All language subtitles for Fosse Verdon S01E03 Me and My Baby 1080p AMZN WEB-DL DDP5 1 H 264-MZABI_track4_[eng]

-(coin clatters)
-Sir, you can't be throwing
ancient coins at me.

-Guillermo, stab this man.
-Credit card's fine.

ANNOUNCER:
What We Do in the Shadows.

All new Wednesdays
at 10:00 on FX.

-(drumbeat)
-(fanfare)

FX presents Fosse/Verdon.

(elevator bell dings)

("Willkommen" by John Kander)

*

EMCEE: * Willkommen,
bienvenue, welcome *

* Fremder,
étranger, stranger *

* Glucklich zu sehen,
je suis enchanté *

* Happy to see you,
bleibe, reste, stay *

* Willkommen,
bienvenue, welcome *

* Im cabaret, au cabaret,
to cabaret *

*

(projector whirrs)

We heard you
were on vacation.

Yeah, I cut it short.
I missed you too much.

-Oh, I'm blushing.
-Your footage, Bob.

-It's out of this world.
-Whoa.

Those cabaret numbers?

You feel like
you're right there.

-Now I'm blushing.
-(giggles)

Chrissy, can you, uh,
go set up the projector?

No, I wouldn't
smoke those things

with somebody else's lungs.

There's a reason they added
a filter, you know.

Uh-huh.
What do you say

we dive right into
the deep end?

I don't wanna waste time
pussyfooting around

with the, uh, script scenes.
Let's bite the bullet.

Start with the dailies
for "Mein Herr,"

see what kind
of trouble we're in.

("Willkommen" continues)

-You wanted to pussyfoot?
-(laughs) No.

It's just--I thought that, uh--

you know, we'd just
show you the whole thing.

We put together
a cut for you.

You edited my movie?
My movie without--without me?

It's just a rough assembly.

*

Why do I feel like somebody
broke into my house,

turned over my furniture,
and--and shit on my bedspread?

The footage is running just
a little under four hours, Bob,

so if you have
to visit the men's room,

I'd recommend you do it now.

("Willkommen" continues)

(shoes tapping)

(projector whirring)

General thoughts?

I feel sick.

-What?
-It's unwatchable.

("Willkommen" resumes)

*

I'm going to throw up.
I need to throw up.

*

WOMEN: * Glucklich zu sehen,
je suis enchanté *

* Happy to see you

(melody segues into
edgy notes)

*

(continues energetically)

*

(Bob groaning, whimpering)

(screaming)

EMCEE: * Auf wiedersehen

*

* A bientot

-Six.
-Go fish.

GWEN: Uh-huh, no, I understand
your point of view,

but if they're asking
for a meeting,

why don't we just
set up a meeting?

I don't see any harm in it.

(pan sizzles)

Listen, I have to go, Mel.
It's dinnertime.

Okay, I'll call you tomorrow.
Yeah, you too.

Okay, bye-bye.

Nicole, come wash your hands.
It's time for dinner.

Nicole's not here tonight.
I'm Zorro.

Zorro, please wash
your hands.

A-and with soap.
I don't know how many times

I have to ask you, please.
I hate to repeat myself.

-Thank you, dear.
-Mm-hmm.

Now, I have...
some delicious trees.

If you know any
hungry monsters in town

who want to chomp, chomp,
chomp, chomp, chomp through--

-Surprise!
-Daddy!

You better come back here

before another monster
eats all of your trees.

-Oh, who is this?
-I'm Zorro.

Oh, hello, Zorro.
Oh, no, don't hurt me.

Don't hurt me.
Oh, scary Zorro.

Please don't hurt me.

Aha!
En garde!

Bobby, why didn't you tell me
that you were coming?

I would have made
twice as much food

if I had known that you were
going to be here for dinner.

-I brought Jade Garden, yeah.
-Chinese food.

Yeah.
(exhales)

I got a problem.
I got all this sesame chicken.

I don't know
what to do with it.

You don't know anybody
that likes sesame chicken--

-I do!
-Hey, well, that's great!

We'll have some sesame chicken.
Problem solved, let's eat.

What? What is it?
What are you looking for?

If there's champagne, do we--
Oh, there we go.

-Why, are we celebrating?
-Yeah, I got a new musical.

Oh, well, I had no idea.

