A Life in the Theater (1993) - full transcript

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- Goodnight, John.
- 'Goodnight.'

I thought the bedroom scene
tonight was brilliant.

- 'Did you?'
- Oh, yes. I did.

Didn't you think
it went well?

I thought
it went brilliantly.



Wouldn't tell you
if it wasn't so.

Not at all. Wouldn't
tell you if it weren't so.

What great foolishness
do we not subject ourselves to?

Between us and the meanest
victims of the Gods

there's little to choose.

Little to choose and
that of little rank

were I'm not bound off,
and bound I know not where.

Sure went well tonight.

Yes, I think it did.

They were very bright.

Yes, they were.

It was..

...an intelligent house.
Didn't you feel?

Yeah, I did.
I did.



- They were very attentive.
- They were acute.

Yes, I thought they were.

Perhaps they saw
the show tonight

on another level.

A what? Another plane,
you know what I mean?

- I'm not sure that I do.
- A plane of meaning.

Ah, a plane?

I felt perhaps
they saw a better show

than the one we rehearsed.

What are you doing tonight?

- What am I doing now?
- Yes.

- Going out.
- Oh!

- For dinner.
- Yes.

Oh, would you hang this up
for us please, huh?

(John)
'Do you know I haven't had
an appetite in several days?'

Well, we've
opened now, eh?

It, it almost
makes me feel as if..

Yeah. As if? As if what?

I was going to say as if
I had earned the right to eat.

I'm not sure that I..

What did you mean?

- Show like tonight's show.
- Yes?

- Going out there?
- Go on.

Makes me
feel fulfilled.

Ha ha ha!
It can do that.

- I liked your scene.
- You did?

- Yes.
- Thank you. Which scene?

The courtroom.

- You liked that?
- Yes.

Well, I thought
it was off tonight.

- You didn't.
- Um. Yeah.

Well, wasn't off to me.

No, it did not
seem off to me.

Well, I thought it was off.

If you were,
you didn't look it.

- No?
- No.

- The doctor's scene.
- Oh, yeah.

- It may have been a trifle..
- Yeah?

- May have been a trifle..
- Yes, say it. What?

- The doctor's scene was what?
- Brittle.

You found it brittle?

- Well, I could be wrong.
- I trust your judgment.

No, no.
I could be wrong.

- Uh-huh.
- I've been out of sorts.

My eating habits haven't been..

You know, sometimes
when you haven't eaten--

You found it brittle.

Perhaps. I may
have found it so, a bit.

- Overly brittle?
- No. Not necessarily.

The whole scene?

No, no. Not
the whole scene. No.

- What then?
- A part.

I hope you would tell me if you
found the whole scene so.

Well, it's only
an opinion

of a portion
of a scene.

In the last analysis,
we are talking about a word.

Yeah.

- Sorry if I sounded--
- Not at all.

(Robert)
'I value your opinion.'

Young people in the theatre.

Tomorrow's leaders.

Yes.

Both of us
or was it only me?

- You?
- Mm-hmm.

You? Of course not.

You were superb.
Didn't I say that?

- Why--
- She was off.

- You felt that too?
- How could I not?

Yeah, I know.
You felt that.

- I did.
- Oh, specifically tonight?

Perhaps tonight especially.

Oh! Especially tonight.

Hey, it's a marvel
you can work with her at all.

- Work with her so well.
- You do the best you can.

It's enviable.

The show must go on.

I find much in it
I must admire.

- Uh, thank you.
- Not at all.

Well, you have
a job to do.

You do it by your lights.

You bring
your expertise to bear, eh?

Your-your sense of..

...rightness, fellow feeling,
etiquette, huh?

These are the tools that one
brings to bear. Procedure.

- It's quite inspiring.
- Oh, thank you.

- The mugging is what gets me.
- Hmm.

Stilted diction, the pregnant
pauses, I can live with.

The indicating,
the mincing, these are fine.

- I can accept them.
- Yes.

But mugging! It rots my heart
to look at it.

- I know.
- There's no soul, no humanism.

- No fellow feeling.
- No.

I'd like to kill the bitch.

God, that she should
be allowed to live.

No, not just to live, but
to parade around the stage.

And be paid for it.

I totally agree with you.

She'd make anyone look brittle.

You bring me the man,
capable of looking flexible.

The moment that she or those of
her ilk walk on that stage.

- I can't.
- No formal training.

Uh, no sense of right
and wrong and..

- No. She exploits the theatre.
- She does.

She capitalizes
on her beauty.

Hey. What beauty?

Her attractiveness.
It isn't really beauty.

No.

- Beauty comes from within.
- Yes. I feel it does.

She trades on it.

Yeah, well,
she'll find out.

The harshest tribunal of all,
convened upon a silvered glass.

Oh, why, why do you bring
this action, you who..

(John)
It's a marvel
you can work with her.

It's no marvel, John.

You learn, huh.

Control and character.

A sense of right and wrong.

- I tune her out.
- Hmm.

When we're on stage,
she's not there for me.

[laughing]

How'd you like
the table scene tonight?

- I loved it.
- The scene was fun tonight.

[laughing]

Thank you.

I wanted to be
there with you tonight.

- You wanted to be with me?
- Yes.

- Did you?
- Yes.

Where?

- Up there?
- At the table?

You wanted to be up there around
the dining table or on stage?

- Uh, I-I--
- Around the dining table.

- Yes.
- Oh, yeah.

That scene
was heaven tonight.

