All language subtitles for Fosse Verdon - 01x04

Do you want something?

I'm-- I'm all right.
Thanks.

Hey, the hell you doing out here?

-What, are you buying Milk Duds?
-I can't watch.

All I see is the shit
I should have faced.

Yeah, well, of course you do.

I needed two more weeks
in the cutting room, Cy.

-Two more weeks.
-Well, the audience disagrees,

because they're going nuts in there.

Look, I know the two of us,
we had our moments.

But, Bobby,
we made a hell of a movie.

Come on, would it kill you
to smile a little bit?

You're about to be the director
of the hottest picture

-of the year.
-Don't say that.

-Don't say things like--
-You're unbelievable.

Come on. I can't wait to watch them
watch that last shot.

Ooh, I get goose bumps every time.

-Wh-- Are you coming or what?
-No, I'm gonna go home.

What do you mean, home?
What about the--the party?

I'm not in the mood for a funeral.

I guess you finally realized what we
knew from the beginning.

Open the door, asshole.

Bobby, open up!

I'm not leaving till you open the door.
Open up, asshole!

Ah, what the fuck?

You got some nerve stranding
me at that party last night.

-I'm sorry.
-Sorry, your apology is not accepted.

I wandered around for an hour
looking for you last night.

Finally I run into Cy Feuer.

And he says, "Oh, Bobby's not
coming to this party."

So now I'm stuck making small
talk with Cy Feuer for an hour,

the man with the worst halitosis
in the entertainment industry.

It's not funny!

I was so pissed off at you when I got
home. I lay in bed all night fuming.

I get up at 5:00 this morning,
I go to the news stand.

Oh, oh, look what I find. "New York
Times" review of "Cabaret."

Rave. "Variety," rave.

"Hollywood Reporter" calls it
a masterpiece.

Reviews like this,
how could I stay mad at you,

you smug son of a bitch?

-They--they--they liked it?
-Liked it?

Bobby, "'Cabaret'
is a stunning entertainment."

Ah, "An exuberant marriage of talent and
intelligence." I-I could go on.

Bobby, reviews like these,
you got a blank check.

Anything you want to do from now on--
Broadway, Hollywood-- total freedom.

-It's incredible.
-It's incredible.

This script, it's boring.

It's small. We need to go big
or what are we doing here?

Let's talk about the new song,
"Glory."

I don't wanna just hear people
singing about blood and guts.

I want to see how much
it turns them on.

I want to have Ben up there
with a couple of girls

in a sexy piece that says
all this shit in Cambodia

makes them hot.
The love song in act one?

I'm not interested in pastoral.
I want to see Pippin up there

with five knock-outs passing him around
for kicks till he's on his knees

begging for mercy.

I know that look. That's the same look
Cy Feuer gave me every day

on the set of a little movie
called "Cabaret."

Remember that look,
ladies and germs.

It means we're onto something good.

We're gonna take what's here,
we're gonna blow it all up,

then we're gonna see what happens.

I think it's gonna be a lot of fun.

-The man has lost his mind.
-Well, I think it's very sweet of him.

-What am I supposed to do with a car?
-I don't know. Drive it.

In the city? I'd have a wreck before
I even left my block.

-Oh, well, I believe in you.
-Well, that's your first mistake.

-How's the play going?
-You know, it couldn't be better.

-I can't wait to see it.
-Well, you'll be there for opening.

-I wouldn't miss it for the world.
-Good afternoon, Miss Simon.

-Well, that's my cue.
-Oh, that looks tasty.

It's inedible, dear.

How about if I bring lunch
on Wednesday?

Outside food is against the rules.

-I'm not listening.
-She's not listening.

I'll cook my spaghetti
with clam sauce.

Don't worry.
The white wine cooks off.

Sounds divine.

I love you. You look beautiful.
And I'll see you Wednesday.

All right.

Dr. Davis, telephone please.
Dr. Davis, telephone please.

