Smash (2012–2013): Season 2, Episode 13 - Smash - full transcript

Despite "Bombshell" not getting the ticket sales they were hoping, Eileen and Agnes are certain they are still on track for the show to sweep the Tonys. They just have to keep the show open...

Are you wondering how healthy the food you are eating is? Check it - foodval.com
---
You just name one really good death.

[snaps fingers, gunshot]

Previously on Smash...

I'm not the star anymore, am I?

Guess you should've slept with
Derek when you had the chance.

I got you something.

It's the only project for us.
I knew you'd agree.

[Cheers and applause]

I cannot wait to see
what he's gonna do

with City of Angels.

Right now, what I care about
is directing.



Both:
♪ I've been a puppet

♪ a pauper, a pirate, a poet ♪

Let's go to Broadway.

Gatsby would've made me happy.

Then do Gatsby.

Nothing Jimmy has ever said
has checked out.

I wasn't a good person,
but ever since I met you,

that's all I want to be.

Hey, hey, it's time for you
to leave.

[Crowd gasps]
You scare me, Jimmy.

You asked to get to know me,

and now you're walking away,
of course!

Once a year,
Broadway opens its generous arms

to musical theater students
all over the country.



They fly here to New York,
they see shows at night,

and during the day,
they take master classes

with actual Broadway performers.

Today we've asked Ivy Lynn
and the cast of Bombshell

to teach these eager students
how to do

"the 20th Century Fox mambo."
Rah!

And that's why
I'm all dressed like this.

Hey, Ivy, girl.

What a whirlwind
you have been on.

You did four shows
over the weekend,

and you flew
out to Los Angeles,

did Leno last night,
got on the red-eye,

and here you are with us
today on the Today Show.

It must be exhausting.

No, it's exhilarating,
kathie Lee.

Great.

Are you ready to mambo with me?

- I'm ready, girl. Let's do it.
- All right.

Okay, kids,
watch how it's done.

[The 20th Century Fox mambo]



♪ In this factory
where dreams can come true ♪

♪ are you ready
to make someone new? ♪

♪ you're the team
that must teach me to do ♪

♪ the 20th Century Fox mambo ♪

♪ done the homework
and I'll pass the test ♪

♪ I'll do whatever
my teachers suggest ♪

♪ I can do it clothed
or undressed ♪

♪ the 20th Century Fox mambo ♪

♪ make it up, shake it up

ensemble:
♪ let the fantasies begin

here's the dope.

♪ To get cast,
change the past ♪

♪ make the light
just right for sin... ♪

♪ emascope

- ♪ take a gamble
- Where's Julia?

It's not like her to miss
out on something like this.

I left her a message.

♪ The 20th Century Fox

I thought you two
were living together.

She moved out last week.

Hmm.

What?
That was always the plan.

She found a really cute place.

We're totally fine.

I think you and Julia
should probably be planning

your next project together,

after she's finished writing
on Gatsby.

What? Gatsby?

I'm sorry.
You didn't know?

Scott Nichols announced it
to his board

just earlier this week.

♪ When we're finished ♪
♪ he'll never forget ♪

ensemble:
♪ the 20th Century Fox

A little to your left, Ana.

Yep.

Just loosen up.
Just let go.

You don't... you don't really
want to kill her.

You know?
It's all in fun.

- So you're still seeing him?
- Yes, I am.

Adam's funny.
He makes me laugh.

Okay, we are all set
with these two.

Now I need the guy.

He was supposed to be here
two hours ago.

Yeah, uh...

I'm sure he'll be here
any minute, Patrick.

You know he left
in his costume last night.

[Sighs]

You know, Rudin's called me
twice already this morning.

He's practically
writing a check

to move Hit list to Broadway,

and he hasn't even seen it yet.

Well, let him Duke it out
with the ten other producers

that are coming.

That was a great idea, having
them come on the same night.

Mm hmm.

Yep, Daryl Roth, David Stone,
Kevin McCollum.

