[applause]
Hi. I'm Jon.
I'm a musical-theater writer.
One of the last of my species.
[laughter]
Sorry. So… so, you know, lately, I've been hearing this sound.
[slow ticking]
Everywhere I go, like a tick, tick, tick…
Like a time bomb in some cheesy B-movie or Saturday morning cartoon.
The fuse has been lit. The clock counts down the seconds
as the flame gets closer, and closer, and closer,
until… all at once…
[boom]
[mimicking trumpets]
[laughs]
[mimicking trumpets]
[woman] This is Jonathan Larson's story.
Happy anniversary, I love you so much.
[woman] Before the Tony Awards.
Before the Pulitzer Prize.
Before…
We dedicate this opening night and every performance
to our friend, Jonathan Larson.
-[cheers] -[woman] …we lost him.
[both scream]
[woman] Everything you're about to see is true.
Except for the parts Jonathan made up.
[jovial tune playing]
The date is January 26th, 1990.
The setting, the barren, unfashionable no-man's-land
between SoHo and Greenwich Village.
I have two keyboards, a Macintosh computer.
-A cat. -[meows]
An impressive collection of compact discs,
cassettes, and records of other people's music.
Bookshelves sagging under the weight of plays and novels I didn't write.
I have an original, dystopian rock musical…
[tune stops]
…that I have spent the last eight years of my life writing…
[deep breathing]
-…and rewriting, and rewriting. -[laughter]
[moans]
I have rejection letters from every major and minor producer,
theater company, record label, and film studio in existence.
And in just over a week…
I will be 30 years old.
Older than Stephen Sondheim when he had his first Broadway show.
Older than Paul McCartney when he wrote his last song with John Lennon.
By the time my parents were 30, they already had two kids,
they had careers
with steady paychecks, a mortgage.
And in eight days, my youth will be over forever.
And what exactly do I have to show for myself?
[sighs]
Happy birthday!
♪ Stop the clock ♪
♪ Take time out ♪
♪ Time to regroup ♪
♪ Before you lose the bout ♪
♪ Freeze the frame ♪
♪ Back it up ♪
♪ Time to refocus ♪
♪ Before they wrap it up ♪
♪ Years are getting shorter ♪
♪ Lines on your face are getting longer ♪
♪ Feel like you're treading water ♪
♪ But the riptide's getting stronger ♪
♪ Don't panic, don't jump ship ♪
♪ Can't fight it, like taxes ♪
♪ At least it happens Only once in your life ♪
♪ They're singing "Happy Birthday" ♪
♪ You just want to lay down and cry ♪
♪ Not just another birthday, it's 30/90 ♪
♪ Why can't you stay 29? ♪
♪ Hell, you still feel like you're 22 ♪
♪ Turn 30, 1990 ♪
♪ Bang! You're dead What can you do? ♪
♪ What can you do? ♪
I made ten copies.
You are an angel on earth.
-This is the last time. Seriously. -I know. Thank you.
-No, no, no, I got you. -I'm gonna pay.
-[Jon] I don't want you to pay. -Somebody needs to take out this trash.
So I hear you're moving out of Jon's place.
That's the end of an era.
We hear him sobbing in the fridge most mornings. It's very sad.
[Jon] No, no, no. We are not talking about that.
Wait, Carolyn, you're coming next Friday, right?
What's happening Friday?
-[both] The Superbia workshop. -Surprised he hasn't mentioned it.
That sounds vaguely familiar.
Guys, this is the biggest break I've ever had. This is that moment.
It's the first time people are gonna see the show that aren't just us.
It's good you're not putting too much pressure on it.
-[all chuckling] -[Jon] But it's true, though.
It's like, you get to a certain age and you stop being a writer who waits tables
and you become a waiter with a hobby.
Boo-Boo, you need to ask yourself, in this moment,
are you letting yourself be led by fear or by love?
[gasps]
♪ Clear the runway ♪
♪ Make another pass ♪
♪ Try one more approach ♪
♪ Before you're out of gas ♪
♪ Friends are getting fatter ♪
♪ Hairs on your head are getting thinner ♪
♪ Feel like a cleanup batter ♪
♪ On a team that ain't a winner ♪
♪ Don't freak out, don't strike out ♪
♪ Can't fight it, like City Hall ♪
♪ At least you're not alone ♪
♪ Your friends are there too ♪
♪ And they're singing "Happy Birthday" ♪
♪ You just wish you could run away ♪
♪ Who cares about a birthday? ♪
♪ But 30/90, hey ♪
♪ Can you be optimistic? ♪
♪ You're no longer the ingénue ♪
♪ Turn 30, 1990 ♪
♪ Boom! You're passé ♪
♪ What can you do? ♪
You just quit?
Well, no, I didn't just "quit" quit. I gave… I gave my notice.
-That's exactly the same thing. -No, I have two weeks left.
I'm allowing myself to be led by love.
What?
You know, Rosa's got another client. Craig Carnelia.
This is Rosa your agent, who hasn't returned your calls in a year?
Yeah, yeah. That's the one.
So she invited the entire theater industry to Craig's musical workshop last year.
And by intermission, some producer
had already written him a check for ten thousand dollars.
I just wish that you didn't have to think like that.
Well, it's expensive to make art.
No, baby, it's expensive to make art here.
-Yeah, but worth every penny. -[chuckles]
-That's beautiful. -I know, right?
How are you gonna pay for this, Jonathan?
♪ Peter Pan and Tinkerbell ♪
♪ Which way to Never Never Land? ♪
♪ Emerald City's gone to hell ♪
-♪ Since the wizard blew off his command ♪ -♪ Blew off his command ♪
♪ On the streets you hear the voices ♪
♪ Lost children, crocodiles ♪
♪ You're not into ♪
♪ Making choices, wicked witches ♪
♪ Poppy fields or men behind the curtain ♪
♪ Tiger lilies, ruby slippers ♪
♪ Clock is ticking, that's for certain ♪
♪ They're singing "Happy Birthday" ♪
-♪ Happy birthday ♪ -♪ I just wish it all were a dream ♪
♪ It feels much more like doomsday ♪
-♪ Fuck 30/90 ♪ -♪ 30/90 ♪
♪ Seems like I'm in for a twister ♪
♪ I don't see a rainbow, do you? ♪
♪ Turn 30 in the '90s ♪
♪ Look into my hands now The ball has passed ♪
♪ I want the spoils, but not too fast ♪
♪ The world is calling It's now or Neverland ♪
♪ Why can't I stay a child forever and? ♪
♪ 30/90, 30/90 ♪
-♪ 30/90, 30, 30/90 ♪ -♪ 30, 30/90 ♪
-♪ What can I do? ♪ -♪ What can I do? ♪
♪ 30/90, 30, 30/90 ♪
♪ What can I do? ♪
[crowd cheering, clapping]
Ladies and gentlemen, please give it up for our band,
and also for my very, very, very dear friends,
Roger and Karessa on vocals.
[applause]
Friday night.
-[machine beeps] -Hi, Jonathan, it's Deborah.
Susan dropped off your music for tonight's dance--
-[tape rewinds] -…but I can't get the speakers to work.
[door opens]
-Hey, Pookie. -Hi.
How was Philly?
I went from the airport to a conference room
and then back to the airport three hours later.
-Sounds amazing. -Mm.
[Jon] Michael was an amazing actor.
Yeah, he was the lead of every play in high school, college.
And then we moved to New York.
I am sick of waking up at 5:00
to get in line outside the Equity Building and wait all day,
praying that the director actually even agrees
to see anyone that's non-union, and then,
when I finally do get in the room, I sing…
I don't know, six measures, if I'm lucky, before they cut me off
and call me the wrong name--
Juan, Pedro, Carlos… lo que sea.
And then a week later, he got a job at a fancy advertising company,
making high five figures. [exhales]
Healthcare, dental…
He never looked back.
You know, for someone who's broke,
you could probably spend a little bit less on party planning.
[Jon] Well, what is the point of money,
if you're not gonna spend it on the people you love?
-Yeah, except you don't have any money. -Oh, right.
This has been sitting here for a week.
-I'm on it. -Mm-hm. Yeah. You seem very on it.
Pretty soon you won't have me around to remind you to pay your bills on time.
How will I ever survive?
That's a very real question. Have you found a new roommate yet?
I've been a little busy. You know. My workshop is next week.
Wait, what workshop?
[snickering]
That was funny.
[Michael] What time's the show tonight?
Uh…
-Curtain's at 8:00. -[Michael] Mm…
I've heard the dancing's amazing, but the music sucks.
[piano playing chords]
[Jon] Susan grew up in a small town in the Midwest.
She went to college to study biology,
she thought she'd become a doctor, maybe teach.
-But then she fell in love… -[all gasping]
-…with modern dance instead. -[all exhale]
-Every parent's dream, right? -[faint laughter]
She moved to New York without knowing a soul.
Four years later, she's already danced
with every major choreographer in the city.
Paul, Trisha, Merce.
1990. This was the year she was finally gonna join a company.
Not just go from job to job. Actually have a home, an artistic family.
And she was ready. This was her year. She knew it.
And then she fractured her ankle during a dress rehearsal.
[piano continues playing]
[Jon] Six months of rehab later, she's dancing again, it's just…
whatever that moment was, when she knew…
all of a sudden, she doesn't know anymore.
[gasps]
But Susan is a real artist.
She doesn't care about seeing her name in the New York Times.
It doesn't matter to her if she's dancing in front of five people
or in front of five thousand.
[slow ticking]
And then there's the matter of us.
[applause]
Whoo!
