All language subtitles for Fosse Verdon S01E08 Providence 1080p AMZN WEB-DL DDP5 1 H 264-MZABI_track4_[eng]

(needle placed on record)

(dance music plays)

(rapid drumming)

(music continues)

-(drumbeat)
-(fanfare)

FX presents Fosse/Verdon.

PADDY: 30 minutes a day
of exercise.

Can't smoke.

Can't eat anything
that tastes good.

I'm supposed
to only work regular hours.

BOB: Regular hours?
What's--what's that?

PADDY: Ah, who the hell knows?

I feel like shit.
Come on, I'm done.

Let's sit.

BOB: Come on, let me help you.

Take it easy. Take it easy.

All right, all right,
all right.

-Just take it--slow it down.
-(groans)

(exhales heavily)

(sighs)

You know,
it's pretty lousy of you.

I have a heart attack,
and then you upstage me

by having
your own heart attack.

(chuckles)

How's the movie?
When do you start shooting?

A month.

Yeah? How's your script?

I think I need a new writer.

I just, uh--
get something new going.

New writer a month
before production.

Well, you said it yourself
the first time you read it.

It's--it's unsatisfying.
It doesn't build to anything.

That's 'cause your ending
is shit.

-I already told you that.
-The ending--ending, I like.

-Bobby.
-I like the ending.

The problem with your movie,
Bob, is very simple.

Your character doesn't change.
Your hero doesn't change.

Lenny didn't change.
Charity didn't change.

Exactly, none of
your characters ever change,

which is why your endings
are always shit.

-I say this as a friend.
-I disagree.

Bobby, it's storytelling 101.

Your hero has to change.

He's got to--

he's got to transform
over the course of the picture.

It's called catharsis.

How about
it's called bullshit?

I want to do something
real here,

not some bullshit
fairy tale.

Who says fairy tale?

I'll tell you your story.
You wanna know your story?

-Yeah, tell me my story.
-All right.

I'll tell you your story.

Your story is...

Bobby meets a young dancer.

The character's name is Joe.

-Joe. Joe Gideon.
-Oh, Joe. Yeah.

That's really gonna throw them
off the scent there, Bob.

Yeah, no one's ever gonna guess

that the hero
at the center of your story

who can't stop popping pills
and fucking broads

is supposed to be you
because his name is Joe.

All right,
just tell me the story.

Act one.

Joe meets a beautiful
young dancer

whom we will call--
I don't know--

Annie.

Now...

act one, Joe falls
in love with Annie.

But he's still all mixed up
with his ex-wife,

whom we'll call Gwen
for no reason at all.

Now, act two,

Joe ruins everything with Annie
because he's too selfish

and he can't stop
screwing around.

All of the stress,
all of the guilt

gives him a heart attack.

He ends up in the hospital.

Yeah?

Now, faced with the prospect
of his own death in act three,

he suddenly realizes
that it was Gwen all along.

She was the one for him
from the start

because she was the only woman
who was ever his true equal

as a creator,
as an artist.

And he knows that he squandered
everything with her.

He knows he shot it all
to hell.

But now he's ready to change.

He's ready to give up
the broads, yeah?

He's ready to--to get
his act together

and--and spend the rest
of his life with his soul mate,

with his collaborator,
with the mother of his child

if he can just get out
of this goddamn hospital bed.

But it's too late.

He doesn't make it.

He dies.

Roll credits.

See?

Transformation and tragedy.

It's moving.
That's your story.

He already knows all that.

He knows he should've
been with her.

Oh.

It doesn't matter
what he knows.

Knowing doesn't change
anything.

Oh.

It's still just a bunch
of bullshit.

It may be a nice story,
but it's not true.

Hey, I didn't say
it was true, Bob.

I said it was
a satisfying ending.

You want true, go to a priest,
not a playwright.

(sighs)

("There'll Be
Some Changes Made" playing)

*

BOB: Testing one, two, three,
four, five,

six, seven, eight,
nine, ten.

June 3rd.

Interview with Gwen Verdon
for All That Jazz.

Do you think
you were angry with me

in some sense?

GWEN: For what?

BOB: For not taking care
of myself,

for putting myself
in this sort of situation

with my health.

GWEN: No, I was worried.
I was terrified.

BOB: Do you remember the mood
in the rehearsal room

when, uh, everyone heard
I was in the hospital?

Um, people were stunned.

They--uh, sadness.

BOB: I heard Chita was crying,
hysterical.

