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Oh my. As was set up last week, this week's Very Special Musical Episode is a result of Arizona and Callie's car accident. Because Callie took off her seat belt to retrieve her phone, she goes through the windshield when they hit the truck and this results in just about every bad internal injury in the book. As the others fight to save both her and her baby's lives, she watches them from afar, singing, and sometimes they jump in an accompany her. Let's just say that it's a good thing that many of these actors aren't usually asked to sing, and that Sara Ramirez was given the lion's share of the work.
Callie has so many different injuries that the doctors all argue about what needs to be fixed first, but ultimately she just needs to be sedated for a day until they can do much of anything. Lucy isn't prepared for a possible baby delivery this complicated so Richard flies Addison up to take care of things, and it's awesome to have her back even if it's only for a few scenes. After a very strange sex interlude/montage (not kidding), Cristina has a brainstorm of how they can fix Callie's heart less invasively than usual and it involves using some sort of crazy risky method Burke taught her. Teddy doesn't want to do it and Owen initially backs Teddy up, but when shit starts to go really badly in surgery the day, Teddy is overruled and Cristina takes over and does the procedure. At the same time Derek fixes a bunch of stuff in Callie's brain, but he can't be sure any of it worked and they all just have to wait to see if and how she wakes up. Addison tries to hold off on the baby's delivery but eventually has to do a c-section; Arizona runs in to try and help and is able to get the baby girl breathing. Finally, as they wait for Callie to wake up, Arizona and Mark make peace with each other and manage to admit that they are both important to Callie and their new baby daughter.
Lexie and Avery have a few awkward moments as all this unfolds due to Lexie's being there for Mark. Ultimately, though, she goes home with her current roommate lovah, which seems like the right thing to do but still makes me sad, as apparently I have to admit that I am just a big old Mark-Lexie 'shipper. Meredith has an emotional breakdown because she was jealous of Callie getting pregnant and now wonders what the point of life is, basically, but Derek promises her that they will have a child somehow. The twosome that doesn't come through the ordeal so well is Cristina and Teddy -- Teddy is so bent out of shape at what happened with the nifty Burke procedure that she declares that she can't be Cristina's teacher any more if Cristina won't listen and learn. One could argue that saving the patient showed she made the right call, but Teddy's ego appears to have one massive bruise and at least for now, she's over it. Finally, as Arizona waits at Callie's bedside Callie finally wakes up, and the first thing she says is that yes, she'll marry Arizona.
The writers worked in basically all of the Grey's signature songs, including Callie singing a line from the original theme song, "Cosy In The Rocket." Other songs include "How To Save A Life," "Breathe (2 AM)," "Chasing Cars" (which isn't as embarrassing as one might have anticipated from the brief clip in all of the episode promos) and "Grace." I'll leave the full list -- and the details of that sex interlude/montage -- in the very capable hands of Joe R, who will be filling in for this week's full recap. --Lauren S
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Want more? The full recap starts right below!There's a way to look at this episode as kind of a miracle. Something so singular that it couldn't happen on any other TV show -- even though, yes, obviously, dozens of shows have done musical-type stuff before. But Grey's is kind of in a glass case, both ratings-wise and esteem-wise. The people who are watching it will keep watching it; they'll stick with the show through a stylistic experiment, even one that involves Chyler Leigh speak-singing and Cristina and Hunt sing-sexing. But more important than that is the fact that Grey's lost all of its standing as a Very Important TV Show. That'll happen when your show is so decidedly about lady doctors and their feelings -- so inferior to subjects like manly bootleggers or boxers or meth dealers. To be fair, that'll also happen when your lady doctors start having sex with the ghosts of former boyfriends. But the point is: nobody respects this show anymore anyway -- why NOT to a weirdo jukebox musical centered around a doctor who's so badly injured that she's hallucinating herself?
So previously: Callie and Arizona were driving out to a cabin getaway weekend, arguing about Mark as per usual, when Arizona decided to ask Callie to marry her. And that's when the car crash happened.