You remember that show
that Mommy and I

took you to downtown?

"Godspell"?
You remember that show?

Well, the guy who wrote it,
this is his new musical.

It's called "Pippin."

I thought you passed
on that six months ago.

Well, I changed my mind.

-But you said it was terrible.
-Eh, what do I know?

"Godspell"'s been running
for over a year.

They've got productions
in London and Washington.

This kid, Schwartz,
he knows what sells.

-What's it about?
-Well, it's a crazy plot.

Uh, it's about--
Lights up on an old man

and his group
of traveling players.

They go from town to town
putting on shows,

and they've just arrived

in a small village
in their wagon.

It's got all their props in it,
all their costumes.

It sounds terrible, doesn't it?
It's pretty bad.

Well, Daddy's going to fix it.

I don't know how
he's going to fix it,

but he better figure it out.

(cork pops)

What are you
still doing here?

You know, I really could
use your help

on this opening number
of "Pippin."

(scoffs)

-What is going on with you?
-What do you mean?

-Everything's great.
-Well, you come in here.

You're bouncing off the walls.

Uh, I saw a cut of the movie.
(sighs)

-What's wrong with the movie?
-Oh, just a few things.

The numbers are flat.
The story doesn't make--

There is no story.
What is the story?

I'm gonna see if they'll
let me reshoot the whole thing.

You think they'll
spring for it?

You felt the same way
after you saw

the first cut of "Charity."

Yeah, look how well
that turned out.

I was thinking maybe you could
come to the editing room

for a few weeks, you know,

and maybe you'd see some
things that I don't see.

I'm feeling a little lost
right now.

-I can't.
-Why not?

Didn't I tell you?
I found a play.

-Oh.
-Yeah, I'm going to be

-in rehearsals.
-Yeah, a--a play.

A s--a straight play?

-Yes.
-Oh.

So it's called
"Children, Children!"

It's from a brand-new writer.
It's a terrific part,

and the play
is just phenomenal.

Well, that's--
Congratulations.

-When do you start?
-Mel is setting up

a meeting
with the director first.

I just wanna make sure
we have a good rapport

and we can establish trust,
because it's a difficult role.

Oh, you're gonna hate it.

I don't know why
you would say that to me.

Uh, when's the last time
you acted?

An hour ago,
when you walked in the door.

How'd I do?

That's very funny.
Acting in a straight play,

you know,
it's not like a musical.

No, it's easier.
I only have to do

one thing right
instead of three.

Well, i-i-in a play,
you know,

you have to tap
into real emotions.

You have to go into your own
experiences, sense memory.

You can't just
put on a funny walk

and call it a character,
you know?

Well, and you're certainly
the authority on the subject.

I mean,
how many straight plays

have you directed
at this point?

I can't count that high.

I'm trying to give you
some advice, okay?

It's late, Bob.
I think you should go home.

-This is my home.
-I have a hundred things to do

-before tomorrow morning.
-Gwyneth Evelyn Verdon.

Come here, I need you.
I need to you to watch it--

-Stop it.
-Once through with me.

You've had a little
too much to drink.

-Come to the editing room.
-Stop, get an assistant.

I have an assistant.
I need you.

Where's your German girl?

She was on set.

Why don't you have her
sit through it with you?

I'm sure she knows the movie
inside and out,

forwards and backwards.
Up and down, and up and down.

(liquid splashes)

(object thunks down)

She went back to Munich

'cause she missed
her boyfriend.

Tch. I thought she was
the love of your life.

You're the love of my life.

If you want to
come over here again,

you need to call first.

Turn off the lights
before you leave.

(phone line ringing)

*

(line ringing)

-Hello?
-Uh, Leanne, please.

She's out for the evening.
Can I take a message?

Is this her roommate?
What's your name?

-Who is this?
-Uh, this is Bob Fosse.

Oh. Mr. Fosse.
(giggling) I had no idea.

Leanne tells me you're--
you're a wonderful actress.

-Is that, uh--
-Oh...(giggles)

I'm--I'm just starting
a new show,

-and I wanted to...
-Well...

Talk to Leanne
about some of the ideas,

-see what she--
-Well--

Get some of her thoughts.

She'll be very sorry
she missed you.

What about you?
Are you, uh...are you busy?

(jazzy music)

No, I'm--
No, I'm not busy.

