All language subtitles for Smash s02e07 Chairs.eng

That is why
I'm writing this to you

Previously on Smash...

Just tell him how bad it is
and we can make it better.

Please.

We said we'd go with
whatever Eileen chose.

And I did.
And I agree.

You want to direct
this show so much?

Well, now's your chance.
I quit.

Jerry was paying Ellis for
information so that then he could take Bombshell over.

Caught in the storm
You can't do it.

But it isn't interfering
with rehearsals.

And it's not
going to either.

I'm still a part of
the show. I just can't be in it right now.

Yeah, we need to
find a replacement.

I'm the artistic
director at Manhattan Theater Workshop.

It's just the kind of
project that I look for.

Who's the director?
We don't have one.

Yeah, you do.

- We can start over
- Better

Both of us know

If we just let
the broken pieces

Let the broken pieces

Let the broken pieces

Let the broken pieces

Go

Thank you.
That was lovely.

Yeah. Not too shabby.

You, too.

I think I saw Scott smile.
But it could have been a pity smile.

Thanks for coming
and running it for us.

Okay, what's the verdict?

We got a slot this season?

Let me talk about
it with my team. My office, 10 minutes?

Sure.

Okay, I'm gonna need
someone to come upstairs and take notes.

Can I get a decent
cup of coffee?

'Cause this one
tastes like soap.

I'm Blake,
the lighting designer?

Mmm. Well done.

We sort of get our
own coffee around here.

Right.

Loved the show, BTW.

Thank you so much.

I will gladly get
you coffee anytime.

You might want
to wait outside.

We have an educational
outreach program in here every Tuesday.

Of course you do.

You want some
of this?

I'd love a skim cappuccino
with an extra shot and two Splendas, thank you.

Okay, here she is.

Marilyn the star,
showing up for work on Some Like It Hot.

Walking onto the set
for the first time.

Very Jayne Mansfield
in The Girl Can't Help It.

Really? I don't see
it that way at all.

You don't see...

Never mind. Anyway,
what I'm going for is,

"To hell with all
of you, I'm here!"

But isn't this when things are
going terribly wrong for her? Everyone on set hated her.

She was hiding
out in her trailer, popping pills.

Yeah, but we don't
want to telegraph that.

So she's putting
on a brave face.

So when she says,

"Here she is, boys,
Marilyn Monroe in the flesh," she's up?

Trying to be. Like...

"Here she is, boys,
Marilyn Monroe in the flesh!"

Did he just give
her a line reading?

Derek used to say...
Derek isn't here anymore.

Yeah. I know.

Tom, the new choreographer
has a question.

Let's set up for
National Pastime.

Are you sure you want
to hire a new choreographer while we're waiting?

It's been three weeks.

You really think Derek's
gonna grant me permission to use his choreography?

'Cause I don't.

So I have to move forward.

Derek is going to
sign the contract.

He's petty and sadistic,
it'll never happen.

Ooh, maybe that's
how I should connect with Karen?

Or talk with
a British accent?

I've seen it.
Don't do that.

It's like
we're speaking different languages.

We need a translator.

You know what,
don't focus on that right now.

Think of the show.
It's fantastic.

And the best part of it?

You're the director.

It is fun, right?

Oh, my God. So fun.

And you don't miss
that stuff with Marilyn and her mother, right?

It's working
great without it.

They're ready for you.

Karen!
One last thing.

I want you to just
think about...

Okay, Terry, in act two,
in the garden scene,

when you approach Tourvel,
don't turn upstage. I lose your face.

Timothy, a thought.
Hear me out.

What if, in that scene,
Valmont had smallpox?

Now, I know that sounds
crazy, but it is 100% historically accurate.

No.

Maybe just the early stages.
Just a few pocks?

Too much?

Yeah, okay.

Okay, moving on.

It's incredible.
You're like the Terry whisperer.

We owe you big time, Ivy.
This thing might run.

Third act.
The beginning of third needs a real punch. Yes?

One pock.

Peanuts!

Hot dogs!

Crackerjack!

I don't care
I don't care if I ever get back!

What the hell
am I watching?

Isn't this great?
It's got so much energy. It's like they're levitating.

I feel like I'm being
shot by a firing squad. What happened to the sex?

That thing they
did with the bats?

I had to avoid
Derek's choreography. For legal reasons.

