(SINGING) Yes, I'm laying odds on tomorrow
Call the Mormons. Tell them you're not coming back.
WOMAN: Previously on Smash...
I can't put that number in Bombshell.
(SINGING) Fade up on a star
I'm going to get you a new story.
Leigh Conroy has agreed to come out of retirement
and play the part of Gladys.
How am I supposed to be anything
when you're always here sucking up the light?
(SINGING) If I were a boy
DEREK: Congratulations.
You just became our Diva.
Here I am, 15 years too late,
saying I'm sorry.
ADAM: You've got balls, Jimmy.
We could get another drink. I know a spot on the corner.
What, did you run up here?
Hey. Hey.
What time is it?
I don't know. 7:00.
What time did we go to sleep?
6:00. (LAUGHS)
What? No! We have rehearsal in an hour.
So? (BOTH CHUCKLE)
(INTERCOM BUZZES)
Maybe Ana forgot her keys?
She would call first.
Hello? ROGER: Karen?
It's your father. (LAUGHS)
Dad?
It's cold. Can you let me in?
Um, yeah, I'll buzz you up.
Oh, my God. I forgot. Ooh.
I get to meet your dad, huh?
Town, conference. He's in town. What?
Look, you got to get out of here.
Really? It's my dad.
Oh, my gosh. It's a mess in here.
Um, my pants.
Where do I even put this?
Okay. Oh, gosh.
Get the shoe, get the shoe. Here, shirt. Your shirt.
Here, here, here. Hurry.
Hey. It's all right.
Bye.
Mmm.
(KNOCKING AT DOOR)
Oh, my God, go, go, go. All right, I'm going.
Dad. Hi.
Can I come in?
Oh, of course.
It's just a mess. I was going to clean up.
Don't worry about it.
(LAUGHS) You want some coffee?
Uh, coffee...
(CELL PHONE RINGS) Ugh.
Is that your mom again?
Yeah, the fifth time this morning.
I wonder what's so important?
Why don't you answer and find out?
Because I'm still mad at her for not coming to the opening of Liaisons.
I didn't.
You would have if you weren't on tour.
She was just sitting at home updating her website
and sending letters to her fan club.
She didn't even send a card.
"I'm sorry, I'm too jealous to attend"?
(SCOFFS)
But now that I'm starring on Broadway, the calls won't stop.
I wish I was starring on Broadway instead of in the ensemble.
Not even in the ensemble.
A cover for the ensemble.
Ivy, Tom and Eileen would like to talk to you right away.
In private.
How does this sound?
"Scott. It was so nice to talk to you yesterday and clear the air..."
Are you writing an e-mail?
I thought you were doing a final pass on today's scenes.
I was.
And I'm also writing an e-mail.
You apologized. He accepted.
That story has a beginning, middle and an end.
I screwed up his life 15 years ago.
I want to try and make it right.
Let it lie.
I think we both know I don't do that very well.
Neither do I, but I'm going to try really hard with Sam.
I know I hurt him.
But I'm going to give him some time.
You should, too.
Ivy's here.
(STAMMERING) What? Oh, come on.
Oh, my God. You didn't tell her yet?
I didn't want to do it over the phone.
Besides, she said she wanted to call her first herself...
Hi.
Call who first? What's going on? Am I being...
Don't worry.
No, um, it's not anything bad.
Um...
Ivy, as you're our star,
we want you to be the first to know
that we've cast the part of Marilyn's mother, Gladys.
Patti LuPone?
No, but someone a little closer to home.
Oh, well, who is it?
Ivy, darling.
And she's early. Mom.
I've been trying to call you since I got the offer last night,
but you never pick up your phone.
Oh, my God.
Look at that. She's almost speechless.
Think of it, Leigh Conroy stepping out of retirement
to play the role of a lifetime, the role only she can play,
your mother. She already has that role.
Which is why I haven't accepted it yet.
I told them I would only take it with my daughter's blessing.
Ivy, Bombshell is on track creatively.
But we simply need something to support that on the business side.
And Leigh is a very big draw.
But none of us wants you to be uncomfortable.
Including me. If you don't want me here, I will completely understand.
It's up to you.
Should we at least try it? What do you say?
I say yay?
(LAUGHS)
ALL: (WEAKLY) Yay. Yay.
Okay, Mom, let's go say hi.