GWEN: Who'd you hear that from?

Well, Chita.

GWEN: Nicole told me
that you'd quit.

-I did.
-So what happened?

Uh, Annie left.

Hmm.

BOB: She moved out a month ago.

Nicole told you?

GWEN: No, Annie told me.

BOB: When did you talk to her?

At rehearsal.
We've been working on the part.

Is that strange, uh,
having Annie replace you?

It's pretty familiar,
I'd say.

BOB: She's in love.

GWEN: Yes, I know.
I'm happy for her.

He's gay, the--the guy
she's dating, Charles.

Well, apparently he isn't,
so...

Well, he and Annie
are the only two people

in the world
who don't realize it.

BOB: When I got out
of the hospital,

did I seem different
to you in any way?

Different how?

Well, people say
that I changed,

that I was, uh, meaner,
I was harsh with people,

with you in particular.

BOB: You think that's true?

GWEN: Do you think
that you changed?

Well, I'm interviewing you.

I don't think
you changed at all.

I think you became
more yourself.

You stopped pretending
to be anything else.

Did you hate me?

At times, yes.

Do you still?

No.

(inhales sharply)
How do you feel?

To tell you
the God's honest truth,

I don't feel much of anything
about you anymore, Bob.

BOB: Well, I'm just--

-I appreciate your honesty.
-(door clicks open)

-I was--that's--
-(tape player clicks)

Hey.

(door clicks shut)

You're home before curfew.

Should--should
I be worried about you?

I can stay out if you want.

That's all right.
I got a job for you.

-Take off your shoes.
-Are you serious?

Yeah, I want you
to help me with a scene.

You want to keep living here,
you got to earn your keep.

No such thing as free rent.

Child labor is illegal,
you know.

-Oh, is that right?
-Yeah.

Well, you can always
move back in with your mom.

-(smooth music playing)
-That's not even funny.

Hey.

-Give me that.
-(chuckles)

Yeah, listen.

-Stand next to me.
-(giggles)

Can you see your reflection
in the--in the glass?

-Barely.
-Perfect.

I have this idea.

Do what I do but, uh,
the ballet version.

I don't get it.

Shh. Just watch.

(Jerry Jeff Walker's
"Mr. Bojangles" playing)

* I knew a man Bojangles
and he danced for you *

-* In worn-out shoes
-What am I supposed to do?

Port de bras.

* Silver hair,
a ragged shirt *

* And baggy pants

* The old soft shoe

* He jumped so high

* He jumped
so high *

*

* Then he'd lightly
touch down *

Ooh.

(chuckles)

*

* Mr. Bojangles

* Mr. Bojangles

* Mr. Bojangles

* Dance

*

* I met him in a cell
in New Orleans, I was *

Okay, kid.

* Down and out

Arch your back.

* He looked to me to be
the eyes of age *

Do you know who
Bill "Bojangles" Robinson was?

Nope.

Oh, he was huge.

He was a big tapper
in vaudeville.

They put him in the movies
with Shirley Temple.

Sit down.

Jump up.

*

Oh, you're getting heavy.

Bend your leg.

(sighs)
Yeah, he went out of style.

Died without a cent.

*

Couldn't even pay
for his own funeral.

Do you really
not know who he is?

Do a head roll.

* Whoa, he jumped up high

Straighten your leg.

* He clicked his heels

Oh, you're getting
pretty good.

(scoffs) Not really.

Yeah. Put your leg
into an arabesque.

(sighs)

Oh, okay.

Gwen, hi.

Yeah, Nicole can't wait
to move back in with you.

Yeah, she can't wait
to have an early curfew

-and not be able to go anywhere.
-Fine.

* Mr. Bojangles

Follow my hand.

* Mr. Bojangles

Hey, you know, we're casting
the movie next week.

* Mr. Bojangles

Isn't Richard Dreyfuss
playing you?

Nah, he got nervous
about the dancing.

He dropped out.

We need somebody
more handsome, taller.

*

You know, lots of hair.

Uh, maybe Tom Selleck.

I thought it was supposed
to be realistic.

-Hey, wise guy.
-(chuckles)

*

You ever worry
about telling your life story

to the whole world?

It's not my life story.

Yes, it is.

There are--
there are differences.

Like what?

Well, he's, uh--
he's, uh...

doesn't make it out
of the hospital.

He--he dies.
That's a big difference.

Who's gonna play me?

