Épisode La métamorphose S02E04 - Smash Saison 2

Veronica chante une de ses chansons. Derek lui dit que celle-ci ne changera pas son image comme elle le souhaite. La mère de Veronica s’invite dans la discussion. Elle pense que Derek ne devrait pas interférer et plutôt laisser Veronica faire comme elle le sent. Derek, de son côté, est contre l’interférence de la mère de Veronica. Julia informe Tom qu’elle a été invitée par Peter à faire une présentation dans sa classe de théâtre. Julia est très enthousiaste face à cette opportunité. Kyle est à la recherche d’un lieu qui voudrait bien accueillir un couple de compositeurs. Derek n’a pas fait grand-chose pour les aider, ce qui énerve grandement Jimmy.

Kyle, de son côté, fait confiance à Karen et Derek et rappelle à Jimmy que les productions musicales peuvent prendre des années à développer. Eileen est entendue par un avocat à propos des fonds utilisés pour financer Bombshell. Jerry, l’ex d’Eileen, s’est apparemment arrangé pour que l’avocat en question ne soit pas trop méchant avec elle. Eileen insiste qu’elle ne veut pas jouer les victimes. Nick, son petit-ami qui lui a donné l’argent, est toujours en fuite, rendant les propos d’Eileen impossibles à valider ou réfuter. Julia arrive au cours de Peter et est horrifiée quand elle découvre qu’il l’a invitée car se étudiants font une lecture du livret de Bombshell, mais avec les noms modifiés. Ivy se rend aux répétitions de Veronica. Tom l’a appelé car ils ont besoin d’une danseuse de plus et Ivy connait Veronica.

Karen, quant à elle, a invité Kyle et Jimmy aux répétitions car il manque une chanson originale au programme du concert. Derek les informe que Bravo filmera le concert, et qu’il ne leur reste que 48 heures pour tout mettre en place. Tom demande à Jimmy de lui jouer quelques une de ses compositions. Tom n’est pas vraiment impressionné par ce qu’il entend et demande à Jimmy d’écrire quelque chose de nouveau dans les 24 heures. Dans le cours de Peter, Ses étudiants commentent et critiquent Bombshell. Julia les écoute et leur révèle, sans faire attention, qui est le personnage principal de Bombshell. Jimmy n’arrive pas à écrire quoi que ce soit, et devient de plus en plus frustré. Kyle décide de lui donner un peu d’espace. Karen arrive et donne quelques suggestions à Jimmy.

Kyle observe la relation grandissante de Jimmy et Karen, et qui n’a pas l’air de lui faire plaisir. Julia n’est pas contente car son travail a été très critiqué par Peter et ses étudiants. Elle achète l’unique pièce de théâtre écrite par Peter pour lui rendre la pareille. Eileen rentre chez elle, Nick l’y attend. Veronica et Ivy déjeunent ensemble. Elles parlent de Derek et Veronica demande à Ivy pourquoi elle est sortie avec lui. Ivy lui confie que Derek est un génie et concède qu’elle a toujours été attirée par les hommes comme Derek. Ivy suggère à Veronica d’appliquer tous les conseils donnés par Derek, même si elle ne les aime pas car il sait de quoi il parle.

Plus tard, pendant les répétitions, Derek dit que la version modernisée de la chanson de Veronica doit être plus sexuelle et féminine. Veronica n’a pas l’air de prendre les répétitions au sérieux, ce qui irrite Derek qui se met à la critiquer sévèrement. La mère de Veronica n’apprécie pas son attitude et lui demande d’arrêter. A son appartement, Nick avoue à Eileen qu’il ne veut pas fuir toute sa vie. Mais il ne veut pas non plus blesser Eileen. Eileen lui demande de ne pas s’inquiéter de tout ça pour le moment et qu’ils finiront par s’en sortir. Elle lui demande de rester avec elle. Aux répétitions, Derek dit à Jimmy qu’ils n’ont plus besoin d’une nouvelle chanson. Jimmy n’est pas très content d’entendre cela et le fait entendre. Derek lui rétorque « d’attendre son tour et de le mériter ».

