- 30 minutes a day of exercise.
Can't smoke.
Can't eat anything that tastes good.
I'm supposed to only work regular hours.
- Regular hours? What's--what's that?
- Ah, who the hell knows?
I feel like shit. Come on, I'm done.
Let's sit.
- Come on, let me help you.
Take it easy. Take it easy.
- All right, all right, all right.
Just take it--slow it down.
- You know, it's pretty lousy of you.
I have a heart attack, and then you upstage me
by having your own heart attack.
How's the movie? When do you start shooting?
- A month.
- Yeah? How's your script?
- I think I need a new writer.
I just, uh-- get something new going.
- New writer a month before production.
- Well, you said it yourself the first time you read it.
It's--it's unsatisfying. It doesn't build to anything.
- That's 'cause your ending is shit.
I already told you that. - The ending--ending, I like.
- Bobby. - I like the ending.
- The problem with your movie, Bob, is very simple.
Your character doesn't change. Your hero doesn't change.
- Lenny didn't change. Charity didn't change.
- Exactly, none of your characters ever change,
which is why your endings are always shit.
I say this as a friend. - I disagree.
- Bobby, it's storytelling 101.
Your hero has to change.
He's got to--
he's got to transform over the course of the picture.
It's called catharsis.
- How about it's called bullshit?
I want to do something real here,
not some bullshit fairy tale.
- Who says fairy tale?
I'll tell you your story. You wanna know your story?
- Yeah, tell me my story. - All right.
I'll tell you your story.
Your story is...
Bobby meets a young dancer.
- The character's name is Joe.
Joe. Joe Gideon. - Oh, Joe. Yeah.
That's really gonna throw them off the scent there, Bob.
Yeah, no one's ever gonna guess
that the hero at the center of your story
who can't stop popping pills and fucking broads
is supposed to be you because his name is Joe.
- All right, just tell me the story.
- Act one.
Joe meets a beautiful young dancer
whom we will call-- I don't know--
Annie.
Now...
act one, Joe falls in love with Annie.
But he's still all mixed up with his ex-wife,
whom we'll call Gwen for no reason at all.
Now, act two,
Joe ruins everything with Annie because he's too selfish
and he can't stop screwing around.
All of the stress, all of the guilt
gives him a heart attack.
He ends up in the hospital.
Yeah?
Now, faced with the prospect of his own death in act three,
he suddenly realizes that it was Gwen all along.
She was the one for him from the start
because she was the only woman who was ever his true equal
as a creator, as an artist.
And he knows that he squandered everything with her.
He knows he shot it all to hell.
But now he's ready to change.
He's ready to give up the broads, yeah?
He's ready to--to get his act together
and--and spend the rest of his life with his soul mate,
with his collaborator, with the mother of his child
if he can just get out of this goddamn hospital bed.
But it's too late.
He doesn't make it.
He dies.
Roll credits.
See?
Transformation and tragedy.
It's moving. That's your story.
- He already knows all that.
He knows should've been with her.
- Oh.
- It doesn't matter what he knows.
Knowing doesn't change anything.
- Oh.
- It's still just a bunch of bullshit.
It may be a nice story, but it's not true.
- Hey, I didn't say it was true, Bob.
I said it was a satisfying ending.
You want true, go to a priest, not a playwright.
- Testing one, two, three, four, five,
six, seven, eight, nine, ten.
June 3rd.
Interview with Gwen Verdon for "All That Jazz."
Do you think you were angry with me
in some sense?
- For what?
- For not taking care of myself,
for putting myself in this sort of situation
with my health.
- No, I was worried. I was terrified.
- Do you remember the mood in the rehearsal room
when, uh, everyone heard I was in the hospital?
- Um, people were stunned.
They--uh, sadness.
- I heard Chita was crying, hysterical.
- Who'd you hear that from?
- Well, Chita.
- Nicole told me that you'd quit.
- I did. - So what happened?
- Uh, Annie left.
- Hmm.
- She moved out a month ago.
Nicole told you?
- No, Annie told me.
- When did you talk to her?
- At rehearsal. We've been working on the part.
- Is that strange, uh, having Annie replace you?
- It's pretty familiar, I'd say.
- She's in love.
- Yes, I know. I'm happy for her.
- He's gay, the--the guy she's dating, Charles.
- Well, apparently he isn't, so...
