Smash (2012–2013): Season 2, Episode 8 - The Bells and Whistles - full transcript

Previously on Smash...

What happened to the sex?

Tom and I aren't connecting.
Is it really that bad?

It's just not you.

I wish I could get
out of this show.

I just quit Bombshell.
You're joking.

Jerry broke down.

Bombshell is finally mine.

Ivy is free now.
Woo!

Oh, sorry.
Scott.

Julia.



That is a terrible idea.
We don't need to
spell out our theme.

You want to go out
after this and get a drink?

When I direct,
I tend to get
focused on something.

Or someone.

Okay, stop there.

That reaction is
still a bit soft.
You just shrugged.

And when you
realize she's gone,

you're angry.
You've been played.

No, I haven't.

Well, she just
took your music.
It's your life's work.

She used you.

Uh, I have no idea
what she did yet.

I mean, all I know right now
is that we spent
the night together,

and it was the best
night of my life.



Okay, well, I guess
we see the moment differently.

No, you see it wrong.

No offense.

None taken.

Although I don't like
to think of any idea
as "wrong"

on the first day of rehearsal.

Right, you don't want
to play angry, fine,
but do something.

You shrug up there,
they shrug out here.

All right.
Reset from the top, please.

Fade up on a star
with it all in her sights

All the love and
the lights that surround her

Someday she'll think twice

Of the dues and the price

She'll have to
pay but not...

I forgot how great she is.

I didn't.

She'll do all she can

For the love of one man

and for millions
who love from afar

I'm what you've been needing

It's all here and
my heart's pleading

Let me be your star!

It's sensational.
I hate to leave,
but Agnes is waiting.

Good luck.
Thanks.

You left your ringer on?

I forgot.

It's been a week.
He's not calling back.

Scott was one of
my closest friends
in grad school.

I mean, we may have
had a falling out,
but that was 15 years ago.

There's no way
he's still
holding on to a grudge.

Grudges don't go away.
They get bigger.

I just don't think
that's what it is.

There must be
something I'm not getting.

Yeah, the hint.

Everyone,
please enjoy croissants
and coffee from Balthazar.

And then it's
Back to work.

You're even better
than you were
the first time around.

It's because
I'm not terrified.

You're my director now.

And I'm finally Marilyn.

Oh, by the way,
I had an idea.

I feel like I need
a bigger catch
breath before "star,"

you know, so I can really
belt at the end.
What do you think?

I love it.

Whatever instincts you have,
I want to hear about them.

You know,
that goes for everyone.

If you have
thoughts or feelings
about your character

or the text,

come to my house
tonight and share them.

I believe, unlike some people,

that actors have
something to contribute

apart from just
doing what they're told.

Forget Derek.
This is a whole new Bombshell.

Well, then, if you don't
mind, I could really use
a break in Act II.

I'm in every scene.

And I'm not complaining,
but I could really
use a breather.

I will look into that.

I want my star to be as
happy as she can be.

Ivy looks amazing here,
doesn't she?

She's got her mother's face.

And her rack.

Shame she's not as big a draw
as Leigh Conroy.

It'd make my job easier.

Why? Is there a problem?

Tom's name does
not fill the seats
the way Derek Wills' does.

So unless we drum
up some excitement,

you're going to
be wandering around

Times Square in
a sandwich board.

So tell me how to fix it.
Perception.

The only press on
Bombshell right now
is what a hot mess it is.

We have to turn that around.

That was his direct.
Try his cell.

Have you been on
the phone the whole time?

I'm aging here, Sean.
I just hit
menopause while on hold.

How's our story for
The New York Times?

I was told it was a no-go.

Well, that's impossible.

Richard Francis
is the head of
the Arts section.

He's a very old friend.

No one is friends
in this business.
He's the one who passed.

Oh, he had to
run to a meeting?

Leave him a message.
"Screw you. Love, Agnes."

Sam!

Ivy.

How long's your break again?

A week.

