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#203 : Nouvelle direction

Julia et Tom doivent traailler avec un nouveau collaborateur; Kyle et Jimmy présentent leur travail; Derek essaie de se faire la paix avec Ronnie; Ivy reçoit de l'aide de la part d'un vieil ami.

 Captures <

-> Behind The Scenes <-

Titre VO
The Dramaturg

Titre VF
Nouvelle direction

Première diffusion
12.02.2013

Première diffusion en France
06.11.2014

Diffusions

Logo de la chaîne NBC

Etats-Unis (inédit)
Mardi 19.02.2013 à 22:00
3.29m / 0.9% (18-49)

Plus de détails

Réalisation : Larry Shaw 
Scénario : Bryan Goluboff

Pressée de faire décoller ses protégés, Karen continue de parler à Derek de la nouvelle comédie musicale de Jimmy et Kyle. Bien que fan de la musique, Derek ne veut pas toucher à quelque chose à un stade si peu avancé, mais Karen le convainc de rencontrer les garçons. Dans son bureau, Eileen annonce à Tom et Julia qu’elle a engagée un dramaturge professionnel, Peter, pour les aider à insuffler un peu de vie dans le livret de Bombshell. Elle n’acceptera aucun refus de leur part et ils doivent le rencontrer dans l’après-midi. Derek rend visite à Veronica. Quand elle mentionne que les producteur de son prochain show « The Wiz » n’ont toujours pas trouvé de directeur qui puisse rendre la production excitante, Derek lui demande si elle serait d’accord pour assister à ses répétitions, une sorte d’audition.

Julia et Tom prennent place à une table pour trois. Julia n’est pas contente de l’implication du dramaturge et énumère une liste de ses inquiétudes. Si la nouvelle se répand, les gens vont croire qu’elle n’a plus sa tête ou que Bombshell est en difficulté ! Juste au moment où elle dit que les gens qui gagnent leur vie sur le travail des autres sont des parasites, Peter Gilman prend place à leur table. Il veut les rassurer en leur annonçant qu’il adore leur travail et qu’il ne s’en mêlera pas. Apparemment, Peter a travaillé avec beaucoup de leurs amis et a amélioré beaucoup de productions tout en restant anonyme. Karen fait un arrêt au restaurant pour apprendre à Jimmy et Kyle qu’ils ont rendez-vous avec Derek le soir suivant. Les deux amis sont nerveux, mais excités. Ils n’ont besoin que d’une chance !

Julia rencontre Peter à son appartement. Non seulement, il n’a pas vu la production, mais la seule chose qu’il aime vraiment dans le livret de Julia est le fait qu’il soit centré sur Marilyn ! Après la rencontre, elle appelle Tom en panique. Peter l’a prise de court et elle a l’intention d’aller voir Eileen immédiatement pour lui dire qu’ils ne travailleront pas avec Peter. A l’appartement, Kyle est complètement paniqué. Leur livret est étalé partout dans l’appartement, les scènes en désordre et des chansons manquantes. Tout à coup, Jimmy se souvient de son carnet de notes, qui contient toutes les scènes. Il l’a laissé derrière lui, à un endroit où aucun des deux ne peuvent retourner.

Karen rappelle à Derek qu’il doit rencontrer Jimmy et Kyle juste après la répétition. Veronica l’appelle pour lui dire que l’un des producteurs de « The Wiz » est en ville et est ouvert à son idée. Derek propose de l’amener à la répétition de l’un des numéros de Bombshell le jour suivant. Ivy annonce une nouvelle excitante à Tom : elle a obtenu une audition pour le rôle de Cécile dans la reprise de la comédie musicale « Liaisons ». Tom est certain qu’elle est faite pour ce rôle : cela pourrait bien la mettre devant les projecteurs ! Julia débarque dans le bureau d’Eileen, se plaignant de Peter, mais Eileen lui apprend qu’elle l’a engagé quand ils étaient encore à Boston, après qu’il ait vu la production quatre fois. Julia ne veut peut-être pas travailler avec Peter, mais si elle ne veut pas faire son travail, alors Eileen trouvera quelqu’un d’autre pour la remplacer elle.

Au milieu des répétitions, Derek devient frustré par Karen. Elle comprend la chanson dans sa tête, mais n’arrive pas à la ressentir avec son cœur. Quand Ivy interrompt la répétition par accident, Derek la fait regarder et critiquer la prestation de Karen. Ivy chante « Dancing On My Own » en regardant Karen et Derek évoluer sans elle. Quand Derek lui demande ce qu’il peut faire pour améliorer le numéro, elle lui conseille d’arrêter de douter de lui-même.