We open with the airbag deploying and smacking Arizona in the face. She's got a nasty gash on her forehead and her face is full of scrapes, but she's the lucky one. Because we pan over to the passenger seat to find only broken glass. Callie's legs are still partially inside the car, on the dash. The rest of her is pitched out onto the hood, she having previously taken off her seat belt to dig around for the phone when Mark called. Arizona starts screaming her name and gets out of the car, while we see Callie's bloody face, twitching and hyperventilating. Callie's voice-over, sensibly taking over for Meredith this week, starts talking about the brain, and what a funny little organ it is. How it controls what we see, what we hear, how we process what the world is handing us. Right now, Callie is processing by seeing a vision of herself -- healthy, uninjured -- standing by the side of the road. As Arizona screams for help and calls emergency, CallieVO tells us that when the brain is traumatized, shit can get weird. And that's basically all the explanation we need for the singing that's about to happen. Starting with Callie (trust that whenever I talk about Callie singing, it's the Callie apparition I'm talking about), who kicks things off inauspiciously, staring at her own broken body with a puzzled expression and croaking out, "Nobody knows where we might end up..." It's cute, but please don't make me think of the old opening credits of this show.
Here's the other thing about this episode: Sara Ramirez is an insanely awesome singer. Tony-award-winner, all that. She got her job on this show because of that Tony-award-winning performance. And she's been an invaluable part of the show. But -- and this could just be me -- this show has rarely done right by Callie, sticking her in stupid storyline after stupid storyline, cutting off her relationships at the knees, half-assing her lesbian transition by keeping her glued to Mark Sloan's penis at all times. This is a beyond-talented woman who's so rarely been allowed to show the entire breadth of that talent. If this episode is the show's way of making all this up to Sara Ramirez, I am totally fine with that.
After the title card, it's Meredith's job to find Sloan and tell him about Callie's accident -- though he's so much his usual self, boasting like crazy after a surgery, that it takes her a minute to get a word in. Cut to Sloan and Meredith running out to the ambulance bay where the rest of the cast is waiting for Callie to arrive. He gets into a big argument with the Chief about whether he's going to take part in whatever they're going to need to do to save Callie; Mark's belligerent about it, but Chief makes him see reason, begrudgingly. The ambulance arrives, and Arizona is blasting out medical jargon from the second the doors open. Hunt -- who appears to be taking the lead position here -- tries to tell Callie that everything is going to be okay, but all Callie can do is mutter something about "music." She sees herself across the bay, where our first performance is about to begin.
Song: "Chasing Cars"
Original Artist: Snow Patrol
Performed by: Callie, Owen, Bailey
Most Portentous Lyric: "If I lay here ... if I just lay here..."
Here's something to know about me: I don't hate the genre of Grey's Anatomy music. Not all of it, anyway, and not in a kneejerk way. I had to take "Chasing Cars" out of my iPod shuffle rotation because I'd heard it too many damn places, but hearing it back now, after a few years of exile? It's pretty for my ears. And I will say, despite the obnoxiousness of this episode's self-congratulatory credit-taking for having used these songs in the past, it does give things an eerie, ethereal air -- like these songs have been swirling around Seattle Grace for years, unheard by anyone who isn't out-of-bodying it at the moment -- that's pretty effective.
So while Callie is singing -- looking alternately bemused and beatific -- the doctors work quickly on assessing the damage. Real-life Callie, on the gurney, is giving some fantastic eye-acting, as she's completely freaking out at this astral projection of herself going all to Normal on us. And it gets doubly freaky when Owen picks up the second verse -- that's when Callie goes into hysterics. By the way, Kevin McKidd and Sara Ramirez sound amazing together, and need to get cast in something where they sing a lot, to each other, with great emotion. Chandra Wilson doesn't do too bad either, and the moment where she's singing and then grasps Callie's panicked, shaking hand? I'm not made of stone, guys.
Meanwhile, Mark finds Arizona and demands to know what happened. "I don't know," she stammers. "I asked her to marry me and a truck came out of nowhere." The doctors wheel Callie into the ER, the singing rising above the cacophony of damage assessment. Arizona and Mark are harping on Lucy to find a fetal heartbeat, which she ultimately does ... just as Callie goes into v-fib. The doctors wheel Callie to the nearest elevator so they can get her up to an OR, leaving Arizona and Mark behind, in shock. "I asked her to marry me and a truck came out of nowhere," Arizona repeats.