- Yes.
- Ha ha! The audience.

Yes.

Oh, that scene was..

It was a little play.
It was a poem.

- Yes.
- It was like a little..

A walnut.

- Yes.
- Yeah.

- How you do you mean?
- You know.

No.

Well, it was,
I mean it was

uh, meaty.

- Yes.
- Meaty on the inside.

Yes?

And tight all around.

And that, and mark that you
heard it here first, okay, boy?

- That is superior theatre.
- Yes.

Where'd you say
you're off to tonight?

- Now?
- Yeah.

- I was going for dinner.
- Oh.

I've been feeling
like a lobster.

- Oh!
- All day.

Oh, shellfish,
I can't eat it.

- No?
- No, my weight.

Having trouble
with your weight?

Oh, yes,
always, constant fight.

But you're trim enough.

- You think so?
- Absolutely.

Makes it all worthwhile,
doesn't it?

[laughing]

What're you
up to this evening?

- Now, you mean?
- Yes.

- Now?
- Yes.

Aha! I thought
I might go home and read.

Maybe take a,
I don't know, walk.

Ah!

- Why'd you ask?
- No reason.

Just asking.

Yeah, I thought
I'd take a walk.

Why'd you ask me that?

No reason at all.

Unless you'd like
to join me for a snack.

A snack? Oh, no,
I couldn't really eat.

Some coffee then?
I could use the company.

Tell you what,
I'll walk with you a ways.

You have some
make-up on your face.

- Where?
- Behind your ear.

I'll get it for you.

- Did I get it on my coat?
- No.

- I didn't get it on my coat?
- No.

Hmm.

Oh, good.
Good. Thank you.

"The Elephants Graveyard."

No, colonel, though you
searched night and day.

My father had that fantasy
and he died of it.

No, you don't have
to stretch the father.

- No?
- No.

Thing speak for itself.

For no man knows
where those noble beast

seek their final rest.

[instrumental music]

(Robert)
'I'm famished.'

[music continues]

- Your hat.
- Thank you.

- It's like an oven in here.
- Hmm.

- Your hat.
- Right, thank you.

My hat. My hat.
My hat.

- Eh?
- Hmm.

[mumbling]

[screeching]

(John)
'They say
you never hear the one'

'that's got your name on it.'

(Robert)
'Calm down.'

- Those bastards.
- Yeah.

Stuck him on the wire and left
him there for target practice.

[explosion]

- Dirty, dirty bastards!
- Yeah.

He had a home.
He had a family.

- Just like them.
- Yeah.

He thought
he was going home.

Oh, relax, we'll all
be going home.

Last day. Johnny,
on the last day.

That's the breaks, kid.

Poor Mulrooney.

(John)
'Goes to raise
the lousy flag'

'the Jerry's cut him down
like wheat.'

[explosion]

Johnny..

...two more hours
and we're going home.

And those bastards
went and cut him down.

That's the breaks.

No. Not by me.

Uh-uh!

Not by a long shot.

[explosion]

What are you doing?

Hey, hey, hey!
What are you doing, Billy.

[explosion]

Billy!

(John)
'You hear me, Heinies!'

This is for Axel P. Mulrooney!

Corporal A.E.F from
Dawson, Oklahoma!

You hear me?

It's not over yet!

Not by a long shot!

You hear me, Heinies!

[gunshot]

[gun firing]

[bells tolling]

Well, that looks
like the end of it.

[applause]

Ha!

Oh!

Thank you.

[applause]

[instrumental music]

[applause]

[music continues]

[music continues]

[sighs]

Oh, oh, oh!

Oh, keep
your point up, will you?

Keep your point up.

Just keep your point up.

You know,
when we're down left.

When we're down left.
Just before the head cut.

You've been getting lower
every night..

Look here.

I'll show you.
I'll show you.

- I'm sorry.
- Quiet alright.

Quiet alright.

Here we go. Let's just get it
right, get it right.

Thrust! Do your see?

Thrusting low.

A-And at last.

- Ha!
- Thank you.

No, no, no!
One more time. Please.

For character.
One more time.

One moment,
please. Just..

But fly my liege
and think no more of me!

(Robert)
'And cut.'

That's good, that way it doesn't
get in line of my face

and become warm blood
on the stage.

[laughing]

Knock on wood.
Stage will do.

Ha, good boy.

Come fly my liege.

Think no more
of me a trifle

a momentary whim.
A rodomontade.

This pantomime of fealty.

Oh, they don't write them
like that anymore.

- 'Oh, yes! Oh, yes! Oh, yes!'
- 'Sorry.'

'Isn't it strange
that people will spend time'

'and money on their face
and body and are content'

that their voice
classes them

with shop girls
and sheep herders.

- Sound.
- Yes.

The crown prince
of phenomenon.

To me an ugly sound is an
extension of an ugly soul.

I do not, I do not like them.
I do not like ugly sounds.

I don't like folk
that make them.

You think that's
harsh, don't you?

- Not at all.
- You don't?

I know I seem strange about
this. It's a peeve of mine.

To me it's like an odor.

Sound it emanates
from within, do you see?

Sound and odor germinate within,
are perceived within.

- Do you see?
- No.

All I'm saying
is that it comes from within.

Sound comes from within,
you see?

Ha ha ha!
When I was young, John.

When I was young..

...my voice was strong.

But it was raspy.

- No.
- Yes.

It was raspy, it was.

(Robert)
'And I cherished it.
I was vain.'

