Fosse/Verdon (2019–…): Season 1, Episode 2 - Who's Got The Pain? - full transcript

- It's just paradise.

- What did I tell you?
I'm so glad you came, Gwen.

- Well, it was Bob's idea.

- But I'm just
so happy to see you.

I think it's exactly
what you two need.

Some time away together.
- Mm-hmm.

- You have to work things out.
You and Bobby

are the only other couple
Neil and I can stand.

Every marriage
goes through rough patches.

- Not yours.

- I threw a frozen veal chop
at Neil's head last week.



You didn't.
- Oh, I did.

- You know, in my marriage,
that's called foreplay.

- Neil and I, it's different
than you and Bobby.

We're not competing.
- Bob and I aren't competing.

- When we first
started going together,

Neil came to see me dance
at one of Martha's shows.

At the party afterwards,
all the attention was on me.

No one even looked at him.
This was before Neil was Neil.

I had to make a point
of introducing him.

"This is Neil Simon.

He's a phenomenal
young playwright."

You could just see
their eyes glaze over.

Frankly, I think a part of him

was relieved
when I stopped dancing.



It meant he never
had to play wife

at a cocktail party ever again.

- And you don't
miss it, dancing?

- Oh.

- See, I just--
I can't understand that.

- Well, I was never
Gwen Verdon.

- Oh, stop.

- ♪ Show me the way to
get out of this world ♪

♪ Because that's where
everything is ♪

- The funny thing is
I've always loved baseball.

- I didn't know this.
- And when I was ten,

I told my father that I wanted
to grow up to be a pitcher

for the Boston Braves,
just like Babe Ruth.

- What did he say?
- Well, he said

"The Boston Braves
are the worst team in baseball,

"and Babe Ruth should have hung
up his cleats six years ago

when he could still
hit the ball."

- Oh, that's good.
Say, George and I,

I think we landed
on a choreographer.

- Tell me, tell me.
- Bobby Fosse.

He did "Pajama Game" for us.

- But what about Jerry?

- Well, Jerry--Jerry--
Jerry's fantastic,

but, I mean,
Jerry Robbins wouldn't know

a baseball diamond
from a squash court.

You need someone for this show
who really understands

the vernacular,
who understands Americana.

- But It isn't just a show
about baseball, Hal.

It's a modern-day "Faust,"
and you need someone

who's not afraid
of darker material.

Someone like Jerry.
- You're going to love Bobby.

He's married
to Joanie McCracken.

- No, no, I know who he is.
He's the one with the hats.

- He does a lot more than hats.

- He's only choreographed
one show.

- That is the beauty of it.

He's still got
something to prove.

- Well, it sounds
like the decision

has already been made, Hal.
- Now, why don't you meet him?

Well, we'll meet
at rehearsals, I'm sure.

- Well, actually, he suggested
that it might be nice

if the two of you
were to get together

a little bit sooner, hmm?

He wants to teach you some
of the steps, watch you move.

- He wants to audition me.
- He wants to meet you.

- In order to audition me.

- Look, I told him I thought
it was absurd,

but you know
these choreographers.

They get an idea
in their heads, and--

- You offered me the part
a month ago.

- Gwen, if I didn't think
the two of you

were a perfect match,
I would tell the guy

to go take a hike,
I promise you.

There is a real
sense of humor

in his work, a real joy.

But sophisticated,
like Chaplin.

Like Verdon.

- Fine, I'll do it.
- Thank you, Gwen.

- Don't thank me.
If I don't like him,

you'll be stuck looking
for a new choreographer.

Mr. Fosse?
- Oh, Bobby, please.

- Oh, well.
It's a pleasure.

- Very nice to meet you.

- You're Joan
McCracken's husband.

- Do you know Joanie?

- Oh, she is one of
my favorite actresses.

- Oh, yeah, she's--
she's a hoot.

- You know, I saw her
in "Galileo."