*

Well, I'm at
the Hyde Park Hotel, uh...

Do you want to meet at the bar?

(end jazzy notes)

*

(exhales)

(pencil scratches)

(distant child's crying)

(dark chords)

*

(slam)

Ladies and gentleman...

I give you Culver City's
very own Gwyneth...

Evelyn...
(applause)

Verdon.

Tell me who it is!

(exhales)

both:
* Beedle-dee-dee-dee-dee!

* Two ladies

* Beedle-dee-dee-dee-dee!

* Two ladies

* Beedle-dee-dee-dee-dee!

* And I'm the only man, ja

(sound winds down)

(exhales)

Are we staying too long
in this?

Cut it.

-The master?
-The number.

I don't understand what
it's doing in the movie.

Bobby, it's a good number.

It's not moving
the s-story forward.

It's not telling me anything
about the characters.

It's a two-minute jerk-off.

I'll keep working on it.
Yeah, do that.

I've been trying
to reach you all day.

No one has your number here.
Oh, this is great.

Gwen! You came. Fantastic.
Let's start from the top.

We can take you to the--
put it on a big screen.

Come in.

Hey, you brought--you
brought--you brought Nicole.

Listen to me.
Diniz is home with the flu.

I have a dinner meeting.
I need you to take Nicole.

I'd--I'd love to help.
I'm not--call a service.

-Yes, I called three.
-You know, I'm in the middle

-of the edit, Gwen.
-And I don't give a rat's ass.

-I'm not a babysitter.
-Yes, I know.

You're much cheaper.

Darling, I'm going
to pick you up at 8:00.

-Feed her. Something healthy.
-Hmm. Well, if you're

going to watch the movie,
you need popcorn and candy.

Tell Chrissy your favorite
candies in the whole world.

(laughs)

Darling,
I'll see you at 8:00.

Hey, hey, hey, look.

I understand why you won't
help me on the movie.

You're still pissed off
about what happened in Munich.

-Oh! Oh, no.
-No, no, I--

That has nothing
to do with it.

I really do need
to talk to you about this

-opening number of "Pippin."
-Well, I can't, Bob.

I--I would, but I'm late.

I'm meeting this kid
Schwartz in a week.

He wants me to talk him
through what I have,

and I got nothing,
I got bupkus.

They're going
to throw me off the show.

I don't know
what to tell you, Bob.

Maybe it's for the best.

What if
there's a part for you?

Are you kidding?

Well, I'd have to talk
to the writers first, but--

Oh, well, thank you.
No, I'm--I'm otherwise engaged.

It's a good part.
It's--it's Pippin's mother.

Oh, well, I'm not
playing a mother.

Well,
that's all I can tell you.

Give it the old college try.
(laughs)

You look terrible.
Are you sleeping?

Yeah, I sleep all the time.
I could fall asleep right now.

Well, maybe you should
stop the Seconal.

If I skip the Seconal,
I'm still exhausted.

I just don't sleep.

Well, what about
the Dexedrine?

(exhales)
(elevator bell dings)

That ain't doing the trick.

Well, maybe you
need to take more.

Hey, there she is.

Should we try
and watch it again?

With new eyes?

Maybe we should go on
to another number.

(pills rattling)
(exhales)

How come?

* Beedle-dee-dee-dee-dee!

* Two ladies

* Beedle-dee-dee-dee-dee!

* Two ladies

* Beedle-dee-dee-dee-dee!

* And I'm
the only man, ja *

WOMEN: * Beedle
-dee-dee-dee-dee! *

EMCEE: * I like it

WOMEN: * Beedle
-dee-dee-dee-dee! *

EMCEE: * They like it

-What do you think?
-It's funny.

Mm,
Pickle thinks it's funny.

* Two ladies

-At least somebody likes it.
-BOTH: * Two ladies

I'm telling you,
you can't get a better

-cut of steak in the city.
-I'm sure.

-That much is true.
-Listen, have you talked

to Joe about
setting up the meeting?

He's not interested
in a meeting.

Now he wants you to
audition.

Obviously,
you're not doing that.

They should be down
on their hands and knees,

kissing your ass.

Well, as delightful
as that sounds--

(both laugh)

Think about it from
their perspective, Mel.

(soft dinner music)

It's a lead role
in a straight play.

Look, I wouldn't hire me
without an audition, either.

I see where
they're coming from.