After the commercial, it's still chaos around Callie in the OR as the doctors scramble to operate. Lexie notices Callie's eyeballs REMming like crazy and concludes that the anesthesia must be light, causing much commotion and squabbling between the surgeons and anesthesiologists. (Boy, hopefully somebody tells Lexie about this musical episode conceit before she gets Callie gassed to death.) Owen raises his voice and tells everybody to chill the eff out -- being so worked up is only going to lead to a mistake, and they can't afford that. He orders everybody to stand back, take a minute and breathe. Lexie crouches down to Callie's face and whispers that they're going to take care of everything, "just breathe." Hey, that sounds just like that s--
Song: "Breathe (2am)"
Original Artist: Anna Nalick
Performed by: Lexie
Most Portentous Lyric: "Can you help me unravel my latest mistake?"
Derek looks up to the gallery and sees Arizona there but not Mark; he says someone should check in on him, and the Chief tells "little Grey" to do so. So out goes Lexie, singing all the way. The surgery is basically a three-ring circus, with Derek leading the work on Callie's head/brain injury, Hunt and Bailey leading the work on her chest cavity, and Lucy and Alex monitoring the baby. There's still too much chaos, and ultimately too many injuries to make any headway, so Hunt and the Chief make the call to close Callie up before she bleeds out. Kepner, bless her, is like, "What does this all mean?" which gives the grown-ups the chance to explain that they're going to send Callie up to ICU for 24 hours so she can hopefully stabilize and they can attempt surgery again tomorrow. Meanwhile, the Chief wants to know Lucy's plan of action if Callie starts contracting again (which she did during the surgery) and "God forbid, you have to deliver this baby." Lucy is forced to admit that she's "in out of [her] depth" here. Terrifying.
All this while, Lexie's still singing about breathing -- a rather lovely little song, and Chyler Leigh does a very respectable job at it, but ultimately it feels more awkwardly placed than "Chasing Cars" did. Especially when she makes it to Mark, despondent in a stairwell, and tries to comfort him through song. He's crying, and he tells her that she doesn't have to do this; "I know you hate me." Lexie looks at him, says, "I don't hate you," and then immediately back into the chorus. Awkward, I'm saying.
Alex finds Arizona up in the gallery and offers to stitch up her forehead. She says she's fine, then breaks down. He puts a hand on her shoulder, while Lexie does the same for Mark, who can only whimper, "She's my best friend," over and over.
After the break, Alex and Lucy are on the roof as a helicopter approaches. Lucy is bitching about getting benched and how bad it makes her look in front of her colleagues, while Alex is all, "She's the best in the business" and more importantly tells her that this is all so very much not about her and maybe she needs to suck it up. And then the helicopter lands and it's Addison. Addison! Oh, I've been hoping that they'd airlift you out of that awful spinoff show and look! Now they've done it.
Addison gets right to work, getting a status report from Kepner and digging into Callie's chart. Lucy meekly tries to offer some help, but Addison bites her head off, ticks off the list of shit Lucy did wrong, and then tells her to get out. She then takes a good look at the broken body of her good friend Callie and promises her that she and the attending are going to get together and come up with a plan to save her. At the words "a plan" the music starts to kick up, so you know what's coming.
Song: "How We Operate"
Original Artist: Gomez
Performed by: Owen
Most Portentous Lyric: "Calm down / Get straight"
This is the "Owen takes charge of the situation" song. Have I mentioned that Kevin McKidd is a shockingly great singer? Even on this overly literal and tonally bizarre song choice? Meanwhile, Meredith, Cristina, and Alex look on and ponder the fuck-upedness of it all. Meredith tells Cristina that she takes back her stupid edict about how Cristina can't be the baby's godmother. The girls notice the hickey on Alex's neck, and Cristina immediately begins to tease him about being in loooove. Alex throws cold water, saying that by virtue of working here at "Seattle Grace Mercy Death," she's bound to either go crazy or get cancer or shot or hit by a truck or something. Meredith thinks he's got a point about that "Mercy Death" stuff. Bummer.
Bailey presents Arizona and Mark with the attendings' recommendation that they deliver the baby now, prematurely, in order to give Callie the best chance at survival. This leads to a huge, bitter argument between Arizona and Mark about what Callie would want -- Arizona says Callie would want the baby to live no matter what, while Mark thinks it's insane and that Callie won't be able to want anything if she's dead. In the midst of this, Bailey may have an idea.
