Original subtitles

(PEOPLE EXCLAIMING)

"You were right when you said I don't know what I want.

"But after living together, I now know what I don't want."

There are plenty of fish in the sea.

Well, that's good to know. In case I begin dating fish.

You'll be better off without her.

You think so?

No, but what am I supposed to say?

You know, you should fix this, all right?

You're gonna get feathers all over the place.

Well, why wouldn't she leave?

(SIGHS)

I mean, look at me. I'm just dull.

I have a dull job, a dull car,

I never go out and I have no friends.

My girlfriend dumps me.

Who do I call to come over? My sister.

Well, what's wrong with that?

You don't pour your heart out to your sister.

It's like taking your sister to the prom.

I had fun at your prom.

(SIGHS)

(INDISTINCT CHATTERING)

WOMAN ON SPEAKER PHONE: Roger, phone call on line two. Roger, phone call on line two.

Peter, you got a second?

Sure, Roger.

You know, I wanted to let you know that Carl took a job in Chicago,

which means we don't have an art director. So...

You interested? Me?

Yeah. Yeah.

Yeah. I've been really impressed by your work.

Really? Yeah.

It's clean. It's by the book. You're a team player.

You know what they say, "There's no 'I' in team."

And you know what I say?

There's no "I" in Peter Rooker.

(LAUGHING) Right? So...

Right? There's no "I" in...

So, anyway, some of us are going over there

to Churchill's for lunch, and I was wondering...

Sure, Roger. Give me just a second.

Oh, no. I meant, do you want me to bring something back for you?

Oh.

Um... No, I'm fine.

Okay.

(CLICKS TONGUE) All right, watch the...

Okay. I'm gonna...

(CHATTERING ON TV)

(HORN HONKING)

MAN: Margaret, is Chris back there?

Oh, I'm sorry. I didn't see you, sir.

You didn't see me? I'm standing right here.

I didn't see you.

PETER: "And when tonight I enter Christ's fair courts,

"and, lowly bowed, sweep with doffed casque

"the heavens' threshold blue,

"one thing is left, that, void of stain or smutch,

"I bear away despite you.

"My panache."

Hmm.

(INDISTINCT CHATTERING)

WOMAN 1: Hey, guys. WOMAN 2: Hey.

MAN 1: Hey.

WOMAN 3: Hey, congratulations. MAN 2: Thank you.

WOMAN 4: Hey, how'd the play go?

I'm... I'm sorry. I had a few questions.

Here, where it asks for experience...

(SOFTLY) Any other theater you might have done.

I'm sorry? (LOUDLY) Any other theater you might have done.

I haven't done any.

Leave it blank.

And here, where it asks for role?

Is there a specific role you'd like to try out for?

Just leave that blank, too.

Okay. Okay. Thanks.

Script.

Seat. Thank you.

♪ There she is, pretty Miss Keene

♪ Dreamiest girl I've ever seen ♪

(GIGGLING)

Michael. Are you trying out?

Yeah.

(SIGHS)

Hey, Michael. Good to see you, man. Hey!

EDWINA: Sorry I'm late, everybody.

(ALL GREETING)

Okay. Let's get going here.

I'm Edwina, the director.

I'd like to thank you all for coming.

It's such a great turnout.

We have a lot of people to see, so let's get started.

Now, come up. Relax. No acting.

Just read Rostand's lines,

and we'll sort it all out later.

Mrs. Keene!

Men. Women.

I'm not sure.

Thank you.

I said thank you.

Oh, let me get that for you.

Any volunteers?

No?

Okay.

Act 1, Scene 1, page 16.

Let's have, uh...

Michael.

Would you read Christian?

And let's see.

Peter...

Is it Rooker?

Yes.

Peter, would you come up and read the pickpocket?

Up there?

Yes.

Sure.

Page 16.

Sorry.

I'm a little nervous.

Hey, who isn't?

You see where that exchange starts?

With "The Viscount! Ah!"

"The Viscount! Ah!

"I will throw full in his face my... Hey!"

Wow, that was really good.

Thank you. It's your turn.

Me? "Oh!"

Oh?

"Oh! Oh!"

"I was looking for a glove."

Are you okay?

It says he smiles piteously.

Like this.

(PEOPLE GIGGLING)

I think we can forego the stage directions and just read the text.

Oh, sure.

"Let me go, and I will deliver you a secret."

"What is it?"

"Ligniere, he who has just left you,

"his life is in peril.

"A song writ by him has given offense in high places.

"And a hundred men,

"I am of them, are posted tonight."

"A hundred men?

"By whom posted?"

"I may not say the secret of the profession."

"Where are they posted?"

"At the Port de Nesle.

"On his way homeward, warn him."

Peter, you've never auditioned before?

(LAUGHS NERVOUSLY) No.

What brought you here?

Tell me about yourself.

I don't know.

There's no...

There's no "I" in me.

I'm sorry?

I was walking by this place, and I saw the sign...

I was really in love with this person,

and I was thinking about all the things

that I wish I could've said,

but I never knew what those things should be.

And then I read this, and it was all right there.

And I just thought that maybe I could be a part of that.

To learn something.

I don't know. I'm sorry.

(PEOPLE MURMURING)

(SIGHS)

(PEOPLE CHATTERING)

(BELLS TINKLING)

(FLOORBOARD CREAKS)

Is someone there?

I... I'm sorry. I didn't mean to come in here.

You were cosmically drawn to me.

I'm actually looking for an exit.

Do you hear them?

Who?

The voices.

(LAUGHS)

They're not for real. Nothing here is for real.

You're real.

I'm just playing real.

You here for auditions?

I just did.

How did it go?

Hey, can I get out through there?

Find your light.

I can't see you.

What? Step forward.

You just need to find your light.

(BELLS TINKLING CONTINUES)

(MEOWS)

(GRUNTS)

(MEOWS)

(PETER SIGHS)

(RINGING)

Hello.

Peter? This is Edwina Walters from Portland Community Theatre.

Oh, hi. How are you?

Hi. I'm calling to...

I... I hope I didn't disturb you.

No. No, this is a good time to call.

I just wanted to call and say I want you for Cyrano,

if you're still interested.

Sure. That'd be great.

Good. First read-through is Sunday night, 7:00.

Is that okay?

Yeah, that's fine.

You saw the rehearsal schedule.

No conflicts?

No. No conflicts.

Okay. See you there?

Okay. I'll see you there.

Bye. Bye.

(INDISTINCT CHATTERING)

Hey.

Hi. You made it!

Hi. I'm Grace. Hi. I'm Peter.

Are you one of the actors? Actresses?

Yeah. I'm playing Roxane.

Roxane? Mmm-hmm.

That's a really big part.

That's, like, practically the lead.

Yeah, it's a good part.

What are you playing? Oh, I don't know.

Just one of the small parts, I think.

There are no small parts. Only small actors.

What does that mean?

It means... Well, it's something we say in the theater.

It means everyone is as important as everyone else in a play.