When Tennessee Williams
asked you to audition,

I didn't bat an eyelash,
did I?

This is not Tennessee Williams
by any stretch.

(wolf howls)

(dramatic music)

*

-You son of a bitch.
-No, no, no.

You son of a bitch.
Out of all the crap things

that you have done to me--
you told me that we were

gonna go see
"The Omega Man" tonight.

-Didn't we have plans--
-We are.

-We're gonna go later.
-You didn't say anything

-about this one.
-How about a midnight show?

Gwen's coming to pick her up
in half an hour.

So why--why do I
have to stay?

Because I have to go
to the editing room.

-I forgot to give notes.
-What do you--

-Can I go, too?
-No, you're going to stay here

with Uncle Paddy.

Chrissy said I can
come back anytime I wanted.

-Who's Chrissy?
-Um...

Chrissy said
she could come back.

-Who's Chrissy?
-Dad.

-Huh?
-Dad.

Oh, we're in the way.
She's watching that.

No, who's Chrissy?
Tell me who's Chrissy.

She's, uh, assistant editor.
She's very, very talented.

Oh, yeah, I bet she is.
I bet she's very,

-very, very talented.
-Yeah, she's very--

-I don't believe you.
-Give me a break, okay?

You know,
I'll tell you something.

In certain circles,
I am considered

to be a major
American dramatist.

And who do you think
your biggest fan is?

Tell Uncle Paddy how many times
you seen "Marty"?

-Who's Marty?
-Ernest Borgnine.

-We watched it.
-All right.

You can't stay here
for an hour?

Your marriage is so good,
it won't keep?

I'm not gonna forget this.
Get out of here.

Hey, hey, you're going to,

you know, clear the food
off the bed.

-Go.
-You're going to take

a nice nap.
Give me a kiss.

-Tickle, tickle, tickle, tickle.
-No, no, don't touch--

Tickle, tickle,
tickle, tickle.

-Don't touch me.
-Give me a kiss.

-Get out of here!
-You're a thing of beauty.

-I love you.
-I get nothing

out of this relationship.
(door thuds closed)

I want this, Mel.

I know you do.

And as soon as they call
with an offer--

No, I just need to work.

(soft dinner music)

Gwen, he'll--he'll be back.
Just...give it another week.

Stop. I don't want him back.
I want the part.

I can see that.

What time is it?

I can tell
by the look in your eyes

-we've had too much to drink.
-(laughs)

Oh, God!

Listen--Oh, I am--
I hate to do this to you,

but you're such
an old friend, I can.

-I'm late to pick up Nicole.
-Of course.

Listen,
why don't we just pretend

that I'd love to audition?

Look at me, I'm pretending.
This is me, I'm pretending.

-You're a doll.
-What a great idea.

-Love you, darling.
-Bye, Gwennie.

I'm looking for a gift.
Something in earrings.

Certainly.
We have some very nice ones.

Is he going to
turn into a wolf again?

Watch the movie
and you'll find out.

-Is it a full moon?
-You'll find out.

-Is she going to turn into--
-Just watch the movie!

(knocking)

It's open.

I know I'm late.
Just crucify me to--

(TV continues
in background)

(exhales)

-Where is he?
-Uh...

He had a meeting.

-How long has he been gone?
-Um, like 40 minutes.

And he just left
the two of you alone here?

You're welcome.
I get a nickel an hour.

-I'm joking, Gwen.
-What--

-What's wrong?
-Nothing.

I just--
I have a blazing headache.

-Paddy, you should go home.
-Okay.

Well, if you got a headache,
there's a pill in the john.

He's got a pill
for everything in there.

-Okay, you're relieved.
-Okay.

-See you, Pickle.
-Bye.

See you, Gwen.

(TV in background)

-I really got to go.
-Yeah, you keep saying that.

Yeah, no,
I mean it this time.

-Mm-hmm, what are those?
-These are, uh--vitamins.

-Yeah?
-Mm-hmm.

Can I have one?

I think you're
plenty healthy already.

(scoffs)

Okay, you've been
a good sport.

(laughs)

(groovy jazz music)

I guess Paddy can wait
a few more minutes.

(giggles)

This new Sunbeam
is the finest toaster

of its type too--

...has lifted itself
high above

the muddy ruts
of 50 years ago.

(door clattering)
Hey-ey.