Well, Pippin, I guess you finally
realize what we knew from the beginning.

-What's that?
-That your search for meaning

and fulfillment
was doomed from the start.

Nothing ever turns out the
way you think it's going to.

-It's all flawed, one way or another.
-Isn't that true?

Nothing has been completely
fulfilling, now has it, Pippin?

-Has it?
-No, I guess there's nothing.

There is something. The only completely
perfect act in our repertoire.

How much time do we have
to fix this?

-We have 15 minutes for our last ten.
-Let's go ahead and take it now.

-Ten, everyone.
-Thank you, ten.

We have to talk about
this whole sequence.

The ending is-- it's-- it's too soft.
We're not saying anything.

We should be going right
for the jugular.

Yeah, let's talk about this.

Hey. Hey, what do you think
of this scene?

-It's good. I'm hungry.
-Go in my jacket.

I think there's
a Hershey's bar in there.

-I want chips.
-Me, too.

-Get some for me. Barbecue.
-Could I get another Tab?

Okay, but don't tell your mother. You'll
be up all night with the caffeine.

What are you doing? Give me that.
Give me that. Hey, hey.

-She's adorable, Bobby.
-Hey.

What are you-- what
are you up to tonight?

Remember that TV special
I did with Liza?

I just got a rough cut back from the
editor.

You want to come over, take a look?

-Tell me what you think.
-Yeah, absolutely.

-Yeah?
-I'd love to. Yeah.

Why don't you come over
tomorrow night?

-Sure thing, Bobby.
-Great.

Get some rest, ladies. Be good.
Hey, Annie, when are you coming?

Sounds like you're already
getting plenty of feedback.

You know, I wouldn't
want to pile on.

And I-I-I need
to underscore that transition.

-Yeah.
-Yeah?

Whatever he says,
don't believe him.

Michigan was a long time ago.
Oh, well, hello.

Hey. There she is.
How you doing?

You told Nicole
she could have a Tab?

-Oh, why not?
-How many has she had?

One or two maybe.

-I don't know.
-Nicole says five.

Well, that's gotta be
an exaggeration, right?

We already have
transition music there, Bob.

-Oh, can you play it for me?
-Sure.

Yeah.

-That's good.
-Can I talk to you for a second?

That works, yeah.

When are you coming back
to see the play?

I'll be there opening.

Well, I'm gonna need
you back before then.

I-I was there last week.
I thought you were in great shape.

Yeah, well, thank you.
That-- that was before the writers

started cutting everything.

I mean, I'm still waiting for
him to put something back in.

-Maybe they're good cuts.
-Yeah, it's 45 minutes.

It's not even a play anymore.
It's a skit.

-All right, how can I help you?
-I just-- I want you to fix it.

You want me to tell him how to rewrite
his play? I don't even know him.

The man thinks that
you walk on water.

You should hear the way
these people talk about you.

They're in awe.
We have two weeks before opening.

I'm sure you can find some time
in your schedule.

-I'll do my best.
-Okay.

-Okay?
-Thank you.

So, Bob, right now
we have the cue after,

"Well, Pippin, I guess you
finally realize what we knew

from the beginning,"
and Pippin says, "What's that?"

"That your search for meaning and
fulfillment were doomed from the start."

Piano comes in on the word "start."
I think that works, right, Bob?

-The show's starting.
-I'm taking a bath, sweetheart.

But you said that you
would watch it with me.

Well, why don't you just go
ahead and start without me?

It's not fair!

Nicole, this is my first
night off in a month.

-But you said that we would watch it.
-Would you just stop bellowing at me?

I'm not spending it watching "The
Partridge Family." Oh, God.

We got you your Oscar
a little bit early.

-Bobby, you're a shoo-in.
-Oh, tell that to Coppola.

I just hope you have room
for me on your mantle.

Well, for you, I-I'll make room.

-Come in. Oh.
-Oh, there she is.

-You were terrific.
-Well, look at those.

