, we are rehearsing a play called "Macbeth."
It's gonna be a little bit awkward
if we can't say the title character's name.
This isn't actually a rehearsal.
This is a meeting after rehearsal.
Oh, I'm so sorry, Oliver, I forgot --
You believe in the curse.
-And you don't? -No.
The only thing cursed about this play
is that it is extraordinarily difficult to stage effectively.
So you think you're above this kind of superstitious prattle?
As a matter of fact, I do, yes.
You're talking to a ghost! Wake up and smell the coffin.
Geoffrey, darling!
-Who is it? -Nadine Perola.
She's directing "Romeo and Juliet."
There you are.
Ah, Nadine. Welcome back.
They told me you were burning the midnight oil.
Such a colorful expression.
I just arrived. I was in Berlin, you know.
Darren Nichols was there. [ Groans ]
Such a tiresome man.
Ah! The thrust!
I heard you were building one. It's about time, I say.
We are slave to the proscenium here at New Burbage.
It's wonderful.
It brings everything to the people.
And it's specifically for "Macbeth"?
Oh.
I said it.
No. Is it bad luck?
Have I cursed my play? Should I spin and swear?
Yes.
One, two...
...three!
Oh, ***!
[ Thud, crack ]
The air is positively thick with irony.
[ Piano plays intro to "Mackers" ]
♫ Call me superstitious or cowardly or weak ♫
♫ But I'll never play a character ♫
♫ Whose name one dare not speak ♫
♫ I'll play Hamlet in doublet and hose ♫
♫ Or either of the Dromios ♫
♫ But, sorry, I won't play Mackers ♫
♫ I'll play Richard III with a hump and a wig ♫
♫ Or Henry VIII, that selfish pig ♫
♫ But, sorry, I don't do Mackers ♫
♫ Every soul that plays this role ♫
♫ Risks injury or death ♫
♫ I'd rather sweep the bloody stage ♫
♫ Than ever do Mac-you-know-who ♫
♫ So give me King Lear, Cleopatra ♫
♫ Romeo, Juliet -- doesn't "mattra" ♫
♫ I'll play them all for free ♫
♫ But I'd be crackers to take on Mackers ♫
♫ You see, I'm skittish about the Scottish tragedy ♫
♫ Och, aye ♫
[ Cheers and applause ]
Subtitling made possible by RLJ Entertainment
ELLEN: God, is she okay?
Well, judging from the cracking sound,
I would say the prognosis is not good.
-How weird. -Yeah.
She was in a neck brace when they wheeled her away.
She was still talking, though.
It would take more than a broken neck to shut her up.
So is that why you were so late last night?
Yeah. The paramedics kind of interrupted the flow.
-What time did you come to bed? -4:00, I think.
You should pace yourself.
Wow. What is this?
Huevos rancheros. Mexican.
I found the recipe in the weekend paper.
It's good.
You don't like it?
It's fantastic.
It is the breakfast experience of a lifetime.
I've over the moon! It's four stars!
It's all right. You don't have to pretend.
You know, this is way too much pressure at this hour.
-I really should go anyway. -So soon?
Oh, my God. My tongue is on fire.
Sorry. Why do you have to go so early?
Well, I got to go through the play with Oliver's notes.
You know, walk through it with him.
I mean with his notes, you know.
You mean he doesn't just appear and tell you what to do?
[ Laughs ]
God, no.
Although I wish he would. It would be much easier.
-What are you doing today? -I'm learning lines.
Then I'm gonna meet up with Henry
and the rest of the cast at the bar -- you know, bond.
Well, I'll see you at the bar.
God.
-Well, is her neck broken? -ANNA: I don't know.
Well, Anna, I need to know if we need a replacement.
I'm not a doctor! I don't know!
Anna, calm down.
I'm sorry. It's been a rough morning.
-I hate the interns. -All right.
Just let me know as soon as the hospital calls.
-Okay. -And any calls from Frog Hammer?
No, and the e-mail's down.
I've been on the phone all morning with tech support.
I hate tech people.
***! This is unbelievable!
We're supposed to launch the campaign tomorrow.
This is insane. No faxes?
Let me check with Margaret. She might know something.
Margaret, do you know anything about a --
Uh, what are you doing?
This thing came out of the wall,
and we're putting the files back in order.
Don't get mad.
Margaret, did any faxes come through yesterday?
Yeah.
Okay, I think I've said this before --
The faxes need to be delivered as soon as they come in.
Okay.
-So you want me to do that now? -Yes, please.
This fax came in yesterday.
Are you two ***?
-No! -No. No.
[ Both stifle laughter ]
Richard?