(sighs) Who do you want?

I don't know.

What about you?
You want to play it?

Really?

Would that be fun
for you to...

play yourself in a movie?

It might be sort of weird.

I don't know.
Maybe fun.

I'll put in a word
with the director.

I'm going to sleep.

Your eyes are looking
a little bloodshot there.

It's allergies.

Yeah, I get the same thing.
It must be hereditary.

* Mr. Bojangles

Next time, use Visine.

* Mr. Bojangles

I hear it helps.

* Dance

(door slams)

*

And what about that--
the play that you sent me?

-The, um--
-Gamma Rays?

-Thank you.
-(clears throat)

I can never remember
that title.

Who can?

I read it.
I ask you to submit me for it.

-Well, I did submit you.
-I know you did.

I know you did.

But imagine me
walking down the street,

seeing the poster.

Who is it? Shelley.

The playwright had already
offered her the role.

They didn't end up auditioning
for the part at all.

-Mm.
-So...

Oh. That's...

Do you think Chicago
will tour?

I don't know.

They haven't decided yet.

Because the royalties,
that would be

a very healthy
revenue stream for you.

Mm. Yes.

Royalties would be wonderful,
but I...

I'm an actress, Mel.
I need to act.

I hate it more
than anyone but, uh,

LA is where the work is
right now.

I grew up in Los Angeles,
and that was plenty for me.

You could be booking

a different guest spot
every week.

Oh, as what,
the dying grandmother

or some old--the lady
who gets her purse snatched?

I just--I can't--

Mel, book me
on the bar mitzvah circuit.

At least I'd have a mic
in my hands and...

-(chuckles)
-Stretch my legs a little.

I'll make some calls.

(indistinct chatter)

(door clatters open)

(chuckles)

Annie, we're ready for you.

Great.

(inhales deeply)

Hey.

ANNIE: You can go out
with any girl in town.

That's right.

I go out with any girl in town,

but I stay in with you.

Joe, it's not fair.

Shit.

I'm spilling everything,
the coffee.

It's just--it's all wrong.

BOB: Hold it there, please.

That's good, Annie.
That's very good.

Um, I'd like to give you
an adjustment.

The character in the film,
Katie,

she--she really wants
to let him have it.

You--you understand?

She doesn't need to be polite.
Just don't hold back.

You know?

Take it from the same place.

Give her the line.

Who's Michael Graham?

He's a dancer
in my ballet class.

SAM: Straight or gay?

(scoffs) What do you mean?

BOB: You--you--you know
what it means.

That's not a real question.

Do it again. Same place.

SAM: Who is Michael Graham?

He's a dancer
in my ballet class.

SAM: Straight or gay?

-What do you mean?
-BOB: Uh, you know what?

Let me--just give me--
give me the thing,

and I'm gonna do it.

You--is it--
Go ahead. Get up.

(Bob sighs)

(dramatic music)

*

(sighs)

*

(chuckles)

*

(sniffs, groans)

*

(sighs)

(bottle cap pops)

*

(laughs)

*

Joe, I don't want to go out
with Michael Graham.

I don't want to date.

Do it again. Do it again.

Ah, Joe, I don't want
to go out with Michael Graham.

I don't want to date.

Same place.
Go again. Go again.

I don't want to go out
with Michael Graham.

I-I-I don't want to date.

No, it's getting worse.
Same place.

I don't want to go out
with Michael Graham.

No. Go again. Same place.

ANNIE: I don't want to go out
with Michael Graham.

-I don't want to date.
-No. Go again.

ANNIE: I don't want to go out
with Michael Graham.

-I don't want to date.
-Goddamn it, Annie.

What are you doing?

I don't want to go out
with Michael Graham.

-I don't want to date.
-What is that?

I don't want to go out
with Michael Graham.

BOB: What are you doing?

I asked you a question.
What are you doing?

Why can't you do this scene
like it means something to you?

Because this isn't a scene.

Because this is my life.
These are my words.

You took our life
and you put it

into a fucking scene
in a movie.

That's why.

Same place.

I don't want to go out
with Michael Graham.

I don't want to date.

I have no more small talk
left in me.

I don't want to fool around.
I don't want to play games.

I just want to love you.

(claps)

Well, that was it.

That was--that's what
we've been looking for.

That was terrific.
That was wonderful.

Congratulations, Annie,
you got the part.

(scoffs)

(feet stamping)

MAN (over TV): Say, a, uh,
Mrs. Willis just called you.