Sorry, it's going
to be a little crazy
while you're here.

How's it going up there?

Tom actually listens to me.
He cares about
what I have to say.

I'm jealous.

About the show?
Or that I'm up
there working with Tom?

Come on.
Why don't you come
upstairs and say hi?

I'm sure Tom
would love to see you.

If you remember correctly,
he's the one who ended it.

He practically
pushed me out to tour
with Book of Mormon.

Well, let me push you back in.

Come in.

A weird thing just happened
on my way to the bathroom.

Do I want to hear this?

Marc thanked me
for the monologue

I'm apparently
giving him in Act II.

He's a great actor.

What's a little monologue?

A sentence,
which is exactly
what he has right now.

Listen,
I know that you want this
to be a democracy...

Ah, ah, ah, I prefer
"an intellectual salon."

Right.

But at the end of the day,
you are the director.

You have to be a parent.

Set strong boundaries
or you're gonna lose
control of your kids.

That was Derek's style.

And his kids were miserable.

I appreciate your
looking out for me,
but I know what I'm doing.

For the first time in ages,
everything is coming together.

Sam?

You two looked
pretty comfy up there.

We were acting.

It didn't look like acting.

He's been blowing
me off all week.

He barely talks
to me offstage.

Will you ask him
what's going on?

Guess who has
the casting list?

Oh, I wanna see.

It's so crazy, they
still haven't cast The Diva.

Love her. Love her.

Ooh, love to hate her.
Right?

Wow, these people are actually
coming here to meet Derek.

Why don't you go in for it?
That role would
be perfect for you.

Derek would never
take me seriously.

Look at who he's meeting with.

What the hell?

Lea Michele?
Lea Michele?

If you say it one more time,
she magically appears.

Do you understand anything
about this show, huh?

The point is to
come out of nowhere,
take people by surprise.

You cast a celebrity,
it overshadows everything.

The Diva is
the biggest superstar
in the world, right?

She's Lady Gaga,
she's Madonna.

And if we cast a real
star to mirror that,

that would be a big coup.
All right?

I know what I'm
doing here, Jimmy.
Just let me do my job.

Oh, I've let you do
a lot of things
that I'm not cool with.

Not this one.

It's my show.

SMASH S02E08 The Bells And Whistles
Sync to WEB-DL by Jill.Valentine

That's a lot of
friction for day one.

He's charming, isn't he?

Yeah, he's just a kid.
He challenges authority.

I've worked
with a lot of kids.

I've found
listening to
them more effective

than ignoring what
they have to say.

I couldn't ignore
that if I tried.

You're a very big get
for this theater, Derek.
I'm aware of that.

But down here, we expect
our directors and
writers to work together.

Find some common ground.

See you in a bit.

It's a good list.

People running
lines on a break,

fresh pastries.

This is so not like
tour life, let me tell you.

Well, you look great.

What's really a shame

is being one of the leads
in the hottest
show on tour right now

and regretting taking the job.

If you regret it so much,
why not come back?

No, I wasn't...

I'm sure I could find
a place for you here.

Could you excuse us a minute?

Yeah.

You can't offer him a role.

There's nothing left,
besides Gladys.

Even our swings are hired.

You heard him. He's not happy.
I can find something.

Not without losing something.

I miss him.

He should be here.
We're not gonna lose anything,
trust me.

I tried to stop her.

You can't, Mia.

She hasn't stopped
moving since the '70s.

So your name came
up this morning,

and I said to my publicist,
"There must be
some sort of mistake

"because the Richard Francis
I know adores a good story,

"he adores good theater,

"and he adores me."

The problem is,
you don't have
a good story, Eileen.

I am in rehearsal
for the biggest musical
yet to be seen on Broadway,

one that I am
back in control of.

Yeah,
but it's been done to death
in the gossip columns.

Feuding actresses,
oversexed directors,
divorce, betrayal,

and not right for
The New York Times.

Richard, why don't you
come on down to rehearsal?

