Original subtitles

[kids chatting indistinctly]

KID: Hey, get out of the way!

KID: Oh, my God, wait. KID: Ow!

You're stepping on my toe. Jesus.

Let me see! ANNA: Yeah, I mean, you don't really know‐‐

‐ [shrieking] Oh, my God!

Oh, my God, oh, my God. I got it, I got it, I got it.

‐ Congratulations! That's amazing.

MAYA: I think you go it. JESSICA: Oh, my God! Yes!

MAYA: I think you got it. ANNA: You do?

MAYA: I do, I do, I do. ANNA: Sorry, you guys.

Excuse me. Sorry.

MAYA: Wait.

Oh, my God.

ANNA: [gasps]

Oh, my God. ‐ That is not real.

That's not real. That's not real.

‐ That's the lead.

‐ Oh, my God! ANNA: [laughs]

‐ Wait. ‐ That is incredible.

MAYA: Wait.

‐ Is there another list, though?

Okay. ‐ Oh, my God, no, I'm sorry.

‐ No, it's fine. MAYA: No, no.

It's so fucked up you didn't get

a role and I did.

‐ No, it's fine. ‐ No, it doesn't make sense.

You're literally the best actress in our school.

Like, you're so much better than me.

I don't want to do it without you.

BOTH: Oh, my God, Maya!

‐ Hi. Oh, my God.

Thank you. ‐ I know! It's amazing.

JESSICA: You're gonna be so good.

‐ Oh, my God. You're gonna be so good! ‐ Hi. No, no.

No, you guys. You don't even know.

I've, like, never done this before.

I've never acted. JESSICA: You're gonna be so good.

MAYA: Stop saying that!

SINGER: ♪ I ♪

♪ I am hiding ♪

♪ The you I show to you ♪

♪ Is just a lie ♪

♪ You take what you want ♪

♪ You get what you take ♪

♪ Lie ♪ SINGER: ♪ So high, high, high ♪

‐ I'm not going in. ‐ You're incredible.

‐ No, I'm not. I'm not. I suck.

‐ You have to go in, Maya. ‐ I quit. I'm not going in.

No, please. I want you to go in.

You're better than me. JESSICA: First rehearsal!

‐ [squeals] I know! I'm so excited.

No, I can't do it. Please.

Just come in for a little.

‐ I don't know. ‐ Please, please, please!

‐ No, it's embarrassing.

Maya. ‐ No, I can't go in. Please.

Please. Please. ‐ Maya. Maya.

Okay. Okay. Okay.

You want some milk? ‐ Yeah.

‐ All right.

Shh. MAYA: [whines]

ANNA: Latch.

Maya, latch, latch.

‐ [cooing] ANNA: That's better.

‐ [groaning] ‐ Maya, no.

No. Ma‐‐ow! Maya!

Ow! ‐ Maya?

MAYA: Yeah. ‐ Are you coming in now?

We're about to start.

‐ Yeah. ‐ Hello.

I'm sorry, who are you? ‐ Anna.

‐ Anna. ANNA: I just wanted to say that

I know that you "cast" your play already... GREG: Uh‐huh.

ANNA: But if you have an understudy role, I'm free.

‐ She's actually, like, a really good singer

and actor and stuff.

She had this "Ave Maria" solo

a while back that was really good.

Here, sing it. ‐ ♪ Ave ♪

♪ Maria ♪

It's whatever.

‐ Wow.

You have a really great range.

But we're about to have our first rehearsal now, Maya,

so we're ready whenever you are.

Great to meet you. Keep‐‐keep going.

You're really some‐‐great. ‐ Sure thing.

Thank you. ‐ Okay.

‐ Okay. So it's just you.

‐ Okay. [sighs]

I'm sorry.

ANNA: No. Have an amazing time. You got it.

You got it. ‐ No, I don't want to go without you.

[groans] ANNA: You've got it.

‐ I love you. ‐ I love you.