- Well, he and Annie are the only two people
in the world who don't realize it.
When I got out of the hospital,
did I seem different to you in any way?
- Different how?
- Well, people say that I changed,
that I was, uh, meaner, I was harsh with people,
with you in particular.
You think that's true?
- Do you think that you changed?
- Well, I'm interviewing you.
- I don't think you changed at all.
I think you became more yourself.
You stopped pretending to be anything else.
- Did you hate me?
- At times, yes.
- Do you still?
- No.
How do you feel?
- To tell you the God's honest truth,
I don't feel much of anything about you anymore, Bob.
- Well, I'm just--
I appreciate your honesty.
I was--that's--
Hey.
You're home before curfew.
Should--should I be worried about you?
- I can stay out if you want.
- That's all right. I got a job for you.
Take off your shoes. - Are you serious?
- Yeah, I want you to help me with a scene.
You want to keep living here, you got to earn your keep.
No such thing as free rent.
- Child labor is illegal, you know.
- Oh, is that right? - Yeah.
- Well, you can always move back in with your mom.
That's not even funny.
- Hey.
Give me that.
- Yeah, listen.
Stand next to me.
Can you see your reflection in the--in the glass?
- Barely. - Perfect.
I have this idea.
Do what I do but, uh, the ballet version.
- I don't get it.
- Shh. Just watch.
- Port de bras.
- Ooh.
- Okay, kid.
- Arch your back.
- Do you know who Bill "Bojangles" Robinson was?
- Nope.
- Oh, he was huge.
He was a big tapper in vaudeville.
They put him in the movies with Shirley Temple.
Sit down.
Jump up.
- Oh, you're getting heavy.
Bend your leg.
Yeah, he went out of style.
Died without a cent.
Couldn't even pay for his own funeral.
Do you really not know who he is?
Do a head roll.
- Straighten your leg.
- Oh, you're getting pretty good.
- Not really.
- Yeah. Put your leg into an arabesque.
- Oh, okay.
Gwen, hi.
Yeah, Nicole can't wait to move back in with you.
Yeah, she can't wait to have an early curfew
and not be able to go anywhere. - Fine.
- Follow my hand.
- Hey, you know, we're casting the movie next week.
- Isn't Richard Dreyfuss playing you?
- Nah, he got nervous about the dancing.
He dropped out.
We need somebody more handsome, taller.
You know, lots of hair.
Uh, maybe Tom Selleck.
- I thought it was supposed to be realistic.
Hey, wise guy.
You ever worry about telling your life story
to the whole world?
- It's not my life story.
- Yes, it is.
- There are-- there are differences.
- Like what?
- Well, he's, uh-- he's, uh...
doesn't make it out of the hospital.
He--he dies. That's a big difference.
- Who's gonna play me?
- Who do you want?
- I don't know.
- What about you? You want to play it?
- Really?
- Would that be fun for you to...
play yourself in a movie?
- It might be sort of weird.
I don't know. Maybe fun.
- I'll put in a word with the director.
- I'm going to sleep.
- Your eyes are looking a little bloodshot there.
- It's allergies.
- Yeah, I get the same thing. It must be hereditary.
- Next time, use Visine.
- I hear it helps.
- And what about that-- the play that you sent me?
The, um-- - "Gamma Rays"?
Thank you.
- I can never remember that title.
Who can?
I read it. I ask you to submit me for it.
- Well, I did submit you. - I know you did.
I know you did.
But imagine me walking down the street,
seeing the poster.
Who is it? Shelley.
- The playwright had already offered her the role.
They didn't end up auditioning for the part at all.
- Mm. - So...
- Oh. That's...
- Do you think "Chicago" will tour?
- I don't know.
They haven't decided yet.
- Because the royalties, that would be
a very healthy revenue stream for you.
- Mm. Yes.
Royalties would be wonderful, but I...
I'm an actress, Mel. I need to act.
- I hate it more than anyone but, uh,
LA is where the work is right now.
- I grew up in Los Angeles, and that was plenty for me.
- You could be booking
a different guest spot every week.
- Oh, as what, the dying grandmother
or some old--the lady who gets her purse snatched?
I just--I can't--
Mel, book me on the bar mitzvah circuit.
At least I'd have a mic in my hands and...
Stretch my legs a little.
- I'll make some calls.
Annie, we're ready for you.
