Previously on Smash...
What happened to the sex?
Tom and I aren't connecting. Is it really that bad?
It's just not you.
I wish I could get out of this show.
I just quit Bombshell. You're joking.
Jerry broke down.
Bombshell is finally mine.
Ivy is free now. Woo!
Oh, sorry. Scott.
Julia.
That is a terrible idea. We don't need to spell out our theme.
You want to go out after this and get a drink?
When I direct, I tend to get focused on something.
Or someone.
Okay, stop there.
That reaction is still a bit soft. You just shrugged.
And when you realize she's gone,
you're angry. You've been played.
No, I haven't.
Well, she just took your music. It's your life's work.
She used you.
Uh, I have no idea what she did yet.
I mean, all I know right now is that we spent the night together,
and it was the best night of my life.
Okay, well, I guess we see the moment differently.
No, you see it wrong.
No offense.
None taken.
Although I don't like to think of any idea as "wrong"
on the first day of rehearsal.
Right, you don't want to play angry, fine, but do something.
You shrug up there, they shrug out here.
All right. Reset from the top, please.
Fade up on a star with it all in her sights
All the love and the lights that surround her
Someday she'll think twice
Of the dues and the price
She'll have to pay but not...
I forgot how great she is.
I didn't.
She'll do all she can
For the love of one man
and for millions who love from afar
I'm what you've been needing
It's all here and my heart's pleading
Let me be your star!
It's sensational. I hate to leave, but Agnes is waiting.
Good luck. Thanks.
You left your ringer on?
I forgot.
It's been a week. He's not calling back.
Scott was one of my closest friends in grad school.
I mean, we may have had a falling out, but that was 15 years ago.
There's no way he's still holding on to a grudge.
Grudges don't go away. They get bigger.
I just don't think that's what it is.
There must be something I'm not getting.
Yeah, the hint.
Everyone, please enjoy croissants and coffee from Balthazar.
And then it's Back to work.
You're even better than you were the first time around.
It's because I'm not terrified.
You're my director now.
And I'm finally Marilyn.
Oh, by the way, I had an idea.
I feel like I need a bigger catch breath before "star,"
you know, so I can really belt at the end. What do you think?
I love it.
Whatever instincts you have, I want to hear about them.
You know, that goes for everyone.
If you have thoughts or feelings about your character
or the text,
come to my house tonight and share them.
I believe, unlike some people,
that actors have something to contribute
apart from just doing what they're told.
Forget Derek. This is a whole new Bombshell.
Well, then, if you don't mind, I could really use a break in Act II.
I'm in every scene.
And I'm not complaining, but I could really use a breather.
I will look into that.
I want my star to be as happy as she can be.
Ivy looks amazing here, doesn't she?
She's got her mother's face.
And her rack.
Shame she's not as big a draw as Leigh Conroy.
It'd make my job easier.
Why? Is there a problem?
Tom's name does not fill the seats the way Derek Wills' does.
So unless we drum up some excitement,
you're going to be wandering around
Times Square in a sandwich board.
So tell me how to fix it. Perception.
The only press on Bombshell right now is what a hot mess it is.
We have to turn that around.
That was his direct. Try his cell.
Have you been on the phone the whole time?
I'm aging here, Sean. I just hit menopause while on hold.
How's our story for The New York Times?
I was told it was a no-go.
Well, that's impossible.
Richard Francis is the head of the Arts section.
He's a very old friend.
No one is friends in this business. He's the one who passed.
Oh, he had to run to a meeting?
Leave him a message. "Screw you. Love, Agnes."
Sam!
Ivy.
How long's your break again?
A week.
Sorry, it's going to be a little crazy while you're here.
How's it going up there?
Tom actually listens to me. He cares about what I have to say.
I'm jealous.
About the show? Or that I'm up there working with Tom?
Come on. Why don't you come upstairs and say hi?
I'm sure Tom would love to see you.
If you remember correctly, he's the one who ended it.
He practically pushed me out to tour with Book of Mormon.
Well, let me push you back in.
Come in.
A weird thing just happened on my way to the bathroom.
Do I want to hear this?
Marc thanked me for the monologue
I'm apparently giving him in Act II.
He's a great actor.
What's a little monologue?
A sentence, which is exactly what he has right now.
Listen, I know that you want this to be a democracy...
