Mozart in the Jungle (2014) s04e10 Episode Script
Dance
1 - Hello.
- CHILDREN: Hello.
I'm very excited to hear all the progress that you guys have made.
But not as excited as the people that are gonna be in August Memorial Hall when you perform it! Yes.
Okay.
Eh right.
So, uh Ready? (PLAYING BEETHOVEN'S SYMPHONY NO.
5) (PLAYING OFF-KEY) Gloria was right.
Cynthia, you were right.
Bob the Union, you were right.
- Warren Boyd, you were right.
- About what? About the Fifth Symphony the Funfte, Beethoven.
- You know what's wrong? - UNION BOB: What? - Me.
- No.
I'm the wrong thing in this orchestra.
Why am I wrong? I don't know.
I-I don't know, I don't know.
But we have to cancel the concert.
- Well - We have to yeah, I don't know.
If Maestro Rivera was here, He would just throw a baton at me, like, a thousand batons at me.
Do you mind throwing this plunger at me, Warren Boyd? Please, just throw it.
To the teeth.
I don't know what that would help.
Well, Maestro, I have an idea.
We don't have to cancel the concert.
But we would have to trim our sails significantly.
Oh, trim the sails, yes, yes.
Let's just trim the sails, because we're crashing into an iceberg, okay? And we need to save the iceberg.
Right? Do you understand the metaphor? - Please.
- Ab-Absolutely.
Would you mind just 20 minutes, please? - Oh - Oh, uh, yeah.
Sorry, sorry, sorry.
Yeah, sorry.
Close the door, please.
- Sure, you got it.
- Sorry.
(OBOE PLAYING) (HITS SOUR NOTE) Shit.
What the fuck? Pardon.
Is it easy being a cat? Looks pretty easy.
Oboe, on the other hand, not so fucking easy.
Don't get me wrong.
I appreciate the gig.
(SIGHS) Have you ever had a boyfriend? Like, are there any cute tomcats in the building? Have you ever even left this apartment? Caught a mouse or a cockroach, even? They don't let cockroaches in the building, do they? Fucking co-op boards.
(SIGHS) Between you and me, do you even like classical music? Hi.
Didn't hear any beautiful music.
Oh, we were just having a little chat.
You're not getting paid to chat.
Isadore really loves the music.
- (ISADORE PURRING) - I can tell.
(LAUGHTER) I'm not interrupting anything, am I? Oh, hello, darling.
Hope you don't mind, I used my key.
It's my own fault for giving you one.
Hello, Betty.
Fukumoto San, how nice to see you.
FUKUMOTO: You as well, Gloria.
I came here to tell you that - Don't say it.
- Don't say what? Whatever it is you called this emergency meeting to say.
What makes you think it's going to be bad? - It's not? - Well You you you (MUTTERING) (SIGHING SHARPLY) Okay okay, say it.
I'm withdrawing my donation.
Oh, don't say it! You're too late, darling.
Look, I-I know I know that it's been a little whee-whee-whee-whee here, but this is still a once-in-a-lifetime branding opportunity for FukuSoft.
Yes, I agree.
I just feel that the current leadership at the symphony is not strong enough.
Well, if you think she can run this place any better than I can What? I don't want to run this place.
I miss playing.
But you're not interested in more power? Honey, I can rattle the skull of an audience member sitting in the last row of the hall by blowing air through two tiny pieces of cane.
It's all the power I need.
- Bravo.
- Look, anyone who doesn't have their head up their ass knows that you're not the problem with this place.
I hope you're not referring to the brilliant Maestro DeSousa, because that's where I put my foot down.
(CHILDREN SHOUTING, SIREN IN THE DISTANCE) MAN: Rodrigo.
- There you are.
- Hey, Egon.
I have decided - the role of Faust is still yours.
- Great.
- Yeah? - Great, yeah.
Well, - I thought it was - Today's the dance.
Today? No, I can't, I can't, because I'm going to the symphony.
- I've got a performance.
- Right.
The legions of adoring fans getting their culture in.
Don't keep 'em up too late, they got Botox in the morning.
Don't be cynical, Egon.
Only naive people are cynical.
Don't be cynical.
- Let's do it tomorrow.
- I can't do it tomorrow.
The next day I go to Reykjavik.
I'm working with a huge rock star that is not Bjork.
But it's a ballet for no audience.
I mean, we can do it anytime, right? The Hans Christian Andersen sculpture in three hours.