'I felt that my vocal quality,
a defect in effect'

was a positive attribute.

A contributory portion
of my style.

[laughing]

Oh!

- 'What is style?'
- 'What? Style?'

- 'There's nothing.'
- 'No?'

(Robert)
'Style is a paper bag.'

It's only shape
comes from it's context. Ooh!

However, I was young, I made
a fetish of my imperfections.

Not a common fault,
maybe a universal fault.

Which nonetheless,
I was guilty of

'and which now makes me blush.'

'On the other hand,
do you see on the other hand'

we must not be afraid
of process. What? Of growth.

We must not become
second class citizens

whose only desire
is to please.

We have the right to learn.

I think so.

That's my point.
Did you get it, see?

I, uh, the vowel.

The vowel's not as quite
as high as you render it.

Work on that
and it will work for you.

Support your voice
and it will support you.

(Robert)
'Work on your voice.'

'Work on your voice.'

Red leather, yellow leather,
red leather, yellow leather.

Deliver the letter,
deliver the letter

the sooner the better.
As with all things.

Peter Piper
picked a peck of..

She sells sea shells by
the seashore in the sea shells.

[piano music]

May I have a tissue please?
Good evening.

- Yeah.
- How are you this evening?

How am I? Uh, tight.

A little tight.
I feel a little..

It's gonna be
a vibrant show tonight.

- I feel coiled up.
- Hmm.

(Robert)
'I don't feel tense.'

- No?
- Nah, I never feel tense.

Well, almost never
feel tense, on stage.

I feel ready to act.

That's a lovely brush.

- This?
- 'No, the quarter inch.'

- This one?
- 'Yes.'

- 'Is it new?'
- It's an eighth inch.

- That's an eighth inch?
- 'Yes.'

Well..

Awfully splayed,
don't you think?

No.

(Robert)
'A little bit splayed?'

No.

Well, it's not new.
Is it new?

No. I've had it a while.

A long while?

(John)
'Yes.'

Oh!

What is it, camel?

Sable.

Sable brush, ooh!

Oh, you keep your things well.

(Robert)
'Anybody ever told you that?
You keep your things very well.'

It's one of the things that
first impressed me about you.

You take excellent care
of your tools.

Oh!

Hey, John,
may I ask you something?

- Of course.
- Could you do me a favor?

What?

- In our scene tonight.
- Yes?

- Umm..
- What?

Could you perhaps...do less?

- Do less?
- Yeah.

Do less what?

Well, you know.

You mean..

What do you mean?

Well, you know.

You mean that I'm walking
on your scene?

Oh, it's just a thought.
I added aesthetic consideration.

I just thought
that if you did less..

Yes.

Uh, you know..

- If I did less.
- Yes.

Thank you for the thought.

I don't think
you've the be like that.

- I'm sorry.
- Are you?

I accept the comment
in the spirit

in which it was,
I'm sure, intended.

It was intended
in a spirit, John.

I know it was.

How could it
be intended otherwise?

- It couldn't.
- Well, you know it couldn't.

Yes, I know.

You know, it hurts me when you
take these things personally.

They..

Oh, my God!

- What?
- My zipper's broken.

- You want a safety pin?
- I have one.

- Want me to get the women?
- No.

Thank you. Ugh!

I will manage. Ah!

- Sure?
- Yes.

- You don't want the woman?
- No, I do not want the woman.

Thank you. No.

- You want me to pin it for you?
- No.

- I'll do it. Let me--
- No! I'll get it.

- Ah.
- Oh, come on, I'll do it.

Come on.

Get up here.
Come on. Get up.

Give me the pin.
Come on.

[indistinct chattering
on speaker]

(John)
'Oh, no! That's it.'

Give me the pin.

- Come on, give me the pin.
- Yeah.

'Oh! Come on!'

Oh, Christ! Come on.

- Got another one?
- No.

And it's not wan,
it's one.

Now will you please
come..

There.

Hmm.

Stand still now.

We can't do it unless
you stand the hell still.

(Robert)
'Put it in,
just put it in!'

(John)
'Hold on a moment.'

(Robert)
'I have got to get
on the stage!'

Alright, alright.

You know,
I think you're gaining weight?

Will you stick it in.

'Come on, come on!'

There.

[instrumental music]

(Robert)
'Thanks a lot.'

[music continues]

[mumbling]

- Good show.
- What?

- Good show.
- Oh, yeah.

Perhaps you feel it harsh,
I do not.

I always felt we were friends.

I know you have, so have I.

I feel there's
some common ground

I feel our interests
are similar.

No, not identical
but similar.

Certainly negotiable.

Uh..

(Robert)
'I've always thought so.'

Yes, so do I.

Well, I feel that..

This matter certainly
can be settled

to our mutual satisfaction.

Yes, I'll have my girl
look into it.

Uh, not at all, not at all.
The very same to you. Goodbye.

(Robert)
'Forgive me, David.'

Not at all, I've just
been admiring the view.

Yeah, lovely, isn't it?

I should think
one would get used to it.

Well, it's been 13 years
and I haven't seemed to do so.

- Thirteen years?
- Yeah.

It's funny you know, how things
attain the force of habit.

Force of habit. Yes.

- Take me and Jillian.
- Yes.

Is that what you've come
to talk to me about?

[phone buzzing]

Hold all calls. Please.

Is there something wrong
between you and Jillian?

Jillian's going
to have a baby.

Why, this is marvelous.
How long have you known?

- Since this morning.
- How marvelous!

