Smash (2012–2013): Season 2, Episode 15 - Smash - full transcript

Eileen and Agnes are working hard to place "Bombshell" in the best possible light for the entire cast and crew in the lead up to the Tony nominations. One of the projects is a tribute night for Tom and Julia. Already seen by the online community as having slept her way to her current lead position, Ivy is feeling uncomfortable in her role for the tribute night - where Tom has asked her to portray a stripper - which may further kibosh her chances of a nomination. But what may be a bigger problem is Tom and Julia's partnership. News of the partnership's dissolution could spell disaster, which is not helped by Julia being preoccupied with "Hit List"'s move to Broadway, the show which is currently in previews. "Hit List"'s creative team is aware that the transition from the small downtown theater to a large Broadway theater has not been an easy one. Derek feels that part of the problem is Ana, who may just be under-performing if only due to exhaustion. He works behind the scenes to find a replacement for Ana, that replacement who is officially an understudy to give Ana some recuperation time. But Ana herself is suspicious that Derek may be working to replace her permanently, especially when she sees who Derek is auditioning.

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- ♪ There are some in this world ♪
- Previously on Smash...

I have let Bombshell go,

just not its leading lady.

As we draw closer
to the Tonys,

things are looking up
for Bombshell.

Suddenly you're dissolving
the partnership?

[Dramatic music]

Kyle's dead.

He got hit by a car
last night.

- Oh, my God.
- I can't believe it.

You exploited
that poor boy's death.



I couldn't sleep with him
because I'm in love with you.

I'm sorry about what
I did to you last fall.

What are you doing
right now?

That money's
no longer available.

I committed it to Hit List.

I'm moving it to Broadway.

[Pretender plays]

♪ Your dirty kiss ♪

♪ you tried
to pull me right in ♪

♪ your little tricks ♪

♪ you're used to winning ♪

♪ you play a part ♪

♪ dancer in the dark ♪

♪ saying anything to try ♪



♪ and steal away a heart ♪
Jimmy, Jimmy!

♪ Now you got her ♪

- Thanks.
- ♪ She's lying up in your bed ♪

♪ don't seem to stop you ♪

♪ you keep on calling ♪

♪ you're out of line ♪

♪ waster of my time ♪

♪ I just wanna know ♪

♪ how you can
fall asleep at night ♪

♪ hey, baby ♪

♪ you're just a pretender ♪

♪ I'm not crazy ♪

♪ should've known
much better ♪

♪ whatever you do ♪

♪ always twisting the truth ♪

♪ well, the tables
'bout to turn ♪

♪ right back on you ♪

♪ you must be drunk ♪

♪ did you forget
your way home? ♪

♪ I'm not the one ♪

♪ who's scared
of being alone ♪

♪ got me confused
with someone who needs you ♪

♪ might be the joker ♪

♪ I'm nobody's fool ♪

♪ hey, baby ♪

♪ you're just a pretender ♪

♪ don't mistake me ♪

♪ you might think
you're clever, boy ♪

♪ whatever you do ♪

♪ always twisting the truth ♪

♪ well, the tables
'bout to turn ♪

♪ right back on you ♪

♪ uh,
take all your lies ♪

Daisy was a good call.

She's got something.

♪ I got my strength ♪

♪ got my pride in myself ♪

♪ so what now? ♪

♪ Who you gonna mess around? ♪

♪ I can tell you
right now ♪

♪ ain't gonna be me ♪

♪ hey, baby ♪

♪ you're just a pretender ♪

♪ I'm not crazy ♪

♪ should've known
much better ♪

♪ whatever you do ♪

♪ always twisting
the truth ♪

♪ well, the tables
'bout to turn ♪

♪ right back on you ♪

[Cheers and applause]

It's all right, right?

[Cheers and applause]

That is fantastic, Nina.

And listen,
if I'm gonna manage you,

there's somebody
you have to meet.

You know the diva, right?

Where is the diva?

Here she comes now.

JB, you have
to come hang with me.

This party is so boring.

[Indistinct chatter]

- You're so good out there.
- Oh, I screwed up my cross.

And I missed a cue
in reach for me.

You just have to get used
to doing it on a bigger stage.

I would totally freak out
if I ever had to cover for you.

Well, don't worry.

I don't plan on missing
any performances.

The show's looking good.

Good, yeah.
Not great.