Tell you what,
if a bomb goes off tonight,

Broadway as we know it
will probably cease to exist.

[Chuckles]

Derek, we need your help.

Where's Jimmy?

I left him a bunch of messages.

I'm sure he just has
the wrong time.

They told me
they'd pull the cover

if we didn't have him here.

It's obviously some
adolescent cry for help,

which I do not have time for.

He's just under
a lot of pressure.

Oh, is he? Poor baby.
Well, so am I.

If he keeps this up,
he's not gonna see out the run.

Just get him here now.

Do you know where he is?

He didn't come home last night.

Did you have fun?

Kids: Yeah!

High fives!
Good job.

Chop chop, Ivy.

You don't want to be late
for your signing

at the Macy's sweater sale.

[Cell phone rings]
You've got Agnes.

So you've got the matinee

and then you have
the interview.

Tonight's show,
and then my own bed, my DVR,

and the entire season
of girl that I missed.

Wait, wait, wait, you forgot
about Broadway talks back.

Oh, my God,
the Tom and Julia Q&Q.

Moderated by their star,
Ivy Lynn.

Don't worry, you'll make
half-hour before performance.

Marisa Tomei broke her leg.

Which means...

Moonstruck won't be going
to Broadway this season.

Imitation of life
is D.O.A.

The Lloyd Webber just posted
their closing notice.

So if we stay open till June,

that Tony is ours.

That may be harder
than we thought.

Advance sales aren't
what they should be.

We haven't gone a day
without being

on the T.K.T.S. board
since we opened.

Well, what about we launch
a new radio campaign?

Not unless you have
a sugar daddy I'm not aware of.

Well, you'd better pray
for a miracle, then,

'cause we're gonna need one
to stay open till June.

So I started writing.

And it just flowed.

And I just lost track of time.

Please stop making excuses
and just tell me

what you're doing with Gatsby.

Obviously, I'm not doing it
as a musical.

I'm writing a play.

Gatsby is our dream project.

We've been talking about it
for a decade.

Which is why I bought it
and wrapped it up

in a bow for you.

You said you didn't want it.

I wanted it.

I just didn't want it
right at that second.

I thought I'd be tied up
directing for six months.

But then that never
came through.

I'm sorry about that.

But I've already set things
in motion.

I spoke with the estate.
I promised it to Scott.

Well, now you can
un-promise it

and start working on it
with me,

your partner.

See you tonight?

- Patrick, where are you going?
- I waited three hours.

Your boy's not coming.

No, wait, he's...
He's coming right now.

He's on his way.
It'll be an inside spread now.

But that's still great, Derek.

- Uh-huh.
- [Laughing]

- Oh, no.
- All right, all right.

[Laughing]
Can somebody help us?

- Nice.
- Whoo! Whoo!

[Huffs]

Bye.

Hey.

What'd I miss, huh?

No?

Hit it.

[Upbeat jazz music]

♪ One, two, three, four,
five, six, seven, eight ♪

♪ one, two, three, four,
five, six, seven, eight ♪

♪ one, two, three, four, five,
six, seven, eight ♪

♪ one, two, three, four,
five, six, seven, eight ♪

♪ one, two, three, four,
five, six ♪

♪ one, two, three, four, five,
six, seven, eight ♪

♪ one, two, three, four,
five, six ♪

♪ one, two, three, four, five,
six, seven, eight ♪

♪ five, six, seven, eight!

Hey!

Just when I thought my day
couldn't get any better.

- Hi.
- Hi. Mmm.

Look at this.

Mm.

It's a guest list for tonight.

It's like the who's who
of American theater.

That's so great.

And I just finished reading

the most amazing opening scene

of this new play I'm producing.

It's based on The Great Gatsby,

and its writer is going to win
a Tony for it someday.

Scott...

I can't stop thinking about it.

I mean, it's not just
an adaptation.

It stands on its own.