Rageuse, Julia retrouve Peter dans un restaurant et déverse son sac. Il a menti en lui disant qu’il n’avait pas vu la production ! Elle refuse d’être obligée de travailler avec quelqu’un ! D’un air hautain, Peter essaie de la raisonner. Il manque quelque chose d’essentiel à la production musicale : de la chaleur. Marilyn est l’un des plus grands sex symbols des Etats-Unis, et la production effleure à peine cela. Peut-être que Julia ne peut pas écrire de la chaleur, par ce qu’elle ne l’a jamais vécu… ? Quand Julia rétorque qu’elle connait la chaleur mieux que quiconque, Peter la défie de le prouver. Elle lui répond d’aller directement en enfer. Cette nuit-là, Jimmy entre par effraction dans une maison délabrée. Il fouille plusieurs tiroirs et fini par trouver son carnet de notes, quand un homme effrayant, Adam, le surprend. Jimmy s’enfuit.

Jimmy retrouve Kyle au restaurant, avec une lèvre enflée et une copie des scènes retravaillées de leur production musicale. Kyle l’avait supplié de ne pas y retourner mais Jimmy lui rappelle que c’est leur unique chance qui est en jeu. Karen appelle Jimmy avec une mauvaise nouvelle, les répétitions avec Derek ont pris du retard. Elle les rappellera le lendemain pour reporter la rencontre. Toujours furieuse, Julia débarque dans l’appartement de Tom. Il doit ramener son derrière au studio, car ils vont travailler toute la nuit. Le lendemain matin, Tom baille de fatigue tout en écoutant Ivy répéter le rôle de Cécile. Pensant que sa performance est mauvaise, Ivy pense à ne pas aller à l’audition, mais Tom n’est pas d’accord. Il lui réexplique le personnage de Cécile jusqu’à ce qu’Ivy soit vraiment à l’aise. Cécile est comme Marilyn et presque comme Ivy.

Le matin suivant, Tom, Julia et un acteur nommé Matt débarquent dans le studio de répétition de Derek : ils ont un nouveau numéro à répéter, avec Matt dans le rôle de F. Kennedy, avec une scène de sexe sulfureuse. Peter sera là pour évaluer le succès du numéro. Derek se rend vite compte que ce numéro ne l’aidera pas à créer une représentation de son travail pour les producteurs de « The Wiz » qui ne doivent pas tarder à arriver, mais il accepte de tester la scène. Kyle reste positif après l’annulation de la rencontre avec Derek, il est convaincu que Karen va les rappeler pour la reporter. Jimmy, quand à lui, n’est pas dupe.

Quand Veronica arrive au studio avec Henry, le producteur, Derek essaie de la prévenir des changements de plan. Le nouveau numéro est tellement sulfureux, Veronica ferait mieux d’aller rendre un verre avec Henry et il les rejoindra après. Veronica insiste pour voir le travail de Derek. A la fin du numéro, « Our Little Secret », Marilyn et JFK finissent au lit, ce qui n’impressionne pas Henry. L’atmosphère dans le studio devient encore plus tendue quand Jimmy arrive et se met à applaudir, seul. Quand Derek ne semble pas le reconnaitre, il quitte le studio, furieux. Karen part à sa poursuite. Henry part également. Eileen se retourne vers Peter, admirative de son travail. Julia veut que Peter dise à Eileen qu’elle a écrit le numéro seule, afin qu’il disparaisse. Mais il insiste qu’elle ne l’aurait jamais écrit s’il ne l’avait pas poussée. Ravie, Ivy appelle Tom pour lui dire qu’elle a obtenu le rôle de Cécile, et est en route pour Broadway ! Elle remercie Tom pour son aide et lui demande s’il n’a jamais envisagé de diriger une production. Il sait comment obtenir le meilleur des gens sans les torturer. Karen court après Jimmy pour s’excuser des la folie des derniers jours, et promet que Derek adore vraiment ses chansons. Jimmy ne veut rien entendre. Il se fiche de ce que pense Derek, mais la production musical est tout pour Kyle. Karen a fait croire à Kyle que ses rêves allaient se réaliser. Si ce n’est pas le cas, elle doit le lui dire.

Après la répétition, Julia, Tom et Peter traversent Time Square. Maintenant que Julia a prouvé qu’elle pouvait écrire une scène remarquable, elle pense qu’il est temps de revoir le livret avec une vue plus large. Peter n’est pas d’accord. La scène était bonne, mais elle n’était pas juste. Julia a inversé les rôles, montrant Marilyn comme une proie et non une prédatrice. Julia et Peter se chamaillent à nouveau, forçant Tom à s’immiscer entre eux. Veronica attend Derek à la sortie du studio et lui avoue combien elle est jalouse du travail qu’il ait. Elle n’a jamais osé ce genre de chose, et maintenant elle est coincée dans le rôle de sweetheart. Elle lui annonce qu’elle vient de quitter la production de « The Wiz », et veut que Derek l’aide à monter un concert d’un soir qui réinventera son image.