["Love Shack" by B-52s playing]
♪ Love shack Baby, love shack ♪
♪ Love shack Baby, love shack… ♪
You know he can't afford all of this, right?
[indistinct chatter]
Well, he loves making a fuss, especially about you.
Hm.
["Love Shack" continues playing]
After everything we've done for him…
-[Jon] Stop! -…he walks away.
Freddy, look, I'm leaving you my mixtapes.
-Oh! -You can play them in remembrance of me.
Jonathan Larson's famous Moondance Diner mixtape.
Who doesn't love showtunes with their French toast?
Actually, it's not just showtunes. It's a very eclectic mix.
-Someone's very touchy about mixtapes. -Apparently.
Okay, listen. I'm happy for you.
-I really am. -Oh, yeah?
I'm also extremely bitter and jealous and envious,
and sort of hateful towards you right now.
I mean… he's getting out.
And you're gonna be next.
-Well, I got a callback last week. -Great!
-For a cruise. -What's wrong with a cruise?
[snorts]
It's an Arctic cruise, so pretty much everything.
Uh, every single thing is wrong with that. It's in the Arctic.
-How you feeling? -Um…
It's been a really good week.
T-cell count is good. My doctor feels cautiously optimistic.
Okay, good. You look great.
Oh, my God, thank you. I know.
[chuckles softly]
But for the cruise, I'm gonna have to sort of…
-Tighten up. Pull it, pull it up. -Make it tight.
Scott and I, we used to sing madrigals in high school.
-What? Really? -[Scott] Yeah, yeah.
I hated singing. I just did it for the pussy. [laughs]
Ran into Scott in SoHo and he really… really wanted to come.
Got it. Got it.
I never get to go to artist parties, you know?
It sucks. The drugs there are always the best.
Mm. Mm-hm…
-Scott's in finance. -Shocking.
-Yeah. What do you do? -I'm the future of musical theater, Scott.
Welcome. I'm gonna get another drink.
That guy's hilarious.
-[laughter] -[glasses clinking]
[tapping rhythmically]
[others join in tapping a beat]
♪ This is the life, bo-bo, bo-bo bo ♪
♪ Bohemia ♪
♪ Shower's in the kitchen There might be some soap ♪
♪ Dishes in the sink Brush your teeth if you can cope ♪
♪ Toilet's in the closet ♪
♪ You better hope There's a light bulb in there ♪
Not today!
♪ Revolving door roommates Prick up your ears ♪
-♪ Fourteen people in just four years ♪ -Whoo!
♪ Ann and Max and Jonathan And Carolyn and Kerri ♪
♪ David, Tim-- No, Tim was just a guest from June ♪
♪ To January Margaret, Lisa, David, Susie ♪
♪ Stephen, Joe and Sam ♪
♪ And Elsa, the bill collector's dream Who still is on the lam ♪
♪ Don't forget the neighbors Michelle and Gay ♪
-[cheering] -♪ More like a family than a family, hey ♪
♪ The time is flying And everything is dying ♪
♪ I thought by now I'd have a dog, a kid, a wife ♪
♪ The ship is sort of sinking So let's start drinking ♪
♪ Before we start thinking Is this the life? ♪
-Yeah! -♪ This is the life, bo-bo, bo-bo bo ♪
♪ This is the life, bo-bo, bo-bo bo ♪
-♪ Bohemia ♪ -♪ Yeah, yeah, yeah! ♪
-♪ Bohemia ♪ -One more time!
♪ Bohemia ♪
♪ Bo-bo, bo-bo bo ♪
[all shout and cheer]
-Whoo! -[cheering and clapping]
[laughing]
That was freaking amazing!
-Whoo! -Yeah, Scott!
Whoa.
Hi. Everyone's leaving.
-I just needed some fresh air. -Okay.
It's freezing up here.
[Jon shuddering]
Where is your coat?
Oh, I don't know. It's, uh…
It's at the bottom of a very large pile.
Oh!
Mm.
[sighing deeply]
[Jon] Wow. That's pretty.
That's the prison barge.
-Oh, yeah. -[both laugh]
I heard, uh, in Jacob's Pillow, they're hiring new teachers for the dance school.
-Oh, yeah? -Yeah.
Work a couple of hours a week. Then the rest of the time is yours.
-Free studio space whenever you want. -Hey… Whoa…
-Can we just talk for a second? -Mm.
Can we just talk about how amazing you were tonight?
-Thank you. -I am not messing around.
I could just watch you dancing forever.
I was thinking of maybe applying.
-Hm? -To the job in Jacob's Pillow.
-We went there last summer, remember? -Oh.
We saw the new Mark Morris.
-Oh, yeah! -Yeah.
-That's the place in the Berkshires? -Mm-hm.
So, you're gonna move to the Berkshires?
And not have to work 30 hours a week doing word processing
to pay the rent, why not?
I might actually be able to get back into shape.
Okay. Yeah. All right. Let's do it. Let's move.
-I'm being serious. -Hey, I'm being serious.
We're gonna live in a log cabin. We're gonna hunt… acorns.
We're gonna-- [spluttering] We're gonna gather squirrels.
[laughing] What are you even talking about?
-[laughs] -It's the Berkshires.
People have vacation homes there. You've been there.
I'm so sorry. Can we-- Can we please go inside?
Sorry, I just feel like I'm scared--
I'm beginning to lose sensation in my extremities.
You are such a baby.
Take this.
[Jon] Whoa. Hold on.
-[exhales deeply] -You like?
I thought that you were in a hurry to get back inside.
[R&B music playing loudly]
-[muffled music] -[moans through wall]
You know that job in the Berkshires?
-Yeah, sounds amazing. -I already applied for it.
-Oh, yeah? -Yeah.
-And I got it. -Oh…
-Oh, yeah? That's great. -Yeah.
It starts in June.
Okay. So this is just for the summer?
No. Mm-mm, it's permanent.
Jon?
Whoa, the Berkshires?
That is, like, so far from Midtown.
[pained chuckle] Yeah. Yeah.
Why is she doing this right now?
And she says, "I want you to come with me."
-What did you say? -I said, "Oh?"
[laughs]
What am I supposed to say? I didn't know what to say.
I mean, like, I can't… I can't leave New York.
-Oh, tell her to move in with you. -Move in where?
You need a new roommate, right?
It's two birds, one stone. You are very welcome.
Okay, so, what… what about the guy that you were dating? David?
-I thought you guys were great together. -It didn't work out.
Oh. There's a focus group at the office this week,
and they're looking for a few more people. How about I sign you up?
So you can lure me to the dark side?
No! So I can introduce you to my colleagues,
and show them how brilliant you are.
I don't want a job in advertising.
I don't want you to have a job in advertising.
I want you to have a job in… jingle writing.
-[laughs] -No, listen.
You come up with jingles all the time for fun, Jon.
You come up with songs about cereal we're eating.
-[sighs] -You could get paid for that.
Well, you know, when Superbia gets produced,
I will be getting paid for my music anyway. So…
That's true.
[Michael] And we are here. Home sweet home.
[engine stops]
Oh… my… God!
Michael tosses the keys to the parking attendant.
[Michael chuckles]
What apartment building has a parking attendant?
[laughter]
[up-tempo rock music playing]
[Jon] Fresh flowers in the lobby.
An old, white lady with a tiny dog.
Is this real life?
♪ No more Walking 13 blocks ♪
♪ With 30 pounds of laundry ♪
♪ In the freezing dead of winter ♪
♪ No more Walking up six flights of stairs ♪
♪ Or throwing down the key Because there is no buzzer ♪
♪ No more faulty wiring ♪
♪ No more crooked floors ♪
♪ No more spitting out my Ultra Brite ♪
♪ On top of dirty dishes ♪
♪ In the one and only sink ♪
-[mellow tune plays] -♪ Hello to my walk-in closets ♪
♪ Tidy as Park Avenue ♪
♪ Hello, my butcher block table ♪
♪ I could get used ♪
♪ I could get used to you ♪
[up-tempo rock music playing]
♪ No more Climbing over sleeping people ♪
♪ Before you get out the door ♪
♪ Of your own building ♪
♪ No more ♪
♪ Noxious fumes from gas heaters That are illegal ♪
♪ Or will blow up While you are sleeping! ♪
-♪ No more ♪ -♪ Leaky ceilings ♪
-♪ No more ♪ -♪ Holes in the floor ♪
♪ No more Taking a shower in the kitchen ♪
♪ While your roommate's Eating breakfast ♪
♪ And you're getting water On his cornflakes ♪
[mellow tune plays]
♪ Hello to shiny New parquet wood floors ♪
♪ As waxed as a wealthy girl's legs ♪
♪ Hello, dear Mr. Dishwasher ♪
-♪ I could get used ♪ -♪ I could get used ♪
-♪ I could get ♪
-♪ Used to you ♪ -♪ I could get used to you ♪
-[up-tempo rock music playing] -♪ No more… exotic ♪
♪ No more… neurotic ♪
♪ No more anything But pleasantly robotic ♪
-♪ We're movin' on up ♪ -♪ We're movin' on up ♪
-♪ To the East Side ♪ -♪ To the East Side ♪
♪ To a deluxe apartment In the sky ♪
[music tempo slows]
♪ Hello to dear Mr. Doorman ♪
♪ Who looks like Captain Kangaroo ♪
♪ Hello dear fellow, and how do you do? ♪
-♪ I could get used ♪ -♪ I could get used ♪
-♪ I could get ♪
-♪ Used to you ♪ -♪ I could get used to you, yeah! ♪
-♪ I could get used ♪ -♪ I could get used ♪
-♪ Even seduced ♪ -♪ Even seduced ♪
-♪ I could get used to you ♪ -♪ Used to you ♪
Ow!