You can be the first reporter
to see Bombshell redux.

Perhaps you can
even find a new angle.

Locked in the bedroom
at your own cast party?

You look like me
at my sweet sixteen.

I'm going through the script,
trying to find
a place for Sam.

And you're right.
There's nothing.

At least you tried.

You know what I think
you should do tonight?

Drink champagne.

Have fun with your friends.
You've earned that much.

And tomorrow,
you can tell Sam that you
couldn't make it work.

He'll understand.

Ah, I told you
he'd be in here.

What's going on?

Everyone wants to sing.
Come and play for us.

I'm working.

The man doesn't
even have a drink.

Let's get the man a drink.

One drink.

One drink?

Uh, that's my shirt.

No, I think it's mine.

Oh, yeah, did you go
to Fort Hamilton in Brooklyn?

Not technically.

But see the way
the fabric is worn through?

The neckline is stretched out
so that it falls
off one shoulder,

like that?

That makes it a girl's shirt.

Can I have it?

Well, you certainly look
better in it than I do,
that's for sure.

Hey.

What if Amanda stole
a T-shirt from Jesse
the night they were together,

and then later on
he sees her wearing it
in one of her videos?

Like she's taunting him.

Or missing him.

You should tell
Derek about that.

Why don't you?

He doesn't really
seem interested in anything
I have to say.

To be fair,
you're not really
listening to him, either.

You may let him
push you around,
but I don't have to.

I don't let him
push me around.

I didn't get him at first,

but once I clicked
into the way he directs,
we started connecting.

No, no, I'm pretty sure
his connection
with you is special.

What's that supposed to mean?

I'm keeping the T-shirt.

What's all this?

I've been looking
through old drafts,

trying to find you
a break in Act II.

Hey, I recognize this.
It's not from Bombshell.

It's from a musical
we were working on
about Vegas in the '60s.

I played that
for you, remember?

Of course I do.

Why didn't you finish it?

Because other
than that song...

It blew.

Hey, I loved it.

Not gonna lie,
after I heard it,

I started dusting
off my Nat King Cole,

hoping one day I'd get
a chance to perform it.

Did you really?
I did.

Really.

'Round and 'round
goes the wheel of love

Some say like
Russian roulette

There's a jackpot
I'm dreaming of

I'm ready to place my bet

No need to beg,
steal or borrow

The future is looking bright

Yes,
I'm laying odds on tomorrow

So let's start
Start

Tomorrow tonight

Can't you feel,
baby, we're in the chips

Tomorrow's
our lucky day, yeah

I can feel gold
at our fingertips

We'll prosper
if we parlay, yeah

No time for
sadness and sorrow

Together we'll
fight that fight

Yes

I'm laying odds
on tomorrow

So let's start
tomorrow tonight

Don't need no
clover or lucky charm

That rabbit
can keep his foot

As long as we're
walking arm in arm

It's aces I feel

So shut up and deal

I know that we're
on a winning streak

The future
can't come too soon

Let's climb together
to reach that peak

Then, baby, we'll
shoot the moon

I'm high as Kilimanjaro

And with you, Jack,
I'm ready for flight

Yes, I'm laying odds
on tomorrow

So let's start
tomorrow tonight

Dance break!
Whoo!

As long as we're
walkin' arm in arm

It's aces I feel

So shut up and deal

Oh, I know that
we're on a winning streak

The future
can't come too soon

Can't come too soon

Let's climb
together to reach that peak

Then, baby, we'll
shoot the moon

I'm high as Kilimanjaro

Yeah!

And with you, Jack,
I'm ready for flight

Yeah, I'm laying odds
on tomorrow

So let's start
tomorrow tonight

Let's start tomorrow

tonight

Woo-eeh

Haven't used any
of that in a while.

You still got it.

Thank you.

I've missed this.

That song almost feels like
it could be in Bombshell.

Too bad. Nat King Cole
didn't know Marilyn.

He could have.