- It isn't mine.
- It's not?

- No.
- Uh. Oh!

Well, I've always supposed
there was something

one said in these situations,
but I don't feel..

Well, do you know? That is, have
you been told who the father is?

- Yes.
- Really? Well, who is it?

- David?
- It's you, John.

- Me?
- You.

- No.
- Yes.

- How ridiculous!
- Is it?

- You know it is.
- Do I?

- Yes!
- Oh, John!

John, John,
John, John, John!

I think I'll have
that cigar now.

I think I'll join you.

She told you
that I was the husband?

No.

She told you
that I was the father?

What are we going to do
about this, John?

I don't know, David.

You could, I suppose, you could
do me some physical damage.

Or we could discuss this
as gentlemen.

Which would you prefer?

Which in the end
is more civilized, John?

I don't know, David.
I don't know.

[phone buzzing]

I asked you to hold all..

Perhaps you should
take this one.

[chair creaking]

Vicious little leaches.

Sots!

Oh, you bloody boors.

- 'Who?'
- All of them. All of them!

- 'Whom?'
- All of them.

- All of whom?
- What?

- 'All of whom?'
- You know, all of them!

The bloody sots.

(John)
'What about them?;'

Why can they
not leave us alone?

- 'Well..'
- What?

Yes. I said, yes.

As you jolly well should say.

As you should, lad

because you have to pick
a camp in this life.

'Oh, yes, yes.
You must indeed.'

You must, you wish
for their praise

that is to wish for death.

To wish for death!

The swine!

[instrumental music]

[music continues]

[music continues]

Roll up.

Roll up I say, roll up.

What did you think the wonder
working God who in his wisdom

sent down aches and pains

would not dispatch the beans
of their alleviation.

Hmm?

Oh, well..

[instrumental music]

[bell tolling]

[bell tolling]

[John humming]

What is that?
The thing?

Yes. We did it at school.

Yes, we all did it at school.

"Over the heather
and over the Lee

"jolly, jolly minstrels we.

"A life of play and jollity,
you shall enjoy come he.

"For bear for bear
for a life of care.

"Is all you will find
waiting there."

I love that bit.

- That was my favorite bit.
- Uh, uh.

"To error and to poverty.

"You shall be lord for she."

- Did it at school.
- Yes.

Did you play,
"The Whatchamacallit?"

"The press gang of
the muse, are they

who thrive by night
and sleep by day."

"Decide, decide
for the ebbing tide."

Yes. I know that
it comes later, you know.

- Hmm.
- I was just saying it.

Oh.

- No offense.
- No.

We did it at school too.

I'm, I'm sorry.

And I played
"The Whatchamacallit."

I'm sure that you did.

You can be sure that I did,
because I did.

Press gang of
the muse are they?

And did you have the..

The pirate come out
of the barrel there?

Yes.

- Always love that bit.
- Mm-hmm.

I suppose it's traditional.

It ain't nothing
to suppose, huh.

Sore throat and chicken soup.

The whale speaks,
the gong rings twice

and the pirate comes out
of the barrel.

(Robert)
'Oh, oh, the autumn, eh.'

(John)
'Oh, the autumn.
Oh, the autumn.'

(Robert)
'Yeah. Autumn weather.'

(Robert)
'Yeah.'

Oh, for the sun.

Uh, will you,
please hand me my robe.

Your lap robe?

Ah, yes.

My mom says,
just one more day.

Uh.

One more day yet another week.

Yeah, yeah.

Yeah, would you please
close the window.

What? I'm sorry.

Do you feel a draft?

Slight draft, yes.

- Shall I close the windows?
- Would you mind?

- Not at all.
- Uh, uh..

[dramatic music]

I love this window.

'Thank you.'

'Oh, this room..'

'This room.'

(John)
'We could just leave
this afternoon..'

(John)
'Just call and have the carriage
brought around.'

'Just leave this afternoon.'

Much too cold.

(John)
'Throw two shirts
into a bag, a scarf.'

(Robert)
'The roads.'

Meet the train. Venice.

Much too cold.

Would you like a glass of tea?

Thank you, yes.

I like this room.

Yes, so do I.

I always have.

So have I.

I'll ring for tea.

Thank you.

[dramatic music]

Uh.

[humming]

[humming continues]

Uhh.

Got a match?

Alright.

Good. "One day blends
in to the next."

I'm not gonna
do the accent, huh.

- Yes.
- Uh, good.

"One day blends
in to the next."

"Scorching sun,
shimmering moons"

"salt, salt water."

"It'll rain soon."

Salt, saltwater.

Uh.

- I'm sorry, what?
- No, I was just thinking.

Salt, saltwater,
it's the thought.

He gives us
the thought there.

- Oh.
- Salt..

Sweat. His life flows out.

- Then, saltwater.
- Yes.

- To the sea.
- Yes.

Yeah.

Alright. Okay.

Yes, salt, saltwater.

"One day blends in to the next.
Salt, saltwater."

"It'll rain soon."

"Rain? What do you
know about it?

"I've spent my whole
life on the sea.

"All I know is the length of
my ignorance which is complete.

"Sunny, my ignorance
is complete."

"It gotta rain."

Oh, the motif.

He takes the descant through
the scene, "it's got to rain."

You look at it, he does it
through the whole play.

- Oh, well.
- Oh, well.

[horn blaring]

[horn blaring]

[horn blaring]

By the sea..

'The harsh mistress..'

'Like all women scorn
she will have her revenge.'

