Richard III (1.4), Week 2: "The Weight of Conscience" - The Rehearsal Room

Join us as we dive into Clarence's dream and murder in Shakespeare's Richard III.

🏁 In this session, highlights include:

➤ The challenge of conveying moral conflict through performance

➤ Techniques for engaging with Shakespeare's language in a modern context

➤ The importance of pacing and timing in dramatic scenes

Featuring Geoffrey Wade (DIRECTOR), Gideon Rappaport (DRAMATURG), Peter Van Norden (CLARENCE), Aubrey Saverino (FIRST MURDERER) and Dan Cordova (SECOND MURDERER).

Episode Transcript

>> Geoffrey Wade (00:00):
Right, well, let's, let's get right into it. I
sort of did it, did the entire scene to
myself and it runs about 14 minutes, which
is fine. about a little over
four for the first bit and
you know, around 10 for the, for the
murderers scene. So I think it's

(00:20):
fine. We're gonna do the whole thing. a couple of
technical things. Let's work. actually
I was impressed with how well everyone is just improvising
the technical stuff before. So it's basically what we're
doing anyway. But when we get to the end of
Clarence's dream scene, both

(00:41):
he and I will just click off
after, the keeper says, I
will, my lord God, give your grace good
rest. And both Peter and I will
click off. And just give it a
couple of counts, you two.
And then, the murderers. And then, and then you
guys both come on together or you

(01:03):
know, and.

>> Aubrey Saverino (01:04):
We'Re just starting where we have been starting.

>> Geoffrey Wade (01:06):
Yes, start where you have been starting. We're not going to try to
do, Brackenbury at all. Okay, so start
with, what shall.

>> Aubrey Saverino (01:13):
I stab him in?

>> Geoffrey Wade (01:14):
What shall I stab him as he sleeps. And when you
do, come on, just make sure you're both on
for a second. so that there's
just a tiny moment where
before you. I'm not quite sure which it
is.

>> Dan Cordova (01:30):
It's me. It's a second.

>> Geoffrey Wade (01:32):
Of course it is. Yeah, it's a second murder. Of course it's some second murder
sounding line. Just, you know,
give yourself a moment, a beat or two to act it. Like,

>> Gideon (01:41):
Yeah.

>> Geoffrey Wade (01:41):
So here we are in the cell. What do I do now? Thanks, darling. Yeah,
what was the other one? Oh, the knife thing. I
thought Aubrey worked that quite well. Both you and
Peter improvised it quite well the other
day. Do you have a knife or something that looks
more daggerish than kitchen? Ish?

>> Aubrey Saverino (02:00):
I definitely have like at least a little knife I can. Yeah, like
a knife looking thing.

>> Geoffrey Wade (02:04):
Let her open her thing. But yeah, just, it was great. Just,
just, you know, bringing it through the screen a few times.
And Peter, just react to it as you did
My famous death scene. Yet another death
scene. I
did the, Fantasticks last year and I played Henry, the
old actor, of course. And then he has this companion,

(02:26):
this companion who does nothing but die.

>> Peter (02:28):
All he does is Mortimer. Die again, die again.

>> Geoffrey Wade (02:31):
That's it, Mortimer. And I have a friend
I've worked with many times. Peter. We should all do
a show Together because, he did exuberant death scenes, I
must say. Anyway, yes.
So Peter will do his famous death scene and
click off just
as you have been doing.

>> Peter (02:51):
Death scene.

>> Gideon (02:51):
Should probably only take three or four minutes.
The death scene.

>> Geoffrey Wade (02:55):
Yeah, well, I folded that into my
timing. So. Yeah.

>> Aubrey Saverino (03:00):
bottom. Yeah.

>> Geoffrey Wade (03:02):
Reincarnate and then that,
Yeah, I think you can. Unfortunately, Peter, you can
be off screen, but you can continue to die, you know, because I
know you'll need it for your actorly thing,
after the stabs so that all this will
not do. I'll drown you within the moms. But within is just,
Aubrey. And Daniel's still there.

(03:26):
you click off Aubrey. Daniel's got the screen to
himself. And then Aubrey come back on with what the fuck?

>> Aubrey Saverino (03:33):
Direct quote.

>> Geoffrey Wade (03:33):
Yes, yes, that is, that's actually what
Shakespeare was trying to say. And at
the very end, Jeffrey Waite adaptation.

>> Gideon (03:42):
Yeah. Yes.

>> Geoffrey Wade (03:43):
I'm gonna rewrite it, you know, make it more relevant
to the people who.

>> Gideon (03:47):
Are listening over my very, very long
dying body.

>> Aubrey Saverino (03:53):
Give him a.

>> Geoffrey Wade (03:55):
And Daniel exit where it says on,
at the end. So you click off and then
we are left with Aubrey to take us on home
with her that last bit.

>> Aubrey Saverino (04:06):
and maybe this also applies to Daniel when he's alone on stage.
Do you prefer like direct address into the camera
or not? What do you think?

>> Geoffrey Wade (04:15):
I prefer directly into the camera. Okay, great. just.
Yes, I prefer directly into the camera. And I don't know
know how well you all are doing with
memorization. I don't. I haven't
noticed a lot of problems so far. I haven't taken any
notes on it. but either you guys have very good
command of it or you've figured out how to do that thing of getting

(04:36):
your script very
near your camera, which is on
the screen, which is. Ah, terrific.
So, that seems to be working well. I'll try to watch it a little more
carefully this time, but it seems to be in good
shape. But you're always better off just dealing with the camera.
you can look around, you know,

(04:57):
if the feeling is you're sort of checking out
the room. But because we're never
quite sure where people are on screen in relation to each
other, it just doesn't seem to work well,
even with a two hander, unfortunately, trying
to look at somebody. So keep it
to the camera. It's just 14 minutes of close

(05:18):
ups, which is really,
wonderfully, you know, effective. we get your
eyes and we get a Lot. so the staging on off night
and sleep transition, you settle the eye.
Eye
takes. What is. Does that mean? I don't know.
I was gonna. I'll tell you what I have in mind for today,

(05:39):
which is to go through it once. The.
The whole thing, every time. Go through it
once, again, as did. As
deliberately. As
deliberately as you would like. Taking the
luxury of. Of,
you know, thinking through transitions and so on.

(06:00):
Always, with the idea then that that leads you to a
different, perhaps louder, perhaps more
intense energy. Right. All that
stuff we've talked about. But feel free to be a bit
indulgent this first time through. Also just
again, once again to refamiliarize ourselves with the
technicalities, and the script itself.

(06:21):
the next time through, I am going to urge you
to really kind of push
yourselves along. I'll give the same lecture that we've
all heard many times every time we do a rehearsal like this.
But we're looking for quickness, not pure
speed. We're not trying to race through. We're just trying to
compress the thinking that you all
already have really wonderfully. and

(06:45):
trust that the audience will follow you.
A, they always do. B, this is not
complicated stuff. So there's not. It's not that
kind of knotty, late, you
know, late, late, Shakespeare stuff where they're
very complex thoughts. where we're
more tempted than ever to try to guide the audience through. You simply
do not need to do that. so we'll really,

(07:07):
really try to move through it, that second time
without, you know,
you still transition. You can take a pause here and there,
but, you know, you're going to have to earn them.
I'm giving this talk sort of out of habit because you guys are really doing
a terrific job already. So this is not
scoldy or anything. This is just to move on to

(07:31):
the next phase of this.
so two more things I wanted to ask.
A, if you guys have any questions before we start, and
B, if Gideon wanted to say anything. So, why don't you
guys start? Maybe you'll have a question for Gideon. Is there anything in
particular that came up over the last week during your
many, many at home rehearsals that you did

(07:51):
or, has just occurred to you or
anything? Anything?
Nope.

>> Aubrey Saverino (08:01):
I mean, I think I'm still thinking about why I don't
stab him sooner. But, that's something that I'm thinking about.
Doesn't have to be a group, you know, I mean, I could just end
this whole, like, philosophizing debate. And I
don't. So I think that's interesting, and I.

>> Geoffrey Wade (08:15):
Think that's very interesting. I think it's very interesting that it
takes so long. I think, I mean, it's
fun to talk about it. Why else do these things? you know,
the two murderers may be psychologically
two sides of one person. You know, perhaps this
is the good angel, bad angel.
dichotomy made flesh. Right.

>> Gideon (08:34):
called, a
psychomachia or psychomach
sarcomachi.

>> Geoffrey Wade (08:41):
Wow.

>> Gideon (08:43):
It's a battle within the psyche between the
good angel and the bad angel, or in
Othello, between Desdemona and Iago for the
soul of Othello. but I
would add to that that,
they're all living in a Christian context.
And murder is a very extreme

(09:03):
thing. You have to overcome something
in the self, in a Christian world,
or in any world, really, to murder somebody
after just, like, dissecting in a
lab a, corpse for the first year
of a medical student, you have to overcome some
resistance in the self in order to do it. Even though it's

(09:24):
all for a good purpose and legit.
So, it's hard to kill somebody.
It's hard to make yourself do it. And
that reinforces this idea of these two
ways that a murderer might
react to actually facing his
victim. Hesitation. And

(09:44):
let's just get this over with.

>> Aubrey Saverino (09:47):
Which also tells me that, like, again, if that's true,
then this might also be my first time,
too. So I don't know. I just think this an
interesting thing. Like, we were hired because,
you know, like, it seems like maybe neither of us
have killed anybody before. like, is there a
desperation of, like, the money, obviously, is a big thing,

(10:08):
but that hesitation of, like, I'm not sure is.
And, like, arguing with, Clarence about,
like, no, you did wrong, so it's okay for me to kill you.

>> Gideon (10:17):
Right.

>> Geoffrey Wade (10:18):
Exactly.

>> Gideon (10:18):
And at the very end, I end up running
away. You're gonna get your money and you're gonna
skedaddle.

