All language subtitles for Fosse Verdon S01E07 Nowadays 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.

["All That Jazz" playing]

*

[music stops]

- Welcome,
ladies and gentlemen.

Son of a bitch!

- It didn't mean anything.
- Liar!

- Oh, listen to me.
I--I--

It's never gonna happen again.
- Oh, shut up!

- Whoa, whoa, whoa!

I--listen, I was
drinking too much.

I was--I was working.
- A chorus girl in my show?

- Hey, are you out
of your mind?

I--it's over.

- Oh, that's not what she told
the rest of the cast!

- Okay, okay, I--
- You...

- Hey, hey!
- Are humiliating me!

[crashing]

- You know I'm crazy about you?

- [weeping]

I was thinking,
let's get married.

- Oh, stop it.

[dramatic music]

- I'm serious.
- Oh, stop.

Stop it.
Stop.

- I think we should
get married.

- Bobby.
- I want to have a baby.

- Bobby, sto--you don't--
- Gwyneth Evelyn Verdon.

Will you marry me?

- Bobby, look at us.

- Look at us.

- You're about to witness
a story of greed...

- I can't live without you.
I need you.

- Exploitation...

- I want to have
a baby with you.

- Adultery...

- I want to be
with you forever.

- And treachery.

- And I want to have
a family with you.

- You don't know what
you're talking about.

- But I do.

- All the things we hold near
and dear to our hearts.

- I want to build a family.
I want to make a baby with you.

I want to--I want to marry you.
I love you.

Will you marry me?

*

Let's--let's make
a family together.

*

- [crying]
- Let's have a baby.

["All That Jazz" playing]

- * No, I'm no one's wife
but oh I love my life *

* And all that

* Jazz

- Stop, stop, stop.

Yeah, um, st--uh,
do it again.

Take out the smiles.

- How long have you been
in this business?

You know every production

takes out an insurance policy
on the director, right?

It's standard procedure.
- A million bucks?

That's not an insurance policy.
That's a bet.

- Do you know what
you sound like?

- They could have gotten
rich off of me.

- I'll tell you what
you sound like.

You sound like
a paranoid schizophrenic.

- Now I gotta walk back
in the rehearsal room

and pretend everybody there
doesn't wish I was dead.

- * Come on babe
why don't we paint the town *

* And all that jazz
and all that jazz *

- Everybody put their life
on hold for four months

to accommodate your sorry ass.

I heard Gwen gave loans
to half that cast for you.

- She knew no other director
would sign up to do a musical

with Gwen Verdon
as an ingénue.

- * Where the gin is cold
but the piano's hot *

* Just a noisy hall
where there's a nightly brawl *

- Stop.
Stop, Danny.

Um--
[clapping]

- Eat your sandwich.
Why don't you eat?

- I don't have an appetite.

- I wish I could give you
some of mine.

- Those doctors,
they fucked me up.

They took away all my--
all my prescriptions.

- Yeah?
I say God bless them.

- They didn't give me
enough time to adjust.

I'm--I'm trying to stay calm.

I'm kind of--I'm getting
a little, uh--

My--my doctor told me I'm not
supposed to get upset.

I'm getting a little upset
'cause if I have to hear you

sing this like it's a goddamn
musical comedy again,

I'm gonna jump out a window.

I'm fucked up,
do you understand?

I'm having a hard time.
I can't eat.

I can't think.
I can't focus.

How am I supposed to direct
a musical like that?

This is a--a show
about killers.

It's about people who use
people to get what they want.

And then they leave them
for dead

and they pretend to the whole
world like they're

Christian martyrs--
like they're saints.

But guess what, folks?
That's all smoke and mirrors.

You're murderers
and you're liars.

That's who you are.

Dance like that.

Let's take it again
from the amoeba, Danny.

Take out the swing.

- A-five, six, seven, eight.

- * Oh you're gonna see
your sheba shimmy shake *

- * And all that jazz
- That's good.

- * Oh she's gonna shimmy
till her garters break *

- * Ooh and all that jazz
- Very nice.

- * Show her where to park
her girdle *

* Oh, her mother's
blood'd curdle *

- Darker, darker.
Yeah, yeah.

Make it darker.

- * All that jazz

* Come on babe
why don't we paint the town *

* And all that jazz
- You like that, Gwen?

- * I'm gonna rouge my knees
and roll my stockings down *

- A-five, six, seven, eight.