WOMAN (over TV):
Teddy's principal?

MAN: Yeah, she wants
to speak to you tonight

-if you're gonna be home.
-(door clicks open)

BOB: I'm telling you,
I can teach anybody.

WOMAN: I've got no rhythm.
I never have.

Oh, I-I think you do.

You're home pretty late.

What are you doing
still up?

You been drinking?

Yeah, just a little.

That's gonna leave a mark.

You--you got to use
a coaster.

I took one of your Dexies.

Oh, well, you're gonna
have a hell of a time

trying to fall asleep, kid.

Well, do you have a pill
that'll help me sleep?

You're not getting one.

-Maybe I should go.
-No, you--you just got here.

Bridget's an actress.
I'm casting her in the movie.

I'm not sure which part yet,

but, uh, we're gonna
find something.

-Yeah.
-This is Nicole.

Hi, how do you do?

Uh, I think we should all
go to bed.

You're just gonna
leave me here?

Hey, you want to act
like a grown-up?

I'm gonna treat you
like a grown-up.

(sighs)

(dramatic music)

*

(cries)

*

(sniffles)

*

(glasses clink)

GWEN: What if we left New York?

RON: For the weekend?

Every year,
you say the same thing.

It's the last week of August.
We're out at the beach.

We're a million miles away from
the nearest Broadway theater.

We're happy.

And you say,
"What if we just stay?"

"Get a little house
by the water."

And then every year
on the Monday

after Labor Day weekend,
we pack up the car,

we drive back to New York City,

and then we forget
all about it.

(inhales deeply) Well,
because you have a career.

I haven't worked
since Chicago closed.

That'll change.

But what if it doesn't?

What's keeping us here?

I...

We could go anywhere.

We could get a little house
in the country.

We could get a dog.
Just have a normal life.

Okay. (sighs)

What? Okay?

Let's do it. Why not?

(chuckles)

-Okay! (laughs)
-Okay.

-Okay!
-Okay.

(sighs)

Come here.

(clapping)

Okay, quiet for rehearsal.

-BOB: That's terrific.
-ROY: That's good.

BOB: That's great.

Uh, why don't we start
in this direction?

Yeah?

ROY: All right.

All right,
stand over here a second.

BOB: Be careful now.

Is that comfortable?

ROY: Yeah, it's fine with me.

BOB: Yeah? That's terrific.

All right, let's keep going.

ROY: All right, let me see
an arabesque.

There it is.

BOB: Beautiful.

ROY: How are things at home?

GIRL: Pretty good.

-ROY: Arch your back.
-BOB: Really nice.

(soft dramatic music)

ROY: Anything you want
to tell me?

Sweetie, are you okay?

-I'm fine.
-Okay.

Shh.
They're rehearsing. Please.

ROY: There it is.

*

Oh, God.
You're getting heavy.

BOB: Very nice.

ROY: Bend your knee.

So what were you wondering?

Why don't you
get married again?

Do a head roll.

BOB: Yeah.

ROY: I don't get married

because I can't find anyone
I dislike enough

to inflict that kind
of torture on.

-(Bob laughs)
-(Nicole sighs)

Can I move back in with you?

Of course.

BOB: That's great.

Let's, uh--
let's gather everyone.

Cut on rehearsal.
Let's throw down some marks.

Hey, that's great.

*

Here's all of her stuff.

Well, thank you.

She's okay, right?

Oh, she's--she's fine.

I'm sure she'll be sick of me
in a week.

-I think she's smoking.
-Oh.

She thinks that
if she opens up a window,

I won't be able to tell.

Hmm.

I mean, I don't know
what happened.

Last year, she had
such a nice group of friends.

But these New York City
private school kids,

they just have too much time
on their hands.

Yeah, we should send her
to a public school.

So Ron and I
have been talking

about getting a house
outside of the city.

For--for the summer?

Uh, no, for the whole--
for--for year-round.

Uh, oh.

I think it would be good
for Nicole.

Sure.

Send her to school
with children

whose parents aren't all actors
and stockbrokers.

(chuckles)

Uh, of course,
I'd still be auditioning,

looking for the right thing,
and making appearances.

I just--I think it'd be
a good change for all of us.

I want you to do Roxie.

Bobby and Joe started
booking the tour.

I was gonna wait and ask
when it was all official,

but, uh...uh...

It'll be a big draw.

And Gwen Verdon
over the title.