That's good to know. I'll remember that.

Good.

Well, you should go ask Edwina what part you're playing.

I can just go up there?

Yeah, she won't bite. Not until tech week.

(BOTH CHUCKLE)

Hi.

Hi!

Peter, how wonderful to see you.

It's wonderful to see you, too.

I was just wondering what part I'm playing.

Does it have a name or...

I told you on the phone I want you for Cyrano.

Right. That's the name of the play, right?

Yes, and the character. You're playing Cyrano.

Take that seat right there.

Okay, people.

Can I have Grace over there next to Cyrano,

and Michael on the other side?

The rest of you, just find a seat.

Hey. Michael.

Well, not bad first time out, huh?

Okay, before we get started,

I've asked someone to say a few words here.

Someone who's probably familiar to all of you.

He was the director here before me

and my mentor, as he was to many of you.

(EXHALES DEEPLY)

Kippy.

(ALL EXCLAIMING)

MAN 1: Kippy. WOMAN: Bravo!

MAN 2: Bravo!

It's all yours.

Well, first read.

Always such an exciting time, hmm?

The white canvas, the blank page.

Thrilling.

What can one say about Cyrano?

It's a story of passion, of obsession, of integrity.

A story of a man who loves deeply without any expectation of reward.

A love for love's sake.

"Never to make a line I have not heard in my own heart,

"yet, with all modesty to say,

"'My soul, be satisfied with flowers, with fruit,

"'with weeds even,

"'but gather them in the one garden you may call your own.'"

Thank you. Yes. Well...

The great talent in theater is knowing when to get off.

(ALL LAUGHING)

I wish you success.

I leave you in very capable hands.

Break a leg.

Okay, tonight I just want to have a nice, gentle read

just so we can all hear the play.

So we'll start right at the top.

I think that's Steve...

Mmm-hmm.

...and Scott. Yup.

Time, Mrs. Keene?

8:17.

And curtain!

"Hello. You there. Your money."

"I enter gratis." "Why?"

"Why? I am of the King's household..."

(SOFTLY) Could I have just a word?

8:18 and 30 seconds.

Hang on, everyone.

(SOFTLY) I'm Peter Rooker. Yes.

Are you sure I'm who you were thinking of?

Yes, I'm sure. Now, sit down.

(INDISTINCT CHATTERING)

EDWINA: Okay, we'll take that again. And...

8:19 and 50 seconds.

Curtain!

"Hello. You there. Your money."

"I enter gratis." "Why?"

"Why? I am of the King's household..."

I think there's been some mistake.

8:20 and 10 seconds!

I'm supposed to be a soldier

or a townsperson or somebody in...

No. No mistake. You are playing Cyrano.

Now can we go on? No.

I don't think you understand the situation here.

Okay, everyone. Just sit tight for a few...

Uh... Peter.

(ALL CHATTERING)

(SIGHS)

Peter, we have a lot of work to do and we can't stop like this.

Yes, I know and I'm sorry.

But I've never acted before.

And, I mean, you saw the audition. I was terrible.

You were awful.

But then I asked you about yourself.

Do you remember what you said?

It was amazing to hear real truth on an audition.

And that is the gold we need to mine.

But I don't know anything about acting.

It isn't about acting.

It's about reacting, listening and being truthful.

I know you have it inside of you, Peter.

Just breathe and you'll be fine.

Trust me.

(NERVOUSLY) "Villain! Did I not forbid you

"to show your face here for a month?"

MICHAEL: "Cyrano!"

"King of clowns! Leave the stage this instant!"

"'Tis that which is thy true self,

"see, that I adore.

"Were your brilliance dimmed...

"Hush!" "...I should love still.

"Aye, if your beauty should today depart...

"Say not so."

"Aye, I say it."

PETER: "Take all. Despite you, there is yet one thing

"I hold against you all,

"and when tonight I enter Christ's fair courts,

"and, lowly bowed, sweep with doffed casque

"the heavens' threshold blue,

"one thing is left, that, void of stain or smutch,

"I bear away despite you."

"That is?"

"My panache."

Okay. I guess we're done for tonight.

Who else needs a drink?

(ALL CHATTERING)

Peter, you're coming to the bar.

Oh, I don't know. It's kind of late.

It wasn't a question, it was a declarative statement.

You are coming to the bar.

We get a lot of work done there.

Oh, okay. What bar?

The Shanghai.

(UPBEAT MUSIC PLAYING)

Hi.

Have a couple of drinks. Relax.

More than a couple.

You got that right.

(LAUGHS) Oh! Hey, this is great.

MICHAEL: Peter, what, you never been here before?

No. Never. It looks cool.

Do they serve food here?

EDWINA: No food, just drink, and plenty of it.

MICHAEL: Yeah, yeah, yeah. We're not here to eat.

Look, if a little cross-eyed German sailor comes up to you

(EDWINA LAUGHING) wearing blue and white pants,

just don't talk to him, all right? Avoid him, all right?

EDWINA: Michael, you're so silly.

GRACE: It's not funny anymore.

MICHAEL: Just pay attention. Just don't talk to him.

(CHUCKLES) Oh, please!

Ken Zorbell. Thought I smelled something.

Playwrights and actors. Another theater in town.

They're doing Midsummer.

Ken's playing Puck.

Hey, you saw it, didn't you, Michael? How is he?

Oh, he sucks.

KEN: "But passion lends them power.

"Time means to meet tempering extremities

"with extreme sweet..."

Let me tell you something about myself.

I know what you're thinking.

"I just can't see how I can do this.

"I've never done it before.

"Famous actors have played this role."

Most of them, badly.

See, everyone gets hung up on the swords and the bravado

and the swaggering around and the nose!

My God,

how they hide behind these big, ludicrous lumps of putty

when the real aberration that mars Cyrano's perfection is inside.

I am not going to hide behind gimmicks.

I am going to strip Cyrano bare.

I'm going to be bare?

Now, there's an idea.

(INDISTINCT CHATTERING)

When I was creating my Puck,

I was suddenly struck with all these images from Godot.

I was Vladimir last year. Did you see it?

Yeah, I did.

When I said, "Everything is dead

"but the tree,"

I could hear the audience utter a collective sigh.

Collective snore.

It was... It was a collective sigh of exhilaration.

Where is it, where is it, where is it, where is it?

Where is it? Where is it? Where is it?

What are you looking for?

Yes, Michael. What are you looking for?

My motivation. One drink!

Oh, no thank you. I have to get up in the morning.

Plenty of time to sleep when you're dead, my man.

I have to have eight hours, otherwise, I'm a mess.

MICHAEL: That's a lie.

It's a total lie utilized by management

to keep the working class from having any fun!

Michael doesn't sleep.

Total waste of time.

EDWINA: I got it. No, that's okay.

All right, I gotta go.

Yeah. I'm gonna get going, too.

I'm gonna join you.

See you tomorrow night. We start blocking.

What's that?

Trust me.

Are you insane?

Seems like a nice guy.