Anna, I am driving with a cellphone!
Don't put me on hold!
I'm sorry.
We did get a fax from Frog Hammer.
Well, read it to me.
"Dear Richard, just a little note
to say everything is going very well.
We're all dying to know what you think of the billboards.
Call me when you can. Peace and love, Sanjay."
What billboards?
I don't know.
At least they're doing something.
I'll be in soon, okay?
Okay. Tell me about the witches.
-Was it not clear in my notes? -Humor me.
You can't talk about the witches
without talking about the setting.
All right. Let's talk about that.
[ Clank ]
It's a landscape ravaged by war.
[ Explosions, machine-gun fire ]
The witches are anonymous figures
crawling amongst the rubble -- sexless, animalistic.
They are part of the landscape.
[ Speaking indistinctly ]
GEOFFREY: What are they wearing?
Ball gowns -- What do you think?
Rags. Their faces smeared with filth.
GEOFFREY: They're like refugees.
OLIVER: They can appear at any time,
darting out of the rubble like rats.
-It's good. -No, it's brilliant.
-What's next? -Okay. Which war?
Oh, any war. War in general.
War with a capital "Wuh."
-Modern dress? -Well, you saw the sketches.
Well, I can't tell.
Everyone you draw looks like a drag queen.
Modern, for the most part.
Rifles are okay, but they could have sabers as well.
GEOFFREY: So it could be Kabul, could be Sarajevo?
-OLIVER: Could be. -Ah. War is war.
Soldiers are soldiers. Ambition is ambition.
Ah. The penny drops.
RICHARD: Yes -- Sanjay.
Well, how many Sanjays do you have working there?
Yes. Please. Check the spa.
Nadine's husband just called from the hospital.
-She finally had her MRI. -Yes?
She has hairline fractures in two vertebrae in her neck,
and she has some numbness in her fingers,
which is not a good sign.
Thank God!
Yes, great. How long?
-Thank you. -[ Phone hangs up ]
They found Sanjay.
He's in a helicopter for some reason.
So Nadine's neck is broken? Is that what you're saying?
Yes!
We'll have to find a replacement.
Yes!
And her neck is broken,
which is much worse than having to find a replacement director.
Yes. Ye-- Of course. I'm not being insensitive, Anna.
I'm just thinking ahead, okay?
Let's send her some flowers, all right?
A basket. Big. And let's pray she doesn't sue.
Of course. Because that would be truly horrible.
What?
I'm not heartless! I'm just...
I'm detail-oriented.
Oh, ***!
-***. -Did you scald yourself?
No. I'm okay.
***. It's a new shirt.
Well, you should take it off and give it to Jean in wardrobe.
Here -- You can wear my sweater.
Thanks. I appreciate it.
I'm, uh, Jerry, by the way.
Play chorus and -- and the prince.
Young Siward in "Mackers." A little old, I know.
[ Laughs ]
Um, you done yet?
Yes.
-Thanks for the sweater. -Well, it looks better on you.
You should keep it.
My wife says it makes me look like a dork.
[ Laughs ]
I'm Sarah. I'm playing Juliet.
Yes, I know. Have you met your Romeo?
No.
That's him over there in the scarf.
SARAH: What's he like?
JERRY: Patrick? He's a great guy. He's, um...
He's never played Romeo before.
I've never played Juliet. It'll be an adventure.
Yes. Yes, it will.
Excuse me.
Hello, everyone.
Hello, and welcome to the first day of rehearsals
for William Shakespeare's "Romeo and Juliet."
Great.
I have terrible news.
Well, we hope it's just bad news
and not terrible news, but anyway...
Nadine Perola has broken her neck.
That means that today's rehearsal
is canceled, obviously, and tragically.
So, uh, please now disperse, and Maria will contact you
as soon as we know what the hell is going on.
Maria? All right?
So everyone is released.
She fell off the stage last night.
Yep.
Landed on her neck.
Yep.
Patrick.
Hi. I'm Sarah.
My Juliet. It's good to finally meet you.
It's too bad we couldn't get started today.
Freaky about Nadine.
Breaking your neck on the first day of rehearsal
is, like, totally weird.
[ Sighs ] It doesn't bode well.
Yeah.
So maybe we should get together, you know, chat about the play?
-Yeah. -Are you free now?
Uh, no. Actually, I'm not.
I promised Stevie that I'd hang out at his place for a bit.
Um, tonight, though, at the bar?
-Okay. -Okay.
-Bye, my Juliet. -Bye.
[ Giggles ]
Now Duncan.
GEOFFREY: He looks like he's from another planet.