We're in previews.

We'll get there.

[G.I. Joe plays]

♪ Mr. and Mrs. G.I. Joe ♪

♪ Oh oh oh

♪ I love you so

♪ We're
Mr. and Mrs. G.I. Joe ♪

Good Lord.

I hope that thing's insured,
Lindsay.

[Laughs]

Thanks again for asking me
to do the concert.

I think I'll be the only one
at Houston-Levitt night

who hasn't won a Tony.

Except Houston and Levitt.

[All chuckle]

This isn't
about the Tonys anyway.

This is about old friends
getting together

for a wonderful celebration.

- Take care, Lindsay.
- Bye.

Bye, thanks.

This is all
about the Tonys.

You don't say.

- Where's Julia?
- Hit List.

Jimmy and Derek asked her
to help out with the transfer.

Aren't you
a little concerned

that people will start
to wonder what's going on

with you and Julia?

I promise you,
only a couple friends know.

Good.

Because with the Tonys,

it's not just
about a great performance,

it's about a great story.

And your story

is that your incredible
partnership is overdue.

Let's call it what it is...
An injustice.

And tomorrow's
our last opportunity

to show everyone what
you and Julia have accomplished.

We'll both be there.

Bombshell's counting
on you.

Ivy.

- Karen, oh. [Laughs]
- Hi.

I guess this was bound
to happen sooner or later, huh?

Yeah.

Hey, congratulations,
by the way.

Aw, thanks, yeah.

Uh, where you headed?

Table 46. You?

[Chuckles]
Yeah, I'm going to table 46.

[Both laugh]

Ah. So how's Broadway
treating you?

Is it everything
that you'd hoped it would be?

Uh, it all happened
so fast,

I haven't had a chance
to process it.

But I definitely still
get chills at the curtain call.

Hey, uh, things are probably
gonna get a little crazy

around award season.

And can we just promise,
whatever happens,

that we're gonna be adults
about it?

Yes.
You have my word.

Great.

[Indistinct chatter]

- Hi.
- Oh, hey.

Hi.

We've got tables to bus,
if you're feeling nostalgic.

All right.
Something's not working.

I can't put
my finger on it.

Well, we're sold out
till next January.

I don't care
how many tickets we've sold.

I need the show to be perfect
by the time we open.

There's time.
You're still in previews.

And the Tony nominators
are coming soon.

Oh, now he wants a Tony.

Not for me, for Kyle.

Yeah, well, if something
feels off to you,

it's probably just
'cause it's a bigger space.

[Exhales]
Maybe it's the new sets.

I agree.

The energy
has slowed down a bit,

but it's not the sets.

There's a casting issue?

Sam's the only principal
who's new.

What about her?

Gotta admit she's been
having trouble.

She used to spinning 8 feet
in the air, now it's 30.

I mean, give her a chance
to adjust.

Look, if the diva
doesn't work,

the show doesn't work.

And don't flip out,

but I think it might
be the book.

And I know you're protective
of Kyle's work...

We're not touching
the book.

Okay.

Oh, look.
There's mom with her new family.

[Chuckles]
Hi, everybody.

Julia, um,
can we borrow you?

Sure.

I'll just be a minute.

How's the concert going?

Eileen's worried we're not
spending enough time together.

Because you're spending all your time
with the competition.

- So I had a thought.
- You're gonna love this.

I was hoping
that you and Tom

would sing a song
at the concert.

Oh, no, no, no.
No, no, no.

- I don't sing.
- You owe me this, Julia.

I..., trust me, I am not
doing you any favors

by getting up there
and singing.

[Sighs]
Okay, fine.

But only one song,

and it's gotta
be something light,

like two by two.

You can sing the alphabet
for all I care,

just so long
as you're smiling

and singing together.

Uh, I...
Will you excuse me?

Of course.
[Sighs]

Eileen, a kid died

before he was able
to finish his work.

I know and understand
the business of theater.

But as a human being, I've gotta
help see this show through.

I'm sorry.

So I've made the rounds.

Talked to a couple of people
on the nominating committee.

They love the show.

The score's a lock.

What about best director?

The truth?
Some people say that

if you're nominated,
it'll be a surprise.

What?

But everyone's been
liking the show so much.

It's not over
till I say it is.

- What's left?
- Tomorrow night.

I mean,
look what Derek did

with Ronnie Moore's concert.