Song: "Wait"
Original Artist: Get Set Go
Performed by: Bailey, with Kepner and Lexie
Most Portentous Lyric: "And you will wait too long / he will be gone"
I guess this is just Bailey's fretting anthem as she looks over Callie while Arizona and Mark scream at each other. Meanwhile, Avery finds Lexie and updates her on the plan: surgery tomorrow, with the question being whether they deliver the baby first, subject to Mark and Arizona's argument. Lexie asks how "they" are doing, which Avery correctly interprets as her asking after Mark. He seems to take it in stride and understand why she's worked up for Mark's sake, but when he asks whether she wants to come home or stay the night at the hospital, and she intimates that she's staying because Mark might need her, he kind of stomps off. Tough position to put Avery in, but I'm leaning towards telling his pretty face what Alex told Lucy: "Suck it up."
Elsewhere, Derek and Meredith are in the on-call room, with Derek kind of a mess over the fact that, try as he might, he may not have prevented Callie from getting permanent brain damage. "She might not ever come back," he says.
Back to Arizona, who's ticking off the laundry list of problems for babies born this premature and accusing Mark of not caring about the baby. Mark thinks that's pretty rich since A) it's his baby, and B) Arizona never wanted it in the first place. She screams back that what she never wanted was HIM in her and Callie's lives and that he's basically a sperm donor. He fires back that she doesn't get a say as she's not a biological parent. "You're not anything," he spits. "You're nothing!"
All the while, Cristina has been obsessing over Callie's heart scans, and finally, she stops. She gets an idea. "Wait!" she song-titles, then sends us into the commercial break all aflutter.
After the break, we're inside Callie's reverie, as she's imagining a sliiiightly altered version of her fateful car ride with Arizona. They're still arguing about Mark, although a few of the details have changed -- like Arizona tells Callie to go ahead and answer the phone when Mark calls. Oh, and their car is flying through the sky at sunset. That's also different. Suddenly, Callie realizes that Arizona's about to ask her to marry her, "and then we're gonna get hit by a truck." Arizona's like, "No, I'm not. But also, put on your seat belt." Callie starts blabbering about whether she'll say yes, if that's what love is like, for everybody else on the show who's paired up. Arizona's like, "Wonderful -- seatbelt!" But no, Callie would rather sing.
Song: "Running on Sunshine"
Original Artist: Jesus Jackson
Performed by: Callie, with Eli, Owen, Henry, Alex, Bailey, Altman, Lexie, Meredith
Most Portentous Lyric: "Oooh I got this rocket / in my front left pocket"
So clearly, it's time for big sex montage ... right? This feels like a song that's been imported from an alternate-universe Grey's musical, where the main plot isn't how they're going to fix Callie's broken body and save her unborn baby. I get why it's here -- you feel like there can't be a big special episode of Grey's Anatomy without horny doctors in love, because that's the whole premise of the show. But at this moment? Showing Bailey/Eli, Owen/Cristina, Altman/Henry, and Meredith/Derek getting all lovey-dovey sex-crazed seems cold and tonally off. Even if this is all in Callie's love-obsessed fantasy. Which is another issue with the episode -- are we supposed to think that all the musical stuff is happening in Callie's head, like in Chicago? But the actions (i.e. the doctors doing their doctorly things to save her life) are actually happening? So what parts of this love montage are actually happening? I don't have time to ask these questions when the performances are better, I should note.
I feel kind of bad that Scott Foley only gets this scene in the whole episode. Not that he fits into the story at all, but they really do wheel him out, have him deliver that awful rocket-in-my-pocket line, and then wheel him off again. This number is also a crucial component of the Grey's Anatomy Prime Directive, which is to get Justin Chambers into a black wifebeater at any and all times. That is not a complaint. Also worth mentioning, Lexie is singing the sex song while stroking a sleeping Mark's hair. ...Okay, so maybe Avery had a point.
The song ends, predictably, with Callie being slammed back into reality (and into the back of that flatbed). Derek brings her out of sedation to test her neural function, but when he and Meredith try to get her to respond, she doesn't. They put her back under and then try to explain the situation to Mark and Arizona without freaking them out.