That went well.
It's only been five minutes.
Who knows what'll happen once the shock wears off?
Well, whatever it is, let's hope it's good.
Ivy and Leigh working together
is the only reason we're getting the Arts cover of the Times.
It helps to be friends with the editor.
Pass along my thanks to Richard?
You can tell him yourself. He'll be by later with a photographer.
Oh, good, who knows how long this will last.
(PIANO PLAYING UPLIFTING MUSIC)
(SINGING) I pull myself together
I'm focused on the prize
I'm falling, baby, through the sky Through the sky
I'm falling, baby, through the sky
It's my calling, baby Don't you cry, don't you cry
I'm falling down through the sky
It's a tune you can hum
Oh, Broadway, here I come
Mmm...
Will I remain the same or will I change a little bit?
Will I feel broken or totally complete?
Will I retain my name when I'm the biggest, hugest hit...
All right, stop there.
We've got a big day ahead of us.
(CHUCKLES)
Oh, let a father be proud of his daughter.
I'm sorry. I... I won't interrupt.
Karen told me about the big fundraiser tonight. So...
Well, I hope that you'll come.
You can hear Karen sing this in much nicer surroundings.
About that.
Since tonight is Hit List's introduction
to our board members and the patrons of this theater,
we want to wow them with everything we've got.
What are you thinking?
Now that we have our Diva, maybe we should show her off?
Yeah, well, Karen is singing. She's our star.
I'm not taking away her number. Just adding another one.
I'm thinking we should do the Diva's number.
Do we even have time to pull this off?
Almost definitely not, but that's never stopped me in the past.
Number's in good shape. Let's just run it one more time.
You never know, our composer might turn up at some point.
I'd better, uh... Dad.
Just stay.
And watch Ana rehearse. She's amazing.
I'm sure you have your reasons,
but I still can't quite see why you left Bombshell for this.
It's a great show.
It might not be Broadway, but it's right for me.
Just stay. You'll see.
I can't say "no" to spending more time with you. (CHUCKLES)
You sounded great.
Like... (GRUNTS) (CHUCKLING) Okay. Yeah.
Of course you'd oversleep without me there.
Hey, tell everybody I'm on my way.
What's gotten into you?
You sound happy.
Maybe I am.
Jimmy? You still there?
Hi. Hi.
I know this is an incredibly awkward situation.
But my hands were basically tied.
When Eileen came up with the idea to hire your mother...
Let's just see how this goes, okay?
Norma Jean and Gladys, we are ready for your very first rehearsal.
Leigh. Feel free to hold your script. Yeah.
I know you've barely even had a chance to read it.
Oh, read it? I'm already memorized.
Of course you are.
Where do I stand?
Right behind me.
(LAUGHS)
(PIANO PLAYING ETHEREAL MUSIC)
KAREN: That looks cool.
You wait till you see what the guys at AntiGravity have put together.
If we pull this off, we should raise quite a few eyebrows tonight.
Where's your dad?
Oh, Scott's showing him around.
He thinks I made a mistake leaving Bombshell.
You took a risk. We both did.
I wish he could look at it that way.
Why don't you bring him to the fundraiser?
I don't know. It's not really his thing.
Watching his daughter perform? He'd love it.
KAREN: Maybe. Oh, okay.
Uh, they're ready to fit me for my costume now.
Okay.
Oh, Mr. Collins,
how lovely of you to grace us with your presence.
JIMMY: Sorry I'm late. Hey.
Let's get started.
Oh, we did already.
Sweetheart, I won't let them adopt you.
I'm your family. They're not.
IVY: But you've never treated me like family.
They do.
Please, let me go.
I'm not just something you can cut out of your life.
Tom?
TOM: All right.
Let's pause here.
Um...
(QUIETLY) Come on. Over here.
Why are they being so nice?
This is boring.
I want my catfight already.
All right. Um...
I want to get behind the choices both of you are making.
But I need some help understanding them first.
What's to understand?
You're playing a very contentious scene, uh,
warmly.
Norma Jean's my daughter. I love her.
She's asking you to let the neighbors adopt her
because you're mentally unstable.
And you don't seem very upset that she's saying no.
Why would I be upset? I love my mother.
She tried to kidnap you when you were a small child
by stuffing you in a duffel bag.
Proof that, no matter how misguided, Gladys cared about her.