He reignited his career.

That was an event...

3,000 people,
televised on Bravo,

a curtain made out
of frickin' roses.

This is ten people
at the oak room.

Which is why
it'll be so impressive

when you blow them away.

So, uh, what about me?

That's the other thing.

The people I spoke to
loved your performance.

But...

I got a heads up
on a blind item

that's running
in tomorrow's Voice.

Mentions a certain
Broadway blonde's

behavior offstage.

What behavior?
I've been a Saint.

He mentions pills.

Those were for my voice.

An incident
at a previous show.

Heaven on Earth?
That was one night.

Rumors about you
sleeping your way to the top.

Absolutely not.

And a particularly
nasty comment

about you
and a former Costar's fiancée.

Okay, yeah,
that was pretty bad.

But how do people
even know about that?

That's where I come in.

From now on,
you're going to image rehab.

On stage, you're Marilyn.

Everywhere else,
you're Norma Jeane.

To you finally
having a drink here,

as a working actress
on Broadway.

No, to us
on Broadway together.

All right.
I'll drink to that.

Six months ago,
I thought I'd never get here.

Thank you, Jimmy.

How is it going
with you guys?

It's not.
He's made it perfectly clear.

He's hyper-focused
on the show.

He barely talks to me.

You know, I think Ana's
making far too many mistakes.

She's exhausted.

What do you wanna do?

Just give her
tomorrow night off.

And put Daisy in?

If you think
it'll help Ana...

Hmm. Couldn't hurt.

Okay.

Thanks.

- See you later.
- Yeah.

It's taken care of.

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!

Mr. Wills, next time you
bench one of our leads,

how about a heads up?

I'm trying
to fix the problem.

I told you,
Ana is not the problem.

[Sighs]

Look, man, I-I've spent
last night online.

- I was reading feedback.
- Oh, yeah, the Internet.

A lot
of helpful information there.

Yeah, those people
are our fans, Derek.

And a lot of them
don't think

the show is as good
as it was downtown.

Okay. What do you think
the problem is then?

Context.

You know, it hit me
this morning...

Off-Broadway,
the theaters are small.

There's no division between
the audience and the stage.

When you enter the theater,
you enter the world.

Absolutely.

But on Broadway,

the stage
is above the audience.

They're far away.

Maybe we need to erase
that separation,

make the house
part of the show.

Yeah, I did love
Mendes' Cabaret.

The audience
was sat at tables.

What, like dinner theater?

No, not really.

Derek, Daisy's ready
to rehearse.

Okay.

Listen.

Too many changes,

people think you're scared
of something.

Just try and find one thing
that feels organic,

and change that.

You got ten hours.

You know, this is
what Kyle was good at...

This... big ideas.

He was.

Maybe he can help us.

[Sighs]

You don't know Derek
like I do.

He just wants to make sure

you're at your best
when we open.

Just take the night off.
It'll be okay.

You're wrong.
He's testing her.

No, he's not.

They're giving you
a break.

You know who else
had a break?

Erin Dilly
in Thoroughly modern Millie.

Sutton Foster
went on for her.

Guess who's still
on a break.

Derek wouldn't do that.

Look, I know
you like him and all,

but even you have to admit
this lines up.

How many Marilyns
did he go through... three?

And that was before the show
even got to Broadway.

Ana, you got
amazing reviews downtown.

People stood in line
to see you.

And they don't
replace people like that.

Maybe if a star
was interested,

but Daisy's in the ensemble.

It would make no sense.

I was
in the ensemble too.

I guess
I will be again.

You're just
being paranoid.

But...
I'll talk to Derek.

I'll find out
what's going on.

[Piano playing]



- Hey.
- Hi.

Um, I'm sorry
to be asking you this,

because I'm sure
it's ridiculous...

But you really are just putting
Daisy in for tonight, right?

- Of course.
- Okay.

That's what I thought.

Because, um, Ana's the reason
the diva exists.

She got The New York Times
to notice the show,

so are you sure
she needs a night off?

Yeah, she does.

She's exhausted.

Her voice is giving out.
She's missing cues.

- She's gone up on lines.
- Well, so have I. So has Jimmy.

Look.

One night off
is not gonna kill her.

Anyway, it'll be
an interesting experiment.

The diva is older
than Amanda, after all.

Oh, my God.

You are replacing her.