OLIVER: Well, he is from another world, isn't he?
He ruled by divine right. He was placed there by God.
GEOFFREY: So it's not just *** if you kill a king --
It's an attempt to deify yourself?
That's good.
It's better than good. Show a little enthusiasm.
I worked on this for years.
All right, it's very, very good. Now...
-Macbeth. -Ah.
Macbeth is a general.
Not just a brute, but a great warrior.
A man who kills in service of the king.
Bring him on.
OLIVER: There he is. An imposing figure.
One might say striking.
Well, I suppose one might say striking.
OLIVER: A leader of men.
Very successful. Very well respected.
But a bit too full of himself.
You could learn something from a man like this, Geoffrey.
[ Scoffs ] Macbeth ended up with his head on a pole.
Oh, you've read the play. That's very reassuring.
So, what is it that turns a man into a monster?
Well, she had something to do with it.
How's that going, anyway?
What? Oh, fine.
Well, she hates me.
I'm spending too much time with you.
-Jealous? -No.
Frightened. That I've gone off the deep end.
Why did you pick Henry?
-Why do you ask? -Just curious.
Well, did you see his Hamlet?
-No. -It was very good.
Hmm.
Brian Kinney's an ***! Come on.
They make him like he's honest,
like he's just saying what's on his mind,
but basically he's an ***.
Who's your favorite character on "*** as Folk"?
-[ Whispers ] Emmett. -Emmett, of course.
-[ Laughs ] -She's an Emmett.
[ Laughs ] I knew it. I could tell.
You're either an Emmett or a Brian.
[ Laughs ]
Thank you.
HENRY: I thought the pope was a pretty good sport about it.
He absolved me right on the spot.
There was this -- this henchman
who gave me a pretty good talking to right there
under the dome in St. Peter's.
Hey, Geoffrey. How's the battle?
Oh, you know, things are starting to come into focus.
Well, I'm glad one of us can see straight.
[ Babbles, laughs ]
Uh, thanks for indulging me the other day.
With what?
-The dagger speech. -Oh.
No, no. I mean, I'm a creature of habit, you know?
I apologize.
I guess that's one of the things that happens
when you've played something three times.
You have a tendency to want to repeat.
And I just want to -- I want to get past that.
Right.
You know, trust the process and all that.
Right.
Are you okay, Geoffrey?
Yeah. I'm sorry. I'm just, uh...
I'm a little off today.
You know what you need?
Beers.
Oh, yeah. They work wonders for the constitution.
Barkeep!
Brian? Brian Cabot?
Brian? What are you doing over there lurking in the shadows?
Come on, you're not a ghost yet! Come here and join us!
-You know Brian? -Well, who doesn't know Brian?
He was my Falstaff. Or rather I was his Prince Hal.
BRIAN: [ Chuckles ]
Finally found room on your plate
for the legitimate theater, eh, Henry?
[ Both laugh ]
HENRY: Sit down, sit down.
So, what do they have you playing this year, huh?
Nothing for me this year, actually.
What do you mean, nothing for you?
Well, I could use a year off. God knows I need the rest.
They -- They just cut you loose?
No, that -- that -- that's a crime.
What about loyalty or respect?
Geoffrey, what can you do about this?
[ Clears throat ] Well, I, uh...
[ Clears throat ] Uh...
You know what? I got to -- I have to be going.
Do you still have a house here?
Of course. It's where I live.
-I'm just gonna finish my drink. -No, no. You can stay.
I'm -- I'm gonna go back to the theater.
-Well, when are you coming home? -Well, not too late.
I just -- I've got a little more work, you know, to do.
Say hi for me.
Okay, I don't -- What do you mean by that -- "Say hi"?
-I'm working alone, Ellen. -Actually it was a joke.
Oh. Okay. Sorry. Good night.
Uh...
Henry. Night. Brian.
See you in the morning, Geoff.
Well, things have changed around here, haven't they?
Yes, they have.
I didn't hear you come in last night.
Oh, I didn't want to wake you.
-You look worn out. -I am.
-You should see a doctor. -Why?
I don't need to see a doctor. I'm happy. I'm excited.
I don't want that treated.
-Okay. -Okay.
-It's good, you know? -What?
Oliver's concept for the production.
It's good. It's not his usual ***.
So when you're working on the play,
do you hear him in your head like a memory or...
Y-You don't actually see him, do you?
I work on the play like a normal person.
So you don't actually work with Oliver?
What are you talking about?
I see you muttering in rehearsal.
All right, yes. I mutter. Occasionally I mutter to myself.
Do you have to be a lunatic in order to mutter?