Richard.
I was about to call. Good.
I'm about to meet my photographer, and then we were going to head over.
Is today okay? Mmm...
It's okay, but tomorrow would be better.
Deadline for the weekend section
is tomorrow. Will you be ready?
I'll make sure of it.
Perhaps I can repay you for your kindness with dinner next week.
(IN IRISH ACCENT) Eileen Rand, are you asking me out on a date?
No, that would be a conflict of interest.
(IN REGULAR ACCENT) That's right, and The New York Times frowns on those.
It's too bad, though. That's the only reason I signed on for this.
To spend some time with you.
Well, let me get back to you.
I'm sure I can figure something out.
Why isn't this working?
They're being so polite,
they're turning Norma Jean and Gladys into the Gilmore Girls.
They're both amazing actresses on their own.
You just need to find a way to get them there, together.
How?
Directors use a variety of methods to get what they want.
If you're not getting the performance you want, find another way.
I shouldn't just wait for them to find it themselves?
First week of rehearsal? Sure.
Week before tech? Get in there.
I have an idea.
But it isn't pretty.
Hey.
Is everything okay?
I hope you're not mad at me for making you leave this morning.
No. No, I'm not mad.
Good, 'cause this is really strange for me.
My dad's here, he's asking me all these questions about my life,
and then in the middle of all that, there's what happened with us.
You haven't told anybody, right?
Ana, Kyle. Derek.
No. Why?
We're working together. It's better to keep it between us.
If that's what you want.
No, no, I...
I'm sorry. No, it's not that. It's...
(SPEAKING INDISTINCTLY)
KAREN: What? What is it?
Um, I have to go. I'm sorry.
Not here.
Let's go.
(SIGHS)
Pretty nice place you got here.
What are you doing here?
Huh? How'd you find me?
You broke into my house, man, I knew you was alive.
Did a little digging. And here you are.
Dude, I don't have it.
Even with all these posters with your name on them?
It's not anywhere near what I owe you.
Well, you'll find it.
I know where you live.
And I know where you work.
Well, maybe I could meet some of your new friends, huh?
I need time.
I'll see you soon. (CLICKS TONGUE)
(SIGHS)
(BANGS WALL)
Mr. Cartwright.
You're leaving already?
Well, Karen's done, so I thought I'd go.
Uh, call me Roger.
I've got a ticket for tonight's benefit.
Thought you might like to see the star of our show at her best.
(CHUCKLES) You're, uh... You're very fond of my daughter, aren't you?
Yeah. She's a wonderful girl.
But
give her the chance to show you what she left Bombshell for.
Nice jacket.
Thank you?
Sam, I'm so glad to see you're back here.
I know how sad Ivy was when you left for the tour.
Isn't this a hoot?
When I got the offer, I said to Tom, "Go with your other options,"
but he insisted.
Huh. I thought it was Eileen's choice.
It was Eileen's idea,
but Tom's decision.
I had to say "yes" just to get him off the phone.
(CHUCKLES)
Now what exactly happened between you two?
Is there no chance of patching things up?
(LAUGHS UNCOMFORTABLY)
Julia. Hmm?
Are you free tonight by any chance?
I was just going to hang out here at rehearsal.
Because Karen is performing a number from
Derek's new show at the fundraiser tonight.
And I was thinking maybe we should
go along and see what they left us for.
The fundraiser for the Manhattan Theatre Workshop?
Correct. Sure.
Great. I'll be by with my car at 8:00?
Okay. Good.
EILEEN: Bye, Tom.
All right.
I know it's late and we all want to get home.
And we can, once we get this right.
Um...
Let's turn up the drama a little bit.
When you're ready.
Sweetheart, I won't let them adopt you.
Okay. So, this is a mother-daughter scene.
You are a mother and daughter.
Let's draw on that.
You grew up with your mother working on Broadway.
What was that like?
IVY: I don't really remember.
Oh, what? Of course you do.
I was performing Anything Goes the whole time I was pregnant with Ivy.
She tap-danced along right with me the whole first trimester.
And you won a Tony for that role, right?
Yep. Yep.
I wasn't even 30 years old.
I'm sorry, what?
I was 27 when I had you.
According to what calendar?
Take what you're feeling now, do the scene. Go.
Tom. Tom, you'll love this.