Cette nuit-là, Derek et Karen rendent visite à Kyle et Jimmy, tenant leur promesse. Jimmy est un peu saoul, et ne veut pas répondre à la porte, mais Kyle les invitent à entrer. Jimmy est hargneux mais Derek lui rend la pareil et s’affale dans le canapé. Jimmy est obligé de reconnaitre que Derek a tenu sa promesse. Jimmy et Kyle délivre un discours intriguant et passionné, et Derek est accroché. La nouvelle équipe se détend avec quelques bières et comment à discuter du projet, intitulé « Hit List ».

[Karen - Good for you ]

 

Derek : It's a good song. So what? All their songs are good. If they had an album, I'd buy it, maybe. But I'm a director of musicals, and there's no musical here.

Karen : Well, that's because I'm only playing you the songs.

Derek : Which you did last week as well.

Karen : And you liked them. I thought you'd want to hear more.

Derek : With you conveniently singing the demo this time?

Karen : Well, it is a song my character would sing. She's an aspiring pop star.

Derek : Oh, there are characters, are there? Is there a plot as well?

Karen : Of course, and the writers would love to tell you about it themselves.

Derek : Can't I just read the book?

Karen : They're still working on it. Meet with them. Let them explain their vision to you.

Derek : Look... I think it's great that you're hustling while "Bombshell" sorts itself out, but new musicals take years to develop. I need something right now... Something big.

Karen : This is big. I promise. How about later today?

Derek : No, I've got a meeting. The producers of "The Wiz" can't find my replacement yet. Surprise, surprise. I've convinced Ronnie to hear me out. It's been a while since I've had something to prove. It's quite refreshing.

Karen : Then you know how these guys feel.

Derek : All right, I will meet them.

Karen : Yay! Yes! Yes! So tomorrow then?

 

Julia : So what's going on, Eileen? Do we have news?

Eileen : Well, we all agree there are some problems on the show that need fixing, so let's hone in on yours... The book.

Julia : Of course. Tom and I have already started compiling some notes, talking about a few new numbers, maybe reordering some of the scenes.

Eileen : I fear that's not going to be enough. I think we need a fresh eye on the show.

Julia : A fresh eye?

Eileen : Yes. There's someone I want you to meet. His name is Peter Gilman, and I think you'll like him very much.

Tom : And what does this Peter Gilman do?

Eileen : He's a professional dramaturg.

Tom : A dramaturg? Are... are you joking?

Julia : Of course she's joking.

Eileen : Well, actually, it's a very common practice these days. Most of the big shows use one to reshape the book.

Julia : Look, I know I dropped the ball in Boston. But Tom and I are incredibly focused, ready to work 24/7.

Tom : And since neither of us has, actually, a life anymore...

Eileen : I'm sorry. There just isn't enough time. We've been allowed back into rehearsal, but the most we can do is restage a few numbers if we don't have a new book. And we need it fast. I'll set the meeting for 3:00 P.M. today.

 

Bernie : That was really good, Ivy. We'll be in touch.

Ivy : Thank you. Bernie... I know I shouldn't be asking this, but I was wondering if I could come back and read for the role of Cecile as well.

Bernie : Cecile?

Ivy : Mm-hmm.

Bernie : Every actress in town wants to do that part.

Ivy : Well, I understand, but I read the script, and I really think I could bring something special to it.

Bernie : Aren't you committed to "Bombshell" when it moves to Broadway? Okay. Okay. I'm going to give you a shot, but don't let me down.

Ivy : I won't. Thanks, Bernie.

 

[Veronica - Here I am, alone ]

Derek : "The Wiz" has never sounded better.

Veronica : Just familiarizing myself with the music. Which one you like?

Derek : None of them.

Veronica : Really? Why?

Derek : Well, does the innocence of Dorothy have to be quite so on the nose? And why is it period? It should feel now, not nostalgic.

Veronica : That's why we haven't found a director. The producers keep sending me people with the same safe take. I want to do something exciting, for a change.

Derek : Yeah, well, producers rarely have vision. That's why they need us to show it to them. Look... I know I'm not their favorite person right now, but what if I could change their mind, show them how family-friendly I can be?

Veronica : I don't think that's possible.

Derek : Oh, I do. We could stage a scene together, just you and me. How about as soon as I get home?

Veronica : Derek Wills... Auditioning?

Derek : Well, let's just call it rubbing their noses in it, but if it gets it back for me, then, yes... It's an audition.

Veronica : All right, let me see if I can set it up.

 

Julia : You know what happens. People hear that you have a dramaturg, and the rumor gets out that the show's in trouble. Okay, right. But what about the part where people think I've lost it, that I couldn't do it on my own?

Tom : Some dramaturgs really do help. Hi. Three for Levitt, please.

Julia : Yeah. And then there are some who say they're going to help but then end up suing for credit.

Waitress : Enjoy your meal.

Julia : I looked the guy up on I.B.D.B. He's had one legitimate production in New York, and it was a play.

Tom : Eileen said he shepherded three musicals currently on Broadway, and they're all hits. And he didn't take credit on any of them.

Julia : A man who makes his living feeding off the work of other writers without creating anything of his own is not a Shepherd. He's a parasite.

