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Drunk & Dirty Dolls

Vegas bar Alibi needs a new story after owner Artie suffered from a near fatal motorcycle accident.

- I WAS LOOKING FOR A JOBWHEN I FOUND THIS ONE.

- [laughs]

male narrator:THIS YEAR, 6,500 FAILING BARS

NATIONWIDE WILLCLOSE THEIR DOORS FOR GOOD.

IF THINGS DON'T CHANGE SOON,THE ALIBI IN LAS VEGAS, NEVADA,

WILL BECOMEJUST ANOTHER STATISTIC.

AFTER DECADES OFBUSTING HIS WAY UP

FROM DISHWASHER TO MANAGER,

ARTIE COURY OPENED HIS OWN BARIN 1998

AND STAFFED ITWITH HIS LONGTIME FRIENDS.

- I SAW THE ALIBIAS MY RETIREMENT PROGRAM.

narrator: ARTIE STRATEGICALLYCHOSE THE NAME.

- HERE IN VEGAS,EVERYBODY NEEDS AN ALIBI.

narrator: ARTIE APPOINTED HISFRIEND JOEY TO MANAGE THE BAR.

WHEN ALIBI FIRST OPENED,IT WAS A BIG HIT WITH THE LOCALS

LOOKING TO GET AWAYFROM THE TOURIST-LADEN STRIP.

- THE ALIBI SAW A $500,000PROFIT OVER A YEAR.

narrator:WITH HIS BUSINESS CRUISING,

ARTIE DELVED DEEPERINTO HIS PASSION FOR RACING.

- THE MOMENT I PUT MY FIRSTWHEEL ON A RACETRACK,

I FELL IN LOVE WITH THE SPORT.

[engines revving]

- OH, [bleep]!

[siren blaring]

narrator:UNTIL A NEAR-FATAL ACCIDENT

SIDELINED ARTIE AND KEPT HIMAWAY FROM THE BAR.

- THEY RUSHED ME TO A HOSPITAL.I FLAT-LINED THERE.

[heart monitor beeping]

I HAD A TEAM OF PHYSICIANS.THEY BROUGHT ME BACK.

THEY DIDN'T AMPUTATE MY LEGS.

narrator:WHILE ARTIE FOUGHT FOR HIS LIFE,

THE STAFF TURNED THE BARINTO A RAUNCHY PLAYGROUND...

- SURPRISE!

BEING A BARTENDERIS ALL ABOUT THE ASSETS.

narrator:DRIVING CUSTOMERS AWAY.

- JOEY, TURN THE [bleep]MUSIC UP.

- SOMETIMES I WISH I HADTHE POWER TO FIRE AN EMPLOYEE,

BUT I DON'T.

narrator:WHEN ARTIE FINALLY RETURNED,

INSTEAD OF REINING INHIS VULGAR STAFF...

- AAH![laughter]

narrator:HE MADE THE BAR A MONUMENT

TO HIS GLORY DAYSON THE RACETRACK.

BUT THE RACING THEMEONLY ALIENATED HIS CUSTOMERS,

NAMELY WOMEN.

- I'VE NEVER COMETO THE ALIBI AS JUST--

AS A GIRLS' NIGHT ONLY THING.

narrator: WITH THE ALIBISPINNING OUT OF CONTROL,

ARTIE HAS CRASHED INTO A DEBTOF $200,000.

- IF I LOSE THE ALIBI,I LOSE MY LIFE.

narrator: OUT OF DESPERATION,ARTIE HAS AGREED TO PULL BACK

THE DOORS, BUST OPEN THE BOOKS,AND MAKE A CALL FOR HELP

TO BAR RESCUE.

RUNNING A BAR IS NOTJUST A BUSINESS.

IT'S A SCIENCE.

NO ONE KNOWS MORE ABOUTBAR SCIENCE THAN JON TAFFER.

- I DON'T EMBRACE EXCUSES.I EMBRACE SOLUTIONS.

narrator:FOR MORE THAN 30 YEARS,

JON HAS TRANSFORMED HUNDREDSOF FAILING BARS WORLDWIDE.

- I BELIEVE THAT YOU COULDDO THIS.

narrator:JON TURNS MONEY PITS...

- CLEAN THE [bleep] PLACE OUT.

narrator:INTO MONEY-MAKERS.

LAS VEGAS, NEVADA.

WHILE AMERICA'S MOST PLAYFULCITY SKEWS 55% MALE,

JUST EIGHT MILES NORTHOF THE STRIP LIES CLARK COUNTY,

A UNIQUE POCKET THAT SKEWS51% FEMALE, AGES 31 TO 49,

MAKING IT THE MOSTFEMALE-CONCENTRATED AREA

IN NEVADA.

BUT THE ALIBI,WITH ITS MOTORSPORTS THEME,

FAILS TO FLAG DOWN ANY WOMEN.

JON TAFFER AND HIS EXPERTSHAVE BEEN CALLED HERE

TO SAVE THIS BARFROM CRASHING AND BURNING.

- SO HERE WE ARE, GUYS.ALIBI CASINO.

LOOK AT THE LOGO.

- IT'S LIKE A SCRUFF MCGRUFFD.A.R.E. DOG ON THE SIDE.

narrator:TO RESCUE THE KITCHEN,

JON HAS CALLED INCELEBRITY CHEF NICK LIBERATO.

NICK'S EXTENSIVE CULINARYBACKGROUND

CAN ELEVATE BASIC BAR FOODTO SOPHISTICATED FARE.

- YEAH, BUT LOOK ATTHE BUILDING.

LOOK AT THE ENTRANCE ARROW.

IT'S POINTING TO A COLUMNAND A ROOF.

[laughter]

- AND LOOK AT--THE ENTRANCE ISALL THE WAY ON THE OTHER SIDE.

YOU CAN'T SEETHE DAMN THING ANYWAY.

- EXACTLY.

narrator: FOR THE BAR,JON BRINGS IN MIA MASTROIANNI,

THE HEAD MIXOLOGIST FORTHE WORLD FAMOUS SOHO HOUSE

IN LOS ANGELES.

WITH HER EXPERTISE CATERINGTOWARDS FEMALE CLIENTELE,

MIA IS THE PERFECT SPECIALISTTO INCORPORATE

THE FEMININE TOUCHTHIS BAR NEEDS.

- LOOK AT THAT SIGN.$2 BLOODY MARYS.

- WELL, I'M NOT GETTING QUALITYHERE.

- WHEN YOU HAVE TO SELL DRINKSFOR $2,

PEOPLE AREN'T SAYING THATTHE DRINKS ARE TOO EXPENSIVE.

THEY'RE SAYING YOUR BAR SUCKS.- MM-HMM.

- BECAUSE THEY BUY THAT SAMEDRINK AT ANOTHER BAR FOR $7.

WHEN YOU LOOK AT THAT SIGN--DO YOU HAVE A LOT OF GIRLFRIENDS

THAT ARE INTO RACING?- PERSONALLY, NO.

- THIS DOESN'T EVEN LOOK GOODFOR MEN, DOES IT?

- WITH THOSE PRICES, I WOULDSTAY FAR AWAY FROM THIS PLACE.

- SO FOR RECON, I BROUGHT INFOUR LOCALS--

TWO GUYS AND TWO GIRLSARE GONNA COME IN TOGETHER.

AND WE'RE GONNA GET A COMPLETELYDIFFERENT PERSPECTIVE.

HOW MEN PERCEIVE THIS PLACE,

AND HOW THE GIRLS PERCEIVETHIS PLACE.

narrator:JON'S SPIES ENTER THE ALIBI,

A 4,000-SQUARE-FOOT SPACEWITH A HOOK BAR

THAT CONTAINS TWOSPEEDWELLS,

12 BEERS ON TAP,A LARGE WOODEN DISPLAY CASE,

AND A KITCHEN IN THE BACK.

- HI, GUYS.HOW ARE YOU?

- HELLO, HOW ARE YOU?

- HI, HOW YOU DOIN'?

- HI.- HI.

narrator:IN ADDITION TO THE CAMERAS

FOLLOWING THE ALIBI STAFF,

SURVEILLANCE CAMERAS HAVEBEEN PLACED AROUND THE BAR

FOR JON TO OBSERVE THE SERVICE

FROM A CUSTOMER'SPOINT OF VIEW.

- LOOK AT THE BACKDROPPING.MOTORSPORTS ON THE WALL.