He was a big
supporter of Kennedy's,

performed a ton
at his rallies.

Maybe we could introduce JFK
at one of them?

I think how we
meet JFK is just fine.

When Marilyn does.

Sam, what do you think?

I mean, I want to come home,

but you don't have to
make all those changes for me.

Call the Mormons.
Tell them you're
not coming back.

I'm getting you
back in the show.

Wait. Are you sure?

Can you do that?

I'm the director, aren't I?

Oh, my God!

Thank you so much.

Thank you, Tom.

Yep.

Hey. What's going on?

Hi.

I've just put together
some ideas for the show

and I think you're
going to like them.

They're LED screens.

They allow for a big range
of photographic sets.

They're from Japan,
very high-tech.

That's cool, but we're lo-fi.

I figured we'd have,
you know, actual furniture.

Yeah, well, if you're
not gonna let me have
a name actor for The Diva,

we need to make
a statement somewhere.

How about with
the show itself?

I'm just trying to
get us on the same page.

The more you talk,
the less I feel that we are.

This isn't Broadway.

What do you know
about Broadway?

Well, I know that
you're used to getting
anything you want there,

and that, last time,
you put so many

bells and whistles
all over everything

that no one noticed
the show had any problems
until it was too late.

Jimmy...
I'm just trying to
open your show up.

All right? That's what
a good director does.

The show doesn't
need opening up.

It needs to be
true to what it is.

Well, this is
harder than I thought.

Maybe I can make it easier.

What do you think about
Ana auditioning for The Diva?

Oh, she's super talented.
You haven't seen
half of what she can do.

And she's already here.

Look, Ana is
perfect as Jesse's sister.

Yeah, but I just thought...

I just thought I'd ask.

Hey. Heard you
were looking for me.

Where did you get those?

Jimmy thought I
should have a look.

See what you're planning.

I'm not sure this is
the right aesthetic
for this show, or the theater.

I thought you were
looking for size, Scott.

Sorry, I'm a bit confused.

Thematically, yes, but one of
the best things about the show

is the chemistry
between your two leads.

I don't want them
overwhelmed by the staging.

And here was me
thinking you wanted to

make a splash with
your first show, Scott.

Blow the town away.

Yeah. But I don't want to
bankrupt the theater to do it.

Well,
I've got five LED screens
arriving this morning.

They're all donated.

Contrary to popular
opinion, I've got some
friends in this business.

Look, it'll be a Broadway show
with an off-Broadway budget.

Oh, come on.
At least let me show you
what I'm thinking?

It's a little vague right now,
but picture red,
white and blue...

Where's our Marilyn?

I thought we were doing
Mr. & Mrs. Smith today.

We switched up
the schedule a little bit
at the last minute.

Well, no one told me.
I have Richard Francis
from The New York Times

meeting me here
to see Ivy today.

I gave her the morning off
so we could play
around with something.

There's a potential new number
I want to show you,

something I think
the show's been missing.

I cannot believe
that you would do this
without my approval.

You're going to
love Tom's Bombshell,

Oh, yeah?

It's a much more
elegant take...

You call in Ivy right now!

Why don't we wait outside?

Great idea.

Eileen, hold on,
not until I show
it to you first.

A disagreement in front of
the most important
Arts editor in town?

Great reboot, guys.

Richard Francis is here?
Yes.

Tell him I'll be right out.
Keep him cool.

Can you please
just look at the song?

This show is about
Marilyn, not JFK.

I can't have two
songs about him.

I agree.

And Our Little Secret
is the one that's
actually about Marilyn.

You're the director.
You decide.

And this time, maybe
you'd like to clue me in.

We are not losing
the Marilyn-JFK number.

It's relevant to the story
that we're trying to tell.

This one is not.

I know.

Uh!

I promised Sam.

That promise isn't
even 12 hours old.

He'll understand.

What about the hat?

Too much Sammy,
not enough Nat, right?

Gonna tell him?