Ah, ah, ah, I prefer "an intellectual salon."
Right.
But at the end of the day, you are the director.
You have to be a parent.
Set strong boundaries or you're gonna lose control of your kids.
That was Derek's style.
And his kids were miserable.
I appreciate your looking out for me, but I know what I'm doing.
For the first time in ages, everything is coming together.
Sam?
You two looked pretty comfy up there.
We were acting.
It didn't look like acting.
He's been blowing me off all week.
He barely talks to me offstage.
Will you ask him what's going on?
Guess who has the casting list?
Oh, I wanna see.
It's so crazy, they still haven't cast The Diva.
Love her. Love her.
Ooh, love to hate her. Right?
Wow, these people are actually coming here to meet Derek.
Why don't you go in for it? That role would be perfect for you.
Derek would never take me seriously.
Look at who he's meeting with.
What the hell?
Lea Michele? Lea Michele?
If you say it one more time, she magically appears.
Do you understand anything about this show, huh?
The point is to come out of nowhere, take people by surprise.
You cast a celebrity, it overshadows everything.
The Diva is the biggest superstar in the world, right?
She's Lady Gaga, she's Madonna.
And if we cast a real star to mirror that,
that would be a big coup. All right?
I know what I'm doing here, Jimmy. Just let me do my job.
Oh, I've let you do a lot of things that I'm not cool with.
Not this one.
It's my show.
SMASH S02E08 The Bells And Whistles Sync to WEB-DL by Jill.Valentine
That's a lot of friction for day one.
He's charming, isn't he?
Yeah, he's just a kid. He challenges authority.
I've worked with a lot of kids.
I've found listening to them more effective
than ignoring what they have to say.
I couldn't ignore that if I tried.
You're a very big get for this theater, Derek. I'm aware of that.
But down here, we expect our directors and writers to work together.
Find some common ground.
See you in a bit.
It's a good list.
People running lines on a break,
fresh pastries.
This is so not like tour life, let me tell you.
Well, you look great.
What's really a shame
is being one of the leads in the hottest show on tour right now
and regretting taking the job.
If you regret it so much, why not come back?
No, I wasn't...
I'm sure I could find a place for you here.
Could you excuse us a minute?
Yeah.
You can't offer him a role.
There's nothing left, besides Gladys.
Even our swings are hired.
You heard him. He's not happy. I can find something.
Not without losing something.
I miss him.
He should be here. We're not gonna lose anything, trust me.
I tried to stop her.
You can't, Mia.
She hasn't stopped moving since the '70s.
So your name came up this morning,
and I said to my publicist, "There must be some sort of mistake
"because the Richard Francis I know adores a good story,
"he adores good theater,
"and he adores me."
The problem is, you don't have a good story, Eileen.
I am in rehearsal for the biggest musical yet to be seen on Broadway,
one that I am back in control of.
Yeah, but it's been done to death in the gossip columns.
Feuding actresses, oversexed directors, divorce, betrayal,
and not right for The New York Times.
Richard, why don't you come on down to rehearsal?
You can be the first reporter to see Bombshell redux.
Perhaps you can even find a new angle.
Locked in the bedroom at your own cast party?
You look like me at my sweet sixteen.
I'm going through the script, trying to find a place for Sam.
And you're right. There's nothing.
At least you tried.
You know what I think you should do tonight?
Drink champagne.
Have fun with your friends. You've earned that much.
And tomorrow, you can tell Sam that you couldn't make it work.
He'll understand.
Ah, I told you he'd be in here.
What's going on?
Everyone wants to sing. Come and play for us.
I'm working.
The man doesn't even have a drink.
Let's get the man a drink.
One drink.
One drink?
Uh, that's my shirt.
No, I think it's mine.
Oh, yeah, did you go to Fort Hamilton in Brooklyn?
Not technically.
But see the way the fabric is worn through?
The neckline is stretched out so that it falls off one shoulder,
like that?
That makes it a girl's shirt.
Can I have it?
Well, you certainly look better in it than I do, that's for sure.
Hey.
What if Amanda stole a T-shirt from Jesse the night they were together,
and then later on he sees her wearing it in one of her videos?
Like she's taunting him.
Or missing him.
You should tell Derek about that.
Why don't you?
He doesn't really seem interested in anything I have to say.
To be fair, you're not really listening to him, either.