>> Geoffrey Wade (10:25):
Yeah.

>> Gideon (10:25):
So there's an awareness that there's a. There
are, you know, that there's consequences.

>> Geoffrey Wade (10:31):
It's true. It's excellent. Yeah. You're not becoming a
professional murderer as a result of this.

>> Aubrey Saverino (10:37):
No, I don't think so.

>> Geoffrey Wade (10:38):
It's been tough. I find it as I was going through it
myself, it's fun, interesting to actually to read
the whole scene, and it's like doing a book on tape,
you know, you kind of make. You got to make Everybody different.
But, this, this exchange that starts around,
oh, it starts with Clarence, when
he talks about the.

(10:59):
Really starts with, what we do, we do upon command. And
he hath that commanded it is our king. End of
argument. Then Clarence takes it to the next level. He
says, we actually, the king of kings
does not allow this. And you all go into this kind of theological
discussion, which, interestingly, this is one of the parts
where as I was reading it, I realized this really moves through

(11:21):
quite quickly. but, one of
the things they talk about is how, Clarence received the
sacrament to fight. So soldiers
receive the sacrament, they get, ah, they get a
pass, a, the word Gideon, a. An
indulgence for,
you know, for killing in the name of God.
That's okay, you take the sacrament. But then

(11:43):
Clarence broke the sacrament.

>> Gideon (11:46):
I mean, he took the sacrament in
the context of swearing to be loyal
to Lancaster and
the Lancastrians. And then he went over back
to the Yorks. So there's a difference between
that and repenting before a battle.
and Henry discusses it a lot

(12:07):
in Henry V, how a soldier
fighting for the king, if he dies in battle,
his service is owed to the king, but his soul is his
own business, so he better repent of his sins before
he goes into battle.

>> Geoffrey Wade (12:22):
Of course.

>> Gideon (12:22):
And that's different from Clarence,
taking the sacrament as a way of
swearing to be loyal to this other side,
the Warwick side, and then
betraying that oath
to go over back to the Yorks.
So, it's a double crime. I mean,

(12:43):
it's a triple crime because he went against his
brothers to the Lancasters, and then he
went against his oath and
the Lancasters to go back to the Yorks.
So, I mean, he's a mess.

>> Geoffrey Wade (13:00):
Spiritually.

>> Gideon (13:00):
He's here, which is
why his, the dream
is sent to him on purpose
to terrorize him into
repenting before he dies.
And the murderers come in and they're,
you know, they're bringing it right up to the minute,

(13:21):
like he might think, oh, I'm going to get out of here and then I
have time and my brother will forgive
me and it'll be okay. But when the
murderers come, there's no more time. It's like.
So he's as you said last time, he's arguing
for his life and it gets more and more intense
and passionate till the

(13:41):
end.

>> Dan Cordova (13:42):
And I notice also it seems like the first half of
Clarence's arguing, he believes that
we are sent by Edward to kill him.

>> Gideon (13:49):
Yes.

>> Dan Cordova (13:51):
Until we, you know, reveal that. No, it's
actually. It's actually Richard that sent us.

>> Gideon (13:56):
Yes.

>> Geoffrey Wade (13:57):
Yes.

>> Gideon (13:58):
It takes him a while to believe that.
Although he, as you pointed out, he
has his doubts. And he's trying to figure
out are they telling the truth or not.
And in the end, he buys it, and then
he's really worried, so. As he should
be.

>> Geoffrey Wade (14:16):
yeah. Great. A lot of people trying to get
their thinking and their. And their souls
straight.

>> Gideon (14:23):
Yeah.

>> Geoffrey Wade (14:24):
So, Good. Good. Good question, Aubrey. anything
else?
All right, well, let's, Gideon and I will
back off, and, Oh, no, I'm not. I'm staying here because I'm
there. I'm not going anywhere.
I, will be the, I'll be your keeper.
And, I have not arranged my script yet.

(14:46):
And, So. Are you ready, Peter?
Okay. Here we go.
Why looks your grace so heavily today?

>> Peter (14:57):
Oh, I have passed a miserable night.
So full of fearful dreams, of
ugly sights. That as I am a Christian, faithful
man, I would not spend another such a night. Though
twere to buy a world of happy days.
Oh, full of dismal terror was the time.

>> Geoffrey Wade (15:15):
What was your dream, my lord? I pray you, tell me.

>> Peter (15:20):
He thought that I had broken from the
tower. And was embarked to cross to
Burgundy. And in my company, my brother
Gloucester. Who from my cabin tempted me
to walk upon the hatches. Thence
we looked toward England. And
sighted up a thousand heavy times. During the wars

(15:40):
of York and Lancaster that had befallen us.
As we paced along upon the giddy footing of the hatches,
we thought that Gloucesters stumbled.
And in falling struck me that thought to
stay him. Overboard into the tumbling
billows of the main.
O Lord, methought what pain it was

(16:03):
to drown the
dreadful noise of waters in my ears.
What sights of ugly death within my
eyes. Methought I saw a thousand
fearful racks. A thousand
men that fishes gnawed upon.
Wedges of gold, great

(16:23):
anchors, heaps of pearl,
inestimable stones, unvalued
jewels. All scattered in the bottom of
the sea. Some
lay in dead men's skulls.
In the holes where eyes did once inhabit there
were crept as twere in scorn of eyes

(16:44):
reflecting gems.
Wooed the slimy bottom of the deep and
mocked the dead bones that lay scattered
by.

>> Geoffrey Wade (16:53):
Had you such leisure in the time of death to gaze
upon these secrets of the deep?

>> Peter (16:58):
Methought I had, and often did
I strive to yield the ghost.
But still the envious floods stopped in
my soul. And would not let it forth to find
the empty, vast and wandering air
but smothered it within my panting bulk. Who
almost burst to belch it in the sea.

>> Geoffrey Wade (17:24):
Wake' st thou not in this agony?

>> Gideon (17:26):
Oh, no.

>> Peter (17:28):
My dream was lengthened after life.
O, then began the tempest.
My soul
I passed methought the melancholy flood.
With that sour ferryman which poets write of.
Unto the kingdom of perpetual night.

(17:49):
The first that there did greet my stranger, soul
was my great father in law, renowned
Warwick, who spake aloud, what
scourge for perjury can this
dark monarchy afford false
Clarence?
So he vanished.
Then came wandering by a shadow like an

(18:11):
angel. With bright hair
dabbled in blood. And he shrieked out
aloud, clarence is come.
False, fleeting, perjured Clarence.
That stabbed me in the field by Tewkesbury.
Seize on him, Furies. Take him
unto.
With that, methought a legion of foul

(18:34):
fiends environed me. And howled in
mine ears such hideous cries.
And with the very noise
a trembling waked.
And for a season after could not believe
but that I was in hell.
A terrible impression made my dream.

>> Geoffrey Wade (18:54):
No wonder, no marvel, my lord, that it affrighted you.
I am afraid, methinks, to hear you tell it.

>> Peter (19:02):
Keeper, I have done these things that now
give evidence against my soul. For
Edward's sake. And m see how he
requites me.
O God,
if my deep prayers cannot appease thee.
That thou wilt be avenged on my misdeeds,

(19:24):
yet execute thy wrath in me
alone.
Despair, my guiltless wife and my poor
children.
Keeper, I pray thee,
sit with me awhile. My soul is heavy,
and I fain would sleep.

>> Geoffrey Wade (19:42):
I, will, my lord. God, give your grace good
rest.

>> Dan Cordova (20:01):
What, shall I stab him as he sleeps?

>> Aubrey Saverino (20:05):
No, he'll say, twas done
cowardly when he wakes.

>> Dan Cordova (20:09):
Why, he shall never wake until the great
judgment day.

>> Aubrey Saverino (20:14):
Why, then he'll say we stabbed him sleeping.

>> Dan Cordova (20:17):
the urging of that word judgment hath
read a kind of remorse in me.

>> Aubrey Saverino (20:23):
What, art thou afraid?

>> Dan Cordova (20:27):
Not to kill him, having a warrant, but to
be damned for killing him from which no warrant
can defend me.

>> Aubrey Saverino (20:34):
I thought thou hadst been resolute.

>> Dan Cordova (20:39):
So I am to let him live.

>> Aubrey Saverino (20:44):
I'll back to the duke of Gloucester and tell him so.

>> Dan Cordova (20:48):
Nay, I prithee, stay a little.
I hope this passionate humour of mine
will change. It was wont to hold me but
while one tells 20.

>> Aubrey Saverino (21:10):
How does thou feel thyself now?

>> Dan Cordova (21:13):
Faith, some certain dregs of conscience are yet within
me.

>> Aubrey Saverino (21:19):
Remember our reward when the deed's
done.

>> Dan Cordova (21:23):
Zounds, he dies. I have forgot the
reward.

>> Aubrey Saverino (21:27):
Where's thy conscience now in the
Duke of Gloucester's purse.
When he opens his purse to give us our reward,
thy conscience flies out.

>> Peter (21:38):
Tis no matter.

>> Dan Cordova (21:39):
Let it go. There's few, or none
will entertain it.

>> Aubrey Saverino (21:45):
What if it come to thee again?

>> Dan Cordova (21:48):
I'll not meddle with makes a man a
coward. A man cannot steal,
but it accuseth him. A man cannot
swear, but it checks him. A man cannot lie with
his neighbor's wife, but it detects him. Tis a
blushing, shame faced spirit. That mutinies in a
man's bosom.

(22:10):
It makes a man a coward. It
fills a man full of obstacles.
It made me once restore a purse of gold
that by chance I found. It
beggars any man that keeps it. It is turned out
of cities and towns for a dangero.
And any man that means to live well.

(22:30):
Endeavours to trust to himself and live
without it.
Zounds. Tis even now at my elbow. Persuading
me not to kill the duke.