["Overture" from "Chicago"
playing]

*

[instrumental rendition of
"All I Care About" playing]

*

- [groans]

*

[grunting]

*

[vocalizing]

*

[vocalizing]

*

[vocalizing]

- * Where'd you come from
- * Mississippi

- * And your parents
- * very wealthy

- * Where are they now
- * Six feet under

* But she was granted
one more start *

* The convent
of The Sacred Heart *

- * When'd you get here
- * 1920

- * How old were you
- * Don't remember

- * Then what happened
- * I met Amos

* And he stole my heart away,
convinced me to elope one day *

- A convent girl,
a runaway marriage!

It's too terrible,
you poor, poor dear.

- Okay, hold.

Let's take it back
from the beginning.

We'll just clean up everything.

We need to review
that whole section.

Let's go all the way back,
okay?

- I need a minute.

- We're gonna have to slow
the number down.

- That's an up-tempo song, Bob.

- Well, the actress
can't keep up,

so you're gonna have
to slow it down.

Hey, I need you to do me
a favor.

- What's that?

- Can you get me
some Dexedrine?

You know what Dexedrine is?
- Yeah.

- I just, uh--I can show you
where to go,

who to talk to.
- You know I can't do that.

- Sure you can.
It's easy.

- I won't do it.

- What do you mean,
you won't do it?

Why are you being
so sanctimonious?

It doesn't suit you.

Is that a no?
- That's a no.

- All right,
I'll remember that.

And don't tell anybody we
talked about this, all right?

- The drugs or the song?

- Wise guy.

Okay?

- Ready?

- * Then describe it
- * He came toward me

- * With a pistol
- * From my bureau

- * Did you fight him
- * Like a tiger

* He had strength
and she had none *

* And yet we both
reached for the gun *

* Oh yes oh yes oh yes we both
oh yes we both oh yes we both *

* Reached for
- Hold, please.

Let's cut this whole thing.
Let's cut it.

Let's cut the whole thing.
- Why?

- 'Cause it's not working.

- I can do this.

- I-I don't want you
to do it.

- I want to.

- Sandy, where--help me
work this out.

- * Understandable
understandable *

both: * Yes it's perfectly
understandable *

* Comprehensible
comprehensible *

* Not a bit reprehensible

- Uh, uh, it's terrific.

It's gonna be perfect.
Keep going.

Can I bum this?

*

- * Oh yes oh yes oh yes

- Oh, this is heavy.

You're gonna be here.

Jerry, can I borrow you
for a second?

Can you sit down?

Uh, you're gonna be
a hand puppet.

Yeah?
And your mouth--

just your mouth moves.
All right?

- * The gun the gun the gun

* Oh yes they both reached
for the gun *

- That's great.
- * For the gun

- Um, put your hand here.

- When do I sing?
- The whole number.

Then you can move your mouth,
um, like a ventriloquist dummy.

Great.

- * Oh yes they both oh yes
they both reached for the gun *

* The gun the gun the gun
the gun the gun the gun *

* The gun the gun

- Beautiful.
That's beautiful.

- I need you to do me a favor.

I can't work without
the Dexedrine.

Go to your doctor.
Tell him you're fatigued.

You want to lose
some weight, you know.

Paddy, it's like--
it's coffee for me.

It's not a--it's not
a big deal.

- I'm not gonna score drugs
for you, Bob.

- It's not scoring drugs.
It's--my cardiologist doesn't--

- Shut up.
Now you listen to me.

You want to kill yourself,
there's not a damn thing

I can do about it,
but I'm not gonna be the one

who put the bullets
in the chamber.

- That's a little dramatic.

- Well, I'm a dramatist,
all right?

- Is that so?
- And you're a lunatic.

- Bravo.
- Yeah, what are you doing?

You're not supposed to smoke!
- Hey, it's got--

It's got a filter.
What are you--

What's the matter with you?

Are you kidding me?
- I swear to God--

Yeah, I swear it,
if you die,

I'm gonna show up at your
funeral and I'm gonna deliver

the worst fucking eulogy
in the history of eulogies.

On my mother, it's not funny.

Not one witty remark.

I'm gonna keep them there
for three, four hours.

Not one humorous anecdote.

- If you die,
if you go first,

I'm not gonna say a word
at your funeral.

I'm just gonna do a tap dance.

- That sounds pretty nice.

- We are so proud
of all of the girls

and Brandon who have worked
so hard this term

to prepare tonight's
recital for you.

And the program tonight,
as you'll see,

is quite eclectic.