Wait, Derek,
what's going on?

I'm under a lot
of pressure here, Karen.

Yeah, so am I.

Yeah, but the kind
of pressure

I'm under is different,
all right?

Look, I have got
the book writer's parents

sitting in the audience
every night,

counting on me to carry on
their dead son's legacy.

I've got a composer
who's hell-bent

on making a living memorial
to his best friend,

which means he will not
change a bloody word.

And almost everyone here

is making their Broadway debut,
except me.

Ana's not.
Kyle would want her in it.

Yes, and that, my darling,
is part of the problem,

all right?

Every decision I make
I question,

would Kyle have wanted it?

And then I have
to remind myself that,

you know,
some of Kyle's ideas

were young and unformed.

And then I have to ask:

Is it good for his memory,
or is it good for the show?

Because believe me,
it is not the same thing.

Sorry.

All right.
That's very good, Daisy.

Should we get you
up in the air now?

Karen...

At night I play an icon.
By day I drive one.

Introducing the entirely new
Ford Fusion...

Stunning design inside and out,
just like me.

Hey.
[Chuckles]

Thank you.

And cut.

Print it.
Moving on.

Oh, thank you so much.

Look at you.

TV star,
national commercial.

Yeah, Eileen booked it
weeks ago.

She thought the exposure
would be great.

They're playing it
during the Tonys.

That's really amazing.

I wish I could
feel better about it.

I'm so freaked out
about Musto's column.

It's a blind item.

Nobody knows
he was talking about you.

You obviously didn't
read the comments.

Everybody guessed
it was me.

You just keep
looking for opportunities

to show people
who you really are,

like tonight
at Tom and Julia's thing.

Yeah, Tom just called
and said he's changing my song?

I thought you were singing
something from Bombshell.

Yeah, I thought so too,
but now I'm singing

something called
grin and bare it.

Tom just said I'd be perfect
for the character.

Oh, yeah.
I remember that song.

It's about a bunch
of strippers.

So basically,
we're gonna change

what could've been
just another

boring cavalcade
of Broadway stars

singing forgotten numbers
from obscure musicals...

[Clears throat]
Into a revue

with a story and movement.

We'll transform the oak room

into a down-on-its-luck
Vegas strip club in the '50s.

Um, I'll be the MC,
natch...

Sorry.
Sorry, sorry, sorry.

I had a commercial,
my physical,

and an interview
with Playbill.

Ivy Lynn,
ladies and gentlemen.

As I was saying,
I'm the MC,

and you guys are all
dancers, strippers,

patrons, gangsters.

Um, when Ivy comes on...

Uh, yeah, about that.

Can I talk to you
for a sec?

Sure.

Um, cathie,
why don't you go over

everyone's roles
and the song order?

Okay. Raise your hand
if you're a pimp.

I'm starting to feel
a little uncomfortable

with my new song selection.

I-I know the whole point
is to show everybody

what a brilliant director
you are,

but you heard Agnes.

I need to show people

that I'm more than
just a Marilyn.

This isn't Marilyn.

Coco is
a depressed alcoholic stripper...

Point taken.

People are already
talking about me.

I don't wanna give them
any more ammunition.

[Sighs]

At this point,
I feel like I can't

take a song away
from someone else.

Do you just not wanna sing
at all?

Tom, check your phone.

Oh, my God.

8 missed calls and 22 emails
in half an hour?

Someone leaked
to the press

that you and Julia
are splitting up.

It's everywhere...

The boards, the blogs.

Who would've leaked it?

I've just got one guess:

Somebody
I used to be married to.

We're in trouble.

People already think
Bombshell

has a split personality.

An actual split
proves it's true.

And it doesn't help
that half the partnership

is never here, Tom.

I'm calling her.

MTW was a bust.

So do you think
he brought it back...

You haven't been here?

Where have you
been staying?

Around.

Do you wanna go?

[Exhales]

[Door shuts]

Aha.

Here it is.

What, that's what
you've been looking for?

Um, no.

These.

A lot of these ideas
weren't right.

Some were fascinating,
so I thought

there might
be something here.

Huh.

"Newsreel"?
What's that mean?

If I remember correctly,

he had an idea
for an updated take

on newsreel footage,

blown out
across the proscenium,

just in your face...

Gossip sites,
tabloids, Twitter,

YouTube,
a multimedia assault.