But if you get Derek to sign
the contracts you gave him, we could go back to it.

Yes, my style
and my fashion will

Elevate the national pastime

Really well done,
Karen. Uh...

I'm still not getting
that "come hither" thing we talked about,

but it's close.

Well, maybe you'd
see it more if I wasn't

jumping up and
down the whole time?

Well, it's a state
of mind, not a look.

Let me be you.
Great.

So how is
everyone today?

I gotta be honest,
not good.

You said Tom was
the right choice to direct,

but I don't like
what I'm seeing.

You've only been
here 10 minutes.

In that time, he has
demonstrated bad judgment

and made our
star uncomfortable.

I thought you said he
was good with actors.

He's just nervous,
he's trying to impress you. Give him a little time.

We don't have time.

We're going
into tech soon.

Without the right
person at the helm, this ship will go down.

Tom will pull it
together.

You'll see.

He better.

I'm not encouraged.

What a vile
human being. I feel filthy just talking to him.

How long till
we're rid of him?

Katie and I are going
to go see the lawyers later today.

What do I do if
Jerry fires Tom before you get back?

Tom needs Karen
to respect him.

If Karen respects him,
everyone else will.

And if she doesn't?

Punch, punch.

Give me till
the end of the day.

I have a feeling
everything's going to change.

So, it's punch,
punch, punch?

Yeah, yeah. But it's just
kind of like if you're up and you're down...

And it's like, before
you even know it...

Oh, dear.

SMASH S02E07 Musical Chairs
Sync to WEB-DL by Jill.Valentine

I still love the show,
of course, and now my team does as well.

But after talking about it,
we think it might play better in our underground space.

What, you mean
that 80-seat hovel we were just in?

It's where we run new work
for our younger subscribers

alongside the main
stage productions.

Great.
Hit List is fresh. It's smart, it's vibrant.

But it doesn't have
much in the way of an overriding theme.

We like our main stage pieces
to be more universal.

Uh-huh. I get it.
Totally.

I don't.
I don't.

Our research has proven that
if our older members can't relate to the subject matter,

we have a hard time
getting them to renew.

As a nonprofit,
we need them around.

I would've thought a good show
might keep them around. Just a thought.

I know it may
not feel like this,

but I'm actually trying
to protect what you have.

Maybe move it
upstairs next season.

Yeah, that doesn't
work for me, Scott.

I might have left Broadway,
but I did not do it for 80 seats.

Look, I meet with the board
at the end of the week

to let them know
which way we're going.

I hope inspiration
strikes before that.

Okay, so you understand
what the man's looking for, right?

Oh, yeah.
Us starting from scratch.

No, he just wants
you to articulate your theme more clearly.

It can be small.

Rent added a narrator
after its workshop, and they got to Broadway.

So we'll add a narrator.
Oh, wait, no, we won't,

because that is
a terrible idea.

We don't need to
spell out our theme.

Don't listen to him.
He's not good with feedback.

We'll do whatever
you want.

Seriously, if you nod
your head any harder,

it is gonna pop
off of your body.

Do you think
this is a joke?

No, I think this
should be a conversation,

not just you
telling us what to do.

Well, I'm a director.
So I think this is exactly how it should go.

I don't see what
is so bad about

putting up a show
in an 80-seat theater and seeing how it goes.

You have just
come from the Fringe. All right?

This is supposed
to be a step up, not sideways.

This show is too
good for 80 seats.

What, the show is,
or you are?

Well, funny enough,
I don't think the two are mutually exclusive.

I can tell you right now,
the only reason the show seemed small today

was 'cause Karen
wasn't there.

Ana's good,
but she doesn't have what Karen has.

Thank you, Derek,
we'll think it all over.

Good. You can
give me your answer tomorrow night.

I've got comps for
the opening night of Liaisons.

And since that's
a small chamber piece,

that apparently completely
reinvented itself as a big musical,

without changing a word,

I would say it's
mandatory viewing. Wouldn't you?

The Broadway
Theater, 7:00.

Damn lawyers.

Can't believe they've
come up with nothing after all this time.

I know you don't
want to hear it, but I could talk to him.

We've been through
this, Katie.

He's never been
able to say no to me.

I never wanted you to know
all this had happened.

I don't want to put
you in the middle of it.

I'm already in
the middle of it. I'm your child.