Peter :  Hi. I'm Peter, the parasite. Nice to meet you both. Uh, don't worry. This part is always awkward. Dramaturgs are like dentists. No one ever wants to see them, but once the pain wears off, you're always glad you went.

Julia : I have perfect teeth.

Tom : It's true. She's never had a cavity.

Julia : Not in my whole life, nope.

Peter :  Look, I know you guys don't want me here. But you should know, I wouldn't even take this meeting, if I did not love your work.

Julia : Really? What have you seen?

Peter :  "Three on a match", of course, "Temps", which I thought was brilliant... Didn't get a fair shake from the Times... Uh, Heaven on Earth", a really fun night at the theater. And I've been to three Houston/Levitt nights at Joe's pub.

Julia : There were only two.

Peter :  Well, I loved the 7:30 so much last time, I stayed for the 10:00. "Bombshell" is your baby. I get that. If you were to work with me, I would only be the midwife helping to Usher it safely into the world.

Julia : You read it, I assume?

Peter :  Oh, two or three times, just to get a sense, yeah. I mean, I have some thoughts, but there's a great foundation. I think it'll be extraordinary. I've got a, uh, list of writers that I've worked with who will apparently sing my praises. Ah, I am so sorry. Would you excuse me a minute?

Tom : We know half of the people on this list, and we didn't know he worked on their shows.

Julia : He did that one?

Tom : I don't know. He seems pretty credible.

Julia : God, I hope we don't regret this.

 

Kyle : He wants to meet? No joke?

Karen : He loves the songs. Now he just has to hear the story.

Kyle : Oh, my God. Derek Wills directing our show... I would die.

Jimmy : Whoa, slow down there, Kyle. It's just a meeting. The guy's probably just being polite to his star, anyway.

Karen : Derek's never polite. He wants to meet tomorrow night at 9:00.

Jimmy : Tomorrow?

Karen : I know you know the story, Kyle. You've told it to me.

Kyle : Of course I do. I'm just a little nervous.

Karen : Well, try not to be. You only get one shot with a guy like Derek.

Jimmy : What did you have to do to get yours?

Kyle : It's what she didn't do. Oh, wait. That was a private story?

Jimmy : Hey, don't worry about us. One shot's all we need.

 

Julia : Wow. You didn't get all of this from, uh, your one play. Script doctoring must pay well.

Peter :  Well, my collaborators make more. There's, uh, something you should know about me, Julia, is I'm a bit of a snob when it comes to my coffee. I prepare each cup individually, with this pour-over carafe. You smell that? Mmm. Isn't it incredible? I get the beans flown in directly from this little shop...

Julia : I don't like coffee. I never did. I drink tea. Why don't you just give me your thoughts, since you seem to have... A lot of them.

Peter :  Well, I wouldn't say I have a lot... Yet. Uh, I can start with some big-picture stuff. Now, I apologize if this sounds a little reductive, but "Bombshell" as it stands now, it's not a Broadway musical.

Julia : Excuse me?

Peter :  It's a biopic... And not a very in-depth one, at that. There's no character development outside of the songs, which are, admittedly, the best part...

Julia : Did you just call my book shallow?

Peter :  Well, no. No, not at all. Two-dimensional maybe.

Julia : The audience cried when Marilyn died. We had standing ovations every night.

Peter :  It was Boston.

Julia : I think you would feel differently if you had seen it.

Peter :  I shouldn't have to. It should live on the page with no protection. I think we should start on the first page...

Julia : Was there anything that you liked?

Peter :  I think Marilyn Monroe is an interesting subject for a musical.

 

Julia : Tom, I was ambushed. He wants to change everything.

Tom : So you didn't have fun with our potential collaborator?

Julia : Russell Crowe is more collaborative. North Korea is more collaborative. I'm going to Eileen's right now to tell her that there is no way that we are working with that man.

Tom : Okay. Go to Eileen. Get rid of the parasite. In the meantime, I may have an idea.

 

Jimmy : You look like the crazy dude from A beautiful mind.

Kyle : You could help.

Jimmy : I am. I'm taking a hit every time you throw your hands up like that.

Kyle : You think this is funny? Our meeting with Derek is tonight.

Jimmy : Look, you're the one that told Karen we'd have it all written out.

Kyle : There are gaps... Things we lost when we moved or stuff out of order.

Jimmy : Move. What? This scene shouldn't be here. We had it at the top. We cut this song, this one too. What? We had a better version of this entire sequence. We worked on it all night, wasted, remember? Fourth of July.

Kyle : I thought it was on my computer, but I can't find it anywhere.

Jimmy : It's in my old notebook... Which I left back at...

Kyle : Forget it.

Jimmy : I thought this was important to you.

Kyle : We'll remember it. I'm sure.

Jimmy : Not exactly how it was.

Kyle : You can't go back there, Jimmy... End of story.

 

Karen : Hello.

Derek : Hey.