NONE OF THAT TARGETS WOMEN.

- WHAT ARE YOU UP TO?- ABOUT SIX FEET.

- OH, YOU KNOW, A LITTLEOF THIS, A LITTLE OF THAT.

- SIX FEET? LET ME SEE.STAND UP.

- [laughs]GIVE OR TAKE.

- WELL, YOU JUST NEVER KNOW.A LOT OF GUYS BRAG ABOUT

HOW TALL THEY ARE, YOU KNOW,AMONGST OTHER THINGS.

- GOING FOR THE STEAK,AREN'T YOU?

- YEAH, I'M A STEAK GUY.

MEDIUM RARE.- ALL RIGHT.

- THIS IS CLEARLY NOTA FEMALE-FRIENDLY ENVIRONMENT.

LOOK AT HOW THE MEN AREBEING SERVED,

BUT THE WOMEN ARE WAITING.

- SO CALL ME A CAB.

- SEE THE THREE OF THEM?THEY'RE BARTENDERS.

LOOK AT THEM DRINKING CHAMPAGNEOUT OF THESE BOTTLES.

- SHE'S NOT EVEN TRYINGTO HIDE THE FACT

THAT SHE'S DRINKINGBACK THERE.

- THAT'S INAPPROPRIATE,AND IT'S IRRESPONSIBLE.

- YOU'RE DONE DRINKING.- YOU'RE IN A BAR. IT'S--

- YOU WERE SUPPOSED TO BEWORKING TONIGHT.

- WHY AREN'T I WORKING?

- 'CAUSE I CAN'T EVEN THINKABOUT PUTTING SOMEONE

AS TRASHED AS YOUBEHIND MY BAR RIGHT NOW.

- FIRST OF ALL--

- YOU JUST NEED TOGET OUT OF MY FACE

AND SOBER THE [bleep] UP.

- YOU ARE ACCUSING MEOF BEING INTOXICATED.

- IT'S NOT AN ACCUSATION.IT'S A FACT.

- ARTIE, THERE HE IS.HE'S THE OWNER.

- ALL RIGHT,YOU CAN HAVE ONE SIP.

[slurping]

- THIS ONE'S THREE SHEETSTO THE WIND.

- WHAT CAN I GET FOR YOU?

- THERE'S JOEY, THE MANAGER.LOOK AT THIS.

IT TOOK OVER NINE MINUTESTO SERVE THE FEMALE CUSTOMERS.

- DIRTY MARTINI, PLEASE.- OKAY.

- THANK YOU.- IT'S VERY DIRTY.

- THAT'S A LITTLE TOO DIRTY,BUT--

- YOU HEAR THAT?- MM-HMM.

- SO THAT'S JERRY, NICK.- OKAY.

- JERRY IS SUPPOSEDLYA FIVE-STAR CHEF.

- I WANT YOU TO WATCH THIS.

- I'M NOT JUST A COOK,I'M A FIVE-STAR CHEF.

EVERYTHING IS IMPORTANT TO ME.

I DON'T GIVE A [bleep]IF IT'S A FRENCH FRY.

- WHAT THE HELL IS THAT?

- WHAT THE [bleep]IS THAT?

- LOOKS LIKE A PIECE OF [bleep].- THAT'S WHAT I WAS THINKING.

- OHH!- WHAT ARE YOU DOING?

- I'M JUST [bleep].

- TRIXIE'S THERE.GET OFF OF HER,

YOU [bleep] HOLE.

- IS THAT A BLOW-UP DOLL?

- OH, MY GOD,YOU [bleep] DEFLATED HER.

- YOU MADE HER WRINKLE![bleep]!

- [gasps]YOU USED THE "C" WORD.

- DID THEY JUST SAYTHE "C" WORD?

- OH, MY GOD.- WHAT A BAR.

- THAT DOLL IS FREAKING ME OUT.

IT JUST FEELS LIKEIT'S STARING OVER HERE.

- HEAR THAT?

BOY, IF WE DON'T GET GIRLS LIKETHIS TO FEEL COMFORTABLE

AND COME TO THIS BAR, WE WILLNOT BE ABLE TO RESCUE IT.

- THEY LOOK REALLY OUT OF PLACE.

- OUR MYSTERY MEAT HAS BEENON THERE FOR 20 MINUTES.

- I MEAN, THERE'S NOTHINGAPPEALING ABOUT THAT.

- YOU WANT ME TO PUT ITRIGHT HERE FOR YOU?

- YEAH, THAT'D BE GREAT.- ALL RIGHT.

- THIS IS JUST, LIKE,UNCOMFORTABLE TO LOOK AT.

- THE GUY'S HAVING A TERRIBLETIME TRYING TO CUT INTO IT.

LOOK AT HIS MOUTH.- YEAH, I KNOW.

- OOH, THAT SAYS IT ALL THERE.- [shudders]

THEY BETTER HAVE AN ALIBI

IF THEY'RE PUTTING OUT FOODLIKE THIS.

- SURE WE CAN'T GET YOUSOMETHING ELSE?

- NO, I'M GOOD.- OH, HE'S SENDING IT BACK.

- NOW WE'RE GONNA COMPTHE WHOLE DAMN MEAL.

- WELL, THERE YOU GO, GUYS.ARTIE JUST COMPED THE MEAL.

- THE STEAK WERE JUST TERRIBLE.

I WOULD NEVER COME BACKTO THE ALIBI.

- SURPRISE!

- TERRIBLE REPRESENTATIONOF WOMEN BEHIND A BAR.

- WHAT UP NOW, [bleep]?

- DID HE JUST SAY THAT?

- NO, NOT THAT.

- WHAT A PIG.- HE'S THE OWNER.

- WELL, SHE'S VERY FLEXIBLE.

- THERE WAS A LOT OF SEXUALCOMMENTS KIND OF THROWN OUR WAY.

IT MADE ME FEEL VERY,VERY UNCOMFORTABLE.

I WOULDN'T COME BACKTO THIS PLACE AT ALL.

- YOU KNOW WHAT, GUYS?THERE'S NO LOGIC TO THIS.

THEY'RE DRINKIN' OUT OFLIQUOR BOTTLES BEHIND THE BAR.

- UNACCEPTABLE.

- THEY'RE USING THE "C" WORD

IN FRONT OF FEMALE CUSTOMERS.

WHAT THE HELL AM I WAITING FOR?I'M GOIN' TO WORK, GUYS.

- WOW.HOLY [bleep], JON TAFFER'S HERE.

- OH, MY GOD, HE'S HERE.I TOLD YOU MY [bleep]...

- ARTIE...JON TAFFER.- NICE TO MEET YOU.

- PLEASURE.NICE TO MEET YOU.

- DID YOU NOTICE ANYTHINGUNUSUAL

WHILE WE'RE STANDING HERE?- UM...

- THINK OF THE BLINKING LIGHT.

I FEEL LIKE I'M GETTINGEPILEPSY.

DO YOU WANT TO SITIN THAT CHAIR?

HOW MANY TIMES HAVE YOUWALKED BY THIS THING?

- NOBODY SEES EVERYTHING.

- THIS IS PRETTY BLATANT,DON'T YOU THINK?

IF HORRIFIES ME TO THINKINGWHAT ELSE I'M GONNA SEE.

- YOU THINK IT SCARES YOU?IT'S SCARIN' THE HELL

OUT OF ME RIGHT NOW.- THIS SHOULD'VE BEEN SEEN.

WHY DON'T WEGET THE STAFF TOGETHER?

LET'S TALK TO EVERYBODY.LET'S GO TO WORK. OKAY?

GUYS, COME ON OVER. LET'S ALLLINE UP OVER HERE AND TALK.

HI, GUYS.all: HI.

- I'VE BEEN DOING THISFOR OVER 30 YEARS.

BOY, I SEE A LOT OF RED EYESWHEN I LOOK ACROSS THAT ROOM.

AND HOW MUCH DRINKINGHAVE YOU DONE TONIGHT?

- BOTTLE OF CHAMPAGNE.

- WHO PAID FOR THAT CHAMPAGNE?

- ARTIE.- AH.

SO THEY'RE PARTYING OUTON YOUR MONEY.

HOW MUCH HAVE YOU DRANK TONIGHT?

- I HAD ONE DRINK,AND A HALF A DRINK.

- 1 1/2 DRINKS.