- Oh, yeah, you saw that?
- Every look, every gesture.

It--it all told you
something about the character.

- She'll be very flattered
to hear that.

Your boyfriend, uh--
he's an actor too, isn't he?

- Scott.
- Yeah.

- Brady.
- That's right.

Scott Brady.
He's always playing a cowboy.

Yeah, I've seen him
on television.

Very tall, isn't he?
- Well, he's not short.

- I have to admit,

I didn't see your show.

But I heard it was charming.

- I didn't see yours either.

I guess that makes us even.

- You know, I didn't realize
that you'd started as a dancer.

- Sure, sure.
- Michael Kidd told me

that he met you
out in Hollywood,

and you were
on contract with MGM.

- That's true.

Yeah, you asked
Michael Kidd about me?

- Well, I asked a lot
of people about you.

- Oh, that must
have been difficult.

- Uh, what's that?

- Well, giving up dancing.

- I still dance a little.
Yeah, a little bit.

- Well, you're not
going to cast yourself

in this show, are you?

- Well, if they'd let me,
I'd play your part.

You--uh, you warmed up?
- Of course.

- Do you want some water
or something or--

- Why don't we just
get started with the audition?

- Yeah, sure.
Um...

- What would you like
to see me do?

- I thought I'd teach you
something actually,

if that's okay.

Uh, one of the numbers
from the show.

Have Richard and Jerry
shown you any of the tunes yet?

- They came to my apartment
three months ago

to play through the score.
- Oh, yeah.

- To try to entice me
to do the part.

- Oh, well, I-I was just
playing around

with the big act one number,
"Whatever Lola Wants."

I haven't got every piece of
it figured out quite yet,

but, uh--
- What's taking you so long?

It's a seduction,
the whole number.

- Clearly.
- Um, Joe's here,

and there's some dialogue
at the top.

Dialogue, dialogue, dialogue.
Drums come in.

You're already tired,
so your arm drops.

- That's hardly seductive.

- She's not very good
at seducing.

Full rotation of the feet.

- I thought she was the world's
greatest temptress.

- In her prime,
but she's 172 years old.

A little long in the tooth
for a temptress.

Chin down on the soutenu.

You caught that wave,
that's nice.

And then, you're here.

Scoot, contract, and there.
Slouch the shoulders.

- Slouch?
I don't think I've ever

heard that word
from a choreographer before.

- Oh, you don't want
to give anything away.

Let him come to you.

♪ Whatever Lola wants ♪

♪ Lola gets ♪
- I'm not moving?

- What's sexier
than standing still?

The movement comes here.

♪ And, little man,
little Lola wants you ♪

Toss your glove on the cut-off.

- It's a striptease.
- Now you're catching on.

Next verse is the same.
Pulse on the first eight bars.

And--

- ♪ Make up your mind to have ♪

They're not going to let
you do this, you know.

♪ No regrets ♪
- Who's "they"?

- George, Hal,
the audience, critics.

You can't do a striptease
on Broadway.

- You think it's vulgar?

- ♪ Recline yourself ♪

♪ Resign yourself,
you're through ♪

The other glove goes.
Yeah.

And now, we're onto the bridge.
Start to undo your skirt, and--

- ♪ I always get ♪
- And hips straight through

to Joe.
- ♪ What I aim for ♪

- Six, seven, eight.

- ♪ Your heart and soul ♪
- Squeeze out of your skirt.

And--
- ♪ Is what I came for ♪

- Drop.

Where'd you learn that?

- I was dancing
burlesque houses when I was 14.

- Huh.
One, two, three--

I was 13.
One, two, three--

- I played
the Florentine Gardens.

- That's fancy.
- Oh, and it was.

Peanut shells on the floor
and everything.

- I don't mean to brag,

but I headlined
at the Cave of Winds.

- You did not.
- Yeah.

What about your mother?

She didn't mind you
dancing in those places?

- Oh, no, no, my mother
always encouraged me.