Karen : I can't believe "Bombshell"'s back in rehearsal. So what are we working on?

Derek : Moving the line.

Karen : Just so long as we're done by dinner. Kyle Bishop and Jimmy Collins? We're meeting them tonight?

Derek : Oh, no. Yeah, we'll be done in plenty of time. What is it?

Karen : I was starting to think I was never going to be Marilyn again.

Derek : I wouldn't let that happen. Will you excuse me for a sec? Ronnie, hi.

Veronica : Listen, Derek... It turns out one of the producers of "The Wiz" is in town right now. He was open to your idea, but he's leaving town tomorrow.

Derek : Um, we're presenting a number from "Bombshell" for the team tomorrow. Why don't you just bring him along? It's a beautiful song. It might serve the same purpose.

Veronica : I'll get him there.

Derek : Okay, good. 4:00, yeah? All right, everyone, tomorrow just got a lot more important. Dancers, Karen's going to sing a song, you're going to listen, and then we're going to get to work. Karen?

 

[Karen & Ivy - They just keep moving the line ]

 

Ivy : Tom?

Tom : Look how good you are in the workshop last winter.

Ivy : Why are you watching this?

Tom : I wanted to be reminded of our initial instincts before jumping back into it. Want to watch with me?

Ivy : Did you find the cd? Thank you. Apparently this is out of print. I've only seen the “Dangerous Liaisons” movie. This was based on the book.

Tom : And it's a lost gem. It's about time somebody revived it.

Ivy : Well, I may have talked my way into an audition for it.

Tom : For Cecile? Oh, my God. That is the best part in the show. Madeline Kahn got nominated for featured for it.

Ivy : Yeah, but I don't know who I think I'm kidding. They're auditioning real names for it, like Jen Damiano and Jessie Mueller, and I'm...

Tom : Perfect for the part. Ivy, this could be your breakout.

Ivy : I don't know what came over me. I just knew I wanted it. I never thought somebody'd give me the chance after...

Tom : Just bring what you brought here, and you'll crush this audition. I'm sure of it.

 

Eileen : Why can't they just set the deposition? My whole company's waiting on this. I don't care if they want to find Nick Felder first. My team should not be penalized for their incompetence.

Julia : No, Eileen. No way. I have put in way too much work to let this happen.

Eileen : I'm going to have to call you back, David. Julia, what is it? What's so important? I'm juggling chain saws here.

Julia : Peter Gilman wants to create a whole new "Bombshell". I don't even think he wants to call it "Bombshell". His notes were completely insane.

Eileen : I think he was rather on the Mark myself.

Julia : You knew about them?

Eileen : Well, how do you think I chose him? He pitched his take to me in Boston.

Julia : He said he never saw the show.

Eileen : Oh, Julia, he saw it four times.

Julia : This was a setup?

Eileen : I thought if you came to this idea on your own that, uh, you'd be more comfortable.

Julia : I won't be forced to destroy my work like this.

Eileen : Then you don't have to.

Julia : Thank you.

Eileen : Julia, no one has invested more in this show than I have. And if you don't want to do the work, I will find someone who will.

 

[Karen - They just keep moving the line ]

Derek : No, no. That's not it. Remember, this number is about Marilyn realizing that being taken seriously as an actress is not the same thing as becoming a star.

Karen : I understand the song. Thanks.

Derek : You might get it up here, but I'm not feeling it in here. And when you come downstage here, there should be a little sigh in the movement before you pick yourself back up. All right, let's take it from the top, please.

Karen : Ivy.

Derek : Hey.

Ivy : Hey. When you said you were here, I didn't realize "Bombshell" was back up.

Derek : Yeah, a little bit. It's not legally cleared yet, but soon. What's up?

Ivy : I was just going to ask for a small favor, but I can see...

Derek : No, no, no, no. No, I could do with an audience right now. Can you just watch something for me, please?

Karen : Well, uh, I don't think that's...

Derek : Ivy has a great eye. She can tell us where we're going wrong. Okay, five minutes... We'll take it from the top. Karen, couple of things.

 

Peter :  The makers don't like the harvest, they refuse to produce a single bottle. It's one of the most highly regarded wines in the world. Tobacco, graphite, plum...

Julia : You son of a bitch.

Peter :  Contrary to the way this looks, I am not sleeping with this woman.

Julia : How did you like my show in Boston, huh, liar? All four times you came?

Peter :  Excuse me a minute. How did you find me here?

Julia : You have a chatty doorman.

Peter :  Hmm. And this meeting could not wait till tomorrow?

Julia : Uh, a meeting is something two people agree to. We've never had a meeting. That was a trap. If I have no choice, then I want specifics... Act by act, scene by scene, line by line.

Peter :  First of all, I did not lie about Boston. You did not ask. Now, you want specifics? Fine. Let's talk about the scope of your show.

Julia : Let's. Educate me.

Peter :  All right. You chose to focus on DiMaggio, right? The domestication of Monroe, barefoot in the kitchen making spaghetti sauce for her man.