Well, that's just what we need, isn't
it?

-You were radiant.
-Oh, thank you.

And the play's really--
it's really come a long way.

-Yeah.
-Let's not overstate things.

Go on.
I'll see you at the party.

Hey, look, nobody's gonna
accuse the guy of being

the next Eugene O'Neill,
but you're giving

a magnificent performance. You really
are. You're just great up there.

I'm trying to be honest with you. Do you
want me to be honest with you?

-We're closing tomorrow.
-Well, it's not--

It's gonna have a fine run.
Let's not be dramatic.

Oh, no, that's not my opinion, Bob.
That's a fact.

Oh, Arthur just told me they're
announcing in the morning.

They got wind of the reviews this
afternoon

and the sales were already weak.
But the notices are...

"Catastrophic" was the word
I believe he used.

-Gwen, I'm sorry.
-They haven't told the rest

of the cast yet. They want them to enjoy
their evening.

-I'm--I'm--I'm so sorry.
-Come in.

Hi, I-I'm so sorry to interrupt.

-Bobby, the car's outside.
-I'll be out in a minute.

-Miss Verdon, you were just marvelous.
-Oh, that's sweet of you to say.

I can stay. I'll send her home.

-Well, why would you do that?
-I don't want you to be alone.

I'm not alone. Don't be silly, Bobby.
I have an entire party waiting for me.

You really were great.
You were just great.

I wish you had made it
to the show last week, Bob.

I'm not hearing this note.
Who's in the middle?

-It's not gonna work. Just rewrite it.
-You want to change the ending?

Yeah, it's bullshit.
Total bullshit.

Pippin's about to have all
of his dreams come true.

-He says, "I can make you a star."
-If he sets himself on fire.

If-if he kills himself on stage.

And instead he chooses to get
married, to live on a farm?

-He chooses love.
-How realistic is that?

-Well, what else is he going to do?
-He's gonna set himself on fire.

-Glory, glory.
-That's the end of our day, folks.

Back here tomorrow at ten.

That's an ending.
That'll get people talking.

-About killing themselves.
-Yeah.

Hey, Sher, got a sec?
I want to talk to you about something.

-Okay.
-Yeah, get your stuff.

-We'll walk out together.
-Absolutely.

-Great.
-Yeah.

I wanna put a gal
out there with Vereen.

Right in the middle of the carnage.
You, maybe one other girl.

Hat, cane, made up like clowns. Doing
a little soft shoe charm number.

War, vaudeville, the two great
American entertainments.

Oh, wow, that's-- wow, Bobby.

-You think it's good?
-I think it's--

-I think that's amazing.
-Yeah? You wanna do it?

-Do you even have to ask?
-I think you'd be great. Just great.

-Hey, is this your place?
-Fifth floor.

Ah, you got an elevator?
Ah, I'll walk you up.

Oh, that's fine, Bobby. Thank you.

I wanna tell you more
about the number.

Can we talk tomorrow?
I'm just--I'm so tired.

You're stunning.
You're so beautiful.

-You know that?
-Thank you. Thank you.

I should--I should go.

Wait, you got plans?
You got a hot date?

-I'm just wiped out.
-Heh, tell me about it.

Why don't we lie down together?

-I have a boyfriend.
-I won't tell him.

-Bobby--
-Invite me in.

-Yeah?
-I-I really-- I really need to go.

I just want a kiss goodnight.
Just a little kiss. Oh.

Come on. A real kiss.
How about a real kiss?

So--sorry, Bobby, I-I-I--

What's wrong?
What are you sorry about?

-I don't think I--I can't do this.
-What's happening to me?

-I don't know what to do about this.
-Bobby--

-What am I gonna do about this?
-Bobby, I-I-I want us to be friends.

I want it, too.
I want to build a piece for you.

I wanna know how your neck
moves when you come.

Bobby, s-- Bobby, stop. Bobby, stop.
Bobby, Bobby, s--Bobby, stop.