- Your father?
- My father was...

less encouraging.
Your parents?

- Oh, they didn't care
where I was dancing

as long as I brought
money home, boo-hoo.

Should we go back?
- Let's go on.

- Uh, leg up, and back to Joe,
and one, two, three, four,

five, arms, seven.

Left, right, left, right--
what's that?

- She had an itch.
She had to scratch it.

- You're already adding steps?
- I'm already making it better.

- Would you do that
with Jack Cole?

I asked about you, too.

- Jack Cole always appreciated

my suggestions
for improvements.

- That's not his reputation.
- Oh, sometimes, he might yell,

or throw something.
A hat, a shoe, a chair.

- Why didn't you leave?
- And go where?

What comes next?

- Um, next part.

- I thought you didn't have
all the pieces figured out yet.

- Well, I try to be modest.

Five, six,
a-five, six, seven, eight.

Tap and hip, add the turn,
and back to Joe.

- When do I find out
if I got this part or not?

- You already got this part.

You had the part
before you walked in here.

- Well, why didn't you just
say so when I came in here?

- You didn't ask.

Hey, you're still up.
- Oh, it's not so late, is it?

- Well, it's after 12:00.
- You are absolutely right.

- How you feeling?

- Well, I'm much better
than yesterday.

- You need your sleep, Joanie.
- I'm fine.

How was it?
- Yeah, it was good.

She's good, yeah.
- You liked her?

- She's fast.

I planned to teach her
the first 16 bars.

We ended up doing
the whole number.

- How about that?

- I think
you're going to love her.

She's a natural
with these steps.

- Can she act?
- Yeah, she can act.

She can--she can sing.

Everyone, everybody, stop.

You see what Gwen's
doing with the arms?

Everyone see that?

Gwen, show them what
you're doing with the arms.

- Scooping ice cream!
Diamonds and pearls.

- She brought you up,
first thing.

Yeah, she loved you
in "Galileo."

- Really?
Well, that's very nice.

- Yeah, she's a big fan
of yours.

She said that.

Five, six,
a-five, six, seven, eight.

You need anything, or...
- No.

- A glass of water
or something?

- Mm-mm.

- That's it.

That's it,
that's the step, fellas.

Can we take this lift
stage right, please?

Get Julia downstage,
sweetheart.

- Can we just go again
from the top, Bobby?

I don't have it in my body yet.

- You heard the lady.
Let's take it all the way back.

- If you make us do it again,
we'll kill you, I swear.

- Just once more.

- God!

- Hey, Joanie.

It's Joanie McCracken,
everyone.

How much time do I have?
- About 20.

- If I could see how we get
into the final picture again.

You can mark it this one time.

Uh, let's take it
from the turnaround.

I'll give you two bars.
And...

George, you're further right.
Further right, George.

- What's wrong?
- It happened again.

I can't stand up.
- Okay, yeah, yeah.

Uh, hey, everyone, great.

That's starting to look like
a real number, isn't it?

Uh, you're getting out early
today for good behavior.

Nice job.
We'll revisit it tomorrow.

I'm going to
need the room, though,

so if everyone could please,
uh, give me some space.

- I'm sorry, I'm so sorry.
- It's okay.

- Such an honor.

- Hey, hey, it's okay.
It's okay, come on.

- I'm sorry.
- Please don't apologize.

Let's get you home.

It's okay,
it's okay, sweetheart.

- I'll tell you,
if only they had

some halfway decent
scenery here.

Neil was saying there's
some ruins a few miles inland.

2,000 years old.

He said to bring a bottle
of wine and watch the sunset.

- Is that what you think
this is, Bob?

A romantic getaway?

- Forget I said anything.

- Believe it or not,
I didn't leave our child

to fly halfway across the world
to take in the sights with you.

- Then why did you come?

- Because you told me
you were going to

swallow a bottle of Seconal.

- Maybe you should have let me.

- Why don't you take
that line again?