-[song ends] -[bell dings]
[man over PA] Stand clear of the closing doors.
I swear to God! I'm talking to you in the back.
Stand clear of the closing doors.
[man] You still don't have the song?
[Jon] This has never happened to me before. I… [sighs]
I don't know. I usually write a song in a day.
Last week, I wrote a song about sugar. It took me three hours.
-Song about sugar? -♪ Sugar ♪
♪ She is refined For a small price ♪
♪ She blows my mind ♪
Why would you do that?
An exercise.
In what?
I like to see if I can write a song about anything.
Why don't you try to see if you can write a song for your musical
that's being presented to an audience in six days instead?
[Jon] Ira Weitzman, head of musical theater at Playwrights Horizons.
The first, and so far, only actual theater person
to offer to put on a workshop of Superbia.
I'm starting to think that maybe I don't need it.
-You do need it. -You know… [crunching]
…you're the only person who ever said that.
Just so you know.
You're telling me in the five years you've been writing this musical…
Eight years, actually.
…no one else has told you that you're missing a song
for Elizabeth in the second act?
No one.
[Jon] Okay, I'm lying.
[sighs] One person did say that.
[Jon] For years, I was a part of this musical theater writing workshop.
♪ Liquid crystal digital readout ♪
♪ Floating on a sea of gray ♪
[Jon] Once a week, we would gather the few surviving members of our dwindling tribe.
We'd watch one of us present what we'd been working on to a panel of, well…
real writers.
The theater legends, who created the Broadway shows
that we'd grown up dragging our parents into the city to see…
♪ Dividing the day away ♪
[Jon] The panel would change every week.
♪ Counting slowly ♪
♪ Measuring moments… ♪
[Jon] The night I presented, people began to buzz
as soon as we walked through the door.
Is it really him?
It was.
Stephen Sondheim.
-[laughter] -[man] All right, I'll start.
I'm lost.
I… I don't know what the show is.
Is it social commentary? Is it science fiction?
And the music is the same thing. Is it rock? Is it Broadway? Is it both?
Is it neither? Steve, what did you think?
I have to say, I disagree pretty strongly, Walter.
I think this is a musical that knows exactly what it is.
Yes. Yes. Of course, yes. Abso--
The world that you've created is really original.
It's fascinating.
The problem is, it's not particularly easy to follow the emotional thread.
The details distract us from connecting with the characters.
-Does that make sense? -Okay. Okay.
Yes, yes. We're on the same page. That's exactly how I felt.
We're saying the same thing, just differently.
But the music, okay, I'm sorry-- The music just wasn't there.
I actually-- I thought the songs were swell.
Yeah, okay… Yes. Yes. The individual songs.
I particularly like the one the young man sings at the end of the first act.
First rate lyric and tune. Well done.
[Jon] "First rate lyric and tune."
Thank you.
Those five words were enough to keep me going for the next two years.
You're missing a song for the young woman. Uh…
-Elizabeth? -Elizabeth.
It's the turning point in the show.
Your protagonist is either gonna go in this direction or that direction.
Someone has to wake him up, shake some sense into him.
Okay.
[laughing] It's so funny because I was gonna say the exact same thing.
Can we talk musicians? Because if it's only gonna be four,
then I gotta figure out how I'm gonna split up the bass parts.
This is for you. Here you go.
-Thank you. -Yeah. Uh…
-Jon, this is a reading. -Mm.
You'll have a piano.
I wrote a rock score.
So, at the very least I'll need a synth and drums and a guitar and--
A great song should sound great without any instruments.
Mm. Okay.
Let's just do the song as a cappella.
Oh, actually, you know what? Maybe we'll just skip the songs,
and then we can get the audience in and out in half an hour.
I will take a look at the budget
and I will see if I can dig up some money for another musician.
Two more.
And piano is the absolute bare minimum for this.
Have you spoken to Rosa?
Hey, Rosa, this is Jonathan Larson, your client.
I've left multiple messages with your secretary.
-Rosa Stevens is still your agent, right? -Oh, yeah. No, yeah, we…
We talk constantly.
Has she sent out the invites for the presentation yet?
We haven't gotten a lot of RSVPs.
-It's fine. -Mm.
Nobody has more contacts in the industry than Rosa.
I'm sure she'll get some good people there for you.
Yeah, yeah.
-I'll see you Monday. -Yes, sir.
First day of rehearsal.
And finish the song already. Please.
-Thank you, Ira. -Thanks.
Thank you for all this. Thank you.
[entry bell chimes]
[door shuts]
[slow, quiet ticking]
[ticking intensifies]
Yeah. I want to leave a message for Mr. Sondheim.
This is, um… my name is Jonathan Larson.
Hi there, this is a message for Joe Papp.
For Bernie Gersten.
For the Artistic Director of the Shubert Organization.
For La MaMa. So, it's Larson, L-A-R-S-O-N.
No, not Parson. It's something that's never been done before.
It's gonna be quite the event.
It has tremendous commercial possibility.
We're filling up fast. I want to make sure you got your spot.
I know that his time is limited. Oh! It would be such a treat!
Zero pressure. Ha-ha. I really want you there.
So, can I count you in? There'll be a seat reserved for him.
Superbia at Playwrights Horizons. It's at 10:00 a.m.
This Friday at 10:00 a.m. I'm so excited about Friday.
I wouldn't want you to miss it. That's all the information I can give you.
-[hangs up phone] -[exhales deeply]
["Sunday in the Park with George" playing on TV]
[man] ♪ Order! ♪
[Michael] They should put every Sondheim musical on PBS.
[man on TV] ♪ Tension! ♪
[Jon] Well, Sunday is a pretty good start.
I don't understand, why can't he just tell her he loves her?
[Michael] Why can't he be an artist and love her?
[Jon] He-- He does love her.
[Michael] Yeah, but, like, he can't express it.
[Jon] That's a personal problem. Yeah.
[Michael] I'm sayin'…
Men!
[couple singing on TV]
[Michael] Bernadette in that corset…
Like, that waist is just like… [lips popping]
-[Susan laughs] -How did he do that?
[chorus singing on TV]
♪ Day by day ♪
♪ Let the sunshine ♪
♪ It's the end of the world As we know it ♪
-Did you crack it yet? -Oh, I'm getting so close.
-Call me if you need inspiration. -No, no, don't go. Hang out.
You can… you can sleep in your old room.
Mm-hm. [kisses]
-Write the song, Boo-Boo. -[groans lightly]
-[door shuts] -[news reporter] …with AIDS.
North Carolina Senator, Jesse Helms,
is worried the legislation was sending the wrong message.
Let me say that if IV drug users and homosexual men
would stop their activities today,
there would never be another case of AIDS in this country
other than the ones already in progress.
[news reporter] Henry Champ, at the US Capitol.
[female reporter] The Senate has overwhelmingly approved legislation
providing nearly $3 billion…
-Hi. -Hey. Oh, my God! I love you.
-[chuckles] -[kisses]
Uh, they want an answer by Wednesday.
So I was wondering if we could maybe talk about it?
Uh…
-The job. -Oh.
Yeah. Um…
Can we, uh, talk about it tomorrow?
'Cause I have to finish this song right now. Is that okay?
Sure.
You sure you're sure?
I'm sure.
Okay.
You don't seem sure.
-Good night, Jonathan. -Okay, good night. Um…
I'll be in.
[ticking starts]
[ticking continues]
[ticking intensifies]
[playing gentle guitar tune]
[ticking fades]
♪ Break of day, the dawn is here ♪
♪ Johnny's up and pacing ♪
♪ Compromise or persevere ♪
♪ His mind is racing ♪
♪ Johnny has no guide ♪
♪ Johnny wants to hide ♪
♪ Can he make his mark ♪
♪ If he gives up his spark? ♪
♪ Johnny can't decide ♪
♪ Susan longs to live by the sea ♪
♪ She's through with competition ♪
♪ Susan wants a life with me ♪
♪ Johnny's got a tough decision ♪
♪ Johnny has no guide ♪
♪ Johnny wants to hide ♪
♪ Can he settle down ♪
-♪ And still not drown? ♪ -♪ Drown ♪
♪ Johnny can't decide ♪
♪ Michael's gotta have it all ♪
♪ His luck will never end ♪
♪ Johnny's backed against a wall ♪
♪ Can he bend his dream ♪
♪ Just like his friend? ♪
-♪ Johnny sees that Susan's right ♪ -♪ Susan's right ♪
♪ Ambition eats right through you ♪
♪ Michael doesn't see why Johnny ♪
-♪ Holds so tight ♪ -♪ I hold so tight ♪
♪ To the things That Johnny feels are true ♪
♪ Johnny has no guide ♪
-♪ Johnny wants to hide ♪ -♪ Johnny wants to hide ♪
♪ How can you soar ♪
♪ When you're nailed to the floor? ♪
♪ Johnny can't decide ♪
-♪ Johnny has no guide ♪ -♪ Johnny has no guide ♪
-♪ Johnny wants to hide ♪ -♪ Johnny wants to hide ♪
♪ How do you know When it's time to let go? ♪
♪ Johnny can't decide ♪
-♪ Johnny can't decide ♪ -♪ Johnny can't decide ♪
-♪ Decide ♪
-♪ Johnny can't decide ♪
♪ Johnny can't decide ♪
♪ Decide ♪
-♪ Decide, decide ♪ -♪ Decide ♪
♪ Johnny can't decide ♪
[Carolyn] Freddy's in the emergency room.