- Great.
- Hey.
- You can go out with any girl in town.
- That's right.
I go out with any girl in town,
but I stay in with you.
- Joe, it's not fair.
Shit.
I'm spilling everything, the coffee.
It's just--it's all wrong.
- Hold there, please.
That's good, Annie. That's very good.
Um, I'd like to give you an adjustment.
The character in the film, Katie,
she--she really wants to let him have it.
You--you understand?
She doesn't need to be polite. Just don't hold back.
You know?
Take it from the same place.
Give her the line.
- Who's Michael Graham?
- He's a dancer in my ballet class.
- Straight or gay?
- What do you mean?
- You--you--you know what it means.
That's not a real question.
Do it again. Same place.
- Who is Michael Graham?
- He's a dancer in my ballet class.
- Straight or gay?
- What do you mean? - Uh, you know what?
Let me--just give me-- give me the thing,
and I'm gonna do it.
You--is it-- Go ahead. Get up.
- So I don't want to go out with Michael Graham.
I don't want to date.
- Do it again. Do it again.
- Ah, Joe, I don't want to go out with Michael Graham.
I don't want to date.
- Same place. Go again. Go again.
- I don't want to go out with Michael Graham.
I-I-I don't want to date.
- No, it's getting worse. Same place.
- I don't want to go out with Michael Graham.
- No. Go again. Same place.
- I don't want to go out with Michael Graham.
I don't want to date. - No. Go again.
- I don't want to go out with Michael Graham.
I don't want to date. - Goddamn it, Annie.
What are you doing?
- I don't want to go out with Michael Graham.
I don't want to date. - What is that?
- I don't want to go out with Michael Graham.
- What are you doing?
I asked you a question. What are you doing?
Why can't you do this scene like it means something to you?
- Because this isn't a scene.
Because this is my life. These are my words.
You took our life and you put it
into a fucking scene in a movie.
That's why.
- Same place.
- I don't want to go out with Michael Graham.
I don't want to date.
I have no more small talk left in me.
I don't want to fool around. I don't want to play games.
I just want to love you.
Well, that was it.
That was--that's what we've been looking for.
That was terrific. That was wonderful.
Congratulations, Annie, you got the part.
- Say, a, uh, Mrs. Willis just called you.
- Teddy's principal?
- Yeah, she wants to speak to you tonight
if you're gonna be home.
- I'm telling you, I can teach anybody.
- I've got no rhythm. I never have.
- Oh, I-I think you do.
- You're home pretty late.
- What are you doing still up?
You been drinking?
- Yeah, just a little.
- That's gonna leave a mark.
You--you got to use a coaster.
- I took one of your Dexies.
- Oh, well, you're gonna have a hell of a time
trying to fall asleep, kid.
- Well, do you have a pill that'll help me sleep?
- You're not getting one.
- Maybe I should go. - No, you--you just got here.
Bridget's an actress. I'm casting her in the movie.
I'm not sure which part yet,
but, uh, we're gonna find something.
- Yeah. - This is Nicole.
- Hi, how do you do?
- Uh, I think we should all go to bed.
- You're just gonna leave me here?
- Hey, you want to act like a grown-up?
I'm gonna treat you like a grown-up.
- What if we left New York?
- For the weekend?
- Every year, you say the same thing.
It's the last week of August. We're out at the beach.
We're a million miles away from the nearest Broadway theater.
We're happy.
And you say, "What if we just stay?"
"Get a little house by the water."
And then every year on the Monday
after Labor Day weekend, we pack up the car,
we drive back to New York City,
and then we forget all about it.
- Well, because you have a career.
- I haven't worked since "Chicago" closed.
- That'll change.
- But what if it doesn't?
What's keeping us here?
I...
We could go anywhere.
We could get a little house in the country.
We could get a dog. Just have a normal life.
- Okay.
- What? Okay?
- Let's do it. Why not?
Okay! - Okay.
- Come here.
- Okay, quiet for rehearsal.
- That's terrific. - That's good.
- That's great.
Uh, why don't we start in this direction?
Yeah?
- All right.
All right, stand over here a second.
- Be careful now.
Is that comfortable?
- Yeah, it's fine with me.
- Yeah? That's terrific.
All right, let's keep going.
- All right, let me see an arabesque.
There it is.
- Beautiful.
- How are things at home?