No, the dialogue's fine.

It's just that the delivery,
it wasn't very convincing.

- Hey, what are you
talking about?

What are you trying to--
what--

what the fuck--
what do you want from me?

Oh, no, is that my line?

- You know, it's gone
clear out of my head.

- This isn't funny to me, okay?
- No, no.

It's a very dramatic scene.
It's just--

- Hey!
- It's just that we've done it

too many times.
- I screwed up, okay?

- And it's lost
its entertainment value.

- I know that.

- I do love the location

that you've chosen
this time.

- After you left,
the last month--

- I mean, with the ocean
in the background--

- On set, I couldn't
think without you.

Nothing makes--
- It's a great touch, Bob.

But see, this is why you're
such a brilliant director.

Because you get the details.

- I couldn't think without you,
you understand?

I want to come home.

I'm out of business
without you.

- Oh, no, you skipped
a section, Bob.

There's the part where you
swear it didn't mean anything.

You were lonely, drinking
too much, working too hard.

- I'm--I'm in love with her.

- Oh, no, you're not.
- Yeah.

- With the translator?

With the German girl?

- That doesn't change
how I feel about you,

and I don't see why it should.

- Oh, my God.

- You're right, Gwen.
Jesus, you're right.

How many times
have I lied to you?

How many times
have I stood there

and I promised
it's the last time?

I don't want
to lie to you anymore.

I don't want to sneak around.

I want to be able to see Hannah

and then come home
and not bullshit you.

- Maybe I should find a lover,
too, then, huh?

How about that?

- That's not your style.
- No, of course not.

- You're stronger than I am.

- Oh, up yours!

- Just let me--

- No.
- I need you.

Hold--hold--hold on.
Hold--hold--hold on.

Hey, hey, hey, hold on.

Hey, listen to me...

- No!
- Hey, hey.

Where are you going?

I'm trying to be honest
with you.

- What happens after I stop
being a baseball player?

Then where would I be?

- Well, now, that of course
is fairly well known.

- Yes.
- After all,

there's nothing
unusual about it.

How do you suppose
some of these politicians

around town got started?
And parking lot owners?

Uh-uh, not quite.

- Try taking it straight
out to the audience.

- Um, after all, there's
nothing unusual about it.

How do you suppose
some of these politicians

around town got started?
And parking lot owners?

- Is it too much?
- No, if you do it like that,

you'll get the laugh
every time.

- I feel like I'm upstaging
myself right now.

- Don't cross so far downstage.

A couple of other
things, gentlemen.

Why don't we re-think the
whole beginning...

- Hi, Hal.

- Great to see you, darling.

- Hey, I tried
calling you last night.

- Oh, I stayed
at Scott's place.

- Oh, I need..I need to
talk to you about some stuff.

- Well, I need to warm up.

Listen, what happened
what happened yesterday,

it's a complicated situation.

- I can't talk about
this right now, okay?

- Hey, give me a break.

Hey, hey, hey, hey.
- Stop it.

- What are you doing?

- I'd like to be alone, please.

- Well, I want to talk to you.

Can I talk to you?

Look, I'm sorry if I hurt
your feelings yesterday.

I'm really sorry.
It's a complicated situation.

- We can't do this, Bobby.
- Can't do what?

You knew I was married.
You knew I was married.

So, I--
- Yeah, no, I just--

I didn't know...

that your wife is so sick
she can't walk.

- All right, listen, she's--

you know, you got
to understand something.

Will you look at me?

She's...she--she loves dance.

She--listen to me.

She can still work sometimes,
when it's--when it's--

when it's not--
when she's not in a lot of--

when it's manageable, and if
word starts to get around

to producers, she...

who's going to hire
a dying actress?

What do you want from me?
I'm--I'm--

the only thing I want to do,
the only thing I want to do,

is be with you.

Do you hear what I'm saying?

- I'm sorry.

But I can't take away...
- Hey.

- A dying woman's husband.