Well, lunatics do mutter, but then, equally,
so do perfectly sane people mutter, right?
Okay. Sorry.
But you did see him at the kids' play.
Oh! Or maybe I didn't.
Maybe he was just -- It was something I ate.
Maybe he was just "a piece of undigested beef."
Okay. [ Chuckles ] Sorry.
Okay?
Sorry. Sorry.
Aah!
It's from Revenue Canada.
What does this mean?
It means you're being audited.
What does that mean?
It means it's time for me to go. See you at rehearsal.
Jesus Christ on a bike.
Okay, so this is the main message system.
So any wayward business messages you get,
you fill out a slip, keep a duplicate,
and make sure it gets to the person.
Have you got that?
Okay, so you just punch this in
and listen.
Hello. This is Marjorie Watson calling from Chatham, Ontario.
I've been a subscriber for 25 years,
and I just want to say
I think the new ad campaign is shameful -- just shameful!
Okay, uh, well, she left her name,
so we can find her number in the subscriber base
and call her back.
This is Jeremy Bevan calling from Detroit, Michigan.
I have never seen a more idiotic,
offensive ad campaign in --
[ Chuckles ]
So that's another in the negative column.
MAN: You morons!
What the *** are you doing? Your ad campaign --
WOMAN: I have never been so offended. I mean --
MAN: Small-minded, arrog--
MAN #2: Even the Nazis haven't --
Okay.
So, well, I have a business meeting to get to.
I'll leave you to do the rest.
Well, ladies and gentlemen, here we are
barely having begun an exciting new season
when the gods have made their presence known.
As artistic director it is my duty to inform you
that Nadine Perola will be unable
to direct "Romeo and Juliet."
-Why? -She fell off the stage.
She broke her neck.
It's a hairline fracture. Nothing worthy of litigation.
Anyway, I was wondering if one of you might take it on.
I can't, obviously. I have "Macbeth."
Sorry, Geoffrey.
-"Pirates" is a real handful. -"Electra" is driving me insane.
Anyway, it's not a play you can just direct.
¿Puede usted diriger "Romeo y Julieta," por favor?
Oh, God.
All right, well... Who else have we got, Anna?
Uh, well, it's *** such short notice,
but Peter Blakely is available, but he's in Dublin.
Um, Solange Labussier is finished with CanStage
in two weeks.
And Darren Nichols is free.
Ha!
No!
-RICHARD: Geoffrey. -No, Richard!
-Haven't we learned our lesson? -Yes.
But this is a serious situation.
The man hates the theater. Remember?
Well, apparently, he doesn't anymore.
He went to Germany, and he was reborn.
Now he loves the theater, apparently.
Yes, and his productions have always done very well for us.
People are drawn to his work.
Oh, yes, I admit
I, too, find car wrecks strangely fascinating,
but that doesn't mean we should stage one.
Can we just put him at the bottom of the list?
He was reborn in Germany.
Think about that.
At the very bottom?
[ Sighs ]
All right.
At the very, very bottom.
Thank you.
Okay.
Good luck, everybody. I'm off to yell at Frog Hammer.
Shall we three meet again in thunder, lightning, or in rain?
When the hurly-burly's done. When the battle's lost and won.
Again from the top!
Tanja, stop writhing!
-This isn't Cirque du Soleil. -Tuh-tuh-tuh-tuh!
Okay, that's great. Let's go from the entrance.
And, Tanja, this time maybe don't force the physicality.
Just let it come.
ELLEN: So I called them,
and they said I would have to bring in all my receipts.
-Three years' worth. -Crikey!
Claim everything, dear. That's what we do.
Acting is your trade.
Your tools are your mind and your body.
Claim everything.
Makeup, skin cream, shampoo.
And every book that you read and every record you play.
We, as actors, have to be in touch with the zeitgeist.
-Oh, there she goes. -It's true, Cyril.
CYRIL: The last album you bought was Frank Sinatra's "Duets."
Well, that's because there were people on it
I'd never heard sing before.
Terrible album.
ELLEN: This is disastrous.
What can they do to me? The worst-case scenario?
Prison?
Oh, ***!
GEOFFREY: Excuse me.
We're rehearsing here.
Could you possibly shut the *** up?
Sorry. Sorry, everyone.
I-I'm being audited!
[ People groaning ]
MAN: *** off.
Richard. How are you?
Sanjay, we need to talk.
Of course. Follow me.
[ Dance music playing ]
This is our main work space.
I like to think of it as a brothel of the mind.
I'm so glad you're seeing this.
You see, we constantly reconfigure the team.
People never have the same partner
for more than a few days.