MAN: The gulf between city...

What--what are you
still doing here?

MAN: Their ways of life
have mingled--

-Go use the ladies'.
-I don't have to.

Do what your
mother says, honey.

Come on.

Go sit outside for me.
I'll be right there.

Stay right here for me.

Where's Paddy?
He was supposed to--

What in the hell
were you thinking?

What are you
talking about?

You left her here alone
with a grown man.

Nicole?
I left her with Paddy.

It's completely
inappropriate!

What are you talking about?
I--I left for 30 minutes.

You can't spend
a single evening

alone with your daughter.
That was just too much to ask.

-Hey, whoa, whoa, whoa--
-Where did you go?

What was your meeting for?

What sort of a meeting exactly
does somebody have--

-Okay, you're way out of line.
-For a half an hour at night?

-Way out of line.
-You couldn't stay here

for a half an hour alone?

You--they were
on the bed together.

-Hey, I'm doing you a favor.
-A favor?

-Yeah, that's right.
-A favor?

-That's what you think this is?
-Yeah.

Well...don't worry.

I won't ask you
for any more...favors.

Are you out of your mind?
It's Paddy.

Okay, honey, let's get going.
Are you ready?

(dark music)

*

WOMAN: Ladies and gentlemen,
I give you Culver City's

very own
Gwyneth Evelyn Verdon.

(oohs and ahs)

(jazzy music)

*

GERTRUDE: Isn't she a miracle?

Born with terrible
twisted legs.

-No.
-Braces up to here for years.

Gertie never gave up.

HENAGHAN: Well, it was worth it,
wasn't it?

You've got real talent.

CORA: Mr. Henaghan's
in the business.

He's a theatre critic.

You are one of the most
promising dancers

I've seen in quite some time.

Talented, beautiful.

(jazzy music continues)

-Mr. Henaghan.
-Shh.

Hey, come here.
Come here.

Lie down.

(tense music)

Why?

Lie down.

(dark music)

*

JOSEPH: Who is it?

(sobs)

JOSEPH: O'Connell's boy.
Is he the father?

Tell me who it is right now
before I put your lights out.

-Please, don't!
-You stay out of it!

-Tell me who it is!
-GERTRUDE: Some good news.

Mr. Henaghan has agreed
to marry you.

(dark, somber music)

*

(upbeat jazz)

Well, hello!

Oh, my goodness,
I didn't realize

I'd be playing
to a full house.

Well, everyone was
so excited to meet you.

Oh, wow.
Thank you.

-A pleasure.
-Oh, well, likewise, likewise.

Oh, I wanted to fillet Arthur
for asking you to read.

Oh, no,
don't mention it, please.

-It's a travesty.
-I love to audition.

It's like a date
with a new crush.

Besides, who could blame him?
Gwen Verdon's a hoofer!

Oh, that is bunk
and we both know it,

but you're a doll
to pretend.

So who am I reading with?

(jazzy music)

I'd like to do it standing.

Whatever Lola wants.

(laughter)

Good one.

It's open!

-Whoo-hoo!
-Oh, well, good morning,

-Marie.
-How's the genius?

Shh. Please, Marie,
things are tough enough.

(phone rings)

Darling, could you
get that for me?

I wish somebody'd
give me a chance

to leave home for a while.

(phone ringing)

Fosse residence.

It's Mel.

(exhales)

Well, I don't expect
you've heard anything yet.

MEL: (laughs)

You got the part.

(light laugh)
You know, I had myself convinced

that they absolutely hated me.

MEL: Look, you know I'm always
straight with you.

I respect you too much
not to tell you the truth.

Okay, what is it?

MEL: You were not
everyone's first choice.

(sighs)

-Well, who was?
-MEL: Doesn't matter.

They'll all come around.
I'm not worried about that.

Once they--once they
see what you can do,

they're going to love you.
Who doesn't?

But if you want to tell
these guys to take a hike--

-No, no.
-MEL: Okay.

-No.
-MEL: Okay.

They said they'll call
next week with the schedule.

But in the meantime...

MAN: Ladies and gentleman,
the Jack Cole dancers!

(jazzy piano music)

*

(intense drumming)

*

Jim, it's almost 1:00.

We cannot miss
another month's rent.

They'll put us on the street.

(baby crying)

(cries)

(intense drumming
continues)

*

Ooh!
Whoo!