'But Johnny, what about me?'

'What about the rest of us?'

You had an audition
this afternoon?

Um, join me.

No, join you, no.

You're working,
I'll let you work, though.

- You had an audition, huh?
- 'Yes.'

Ah, how did it go?

'Well, I thought.'

They were receptive.

How did you feel?

'I felt good.
They liked it.'

Oh, that's nice.

'I thought so.'

That's very nice.

'There's two classes
of phenomenon.'

'Those things
that we can control'

'those things one cannot.'

Hmm.

You can't control
what people think of you.

- No.
- It's up to them.

You know, they maybe glum.

They maybe out of sorts.

Perhaps they are neurotic.

- What are you having, the Soup?
- Uh, of course.

One can control however..

One can control one's own
actions, huh? One's intensions.

Would you pass
the bread back?

That is the only thing
that one can control.

Please pass the bread.

You're eating bread?

- Yes.
- Oh.

Here it is.

that would not signify
that you aren't a good actor.

No.

I think I know that.

Yeah.

I think perhaps you do.

I'm glad they liked you though.

'Thank you.'

You think, they're
gonna hire you?

I don't know.

I hope they do.

'I hope so too.'

Be nice for you.

Yes.

Good things for good folk.

Thank you.

Good things for good folk.
Your worship.

Sweets to the sweet and
happiness to men of good will

though the book might
have it otherwise.

And Godspeed you this many
a day until that peccant sun.

Lost in, uh..

Peccant sun lost in..

That peccant...sun..

"Hid in the murky gloom raised
by your sorrowful depart."

Yes, yes, yes.

Ba-ba-ba..

"And how with the country
this long time

"and the government?
Who asks?

"A friend to these shores.

"By what surety?"

A steadiness of gaze and speech,
if that suffice you?

And if not?

If not?

[instrumental music]

Perhaps this emblem
stands my pledge..

No.

No, oh, oh..

Stand. Stand up, man.

Have no need for tears. Come.

Come, let me comfort you.

[music continues]

Make-up table.

Artificial light.

Scent of powder.

Tools, sticks, brushes.

Tissues, cold cream,
greasepaint.

Greasepaint, what is it, huh?

Cream based, coloring, textures,
smell, color, analyzer.

What have you got?

Meaningless component part.

You probably could say the same
thing about anything else.

Mix and package it,
affix a label.

Put it on a make-up table
a brush or two..

Robert!

Would you please shut up?

Am I disturbing you?

You are.

Enough to justify this
breach of etiquette?

What breach?
What etiquette?

- Oh, John.
- 'Yes?'

When one has been
in the theater as long as I.

Can we do this later?

'I feel there's something
here of worth to you.'

- Oh, you do?
- Yes.

Well..

Alright, you know your attitude,
John, it isn't of the best.

It isn't it.
It just isn't.

- 'Isn't it?'
- No, in short.

My subject is form.

Form, John.

The theater is a closed society.

Constantly abutting,
your thoughts, the feelings

the emotions
of our colleagues.

'Sensibilities.'

'Bodies, forms evolve.'

And etiquettes.

In our personal relations
with each other

in our personal relationships.

Hmm.

One generation sows the seeds

it instructs the-the
proceeding..

That is to say
the following generation

from the quality
of its actions.

Not from its
discourse, John, no.

But organically.

Organically,
do you get my drift?

'You can learn a lot
is what I'm trying to say.'

You can learn a lot
from keeping your mouth shut.

- You can?
- 'Yes.'

Oh, perhaps this is not the time
to speak of attitudes.

- Before we go on?
- Yeah.

Yes, what is life on stage
but attitudes.

- What?
- Damn little.

May I use your brush?

Yes.

One must speak of these things,
you know, John

or we'll go the way
of all society.

Which is what?

Take too much for granted,
fall away, and die.

On the boards,
or in society at large

there must be law,
there must be reason

and there must be tradition.

I'm sorry that I
told you to shut up.

Oh, you don't buy
me off that cheaply.

- No?
- No.

Would you pass me
the cream please?

Certainly.

Here is the cream.

Thank you.

[cheering]

The people cry for truth!

(in unison)
Yes!

The people cry for freedom

from the vicious lies
and slanders of the ages.

The lies, that slanders
of the body and the soul

and the heart cries out.

The heart cries out!

Memory tells us man
has always lived in chains.

Always lived in chains!

Bread, bread,
bread the people scream!

(in unison)
Bread! Bread! Bread!

We drown their screaming
with our heads in cups.

In books, in newspapers.

Between the breasts of women,
in our work.

Enough!

A new day arises!

[all cheering]

Those who would connect
with yesterday

for succor will be left behind.

Their souls are in the histories

their heads on pipes around
the buildings of our government.

Now..

Now, we must look ahead.

We look ahead!

Our heads between
the breasts of women.

Plight our troth.

to a security far greater
than the rank of mere fortune.

We must dedicate
ourselves to spirit!

To the spirit of humanity!

To life!

To the barricades!

[all cheering]

[instrumental music]

[music continues]

One day blends into the next.

One day and then the next.

Scorching sun,
shivering moon.

Salts.

Saltwater.

(John)
'It'll rain soon.'

(Robert)
'Rain?'

'What do you know about it?'

'I've spent me
whole life on the sea'

'the only thing I know is
the length of my ignorance.'

Which is complete, sonny,
my ignorance is complete.

It's gotta rain.

Tell it to the marines.

If it doesn't rain,
I'm goin' off me nut.

