I know 99% of my lines for the first two thirds of misery.

That’s a start, right?

Speaking of starts.

Your daily Lex.

I would like to say that printers are so loud.

Anytime you use the printer and there are two printers in my office, the black and white one in the color one, after you’re done printing, the printer feels like it’s, it’s staying ready.

It’s ready in case there’s more printing to come.

So it just stays loud and worrying and ready to go in case you decide to print more pages, which we almost never do.

And I hate it and it won’t shut up for such a long time.

Anyway, last night was a big misery rehearsal and, uh, uh, we did the first two thirds of the show and I did really well on the lines.

I only needed to call for line once I got most of my lines, pretty much word perfect and a handful of lines.

I was doing some paraphrasing, but you know, not audience aware, paraphrasing.

I don’t want to do any paraphrasing.

I’d like to get them all word perfect, but you know, I was, I was pleased, pleased.

That’s a word.

And then tonight we’re going to do the, uh, the final third of the show, which includes some major pivotal scenes.

And, uh, I’m having a harder time with those lines, uh, in part, it’s because we’ve rehearsed those scenes way less than when you rehearse them.

Like in your, you’re moving around on stage or in my case, barely moving around on stage because I’m in a bed or a wheelchair, uh, um, when you’re doing those things, it kind of helps cement the lines because you can associate the lines with the movement, with the blocking, et cetera.

Uh, but I’m not, we haven’t done that a lot for these final scenes.

So it’s, um, I don’t know, I’m, I’m still struggling to get them in my head, but we’ll figure it out.

Maybe.

Uh, it’s funny because, um, misery includes some stunts and, uh, I call them stunts, but I don’t know.

I feel like with stunts, you’re faking something.

And, uh, there’s a scene at some point in the show in the first half, let’s say, where, uh, I have been left alone in my convalescing bed in Annie Wilkes’ home, and, uh, I’m going to try to get out of there because she’s a little crazy.

And in the script, there’s tons of stage direction about what I’m going to do.

And my right arm is in a sling.

My left arm is not.

So I kind of roll out of the bed cause I’m going to try to slide down on my left side.

My legs are barely functional.

Uh, so I’m going to try to catch myself with my left arm as I lower myself to the ground, but while so doing, I screw up and roll all the way over and land on my right side, my injured shoulder side, my, my dislocated arm side and, uh, dislocated shoulder side.

And we had never actually choreographed this.

I just read the stage direction a lot and thought about how I would try to do it.

And yesterday when we got to that scene, although we usually skip it because we haven’t actually choreographed it yet.

I was like, I’m just going to do it.

So I just did it.

Everybody was just watching.

It got really quiet.

Cause there’s not that many of us anyway.

And then they were all just watching me cause I don’t have any lines while I’m doing this, I’m just trying to, you know, be in pain and get out of the bed and, you know, I’m wincing and I’m screaming in pain sometimes.

And then I land on the injured shoulder.

It’s like, ah, horrible, whatever.

And the director goes, that looks awesome.

That looks really painful.

Are you okay?

And I’m like, those are three great wins.

It looked awesome.

It looked painful, ideal, ideal.

And am I in pain?

How good or how convincing is my acting?

If you were worried that maybe I was actually in pain and not just acting, but my friends, I was just acting.

So those parts I have down.

Also, I get to swear a lot in the show and that’s always fun.

Uh, and, uh, when I rehearse with my kids, they will skip any swearing that, um, Annie has to do when they’re reading Annie’s lines.

And I find that so funny when, uh, Annie objects to the profanity in one of my books that she’s reading, uh, she has that big monologue and, uh, she talks about what do you think I do when I go into town?

Like, do I say, Hey, give me a bag of that effing cow corn or, uh, that bitchly feed it’s like using swear words in insane ways and my kids will skip all the swear words.

My kids won’t even say cockatoodie.

So how about that?

Uh, but then when it’s my lines and I’m supposed to swear, I just swear and swear and swear.

And my kids think it is maybe the funniest shit ever.

Uh, man, if I were a different person, I would name this episode funniest shit ever, but I’m not going to do that anyway.

I hope you’re having a wonderful Wednesday and tomorrow’s February.

So yeah, now, you know, goodbye Lex.