What?
He woke up Saturday morning with a fever, he could--
He couldn't stop shivering.
Wait, wait, no. Wait.
La-- He told me last week his T-cell count--
The doctor said that it was exactly where they wanted it, four days ago.
I guess it changed.
Shit.
-He's gonna be fine. -Yeah, you know… you're right.
I mean it. He's gonna be fine. Think about it.
You know how stubborn he is. He's a pain in the ass.
-Right? -Yeah.
Frankly, we should be pissed at him that he's left us understaffed.
-At Sunday brunch. -Right.
-You know what I'm saying? -Yeah.
Okay.
[sighs]
[Jon] Freddy, shit! I should go to the hospital.
When am I gonna go to the hospital? I need to write.
When am I gonna write? I need to talk to Susan.
I need to see Freddy. I should call Susan. Why can't I write this song?
How can you possibly be thinking about your show
when your friend is in the hospital?
-What am I doing here? -[ticking]
I need to leave. I need to walk out that door and go.
[entry bell chimes]
But it's 9:30 on a Sunday morning at the Moondance Diner.
I'm not going anywhere.
[cook] Eggs up!
[overlapping, indistinct chatter]
[laughter, chattering]
Do you have any of that wonderful Jewish bread?
It's "holly," dear. They call it "holly" bread.
Would you like some challah bread?
-[cook] Somebody pick up these eggs. -[rings]
[Jon] Tranquilo, tranquilo.
Ya, tranquilo. ¡Termina tu obra!
Harrington for four. Harrington? Harrington?
[exhales deeply]
Uh, ex--
Moondance. What do you want?
That was a Ghostbusters reference.
Do we take reservations? No, we do not-- We're a diner.
-Where's my rye bread? -[Jon] Name, please?
-Richard. -Richard. How many?
-Caplan. -Richard Caplan.
How many in your party?
-With a "C." -Got it. How many in your party?
"C" as in "cat."
-I understand. -[woman] Can we order?
One second. How many in your party?
It's not a math test.
-Order. -[piano trills]
[Jon] Thank you for your patience.
I said an omelet with no yolks.
This is why you're just a waiter.
Tension.
Major vomit situation in the ladies' room.
-Check! -Can we get two more mimosas, please?
'Cause she got a new job, okay?
Either put some Baileys in this coffee
or put some vodka in this orange juice, please.
-[woman 1] Something. -[woman 2 laughs]
Balance.
[cook] BLT up.
¡Si se quejan de que se enfría, no es culpa mía!
-[till beeps continuously] -Fudge!
-Carolyn. -[woman 3] Can we get the check?
[phone ringing]
-Carolyn? -Hey.
-Excuse me. Do you have any Baileys? -One sec.
Jesus Christ!
-[bell dinging rapidly] -[chatter building]
-[noises stop] -Brunch.
[piano intro playing]
♪ Sunday ♪
♪ In the blue, silver chromium diner ♪
♪ On the green, purple Yellow, red stools ♪
♪ Sit the fools ♪
♪ Who should eat at home ♪
-♪ Instead they pay on Sunday ♪ -♪ Sunday ♪
♪ For a cool orange juice or a bagel ♪
♪ On the soft, green cylindrical stools ♪
♪ Sit the fools ♪
♪ Drinking cinnamon coffee ♪
♪ Or decaffeinated tea ♪
-♪ Forever ♪ -♪ Forever ♪
♪ Forever ♪
♪ In the blue, silver chromium diner ♪
♪ Drips the green, orange, violet drool ♪
♪ From the fools ♪
♪ Who'd pay less at home ♪
♪ Drinking coffee ♪
♪ Light ♪
♪ And dark ♪
♪ And cholesterol ♪
♪ And bums, bums, bums, bums Bums, bums, bums, bums, bums ♪
♪ People screaming for their toast ♪
♪ In a small SoHo cafe ♪
♪ On an island in Two Rivers ♪
♪ On an ordinary ♪
♪ Sunday ♪
♪ Brunch ♪
[song ends]
[sighs]
Monday morning.
My first day of rehearsals for the Superbia workshop, which is still,
in case you'd forgotten, missing its crucial Act Two musical number.
[laughter]
I make my way there through the land of the dead…
the Theater District.
[hip-hop beats playing]
♪ Walk through Times Square And what do you see? ♪
♪ Ugliness where Architecture used to be ♪
♪ The glamour and style Have been replaced by gaud ♪
♪ Like the sixty-dollar spectacle It's all a fraud ♪
-♪ That's the play game ♪ -♪ That's the play game ♪
♪ So why do I want To play the play game? ♪
-♪ That's the play game ♪ -♪ That's the play game ♪
♪ I must be insane To play the play game ♪
♪ Even off Broadway It's no guarantee ♪
♪ That some MBA Won't decide what you see ♪
♪ Just like America, lackin' innovation ♪
♪ Just gettin' by On glitz and reputation ♪
♪ Just like America, on the decline ♪
♪ Unconcerned with the product Just the bottom line ♪
♪ Write for the movies, write for TV So what if it's crap? ♪
♪ At least you won't write for free ♪
♪ Make thousands of dollars For a first draft ♪
♪ Your life won't depend On whether Frank Rich laughed ♪
♪ So just forget Shakespeare Beckett, Molière ♪
-♪ That's the play game ♪ -♪ That's the play game ♪
♪ Why do I want to play the play game? ♪
[laughter]
♪ That's the play game Must be insane ♪
♪ To play the play game ♪
-♪ That's the play game ♪ -♪ That's the play game ♪
♪ That's the play game ♪
♪ Why do I care? ♪
I'll be auditioning for the role of Old Deuteronomy.
On behalf of Playwrights Horizons, I want to welcome everyone
and thank you all for taking part in this very exciting new musical
by a very exciting young writer, Jonathan Larson.
[cheering, clapping]
He's not even 30.
Oh, wow. Thank you, Ira.
Um… this is the first real workshop that this musical has ever had.
And now you guys are part of the family.
So, any questions before we, uh, get going?
-Yeah, no. Yeah. -[woman] Um…
Could you… um… Could you explain it, maybe?
Yeah. Explain what?
Oh, just the musical. The story.
It's a little, um, confusing in certain places. Not in a bad way.
Superbia, a satire set in the future on a poisoned planet Earth,
where the vast majority of humanity spend their entire lives
just staring at the screens of their media transmitters,
watching the tiny elite of the rich and powerful,
who film their own fabulous lives like TV shows.
A world where human emotion has been outlawed.
This will be the first musical written for the MTV generation.
This is my--
Is it supposed to be aliens? I wasn't sure if it was all, like, aliens.
Nope, not aliens. Um… But it is set in the future.
[upbeat melody plays]
♪ The color scheme for the day Is black-red-black ♪
♪ The drug, of course Will be the kilowatt ♪
♪ The trend today is to say The adjective "fun" a lot ♪
It's perfect. Keep going. Keep going.
♪ Studd star, you have received Two nominations ♪
♪ "Face of the Year" And "Best Hair" ♪
♪ Prepare a speech For your photo opportunity ♪
♪ Your agent Tim Pursent will be there ♪
I love it. I love it.
-[Ira] You told me you needed a drummer. -[Jon] Oh, my goodness.
Good night. Wonderful work. Really wonderful work.
No… [strained laughter] I… I told you I needed a band.
It's 100 dollars for every musician.
Yeah. And your annual operating budget is half a million dollars?
So far we're up to 12 RSVPs, Jon.
You don't need a band with an audience of 12 people.
You'll outnumber them.
If you want more musicians,
you're gonna have to find the money for it somewhere else.
I'm sorry.
Thank you for everything.
[piano music fades]
[monitor beeping steadily]
[Jon] I went to three friends' funerals last year.
The oldest one was 27.
Pam, Gordon, Ally.
Freddy's not even…
He turned 25 two weeks ago.
And nobody's doing enough.
I'm not doing enough.
There's not enough time, or maybe I'm just wasting my time.
And what about Susan's time?
When am I gonna talk to Susan?
What am I gonna say? I don't know what to say.
So Susan waits, and the time keeps ticking.
Tick, tick, tick.
And I have three days left until the workshop.
Three days left to write this song. And if the song doesn't work,
the show doesn't work, and then it's all been a waste of time.
Who gives a shit about a song?
And I miss Michael.
I need to talk to Michael.
I don't have time to talk to Michael.
♪ Everyone who ever has Or ever will be anyone will be there ♪
♪ Never in the history Of entertainment will there be an affair ♪
Make sure you're not speeding up.
♪ Quite like it ♪
♪ The event of the century ♪
♪ The quintessential social adventure… ♪
I'm missing consonants in "quintessential social adventure."
-Hi. Thanks. -It sounds great.
Why didn't you tell me you were coming?
-I thought it might be a nice surprise. -Oh, no. It is. It is.
Okay. It's Tuesday.
Mm…
I need to give them the decision about the job by tomorrow, so…
Is there a moment where you can take a break?
I can't. No, the actors take breaks. I don't… I don't have any breaks.
I just don't know what I'm gonna do. So…
Um…
Can you… Can you ask for an extension?
I'm sorry, can we… Can we talk about this tonight?
I'm so… One second.