>> Aubrey Saverino (22:42):
Take the devil in thy mind and believe him not.
He would insinuate with thee, but to make thee
sigh.

>> Dan Cordova (22:50):
I am strong framed. He cannot
prevail with me.

>> Aubrey Saverino (22:56):
Spoke like a tall man that respects thy reputation.

>> Gideon (23:00):
Come.

>> Aubrey Saverino (23:00):
shall we fall to work?

>> Dan Cordova (23:03):
Take him on the costard with the hilts of thy sword. Then
throw him in the malmsey. But in the next room.

>> Aubrey Saverino (23:09):
Excellent device, and make a sop of
him.

>> Dan Cordova (23:15):
Soft.
He wakes.

>> Aubrey Saverino (23:19):
Strike.

>> Peter (23:19):
No, no.

>> Dan Cordova (23:21):
We'll reason with him.

>> Peter (23:23):
Where art thou, keeper? Give me a cup
of wine.

>> Aubrey Saverino (23:29):
You shall have wine enough, my lord, anon.

>> Peter (23:33):
In God's name, what
art thou?

>> Dan Cordova (23:37):
A man as you are.

>> Peter (23:39):
But, not as I am, royal.

>> Dan Cordova (23:43):
Nor you as we are loyal.

>> Peter (23:47):
Thy voice is thunder, but thy looks
are humble.

>> Dan Cordova (23:52):
My voice is now the king's.
My looks are mine own.

>> Peter (23:56):
How darkly and how deadly dost thou speak.
Your eyes do menace me. Why look
you pale? Who sent you hither? Wherefore do
you come?

>> Gideon (24:09):
To. To.

>> Peter (24:14):
To murder me?

>> Aubrey Saverino (24:16):
Aye.

>> Peter (24:16):
Aye. You scarcely have
the hearts to tell me so, and therefore I cannot have the
hearts to do it.
Wherein, my friends, have, I offended
you?

>> Aubrey Saverino (24:29):
Offended us? You have not but the king.

>> Peter (24:32):
Ah, I shall be reconciled to him again.

>> Dan Cordova (24:35):
Never, my lord. Therefore prepare to
die.

>> Peter (24:39):
Are you drawn forth among a world
of men to slay the innocent?
What is my, offence? Where is
the evidence that doth accuse me? What
lawful quest have given their verdict up
unto the frowning judge, who
pronounced the bitter sin sentence of poor
Clarence? Death. Before I be convict by

(25:02):
course of law? To
threaten me with death is most
Unlawful, I
charge you, as you hope to have redemption. By Christ's
dear blood shed for our grievous sins. That you
depart and lay no hands on me. The deed
you undertake is damnable.

>> Aubrey Saverino (25:23):
What we will do, we do upon command.

>> Dan Cordova (25:26):
And he that hath commanded is our king.

>> Peter (25:29):
Erroneous vassals. The great
king of kings hath in the table of his
law commanded that thou shalt do no murder.
Will you then spurn his edict. And fulfil a
man's?
Take heed, for he holds vengeance in his hand.
To hurl upon their heads that break his law.

>> Dan Cordova (25:52):
And that same vengeance doth he hurl on thee.
For false forswearing and for murder
too. Thou didst receive the
sacrament to fight in quarrel of the house of
Lancaster.

>> Aubrey Saverino (26:03):
And like a traitor to the name
of God didst break that vow.
And with thy treacherous blade. Unripst the
bowels of thy sovereign son.

>> Dan Cordova (26:15):
Whom thou wast sworn to cherish and
defend.

>> Aubrey Saverino (26:19):
How canst thou urge God's dreadful law to us.
When thou hast broke it in such dear
degree?

>> Peter (26:25):
Alas, for whose sake did I that ill deed?
For Edward, for my brother. For his
sake. He sends you not to
murder me for this. For in that sin
he is as deep as I.
If God will be avenged for this. Dean,
ho. Know you yet he doth it

(26:45):
publicly. Take not quarrel from his
powerful arm. He needs no indirect
or lawless course. To cut off those that have
offended him.

>> Aubrey Saverino (26:57):
Who made thee then a, bloody minister. When
gallant springing, brave Plantagenet.
That princely novice was struck dead by
thee.

>> Peter (27:06):
My, brother's love. The devil
and, my rage.

>> Aubrey Saverino (27:11):
Thy brother's love. Our duty and
thy faults provoke us hither now to
slaughter thee.

>> Peter (27:18):
You do love my brother. Hate
not me. I am
his brother, and I love him well.
If you are hired for me, go back again. And I will
send you to my brother Claster. Who shall reward you
better for my life than Edward will for
tidings of my death.

>> Dan Cordova (27:39):
You are deceived. Your brother Gloucester hates you.

>> Geoffrey Wade (27:43):
Oh.

>> Peter (27:44):
Oh, no. He loves me, and he
holds me dear. Go you to him from
me.

>> Aubrey Saverino (27:50):
Ay, so we will tell him.

>> Peter (27:53):
When that our, princely Father York. Blessed his three
sons with his victorious arm.
He little thought of this divided
friendship. Bid Gloucester think of this, and
he will weep.

>> Aubrey Saverino (28:06):
Ay, millstones, as he lessened us to
weep.

>> Peter (28:09):
O, do not slander him, for he
is kind.

>> Aubrey Saverino (28:14):
Right as, snow in harvest.
Come, you deceive yourself. Tis he that
sends us to destroy you. Here.

>> Peter (28:25):
It cannot be.
For he bewept my fortune and hugged me in
his arms and swore with sobs
that he would labour my delivery.

>> Aubrey Saverino (28:37):
Why, so he doth, when he delivers you from
this earth's thraldom to the joys of
heaven.

>> Dan Cordova (28:45):
Make peace with God, for you must die, my
lord.

>> Peter (28:49):
Have you that holy feeling in your souls to counsel
me to make my peace with God? And are you
yet your own souls? Are, you yet to your own
souls so blind that you will war
with God by murdering me?
O sirs, consider, they that set you on to do this deed
will hate you for this deed.

>> Dan Cordova (29:12):
What shall we do?

>> Peter (29:14):
Relent and save your souls.

>> Aubrey Saverino (29:18):
Relent? No.
Tis cowardly and womanish.

>> Peter (29:22):
Not to relent is beastly,
savage, devilish.
Which of you, if you were a prince's son, being
pent from liberty as I am now, if two
such murderers as yourselves came to you, would
not entreat for life?
Ay, you would beg for you in my
distress.

(29:45):
My friend, I
spy some pity in thy looks.
Though if thine eye be not a flatteret, come thou
on my side and entreat for me a
begging prince. What beggar, pities
not?

>> Dan Cordova (30:02):
Look behind you, my lord.

>> Aubrey Saverino (30:03):
Take that and that.
If all this will not do, I'll drown you in
the malmsey butt within.

>> Dan Cordova (30:18):
Bloody deed and desperately dispatched.
How fain like Pilate, would I wash my hands of
this most grievous
murder?

>> Aubrey Saverino (30:32):
How now. What mean' st thou that
thou help' st me not? By heavens, the duke
shall know how slack you have been.

>> Dan Cordova (30:40):
I, would he knew that I saved his brother.
Take thou the fee, for I repent me that the duke is
slain.

>> Aubrey Saverino (30:49):
So do not I go,
coward as thou art.
Well, I
will go hide the body in some hole till that the
duke give order for his burial.
And when I have my mead, I will away

(31:09):
for this will out, and then I must
not stay.

>> Geoffrey Wade (31:20):
Come back. Come back, little Shibas.
Well done, y'. All. Very well done.
any. Anything you, guys want to say
before we have a little go at you?
Okay. Too late.

>> Aubrey Saverino (31:37):
Yeah.

>> Geoffrey Wade (31:38):
where's the first two pages?
Oh, here. Here. Just as a voice
from. From the darkness. Peter, I couldn't remember if, for
the Merry Wives reading, were you using your microphone?
was that on, during that reading?
And I was just wondering if it was something you could use
again for this, because it didn't sound like you had your microphone

(31:59):
on.

>> Gideon (32:00):
Really?

>> Peter (32:01):
No, it's on.

>> Geoffrey Wade (32:02):
Oh, it is? Okay.

>> Peter (32:03):
Hey, Mike.

>> Geoffrey Wade (32:04):
Okay.

>> Peter (32:05):
We just probably have to place it in a different spot.

>> Geoffrey Wade (32:10):
Yeah, those mics might be a little more sensitive and
terms of, like, being right on top of it or not, but. Okay. All right.

>> Gideon (32:15):
I was just curious.

>> Geoffrey Wade (32:16):
It doesn't sound bad. I just wanted you to sound as
good as possible.

>> Gideon (32:21):
Yeah, I'll adjust it.

>> Geoffrey Wade (32:29):
And lest that be my only note, I really enjoyed the
scene. Okay,
Good on the literal God Mike
there, Peter. Ah, very nice as
always. two small things.
these are just suggestions I'm throwing out there. when
you get to line 30, some lay in dead men's

(32:50):
skulls and in the holes.
can you make that a new discovery again? So it's
not quite attached to the thing before,
just to help you keep looking for
things that you saw.
Like that one was. That's a whole
new, kind of image where the
skulls are coming to life. Great. the way

(33:13):
this, sentence. It's only one sentence.
Methought I had an awful did strive to yield the ghost, but still
the envious flood stopped in my soul.
Can you see how close you can come to doing
that on one breath? None of the.
There are commas in there, but almost the lines aren't. There's
no punctuation at the end of the lines until the,

(33:34):
wandering air. But even so, I just think it's wonderful
if you're, you know, if you become, again, the
sort of physicalization of what you're. Of what you're
describing in the dream.

>> Gideon (33:44):
Jeffrey. My version of that note was that
Peter paused at the end of Strive.
And it's an enjambed line, so that doesn't need a pause.
I think just not pausing there will
do most of what you're asking him to do.

