stated in the declarations,
sustained directly as the result of injury,
sickness, death of, or permanent disability...
Excuse me, Mr Clark.
Larry, give me ourfigures.
Well, on an estimated
production budget of $941,000,
with a contingency of 59,000
to round it out to the million,
so far we're in for
atleast two-thirds ofthe fees.
Design, 8,000, costumes, 8,000,
electrics, 4,000.
We're in for the full director-choreographer,
15,000. Casting is another four.
Construction of scenery, where more than
half has been done, that's 125,000... plus.
Stage manager's about 8,000.
Press agent 1500, musicians about... two.
Assistants, secretaries, etc, 3,000.
Rehearsal halls and auditions... 9500.
Script and administrative, 1500.
Managers, I'd say... ten.
Advertising and printing, about 20,000.
Orchestrations, so far, around 10,000.
Legal, 10,000, auditing, 2,000,
payroll taxes... maybe seven.
Well, seven. Author's advances, 10,000,
equity bonds, 50,000.
Rehearsal salaries, and we've made some
advances to a few ofthe cast, about 43,000.
We're in for about...
$480,500.
Yes. That's the figure I had here.
And change.
Let me try to understand.
Ofthat figure, how much do we recoup?
Yeah, I'm confused too. Do we
get all ofthat, or part of it, or what?
Simply, here are the options.
One, if Mr Gideon recovers
and you resume production within the
180 days, we are not liable for any part of it.
Two, if Mr Gideon should die and you resume
production with another director
within the 180 days, we are still not liable.
Three, however, if Mr Gideon
should expire before February 1,
andyou abandon production,
we are liable for the full million dollars.
This means, gentlemen,
you could make a profit of...
$519,500.
You could be the first show on Broadway
to make a profit without really opening.
Well...
it's all very clear to me.
All this bullshitabout death with dignity.
You know what death with dignityis,
man? You don't drool.
Change-of-pace time. Request.
Here we go. Vic O'Dante. Hey!
§ Death is in, death is in, my dear
§ Death is the thing
Oh, that's very theatrical, Joe.
Please don't try to talk.
- You wanna shoot it now?
- Huh?
- I can't understand him. I think he said "OK".
- Hospital hallucination, take one.
There's a lady in Chicago, man,
wrote a book. DrKьbler-Ross, with a dash.
This chick, man, without
the benefit ofdying herself,
has broken the process
ofdeath into five stages.
Anger, denial, bargaining,
depression andacceptance.
Playback.
§ After you've gone
§ And left me cryin'
§ After you've gone
§ There's no denyin'
§ You'll feel blue
§ You'll feel sad
§ You'll miss the bestest pal ya
§ Ever had
§ There'll come a time
§ Don't forget it
§ There'll come a time
§ When you'll regret it
§ Some
§ Day
§ When you grow lonely
§ Your heart will break like mine
and you'll want me only
§ After you've gone
§ After you've gone
§ After you've gone
§ After you've gone...
§ Away
§ Away
Cut!
Wanna print it?
Jesus, Joe, you're way behind schedule.
You gotta print it.
Next setup.
Katie, take two.
Listen, huh?
Playback.
§ You'd better change your way o' livin'
- § And ifthat ain't enough
- § She's right, Joe, you'd better listen
§ You'd better change the way
you strut your stuff
§ Cos nobody wants you
when you're old and grey
§ You better change your way today
§ You better change your way
Can you hear me, Joe? I'm talkin' to ya.
- Ya gotta lay offthe booze, Joe.
- Axe the amphetamines.
You gotta stop screwin' around, Daddy.
§ Ya better stop
§ Ya better change
§ Ya better stop
§ Ya better change
§ Ya better stop, ya better change,
ya better stop, ya better change
§ Ya better stop and change your ways today
§ I said stop, change, stop!
Please.
Cut!
- Print it.
- Old Friends, take three.
Playback.
§ Who's sorry now?
§ Who's sorry now?
§ Whose heart is aching?
- Just look at you, Daddy.
- § For breaking each vow
- All those