That's the invitation.
- Three hours? - Yeah.
I need that back.
Shit.
And, yes, you were right about me being cynical.
You are the most innocent narcissist I know.
Stop being so grown up before you get trapped.
Three hours.
Could be your last chance.
(INDISTINCT CHATTER) Uh, excuse me, where's the nearest bathroom? And will we be able to use it prior to the performance? Also, we're supposed to be getting a snack break in five minutes, just in case you forgot.
What-What's your name again? - Esme.
- I like your style.
Hey, Hailey.
I heard you were back.
- Yep.
- How does it feel? Really weird.
You know, I remember your first day here playing with the orchestra.
Boy, were you nervous.
Yeah, and you offered me pills to calm me down.
Yeah, those were the days.
Anyway, it's great to see you back here.
- We've missed you.
- I missed you, too.
Oh, my God.
This is the best-looking orchestra I've ever seen in my life.
CHILDREN: Thank you.
You guys look incredible.
My God, you look like like, so cool, you know? Tara, Tara, where's your bow? Oh, it's in my backpack.
Okay, run and get it, quick.
I can lend her mine if you okay.
- Uh - How's your wrist? - Is it okay? - Uh, you know, I haven't had a second to think about it.
Excellent, okay.
- Well, keep it up, keep it up.
- Okay.
Hey, Ricky, Ricky.
What's up, man? How's it going? There's a lot of people out there, right? There is, there is.
There are, like Yeah.
It's b-but don't be nervous.
I'm not nervous.
We have Ms.
Cynthia.
Yeah.
Yeah.
Okay.
We don't need hard hats, do we? - (CHUCKLES) - Earplugs maybe.
I just think this is going to be so amazing to hear these kids play Beethoven's Fifth.
And then to follow it up with Rodrigo back in the saddle with Hesby's piece fantastic.
(APPLAUSE) Thank you, thank you.
Tonight, we will open our program with the very first public performance of the Maestro Rivera Youth Orchestra.
(CHEERING, APPLAUSE) Thanks to you.
They will be performing not Beethoven's Fifth Symphony.
But they will be performing something.
I'm not certain what it's gonna be, but (SCOFFS) A-Anyways, it's, uh, it is a pleasure to introduce you to the person that's been in charge of all this.
She's an accomplished, amazing cello player.
She has an injury, and and I feel that sometimes the injuries help heal things.
Please give a big applause to the Maestro Rivera Youth Orchestra and to Cynthia Taylor.
(CHEERING, APPLAUSE) (SPEAKING INDISTINCTLY) (SPEAKS INDISTINCTLY) CYNTHIA: Thank you, Maestro.
We very much look forward to playing Beethoven's Fifth for you at some point in the near future.
These kids have been working very hard, and we're very pleased to welcome them here tonight.
("FRÃRE JACQUES" BEGINS PLAYING) They sound great.
Yeah, they do.
I just wanted to say thank you for letting me play.
Of course.
No, thank you, thank you.
It's crazy, no? How simple the melody is, but it's still it's still really beautiful.
Maestro Rivera had a saying: (SPEAKING IN SPANISH) What does it mean? It means "Keep it simple, stupid.
" I don't think that he invented that.
But it's a good saying, no? It works.
Like "Play with the blood.
" (LAUGHS SOFTLY) Sure.
(MUSIC STOPS) (CHEERING, APPLAUSE) (CHEERING) - Into the? - Yeah.
Go now.
- Pavel, Pavel.
- PAVEL: Maestro.
- Hey, man.
- Yes.
- Can I ask you a favor? - Yes.
Would you mind giving this to Bob the Union? Union Bob, yes.
Yes, tell him to read it to the audience - when he gets onstage.
- Read to the audience.
Yes, yes, yes.
To read to the audience - when the orchestra goes on.
- Before you get - to the podium? - Yes.
Yes.
Okay.
Yes.
I-I would ask you to read it, but, uh It's your accent.
It's a little bit too heavy.
What accent? VIOLIN PLAYER: Good to see you back, Hailey.
- Thank you.
You, too.
- Ah! One of us, one of us, gooba-gobble.
- One of us.
- Okay, that's really creepy, Warren.
What, you never saw Freaks? - I've seen Freaks.
- Ah.
- Where's the maestro? - Hmm? - MAN: What's going on? - (PEOPLE WHISPERING, MUTTERING) What's Bob doing? Hey.