Le jour suivant, Karen parle à Kyle et lui demande des nouvelles de Jimmy. Il a apparemment disparu. Kyle lui confie que Jimmy a un point de rupture, et quand celui-ci est atteint, Jimmy disparait. Julia, de son côté, dit à Peter que sa pièce est vraiment mauvaise. Peter est d’accord. Il dit à Julia qu’elle est toujours trop occupée à parler pour entendre ce que les autres ont à dire. Julia y réfléchit et finit reconnaitre que c’est vrai. Elle veut que Bombshell soit vraiment génial mais ne sait pas comment atteindre ce but. Veronica se prépare pour le concert. Sa mère la rejoint et se remet à lui donner des conseils appuyés sur comment faire les choses. Elle lui dit même avec qui elle devrait sortir après le concert. Veronica en a apparemment assez et le lui fait comprendre.

Tom a une discussion avec Derek. Tom dit à Derek qu’il aurait du laisser sa chance à Jimmy et sa chanson. Tom pense que Jimmy est très talentueux. Kyle est toujours à la recherche de Jimmy. Karen finit par le retrouver, saoul. Jimmy est certain d’avoir déçu Karen, Derek et Kyle. Il a peur que Karen soit en colère contre lui par rapport à la manière dont il s’est comporté avec Derek. Elle le rassure du contraire. Karen dit à Jimmy de venir au concert car cela prouvera à tout le monde qu’il peut encaisser les rejets. Jimmy pense que vu son état e ne serait pas très approprié. Il l’embrasse. Peter et Julia boivent un verre et discutent de Bombshell.

Julia avoue qu’elle est meilleure à écrire les personnages masculins. Elle en conclut qu’elle devrait écrire Bombshell depuis la perspective d’un personnage masculin, et non celle de Marilyn. La mère de Veronica la voit porter une robe blanche très aguichante. Elle conclut que c’est un choix de Derek. Veronica lui assure que la décision de porter cette robe était la sienne, non celle de Derek. Jimmy et Kyle sont dans le public, attendant l’arrivée de Veronica sur scène. Jimmy s’excuse auprès de Kyle pour son comportement. Kyle le pardonne et lui dit que de toute manière ça n’est pas important car Veronica ne chantera pas leur chanson. Mais, à leur grande surprise, c’est leur chanson que Veronica se met à chanter. Elle les fait même venir sur scène à la fin de sa prestation. Eileen appelle Julia et lui demande de venir à son bureau.

Elle lui annonce que Bombshell peut reprendre son chemin vers Broadway, mais qu’elle ne peut plus en être la productrice. Jerry sera le nouveau producteur. Tom et Julia ne sont pas très heureux d’entendre cette dernière nouvelle. A son bureau, Jerry est au téléphone avec la personne responsable de la mise en question des fonds de Bombshell menée par le FBI, Ellis. Jerry a apparemment payé Ellis pour ses services et finit la conversation téléphonique en lui demandant de ne jamais le recontacter.

[Veronica - ♪ I got love ♪]

Tom : Bye.

Julia : Bye.

Derek : Who are we missing?

Linda : Beth. I'll call again.

Veronica : Thank you.

Derek : How many "loves" was that?

Cynthia : You can never have enough love. You of all people ought to know that after what I've read.

Derek : You must be Ronnie's mother.

Cynthia : Cynthia Moore. Nice to meet you.

Linda : Isn't she a little old to have a momager?

Cynthia : Baby, you're looking good up there!

Tom : Stop it.

Veronica : Hey, mom.

Derek : Ronnie... I got love, that's... That's not really what we're talking about, is it?

Veronica : It's my signature number.

Derek : Yeah, you've been doing it for ten years. We're trying to change your image, remember? You know, the bold, adult Ronnie Moore.

Cynthia : As opposed to what? The Ronnie Moore that won two Tony awards and sold out this concert in six hours?