WHAT WERE THE DRINKS?- VODKA.

- WHAT KIND OF VODKA?- KETEL.

- OH. SO SHE'S POURINGYOUR MOST EXPENSIVE VODKA.

VERY NICE OF YOU TO BEA BIG SHOT ON HIS MONEY.

NOW, HOW MUCH MONEYARE WE LOSING?

GIVE ME A NUMBER.- 10 GRAND.

- WE CLOSE WHEN, ARTIE?- A COUPLE OF MONTHS.

- DO YOU UNDERSTAND THIS?YOUR JOBS ARE ENDING.

SO WHO WAS SCHEDULEDTO WORK TONIGHT, ARTIE?

- JEN.- AND YOU DIDN'T WORK TONIGHT.

- I WAS READY TO COME TO WORK.

- WHY WAS SHE TOLDNOT TO WORK BEHIND THE BAR?

- SHE WAS FAR TOO INTOXICATED

TO LET GO BEHIND THE BAR.- WHAT?

- SO YOU WERE RELIEVED OF YOURDUTIES 'CAUSE YOU WERE DRUNK.

- NO, I DID NOT SHOW UP FOR WORKTOO DRUNK.

- SHE OBVIOUSLY DIDN'T HEAR YOU,SO SAY IT AGAIN.

- DON'T YOU DO THIS.- IT'S TOUGH TO ARGUE WITH IT.

- OH, MY GOSH.- IF I PUT YOU BEHIND THE BAR,

CAN YOU CONTROL YOURSELF?- ABSOLUTELY.

- I DON'T THINK SO.- ARE YOU SERIOUS?

- I THINK BY HER--BY HER OWN ADMISSION,

SHE'LL HELP HERSELF TO A BEER.- OH, MY GOSH.

DO YOU WANT ME TO GO?

- DO I WANT YOU TO GO?- YEAH.

- NO, I WANT YOUTO STRAIGHTEN UP AND STAY.

HAVING THE KIND OF RELATIONSHIPI HAVE WITH MY CREW,

I HAVE A REALLY HARD TIMEHAVING TO COME DOWN ON THEM.

- I'VE GOT AN EASY SOLUTION.

JEN, IF YOU CAN'T STAY SOBERIN THIS BUSINESS,

YOU'RE FIRED.- DONE DEAL.

- AND THAT'S HOWWE CONTROL THIS.

- AND WHAT DO YOU DO HERE, JOEY?- I'M THE BAR MANAGER.

I'VE BEEN WITH ARTIEFOR 18 YEARS.

- SO WHAT AUTHORITY DO YOU HAVE,JOEY?

- HE HAS ULTIMATE CONTROL.

- YOU'RE A MANAGERWITH NO AUTHORITY, AREN'T YOU?

- YES.

- SOMEBODY GIVEN THE TITLEOF MANAGER

WITH NO AUTHORITY.

HE'S A STUPID-VISOR

WHO WILL ACCOMPLISHABSOLUTELY NOTHING.

SO THERE'S NO STANDARDSIN THE KITCHEN.

THERE'S NO STANDARDS AT THE BAR.

THEY DRINK A BOTTLEOF CHAMPAGNE,

AND WHEN I HAD TWO GIRLSSITTING AT THIS BAR,

AND YOU SAID THE WORD [bleep].

AND HERE'S THE COUP DE GRACE.

YOU'RE WALKING UP TO GIRLSAND ASKING THEM

IF THEY HAVE A VIBRATOR,AREN'T YOU?

- I DID.

- WHAT THE HELL IS COOLABOUT THIS?

THIS IS ABOUT AS MORONICAS YOU COULD POSSIBLY BE.

CONGRATULATIONS.[bell clangs]

I'D LIKE TO HAVE A TOASTWITH YOU GUYS

BECAUSE I THINK YOU'RE ALL ABOUTTHE STUPIDEST BARTENDERS

I HAVE EVER MET.

I'M LEAVIN' 'CAUSE I'M GONNAJUST GET ANGRIER BY THE MINUTE.

TOMORROW, THAT FREAKIN' DOLLIS GONE,

YOUR LANGUAGE IS GONE,

AND YOUR PERVERTED COMMENTSARE GONE.

- I KNOW THIS PLACE IS BROKEN.

IF WE'RE GONNA SUCCEED,SOMETHING'S GOT TO CHANGE.

- [scoffs]I'M GONNA DO A SHOT RIGHT NOW.

[bleep] HIM.THAT WAS VERY HARSH.

- GET OVER IT.- YOU KNOW WHAT?

- YOU DID IT TO YOURSELF.

- YOU KNOW WHAT, ARTIE?SAVE IT.

I'M DONE.I'M DONE.

I'M DONE.I'M DONE.

- I'M IN A MUCH CALMER MOODTODAY.

I'M HOPING WE CAN HAVEA PRODUCTIVE DAY,

AND HOPEFULLY,I DON'T HAVE A RUBBER DOLL

GETTING IN THE WAY OF IT ALL.

NICK, WHY DON'T YOU RUNIN THE KITCHEN,

SEE WHAT WE'VE GOT, OKAY?- YEP.

- OKAY, GUYS, LET'S GET GOIN'.

JEN, YOU'RE NICEAND CLEAR-EYED TODAY.

- ARTIE AND--AND I GOTIN A ARGUMENT,

BUT I NEED THIS BAR SO I CANMAKE A LIVING, BOTTOM LINE.

- I'D LIKE YOU TO MEET A DEARFRIEND OF MINE, MIA MASTROIANNI.

SHE'S ONE OF THE BEST BARTENDERSI'VE EVER WORKED WITH.

- THE FIRST THING I NOTICEDWHEN I WALKED IN,

YOU HAVE SO MUCH RANDOM STUFFJUST TUCKED IN LITTLE PLACES.

- THIS IS THE BEST SPOTOF THE BAR.

BARS ARE ALL ABOUT INTERACTION.THIS MONSTROSITY BEHIND ME,

THIS IS BLOCKINGTHE INTERACTION.

MAKE SENSE?

- ANOTHER THINGTHAT I'M NOTICING,

THERE'S JUST TONS OF BEERSSITTING IN EXPOSED ICE.

HOW OFTEN ARE YOU CLEANING IT?

DO YOU EVER BURN THIS ICE?

DO YOU KNOW WHAT COULDACTUALLY BE

ON THE INSIDE OF THESE COOLERS?

- BACTERIA.

PEOPLE THINK THAT ICE STOPSBACTERIA, BUT IT DOESN'T.

IF I PULL THIS, THERE'S GONNA BEA SLUDGE DOWN HERE.

IT'S A BACTERIA COLONY.THAT'S WHAT CREATES THE SLUDGE.

AND THAT SLUDGE NOW ISON THIS BOTTLE.

SO YOU PICK UPAND SERVE A GUEST.

NOW YOU GO TO THE CASH REGISTER.YOU RING UP YOUR DRINK.

YOU PICK UP A GLASS.YOU PUT IT DOWN.

NOW IT'S ON THE GLASS.CONGRATULATIONS, GUYS.

YOU NOW LIVE WITH THE SLUDGE.

- IT FRUSTRATES ME WHEN I LEAVEA LIST TO DO THINGS,

AND THEY DON'T LISTEN.

IF PEOPLE DON'T LISTEN TO MEABOUT CLEANING STUFF,

THEY SHOULD BE FIRED.- GUYS, THAT'S YOUR DRAIN.

all: EWW.- OH.

- NOW, WHAT IS THAT?- COOTIES.

- THIS IS OBNOXIOUS.

- IF YOU THINK WHAT'S INSIDETHE DRAIN IS BAD,

YOU SHOULD SEE WHAT'S LEFT.

- INSTEAD OF SITTING IN A CORNERPLAYING WITH A RUBBER SEX DOLL,

HOW ABOUT CLEANING SOMETHING?

- JERRY, THIS IS A FIRE HAZARDWAITING TO HAPPEN.

- HOW ARE WE DOING?- NOT TOO GOOD, JON.

LOOK AT ALL THIS GREASESITTIN' UP HERE.

LOOK, I CAN'T EVENSCRAPE IT OFF,

BUT THIS IS GOING ON TOPOF YOUR GRILL.

- THERE'S A COATING OF GREASEALL OVER THIS ENTIRE KITCHEN.

LOOK AT THIS.- THAT'S DISGUSTING.