Yeah, we're gonna have to do something about that.

(SIGHS)

My bike.

(CHUCKLES)

That's very nice.

Thank you.

So, your first night in the theater.

What do you think?

Uh... I was awful, wasn't I?

Edwina sees something in you.

I don't know. I felt pretty silly up there next to Michael.

I mean, he's got such commitment.

(CHUCKLES)

Oh!

What?

(LAUGHS) Using the word "Michael" and "Commitment" just sounds funny.

Well, you, too. I mean, you're a wonderful actress.

I'm organically intriguing.

Wouldn't you say I have a certain aura of organic intrigue?

I'm not sure I know what you mean by that.

(CHUCKLES) Thank you.

Well, this is me.

Oh! So, what are you gonna do?

Now? Yeah.

Going home. It's too late.

Too late for what?

Too late for me.

Well, you know what I say to that?

There is no substitute for a good hat.

(BOTH CHUCKLE)

See you later.

♪ Just stuck with you

♪ See outside What a wonderful view

♪ Locked inside I don't belong ♪

(SNORING)

(KNOCKING ON DOOR)

Hey, Michael.

Hey, Peter, you're not even dressed.

Well, I was kind of sleeping.

You know, there's a perfectly good couch

right out there in that front yard.

I know.

I need your help.

Why? You in trouble?

No, I'm not in trouble. It's just...

It's gonna take too much time to explain.

I'll tell you about it in the car.

The car?

There's a car involved?

Hey, do you have any beer or wine or...

Rum?

Rum? No.

I was sleeping.

Calm down. We'll get you some rum.

That guy's still open on Western. It's on the way.

On the way to what?

Peter,

(SIGHS) I barely know you.

I just met you tonight, right?

Would I come here if it wasn't really, really, really important, huh? Would I?

I don't know.

Well, I wouldn't.

Come on, it's 20, 30 minutes tops.

Let's go!

Let's get out of this shit box.

It's depressing.

(REGGAE MUSIC PLAYING)

Hey, where are we going?

So, this is your first show, huh?

Yeah. I didn't expect to be playing such a big part,

but Edwina seems to think I can do it.

Edwina's insane.

Hey, make a right here.

Why?

Come on. Do me a favor. Make a right, quick.

You got it.

Okay, now slow down.

Slow down. Make a left.

All right, that's good. I'm good.

You're good, huh? What the hell was that?

Nothing.

How long ago did she dump you?

Who?

Who?

I'm guessing three weeks. Three weeks, you're still in that mandatory

"Drive by the house, see if there's a strange car in the driveway" phase.

That fades around week six.

Is it that obvious? Don't worry.

I'm not gonna blab it to everybody.

Thanks.

Hey, Jimmy, Thor. This is Peter.

His girlfriend dumped him about three weeks ago.

Rule number one, my friend, never tell anybody in the theater

anything you don't want everybody else to know.

Sorry you had to learn that the hard way.

(IN CHINESE ACCENT) Oh, your face look exactly like your ass.

(ALL LAUGHING)

Hey, isn't that Mrs. Keene?

No, that's Earline, her twin sister.

That's our costume designer.

Miss Keene has a twin?

Yeah, but nobody's ever seen them in the same place together,

you know... Keep that down.

Earline, Peter. Peter, Earline.

Hi. Take your pants off.

What? Hey, Earl, we got a schedule to keep.

Screw your schedule. I got a schedule, too.

I'm up to my ass in velvet here.

Oh, no, no, no. You want a drink?

MAN: Waist, 32.

Iced tea would be fine.

I would rather drink pus from a dead possum's eye.

All right, Pepsi then.

Out seam, 34.

Hey, Michael, you're not leaving me, are you?

MICHAEL: You'll be fine. She won't bite.

Until tech week. Inseam, 32.

Nice package.

I'm straight.

(IN MOCK DISBELIEF) No!

Hey, I'm looking for Michael.

Mmm.

PETER: Michael?

(GRUNTS)

Michael?

"We who are about to die salute you."

Hey, I heard you got dumped.

Jesus.

You are not costumed.

He has to be costumed. He's just running the video.

He has to be costumed! Like one of us?

No, he works behind the scenes. He's a techie.

We don't have time for this.

Just find something. All right.

Can you run this?

I need to be asleep now.

Why does the guy running the video got to be costumed?

"God is in the details."

Here.

MAN: Perfect. I don't know, it needs something.

What's your shoe size?

Nine.

Close enough for the girls we date.

(CHUCKLES)

MICHAEL: Let's go. Get dressed.

(PETER PANTING)

(SHUSHING)

Where are we going? My feet are cold.

(WHISPERS) Shut up. Get up here.

Okay, get that camera.

As everybody knows from our adventures one month ago,

our band kidnapped that hack actor Ken Zorbell from his own party.

You kidnapped somebody? Why?

Revenge.

Well, there was two parties going on the same night,

so we kidnapped Ken to bring the parties together.

Yeah, but it was all an act of brotherhood.

Ken took it hard and kidnapped me a week later in retaliation.

So in re-retaliation, we went back and we kidnapped Ken's mouli.

What's a mouli?

Vegetable slicer.

Ken loved that slicer.

Tonight, Ken and those fairies from Midsummer,

they kidnapped our guy, Kirk.

That's Le Bret!

(SHUSHING)

That's right. They got him coming out of the bar.

Now they're holding him, they won't let him go till we give back the mouli.

But why don't you just give back the mouli?

We don't negotiate.

Besides...

I lost it.

Okay, enough exposition.

You two, up. Everybody else, come with me.

Okay, go. Move.

Grab this.

(GRUNTS)

Get going.

One of my beers is empty.

(WHISPERS) Get down!

"At my signal,

"unleash hell."

Could I get some rum?

MICHAEL: Rise, fools!

My name is Marcus Antonius, general of the Roman armies,

commanders of the Western legions,

(GRUNTING) loyal servant of the true emperor, Octavius,

husband to a murdered wife.

(SOFTLY) Oh, man. Wait. Wait. Stop.

I'm not ready. I lost the battery.

In this life or the next, I shall have my revenge.

I want my mouli.

(ALL YELLING)

MAN: We got you, Kirk.

(YELLING IN PAIN)

(SHUSHING)

Hey, I really gotta be getting home now.

What are you talking about?

It's early. It's 3:30.

Yeah, it's 3:30.

Is this your place?

Kippy! Hey, did we wake you?

I couldn't sleep.

I wanted some milk.

Oh, top that off, will you, sweetie?

Thank you, dear.

Oh! Peter, Kippy. Icon.

Hi. Hmm.

I'm having myself bronzed.

So you're the fellow who got dumped.

Steven called from Milwaukee.

Ooh.

Milwaukee? They know in Milwaukee?

It's incredible.

Edwina doesn't want the nose.

Interesting.

Yeah, the board's so far up her ass.

They want that typical Cyrano.

I remember those battles.

Who will prevail, do you think?

Well, we'll see, won't we?