We find that this random coupling
produces the best and sharpest ideas.
Are you familiar with the role of genetic mutation
in the evolution in the human genome?
-Yes. -Well, it's the same principle.
Come on, let's see if we can find out
where the conference room is today.
You were surprised?
Yes. I was surprised.
Firstly because these things are what they are.
And secondly because I thought, as a client,
you might tell me when these things are happening
so that I could tell you not to do them!
Richard, let me explain.
Our research is showing
that people feel the same way about attending your theater
as they do about going to the library.
Good news for libraries. Terrible news for you.
Fine!
But old people dying?
What is that supposed to communicate?
That we know how they feel!
It's a connection! It's brilliant!
You know who thought this up?
An idea blast team composed of a puppeteer,
a professional figure skater, and a 9-year-old child.
Oh, good!
You don't like it.
It's not just me. It's our customers.
They think we have gone crazy!
Yes!
And when they think we are all crazy,
that is the moment when we get to decide the new message.
There'll be hostility. Lots of hostility.
"Any change is resisted
because bureaucrats have a vested interest
in the chaos in which they exist."
Richard Nixon said that.
We will know this is working when the very people
who are the most invested in the old festival --
people like you -- are burning with fury.
Come on, Richard! Show me fury.
-Oh, stop this. -Aah!
-What? -Show me fury, Richard!
-Aaaah! -Aah!
-Aah! -Aah!
-Aaaah! -Aaaaah!
-That's it, Richard! -[ Stammering ]
You see? It's working.
Okay, now, on the day,
the banquet table will be covered with a white cloth,
and the witches will be hidden underneath the table
for the duration of the entire scene.
Uh, how will they be lit exactly?
GEOFFREY: Uh, well, um...
They won't be at first.
The lanterns, Geoffrey. The lanterns.
Oh, yeah.
The witches will carry their own lighting.
-I love that. -Me too.
Because when we first meet them, the theater will be dark
except for the light from these lanterns
slashing through the air.
-Oh, tell them about the table! -Oh, yeah!
Okay, now, at the end of the banquet scene,
all of the guests will leave.
Macbeth will be alone. We'll bring down the lights.
Then the witches will turn on their lanterns,
illuminating the table from below.
And then, suddenly,
they will throw over the table and burst forth!
Dishes smashing, cutlery flying! Spectacular!
-That's spectacular, Geoffrey. -Thank you.
It's Oliver's idea.
Okay! Let's walk through it.
Where the hell's Jerry?
I don't know. I've called him three times.
Well, he's Henry's understudy. He should be here.
-Aaah! -[ People gasping ]
Oh, my God!
My wife needed the car.
We had a fight.
Holy ***.
No, no. I rode my bike. And I fell off.
I'm fine.
That's a great look for Banquo's ghost.
I should make a quick sketch.
-Are you sure you're all right. -I'm really sure.
Okay, well, let's take 15 and, uh,
sew up Jerry's head.
Thanks, Geoffrey. I'll be right back.
-[ Techno music playing ] -[ Laughs ]
[ Laughs ]
-MAN: Now, that's a bad idea. -WOMAN: [ Laughs ]
Boring!
[ Laughter ]
[ Music stops ]
So, Richard, what do you think?
You can't be serious.
We're gonna trash our own productions?
Yes!
"If you want to make beautiful music,
you've got to play the black notes
and the white notes together."
Richard Nixon.
No, we can't.
We can't! I'm sorry. No.
-I knew it. -SANJAY: I understand.
This is very new territory for you.
Thank you, everybody.
Thanks. That's great.
I'm sorry. It's -- I know they worked hard.
Richard, forget about it.
No more business for now. Can you have dinner?
-I-I was -- was gonna head back. -No. Stay.
The company keeps a suite -- a very nice one too.
You go there, freshen up, relax for an hour,
and I'll come and get you for dinner, all right?
Go ahead. Relax.
Eh...
This is more strange than such a *** is!
My worthy lord, your noble friends do lack you.
Oh.
I do forget.
Ah, do not muse at me, my worthy friends.
I have a strange infirmity,
which is nothing to those who know me.
Come --
Thank you, everybody! That's 5:00!
MARIA: Emily!
-Sorry. -Never, never do that.
You wait until the scene is over!
Sorry.
Sorry.
[ Sobbing ] I'm so sorry, every...
[ Sobbing ]
It's -- It's all right, Emily. Don't give it another thought.
Okay, that's it, everyone.
Please check your
costume-fitting times before you go.
Well, Geoffrey, coming for a beer?
No, you are not.
We have the entire third act to go over.