- We need to talk
about the ending.

- Oh.

- It's falling flat.
I can feel it every night.

- Well, we're still fine.
It's--you know, it's--

We're in previews.
That's what previews are for.

- We open in a week and a half.

- We'll--we'll--we'll keep
working it, okay?

[applause]

- The audience isn't satisfied.

Roxie needs a big final number.

- You mean you need
a big final number.

- To show that she's changed.

- Yeah, but she hasn't changed.
That's the point.

- Hey.

[Beethoven's
"Moonlight Sonata"]

- Look, I've stood by you on
every decision that you've made

in this show, but I have
to tell you what people

are saying about you.
- Who?

Freddy?
- No, the whole company.

- What are you talking about?

- They think you've
ruined the show.

You've taken out all the joy.
All the fun.

All the humor.
- That's horse shit.

That's a bunch of horse shit.
I saved it.

I fixed the show.

Made it mean something instead
of all this razzmatazz

flash bullshit.
- I know.

I'm on your side here.
I'm on your side.

But I just think with
a proper ending...

- She's great.
- Yeah, I know.

- It's already too long
as it is.

- Well, then cut it
from somewhere else.

- What, Chita's song?
- Look, I--

Did I say that?

- Can we watch the show,
please?

*

- Why don't you ask Chita what
she thinks of the ending?

- What are you talk--she's
never said anything to me.

- No, because they're all
scared of you so they don't

come up to you.

Instead they come to me
and they complain.

- Oh.

- Oh, why don't you just admit
the reason that you won't

give me the number is because
you don't think I can carry it?

- Oh, for Christ sakes,
are you kidding me?

- You don't think I can do it.

- If I thought that,
I would say it.

- [shushes]

*

- [sighs]

*

All right, fine,
I'll tell Freddy and John

to write a new number
for the ending,

but no sappy numbers.
Balance.

- Oh, thank God.

*

- Hi.
- Hey.

- Hello.
- Hey.

- I'm so sorry I missed you,
sweetheart.

They called us for rehearsal
at the last minute.

- Oh, please.
Don't worry about it.

She was wonderful.

- Of course.
I'm sick that I wasn't there.

- Star of the show.

You were.
- Come on in.

Here.

- Is there any food?
I'm starving.

- Yes.
Chinese just got here,

with extra sesame chicken.

- Can I have a little kiss
before I go?

I love you
and I'm so proud of you.

- Next stop,
New York City Ballet.

- Please don't say things
like that to her.

It isn't nice.

- Why?

- I don't want her
to get her hopes up.

Sorry.
- Oh, no.

Um, where's Bob?

- He had to go, uh, finish some
work at the studio, he said.

[clears throat]

- Are you sure I can't get you
a glass of water or...

- People don't like me,
do they?

- What are you talking about?
Everyone worships you.

- They don't think
I'm a nice guy.

- You're the nicest
choreographer in the business.

You don't call names.
You don't raise your voice.

- That's not a very high bar,
is it?

- How's the show going?

- Oh, uh, it's--
it's--it's fine, yeah.

- If you don't win the Tony
for that this year,

it will be a crime.
- Oh.

Well, it's a tough category
this season,

but next year you'll have
a lock on it, I'm sure.

- Oh, I'm just trying to get
to opening night.

- And you just got something--
something great.

- Yes, he's going to be
in Neil's new play.

- Oh, that's right.
That's--congratulations.

That's just--that's terrific.

- Thanks, yeah.
I'm understudying.

- Oh, don't pooh-pooh
it like that.

It's a tremendous opportunity.
- I'm not pooh-poohing it.

I'm just...

Just stating the facts.

- A lot of people think
I ruined the show.

You don't think I made it
too dark--too, uh--

too mean or anything?
- I think it's brilliant.

All the dancers do, I mean...

I mean, I've heard some people
say that maybe the ending--

maybe it's not
the right song there.

- Mmm.

What do you think it should be?

Something for Roxie, maybe?
- Yeah.

- Yeah?
- That'd be great.

It sounds perfect.

Am I fired?

Is that why you're here?

- What?
No, no.

Are you kidding?

You're one of the best dancers
that we have.

- Really?
- Yeah.

- Okay, well, I don't imagine
Bob will be too late.

- No, no, I wouldn't think so.

- So, um...
- Yeah.

- Shall we?
- Yeah.

- Have fun tonight.
- All right.

- Okay.
- Good to see you.