If you keep this up,

people are gonna be doing
your version

for years to come.

I screwed up.

Tom doesn't want
to let go of Gatsby.

He wants to do it with me.

[Groans softly]

Of course he does.

I'm so sorry.

I know I said
that I wouldn't break

another promise to you,
and now here I am

doing just that.

You gave Tom the choice
to do Gatsby.

He said no.

He and I have a history
with the project.

It's complicated.

No, it's simple.

He lost his directing gig.

Now he's scrambling.

Julia, you said that we
would work on this together.

I told my board.

I know.

Let me tell you something
you don't know.

In order to make Hit List
everything it needs to be,

I spent some of the reserves
of next season's budget on it.

If it doesn't transfer
to Broadway,

I have to follow up
with a homerun,

like Gatsby,

or I am out.

Hello, stranger.

Feel like I see you on TV

more than I do in real life.

Might almost believe
you were avoiding my calls.

Of course not.

I'm just really busy right now.

Ticket sales haven't been
as good as Eileen had hoped,

so she's pimping me out
wherever she can.

Okay.

Why don't I come by
after the show?

I can get you off the streets
for a night.

Can't.

I'm moderating a Q&A for
Tom and Julia at table 46.

Oh, fair enough.

How about tomorrow?

Group sales event.

Okay. Friday?

Uh, listen, Derek,
can I call you back?

I have a phone interview
that's about to start.

Bye.

[Groans]

- Where'd you go last night?
- Oh! Ah.

I don't know.

There was a lot
of tequila involved.

I hope it was worth it,
because you just lost us

the cover of New York Magazine.

You better get it together,
or seriously...

What? Or what?

The show's gonna close?

The run is sold out, Kyle.
Come on.

[Door opens]

How's he doing?

He's detoxing.
I hope.

Let me know
if you need any help.

- Thanks.
- I'm right here.

[Snickers]

Are you guys still together?

Of course.

I thought for sure
you'd have told him

about your little affair
by now.

Shut up.

I should've never told you
about Tom.

Hey, hey, there's no shame.

[Laughs]

I was drunk and star-struck.

Oh, what, the first time.

What about the other two
you told me about, huh?

Well, he's pretty great...

Oh, hey, is this where
the auditions

for Jesse are happening?

[Humming]

♪ There's a block
on the edge of this town ♪

♪ no one talks about

♪ where the train
doesn't stop ♪

♪ and the kids know
they're not getting out ♪

♪ you live in a loop
of smokes on the stoop ♪

♪ counting the coins you got ♪

♪ you work at a bar
where all that you are ♪

♪ is everything

♪ you're not

What the hell, Derek?

Excuse me.
This is a private audition.

For my part?

No, for your understudy,
genius.

Been seeing people all week.

You'd know that
if you were ever here.

This is Sam Strickland.

He was in the ensemble
of Bombshell.

Well, then, he should probably
audition for the ensemble

of Hit List and not my part.

Well, guess what?
That's not your call.

Sam's a great talent.

He just hasn't found
the right role yet.

Oh, I know that you're
a visionary, Derek,

but I think you're losing
your touch.

Get him out of here,
please, Kyle.

Oh, no, don't worry.
I'm leaving.

I... my buzz just wore off.

- Bye-bye.
- Jimmy...

So now you see why we're
looking for his understudy.

Yeah, so what do you
want to do?

You want me
to start again, or...

Just take a minute.

We'll go from the top.

I'm sorry about that.

No, don't worry about it.

Don't worry about it.
Okay.

I'll be right back.

What a jackass.

Adam was right.

[Sighs]

I just don't want the show
to get screwed up

just because I broke up
with him.

It won't.

And look, even if it does,
that's not on you.

Yes, it is.

She begged him to open up
to her for months,

and when he finally did,

she didn't like
what she heard and bailed.

And then she brought her friend
in to audition for his part.

That's not exactly
how that happened.

Yeah, actually, it is.