Oh, uh, no. Thanks.
Ah.
Ellen, how about you? Drink?
You mind, Geoff?
Oh, God, no. Go ahead. Enjoy yourselves.
-Good work, everybody. -You too, Geoffrey.
It's going well. Night.
Geoffrey, come for a drink. Please?
-Take a break. -I'll try.
He really is quite brilliant -- Geoffrey.
My God, what a mind.
He does tend to neglect
the mundane little details, though, don't you think?
Like what?
Oh, just sight lines, audibility.
It's just a lack of experiences with these big spaces,
that's all.
That thrust is gonna be a killer.
We're gonna have to work really hard
to keep the audience in the story.
Your sleepwalking scene, for example.
Yes?
Well, he can't possibly light you where he has you.
Oh, yes, I see.
Make sure you walk right downstage.
You are sleepwalking, after all. You can go wherever you like.
I want to ask you a question.
You don't have to answer me if you don't want to.
-Of course. -What was his Hamlet like?
Incandescent.
Ah.
W-What I can remember of it.
He only played it for three performances.
Ah. Three performances.
Yes, well, it's difficult to sustain that level of intensity.
In the end, that's the trick, really, isn't it?
How much to give without going over the edge.
You learn that or you get out.
Or go mad.
Here we are.
[ Speaks Japanese ]
[ Speaks Japanese ]
Please forgive my staff, Richard.
You must never let yourself
get pushed into making a foolish decision.
Oh, that was a test.
No. I truly believe the ads will be effective.
But I know you feel very deeply that they were offensive.
They are offensive!
I'm sorry, those reviews hurt enough the first time around.
Now you want to blow them up into billboards,
put them in newspapers?
I'm taking the ***, Richard, in a very smart way.
No! It's too much!
I don't see it helping.
You must trust me on this, Richard.
And if you can't,
I'm afraid we'll have to resign the account,
but with great regret.
I like you, Richard.
You'd resign?
May I speak honestly with you?
Sure.
The problem you're having right now is you have no ambition.
What's your goal, Richard?
I want the festival to be profitable.
And it's that pettiness that's exhausting you.
I'm a very healthy man spiritually
because I set myself the hardest goals
that I can realistically achieve.
Have you got a dream, Richard, a secret dream?
-Not really, no. -Oh, come on.
What makes you happy? What makes your heart glow?
[ Sighs ]
I love musical theater.
I mean, in high school I used to, uh --
I used to sing a little bit.
Ah, so one day you will be a great musical-theater performer.
Sanjay, it doesn't work that way.
It's not that easy.
Come on, you got to be realistic.
Next year, I'm going into space.
Space? Outer space?
I booked a three-month cosmonaut training program in Baikal,
and then it's off to the International Space Station.
I've got a slot reserved on a Russian resupply launch
set for the spring.
Holy ***.
I want to help you, Richard.
"When a man does not know what harbor he's making for,
no wind is the right wind."
-Nixon? -Seneca.
Eat your supper.
No!
We are talking about fate, about the nature of fate.
Well, all right. How does Banquo fit into that?
Aha! Okay. If that's true, then Macbeth --
Oh, Jesus! Let me finish!
Then Macbeth has free will, right?
Oh, Oliver, for God's sake. You keep contradicting yourself.
You're driving me nuts!
DARREN: I'm back in New Burbage.
New Burbage!
Yes. They begged me to come back.
No, he's still here. [ Laughs ]
What? "Romeo and Juliet."
I know!
Ja. Ja.
What the flying *** are you doing?
I know -- I know how it looks. But it's a two-pronged attack.
No, no, no. I don't think you know how it looks.
It looks like we're calling our subscribers a bunch of corpses!
They think we've gone crazy!
Yes.
And once they think we've gone crazy,
we can do anything we want.
What?
Nixon said, "All change is resisted
because bureaucrats have a vested interest
in the chaos in which they exist."
What the hell kind of *** is that?
-I'm trying to say trust me. -Trust you?
You want people to trust you,
don't quote Nixon, you *** idiot!
With respect, sir --
Look, you put me on this board
to give you some sound business advice.
-Am I right? -Mm-hmm.
Well, my sound business advice to you right now
is that this is a really *** *** ad!
People are pissed off, Richard!
Subscribers are calling
board members at their homes at all hours!
I know.
Jesus Christ, I spent two hours on the phone with my mother
trying to convince her that this is not her picture
in the *** ad!
-I'm sorry. -Christ!
What's -- What's the second prong of the attack --
"New Burbage" written out in ***?
[ Laughs ] Don't be silly.
We're reprinting our worst reviews
and blowing them up on giant billboards.
