♪ ♪
Synced & corrected by -robtor- www.addic7ed.com
Come on, Hez! Spit it out, man!
Don't rush him.
He's an artist.
HESBY: Yeah, I am.
Okay. Uh...
When Gloria commissioned me, we started an artistic journey
and journeys need to be respected.
All right, now, before you make the biggest mistake
of your life, just check out this video.
This is Cynthia playing Beethoven on a motorcycle.
Check that.
(THOMAS LAUGHS)
Hesby is not impressed by your scooter gimmicks.
300,000 hits.
And you notice, the ceiling was still intact.
Well, I thought the collapse was beautiful.
I mean, the chaos and the Pope.
(LAUGHS)
Yeah, I couldn't agree with you more.
THOMAS: L-Listen, what we're doing here... Hesby!
Hmm?
We are reimagining what an orchestra is.
I mean, what music is.
- Oh. - This... excuse me?
- Nothing. - This is the résistance.
GLORIA: Uh, what are you resisting exactly?
- Ticket sales? - THOMAS: Oh, hilarious.
Wouldn't you want 1,200 people to hear it, not 20?
1,200 blue-rinse old biddies.
- I'm speaking - GLORIA: What are you talking about?
To the next generation.
Both of you are making perfect sense to me.
- Yeah, ah. - Why don't we take a walk?
- No walks. - Yeah, yeah.
- No, I'm not walking! - GLORIA: Follow me.
- (GROANS LOUDLY) - HESBY: I love walks.
(MUSIC PLAYING SOFTLY)
(TEMPO INCREASING)
- It sounds... - Wonderful.
...like a dystopian nightmare.
- (THOMAS LAUGHS) - Oh?
It's exactly the feeling I want to convey.
It's-it's-it's terrifying.
Really?
I'm not scared.
(PLAYING SHORT, QUICK NOTES)
(MUSIC STOPS)
Why-why-why is it that you cannot play with the blood? Why?
Why?
I'm not sure what you want me to do, Maestro.
I don't know. I-I don't know.
I don't know what to do and that's the problem.
Maes-Maestro, please.
Cálmete.
Yeah, I'm-I'm fine.
I'm-I'm trying... come.
Could I borrow your oboe for a second?
Please.
This is his process.
He's an artist.
I think I-I learned how to play this
through osmosis with Hai Lai.
(PLAYING OFF-KEY NOTES)
Uh, Maestro,
perhaps it's time for a break.
Right, Bob?
Uh, it's not actually, but, uh, let's take one.
- Ten. - (PLAYS OFF-KEY NOTE)
Give Arlen back his oboe.
No, no, no. No, Gloria, no. No.
All right. All right, all right, Maestro.
Okay, we'll-we'll get it, we'll get it back to you.
There's a little business matter I just need you to pinpoint.
Well, I think your piece is in really good hands.
What's wrong?
I need your phone 'cause I have to call Hai Lai.
I called her from Dee Dee's phone.
I called her from Warren Boyd's phone.
I called her from a taxi phone.
I called her from-from her phone.
I-I cannot find her.
Well, is she all right?
She doesn't want to be my girlfriend anymore.
I... I-I'm so sorry.
But...
I need you to tell Hesby that you're the person
to conduct his piece and if you do,
I'll forgive you for Japan.
Can I have some maté?
Sharon, could you?
Of course.
And if you need anything,
- anything at all, I'm available. - Sharon.
- Yes. - Make the maté.
- Now... Oh, Hesby. - (HESBY CLEARS THROAT)
Hesby, Rodrigo was just saying how emotional
this piece has made him.
Oh, thank you, thank you so much.
I... you know, I cried
for 39 hours straight while I wrote it.
Well, Hesby Enis, I think there is no question.
You should give this piece to Thomas
because he plays with the blood. Yeah.
I am just a substance,
a substance that cannot be defined.
Thomas, he-he plays with the blood.
GLORIA: Rodrigo, come back!
He's just joking.
He's just... he's so funny.
(LAUGHS)
I don't like giving people bad news,
- so I'm just gonna go for a walk. - Oh.
I'm done.
What do you mean, you're done?
Don't come home tonight.
- Wha... - Don't.
Getting notes of cardboard and plastic.