Listen, I've made a lot
of mistakes in my life.

Somehow I've managed
not to screw you up, and I'm not gonna start now.

So that's it?
He just gets away with it?

Well, I do
have one last idea.

Although I didn't want
to have to resort to it.

The pantry was the place

A serving wench, Suzette

Taught me a brand-new recipe

Then had me serve it
to her on brochette

And so I say to all
the crying cuckolds

My God,
this is boring.

Didn't have to be.

And ce n'est pas ma faute

Was it really
that bad? It's not bad.

It's just not you.

And Tom and I
aren't connecting.

He's trying to be
respectful of the work you and I did together.

And at the same time,
putting his own mark on it. But it's just confusing.

Wouldn't be confusing
if you'd left with me.

Gwen Verdon would have
bailed if Fosse quit.

Oh, so now
you're Fosse, huh?

I saw Hit List
so clearly, but it's all out of focus now.

The boys will
figure it out.

Yeah, the boys
need to grow up.

I've hit a wall with
those little bastards.

I'll see what I can do.

Thank you.

We're at a dead end.

Oh!

Eileen, I'm so sorry.

I know.

What do we do now?

We're going to have
to pull the plug on the show.

I'm sorry?

You and Tom
control the material.

You can walk away,
threaten to shut down the show.

It's the only thing
that's gonna force Jerry's hand.

What if it doesn't work?
We'd have no show.

Well, it's not ours anyway.

It's not your show.
It's still mine.

It's not the version
you wanted.

This is a choreography
contract that Jerry was supposed to send to Derek.

He didn't send it
'cause he wants Derek back.

He's betting against Tom.

Mmm-hmm.

I can't let that happen.

That's why you have
to shut down the show.

No.

Not yet.

What if we make it
more clearly about fame,

about how people will
do anything to get it?

Wait, so the song about fame
and what people do to get it doesn't do that?

If you're not going
to help me, you can at least stop mocking me.

I'm not mocking you,
I just think this is pointless.

Hi.

What are you doing here?

I was just gonna lie
and say I was in the neighborhood.

Yeah, I always tell
people I'm going to lie before I do it.

Really catches
them off guard.

So how's
everything going? Caffeine?

Uh, with the show? It's...

Great, great.
Ana's killing it.

I know. She's amazing.

But Derek said
you guys were...

Ah, of course.
He sent you here to come check up on us.

I just want to help.

Then where have you been
the past three weeks?

Okay.

It's been really intense
at Bombshell with Derek gone.

Yeah, well, I wish I could
say we're all the better for having him, but...

Did you really think
you weren't going to have to rewrite anything?

People do it all the time.
They've been rewriting Bombshell,

it's been over a year.
Yeah, exactly.

Sometimes the work
gets better.

And sometimes it doesn't.
You know what?

As nice as it is to see you,
this isn't your problem.

Maybe it would be
if you were still in the show, but...

You're right. Sorry.

The theme you're looking for?
It's already there. It's about reinvention.

Changing who you are,
your destiny.

Mmm. Unfortunately,
that isn't universal,

'cause people don't
really do that, do they?

The board told me I could
have one slot of my own to show my point of view.

But it has to be
a home run.

If I fail, it's right
back to regional theater.

The last artistic director
only lasted a year.

Oh, I saw his season.

Trust me, it was
the right call.

Oh, I'll be right back.
All right, mate.

Oh!
Sorry.

Scott.

Julia.

What are you
doing here?

I heard that you
moved back to New York. Congrats on the job.

Thanks.

I meant to call.

Listen, I...
Oh, no, no, no. Go, go, go.

I'll get in touch.
Maybe we can have coffee?

Sure. Try my office.
They'll set that up.

Okay.

Julia. To what
do I owe this honor?

Well, since you've
ignored our calls,

I thought I might
bring these contracts to you in person.

Tom too frightened
to come himself?

Too busy.
You can sign right there.

Oh, I don't think so.

Oh, no, I'll have
to read this over. Think about it.

It's my reputation
that's on the line.

I've got no idea
what direction Tom is taking the show in.

Everyone is very
happy with it.

Oh, yeah?
Mmm-hmm.

Are you?
Of course.

So that work you did
with Peter, the best work of your career,

you're totally okay
that Tom and Eileen are just tossing that out?

Stop trying to be
so provocative.