- YOU GONNA COOK IN THERE?

- I WEAR FIVE, SIX, SEVEN HATSIN THIS PLACE.

SERVING, BUSSING TABLES,DOING DISHES.

- DON'T YOU HAVE AN HOURIN A SHIFT

THAT YOU CAN WIPESOMETHING DOWN?

- NO.

- I MEAN, YOU'RE A CHEF.LOOK AT THIS.

- LOOK AT HOW THIS IS CONGEALEDUP HERE.

- LOOK AT THIS.YOU KNOW BETTER THAN THIS.

LOOK AT THIS.WHAT IS THAT?

- AND YOU TOLD ME YOU BLEACHTHIS EVERY NIGHT.

- EVERY NIGHT.- YOU DO NOT.

- I DO SO.- A TOWEL IN WITH THE LETTUCE.

LOOK AT THIS!YOU WANT TO EAT IT?

MR. FIVE-STAR CHEF,CLEAN THIS FREAKIN' KITCHEN!

- NO, IT'S NOT ACCEPTABLE.

- HE CLEANED IT, ACTUALLY,ABOUT FOUR MONTHS AGO,

THREE MONTHS AGO.

- YOU'RE GONNA LOOK MEIN THE EYES

AND YOU'RE GONNA TELL MEYOU CLEANED THAT THING

A MONTH AND A HALF AGO?

- I WANT THIS AREA SPOTLESS.

- I'M GETTIN' HOT WATER READYSO WE CAN BURN THE ICE

IN THE COOLERS, 'CAUSETHEY'RE SO FREAKIN' NASTY.

HERE WE GO.

[coughing]

OH, MY GOD.

I JUST WANT TO THROW UP.

- OH, MY GOD.

- THERE'S NO HAND SANITIZER.IF I HAD A BOTTLE OF IT,

I'D JUST BE WASHING MYSELFWITH IT RIGHT NOW.

- I'VE NEVER SEEN ANYTHINGLIKE THIS.

- ANYBODY GOT A FACE MASK?

- IT'S DISGUSTING,

AND THERE'S NO REASON FOR ITTO BE DISGUSTING.

I THINK EVERYBODY'S EYESARE OPENED.

- IT TOOK HOURS,BUT THIS BAR IS CLEAN.

- I HOPE MR. TAFFER'S DONEYELLING TODAY.

- NOW MIA AND NICK ARE GONNAGO INSIDE AND START TRAINING.

WE DON'T HAVE A LOT OF TIME,

AND WE GOT TO GET READYFOR A STRESS TEST.

- ALL RIGHT, I'M GONNAGET A COUPLE OF YOU BACK HERE,

THROW SOME COCKTAILS AT YOU,

AND SEE WHAT YOU ARECAPABLE OF DOING,

AND SEE WHERE WE NEED TO GOFOR THE STRESS TEST TONIGHT.

CYNDY AND ROXY,I WANT BOTH OF YOU TO MAKE ME

A DIRTY VODKA MARTINI.

ARE YOU GUYS USED TO USINGJIGGERS OR FREE POURING?

- I USE A JIGGER, BUT THEY'REOKAY WITH US FREE POURING.

- I'VE NEVER, EVER LEARNED HOWTO USE A JIGGER IN MY LIFE.

AND SO WHAT ELSEWAS I SUPPOSED TO PUT IN HERE?

- OLIVE JUICE.

- WHERE IS IT?

OKAY. I NEED A GLASS.- NO ICE, BABY.

- YOU LADIES HAVE BOTH JUST MADETHE SAME COCKTAIL,

AND YET THEY LOOKCOMPLETELY DIFFERENT.

- OKAY, JUST FLUNK ME NOW.

- BOTH OF YOU SHOOKYOUR MARTINIS.

MARTINIS WITHOUT CITRUSARE MEANT TO BE STIRRED.

narrator: THE CLASSIC DIRTYVODKA MARTINI CONTAINS

AN OUNCE AND A HALF OF VODKA,

A SPLASH OF DRY VERMOUTH,

AND A SPLASH OF OLIVE JUICE.

JAMES BOND ORDERED HIS MARTINISHAKEN, NOT STIRRED.

BUT WHAT 007WAS ACTUALLY GETTING

WAS A WATERED-DOWN COCKTAIL.

THAT'S BECAUSE THE GREATER FORCEFROM SHAKING

CAUSES THE ICETO MELT FASTER,

THEREBY DILUTING THE DRINK1.75 TIMES MORE

THAN A STIRRED COCKTAIL

- WO--MM.THAT'S A BIT--IT'S VERY DIRTY.

- [laughs]- IT'S REALLY JUST A SPLASH.

YOU DON'T WANT PEOPLE TO HAVETHAT EXPERIENCE.

NINE TIMES OUT OF TEN,THEY'D SEND THAT BACK.

- MINE'S CHUNKY.- IT'S A LITTLE CHUNKY, YES.

YOU'VE GOT SOME ICE IN HERE,WHICH IS COMPLETELY UNACCEPTABLE

FOR A MARTINI.

I THINK YOU USED LIME JUICE.- WHOOPS.

- THAT IS NOT A DIRTY MARTINI.

THIS IS A VODKA WITH LIME JUICEAND OLIVES.

WE NEED TO DO BETTER.

- I SAW HOW CHEF JERRY COOKEDA STEAK LAST NIGHT.

HE HAD IT ON THE FLAT TOPFOR 20 MINUTES.

THAT'S KILLING THE STEAK.

SO I'M GONNA DO A LITTLESTEAK 101 WITH HIM.

SALT, PEPPER, AND OLIVE OIL,AND THEN WE'RE GONNA POP THIS

RIGHT ON THE GRILL.

I HAVE A NICE PIECE OF GARLICIN THERE.

THAT'S GETTING USEDTO THE BUTTER

AND THE OLIVE OIL,JUST LIKE THAT.

I'M JUST GIVING THE STEAKMORE FLAVOR.

- ARTIE'S STAFF HAVETO LOOK AND ACT

LIKE HOSPITALITYPROFESSIONALS.

IF I DON'T CHANGE THE ATTITUDEOF THESE EMPLOYEES,

THEY'RE GONNA CONTINUE TO FAIL.

ARTIE IS LOSING$10,000 A MONTH HERE,

AND IT'S YOUR FAULT.

AS THIS BUSINESS IS GOING DOWN,THEY'RE HAVIN' A PARTY.

JOEY, SOME OF ITIS YOUR FAULT

'CAUSE THIS HAPPENEDUNDER YOUR WATCH.

SERVERS SIT AT THE BAR

WITH THEIR BACKS TOWARDSCUSTOMERS.

THIS IS DISRESPECTFOR ARTIE'S MONEY.

THIS GUY WAS DEAD.

HE'S BEEN FIGHTING FOR HIS LIFEEVER SINCE.

WHEN DO YOU GUYS STARTTO FIGHT FOR HIM?

- I DON'T KNOW WHAT TO SAY.

- HE'S BEEN FIGHTINGFOR HIS LIFE EVER SINCE.

WHEN DO YOU GUYS STARTTO FIGHT FOR HIM?

- I AM, FOR ONCE, LOST FOR WORDSRIGHT NOW, JON.

I DON'T KNOW WHAT TO SAY.I AM SO SORRY.

- I THOUGHT I HAD YOUR BACKBETTER THAN I HAVE.

I'VE LET YOU DOWN.I APOLOGIZE.

- I'M SORRY, ARTIE.I'M HERE TO BACK THIS BAR UP.

- WE'RE NOT GONNA BE DRINKING.

EVERYTHING IN THE PASTIS IN THE PAST.

- WHEN IT COMES TO MY CREW,

THEY JUST DON'T MAKETHE RIGHT DECISIONS,

AND I, IN TURN,DON'T USUALLY STOP THEM

FROM MAKINGTHE WRONG DECISIONS.

BEING A NICE GUY ALL THE TIMEISN'T WORKING.

- GUYS, WE READY TO FIGHT?all: YEAH.

- OKAY.NOW LET'S GO TO WORK.

THIS MARKET IS ALL ABOUT WOMEN.

SO TONIGHT, FOR OUR STRESS TEST,I HAVE OUR TARGET DEMO COMING

SO I CAN GET THEIR PERSPECTIVEON THIS BAR.

- IT'S VERY DATED IN THERE.THE BAR TOPS ARE OLD.