- Good night.

[door opening]

[door closing]

- I, uh--I came over 'cause
I need you to do me a favor.

Do you know what Dexies are?
- The pills?

- Yeah, Dexedrine.
I need you to get me some.

- Oh, I don't really think
I know anyone that--

- Oh, I can send you
to the right doctor.

- You don't think
you should get it?

- Ah, he--he doesn't want
to give me any,

which isn't very nice of him,
is it?

- Well, if he doesn't want
to give them to you...

- I--I need them to work.

And I really need them.

I'd owe you one.

- Okay.

- [sighs]
Thanks, sweetheart.

- It's getting late.

- It is.

I'm not tired.
Are you tired?

Do you wanna have a--like,
a nightcap or something?

Maybe you could show me
the rest of your place.

["Nowadays" playing on piano]

- * Joy everywhere

* Nowadays

* You can like the life
you're living *

* You can live
the life you like *

* You can even marry Harry

* But mess around with Ike

- [laughs]

- * And that's good
isn't it grand *

* Isn't it great
isn't it swell *

* Isn't it fun
Isn't it *

* But nothing stays

* In 50 years or so

* It's gonna change you know

* But oh it's Heaven

* Nowadays

*

- Well, finally.

We've got a closing
fucking number.

- [laughs]

[all laughing]

Thank you.

Thank you, thank you,
thank you.

[all laughing]

Thank you.
Thank you.

[laughs]

Oh.

- Let's hear it again.

Let's hear it again
from the top.

- Oh, well, do you
like it or not?

- I want to hear it again.

Danny?
- I want this song, Bob.

- From the top, please.

- [clears throat]

[piano playing]

*

* It's good
isn't it grand *

* Isn't it great

- Volume, please.
I can't--I can't hear you.

*

* Fun isn't it

[clears throat]

- Keep going.

- * Nowadays

[clears throat]

* There's men everywhere,
jazz everywhere *

* Booze everywhere,
life everywhere *

* Joy everywhere

- Okay, got it.
Got it.

Yeah.
No, it's a good song.

Um, let's do it again.

This time, let's have Gwen
and Chita switch out verses.

Gwen, you take the first one,
Chita, you take the next.

And then do the last
section together.

- Bobby, th--this
is Roxie's song.

I mean, it's Gwen's song.

- Yeah, I think we should
hear you do it together.

Danny?

- We wrote the song for Roxie,
Bobby.

It--it's her show and she's
earned the right to finish it.

- No, actually, John,
it's not her show.

It's their show.

Uh, it's a good song.
Could be a good ending.

- Just give her the song,
Bobby.

- I'd really like to listen
to you do it together.

Velma and Roxie.

Let's see if it works.
- This is ridiculous.

- It'll work, Bob.

We're just saying
it's not what we wrote.

- And I'm saying it'd
be better for the show

if the two of you--
- Better for the show?

Oh.

Oh, really?

[chuckles]

Better for the show, huh?

Is that really what you think?

- Yeah.

- I'll tell you what would have
been better for the show.

Opening four months ago with
a director who wasn't hell-bent

on turning it into two hours
of misery for the audience.

- Hey, I didn't ask
to do this show.

- Oh, no, no, no.
Of course not.

No, no, this is all one big
favor you're doing for us.

For all of us.
Just a big favor.

- Danny, can we take it
from the top?

- Just like my saving
your life was a favor.

And not letting them
replace you was a favor.

- Danny--

- And not losing
a single cast member.

And then there's
the biggest favor of all,

which is your entire
fucking career.

I could have said no when Hal
wanted you for "Damn Yankees."

And I could have said no when
you wanted to direct "Redhead."

I could have let you stay
a failed bald dancer.

A wannabe Fred Astaire.

But I picked you up
on my back.

And I carried you.

Through "Charity."
Through "Cabaret."

I've been carrying you
the whole goddamn time,

and you have never
forgiven me for it.

But you know damn well if I get
this song, it'll be my show

and not yours,
and you can't stand

the thought of it,
can you?

You just can't stand the fact
that I'm the star, not you.

- Well, I can see you're taking
this very personally, Gwen.

But the fact of the matter is

it really might be better
as a duet.

We can't know that until we,
uh, give it a try.

I say we give it a listen,
see how it feels.

Danny?

- One call from me
and you're gone from the show.

You're gone.

Gone.
One call.