When Ivy was eight years old,
(CHUCKLES)
She got fat all of a sudden...
Mom.
No, no, no. Just briefly.
Then you got very thin, dear. But don't be so uptight.
But anyway, in this brief moment in time,
I was playing Maria in Sound of Music.
And Ivy, she just so desperately wanted to
audition for one of the von Trapp children.
So I begged the producers, and they agreed to bring her in
(CHUCKLING) for Kurt.
(ALL LAUGHING)
It was a boy.
You know what? Maybe we should...
IVY: Did I ever tell you about the time that
my mother came to visit me at theater camp?
I don't think I remember that one.
Oh, sure, you do.
It was the summer before eighth grade.
You came to see me in Into the Woods.
It was my first real role, and she was upstaging me even then.
But that wasn't the worst part.
Ancient history, Ivy.
I was Little Red, and Christina Nicholson was Cinderella.
Christina got a standing ovation.
And you said, "If you were born with
"the talent she has, that could have been you.
"But you weren't.
"So you're gonna have to work that much harder."
And you did work that much harder.
(WHISPERING) The scene?
LEIGH: And here we are.
IVY: I am here.
And you shouldn't be.
But of course, when I finally get my big shot,
you have to show up and remind me
that I'm still not good enough.
Well, guess what?
At least the best part of my career is still ahead of me.
(MUSICIANS PLAYING UPLIFTING MUSIC)
(SINGING) Broadway, here I come
And the last thing I hear
As the impact grows near
Is it a scream or a cheer?
Well, never mind, I'll never find out
'Cause Broadway, I am here
(AUDIENCE CHEERING LOUDLY)
That, right there, is a star.
Yeah, she could have been, if you'd let her.
Excuse me?
I've been reading about you, how you treat the women who work for you.
My daughter threw away her Broadway dreams,
dreams she's had since she was so little I could hold her,
all to follow you down here.
I have nothing but respect for your daughter, sir.
It was entirely her decision. It was nothing to do with me.
A man would stand up and admit his role in all this.
A boy would sneak out the window.
That was great.
Hey, thanks. Um...
So, I was, um... I was...
I wanted to ask you for an advance on my money.
It's just, it's hard to, to work shifts
at the restaurant when I'm in rehearsal.
Sorry to break it to you, but this is nonprofit theater.
Well, I mean, what about all these people? Aren't they, aren't they supporting us?
I mean, they don't look so hard up.
They keep the lights on.
Is there something wrong?
No, hey. Forget it.
Too bad my restraining order hasn't been processed yet. (CHUCKLES)
I didn't come to see you, I came to support your theater.
Is that why you bid on so many items in the silent auction?
I just really think that that spa weekend is a good deal.
You're trying too hard.
I feel terrible.
I noticed.
Eileen Rand?
What a surprise.
You missed Karen Cartwright. I did.
I'm glad you got a ticket.
Apparently I'm at table four.
Huh. That's interesting, 'cause so am I.
It's a miracle.
Oh, my God, you won't believe who's here.
Richard Francis, Arts editor of The New York Times.
He's gonna watch you shut it down.
Oh, I didn't think I could get more nervous.
Don't be. You're gonna be great.
Hey, where's Jimmy? I was kind of hoping he was in here.
I need to talk to him.
Yeah. He's been acting weird all day.
Yeah, I noticed.
Is everything okay? Did something happen?
Ana, we're ready.
Okay. (CHUCKLES NERVOUSLY)
(MUSICIANS PLAYING ETHEREAL MUSIC)
(SINGING) I could fall in love with you
I could fall in love
In my dreams your dreams come true
Say you'll dream of us
At night when the bright stars are burning high over Manhattan
All washed out in neon and hidden from view
But when the power goes out and you look up from Brooklyn
Will you reach for me reaching out for you?
Oh, will you reach for me reaching out for you?
Reaching out for you
I can tell you're unprepared
For what will happen next
Nothing now could change my mind
Or make me want you less
Do you want this tonight?
When the bright stars are burning high over Manhattan
All washed out in neon and hidden from view
But when the power goes out and you look up from Brooklyn
Will you reach for me reaching out for you?
Oh, will you reach for me reaching out for you?
Would you reach for me?
I could wait for you
Would you reach for me?
Bright stars are burning...
Hey, they need you downstairs like, right away. Oh.