‐ So, here we are. Congratulations.

I'll give you a little backstory.

The play is an original piece,

which means I wrote it.

And for you guys as the actors,

my whole thing, my mantra, it's gonna be real and honest.

If you're not real and honest with me,

if you're not real and honest with yourselves,

and if you're not real and honest with each other,

then this whole thing is bullshit.

Now, there are four of you in this ensemble

and by the end of this rehearsal,

there will be three.

So who here doesn't belong?

Come on.

Ian, who doesn't belong?

[snapping] ‐ Um, I'm, um‐‐

GREG: Come on. ‐ Sorry, it's just hard.

GREG: Real and honest.

‐ Um, I think I would pick...

[sighs]

Maya.

It's just, in every drama class since third grade,

you haven't, um, showed anything that I've noticed.

I don't think you have, like, "it" charisma.

You're just kind of wild

and out of control.

GREG: Thank you, Ian.

Well...

That was just an exercise.

[laughs]

Relax. You guys all belong.

Relax. [laughs]

You're here. You're in.

‐ [laughs] ‐ Good.

Very real, very honest.

Now we can start.

Good job, guys. Really good job.

Relax. Take a deep breath.

[all exhale]

How'd you guys feel?

[melancholy music]

♪ ♪

[applause]

TEACHER: Trailview Middle School's

performing arts showcase.

[applause] ["Ave Maria" piano melody]

ANNA: ♪ Ave ♪

♪ Ave dominus ♪

♪ Dominus tecum ♪

CHOIR: ♪ Benedicta tu ♪

♪ In mulieribus ♪

♪ Et benedi‐‐ ♪

Oh, my God.

[exhales]

BRENDAN: Hey, Anna. ‐ Hey.

[duct tape ripping]

‐ Want some duct tape?

‐ What?

‐ We're making wallets.

‐ Oh. BRENDAN: Here.

‐ Oh. Ow.

What are you guys doing here?

BRENDAN: We're techies. I'm the lighting designer.

Marissa's props.

‐ [clears throat] ‐ Sorry, babe.

Master of props.

We handle all the technical elements of the play

and build sets.

‐ Wow. Talented couple.

Do you have, like, a teacher or anything?

Supervisors? BRENDAN: Kind of.

Steve's a freshman

and he's supposed to supervise us,

but lets us do whatever till tech week.

STEVE: You mean Hell Week, peasants.

MARISSA: 'Sup, Steve?

‐ [sighs]

You two watch Final Destination yet?

BRENDAN: It's on my list.

Horror's an easy genre to fuck up.

Watch it, Kone?

STEVE: Is it James Wong's sonata?

Obliviously not, but you should watch it

if you think films are worth watching.

‐ Okay, people. Very exciting moment.

Getting our official show scripts.

You only get one of these, so take very good care of it.

Go ahead.

Highlight your character's parts

and your dialogue.

There are four highlighters there.

‐ Wow, Maya. You get to highlight a lot.

‐ Whoa. Maya and Gabe kiss.

‐ Okay, Jessica. [scoffs]

‐ No, Jessica's right.

There is a kiss in the first scene.

Which we are gonna have to make as real and honest as possible.

[soft dramatic music]

♪ ♪

Anybody have any questions yet?

[computer dings]

SINGER: ♪ Does this train go ♪

♪ To paradise? ♪

[keys clacking]

[soft pop music playing over stereo]

[computer dings]

[computer dings]

[loud thud] CURTIS: Do you want to give it a rest?

I'm trying to read.

KATHY: I'm just prepping

in case the judge decides that I don't get the house.

Okay?

[computer dings] Anna, look.

I found your old Nintendo.

‐ That's a broken Game Boy.

We're trying to read.

[keys clacking]

[computer dings]

[computer dings]

CURTIS: I'm the one that should be worried, all right?

It's not like that female judge is gonna rule in my favor.

KATHY: All the more reason to help me.

Anna, look!

Your "most improved" trophy.