(EXCLAIMS)

Cyrano!

Take!

Slap it on there next to the green.

Go on! Lay it on thick.

"Nothing succeeds like excess."

Don't spill. The floor's new.

And you. Don't get makeup on that chair, darling. It's going back.

I'm sorry. What do you want me to do? I don't...

En garde! And with the wrist.

Six, four, two, and, "As the refrain ends,

"thrust home!"

(GRUNTS)

Now, we'll just live with that for a day or so.

(WHISPERS) It begins where it ends.

All you need to know is in the last word.

(SIGHS)

One last drink. Not me, no.

Like gentlemen.

Just one.

After the other.

"Panache, from Middle French.

"Panache.

"A small wing, ornamental feather."

Feather.

(GARBAGE TRUCK OPERATING)

Wow.

It's tomorrow.

I'm not even tired.

(SNORING)

(GASPS)

Is Michael gay?

Oh, Kippy? No, no.

Kippy's just Michael's roommate.

Kippy got Michael into theater.

He taught him everything he knows.

Kippy's brilliant.

He's worked everywhere.

The West End, Broadway.

He came here as a guest director 10 years ago, and he just stayed.

Why?

I don't know.

We're lucky, though.

He could've made it, too.

But something kept him here.

PETER: He seems to have done okay.

I mean, he's retired, right?

Oh, Kippy sold his insurance.

What do you mean?

Well, there are these investors, and they buy insurance policies.

They're basically...

Okay, say you have an insurance policy that pays 100k when you die.

That's what Kippy had.

So these guys come in, they pay half in cash,

and then you make them the beneficiaries.

Why would anybody do that?

It's cancer.

Kippy refused all treatment.

That's why Michael moved in.

He's got, like, three months.

Three months?

He looks fine.

Well, he has his good days and bad days.

So, let me get this straight.

Kippy's got three months to live,

and he gets $50,000 to redecorate his house?

That doesn't make any sense.

(CHUCKLES)

That's Kippy. He just does things his way.

EDWINA: Grace! Oh.

See you in a second.

Yes!

Kippy, can I get you something? Some coffee or water?

You know.

Know what?

You know the worst part?

I used to be able to do that twice as fast.

(CLICKS TONGUE)

Got any questions on that Thursday news supplement?

It was due on my desk last night.

No, I almost have it.

It's too late now.

I had to put Jimmy and Karen on it yesterday.

This little play thing's really screwing you up, buddy.

Yeah, I went to bat for you for this promotion. I'm on the line here.

Look, I just hit a rough patch with the play.

Let me come in early tomorrow and I'll finish...

You want that promotion, I'm gonna have to ask you to make a choice.

You're gonna need to quit the play.

I can't quit the play. They're counting on me.

WOMAN ON SPEAKER PHONE: Peter Rooker, you have a call on line two.

Hello.

MAN: Is this Peter Rooker?

Yes.

Dave Nicolette, Portland press. I'm the theater critic.

Oh, hi.

I wanted to do an advance article on Cyrano for the Sunday before opening.

I need an interview.

I've never been interviewed before.

(LAUGHS) It's no big deal.

Just a few questions, take your picture.

I do my interviews at the Governor's Hotel.

How's 10:00 tomorrow?

That sounds good.

See you then.

All right. Thank you. Bye.

And you cross stage left, Peter.

No, no, no. Stage left. That's my left.

I did move to your left.

Yeah, I know, but I said stage left, which is your left, my right.

So your right is my left?

Just walk over there and talk.

"To sing, to laugh, to dream, to walk in my own way

"and be alone, free with an eye to see things as they are.

"A voice that means manhood."

(GROANS)

EDWINA: Could you be a little more...

A little more heroic?

He's not gonna make it.

No way.

EDWINA: He's a legend, bigger than life.

Secure, confident. A giant.

PETER: "A voice that means manhood."

EDWINA: They kiss, the lights go out, the clouds close!

I need another six feet, Jim. I need another six feet here.

The clouds have to close!

What's up with the nose battle?

The board are on me with a vengeance.

They say no one will buy Cyrano without the nose.

Nobody's gonna buy this Cyrano anyway.

It's only been a week.

I think he's getting better.

He sucks! I can call the shots.

I think he needs a chance.

We should work with him. You and I can get him there.

What?

What?

What, you getting all chummy with Peter now?

What, are you feeling something?

Uh, well, yeah. I'm feeling something.

Huh. Interesting.

You and I should help him, or I will kill you.

And I promise, it will be slow and painful.

Okay?

Okay?

Thank you.

Interesting.

I think we should get a little physical, you know?

See if we can get this guy in your body.

You know, how he moves, huh?

Get your script.

Well, actually, I got this book on acting,

and it's got all these games and exercises.

Get your script. No, but in the book,

it says that a lot of great actors do this.

They play these games.

Like this one. It's a trust exercise. Watch.

This is to show you that I trust you.

So I cross my arms like this

and then I fall back without any tension

and trust that you'll catch me. You ready?

Trust me. Okay.

Ow! Ow!

Don't read that shit. Bad for you.

"The heart's relieving..."

"And the heart's relieving is the heart's out breathing,

"when to the lips the soul's flood rises."

(SIGHS)

I'll never get that part right.

That was really bad, wasn't it?

No, no, it wasn't bad.

It's just so easy for you.

Oh, easy?

You should've seen me three years ago.

My first show.

(LAUGHS)

Three years ago.

It was the first thing I was any good at.

Really?

Yeah. Michael saw it.

The first show, he saw so deep inside of me.

Yeah, he knew what I wanted.

Mmm.

Tell me about what you want.

Hmm? What I want?

Mmm-hmm.

Everything is about, "What do I want at this moment?"

Everything.

That's what defines us.

Tell me what you want.

What do you want, Peter?

I don't know.

Yes, you do.

You know exactly what you want at this moment in time.

I do?

All it takes is a moment of decision

and you can have it, Peter.

♪ Ooh, girl, I'm sinking without you

♪ There I go again Oh, yeah

♪ Thinking about you

♪ There I go again Oh, yeah

♪ Thinking about you

♪ There I go again Oh, yeah ♪

Say it. Kiss me and say it.

"The heart's relieving with the heart's out breathing..."

"When to the lips the soul's flood rises, brimming..."

That's it.

You just got it right there.

Got what?

That passionate need.

That was it.

You just lock in on that tomorrow night

and you bring that in rehearsal.

But I thought...

What? But we were kissing.

Have a drink.

That was a stage kiss.

But I... But I thought... Peter,

you don't have to be so earnest all the time.

Okay.

And stop being so agreeable.

All right.

No! No!

No!

You need to leave, Peter.

Come on, let's go.

No. Yes.

Why? Out of my place.

See you later.

Michael?

It's sort of an open relationship.

According to Michael, anyway.

This is the theater, Peter. It isn't like the real world.

Everyone's slept with everyone.

The normal rules do not apply.

I can't compete with Michael.

He's funny and handsome.

Brilliant actor.