>> Geoffrey Wade (33:59):
Yeah, exactly. I mean,
1, 2, 3, 4, 5, 6. I don't expect you to get through all
six lines, but you know what I'm saying.
You know what I'm saying.

>> Gideon (34:08):
Yep.

>> Peter (34:08):
Absolutely.

>> Geoffrey Wade (34:09):
the other thing I just want to, remind you
of, particularly in this long speech, is just
check, yourself. you,
Peter, can get your voice to a pitch where
it stays. I mean, literally a little
note that's kind of up there.
And I think you need to look for opportunities to

(34:29):
relax down to where you're kind of
hooked back into your, gut occasionally.
Okay. I, like, you did the.
Oh, God. If my deep prayers actually became a
separate prayer. Terrific,
Terrific. I'm sorry your
keeper got a little distracted trying to write a
note. so moving on.

(34:52):
first murderer. This. This line
Series always kind of bugs me, but I think
it should go this way. At the very
beginning, you say no.
He'll say, twas done cowardly when he wakes,
but he's never gonna wait till Judgment Day. Why?
Then he'll say, we stabbed him. Because I think that's.
I think that's the joke,

(35:15):
right? I think that's.

>> Peter (35:17):
Yep.

>> Geoffrey Wade (35:18):
He's never gonna wake up till then. Well. Well, he'll say
it then. And then we'll be fucked.

>> Gideon (35:24):
Yep. Yep.

>> Geoffrey Wade (35:24):
Okay. Very good.
good. Remember our reward? You took that, not,
Dan, I have a kind of
general thing for you. I really like what you're doing with this
guy. I think,
Yeah, Daniel.

>> Dan Cordova (35:42):
Yes.

>> Geoffrey Wade (35:43):
I think you can do everything that
he is giving us, all the stuff you're going through,
and just simplify it a little bit.
You're a little bit telling me what he is rather than
just letting it exist in there. Right?
Yeah. So the battle that's going
on in here, let it work in there.

(36:05):
And again, we have the advantage of not having, We
don't have to reach the fifth row or the 16th row or the
balance or any of that. So
I'm trying to avoid saying take it down because that's not what I want.
I kind of like his intensity.

>> Dan Cordova (36:19):
No, I get what you're saying.

>> Geoffrey Wade (36:21):
Okay, good, good.

>> Dan Cordova (36:22):
Internalize a little bit.

>> Geoffrey Wade (36:23):
Yeah, yeah. And feel free, actually, to
trust that what you're doing is terrific
and that the camera will get it.

>> Gideon (36:31):
Yeah.

>> Dan Cordova (36:32):
You know, it's that thing with the difference between, stage acting
and TV acting when you're doing zoom. It's kind of such
a unique experience, you know?

>> Geoffrey Wade (36:39):
It is. And it's. It's a little, Neither
fish nor foul nor good red meat.
But it also. It kind of reinforces my.
Why it's interesting to do Shakespeare in this, medium. Because
you need the same force of. You know, you
have to rise to the language. You have to rise to the.
To the, situation, which is what we always have to

(37:01):
do on stage. so all of that
is absolutely as intense and important
in here. You don't
have to tell me what you're doing. You know what I mean?
Yeah. Oops. Dog
is interfering with my Internet.

(37:22):
both you guys was, both murderers. And,
Clarence, although you have fewer of these
exchanges. But, as we get into these exchanges now and we
go through it again, I want you to take out
any thinking between the lines.
None at all. No reactions between the lines.
All the acting happens Right

(37:44):
there. we've now had, plenty of opportunities
to examine what's going on there. There was one. I'm
only. I'm not trying to make too much of an example of you, but there's one
place I wrote down where
this is way later on. but, Aubrey, when.
When Clarence says, bid Gloucester, think of this, and he will weep.

(38:04):
You gave me a little laugh before. Aye.
Millstones. Just put the laugh into the line.
Right.

>> Gideon (38:10):
Do it on the word exactly.

>> Geoffrey Wade (38:12):
You know, think of this, and he'll wait.

>> Gideon (38:14):
Yeah.

>> Geoffrey Wade (38:14):
He's going to weep. Millstones. Right.

>> Gideon (38:16):
Yeah.

>> Geoffrey Wade (38:17):
I only picked that one out because it would happen, but there was a lot
of thinking and acting going on between, which is fine. That's what
I wanted you to do. Now trust that we
will get it without having to ever do
that. Aubrey
took that. Great line. Not really a joke.
Excellent device to make a sop of him.

(38:37):
the I, I. The I, I.
Daniel, this, I like
the way it worked. I think. I think the second murderer.
I don't want to tell you what to do. I'm gonna leave this as a field of choice. I'm gonna

(38:58):
tell you what I think. Might. Might also work
is if. When the first
one goes, you heard him. You heard him. Murder me.
Yeah. And rather than.
Rather than come under, top her, not in a
big way, but just to make sure that that line's actually more
for her than for him. Right?

(39:19):
Yeah. You're answering her more
than you're answering your partner. More
than you're answering Clarence.

>> Dan Cordova (39:27):
Okay.

>> Geoffrey Wade (39:28):
Right.

>> Gideon (39:28):
I would put that, you're trying to convince yourself as much
as Clarence.

>> Dan Cordova (39:34):
Okay.

>> Geoffrey Wade (39:35):
And just for my
taste, red and go under. Go on
top of her. okay.
Oh, I just saw some notes I wrote down. Wrote down. So going.
Going back a little bit. Daniel, on, your long speech
about conscience,

(39:57):
when you have multiple
words, what I wrote down was on blushing.
Shame faced. just. I want you to give those different
values.

>> Dan Cordova (40:07):
Okay.

>> Geoffrey Wade (40:08):
Right. Not just, this
orange. That orange. It was this orange, and that was an apple,
and that one was a pear. Okay.

>> Dan Cordova (40:16):
Okay.

>> Gideon (40:17):
can I help with that? Sure. Blushing is a
natural physical phenomenon.
Shame faced implies an awareness of
change. So it's both the body
itself doing it and then the mind behind
it.

>> Geoffrey Wade (40:32):
Excellent.

>> Gideon (40:33):
Great.

>> Dan Cordova (40:34):
Okay.

>> Geoffrey Wade (40:35):
Oh, Peter, could you come on after he
says, can you. I mean, can you turn your camera back on
after he says, I will reason with him.

>> Gideon (40:44):
Okay.

>> Geoffrey Wade (40:47):
then. Wait, where's that?
It's I, I.

>> Dan Cordova (40:56):
Yeah. So we noticed that softkey wakes before we see him on
camera.

>> Geoffrey Wade (41:00):
Yes.

>> Dan Cordova (41:01):
Got it.

>> Geoffrey Wade (41:02):
You're looking across the room.

>> Dan Cordova (41:04):
Got it.

>> Geoffrey Wade (41:06):
in this particular thing. Better on X. And.
Oh, Dan. And this. this is kind of what I was
saying before. but just to
explicit on this exchange about, Who
are you? I'm a man. but we're
loyal. My
voice is now the kings.
That was a part where I felt you sort of pushing.

(41:28):
And I know what you're doing. You're trying to be big. Right.
But find it in a
genuine way. Don't give it away
to him that you're putting it on. Okay. You are
big. You are strong. You're the biggest, strongest person
you know. If we're doing this on stage. Yeah.
So.

>> Dan Cordova (41:49):
Okay.

>> Geoffrey Wade (41:50):
Okay. Good. Perfect.
pizza.
The. Aye, I was good.

(42:11):
All this is good. this
little exchange again about the king of kings.
I liked it better the way you did it before, which was.
Hath in the table of his law. Law commanded. Da, da,
da, da. Earlheads that break his law.

>> Gideon (42:27):
Right.

>> Geoffrey Wade (42:29):
Again, Just for my taste. Works better.

>> Gideon (42:38):
You can hit break in the last line.
You can hit break in the last line instead of
his.

>> Geoffrey Wade (42:49):
Yeah, that's also the
scansion.

>> Gideon (42:52):
So that's 9,206.

>> Geoffrey Wade (42:54):
Yeah.

>> Gideon (42:54):
Yeah.

>> Geoffrey Wade (42:59):
there was another. Oh, damn it.
I had.
Oh, Aubrey. First murder around line
two. I don't know what this is. 27 or
so.
Elijah. Who made thee then a bloody minister? When gallant springing.

(43:22):
I think it works better when you do it sort
of,
as scanned rather than hitting the. The
made thee, then a bloody minister.

>> Aubrey Saverino (43:35):
Made thee.

>> Geoffrey Wade (43:35):
Great.

>> Aubrey Saverino (43:35):
Okay.

>> Geoffrey Wade (43:36):
Yeah.

>> Aubrey Saverino (43:38):
We were playing with that pronoun for a while, but
we say. No, we like who made thee then a bloody minister.

>> Geoffrey Wade (43:44):
Great.

>> Aubrey Saverino (43:44):
Okay.

>> Geoffrey Wade (43:44):
Yeah, great. The
verb. And then that great image of bloody minister.
We hear the. The. The is understood. Yeah.
Who made you the king of the world?

>> Gideon (43:56):
Can I just add there that you want to get through that
sentence to the end without
breaking it up too much. I'm not saying
Rush, but.

>> Geoffrey Wade (44:08):
There'S a.

>> Aubrey Saverino (44:08):
Lot of turns in it. And just to go through. Yep.

>> Gideon (44:11):
Yeah. The second line begins when. And
the third line is
the gallant spring, brave planchette. That princely.
That's referring to him again. So it's really one
arc to the end of the fall.
Yep.

>> Geoffrey Wade (44:27):
this is a. Ah, this is a good note for you,
Daniel. when you said, make, make peace with God, for you
must die, my lord, I thought that was perfect. That was.
That was the guy right? That's the guy. That's
this guy sitting, you know, hooked into your
gut on that one.