Is this some kind of *** joke?
Well, in a sense, it is.
Think of it this way --
"If you want to make beautiful music,
you got to play the black and white notes together."
And who said that?
-Nixon. -Who?
Nixon.
I haven't done anything for breakfast.
Oh, that's fine.
And you'll have to make more coffee.
Oh, I'll get some at work.
How'd it go last night?
Mm, good, good. Good, good, good, good.
I'm making real progress.
I'm very excited about getting into the theater today.
So exactly what do you do all alone
in the big, dark theater at night?
What do I do? I work.
Alone?
-What are you getting at? -Are you working with Oliver?
With Oliver? [ Laughs ]
Oliver is dead, Ellen.
Were you with him last night?
Okay, you know, you're really --
You're starting to sound a little bit crazy right now.
I was there last night.
I saw you.
You came to the theater last night?
Yes.
Oh.
All right, he... [ Clears throat ]
He dropped by. Briefly.
Oh, God.
Well, it's not like I'm screwing him.
He just gives me the odd note.
You know, he's very concerned that I get it right.
He's only been working on the play for like a thousand years.
-Jesus. -You know what?
I just -- I don't want to talk about this anymore.
Uh, you just have to trust me. Everything is fine.
Fine.
Sorry about breakfast.
I have to look at my lines since we're having a run-through.
Oh, that's all right. I-I don't care.
You've got me too far upstage in the sleepwalking scene.
What?
Me. Upstage. Sleepwalking scene. Too far.
I like it.
You'll never be able to light me there.
Well, let's just see, shall we?
[ Sighs ] Trust me, Ellen. Please?
Just trust me.
Ah, Darren. Welcome back.
Geoffrey, I've chosen to meet you in a large room
to allow for maneuvering
in case you have another one of your episodes.
Well, you have nothing to worry about, Darren.
Although I do regret not killing you before,
I am inclined not to kill you now,
circumstances being what they are.
I accept your apology.
It's not an apology.
And I am prepared to be generous.
I will acknowledge that I bear some slight responsibility
for what happened last season.
Are you talking about your production?
I'm talking about the swordplay.
Perhaps I provoked you unconsciously.
Well, staying in the realm of conscious behavior
just for a minute,
as artistic director I must insist
that you stage a reasonable "Romeo and Juliet."
Meaning what?
Meaning no flames, no horses,
and no flinging flaming horses at the audience.
Save your breath, Geoffrey. I'm not the man I once was.
Darren the anarchist is dead.
[ Speaks German ]
I beg your pardon?
Have you ever been to Germany, Geoffrey?
Mercifully, no.
You should go. It would change your life.
I could tell you stories
of my six weeks in a Schwarzwald puppet colony
that would reduce you to tears.
Suffice it to say, I have a new love,
and it is the theater --
or, more specifically, the idea of theater.
I'm eager to work.
All that I ask is that you will assure me
that you will not interfere again
with my rehearsals or my person.
[ Sighs ]
You have my word, Darren.
Danke.
Very good. Well, shall we?
I'll go this way.
Yeah.
I feel so guilty. I shouldn't be telling you this.
You have nothing to feel guilty about.
It was so...eerie.
He was having a debate about the play.
A debate? You mean he was having a conversation?
Yes.
With someone.
Who?
Well, it was pretty clear he was talking to Oliver.
Oliver Welles?
Geoffrey was having a debate about the play
with the ghost of Oliver Welles?
I shouldn't be telling you this.
Come on. We're friends.
It's this *** audit. I mean, I'm so stressed!
I can see that.
You're holding your tension in your shoulders and your neck.
I don't think you should be carrying this burden
on your own.
I mean, so if you feel like unloading or sharing,
I'm always here for you.
[ Sighs ]
That feels good.
I'm afraid he's coming across as inhuman.
He is inhuman! He's a psychopath!
Ah, interesting you should say that.
Nahum doesn't like this play because he says all it does
is show us the actions of a psychopath.
So Nahum doesn't have to watch it.
Look, all I'm saying is
perhaps we are not painting a full enough picture.
I mean, if people can't see him as a human being,
if they can't identify with him on some level,
then the horror has no impact.
You want people to identify with Mac-- with Mackers?
I want people to see his humanity, yes.
Come on. People are waiting.
You see, you identify with him because you're crazy.
-Is that it? -[ Laughs ]
Crazy people like to watch other crazy people.
Do you find it comforting?
All right, Maria, act one, scene five, "sil voo plait."
Act one, scene five.
Macbeth and Lady Macbeth at Macbeth's castle.