[orchestra playing "Nowadays"]

[applause]

*

- Ladies and Gentlemen,
the Vickers Theatre--

Chicago's finest home
of family entertainment--

is proud to announce a first.

The first time anywhere there's
been an act of this nature.

Not only one little lady,
but two.

You've read about them
in the papers,

and now here they are,
Chicago's own killer dillers,

those two scintillating
sinners,

Roxie Hart and Velma Kelly!

[applause]

both: * You can like the life
you're living *

* You can live
the life you like *

* You can even marry Harry

* But mess around with Ike

* Whoa, whoa

* Whoa, whoa, whoa,
whoa, whoa *

* Whoa, whoa

* Whoa, whoa, whoa,
whoa, whoa *

* Whoa, whoa

* Whoa, whoa, whoa,
whoa, whoa *

*

* And that's good
isn't it grand *

* Isn't it great

* Isn't it swell

* Isn't it fun
isn't it *

* But nothing stays

* In 50 years or so

* It's gonna change you know
- [laughs]

both: * But oh it's Heaven

* Nowadays

*

[cheers and applause]

- Come on,
tell me the truth.

You wrote half of those
monologues, didn't you?

- And Herbie wrote
the other half, right?

- I have no idea what
you're talking about.

- Oh, stinker.
- Bobby wrote the whole thing.

- Come on, oh, right.

You just helped
with the typing?

- Herbie and I, we just--
we fixed a couple

of grammatical errors,
that's all.

- I had the ideas.

All they did was, uh,
figure out the, uh, words.

- Yes, they call that writing,
Bob.

[all laughing]

- Well, they might as well give
you two all of the Tonys now

and just get it over with.
- Stop it.

- Tell your friend
Michael Bennett that.

- [laughs]
- Sweetheart.

[Jose Feliciano's
"Goin' To Chicago Blues"]

*

- I finished giving him
the whole spiel, right?

"Hey, this is Gwen Verdon's
personal charity.

"The school really needs
philanthropist support

like yours to help these kids."

He looks at me,
he says,

"How much do you think
I should give?"

- And meanwhile I told Ron
that if we got a thousand

from this tightwad,
I'd be thrilled.

- So I'm looking at him,
I'm thinking about all

the department stores he's got,
and I hear myself say,

"I think a million dollars
would be a good start."

- He gave a thousand.

- He thought he got
such a deal!

[all laughing]

- Well played, guys.
Well played.

- The "Times" is out.

*

It's good for you.

*

- I got you wontons.

*

- Why is he showing her
the papers and--and not me?

- Have you eaten anything?

- Have you seen them yet?

- Just, will you please
eat something?

- I'm not--I'm not hungry.

*

[stammering]

How bad is it?
- Oh, they like Gwen.

I mean, he likes Chita.
- What about the show?

What does the--what do they say
about the show?

- You know.

Bobby, forget about it.

You don't--he's an idiot.
What does he fucking know?

You know?

It's gonna be a big hit
no matter what.

Bob.

[tense music]

*

- You really shouldn't
be drinking.

*

- Thanks.

Thanks for the tip.

*

- You are humiliating me!

- No, I want to build a family.
I want to make a baby with you.

I want to--I want to marry you.
I love you.

- * Whatever Lola wants

- Oh, my goodness.

- * Lola gets

- That's very good.

[laughs]

- Ah, that was the one
that did it for me.

When I saw you in that show,
talk about a triple threat.

- Oh, thank you.
You're too kind.

- And I'm a tough audience.
I see everything.

You're not my first client
in entertainment.

- Yeah.

- Obviously I can't name names,
but, uh--

And Mr. Foss?
- Fosse.

- Mr. Fosse, thank you.
Are you also in show business?

- Bobby's a director
and choreographer.

We just did "Redhead" together.
- Oh, my God.

You were wonderful in that.
So great.

- Oh, well,
it was a wonderful production.

Thank you.
- I'm a dancer, too.

And I'm an actor.

I was in a show called
"Pal Joey" at the City Center.

- I saw that, yes.
Yes.

You were very good.
Thanks.

- Yeah.
- Yeah.

- Well, looking at
your test results,

I can certainly see why you've
been having trouble conceiving.

- Yes, I know I'm a few years
older than your typical mother.

- Actually, your numbers look
pretty good, Miss Verdon.

The--the problem seems
to be Mr. Fosse.

The sperm motility is not quite
where we'd like to see it.

- Um, what does, uh--
what does that mean?

- It means your sperm are not
very strong swimmers.

No reason to give up hope,
though.