>> Gideon (44:44):
Super.

>> Geoffrey Wade (44:45):
So expand out from there. Clarence. I love
the way you were not backing down on, that next
speech, sirs. Consider they. That set you on. Da, da,
da. You're putting the pressure on him. Terrific.
Relent and save your souls. Relent? No. Tis cowardly not to
relent. That's great. And that works great. And now that

(45:05):
we're going to take any air out of it, it's a real
rhetorical ladder. Each one gets,
more intense.
second murderer. Daniel. I'm now going to
contradict, myself. Ah. A
bloody deed and desperately dispatched that line.
Yeah. You can take that anywhere you want. It doesn't have to be to

(45:28):
the camera.

>> Dan Cordova (45:29):
Okay.

>> Gideon (45:30):
That.

>> Geoffrey Wade (45:31):
That one can be. Oh, my God. Oh, my God. Oh, my God.
What have I done? I don't know what I've done. Maybe you can come to the
camera, but it's. It's. Jesus Christ.
Jesus Christ. And it's particularly
since. Since you don't have to relate to anybody. Let
it.

>> Gideon (45:45):
Okay, you.

>> Geoffrey Wade (45:47):
You gotta pass on that one. and,
finally, Aubrey,

>> Gideon (45:54):
This.

>> Geoffrey Wade (45:54):
Just kind of struck me. Maybe you were partly doing it. But, when
your partner leaves, for I
repent me that the duke is slain,
so do not. I maybe take
that. That part. Go. Cowardice thou art.
He's already out of the room. Or he's leaving the room.

(46:14):
He is literally off the camera.
That's another one where you can feel free to take it right off the camera.
It's like, fuck you. Get the fuck out of here. Get
out of here. Right. And then. And then come back to it again
so that we can find some. Some variations in there. I
probably just heard you half doing it, so do it all the way. And again,
that's one where you feel free to

(46:36):
come off camera because we don't know where he's gone.
Right, Good.
does everybody want to take, like, just like a minute or two,
get a drink of water and then we're.

>> Gideon (46:47):
I want a minute or two to give my little. Oh, please.

>> Geoffrey Wade (46:50):
Sorry, Gideon.

>> Gideon (46:52):
I know the dramaturg is the last person.
Yeah. Me. Attention. But, I'm.
I'm speaking for Shakespeare, if I can. Okay.
I'll be very quick. 43.
you said, This is you, Jeffrey?

>> Geoffrey Wade (47:07):
Yes.

>> Gideon (47:08):
I'm correcting your reading. Awake you
not in this sore agony. Not thee Awake
thou not. I know. It's because you were
distracted and you were remembering It. But
it changes the relation between them.

>> Geoffrey Wade (47:22):
Yes.

>> Gideon (47:23):
thank you. Line
51 to 54. Clarence.
Peter. The R's in these
lines are overwhelming.
Scourge. Four per
jury, dark monarchy.
Clarence. So he's

(47:44):
renowned. Warwick is speaking this
aloud and it's, it's piling up these
R's. And, I just want you to feel that I
don't. You don't need to do anything different. I just want you to be aware
that Shakespeare's piling on all those R's for
a reason. And then
they come back in line 56,
Clarence has come. False. Fleeting.

(48:06):
Perjured. Claire Rentz. So
perjured picks up, perjury earlier.
So it's like Warwick in your dream
is doing this
litany of your sins, right?
And they're all coming at you in ours. So I just,
I wanted you to be aware of that and deal with it as you

(48:28):
please. line 71.
I suddenly realized that Clarence has been
praying. if my deep prayers cannot
appease thee, that means that at some point you
have been trying to appease God with
deep prayers. It's not just the
prayer that you're saying now, it's that you've been at this.

>> Peter (48:50):
A continuation, right?

>> Gideon (48:51):
Yeah. So there's this spiritual war going on
in him. Because earlier you said, I have done these things
right. And the dream is just illustrating
them over again. So, this
gives us another sense of the, of
our compassion for Clarence. Right. He's
trying to save his soul here, if he can.

(49:13):
Okay. Daniel139.

>> Dan Cordova (49:16):
Yes.

>> Gideon (49:21):
I would hit metal rather than I.
Because we know we're talking about you.
So do you get where I am? What if it come to be
again? Go for metal. It's more
interesting.

>> Dan Cordova (49:34):
I'll not meddle with it.

>> Gideon (49:35):
Yeah. Line 148.
Oh, you said. Where is it?
It's any man.
You said any man. And it's every man.

>> Dan Cordova (49:52):
Oh, okay.

>> Gideon (49:54):
Okay, Got it.

>> Dan Cordova (49:56):
Yes.

>> Gideon (49:57):
line 155. I think
it hit cannot on the first syllable
rather than the second.
Cannot prevail.

>> Peter (50:07):
Okay.

>> Gideon (50:09):
Line 160.
into. Not in.

>> Dan Cordova (50:15):
Into the malmsey butt.

>> Gideon (50:18):
Into the malmsey butt. I know you were learning the line and
then doing it straight to us. It's
good, but I'm just noting it. Okay,
174.
74.
Oh, you added an R. I added R.
Yeah.

>> Dan Cordova (50:37):
That line's always. That's fine. I always
want to say R, even though it doesn't scan right. Because of the
balance of the two parts of the sentence, but
because there's a verb in the first part, but there's not in the second.

>> Gideon (50:48):
Yeah. So just to make you feel better, Shakespeare is
not a stickler the way I am about agreement,
in grammar. So for him, it's
perfectly fine to say voice is and
looks is. My looks is
mine own. He even does that, actually, at times.
So don't let the grammar be what

(51:09):
makes, you inject the r or
the r in my looks.

>> Geoffrey Wade (51:15):
Okay.

>> Gideon (51:16):
It doesn't need to be there grammatically from Shakespeare's
verse point of view. 196.
Yeah, you hit a little bit
on our. By Christ, your blood shed for our
grievous sins. Clarence. Peter. Uh-huh. I
wouldn't hit the hour. I go for the weight
of grievous sins. Yeah.

(51:39):
204.
will you then spurn. Oh, you said spurn his edict,
and it's spurn at. Left out the at.
You know where I am. Line two.

>> Peter (51:51):
Got it. @ his edict.

>> Gideon (51:54):
Spurn at his edict and fulfill
amendment. This is an example of starting a line
with a trochee. Bum, bum, bum, bum.
So it puts a lot of weight on the fourth syllable.
Spurn at his e, dict and
fulfill a man's. And the and is in
a stressed position. Why? Because he's saying you're

(52:16):
going to do this and at the same time do that.
You get me? Yep.

>> Geoffrey Wade (52:21):
Good.

>> Gideon (52:23):
line two.

>> Peter (52:25):
11.

>> Gideon (52:26):
Aubrey, I want you to bring out
the consonants in traitor a little more. You're
swallowing that middle T and it sounds
like modern American. so just
give. Give a little more weight to the T and it'll read
better.

>> Aubrey Saverino (52:41):
Great. Thank you.

>> Gideon (52:42):
227.
Yeah, this was the note we gave you. Don't hit the
V. Peter murdering again.

>> Peter (52:52):
Yes.

>> Gideon (52:52):
Right. I know it when I did it.
262.
264.
to do this deed, will hate you for the deed. Oh,
so you. You put weight on the last
word, deed, but it's a repeated word,
so bring that stress back to, toward hate.

(53:16):
But the real antithesis is here, is
set you on, then hate you.
You get what I mean?

>> Peter (53:24):
Yep.

>> Gideon (53:25):
Okay, and then,
292,
last one. Oh, you
just left out. Tell him what I said. You just left out the line in
291.

>> Dan Cordova (53:37):
Oh, okay.

>> Gideon (53:40):
You just left out take down the fee for I
repent me is what you said. So you left out. Tell them what I said.
Okay, that's it. having said all that, I
have to say it was very powerful and very good.

>> Aubrey Saverino (53:55):
Thank you. Thank you for the notes.

>> Gideon (54:02):
Can't hear you, Jeffrey. We can't hear you.
You're muted.

>> Geoffrey Wade (54:07):
Muted. I was talking to the. I'm talking to the dog.
ah. Do you want to
walk around yourselves, or do you want to
go into it? I'll take a
popular vote.

>> Peter (54:22):
I'm ready to go into it. I'm fine.

>> Gideon (54:24):
Okay, good.

>> Geoffrey Wade (54:26):
then let's do it with all the caveats that I said
before. one of these notes reminded me
that when you do get to those place, when you have to say
a word, like unripst his bowels or something,
don't let the. The. The imperative to kind of move through
it make you rush through words. I mean, there are times when
Shakespeare gives you words that you have to slow

(54:48):
down for. Or a phrase you have to slow down for. And
there's a reason for that. So don't. Don't, lose the
wonderful things you have now. thinking, oh, my God. God,
I'm not going fast enough. enjoy those words.
Relish. And use the language every bit as much as you have been.
Just no acting between
the lines, basically, is what we're on about.

(55:09):
And, once again, you've heard it from me and from Gideon and,
that other guy who we never see. this is really
good. So trust that what you're doing is good and
deepen it. Right? You don't have to tell us anything.
Just deepen. Deepen it.

>> Gideon (55:25):
Be it instead of say it,
right?

>> Geoffrey Wade (55:28):
So I will back off now, Gideon. I will leave.
you. No, I'm going to stay here.
I will stay here. I will be your keeper.
And,
Right.
Why looks your grace so heavily today?

>> Peter (55:50):
O, I have passed a, miserable
night. So full of fearful dreams,
of ugly sights. That as I am a Christian,
faithful man, I would not spend another such a
night. Though twere to buy a world of happy days.
So full of dismal terror was the time.

>> Geoffrey Wade (56:08):
What was your dream, my lord? I pray you tell me.