You may let him push you around, but I don't have to.
I don't let him push me around.
I didn't get him at first,
but once I clicked into the way he directs, we started connecting.
No, no, I'm pretty sure his connection with you is special.
What's that supposed to mean?
I'm keeping the T-shirt.
What's all this?
I've been looking through old drafts,
trying to find you a break in Act II.
Hey, I recognize this. It's not from Bombshell.
It's from a musical we were working on about Vegas in the '60s.
I played that for you, remember?
Of course I do.
Why didn't you finish it?
Because other than that song...
It blew.
Hey, I loved it.
Not gonna lie, after I heard it,
I started dusting off my Nat King Cole,
hoping one day I'd get a chance to perform it.
Did you really? I did.
Really.
'Round and 'round goes the wheel of love
Some say like Russian roulette
There's a jackpot I'm dreaming of
I'm ready to place my bet
No need to beg, steal or borrow
The future is looking bright
Yes, I'm laying odds on tomorrow
So let's start Start
Tomorrow tonight
Can't you feel, baby, we're in the chips
Tomorrow's our lucky day, yeah
I can feel gold at our fingertips
We'll prosper if we parlay, yeah
No time for sadness and sorrow
Together we'll fight that fight
Yes
I'm laying odds on tomorrow
So let's start tomorrow tonight
Don't need no clover or lucky charm
That rabbit can keep his foot
As long as we're walking arm in arm
It's aces I feel
So shut up and deal
I know that we're on a winning streak
The future can't come too soon
Let's climb together to reach that peak
Then, baby, we'll shoot the moon
I'm high as Kilimanjaro
And with you, Jack, I'm ready for flight
Yes, I'm laying odds on tomorrow
So let's start tomorrow tonight
Dance break! Whoo!
As long as we're walkin' arm in arm
It's aces I feel
So shut up and deal
Oh, I know that we're on a winning streak
The future can't come too soon
Can't come too soon
Let's climb together to reach that peak
Then, baby, we'll shoot the moon
I'm high as Kilimanjaro
Yeah!
And with you, Jack, I'm ready for flight
Yeah, I'm laying odds on tomorrow
So let's start tomorrow tonight
Let's start tomorrow
tonight
Woo-eeh
Haven't used any of that in a while.
You still got it.
Thank you.
I've missed this.
That song almost feels like it could be in Bombshell.
Too bad. Nat King Cole didn't know Marilyn.
He could have.
He was a big supporter of Kennedy's,
performed a ton at his rallies.
Maybe we could introduce JFK at one of them?
I think how we meet JFK is just fine.
When Marilyn does.
Sam, what do you think?
I mean, I want to come home,
but you don't have to make all those changes for me.
Call the Mormons. Tell them you're not coming back.
I'm getting you back in the show.
Wait. Are you sure?
Can you do that?
I'm the director, aren't I?
Oh, my God!
Thank you so much.
Thank you, Tom.
Yep.
Hey. What's going on?
Hi.
I've just put together some ideas for the show
and I think you're going to like them.
They're LED screens.
They allow for a big range of photographic sets.
They're from Japan, very high-tech.
That's cool, but we're lo-fi.
I figured we'd have, you know, actual furniture.
Yeah, well, if you're not gonna let me have a name actor for The Diva,
we need to make a statement somewhere.
How about with the show itself?
I'm just trying to get us on the same page.
The more you talk, the less I feel that we are.
This isn't Broadway.
What do you know about Broadway?
Well, I know that you're used to getting anything you want there,
and that, last time, you put so many
bells and whistles all over everything
that no one noticed the show had any problems until it was too late.
Jimmy... I'm just trying to open your show up.
All right? That's what a good director does.
The show doesn't need opening up.
It needs to be true to what it is.
Well, this is harder than I thought.
Maybe I can make it easier.
What do you think about Ana auditioning for The Diva?
Oh, she's super talented. You haven't seen half of what she can do.
And she's already here.
Look, Ana is perfect as Jesse's sister.
Yeah, but I just thought...
I just thought I'd ask.
Hey. Heard you were looking for me.
Where did you get those?
Jimmy thought I should have a look.
See what you're planning.
I'm not sure this is the right aesthetic for this show, or the theater.
I thought you were looking for size, Scott.
Sorry, I'm a bit confused.
Thematically, yes, but one of the best things about the show
is the chemistry between your two leads.