Probably sell out
the whole thing, you know?

It's your show.

It's--it's always been
your show.

*

(sighs)

Where's Nicole?

Out with friends.

Mm.

Which ones?

Oh, boy, I don't even ask.

It just leads to an argument.

As long as she's back by 12:00.

What happened to 11:00?

12:00 was our compromise.

Mm.

I got the rest of her things
from Bob.

And he must be thrilled
to finally have her

out of his hair.

And--and he told me that, uh,

Chicago is going out
on a tour.

RON: Oh, that's good.

And he offered me Roxie.
(laughs)

(laughs)

(snorts) Right.

'Cause you had such a great
experience the first time.

I said yes.

What? It's just for six months
while it gets up on its feet.

Gwen, you were miserable
doing that show.

It was the worst time
of your life.

Yes, but that's because
it was brand-new.

I mean, now I know what it is.

There's no more
cutting the numbers

or this line's her line,
this line's her line.

What about our plan?

-About what?
-What about leaving the city?

What, I-I-I don't--I don't
think I realized that's a plan.

What did you think it was?

We--we were just talking.
It's an idea.

What? We can still go.

We just have
to wait six months.

RON: No.

No, because...

Because then it's gonna be,

"Oh, you know what?

He really needs me
to do nine months."

And then it's,
"Oh, now it's a year.

But he asked so nicely
that I agreed to do 18 months."

(sighs)

What's that supposed to mean?

That you can't say no to him.

I don't want to say no
to this.

I want to work.

I don't even know why you're
getting so upset about this.

That was my idea
to leave the city.

Gwen, I don't care
about leaving the city.

I just want to be done
with him.

I'm so sick of being
in a three-way relationship.

I'm tired of being the
consolation prize to Bob Fosse.

(sighs)

If you go on this tour,

I won't be here
when you come back.

Don't be absurd.

I mean it, Gwen.

-("Bye Bye Life" playing)
-* Unh, give it to me

(rhythmic clapping)

PAUL: Action.

-(cheers and applause)
-* Bye-bye, life

We did it, Joey.

* Bye-bye, happiness

* Hello, hello

Doc, you're the greatest.

* I think he's gonna die

It's a showstopper.

It's gonna run forever.

I'll miss you most of all,
kiddo.

* So long, happiness

At least I won't have
to lie to you anymore.

-* Oh, I
-* I think he's gonna die

Thank you.

PAUL: And cut!

Reset from the top.

Wow, that's terrific.

Do another one just like that.

Okay.

That--that really
looked, uh--

that--that looked like
it was pretty exhilarating.

Oh, it really is.

-Yeah.
-I bet. I bet.

You should try it.

-Me? No, no, no.
-Yeah, yeah, yeah.

You should try it.

No, we--we don't have time.
We got to roll.

You would love it.
We have time.

-No, no, no, no.
-Hey, hey. It's your life.

It's your show.
We have time.

It's our life.
You're playing--

We have time.
You guys want to see Bob do it?

(cheers and applause)

Bobby, they love it.

Come on, Bobby.

Come on! Come on!

*

It's your life.
It's your audience.

*

* Bye-bye, love

* Bye-bye, sweet caress

* Hello, emptiness,
I feel like I could die *

* Bye-bye, your life,
good-bye *

* Bye-bye, my life,
good-bye *

-* Bye-bye, my life
-* Bye-bye, your life

ALL: * Good-bye

* Two, three, four,
five, six *

-(cheers and applause)
-Yes!

Come on! Yeah, come on!

-(laughs)
-It's your audience.

* Unh, unh, unh, unh

BOTH: * Bye-bye, life

* Bye-bye, happiness

* Hello, loneliness

* I think I'm gonna die

* I think he's gonna die

ALL: * I think
he's gonna die *

* I think I'm gonna

* Die

*

* There goes his baby

* With someone new

*

(cheers and applause)

* She sure looks happy

-* I sure am blue
-* He sure is blue

-* I sure am blue
-* He sure is blue

-* I sure am blue
-* He sure is blue

-* I sure am blue
-* He sure is blue

* I sure am blue

* I think I'm gonna,
I think I'm gonna *

* I think I'm gonna,
I think I'm gonna *

* Bye-bye, life

-* I think I'm gonna
-* Bye-bye, happiness

-* I think I'm gonna die
-* Hello, loneliness

-* I think he's gonna
-* I think I'm gonna

-* I think I'm gonna
-* Die

* Die

* A-one, two, three, four

*

* I'm through with romance

-* I'm through with love
-* Oh, yeah

* I'm through with counting
the stars above *

* Forget the stars

* And here's the reason
that he's so free *

* His loving baby

* She's through with me

-(yelps, laughs)
-Whoa, whoa, whoa, whoa, whoa.