Ju-just take it easy, lad.

What you don't want to do right
now is sweat, believe me.

We're never getting out
of this alive, are we?

How do you want it?

Give it to me straight.

Kid, we ain't
got a chance in hell.

But you know what?

You shouldn't let it
get you down.

'Cause that's what the life
on the sea is all about.

That's the gamble, lad.

It's why we signed on, eh?

(John)
'Can I tell you something?'

- Shoot.
- You're full of it.

I mean it.

Don't tell me about
men in the sea

because that's been out
of the picture for years.

If it ever existed.

No, probably it did.

Back in the days when a man
had a stake in his ship.

Or a stake in himself.

Now..

Now..

We're dying because some black
bastard ship owner in Newport

decided that rather than build
his ship safe for men..

...it was cheaper
to over-insure them.

That's why we are dying.

[all gasp]

Oh, God.

[foghorn blaring]

Danny!

A ship.

Oh.

A ship!

Ah.

[foghorn blaring]

A ship, a ship.

Yes, as they said.

[instrumental music]

As if it were, uh, a cry
of some tortured..

Now, that's overblown.

It's not a cry
of torture, it's a..

...a cry of, of..

...of consciousness, isn't it?

How different is..

How different is that
fellow's position from my own?

(John)
'From.. Sorry.'

[music continues]

...from anybody's.

The phrase until
my ship comes in..

Now, we in show business have a
special liking for that phrase.

We all believe it.

We all, if we were
to reason it backwards..

...might perceive that
we feel stranded.

[indistinct chattering]

(Robert)
Ephemeris, ephemeris, eh?

What?

Ephemeris, ephemeris.

What are you saying?

(Robert)
Time passes.

What comes after, "the men
all got together, ma'am

and we kinda thought
you'd like to have this?"

She says, "thank you."

I'm aware of that, I think.

After that.
What comes after that?

- Your line?
- 'Yes.'

Ah.

Have you got a script?

What would I be doing
with a script?

I'm going to get a script.

'Wait! Wait!'

- I know the line.
- What?

Uh...after you give
her the watch, right?

- Right.
- Right. You give her the watch.

You give her the watch.

- And?
- Oh, Christ.

You give the slut the watch

"now, ma'am, we all
kind of thought maybe.."

"The men all got
together ma'am."

Oh, Christ, how ridiculous..

And what's her line?

Thank you.

Oh, well..

You better get a script.

- You want me--
- Shh.

Shut up, I'm trying
to hear my cue.

What's happening?

I think I missed my cue.
I think I missed my cue!

But what's happening?

Can you see?

I'm going on.

- Huh?
- I'm gonna go on.

- Oh!
- What do you think?

- What do you think?
- Uh..

Christ!
I'm going on.

You want me to
get a script?

I missed my cue!
I missed my cue!

Get on out there then. Go on!

Ms. Wilcox.

Ms. Wilcox, ma'am.

The men..

Uh..

(John)
'The men all got to..'

Ms. Wilcox, as you know

the men who always
was fond of your husband..

...fond of his..

As if he was a..

I think I hear
my horse outside.

Um, would you pardon
me a moment, Ms. Wilcox?

[indistinct chattering]

Everybody wants a piece, eh?

They all have
got to get their piece.

I'll wait.

We spend out adult lives,
bending over for incompetence.

All the Ten Percenters.

Agents, producers

business managers,
sweet heart unions.

They're all in
the same bed together.

All the bloody leaches.

[indistinct chattering]

The robbers and the cenotaph.

- Did you ever do that play?
- What?

- The robbers and the cenotaph.
- Hello.

Who are we if..

Yes, I'm holding
for Ms. Erinstein.

...if we cannot talk
to each other.

What do we have in life except
out fellow workers?

If we don't have that
what do we have?

Who can talk our language?

What of talent?

What? Talent?

Yeah, what is it?

When you see the brightest
fall, eh? What of humanity?

I know, I'm on the phone.

- Hello, Bonnie.
- I give you Stanislavski.

John. How are you?

We enslave ourselves.

No.

Yes, uh..

Oh, thank you,
thank you very much.

Oh, on the, on the film?

Yes, yes.

Let me check my book.

Oh, oh, some acting.

Yes, 11 is fine.

Wonderful, I'll see you there.

Film, film, film.

As the old horse said,
another great profession

ruined by amateurs.

Am I keeping you?

You have the key.

You're listening to them,
you're listening.

Do you know why I am listening?
Because they're talking.

Oh, well, said.

These friends,
these films friends

these journalists,
they praise you

for the things you never did

and pan you for the rare
evening of Godliness.

These friends.

These friends of ours whom
we talk to on the phone..

They have praised you
too much, John.

Not to detract
from your reviews

you deserve praise,
much praise.

Not however for those things
which they have praised you for.

In your opinion.

In my opinion.
Yes that's true.

Might we go in?

Yes, you have the key.

(Robert)
'What I wished to say,
whatwished to say.'

Uh, John, is this.

'You..'

You must be very careful
from who you take advice.

Hmm. Yes.

Never take advice from people

who do not show
a vested interest

in your eventual success.

Barring that, the beauty
of the theater.

I thought they were
rather to the point.

- You did?
- Yes.

Uh, your reviews?

- Yes.
- Oh!

All false modesty aside.

Yes.

Oh, the young,
the young, the young.

Farmer in the Dell.

Oh, I see.

'May I have my tail please?'

You stupid twit.

I beg your pardon.

I think you heard me.