I don't want them overwhelmed by the staging.
And here was me thinking you wanted to
make a splash with your first show, Scott.
Blow the town away.
Yeah. But I don't want to bankrupt the theater to do it.
Well, I've got five LED screens arriving this morning.
They're all donated.
Contrary to popular opinion, I've got some friends in this business.
Look, it'll be a Broadway show with an off-Broadway budget.
Oh, come on. At least let me show you what I'm thinking?
It's a little vague right now, but picture red, white and blue...
Where's our Marilyn?
I thought we were doing Mr. & Mrs. Smith today.
We switched up the schedule a little bit at the last minute.
Well, no one told me. I have Richard Francis from The New York Times
meeting me here to see Ivy today.
I gave her the morning off so we could play around with something.
There's a potential new number I want to show you,
something I think the show's been missing.
I cannot believe that you would do this without my approval.
You're going to love Tom's Bombshell,
Oh, yeah?
It's a much more elegant take...
You call in Ivy right now!
Why don't we wait outside?
Great idea.
Eileen, hold on, not until I show it to you first.
A disagreement in front of the most important Arts editor in town?
Great reboot, guys.
Richard Francis is here? Yes.
Tell him I'll be right out. Keep him cool.
Can you please just look at the song?
This show is about Marilyn, not JFK.
I can't have two songs about him.
I agree.
And Our Little Secret is the one that's actually about Marilyn.
You're the director. You decide.
And this time, maybe you'd like to clue me in.
We are not losing the Marilyn-JFK number.
It's relevant to the story that we're trying to tell.
This one is not.
I know.
Uh!
I promised Sam.
That promise isn't even 12 hours old.
He'll understand.
What about the hat?
Too much Sammy, not enough Nat, right?
Gonna tell him?
Tell me what?
We cannot put the number in.
That's... That's not necessarily...
Tom, I just left my job.
Tom.
I'm thinking.
Sam, um,
we'll be back in a little while.
Okay.
Come on, let's go for a walk. What?
Just come on.
I tried, but I think he needs to hear it from you.
Just show up at the audition. Show him what you got.
No. I don't want to piss off Derek
and risk losing the part I already have.
You're not asking him to give you the part, just a chance.
No. He already said no. I don't want to push it.
He pushes us.
Okay, you'd be amazing. We both know it.
Come on, fight for it.
I still think you have a shot.
You want me to grow a pair, how about you?
I'll talk to Derek if you talk to Jimmy.
You really think Derek is gonna fold?
Scott doesn't want his bells and whistles, either.
This theater is downtown, it's not Broadway.
You told Scott about it?
What choice did I have?
I'm not gonna let Derek beat me.
"Beat you"? Why are you making this so personal?
Is this about Karen?
Oh, my God. It so is.
Did something happen between the two of you?
You remember when you thought Karen and Derek were dating?
Yeah. Well, they weren't.
But he wants them to be.
He told me last week to stay away from her.
Are you going to?
Hey.
Oh, hey, buddy. Thanks for showing Scott my presentation.
Great news, he really loves the LED screens.
When you're ready, we'll be doing Voice in a Dream, all right?
There's no new story here, Eileen.
Producer and director at odds, last-minute changes, it's all been said.
Then say it a new way!
I mean, I need the press, Richard.
You could talk about how you got your show back.
Well, that might be a very interesting story,
but it involves my daughter, and I'm not about to drag her through this.
That's too bad.
Mother and daughter banding together to save a show,
people eat that stuff up.
They do, don't they?
Thanks for your help, Richard, very much.
Where are you going?
Keep your phone on. I'm going to get you a new story.
What are we doing down here?
Are we buying pot?
We haven't done that in years.
I'm proud of you.
The way you've stepped up as director, executing your vision
while making everyone feel supported and heard, it's amazing.
But?
But a director needs to be a leader,
and a leader makes hard decisions.
And when it comes to hard decisions, he's the best.
No, no, no, they're in the wrong order!
Are you serious?
All right, back to the top.
Oh, bloody hell!
The files are too big for the system. They keep crashing.
This is ridiculous.
It just needs to get up and running.
We have three weeks to rehearse.
You wanna spend the whole time rebooting a computer?
What I don't want
is to show some kid simply walking
across a stage for five minutes.