- Pretty good.
- Arch your back. - Really nice.
- Anything you want to tell me?
- Sweetie, are you okay?
- I'm fine. - Okay.
- Shh. They're rehearsing. Please.
- There it is.
Oh, God. You're getting heavy.
- Very nice.
- Bend your knee.
So what were you wondering?
- Why don't you get married again?
- Do a head roll.
- Yeah.
- I don't get married
because I can't find anyone I dislike enough
to inflict that kind of torture on.
Can I move back in with you?
- Of course.
- That's great.
Let's, uh-- let's gather everyone.
- Cut on rehearsal. Let's throw down some marks.
- Hey, that's great.
- Here's all of her stuff.
- Well, thank you.
- She's okay, right?
- Oh, she's--she's fine.
I'm sure she'll be sick of me in a week.
I think she's smoking. - Oh.
- She thinks that if she opens up a window,
I won't be able to tell.
- Hmm.
- I mean, I don't know what happened.
Last year, she had such a nice group of friends.
But these New York City private school kids,
they just have too much time on their hands.
- Yeah, we should send her to a public school.
- So Ron and I have been talking
about getting a house outside of the city.
- For--for the summer?
- Uh, no, for the whole-- for--for year-round.
- Uh, oh.
- I think it would be good for Nicole.
- Sure.
- Send her to school with children
whose parents aren't all actors and stockbrokers.
- Uh, of course, I'd still be auditioning,
looking for the right thing, and making appearances.
I just--I think it'd be a good change for all of us.
- I want you to do Roxie.
Bobby and Joe started booking the tour.
I was gonna wait and ask when it was all official,
but, uh...uh...
It'll be a big draw.
And Gwen Verdon over the title.
Probably sell out the whole thing, you know?
It's your show.
It's--it's always been your show.
Where's Nicole?
- Out with friends.
- Mm.
Which ones?
- Oh, boy, I don't even ask.
It just leads to an argument.
As long as she's back by 12:00.
What happened to 11:00?
12:00 was our compromise.
- Mm.
- I got the rest of her things from Bob.
- And he must be thrilled to finally have her
out of his hair.
- And--and he told me that, uh,
"Chicago" is going out on a tour.
- Oh, that's good.
- And he offered me Roxie.
Right.
'Cause you had such a great experience the first time.
- I said yes.
What? It's just for six months while it gets up on its feet.
- Gwen, you were miserable doing that show.
It was the worst time of your life.
- Yes, but that's because it was brand-new.
I mean, now I know what it is.
There's no more cutting the numbers
or this line's her line, this line's her line.
- What about our plan?
- About what? - What about leaving the city?
- What, I-I-I don't--I don't think I realized that's a plan.
- What did you think it was?
- We--we were just talking. It's an idea.
What? We can still go.
We just have to wait six months.
- No.
No, because...
Because then it's gonna be,
"Oh, you know what?
He really needs me to do nine months."
And then it's, "Oh, now it's a year.
But he asked so nicely that I agreed to do 18 months."
- What's that supposed to mean?
- That you can't say no to him.
- I don't want to say no to this.
I want to work.
I don't even know why you're getting to upset about this.
That was my idea to leave the city.
- Gwen, I don't care about leaving the city.
I just want to be done with him.
I'm so sick of being in a three-way relationship.
I'm tired of being the consolation prize to Bob Fosse.
- If you go on this tour,
I won't be here when you come back.
- Don't be absurd.
- I mean it, Gwen.
- Action.
- We did it, Joey.
- Doc, you're the greatest.
- It's a showstopper.
It's gonna run forever.
I'll miss you most of all, kiddo.
- At least I won't have to lie to you anymore.
- Thank you.
- And cut!
Reset from the top.
- Wow, that's terrific.
Do another one just like that.
- Okay.
- That--that really looked, uh--
that--that looked like it was pretty exhilarating.
- Oh, it really is.
Yeah. - I bet. I bet.
- You should try it.
- Me? No, no, no. - Yeah, yeah, yeah.
You should try it.
- No, we--we don't have time. We got to roll.
- You would love it. We have time.
- No, no, no, no. - Hey, hey. It's your life
It's your show. We have time.
- It's our life. You're playing--
- We have time. You guys want to see Bob do it?
Bobby, they love it.
Come on, Bobby.
- Come on! Come on!