Well, 2015 was a good year.
Don't go back to the Ferndale. Live upstairs.
You can conduct downstairs and drink on this glorious beach.
You never have to leave.
We can just grow old together, Hail.
I really have to get back to normal life.
I also really have to talk to Rodrigo.
You still haven't talked to him?
You guys just, like, broke up at the tea ceremony
- and that's it? - Yeah.
No Mr. Boyfriend, no cohabitation,
things are just gonna be normal.
Which is not normal, Hail.
Shut up.
Oh, motorcycle guy and Arlen.
- Danny. - Hey. -Hey.
You guys know each other?
Uh, no, we just arrived at the same time.
- DANNY: Hello. - LIZZIE: Hi.
Hey.
Oh, yeah, this is happening, by the way.
Okay.
Do you guys want some boxed Pinot?
- Yeah, please. - Uh, uh, no thanks.
I'm-I'm good.
Hey, sorry to crash your sidewalk party, but, uh,
I just wanted to tell you in person
that I quit the orchestra.
Wait, you quit?
Well, I want to quit,
but they'll only let me out of my contract
if I find a sub that Rodrigo approves
and you're the only sub he'll approve.
Wait, why do you want to quit?
I keep having these nightmares where Rodrigo
is trying to stab me with an oboe,
so I'm just gonna go back to Chicago
and I-I-I am gonna have one of those wines, if that's okay.
Sure, but, dude, she's not gonna sub for you.
She's got this whole thing about orbits.
No, I'll do it.
Oh, God, thank you.
LIZZIE: Really?
There are no orbits anymore.
You sure about this?
Yeah. I want things to be normal.
Me subbing is normal.
(OFF-KEY NOTES PLAYING)
Okay. Um...
Let's connect to our breath, okay?
So, in... (INHALES) ...and out.
Down bow, up...
Hey, hey, flutes. Cut it out.
- They're out of control, Cyn. - RICKY: Stop.
Those are very expensive instruments.
This is a very important man and he's here to help.
Thank you, Ricky.
You have got to learn how to take criticism.
Literally, that's how your entire career will be.
Violinists don't cry.
Violists cry.
You want to be a violist?
No.
You're very talented.
That's why I'm being tough with you.
When I'm nice to you then you'll know you have a problem.
Okay, let's go.
Hello, hello, hello.
- Maestro. - Ah, the boss.
Yes. How's the wrist?
- I'm gonna have to learn to bow lefty. - Ah, cool.
Like Jimi Hendrix. That's-that's okay.
Well, kind of joking.
I-I'm in rehab and it's not gonna recover fully,
maybe, fully.
Oh, shit.
I'm sorry.
I'm sorry, wrist.
Did I do this to you?
Don't answer, don't answer, don't answer.
CYNTHIA: Uh, you're here to teach?
Yes, I'm here to teach
and to learn and to teach about the blood
with this wonderful, wonderful, wonderful kids.
Look at you, you so lovely.
Even though I don't know you, I love you so much.
So much!
So, um, it is, uh...
(STAMMERING)
Okay, but let's, um, let's do it, okay?
Oh. (CHUCKLES)
My hands are made of banana pudding.
It's like... (EXHALES SHARPLY) Okay.
Where have you been? You haven't been here for, like, a month.
Ricky, I've been working. Okay?
I've been in Japan, I went to the moon,
I went down to the bottom of the ocean,
and I killed a robot with my hands.
Okay?
D-Don't look at me like that.
Maestro, what if we play the start of the Fifth for you?
No, no, no. They have to listen to the story.
They have to.
When I was a young boy,
Maestro Rivera came to me and said,
"Play every single instrument except the violin."
And so, I tried to prove him wrong.
And I grabbed the violin, and I practiced day and night.
Day and night, till blood was coming out from this finger,
from this finger, from this finger, this finger.
All the time, blood was just coming out,
it was just starting to flow.
- (MAKES FARTING NOISE) - GIRL: Ew!
RODRIGO: Ew? Well, yeah, ew!
Yes, of course, yes. But that is the blood
of the sublimity of the hand!
- Maestro. Okay, come on. - You know, it is something
that needs to happen in everything.
I want to see... next time, I want to see blood...