Tell me what?

We cannot put the number in.

That's...
That's not necessarily...

Tom, I just left my job.

Tom.

I'm thinking.

I'm thinking.

Sam, um,

we'll be back in
a little while.

Okay.

Come on, let's go for a walk.
What?

Just come on.

I tried, but I think
he needs to hear it from you.

Just show up at the audition.
Show him what you got.

No. I don't want
to piss off Derek

and risk losing
the part I already have.

You're not asking him
to give you the part,
just a chance.

No. He already said no.
I don't want to push it.

He pushes us.

Okay, you'd be amazing.
We both know it.

Come on, fight for it.

I still think you have a shot.

You want me to grow a pair,
how about you?

I'll talk to Derek
if you talk to Jimmy.

You really think
Derek is gonna fold?

Scott doesn't want
his bells and whistles,
either.

This theater is downtown,
it's not Broadway.

You told Scott about it?

What choice did I have?

I'm not gonna
let Derek beat me.

"Beat you"?
Why are you making
this so personal?

Is this about Karen?

Oh, my God. It so is.

Did something happen
between the two of you?

You remember when you thought
Karen and Derek were dating?

Yeah. Well, they weren't.

But he wants them to be.

He told me last week
to stay away from her.

Are you going to?

Hey.

Oh, hey, buddy.
Thanks for showing
Scott my presentation.

Great news, he really
loves the LED screens.

When you're ready,
we'll be doing Voice
in a Dream, all right?

There's no new
story here, Eileen.

Producer and director at odds,
last-minute changes,
it's all been said.

Then say it a new way!

I mean,
I need the press, Richard.

You could talk about
how you got your show back.

Well, that might be
a very interesting story,

but it involves my daughter,
and I'm not about to
drag her through this.

That's too bad.

Mother and daughter
banding together
to save a show,

people eat that stuff up.

They do, don't they?

Thanks for your help, Richard,
very much.

Where are you going?

Keep your phone on.
I'm going to get
you a new story.

What are we doing down here?

Are we buying pot?

We haven't done that in years.

I'm proud of you.

The way you've
stepped up as director,
executing your vision

while making everyone
feel supported and heard,
it's amazing.

But?

But a director
needs to be a leader,

and a leader
makes hard decisions.

And when it comes
to hard decisions,
he's the best.

No, no, no,
they're in the wrong order!

Are you serious?

All right, back to the top.

Oh, bloody hell!

The files are too
big for the system.
They keep crashing.

This is ridiculous.

It just needs to
get up and running.

We have three
weeks to rehearse.

You wanna spend the whole time
rebooting a computer?

What I don't want

is to show some
kid simply walking

across a stage
for five minutes.

It's some kid
walking across a stage

to tell a girl
that he loves her.

If we can't get an audience to
care about that on its own,

one of us isn't
very good at his job.

So what, you're saying
I can't direct this show?

No. I'm saying you hide
behind fancy screens and
orchestras and clothes

because you have
nothing else up your sleeve.

What do you think, Karen?
Do we need any of this?

Oh, don't put her
in the middle.

I didn't. You did.

Tell him what
you really think, huh?
Oh, shut up.

It's okay.

Go ahead.

It's...

Not right for this show.

I'm sorry, Derek.

Pathetic. The lot of you.

I hope you enjoyed the show.

Scott?

What are you doing here?

Well, you haven't
been returning my calls.

I've been busy.

Right. Of course.

Sorry.

You're not still mad
about my play, are you?

I thought maybe,
and then I realized
it was 15 years ago,

and I'm sure you understood

that anyone in my
position would have
done the same thing.

I wouldn't have.

It was Lincoln Center.

You were my friend.

My friend who promised me
I could direct that
play at the Vineyard.

They offered me Mike Nichols.

What should I have done?

You should have said no.

It launched my career.

And almost ruined mine.

I promised them that play,
and I lost my slot.

I couldn't work for a year.

And when I could,
it wasn't in New York.

