> tonight, the power of faith. look out broadway. here comes tom hanks, hollywood's number one leading man, on the great white way for the first time ever. >> i don't think you can be an actor and not want to at some point be on broadway. >> how is he feeling on the verge of his big broadway debut? >> it's the hardest, most fun work you can imagine. cast of "lucky guy." >> can we get back to talking about me, please? >> tonight, they spill his secrets. what is the worst thing you can tell me about tom hanks? you do kiss tom hanks.

>> several times. >> is he a good kisser? >> yes. >> how good? >> so-so. >> he answers the question i just had to ask. how many times have you been properly in love in your life? tom hanks remembers nora ephron, the writer of "sleepless in seattle," "when harry met sally." >> nora is one of the most amazing people in the world. >> tom hanks, truly a lucky guy. this is "piers morgan live." tom hanks. that was a good start. >> i love it. my god. that's scary. yes, yes, what? i'm here. you woke me up. >> you have not done a play since 1981. >> the last official play i did was in 1981 in hayward, california. i was a guest artist for my alma mater, and i don't call it community college. it's a junior college. we did "charlie's aunt" directed by an old teacher of mine named herb kennedy. i think we sold out 1500 seats

every night. >> on a scale of 1 to 100, how nervous are you right now? a few days before the opening night and you haven't had to come across critics or an audience in a play for a very long time, 32 years. >> true. i would say nervousness is not nearly the term -- well, what do you call it when you wake up at 5:00 in the morning with your eyes wide open, thinking do i have the lines in scene 110 down? when she comes out on the bed, am i supposed to come -- that's where the nerves hit me, about 5:00 in the morning. >> why are you taking what some perceive to be a gamble? you don't need to do this. you're a huge movie star. you could roll out two great films a year, keep your status as king tom of hollywood. >> you haven't been on my p.r. camp, have you? you haven't been part of that. we haven't exactly knocked them all dead. well, primarily it's just the

great pleasure and the joy of doing it. it's the best -- look, it is the greatest -- second best job in the world next to being a muckraking tabloid journalist. i understand that to be the best job in the world. but i'll leave that to you. i have always wanted to -- i don't think you can be a actor and not want to at some point be on broadway and challenge those waters, but also, nora and i talked about this play going back a number of years, and i felt as though i had never seen anything like this tabloid version of the history of the tabloid press, and so i must say, you got to move a lot of boulders in order to be able to take the eight months out of your life in order to do it, but my kids are gone, you know. my wife's working. not that much is expected of me so off we go. >> mike mcalary is a brilliant tabloid reporter from the '80s

and '90s. he died tragically young age 41 from cancer. >> spoiler alert. >> that's how it ends, folks. you've had lots of experience with the tabloids. how did you find playing a tabloid journalist? >> well, the key about this is that this was when -- forgive me for saying it, but this is when tabloids really mattered. they don't -- i mean, i'm sorry. the internet and the immediacy of everything that goes on in the ether web has completely supplanted that but in the '80s when mcalary wanted to have the loudest and the largest voice, if he really hit the button with his story that day, it carried weight for at least 24 hours, if not 72 hours, until he wrote his next column. so there is a specific part of nora's play in which he delineates between the facts and the story, that the facts are great and the facts are interesting, but they're not nearly as important as the story

that you put out there. and i have been on the side of things where the facts were not what the story really was. all you can do is shake your head and understand that at least in the next news cycle, somebody else will step in a bear trap and take the attention away from you. >> your son colin actually got to broadway before you did. >> yes, he did. yeah. my wife as well. >> i would imagine he's gone through his entire career with people saying hey, what tips has your dad given you about acting. now, he must be the one dishing you advice. >> he was in "33 variations" with jane fonda at the eugene o'neill theater. when i was weighing doing this, i asked him the intangibles or the tangibles such as what time do you eat on a matinee day, and quite frankly, if you have a performance at 8:00, you should have something light to eat about 5:00, no later than 5:15. but then also the routine of how you pace yourself out in order to be essentially ready to play every night at 8:00. he had been through it and was