(chuckling)

You're crazy.

(cheers and applause)

*

-* Bye--
-(bell rings)

Back to one!

We're gonna do
the real thing this time.

(indistinct chatter)

-(applause)
-Oh!

(chuckles)
Thank you! Thank you!

Thank you for this.

Oh, thank you so much.
Thank you so much.

Thank you.
Sit--sit--sit down.

Sit--sit down.

Well, I am delighted

to be here with you all
this evening

and to be honored for the work

I have been so passionate about
for all of these years.

It is vital we continue
to provide psychiatric care

to the most vulnerable,

and at the Staten Island

Postgraduate Center
for Mental Health,

that's just what you've been
doing for the last 33 years.

Give yourselves--yes!
Give yourselves a hand!

-(chuckles)
-(applause)

But tonight is not just

about celebrating
our accomplishments.

It's also about getting
you marvelous people

to open up your checkbooks.

-(laughter)
-I know. I know.

I know it can be impolite

to talk about
these kinds of things.

But when it comes
to raising money

for a good cause,

I'll tell you my secret.

("A Little Brains,
A Little Talent" playing)

* You've got to know
just what to say *

* And how to say it

* You've got to know
what game to play *

* And how to play it

* You got to stack
the deck *

* With a couple of extra aces

* And this queen
has her aces *

*

* In all the right places

* I've done much more

(dramatic music)

*

(knife chopping)

*

(slurps)

*

Oh! Oh! Oh, my goodness.

(applause)

(sighs)

*

Thank you!

*

-(toilet flushes)
-(sighs)

That was nice.

CAROLINE: Yeah.

You hungry?

I have class tonight,
remember?

Oh, skip it.

We're doing our scene.

Oh.

You need me to call
the teacher for you?

Write you a note?

I'll be home late.
We're all getting drinks after.

I'm not invited?

(chuckles)
It's just the class.

No, I understand.

Is that kid I met--
um, what's it--going with you?

What's his face?

CAROLINE: Eddie?

Yeah. Is Eddie going?

I don't know.

(keys jingle)

-Good-looking kid.
-Let's not do this, please.

No, I think he's a nice kid
and he's got a bright future.

(chuckles)

Maybe you should go home
with him after.

You're such an asshole.

He might be
a really great lay.

-Good night.
-I don't--I'm being serious.

-(phone ringing)
-I'm late!

Where you going?

CAROLINE: I'm late.

Hello.

What's wrong?

What? Neil? What is it?

(somber organ music)

*

Uh...

as most of you know,
uh, Paddy and I were friends.

I, uh...

(sighs)

Hope this doesn't offend
anyone.

(solemn music)

*

(shoe thudding)

*

(heels click)

*

Can't imagine a life
without you, Paddy.

(smooches)

*

-I talked to Nicole last week.
-Oh, that's nice.

BOB: Yeah, she's--

GWEN: I don't think she's
speaking to me right now.

Hard to keep track.
How is she?

BOB: Oh, you know. Same.

GWEN: I heard that she went
down for work--uh, to work.

BOB: Oh, yeah.
I talked to Jerry.

She's, uh--she just wasn't
right for the part.

-Oh.
-Yeah.

Darn.

Hey, I was flipping
the channels,

saw Ron on a police show.

Yeah, it was a big car chase.

I saw it too.
He had a couple of lines.

I was happy for him.

Yeah.

(exhales)

He and his wife, Sue,

they had another baby.

-Oh.
-Little boy.

Spitting image of the father.

Very strong jawline for
a little fella to carry off.

(both laugh)

Talked to, uh, your old buddy,
uh, Joe last week.

Oh. Well, how is he?

He wants to do a revival
of Charity.

You're kidding.

He wants to maybe
start out of town,

bring it in next season
and the season after.

Golly. Well, I think
that's wonderful.

Oh, yeah, I just have to find
another director.

I-I got too much on my plate.

Hmm.

You trust somebody else
with it?

I mean, if you were there
to supervise.

Joe wants to use
all the original steps.

Nobody knows them better
than you.

Oh, I-I don't--I don't know.

I'm...

I'm busy.