Okay, Henry. I've had a thought.
The witches' prophecy is proven true.
You are now the thane of Cawdor,
and you sent this news in the form of a letter to your wife,
which she has just shared with the audience,
and now you arrive home caked in the blood of battle.
Here's the thought --
I would like to see Lady Macbeth undress you
and wash the blood from your body.
OLIVER: Oh, God, why? We've been over this!
I think it's very important at this moment in the play
that the audience see him as human.
The villains of our lives are not naked, I'm sorry.
-That's inappropriate, Geoffrey. -Ellen, please.
I think Ellen has the right to voice her own opinion.
OLIVER: This gratuitous moment of nudity
is in direct opposition to my vision of the play.
I'm simply asking --
It's just not my thing, Geoffrey.
Now, I understand this part, as well.
I've done it three times, successfully,
fully clothed throughout.
Macbeth is a monster.
It's too early in the play. It's well before the fall.
OLIVER: Ever see Frankenstein with his *** out? No!
I think it's essential that the audience see Macbeth
as a fallible human being, that he had a choice.
Do we see Dracula flapping about in the raw?
Shut up!
I don't think this is a well-considered point.
And it's certainly not part of any discussions
I had with Oliver.
GEOFFREY: Why am I getting this resistance?
I had a thought. I am the director.
Maybe it's not one of your better days.
What do you mean by that?
Well, I am fully aware that you are under a lot of stress,
and I am suggesting that perhaps your creative process
has taken its toll.
My creative process?
Maria, I am feeling a terrible migraine coming on.
Might we have a few minutes?
-MARIA: Geoffrey? -Oh, of course.
All right, everybody. Five minutes.
OLIVER: You should do "Richard III" next year, Geoffrey.
A naked hunchback. That'll pack 'em in.
*** off!
No, not you.
I was talking to...
...myself.
He was a sorry sight, telling his invisible friend to shut up.
-"Shut up!" -[ Laughs ]
-What did he want? -A naked Macbeth.
I think it's personal.
Some sort of *** match is under way.
-When? -What?
When did he want Macbeth naked?
Act one, scene five.
I return to the castle,
and Lady M. strips me and scrubs me down.
It's interesting.
Oh, come on.
No, we see Macbeth as a man.
A middle-aged man and nothing more.
Certainly not a king.
It ads context to the action. That's interesting.
You're paying for this round, my friend.
[ Door opens, closes ]
-What are you doing? -Waiting for you.
You look like a murderer sitting there in the dark.
Where were you?
-Walking. -Alone?
[ Sighs ]
You're not jealous of a ghost, are you?
Yes, I was walking alone.
Till 3:00 in the morning?
Look, I went to Yong's. I had something to eat.
What about you? Out drinking with Hank again?
-He's a fun guy, Henry. -Oh, you mean unlike me?
-What's your problem with Henry? -Why do you keep defending him?
-Because he's on my team. -What team?
God, Geoffrey, have you forgotten what it's like?
Theater is a war.
The actors are the ones on the front lines.
Are you screwing him?
I can't believe you would say that.
I can't believe you would ask me that.
You told him I talked to Oliver.
Yes, I did. Do you blame me?
I had to tell someone
that you'd rather spend time with a dead man than with me.
I'm sorry, Geoffrey, but I'm just not strong enough.
I thought I was, but I'm not.
Strong enough for what?
Strong enough to live with you.
Well...
We're both weak in our own way, aren't we?
What are you doing?
I'm leaving.
[ Door opens ]
[ Door closes ]
Geoffrey.
Subtitling made possible by RLJ Entertainment
[ Piano plays intro to "Call the Understudy" ]
♫ Call the understudy, I can't go on tonight ♫
♫ I'm drinking with my buddy, I'm getting good and tight ♫
♫ Before they raise the curtain, I'll be higher than a kite ♫
♫ So, call the understudy, I can't go on tonight ♫
♫ Tell the cast and crew to break a leg ♫
♫ Break a leg ♫
♫ Roll me out another bloody keg ♫
♫ Bloody keg ♫
♫ I need to ease the pain that life can bring ♫
♫ Life can bring ♫
♫ And liquor is what will hit the spot ♫
♫ The play is not the thing ♫
♫ So, call the understudy, I think it's only right ♫
♫ My diction will be muddy, I'll never find my light ♫
♫ Before the intermission, I'll be *** on a sprite ♫
♫ So, call the understudy ♫
-♫ I can't go on ♫ -♫ He can't go on ♫
-♫ I won't go on ♫ -♫ He shan't go on ♫
♫ I can't go on tonight ♫
♫ Damn right ♫