It's some kid walking across a stage
to tell a girl that he loves her.
If we can't get an audience to care about that on its own,
one of us isn't very good at his job.
So what, you're saying I can't direct this show?
No. I'm saying you hide behind fancy screens and orchestras and clothes
because you have nothing else up your sleeve.
What do you think, Karen? Do we need any of this?
Oh, don't put her in the middle.
I didn't. You did.
Tell him what you really think, huh? Oh, shut up.
It's okay.
Go ahead.
It's...
Not right for this show.
I'm sorry, Derek.
Pathetic. The lot of you.
I hope you enjoyed the show.
Scott?
What are you doing here?
Well, you haven't been returning my calls.
I've been busy.
Right. Of course.
Sorry.
You're not still mad about my play, are you?
I thought maybe, and then I realized it was 15 years ago,
and I'm sure you understood
that anyone in my position would have done the same thing.
I wouldn't have.
It was Lincoln Center.
You were my friend.
My friend who promised me I could direct that play at the Vineyard.
They offered me Mike Nichols.
What should I have done?
You should have said no.
It launched my career.
And almost ruined mine.
I promised them that play, and I lost my slot.
I couldn't work for a year.
And when I could, it wasn't in New York.
You've had a spectacular career.
Yeah, and it took me 15 years to get back here.
So pardon me if yours isn't the first face I want to see.
The way you talked to those actors in there...
Oh, God. Seriously, this now?
It was awesome.
You really don't care what they think of you, do you?
No.
How do you sleep at night knowing everybody hates you?
I'm seriously asking.
Well, you realize that having them respect you
is more important than having them like you.
It's a Ionely business, Tom.
You can't be friends with them.
Don't think that's gonna be a problem for you and Jimmy.
That one is killing me.
He's 24 years old
and he's telling me how to do my job.
Reminds me of you at that age.
Shut up.
I was not that bad.
You were worse.
Arrogant, stubborn,
full of huge ideas that nobody believed in but you.
In the end, you were right.
Maybe that kid is the same.
Listen to him.
He's not your enemy.
Derek is kind of a sleazeball, isn't he?
I don't get why Karen hangs around him all the time.
Who should she be hanging around?
Jimmy?
No. That is not what I meant.
I didn't think so.
We've all wanted things we can't have.
The trick is to learn to let go
and enjoy the things that you can have.
What's up?
I started out in theaters like this.
Actually, they were worse than this.
They were the sort of theaters where the audience used to
walk across the stage in the middle of the performance
to go to the toilet.
But I did some of my best work in them.
I was innovative because I had to be.
You know, I got bigger jobs, more money, bigger sets.
And yes,
there is a very slim possibility that you might have a point.
It's been a while since I had to think outside the box.
Thanks.
So, your show's not about scenery or props or costumes.
So what is it about?
Two people falling in love,
and what gets in the way of that.
And what gets in the way of love is...
Other people.
In my experience, at least.
Great.
Well, let's show that, then.
Okay, so we're halfway through Act I.
Jesse has just heard Amanda singing a song on the radio,
a song that he wrote
that she stole.
But he's not angry. He wants to see her again.
So he goes after her.
So stage right is Greenpoint, where Jesse starts out.
Stage left is L.A.,
where Amanda is performing her first big concert as Nina.
But the journey is tough.
There are many obstacles in the way.
Obstacles?
Thank you.
Music track, please.
I thought I was hopeless I thought I was broken
I'd struggle to laugh when the whole room was joking
I'd wait in the cold but the door wouldn't open
till I
Till I heard your voice in a dream
And nothing comes easy when everyone's rushing
The signal's got speed but there's no real connection
I tried reaching out It was just my reflection
till I
Till I heard your voice in a dream
So sing to me
and I will forgive you
for taking my heart
in the suitcase you packed
Sing to me like the lights didn't blind you
like you blinded me
when I heard your voice in a dream
And I could have loved you
but you had the hunger
for life in the lights
so when they called your number
I couldn't compete
with the spell you were under
- Still I - Still I
I hear your voice in my dreams
So sing to me
and I will forgive you
for taking my heart
in the suitcase you packed
Sing to me like the lights didn't blind you
like you blinded me
when I heard your voice in a dream
I thought I could love you
but you had the hunger
Oh, nothing comes easy
when everyone's rushing
I thought I could love you I thought I could love you
Scott.