The fact that you two have
already been successful once

is a good sign.

You--your--your son, uh, James.

- Uh, Jimmy's from
a previous marriage.

- Oh, I'm sorry.

I--
- No, not at all.

- Still, there are a number
of procedures we can try,

ways to offset Mr. Fosse's,
uh, issue.

I would recommend
we begin by getting

an hysterosalpingogram,
which is just a fancy word

for an x-ray of
your reproductive tract.

We open the cervix and inject
a contrast dye

into the uterine cavity
which will then fill

the fallopian tubes
and the pelvis.

If everything looks good,
we'll start you on regular

injections of Menotropin,
which we use to stimulate

ovarian follicles.

I have to warn you that the
procedure can be quite painful,

Miss Verdon, but we've had
remarkable success with it.

- Wonderful.

And now, ladies and gentlemen,
Mr. Bob Fosse...

[drumroll]

And Miss Gwen Verdon...

In the act of creation.

[drumroll continues]

Notice how the smiles
never leave their faces.

*

[cymbals crashing]

Bobby.
- Huh?

- I got my period.

I'm sorry.

- It's okay.
Hey.

It's okay.

- And now,
ladies and gentlemen,

the hoodwink.

- I've gotta tell you,
when I saw your name

on the form, Miss Verdon,
I was sure someone

at the office was playing
a prank on me.

But it really is you.

- Oh, it really is me.

["Razzle Dazzle" playing]

- Well, I generally like
to start these interviews

with the prospective
adoptive mother.

Miss Verdon, you obviously have
a very successful career.

How would you make time
to care for a baby?

Well...

* Give 'em
the old razzle dazzle *

* Razzle dazzle 'em

I don't plan to work
for the first...

* Give them an act
with lots of flash in it *

* And the reaction
will be passionate *

Most mothers aren't
as fortunate as I am.

They have no choice but to...

* Hocus pocus
bead and feather 'em *

Since it's not only about...

* How can they see
with sequins in their eyes *

I'm sorry, I just get a little
emotional when I think

about that beautiful
little baby.

- Not at all.

- * All are rusting
what if in fact *

* You're just disgusting

* Razzle dazzle 'em
and they'll never catch wise *

*

- What a view.
My gosh.

- It's a great location for me,
working in the theater.

We're lucky enough to live
just a short train ride

from the heart of Broadway.

- * Give 'em
the old razzle dazzle *

* Razzle dazzle 'em

*

* Give 'em a show
that's so splendiferous *

* Row after row
will grow vociferous *

* Give 'em
the old flim flam flummox *

* Fool and fracture 'em

*

* How can they hear the truth
above the roar *

- Good size room.
- Yeah, plenty of space.

- * Throw 'em a fake
and a finagle *

* They'll never know
you're just a bagel *

* Razzle dazzle 'em

This is my favorite room
in the whole house.

* Razzle dazzle 'em

*

* Razzle dazzle 'em

* And they'll make you a star

*

Yes, no, thank you
for letting us know.

No, we understand.

Yes, we are, too.

I will.
Thank you.

Thank you.
Bye-bye.

[phone receiver clicks]
Oh.

There's a baby due in June.

In Rochester.

- Rochester?
Well--

[tender music]

- A baby.

Our baby.

*

[both laughing]

*

- Let's go out and celebrate.

*

- Why don't we stay in?

- Yeah?
- Yeah.

*

[door opening]

- Hey, uh, got a minute?

- Oh, well, you know,
people generally wait

for a response after
they knock on a door.

- Oh, right, yeah.
Uh--

- God.
[knocking]

- Can I come in?

- Well, no, you cannot
because you are already in,

which is my point.
- Well, uh, I-I'll go out.

I'll just, uh, try again.

We'll do a whole routine
out of it.

- Did you talk to Joe?
How are last week's receipts?

- Uh, strong enough
to keep us open.

I caught the second act.
[door closing]

Kids need a brush up.
Numbers are getting sloppy.

- I know.

I've been saying
the same thing.

- Hey, uh...

I couldn't tell, but are you
having some trouble

on the high notes?
- No, I have a cold.

- Oh.
- I just need a few days.

- I've actually been reading
the performance reports.

Phil says it's been, uh--
it's been a problem

for the last week.
You been a little off?

- Oh, shit.

It's stupid.

When the confetti canon
fired last Thursday,

I swallowed some of it.

- What does that mean?
Who--

- I-I went to the doctor
and apparently there

are blisters
on my vocal cords.