- IT'S DIRTY.IT'S KIND OF TRASHY.

- THE BEST BARS TREATTHEIR CUSTOMERS WITH DIGNITY,

CONSISTENCY, AND CLASS.

GUYS, KEEP THE QUALITY TIGHT.

RIGHT?- RIGHT.

- WE READY?- AS READY AS I'M GONNA BE.

- HI, GANG.

I WANT TO WELCOME YOU ALLTO THE ALIBI.

IT'S TIME TO PARTY.

- HOW ARE YOU GUYS DOIN'TONIGHT?

WE'LL BE RIGHT WITH YOU.

- I ALREADY GOT THEM.YOU WEREN'T THERE.

THEY WANTED TO ORDERRIGHT AWAY.

- WHICH ONE'S THE LIME?

THE GREEN ONE, RIGHT?

- ORDER IN.TWO MEDIUM-RARE NEW YORKS.

- ARE ANY OF THOSE SEASONED

BEFORE THEY WENTON THE [bleep] GRILL?

- NO. CAN I S--- NO!

- CAN I SEASON 'EM NOW?

- N--GET 'EMOFF THE [bleep] GRILL.

COME ON. WERE YOU NOT LISTENINGTO ME WHEN I SHOWED YOU BEFORE?

YOU'RE NOT GONNA GETTHOSE STEAKS OUT FOR AT LEAST

12, 13 MINUTES,

AND THE REST OF THESE TICKETSARE GONNA BE [bleep].

- I THINK YOU'RE WRONG.LET'S DO A TIME.

- I'VE GOT THE TIME.YOU FOCUS.

- I CAN ALREADY TELLTHE COLOR'S OFF ON THAT ONE.

YOU'RE GONNA WANTSOME MORE SWEET VERMOUTH.

THAT'S TOO DIRTY.- JOEY, I NEED HELP.

I NEED ANOTHER MANHATTAN GLASS.

- THEY DIDN'T GIVE US GIMLETS.THEY GOT US DIRTY MARTINIS.

- YOU GUYS, I ORDERED THREEGIMLETS, NOT DIRTY MARTINIS.

YOU MAKIN' MY DRINKS?- THIS PLACE IS A MESS.

WE ARE 40 DRINKS BEHIND.- UGH!

- IT'S CHAOS.

- I COULDN'T EVEN POUR A DRINK.

- YOU OUT OF MARTINI GLASSES?- YEAH.

- I'M WAITING ON GLASSES.- I NEED GLASSES.

- I AIN'T EVEN GOT GLASSES.I GOT IT.

YOU GUYS JUST STAY RIGHT HERE.

- I'M WAITING FOR GLASSES.

- WE'VE GOT NO GLASSES.

- ARTIE.- YES, SIR.

- YOU RAN OUTOF FREAKIN' GLASSES.

YOU NEED TO BE A BETTER MANAGER,DON'T YOU?

GO BACK THEREAND PROTECT YOUR ASS.

- DIRTY GLASSES.

- WHERE IS HE?- I'M WORKING 'EM RIGHT NOW.

- OH, MY GOD.

- THAT DIDN'T SOUND GOOD.

- OOH.- ANYBODY GET HURT?

- NO, WE'RE ALL GOOD.

- DID IT BOUNCE IN ANY ICEOR ANYTHING LIKE THAT?

- NEGATIVE, RIGHT HERE.

- THERE'S ONLY 60 GLASSESIN THE WHOLE DAMN BAR,

AND ARTIE DROPPEDHALF OF THEM.

- [bleep].

- WHAT'S GOING ON DOWN THERE?

- LOOK AT THIS BAR.WE AIN'T GOT [bleep] GLASSES.

- SO WE REALLY DON'T HAVETHE ABILITY TO DO ANY KIND

OF BUSINESS HERE, DO WE?- NO, WE DON'T.

- I NEED MY DRINKS OVER HERE.

- WHAT DO YOU WANT?

- I NEED THREE GIMLETS,

AND THEY WANT THE GIMLETSSHAKEN REALLY GOOD.

- YOU'RE GOOD.YOU'RE GOOD.

- TANQUERAY AND MANHATTAN.

- THERE YOU GO.

- LAST NIGHT, YOU COULDN'T EVENSTAND BEHIND THE BAR.

TONIGHT, YOU'RE FOCUSED.YOU'RE SOBER.

YOU'RE PLUGGIN' THROUGH.GOOD JOB. GO TO IT.

GOOD JOB.- THANK YOU.

- SAY IT AGAIN.HOW DO YOU WANT IT?

CHARRED RARE.CHARRED RARE.

- YEAH.

- 1/3 OF THE STEAKS WE COOKEDCAME BACK EITHER OVERCOOKED,

UNDERCOOKED,OR JUST BADLY COOKED.

WHY CAN'T WE COOK A STEAKTO TEMPERATURE, GUYS?

- IT'S A NEW METHOD,AND THAT'S THE TRUTH.

- MR. FIVE-STAR CHEF--A NEWMETHOD TO COOKING A STEAK,

AND YOU CAN'T PULL IT OFF.

- I'M GIVING IT MY BEST, SIR.

- I GOT TO TELL YOU,I'M DISAPPOINTED.

DOES THAT SURPRISE YOU?- IT DISAPPOINTS ME.

- OKAY, THAT'S WHAT I WANTTO FREAKIN' HEAR.

- IT PISSES ME OFF SO BADYOU CAN'T BELIEVE IT!

- WELL, COME ON.- ALL RIGHT.

- LAST CALL TONIGHT.[bell clangs]

- FOLKS, COME ON OVER, PLEASE.TONIGHT WAS A FREAKING DISASTER.

WE WERE 40 DRINKS BEHINDAT ONE POINT.

- IT'S KIND OF EMBARRASSING.

- THE FOOD CAME IN.IT WAS WRONG.

WHAT DID YOU DOFOR THE CUSTOMER? JOEY?

- WE BOUGHT THE STEAKFOR THE CUSTOMER.

- I WOULDN'T HAVE COMPED IT.- CAN'T ARGUE WITH YOU.

- I WOULD BUY HIM A DRINK.

- THE DRINK COSTS YOU 80ยข.THE STEAK COSTS $6.

THIS IS OBNOXIOUSLY INEFFICIENT.

AS AN OWNER, YOU'RE RUNNINGAROUND, BUT YOU'RE INEFFECTUAL.

WHAT HAPPENED WITH THE GLASSESBACK THERE?

- WE WERE ALREADY DEEPIN TROUBLE,

AND WHEN I DROPPED THOSEGLASSES, IT JUST GOT WORSE.

- HOW MANY GLASSES WE HAVEBEHIND THE BAR?

- COULDN'T TELL YOUOFF THE TOP OF MY HEAD.

- HOW THE HELL DO YOU RUNTHIS PLACE IF YOU DON'T KNOW?

- I DID NOT ANTICIPATEWHAT WAS GONNA HAPPEN TONIGHT.

- YOU MADE A CHOICE NOT TOPUT IN $40 WORTH OF GLASSES.

I CAN'T UNDERSTAND THATFOR THE LIFE OF ME.

THIS ISN'T ABOUT GLASSES.

GO HOME AND FINDTHAT FRICKIN' FIRE.

- I HAVE BEEN BEAT UP.

THIS BUSINESS HASKICKED MY BUTT.

I'M DOWN. I'M TIREDOF THE BUSINESS I LOVE SO MUCH,

BECAUSE EVERY MOVE I'VE MADEDOESN'T SEEM TO BE WORKING.

- TOMORROW WHEN WE COME IN,WE TRAIN ALL DAY LONG.

GOOD NIGHT, GUYS.- GOOD NIGHT, JON.

- THANK YOU.- THANK YOU.

- OKAY, GUYS.- THAT WAS SO DISAPPOINTING.

- SO WHATEVER THE HELL WE DO,IT'S GOT TO BE SIMPLE, RIGHT?

both: YES. YEAH.- THE GOOD NEWS IS OUR MARKET.

THE CITY OF LAS VEGAS HASMORE MEN THAN WOMEN BY ABOUT 5%.

- WOW.- BUT CLARK COUNTY HAS

6% MORE WOMEN THAN MEN,31 TO 49.

SO WE HAVE A GOOD,DARE I SAY, COUGAR AUDIENCE?

A COUGAR BAR IS A PLACE WHERESINGLE WOMEN IN THEIR MID-3Os

HANG OUT.