Yeah, commenting on fame
was, like, Kyle's big thing.

Mm hmm.

At the Fringe,
he had this idea

where we take the
ticket holders' phone numbers

and send them texts
during the show.

I mean, we couldn't
pull it off, but...

Live updates
during the show?

Wow.
I like it.

Well, it doesn't matter.
I mean, it's impossible.

Well, nothing's impossible
if you have enough money.

Does Jerry Rand
have that kind of money?

Are you kidding?

- It's a great idea!
- Yeah.

Audience participation
in a 21st-century way.

Can we really get that done
by tonight?

We could try.

Hey.
What's going on?

So I had my agent
do some research,

and it turns out
that Daisy Parker

was one of the six dancers
who accused Derek

of sexual harassment
last fall,

you know, the ones who
mysteriously dropped the suit.

So what are you saying?

I think she's blackmailing him
for my role.

[Indistinct chatter]

Excuse me.

Well, that's the thing
about Jonathan Groff...

He curses like a sailor.

Yo, Tom.

Lin, hi, hi.
Great to see you.

Hi. How are you?
Hey, listen.

I'm sorry I haven't gotten
a chance to see Bombshell,

but I hear the tourists
love it.

[Chuckles]
Thanks.

I tried to see Bring it on,
but it closed so fast,

I didn't get the chance.
[Laughs]

Well, when you don't have
that sweet, gratuitous nudity

to keep you running...
So, uh, where's Julia?

- Or are the rumors true?
- Oh, she's here.

She's singing tonight,
so she's probably by the bar.

Tequila courage.
Excuse me.

All right, I'm tweet that.
I love you.

[Singsong]
I hate you.

This is getting ridiculous.
Where is Julia?

I told Laura Benanti
she's in the bathroom.

I told Norbert
she's in a taxi.

I told Alice Ripley
she's backstage.

Why... why can't I tell everyone
the same lie?

I have a room
full of Tony voters

who feel like
they're at a funeral.

Get her here now.

Trying again.

[Phone ringing]

[Sighs]
I know, I know.

- I'm coming.
- Coming?

You're coming?

The shows starts
in 15 minutes.

[Sighs]
I'm sorry.

Jimmy and I
are almost done.

We're trying to put
one of Kyle's ideas

into the show
by curtain,

and we have
to do it tonight.

I appreciate
what you're doing for Kyle.

I really do,
but we have a show too,

and that one's
got your name on it.

- I'm leaving right now.
- Hurry.

We're first up.
I had to change the order

when I turned it
into a revue.

It's a revue?

[Sighs] This reminds me
of last year...

Me working my ass off
for both of us,

and you, somewhere else,
distracted.

Okay, to be fair, Tom,
we broke up.

Yes. And now that
everyone here knows it,

it's gonna make being alone here
even more fun.

- Wait. Everyone knows?
- You would know that too

if you would
check your phone!

Then we don't have
to sing.

Did you really
just say that?

Why is this
such a big deal to you?

The big deal is
I was looking forward

to one last song
with my best friend

and partner of 11 years,

one song that shows
that even if

we never work together again,
that time meant something.

- Tom...
- I'll see you

when you get here.
I hope you can make it.

[Beep]

Cue LX402.5, got it.

Are you sure you wanna
do this tonight?

It's now or never.

Everything all right?

Yeah, I gotta go.

You okay here?

Yeah, I think so.

Okay, just don't forget...
Tonight's a test.

Taking a risk,
it's good.

That's what previews
are for.

How many cues
are you adding?

Only one scene for now,

after I'm not sorry.

Yeah, this isn't
a good idea.

We've got a show in an hour,
and we've never run it.

Derek, let him try.

Can you show us
what it looks like?

- Five minutes?
- All right.

I'll wait.

♪ You run
from the train ♪

♪ the one
you just missed ♪

♪ you're out of cigarettes

♪ you've got a headache

Ivy?

We need you.

I thought
I was up last.

Well, no,
Julia's not here,

and Tom wants you
to go up second.

What's wrong?

I just don't know
if I should

be doing this striptease
right now.

Ah.

I heard what Agnes said.

Well, what do you think?

I think
it's a load of bunk.

- Really?
- Yes.

You're young,
you made a couple of mistakes,

so big surprise.

What I love about you

is that you're never afraid
to be yourself.

You either go big,
or you go home.