This is… Can we get this section…
♪ …there ♪
[whispers, unintelligible]
[drums join piano]
-♪ A nomination ♪ -♪ A nomination? ♪
♪ A nomination for a Face Award ♪
-♪ A Face Award ♪ -♪ Let's plug in ♪
♪ Does this mean That I'll be on the air? ♪
♪ You already were ♪
-♪ Last night, what a sight you were ♪ -♪ I was? ♪
♪ You were You played with my laser ♪
♪ You thought it was a razor ♪
♪ I'm positive that's what Caused such a scene ♪
♪ We can get on the air My music box on the air ♪
♪ Where? Who? What does this mean? ♪
♪ Everyone who ever has Or ever will be anyone will be there ♪
[music fades]
-[sighs nervously] -I can give you 50 for everything.
You're gonna sell it for five times that amount.
Fifty's the best I can do.
[sighs]
-Cash? -Great.
[sarcastic] Oh, no. He's keeping the Godspell.
"Day by Day."
[music continues]
Yeah, yeah. I love it.
Ah, ah, ah!
[Michael] I'd love to take you to lunch. Celebrate your birthday.
I can't this week.
I could really use your advice on some things.
Hey, Michael? I'm sorry, can I call you back later?
I'm just… I'm right in the middle of something here.
Oh, uh, that focus group I mentioned…
They're still looking for one more person to sign up.
It's Thursday at 11:00. I know money's tight for you right now.
You know what? Never mind.
Uh, wait. How much does it pay?
It's only 75 bucks, but it could be a thing.
I'll be there.
Thank you really. That's… Yeah, thank you.
-Wow. -Okay, bye. Bye-bye.
All right, see you.
[music builds]
[full rock band plays]
♪ Everyone who ever has Or ever will be anyone will be there ♪
-You were right. -I know.
♪ Never in the history Of entertainment will there be ♪
♪ An affair quite like it ♪
♪ The event of the century ♪
♪ The quintessential social adventure ♪
♪ We cannot afford to miss This night of bliss ♪
♪ The 31st annual Face Awards ♪
♪ Presentation ceremony Live via satellite in color ♪
♪ It's an 18-hour function With commercial interruption ♪
♪ From a marvelous, glorious Slam bang glamorama ♪
♪ Everyone who's anyone knows Everyone who's anyone knows ♪
♪ Everyone who's anyone knows Everyone will be ♪
♪ There ♪
[music ends]
[sighs]
-Can I hear it? -[laughs nervously]
-Huh? -The new song.
-Any day now. -[light chuckle]
-You're killin' me, Larson. -[strained laugh]
[playing gentle tune]
-[phone rings] -Oh, sh…
Shh!
-[phone continues ringing] -My God.
[answering machine] ♪ Speak ♪
[beep]
[Susan] Hey, it's me. Just pick up the phone.
I know you're screening your calls.
Every light is on in your apartment right now.
I can see you!
[sighs]
Hey. Hi. You could have called first.
-I just did. -Mm.
It's good to see you too.
[exhales]
[Jon] I didn't mean it like that.
-Jesus, Jonathan. -[sighs]
I need you to talk to me.
I'm writing, Susan. I'm writing.
You're gonna write a great American musical in the next ten minutes?
Thank you for being so supportive of my work.
[scoffs] Because you've been such a champion of mine?
-What's that supposed to mean? -What do you think it means?
And now, ladies and gentlemen, we present you with…
[drum roll]
…scenes from a modern romance as told in song.
I'm sorry, I'm sorry. I--
I'm not allowed to talk about my needs. What needs?
-Did I say that? -You didn't have to say it. It's implied.
How is it implied?
You're the artist and I'm the girlfriend. That's how you feel, right?
♪ I feel bad That you feel bad ♪
♪ About me feeling bad About you feeling bad ♪
♪ About what I said About what you said ♪
♪ About me not being able ♪
♪ To share a feeling ♪
-Can we talk about this later, please? -When, Jonathan? When is later?
Not tonight.
♪ If I thought that What you thought ♪
♪ Was that I hadn't thought About sharing my thoughts ♪
♪ Then my reaction To your reaction ♪
♪ To my reaction Would have been more revealing ♪
I have been rehearsing all day. I have been up since four this morning.
I have been trying to write a song for a week and I am nowhere.
♪ I was afraid that you'd be afraid ♪
♪ If I told you that I was afraid of intimacy ♪
I've been telling you how unhappy I am for months.
♪ If you don't have a problem With my problem ♪
♪ Maybe the problem's Simply co-dependency ♪
Everyone's unhappy in New York! That's what New York is!
-♪ I was wrong to ♪ -♪ Say you were wrong to ♪
-♪ Say I was wrong about ♪ -♪ You being wrong ♪
-♪ When you rang to say ♪ -♪ The ring was the wrong thing to bring ♪
♪ If I meant what I said When I said "rings bored me" ♪
I don't know how to get through to you anymore.
You keep shutting me out, you keep putting up these fences.
-I'm not. I'm not shutting you out. -You're a million miles away all the time.
-Actually, I'm right here. -Are you, Jonathan?
Actually? Because I know you.
♪ I'm not mad That you got mad ♪
♪ When I got mad When you said I should go drop dead ♪
♪ If I were you And I'd done what I'd done ♪
♪ I'd do what you did When I gave you the ring ♪
♪ Having said what I said ♪
You're right. I've been distracted, but I promise you, after the workshop--
After the workshop.
After the workshop!
Everything is after the workshop.
Yeah.
What if the workshop happens and nothing changes?
No producer with a big check.
You don't go straight to Broadway.
You're still a waiter, you're still living in this apartment, you're still broke.
What then, Jonathan? What about me?
♪ I feel bad that you feel bad About me feeling bad ♪
♪ About you feeling bad about what I said About what you said ♪
♪ About me not being Able to share a feeling ♪
♪ Feeling badly about you ♪
I can't move to the Berkshires.
[scoffs]
I can't leave my career behind.
You think I don't know that?
What?
What are you…? What is this? What do you want?
[dry chuckle]
I guess I just… I wanted you to tell me not to go.
♪ If I thought that what you thought ♪
♪ Was I hadn't thought About sharing my thoughts ♪
♪ Then my reaction to your reaction To my reaction ♪
-♪ Would have been more revealing ♪ -♪ When I reacted to you ♪
Of course I don't want you to go.
-Really? -Obviously.
'Cause this is the first time you've ever said it.
Oh, my God.
♪ Now it's out in the open ♪
You're thinking about how you can turn this into a song. Aren't you?
♪ Now it's off our chest ♪
No. What?
You know what, Jonathan? I'm done.
Susan? Susan, wait.
I hope that you have an amazing workshop.
Susan, hold on. Susan?
♪ Now it's 4:00 a.m. And we have therapy tomorrow ♪
♪ It's too late to screw ♪
♪ So let's just get some rest ♪
[cheering, applause]
[horn beeps]
[ticking starts]
[horn honking in the distance]
So, just waiting on one more person.
-[tired sigh] -Enjoy those waters.
[laughing]
-So… -[door opens]
I'm Jon.
-Yes, Mr. Larson, you're Michael's friend. -Yeah.
-How are you? -Good. You're late.
-Oh. -Okay.
-Sorry about that. -That's okay.
-No, because of the subway. -Yeah, I'm sure.
Take a seat when you can.
-Hi. -Welcome.
Oh. Thanks.
You sure there's no way to get into the bathroom?
Oh, no, you're not allowed to use the bathroom.
Sorry, did she mention when we were gonna get paid?
Okay, um, so now that we're all here…
-Hi. -Hey.
Why don't we begin with a quick brainstorming session? Right?
Just to get those creative juices flowing. You know what I mean? It'll be fun.
Two hours of this.
-For one extra musician. -[laughter]
So why don't we start by you just throwing out some ideas
when you hear me say the word "America."
-George Washington. -Excellent.
-Abraham Lincoln. -Abraham Lincoln. Okay.
Empire, racism, genocide, Vietnam.
Grover Cleveland.
-The Constitution? -Yes.
-Yeah. -Magna Carta.
-The Bill of Rights. -Mm-hm.
-The right thing to do. -Ooh.
-[older woman] The right stuff. -Right stuff.
An open road at sunset.
Wind in your hair.
Nothing in your way, except horizon.
That is beautiful, Mr. Larson.
Wow. Okay. That goes on the board.
-The sun. -Sunrise.
The dawn of a new day.
-Oh! Where did you come from? -It all goes back.
-You're amazing. -That is incredible.
A window looking out on a field.
Oh, and I look out, and I see the bunnies and little squirrelies--
The beating heart of the nation.
-Ooh! -[director] Oh, my gosh.
-Absolutely. That's absolutely what it is. -Beautiful.
-I've never even heard that before. -You are gifted.
I could get used to this.
[Jon] I could get paid for this.
I could get health care. A 401(k).
A BMW. A luxury apartment… on Central Park West.
-No, no, no… East. -[laughter]
I could actually be rewarded for my creativity,
instead of rejected and ignored.
This could be the rest of my life.
Now that we have all those fabulous ideas of yours in our heads,
we are going to turn to the task at hand.
We are here to develop a name of a revolutionary consumer product
that is just about to hit your shelves.
Oh. Wow.
This is where we're gonna need
that incredible imagination of yours, Mr. Larson.
So the product we're looking at is a tasteless, odorless chemical compound
that will be used as a fat substitute in cooking.
Mm.
And it's been successfully tested on a number of mammals.
Well, that's good. Mm.
There are some side effects associated with the product
that I've been instructed to tell you about.
So it's skin scales.
Um… full hair loss.
-Hair, eyebrows, eyelashes… -[ominous music plays]
This could be the rest of my life.
And finally, in a small number of users,
there were reports of toxic shock syndrome…
resulting in a brief hospitalization.