You've had
a spectacular career.

Yeah, and it took me 15 years
to get back here.

So pardon me
if yours isn't the first
face I want to see.

The way you talked to
those actors in there...

Oh, God. Seriously, this now?

It was awesome.

You really don't care
what they think
of you, do you?

No.

How do you sleep at night
knowing everybody hates you?

I'm seriously asking.

Well, you realize that
having them respect you

is more important than
having them like you.

It's a Ionely business, Tom.

You can't be
friends with them.

Don't think that's
gonna be a problem
for you and Jimmy.

That one is killing me.

He's 24 years old

and he's telling
me how to do my job.

Reminds me of you at that age.

Shut up.

I was not that bad.

You were worse.

Arrogant, stubborn,

full of huge ideas
that nobody
believed in but you.

In the end, you were right.

Maybe that kid is the same.

Listen to him.

He's not your enemy.

Derek is kind of
a sleazeball, isn't he?

I don't get why Karen
hangs around him all the time.

Who should she
be hanging around?

Jimmy?

No. That is not what I meant.

I didn't think so.

We've all wanted
things we can't have.

The trick is to
learn to let go

and enjoy the things
that you can have.

What's up?

I started out in
theaters like this.

Actually, they were
worse than this.

They were the sort of theaters
where the audience used to

walk across the stage
in the middle of
the performance

to go to the toilet.

But I did some of
my best work in them.

I was innovative
because I had to be.

You know, I got bigger jobs,
more money, bigger sets.

And yes,

there is a very
slim possibility that
you might have a point.

It's been a while
since I had to
think outside the box.

Thanks.

So, your show's
not about scenery
or props or costumes.

So what is it about?

Two people falling in love,

and what gets in
the way of that.

And what gets in
the way of love is...

Other people.

In my experience,
at least.

Great.

Well, let's show that, then.

Okay, so we're
halfway through Act I.

Jesse has just heard Amanda
singing a song on the radio,

a song that he wrote

that she stole.

But he's not angry.
He wants to see her again.

So he goes after her.

So stage right is Greenpoint,
where Jesse starts out.

Stage left is L.A.,

where Amanda is performing
her first big concert as Nina.

But the journey is tough.

There are many
obstacles in the way.

Obstacles?

Thank you.

Music track, please.

I thought
I was hopeless
I thought I was broken

I'd struggle to laugh
when the whole room was joking

I'd wait in the cold
but the door wouldn't open

till I

Till I heard
your voice in a dream

And nothing comes easy
when everyone's rushing

The signal's got speed
but there's no real connection

I tried reaching out
It was just my reflection

till I

Till I heard
your voice in a dream

So sing to me

and I will forgive you

for taking my heart

in the suitcase you packed

Sing to me like
the lights didn't blind you

like you blinded me

when I heard
your voice in a dream

And I could have loved you

but you had the hunger

for life in the lights

so when they
called your number

I couldn't compete

with the spell
you were under

- Still I
- Still I

I hear your
voice in my dreams

So sing to me

and I will forgive you

for taking my heart

in the suitcase you packed

Sing to me like
the lights didn't blind you

like you blinded me

when I heard
your voice in a dream

I thought I could love you

but you had the hunger

Oh, nothing comes easy

when everyone's rushing

I thought I could love you
I thought I could love you

Scott.

Just listen.

I can't pretend
that I'm not happy that

my first play was
done at Lincoln Center.

But if I'm being honest,

I knew what I did hurt you.

And instead of
apologizing back then,

I told myself that it
wasn't really that bad.

So here I am,

15 years too late,

saying I'm sorry.

Thanks.

Hey, Jules.

I heard about your
split from Frank.

I remember how in
love you both were.

I'm sorry.

You're right. We're cowards.

What are you talking about?

Using that bathroom
is the bravest thing
I've done in weeks.

I had to make mittens
out of paper towels.

I'm crazy about him.

Seeing him perform
today made it so clear.