Why don't you sleep with him?

Besides, he's my friend.

Imagine a white feather, hmm?

Almost without weight, without substance.

Fragile enough to change directions on a breath.

Pure, translucent.

Its color a reflection of the light.

A man who can carry this constant

through a world of wind and shadow...

That's a man of substance.

(MOANING)

"Once again, your lips."

"Come, come. Enough."

"'Tis hard to leave her. You know not."

"I know."

Okay, that's enough for tonight.

It went well.

Hey, it went great.

Good job.

I didn't take a lot of notes on the final scene.

There's still so much to do.

I wasn't expecting you guys. We're just finishing up.

That's okay, Edwina. We just wanted a word with you.

I should introduce you.

This is Paul Fisher and Mal Gunn,

our representatives on the board.

Okay. 6:30 tomorrow.

Michael, Grace?

Would you hang around for a second?

Edwina.

We need a word.

(WHISPERING)

We really don't want to interfere...

This is about the nose, isn't it?

We just want you to consider this, Edwina.

I am trying to get to the essence of Cyrano,

and I do not want anything to distract from that.

The nose. The nose.

The nose. Yeah.

We want the nose. Yeah.

I promise Cyrano will have a nose.

A nose.

According to your contract, we can insist.

We're hoping it's not gonna come to that. Just think about it.

Shit! Bullshit! Bullshit!

Bullshit, I know. I'm sorry.

I'm still rough on the lines for the last act.

Oh, no, no, Peter. Not you. It's...

You going to the bar?

No, I think I better go work on my lines.

Good. Good.

All right, bye.

See you tomorrow.

GRACE: Bye.

(SIGHS IN FRUSTRATION)

Oh, this is really hard.

I just hate to do this.

Then don't.

He's just not going to make it, Grace.

He has moments.

Yeah. Not enough of them.

(SIGHS)

I'm going to give him a couple more days, hold out for a miracle.

But I talked to Ken Zorbell.

(GROANS)

He's ready to step in.

I want you two to come in early

and rehearse with him just in case.

Anything for the show, right?

You think I like doing this, Michael?

You think I don't know how hard Peter's been working?

But he needs more time, and we don't have it.

I have to put the show first.

Oh, God! It's community theater, Edwina.

It's theater, Michael.

I would've thought you of all people would understand that.

Hey, I like the guy more than I expected, okay?

Yeah. Me, too.

We have an arrangement, right?

Do what you want.

All right.

Have a good night, Michael.

You, too.

Oh! Landing a role like Cyrano first time out.

Think you're up to it?

Well, I've been getting a lot of help, and it's a wonderful cast.

Who else is in it?

Grace Hargrove is playing Roxane.

She's... She's good.

Yeah.

And Michael Degan is playing Christian.

Degan.

I can't figure that guy out.

Two years ago, I arranged an audition for him

with a Shakespeare company up in Stratford.

Oh, really?

They were thrilled to see him.

He could've walked in and been working as an actor now.

Chicago, New York, who knows?

He blew the whole thing off.

Didn't even show up.

Never gave an excuse.

How do you figure that?

I don't know.

(GRUNTS)

Some people are just afraid of success.

What a waste.

Now, let's get back to it.

What's this I hear about no nose?

MICHAEL: "Must I then bid thee mount to cull this flower?"

"Mount." "This brush of bee's wing..."

"Mount."

"...this heart breathing..."

"Mount."

"...this moment infinite!"

"Mount, blockhead. Mount."

It's not "Mount." It's "Mount!"

It's a cry of sexual frustration.

Peter, don't you get that?

I'm doing the best I can do, Michael.

Doing the best you can do?

Nobody's interested in the best you can do.

You think somebody's gonna go out opening night and make a curtain speech,

"Ladies and gentlemen, please excuse Cyrano.

"He's doing the best he can do"?

We're a little beyond the best you can do.

(MEOWING)

You wanted to see me?

Oh, yeah, Peter. Come on in. Sit down.

Yeah.

(CLEARS THROAT)

Peter, you know, originally I had planned to make you art director today,

but I'm concerned about a trend we see in your work here, Peter.

You've been late constantly, you've fallen asleep

in two creative meetings now,

and now this. Look at your work.

It's all this shadow, and this typeface...

What is it with the typeface?

I thought it needed a little panache.

What? See, I don't even know what that is, Peter.

I don't know what "panache" means. And that's not your job.

Your job is to show up on time

and paste these little pictures in place.

Now, if you want that promotion,

you're gonna have to quit that stupid play.

It's that simple, okay? So make a decision and do it.

"What would you have me do?

"Seek a protector, choose a patron out,

"and like the crawling ivy around the tree that licks the bark

"to gain the trunk's support,

"climb high by creeping ruse instead of force?

"No thank you.

"Play buffoon in cringing hope to see, at last, a smile on a patron's lips?

"Thank you, no.

"Learn to swallow toads? No, I thank you and again I thank you.

"I stand too proud to be a parasite.

"I stand not high, but alone."

I quit.

(STAMMERING)

Do you have a drug problem?

GRACE: "This heart breathing..."

MICHAEL: "But I feel now as though 'twere ill done."

"...this brush of bee's wing,

"this moment infinite."

"Oh, Roxane."

KEN: "Strange pain that wrings my heart.

"The kiss, love's feast, so near.

"I, Lazarus, lie at the gate in darkness.

"Yet to me falls still a few scraps from the rich man's board.

"'Tis my heart that receives thee, Roxane.

"Mine.

"For on those lips you press,

"you kiss as well the words I just spoke.

"My words. My words!"

It is so great to hear that said the way it's supposed to be said.

KEN: Yes. Well, that's fine.

Now let's talk about this nose thing.

I don't understand how I can be expected to play Cyrano without my nose.

Well, we've been through this.

Yes, I heard your bullshit idea,

but it is gonna be my ass on this stage, isn't it?

Yes, Ken, it is you up here, but...

So the entire audience will be wanting to see Cyrano's nose.

But this is not a play about a nose, Ken.

This is a play about Cyrano.

It is not a play about a nose.

Edwina.

Can I talk to you?

(SIGHS)

Peter.

This has all been so new to me and so wonderful.

Even the painful part.

I know you're rehearsing someone else as Cyrano.

I was never going to be able to do this, was I?

(SIGHS)

Peter, this is my fault.

No, no. I really appreciate what you've done for me.

I really do.

I'm just sorry I let you all down.

I just wanted to ask you a favor, if it's okay.

Could I still play one of the townspeople or one of the soldiers,

or just somebody in the back with no lines?

I still really want to be a part of it.

Would you...

Wouldn't it be worse watching every night, playing a small part?

There's no small parts. Only small actors, right?

See you tomorrow.

Bye.

(KNOCKING ON DOOR)

(DOG BARKING)

Come here.

Hey, thought you could use some rum.

This time, I brought my own.

Well, come on in.

It's nice out. Let's sit on the swing.

All right, but I gotta put something on.

Hurry up.