(applause)

Mr. Cole?
I'm Gwen Verdon.

I'm reviewing your show
for the "Hollywood Bugle."

I--I would love to ask you
a couple of questions.

-One.
-Excuse me?

One question.

I'm a dancer.

That's not a question.

No, it isn't.

MEL: Gwen, are you there?
This is good news.

Well, thank you.

You deserve this.

-MEL: Bye for now.
-Bye.

What did he say?

I've just been offered
a play.

(laughs)

Should we celebrate?

In general, you're giving
too much of your focus to Peg.

Peg is not your employer.
Evelyn is.

-She's the one to impress.
-Okay, got it, sorry.

You don't need to try
to charm the whole room.

The character's not as
socially adept as you are.

Yes, you gave me
that one yesterday.

I am sorry, I just...
forgot.

(groans)

The angel monologue.

You need to find something
active to play there.

Right now, you're just...
saying words.

Uh-huh, okay,
so I have to admit, Joe.

I am struggling to find out

what that moment
means for the character.

So if you could just tell me
exactly what you want me to do.

Some choreography?

(laughter)

Got me.

(laughs)

Oh, uh, yeah, she--
Just sit there.

Yeah, that's fine.

I'm sorry, I--I must
have forgotten

that we were going later today.
Are we going later?

-Is it late?
-Do you need to go?

Uh, no, no, no, she's fine.
She can stay right there.

Yeah, because this--
this might take a while.

GWEN: That's all right.

I actually had an idea
for the next scene.

We're not there yet.

We're still on the first scene
before Mark's entrance.

Oh, for me?

Because I think that Don's
feeling left out here.

(laughs)

-It's for you.
-Okay.

("Mein Herr" by John Kander)

*

SALLY: * But now it's over

* And though I used to care
I need the open air *

* You're better off
without me *

-What are we working on?
-KIT KAT GIRLS: * Es war sehr
gut *

SALLY: * Mein herr

(chorus continues singing
under held note)

*

SALLY: * And bye-bye

-And it's right...
-Hm?

-There.
-Stop it there.

(clunk)

-Something's off.
-The cut is late.

-Is that it?
-Yeah, it's--

"and while I used to care"...
(claps)

And it should be "and while
I used to (claps) care"...

-And then you're back to Liza.
-That's it.

-Do you have that?
-Yeah, I have it.

-While I used to (clap) care.
-I have it.

And didn't we have--
I remember that you had

the camera upstage
on the floor.

-For Liza's cross.
-Yes.

-Where is that?
-I don't have that circled.

I told her to print that.
I know for a fact

-I told her to print it.
-I'll order up the B Neg.

And you know that Sandy's a
half a beat behind in the wide?

I did that on purpose.
Bobby said it's a lousy club.

-Washed-up girl.
-Well, there's a difference

between washed-up
and just incompetent.

Just because she's been
giving head all night

doesn't mean
she can't count.

I'll take it out.

-Maybe it's not so terrible.
-Hm?

No, maybe not.

So what's next?

You don't have to thank me.

-No, you didn't even need me.
-Yes, I did.

Really, you didn't need me.

You just can't stand
to be alone.

(laughs)

-Oh, I wanted to tell you--
-Yeah?

That Nicole insisted
on buying the album

for "Godspell,"
and she just listens to it

over and over and over again.

That's the most religion
she's ever gotten.

-Oh, I think it's so sweet.
-How's the play?

-Oh.
-Nicole says the director's

-killing you with notes.
-Oh, did she?

Well, not in so many words,
but she--you know.

I mean, I wish
he'd give me more notes.

I wish he would just
come out and tell me

exactly what it is
that he wants me to do.

I wish you were directing.
(sighs)

W-what are you
having trouble with?

Oh, well, I don't--
Where would I start?

Well,
the worst of it...is this.

This writer has given me
this inane story

-about a little angel boy.
-Yeah.

Yeah, it's two pages, and Joe
just has me sitting there,

and then he wonders
why it's so dull.

-I thought maybe I would stand--
-Ask for a re-write.

Tell them to change
the angel to a little girl.

What do you know about boys?

You never raised one.

I think you're going to be--
that's going to be great.

You're going to be great.

Fuck you.

(somber music)

*

(baby crying)

-It's a short tour.
-JOSEPH: She's not coming back.