Cristina, meanwhile, is explaining her brainstorm from before the credits to Owen and Altman. It's based on some old technique that Dr. Burke used, where he ... yeah, if you think I'm going to rewind this scene the required amount of times it'll take to understand just what the he;; she's talking about, you're crazy. Suffice it to say, it's a way to operate on Callie's perforated heart without risking brain-bleed or having to lower the body temp (which would put the fetus in danger). Cristina thinks it's brilliant, but Altman is resistant. Is it because it's not her idea? Is she just being inherently cautious? I worry that the show is just using this to paint Altman as a bitch who doesn't want Cristina to outshine her; I wish there were better reasons for Altman to be so obstinate. But obstinate she is. Cristina appeals to Owen, which rightly annoys Altman. "I am head of cardio," she snaps, "not your husband." Cristina volleys back that she's not asking her husband, she's asking the lead doctor on Callie's case. But Owen, after a moment of being in an impossible position, defers to Altman.
Arizona is by Callie's bedside, talking through what Mark said to her about being "nothing." It's technically true, she admits, legally-speaking. But it doesn't feel that way. She feels like Callie's wife; like their baby's mom. "Can you just live," she begs, crying. "For me?"
Song: "Universe and U"
Original Artist: KT Tunstall
Performed by: Callie and Arizona
Most Portentous Lyric: "I'll send you a sign / just so you know that I am near"
Callie and Arizona sing to each other as Arizona holds Callie's hand. And when they get to that portentous lyric up there, real-life Callie manages to wiggle her finger. Outside the room, Mark looks on, and Addison urges him to go in there and make peace with Arizona. "There's nothing left to say," Mark gruffs. Then Callie's monitor starts going crazy. The doctors race in and diagnose: her pressure's dropping like a rock, her belly's hard -- she's bleeding out.
Song: "Grace"
Original Artist: Kate Havnevik
Performed by: Callie
Most Portentous Lyric: "Don't know how / but I'll get by"
After the commercial break, Callie is wheeled into surgery in slow-motion, while her apparition sits atop her own gurney and sings beatifically about grace. Mark and Arizona look on helplessly. After the surgery has begun, they're up in the gallery, and Arizona suggests they pray. "She'd want us to pray." Mark, not relinquishing an opportunity to be a dick, says he hasn't stopped praying since yesterday. Arizona graciously declines to grab the nearest shiny object and hand it to Mark, the winner of the Grief Awards. Instead, she just silently starts to pray.
Meanwhile, down in the surgery, Callie;s brain starts to bleed, causing a bit of a panic among the doctors. Cristina says Altman's method isn't working and there's still time to do it Burke's way. Altman declines and says she can fix it, but Owen finally makes the call to let Cristina take lead. Altman digs her heels in until the Chief finally tells her to back away. Not Altman's finest hour, you guys. Owen begins to talk Cristina through the procedure, which begins like this: "Step One, you say we need to talk ... " So, yeah, you knew we were getting The Fray at some point.
Song: "How to Save a Life"
Original Artist: The Fray
Performed by: Owen, Meredith, Altman, Mark, Arizona, Bailey, Lexie, Alex, Addison, Callie
Most Portentous Lyric: "Where did I go wrong? / I lost a friend"
This is another song that I had to flee from whenever it'd start because it was just everywhere, but with some distance I can certainly acknowledge its appeal. Anyway, that portentous line is accompanied by Altman looking guilty and then a cut to Owen. Because Altman just went wrong! And maybe has lost a friend! (Also: if Callie dies! Double the portent!) Derek gets the brain bleed under control, but that's about the only thing that's going right, as Callie starts to code. The Chief is, like, elbow-deep in her chest cavity trying to get her heart started again, and Addison tells him he's got one minute before she's going to have to go in and get the baby. Upstairs, Callie joins in for the bridge of the song, and when she does, she places her ghost hand on Arizona, who feels it, snaps her head to the side to see what that was, and the look on her face spooks Mark so hard he sprints down to the OR, Arizona right on his heels. This all while the chorus begins to swell again and -- look, sometimes we just have biological reactions to external stimuli and we can't exactly be held responsible for them on a conscious level, am I right? Sometimes you start crying at The Fray on a hilariously dumb Grey's Anatomy musical episode. (I don't know why I'm trying to front -- this show used to fucking ruin me on a weekly basis, and it's nice to have it return to that, at least for one week.)