Shit, shit. I'm sorry.
I just--

Are you okay?
Shit. Shit, shit, shit.

Thank you for taking me home.
I really... Good night, Bobby.

Nothing has been completely fulfilling,
now, has it, Pippin? Has it?

Fluid. Hips smaller.
Keep the hips front.

No, again. Again.

-Six, seven, eight.
-Keep your head front.

Why are you turning the head?
Don't turn the head, Sherry.

No, hips smaller. Smaller. Stomp, that's
not a s-- stop, stop, stop.

That's not a stomp.
That's a stomp. Stomp.

-Do it again.
-Six, seven, eight.

Smaller. Softer hands.
Smaller. Smaller. Smaller.

Stomp.
Just the hips are moving, Sherry.

Just the hips are moving.
Just the hips are moving.

Just the hips, Sherry. Much too stiff.
Eyes down. Down.

Mm-hmm.
Yeah.

No, that's not--
No. Smile.

Just the mouth, not the eyes.

Don't move the ca--
why is the cane moving?

Why are you moving the cane, Sherry?
Okay, hold.

Annie, step in for Sherry.

I need you to step out.
Step out.

Give me the cane.

You want, Pam to run
through it with you?

-No, I think I--
-You sure?

-I've been watching.
-All right.

Do you want to take
another tempo or--

-I think I'm all right.
-At speed?

All right. Okay.

Six, seven, eight.

Lousy dancer or bad lay?

Oh, no. Both.

She doesn't know how
to take direction.

-She's good.
-Yeah.

-She's too good for you.
-What does that mean?

It means she knows she
doesn't have to visit

your hotel room to get the solo.

Watch how Ben's doing it.

-I have some very exciting news.
-Oh, yeah?

Guess who I got off the phone
with this morning?

The lawyer from
the Maurine Watkins' estate.

They're finally ready to give
us the rights to "Chicago."

Keep a lid on it.

-Just the hips.
-Did you hear what I said, Bob?

-Oh, yeah.
-Rights to "Chicago."

That's--that's great. I can't think
about another show right now, you know?

Well, it would be
next season, obviously.

I-I just--I got a lot of job
offers after this is through.

I can't guarantee that "Chicago's" the
next thing I'm gonna wanna do.

-It's the next thing I want to do.
-Candy, I believe you're behind.

Just a little bit behind. Let's go back.
Let's go again from here.

-Go back to the hip circles.
-Take it again right from there.

-Bob.
-Six, seven, eight.

-Bob.
-Yeah.

That's good.
That's good.

-Bob, I need to work.
-No, you don't need to work.

No, I want--I want
to be back on stage.

Bob, we have the opportunity
to do something incredible together.

Candy, you're still late.
You're still behind.

I'd love you to watch the finale.
Can you stay and watch it?

Hey, just get your eyes on this.

-Have you been to see Joan?
-How is she?

Oh, she's in very good spirits. She
thinks the surgery was successful.

She thinks she'll be home
in a few weeks.

Maybe you could find some time
in your schedule

-to make an appearance.
-I will, yeah, sure.

Make it soon. The doctor said she has
a month at most.

You keep up the good work.
Okay, let's go.

See you, honey.

-You're a cradle robber.
-Only a few years apart.

-How many?
-I'm not telling.

-What does he do?
-He's an actor.

-Oh, no, Gwen, don't tell me that.
-But you would never know it.

He's a wonderful actor
and he loves what he does,

but it's not his entire life.
He's an athlete.

-He rides horses, he jogs, he hikes.
-He sounds exhausting.

-Oh, yes, well, darling, he is.
-Oh.

So we met at a fundraising
dinner for McGovern.

We were the entertainment. They had me
doing a send-up of "Lola,"

except they changed the lyrics.

-Oh, clever.
-Yes, well, they thought so.

And Ron, he was cast
as my Joe Hardy.

No lines, and the poor guy, he's just
sitting there

in his little baseball uniform.