He recommended surgery,
which obviously is not

going to happen.

- Jesus, Gwen, well, if you
don't get the surgery,

what ha--what happens?

- I don't--well,
if I get the surgery,

I'm out of the show
for six weeks at least.

That's the best case scenario.

Imagine what would happen
to the ticket sales then.

- No, we'll figure that out.
I'll figure that out.

You gotta worry about
your voice, Gwen.

- What I'm worried about
is the show.

If we can stay open for a year,
then we recoup.

And if we recoup, then we
can put together a tour.

And then Nicole--
- All right, listen to me.

Listen to me.
I know, I know.

The show's gonna stay open.

You're gonna take care
of yourself.

You're gonna get the surgery.

You're gonna recover,
you're gonna come back,

and you're gonna sing this part
for a long, long time.

[soft music]

*

And, if you don't
get the surgery,

you're fired.
- Hmm.

*

[door closes]

*

Bobby.
- Hey.

What?

- This, you said that you would
put that together yesterday.

- I'm--I'm so close.
I'm working.

I'm trying to work
something out here.

I just need--can I do it later?

- Yeah, but in the meantime,
somebody's liable to fall

and trip and hit
their whatchamacallit.

- I can't--I can't
figure out the--

- I don't feel ve--

- Whoa, whoa, whoa.

Hey, hey, what's wrong?

- Oh.
- What's wrong?

- I don't--I don't--
- What's wrong?

- I-I got hot.
- Are you okay?

- Well, the good news
is almost every test

has come back negative.

Now, there is one test which
has positive results.

You're pregnant.

- Oh, what?
- What?

What?
- [laughing]

- Are you sure?
- Couldn't be clearer.

Congratulations.

- [laughing]

- Oh, my God.
Oh, my God.

Hey.
- Hey, Bobby.

- What's the score?
- The Mets are down by two.

- Ah.
What else is new?

Is Gwen still here?
- I haven't seen her leave.

[TV playing]

- Hey.
- Oh, hey.

- Hey.
- Did you watch?

- Uh, if I don't have notes,
I didn't watch.

- There was one adjustment
Sandy gave me last week

I wanted to ask you about.

- Oh, it's gonna have to--to be
another time, okay?

Okay.

Hey.
- Did you watch?

- No.

Rest your voice.
Don't talk.

Just listen.
I think I got it figured out.

Liza's got some time off,

and she'd be honored to go on
for you while you recover.

- Liza?
- Rest your voice.

We all agreed,
John, Freddy, Joe, Bobby.

No publicity around
her being in the show.

No--no press release,
no advertising.

It's your show.

It'll be your show
when you get back.

Okay?

That sound okay?

Just rest.

[tender music]

Okay?
- Okay.

*

- I put in honey and lemon.

Sip slowly.

And just clink the spoon twice
when you want anything.

- [laughing]
- Perfect.

Nicole, you need to leave!

Bonnie's gonna be
waiting downstairs.

- Bonnie can wait!

- Didn't you say she told you
if you're late again

she's not waiting?

- Well, then I'll get
the bus by myself.

[spoon clinking]

I'm so sorry, Ron.
Thank you for reminding me.

I'm heading down now.
[phone rings]

Feel better.

- Hello?

[door closes]
Yeah, she's good.

She stopped taking
the pain meds yesterday.

Yeah, she's still
on vocal rest so she--

Okay, sure.

It's Bob.

He swears you just
have to listen.

Here.

I got it.

- Hey.
Um, look, I got some news.

The--the "Times," they--they--
they found out about Liza.

They wanted to come back,
review the show again.

I tried to keep them out.

I fought tooth and nail, Gwen.

They were just gonna
buy tickets anyway.

So...

Good news is they loved it.

Clive Barnes says it's
actually seeing it again.

He, uh--he changed his mind.

He thinks it's a great show.

He says a lot of nice things
about you.

How terrific you are.

He just says Liza, she's, uh,
you know--she's different.

I talked to the box office
and, after that review,

there was a line down the block
starting at 6:00

to buy tickets.

That's good news, Gwen.

For the show, you know?

- [stammers]

[hoarsely]
Good news for--

for you,

you mean.
- Gwen.

- This is what you
always wanted, isn't it?

A hot young star.
- Gwen,

you're gonna hurt yourself.
- Okay, that's not true.

- Did you change
the steps for her?

- Listen to me.

- Did you change
the choreography?