WHEN THE MEN LEARNTHAT THEY'RE THERE,

THEY COME,AND EVERYBODY WINS.

THERE'S NOTHING HERETHAT TARGETS WOMEN.

- THERE'S NOT AT THIS BAR.

- THE ONLY PLACE WOMEN CANREALLY GO IS THE STRIP,

AND AS A LOCAL,THAT'S NOT WHAT YOU WANT.

- NEVER.- YOU WANT A NICE LOUNGE.

YOU WANT A PLACE TO GOWITH THE LADIES.

- THIS GUY IGNORED THE MARKET.

WE HAVE TO COME UPWITH A CONCEPT

THAT FITS THIS DEMO, GUYS.

both: MM-HMM. SURE.- WHAT DO YOU THINK, MIA?

WHAT KIND OF COCKTAILSCOME TO MIND?

- MAYBE SOMETHING A LITTLE BITSWEET, SOME BERRIES.

DO A POP OF COLOR THAT'S GONNALOOK NICE IN A LONG GLASS.

- FITS NICE IN YOUR HAND,BUT IT'S FEMININE.

- YEAH.- PERFECT.

WHAT ARE YOU THINKING, NICK?

- I'M THINKINGSOME FRESH PRODUCE.

SOME FRESH MOZZARELLA.- FEMALE-FRIENDLY FOOD.

- YEAH. PERFECT TO PICK UPWITH, LIKE, A TOOTHPICK,

AND EAT AND GET NOTHING ON YOU.

- THAT'S NICE.WE'VE GOT A LOT OF WORK TO DO.

- YES, WE DO.- OH, WE SURE DO.

- LET'S GO DO IT.- LET'S DO IT.

- I GOT TO GET YOUTO THAT NEXT LEVEL, ARTIE.

WE'RE NOT THERE YET.

WHAT DO YOU THINKOF THE RACECAR THEME?

- HONESTLY?IT'S RIDICULOUS.

- MOTORSPORTS DOESN'T TARGETWOMEN DEMOGRAPHICALLY, DOES IT?

- NOT AT ALL.

YOU'RE GIVING MEDIRTY LOOKS, ARTIE.

- SAY WHAT YOU GOT.- IT'S NOT MY CUP OF TEA.

- THE MOTORSPORTS CONCEPTIS DEAD.

I'M GONNA CREATE A PALACEFOR WOMEN.

- WE'RE NOT GONNAPAINT THESE WALLS PINK,

AND TURN THIS INTOS-SOME WOMAN'S BOUDOIR.

- DO YOU WANT TO BUILDA MONUMENT TO YOURSELF

AND WHAT YOU ENJOY,

OR DO YOU WANT TOBUILD A MARKET-DRIVEN BUSINESS

THAT MAKES YOU MONEY?

WHICH OF THE TWO DO YOU WANT?

- YOU TRY TO TURN THIS PLACEINTO A POWDER PUFF DEN,

AND I'M NOT GONNA BE HAPPYABOUT THAT.

- JON.- YOU GET SOME REST?

- A LITTLE BIT.

- ARTIE IS SO RESISTANT

TO NEW IDEAS AND WAYSOF DOING THINGS.

- YOU TRY TO TURN THIS PLACEINTO A POWDER PUFF DEN,

AND I'M NOT GONNA BE HAPPYABOUT THAT.

- SO I HAVE TO UNDERSTANDWHY ARTIE IS THIS WAY.

YOU KNOW,THIS IS THE FIRST TIME

THAT YOU AND I GETTO SIT TOGETHER.

I WANT TO KNOW YOUR STORYA LITTLE BIT.

- WE GOT THIS STARTED.TIMES WERE GOOD, INITIALLY.

- WHEN DID THE BUSINESS TURN?

- I GOT INVOLVEDWITH ROAD RACING.

I'D PROBABLY STILL BE DOING ITIF NOT FOR THAT ONE BAD DAY

THAT I SHOULDN'T HAVE GONE OUTON THE RACETRACK.

I ENDED UP WITH A COUPLEOF SHATTERED LEGS,

FOUR VERTEBRAE FRACTUREDIN MY NECK.

I MEAN, I FLAT-LINED ONTHE TABLE IN THE EMERGENCY ROOM.

SO--

- WOW.ARE YOU IN PAIN?

I MEAN, IS--DOES THAT ACCIDENT AFFECT

YOUR ABILITY TO FINDTHAT ENERGY THAT YOU NEED?

- LOOK, I LIVE WITH PAINEVERY DAY.

- SO YOU NEVER GOT BACKTO THAT POINT THAT

YOU WERE AT WHEN YOU OPENED.- WHERE WE STARTED, YOU KNOW.

- THIS ISN'T REALLYJUST ABOUT A BAR.

THIS IS ABOUT A LIFE.

I WANT TO SET YOU UPTO BE HAPPY, MAN.

- I'M ON BOARD FOR THAT.

- WHICH TAKES METO MY NEXT POINT.

JOEY'S NOT A STUPID GUY.

THE PROBLEM IS HIS POSITION.

HE HAS RESPONSIBILITY, PER SE,BUT NO AUTHORITY.

DO YOU TRUST HIM?- I DO.

- I'D LIKE YOU TO STARTGIVING HIM SOME MORE AUTHORITY.

TODAY, LET'S TRAIN HIM.

MAKE HIM ACCOUNTABLEFOR YOUR SUCCESS.

I WANT HIM FIGHTING WITH YOU,

NOT JUST BEING A PUPPETBEHIND YOU.

- IT'S JUST HARD TO LET GOOF CONTROL SOMETIMES.

- I HEAR YOU.

WELL, THAT'S WHAT THIS IS ABOUT,

AND THAT HAS TO HAPPEN.

- WELL, I DON'T KNOW.

- I WANT TO LEAD YOUTO THE FACT

THAT YOU CAN'T DO ITON YOUR OWN ANYMORE.

- HI, GUYS.- HI, HOW ARE YOU?

- I'M REALLY EXCITEDTO SHOW YOU

WHAT JON AND I HAVECOME UP WITH.

- WE'VE DESIGNED THESE COCKTAILSTO FIT OUR DEMOGRAPHIC.

WE'RE TARGETING WOMEN,SO WE'VE COME UP WITH A MENU

REALLY GEARED TOWARDS WHAT WOMENARE GOING TO ENJOY.

THE FIRST COCKTAILTHAT I'M GONNA SHOW YOU IS

PRETTY MUCH MY FAVORITE--THE BUBBLY BLACK ROSE.

TAKE TWO BLACKBERRIESAND PUT THEM IN OUR GLASS,

3/4 OF AN OUNCEOF OUR BLACKBERRY SYRUP,

1/2 AN OUNCE OF LIME JUICE,AND AN OUNCE AND A HALF

OF OUR TANQUERAY LONDON DRY GIN.

AND WE'RE JUST GONNA CHARGE ITWITH A LITTLE BIT OF SODA WATER,

GARNISH IT WITH A SPRIGOF FRESH ROSEMARY.

POP IN A BLACKBERRY.

- OOH.- VERY NICE.

I SEE WHY IT'S YOUR FAVORITE.

- START WITH MY CITRUS,ADD SYRUP, END WITH YOUR SPIRIT.

IF YOU BUILD A COCKTAILTHIS WAY,

THEN IF YOU SCREW UPON THE DRINK,

YOU THROW AWAY THE STUFF THAT'SNOT COSTING YOUR INVENTORY.

MOVING ON TOOUR SECOND COCKTAIL.

WOMEN ARE MORE LIKELYTO DRINK THEIR CALORIES

THAN TO EAT THEM.

SO WE'VE CREATED DESSERTIN A GLASS.

WE'RE GONNA START WITH1/2 AN OUNCE OF HALF & HALF,

1/2 AN OUNCEOF WHITE CHOCOLATE,

1/2 AN OUNCEOF RICH DARK CHOCOLATE.

FOR OUR SPIRIT, WE'RE GOING TODO AN OUNCE OF OUR SMIRNOFF 21.

1/2 AN OUNCEOF BAILEY'S IRISH CREAM.

- WOW.

- RIM THIS INSOME GRAHAM CRACKER CRUMBS.

- NICE.