Since you've left,
he's incorporated a lot of my version.

Not Marilyn's mother,
though.

I have my spies.

I know how much
you wanted her in.

You chose to leave.

Yeah, well, they left me
no other option, okay?

Stop playing games, okay?

If you want to come back,
just say that. But if you don't...

Sign the papers,
and let go.

Forgot your pen.

I guess I really
let him down.

There was nothing
to let him down over. You have a job.

You were never gonna
leave Broadway for some East Village basement.

No, of course not.

And I'm sure you're
better in their show than I was anyway.

Well, maybe a little bit.

But they haven't even
officially offered it to me yet, so...

Right now, we need to figure
out a way to get you to fall back in love with Bombshell,

before it's too late.

I've come to grovel.

I'll leave you two alone.

Hi.

Hi.
Hi.

I know we got off
on the wrong foot.

I've never done this before,
I'm still learning.

And I'm sorry.

No, I'm sorry.

I'm really not trying
to be difficult.

And I know you just want
your show to be the best.

And I want to do
whatever I can to make it the best with you.

Don't you wish
everyone could see us right now,

looking like we
actually get along?

Which we do.

Hey. You want
to show them?

Be my date tonight at
the Liaisons opening.

It'll be sort of like
our coming-out party.

Don't you think that
might make Ivy upset?

Ivy will be fine.
She understands the situation.

Thanks. I'd love to.

Yeah? Okay.
Yeah. Okay.

Oh. Ooh!
See you tonight.

Ivy. I've been on
the boards all afternoon.

Broadway World,
All That Chat, TheaterMania.

Did you know
our show is "meh"? I'm sorry?

Yeah, I've been called
a lot of things in my career, but "meh"?

Is there anything worse?

The only thing they
seemed to like is you.

You said we'd
made this better.

We did make it better.
Better from terrible.

Oh, man.
I need a Klonopin.

Except I don't.

Do you think they're right?
Tell me the truth. That's what you do.

I don't know what
this show is anymore.

I guess we didn't have
enough time to fix it.

Can I make
a confession?

Is it about
you and me? No.

Oh.
Kind of.

I wish I could get
out of this show. I really hate it.

Oh, I hate you in it.

I'm sorry, I do.
You're too good. It's annoying.

There's just something
better for me out there. For you, too.

I don't know.

This dud's never gonna
turn my career around.

Maybe it can.

Let's have some fun.

You know, like in
the old days, when you first went off your meds.

Except maybe a couple
days after it, you know, when you stabilized.

Yeah, yeah, yeah.

You mean with the mirrors?
And the sheep? And the full-frontal nudity?

Yes! Almost like that.

Hey, if we're going
to go down, we may as well go down in a blaze of glory.

Let's give them a show
they'll never forget!

Tom! Tom!

Hi, Seth!

Meet Karen Cartwright.

Pleasure.

I'm really looking
forward to Bombshell 2.0.

Will you guys
give me some scoop?

Is it amazing?
How high do you belt? Go!

It shows the edge
and sadness...

It's a big
old-fashioned musical...

Go ahead.
Big number... No, after you.

Which one is it?
Old-fashioned, or edgy?

Can't really
be both, can it?

Yep. No.
No. Yeah.

Oh, my God, that's
John Cameron Mitchell.

And there's Karen
with Seth Rudetsky.

Look at her.
She fits right in.

Of course she does.
She's a star.

Maybe if you did what
Scott asked you to do, you could be one, too.

You mean change my work
because of one person's opinion? No, thank you.

I like the show
the way it is. I don't think we need

to scream what it's
about in every scene.

No one said
"scream it."

It could be as simple
as one new song up top

that lets everyone know
what they're about to see.

When the curtain
rises on Bombshell,

and Norma Jean sings
Let Me Be Your Star, you understand everything.

So then why'd you
leave Bombshell,

if its themes are so
clearly articulated?

Why did I indeed?

Hey, where are
you going?

There's got to be
something in one of these.

Some union rule he broke.
Someone he forgot to pay.

Oh, my God, press
clippings from Carousel.

That was the first
show I did with your dad.

Oh, look.

He saved a picture
of the two of you in front of the marquee.

Hmm.

You really loved him,
didn't you?

Of course I did.

He loved you, too.

Yeah, he still does.
That's why he's doing what he's doing.