A couple of those nights,

I probably should've
just gone home.

You know, you're not
a Norma Jeane.

You're a Marilyn...
That's who you are.

We're ready for you, Ivy.

Now go be fantastic.

And now, off the clock
and on the bottle,

it's Coco and the girls.

♪ You finish the show

♪ you rinse out
your tights ♪

♪ you dive into a dive

♪ and raise a toast
to better nights ♪

♪ you get a little drunk

♪ and maybe
start a few fights ♪

♪ but you grin and bare it



♪ you run for the train

♪ the one you just missed

♪ you're out of cigarettes

♪ you've got a headache
and you're pissed ♪

♪ you lie awake counting

♪ all the bald heads
you kissed ♪

♪ but you grin and bare it



♪ wake up

♪ quick,
smell the coffee ♪

♪ it's a brand-new day

♪ if you wake up lonely

♪ that's the price
you pay ♪

♪ anyway

♪ you run from the train

♪ it's a quarter to 2:00

♪ you slap a pound
of war paint on ♪

♪ and barely
make your cue ♪

♪ you hit the stage
and smile ♪

♪ 'cause, girls,
what else can you do ♪

♪ or say

♪ grin and bare it

♪ four shows a day

Well, hello, boy.

Do you like my song?

It's just something
I had to get off my chest.

♪ Oh

♪ wake up

♪ quick,
change your costume ♪

♪ second act is on

♪ life ain't just
a rat race ♪

♪ it's a marathon

♪ and then you're gone

♪ so pity yourself

♪ but know in your gut

♪ that no one ever died

♪ because their life
was in a rut ♪

♪ and learn
a little lesson ♪

♪ from a gal who says
"what the hey?" ♪

♪ grin and bare it

♪ grin
and bare it ♪

♪ grin and bare it

♪ grin
and bare it ♪

♪ four shows

♪ a day



[Cheers and applause]

[Door opens]

Ana, it's your night off.
You should be resting.

Karen, you should
be backstage.

Why did you
put Daisy on tonight?

Okay, we got a show
in ten minutes.

I don't really
have time for this.

She's one of the dancers
who came forward last fall.

You said that went away.
Did it?

I'm not having
this conversation with you,

either of you.

- Derek, stop.
- Nope.

Well, okay,
I'm not going on stage

till you tell me
what happened.

Okay, fine. Maybe I'll put
your understudy on as well.

- What is the matter with you?
- Nothing! Okay?

It's obvi...
Can...

It's obviously not nothing,
so what is it?

You can tell me.

Does she have something
on you?

From last fall?

Last month.

[Sighs]
Derek...

She came
to the Bombshell opening.

She apologized to me.
We had a drink.

Really?

After everything
that happened?

Yeah, well, I was upset
that night, okay?

[Sighs]

Look, we saw each other
a few more times.

She came to Hit List.
She loved it.

She wanted to be in it.
And I wanted...

You know.

Go on.

I told her
if we went to Broadway,

she could be an understudy,
if she really wanted it,

and she showed me
that she did.

- You're unbelievable.
- Yes, I am.

And you know
what the good news is?

She filmed it, all of it,
including my offer.

And if that gets out,
I'm done.

So you gave her
Ana's role?

Would you rather
I gave her yours?

[Sighs]

Why didn't you tell me?

Well, 'cause I had
a funny feeling if I did,

you'd react the way
you're reacting right now.

Yeah, Derek, I'm right to.
It's disgusting.

[Laughs]
Okay.

I can't believe I almost
let something happen between us.

Oh, my God, how is this
now suddenly about you?

Well, because it's
always about you.

- Okay.
- So is that it?

She just... she wins?

A couple
of dancers' accusations

go away quick,
all right?

Proof sticks.

Just pray she's terrible.

And if Jerry hates her,

I can tell Daisy
it's not up to me.

And what happens
if she's good?

I have no choice.

Yeah, Derek, you do.

It's a pretty clear choice.

You sure
this is gonna work?

These two,
together on stage?

Nina wants nothing more
than to bring the diva down.

Would you relax?

This is the VMAs.

They will be
on their best behavior.