Even right now,
watching him hit on that guy
for Kyle has me all...

Melty.

Then tell him.

He's not into me.
Then you'll know.

And you'll cry,
and you'll hate him,

and then you'll move on.

At least you put
yourself out there.

I'm scared.

What if I put
myself out there first?

Hey, you. Look alive.

Derek Wills, I am the one.

If I were a boy

even just for a day

I'd roll out of
bed in the morning

and throw on
what I wanted and go

I'd drink beer with the guys

and chase after girls

I'd make out
with who I wanted

and never get busted for it

'cause they'd
stick up for me

If I were a boy

I think that I'd understand

how it feels to love a girl

I swear I'd be a better man

I'd listen to her

'cause I know how it hurts

when you lose
the one you wanted

'cause he's
taking you for granted

and everything
you had got destroyed

But you're just a boy

Yeah!

What's the matter?
What's wrong?

I can't put that
number in Bombshell.

Oh.
I'm sorry.

I knew it.

You'd be amazing in it,

and I'd love to see
you do it someday,
but Julia is right,

the Kennedy number is
better for the show...

You know,
I left my job for this.

You left your job
because you're unhappy.

I left my job for
a lot of reasons.

And I thought you'd changed.
I thought you were
finally ready for this,

but you're the same old Tom,

putting work before
what's really important.

Where are you going?

To see if I can
get my job back.

Oh, hey,
I had another idea,

a way to differentiate between
my Marilyn and Karen's.

I thought maybe we could
redo a couple of the costumes.

Yeah, I don't think so.

I was only thinking
maybe one or two...

They're perfect
the way they are.

We're also not
going to be able to

work in that break
for you in Act II.

I'm sorry.

Can we at least
discuss it?

We just did.

Mmm. But your note
about the catch breath,
that was spot-on.

Great job.

Places, everyone,
for the top.

Let's run the whole shebang.

No stopping.

How'd it go?

I cut it.

I know that was hard.

Yes, it was.

But it was also right.
Mmm-hmm.

I need you to
take another pass
on the Gladys scenes.

What?

I know how much
they mean to you,

but I need them to be
a little more focused.
Take out the fat.

Okay.

By tonight.

Apparently,
Eileen has a name lined up.
She's on her way here now.

I'll go start on it now.

Good.

Relax for two minutes.

I have some news.

LuPone?

No. I want to go
in a new direction.

Leigh Conroy has agreed
to come out of retirement

and play the part of Gladys.

Ivy's mother.

It's a good story, Tom.

The New York Times
has agreed to

announce it as soon
as we pull the trigger.

That is, of course,
unless you think Ivy
might feel threatened.

Do it.

I'll make the call.

All right.

Bobby, stop texting.

Places for real.
Everyone, full out.

Don't let me see the mistakes.
I just paid $134.50 twice

and a babysitter.

Congratulations.

You just became our Diva.

What? Hey.

I'm sorry I didn't
see it before.

I'll accept

if you buy me another drink.
Sure thing.

Let me ask you
a serious question.

Should we have
one more drink?

Yeah. I think you've
had enough tonight.

Come on.

This is the first time
we've been out in ages,

and you've been
blowing me off lately.

Yeah, I know.

Why?

Do you like me or not?

Of course I like you.

No.

I mean,

do you like me?

Either of you
guys want a drink?

Walk me home?
Yeah. My pleasure.

Oh, hey, is Ana
going with you?

Uh, no, I think
she's taken care of.

As is Kyle.

See you at
rehearsals tomorrow.

Yeah. 'Night.

Thanks for walking me home.

I can take it from here.

You sure?

You don't need
an escort upstairs?

We could get another drink.
I know a spot on the corner.

I have an early
rehearsal tomorrow,

and the director's
a control freak.

Fair enough.

Good night.

'Night.

Fine, I guess I can
handle one more drink.

That was fast.

What, did you run up here?

Sync to WEB-DL by Jill.Valentine