-[man] Eh, no big deal. -There are no bad ideas.
[ticking starts]
-Free oil. -Love it.
-Oil free. -Okay.
-That's the same thing she just said. -I switched the words around.
[director] That's totally fine, Kim. Thank you so much.
-The American Dream. -Okay, well…
-[Kim] Dreams of freedom. -Okay.
-[man] Nutra-oil. -That's not bad, Todd.
[Todd] Waist oil. No.
-[ticking intensifies] -[dialogue fades]
[discordant music builds]
I got it.
[laughs triumphantly]
-I have it. I have the exact-- -Go, go!
You wanna hear? I got the exact right thing for this product.
Chubstitute.
[Michael] Chubstitute?
-It's a joke. -It's not funny.
-Well, maybe not to you but-- -I recommended you, Jon.
I put my name on the line for you.
-Tell them I had a stroke. -It isn't funny.
This is my life.
No, it's not your life, it's advertising.
It's figuring out how to trick people
into buying shit that they don't want.
Actually, it's a lot more complicated than that.
I don't understand how you can take any of this seriously.
-Because they pay me to. -Money isn't everything.
-Well, it doesn't hurt. -Are you sure about that?
What are you doing with your life that's so noble?
-I'm making art. -That's what the world needs. More art.
Actually, yes. And at least I'm not perpetuating a system that's--
Spare the self-righteousness, Jon.
You're writing musicals in your living room,
you're not saving the rainforest.
[whispers] Wow.
Gosh, I wish I could be more like you,
and spend my life caring about driving the right car
and wearing the right suits and living in a doorman building.
Why shouldn't I want those things, Jon? Not all of us have options you do.
All the things that you take for granted.
-What? Like what? -Like a life with the person you love.
Do you know what I would give for that? You-- You turn your nose up at it.
If that's what you want, what's stopping you?
What's stopping me? How about Jesse Helms and the Moral Majority?
How about the people that run this country?
I can't get married. I can't have kids.
Half our friends are dying and the other half are scared to death they are next.
So, I'm sorry for getting a nice car, Jon.
I'm sorry for moving into an apartment with central heating.
I'm sorry for enjoying my life while I still have time.
I gotta go.
Hey.
You wanna come take the subway?
-[Michael] I'd rather walk. -Michael.
Michael.
[phone ringing]
-[footsteps approach] -[door opens]
Hello?
[woman] Johnny, darling. It's Rosa.
[gasps]
-Hello? -Rosa Stevens?
-Are we excited for tomorrow? -Tomorrow?
The presentation. You remembered the presentation?
Remembered it? I got every producer in town coming.
-[sighs] -[Rosa laughs]
-[laughs] -So it better be good.
Yeah, it's, uh… it's gonna be amazing.
Let's see if we can't get a bidding war started
on this musical of yours. What do you say?
Yes, sure. [laughs nervously]
Okay, doll.
Charlie, get me Hal Prince on the line.
Rosa? Um, I--
[dial tone]
[breathing deeply]
[up-tempo rock music playing]
[gagging]
I'm so sorry.
[door squeaks]
Yeah. I know, I know, I know.
[music stops]
[kettle whistle dying]
[whispers] Oh, no.
Why wouldn't you have called me to tell me my payment was late
before you just cut off my power?
How is--? How does that make sense?
[man] Sir, as I explained before, you received a notice--
No, no, no, listen.
You don't understand. I have a workshop.
I have a public presentation of my musical in 12 hours…
Sir, if you are going to raise your voice…
I'm sorry. I'm sorry.
Look, look, look. I can pay you over the phone, right now.
-I have my credit card right here… -The billing office is closed.
I would love to figure it out right now.
The billing office is closed for the night.
[breathing heavily]
-What am I gonna do? -Sir, like I've said, call--
[panting]
[keypad beeping]
[line ringing]
-[woman] Hello? -Hey, Beth. Hey.
How are you? It's Jon.
Hi, Jon.
Hi, um… is Susan there?
She doesn't wanna talk to you, Jon.
Yeah.
Um…
Sure, sure. Uh…
Well, can you… um… can you give her a message for me?
-What is it? -Well, it's just, you know…
I wanted to remind her that tomorrow is my workshop and you know, I…
I know I don't have any right to ask this. It's just that…
I would just really love her to be there.
I'll tell her you called.
[line clicks]
[Jon] Here I am.
[ticking starts]
The musical to which I have devoted my youth
is about to be put on public display for every producer in New York.
[ticking continues]
I haven't written a single note or a single lyric
of the most important song in the show.
I have no electricity.
My best friend is furious with me. My girlfriend isn't speaking to me.
And there is only one thing I can think of to do:
Swim.
[propulsive rock music playing]
♪ I hate this locker room Why won't Susan answer my calls? ♪
♪ Sweat, wet, echo Smell, hell, rap ♪
♪ Pump up the volume Hot, wet, hot sweat ♪
♪ How's the water? ♪
♪ Stretch, stretch Spit in the mask ♪
♪ Cloudy vision Test the water ♪
♪ Contemplate the dive The shock to the skin ♪
♪ Anticipate the pain, the pain, the pain The pain, the pain now ♪
♪ One, two, three, Oh, bite the air, seven ♪
♪ There's that girl One, two, three ♪
♪ Oh, bite the air Smooth, soft skin ♪
♪ Two, three Oh, bite the-- Thirteen ♪
♪ Long legs, brown skin and wet hair ♪
♪ Whoa, and wet hair ♪
♪ Has Rosa even listened to my tape? ♪
♪ Kick, stretch, windmill arms See the hand, point the feet ♪
♪ Wet hair Relax, this guy's too slow ♪
♪ Fifteen Can I make it to 40? ♪
♪ Too slow Touch his heel, move! ♪
♪ Answer my calls! Red thin stripe ♪
♪ Fifty feet, sixty feet She looks like Susan ♪
♪ Susan's beautiful ♪
♪ Out, don't think, out, out Let it out ♪
♪ Keep the shoulder down, down ♪
♪ Easy, not too hard ♪
♪ Find the movement's origin ♪
♪ Hands, no Shoulder, no ♪
♪ Elbows, no ♪
♪ Lower, from the back Yes, lower ♪
♪ Thirty-nine, 40 ♪
♪ Center, center ♪
[atmospheric piano interlude begins]
♪ Forward motion ♪
♪ Through the water ♪
♪ Come to your senses ♪
-♪ Escape ♪ -♪ Come to your senses ♪
♪ Come to your senses ♪
♪ I am soaring ♪
-♪ I'm the water ♪ -♪ You're on the air ♪
-♪ You as the knight ♪ -♪ I'm underground ♪
♪ Me as the queen ♪
[rock music resumes]
[music stops]
[clock ticking]
[Jon] The show is about to begin.
The room is completely empty.
The show is about to begin, and I am looking
at 60 empty folding chairs.
[door opens]
[ticking continues]
[whispers] Hi.
Hey, boy genius.
[ticking continues]
I'm turning 30 on Sunday, you know.
Oh, well, happy birthday.
Thank you.
-Thirty's still young, you know. -No one's here.
Oh. It's not even 9:00.
The presentation doesn't start till 10:00.
-[ticking stops] -[sighs with relief]
[Jon] Oh…
That's good.
-Cool. [laughs] -[laughing]
Okay. [panting]
-Can you sight read? -Yeah.
[exhales]
[Jon] Slowly, miraculously, people start to show up.
-Johnny. -[Jon] Be right back.
This is phenomenal. Look at the space, it's just phenomenal.
-It's a rehearsal studio, Dad. -It's a Broadway rehearsal studio.
-This is the real thing. -We're so excited for you, dear.
-Thank you. -Are they paying you?
-No. -[sighs]
-Next time. -Sure.
-[father] Oh, look, for us. -No, that's not…
-That's for someone else, actually. -Mm. Do you like that?
You can literally sit in any other seat.
-Okay. Break a leg. -Shall we sit there?
-I love you. Thank you. -I love you.
His hair is ridiculous.
[low, indistinct chatter]
Good turnout.
Yeah, mostly friends.
Mm, what a nightmare.
[both chuckle lightly]
Thank you… for being here.
Wild horses, Jon. You know that.
-Oh! Okay. Break legs. -Yeah.
Oh. Thank you. Thank you.
Ira, you son of a gun.
-Jonathan, how are you? -Rosa.
-Jon Larson. -Oh, there he is.
Just the man I'm looking for. You nervous? Don't be nervous.
-Yeah. A little nervous. Sure. -Of course you're nervous.
The first presentation of your musical is like having a colonoscopy in Times Square.
Only with a colonoscopy, the worst thing that could happen
is you find out you have cancer.
With a musical, you find out you're already dead.
Have a good show. Can't wait to see what you did.
We can't keep waiting. It's quarter past.
I know. I know. I know.
-Break a leg. -Okay.
Come here. Thank you.
[sighs]
Hello. Hi, welcome.
I'm Jonathan Larson.
[applause, cheering]
Whoa… Hey, well…
You don't have to do that. Thank you so much, that was very kind. Uh…
Thank you for being here, um, this morning.
-This is, um… -[door shuts]
-[whispering] That's Stephen Sondheim. -Right. Like I was saying…
Thank you all for being here. This is my musical, Superbia,
and I've been working on it for… a little while now.
[chuckles lightly]
And I just really hope you all like it.
Thank you.
[applause]
[up-tempo music begins]
And the next hour and a half are a blur.
