All language subtitles for Bigger.Than.The.Sky.2005.1080p.WEB-DL.AAC2.0.H.264-FGT ID3 English

(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 ♪