And since I seem to be
the only one

who really cares about him,

I'm gonna go make sure
he's okay.

Whatever.

Yes, we'd be absolutely
delighted to do a performance

at the Brighton Beach Senior Center.

On Monday at 11:00
good for you?

Excellent.

Terrific. Thanks.
Bye.

What's going on?

Did you know
half my producer clients

are going to see
Hit List tonight?

Well, good for them.

It seems M.T.W.
is trying

to move the show to Broadway
this season.

Well, from what I saw
at the winter benefit,

I wouldn't have said
that the show was big enough

for a Broadway transfer.

Well, apparently,
they've made some changes.

Just like that,
you have competition.

And what would you like me
to do with that information?

I'd like you
to get us two tickets

so we can see what kind
of threat

we have on our hands.

I'm sorry, but that's a pass.

Eileen, everybody's looking
for their next project.

Maybe you should too.

What did you think, Jimmy?

You'd just go A.W.O.L. for a
week, and nothing would happen?

Well, I was a little late
a couple times.

I'm sorry.

I don't see why everyone's
making such a big deal about it.

People are coming tonight

who could bring this show
to Broadway.

Our show.

It's what we always wanted.

Doesn't that mean anything
to you anymore?

Don't blow everything up

just because somebody
broke your heart.

This sounds stupid, but it's...

[Sighs]

I don't know, I...

I thought maybe
she was the one.

[Scoffs]

I'm not really sure
there is a one.

Says the guy who just cheated
on his boyfriend.

I hate you.

No, you don't.
I keep you honest.

Look, my parents
are coming tonight.

We're taking Blake to dinner
before the show.

They would love to see you.

You want to come?

Sure, what time?

[Door opens and slams]
All right, children.

Okay, good news and bad news.

The good news is
I found your understudy.

So next time you go
on a bender,

the show won't suffer.

- No, only the audience.
- [Laughs]

Yeah, and the bad news...

I have finally lost
my sense of humor.

This is the biggest night
in Hit List's life.

All right?

It's bigger
than critic previews.

It's bigger than opening night.

And if you don't pull it off,
sunshine,

Sam Strickland is not gonna be
your understudy tomorrow.

He's gonna be your replacement.

Oh, my God, look at that!
"Book by Kyle Bishop."

- Mom, shh.
- Hey... sorry.

I just wanted to say
I'm a big fan.

I've seen the show
like three times.

- Oh, thank you so much.
- You want his autograph?

- Mom.
- You want mine, then?

- I'm his mother.
- Oh, my God.

Will you please make it stop?

What? You should be
enjoying this.

Look at all these people
lined up for your show.

That's what I keep telling him.

We are so proud of you.

It's such a big achievement.

Well, it's not just mine.

You should be proud
of Jimmy too.

Well, of course we're
proud of him.

I wish he would have come out
with us so I could've told him.

Wanna see if he's shown up yet?

- Is he using again?
- Marie!

- Mom, please.
- It's a fair question.

Look, you know we love him,

but this is your moment, honey.

I just want you to make sure
you really take it.

I am.

So?
How did Scott take it?

He didn't have to.

I'm doing Gatsby
with him in the fall.

I made a promise.
I'm not gonna break it.

What about your promise to me,

your commitment to me?

I am totally committed to you.

I will make you the priority.

Anything that you want
to do with me comes first.

I'll work on Gatsby
in my spare time.

We're supposed to work
on everything together.

That's what a partnership is.

So if you had gotten
City of Angels,

I would've directed it too?

We didn't direct
Bombshell together.

And that was a problem,
apparently.

How was it a problem?
I was totally behind you.

Why wouldn't you do
the same for me?

It's one play.

One play you optioned
in our company name.

Legally, that makes it
half mine.

Hey, guys.

Packed house in here.
You ready?

Hey, Daryl.
Good to see you.

Hi.

- Hey, Daryl.
- Hi, Kev.

I didn't know
you would be here.