- Uh, I put back a few
of the steps that we cut.

- The ones you thought
I couldn't do.

- What--what do you want
me to say, Gwen?

- You never wanted me
in this part, did you?

- Gwen, come on.
What--

- You never thought I could
carry the show, did you?

Did you?

Well?
- I thought you could do it

15 years ago when we first
started talking about it.

[dramatic music]

*

Gwen...

[receiver clicking]

*

What?

*

- I'm thinking that maybe
we should walk home

through the park.

It's such a beautiful d--
but I do have so many people

that I want to call.

I wonder if it's too soon.

- Uh, yeah.
- What?

What?
- Uh, n--nothing.

Uh, I'm just--
- What?

What is it?
What's wr--what's wrong?

- No, it's just, uh,
am I--

Am I the father?
Tell me the truth.

Am I--
- You cannot be serious.

- You heard--I mean, Littman,
you heard what he said

and my sperm...

He can't--he says I can't--
- Yes, I know.

- Well, then what--

- But that's why
it's a miracle.

- Who else have you--
who else have you been with?

- You are out of your mind.

Bobby.

[dramatic music]

You are the only man for me.

*

I love you.

*

Okay?

*

He did it on purpose.
- You really shouldn't talk.

- No publicity.
No ads.

It's all a big secret
to protect me.

It was just a trick to make
the critics interested enough

to come back again
and review it without me.

- You should quit.

I'm serious, Gwen.

Why go back if Bob doesn't
appreciate you?

You don't need this.
You don't need him.

- With a review like this,
the show will run for years.

The royalties will
set Nicole up forever.

- Nicole's fine.

She doesn't need
your royalties.

- This is my job.
Don't tell me how to do my job.

- [sighs]

- Well, hello, Carlos.
- Miss Verdon.

Welcome back.
Oh.

- Wonderful to see you.
How are you?

- I'm well, I'm well.
Thank you.

- Oh, I bet you had a busy few
weeks at the stage door.

- Mob scene every night.
It was awful.

You're here early.

- Well, back to work.

- Hey, listen, the cast is
planning something to

welcome you back.
Now, it's a surprise.

Don't tell them
I said anything.

- Mum's the word.
- How you feeling?

- I'm good.
Much better.

Thank you for asking.
Much better.

Better than ever.

* But oh it's Heaven

* Nowadays

[dramatic music]

*

[dramatic music]

*

- So cute.
What a punim.

- I know.
Look at that head of hair.

- Nicole looks exactly
like Bobby.

Those eyes.

- Well, luckily Nancy
looks just like you.

- Oh, thank the Lord.
[laughs]

- [baby cooing]

- Did you finally decide
on a middle name?

- Providence.

- Oh, beautiful.

*

- Hello.
Oh--

[shushes]
- [baby cooing]

- There's Daddy.
It's Daddy.

Hi, Daddy.

*

["All That Jazz" playing]

*

- * Come on babe
why don't we paint the town *

*

* And all that jazz

* I'm gonna rouge my knees
and roll my stockings down *

*

* And all that jazz

* Start the car
I know a whoopee spot *

* Where the gin is cold
but the piano's hot *

* It's just a noisy hall

* Where there's
a nightly brawl *

* And all that jazz

*

* That jazz

[dramatic music]

*

MAN: Five, six, seven, eight.

(drumming)

(horns playing)

(fingers snapping)

Again.

Fosse/Verdon. All new,
Tuesdays at 10:00 on FX.

I would like
some of that glitter.

Whatever for, Master?

I'm going to sprinkle it
on my face and on my body,

like Twilight.

ANNOUNCER:
What We Do in the Shadows,

all new Wednesdays at 10:00
on FX.

(shrieks)
Rocket pack!

You know how much fuel
you just wasted?

Oh, no. How much paint
did Michelangelo waste
on the Sistine Chapel?

ANNOUNCER: Archer 1999.

Premieres Wednesday, May 29
on FXX.

(record static)

(hip-hop beat)

(rapid drumming)

(beat resumes)

-WOMAN 1: I heard he's a savior.
-WOMAN 2: I heard he's a mutant.

-He's a god.
-Hi, Alice.

I help people open
their minds.

-Is this a cult?
-Ticktock, little birdie.

-I'm a good person.
-You end the world.

-Why do you need
to time travel?
-It's about saving lives.

Starting with mine.

(screams)

MAN: How do you surprise someone

who can go back in time
and warn himself?