Can I ask you something?

Fire away.

"Fire away and fall back."

Why'd you blow off that audition at Stratford?

Um... Okay.

I just got out of college, went to New York City and...

Cast in Off Broadway.

13th Street Playhouse.

(SIGHS) Production of Taming of the Shrew.

My one and only professional credit.

Shakespeare.

God, I hate that shit.

I mean, everybody just understands

every fourth word, and everybody acts like

it's some kind of sacred bullshit.

I mean... I swear to Christ, if they would burn every last copy

of every Shakespeare play just to keep one living playwright warm,

it'd be a freaking fair trade.

So is that why you blew off Stratford?

No, come on. Pay attention.

I was replacing an actor who went to do a movie.

And I went in there.

(CHUCKLES) I gave the read of my life.

Director wants me to go see the play that night.

So I went.

I didn't see a great play.

I didn't see wonderful acting.

What I saw was a bunch of scared actors

who were worrying about their next job.

So I went home and I thought about it and I realized, sooner or later,

that was gonna happen to me.

I was gonna be one of those actors worrying about my next job.

So I called Kippy and he said,

"You want to be famous, you stay in New York.

"You want to be an artist, come back to Portland."

Do you... Do you still have a thing for Grace?

You don't have to ask my permission.

No, there is no thing between Grace and me.

(MEN GROANING)

(INDISTINCT CHATTERING)

"We are breaking. I am wounded, twice wounded."

"Gascons! Ho, Gascons!

"Never turn your backs. Have no fear!

"I have two deaths to avenge,

"my slain friend and my dead happiness."

(WHISPERS) Mrs. Keene, smoke.

Smoke, smoke.

"Float laced kerchief broidered with her name.

"Fall on them, Gascons! Crush them!

"Fife, play!

(FIFE PLAYING)

"Gascons, crush them.

(GROANS)

"Let's salute them."

Cue muskets.

(MUSKETS FIRING) "Fire!"

(ALL SHOUTING)

And curtain!

(ALL APPLAUDING)

Okay, okay!

(LAUGHS IN DELIGHT) I think we have a show.

Okay, I have a few notes, but I'll give them tomorrow.

(ALL CHATTERING)

Good job. Thanks.

Oh, are you coming?

Earline just has to fit me in my new costume,

and then I'll be there.

Good. All right, I'll see you. Okay.

I can throw a seam ripper with deadly accuracy.

You're not gonna start spouting some maudlin sentimental crap

about the costume you'll never wear, are you?

'Cause I got 14 doublets to sew.

Peter, some things are bigger than the sky.

I'm going to the bar.

Good for you.

(GASPS)

I'm sorry.

It's my fault.

I was...

I'm sorry.

(ALL EXCLAIMING)

(ALL WHOOPING)

(SCREAMS)

I gotta go. I'm done.

Me, too!

Michael leaving before the bar closes?

What is this? Whoo!

I gotta go check on Kippy. He's not feeling that good.

How's he doing?

He's okay, he's fair.

Tell him we send love.

Okay. All right, let's go.

Tomorrow!

Adios. I better get going, too.

I have two, uh...

Two beers and a few tequilas.

You bought Michael's, right?

That's right.

19.50, Peter.

I'm sorry. Have we met before?

No. I just know you from here.

You're part of the theater crowd, right?

That's right.

Susan.

Susan.

Well, thanks, Susan.

Hey, ready to go?

See you guys later.

Yeah.

Hey, you want me to come with you?

Nah. He's probably sleeping.

Thanks.

It was good tonight, huh?

Good? I thought it was great.

Hey, I forgot my script.

I'll see you later, huh?

Okay, I'll see you later.

Hey.

Hey yourself.

You going home?

I don't know.

Huh. I just...

Peter, I just wanted to say that it was big of you

to step out of the role and still stay in the show.

Are you okay?

Yeah. I'm fine.

I mean, 'cause, you know, if you want to talk about it,

I understand.

Talk?

Yeah.

Yeah.

♪ But I'm talking to no one

♪ My usual guard let down

♪ As I move to a new song

♪ Panic replaced by peace

♪ And other conditions

♪ That I find it hard to believe

♪ In my current position

♪ I am blind enough to see

♪ The secret of discovery

♪ Wrap your seat belt around me

♪ It's a long ride

♪ A beautiful night, surreal

♪ Drive through a memory

♪ Moonlight of heaven

♪ Shining down on me

♪ Recalling my years

♪ As a product of happy illusion

♪ Now I'm so at home with this feeling of

♪ Peaceful confusion

♪ I am blind enough to see

♪ The secret of discovery

♪ Wrap your seat belt around me

♪ It's a long ride

♪ Tight enough to hold me in

♪ Loose enough to shed my skin

♪ I am woman born again

♪ On this long ride

♪ On this long ride

Tech Saturday is always a strain.

We'll try and do two run-throughs today,

lights, partial costumes.

I want you to pace yourselves.

Okay? Take some time.

(BOTH CHATTERING) Go over your lines, check your props.

We go in one hour.

(ALL CHATTERING)

(GRACE MOANING)

Look at that. That's a tight spot there.

(CLEARING THROAT)

Hey.

Peter, why don't you run that last sword fight scene with me?

You know it, right?

Sure.

Tech Saturday.

Did you get to sleep last night?

Yeah. Huh?

Ow!

You? Uh-huh.

You must have.

I called your house, but the phone was off the hook.

It was?

Ow!

Michael!

Knock it off.

Peter and I were together.

Okay? So what?

You were the one who wanted this open arrangement.

It was fine when it suited you.

Yeah, it was fine when it suited me.

You said it didn't matter if I slept with other people.

'Cause I didn't think that you would.

And you're supposed to be my friend.

You could've at least asked me first.

I did ask you, and you said yes.

What?

I didn't mean it.

I meant it in theory, but in practice, it isn't working.

I don't understand why this is such a big deal.

It's not like it's the first time.

What?

You know what? Wish it never happened.

Really?

No, actually...

For you... No, for him, I wish it never happened.

For you, I'm happy.

You know what? Just forget it.

Michael, stop.

This is important.

I think you should let it out.

I think you should let everything out.

Yeah, I think you should let it out, Michael.

PETER: Just drop the sword down first.

I need the stage if you three are finished.

We're done. Thank you.

Why is that chandelier swinging?

It needs to stop swinging!

Welcome to tech week.

Yeah.

Now about this entrance, Ken,

you're going to be up there in that balcony,

and I wanted to try something dramatic.

From up there?

That must be 10 feet.

Twelve.

The only way I'm coming out of that balcony

is on a very secure ladder being very securely held

by two very secure actors.

This is a larger-than-life character, Ken,

and I don't see how you're going to be able to convey that

climbing down a ladder like a housepainter.

Well, it's called acting, Edwina.

Perhaps you should have some of your actors try it sometime, hmm?

"Thrice happy he who hides from pomp and power

"in sylvan shade or solitary bower,

"where balmy zephyrs fan his burning cheeks..."