- Maestro. Maestro, why don't... - Let's-let's, uh,
Why don't you tell us about the blood outside?
Okay.
And this is where the tour ends.
The Kandinsky gallery.
Possibly, Solomon R. Guggenheim's
favorite abstract painter.
Ah. And mine.
Then you can't say no, then, can you?
I'm not.
When do we celebrate?
- (CHUCKLES) - Wonderful. I'll grab some paperwork
and some very expensive champagne.
- Fabulous. - I'll be right back.
(BOTH LAUGH)
(EXHALES)
(SIGHS)
(DOOR OPENS)
THOMAS: Gloria.
What the hell are you doing?
How did you find me?
We share a calendar together.
Remember?
I'll have Sharon correct that.
Congratulations!
You've won. I'm taking the job.
You don't even like modern art!
I like it fine.
Hesby gave you the piece.
I have nothing, except a conductor who's falling apart,
and a corporate sponsor who's furious at me
because of said conductor.
So, you were right about Rodrigo.
You were right about everything.
You win.
Please, don't give up.
This is the way it works. I come at you,
you come back at me, goddamnit!
- I'm too tired. - All right.
You're right. Yeah. You should quit.
You've turned the symphony into a mausoleum anyway.
Oh, don't you try to reverse psychology me.
You are a musical genius.
- Oh, please. Ugh. - I mean it.
Every young conductor
and instrumentalist in the country
vies for your approval.
Why do you think I'm getting such great reviews?
It's because of your disdain.
Well, lucky you, because there's no limit to my disdain!
- You think you're innovating music? - Wha...?
There's a reason you got your instruments from a dumpster.
You're such an uptown snob.
Well, fuck you.
This war is good for both of us.
This war is good for music.
I need you to fight.
(THOMAS CHUCKLES)
Mm...
- Oh! - (EXHALES)
So, can I come home now?
No. Mm...
I think so.
Mm, no.
- No? - Mm-mm.
(DANIEL CLEARS THROAT)
GLORIA: Oh. (LAUGHS)
Shall I bring another glass?
THOMAS: Mm...
We need to talk.
- (VIOLIN PLAYING) - (INDISTINCT CHATTER)
Sebastian.
SEBASTIAN: Hmm?
Now, do you remember I told you you could borrow this mug
whenever you wanted to?
Um...
You can have it.
And Shawn.
This walnut was given to me by Seiji Ozawa.
Do not eat it. Do not open it.
I never will.
Listen, mate, we don't need any more rent.
No, no, but this is not the rent.
This is just gifts from me to you. That's it.
I don't want anything in the world anymore, you know?
You know? I don't want to have any possession,
any things, anymore. I just want to be...
I just want to be a shadow in front of the orchestra.
That's all I want.
- (DOOR OPENS) - (VIOLIN PLAYING LOUDER)
(SEBASTIAN LAUGHS)
How do you like this violin sound?
Uh, it sounds fantastic.
I actually thought we were listening to your album.
This is an amazing instrument.
You sure you want to give it up?
Of course. Absolutely. To you? (SCOFFS)
- Thank you. - Please.
- Drinks, soon? - Of course.
- All right. Yes. - We have to.
Drinks and all the... rest of the things.
Yeah, everything, yes.
Yes. We do everything.
Next time.
- Ah, yes. - (BUZZER RINGS)
- (HORN PLAYING) - SEBASTIAN: We have guests,
or I'm tripping my balls off.
Maestro, you called?
Ah! Norton Morton, Norton, yes.
Look what I have for you.
For example,
this is my football that I slept with
from the ages of ten to 13 and a half.
- You can have that. - And why are you distributing
your worldly possessions?
He just broke up with his girlfriend.
Oh. The foul-mouthed oboist.
This requires absinthe.
- Yes. - (CLAPS HANDS)
(QUIETLY): Thank you.
Wormwood, wormwood.
Can I have some?
To heartbreak,
that most exquisite pain.
To perplexity.
To longing.
To having a family.
I don't want to do this cheers anymore.
Maestro, this is beneath you.
You are the only living conductor in my collection.
What is one oboist to the millions who adore you?
- Uh... - To Rodrigo De-fucking-Sousa.
Norton, thank you.
Sebastian. Page.
So, are we having a party?