Derek : Yeah, with my name above the title.

Cynthia : Your name is why it took six instead of one.

Tom : How about we take a break before dance rehearsal?

Derek : Tom, you're the musical director. You don't call a break. All right, everyone. Let's take a break. Uh, can you let me know when you hear something from you-know-who, yeah?

Veronica : Okay.

Cynthia : Come on, baby. You were wonderful.

Veronica : Thank you.

Cynthia : Wonderful, that's you.

Linda : I just heard from Beth. She's not coming.

Derek : Why the hell not?

Linda : She said, and I quote, "my boyfriend requested I no longer work with Derek."

Derek : Just find me someone else, someone who isn't afraid of the big, bad Wills. Oh, and, Tom, I asked for new material, so why don't you give me something that will change her image?

Tom : I'm here for Ronnie, not you. If she wants to give the people I got love for two full hours, you should let her.

Derek : Just find me something raw, for God's sake.

Tom : Shalom from hell. You still home?

Julia : No, I'm at NYU. Peter invited me to talk to his acting class today.

Tom : Really? Why?

Julia : To impart wisdom, I assume? And I've got plenty. On collaboration, interpretation, subtext.

Tom : How about the subtext in this conversation? You hate acting classes. If Stanislavsky himself asked you to go to one, you wouldn't. But Peter Gillman...

Julia : We're going back to work on the book right after class.

Tom : So now you're a we?

Julia : Got to go, minds to mold.

Kyle : Well, you know where to find us. Okay, thank you so much for your time. Bye-bye.

Jimmy : What'd they say?

Kyle : Same as Joe's pub. "Send us your demos. We'll be in touch. But we're booked for the next six months anyway."

Jimmy : And you mentioned Derek?

Kyle : They asked if he was directing our concert.

Jimmy : And you told them no because that he won't do. Just love help that isn't actually help.

Kyle : He is helping us. He told us what we need to do while we finish writing our musical. Try out material somewhere it counts, build buzz, get noticed. It's called development. We're on the road. Musicals take years to develop. There's no shortcuts.

Jimmy : Yeah, tell that to our shortcut.

Kyle : Hey.

Karen : How fast can you get into Manhattan?

Jimmy : Oh!

 

Eileen : What do you want, Jerry?

Jerry : To remind you that you have no need to be nervous tomorrow. I made sure the lawyer questioning you is a friend.

Eileen : If he's a friend of yours, then I know I'm going down.

Jerry : He understands the situation completely. You were vulnerable. You fell victim to an unscrupulous man with criminal connections you knew nothing about.

Eileen : If he thinks I'm a victim, then he doesn't understand me at all.

Jerry : You want "Bombshell" back in front of an audience or not? Tell the truth. You had no idea where that money came from.

Eileen : And what then?

Jerry : They only care about Nick. As long as he's missing, they can't corroborate anything you say.

Eileen : I'll let you know how it goes.

 

Peter : So glad you could make it.

Julia : Thank you for asking me.

Peter : Sure.

Julia : Well, I thought I would start with why I love actors, move to a few, uh, anecdotes, take some questions, just go from there.

Peter : I'm sorry, I think there's been a misunderstanding. You're not here to speak. You're here to watch.

Julia : Watch what?

Peter : Your play.

Julia : Are you kidding me?

Peter : It's important to hear it out loud.

Julia : You are not going to humiliate me in front of a bunch of 12-year-olds.

Peter : They don't know that you wrote it. They don't even know it's about Marilyn. I changed the names. I mean, look, we have ten days before we turn your draft into Eileen. Ten days. You really want to turn it in blind, or do you want to find out what works and what doesn't?

Student #1 : Scene 1. A busy casting office. Mary enters. Hi. I'm Mary.

 

Josh : ♪ One, two, three, four, five, six, seven, and one.

Ivy : Hey, Tom!

Tom : Hey!

Derek : What are you doing here?

Ivy : Tom called. Said you were in a bind. Dancer fell out?

Derek : And you said yes. Why?