And I felt so badly for him,
I asked if I could

-buy him dinner later.
-Oh, yes.

Out of the goodness of your heart.

But what I didn't realize until later
is how talented he was.

As an actor?

Let's just say that
the man has more talent

in this finger than most
men do in their entire--

-Bodies?
-Sure.

-But what does Bobby think of him?
-Oh, well--

Oh, of course
you haven't told him.

Well, you know him.
He just can't handle it.

How many of his girlfriends
have you had to suffer through?

-Well, he doesn't see it that way.
-Yes, clearly.

What about if you were there
when I introduced them?

-Oh, no, thank you.
-Oh, let's do that.

When you get home, let's have a dinner.
You and Neil and me and Ron,

and then Bobby and whatever
her name is this week.

-Please don't.
-Well, okay. Fine, then.

You're uninvited.

It's lousy enough I have to coddle Neil.

Please don't make me
coddle you as well.

I'm not a child, Gwen.

I know I'm never going home.

I've known since the first biopsy.

Dr. Snyder asked to talk
to Neil alone in the hallway.

Neil came back white as a sheet.
He said Dr. Snyder just wanted

to ask him a favor.
Tickets to a show.

Do you remember when
we first became friends?

Neil and Bobby doing
that awful show.

You were pregnant with Nicole.
I was pregnant with Nancy.

We stood in the back of
the theater on opening night,

because we were too fat
to sit in the seats.

Oh, our girls.

They have so much in common,
don't they?

Raised in rehearsal studios
and on film sets.

Sometimes I regret that. Sometimes I
think we let them grow up too fast.

I-I need you to promise
me something, Gwen.

Promise me that you'll look out for
Nicole. She needs her mother.

I worry for her.

You take care of her.

Hey, Bobby. Can I talk to you?

-I'm on my way out, Sherry.
-It'll just take a second.

-What is it?
-Look, I...

I know that I haven't been dancing my
best. And I can do better.

I-I promise. I-I-I will do better.
Could I maybe buy you a drink?

I don't know.
I'm not wearing my dance belt.

-You sure I'll be safe?
-Yeah.

Well, yeah, I can go for a...
I can go for a drink.

-Yeah?
-Yeah.

Okay.

-After you.
-Thank you.

-A frog?
-He had it in his pocket the whole time.

-In his pocket? And was it, slimy?
-Of course it was.

-Mrs. Fosse, you're home early.
-Well, I canceled my dinner plans.

-How--how was she?
-A doll.

I already finished my homework.

Oh, and--and picking
her up from school,

everything was-- the teachers
are--are happy with her?

Nicole?
She's the teacher's pet.

Hey, that's not nice.

Darling.

You do well at school. There's nothing
wrong with that, now is there?

-No?
-No, I would say not.

She's a good girl, isn't she?

Yes, she is.

You go read some books, okay?
I'll be right there.

Get ready for bed.

-How's Aunt Joan?
-Better every day.

Your search for meaning and fulfillment
was doomed from the start.

Nothing ever turns out the
way you think it's going to.

It's all flawed, one way or another.

-Yeah.
-It isn't working--

-What, what? What isn't working?
-The, the end. The--the ending.

-It's bullshit.
-It's 3:00 o'clock in the morning, Bob.

No, I know. I know. Look, I just need
you to see the show.

I need you to help me with this
ending before we take it

to New York, before
the critics tear it apart.

Come to Washington this weekend.

You could-- you could be down here
and back home in the same day.

I'll get you a car on both sides of
the train. I just need you to see--

Gwen, are you there?
Are you there?

And the Tony award for
Best Choreography goes to...

Bob Fosse for "Pippin."

The Tony for Best Director of a musical
goes to... Bob Fosse for "Pippin."

I need to say thank you
to all the marvelous people

who helped with the show and say that
they couldn't have done it without me.

Thank you.

Your problem is that you learned at a
very young age everything is bullshit.