- LEAVING SOME ROOM AT THE TOPFOR A WHIPPED CREAM TOPPER,

MARSHMALLOWS,AND CHOCOLATE DRIZZLE.

all: YAY![applause]

- AND YES, LADIES,WE'RE USING JIGGERS.

IT'S HARD TO TEACH PEOPLEWHO DON'T USE TOOLS

TO SUDDENLY USE BAR TOOLS.

- 1/2 OUNCE?- 1/2 AN OUNCE.

- WHOA.

- THEY'RE DOINGTHE BEST THEY CAN.

THEY'RE TRYING REALLY HARD,

BUT I DON'T REALLY THINKTHEY'RE THERE YET.

AND NOW THAT'S SHORT.THAT WAS SHORT.

I WANT YOU TO DO THAT AGAIN.

- WE'RE GONNA MAKESOME MEATBALLS.

- ALL RIGHT.- TURKEY MEATBALLS.

- RIGHT.- AND IT'S LEAN,

AS OPPOSED TO PORK, YOU KNOW,OR OTHER PRODUCTS.

THE TURKEY IS GONNA BEMORE INVITING.

THE WOMEN ARE NOT GONNAFEEL GUILTY ABOUT IT.

SO TODAY, I'M GONNA BEIMPLEMENTING A NEW MENU.

I WANTED TO INCORPORATEFINGER FOODS--

DISHES FOR PEOPLETHAT ARE DINING AT THE BAR

AND JUST WANTSOME QUICK, LITTLE BITES.

- WHAT DO YOU THINK OF SOME OFTHESE FEMALE-ORIENTED ITEMS?

MAKE SENSE, DOESN'T IT?- EXCELLENT.

- COOL.- THANK YOU.

- SO WE HAVE OUR EGGS, OUR MILK,GINGER, OUR GARLIC,

OUR SCALLIONS,

AND EVERYTHING'S JUST GONNA GETBROUGHT TOGETHER HERE.

WE'RE GONNA ROLL THE MEATBALL.

EXCELLENT.ALL RIGHT, GREAT.

OKAY. PREP IS EVERYTHING.- YES, IT IS.

- 'CAUSE WE KNOW WHAT HAPPENSWHEN IT'S A CLUSTER [bleep].

YOU GOT ME SCREAMING AT YOU.- YEAH.

- YOU DON'T WANT THATHAPPENING AGAIN.

- NO, I DON'T WANT THAT.- I KNOW YOU GUYS HAVE

A LOT OF LOVE AND HEARTIN WHAT YOU DO.

- THANK YOU.- OKAY.

- CHEF NICK MADE ME FEEL GREAT

WHEN HE SAID I HADA LOT OF HEART

BECAUSE I THINK I DO HAVEA LOT OF HEART.

- NOW, WE'RE GONNA BE GARNISHINGIT WITH OUR SCALLION TOPS.

THIS IS A PLATETHAT WOMEN CAN SHARE.

- YEAH, IT IS.- THAT'S PERFECT.

- THERE WE GO.YOU GET A HIGH FIVE.

DOWN THE LINE.- THANK YOU, CHEF.

- GOOD JOB, GUYS.

- COME ON OVER, EVERYBODY.

LAST NIGHT, I TOLD ARTIETHAT HE NEEDS TO GIVE JOEY

MORE AUTHORITY SO HE CANREALLY RUN THIS BAR.

TODAY, I WANT TO SEE IF HE'SREALLY READY TO TAKE THAT STEP.

- ANYTHING YOU WANT TO SAY,ARTIE?

- IN RETROSPECT,I'D LIKE TO THINK

ALL MY DECISIONS WERE RIGHT.

BUT WHEN I LOOK AT THE BOTTOMLINE, THEY CAN'T HAVE BEEN.

IF WE'RE GONNA SUCCEED,SOMETHING'S GOT TO CHANGE.

I GOT TO SAY ONE THING, JON.

I MADE A REALLY HARD, CONSCIOUSDECISION REGARDING THIS BAR.

JOEY, WE'VE BEEN AROUNDWITH EACH OTHER A LONG TIME.

I MEAN, WE'RE BROTHERSBY CHOICE.

- YES.

- I HAVEN'T GIVEN YOU THE POWERTO DO WHAT YOU NEED TO DO.

STARTING TODAY, THAT ENDS.

YOU HAVE EVERY BIT AS MUCH POWERIN THIS BUILDING AS I DO.

I'M BEHIND YOU ON IT.

- THANK YOU VERY MUCH.APPRECIATE IT.

- ARTIE, THAT'S REMARKABLE.

I MEAN, I AM SO PROUD OF YOU.- THANK YOU, JON.

- SO, JOEY, NOW YOU'RE NOTA STUPID-VISOR ANYMORE.

YOU CAN HIRE.YOU CAN FIRE.

NOW YOU CAN FIGHTFOR THIS BUSINESS, CAN'T YOU?

- YOU GUYS PAYING ATTENTION?

ARTIE HAS GIVEN METHE AUTHORITY

THAT I'VE BEEN AFTERFOR 18 YEARS.

SO I'M EXCITED ABOUT THAT POWER.

- HERE'S THE DEAL.THIS IS ABOUT GOING FORWARD,

DOING EVERYTHING WE CANTO SET YOU GUYS UP FOR SUCCESS.

WE OPEN THIS PLACEIN A DAY AND A HALF,

WHEN WE HAVEA NEW BAR TO SHOW YOU.

- YOU ROCK, TAFFER.

- HI, GUYS.all: HI, JON.

- YOU KNOW, ARTIE,WHEN I GOT HERE,

YOU TOLD ME THE STORYOF YOUR ACCIDENT.

YOU WERE UP $10,000 A MONTHIN LOSSES.

WHAT A UNBELIEVABLE NIGHTMARETHESE YEARS HAVE BEEN FOR YOU.

JOEY, I CALLED YOUR POSITIONA STUPID-VISOR.

ALL THESE YEARS, YOU NEVER HADTHE AUTHORITY.

NOW YOU'RE GONNA DO SOMETHINGWITH IT.

- MAKES ME FEEL GOOD.- JEN, YOU COULDN'T EVEN STAND

WHEN WE FIRST MET.- NOT A DRINK IN FIVE DAYS.

- WOW, I'M VERY PROUD OF YOU.- THANK YOU.

- I'M VERY PROUD OF YOU.[applause]

WHAT YOU HAVE ACCOMPLISHED ISONE OF THE BEST TURNAROUNDS

I'VE SEEN IN ALL MY BAR RESCUES.- THANK YOU.

- FROM A BLOW-UP DOLL...- SURPRISE!

- TO HEARING THE WORD,FORGIVE ME, [bleep]...

OUR REPUTATION GOT HURT.

AND NOW YOU GUYS CAN ACTIN RESPECTABLE WAYS

THAT YOU'RE PROUD OF.

ALL RIGHT, GUYS,IT COMES DOWN TO THIS MOMENT.

YOU READY?all: YES!

- ONE, TWO...

THREE.

- OH, MY GOD!

- ONE, TWO, THREE.

- OH, MY GOD, THE GARNET LOUNGE!- WOW.

- IT'S SO BEAUTIFUL.

- WOW.IT LOOKS SO CLEAN.

- OH, WE COULDN'T HAVE GOT HEREWITHOUT YOU GUYS.

- OH, MAN.- THAT IS IT.

- WHAT DO YOU THINK?YOU LIKE IT?

- LOVE IT!- WE LOVE IT.

- IT'S BEAUTIFUL.- LOOK AT THE STREET.

I GOT HARTLAUER SIGNS IN HERETO PUT A BEAUTIFUL NEW SIGN IN.

- I LOVE IT.

- LOOK AT THE STONE.GARNET IS NOT A PRECIOUS STONE.

IT'S A SEMIPRECIOUS STONE.RUBY-LIKE, BUT AFFORDABLE.

- I THINK IT'S ABSOLUTELYBEAUTIFUL,

AND IT'S ROXYAND MY BIRTHSTONE, ACTUALLY.

- YEAH.- YOU'RE KIDDING.

- EXCUSE ME,YOU FORGOT ABOUT ME.

- THE THREE OF YOU?- YES.

- ANOTHER ONE.- WOW, THAT'S LUCK.

- ABSOLUTELY.- WHEN I GOT HERE,

IT SAID $2 BLOODY MARYS.

WHAT DOES IT SAY NOW?

"LADIES NITE..."all: "EVERY NITE."