- Well, yes. How are you?
- Good.

Yeah, I thought you two could arm
wrestle a bit during intermission.

Winner takes the show
to Broadway.

Kevin's been working it.

[Doing vocal exercises]

It's 10 till.
What do you want me to do?

We'll have to cancel.

No, please,
give him five more minutes.

- You're late.
- [Sighs]

If we were on Broadway,
you'd get a fine.

But we're not, are we?

Not yet.

You gonna get out of my way
so I can go get dressed?

Oh, I'd love to.

Jimmy, it's places.

Yeah, ready.

I thought you said
there was no way in hell

Eileen Rand would ever produce
this show on Broadway.

There isn't.

What's she doing here?

Ladies and gentlemen,

we'd like to take
this opportunity

to remind you
that the use of cell phones

and other recording devices
is not only permitted,

but encouraged.

Record the show in its entirety
for all we care.

We don't own it
any more than you do.

[Scattered chuckles]

♪ And now I'm falling

♪ baby, through the sky

♪ through the sky

♪ I'm falling, baby

♪ through the sky



Where is he?

♪ There's a block
on the edge of this town ♪

♪ no one talks about

♪ where the train
doesn't stop ♪

♪ and the kids know
they're not getting out ♪

♪ you live in a loop
of smokes on the stoop ♪

♪ counting the coins you got ♪

♪ you work at a bar
where all that you are ♪

♪ is everything you're not

Rodgers and Hammerstein.

Lerner and Loewe.

Kander and Ebb.

Houston and Levitt.

You two have
one of the longest,

most celebrated writing
partnerships on Broadway.

It must be like a marriage.

- It is.
- Yeah.

With peaks and valleys.

Deep, deep valleys.

[Laughter]

Tell us, what does it take
to keep your marriage alive?

Work.

Hard work.

And communication.

And the ability to put
someone else's needs

before your own.

And the ability to put
the partnership

above everything else.

Okay.
Let's talk about process.

Say you're writing a song,
and you disagree on a lyric.

How do you decide
who gets their way?

We never really disagree
on lyrics.

No.
Because she writes them.

[Laughter]

Well, what about a story point
or characters?

I personally know
that Marilyn's mother, Gladys,

came in and out of the story
several times

before you made a decision.

Well, then we talk about it

until we're both comfortable
with the answer.

Or Julia gets her way.

Or Tom acts passive-aggressive
until he gets his way.

Or Julia makes a decision
without telling me,

and I find out about it later.

Or Tom calls his lawyer.

[Crowd murmurs]

[Laughs awkwardly] Okay.

Uh, let's open it up
for some questions.

Um, yes, you, sir.

What are you doing next?

We're doing The Great Gatsby.

No. No, we're not.

What he meant to say is
I am, as a play,

at Manhattan theatre workshop,

with Scott Nichols directing.

So you're not working
together anymore.

- Well, of course we are.
- No.

We're not.

♪ I wish I never knew you

♪ love

♪ I wish you were a bad girl ♪

♪ I wish I never knew you

♪ love

♪ why is this pain so

♪ unforgettable

Sorry I couldn't make it
back here all day.

Have you written anything?

I started working on something,

but it's still in process,
you know.

Okay.

Let's hear what you got.

♪ I wish you were a bad man ♪

You wanna try?

Yeah, okay.

Ready?

♪ I wish you were a bad man ♪

♪ I wish you made it easier

♪ I wish you'd done something ♪

♪ unforgivable



♪ 'cause holding on to you

♪ is all that I can do
until I learn ♪

♪ the hands around the throat
are my own ♪

♪ don't let me know

♪ if it hurts

♪ if it hurts you

♪ I don't want to be

♪ your friend
that you turn to ♪

♪ that you
won't pull me close ♪

♪ but you can't let me go ♪

♪ don't let me know

♪ don't let me know

♪ don't let me know

♪ don't let me know

both:
♪ I wish I'd never met you

♪ now I gotta forget again

♪ I wish you didn't know me

♪ so damn well

♪ mm-mm

♪ don't tell me
that you're scared ♪

♪ every time

He's not supposed to walk away.