Down in the OR, the baby has been delivered, a tiny gray-looking thing who doesn't appear to be doing that great. Lucy assesses the situation, whether to intubate, how they can get the heart beating. She calls Alex over to help, and Mark turns to Arizona. After a moment of pretty great eye-acting from Eric Dane and Jessica Capshaw -- Mark begging Arizona without words -- Arizona jumps in and takes charge of the situation. Meanwhile, Callie's vital signs are rebounding -- Chief says her heart is going strong now. The baby's flatlining, but Arizona's doing tiny little chest-compressions, and finally the heart starts beating. You didn't think they'd haul out "How to Save a Life" for nothing, right?
After the commercial, Callie is in recovery, still unconscious, while outside, Derek consults with Mark and Arizona, and they worry about whether her brain was compromised during all the trauma. After Derek leaves, Mark turns to Arizona and apologizes for calling her "nothing." "We have a kid together," he says. Arizona does that thing where she accepts his apology via sustained stare, then says, "She's going to wake up. She has to wake up."
And now it's time for Meredith and Derek to do that thing where they have very important conversations in an elevator, while up on 12 or wherever, somebody has to wait a very long time for their elevator to come. I'll give them a pass this time, because Meredith's a mess of fertility hormones (and, I would hope, emotions about her friend and colleague Callie, but it's always been seriously questionable whether Meredith has ever given a shit about Callie). She feels guilty because she had previously thought bad thoughts about how Callie could get pregnant so easily while she's been suffering through all this infertility stuff. But now ... what kind of a world doesn't let Meredith have a baby, then gives Callie one without trying, and then puts Callie through a windshield. So the universe is fucked up. Meredith breaks down, and Derek promises her they'll have a baby "one way or another." Who's guessing a sweeps event where they adopt a baby whose mother dies at Seattle Grace Mercy Death? Something thereabouts?
Arizona sits by Callie's bedside and updates her on the status of their baby. All one pound and change of her, but she's going strong. "She can't open her eyes yet," she says. "But I can tell she's looking for you. She's waiting for you." Sara Ramirez, bring it home.
Song: "The Story"
Original Artist: Brandi Carlile
Performed by: Callie
Most Portentous Lyric: "I crossed all the lines and I broke all the rules / and baby I broke them all for you"
So here's where I stand with this: one of my absolute favorite songs of the last ten years. Unimpeachable. I love Sara Ramirez like crazy, but her voice is maybe a little too perfect for this song? This song that lives in Brandi Carlile's whiskey-scratched rasp? Sara's rendition is clear and enunciated and just off enough to bother me. Maybe it doesn't affect someone with less of an attachment to the song. (Also, to be fair, the smoothed-over production is doing her no favors -- check out this video of Sara singing the song live; she sounds much better.) The other part of this is that while she's singing, Ghost Callie is raging through the corridors of the hospital, until she makes it to her own bedside, where she pretty much demands that she wake herself up. I see what the show was going for -- it's urgent and chaotic and fitting to Callie's raging brain. But it also forces Sara into awkward hysterics which kind of make the performance cartoony.
Callie sings to Mark and her frighteningly tiny baby in the natal ward. Then she fades to the background while Lexie and Avery have an awkward conversation about where he's staying tonight. He tells her he can't be the guy who waits around for the girl who's still in love with someone else. She simply looks him in the face, takes his hand, and says, "Let's go home." I love these two as a couple, but I see dark, Mark-shaped clouds ahead.
Callie's still waiting on a guitar solo, so we peek in on Cristina and Altman. Cristina begins to discuss another case, but Altman cuts right to the chase: "I can't teach you anymore." Cristina is shocked, but Altman persists: "If you refuse to learn, if you won't listen, I can't teach you." And then she stomps out. Really not a good week for Dr. Altman.
Back to the song, and I'll tell you this: when Callie gets to the last few moments of the song, when she's belting it out like the goddamn diva she is, it kind of all comes together. Singing Callie thrusts her hands out to grab Real Callie's legs, and Real Callie starts to wake up. Singing Callie fades away as Real Callie opens her eyes. She tries to form a word, which gets Arizona's attention, and at first it seems like there might be some brain damage keeping her from forming actual words. But she pushes through her grogginess and makes out the one she's been waiting to say all episode: "Yes." Arizona's like, "What?" Callie: "I'll marry you." Just as soon as she gets Arizona a list of the songs they're absolutely not having at their wedding.