♪ Everyone who ever has Or ever will be anyone will be there ♪
♪ Never in the history of entertainment Will there be an affair quite like it ♪
♪ The event of the century ♪
♪ The quintessential social adventure ♪
♪ We cannot afford to miss This night of bliss ♪
♪ Everyone who's anyone knows Everyone who's anyone knows ♪
♪ Everyone who's anyone Everyone who's anyone knows ♪
♪ Everyone will be there ♪
And then…
Karessa steps forward to sing my new song.
Not even 12 hours old.
I close my eyes.
I brace myself.
I don't dare take a breath.
[lilting melody plays]
But when I open my eyes…
I don't see Karessa there.
♪ You're on the air ♪
♪ I'm underground ♪
♪ Signal's fading ♪
♪ Can't be found ♪
♪ I finally open up ♪
♪ For you, I would do anything ♪
♪ But you've turned off the volume ♪
♪ Just when I've begun to sing ♪
♪ Come to your senses ♪
♪ Defenses are not the way to go ♪
♪ And you know, or at least you knew ♪
♪ Can't you recall when this all began ♪
♪ It was only you and me ♪
♪ It was only me and you ♪
♪ I have to laugh ♪
♪ We sure put on a show ♪
♪ Love is passé in this day and age ♪
♪ How can we expect it to grow? ♪
♪ You as the knight ♪
♪ Me as the queen ♪
♪ All I've got tonight ♪
♪ Is static on a screen ♪
♪ Come to your senses Suspense is fine ♪
♪ If you're just an empty image ♪
♪ Emanating out of a screen ♪
♪ Baby, be real You can feel again ♪
♪ You don't need a music box melody ♪
♪ To know what I mean ♪
♪ Deep in my eyes What do you see? ♪
♪ Deep in my sighs Listen to me ♪
♪ Let the music commence from inside ♪
♪ Not only one sense, but use all five ♪
♪ Come to your senses ♪
-♪ Come to your senses, yeah ♪ -♪ Come to your senses ♪
♪ Come to your senses ♪
♪ Baby, come back ♪
♪ Alive ♪
[clapping, cheering]
Whoo!
[breathing shakily]
[phone rings]
-Hello? -Hi, honey, it's Rosa.
Hi, Rosa. Thank you so much for calling.
Well, you already left six messages.
[chuckles] Yeah. Um… So have you heard anything yet?
Honey, I have heard nothing but raves all day long.
I'm getting call after call after call.
Wow. [chuckles]
Okay. Yes! That's great news.
Everyone is telling me the same thing. "That Jonathan Larson!"
"I can't wait to see what he does next."
What do you mean, what I do next? What about Superbia?
I always told you, it was a tough sell.
It's too arty for Broadway.
Tourists aren't gonna shell out 50 dollars
to see a show about spaceships and robots.
Um… That's not what it's about. Um…
Well, of course, I know that, Jonathan.
But you know these producers, they care about one thing and one thing only.
Okay. Uh… So what about Off-Broadway?
It's too expensive for Off.
You got a cast of thousands, with the special effects…
Uh… Charlie, tell him I'll be on in a sec.
-Listen, sweetie, I gotta run. -I'm sorry, Rosa…
Congratulations on a terrific presentation.
Rosa, Rosa, hold on.
So, okay…
So what am I supposed to do now?
You start writing the next one.
And after you finish that one, you start on the next.
And on and on, and that's what it is to be a writer, honey.
You just keep throwing them against the wall
and hoping against hope that eventually, something sticks.
[phone beeps]
Listen.
Little advice from someone who's been in this business a long, long time?
On the next one, maybe try writing about what you know.
Okay, kiddo?
Yeah.
Start sharpening those pencils.
Yeah, yeah.
[phone disconnects]
[busy tone]
I think let's give it a minute and see what happens next week.
Hey, I need a job.
-Can you hold on a second? -I'll apologize to the focus group lady.
I will never say anything bad about marketing research ever again,
I swear to God.
I'm gonna call you right back.
I wanna do what you do. I wanna have what you have.
I want the BMW, I want the doorman, I want it, I want all of it. Okay?
-What's going on? -Oh, it's good. It's good.
I just spent the last eight years killing myself
on a musical that's never gonna happen.
I find that very hard to believe. It was incredible this morning.
Well…But not incredible enough.
I can't do it again, Mike.
I can't stomach five more years of waiting tables,
five more years of writing things that no one will ever see
while Broadway just churns out mega-musicals
without a hint of even the slightest thing original
or, God forbid, something to actually say about the world!
Are you done?
-No, actually-- -The presentation, Jon, it was amazing.
It would be a tragedy to give up what you have.
-You did it. -Please! [laughs]
I was a mediocre actor.
Do you know how many mediocre actors there are in New York City?
Do you know how many Jonathan Larsons there are?
One.
I can't keep wasting my time, Mike.
-I turn 30 in two days. -And?
And Stephen Sondheim was 27 when he had his first show on Broadway.
Well, guess what? You're not Stephen Sondheim. Wait a little longer--
I'm not waiting anymore. I can't keep waiting. This is my life.
-I understand. -No, you don't. I'm running out of time.
-You are not running out of time. -You don't know anything about it.
I'm HIV-positive.
What?
-How long have you known? -A few days.
Who knows?
I might get lucky. People do.
Live a year, longer even.
Anyway, I think I might know a thing or two about running out of time.
Why didn't you tell me sooner?
You tried.
-[phone rings] -[woman] Jill Kramer returning, line two.
I have to take that.
-Mike-- -I can't talk about this now, please.
Jill. Hey, it's Michael.
Yeah, I just want to see how the Downy account was going.
-[ticking starts] -Mm-hm.
-[elevator dings] -[indistinct chatter]
[Jon] I think of the day I met Michael.
[ticking continues]
[Jon] It was the first day at sleep-away camp, 22 years ago.
We were eight.
I think of high school, all the shows we did together.
[elevator dings]
♪ Is this real life? ♪
I think of the summer that our parents decided to stay
in the same town in Cape Cod, a mile away from each other.
And we'd meet on the beach every night and, um…
we'd just sit there talking till three in the morning about our plans.
[crying] About how one day we were gonna move to the city together and…
[sniffles]
…find a cheap apartment and be discovered,
and change the world.
[woman on recording] Hey, you've reached Susan, Beth--
[phone clatters]
[Jon] I think of the first summer back from college.
We smoked a bowl on Kennedy breakwater and Michael told me he was gay.
♪ Is this real life? ♪
[Jon] I think of our friends, so many.
-I think of their funerals. -[sobbing]
[Jon] I think of their parents not even 50,
saying the Kaddish over their children.
♪ Is this real life? ♪
[Jon] I think of them and I think of Michael.
And before I understand what's happening, I start running.
♪ Is this real life? ♪
Past the pond, past the carousel.
[ticking intensifies]
♪ Is this real life? ♪
[Jon] The ticking is so loud now, I can't hear anything.
♪ Is this real? Is this real? ♪
♪ Is this real? ♪
My heartbeat is pounding in my throat.
The wind is shrieking through the trees.
The sky is darkening.
I want it to stop. [crying] I want it all to stop!
[ticking continues]
[birds calling]
[ticking continues]
[ticking accelerates]
[ticking stops]
[exhales deeply]
[gentle melody plays]
♪ When I was nine ♪
♪ Michael and I ♪
♪ Entered a talent show down at the Y ♪
♪ Nine a.m. Went to rehearse by some stairs ♪
[sobbing] ♪ Mike couldn't sing ♪
♪ I said, "No one cares" ♪
♪ We sang "Yellow Bird" ♪
♪ And "Let's Go Fly a Kite" ♪
♪ Over and over and over ♪
♪ Till we got it right ♪
♪ When we emerged ♪
♪ From the YMCA ♪
♪ Three o'clock sun ♪
♪ Had made the grass hay ♪
♪ I thought Hey, what a way to spend the day ♪
♪ Hey, what a way to spend the day ♪
♪ I make a vow ♪
♪ Right here and now ♪
♪ I'm gonna spend ♪
♪ My time this way ♪
♪ When I was sixteen ♪
♪ Michael and I ♪
♪ Got parts in West Side ♪
♪ At White Plains High ♪
♪ Three o'clock Went to rehearse in the gym ♪
[laughing] ♪ Mike played Doc Who did not sing ♪
♪ Fine with him ♪
♪ We sang "Got a rocket in your pocket" ♪
♪ And "The Jets are gonna Have their day tonight" ♪
♪ Over and over and over ♪
♪ Till we got it right ♪
♪ When we emerged ♪
♪ Wiped out by that play ♪
♪ Nine o'clock stars ♪
♪ And moon lit the way ♪
♪ I thought, hey ♪
♪ What a way to spend the day ♪
♪ Hey, what a way to spend the day ♪
♪ I made a vow ♪
♪ I wonder now ♪
♪ Am I cut out To spend my time this way? ♪
♪ I'm twenty-nine ♪
♪ Michael and I ♪
♪ Live on the West Side of SoHo, NY ♪
♪ Nine o'clock, I write a lyric or two ♪
♪ Mike sings his song now on Mad Avenue ♪
♪ I sing, "Come to your senses" ♪
♪ "Defenses are not the way to go" ♪
♪ Over and over and over ♪
♪ And over and over And over and over ♪
♪ Till I get it right ♪
♪ When I emerge from B Minor or A ♪
♪ Five o'clock, diner calls ♪
♪ I'm on my way ♪
♪ I think, hey ♪
♪ What a way to spend a day ♪
♪ Hey, what a way to spend a day ♪
♪ I make a vow ♪
♪ Right here and now ♪
♪ I'm gonna spend ♪
♪ My time this way ♪
♪ I'm gonna spend ♪
♪ My time this way ♪
[sighs shakily]
[doorbell rings]
Hey. Whatever happens next, I'm here. I promise.