-Of course I'm coming back.
-JOSEPH: First she leaves her
husband,

then she leaves
her bastard with us.

GERTRUDE: You don't say no
to Jack Cole.

JOSEPH: This one doesn't
say no to anyone.

She has one skill,
shaking her behind.

And as far as I can tell, you
never had the presence of mind

to ask for compensation.

GWEN: Do you know the story
about the little angel boy?

My mother used to read it
to me when I was your age.

It's about a little boy
who goes to Heaven,

and becomes...an angel.

-An angel?
-Yes.

But when he gets to Heaven,

he realizes he isn't like
the other angels.

You see, he isn't beautiful
like they are.

And none of the other little
angels will play with him,

and he's all alone.

One day, he decides
to leave the angels

and to go live with the animals
in Animal Heaven instead.

They don't seem to mind
that his wings are short

or his harp is made of brass.

They're kind to him,

and they play with him
whenever he likes.

(soft music)

And he isn't lonely anymore.

And then slowly,
very slowly,

he begins to forget about
the toys and the playthings

that he had when he was a boy.

(baby crying)

And the little house
he lived in.

And even the mother and father
that he once knew.

(somber music)
(baby continues crying)

Until one day,
try as he might...

He can't remember a single
thing that came before.

It's a wonderful story,
isn't it?

Let's have you give him
the book one line sooner, Gwen.

And I really
need you to include

all the kids at the end there.

-Are we due for ten?
-Mm-hmm.

Uh, back in ten,
and we'll just--

we'll move on to
the next scene.

(low chatter)

(sighs)

(distant crying)

(baby continues crying)

(cheers and applause)

(breathing hard)

Got to love an opening night
audience, huh?

They're hot, have fun.

(applause continues)

That was great!

See you at the party.

-Ohh...
-'Scuse me.

(breathing hard)

Hey,

who's in the crowd tonight?
There's someone out there.

I can tell.
Did they tell you?

They never tell me.

Oh, I am starving.

Carnations, huh?
Who sent those?

-Gwen.
-Michael.

You got to come back.

But I--I'm in the middle
of my quick change.

Just, uh, come with me.

But I--I don't have
any clothes on.

-Uh...take this.
-What's happening?

(laughs)
I don't even know.

Come on.
You're gonna love it.

-What is it?
-You ready?

(applause, crowd commotion)
You hear 'em?

(applause,
commotion continues)

Uh-huh.
You hear 'em?

(crowd chanting "Verdon")

(applause, whistling,
commotion)

(applause, loud cheering)

(applause, cheering,
whistles)

(distant crying)

(baby crying over applause)

(somber music)

*

(baby crying)

(crying fades slowly)

(baby crying distantly)

(somber music)

*

(baby crying increases)

*

(baby crying)
(somber music)

* There'll be a change
in the weather *

* And a change in the sea

* And from now on
there'll be a change in me *

* My walk will be different,
my talk and my name *

* Nothin' about me's
gonna be the same *

* I'm gonna change my way
of livin' *

* If that ain't enough

* Well, then I'll change
the way I strut my stuff *

* 'Cause nobody wants you
when you're old and gray *

* There'll be some changes
made today *

* There'll be some

* Changes made

(end notes)
*

Captioned by Captionmax

I have to admit
I didn't see your show.

I didn't see
yours either, uh--

You know I won
the Tony Award for it.

Yeah, I got
one of those too.

ANNOUNCER: Tuesday.

He's only choreographed
one show.

He needs this show
to be spectacular.

Otherwise, he's just
a flash in the pan.

-She can act,
she can sing.
-You liked her.

Do you feel safe?

Am I supposed to?

ANNOUNCER: Fosse/Verdon.

All-new, Tuesday at 10:00,
only on FX.

(eerie chanting)

(high-pitched screaming)

(chanting continues)

(singing in foreign language)

(woman warbling)

(hissing)

(flames roaring)

-Oh!
-Aaah!

ANNOUNCER:
What We Do in the Shadows.

All new
Wednesdays at 10:00 on FX.

(grunts)

This is just-- This is--

(grunts) Seriously?

Whoo.

Who's the lucky guy?

ANNOUNCER: Better Things.

All new
Thursdays at 10:00 on FX.

(record static)

(hip-hop beat)

(rapid drumming)

(beat resumes)