Veronica : Ivy Lynn, is that you?

Ivy : Mind if I get in on the act?

Karen : You know Ivy?

Veronica : Yeah, she was a swing when I was Audrey in "Little shop".

Kyle : I can't believe the actual Ronnie Moore is right there.

Karen : Hey. Hey.

Ivy : Hey, I didn't know you were doing this.

Karen : It's okay, actually.

Veronica : Congratulations on "Liaisons".

Ivy : Thanks.

Jimmy : Look, this is a total long shot. I don't even know what we're doing here.

Karen : Well, it can't hurt to ask. You could've dressed up though.

Derek : What are you doing here?

Jimmy : We heard you needed a song.

Tom : I went through mine and Julia's old catalog. Our musical "Tense" was pretty raw, if I say so myself.

Derek : No. No. No. Oh, no. What have you got?

Tom : I'm sorry. Who are these people?

Karen : Oh, this is Kyle Bishop and his friend Jimmy Collins.

Kyle : We're big fans.

Jimmy : I've never seen any of his stuff.

Derek : These delightful young people could be you in 20 years.

Tom : 15. Mm. Look, I'm the musical director of this show. I approve the songs.

Derek : Great, so approve them. All right, you got six hours. Have a look in your trunk, bring me something vital.

Cynthia : Derek. They came around, and I have closed the deal. Ronnie!

Josh : Five, six, seven, eight.

Derek : All right, everyone. There was some contract wrangling, but it's done. Bravo will be filming tomorrow night's concert. It'll be broadcast at a later date.

Karen : That's unbelievable.

Derek : Deals are being sent out to your agents. Start thinking about bringing our a-game because your audience of a thousand just turned into a few million.

Ivy : Oh, my God!

Kyle : Well, there goes our shot.

Karen : What are you talking about? You need to get noticed, right? If you bring him the right song, you'll get more than noticed. You'll get famous.

 

[OPENING CREDITS]

 

[Karen - ♪ Chest of Broken Hearts ♪]

Tom : Like the first three, it's good, but it's not gonna work for this.

Kyle : Try I'm not lost.

Karen : I don't know that one.

[Jimmy - ♪ I'm Not Lost ♪]

Jimmy : I'm sorry, do you have somewhere else to be?

Tom : Let's see. I'm music directing a concert for a huge Broadway star in less than 24 hours that is apparently going to be televised, and I don't know what songs she's gonna do, so... No, totally free.

Karen : What about Room to breathe?

Kyle : Uh, just the chorus, then?

Jimmy : No, no. That's not how you listen to music. What, you want somebody to listen to your music like that?

Tom : Hey, when we were starting out, we were lucky to even get in a room with a music director for five seconds, let alone five minutes.

Linda : Tom Levitt to the stage please.

Tom : Look, everything you've played is great, but it's not Ronnie's voice. It might be what Derek wants, but she has to sing it, and she loves Broadway. She is Broadway.

Derek : Tom, get to the bloody stage!

Tom : Coming!

Karen : Will you be back? 'Cause they've got a lot more.

Tom : I'll try, but...

Kyle : We'll write something new. Something Ronnie and Derek, Broadway and us.

Tom : I'd have to have it by the end of rehearsal tonight, so I could arrange it in time for the concert.

Kyle : Sondheim wrote Send in the clowns in one day.

Karen : And you and Julia wrote Don't forget me in less than that.

Tom : True. Are you fast?

Kyle : He's got it.

 

Student #1 : Why does Jason stick around Mary anyway? She was incredibly demanding of his time, expected him to do whatever she asked.

Julia : What on Earth are you doing?

Peter : Taking notes.

Student #1 : I don't know, you can tell whoever wrote it knows how to write, but something's missing.

Julia : Like songs?

Peter : What about you, Gretchen? If you could talk to the author, what would you say about Mary?

Gretchen : I guess I'd say this is supposed to be a play about a strong woman, right? But she's not strong at all. She's totally defined by the far more interesting men around her.