Julia : It's a good center.

Peter :  For what? You really think an audience wants to watch Marilyn the housewife?

Julia : This show is about the biggest movie star in the world feeling like she still needs the stability of home to become a complete woman. It's her struggle to find balance between career and family.

Peter :  Look, that conflict might be your way into Marilyn's story. But it is not necessarily the most sellable or even relevant to a Broadway audience.

Julia : It's relevant to most women I know. And women buy the majority of the tickets on Broadway.

Peter :  Or maybe you concentrated on DiMaggio because you were in love with the actor who played him... Which, actually, I find surprising, because it damn sure didn't come through in the text. Marilyn Monroe was the greatest sex symbol in American history, okay? And the show had no sex, no sweat... Just a few sly songs with lyrics that faded to black before it got good. I mean, where was the... The steam on the windows, Julia? Huh? The excruciatingly slow striptease? The, um... The heat? I don't know. Maybe you just never felt it yourself.

Julia : You think I don't know heat?

Peter :  Mmmm.

Julia : I broke up a perfectly good marriage for heat. I sacrificed everything for it. I know heat better than anyone.

Peter :  Then prove it.

Julia : Go to hell.

 

[Ivy - Dancing on my own ]

Derek : No, no, no! You're still outside it, Karen.

Karen : I don't understand what you want. I'm not sure you do either.

Josh : Okay, let's take five.

Derek : Hey. I thought you wanted a favor.

Ivy : I changed my mind.

Derek : What, the number was that bad?

Ivy : It's not the number.

Derek : Ivy, Ivy... What can I do to make this better?

Ivy : It's not you. I shouldn't have come.

Derek : I meant the number.

Ivy : You're doubting yourself. You don't do that, remember? And neither should I.

 

Man : You got balls, Jimmy. I'll give you that.

 

Kyle : Hey. You're late.

Jimmy : But it's okay. Everyone is.

Kyle : I really hope this is good enough.

Jimmy : Will this help?

Kyle : Your lip... Jimmy, what did you do? I told you not to go back there.

Jimmy : It's your one shot, right, pal?

Kyle : Our shot, Jimmy. Karen, hey. Really? That's, um...

Jimmy : Karen, what's up?

Karen : Hey, I'm rehearsing with Derek, and we can't get away. I'm so sorry. Um, the good news is, is he knows you were ready, and he's very excited.

Derek : Karen!

Karen : I'll call you tomorrow to reschedule, okay?

Kyle : What'd she say?

Jimmy : Nothing. Let's bounce.

 

Tom : Ah, there you are.

Julia : I've been waiting to talk to you about some, um...

Tom : Get your butt in the studio now, Tom.

Julia : We're going to be working all night. I said, "now"!

 

Ivy : Valmont, you have asked, and I have answered. But we cannot go on like this. I belong to Danceny. You wear jealousy well, but on him...

Tom : Sorry, Ivy. It's not you. I was up all night working with Julia.

Ivy : I don't blame you for yawning. I'm so boring. And my accent's horrible. God, I should just cancel the whole audition.

Tom : Hey. You asked me for help. Let me help. We just haven't found her yet. And by "we," I mean "you." So who is Cecile? At the start, she's innocent.

Ivy : Unbroken.

Tom : Mmhmm. Untouched. Floating through a life that's, uh...

Ivy : Preordained.

Tom : Secretly waiting for something, anything, to pull her out of it.

Ivy : Sounds like Karen Cartwright.

Tom : Be nice.

Ivy : Sorry. I'm Cecile. I'm innocent and nice and yearning. Continue.

Tom : So she's easily corrupted. Over time, though, she learns to manipulate the men in turn.

Ivy : Oh, my God. She's Marilyn.

Tom : You know who else she is? You. You know what it's like to learn how to fight back.

Ivy : So Cecile tortures the men who hurt her. Sounds like fun.

Tom : You bet your ass it does. See, look at your face. You're already feeling it. This role is in you. You can do this.

Linda : Tom, five minutes.

Tom : Okay. I'm so proud of you. You're going to do great today.

Ivy : Thank you.

Tom : Okay.

 

Derek : What's going on? Who are you?

Julia : This is our friend Matt. He's going to be doing us a favor for the day.

Derek : You do realize we're doing "Moving the Line" today?

Julia : Not anymore. We have a new number for you.

Tom : Matt will play J.F.K. until Simon arrives.

Derek : No, we're doing my number as planned. Oh, God, who's this one... R.F.K.?

Julia : No, this is the dramaturg you signed off on. You wanted him, now you're going to watch what I've done. Okay, this is Kennedy and Marilyn, the mating dance between them at Bing Crosby's country home that leads to the first time they have sex.

Karen : This isn't going to help you with "The Wiz".

Derek : No, it's not.

 

Kyle : I texted Karen again, but I haven't heard back yet. I'm sure she'll call later with a new time.

Jimmy : Oh, yes, much later... Like, eight months or never.