He couldn't believe
I had the courage to walk away.

Kind of makes
sense now, doesn't it?

Hmm.

God, how did we get here?

Three grown women,
digging through an office, looking for a silver bullet.

Desperate times.

Well, I hope
it's worth it.

Of course it's worth it.
What you and Tom have done is worth protecting.

Hey. Look at this.

It's a contract with
the Marilyn Monroe estate, in your name.

Yeah, they licensed me
some of her early journals and poetry.

I showed you
all that material.

Why
are you smiling?

Because I used it.

I think I just found
our silver bullet.

Hey, I didn't know
you were coming.

I could say the same.

Tom and I are
on a date.

Though I'm not quite
sure it's going so well.

I'm not gonna lie.

Seeing the two of you
together makes my heart beat faster.

Jerry!

Last person in the world
I wanted to see tonight.

And yet,
here I am. Mmm-hmm.

Things happened awfully
fast the other week. Maybe a little too fast.

Care to talk?

Jimmy, Kyle.

What are
you doing here?

I was just asking
myself the same thing.

We came with Derek,
but we lost him.

No, we didn't,
he's standing right there talking to Karen.

And some other guy.

That's Jerry Rand.
Producer of Bombshell.

Oh, so Derek's going
back to Bombshell. Shocker.

Looks like you're
out of a job.

Karen,
we should take our seats, the show's about to start.

You don't have
to sit with him if you don't want.

A couple of seats
have opened up next to me.

Unless you've
changed your mind.

No, we're still sitting there.
You're the one that's leaving.

Okay, no one's
going anywhere.

We're just having
a friendly conversation.

Great! And now it's over.
So if you'll excuse us...

There's nothing to
be threatened by, Tom.

I'm not threatened.
Just incredibly frustrated

that once again, you're
trying to get in the way of me and my show.

I'm not getting in
the way of anything.

You don't return my calls.
You won't sign the contract.

You're undermining
me at every turn.

You're doing that
all on your own.

Really? How?
Please tell me.

You know how
much I love to hear what you have to say.

No, don't listen to me, Tom.
Listen to Julia.

She wrote some of
the best stuff of her life with Marilyn and her mother,

and you just threw it out.
Or listen to Karen.

She's one of the brightest
young actresses around, she knows what's going on.

If I had either
of them on the show I'm working on now,

there'd be no stopping it.

Instead,
you've got what I want, and you are wasting it.

And you!

You're wasting
your chance.

If you want to
come back, Derek,

Bombshell is still yours.

Folks, it's time to take
your seats for the show.

Oh, Valmont,
you libertine.

A morning
such as this

is made for
natural-born hunter such as yourself.

My dear lady,
I can hardly take credit for my victories,

for it seems as
long as I have lived, the prey comes to me.

Ce n'est pas ma faute.

What do you mean,
"It's not your fault"?

Let me explain
it to you.

In song.

Some men are born
with money

Some men are born
with looks

Some men are born with
knowledge you won't find in Descartes' books

One man is given talent

While one is born
with strength

Some men are born with
shoulders wide while some endowed with length

But once in every century
there comes a blessed morn

A man like moi
with all the gifts I've listed here is born

So this has been my credo

Since I was very young

I say, "It's not my fault"

Or to put it in my tongue

Ce n'est pas ma faute

I'm really not to blame

I fear you'll have to ask
the Lord above why men do not come out the same

The day that I was born
I crowned just like a prince

It's true.

A nursemaid pinched
my derriere and ladies have been pinching ever since

Ooh!

My mother heard me cry

She offered up her breast

Then as a man I learned
to use that sad routine to sample all the rest

But when I list
my conquests

It's certainly
not meant to gloat

It's to remind you all
that ce n'est pas ma faute

Ce n'est pas ma faute

I've caused so many rifts

It's truly both a blessing
and a curse that I must always share these gifts

A tutor named Claudine

Once taught me all she knew

And when I had
exhausted all she had

Then I taught
her a thing or two

Get off me!

The pantry was the place

A serving wench, Suzette

Nice crepes.

Taught me a brand-new recipe
Then had me serve it to her on brochette

And so I say to all
the crying cuckolds

With their hands
around my throat

I'll have her home by 10:00
And ce n'est pas ma faute

En garde,
coup� and coup d'arr�t The pesky duels won't go away

It's simply not my
fault that I'm adored

Touch�, seconde,
arr�te, riposte

It's just a fact,
I do not boast

I'm blessed with
something mightier than either pen or sword!