Julia : Because that's what Marilyn was... an object to her men.

Gretchen : I thought it was loosely based on Marilyn Monroe.

Julia : Not loosely, no. No. Based. And you all would have known that if he hadn't changed the character's names and the setting...

Peter : Like I did with Hedda Gabler.

Gretchen : Oh, yeah! That was...

Julia : Right, and I suppose you thought Hedda Gabler didn't work either.

Student #1 : No, that was awesome!

Student #2 : Yeah.

 

Jimmy : ♪ Can't let go

Kyle : It's great.

Jimmy : No, something's off.

Kyle : No, it's not. It's perfect, really. Keep going.

Jimmy : Yeah, it's pretty. It's not connecting for me. I mean, I can't find the next phrase.

Kyle : Okay, what do you need right now? What would help you?

Jimmy : Scotch, weed... Coke. Just... space.

Kyle : I'll leave you alone for a little while.

Jimmy : Thanks. All right. ♪ I can't let go... Ayeyi-yi.

Karen : What is that?

Jimmy : Hey. Ah, just something I can't get right. What do you think of this? ♪ I can't let go

Karen : It's good. It probably should go up instead of down, like, um... ♪ I can't let go

Jimmy : ♪ I can't let go... Yeah. Yes, thank you.

Karen : Is everything okay?

Jimmy : Ah, just I'm not quite sure what the target is I'm supposed to hit here. Never actually written a song for someone before.

Karen : So don't. Write for you. I should probably get back out there.

Jimmy : Yeah. Can... can you, um, stay, actually? I'd really appreciate it. ♪ I can't let go, I need it to remind me...

Karen : I like that. That's nice.

Jimmy : ♪ I can't let go... da da da dum

 

Tom : Oh, sorry. Sorry. Hey.

Julia : He's a sociopath, Tom. He took so much pleasure in humiliating me. I can't believe that I'd been suckered in by him, even for a minute.

Tom : Screw him. Come hang with me in the theatre. We have nothing but well-adjusted happy people here, he says, tongue planted firmly in cheek.

Julia : I bought Peter's play, his one play. So rain check on the insane asylum? I have to read now. Okay, let's see how good you really are.

Tom : Okay, this is getting a little weird. Bye.

Julia : Bye.

 

Eileen : Yes, Liz, I'll be sure to get a good night's sleep. Yes, I know it's a big day tomorrow. Nick.

 

Veronica : I mean, it's getting to the point where I never stop working. I don't have a life at all. Events, dinners, openings, meetings. I don't even have time to date.

Ivy : You may be lucky there. The men in this business?

Veronica : Why did you date Derek again? Was it the accent or that hair?

Ivy : He's a genius. I can't resist those.

Veronica : Well, if he's such a genius, why would I rather be in my dressing room than on the stage?

Ivy : He's tough, it's true. And he'll push you and drive you crazy and make you hate him and want to quit, right up till you give the performance of your life. And then somehow it's all worth it.

Veronica : So you're saying I should give his way a shot?

 

[Veronica - ♪ I got love ♪]

Derek : Don't move away from them, Ronnie. Move towards them. Sorry, are you laughing? Stop, stop! What are you doing?

Veronica : I'm trying it your way, but it feels ridiculous.

Derek : I'm not surprised. You look ridiculous.

Karen : Derek.

Derek : Look, this is no longer a perky, little ditty about a girl who's finally got a boyfriend, all right? This is a celebration of a woman who has finally gotten some. So get comfortable with your body and with theirs 'cause we're telling grown-up stories now. Again, please! Oh, come on! Connect with your body. Make me feel something, anything! I get that you've only ever played saints and virgins, but it was an act, right? You know what it feels like to be turned on.

Tom : Derek, take it easy.

Derek : If you think you can direct this any better, go ahead.

Veronica : Okay, just stop. Okay, that's... that is it.

Tom : Look, she's not comfortable with this.

Cynthia : Derek, that's enough.

Linda : Okay, that's a ten, people.