>> Peter (56:11):
He thought that I had broken from the
tower. And was embarked to cross to
Burgundy. And in my company, my brother
Gloucester, who from my cabin tempted me to walk upon the
hatches. Thence we looked toward
England. And sighted up a thousand
heavy times. During the wars of York and
Lancaster that had befallen us.

(56:33):
As we paced along upon the giddy footing of the
hatches, methought that Gloucester, stumbled. And
in falling struck me that thought to
stay him overboard into the tumbling
billows of the main. O
Lord, methought what pain it was
to drown. What dreadful noise

(56:53):
of waters in my ears. What sights of
ugly death within my eyes.
Methoughts I saw. A thousand fearful
racks. A thousand men that
fishes gnawed upon. Wedges of
gold, great anchors,
heaps of pearl, Inestimable stones,

(57:13):
unvalued jewels. All
scattered in the bottom of the sea.
Some, lay in dead men's skulls. And in the holes
where eyes did once inhabit. There were crept
as twere in scorn of eyes
reflecting gems. That
wooed the slimy bottom of the deep. And

(57:33):
mocked the dead bones that lay
scattered by.

>> Geoffrey Wade (57:37):
Had you such leisure in time of death. To
gaze upon these secrets of the deep?

>> Peter (57:42):
Methought I had, and often did I strive. To yield the
ghost. But still the envious flood stopped in
my soul. And would not let it forth to find
the empty, vast and wandering air. But
smothered it within my panting bulk. Who almost
burst to belch it in the sea.

>> Geoffrey Wade (57:59):
Awaked you not in this sore agony?

>> Peter (58:02):
No, no. My dream was lengthened
after life.

>> Geoffrey Wade (58:06):
Oh.

>> Peter (58:07):
Then began the tempest to my
soul. I passed, methought
the melancholy flood. With that sour ferryman. Which poets
write of. Unto the kingdom of
perpetual night. The first
that there did greet my stranger soul. Was my great
father in law, renowned Warwick.
Who spake aloud, what scourge, for

(58:29):
perjury can this dark monarchy
afford false Clarence?
And so he vanished. Then came wandering
by a shadow like an angel. With
bright hair dabbled in blood. And he
shrieked out loud, clarence has
come. False, fleeting, perjured.

(58:50):
Clarence that stabbed me in the field by
Tewkesbury. Seize on him,
Furies. Take him into torment.
With that, methought a legion of
foul fiends environed me. And
howled in mine ears such hideous cries.
That with the very noise my

(59:11):
trembling waked. And for a season after
could not believe but that I was in
hell. Such terrible impression made my
dream.

>> Geoffrey Wade (59:20):
No marvel, lord, though it affrighted you.
I am afraid, methinks, to hear you tell it.

>> Peter (59:26):
Ah. Keeper. Keeper. I have done
these things that now give evidence against my
soul. For Edward's sake. And see how
he requites me.
O God, if my deep prayers
cannot appease thee. But thou wilt
be avenged on my misdeeds. Yet execute

(59:48):
thy wrath in me alone.
O, spare my guiltless wife
and my poor children.
Keeper, I prithee, sit by me
awhile. My soul is heavy, and
I would fain sleep I will, my lord.

>> Geoffrey Wade (01:00:06):
God give your grace good rest.

>> Dan Cordova (01:00:17):
What, shall I stab him as he sleeps?

>> Aubrey Saverino (01:00:20):
No, he'll say, twas done cowardly when he
wakes.

>> Dan Cordova (01:00:24):
He shall never wake until the great judgment day.

>> Aubrey Saverino (01:00:27):
Why, then he'll say we stabbed him sleeping.

>> Dan Cordova (01:00:31):
The urging of that word judgment hath
bred, a kind of remorse in me.

>> Aubrey Saverino (01:00:36):
What, art thou afraid?

>> Dan Cordova (01:00:39):
Not to kill him, having a warrant,
but to be damned for killing him, from the which no
warrant can defend me.

>> Aubrey Saverino (01:00:47):
I thought thou hadst been resolute,
so.

>> Dan Cordova (01:00:50):
I am to let him
live.

>> Aubrey Saverino (01:00:54):
I'll back to the duke of Gloucester and tell him so.

>> Dan Cordova (01:00:56):
Nay, I prithee, stay a little.
I hope this passionate humor of mine will
change. It was wont to hold me but while
one tells 20.

>> Aubrey Saverino (01:01:14):
How dost thou feel thyself now?

>> Dan Cordova (01:01:16):
Faith, some certain dregs of conscience are yet within
me.

>> Aubrey Saverino (01:01:20):
Remember our reward when the deed's
done.

>> Dan Cordova (01:01:24):
Soon he dies. I had
forgot the reward.

>> Aubrey Saverino (01:01:28):
Where's thy conscience now?

>> Dan Cordova (01:01:30):
O, in the Duke of Gloucester's purse.

>> Aubrey Saverino (01:01:32):
When he opens his purse to give us the reward, thy
conscience flies out.

>> Dan Cordova (01:01:37):
Tis no matter. Let it go. There's few, or
none will entertain it.

>> Aubrey Saverino (01:01:41):
What, did it come to thee again?

>> Dan Cordova (01:01:43):
I'll not meddle with. Makes a
man a coward. A man cannot
steal, but it accuseth him. A
man cannot swear, but it checks him.
A man cannot lie with his neighbor's wife, but it
detects him. Tis a blushing, shame
faced spirit that mutinies in a man's

(01:02:04):
bosom. It
fills a man full of obstacles.
It made me once restore a purse of gold that
by chance I found
it beggars. Any man that keeps
is turned out of cities and
towns for a dangerous thing. And

(01:02:24):
every man that means to live well endeavours
to trust to himself and live without it.
Zounds. Tis even now at my elbow,
urging me not to kill the duke.

>> Aubrey Saverino (01:02:37):
Take the devil in thy mind and believe him
not. He would insinuate with thee, but to make thee
sigh.

>> Dan Cordova (01:02:44):
I am strong framed. He cannot prevail with
me.

>> Aubrey Saverino (01:02:48):
Spoke like a tall man that respects thy
reputation. Come, shall we fall to
work?

>> Dan Cordova (01:02:56):
Take him on the costard with the hilts of thy sword
and then throw him into the malmsey. But in the next
room.

>> Aubrey Saverino (01:03:03):
Oh, excellent device, and make a sop
of him.

>> Dan Cordova (01:03:09):
Soft. He wakes.

>> Geoffrey Wade (01:03:11):
Strike.

>> Dan Cordova (01:03:13):
No. We'll reason with
him.

>> Peter (01:03:19):
Where art thou, keeper? Give me a
cup of wine.

>> Aubrey Saverino (01:03:23):
You shall have wine enough, my lord, anon.

>> Peter (01:03:27):
In God's name, what art thou?
A man as you are, but not
as I am.

>> Dan Cordova (01:03:34):
Royal Nor you, as
we are loyal.

>> Peter (01:03:38):
Thy voice is thunder, but thy
looks are, ah, humble.

>> Dan Cordova (01:03:43):
My voice is now the king's.
My looks, mine own.

>> Peter (01:03:48):
How darkly and how deadly dost thou speak. Your
eyes do menace me. Why look
you pale? Who sent you hither? Wherefore do you come?

>> Dan Cordova (01:03:57):
To, to.

>> Peter (01:04:01):
To murder me?

>> Aubrey Saverino (01:04:02):
I. I.

>> Peter (01:04:04):
You scarcely have the heart to tell me
so. And therefore cannot have the hearts to do it.
Wherein, my friends, have I offended you?

>> Aubrey Saverino (01:04:13):
Offended us you have not. But the king.

>> Peter (01:04:15):
I shall be reconciled to him again.

>> Dan Cordova (01:04:18):
Never, my lord. Therefore
prepare to die.

>> Peter (01:04:22):
Are you drawn forth among a world of
men to slay the innocent? What is
my offence? Where is the evidence that
doth accuse me? What lawful quest have
given their verdict up unto the frowning judge? Or
who pronounced the bitter sentence of poor Clarence?

>> Gideon (01:04:40):
Death.

>> Peter (01:04:40):
Before I be convict by course of law.
Threaten me with death is most unlawful.
I charge you, as you hope to have redemption by
Christ's dear blood shed for our grievous sins,
that you depart and lay no hands on
me. The deed you undertake is
damnable.

>> Aubrey Saverino (01:05:00):
What we will do, we do upon command.

>> Dan Cordova (01:05:03):
And he that hath commanded is our king.

>> Peter (01:05:05):
Erroneous vassals. The great
king of kings hath, in the table of his law,
commanded that you shall do no murder.
Will you then spurn at his edict and fulfil a
man's? Take heed,
for he holds vengeance in his hand to hurl upon
the heads that break his law.

>> Dan Cordova (01:05:25):
And that same vengeance doth he
hurl on thee for false, forswearing, and
for murder too. Thou didst receive the
sacrament to fight in quarrel of
the house of Lancaster.

>> Aubrey Saverino (01:05:38):
And like a traitor to the name of God
didst break that vow. And with thy treacherous
blade unripst the bowels of thy
sovereign son.

>> Dan Cordova (01:05:48):
Whom thou wast sworn to cherish and
defend.

>> Aubrey Saverino (01:05:51):
How canst thou urge God's dreadful law to us.
When thou hast broke it in such dear degree?

>> Peter (01:05:57):
Alas. For whose sake did I that ill
deed? For Edward. For my brother. For, his sake.
He sends you not to murder me for this. For in that
sin he is as deep as I. If God
will be avenged for this deed. O, know you
yet he doth it publicly.
Take not the quarrel from his powerful arm. He needs

(01:06:18):
no indirect or lawless course to cut
off those that have offended him.

>> Aubrey Saverino (01:06:22):
Who made thee then a bloody minister. When gallant,
springing, brave Plantagenet, that princely novice
was struck dead by thee, my.