Now dance,
wenches, dance!

Voulez-vous coucher avec moi?

Oh! Oh! Oh!

Sheep, I need the sheep.

Ce n'est pas ma faute
He's really not to blame

The problem is the moth
that's always circling the flame

Ce n'est pas ma faute
It's really not his fault

I'm gifted with a treasure
so why keep it in the vault?

Ce n'est pas ma faute
Please don't castrate the bull

I beg you, don't demagnetize
the magnet for its pull

Pull, pull

So if you want to find me
I'll be pitching tents beneath your petticoat

I see what keeps
this lass afloat

I choose this wench
to motorboat

No sheep is safe
from this old goat

I'll need some help
on this last note

Yes, ce n'est pas ma faute

Oh, are we finished?

Call my psychiatrist.

How is the poor guy?

I think he's gonna be okay,
but he's surrounded by doctors right now.

Well, at the very least,
you were wonderful.

He's right,
you were.

Thank you.

Your number was the only
thing in the whole show that made any sense.

It was very Irene Dunne
in The Awful Truth.

You mean when she
does the recital?

That's totally what
I was going for.

When you ran upstage
and tossed your head back?

I am so glad
you caught that.

How could I not?

Well, I should get back.

Of course. Call me later.

Bye.
Bye.

Is the show
going to close?

One would think.
Or hope, for all involved.

Then Ivy
would be free.

Free for what?

I'm sure you and I
could make this work,

but we'd always know
something wasn't right.

I'm not your Marilyn.
She is.

Karen...
It's... It's okay.

We tried.

You're a class act,
you know that? I'll talk to Eileen.

Thanks for everything.

I admit my cunning
plan backfired.

I just wish he hadn't
gone crazy before the end of the show.

I would have killed
to see that death scene.

So that's it, huh?
You're just gonna go back to Bombshell now.

No.

I was never going back.

Just having a bit of
trouble letting go.

Really?
Yes.

For some inexplicable reason,
I still believe in you two.

Enough to stick around anyway,
even if it does mean directing your completely unaltered show

in a space not much larger
than my bathroom.

That's where you want it
to be, then I want to be there with it.

Me too.

Karen.

I just quit
Bombshell.

You're joking.

I'm not.

I did.

I did.

Ever since you left,
and ever since I left you, I haven't felt right.

And I'd understand
if you don't want me back, but...

Did you really just give up
a Broadway show for us?

I guess I did.

I mean, I'll have to see
if they'll let me out of my contract, but...

Here's hoping.

You proved me wrong.

I just got an idea.

I know it sounds
like a problem.

A huge problem.

But I may have a solution.

Okay, you're gonna have
to tell us about it later, because, um...

Jerry. Hi.
Sit down, have a drink.

Katie.

When did you
get back in town?

I've been
home for days.

And you didn't
call me?

What's going on?

You know exactly
what's going on.

You paid Ellis Boyd
for information on Nick

so that you could
turn him in and get the show back.

You've been drinking
a little too much, Eileen.

On the contrary, Jerry,
I am stone-cold sober.

When we first brought
the idea to Eileen,

she made an agreement with
Marilyn Monroe's estate

for the rights to some
journals written by Marilyn herself.

Who cares?

Well, you probably should.
Because they formed almost 20% of the lyrics for the show.

If you plan on using any of
those songs, you'd be in violation of the estate's

exclusive agreement
with Eileen,

and they'd have
no choice but to shut us down.

Or you could
just sign the show over to Mom right now.

Hmm. That's not
gonna happen.

You know, I can forgive
the years of infidelity,

the unscrupulous behavior,
the total lack of a moral compass.

But what I will
never forgive you for is what you did to Nick.

He was a criminal.

He deserved it.

I'm done here.

Katie. Katie, wait.
I hope you're proud of yourself.

Look. Come, sit down,
talk to me.

You haven't heard
my side of this.

This whole time
I was hoping maybe this wasn't true.

That you couldn't
possibly stoop so low just to hurt Mom.

Is this really
what you wanted?

It's not that simple.

It should be.
I'm your daughter.

You hurt her,
you hurt me, too.

And you've hurt us
both for the last time.