Derek : Again. Really, Cynthia? Oh, we're going to do this now, are we? Look, it is in Ronnie's best interests that she continues to work.

Cynthia : The only best interest you have in mind is your own.

Derek : That's completely untrue.

Cynthia : Mm. You're afraid if she doesn't do the Derek Wills show, you'll look bad. I heard you talking to Tom.

Derek : That's not exactly what I said.

Cynthia : Look, if you keep toying with her image or comfort level, I will have you replaced.

Derek : Oh, with who at this late date?

Cynthia : Hmm. Tom Levitt for starters. He gets my daughter. Don't you agree?

Derek : Well, what are you waiting for? Do it.

Cynthia : Are you sure about that? What if it gets out that you were fired because you pushed her in a sexual direction that she didn't like? Now, what's that going to do for your career?

 

Nick : Had to come see you.

Eileen : You shouldn't have come. They're gonna find you.

Nick : I'm gonna turn myself in. As long as I'm out there, they're not gonna stop with you.

Eileen : They don't know you like I know you. You're a good man, you're a decent man.

Nick : Hey. I can't run forever. And I can't stand seeing your career, your reputation destroyed because you fell for the wrong guy.

Eileen : You're not the wrong guy. Stay here. We can talk about all of this tomorrow. We can figure it out. Just come to bed.

Nick : Okay.

 

Derek : I've had successes, I've had flops, but I've never had my name on something I didn't believe in. Even my Mustang commercial had more of me in it than this does. Hey, I'm talking to you.

Ivy : No, you're talking at me, like you always do when you know you're wrong.

Derek : What, you think I'm wrong for demanding a certain standard?

Ivy : To you, this is just a concert. You'll move on to other shows. This is Ronnie's life. She wants to grow, but she's scared.

Derek : Okay. What should I do?

Ivy : Just let her sing whatever the hell she wants.

Karen : Derek, Derek. You got to hear this song. It'll break your heart. It's simple. It's pure. It's Broadway, but a fresh take.

Derek : Yeah, well, slight change of program.  I don't need it, so... I am going to give the people what they want. No fresh take required.

Jimmy : I'm sorry, what are you saying? You're not going to listen to the song?

Derek : I've got a show to direct, all right?

Jimmy : No, dude, you're gonna hear it. I mean, that's the least you could do.

Karen : Jimmy, calm down. He's just been working really hard.

Jimmy : Don't speak for me. If I'm gonna get screwed by someone, it's not gonna be you.

Derek : Okay, if this is how he behaves when he doesn't get his way, hit list is very unlikely to happen.

Karen : Hey, it isn't about that.

Jimmy : Just hear the song, Derek. I gave it everything I've got. Give me five minutes, I deserve that.

Derek : No, no one deserves anything in this business! You wait your turn, and you earn it. You are not there yet. Seriously?

Karen : Jimmy.

Derek : It's all right, darling. He's just showing off for you.

Jimmy : Come on, let's go.

Karen : I have a show to do.

Jimmy : You're not staying?

Karen : Jimmy...

Jimmy : You know what? I'm out of here.

 

Karen : Kyle, it's me. I just wanted to check on Jimmy, see how he's doing. Is he there?

Kyle : No, he's not here. In fact, I have no idea where he is. I gave up looking for him around 5:00.

Karen : He's been gone all night?

Kyle : Look, Karen, you're a really nice person, and it's great that you're trying to help us and stuff, but there's a lot you don't know, okay? Jimmy's got a trigger, and when it gets pulled, he disappears. Sometimes for hours, sometimes days.

Karen : Well, let me help you look for him.

Kyle : I got to go.

Karen : Kyle?

 

Peter : Just continue on the path that we've been on... All right?

Man : Thanks, man.

Peter : See you. Good work. Not bad.

Julia : No. Awful! "The Singing Bird". I thought the title was a metaphor, but no. It's actually about a bird that sings, and you have the gall to tell me how to write?

Peter : You think I don't know my play is bad? My play is terrible.

Julia : Oh, no, I'm not falling for that.