very smart to his old man. >> they say that stage acting is the most pure form of acting because you get out there, it's life, there's no chance to retake or edit. for you, you've acted in some of the great movies ever made. what does it take, do you think, to be a great actor? >> studying it. humphrey bogart said it was concentration, which i can understand, because in all phases, you can just suddenly notice something on the periphery and if you let that blow your concentration, then the film might be wasted which is bad, but you could go back and grab it again but in this case, the scene, the scene might be blown which is really bad. so that, though, is only i think part of it. the other aspect of it i think is some degree of quite frankly heart. you have to have -- and by heart i just don't mean the feelings. i think you have to have also the conditioning and the desire in order to get up and repeat it

and not just repeat it, because it's not a verbatim thing that you're doing. it's a repeating of the emotional beats and making those connections between all those emotional beats night after night. >> who are the greatest actors of your lifetime? >> the ones that i admire greatly were jason robards and robert duvall. those were guys when i was young, when i was watching all the films and to some degree theater, i was on the cusp between the great legends like john wayne and kirk douglas and burt lancaster but along was coming also deniro and al pacino but for me, i was intrigued by those guys who didn't look or they didn't sound like the movie stars were supposed to look. >> i talked to your wife on this show a few months ago. >> yeah? >> she was unfortunately very nice about you.

she didn't shatter any myths. we have got a little clip to play. listen to this. >> he's always been effortlessly charming, very funny, very self-aware, very how i imagine he would be, which is unusual. >> he really is that person. the reason i had that dedication on the album is because i'll never forget, we were standing on the corner of 57th and fifth in new york or 58th and fifth, and we were holding hands, we were waiting for the traffic light to change, and he looked at me and he said you know, i just want you to know that you never have to change anything about who you are in order to be with me. and literally a wave of -- if love is a feeling or a cellular thing that happens to your body, it went through me and that's pretty much who he is and how he's been. >> true, happened exactly like that.

i can tell you where. it was on central park south right at sixth avenue. and look, we have been married for 25 years and it seems like we've been married two and a half to me. it's blown by so quick. we have two more kids and four of them all together and i tell you, every day's fun. every day's a blast with rita wilson. >> why is it a blast? there's the picture over here. >> there she is. that's right. that's when she was doing "chicago." she has this combination of social grace and life force that is not in the hanks dna. i mean, we have a degree of a mercilessness but she has a mirthfulness. part of it is she has a great greek heritage, tightly knit family in which everybody gets to say any damn thing they would like to about the other person at the table, but it's an inclusiveness. i won't say that it's nonjudgmental because sometimes the conversations are all about judging each other.

but it's a shared judgmentalness so everybody gets to have a voice. i must say when i met rita i thought oh, this is what it's supposed to be like when you're married to somebody. it's supposed to be this carefree and easy and oddly enough, weighty. >> how many times have you been properly in love in your life? >> once. with rita. well, look, as a young man, peripatetically, my family was a diffused one in which it seemed as though everybody could just pack up and leave when things got a little tough which is not exactly the concept of long-lasting love. i didn't suffer any brand of abuse or anything. we were scattered and we were tight in our way. but look, i'm not -- it's no joke. it's naive to say that it took me until i met my wife rita until i figured out that oh, that's how wonderful it is in order to make the permanent connection.

>> is there a secret? you're in an industry that is riddled with marriage breakups, remarriage and so on. you have avoided that. >> quite frankly, that's your job to cover them, piers. let's not take away your bread and butter. we get that all the time but i have to tell you, all my friends have been married for years. i understand that, i get that. but i think if you went to davinport, iowa or the suburbs of dallas, i think every other 50% of the marriages fail. i don't think it's part and parcel to -- >> is there a secret? >> i think finding the right person. and i would say, you know, and taking care of each other. i must say there are some times when without a doubt, you know, my wife has put everything aside and made sure that i was okay, and i'm amazed to say that on a number of occasions, i have had the wisdom to do the same for her. it's all a big learning process and i think you have to be willing to learn and alter yourself. >> i heard she came to see you for the first time. >> she was at a matinee -- yeah, she was at the matinee a couple

-- our first saturday matinee, as a matter of fact. i was not petrified but i was aware. >> do you turn it on for your wife, performance-wise? >> no. because if you do that, then the balance is going to be a little wacky. you got to make sure all of your receptors are turned down a little bit so you can get back to that kind of baseline that is required. she said maybe i'll come by before the show. no, no, no, no. not before the show, babe. not before the show. >> let's take a quick break. we will start bringing out your cast members, your colleagues, and we will start with peter scolari who plays michael davie, a rival in the play. emmy award winner. i'm hoping because you did "bosom buddies" decades ago he knows where the bodies are buried. >> i'll tell you where his are. how about that. this is a great apartment. [ male announcer ] at his current pace, bob will retire when he's 153,