- I love you.
I want to buy you

the moon and the stars,
you understand?

You're everything.
I'm in love with you.

I love you.
You are everything I want.

- I'm sorry.
- Hey, hey, don't do that.

Don't do that.

I can fix it, I can fix it.

- I already talked about
Gloria's exit.

Oh, the musical chairs number
at the end of the act, Bobby.

It's not playing.

The audience
was a sea of coughs.

- I counted six people
getting up to use the bathroom.

- I've drilled it with Eddie
100 times.

He's missing every laugh.
- Well, why don't we

give the whole sequence a good,
hard look in the morning?

- I'm telling you, Mr. Abbott,
it's--it's Eddie.

- Well, in the meantime,
Jerry, start thinking

of what else you have
that we could fit there.

- No, um, the sequence works,
Mr. Abbott.

With all due respect, I--

you saw it in the rehearsal
room, you saw it.

- Well, seeing it in front
of an audience,

I start to question whether
it's just not the right concept

- You know,
the New York audiences

are going to be even tougher.

- Well, I'd like to
at least see it

with another dancer
in the part.

- Who?
- Me.

Put me in.
I know exactly

what the performance
is missing.

- The performance
isn't an issue, Bobby.

- I disagree.
- Gentlemen.

We'll look at it tomorrow.
We can discuss it then.

Oh, the masking,
backstage left.

I can see people moving
furniture back there.

If we can lose ten minutes
in the first act.

- Even five would help.

- How long is
the number running?

- It feels like
an hour and a half.

- Honey, go back to bed.
- No, no.

- He did the same thing
on the last show.

- Mm-hmm.
- Look, we say

"Bobby, we talked about it.
We heard your opinion.

We decided it's cut."
End of discussion.

- What's the name
of that sandwich place?

- Hello, Taft Hotel.
How may I direct your call?

- Hello, operator.
Give me George Abbott's room.

- Yes.

- This is Hal.
- Hal, how are you?

- Bobby, did you have
a nice dinner?

- Yeah, I'm not calling
too late, am I?

- What's that?
- I'm in the room next door.

I heard everything you said.
- Did I say something bad?

We're talking about the show.

- You go behind my back?
- Nobody's going

behind your back.
- You go behind my back--

- We're having
our nightly meeting here.

- Sweetie.
- You're having a meeting?

What kind of meeting?
A Judas meeting?

- It's what we do, Bobby.
That's--

- You want to cut the number,
cut the number, that's fine.

- Bobby, we're in previews.
This is what we do.

- Why don't you go
fuck yourself?

- What did they say?

- Bobby, let us in, please.

- Yeah, why not, let them in.
- Uh, hold on.

- It's us, Bobby.
- Let's have a metting.

- Just stay calm, okay?
- I am calm.

- Very 'm sorry, Joanie.
Listen, Bobby.

I'm glad you heard what I said.
This isn't a secret.

I told you
the same thing an hour ago.

The number doesn't work.

- The audience
isn't responding.

- It's just--it's the end
of the act.

We need something with a
little more, uh--what?

What--it needs to be fun.
- More energy.

- Everyone in this room
respects you so much, Bobby.

We respect your work.
- You're doing a terrific job.

We weren't even going to
bring this up until tomorrow.

- Look, the number
can stay in the show

for the next few nights.
This isn't an emergency.

- Well, it can stay in
for the rest of the run.

You can put something together
by the time we get to Boston.

- You're saying it's shit?
- They didn't say that.

- That is not at all what
we are saying, Bobby.

- No, if you're saying
it's shit, Hal, I tell you.

I'd rather open that door,
walk out in the street,

and step in front of a bus
than have an audience

watch Eddie mangle
that number again.

I'd rather--
I'd rather slit my throat.

So is that what you want?
You want another number?

I can get you another--

It's easy, I'll get you
another number.

- Bob, can you please
come back here?

Bobby!

- Bobby, it's the middle
of the night.

