:03:02
I can be different.
:03:04
We're looking for somebody else.
:03:06
What do you care more
about than working?
:03:09
The part's the most important thing.
But love sometimes is too.
:03:13
With improvisation, you're the writer.
When somebody writes a play...
:03:16
...they decide where the highs are,
where the lows are. Now you do it.
:03:20
And you may not be high where
they're high in the writing.
:03:23
You may not be low where they're low.
:03:26
You may be high on "but."
You may be high on "and."
:03:29
Of course, they were doing it
for dough...
:03:31
...the same as everybody
does it for dough.
:03:34
But the question is in
the last analysis.
:03:37
What were they doing for dough?
:03:39
You and me were advancing our
little non-Prussian careers.
:03:43
So when all hell broke loose,
and the Germans ran out of soap...
:03:48
...and figured, "What the hell?
Let's cook up Mrs. Greenwald!"...
:03:52
...who the hell do you
think stopped them?
:04:00
Pardon me, is my acting
interfering with your talking?
:04:03
Don't play a part that's not in you.
:04:06
Don't say "he" or "she" like you did
last week when you were doing Kitty.
:04:11
When you were doing
Time Of Your Life.
:04:13
If you can't make the part yourself,
you can't play it.
:04:16
Sergeant.
:04:17
Quick! Get a priest!
:04:19
No, sergeant, no priest.
:04:20
-But you're dying, Count Tolstoy.
-I know.
:04:23
In the name of the Father,
the Son and the Holy Ghost...
:04:26
...I commit your soul to God.
:04:29
-My friends--
-That's super, Michael.
:04:32
But I wonder if you could move centre
stage on that speech, and then die.
:04:39
Why?
:04:39
The left side of the house
can't see you.
:04:46
You want me to stand up and walk
to the centre of the stage...
:04:50
...while I'm dying?
:04:52
I know it's awkward,
but we'll just have to do it.
:04:56
-Why?
-I just told you. Now do it!
:04:59
Because you say so?