- Robert.
- What?

Use your own towels
from now on.

They're at the laundry.

Well, get them back.

[jazz music]

Uh..

Moses saw it
on the hills of, uh..

And you dragged yourself..

The noted infertility
of the historic throne of France

was lifted, I say, yes,
when a returning palmer

came back from the holy land.

Oh, God, I think it was a..
What was it? Uh..

Sugar and quinine, and he
sent me out for.. What was it?

Gum Arabic and..
What was it?

Uh, t-thyme.

Yeah, and w-we put
'em up in pills.

You know, and roll 'em.

Put 'em in a box,
and shake it.

To frost them
with these cloves.

Cloves that I had powdered.

And it gave them
a marvelous taste.

A bitter after taste but..

And he would
stop me, you know?

Stop me from eating them.
I rather liked them.

But he would not give me
money for sweets.

Isn't that funny?
I, I..

Back from the holy lands.

Most of the people had
sexual complaints...I think.

Uh, the insecurities,
you know..

But the thing of it was

and for which I will
always be grateful.

He said address them.

Look 'em straight in the eye.
You talk out to 'em and you say

I know, and we are
here to help you.

And I..

I looked...before me..

...at this young boy and-and..

200 people,
200 wanderers

going from this place
to that.

Had been stopped
by the sound of my voice.

Oh, they had been coalesced
into an audience

by the sound of my voice.

They just stood there
around me rapt.

Waiting for the next word.

As they stood on the quay
in Alexandria.

As they stood in the desert,
as they stood in Rome.

In cities and civilizations,
lost to memory.

Roll up.

You sent for me.

I have come.

And I hold in my hand..

Good old man.

Good for me.

What the hell,
it's all show business.

[jazz music]

Now all the youth
of England are on fire

and silken dalliance
in the wardrobe lies.

Now thrive the armorers,
and honor's thought

reigns solely
in the breast of every man.

(Robert)
'Ah, sweet poison of the actor.'

'Rehearsing in an empty theatre
upon an empty stage.'

(Robert)
But full of life,
full of action.

Full of resolve,
full of...youth.

Please continue.
I'd like you to.

I'm sorry
does this upset you?

Does it upset you
when someone is watching?

I'm sorry, I understand that.

It is good. It is quite...good.
I've been watching for awhile.

I hope you don't mind,
do you mind?

- Well, I only just began.
- Yeah, I know.

And I have been watching
and it seems so full.

You're very good.
Have I told you this lately?

You're becoming
a very fine young actor.

The flaws of
the youth are, are..

...are the prerequisite
of the young

It is the prerequisite
of the young

to possess the flaws
of the youth.

It's fitting, yes.

Don't mock me.

John, you shouldn't mock me,
it's too easy.

It is not good for you.

No, and that is a lesson
we have to learn.

That you should learn.

And what is that?

That it is a hurtful flaw

to confuse sincerity
with weakness, John.

- I must tell you something.
- 'And what is that?'

Simply this.

In the theater as in life..

Yeah, and the theater 'course
is a part of life.

You see, you see
what I'm saying?

That just as at the beach,
or at the grocery store

one cannot separate
the time one spends.

It's part of your life,
do you see?

In addition to the fact that
what happens on that stage

is life...of a sort.

It's a part of our lives.

That is one of the reasons I am
so grateful, if I may presume.

I recognize that
it may seem presumptuous..

...to see you.

'To the young of the theater.'

'And no, it's not unlike
one's children.'

Following in the footpaths,
the footsteps

of those who went before.

Do you see what I'm saying?

I would like to think you did.

Do you?

John..

Well, well..

Goodnight, John.

- 'Goodnight.'
- Goodnight. I'll see you.

They sell the pasture now
to buy the horse.

Following the mirror of all
Christian kings

with winged heels,
as English Mercuries.

For now sits expectation
in the air.

And hides a sword..

Are you back there?

Robert, are you out there?

I see you.

I see you out there.

Robert?

(Robert)
'I'm just leaving.'

No, you weren't just leaving.
You were looking at me.

'On the way out.'

On my way out!

Christ, you make me feel small.
You make me feel small, John.

I don't feel good.

Are you crying?

'For Christ's sake, Robert,
are you crying?'

Yes.

'Well, stop crying.'

Yes, I will.

No, stop it now.

Stop it, please.

Better?

Yes.

- Are you alright?
- Yes, I'm fine, thank you.

I'm alright,
I just suppose I'll..

You're gonna work some more?

What?

- Are you--
- Yes, yes.

'Well, then I suppose I'll..'

I was leaving anyway.

Goodnight.

Goodnight, John.

Are you alright now, Robert?

Robert, are you alright now?

'Yes, fine, thank you.'

'I-I'm alright.
I'm fine.'

'You're not angry with me,
are you?'

No.

'You're sure?'

Yes.

'I'm glad you are.
Thank you.'

(John)
'Goodnight, Robert.'

Now all the youth
of England are on fire..

Robert?

Robert?

'Are you still out there?'

Are you still out there?

[sighs]

They sell the pasture
now to buy the horse

(both)
Following the mirror
of all Christian kings

With winged heels,
as English Mercuries.

For now sits expectation
in the air

And hides a sword.

(Robert)
'Gingerly, gingerly now.'

'Measure twice
and cut once, eh.'

You're allowed to laugh.

Give me some suction there,
will you, doctor?

That's good.

Christ, what I'd give
for a cigarette.

Uh, in just a few minutes I
think I'll join you in one.