Just listen.
I can't pretend that I'm not happy that
my first play was done at Lincoln Center.
But if I'm being honest,
I knew what I did hurt you.
And instead of apologizing back then,
I told myself that it wasn't really that bad.
So here I am,
15 years too late,
saying I'm sorry.
Thanks.
Hey, Jules.
I heard about your split from Frank.
I remember how in love you both were.
I'm sorry.
You're right. We're cowards.
What are you talking about?
Using that bathroom is the bravest thing I've done in weeks.
I had to make mittens out of paper towels.
I'm crazy about him.
Seeing him perform today made it so clear.
Even right now, watching him hit on that guy for Kyle has me all...
Melty.
Then tell him.
He's not into me. Then you'll know.
And you'll cry, and you'll hate him,
and then you'll move on.
At least you put yourself out there.
I'm scared.
What if I put myself out there first?
Hey, you. Look alive.
Derek Wills, I am the one.
If I were a boy
even just for a day
I'd roll out of bed in the morning
and throw on what I wanted and go
I'd drink beer with the guys
and chase after girls
I'd make out with who I wanted
and never get busted for it
'cause they'd stick up for me
If I were a boy
I think that I'd understand
how it feels to love a girl
I swear I'd be a better man
I'd listen to her
'cause I know how it hurts
when you lose the one you wanted
'cause he's taking you for granted
and everything you had got destroyed
But you're just a boy
Yeah!
What's the matter? What's wrong?
I can't put that number in Bombshell.
Oh. I'm sorry.
I knew it.
You'd be amazing in it,
and I'd love to see you do it someday, but Julia is right,
the Kennedy number is better for the show...
You know, I left my job for this.
You left your job because you're unhappy.
I left my job for a lot of reasons.
And I thought you'd changed. I thought you were finally ready for this,
but you're the same old Tom,
putting work before what's really important.
Where are you going?
To see if I can get my job back.
Oh, hey, I had another idea,
a way to differentiate between my Marilyn and Karen's.
I thought maybe we could redo a couple of the costumes.
Yeah, I don't think so.
I was only thinking maybe one or two...
They're perfect the way they are.
We're also not going to be able to
work in that break for you in Act II.
I'm sorry.
Can we at least discuss it?
We just did.
Mmm. But your note about the catch breath, that was spot-on.
Great job.
Places, everyone, for the top.
Let's run the whole shebang.
No stopping.
How'd it go?
I cut it.
I know that was hard.
Yes, it was.
But it was also right. Mmm-hmm.
I need you to take another pass on the Gladys scenes.
What?
I know how much they mean to you,
but I need them to be a little more focused. Take out the fat.
Okay.
By tonight.
Apparently, Eileen has a name lined up. She's on her way here now.
I'll go start on it now.
Good.
Relax for two minutes.
I have some news.
LuPone?
No. I want to go in a new direction.
Leigh Conroy has agreed to come out of retirement
and play the part of Gladys.
Ivy's mother.
It's a good story, Tom.
The New York Times has agreed to
announce it as soon as we pull the trigger.
That is, of course, unless you think Ivy might feel threatened.
Do it.
I'll make the call.
All right.
Bobby, stop texting.
Places for real. Everyone, full out.
Don't let me see the mistakes. I just paid $134.50 twice
and a babysitter.
Congratulations.
You just became our Diva.
What? Hey.
I'm sorry I didn't see it before.
I'll accept
if you buy me another drink. Sure thing.
Let me ask you a serious question.
Should we have one more drink?
Yeah. I think you've had enough tonight.
Come on.
This is the first time we've been out in ages,
and you've been blowing me off lately.
Yeah, I know.
Why?
Do you like me or not?
Of course I like you.
No.
I mean,
do you like me?
Either of you guys want a drink?
Walk me home? Yeah. My pleasure.
Oh, hey, is Ana going with you?
Uh, no, I think she's taken care of.
As is Kyle.
See you at rehearsals tomorrow.
Yeah. 'Night.
Thanks for walking me home.
I can take it from here.
You sure?
You don't need an escort upstairs?
We could get another drink. I know a spot on the corner.
I have an early rehearsal tomorrow,
and the director's a control freak.
Fair enough.
Good night.
'Night.
Fine, I guess I can handle one more drink.
That was fast.
What, did you run up here?
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