Peter : I don't even own a copy myself. I suck at writing, but I am a really great teacher.

Julia : No, you're not. If you were, your students would have given me a standing "O" instead of the hook.

Peter : I thought if you heard it yourself...

Julia : No more games, Peter.

Peter : I suggest things, and you start bantering, which is your way of not really listening to me.

Julia : I don't do that.

Peter : Yes, you do.

Julia : No, I don't.

Peter : You're doing it right now.

Julia : No, I'm not. Yes, I am. Oh, my God. I want "Bombshell" to be great. I do. I just... I just wish I knew what was wrong.

 

Cynthia : They're from "The Wiz" producers. Ah, "we wish you all the best tonight." That's code for "let's talk." Oh, those network folks, they're going to be coming too. They're going to want to take you out after. I know you're gonna want to hang out with the ensemble, but you can do that some other day.

Veronica : Yeah, definitely.

Cynthia : Honey... You're not letting Derek get to you, are you?

Veronica : He doesn't know me. I'm not just a good girl.

Cynthia : Ah, but the good girl is what the people want to see, and you, my dear, must play to your strengths. Oh, mm! Baby. If my mother loved me half as much as I love you... Maybe my singing wouldn't have stopped at church, but this concert and this bravo deal, they are the steps that you need to move beyond Broadway, just what you wanted.

Veronica : Sometimes I feel like I don't remember what I wanted.

Cynthia : And that's why I'm here, to remind you. Now is not the time to go changing things.

 

Derek : Okay, so we'll transition from A sleepin' bee into If I loved you.

Tom : Uh huh.

Derek : And Ease on down the road will lead into...

Tom : Yep.

Derek : Will lead into I could've danced all night.

Tom : Right.

Derek : What is the matter with you?

Tom : Nothing. I'm fine.

Derek : Yeah, well, you're obviously not because you're being passive-aggressive. I prefer you aggressive-aggressive, as usual.

Tom : You made a mistake not listening to that kid's song.

Derek : Oh, yeah? Well, in case you hadn't noticed, Ronnie and her shy and impartial mother have a very clear direction they want this concert to go in.

Tom : I've never seen you cave before. And it turns out, when you cave, I like you even less.

Derek : I did not cave. I came around.

Tom : Jimmy. He's the real thing. Tell anyone I said that, and I'll kill you.

 

[Kyle & Veronica - ♪ Everybody loves you now ♪]

Ivy : You should sing that tonight.

Veronica : I wish I could, but it's not very up. Can't start changing things now, right?

 

Karen : Hey, Jimmy. I just called about you.

Jimmy : Hey.

Karen : Are you okay?

 

Karen : What's going on? You don't look so good.

Jimmy : I may have done some drugs.

Karen : Oh, you've definitely done some drugs. Which ones?

Jimmy : Nothing makes sense sometimes, you know?

Karen : I know.

Jimmy : Like, did I screw everything up? 'Cause, like, I was angry, and then Derek was angry, and then Kyle was angry. I mean, are you angry? You're lying. Even like this, I see. I get so sick of letting everyone down. I am sick of it. It's like I do it all the time.

Karen : Okay, let's go inside and get you some water. You can lie down in my dressing room.

Jimmy : Oh, no, I do not want to go in there.

Karen : Jimmy.

Jimmy : Why? Why would I? So everyone can see what a mess I am?

Karen : That's not why you go in there. You go in, so everyone sees you can handle rejection. It makes them respect you. I mean, when I didn't get Marilyn, that's what I did. I showed up for work.

Jimmy : So you really want me to go in there like this? You think that this shows that I can handle it?

Karen : You're learning. You're getting a thicker skin.

Jimmy : I was waiting out here for you.

Karen : You were?

Jimmy : I'm so glad you showed. Wow. Wow, and I'm not just saying that because I'm rolling.

Karen : Let's... let's try that again sometime when you're not high. Come on.

 

Julia : So this is your fix? Getting drunk at noon on a weekday?