Keep it? ‐ No.

I don't know why I'd need that, so‐‐

KATHY: How 'bout your glitter? Keep that?

You still love crafts, don't you? ‐ Mom!

I don't want any of that stuff.

Like, I don't do that anymore.

CURTIS: Glitter's for kids, Kat.

ANNA: You keep talking to us while we're reading.

Like, stop.

♪ ♪

[computer dings]

SINGER: ♪ Does this train go? ♪

[computer dings]

♪ This train go? ♪

[computer dings]

[keys clacking]

♪ ♪

[computer dings]

[computer dings]

[computer dings]

[soft music]

[keys clacking]

[computer dings]

♪ ♪

‐ [groans]

[murmuring] Sheila was backing away from you.

Sheila was backing away from you.

Don't you dare make another drink.

Don't you dare!

I'm warning you, don't do it.

[with accent] Were you doing your business with Sheila?

[with different accent] Were you doing your business?

[with different accent] Were you‐‐were‐‐

[stammering] [sighs]

[with New York accent] Were you doing your business

with Sheila, you rat bastard?

You rat bastard!

Were you doing it with Sheila, you rat bastard?

Get away from me!

Yeah.

You get your hands off me, you pig.

[lights clicking] [dramatic music]

[horns honking, people chatting]

You know,

I could call you Mommy

and you wouldn't know the difference.

♪ ♪

Mommy.

Mommy.

Mommy, get me water. Get me turnips.

♪ ♪

Yeah.

You're not a man.

You know, a real man,

he grabs a woman,

he takes her by the neck, and says,

"Everything's gonna be all right."

Oh, what?

What, you gonna hit me?

Yeah, that's what I thought.

You don't even know what it takes

to put your flesh against someone else's.

You just sit. That's all you do.

You sit, you sit, and you sit,

and you wait for someone to come by

and tell you what to do.

Well, you know what? I ain't gonna do it no more.

I'm not gonna sit.

I'm not gonna wait around for anything.

I'm gonna swim! I'm gonna fly!

I'm gonna be the best goddamn person

that ever fucking existed!

You hear me?

I'm it, baby.

I am it!

[sniffs]

♪ ♪

‐ A real man grabs a woman...

grabs a woman by the neck

and‐‐ya hear‐‐

it takes flesh...

takes flesh to g‐‐ ‐ [loudly chewing]

MAYA: Against someone's.

Sorry.

Can I start again?

‐ Mm‐hmm.

GABE: [loudly chewing]

‐ Um...

it's the flesh that takes against someone else's‐‐

what it feels against someone else's.

[dramatic music] ‐ [loudly chewing]

‐ If it‐‐ ‐ [loudly chewing]

‐ When you feel the flesh against‐‐

GABE: [loudly chewing] ‐ Sorry.

Gabe, can you, like, stop eating your sandwich right now?

'Cause you're taking me out of the scene.

I'm, like, trying to‐‐ GREG: This is good.

See, if you were really in the scene,

then you wouldn't have been distracted by Gabe's eating.

You see that? ‐ Yeah, I agree.

I feel like I was in the scene and I was, like, really‐‐

‐ Imagine you're in a theater of 300 people, okay?

‐ Uh‐huh? GREG: Do you think they're all

just gonna sit quietly and watch?

People are gonna get up to go to the bathroom,

they're gonna be whispering to each other,

they're gonna be coughing, there's‐‐

papers are gonna be crinkling all over the place,

but you can't stop.

You gotta keep going.

‐ I promise you, like, I did this last night.

I was really good.

‐ If you're in the moment, then you're not distracted

with what's going on around you.

‐ I was in the moment

'cause that's happening in the moment.

GREG: Right, where you were in that moment.

‐ Yeah. GREG: Not that one.

‐ Right.

GREG: So...

‐ Okay.

JESSIE: I'm telling you, one screw, man.

BRENDAN: Two. MARISSA: Babe, listen to her.