Wait!

I knew that'd get him.

It is with
heavy heart

that I must announce
my departure from Liaisons.

Terry's understudy
will finish the week,

but unfortunately,
Liaisons will close this Sunday.

Great.
All that work.

Fantastic.

Should be any
minute now, right?

God, I hope so.

Oh, no.
What are you doing here?

Where's Eileen?

Calm down, dear.

Told you. Just had
to read through it all.

You know how it is,
you work on something you care about,

sometimes it's a bit
difficult to let go.

Tom Levitt, I hereby
bequeath my choreography and my blessing.

If you change
one bloody chasse, I'll take them both away.

- Derek.
- Hey.

Jerry broke down.

It took five lawyers,
and someone from the ADA's office,

and my darling daughter,
but Bombshell is finally mine.

There's just
one little issue. Who's our star?

Well, you know what they say?
When one door closes, another one opens.

Ivy is free now.

That's wonderful.

Whoo! Okay.
To Eileen Rand.

Champion of the downtrodden.
Arbiter of good taste.

The only producer
we have ever called our partner.

To my fabulous
collaborators.

And to my new director.

May Bombshell be everything
we ever hoped it would be.

All of us.

Hear, hear!

I love the version of
the show we have now.

But as hard as I try,
I cannot let go of Marilyn's mother.

The connection there
is the heart and soul of the piece to me.

Everything else is
in its proper place, everything.

But this.

If you can't
live without it, neither can I.

End of conversation.

Thank you.

Thank you for giving us
another moment of your time.

This is a brand-new
opening number, so it's a little bit rough,

but we're pretty
happy with it.

There's a block
on the edge of this town no one talks about

Where the train doesn't stop
and the kids know they're not getting out

You live in the loop
Of smoke's on the stoop

Counting the coins you got

You work at a bar
where all that you are

Is everything you're not

Someone tell me
when I can start again

And rewrite this story

How long can I stay
lost without a way

To rewrite
I wish I could rewrite

This story

Pretty face, pretty voice
Pretty much someone they forget

Hard to tell me apart
from the 10 other girls they just met

We can't see the hook
We can't sell the look

I hear it every day

You won't be a star
If you're who you are

So I just fade away

Make me someone new

Tell me what I do

To rewrite this story

How long can I stay

Lost without a way

To rewrite

I wish I could
rewrite this story

Change every word
of every line

Write any story but mine

Someone tell me when

Can I start again

And rewrite this story

Yeah! Yeah!

How long can I stay

Lost without a way

To rewrite

Rewrite

I wish I could rewrite

This story

You found it.
It wasn't me. It was them.

We realized the show
is about transformation,

but we just hadn't
actually said it yet.

It was a good note.

Thanks for giving it.

If this is the direction
the show's going in, the main stage is yours.

Let me introduce
your leads.

Jimmy Collins,
Karen Cartwright.

If you want the show,
it doesn't happen without them.

I can see why.
It's great to meet you again, Karen.

Derek.
Sure.

So I guess that's
it for me, then?

Not at all.
You just go back to being the sister.

Oh, great. The sister.

Again.

So you're okay with
where you landed?

No buyer's remorse?

None whatsoever.
Isn't that strange?

Your hair is...
Oh.

Thank you.

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

Sure. I'd love to.

Yeah. Let me
get my stuff.

Congratulations.

Scott was
very impressed. As am I.

Thanks, man.
It's getting there, you know.

Hey, if you don't
need me, I'm gonna... Jimmy.

Now Karen's on board
and we're all going to be working together,

I think you need to
understand something.

Okay.

Karen and I
have a history.

You can call it
a partnership.

- Yeah, I know.
- She's Your muse.

Kyle makes fun of
it all the time.

Oh, yeah.
That's nice for him.

I'm directing this show.

And when I direct,
I tend to get focused on something.

Or someone.

And if I get
distracted from that,

I get short.

I act out.

Yeah, what are you saying?
If you want me at the top of my game,

I suggest you focus on
your work so I can focus on mine. Got it?

Karen.

I'm sending Jimmy
and Kyle home with some notes on act two.

Do you fancy a drink?

Uh, sure, I guess.

If you really
can't go out. No, he can't.

Come on.

Notes? What notes?
I didn't get any notes. Did he give you notes?

Come on, man,
let's get out of here.

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