- BEFORE, WE ALIENATED WOMEN.NOW, WE PULL 'EM IN.

both: RIGHT.- YOU WANT TO SEE IT?

all: YES!

- GO AHEAD.- LET'S GO.

- WOW.

- OH, MY GOD.- WOW!

- THIS IS AMAZING.- I WANT TO LIVE HERE.

- LOOK AT THIS PLACE.

- THIS IS TOO COOL.- THIS IS AWESOME.

- LOOK AT THE SHOES ON THE WALL.

- THE GARNET LOUNGE SHOULD BEON THE STRIP.

IT LOOKS THAT BEAUTIFUL.

- LOOK AT THE CHANDELIERS.

- ECSTATIC WITHWHAT JON TAFFER JUST DID.

IT IS OPEN, IT IS INVITING,AND IT'S SEXY.

I FEEL LIKE THE GARNET LOUNGEHAS A FUTURE.

I HATE TO SAY IT,BUT THE ALIBI DIDN'T.

- WHAT DO YOU THINK?

- I'LL TELL YOU WHAT.I'M AMAZED.

THIS IS A WHOLE NEW PLACE.

- THIS BAR IS ALL ABOUT WOMEN.

TEXTURES AND PATTERNSARE APPEALING TO WOMEN.

TEXTURE CAN MAKE A ROOMLOOK BIGGER.

COLOR ALONE DOESN'TACHIEVE THAT.

LOOK AT OUR RED VELVET SEATING.LOOK AT THE CHANDELIERS.

ALL THIS CAME FROMLAS VEGAS LIQUIDATORS.

THIS MONSTROSITY BEHIND MEIS GONE.

WHEN YOU HAD THAT STRUCTUREHERE, NOBODY WAS CONNECTING.

NOW, BY REMOVING IT, I'MCREATING MORE GUEST INTERACTION,

AND I'VE CREATEDA BOTTLE DISPLAY

TO MERCHANDISEOUR PREMIUM BRANDS.

NEXT, WE PUT IN REAL GLASSWARE.

WHEN I GOT HERE,YOU GUYS HAD SIX GLASSES,

AND I THINK WE LOST HALFOF THEM ALONG THE WAY

DURING THE NIGHT.[laughter]

- I GOT MORE TO SHOW YOU.COME ON DOWN THE OTHER SIDE.

WHEN PEOPLE WALKTHROUGH THIS DOOR,

THE FIRST THING THEY SEEIS THIS BACK BAR.

WHEN I GOT HERE, GUYS,THIS WAS A WOODY, DATED MESS.

IT LOOKED LIKE THE CLOSETAT A GRANDMOTHER'S HOUSE,

TO TELL YOU THE TRUTH.

BY CHANGING IT,WE PUT IN ALL MIRRORS.

MAKES THE SPACE LOOK BIGGER.- HOW COOL IS THAT?

- THESE ARE OUR LITTLE MENUS.

ON TOP AREOUR SPECIALTY COCKTAILS.

THAT MAKES THAT BLOODY MARYNOT WORTH $2 ANYMORE, RIGHT?

YOU KNOW, ARTIE,WHEN I FIRST GOT HERE,

REMEMBER WHAT HAPPENEDUNDER THAT FAN?

DID YOU NOTICE ANYTHING UNUSUALWHEN WE'RE STANDING HERE?

- UM...

[laughs]VAGUELY.

- THINK OF ALL THE CUSTOMERSTHAT WERE ANNOYED BY THAT.

NOW IT'S FIXED.

SO I WANT YOU GUYSTO LOOK BEAUTIFUL,

SO I GOT YOU SOME UNIFORMS.

NOW...- OOH.

- HEY.

- I WANT YOU DRESSED AS NICEAS YOUR CUSTOMERS.

- RIGHT.- FOR THE GUYS...

all: WOW.- SIMPLE BLACK SHIRT AND A TIE.

YOU READY TO MAKE SOME MONEY?- OH, YEAH.

- TOGETHER, PEOPLE, RIGHT HERE.

- LET'S DO IT!all: KA-CHING!

- THREE, FOUR, FIVE-A.- FIVE-A, RIGHT.

- FAT BLACKBERRIES.

- YOU READY TO GO?- I AM READY TO GO.

- I WANT FAST TICKET TIMES.

- HERE'S WHAT I WANT YOU TO DO.UNLEASH THE COUGARS.

LET 'EM IN!

[cheers and applause]

- LADIES, I AM EXTREMELY PROUDTO PRESENT TO YOU

THE GARNET LOUNGE.[cheers and applause]

LET'S DO THIS.- GREAT, GREAT. DOIN' GREAT.

- HI, HOW ARE YOU?

- BUBBLY BLACK.- BUBBLY B--ALL RIGHT.

- DESSERT IN A GLASS.

- TWO?- YES.

- CAN YOU GET MEAN ARTIE'S GOLD SIGNATURE SLUSH?

- YOU'RE GONNA LOVETHESE THINGS.

NO DOUBT ABOUT IT.

- ORDER IN.TURKEY MEATBALLS.

THE SHRIMP, YOU'LL PULL OUTLAST, OKAY?

- LOVE THE COLORS.LOVE THE CHANDELIERS.

IT'S--IT'S FANTASTIC.

- DESSERT IN A GLASS.GOOD QUESTION. THERE.

- CRAZINESS.- HOW WE DOIN', JOEY?

- ONE, TWO, THREE,FOUR, FIVE PEOPLE.

- THEY HAVE TO CATCH UP,AND THEY'VE GOT TO CATCH UP FAST

OR WE'RE GONNA BLOW THIS.

WHAT DO YOU THINK?

THEY'RE NOT GOING AS FASTAS THEY NEED TO.

A WOMAN JUST WALKED AWAY

BECAUSE SHE WASN'T HELPED.

THEY'VE GOT TO GET USED TOTHIS KIND OF A CROWD.

- OKAY, WE GOT TO STAY ON 'EM.- ALL RIGHT.

- IF THE WOMEN DON'T COME BACK,WE'RE DEAD.

IF THE WOMEN COME BACK,THE MEN WILL FOLLOW.

TAKE CARE OF ALL OF THESE WOMENIN THE CORNER FIRST.

- BLACK ROSE, OKAY.GOT THIS ONE.

- NOW WE'RE MOVIN'.NOW WE'RE MOVIN'.

GO, GO, GO, GO, GO, GO, GO.

- OH, JON, PLEASE DON'T STANDHERE AND WATCH ME, SERIOUSLY.

OH, I'M SHAKIN'.- YOU'RE SO GOOD AT THIS.

- THANKS FOR THE CONFIDENCE.

- SMILE.

- LET'S GO, GUYS.TAKE YOUR TIME.

- HOW ARE WE DOING?- THEIR PLATES ARE BEATING

THE COCKTAILS TO THE TABLESRIGHT NOW.

- REALLY?- DIDN'T KNOW WE COULD DO THAT.

- GOOD JOB, GUYS.

- THIS IS DELICIOUS.

- GOOD DRINKS.- THANK YOU.

- PERFECT.I'M REALLY PROUD OF YOU, JEN.

GOOD JOB.- THANK YOU.

- WHAT DO YOU THINKOF THE KITCHEN?

- TONIGHT, I DIDN'T HAVEONE DISH COME BACK.

AND ON TOP OF IT,THE DISHES ARE COMING OUT FAST.

THEY LOOK CLEAN,AND THEY'RE COMMUNICATING.

- HERE COMES THE ASPARAGUS.

- ARE YOU HAPPYWITH THE COCKTAILS?

- THEY'RE PUTTING OUTA PRODUCT

THAT IS SO MUCH BETTERIN QUALITY.

- WHAT ABOUT JOEY STEPPIN' UP?

WE GAVE HIM THE AUTHORITY,AND HE SEIZED IT.

- JOEY, THAT--ALL HE NEEDED WAS

A LITTLE BIT OF BACKING,AND HE HAS STEPPED

INTO THIS ROLE WITH CONFIDENCE.- ARTIE TOO.

- ENJOY, THANKS FOR COMIN' IN.- THANK YOU.

- WHAT A TURNAROUND!

ARTIE.- YES, JON.

- WHAT DO YOU THINK OF YOUR BAR?

- CAN'T ASK FOR ANYTHING MORE.IT'S FULL.

I'M PROUD OF MY BAR,BUT I'M PROUD OF MY CREW.

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