All language subtitles for Fosse Verdon - 01x02

It's just paradise.

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

Well, it was Bob's idea.
But I'm just so happy to see you.

I think it's exactly what you two need.
Some time away together.

You have to work things out.

You and Bobby are the only other couple
Neil and I can stand.

Every marriage
goes through rough patches.

Not yours.

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

- You didn't.
- Oh, I did.

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

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

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

When we first
started going together,

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

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

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

I had to make a point
of introducing him.

"This is Neil Simon.
He's a phenomenal young playwright."

You could just see
their eyes glaze over.

Frankly, I think a part of him
was relieved when I stopped dancing.

It meant he never had to play wife
at a cocktail party ever again.

- And you don't miss it, dancing?
- Oh.

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

Well, I was never Gwen Verdon.

Oh, stop.

The funny thing is
I've always loved baseball.

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

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

for the Boston Braves,
just like Babe Ruth.

- What did he say?
- Well, he said

"The Boston Braves
are the worst team in baseball,

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

when he could still hit the ball."

Oh, that's good. Say, George and I,
I think we landed on a choreographer.

- Tell me, tell me.
- Bobby Fosse.

He did "Pajama Game" for us.

- But what about Jerry?
- Well, Jerry-- Jerry's fantastic,

but, I mean,
Jerry Robbins wouldn't know

a baseball diamond
from a squash court.

You need someone for this show
who really understands

the vernacular,
who understands Americana.

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

It's a modern-day "Faust,"

and you need someone
who's not afraid of darker material.

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

-He's married to Joanie McCracken.
- No, no, I know who he is.

- He's the one with the hats.
- He does a lot more than hats.

- He's only choreographed one show.
- That is the beauty of it.

He's still got something to prove.

Well, it sounds like the decision
has already been made, Hal.

Now, why don't you meet him?

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

Well, actually, he suggested
that it might be nice

if the two of you were to get together
a little bit sooner, hmm?

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

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

In order to audition me.

Look, I told him I thought
it was absurd,

but you know these choreographers.
They get an idea in their heads, and--

You offered me the part a month ago.

Gwen, if I didn't think the two of you
were a perfect match,

I would tell the guy
to go take a hike, I promise you.

There is a real sense of humor
in his work, a real joy.

But sophisticated, like Chaplin.

Like Verdon.

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

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

you'll be stuck looking
for a new choreographer.

- Mr. Fosse?
- Oh, Bobby, please.

Oh, well. It's a pleasure.

Very nice to meet you.

- You're Joan McCracken's husband.
- Do you know Joanie?

Oh, she is one of
my favorite actresses.

Oh, yeah, she's a hoot.

You know, I saw her in "Galileo."

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

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

She'll be very flattered to hear that.

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

- Scott.
- Yeah.

- Brady.
- That's right.

Scott Brady.
He's always playing a cowboy.

Yeah, I've seen him on television.
Very tall, isn't he?

Well, he's not short.

- I have to admit,

I didn't see your show.

But I heard it was charming.

I didn't see yours either.

I guess that makes us even.

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

Sure, sure.

Michael Kidd told me
that he met you out in Hollywood,

and you were on contract with MGM.

That's true. Yeah, you asked
Michael Kidd about me?

Well, I asked a lot
of people about you.

Oh, that must have been difficult.

What's that?

Well, giving up dancing.

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

Well, you're not going to cast yourself
in this show, are you?

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

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

Do you want some water
or something or--

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

Yeah, sure....

What would you like to see me do?

I thought I'd teach you
something actually, if that's okay.

One of the numbers from the show.

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

They came to my apartment
three months ago

- to play through the score.
- Oh, yeah.

To try to entice me
to do the part.

Oh, well, I-I was just
playing around

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

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

What's taking you so long?

- It's a seduction, the whole number.
- Clearly.

Joe's here,

and there's some dialogue
at the top.

Dialogue, dialogue, dialogue.
Drums come in.

You're already tired,
so your arm drops.

- That's hardly seductive.
- She's not very good at seducing.

Full rotation of the feet.

I thought she was the world's
greatest temptress.

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

A little long in the tooth
for a temptress.

Chin down on the soutenu.
You caught that wave, that's nice.

And then, you're here.

Scoot, contract, and there.
Slouch the shoulders.

Slouch? I don't think I've ever

heard that word
from a choreographer before.

Oh, you don't want to give anything
away. Let him come to you.

-And not moving?
-What's sexier than standing still?

The movement comes here.

Toss your glove on the cut-off.

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

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

And--

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

George, Hal,
the audience, critics.

You can't do a striptease
on Broadway.

You think it's vulgar?

The other glove goes.
Yeah.

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

Six, seven, eight.
Squeeze out of the skirt.

Drop.
Where'd you learn that?

I was dancing
burlesque houses when I was 14.

One, two, three--
I was 13. One, two, three--

I played the Florentine Gardens.

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

Peanut shells on the floor
and everything.

I don't mean to brag,
but I headlined at the Cave of Winds.

- You did not.
- Yeah.

What about your mother? She didn't
mind you dancing in those places?