Okay, all good.
I got this.
- Right.
MAN (QUIETLY): Bob, where's Rodrigo? (UNION BOB CLEARS THROAT) Um - What's going on? - I don't (UNION BOB CLEARS THROAT) I have a, uh, a-a letter from our conductor, Maestro DeSousa.
Darling, you're puncturing my hand.
"Introduce yourself, Bob the Union.
" (LAUGHTER) My name is Robert Szymkowski, and, uh, I play the flute.
And the piccolo.
Also the Jew's harp and, uh, jazz harmonica, but not here here I just play the flute.
And the piccolo.
(WHISPERS): Get on with it.
Yeah.
Uh, "Leading the New York Symphony "is the best job in the world, "and this steadily maturing conductor does not feel worthy of the job.
" - Holy shit.
- What? "Today it is someone else's turn.
" - Get up there.
Get up go, go.
- Um - Go right up there.
- Darling.
I have my own orchestra.
"I have sent a baton" Oh.
Go grab that baton.
- Grab it.
- Next time, darling.
- Come on.
- (GASPS) - Excuse me.
- Thomas, Thomas.
"The baton has someone's name on it.
" Huh.
WOMAN (WHISPERS): What does it say? I don't think he knows how to spell your name.
(PEOPLE MURMURING) "This person has helped me study this very promising piece by Hesby Ennis.
" "Promising"? Fuck you.
"Hai Lai, I know you do not want to be handed this by me, so I've given it to Bob the Union" (QUIETLY): You can do this? HAILEY: Good evening.
Um, tonight, we will be premiering a beautiful new piece by Hesby Ennis.
I will try to do it justice.
Uh, but-but I need something before we start.
I need an oboist who is amazing enough to be able to do this cold.
So is-is Betty Cragdale in the house? BETTY: You know I am! Now you're in for a treat.
I'm blowing this one for you, Fugu.
Rodrigo, hello.
Hello, Egon.
What made you come? Well I was remembering the first chance I had to conduct a real orchestra.
It was in Oaxaca at a competition.
I was eight.
And I was very nervous, I was I did terrible.
Maestro Rivera, he he was very angry at me, and he didn't talk to me for a week.
He was a very tough guy, you know? His version of tough love was no love.
But then I got a second chance.
And it was quite good.
So I think, uh, today is the day of second chances.
(PEOPLE MUTTERING) (WHISPERING): Hi.
Thank you so much.
I really appre I need the oboe.
Don't fuck up.
- So, where's the dancers? - Oh, they're not here.
You don't need them.
They were just for practice.
It's just you and me? No, it's just you.
You don't need anyone else.
No, Egon, no, no.
I need someone.
I'm used to working with people, you know? Like, composers that are dead or alive, or, or with an orchestra, or with, I don't know, an audience.
If not, I'm nothing.
Then be nothing.
Be nothing.
Be nothing.
What a load of scheie.
- Wolfgang.
- Who you talking to? - To an-an old friend.
- MOZART: You flatter yourself.
Ah, it's so good to see you.
You have some nice fake color in your cheeks.
That's-that's good.
What are you up to? Uh I came here to watch you make an ass of yourself and destroy your career.
So far, you're doing a good job of it.
I know.
It's, uh ooh.
Okay, Egon, I think I'm ready.
- Yeah? - I think I found my no audience.
Let's begin the performance.
Let's begin.
- What music are we gonna do? - Oh, you pick the music.
- Whatever.
- Okay, just, uh - I-I think I know what.
- Explore your jetés.
Good.
Are you gonna be watching? No, I'm not gonna watch.
I'm gonna go.
So center yourself.
Lift the frame, and (MUSIC BEGINS PLAYING) (WOMAN GASPING) Mein Gott.
(MUSIC INTENSIFYING) Rutledge, you freak.
I love you.
(GRUNTS) (BABY CRYING) (WHISTLES) Okay, now you are scaring me.
- And you're scaring that baby.
- I love you, baby.
(CHILDREN CLAMORING) (LAUGHTER) (EXHALES) (MUSIC STOPS) (CHEERING, APPLAUSE) Betty nailed it! Incredible! God, I-I almost had a heart attack.
Brava, Rutledge! Brava! (CHEERING AND APPLAUSE CONTINUE) Yes! Hai Lai! Yes! Yes, you did it, Hai Lai! (WHISTLES) - Ha, ha.