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this is a great apartment. >> yes, but i'm dressed like a woman. >> it's cheap. >> yes, but i'm dressed like a woman. >> we will constantly be surrounded by beautiful girls. >> it is nice and airy, isn't it. >> so gentlemen, joined by peter scolari, your great friend of more than 35 years. you starred together in "bosom buddies." you keep bringing up my tabloid muckraking. we bring up your cross-dressing past. the obvious question for both of you, are you still wearing women's clothes? >> currently? >> only to appear taller. that's all. the heels do make you a little taller. >> you mean right now? >> those are for the pilot.

we had bob tortoricci was our costumer for the actual series, not the pilot. he put us in -- he would come into our dressing room, say tom, i think we're going to start you out in fuchsia. >> very serious. >> very serious. >> holding up fabric. can you put on this wrap. you know what we were told, i'm sure you'll recall, the drag element, that's just going to be for the pilot. that's just going to be, we're going to get the series sold that way, and then you guys can go on and be hip, clever young guys. >> all the ladies, holland and wendy and thelma, donna, they were all down on the other end of the stage. we had dressing rooms right next to the makeup room. right across the hall from each other. >> so we could get in and out of the wigs -- >> right. we would be leaning in each other's doorway with pantyhose on and foundation garments. >> with the fake bazooms. >> saying i don't know, man, i was out playing catch with my

son the other day. we were comparing notes. >> always trying to be -- >> on life. yeah. >> i want to get into the real tom hanks. what is the worst thing you can tell me about tom hanks? >> he can't hit. can't hit a baseball. you can toss it up in front of him as though he were in preschool, beautiful swing. >> i always imagined and hoped that behind the scenes, his halo would slip and he's a complete piece of work. demanding diva. >> we don't just talk like actors comparing things. there were other guys on the paramount lot, let's say, where we shot that were living the higher life than we were. >> we weren't boring guys. >> no, no, no. we were fascinating. but we weren't troublemakers. >> not troublemakers although there was an incident at the top of the san diego freeway back in 1982. >> let's just say state troopers were involved. well, one cop turned to the other one at one point and said hey, hey, bill, you know who we

have here? >> these are the bosom buddies. >> what had you been doing? >> he was speeding is what he was doing. >> i was speeding and being subjected to a field sobriety test. >> so we had been to a party to celebrate essentially the end of the "bosom buddies" empire or as we liked to call it, the canon of all 39 episodes, and so the good cop, while he's out doing this on the 405, the good cop says to me so you guys been to a party. i said yes, in fact, officer, we have. it was the wrap party for our tv show. >> you haven't been drinking or anything. >> i had a couple -- >> oh, hell yeah. >> well, i wasn't driving. i had had a couple beers. >> i was driving. >> oh, geez. we don't need to get into this. we don't want those poor police officers to get in trouble. >> has he changed, in reality, over the years? he seems such a nice guy. >> well, you know, now that --

here we are rehearsing, there's nothing more intimately, honestly, than rehearsing for live theater, then being on the broadway stage together. and it's incredible, an incredible experience because we performed, you know, decades ago conjuring the illusion with a live audience we were doing live theater. but we weren't. we weren't. >> he's done quite a bit of broadway so he's -- >> quite a bit. >> he's a veteran. >> someone described theheater as tightrope walkers with no net. there's no mercy. >> tightrope walkers with no underwear. and no net. >> i must say, there's something about the faith that the audience has. in tv they got in for free, no lie. and here, these people are investing no small amount of money in order to get in as well as their time. i think they are charitable in -- they will give us i think about three and a half minutes to prove that the money has been

well spent. >> have you been surprised by his performances back on a stage like this? >> not surprised but very -- i have to kind of pull it together because i really do -- i get moved as a friend, not merely as a fellow actor and you know, we're in early scenes together, suddenly, quickly, there's a lot of courage for any actor, and i don't care who it is, and this guy, he's -- >> we exchange a lot of secret squeezes during the course of the show. part of it is we're still here. can you believe it, peter. we're here. we're still here. yes, thank you. here's my ovaltine. >> you told the "new york times" you're a bit nervous but one of the key messages in the play is from your character to mike. he tells his son who is about to go flip in a pool, when you do these things you can't be nervous. if you think about what can go wrong, you think about the belly