Can I invite people?
Call the choir.
- WOMAN: Mm-hmm. - Keep your hat on.
I've got big plans today.
Everybody's gonna be working very late, though.
That's the only thing.
But... Huh, I wonder what's going on.
Is this the fantastic orchestra you've been telling me about?
Where is everyone?
ALAN: The union received an anonymous tip
that we're a non-union orchestra
- with union players. - What?
And now, they're threatening to blacklist all our players
unless we become a union shop.
Wow, Hesby Ennis.
I grew up listening to your Polaria Symphony.
Well, I'm so sorry.
I hope there wasn't any permanent damage done to you.
(LAUGHS)
Are you kidding me?
I'm scabbing?
ALAN: Why are you smiling?
Why is he smiling?
Oh, bloody fantastic.
- (LAUGHS) - Now you're laughing.
- Now he's laughing. - You're laughing.
You're not upset?
Of course I'm upset, I'm furious.
My God, Gloria.
Wait, your girlfriend reported us?
Of course she did.
She may not be my girlfriend for much longer.
Well, monogamy is unnatural anyway.
We all betray each other in the end.
Where's Hesby going?
He's gonna give his piece to Gloria, of course.
- (CHOIR SINGING) - (ELECTRICITY BUZZING)
SEBASTIAN: Five, six, seven...
RODRIGO: Oh, no, no, don't go higher.
(GRUNTING)
- (ELECTRICITY SPARKS) - (SCREAMS)
- (SHOUTING) - (LAUGHTER)
(GROANS)
You're killing the sound.
I am Rodrigo...
De-fucking-Sousa.
(CHOIR CONTINUES SINGING)
Wow.
So beautiful.
So beautiful. Thank you, thank...
(APPLAUSE)
All right.
WOMAN: Wow.
You're very beautiful.
Thank you, Maestro.
Why didn't they invite you last time?
Why-why are you... why?
- I don't know. - Oh.
We have to, um, to exchange names.
Yes.
Shawn, help me with the box, please.
Let's start giving stuff.
(RHYTHMIC NOTES PLAYING)
Ah, Joan Jett. Come, come, Shawn.
Shawn. Come, Shawn.
- Joan Jett. Hey. - Hi.
- How's it going? - Rodrigo.
I wanted to give you this.
This is my first mixtape.
I designed the cover myself.
You know, your Shostakovich
- with the Berlin Phil... - Mm.
...knocked the shit out of me.
Ah, and you knock the shit out of me
with the terrible beauty of your voice.
(AUDIENCE APPLAUDS)
Oh, my God, Nadia Sirota.
I love you.
Are you friends with Sebastian?
Uh, no, Rodrigo asked me here to give me a tuning fork
that Kathleen Battle threw at him.
I don't know why.
Rodrigo's here?
- Hi. - Hi.
Oh... oh, you, no, wait, I forgot. I hate you.
Please don't. I'm really sorry about everything.
Oh, yeah, well, you should be,
but I'm over it.
So, do you still live here?
Uh, does Rodrigo?
Hey, Jeff Zeigler.
- Maestro, Maestro. - Hey.
It's so good to see you. I want to give you something
that I think you should have ever since I met you.
This pencil.
I will also give you this teacup.
This is my grandmother's teacup.
She used to read the future in this.
But it really doesn't work because it has to be more like,
uh, you know, it'd old anyways, so...
- JEFF: Whoa. - (PEOPLE YELP)
What's wrong with him?
I think it's you.
(QUIETLY): Okay.
(PLAYING DRAMATIC SOLO)
Ray Chen?
Yeah, yeah.
HAILEY: Okay, could you please leave?
- This is my room. - RAY: Oh. Oh, yeah. Of course.
- Of course. - Thanks.
(PLAYING DRAMATIC MUSIC)
RODRIGO: ...told you I stole a dime?
- No, I didn't tell you that? - No.
Ah, come on. I told you when-when...
Don't mind me. I'm just leaving.
I... Hai Lai, I want to present you to-to, uh, Esmerelda.
- She's a singer. - Hi.
- Really good. - Nice to meet you.
Do you mind taking a seat, Esmerelda, here, okay?
Don't leave, please.
I'll be back in a minute, okay?