Kyle : Karen's worked too hard to just disappear. She got Derek excited about us and recorded a demo for free.

Jimmy : And you're... You're basing this on what? You've known her for two minutes.

Kyle : I can just tell. She's not fake. Promise.

 

Derek : Look, we haven't had much time to work on this.

Eileen : All right, let's see what you've got.

Derek : All right, we'll just have to stagger through from the start, okay?

Eileen : Okay.

Derek : It's good of you to come, Henry.

Henry ; Veronica believes in you. I figure I owe her the benefit of the doubt.

Derek : You're very kind. Ronnie, come here. Listen, there's been a bit of a change of plan. Um, we're going to do a number that's not exactly PG, you know? So if you want to just go for drinks, I can meet you after.

Veronica : Well, we're here. We want to watch you work. It'll be fine.

Derek : Okay. Don't say I didn't warn you. Enjoy. Here we go.

 

Derek : OK, so the scene is been caught somewhere in Palm Springs. Kennedy and Marilyn have arranged to meet for the first time. The space is transformed. We hear music, the sounds of a party. Kennedy sees Marilyn enter, and their eyes lock across the room.

[Karen & Matt - Our Little Secret ]

Karen : Mr. President.

Matt : Oh, call me Jack. I'm a huge fan of your pictures.

Karen : I'm a fan of yours as well.

Matt : Glad to finally meet you in the, uh, flesh.

Karen : Disappointed?

Matt : Shall we go somewhere to talk, get to know each other better? Somewhere where there's...

 

Derek : Who are you?

Jimmy : You must be Derek. I'm... I'm Jimmy Collins.

Derek : Jimmy who?

Jimmy : Exactly.

Henry : That's supposed to change our minds?

Eileen : That was absolutely the right direction for Kennedy. It's got glamour, power, sex. It's the new Broadway. Good job.

 

Peter :  Look at you. You proved me wrong.

Julia : That was almost an apology. Try again.

Peter :  Am I supposed to be sorry for something?

Julia : The way you talked to me yesterday, for starters.

Peter :  I'm not sorry about that. I rather enjoyed it myself.

Julia : You're even crazier than I thought.

Peter :  Oh.

Julia : Now, tell Eileen that I did this on my own and that we won't be needing your services.

Peter :  On your own? You never would have written it without me pushing you. Sorry, kid. You're stuck with me now.

 

Ivy : Oh, my God, Tom. Tom, guess what. I got the part. I am Cecile.

Tom : Oh, my God. Ivy!

Ivy : Yeah, they said all the other girls played the innocence, and I found the drive underneath.

Tom : I wish you could see my face. I'm grinning like an ape. After everything that's happened, you're the one who's going to be on Broadway.

Ivy : Well, thanks to you. You'd make a really great director, you know.

Tom : Please.

Ivy : Seriously. You understand style and intention, and you know how to get the best out of people without torturing them. That's no small thing.

Tom : Hmm. Art without torture... I don't think it's possible.

 

Karen : What happened to your lip?

Jimmy : It doesn't matter, all right?

Karen : Jimmy, I'm sorry about the last few days. It's just been crazy...

Jimmy : You don't have to explain, Karen. Your show is in rehearsals. It's totally fine. I get it.

Karen : Just because I'm in "Bombshell" doesn't mean I'm any less available for you and Kyle. I totally meant what I said about your musical. We're going to get it moving.

Jimmy : Uh, how? Derek doesn't even know who the hell we are.

Karen : That's not true. I played him your songs, and he loved it. He was just in the moment, and it was our first day in rehearsal in a long time, and he just couldn't place you, that's all.

Jimmy : Look, I really don't care either way. This is just a bunch of crap that I scribbled down when I was wasted. But to Kyle, this is everything. And for the first time in his life, you have him believing that the one thing that he's ever wanted could actually come true. And if that's not the case, you tell him.

 

Julia : Well, if we're stuck with you, then let's talk process going forward.

Peter :  What are you thinking?

Julia : Well, now that you know I can hit a scene out of the park, I think it would be good to go back and take a broader view.

Peter :  I don't agree.

Tom : About a broader view?

Peter :  No, that she hit the scene out of the park.

Julia : Excuse me? Everyone loved the scene.

Peter :  Well, that's because it was good, but it wasn't right.

Julia : What the hell does that mean?

Peter :  Oh, come on. Julia, you got it backwards. You had Kennedy as the predator and poor Marilyn as the prey. He and Bobby destroyed Marilyn. You know, for such a sophisticated woman, that's an incredibly naive point of view. I mean, Marilyn only slept with very powerful men who could help her, ergo, she was the predator.

Tom : "Ergo"?

Julia : Jack and Bobby's cruelty led to her death. But I guess she was asking for it, huh? Blame the victim. Now, that is a sophisticated point of view.

Peter : Jack and Bobby died too. Let's not forget it.