flop, that will be what happens. have you contemplated the belly flop in this play? >> well, i will defer to all of nora's wisdom here. in a nutshell, i would have to say well, nora, with the journalistic mind but for a woman, for an artist who still told great stories, that's kind of like a gestalt rule of thumb right off the bat. if you're going to hesitate at all, you're sort of doomed. you have to -- you have to have the energy of it right through to the end before you start. otherwise it ain't going to happen. >> let's take another break. let's bring out some more of your colleagues. see if we can squeeze the lemon a bit more. we'll talk with three more

we'll talk with three more members of the cast. what is it like to work with the great tom hanks? given that he's obviously feeling a little bit vulnerable about having to be a stage actor.

>> i believe it's hanks the great is the way to refer to me. >> we laugh a lot. between tom and george c. wolfe, we have laughed throughout the rehearsal process. it's been amazing. and of course, discovering new things and lifting the play up to a different level, making it our own at the same time, it's been -- >> failing. >> failing. openly failing. >> he really makes us all feel at ease. tom is a master at just being himself and we fall right into his little -- >> i can't take any more of this. >> i just wish you weren't so late all the time. >> i will tell you, these guys can like shave it so close that maura gets yelled at for not signing in all the time. is maura tierney in the theater, if she is, will she sign in. i'm here 45 minutes before anything. >> it's true. >> because i got to make my ovaltine. >> is it comforting working with four very strong actors? >> our ensemble which numbers

14, ten other people on the show, is -- i think it's a safe haven for us all. i think we all get to come in -- >> but you don't get a break. i'm sorry, i know you don't want us to do this. i'm just saying, like we all get a little bit of a respite but tom has to do it all, every second -- >> mcalary's onstage a lot. >> and it must be fun and hard, though, because it's all these different actors and all this energy and all these personalities and you have to -- >> but i get to look forward to each segment as it rolls along. like there's a moment where we have a big thing with you, then i have a big thing with courtney, a big thing with chris. peter comes and goes. mumbling other people's lines. but that's what -- i have to say, i think we all look forward to coming to work every day thus far. >> maura, you play alice, who is the wife of mcalary. she actually came, his widow, to see the play recently. what was that like for you?

>> well, i had met her briefly, we rehearsed for awhile and i decided i wanted to meet her just to meet her without having it affect what we were working on in the room. she's a lovely, very intelligent woman who is lovely and she said i'm coming to the show march 16th and i said okay, and i clocked that away, that alice was coming march 16th but alice came march 9th so i was really thrown but i think she liked it. i think that she liked it. >> and she had her youngest -- >> both sons, actually. ryan and quinn were there. >> who are mentioned in the show obliquely but very importantly. >> yeah. she was very moved and i -- it was important for me. >> i don't know how you do that, honestly. how do you do that? >> i don't know. know what she said? i wish i could just take him home for a night. >> is that what she said? >> that's sweet. oh, dear. i feel weepy. >> sorry.

she did say that. >> boy, that says it. >> because you bear an uncanny resemblance to him. he was a bit more thick. >> yeah, he was very tall. the thing that everybody told me about mcalary, everybody who knew him, said as soon as he walked in the room you thought he was a cop. there was a big impressive forbidding -- forboding demeanor to him. >> he's not designed to be a particularly likeable character. he's a rough and tough tabloid crime reporter at a time when as you say, they had huge power, playing somebody who is not designed to be that likeable, bit of a departure for you. did you find that difficult? >> no, because i understand the desire to be in game and i understand the competitive aspect of it. i think we are all competitive to a degree and i think we all would kill for these kind of assignments. i could string together sentences but they might not make any sense. i would need an expert editor like courtney vance. >> you play the editor. do you think, after all the time you spent together, would he have made a good tabloid crime