KEN: "Villain!

"Did I not forbid you to show your face here

"for a month?"

MAN: "It's Cyrano."

(GRUNTING)

"You dare defy me?"

Ouch! Ow!

Steady it!

It's called acting.

"No, no, I will not have it. Spare me this."

"Because my face is happily fair,

"I shall destroy your happiness."

"And I, because my nature's freak,

"I have the gift to say all perchance that you may feel,

"shall I be fatal to your happiness?"

"Too long I've borne about within myself

"a rival to myself."

Boy, Michael's really good tonight.

Yeah, and it's pissing Ken off.

"...without witness can be easily dissolved shall we survive.

"I will be loved myself or not at all.

"Roxane!

"Cyrano has things important for your ear."

"Important how?"

(SCOFFS)

No! This is bullshit! Look at this. No!

Don't stop, Ken.

No, Edwina. I'm afraid I must stop.

I am the title character of this play, am I not?

I'm being completely overshadowed.

My back is to the audience!

EDWINA: It's Christian's scene.

Not just in this scene, in every scene.

The audience isn't gonna have the slightest idea

what I'm doing on this stage without my nose.

I refuse to go on without it.

As far as I'm concerned,

the play is nothing without the nose.

Even I cannot act without it.

Taking my nose is like taking my balls!

I want my balls!

Mrs. Keene!

Mrs. Keene, she's calling for you.

What does she want?

Ken's balls.

I haven't seen 'em.

KEN: "I wear no gloves and what of it?

"I had one, remnant of an old worn pair.

"Very careless of me.

"Some gentleman offered me an impertinence.

"I left it in his face."

He just dropped a line and we missed cue 47.

Should we go back?

To my birth.

"Had I but such an interpreter

"to speak my soul."

He upstages Michael one more time,

they will both be in the parking lot.

"Eloquence, where to find it?"

"That I lend if you lend me your handsome victor charms.

(CHUCKLING)

"Blended, we make such a hero of romance."

(PEOPLE MURMURING)

Did you see that?

He laid his hands on me.

Michael.

Did you see that guy?

Come on. You know what? Edwina's gonna work it all out.

Oh, yeah? You suddenly care how I feel, huh?

You are being a real jerk, Michael.

And the thing with Peter, it just happened.

You were the one person, the one person

I thought I could count on.

Oh, Michael, spare me.

You know, for the last three years,

I've watched you nail every 18-year-old in chorus,

and you're gonna throw that at me?

I'm the only one that you can count on.

Have you no shame?

Yeah, I do. Just not right now.

I cannot be held accountable for what happens

when the character takes over.

If Cyrano wants to move around, then Ken must move around.

Michael simply isn't trained enough to work within the moment.

He's wild.

The problem isn't me.

I am a professional.

Is he coming back?

Uh-uh.

Well, I wouldn't blame him if he didn't come back at all.

How can he work, Ken,

with you prancing the stage like a demented Puck?

Well, if you wouldn't have wasted so much time

diddling about with amateurs,

you might've been able to properly train your cast.

(YELPS)

(SIGHS)

Good night, everybody.

He bit my nose off.

He bit off my nose!

Put a sock in it, you enormous turd!

(FRENCH SONG PLAYING)

Hey.

Hey. Where's Michael?

Michael went to the bunkers.

His newspapers are up.

What do you mean, "Newspapers are up"?

When Michael freaks out,

he goes to his bedroom and he locks the door,

and he puts all these newspapers on his windows.

And when he does that, you can't even get to him.

Should we go over and try?

God, I wish this was a play,

and then I would know all my lines,

and I could just know this would end okay.

No, I...

I think we should just leave him alone.

And I think, Peter, that, you know, we should really cool it.

(SIGHS)

For a while or for what?

You still have feelings for him, don't you?

Do you think that two people can be friends

after they've seen each other naked?

Yeah, I do.

Oh! Peter.

Michael?

Michael, I know you're in there.

Can we just talk about this?

Michael?

KIPPY: You're wasting your breath, Cyrano.

Come in, the door's open.

(CLASSICAL MUSIC PLAYING)

Peter? Peter, I'm in the garden.

You finished the house.

It looks wonderful.

Thank you.

There's no use trying to get Michael out

when he's like this.

Pull up a chair.

Come. Sit.

The show isn't going well?

No, it's a mess, and we open tomorrow night.

Welcome to the theater, my dear Cyrano.

I'm not Cyrano anymore.

I'm just somebody in the back.

I know, no small parts.

You're on the stage,

and there, we're all Cyrano.

All loving, with no hope of true love in return.

All Roxane, loving an illusion of love.

All Christian, loving with words that are not our own.

All imperfect,

parading our imperfections in spite of our fears

with one thought in mind,

to play true to the end,

to risk all,

and to be left with only that which is most dear.

The white feather.

There is no endeavor more noble.

"And when tonight I enter Christ's fair courts

"and, lowly bowed, sweep with doffed casque

"the heavens' threshold blue,

"one thing is left,

"that, void of stain or smutch,

"I bear away despite you.

BOTH: "My panache."

There are no small parts, Peter.

Only small dreams.

And the theater is no place for small dreams.

We are here to realize the dream of Rome.

(SCREAMS)

These are the wishes of Marcus Antonius.

EDWINA: Guys. Steve, Steve, wait up.

What is going on here?

Why is the baker set stage left?

The baker set is supposed to be stage right,

or it'll crash into the stage piece. Move it!

Mrs. Keene!

God, we open in 20 minutes.

Steve, why are you wearing that costume?

Where is Earline?

Earline!

Every opening night, it's the same thing.

The woman is insane.

Get this set piece right. Help me!

Edwina, calm down.

The baker set starts stage left

and moves stage right.

And I carry on nine goblets and Steve brings in three.

And this is my first act costume.

Find a place to sit. We've got it covered.

Oh, God, you're right, you're right. I'm sorry.

(LAUGHS) It's nerves.

You're doing great.

It's gonna be great, just great.

Has anyone seen Ken?

MAN 1: In Act 2, right? MAN 2: Then he walks...

WOMAN 1: Where's my pincushion?

WOMAN 2: Oh, girls.

I told you, you have to finish this scene...

MAN: Nancy? NANCY: Yep?

Three sets, Act 1, Scene 1.

All right.

You pull up. Yup.

Act 1, Scene 2.

No.

Scene three...

I never had any constants in my life.

I never wanted any.

But I want you constant in my life.

I'm not really sure what that means, but I want to find out.

"I'm never away from you.

"Even now, I shall not leave you.

"In another world,

"I shall still be the one that loves you.

"Loves you beyond measure.

"Beyond..."

I'm sorry.

(ALL MURMURING)

It is opening night, and we have no Cyrano!

Where is Mrs. Keene?

MAN: We got three minutes.

There he is, there he is. Peter!

WOMAN: What?

Thank God!

Hey, what's going on? Am I late?

We can hold if we have to.

Get him into the chair.

I had no idea. I would've called.