She's a carpenter.

‐ Freaking hot. Is the air on?

JESSIE: No, they only put it on during Hell Week

for the actors.

BRENDAN: [groans]

‐ You guys know I can make myself cold on demand?

It's 85 degrees in here

and I'm fucking freezing.

BRENDAN: Steve, you've gotta show me how you do that.

JESSIE: Yeah, but like I was saying, one screw‐‐

STEVE: Here. You'll need this.

BRENDAN: Two. JESSIE: What's two gonna do?

‐ Oh, I'm not really sure I'm gonna stay

'cause I don't know if I'm really, like, built

for this kind of thing.

‐ "Adapt what is useful,

"reject what is useless,

and add what is specifically your own."

Bruce Lee.

‐ Hmm. Okay.

‐ Build yourself to build a set.

‐ Cool.

‐ You don't know what it takes.

I don't even know.

Ya hear‐‐

[sighs]

‐ Okay. MAYA: Sorry.

‐ It's all right.

We're gonna try something different.

Put the script down. Script down.

Plant your feet.

Bend your knees.

Slight bend so you can have a little bounce.

Now shake it out. Ha, ha, ha.

‐ That's stupid.

‐ Shake it. Be stupid.

[grunting loosely]

[both grunting loosely]

Let those hands go.

[both grunting loosely]

Ha, ha, ha, ha, ha!

Good.

Now what are you scared about?

‐ [laughing] What?

‐ What are you scared about?

‐ Nothing. ‐ What are you scared about?

‐ Nothing. ‐ What are you scared about?

‐ Nothing. ‐ What are you scared about?

‐ Nothing. ‐ What are you scared about?

‐ Dying. ‐ What are you scared about?

‐ My dad!

‐ Good. Gabe, now. ‐ [sobs]

GREG: Take it from the end of that scene.

Don't worry about the lines.

You gonna hit me?

‐ You gonna hit me? ‐ Yeah.

‐ All right, come and hit me.

Hit me real good, right in the jaw.

‐ You shut your goddamn face or I'll give you a real shiner!

‐ Yeah, you think you're tough?

Come at me, baby! I'm ready.

I'm ready to feel something.

I haven't felt something in years.

‐ You say one more word, I swear‐‐

‐ Yeah, you swear what?

You gonna cry home to your mommy?

Mommy, Mommy, Mommy, Mommy!

‐ You shut your mouth. ‐ Yeah, or what?

[dramatic music]

[spits]

♪ ♪

[clapping]

‐ No clapping during rehearsal.

Maya, Gabe...

there it is.

That was it! There it is!

‐ Wow, Maya, I was wrong.

You have "it."

‐ [laughs]

I don't even know what happened.

I was, like‐‐ I, like, blacked out.

That was so weird.

I felt‐‐like, I spit on you. I'm sorry.

‐ Oh, no. I loved that.

Like, I didn't even feel it. It made me so angry, like‐‐

‐ [laughs] ‐ Like, in the scene, yeah.

‐ I know. I'm, like‐‐look.

I'm literally shaking right now.

‐ Oh, my God, me too. Look.

[romantic music]

♪ ♪

GREG: Let's take ten.

After the break, we're gonna get into the kissing scene

because I think we're ready.

Just be honest and honesty will follow.

BOTH: Ooh!

GABE: Shut up, dude.

‐ Yeah, stop.

‐ Spielberg used two screws in every beam in Jaws.

Look it up. ‐ No, one screw.

You put in two screws and you risk splintering it.

‐ Two screws ensure it doesn't break.

‐ Sorry. Oh, no, keep going.

Be right back. Whoopsie‐daisy.

‐ If we put two screws and we break it,

it's all gonna be your fault.

BRENDAN: It won't break. JESSIE: Yes, it will.

BRENDAN: No, it won't!

‐ Hey, sorry.

Um, I was just thinking that,

like, maybe they could just stop arguing.