- Yeah, okay.
Can I see Gwen please?

- She's asleep.
- I need to see Gwen, okay?

- Who is it?
What happened?

- They're trying to cut
the musical chairs.

They think it's shit.

They're laughing at me,
and they all think it's shit.

I can't do it anymore.
- I hear you.

I'll be down in five minutes.
You get us a cab.

- What about a tap number?

- Is it fun?
Does it have energy?

They want energy.
- Seems fun to me.

- How much more fun can this
fucking musical take?

How much more bullshit
does this audience

really need shoved
down its throat?

- If you want me to come back--

- What about
another baseball number?

I'd rather gouge my eyes out.

- Do you like the idea
of a mambo?

- I'd rather call Jerry Robbins
and offer him the job myself.

- Let's hear it.

- Does this opus have words?

- ♪ Who's got the pain
when they do the mambo? ♪

♪ Who's got the pain
when they go ugh? ♪

♪ Who's got the pain
when they do the mambo?

♪ I don't know who ♪
- Okay.

- ♪ Do you? ♪
- All right, moving on.

- No, play it again.
- Uh, from the same place?

- From the top, Lonnie.

- ♪ Who's got the pain
when they do the mambo?

♪ Who's got the pain
when they go ugh? ♪

- But they want fun.

- It is fun.
Listen.

- It's a song about pain.
Bobby, listen to the lyrics.

- They're not
going to hear that.

They're not
going to hear anything.

They'll be too busy
looking at you,

and you'll be smiling so wide,

and you'll be dancing
so magnificently,

they'll think it's a musical.

But you'll know, and I'll know.

That's what we do, though,
isn't it?

We take what hurts and we turn
it into a big gag,

and we're singing
and we're dancing.

And the audience,
they're yukking it up.

They're laughing so hard,
they don't realize

that all they're laughing at
is a person in agony.

A person who's peeled off
his own skin.

I can make this work.

What about that
shoulder thing you do?

Yeah.

Do you have any hats?
- I have one in my bag.

♪ Who's got the pain
when they do the mambo? ♪

♪ Who's got the pain
when they go ugh? ♪

♪ Who's got the pain
when they do the mambo? ♪

♪ I don't know who, do you? ♪

♪ Who needs a pill
when they do the mambo? ♪

♪ Who needs a pill
when they go ugh? ♪

♪ Who needs a pill
when they do the mambo? ♪

♪ I don't know who, do you? ♪

- Oh, Gwen.
Oh, hello.

Bobby promised he would
introduce us at the party,

but I'm so glad
I don't have to wait.

- Well, I am a huge admirer
of yours.

- Oh!

♪ Someone must be sick
with the heat ♪

♪ Or stepping
on everyone's feet ♪

♪ But if everyone's
feeling okay ♪

♪ Why don't they
just say olé ♪

♪ When the music
carries them away ♪

♪ Ugh, who's got the pain
when they do the mambo? ♪

- You know, you and Bobby
have done

such wonderful work together.

Really, you capture
every nuance,

every little quirk
in his choreography.

I'd say it's like
watching him up there,

but it's more like watching
what he wishes he was.

- Well, he's
a wonderful teacher.

- Oh, well,
you have taught him plenty.

I see bits of you
all over that stage.

That's what Bobby does.
He takes what's special

in a girl,
and he makes it his own.

- Well, that's what
they all do, isn't it?

♪ Is there a doctor
in the house? ♪

♪ Is there a doctor
in the house? ♪

- You know, Bobby and I
met on a show, too.

We were doing
this silly little revue

called "Dance Me A Song."

It was his first time
on Broadway.

He was a dancer in the chorus.
I was the lead.

He used to wait for me
in the wings

with a flower every night.
- How sweet.

- Well, his wife
didn't think so.

See, he was married to
one of the girls

in the chorus, Mary-Ann.

He left her
not long after that.

Did he tell you I got him his
first job as a choreographer?