There's, um… there's a support group, it's called Friends In Deed.
I just called them. They have a meeting tomorrow morning.
-You look like shit. -[laughs]
I'm so cold.
[both chuckle]
Come on.
Oh, Mike.
-[both crying] -I'm sorry.
Sunday.
My 30th birthday.
[phone rings]
[phone continues to ring]
-[Jon on machine] ♪ Speak ♪ -[beeps]
Jon? Steve Sondheim here.
Rosa gave me this number, I hope it's okay to call you.
I didn't get a chance to speak with you after the reading,
but I just wanted to say it was really good.
Congratulations.
I'd love to get together and talk to you about it, if you have any interest.
-No pressure. -[chuckles]
The main thing though, is that it's first-rate work and has a future.
And so do you.
I'll call you later with some thoughts, if that's okay.
Meanwhile, be proud.
[clicks]
You know, there was a small-- very, very small piece of me
that was the teensiest bit happy to hear you're not leaving.
I'd have been sad not to see you every Sunday morning.
Oh. Cheers.
I told Freddy. He's pissed off at your agent.
-[both chuckle] -How is he?
-He should be going home soon. -Really?
Yes. Yes. [laughing]
-[glasses clink] -[whispers] God…
Oh.
-Uh, I'll be-- Yeah. -You go handle that.
[entry bell chimes]
-Hi. -Hi.
I didn't know you were, um…
I wasn't sure whether you would want me here.
[chuckles lightly]
I'm so happy you're here.
So how was the reading? Did anybody--?
-I'm sorry. -No, it's okay.
-I really wanted to be there. I just-- -Susan…
I know.
What are you gonna do now?
I'm gonna start the next one.
I decided to take the job.
[softly] Okay.
I'm happy for you.
Happy birthday.
Thank you.
You really didn't have to get me anything.
It's for the next one.
Got any ideas?
Just questions.
That seems like a really good place to start.
Goodbye, Jonathan.
[Susan] The next one was tick, tick… BOOM!
After that, he went back to a project he'd started and put away, called Rent.
It ran on Broadway for 12 years.
It changed the definition of what a musical could be.
What it could sound like.
The kinds of stories it could tell.
Jonathan never got to see it.
The night before Rent's first public performance, he died…
from a sudden aortic aneurysm.
He was 35 years old.
He still had so many questions.
[piano melody playing]
♪ Why do we play with fire? ♪
♪ Why do we run our finger Through the flame? ♪
♪ Why do we leave Our hand on the stove ♪
♪ Although we know We're in for some pain? ♪
♪ Oh, why do we refuse To hang a light ♪
♪ When the streets are dangerous? ♪
♪ Why does it take an accident ♪
♪ Before the truth gets through to us? ♪
♪ Cages or wings Which do you prefer? ♪
♪ Ask the birds ♪
♪ Fear or love, baby ♪
♪ Don't say the answer ♪
♪ Actions speak louder than words ♪
♪ Why should we try to be our best ♪
♪ When we can just get by And still gain? ♪
♪ Why do we nod our heads ♪
♪ Although we know ♪
♪ The boss is wrong as rain? ♪
♪ Why should we blaze a trail ♪
♪ When the well-worn path Seems safe and ♪
♪ So inviting? ♪
♪ How, as we travel ♪
♪ Can we see the dismay ♪
♪ And keep from fighting? ♪
♪ Cages or wings ♪
-♪ Cages or wings ♪ -♪ Which do you prefer? ♪
♪ Ask the birds ♪
♪ Fear or love, baby Don't say the answer ♪
♪ Actions speak louder than words ♪
♪ Louder than, louder than ♪
♪ What does it take To wake up a generation? ♪
♪ How can you make someone Take off and fly? ♪
♪ If we don't wake up And shake up the nation ♪
♪ We'll eat the dust Of the world wondering why ♪
-♪ Why? ♪ -♪ Why? ♪
♪ Why? ♪
♪ Why do we stay with lovers ♪
♪ Who we know, down deep ♪
♪ Just aren't right? ♪
♪ Why… ♪
-♪ Would we rather ♪ -♪ Put ourselves through hell ♪
♪ Than sleep alone at night? ♪
♪ Why do we follow leaders Who never lead? ♪
♪ Why does it take catastrophe To start a revolution? ♪
♪ If we're so free, tell me why ♪
♪ Someone tell me why So many people bleed ♪
♪ Cages or wings ♪
-♪ Cages or wings ♪ -♪ Which do you prefer? ♪
♪ Ask the birds ♪
♪ Fear or love, baby Don't say the answer ♪
♪ Actions speak louder than ♪
♪ Louder than, louder than ♪
♪ Cages or wings ♪
♪ Which do you prefer? ♪
♪ Ask the birds ♪
♪ Fear or love, baby Don't say the answer ♪
♪ Actions speak louder ♪
♪ Louder than, louder than ♪
♪ They speak louder ♪
♪ Louder than, louder than ♪
♪ Actions speak louder than ♪
["Happy Birthday" playing]
Make a wish.
[music builds to crescendo]
[music peaks, fades]
[guitar melody plays]
["Come To Your Senses" performed by Jazmine Sullivan]
♪ You're on the air ♪
♪ I'm underground ♪
♪ Signal's fading ♪
♪ Can't be found ♪
♪ I finally open up ♪
♪ For you I would do anything ♪
♪ But you've turned off the volume ♪
♪ Just when I've begun to sing ♪
♪ Come to your senses ♪
♪ Defenses are not the way to go ♪
♪ And you know Or at least you knew ♪
♪ Everything's strange, you've changed ♪
♪ And I don't know what to do To get through ♪
♪ I don't know what to do ♪
♪ I have to laugh ♪
♪ You sure put on a show ♪
♪ Love is passé in this day and age ♪
♪ How can we expect it to grow? ♪
♪ You as the knight ♪
♪ Me as the queen ♪
♪ All I've got tonight ♪
♪ Is static on a screen ♪
♪ Come to your senses ♪
♪ The fences inside are not for real ♪
♪ If we feel as we did, and I do ♪
♪ Can't you recall when this all began ♪
♪ It was only you and me ♪
♪ It was only me and you ♪
♪ But now the air is Filled with confusion ♪
♪ We replace care with illusion ♪
♪ How come it's cool to be cold ♪
♪ When nothing lasts anymore ♪
♪ When love becomes disposable ♪
♪ This is the shape of things We cannot ignore ♪
♪ Come to your senses Suspense is fine ♪
♪ If you're just an empty image ♪
♪ Emanating out of a screen ♪
♪ Baby, be real, you can feel again ♪
♪ You don't need a music box melody ♪
♪ To know what I mean ♪
♪ So come to your senses ♪
♪ Will you come to your senses ♪
♪ Yeah, come to your senses ♪
♪ Come to your senses ♪
[song ends]
[rhythmic shaking starts]
["Green Green Dress" performed by Andrew Garfield and Alexandra Shipp]
♪ Deep, dark velvet hugs your silhouette ♪
♪ Black silk stockings, you're my Juliet ♪
♪ Soft long hair Baby, beautiful blue eyes ♪
♪ Cool me down before I jump Into your thighs ♪
♪ The green, green dress Twenty buttons and a strap ♪
♪ The green, green dress What a pleasure to unwrap ♪
♪ Green dress, oh what it can do ♪
♪ What the green, green dress Does to me on you ♪
♪ Me on you ♪
♪ Let's find a chair Where we can sit and talk ♪
♪ Or get some fresh air Maybe we could take a walk ♪
♪ Tell me what you're thinkin' Talk about your day ♪
♪ Tell me what to do I'll do anything you say ♪
♪ Yeah, the green, green dress Twenty buttons and a strap ♪
-♪ The green, green dress ♪ -♪ What a pleasure to unwrap ♪
♪ The green dress, oh what it can do ♪
-♪ What the green, green dress ♪ -♪ Does to me on you ♪
-♪ Me on you ♪ -♪ You ♪
♪ Can I hear you laugh, babe? Can you make me smile? ♪
♪ I'll forget what's on my mind For a while ♪
♪ Can I tie you up, love? If you tell me yes ♪
♪ I'll unbutton every button Down your green, green ♪
♪ Dress ♪
♪ The green, green dress Twenty buttons and a strap ♪
♪ The green, green dress What a pleasure to unwrap ♪
♪ Green dress, oh what it can do ♪
-♪ What the green, green dress ♪ -♪ Does to me on you ♪
-♪ Me on you ♪ -♪ You ♪
-♪ Me on the green, green dress ♪ -♪ Green, green dress ♪
-♪ Me on you ♪ -♪ You ♪
♪ The green, green dress ♪
-♪ The green, green dress ♪ -♪ Green, green dress ♪
♪ The green, green dress ♪
[song ends]
-[drumsticks clacking] -[man] One, two…
[upbeat music playing]
["Only Takes a Few" performed by The Mountain Goats]
♪ "Almost missed this one," he said I stared at the honky-tonk piano ♪
♪ Sure beats living in town The beach is a half a mile away ♪
♪ "Not much of the cat," I said He stared down underneath the couch ♪
♪ It doesn't matter much to me Not gonna beat it anyway ♪
♪ It only takes a few cents more To go first class ♪
♪ First class only takes a few ♪
♪ It only takes a few cents more To go first class ♪
♪ First class only takes a few ♪
[song ends]
[dramatic piano melody plays]