It's not anything I think
the audience will notice.

I notice.

♪ Oh, don't let me know

♪ if it hurts

♪ if it hurts you

♪ I don't want to be

♪ your friend
that you turn to ♪

♪ that you won't
pull me close ♪

♪ but you can't let go

♪ don't let me know

♪ don't let me know

♪ don't let me know

♪ don't let me know

♪ if you think
there's a chance ♪

♪ you could fall again

What's going on?

Now what's he doing
in the middle of the dancers?

♪ Stop loving me

♪ don't let me know

♪ if it hurts,
if it hurts you ♪

♪ I don't want to be

♪ your friend
that you turn to ♪

♪ that you won't
pull me close ♪

♪ but you can't let go

♪ don't let me know

♪ don't let me know

♪ don't let me know

♪ don't let me

♪ know

Did you mean
what you said in there?

That the partnership's over?

If you were being honest,

you know that's what
you think too.

That couldn't be further
from the truth.

Come on.

Clearly you've been
unhappy with me.

You've been auditioning
new partners all year.

First it was Peter.
Now it's Scott.

Jimmy, Kyle.

You told me last week

that all you want to do
is direct.

Look, maybe we're just going
in different directions.

Or maybe this partnership
only works

when it's all about you.

I spent the last six months
taking care of you

after you dropped the ball
in Boston

and your marriage fell apart.

But the moment I get
something I want,

you can't even wait
six months for me.

You didn't ask me to wait.

I didn't ask you
to take care of me, either.

But I am asking that you be
okay with me doing this.

Tom, I love it.

It is the first thing
that has really made me happy

in years.

Thank you so much.

We have our answer.

That's not what I meant.

Yes, it is.

♪ It's my calling

♪ baby, don't you cry

♪ don't you cry

♪ I'm falling down
through the sky ♪

♪ and I refuse to go

Now what is he doing?

He's usually down left
with Gabe and Lexi.

Why didn't he catch her?

I'm sorry, Karen.
I'm so sorry.

[Crying]

I got you. I got you.
You all right?

[Gasping]

Karen? Karen? I'm so sorry.
I totally screwed up.

Are you okay?
Oh my God, your arm.

You don't get to ask me
how I am right now.

You all right?

I'm fine.
It's just a scratch.

It was a mistake.
That is all.

You went on stage high.

You compromised Karen's safety,

and you jeopardized
the entire bloody show.

Good work.

Karen, I'm so sorry.
You have to believe me.

Places, last number!

Ah, crap.

♪ The time

♪ has

♪ come

♪ you're flying

♪ away

♪ mouth

♪ is

♪ numb

♪ I don't know

♪ what to say

♪ and although

♪ you'll be out of sight,
dear ♪

♪ know I'll be right here

♪ right here forever

♪ ever, ever, ever

♪ when you look
to the night skies ♪

♪ don't think of good-byes

♪ think how I'm right here

♪ ever, ever, ever

♪ come

♪ no, I can't come with you

♪ stay

♪ I wish I could

both: ♪ good-bye

♪ ee-eye, ee-eye, ee-eye

♪ I know it's hard to say ♪

ensemble:
♪ come

♪ no, you can't come with me ♪

ensemble:
♪ stay

♪ I wish I could

both:
♪ good-bye

♪ ee-eye, ee-eye, ee-eye

♪ I know it's hard to say ♪

♪ ouch

♪ I know it hurts to say ♪

♪ I'd stay if I could

♪ but the universe

♪ won't let me

♪ so please be good

♪ and don't you forget me

ensemble:
♪ and although

♪ I'll be out of sight, dear

♪ know I'll be right here

♪ right here forever

♪ ever, ever, ever

♪ and when you

♪ when you look
to the night skies ♪

♪ don't think of good-byes

♪ think how I'm right here

♪ ever, ever, ever

♪ ever, ever, ever, ever

♪ oh, oh, oh oh oh

♪ oh, oh, oh

♪ oh, oh, oh oh oh

♪ oh, oh, oh

♪ oh, oh, oh oh oh

♪ oh, oh, oh

♪ oh, oh, oh oh oh

♪ oh, oh, oh

♪ oh, oh, oh oh oh

♪ oh, oh, oh

♪ oh, oh, oh oh oh

♪ oh, oh, oh

♪ oh

[cheers and applause]