It would be a little bit more efficient

if they just tried, like, the two screws

'cause I already finished, like, six beams

and we can't really move on till that one's done.

So maybe you could just say something or...

‐ Why don't you say it to them?

‐ Okay, sorry.

[indistinct arguing]

JESSIE: We're not gonna get in trouble

if we just do it my way, and you know what? ‐ Yeah. [laughs]

JESSIE: If it doesn't work, we can just put in two screws.

Fine, but I already know it's going to work with one screw.

‐ [softly] Hey, so‐‐ BRENDAN: It won't work.

‐ [louder] Sorry for interrupting.

Not to be bossy, but I was just gonna say,

like, what's the point of all the talking?

‐ We're trying to build this beam correctly.

‐ Right.

But I'm just saying, like, Hell Week's coming up,

and, um‐‐

‐ Look, why won't you guys just listen to me?

‐ Trust me, okay? ‐ There's a bunch of...

stuff that has to get done.

We have to do it quickly

and, like, I think you should just make a decision

and if you make a decision, then we can just get it done

and move on, and if you don't,

then you're just wasting your own time.

I'm sorry. [laughs nervously]

It's just a thought I was having

and I just wanted to share it,

but it's probably stupid.

‐ Guys, I think she's right.

‐ [sighs] I know. I just wanted to‐‐

STEVE: "Knowing is not enough.

"We must apply.

"Willing is not enough.

We must do."

Bruce.

Okay, Obi‐Wan Kone‐obi.

What do we do next?

[upbeat music]

♪ ♪

IAN: Your scene work with Maya was really inspiring.

‐ Oh, uh, thanks.

SAM: Yo, Gabe!

‐ Heard you guys had a crazy sleepover.

SAM: What a ridic‐‐

like you weren't doing the same thing?

Come on.

‐ At least I wasn't tag‐teaming like you homos.

SAM: Okay.

‐ Yeah, well, this homo gets to kiss Maya,

so who's the homo now, faggots?

‐ Well, yeah, you know it's not a real kiss, though.

'Cause it's in a play.

‐ Yeah, well, she's hot,

so I don't care if it's real or not.

‐ Okay.

GABE: Okay.

‐ Later. ‐ [softly] Later.

[staple gun fires] ‐ Half beam, go.

Faster. Go.

Yes. Move.

Sorry to say that. [laughs]

Bring it in. Faster. Yes.

Yes, you guys. Yes. Support.

Support is my middle name.

Oh, my God.

We're good.

GREG: All right, gang. Welcome back.

So let's take it from the end

of the first scene

at the line, "Get away."

‐ Get away from me.

‐ Isn't this what you want?

‐ You don't know the first thing

about what I want.

You get your hands off me, you pig!

GABE: Oh!

Or what?

♪ ♪

Uh, sorry, uh...hold.

Um, Greg, uh, can I have a little aside with Maya?

‐ Whatever you need.

GABE: Okay.

I'm sorry. ‐ No, it's okay.

Was it my breath?

‐ Oh, uh, no. It's just, um...

like, I just wanted to make this official,

you know, before we...uh...

do it, so, like...

um...

Do you want to be my girlfriend?

You don't have to answer now. ‐ Yes.

‐ Okay. ‐ Okay.

‐ Sick. ‐ Oh, my God.

‐ So, like, in rehearsal‐‐ ‐ Yeah.

‐ Whenever we kiss, um‐‐

in rehearsal, whenever we kiss,

it's gonna be, like, Joe and Debra, you know?

‐ Yeah.

‐ And I want to kiss as Gabe and Maya.

‐ [laughs]

That's literally the most romantic thing

I've ever heard.

‐ Okay. [both laugh]

So let's save it then. Let's save our first kiss.

‐ Okay. So when?

‐ For, uh, let's‐‐ first date.

We'll do it on our first date.

‐ So when?

‐ The last night of Hell Week.

‐ Okay. ‐ Okay.

‐ Wait, what's Hell Week?