Yeah, but you don't have
to be there

for the first few weeks
of rehearsal

or early--early previews.

I don't know.

I can think of ten people
off the top of my head

who would be just as good

if not better
than I would at that.

Well, it's not just
any show.

That's our baby.
That's--that's Charity.

Well, if you like it so much,

why don't you just
do it yourself?

(chuckles)

I'm not directing a revival.
I'm not that old.

-Yes, you are.
-(both laugh)

(Bob coughs)

You start directing revivals
of your own shows, you...

you might as well announce
to the world

that "My career's finished."

Don't count me out yet.

I still got plenty to do.

(tape player clicks)

One, two, three, four, five,

six, seven, eight, nine, ten.

These are just random notes
on this project

called The Ladies' Man
or Second-Hand Ladies' Man

or Used Ladies' Man or...

(slurps)

That's probably a better title.

(match strikes)

Question the Ladies' Man's--

Ladies' Man--Ladies' Man
keeps asking himself.

And of course he does it
with humor.

(slurps)

As with all humor,

there's a certain truth
behind it.

He asks himself,
would you trade a lady

who really cared about you,

knew how much sugar and cream
you took in your coffee,

knew exactly
when your birthday was,

rubbed Vicks on your chest
when you had a cold,

babied you
when you were losing,

celebrated you
when you were winning,

dealt with all
your infantile emotions--

if you had such a-a lady,

would you trade her
for a strange piece of ass?

Just a girl who came along,

a one-night stand
that you may never see again.

Would you trade that for that?

One for the other?

(phone ringing)

His answer was...

Yes, I would.

(dramatic music)

It's autobiographical again.

(groans) Shit.

PHOEBE: Bobby?

-Yeah?
-It's for you.

Honey, I'm working.

This is--I'm working.

That's your last cigarillo
for the day.

-Okay.
-Okay.

-Okay.
-(phone receiver clatters)

Hello. Who is it?

GWEN: Hi--hi, it's me.

Oh. How's it going?

(sighs) It's not working.

BOB: What's not working?

GWEN: The--the whole thing.

It's--it's just one big joke.

It's a--it's
a Saturday morning cartoon.

There's no edge to it,
no heart.

Well, that's what
you're there for, Gwen.

You're there to supervise.

The choreography is fine.
It's everything else.

It's the...

(sighs)

It's--it's fine. It's fine.

It's fine.

It'll be fine.

I'm just gonna keep working
with him.

I just don't want for you to
have unrealistic expectations.

It's not unrealistic
to--to expect it to be great.

That's what we always expect,
Gwen.

Y--yes, well, I know that,
but...(sighs)

All right, look, if we were
in New York right now,

I would tell you to get
in a cab

and come down and just put
your eyes on it for two minutes.

But that's not an option, so...

(sighs)
What time do you--

what time do you start
rehearsal tomorrow?

("Big Spender" playing
on piano)

ALL: * Hey, big spender

*

* Hey, big spender

*

* Hey, big spender

*

* Spend a little time with

* Me

* Fun, laughs, good time

* Fun, laughs, good time

* Fun, laughs, good time

How's about it, palsy?

ALL: Yeah!

*

-What am I supposed to do?
-I don't know.

Give a half hour's worth
of notes and hope for the best?

I've been giving notes
in there for a month.

Sad thing is,
you know, the cast,

I mean,
it's--they're--they're--

they're--they're decent.

-They're good, aren't they?
-Debbie's terrific.

She's a talented girl.
Yes, I know.

Everything else up there,
though...

I know. I know.

I mean, if you could
just work with her, then...

-Yeah.
-(sighs)

Well, that poor director.

I mean, he is trying his best.

But he just isn't...you.

(sighs)
I don't know what to say.

I mean, you would have to start
completely from scratch.

You'd have to get in there
with me, though.

The ch--the character work.

Yeah, well, yeah,
of--of course.

Last time
we worked together...

It went so well.

(chuckles)

(coughing)

(soft music)

Yeah.

*

What do you think?

*

("If My Friends
Could See Me Now" playing)

* If they could see me now

* Alone with Mr. V

* Who's waiting on me
like he was a maître d' *

* I'd hear my buddies saying

* "Crazy, what gives?"

* Tonight she's living like
the other half lives *

* To think the highest brow

* Which I must say is he

* Should pick the lowest brow

* Which there's no doubt
is me *

* What a step up

* Holy cow,
they'd never believe it *

-* If my friends could see me
-(Bob clapping)

BOB: All right,
let's hold there.