Peter : Well, I was just vamping. I really didn't have anything.

Julia : What if I don't have anything either?

Peter : Define "anything."

Julia : Like the talent to write something that counts.

Peter : You have written lots of things that count, Julia. I've seen them all.

Julia : That student of yours? Give her a gold star. She hit the nail on the head. I keep writing men better than the woman, which is so strange, because Marilyn is who I'm most captivated by, just like they were, I guess.

Peter : Wait, say that again.

Julia : I forgot what I said.

Peter : You basically said Marilyn was defined by men.

Julia : Mm-hmm.

Peter : Then you said...

Julia : I identified with them. Oh, my God. DiMaggio, Miller...

Peter : Mm hmm.

Julia : Zanuck...

Peter : Yes!

Julia : J.F.K., even her therapist. When she sings Don't forget me, that's who she's singing to... And I didn't even... I didn't even realize it. I've been trying to make the show about Marilyn, when it's really about how men saw her. Every scene should be from a man's point of view.

Peter : Oh.

Julia : She didn't have a voice. They all spoke for her. You know what? Let's start with her first husband Jim Dougherty, go from there.

 

Jerry : How'd it go today?

Eileen : Very well. Nick turned himself in. He told the feds I had absolutely no idea where the money came from.

Jerry : So you're back in business.

Eileen : I went in anyway. I told them I knew.

Jerry : Why? Eileen!

Eileen : Because unlike you, Jerry, I care what happens to the people I love. Nick was only doing what he thought might help me, and they needed to know that.

Jerry : And "Bombshell"? They're letting you keep it.

Eileen : Not exactly.

 

Linda : Five minutes to show-time, people. That's a fast five minutes.

Cynthia : What are you wearing?

Veronica : Mom.

Cynthia : What has he talked you into?

Veronica : If I'm gonna give up a real life for this, I'm going to love it. When I see Derek's work, I love it, mom. I hope you do too.

Linda : Places, please. Places for the top of the show. Places.

Veronica : You might want to get to your seat. It's going to be quite a show.

 

[Veronica - ♪ I've got love ♪]

Jimmy : I'm sorry, okay?

Kyle : Do you even know what you're apologizing for?

Jimmy : I'll do better. I will.

Kyle : No, you won't. It doesn't matter. She's not doing your song. See you at Joe's pub in three years.

Veronica : I want to end with a new song tonight. It's never been sung in front of an audience before, but I had to share it with you because it touched my heart.

[Veronica - ♪ I can't let go ♪]

Veronica : I want you to meet the songwriter Jimmy Collins... And his partner Kyle Bishop.

 

Peter : It's almost midnight.

Julia : I don't want to stop working.

Peter : Neither do I. We shouldn't let our momentum die.

Julia : We won't. Tom should be home any minute.

Peter : We should go away. With your permission, I'll rent us a car, we go up to my home in the berkshires and get this thing done.

Julia : Eileen. H-how'd it go?

 

Julia : What is it? What's going on?

Tom : We are dying here.

Eileen : "Bombshell" is free. You're going to Broadway.

Tom : Wait, wait. "You're" going?

Eileen : Well, there was just one condition. That I step down as producer.

Julia : Eileen.

Derek : So what happens now?

Eileen : Well, the show doesn't have a great reputation at the moment, but there is one person who is willing to step in.

Tom : Jerry.

Eileen : You all know what I think of him.

Julia : Yes, and we think the same.

Eileen : But he loves the show, and he very much wants in, and he can take you to Broadway. I know he's the world's worst human being, but he's a very good producer, and I just don't want to see all your hard work go to waste.

Julia : Our hard work.

Eileen : I just hope I'm not making the wrong decision.

 

Jerry : Oh, and thanks for the files you gave me. It's all over now. "Bombshell" will be the biggest hit Broadway's had in years. I'll be the producer, and everyone will know Eileen Rand couldn't do it on her own. She'll never work without me again. I'm putting the rest of what I owe you in the mail, Ellis. Don't ever, ever contact me again.