Hai Lai, Hai Lai, wait, wait.
I'm giving my stuff away and I wanted to see
if you wanted this because this is my grandmother's.
- I don't want it. - 'Cause I want you to...
Are-are you sad, are you mad about the-the madrigal girl?
No, you can do whatever, whoever you want.
I don't care.
Hai Lai, come on, if you're not gonna talk to me,
at least let me give you this
because I want you to think of me.
I want you to think of me.
Okay, and I just want to know
if you're cool with me subbing in tomorrow.
Of course, Hai Lai.
Abso... I'm completely fine with that, yeah.
You can sub anytime. I'm always looking for you, Hai Lai.
Whenever somebody else is playing, I'm always like,
"Where's Hai Lai? Where-where's...
where is she, where is she?"
Because I only, you know, I-I don't like how people sound.
I like how you sound. I like the sound of that...
that-that you make that is like a-a mother bird, you know,
- regurgitating into the little baby. - Oh, my God.
Would you please stop saying things
that make no fucking sense?!
Like, "Play with the blood, play with the blood."
Or, "You're gonna win. You're a great conductor, Hai Lai."
Well, you want to hear something that makes sense?!
You're never gonna be a great conductor, Hai Lai!
Never! Nunca. Jamais.
And you know why?
Because you're listening to me all the time,
and you're listening to Thomas,
and you're listening to your father
and you have to stop that. Listen to the music!
Just play with the music!
Okay? Just fucking play with the blood, Hai Lai!
Fuck you!
I do play with the blood!
(UNDER BREATH): Chingada madre.
How was rehearsal?
Oh, I think you know.
I can't do this anymore.
What are you saying?
Maybe what we have, it's just not working.
Ah, come on.
I am fighting.
I thought this is what you wanted, you crazy person.
Oh, no, really?
Will you be my wife?
This is a ploy to get the piece back, isn't it?
No. It's a ploy...
to get to sleep with you again
and again and again.
I told you I'm glad we aren't married.
Well, I always love to disappoint you.
Come on, luv.
Mm, no.
So you throw away a perfectly wonderful relationship
just because I've been an asshole?
I'm not breaking up with you,
but I'm not giving you an insurance policy.
You're going to have to stop being an asshole, Thomas.
I'm not sure I can.
Look, I crashed and burned with four husbands, so...
you're not the only one who needs to turn over a new leaf.
Well, let me be Thomas the Fifth.
Sounds so regal.
You can...
sleep at my place tonight.
Mm.
But no to the other thing.
EGON: Five, six, seven, eight.
(UPBEAT CLASSICAL-POP MUSIC PLAYING)
Hey, but no. Hey, no, no, no.
No, no, no. That's enough.
Hey, stop. No.
Oh, look who's back.
Mischa, you owe me 20 bucks.
What's happening here?
Pablo? Pablo Heres-Casado.
Sí, soy yo. Rodrigo DeSousa.
- Sí. - Welcome.
Yeah. (SPEAKS SPANISH)
I-I like your work a lot.
I like it. It's really...
uh, so, you know, sometimes it's kind of...
but would you, would you mind just leaving right now
because this is my dance.
Yeah, thank you. Pablo, please stay.
- Yes, you know what, you quit. - What?!
And I found a newer, hotter, more-dedicated you.
So just walk away. Let's go back to one.
RODRIGO: Hey, Egon, no, come on. Egon, please.
Please. You were right.
You were right about everything,
about-about the whole orchestra thing, about me,
about the drowning. I'm drowning.
Why are you drowning? Why?
I don't know! Egon, I don't know.
If you don't know why, I have no time for you.
RODRIGO: No, come on, please.
I-I am the Faust. I am, I am Faust.
I am the character! He's not Faust. I'm Faust!
Oh, yeah, you're Faust. You're just not my Faust.
So, please leave. We're rehearsing.
I'm staying here!
Fine. Guys, Pablo, please, let's go.
I'm so sorry.
(FOOTSTEPS APPROACHING)
(BLOWS RASPBERRY)
EGON: I'm terribly sorry.
("PIANO CONCERTO NO. 18 IN B-FLAT MAJOR" BY MOZART PLAYING)
Wolfgang!
Piece of scheisse!
♪ ♪