[I'm not sorry plays]



♪ I'm not sorry

[echoes]

♪ I'm not sorry, sorry

♪ walking through the club

♪ I felt your shadow
on the wall ♪

♪ think I'm catching up

♪ think we got
a date with Destiny ♪

♪ I bet your shadow'd
rather follow me ♪

♪ mmm

♪ dancing through the night

♪ you feel me
breathing down your neck ♪

♪ taught me
how to fight ♪

♪ guess I learned a trick
or two or three ♪

♪ I keep them
hidden up my sleeve ♪

♪ I hate
to break it to you ♪

♪ I'm not sorry, sorry

♪ for the person
I've become ♪

♪ not sorry, sorry

♪ I don't live
under your thumb ♪

♪ it's time to stand aside

♪ you can't take
the best of me ♪

♪ hate to break it,
hate to break you ♪

♪ hate to break it
to you ♪

♪ I'm not sorry

♪ I'm not sorry, sorry



♪ talking in your sleep

♪ I heard you're living
in a dream ♪

♪ go wake up
in your castle ♪

♪ my throne
is not your destiny ♪

♪ you'll never take
this crown from me ♪

♪ I hate to break it
to you ♪

♪ I'm not sorry, sorry

♪ for the person
I've become ♪

♪ not sorry, sorry

♪ I don't live
under your thumb ♪

♪ it's time
to stand aside ♪

♪ you can't take
the best of me ♪

♪ hate to break it

♪ hate to break you

♪ hate to break it
to you ♪

Both: ♪ I'm not sorry

♪ I'm not sorry, sorry

♪ not sorry



♪ I hate to break it
to you ♪

Both: ♪ I'm not sorry,
sorry ♪

♪ for the person
I've become ♪

♪ I'm not sorry, sorry

♪ I don't live
under your thumb ♪

Both: ♪ it's time
to stand aside ♪

♪ you can't take
the best of me ♪

♪ hate to break it

♪ hate to break you

both: ♪ hate to break it
to you ♪

♪ I'm not sorry, sorry

♪ yeah

both: ♪ I'm not sorry,
sorry ♪

♪ I'm not, I'm not

♪ it's time to stand aside

♪ you can't take
the best of me ♪

♪ hate to break it

♪ hate to break you

both: ♪ hate to break it
to you ♪

♪ I'm not sorry

[cheers and applause]



[Phones chiming and ringing]

[Cheers and applause]

That was a great idea.

Thanks.
It wasn't mine.

[Cheers and applause]

This was the last song
of the night,

and it turns out,
the last song

the club would ever hear.

Uh, second to last.

[Applause]

- You came for the last song.
- I've been in the back.

Well, we can't do two by two
now, it'll ruin the mood.

I've got them
all reflective.

One night, Tom and I
were up late writing,

and I found
this Arthur Miller quote.

"Maybe all one can do
is hope

to end up
with the right regrets."

God, I hope that's true.

[Playing The right regrets]



♪ A writer
has the empty page ♪

♪ where he can
set the scene ♪

♪ he puts the actors
on the stage ♪

♪ or on the movie screen

♪ the characters
all say the words ♪

♪ the writer
wants to hear ♪

♪ and then,
my friend ♪

♪ a happy end

♪ but when the writer
steps outside ♪

♪ that room
where he is king ♪

♪ he can't control
when lives collide ♪

♪ or what the lovers sing

♪ and so he hides
behind his words ♪

♪ the one place
he belongs ♪

♪ and in black and white

♪ he can rewrite

♪ the wrongs

♪ where he can find
the strength to say ♪

♪ what those he loves
should hear ♪

♪ and just erase
mistakes she's made ♪

♪ then make them disappear

♪ where he can
change the plot ♪

♪ so he's a hero,
not a louse ♪

♪ and when
the curtain falls ♪

Both: ♪ there's not a dry eye
in the house ♪

♪ a writer hopes
to leave behind ♪

♪ a work
no one forgets ♪

♪ and when he writes
"the end" ♪

♪ to find he has
the right regrets ♪

♪ a writer
has the empty page ♪

♪ where he can use
his pen ♪

♪ to mend his heart

♪ and try to start

♪ again



[Cheers and applause]

I love you.

Well, you really pulled it off.

I just met a producer
who asked if you'd consider

putting the revue up
off-Broadway.

Like, a commercial run
that I'd direct?

Well, first you'd have
to get the Tony nomination...

Or better yet, the win.

And then you can direct
anything you like.

Great. So I'll just
win the Tony then.