Uh, what are you doing?

(chuckles nervously)
Dancing.

(laughter)

That's not dancing.

Well, they're your steps.

Exactly.

What are you saying
with those steps?

What's the story?

(sighs)

Gwen, show her the steps.

But, oh--Bob.

What, you don't--
you don't remember them?

Well, no, I...

-GWEN: I remember, but it's--
-BOB: Go ahead.

Oh, stop.

It's all yours.

(chuckles)

-Thank you.
-Mm-hmm.

This is very silly.

(both chuckle)

Take it back
from the same place.

(sighs)

(clears throat softly)

(sighs)

And...

*

* If they could see me now

* Alone with Mr. V

* Who's waiting on me
like he was a maître d' *

* I'd hear my buddies saying

* "Crazy, what gives?"

* Tonight she's living like
the other half lives *

* To think the highest brow

* Which I must say is he

* Should pick the lowest brow

* Which there's no doubt
is me *

* What a step up

* Holy cow,
they'd never believe it *

* If my friends could see me

(piano stops playing)

Now.

(piano playing)

*

(smooth jazz plays)

*

(music stops)

(knock on door)

BOB: You're a little early.

(knock on door)

It isn't time yet.

GWEN: I told you
the curtain is at 7:00.

BOB: God, you look magnificent.

Let's go.

It's time. (chuckles)

-Okay.
-The theater is thataway.

(both chuckle)

Ah, we've got to look
at the spacing

for Frug in Boston.

I haven't seen
the dimensions yet.

Have you?
It's tight.

That's--
that's what they say.

I think it's very tight.

What did Danny say
about those ticket sales?

Well, he said
that we're sold out

for the rest of Washington.

He thinks that by the time
we start advertising in Boston,

-we're going to be in a--Bob?
-Uh, something's wrong.

Bob! Oh, oh, God!

Oh--Okay, okay. It's okay.

Something's wrong.

Yup. That's okay.
That's okay.

You're just--you're
having a seizure, okay?

It's okay.
Somebody call an ambulance!

Please! He's an epileptic!

We just need to get you
your Dilantin.

That's all. That's all.
All right. All right.

So they'll hold the curtain
as long as they need to.

Nobody's starting
anything without you.

Don't want you worrying
about that right now.

And we'll j--we'll get there
when we get there.

-(ragged breathing)
-Okay?

There we go.
Okay, I'm here.

I'm here.
Yup, yup. There I am.

Yup, give me your--
there you go.

There you go.
Give me that hand.

There we go.

(dramatic music)

Bobby.

I'm here.

Okay?

*

(groans)

*

I'm right here, Bobby.

*

Okay? I'm right here.

(Gwen cries softly)

*

(Gwen cries)

*

(Bob scatting)

(both breathing heavily)

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.

*

(matches rattling)

(panting)

(sighs)
So what next?

I don't know. I-I'm very nervous
for some reason.

Yeah.

So am I.

*

I'm here, Bobby.

I'm here.

*

(cries)
Here.

Bobby.

*

(siren wails in distance)

*

*

(indistinct chatter)

(engine turns over)

*

(smooth jazz music)

*

(keys clacking, bell dings)

Captioned by Captionmax

ANNOUNCER: In space,
no one can hear you sc--

(all screaming)

Jeez, calm down.

You want some of this?
Ow!

I think they might,
actually.

Screw it. If we're dyin'
in here, I'm gonna go ahead
and finish that cake.

Something must be depleting
power from the ship!

Did someone leave the fan on
in the bathroom again?

-What the--
-Uh-oh.

ANNOUNCER: Archer 1999.

All new,
Wednesdays at 10:00 on FXX.

(record static)

(hip-hop beat)

(rapid drumming)

(beat resumes)

-Can I borrow your car?
-Sorry, Chip,

but I have to
drive my mom around
for the next few days.

She just had
cataract surgery.

I can smell
whoever's there.

ANNOUNCER: Baskets.

Season premiere,
Thursday, June 13 on FX.

WOMAN: Once upon a time,
there was a little boy.

-He had a gift.
-(muffled shouts)

And a curse.

-All his life
he's been tricked...
-(groans)

-and abused...
-(cackles)

-his head filled
with the voices.
-(shouts)

He's seen things,

horrible things.

And he wore his madness
like a coat,

because he saw
what he becomes.