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

- Your father?
- My father was...

less encouraging. Your parents?

Oh, they didn't care
where I was dancing

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

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

Leg up, and back to Joe,
and one, two, three, four,

five, arms, seven.
Left, right, left, right--

What's that?

She had an itch.
She had to scratch it.

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

Would you do that with Jack Cole?
I asked about you, too.

Jack Cole always appreciated
my suggestions for improvements.

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

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

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

What comes next?

Next part.

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

Well, I try to be modest.

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

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

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

You already got this part. You had it
before you walked in here.

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

You didn't ask.

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

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

- How you feeling?
- Well, I'm much better than yesterday.

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

- How was it?
- Yeah, it was good. She's good, yeah.

- You liked her?
- She's fast.

I planned to teach her
the first 16 bars.

We ended up doing the whole number.

How about that?

I think you're going to love her.
She's a natural with these steps.

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

She can-- she can sing.

Everyone, everybody, stop.

You see what Gwen's doing with the arms?
Everyone see that?

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

Scooping ice cream!
Diamonds and pearls.

She brought you up, first thing.

- Yeah, she loved you in "Galileo."
- Really? Well, that's very nice.

Yeah, she's a big fan of yours.

She said that.

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

- You need anything, or...
- No.

- A glass of water or something?
- Mm-mm.

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

Can we take this lift
stage right, please?

Get Julia downstage, sweetheart.

Can we just go again
from the top, Bobby?

I don't have it in my body yet.

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

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

Just once more.

God!

Hey, Joanie.

It's Joanie McCracken, everyone.

- How much time do I have?
- About 20.

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

You can mark it this one time.

Let's take it from the turnaround.

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

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

- What's wrong?
- It happened again.

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

Hey, everyone, great.

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

You're getting out early
today for good behavior.

Nice job.
We'll revisit it tomorrow.

I'm going to need the room, though,

so if everyone could please,
give me some space.

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

Such an honor.

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

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

Let's get you home.

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

I'll tell you, if only they had
some halfway decent scenery here.

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

2,000 years old.

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

Is that what you think this is, Bob?
A romantic getaway?

Forget I said anything.

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

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

Then why did you come?

Because you told me you were going to
swallow a bottle of Seconal.

Maybe you should have let me.

Why don't you take
that line again?

No, the dialogue's fine.

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

Hey, what are you talking about?
What are you trying to-- what--

what do you want from me?

Oh, no, is that my line?

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

- This isn't funny to me, okay?
- No, no. It's a very dramatic scene.

It's just that we've done it
too many times.

- I screwed up, okay?
- And it's lost its entertainment value.

I know that.

I do love the location
that you've chosen this time.

- After you left, the last month--
- With the ocean in the background--

- On set, I couldn't think without you.
- It's a great touch, Bob.

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

Because you get the details.

I couldn't think without you,
you understand?

I want to come home.

- I'm out of business without you.
- Oh, no, you skipped a section, Bob.

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

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

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

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

With the translator?

With the German girl?

That doesn't change
how I feel about you.

- And I don't see why it should.
- Oh, my God.

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

How many times have I lied to you?

How many times have I stood there
and I promised it's the last time?

I don't want to lie to you anymore.
I don't want to sneak around.

I want to be able to see Hannah

and then come home
and not bullshit you.

Maybe I should find a lover,
too, then?

How about that?

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

You're stronger than I am.

Oh, up yours!

Listen to me--

- No.
- I need you.

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

Hey, hey, hey, hold on.

Hey, listen to me...

- No!
- Hey, hey.

Where are you going?
I'm trying to be honest with you.

What happens after I stop
being a baseball player?

Then where would I be?

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

After all,
there's nothing unusual about it.

How do you suppose some of these
politicians around town got started?

And parking lot owners?

Not quite.

Try taking it straight
out to the audience.

After all, there's
nothing unusual about it.

How do you suppose some of these
politicians around town got started?

And parking lot owners?

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

you'll get the laugh every time.

I feel like I'm upstaging
myself right now.

Don't cross so far downstage.

A couple of other things, gentlemen.

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

- Hi, Hal.
- Great to see you, darling.

Hey, I tried
calling you last night.

Oh, I stayed at Scott's place.

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

Well, I need to warm up.

Listen, what happened--
what happened yesterday,

it's a complicated situation.

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

Hey, give me a break.

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

What are you doing?

I'd like to be alone, please.

Well, I want to talk to you.

Can I talk to you?

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

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

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

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

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

I didn't know...

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

All right, listen, she's--

you know, you got
to understand something.

Will you look at me?

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

She-- listen to me.

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

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

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

to producers, she...

Who's going to hire a dying actress?

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

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

is be with you.

Do you hear what I'm saying?

I'm sorry.

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

A dying woman's husband.

I love you. I want to buy you
the moon and the stars, you understand?

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

I love you.
You are everything I want.

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

Don't do that.

I can fix it, I can fix it.

I already talked about Gloria's exit.

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

It's not playing.

The audience was a sea of coughs.

I counted six people
getting up to use the bathroom.