Julia : Oh, are you saying Marilyn Monroe killed the Kennedys? Did you run that little twist by Eileen in Boston on one of your four trips?

Peter :  Mm, it's a lot better than shadow selves, that's for sure.

Julia : Now those are out?

Peter :  With extreme prejudice.

Tom : Ding, ding, ding. Both of you, back to your corners. Take a rest. Wow.

 

Derek : You're still here?

Veronica : I came back. Sorry I ran out before.

Derek : It's okay.

Veronica : Seeing what you did up there made me jealous. I've never been allowed chances like that. When I first got in this business, all I wanted to do was get to the top, but now I'm stuck here... Broadway's sweetheart playing Dorothy at almost 30 years old.

Derek : It's not too late.

Veronica : Which is why I just dropped out of "The Wiz". It's time I show everyone what I'm capable of.

Derek : What can I do to help?

Veronica : I want to do a one-night-only show... The kind of concert that people will talk about years from now, kick themselves for missing.

Derek : Of course.

Veronica : I want the world to know that Veronica Moore is not their Broadway baby anymore. Can you do that?

Derek : Can you?

Veronica : It's scary, but if I'm going to grow, I got to take this chance. You want to grab a drink and talk about it?

Derek : Uh, yeah. You know what? Can we just take a rain check? There's something I've got to do. But we'll do it very soon, okay? Karen!

 

Kyle : Uh, Jimmy, Karen's outside with Derek Wills.

Jimmy : You're that drunk already? You're such a lightweight.

Kyle : No, they are really here.

Jimmy : Yeah, well, they can go 'cause I am not having this meeting right now. Screw them. What did I just s...

Kyle : Hi. Derek. Kyle Bishop. I can't believe you're standing in my apartment.

Derek : Hello, again, Jimmy. I'm Derek. I like your work. Sorry. I was a bit busy earlier. Plus, I'm not a huge fan of uninvited guests in my rehearsal room.

Jimmy : Well, you had a lot on your plate.

Derek : Yes, I did. But I'm here now.

Jimmy : It's cool you came. You kept your promise. That's, uh... That's rare.

Kyle : Beer?

Derek : Thank you.

Jimmy : So there's this kid, right? He comes from a nothing family. You know, dad dies, mom remarries some animal, beats the crap out of him. Uh, the kid packs up. He lives on the streets... Drugs, stealing, you know, whatever.

Kyle : You've heard all this stuff before, which is why it's all done away with in the opening number.

Jimmy : He hates the world. He thinks everybody's against him, which... He's probably right. He wishes he could show everyone how they really are.

Derek : And I should care if he does because what?

Jimmy : His music. Right? It's, like, the one thing he's got...  Songs about all the people who've lied to him, uh, people who've broken his heart, tried to take him, been fake.

Kyle : He calls them his "hit list." It's how he gets his revenge.

Jimmy : Yeah, they're good.  I mean, they're maybe great, but he's a nobody from nowhere, with no way out and no way in.

Karen : Until he meets this girl that he can't have.

Derek : Oh, there's always a girl.

Jimmy : She's rich. She's... she's beautiful. She has everything money can buy, and she has this amazing voice. You know, she wants to be a singer, but, you know, who cares about what some rich girl wants, you know? You know, she's never even given him a second look till she hears him playing one of his songs one night. They hang out, hook up, you know. Total dream come true for this guy. But in the morning, the girl's gone.

Kyle : Disappears... Not even her family knows where. Until he hears his songs on the radio... Sung by her.

Jimmy : Yeah, she stole them. She changed her name. She became someone else. You know, and... and after a while, she needs more, because she's like... Like a junkie now, but her drug is fame. And he gives them to her. He gives them to her because he loves her. He doesn't care if she is using him. He doesn't care if his love for her destroys him, because when he hears her sing... Um, you know, it gets pretty dark after that.

Kyle : There's all these other characters too.

Derek : So it's a star is born plus "Hamlet" with a bit of "Romeo and Juliet".

Kyle : "Moulin Rouge", Gaga, J.T. Leroy...

Jimmy : Or none of those things. It...

Karen : You like it.

Derek : It feels quite current. I think "Hit list" might be quite a good title, don't you?

Jimmy : Uh, well, I'm warning you... just... everybody dies in the end.

Derek : No, they don't. You just need one really good death, but we'll get to that.

Kyle : Good, 'cause we kind of don't have the second act yet.

Derek : Well, that's lucky. Second acts are my specialty. God knows I've had enough of them myself. Right, why don't we have some more beers, and we can talk about how this might work?

Karen : Even better, I'll get the beers while Jimmy plays you some songs. On it.

Derek : Why don't we take it from the top?

Kikavu ?

Au total, 18 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

ptitebones 
19.02.2020 vers 23h

pilato 
08.11.2018 vers 23h

Kln16 
16.08.2018 vers 14h

vampire141 
10.02.2018 vers 23h

pauline21 
07.03.2017 vers 22h

fairgirl 
15.10.2016 vers 20h

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