JESSICA: Oh, you'll see.

‐ [whispering] Oh, my God, they heard us.

‐ They heard us.

GREG: [clears throat] Guys, are we ready yet?

MAYA: Sorry, yeah. Yeah. GABE: Yeah, yeah, yeah, yeah.

♪ ♪

ANNA: Like, just, like, the shading here

and then it kind of has, like, a vibe with it.

The kind of feel of the night. [laughs]

♪ ♪

‐ Going into Hell Week, gang.

It's gonna be intense.

Sure, a play needs actors

and writing, blah, blah.

BRENDAN: Actors suck!

STEVE: But it really is about the behind the scenes

that makes it all happen.

And Kone, you fucking led us there.

I'm making you stage manager.

♪ ♪

‐ Oh, my God.

♪ ♪

[ West Side Story "Prologue"]

[tense musical theater music]

♪ ♪

‐ Hey. ‐ Hey.

‐ Hmm.

‐ [laughs]

‐ Oh.

You looking for these?

♪ ♪

It's 4:00. Actors are called at 4:10.

♪ ♪

Oh. [laughs]

Let's go.

♪ ♪

‐ Yeah, that's on me, guys. I got the time all messed up.

STEVE: You're in the driver's seat, Kone.

Here's what's gonna happen. ‐ Okay.

‐ The actors are gonna be so fucking excited

to step onto stage,

they're gonna walk around barefoot,

but there are nails, there is sawdust,

this is not a playground.

You own the space.

Don't let them‐‐ MAYA: Oh, my God, you guys!

[gasps] IAN: This is so big!

MAYA: This is crazy!

This is, like, so big.

♪ Oh, my God ♪

♪ Gonna be awesome ♪

♪ Gonna sell out ♪

[indistinct singing]

Hey! Ha! Ha!

Ha! Ha! [vocalizing]

ANNA: Okay.

Places for the‐‐

it's not‐‐it's not, uh‐‐

‐ ♪ In the spotlight ♪

♪ Everybody sees me ♪ ‐ Turn it up.

‐ ♪ Everybody say hey ♪

‐ [over speakers] Places for the top of act one.

Please?

‐ Hey, Anna. ‐ Hey, Maya.

Please, can you do that? And put your shoes on.

‐ We usually rehearse without shoes, but‐‐

‐ And then we'll do places for the top of act one.

‐ Okay.

[scoffs]

[laughs]

‐ Guys. ‐ Shoes are over there.

♪ Our shoes are over there ♪ ‐ Oh, God.

‐ We have our shoes over here.

I‐‐they're not back here. ‐ Oh, my God.

Tech week, people. Take it from the top.

‐ I saw you!

I saw you with my own two eyes!

ANNA: Hold.

Yeah, stay right there. Hold.

‐ I didn't even finish my line.

‐ Kay, it's more important that we mark this cue.

It's a lighting thing. You wouldn't understand.

Okay, we got it. Act.

BOTH: You‐‐

‐ Oh, is it your line? ‐ Yeah.

I saw you with my own‐‐

ANNA: Hold. ‐ Oh, my God.

‐ Why do you keep going like this?

If you're not gonna do that on the day,

don't do that, okay?

‐ Seriously? ‐ Did you get it?

‐ Yeah. ‐ Okay, we got it. Act.

‐ For ten years, you've told me‐‐

ANNA: Hold.

You're not in your light.

Still not in your light.

‐ I'd rather go to jail‐‐

ANNA: Mai, that's you. ‐ Line.

‐ "I'd rather go to jail

than spend one more minute with you."

‐ I have it. Thank you.

‐ To your left. Your left.

The other left. ‐ Anna, let me finish the line.

ANNA: Hold. Go 132.

Hold. Hold, I said.

Hold. Hold!

Hold.

‐ We're just getting up. ANNA: Hold.

Walk it through slowly so we can get the marks.

‐ [in slow motion] Saw you with my own two eyes.