- Do that.
- [Chuckles]

- Guess what.
- What?

I've had six people
come up and tell me

they're switching
their vote to Bombshell

now that Tom and Julia
aren't together anymore.

So, you know, I did
a little poking around

to find out who leaked
the news about the split.

- Yeah?
- Turns out, it wasn't Jerry.

- Oh, really?
- Mm-mm. Nope.

It was somebody a little closer
to the production.

A farewell concert...

You're a genius, Eileen.

[Whispers]
I know.

[Cheers and applause]

Uh, Jimmy.
I'm sorry, just one second.

I-I just wanted to say
real quick,

um, just great show.

And I think...

I think Kyle
would be really proud.

Yeah, I hope so.

I'm proud of you too.

Thanks.

Have a good night, okay?

Thank you
for tonight.

Thank you
for the song.

Thank you
for all of the songs.

Are we doing
the right thing?

We've been Houston and Levitt
for so long,

I don't know
how to be just Houston.

Me neither.

I think that's
why it's the right thing.

To us.

To us.

[Phone ringing]
Oh.

[Beep]
Ah.

How'd it go?

[Chuckles]
It worked.

Of course it did.

Yeah, so tomorrow
I figure that we, uh...

We start writing
the rest of the transitions.

You know,
we got 20 scenes...

Newsreels after all of them.

I'm sorry, um, I can't.

You can't...
Wh... you can't what?

I agreed to help Derek and you
transfer the show,

but I don't feel comfortable
writing anything.

No, no, Julia...
Julia, I'm not a writer.

I can't do this by myself.

Yes, you can.

Is this about Bombshell?

'Cause you were totally
into helping me

until you went down
to that concert.

This was always supposed
to be temporary.

You know
what you need to do now.

I have a show too, and I owe it
to them to be there.

No, no, I get it.

We're your competition.

We're colleagues.

Take care, Julia.
[Beep]

Jerry loved her.

I'm sorry.

You're sorry?
That's not good enough.

Derek, stand up to her.

She's never gonna
release that tape.

She just wants
to hold it over you forever.

Yeah, well,
I can't take that risk.

The stuff in the fall
was bad enough.

- Derek, this is my job.
- Yeah, it's my career.

And honestly,
you'll get another job.

Are you kidding me?

Derek.

Hey!
How'd it go?

- It went great.
- Yeah?

David Cromer wants
to do a workshop with me.

- Yeah!
- [Laughs]

What about your show?

He didn't look too happy.

I don't know.

Something's up.

It's been a crazy day.

[Phone ringing]

Ivy?

Ana Vargas from Hit List,
or I was.

Oh, yeah.
I know who you are.

Was?
What's going on?

Derek just fired me.

He fired you?

He fired you too, right?

After the workshop
last year?

Well, that's not exactly
how it happened.

Was it because you stopped
sleeping with him?

- Whoa, Ana...
- Excuse me?

I'm sorry.
Karen told me the story, okay?

What story?

You know, how he wanted
to sleep with her,

and she said no,
but then you did,

and you got the part.

Is that what Karen said?

- What else did she tell you?
- No...

I'm not blaming you.

It's Derek
who's doing something wrong,

and I'm trying to stop it
before it happens again.

Hey, Ivy, you don't...

[Phone ringing, stops]

Hey.

I thought we were
gonna be adults about this.

What are you
talking about?

You have no right
telling anyone

that I slept with Derek
to get a part or anything else.

Okay, wait,
first of all,

if you're talking
about me telling Ana,

she's my...
my best friend.

And second, Ivy, every...

Everyone already knows.

If it's coming to bite you
in the ass,

maybe that's on you.

You play this naive,
just-off-the-bus routine

to get exactly
what you want.

But deep down,
you're just as calculating

as the next person.

You being
the next person?

Oh, you really wanna
play it like that?

I'm not playing anything.

[Scoffs]
You know what?

I'm actually glad that
Hit List made it to Broadway

'cause the only thing better
than getting a Tony

will be beating you
to get it.

Yeah, okay.
I think we're done here.

See you
on the red carpet.

If you make it there.

[Phone ringing]

Really, three times
in a row?

- Ivy Lynn?
- Yeah?

This is
Dr. Lopez's office.

We got the results
of your blood test back

and wanted to reach you
right away.

Why, is...
Is everything okay?

Congratulations.

You're pregnant.