... high over Manhattan
All washed out in neon and hidden from view
But when the power goes out and you look up from Brooklyn
Will you reach for me reaching out for you?
Oh, will you reach for me reaching out for you?
Will you reach for me reaching out for you?
Reaching out for you?
I'm reaching out for you
(AUDIENCE CHEERING LOUDLY)
Hi, Jimmy.
Patek Philippe.
Score.
I... I can explain. I wouldn't bother.
It's pretty obvious.
Derek, I'm in trouble, okay?
All right. Go on.
I mean, it's this guy I know,
this dealer, I used to work for him.
And buy from him, and crash with him and his friends.
Okay.
Okay, but I got out of there, like, a year ago.
It's just I needed some cash for a clean start.
How much did you take from him?
Eight grand.
Why didn't you just ask me?
Are you kidding?
I thought you and I are becoming friends.
Believe it or not,
you don't have a monopoly on youthful indiscretion.
Hey. What are you doing in here?
Uh, fetching our coats in your absence.
Oh, look at that. They match. Catch.
Big night.
Ambitious.
You could say that.
Were your patrons pleased?
I hope so. What'd you think?
Oh, I thought it was extraordinary.
You and I used to try stuff like this.
Mmm-hmm.
Think about what we could have pulled off if we had stuck together.
I do think about it.
More and more lately.
But if what I did got you to this place, I no longer feel guilty.
(LAUGHS)
You're onto something here.
I'm just glad I stalked you so I could see it.
Well, I hope you don't stop.
I'm getting used to you.
Ooh. There you are.
Hey, Roger, you've met our composer, Jimmy Collins?
Hello, Jimmy, uh...
Karen, uh, walk me out.
It's late, I'm going to get a cab.
Okay.
You, my dear, were a vision. Oh, thanks.
I'm betting the house on you guys.
Well, she killed it, so...
Derek, great to see you, as usual.
Interesting show.
Richard Francis, New York Times.
Scott Nichols.
As I'm new in town, I've yet to have the pleasure.
(CHUCKLES)
Is this the team behind that number? SCOTT: Yes.
RICHARD: And this is the sprite.
Spinning in the air.
Yes, I'm Ana.
Uh, she plays the Diva. That was her song in the first act.
Well, I can't wait to see what she does in the second.
She is all over the place.
Well, we'll leave you to it.
I'm so looking forward to seeing where all this goes.
Let's talk. SCOTT: Sure.
Soon. Of course.
Okay, I am literally waiting to exhale.
Dude, "all over the place"? The Diva only has one song.
SCOTT: Not anymore. Forget the patrons.
That man is the only fan Hit List needs. If he says jump, we fly.
Here we are.
Well, that was fun. And see, no conflict of interest.
Let's keep it that way.
Look, I want to spend time with you.
So I had a thought.
Why don't I give the Bombshell story to another writer?
Do I still get the cover?
Sure.
I thought you were looking forward to writing it.
(SCOFFS) I'll find something else to write about.
I'm sorry if things got a little tense back there.
I'm not.
It felt good to say the things that needed to be said.
You mean that terrible story about how I never missed your shows growing up
and taught you to work hard?
What a bad mother I've been.
You never should have taken this job.
They need me. You need me.
No, I don't.
You may be a star in the making, but you're not there yet.
Your name can't open this show.
But ours can, the two of us together.
We may need you to open the show,
but after that, I'll never need you again.
I finally understand about why you left Bombshell.
You left because of that composer.
The one I saw sneaking out your window this morning.
Dad...
You've never even mentioned him to your mom and me.
Who is he? What's his story?
I just don't want you to make a mistake.
Jimmy's important to me.
This show is, too. So if this is all a mistake, it's too late,
I already made it.
I guess you did.
When I was a film cutter at RKO, after work,
me and the girls would sometimes
drive all the ways down to the Santa Monica Pier and go dancing.
I should have come to see you,
but I knew you were better off where you were.
Oh, Norma Jean, I'm so sorry.
Mama, I'm Marilyn now.
I haven't been Norma Jean in years.
Baby, I wish I was back in the cutting room.
I'd take all these pieces of our lives
and I'd make something beautiful.