‐ Slower physical.

‐ [slower] Rat bastard.

‐ Faster vocal.

‐ I saw you backing away from Sheila. Sheila was a rat bastard.

Sheila was a rat bastard. I saw you backing away from Sheila.

‐ What are you gonna do, Debra?

You gonna divorce me?

‐ I don't even know what we're doing anymore.

I'm really confused. ‐ Can you do it full‐out?

‐ I don't wanna do it full‐out right now.

I don't want to go at 100. I'm gonna go at‐‐

‐ If you are doing something different

than what you're doing on the day,

we're not gonna know our cue.

‐ Oh, my God.

ANNA: Please let us do our work.

‐ Uh, can you say it again?

‐ You keep forgetting your lines.

‐ Okay, sorry!

ANNA: Find your light. ‐ Is that it?

ANNA: Colder. ‐ Is that it?

‐ Colder. ‐ Is that it?

ANNA: Ice cold. ‐ Is that it?

‐ Oh, my God. ‐ Is that fucking it?

Line? ‐ Damn it, Maya!

‐ I cannot act

when you're yelling technical cues.

I cannot do it.

I don't know where the light is!

‐ Whose fucking beeper is that?

‐ [sobbing] Did I find it?

‐ This is our time in the tech world

to make sure that you guys don't mess it up.

No offense. ‐ I can't feel it.

‐ Feel the warmth! ‐ Give us space‐‐

‐ Take a‐‐take a‐‐ ‐ To breathe and say our lines!

If I can't say the lines, then I can't act!

‐ I‐I can't‐‐

we're fucked.

So it's really simple.

I'm in my light.

Not in my light.

I'm in my light.

Not in my light.

‐ Can I just interject?

‐ Yeah. ‐ It's called warmth.

You feel the warmth when you're in the light.

‐ Can I interject on his interjection?

I'm not feeling warmth.

Like, when I stand in the lights,

I don't know about you guys,

I don't feel it on my skin or anything.

‐ These are grade A lights.

‐ Okay, we don't have a lot of time,

so props.

You guys need to put your props back down on the props table.

I cannot emphasize it enough.

‐ Sorry, but every time Marissa places my prop

on stage left,

it's actually meant to be on stage right where I exit.

‐ Actually, you're using the bottle

at the top of act two

when you should be using the broom.

‐ Okay, you guys, we don't have time to talk about this.

So basically, the thing is,

is you just put your prop back on the prop table.

Maya, got a note for you.

You gotta remember your lines.

That's the only way that we know our cues

and you need to memorize them.

‐ I did memorize them.

If we had enough time to go over them, I'd be able‐‐

‐ Maya, we can't do the work for you.

‐ I'm not asking you to do the work for me.

I was doing the work.

'Cause you guys are doing tech

and we're, like, doing art, so‐‐

ANNA: Kay, tech is art, so‐‐

‐ Fuck the semantics.

Just fucking remember your lines!

‐ All right, all right, okay.

Very good. ‐ [coughs]

[intense music]

‐ Was that a cough, Gabe?

‐ Oh. Yeah, it's‐‐ I'm fine, though.

‐ All right. Everybody freeze.

We're done.

I am not gonna have my actors get sick, okay?

Gabe, I'm not messing around, okay?

Go home, steam your sinuses,

and you gargle three times with salt water, okay?

Everybody else, techies included,

go home, get some sleep, at least eight hours,

and please, please wash your hands!

Thank you. ‐ I'm still‐‐

GREG: We're done. ‐ Okay. Memorize‐‐

‐ Good night. ‐ And memorize your lines.

GREG: Thank you, Anna.

ANNA: I'm sorry I'm yelling.

‐ Are we still on for our date tonight or no?

‐ I mean, I might be sick.

‐ Okay, well, I can take care of you.

Sick boy. [laughs]

[chuckles]

See you tonight, boyfriend.

‐ Yeah. That's me.