Let's go.

Give me a minute.

You should go and get this
checked out tonight.

- It could be a sprain.
- I'm fine.

Karen, I am so sorry.
He's totally out of control.

What you just saw
was Jimmy's last performance.

I don't want him around here

if he can't
get himself together,

and I very much doubt
that's possible.

What about the show?

We'll shut down
for a couple of days,

give Sam a chance to get ready.

Just let me be the one
to tell him.

Okay. Go on, then.

Okay.

So what did you think?

I don't know.
What do you think?

High energy.
Uh...

[Chuckles] Very talented.

- Yes, yes.
- I don't know.

It seemed a little cult-y,

like... like Hedwig
or Rocky horror.

It's a little edgy.

Yeah, but Rent, Avenue Q...

You know I love edge.

There's edge,
and then there's cliff.

- [Laughs]
- I don't see it.

Here they are, the producers.

Hey.

Who's up for a drink?
I'm buying.

Hmm.

You were so good tonight honey,

Don't let me know sent
chills down my spine.

Thank you.

Yeah, if you could just
sign this to the cohens...

Okay, wait,
let me get this straight.

So when you're doing
those spins,

you don't have anything
holding you up?

- No.
- Wow, I'll be darned.

[Rock music playing]

Not one bite?
You did tell them

we've got
Jimmy's replacement lined up?

They loved him.

They think the show's
too "dark"

for an uptown crowd.

You've gotta be kidding me.
I'll try Arlene.

- Oh, all right!
- [Cheers]

Now the party can begin!
Whoo!

[Indistinct chatter]

Hey, how you doing, man?

Hey!

Are you proud of yourself?

Well, you said do a good job,
and I did.

I was on fire.

No, you were high.

And you hurt Karen
and freaked everybody out,

and now Derek and Scott
are gonna fire you.

No. No. Can't do that.

Yes, they can.
They already did.

Sam's going on as soon as
he can get off book.

[Exhales]
And what did you say, Kyle?

I told them that it was
the right thing to do.

You took their side.

Jimmy, I have been
on your side my entire life.

I've stood up for you
when nobody else would.

I was the one who got you
out of the situation with Adam.

If it wasn't for me,
you'd probably be dead

in a gutter somewhere.

I have to stop helping you.

You have to start
helping yourself.

Right.

Hey, all right, listen up!

Everybody!

Whoa, hey!
Oh, wow.

Uh, okay, look.

I just want to say

that it turns out

tonight was my final
performance of Hit List.

[Crowd booing]

I mean, yeah, yeah.
Apparently...

Apparently, the "creative team"
has decided

that... that they no longer
require my services,

and when I say "creative team,"

I mean that term, like,
very loosely,

seeing as I'm the only one
that did anything

anyway, right?

[Laughing]

Uh, I would like
to thank Karen,

Karen Cartwright,

for bringing this show to life

by stringing along its director

and for believing me
as an actor so much

that she engineered
my replacement,

which made perfect sense,
considering that real emotion,

on stage or off,
is way too scary for her.

I would also like to thank,
uh, Kyle,

Kyle Bishop, my lifelong friend
and writing partner,

for his unwavering loyalty

throughout this entire process.

Oh, wait, did I say loyalty?

I mean for screwing me
the second he had the chance.

For the record, Blake,

Kyle was also screwing
Tom Levitt last week.