Success is bullshit. Love is bullshit.
It's all just bullshit.

And the winner is Bob Fosse
for "Cabaret."

There's so many people to thank.
I know you've heard all the names.

It's important for me to thank them. Of
course Liza and Joel, Michael York,

Manny Wolf, Kander and Ebb,
a dear friend of mine

-by the name of Gwen Verdon.
-He said your name.

I'd also like to mention Cy Feuer,

the producer with whom
I've had many disputes.

But on a night like this,
you start having affection

-for everybody. Thank you.
-Why didn't he thank me?

Because you didn't help
direct his movie, darling.

This is the point I'm trying to make.
It's not that the world is bullshit.

-You are bullshit.
-Yeah.

-You are bullshit.
-Yeah.

So if you are bullshit
and they're giving you an award,

they must be bullshit, too.

-Yeah, yeah.
-You know what I mean?

You could win 100 of these, Bob.
It's bullshit all the way down.

And the Emmy Award for
Outstanding Achievement

in choreography goes to Bob Fosse
for "Liza with a -."

And the winner is "Liza With a Z."
Bob Fosse, he's done it again.

-And the award goes to Bob Fosse.

Happy yet?

Good news.

I'm home, sweetie.

-Hey, sweetie.
-Oh--oh, my God! Oh, my God!

-What's going on?
-Hey, get out of here!

Hey! Call 911.
Call 911! I got him.

Wait, wait, wait!

Bob? What the hell is going on?

-Oh, Jesus Christ, Bob!
-I-I didn't--I didn't know.

-What happened?
-Hey, sweetheart.

-Daddy?
-Darling!

Everything's fine.
Let's go back to bed.

-It's fine, honey.
-What happened?

-It's fine, it's fine. Everything's--
-Go back to bed. It's okay.

-Oh, God. Oh, God.
-I'm--I'm awfully sorry, Mr. Fosse.

I didn't know.

-Who are you?
-I'm Ron.

I guess you finally realized
what we knew from the beginning.

Yeah, I guess so.

You were never gonna find
what you were looking for, Bobby.

Nothing ever turns out
the way you want it to.

-It's all flawed, one way or another.
-Isn't that true?

Nothing's been completely fulfilling,

-now, has it, Bobby? Has it? Has it?
-Has it?

Has it?

You got everything you wanted
and it still isn't enough.

-It'll never be enough.
-Tell him, Paddy.

Dies.

There is something.

The only completely perfect act
in our repertoire. The finale.

The finale!

It's a long way--
it's a long way down.

-You can't say you don't deserve it.
-Oh, Bobby.

You're so special.

Nobody else can do what you can do.
Nobody even comes close.

It's time the world sees just
how extraordinary you are.

The ones who die young,
those are the ones

who live forever. You know that.
You made me a star.

But if you do this, you'll eclipse me.
You'll eclipse everyone.

-Imagine the applause.
-Think of the word of mouth.

The biggest standing ovation
of your career.

-Everyone will remember this night.
-They'll never forget you, Bobby.

It's time, Bobby.
Your audience is waiting.

-The finale, Bob.
-The finale, Bobby.

-The finale.
-Don't stop. Keep going, Bob.

-You're so close.
-You can't give up now.

You can't just change
the ending, Bobby.

-He's choosing life.
-How realistic is that?

Don't do this, Bobby.

Coward.

-Compromising.
-Schmuck.

I came all the way across
town for this shit?

911, what is your emergency?

Hello?

-I guess I was wrong.
-Hello?

I guess you're just
like everybody else.

Hello?

Please tell me the nature of
your emergency.

-Daddy? Daddy. Daddy?
-Is anyone there?

-Mr. Fosse?
-Daddy.

-Mr. Fosse?
-911, what is your emergency?

-Daddy.
-Mr. Fosse?

-Daddy.
-Mr. Fosse?

Mr. Fosse.

How you feeling,
Mr. Fosse?