-- >> i don't know if i would be able to deal with that schedule that they have, that daily -- that daily pressure. >> maura, you yourself went through a cancer battle. your performance is very raw and very emotional, almost as if you're slightly remembering yourself what it was like. >> i think that people put that on me, to be quite honest. i think i'm just trying to do my job and i think if that's a perception to be put on it that i'm not acting, i would like to think that i'm acting. >> we get to hear her as alice, say after you've been through much, life is supposed to be grand and to be able to be back there, we can all relate to that concept of witnessing going through something that is tough and after that, where's the reward, where's the reward, where's my badge. >> that's what the story is. that's the story telling. which is what i'm trying to do. i guess everybody's life, everyone's life informs the work

that they do. >> to have that power to reduce people to tears which you've done in many of the movies you've made, is quite something to have that. i go to a movie a week -- >> but it's all about the piece. it's all about what everybody else has gone through. i don't know, courtney did 9,000 performances of "fences" or something about as serious an undertaking as you're going to get. i think we have all been able to be in things, you give yourself over to the image of the person who created it was and the bosses who put it all together were all part of this kind of palette. >> some might say, the reason i ask the question i asked you actually is that they think when they have to be emotional in a stage play or movie, they force themselves to think about sad things that have happened in their lives or tragic or dramatic. do you ever do that? >> no. it's all about what the piece is. i think when you're younger before you have the kind of life experience, that's a way that you can -- that's a means to an

end. but -- look, i'm 56. we -- >> i'm not. >> that's a line from the play. >> we dyed her hair to make her look older. but now, you are involved in what the story itself is. look, if anything it is the emotional core of all of this, it's what nora's vision and sensibility was and her translating of the mike mcalary story. >> when we come back, the question all women have wondered for years. is tom hanks a good kisser? for over 75 years people ...with geico... ohhh...sorry!. director's voice: here we go. from the top. and action for over 75 years people have saved money with gecko so.... director's voice: cut it! ...what...what did i say? gecko? i said gecko? aw... for over 75 year...(laughs. but still trying to keep it contained)

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i think that's what all of her writing has been about and certainly the films that i was able to be a part of. nora could look, in this case, with all of our characters, she knew hap, she knew eddy, and she interviewed alice, you know, for hundreds and hundreds and hundreds of hours, and so her fascinating with the way these people's lives intersected around mike mcalary, i think she knows that was a unique thing that could only happen with very specific people and it could only happen in a very specific

time and the potboiler atmosphere of new york tabloids. >> christopher, you bring a lovely light touch to the play. when you come out, everyone goes crazy. >> for some reason. >> we are all perplexed by this reaction. >> you play this cunning lawyer doing these great deals. mike mcalary, fascinating thing about him, he was almost a million dollar hack. he was getting these huge contracts through his smart lawyer to be this top dog crime reporter switching between the news and the post and so on. tell me about the role you play. >> i play eddie hayes, which is he is a phenomenal lawyer in new york. he handled the big case, made himself a household name in new york. he wrote "mouthpiece" which has been my bible. he befriended mike mcalary as he wanted to live in a house i was spec selling out in bellport,

changed his life in that he had to make more money to afford this lifestyle for his wife and kids, because alice deserved that life, and in that he became the highest paid journalist in new york city. bigger than his idol. >> and the fall that everybody else benefited from -- >> absolutely. daily and hap and everybody. >> and more money for writers. >> quite right, too. courtney, you are married to a very famous actress and performer. have any of the views of all of you changed about tabloid? >> it hasn't softened my fury. i think we just try to keep a low profile as we can, do what we do and scurry away. i think tmz is at the airport waiting for us. >> i would have to say that celebrities are a dime a dozen. honestly. you can do almost anything and

become a celebrity now. i think the price has gone down. i don't want to tell a huge story here but there was one time where i cornered a guy who was photographing, i was just out walking my dog. i said dude, who cares about me and my dog. he said i was actually trying to get somebody else's picture and you walked by. but i sat him down, i said look, look, okay, how does this work exactly. and i got him to confess to me that on a good year as a celebrity photographer, this was years ago, he on a good year could make $1.5 million from his photographs. >> you would be a good reporter. >> okay. i said okay, that's a good year. what's a lousy year. what's your standard year. he said a standard year's about $150,000 a year. now, i guarantee you that guy doesn't make that money anymore because the pictures aren't that valuable. >> but do you as some do, do you resent the attention of paparazzi?