You might want to check in
with him about that.

I mean, I know you guys
make different rules...

Get off the bar.

Okay.

You are stronger than you look.

- Blake, please come back.
- Don't talk to me.

What is the matter with you?
Karen and Kyle?

You could not find
two better friends.

They have done nothing
but love you.

Well, yes.

But only one of them
is in love with me,

and it is not the one
that I wanted.

Are you okay?

- Uh, Ana, thank you, I...
- Don't worry about it.

I have to tell Jimmy
how messed up that was.

I have to go talk to him.
No, you don't.

He'll just apologize

and say all the right things,
like he always does.

And nothing will ever change.

You're right.

God, I should just
cut him off, you know?

Do you think you can do that?

I'll do it tomorrow,
when he's sober

and when I've had a chance
to calm down.

No, you don't wait
until tomorrow.

If you wait until then,
you'll lose your courage.

Do it now.

Thank you, Karen.

You're right.

[Cell phone vibrating]
Oh, you know

how most producers are...
Taste doesn't motivate them.

Money does, and they just didn't
see the money.

What about you?

Taste is what you're known for,
after all.

I loved the show.

I didn't want to, but I did.

But you're not gonna move it.

I can't.
I don't have the money.

And even if I did,

I can't bet
against myself this year.

Oh, come on,
people do it all the time.

Listen, your show is beautiful,

and it's moving,
but people are right.

It's a hard sell,
and it's a risk

I just can't afford to take.

- Okay.
- I'm sorry, Derek.

I know how much
you put into this.

- Thanks, darling.
- Okay.

I'm going to have to call
Tom, Agnes,

ask him and Julia
to reduce their royalties,

'cause otherwise,
I just don't see any way

we're gonna get to the Tonys.

Today's sales are up 7%.

Looks like tomorrow's
are even better.

Guess all that publicity
paid off after all.

So maybe we hold off
on that call.

Especially since
the competition is dead.

Coming up next...

[Cell phone vibrates]

[Sighs]

[Mellow rock playing]

Okay.

Question.

Um...

What do you think it means
if a woman

you thought you were seeing

and you've called
five times in a day

doesn't answer the phone?

Ooh, goodness.

She's probably
on the other line

getting a restraining order.

- That's very funny.
- [Laughs]

I'm sorry about tonight.

It's not your fault.

I don't mean about Jimmy.
I mean the show.

I can't believe
they all passed.

Yeah.

I know how much
you wanted it to move.

So did I.

You know what's weird?

It never occurred to me

that it wasn't gonna get
to Broadway.

We'll find something else.

I don't want something else.

You want another drink?

Yeah, I think if I have
another drink,

I might do something
I regret in the morning.

Two more, please.

[Chuckles]

♪ This is
our last good-bye ♪

♪ I hate to feel the love
between us die ♪

♪ but it's over

♪ just hear this
and then I'll go ♪

♪ you gave me more
to live for ♪

♪ more than you'll ever know ♪



♪ well, this is
our last embrace ♪

♪ must I dream
and always see your face? ♪

♪ why can't we overcome
this wall? ♪

♪ maybe it's just because

♪ I didn't know you at all



♪ kiss me

♪ please kiss me

♪ kiss me out of desire, baby ♪

♪ no consolation

♪ oh, you know it makes me
so angry ♪

♪ 'cause I know that in time ♪

♪ I'll only make you cry

♪ this is our last good-bye

♪ oh

Good night.

Are you gonna walk me home,
or what?

[Vocalizing]

Okay.

[Vocalizing]



♪ Did you say no

It's for you.

♪ This can't happen to me?

♪ Did you rush
to the phone to call? ♪

♪ was there a voice unkind

♪ at the back of your mind

♪ saying maybe

♪ you didn't know him
at all? ♪

♪ you didn't know him at all

♪ oh, you didn't know

♪ oh, you didn't know

♪ it's over

[vehicle approaches]

[Tires screech]