- It's your life. It's your audience.
Yes!
- Come on! Yeah, come on!
It's your audience.
Whoa, whoa, whoa, whoa, whoa.
You're crazy.
- Back to one!
We're gonna do the real thing this time.
Oh!
Thank you! Thank you!
Thank you for this.
Oh, thank you so much. Thank you so much.
Thank you. Sit--sit--sit down.
Sit--sit down.
Well, I am delighted
to be here with you all this evening
and to be honored for the work
I have been so passionate about for all of these years.
It is vital we continue to provide psychiatric care
to the most vulnerable,
and at the Staten Island
Postgraduate Center for Mental Health,
that's just what you've been doing for the last 33 years.
Give yourselves--yes! Give yourselves a hand!
But tonight is not just
about celebrating our accomplishments.
It's also about getting you marvelous people
to open up your checkbooks.
I know. I know.
I know it can be impolite
to talk about these kinds of things.
But when it comes to raising money
for a good cause,
I'll tell you my secret.
Oh! Oh! Oh, my goodness.
Thank you!
That was nice.
- Yeah.
- You hungry?
- I have class tonight, remember?
- Oh, skip it.
- We're doing our scene.
- Oh.
You need me to call the teacher for you?
Write you a note?
- I'll be home late. We're all getting drinks after.
- I'm not invited?
It's just the class.
- No, I understand.
Is that kid I met-- um, what's it--going with you?
What's his face?
- Eddie?
- Yeah. Is Eddie going?
- I don't know.
- Good-looking kid. - Let's not do this, please.
- No, I think he's a nice kid and he's got a bright future.
Maybe you should go home with him after.
- You're such an asshole.
- He might be a really great lay.
- Good night. - I don't--I'm being serious.
I'm late!
- Where you going?
- I'm late.
- Hello.
What's wrong?
What? Neil? What is it?
Uh...
as most of you know, uh, Paddy and I were friends.
I, uh...
Hope this doesn't offend anyone.
Can't imagine a life without you, Paddy.
- I talked to Nicole last week. - Oh, that's nice.
- Yeah, she's--
- I don't think she's speaking to me right now.
Hard to keep track. How is she?
- Oh, you know. Same.
- I heard that she went down for work--uh, to work.
- Oh, yeah. I talked to Jerry.
She's, uh--she just wasn't right for the part.
- Oh. - Yeah.
- Darn.
- Hey, I was flipping the channels,
saw Ron on a police show.
Yeah, it was a big car chase.
- I saw it too. He had a couple of lines.
I was happy for him.
- Yeah.
He and his wife, Sue,
they had another baby.
- Oh. - Little boy.
Spitting image of the father.
Very strong jawline for a little fella to carry off.
- Talked to, uh, your old buddy, uh, Joe last week.
- Oh. Well, how is he?
- He wants to do a revival of "Charity."
- You're kidding.
- He wants to maybe start out of town,
bring it in next season and the season after.
- Golly. Well, I think that's wonderful.
- Oh, yeah, I just have to find another director.
I-I got too much on my plate.
- Hmm.
You trust somebody else with it?
- I mean, if you were there to supervise.
Joe wants to use all the original steps.
Nobody knows them better than you.
- Oh, I-I don't--I don't know.
I'm...
I'm busy.
- Yeah, but you don't have to be there
for the first few weeks of rehearsal
or early--early previews.
- I don't know.
I can think of ten people off the top of my head
who would be just as good
if not better than I would at that.
- Well, it's not just any show.
That's our baby. That's--that's "Charity."
- Well, if you like it so much,
why don't you just do it yourself?
I'm not directing a revival. I'm not that old.
- Yes, you are.
You start directing revivals of your own shows, you...
you might as well announce to the world
that "My career's finished."
Don't count me out yet.
I still got plenty to do.
One, two, three, four, five,
six, seven, eight, nine, ten.
These are just random notes on this project
called "The Ladies' Man" or "Second-Hand Ladies' Man"
or "Used Ladies' Man" or...
That's probably a better title.
Question the Ladies' Man's--
Ladies' Man--Ladies' Man keeps asking himself.
And of course he does it with humor.
As with all humor,
there's a certain truth behind it.