- Nervous, Jimmy?
- No. Yes.

[laughing]

In a few years you'll be
doing these in your sleep.

Suction, suction.

Retractor.

- No, the large retractor.
- Sorry.

That's alright,
just give me another one.

Thank you.

What's that?

What's that?

No..

Uh, co-could you give me
a reading on the, um, electro..

Please, would you?

Would you please get me
a reading on this man?

What's that?

What is what?

What's that near his spleen?

A curious growth
near his spleen.

What?

A curious growth
near his spleen.

Is that one there?

No, I think not.

I think we cannot see a curious
growth near his spleen

for some time to come.

Before the man goes
into shock, would you please

get me a reading on his
vital...statements?

Th-the functions..

Would you do that
one thing for me? Hmm? Please?

I fear I must disagree
with you, doctor.

Now, will you please give me
a reading on his vital things?

For the love of God!

That's in the other part.

No, it is not.

He's in shock.

He is in shock!

I'm getting miffed with you.

If you desire to work
in this business again

will you give a reading?

Huh? If you want to work
in this hospital..

Do I have to
call a policeman, hmm?

Have you no feelings?
The man is in deepest shock!

Where are you going?

You quitter!

Ladies and gentlemen..

...what we have seen
here today is..

I will not say a perfect,
but a very good example

of successful
surgical technique.

Performed under modern
optimum conditions

'with a minimum of fuss.'

A minimum of mess,
and bother

and I hope that you have..

That you..

[tires screeching]

[dramatic music]

[music continues]

My God, I've cut myself.

[laughing]

What have you done?

I'm bleeding. Hey..

You know what a silly accident,
can you believe this?

Come on.

How good of you to come.

We're taking you
to the hospital.

No. I'm-I'm alright now,
I see that. Yes, really.

- Come on.
- No, no.

All kidding aside,
no, I am quite alright.

My razor slipped.

I'm fine now.

I had that moment though.
Yes, really.

'But I-I'm..
John?'

'I'm fine.'

I'm fine.

Did you know, John..
Did you know in olden days

they used to say
"clean shaven like an actor?"

'Did you know that?'

Are you alright?

Yes. Oh, yeah, I'm fine.

I lost a little blood is all.

It's nothing to it,
just a mishap.

'Clean shaven.'

Robert, what's wrong with you?

No, nothing is wrong with me.

My hand slipped.

I'm tired.

That's all,
I'm just tired.

I need to rest.

We all need rest.

Too much.

Just too much.

You understand?

- I'm calling you a doctor.
- Oh, no. No, you're not.

No!

Please! Please!

'It's good of you to come.'

I see I have disturbed you.

It was for nothing at all,
you can go home now.

'I'm fine.'

'I was only tired
and that's all.'

See, we think we see things
clearly when we haven't slept.

But we do not,
and I've cut myself.

Dirtied up the basin..
But it's all fine now.

I think I need to
get some sleep.

I disturbed you,
I have no excuse.

I'm sorry, I was only tired.

I'm going to sit here a while,
and then I'll get to bed.

'I'm alright!'

I'll be alright tomorrow,
I'll be my old self.

I'm alright now. Really.

Thank you.

I'll sit here a moment
and then I'll go to bed.

Thank you.

[dramatic music]

[sighs]

[music continues]

I loved the staircase
scene tonight.

- 'You did?'
- Just like a poem.

I thought the execution
scene worked beautifully.

Oh, you didn't.

- Yes, I did.
- Oh, thank you.

It's getting cold, huh?

- Yes.
- Getting cold, huh?

Cold in our bones.

Winter on the way,
the smell of snow in the air.

You know, the old man always
wanted me to be an actor?

- Did he?
- Always wanted me to be.

Roll up and be a prize.

- Well..
- Rain?

- I think it might.
- Oh.

- Got a fag?
- Yes.

Always wanted me to be.

Thank you.

- Got a light?
- Going out?

Yes.

No, I'm going
with some people.

Do you have a match?

You're going out tonight?

I suppose.

Not eating well these days.

- 'No, huh?'
- No.

- 'Why?'
- Not hungry.

Here, I got it.

- Do you mind?
- No.

Thank you.

- A life spent in the theater.
- Hmm.

- Backstage..
- Yes.

Buzz, the house,
drafty holes.

- Penciled scripts.
- Yes.

Oh, the stories,
the stories you hear.

I know.

It all goes so fast.

It goes quickly.

You think that I might
borrow 20, until tomorrow?

- You short of cash?
- Yes.

Oh, oh, here.

You sure you won't need it?

No, of course not. No.

If I don't know
how it is, who does?

- Here.
- Thank you.

- Goodnight.
- Goodnight.

- You have a nice night.
- I will.

Goodnight.

[whispering]
Ephemeris, ephemeris.

Oh, for an actor's life.

You have been so kind.

Thank you.

You have really..

...been so kind.

And I speak, I'm sure
not for myself alone but..

...on behalf of all of us,
all of us here

when I say that these moments..

...these moments make it all..

Just make it all worthwhile.

You know..

[door opens]

They're locking up.
They'd like us all to leave.

- I was just leaving.
- 'Yes, I know.'

- I'll tell them.
- 'Would you?'

- Yes.
- 'Thank you.'

Goodnight.

Goodnight.

The lights dim.

Each to his own home.

Goodnight.

Goodnight.

Goodnight.

[instrumental music]

[music continues]

[music continues]

[music continues]

[music continues]