[sniffles]

‐ Actually, that's the cue 32.

Like, I'm just so‐‐ fucking hell.

I can't handle these actors.

Like, I can't.

We didn't even have a dress rehearsal

'cause they're so fucking incompetent!

‐ Shh.

‐ Sorry.

[sighs]

‐ I was sweating bullets 2.6 seconds ago.

Look at me now.

‐ Mm‐hmm.

‐ This play's a pile of dog shit.

But you can change it with your mind.

You get me?

‐ Okay.

SINGER: ♪ My one and only ♪

[soft music playing over boombox]

‐ Gabe, you girlfriend's here.

And she's so cute,

I won't even leave the door open.

‐ [laughs] ‐ [mouths words]

‐ [quietly] Mom.

♪ ♪

‐ Hi, boyfriend.

‐ Hi.

‐ I brought masks and soup.

‐ I don't think I'm sick.

‐ Well, just in case.

♪ ♪

[both laugh softly]

‐ I love this song.

‐ It's my favorite.

‐ Me too.

♪ ♪

‐ Oh, my God.

Rehearsal was, like, complete shitake.

Literally.

‐ Literally?

So it was a mushroom?

[both laugh]

♪ ♪

‐ Yeah.

♪ ♪

‐ What?

‐ Do you want me to feed you the soup?

‐ Nah, I'm good.

‐ Okay.

♪ ♪

‐ [singing gibberish]

[laughs]

SINGER: ♪ It's only a tiny space ♪

♪ That keeps us apart ♪

♪ ♪

‐ Whoa, whoa, whoa.

SINGER: ♪ But never lonely ♪

‐ Hold on. ‐ Sorry.

‐ [clears throat] I just, uh...

SINGER: ♪ You are always here ♪

‐ [whispering] Sorry.

‐ I just, uh, didn't want you to get sick, you know?

[both laugh]

Here we go. ‐ Kay.

‐ Get a good hold on it.

♪ ♪

Good? ‐ Yeah.

MAYA: I don't want you to get sick either.

[Tony Bennett's "The Way You Look Tonight"]

♪ ♪

BENNETT: ♪ Someday ♪

GABE: Care to dance?

MAYA: [laughs]

BENNETT: ♪ When I'm awfully low ♪

♪ When the world is cold ♪

♪ ♪

♪ I will feel a glow ♪

♪ Just thinking of you ♪

♪ ♪

♪ And the way you look tonight ♪

♪ ♪

♪ Oh, but you're lovely ♪

♪ ♪

♪ With your smile so warm ♪

♪ ♪

♪ And your cheek so soft ♪

♪ ♪

♪ There is nothing for me ♪

♪ But to love you ♪

♪ ♪

♪ Just the way you look ♪

♪ Tonight ♪

♪ ♪

♪ With each word ♪

♪ ♪

♪ Your tenderness grows ♪

♪ ♪

♪ Tearing my fear apart ♪

♪ ♪

♪ And that laugh ♪

[twinkling]

MAYA: It feels like...

there's a bunch of butterflies fluttering around in my chest.

BENNETT: ♪ Touches ♪

[music distorts] ♪ My foolish heart ♪

‐ Yeah.

‐ Can we do a real kiss now, without the masks on?

‐ Um...l‐let's wait until opening night

to do our first kiss. [chuckles]

‐ But I thought you said not to do the kiss

as our characters, but as Gabe and Maya?

‐ Well, it's too late, you know?

We‐‐we already are our characters.

We are Joe and Debra, Maya,

so...

when we kiss, it'll still be us.

BENNETT: ♪ Just the way you look ♪

♪ Tonight ♪

‐ That's romantic.

Okay.

So tomorrow?

Opening night.

BENNETT: ♪ Just the way you look ♪

♪ ♪

‐ [sighs]

BENNETT: ♪ Toni‐‐ ♪

ANNA: [sighs]

[door squeaks]

[keys jingle]

[lock clicks]