Fosse/Verdon (2019) s01e03 Episode Script
Me and My Baby
1 [ELEVATOR BELL DINGS.]
["WILLKOMMEN" BY JOHN KANDER.]
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.
Glucklich zu sehen, je suis enchanté Happy to see you [MELODY SEGUES INTO EDGY NOTES.]
[CONTINUES ENERGETICALLY.]
[BOB GROANING, WHIMPERING.]
[SCREAMING.]
Auf wiedersehen A bientot - Six.
- Go fish.
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? 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 Beedle-dee-dee-dee-dee! I like it Beedle-dee-dee-dee-dee! They like it - What do you think? - It's funny.
Mm, Pickle thinks it's funny.
BOTH: Two ladies - At least somebody likes it.
- 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.
The gulf between city What what are you still doing here? 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.]
Ladies and gentleman, I give you Culver City's very own Gwyneth Evelyn Verdon.
[OOHS AND AHS.]
[JAZZY MUSIC.]
Isn't she a miracle? Born with terrible twisted legs.
- No - Braces up to here for years.
Gertie never gave up.
Well, it was worth it, wasn't it? You've got real talent.
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.]
Who is it? [SOBS.]
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! - 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.
[LAUGHS.]
You got the part.
[LIGHT LAUGH.]
You know, I had myself convinced that they absolutely hated me.
Look, you know I'm always straight with you.
I respect you too much not to tell you the truth.
Okay, what is it? You were not everyone's first choice.
[SIGHS.]
- Well, who was? - 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.
- Okay.
- No.
- Okay.
They said they'll call next week with the schedule.
But in the meantime 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.
Gwen, are you there? This is good news.
Well, thank you.
You deserve this.
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.
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.]
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? - Es war sehr gut Mein herr [CHORUS CONTINUES SINGING UNDER HELD NOTE.]
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.
- She's not coming back.
- Of course I'm coming back.
- First she leaves her husband, then she leaves her bastard with us.
You don't say no to Jack Cole.
This one doesn't say no to anyone.
She has one skill, shaking her behind.
As far as I can tell, you never had the presence of mind to ask for compensation.
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? Verdon! Verdon! Verdon! [APPLAUSE, WHISTLING, COMMOTION.]
Verdon! Verdon! Verdon! [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.]
["WILLKOMMEN" BY JOHN KANDER.]
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.
Glucklich zu sehen, je suis enchanté Happy to see you [MELODY SEGUES INTO EDGY NOTES.]
[CONTINUES ENERGETICALLY.]
[BOB GROANING, WHIMPERING.]
[SCREAMING.]
Auf wiedersehen A bientot - Six.
- Go fish.
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? 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 Beedle-dee-dee-dee-dee! I like it Beedle-dee-dee-dee-dee! They like it - What do you think? - It's funny.
Mm, Pickle thinks it's funny.
BOTH: Two ladies - At least somebody likes it.
- 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.
The gulf between city What what are you still doing here? 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.]
Ladies and gentleman, I give you Culver City's very own Gwyneth Evelyn Verdon.
[OOHS AND AHS.]
[JAZZY MUSIC.]
Isn't she a miracle? Born with terrible twisted legs.
- No - Braces up to here for years.
Gertie never gave up.
Well, it was worth it, wasn't it? You've got real talent.
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.]
Who is it? [SOBS.]
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! - 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.
[LAUGHS.]
You got the part.
[LIGHT LAUGH.]
You know, I had myself convinced that they absolutely hated me.
Look, you know I'm always straight with you.
I respect you too much not to tell you the truth.
Okay, what is it? You were not everyone's first choice.
[SIGHS.]
- Well, who was? - 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.
- Okay.
- No.
- Okay.
They said they'll call next week with the schedule.
But in the meantime 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.
Gwen, are you there? This is good news.
Well, thank you.
You deserve this.
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.
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.]
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? - Es war sehr gut Mein herr [CHORUS CONTINUES SINGING UNDER HELD NOTE.]
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.
- She's not coming back.
- Of course I'm coming back.
- First she leaves her husband, then she leaves her bastard with us.
You don't say no to Jack Cole.
This one doesn't say no to anyone.
She has one skill, shaking her behind.
As far as I can tell, you never had the presence of mind to ask for compensation.
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? Verdon! Verdon! Verdon! [APPLAUSE, WHISTLING, COMMOTION.]
Verdon! Verdon! Verdon! [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.]