He'd gone
to Hollywood thinking

he was going to be
the next Fred Astaire.

Can you imagine?
God knows he had the talent.

He just didn't have the--

well, whatever it is
that makes you you, Gwen.

- He never thanked me
for giving him a career.

He didn't want to be
a choreographer.

All he ever
wanted to be was a star.

I guess he thought
I could make him one.

Well, maybe you'll do better.

- Okay, bye.
- Good-bye.

- I was looking for you.

Get rid of him.

I need you to leave him.

- Only if you leave her.

- Gwen.

- I didn't say you had to go.

- Well, I'm certainly
not staying here

for another minute.
- I-I can get another room.

You can spend
the night, Joanie.

- No, thank you.
- I don't want you

rushing off
to the city like this.

Let me help you with that.
- Don't you dare.

- It's okay, you know, I--

- I was thinking you could
stay at my place for a while.

Eventually, we could look
for something bigger.

- Yeah.

I may have to borrow
a little money.

She may need a nurse, you know,
to take care of her.

You know I can't
afford much on my salary.

- I'm getting out
of your way, Bobby.

- Joanie.
- That's exactly

what you wanted, isn't it?
- Listen to me.

- You want my permission?
You've got my permission.

But that is not enough, is it?
- I'm sorry.

I'm sorry.

- Of course.

- It's comp--
it's a complicated situation.

- It's not.

- ♪ You've got to have heart ♪

♪ All you really need
is heart ♪

♪ When the odds are saying
you'll never win ♪

♪ That's when the grin
should start ♪

♪ You've got to have hope ♪

♪ Mustn't sit around and mope ♪

♪ Nothing's half as bad
as it may appear ♪

♪ Wait 'till next year
and hope ♪

♪ When your luck
is batting zero ♪

♪ Get your chin up
off the floor ♪

♪ Mister, you can be a hero ♪

♪ You can open any door ♪

♪ There's nothing
to it but to do it ♪

♪ We've got heart ♪

♪ Miles and miles and miles
of heart ♪

♪ Oh, it's fine to be
a genius, of course ♪

♪ But keep that old horse
before the cart ♪

- ♪ So what the heck's
the use of crying? ♪

- ♪ Why should we curse? ♪

- ♪ We've got to get better,
'cause we can't get worse ♪

♪ And to add to it ♪

♪ We've got heart ♪

♪ We've got heart ♪

♪ We've got heart ♪

- No, I'll get this, Miguel.
- Where you going?

Where you going?

- Well, I have
a plane to catch.

- Come inside.
Joan's making dinner.

We're having drinks--
- We're ready.

Uh, let's see,
what am I forgetting?

- Where you going?

- My wallet, my keys,
sunglasses.

It's always something.
- Just come inside the house.

- Well, I already
called Nicole.

She's expecting me home.

- Hey, just--
you made your point.

- Oh, and I let her know
that you won't

be living with us anymore.

But I'll let you call
to explain.

You might want to give it
some time, though,

because she's very upset.
- All right, come on, come on.

Ow!
Hey, stop messing around.

- I'm rolling up the window.
- Just come i--I'm not leaving.

I'm not leaving, okay.
Are you kidding?

- Let's go, let's go.
- Come on.

- ♪ Show me the way to get out
of this world ♪

♪ 'cause that's where
everything is ♪

♪ If everything is going,
I don't wanna stay here ♪

♪ Who wants to stick around

♪ And watch the world
disappear ♪

♪ Now I missed a thing or two
away down the line ♪

♪ I'd go back and get 'em,
but I haven't the time ♪

♪ So show me the way
to get out of this world ♪

♪ 'cause that's where
everything is ♪

♪ I got some money
in my pocket ♪

♪ To buy a ticket
on a rocket ♪

♪ So show me the way to get
out of this world ♪

♪ 'cause that's where
everything is ♪

- ♪ It's gone ♪

- ♪ 'cause that's where
everything is ♪