>> Peter (01:06:30):
Brother'S love, the devil and my
rage.

>> Aubrey Saverino (01:06:34):
Thy brother's love, our duty and thy,
faults provoke us hither now to slaughter thee.

>> Peter (01:06:40):
If you do love my brother, hate not me.
I am his brother, and I
love him well. If you are hired for me,
go back again. I will send you to my brother Gloucester. Who shall
reward you better for my life Than
Edward will for the tidings of my death.

>> Dan Cordova (01:06:57):
You are deceived. Your brother
Gloucester hates you.

>> Peter (01:07:01):
Oh, no. He loves me, and he holds
me dear. Go you to him from me?

>> Aubrey Saverino (01:07:07):
Ay, we will tell him.

>> Peter (01:07:09):
When that our princely father York blessed his three
sons with his victorious arm, he little thought of
this divided friendship. Bid
Gloucester think of this, and he will weep.

>> Aubrey Saverino (01:07:20):
Ay, millstones, as he lessened us to weep.

>> Peter (01:07:22):
Oh, do not slander him, for he is kind.

>> Aubrey Saverino (01:07:26):
Right as snow in harvest. Come. You deceive
yourself. Tis he that sends us to
destroy you.

>> Gideon (01:07:32):
Here cannot be.

>> Peter (01:07:34):
For he be wept my fortune. And hugged me in his
arms. And swore with sobs that he would
labor my delivery.

>> Aubrey Saverino (01:07:41):
Why, so he doth when he delivers you from this earth's
thraldom. to the joys of heaven.

>> Dan Cordova (01:07:47):
Make peace with God, for you must
die. My lord.

>> Peter (01:07:50):
Have you that holy feeling in your souls. To counsel
me to make my peace with God? And are you yet
to your own souls so blind. That you will
war with God by murdering me?
O sirs, consider they
that set you on to do this deed will
hate you for the deed.

>> Dan Cordova (01:08:11):
What shall we do?

>> Peter (01:08:12):
Relent and save your souls.

>> Aubrey Saverino (01:08:14):
Relent? No. Tis cowardly and womanish.

>> Peter (01:08:17):
Not to relent is beastly, savage,
devilish. Which of you, if you were a
prince's son, Being pent from liberty, as I am now,
if two such murderers as yourselves came to you. Would
not entreat for life? Ay, you would
beg were you in my distress.
My friend, I spy some pity in thy

(01:08:37):
looks. O, if thine eye be not a
flatterer, come thou on my side and entreat
for me a. Ah, begging prince. What
beggar pities not?

>> Dan Cordova (01:08:48):
Look behind you, my lord.

>> Aubrey Saverino (01:08:49):
Take that.
All this will not do. I'll drown you in the malmsey butt
within.

>> Dan Cordova (01:09:02):
A bloody deed
desperately dispatched.
How fain like Pilate. Would I wash my hands
of this most grievous murder?

>> Aubrey Saverino (01:09:15):
Oh, no. What mean' st thou that thou
help' st me not? By heavens, the duke shall know
how slack you have been.

>> Dan Cordova (01:09:23):
I would he knew that I had saved his brother.
Take thou the fee and tell him what I say. For I repent
me that the duke is slain.

>> Aubrey Saverino (01:09:32):
So do not I go,
coward. As thou art
well, I will go hide the body in
some hole till that the duke give order for his burial.
And when I have my mead, I will away. But, this will
out, and then I must not stay.

>> Geoffrey Wade (01:10:01):
Well, that was superb.

>> Gideon (01:10:04):
It was indeed superb.

>> Geoffrey Wade (01:10:07):
Honestly, it's just great
working with y'. All. And you.

>> Gideon (01:10:13):
You do.

>> Geoffrey Wade (01:10:14):
You do what I just love, you know, Gideon, or I
will make a suggestion and. And, you
always take and expand it and deepen it, so just.
Well done. I have a few tiny things to say, but most of them
are, compliments. Daniel, I want to, particularly
mention you because. Because this. This second murderer
is becoming so interesting. And, you

(01:10:34):
know, you really took that note and ran with it, and it's
terrific. So continue in
that vein and well done. the first thing I wrote
was a great start. I didn't write anything about your
monologue, Peter, I don't think,
because it all sounded good.
yeah, maybe Gideon will have something.

>> Gideon (01:10:55):
I have a few. Not. Not many. It's pretty. Pretty
darn good.

>> Geoffrey Wade (01:10:59):
Yeah, the, the murderers, Bloody
hell. I just wrote a great,
great start, you guys, on that. These
are small things, but, number two.

>> Gideon (01:11:10):
Daniel.

>> Geoffrey Wade (01:11:10):
Daniel, before you say,
Wait, so am I. Do you say that?

>> Gideon (01:11:14):
So am I. Oh, I am.

>> Dan Cordova (01:11:17):
line 117.

>> Geoffrey Wade (01:11:18):
18.
Yeah.
yes. Ah, that. That was a tiny example of you. You
gave us a little thought before the line.
I'll let you have, a, a hiccup in the middle. But, when
she says, I thought that has been resolute. So I am,
to let him look right. Right in. I think

(01:11:39):
you did a breath beforehand. remember,
metal. I'll not meddle with
it. Okay. I'm not going to mess with this. Right. Yeah.
I don't want to talk about it.

>> Gideon (01:11:49):
Or can I chime in there? Because I took
that note, too. you changed the way you said it, but
you still took down metal. And
what you're doing is showing resolution.
So, you're resolved not to meddle with it.
And metal is the key, meaning have anything to do with.
Yeah, okay, so just go for that word.

>> Geoffrey Wade (01:12:14):
Two. Long speech. Oh, long speech. Good.
Two. Yeah, that's you. You're two.
In my notes. Anybody ever
see the Prisoner number six? You remember that? Yeah.
I just want to, When we're all done with this, I'm just going to say this to
remind us. I just want to go over the section where

(01:12:34):
Clarence, Wakes up. Because in the whole,
14 minutes, however, I've. I forgot to time it. that was the
one bit that got more hiccupy than it should.
the eyes were perfect.
I. What, have you come to murder me? Bang, bang.
That was, ah, super good. Right on,

(01:12:54):
pr.
Peter.
Oh, I wrote it here that. Peter,
you were just terrific throughout. But this, particularly when the
murderers came on. are you drawn forth from a world of men? That
speech was so good. the
stuff about Christ, your blood for our grievous sins,

(01:13:17):
I wrote down. Good again, just
terrific. Peter. I mean, for all of us. That was
sort of a master class in how to take the
air out of something but actually make it
more intense. That thing that happens that I've noticed
when we ask ourselves to go a little quicker
is that the operative words really

(01:13:38):
emerge just automatically, you know? and,
Because we're not using space or air
to make a point. For instance, when you were doing
the voices, of various people, they
became distinct voices. Really great.
do it this way. oh, and the. The earlier, the.
The breath thing on that speech about running out of breath.

(01:13:59):
Peter. Very good, Very good. Second
murderer.
your line. And that same vengeance doth he hurl on thee for
false. For swearing.

>> Dan Cordova (01:14:09):
I kind of stumbled through that.

>> Geoffrey Wade (01:14:11):
Yeah, a little bit. one thing I would say,
know that you're right.
Everybody who has a line in this is actually right.
It's like. It's like Shaw. They keep one upping each other
and every person is right as they say it. So
you don't have to. You don't have to press your point
too hard. It's like everybody knows you

(01:14:32):
did this and you're a fucking traitor. So,
you know.

>> Dan Cordova (01:14:36):
Yeah, here's the evidence.

>> Peter (01:14:37):
Got it?

>> Geoffrey Wade (01:14:38):
Yeah.
sure. Clarence,
Just a small thing around line 220. for
Edward. For my brother. For his
sake. He sends you not to murder me for
this. I just think you can lift this a little bit.

(01:14:58):
Yeah. just to help us.
Number two, do you have a line? And he that hath.
Yeah, I don't know where that is.

>> Dan Cordova (01:15:12):
Oh, that's. That's back to the one we were talking about. You said I need to. I'm
right.

>> Geoffrey Wade (01:15:16):
Oh, yes. Is that. Was that there?

>> Dan Cordova (01:15:18):
Is that what you're talking about? And that same vengeance.
Oh, it's above that. and he that hath commanded is our king.

>> Geoffrey Wade (01:15:27):
Yes, that's another one. No breath before. It's
like you two. You two know your deal. He's the
King. He did the command and he's the king, and
that's the. Also. He took the sacrament. Everybody knows this stuff. Guilty.
You're guilty. You're guilty. And the more
sure you are, the less thinking you're doing between
lines, the less time you have to

(01:15:47):
lose your nerve. Right.
so no breath before that. Aubrey, who
made thee, then? A bloody minister. Excellent. I
wrote. That was really. You really took that note again? It just
came out great. the way the whole
scene picked up with its urgency and
was terrific. also

(01:16:08):
right as snow and harvest. Terrific.
this is, again, a small thing, Peter, that I hear, which
you can take or not. we're around line
277. If two such murders as
yourselves. M. Came, to
you, would you not entreat for life?

(01:16:29):
I think you can just give a little more weight to you.
You'd beg. You'd beg the same as
I am. Just. It's a
stressed position anyway, so I think
that's just something that I hear.

>> Gideon (01:16:44):
great.

>> Geoffrey Wade (01:16:44):
Gideon, do you want to say a few things? And then I just want to go over that one
section then? And then I think we're probably done
because that really stupor you guys.

>> Gideon (01:16:52):
I have very few. I'm getting back to the beginning.
The first one is line 10.
Peter. you're hitting Burgundy a
lot. You're hitting the word
Burgundy very heavy. And I think
it takes away from the
build to Gloucester knocking you
overboard. So it's Burgundy.

(01:17:15):
Doesn't. Burgundy is important. Only because
it's getting me out of England to safety.
Right, but it's not. There's nothing particular about
Burgundy that matters. It's the speech.
Okay.