(PIANO PLAYING GENTLE MUSIC)
(SINGING) If our lives were a movie
I'd know what to do
I'd write every scene with my heart
An RKO picture
That stars me and you
And this time I'd learn my part
I'd paint you some scenery
We'd sing and we'd dance
From morning to late afternoon
And when that scene is done
Then I'd take down the sun
And for you, darling
I'll hang the moon
We'd wake up to sunshine like lights on a set
You'd reach out and there'd be my hand
All day there'd be music
A perfect duet
That flows from the white baby grand
At night when you're frightened
I'd play you to sleep
That melody from Clair de Lune
And to fill up the sky
Past the clouds I would fly
And for you, darling
I'll hang the moon
Hang the moon forever
So you'd never fear the darkness
The darkness I've known
Moon, protect Norma Jean
So that she'll never be alone
Never alone
If our lives were a movie then you'd be the star
'Cause now I know the role I should play
To applaud all you do
All the things that you are
And just be there on opening day
I know in the past
That the lines were all wrong
And the music was never in tune
But the wish that I make
Is for just one more take
Because then, darling
I'll hang the moon
BOTH: I'll hang the moon above you
So you never fear the darkness the darkness of night
Then you'll know I love you
Each time that you feel the light
Feel the light
If our lives were a movie then I'd cut away
All the moments when I wasn't there
The scenes that are happy
Are all that will stay
The rest will dissolve into air
BOTH: As the final reel ends we might both shed a tear
For the ending is coming up soon
BOTH: But when the screen fades to black
We can smile and look back
And for you, darling
I'll hang the moon
(CHUCKLES)
Well, that should do it.
We've got some work we can get on with
while you go and visit your friend.
He can wait.
Yeah, but he shouldn't.
Handle it now.
Thanks. Sure.
Sorry. I was awful hard on you last night.
I just want you to be happy,
and if that boy makes you happy,
then that's all that matters to me.
Thank you.
Jimmy.
Uh, your show seems interesting.
I look forward to seeing the rest of it on opening night.
Maybe we could all have dinner.
Uh, yeah, I'd like that.
Good. Good.
Roger. You're not staying for rehearsal?
No, I was just saying good-bye to my daughter.
I've got to get to my conference.
Oh. Let's get you a cab.
So, you told your dad, huh?
He saw you. Out my window.
Oops. (CHUCKLES)
Hey, look. I know that I've been weird lately.
I just want you to know it's not you. I've just...
I've had a lot on my mind,
but it's gonna be all good now. Okay? (DEREK WHISTLES)
DEREK: Taxi. Okay.
Uh, I owe you an apology, Derek.
No, there's no need.
No, I do. I was wrong.
I thought you and my daughter were together.
But it wasn't you I saw.
Good luck with the show.
JULIA: Hi. Hey.
I took the liberty of ordering your usual.
You remember from 15 years ago?
Hmm.
(LAUGHS) Wow. You do. Okay.
(BOTH LAUGH)
Hey, let me ask you something.
How do you turn an ancillary character into a second lead?
Well, off the top of my head, he...
She.
...would have to play off the hero.
So you make her a villain or a cautionary tale.
I'd have to look at the material. Why do you ask?
(SIGHS) I want to give you the chance you
so desperately want to make it up to me.
My show needs your help.
How do you feel about being a dramaturg?
Oh. (LAUGHS)
Um, if you had asked me six months ago, I would have said not good.
Look, I'm not asking you to be one.
I'm just asking you to read it and give me your thoughts.
I know you have your own show.
I thought this was sung through.
It's the story that needs help, not the music.
And you know story.
Does Derek know?
You'd be doing this for me, not him.
Okay.
That was amazing.
Who's going to love that? I know.
How about everyone who has a mother?
(BOTH CHUCKLE)
I know bringing Leigh on board has been a challenge for you,
but you've got to admit, it's been worth it so far.
Maybe for the show, but it's been torture for me.
Sam told me everything.
You knew how hard it was going to be for me to work with the woman
whose shadow I've spent my entire life trying to escape.
And you still hired her.
I'm doing what's right for the show.
And so am I.
We're not friends.
I work for you now, and that's it.
Look at that.
It's all there.
Yeah. We good?
Oh, better than.
Man, the last thing I ever thought
I'd see from you is 8,000 cash.
You wanna come inside, hang out, old times' sake?
I never want to see you again.
Well, you want a little something for the road?
Have a good one, Collins.
It's Collins now, right?
Don't worry. Your secret's safe with me.