>> no. >> or are they part of the business? >> part of the business. >> you're dashing off, maura, leaving me with the chaps. before you go, you do kiss tom hanks. >> several times. >> is he a good kisser? >> yes. >> how good. >> so-so. >> should we leave? we'll leave. >> no, no. >> there's a passion in mcalary marriage. >> absolutely. no hesitation. >> you'll get to kiss him probably another 500 times. >> there is act one. there's the bar. there's a couple bedroom smooches. >> sometimes in the kitchen, not always. >> she actually has a bunch of lips stamps and she xs out one. >> for kissing. >> that's right. >> maura, you are excused after that. thank you very much. >> bye. >> we love maura. >> coming up, tom's costars talk about their favorite tom hanks movies.

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she meant everything. and it's just tough this time of the year. i mean, any kid needs a mother. >> could it be she needs someone just as much as jonah does? >> yes. >> that was "sleepless in seattle," tom hanks' first movie with norah efron. i take that personally. before we get to you, richard is actually the guy that draws these amazing cartoons all over the restaurant walls. >> richard. >> good to see you. you are actually drawing nora ephron. jacob, good to see you. you wrote a movie piece for "the

new york time" about your mother and one of the thing that is struck me about her extraordinary gift for writing was the strength she drew from mcanary's early death from cancer. then she found out she was dying from cancer. tell me about it. >> well, obviously, he was not a perfect person, he was a problematic husband and a somewhat problematic colleague and perhaps too motivated by money, but he found in the last days of his life, particularly when the lehman story broke, he went at it whole hog and knew he was sick. and i think she was in a lot of ways in a race to get as much done as she could. i think that happens and work becomes its own kind of medicine

and an escape from illness, but my mother also didn't know she was dying until the end. and that is, that is -- >> she knew she was sick and didn't share that really with almost anybody. >> yes. >> did you know, tom? >> no. >> so it must've been a huge shock. >> it was. this is why nora is one of the most amazing people in the world. she knew if she told us early on and whatever problems you had, the first question people would ask was, how are you feeling? that's just no way to leave and it puts a cramp on the great adventure, and she didn't want that. so, no, me and the other people who loved her very much didn't find out until literally 48 hours before. >> tom was, in many ways, your mother's go-to guys for movies, whether "sleepless in seattle" or "you've got mail." tell me what your mother loved

best about tom? >> he's the best. he's also funny and charming. >> okay, enough of that. >> all that and more, yeah. >> there are other guys who have watched her work over the years, what's is your favorite of tom hanks? >> it is "road to perdition." tom and i have done some ridiculous, useless things together. i called and said, i don't know how it's possible. that's one of the most extraordinary things about actors. we can be bone-headed and half dead and because of a text, nuances, the notes, the rhythms, because of the director and the cast, this extraordinary, ridiculous, there's no showbiz like showbiz thing, the core of that is really poetic and

extraordinary and it is what an actor can accomplish that's greater than themselves. >> coley, your favorite. >> are we going to go through them all? >> yes, just sit there and listen. >> i'm going with "perdition" but for a different reason. it was the scene where his older son sits down and asks him, why don't you like me? and we share that because -- it absolutely tore me. what tore me was the fact that tom, after he said, okay, okay, and got up and left, he went right back to his work. it was -- it tore me apart. >> big fan i am of "perdition" but i have to say "philadelphia." i loved the movie, i loved the performance. he transformed himself to a sick

aids patient who basically died from it and it was -- the only time in my life i had written a fan letter. i wrote it to tom and said, you, sir, make us all look -- we are not ripping apart hotel rooms to get attention or anything, you are a family man and i love you for that and you wrote me back and i said, wow. he said, you, sir, are a groove. i still have it. >> fantastic. larry crown, nobody? >> if i said to you, you have three hours left to live, not that you have, but what's the movie you would make again? >> if i had three hours to live, i would not be making a movie. >> that's the only option. >> i would have to say, i would probably make "apollo 13." >> really? >> you develop an ensemble and sticks for three or four months, but kevin bacon, bill paxton and

i in that little cold capsule talking to ronnie howard on our radio, that was about as pleasant a time as i could imagine. >> when we come back, why one of tom hanks' favorite movies doesn't star tom hanks.

don't cry. don't cry. >> i wanted it to be you. i wanted it to be you so badly. >> that's the 1998 "you've got mail," another classic collaboration from nora ephron. some lucky guys tell me about bringing her life to broadway. how important is it to you personally, and all of you, actually, to be making what turned out to be nora's last work? >> i'm just proud to have been, you know, to have done that reading. i thought that was the end of it. i never thought that it would -- >> we were involved a year ago, coey