He asks himself, would you trade a lady
who really cared about you,
knew how much sugar and cream you took in your coffee,
knew exactly when your birthday was,
rubbed Vicks on your chest when you had a cold,
babied you when you were losing,
celebrated you when you were winning,
dealt with all your infantile emotions--
if you had such a--a lady,
would you trade her for a strange piece of ass?
Just a girl who came along,
a one-night stand that you may never see again.
Would you trade that for that?
One for the other?
His answer was...
Yes, I would.
It's autobiographical again.
Shit.
- Bobby?
- Yeah? - It's for you.
- Honey, I'm working.
This is--I'm working.
- That's your last cigarillo for the day.
- Okay. - Okay.
Hello. Who is it?
- Hi--hi, it's me.
- Oh. How's it going?
- It's not working.
- What's not working?
- The--the whole thing.
It's--it's just one big joke.
It's a--it's a Saturday morning cartoon.
There's no edge to it, no heart.
- Well, that's what you're there for, Gwen.
You're there to supervise.
- The choreography is fine. It's everything else.
It's the...
It's--it's fine. It's fine.
It's fine.
It'll be fine.
I'm just gonna keep working with him.
I just don't want for you to have unrealistic expectations.
- It's not unrealistic to--to expect it to be great.
That's what we always expect, Gwen.
- Y--yes, well, I know that, but...
All right, look, if we were in New York right now,
I would tell you to get in a cab
and come down and just put your eyes on it for two minutes.
But that's not an option, so...
What time do you--
what time do you start rehearsal tomorrow?
- How's about it, palsy?
Yeah!
- What am I supposed to do? - I don't know.
- Give a half hour's worth of notes and hope for the best?
- I've been giving notes in there for a month.
- Sad thing is, you know, the cast,
I mean, it's--they're--they're--
they're--they're decent.
- They're good, aren't they? - Debbie's terrific.
- She's a talented girl. Yes, I know.
- Everything else up there, though...
- I know. I know.
I mean, if you could just work with her, then...
Yeah.
Well, that poor director.
I mean, he is trying his best.
But he just isn't...you.
I don't know what to say.
I mean, you would have to start completely from scratch.
- You'd have to get in there with me, though.
The ch--the character work.
- Yeah, well, yeah, of--of course.
- Last time we worked together...
- It went so well.
Yeah.
What do you think?
All right, let's hold there.
Uh, what are you doing?
Dancing.
- That's not dancing.
- Well, they're your steps.
- Exactly.
What are you saying with those steps?
What's the story?
Gwen, show her the steps.
- But, oh--Bob.
- What, you don't-- you don't remember them?
- Well, no, I...
I remember, but it's-- - Go ahead.
- Oh, stop.
- It's all yours.
Thank you. - Mm-hmm.
- This is very silly.
- Take it back from the same place.
- And...
Now.
- You're a little early.
It isn't time yet.
- I told you the curtain is at 7:00.
- God, you look magnificent.
- Let's go.
It's time.
- Okay. - The theater is thataway.
Ah, we've got to look at the spacing
for "Frug" in Boston.
- I haven't seen the dimensions yet.
Have you? - It's tight.
That's-- that's what they say.
I think it's very tight.
What did Danny say about those ticket sales?
- Well, he said that we're sold out
for the rest of Washington.
He thinks that by the time we start advertising in Boston,
we're going to be in a--Bob? - Uh, something's wrong.
- Bob! Oh, oh, God!
Oh--Okay, okay. It's okay.
- Something's wrong.
- Yup. That's okay. That's okay.
You're just--you're having a seizure, okay?
It's okay. Somebody call an ambulance!
Please! He's an epileptic!
We just need to get you your Dilantin.
That's all. That's all. All right. All right.
So they'll hold the curtain as long as they need to.
Nobody's starting anything without you.
Don't want you worrying about that right now.
And we'll j--we'll get there when we get there.
Okay?
There we go. Okay, I'm here.
I'm here. Yup, yup. There I am.
Yup, give me your-- there you go.
There you go. Give me that hand.
There we go.
Bobby?
Okay?
- I'm right here, Bobby.
Okay? I'm right here.
- When do I find out if I got this part or not?
- You already got this part.
You had the part before you walked in here.
- Well, why didn't you just say so when I came in here?
- You didn't ask.
So what next?
- I don't know. I-I'm very nervous for some reason.
- Yeah.
So am I.
I'm here, Bobby.
I'm here.
Here.
Bobby.