I've drilled it with Eddie 100 times.
He's missing every laugh.

Why don't we give the whole sequence
a good, hard look in the morning?

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

Well, in the meantime,
Jerry, start thinking

of what else you have
that we could fit there.

No, the sequence works, Mr. Abbott.
With all due respect, I--

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

Well, seeing it in front
of an audience,

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

You know, the New York audiences
are going to be even tougher.

Well, I'd like to at least see it
with another dancer in the part.

- Who?
- Me.

Put me in. I know exactly
what the performance is missing.

- The performance isn't an issue, Bobby.
- I disagree.

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

Oh, the masking, backstage left.

I can see people moving
furniture back there.

If we can lose ten minutes
in the first act.

Even five would help.

- How long is the number running?
- It feels like an hour and a half.

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

He did the same thing
on the last show.

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

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

What's the name
of that sandwich place?

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

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

Yes.

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

- Bobby, did you have a nice dinner?
- Yeah, I'm not calling too late, am I?

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

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

We're talking about the show.

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

- You go behind my back--
- We're having our nightly meeting here.

- Sweetie.
- You're having a meeting?

What kind of meeting?
A Judas meeting?

It's what we do, Bobby.

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

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

Why don't you go fuck yourself?

What did they say?

- Bobby, let us in, please.
- Yeah, why not, let them in.

- Hold on!
- Let's have a metting.

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

Very 'm sorry, Joanie.
Listen, Bobby.

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

I told you the same thing an hour ago.
The number doesn't work.

The audience isn't responding.

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

We need something with a
little more-- what?

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

Everyone in this room
respects you so much, Bobby.

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

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

Look, the number can stay in the show

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

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

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

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

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

No, if you're saying it's shit, Hal,

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

and step in front of a bus
than have an audience

watch Eddie mangle
that number again.

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

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

I can get you another--

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

Bob, can you please
come back here?

Bobby!

- Bobby, it's the middle of the night.
- Yeah, okay. Can I see Gwen please?

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

Who is it? What happened?

They're trying to cut the musical
chairs. They think it's shit.

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

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

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

What about a tap number?

Is it fun? Does it have energy?
They want energy.

Seems fun to me.

How much more fun can this
fucking musical take?

How much more bullshit
does this audience

really need shoved down its throat?

- If you want me to come back--
- What about another baseball number?

I'd rather gouge my eyes out.

Do you like the idea of a mambo?

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

Let's hear it.

Does this opus have words?

- No, play it again.
- From the same place?

From the top, Lonnie.

But they want fun.

It is fun. Listen.

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

They're not going to hear that.
They're not going to hear anything.

They'll be too busy looking at you,
and you'll be smiling so wide,

and you'll be dancing
so magnificently,

they'll think it's a musical.

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

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

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

and we're singing and we're dancing.

And the audience,
they're yukking it up.

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

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

A person who's peeled off
his own skin.

I can make this work.

What about that
shoulder thing you do?

Yeah.

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

Oh, Gwen. Oh, hello.

Bobby promised he would
introduce us at the party,

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

Well, I am a huge admirer of yours.

You know, you and Bobby have done
such wonderful work together.

Really, you capture every nuance,
every little quirk in his choreography.

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

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

Well, he's a wonderful teacher.

Oh, well, you have taught him plenty.
I see bits of you all over that stage.

That's what Bobby does.

He takes what's special in a girl,
and he makes it his own.

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

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

We were doing this silly little revue
called "Dance Me A Song."

It was his first time on Broadway.

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

He used to wait for me in the wings
with a flower every night.

How sweet.

Well, his wife didn't think so.

See, he was married to one of the girls
in the chorus, Mary-Ann.

He left her not long after that.

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

He'd gone to Hollywood thinking he
was going to be the next Fred Astaire.

Can you imagine?
God knows he had the talent.

He just didn't have the--

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

He never thanked me
for giving him a career.

He didn't want to be a choreographer.
All he ever wanted to be was a star.

I guess he thought I could make him one.

Well, maybe you'll do better.

- Okay, bye.
- Good-bye.

I was looking for you.

Get rid of him.

- I need you to leave him.
- Only if you leave her.

Wait.

I didn't say you had to go.

Well, I'm certainly not staying here
for another minute.

I can get another room.
You can spend the night, Joanie.

- No, thank you.
- Don't rush off to the city like this.

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

It's okay, you know, I--

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

Eventually, we could look
for something bigger.

Yeah.

I may have to borrow a little money.

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

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

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

That's exactly what you wanted,
isn't it?

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

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

I'm sorry.

Of course.

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

- It's not.

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

Well, I have a plane to catch.

Come inside. Joan's making dinner.
We're having drinks--

- We're ready.
- Where you going?

Let's see, what am I forgetting?
My wallet, my keys, sunglasses.

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

Well, I already called Nicole.
She's expecting me home.

Hey, just-- you made your point.

Oh, and I let her know that you won't
be living with us anymore.

But I'll let you call to explain.

You might want to give it
some time, though,

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

Hey, stop messing around.

- I'm rolling up the window.
- Just come i--

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

-Let's go.
-Come on.