EDWINA: Do you need to run lines?

I don't have any lines.

Peter, Ken is missing.

You have to go on as Cyrano.

Peter, this is really important.

I believe you can do this,

but you have to believe it also.

If you don't think you can go on as Cyrano,

then you need to tell me.

I don't think I can go on as Cyrano.

Yes, you can!

See? Edwina thinks you can.

Edwina's insane.

Nevertheless, you are our only hope.

Now hurry!

No, wait a minute. Stop, stop it.

Now, I did everything that was expected of me and more,

but I'm not going to do this. I can't.

You have to!

I'm not an actor.

I just did this to meet new people.

I just wanted to have a small part in the back with no lines.

I mean, please.

Okay, everybody out. Give us five minutes together. Come on.

The house is open. I need to let them know...

What you need to do is let me have five minutes with Peter. Let's go!

Okay, everybody out!

Come on, let's go.

Come on, move it. Everybody out.

Clear the room. Come on, come on.

MICHAEL: Move along, little doggies.

What are you doing?

Where's Ken?

In my apartment, handcuffed to the sofa

with the beer helmet and two bottles of apple martini mix

and the complete boxed set of Andrew Lloyd Webber.

He's happy as a clam.

What... This is insanity.

No. This is panache.

Hello. You there. Your money.

TROOPER: I enter gratis.

DOORKEEPER: Why? TROOPER: Why?

I am of the King's household cavalry.

(PANTING)

The stage door is locked!

(PANTING)

My God, what I've been through.

Ken!

Have I missed my entrance?

No, it's coming up.

My costume. My sword!

This way, this way.

(LOCKS DOOR)

KEN: It's a closet!

Mrs. Keene.

(KNOCKING) It's a closet.

Mrs. Keene?

My entrance!

(KNOCKING CONTINUES)

Hello?

Thrice happy he who hides from pomp and power

in sylvan shade or solitary bower,

where balmy zephyrs fan his burning cheeks...

Where balmy zephyrs fan his burning cheeks...

He's going up.

(AUDIENCE MURMURING)

Thrice happy he who hides from pomp and power

in sylvan shade or solitary...

CYRANO: Villain!

...bower...

(ALL GASPING)

Did I not forbid you to show your face here for a month?

It's Cyrano.

CYRANO: I know that you will lay me low at last.

Let be.

Yet I fall fighting, fighting still.

You strip from me the laurel and the rose.

Take all.

Take all.

Despite you, there is yet

one thing I hold against you all,

and when tonight I enter Christ's fair courts

and, lowly bowed, sweep with doffed casque

the heavens' threshold blue,

one thing is left,

that, void of stain or smutch, I bear away despite you.

That is?

My panache.

(SOBBING)

I think they want us to get off.

Not yet.

Great job.

(ALL CHEERING)

(EXCLAIMS HAPPILY)

(LAUGHING) Oh! Yeah, Edwina, we did it!

That was great!

Go on. Hurry, hurry.

Come on, come on. Get in line.

Go on, you were fantastic.

(EXCLAIMS)

That's my brother!

(ALL CHATTERING)

(TAPPING ON GLASS)

Death is no stranger, is it?

Those of us who live in the theater

live with death every day.

Our words die as soon as they're spoken.

Each moment on the stage lives no longer than a breath.

And yet, because our words address that which is immediate,

they live in death forever,

in our hearts,

and in the hearts of all who hear them.

We honor Kippy by continuing to speak.

We memorialize those we love by continuing to love.

Good show, Kippy.

ALL: Good show.

MAN: Hear, hear.

Michael.

(EXHALES DEEPLY)

I loved him.

I'm gonna miss him.

Break a leg, Kippy.

Places, please.

♪ That's the way, you know, the story goes

♪ Between euphoria and the afterglow

Peter.

Cue lights!

♪ I don't believe in what the good book says

♪ I close my eyes and then I'll go to bed

Enter Kippy.

♪ With funny memories and a broken nose

♪ Lots of baggage and not much clothes

♪ The shrink, the gypsy, the poet, the priest

♪ Everybody wants to be released

♪ And I know

♪ Time would rearrange us

♪ Well, it's all right

♪ Down here with me

♪ People at midnight

"To sing, to laugh, to dream,

"to walk in my own way,

"be alone, free,

"with an eye to see things as they are.

"A voice that means manhood."

"To cock my hat where I choose,

"to travel any road under the sun, under the stars,

"nor doubt if fame or fortune lie beyond the bourne."

"Never to make a line I have not heard

"in my own heart,

"yet, with all modesty to say,

"'My soul, be satisfied with flowers, with fruit,

"'with weeds even,

"'but to gather them in the one place

"'you may call your own.'"

♪ That's the way, you know, the story goes

♪ A box of flowers decompose

♪ And you and me, you know, we don't talk much

♪ It's hard to handle something you can't touch

♪ And I know, time was gonna change us

♪ Lately, it's all right

♪ Down here with me

♪ People at midnight

♪ Pretend they're free

♪ Maybe it's all gone

♪ Well, I'm holdin' on

♪ How was I to know

♪ The future's dark as coal?

♪ And how was I to see if you were still with me?

♪ Downliner

♪ Downliner

♪ Downliner

♪ He said the fault is mine

♪ He said I shouldn't lie

♪ I say he's out of his mind

♪ He said he'd make me cry

♪ He said he's tried his best

♪ He says I shouldn't be jealous

♪ I say he's out of his mind

♪ He said he'd make me cry

♪ Make me cry

♪ I should have known when we got through with all

♪ I still wasn't good with

♪ I gave it all and then some more

♪ I tried and now I'm locked in

♪ Just stuck with you

♪ See outside What a wonderful view

♪ Locked inside I don't belong

♪ Lost inside, my way out is gone

♪ He said I bitch too much

♪ I said that drugs are his crutch

♪ I know he's out of his mind

♪ I said he'd make me cry

♪ He said that he could create a life

♪ And took her hand

♪ I know he's out of his mind

♪ I said he'd make me cry

♪ Make me cry

♪ I should have known when we got through with all

♪ I still wasn't good with

♪ I gave it all and then some more

♪ I tried and now I'm locked in

♪ Just stuck with you

♪ See outside What a wonderful view

♪ Locked inside I don't belong

♪ Lost inside, my way out is gone

♪ He said he's glad I cried

♪ I said, "Your brain's so fried"

♪ I know he's out of his mind

♪ I said he'd make me cry

♪ Make me cry

♪ I should have known when we got through with all

♪ I still wasn't good with

♪ I gave it all and then some more

♪ I tried and now I'm locked in

♪ Just stuck with you

♪ See outside What a wonderful view

♪ Locked inside I don't belong

♪ Lost inside, my way out is gone

♪ I'm done with you

♪ See outside What a wonderful view

♪ Locked inside I don't belong

♪ Lost inside, my way out is...

♪ Just stuck with you

♪ See outside What a wonderful view

♪ Locked inside I don't belong ♪