>> Peter (01:17:27):
Not special.

>> Gideon (01:17:29):
Hey. Line 108.
Oh. Eight.
Oh, Aubrey, this is. You're being really good
about the long I and aisle in the various
places, and I just want you to give us the long I and
heel. He'll. Instead of.
He'll say. He'll say,

(01:17:51):
Good. 166.
When you say, let's reason with him.
Daniel.

>> Dan Cordova (01:17:59):
Yes.

>> Gideon (01:18:00):
Reason doesn't mean we're going to have an elaborate
argument. It just means converse.
We're just going to be rational beings to talk to
him before we kill him. Do
you know what I'm saying? It's not like you're gonna reason with him to try
to persuade him of anything.

>> Geoffrey Wade (01:18:16):
Oh, okay.

>> Gideon (01:18:17):
Like you're not saying, I'm gonna reason with him to get him to be
willing to die or any of that. You're just saying, let's talk
to him before we kill him.
You see what I mean?

>> Peter (01:18:27):
Yeah.

>> Gideon (01:18:28):
Okay.

>> Geoffrey Wade (01:18:28):
Thank you.

>> Gideon (01:18:29):
Yeah. 190 is,
Clarence. What? Oh, I just want to
explain the word quest. It's short for
inquest. Doesn't mean a search. It means an
inquest team or like an
inquest jury that finds
that there's cause to try someone.
So you hit lawful really hard. But we lost

(01:18:51):
what quest meant.
So you can go for lawful quest,
meaning inquest. And then it's part of the whole
process of law that they aren't following.
Clear? Yep. Okay. Line 204. I
have to apologize because I told you about
two, trochees, but

(01:19:12):
really, you want to keep the antithesis of his and a
man's. So we're going to go halfway
back to where we were.
It's right to say spurn at.
But then you can have. You can treat his and e.
His edict as a spondy boom boom
dum dum dum dum da da da da da.

(01:19:36):
You get what I'm saying?
So you're still keeping the trochee spurn out, but
then you're bringing out the antithesis between his and
a man's. And I felt
bad that I misered you.
222.

>> Geoffrey Wade (01:19:53):
Clarence.

>> Gideon (01:19:56):
you keep saying this deed, but it's the deed,
not that it's a big deal. And, line
283.
Bloody deed. Oh, I just. Daniel, I
just couldn't hear the. And you were. You were
internalizing and emoting, but I didn't hear the word.

>> Geoffrey Wade (01:20:14):
All right.

>> Gideon (01:20:14):
And I missed it. That's it.
I thought that was a fabulous performance.
Peter, you were so moving.

>> Peter (01:20:23):
Oh, thanks.

>> Gideon (01:20:23):
Really was just
excellent. So bravo.

>> Geoffrey Wade (01:20:30):
yeah, you guys, it was exciting.
It was exciting to listen to. To, Had such
terrific energy and, you know,
all those words. Forward motion, forward
motion.
I, just want to go over this waking up
sequence because, it was the only place where I felt we

(01:20:51):
were taking more time
than we needed
between lives. so this is around line
166 or 7.
well, actually, let's go from soft. He wakes.
Second murder strike. No, we'll reason with him.
And, especially starting with from.

(01:21:14):
In God's name, what are thou? A man as you are, but
not as I am royal.

>> Gideon (01:21:18):
From.

>> Geoffrey Wade (01:21:18):
From there on, let's just
take the air out. Yeah, Just.

>> Gideon (01:21:24):
No.

>> Geoffrey Wade (01:21:25):
No air. In fact, I mean,
you know, second
murderer may not be the sharpest tool
in the box, but he's still Smart.
as we've established, by the way, he can,
dispute around conscience and things like that.
Clarence is clearly smart. The first murderer is smart. So all
these people think quickly.

(01:21:49):
Right, let's go then.
I've been muted this whole time.

>> Gideon (01:21:57):
No, no, you muted for one second there, I wasn't.

>> Geoffrey Wade (01:21:59):
Oh, okay. It was deathless
stuff I've been telling. Good. I'm gonna climb off and,
give yourself a second or two, and then start from,
Softy wakes.

>> Dan Cordova (01:22:19):
Soft, he wakes.

>> Aubrey Saverino (01:22:20):
Strike.

>> Gideon (01:22:21):
No.

>> Dan Cordova (01:22:22):
Well, reason with him.

>> Peter (01:22:24):
Where art thou, keeper?
Give me a cup of wine.

>> Aubrey Saverino (01:22:27):
Ye shall have wine enough, my lord, anon.

>> Peter (01:22:29):
In God's name, what art thou?

>> Dan Cordova (01:22:31):
A man as you are.

>> Peter (01:22:33):
But not as I am, royal,
nor.

>> Dan Cordova (01:22:36):
You, as we are loyal.

>> Peter (01:22:39):
Thy voice is thunder, but thy looks
are humble.

>> Dan Cordova (01:22:43):
My voice is now the king's. My looks, mine own.

>> Peter (01:22:46):
How darkly and how deadly dost thou speak. Your eyes
do menace me. Why look you so pale? Who
sent you hither? Wherefore do you come
to murder me?

>> Aubrey Saverino (01:23:01):
I. I.

>> Peter (01:23:02):
You scarcely have the hearts to tell me so, and
therefore cannot have the hearts to do it. Wherein,
my friends, have I offended you?

>> Geoffrey Wade (01:23:10):
Good. Good, good, good, good. I'm gonna stop you, and
we're gonna start again. And, And this time, Daniel, I want
you to. I think again, you can
afford to back off a little bit.

>> Dan Cordova (01:23:20):
Okay.

>> Geoffrey Wade (01:23:21):
Just didn't. Just didn't have that voice. That voice
you just answered me in. Yes,
that guy. That's the murderer right there. That's
your guy. Okay,
I really don't need any more than that. I just need you to find
whatever that guy is in you.

>> Gideon (01:23:38):
Right.

>> Geoffrey Wade (01:23:39):
Okay. let's just go back a
bit. Soft, he wakes.

>> Dan Cordova (01:23:47):
Soft, he wakes.

>> Aubrey Saverino (01:23:49):
Drake.

>> Dan Cordova (01:23:50):
No, we'll reason with him.

>> Peter (01:23:52):
Where art thou, keeper?
Give me a cup of wine.

>> Aubrey Saverino (01:23:55):
He shall have wine enough. My lord, anon.

>> Peter (01:23:58):
God's name, what art thou, man?

>> Dan Cordova (01:24:01):
As you are.

>> Peter (01:24:02):
But not as I am, royal, nor.

>> Dan Cordova (01:24:05):
You, as we are loyal.

>> Peter (01:24:08):
Thy voice is thunder, but thy looks are
humble.

>> Dan Cordova (01:24:12):
My voice is now the king's. My looks, mine
own.

>> Peter (01:24:15):
How darkly and how deadly dost thou speak. Your eyes
do menace me. Why look you pale? Who sent
you hither? Wherefore do you come?

>> Gideon (01:24:24):
To.

>> Dan Cordova (01:24:25):
To.

>> Peter (01:24:28):
To murder me?

>> Aubrey Saverino (01:24:30):
Ay, ay.

>> Peter (01:24:32):
You scarcely have the heart to tell me so, and
therefore cannot have the hearts to do it.
Wherein, my friends, have I offended you?

>> Aubrey Saverino (01:24:40):
Offended us you have not. But the king.

>> Peter (01:24:42):
I shall be reconciled to him again.

>> Dan Cordova (01:24:45):
Never, my lord. Therefore
prepare to die.

>> Peter (01:24:49):
Are you drawn forth among a World
of Men.

>> Geoffrey Wade (01:24:54):
Good, good, good. we don't have to keep going. That's the
idea, Daniel. That's it. That's the man I want to
hear. I want to hear that man. If it.
that's. That's terrific. I'm gonna. I'm gonna stop giving you notes because
they just begin to float around in one's head. but
that's. That's the guy. That's the guy I want to hear. Okay.

(01:25:16):
and just. Oh, cranky.

>> Gideon (01:25:19):
My back.

>> Geoffrey Wade (01:25:19):
My Mac is needs feeding. Hang
on, hang on. Don't go to freaking sleep on
me there. We are
about to have a personal brownout.
just terrific. just, guys, continue in that
vein, and I'm going to tell you that that
actually is the pace at which it should unfold.

(01:25:41):
The last time we did it, okay, you weren't
missing anything. And in fact, things that
were sort of perhaps
wishy washy, for lack of a better term, before
were now emerging more colorfully and more
pointed. So, I hope you could hear it
as you were listening to other people. I certainly heard it,

(01:26:02):
and I think Gideon will back me up that it's
absolutely the way to go. So that's. That's our
baseline now, and it doesn't need any more
application of anything. as
we just. I think you all heard it with Daniel there, where you.
When you settle into something and hook into something in your gut,
it gets really good.

(01:26:24):
Gideon, was there any. Anything you wanted to add?

>> Gideon (01:26:26):
I have one thing for Peter, but I'm
hesitant to say it, because
I don't want to make trouble.
You scarcely have the hearts to do it.
That line. Yep. I would
like to hear what it sounds like for your voice to fall at the
end as if it were a statement of

(01:26:47):
certainty rather than challenge
to them. You know what I'm
saying?

>> Peter (01:26:54):
I think.

>> Gideon (01:26:57):
That it's.

>> Peter (01:26:57):
That it's much more confident.

>> Gideon (01:27:00):
Much more. Yeah.
Because the way you're going to convince them is not to
challenge them that you're right about them, but
royally tell them M
when M's up and just see what that
sounds like. it's
perfectly good the way it is, but I just think it would be

(01:27:21):
more hair raising the other way.

>> Peter (01:27:24):
Yeah, that's good.

>> Gideon (01:27:26):
Good.