- Yes! You really are a lunatic.
Didn't I tell you she was gonna be great? I told you she was gonna be great, right? Didn't I tell you? She was She was amazing.
Hai Lai! You are the best, Hai Lai! Rodrigo! Yes.
Yes, Gloria Windsor.
Yes.
What? (SIGHS) You're fired.
RODRIGO: Aw.
It's okay.
Aw, Gloria, it's okay.
It's gonna be okay.
- Isn't she great? She did it.
- Ah! Great! Oh, my God, that's incredible.
- She was.
- I didn't see it, but I felt it.
I felt it from a distance.
Yeah.
She was beautiful.
Oh, Gloria, it's okay.
"Oboist Hailey Rutledge, a recent runner-up "at the Fukumoto Conducting Competition "was thrust into the limelight "as Maestro DeSousa was a last-second scratch.
"While sometimes overmatched, Rutledge was particularly adept "at dredging out the emotion from the sometimes over-intellectual symphonic enigma.
" "Adept.
" That's good.
- That's good.
- Right? That's very good.
Um, have you seen this? RODRIGO (OVER VIDEO): Didn't I tell you she was gonna be great? Yeah, yeah, I told you she was gonna be great, right? Didn't I tell you? She was amazing you did it! Yes! Yes! Hai Lai! You are the best, Hai Lai! - (CRYING) - Yes! You're playing with the blood! With the blood! Yes! SHAWN: You can cry.
Cry your eyes out.
If you can't cry about this, what can you cry about? Do you have to turn everything into a Bette Davis movie? Yes, I do.
Man, was that you, as a toddler, telling me that I'm a piece of scheie? No, that was my second child, Karl.
- Mm.
- What a rascal.
He's the reason I never finished the Requiem.
Really? Why? Yeah, I-I was almost done, and he came in and purposely knocked over a pot of ink all over the score.
I had to start over.
Man.
I thought it was because you were overwhelmed by the enormity of mortality or something.
"The enormity of mortality"? The only people scared of mortality haven't died yet.
Before I forget, Maestro Rivera asked me to tell you Oh, you you're talking to him? Wow.
Okay.
What-what did he say? Yes, he said "Get to work, you little shit.
" Yes.
(CLAPPING) Yes, yes.
Get to work.
But doing what? No, seriously.
What d-doing what?
- CHILDREN: Hello.
I'm very excited to hear all the progress that you guys have made.
But not as excited as the people that are gonna be in August Memorial Hall when you perform it! Yes.
Okay.
Eh right.
So, uh Ready? (PLAYING BEETHOVEN'S SYMPHONY NO.
5) (PLAYING OFF-KEY) Gloria was right.
Cynthia, you were right.
Bob the Union, you were right.
- Warren Boyd, you were right.
- About what? About the Fifth Symphony the Funfte, Beethoven.
- You know what's wrong? - UNION BOB: What? - Me.
- No.
I'm the wrong thing in this orchestra.
Why am I wrong? I don't know.
I-I don't know, I don't know.
But we have to cancel the concert.
- Well - We have to yeah, I don't know.
If Maestro Rivera was here, He would just throw a baton at me, like, a thousand batons at me.
Do you mind throwing this plunger at me, Warren Boyd? Please, just throw it.
To the teeth.
I don't know what that would help.
Well, Maestro, I have an idea.
We don't have to cancel the concert.
But we would have to trim our sails significantly.
Oh, trim the sails, yes, yes.
Let's just trim the sails, because we're crashing into an iceberg, okay? And we need to save the iceberg.
Right? Do you understand the metaphor? - Please.
- Ab-Absolutely.
Would you mind just 20 minutes, please? - Oh - Oh, uh, yeah.
Sorry, sorry, sorry.
Yeah, sorry.
Close the door, please.
- Sure, you got it.
- Sorry.
(OBOE PLAYING) (HITS SOUR NOTE) Shit.
What the fuck? Pardon.
Is it easy being a cat? Looks pretty easy.
Oboe, on the other hand, not so fucking easy.
Don't get me wrong.
I appreciate the gig.
(SIGHS) Have you ever had a boyfriend? Like, are there any cute tomcats in the building? Have you ever even left this apartment? Caught a mouse or a cockroach, even? They don't let cockroaches in the building, do they? Fucking co-op boards.
(SIGHS) Between you and me, do you even like classical music? Hi.
Didn't hear any beautiful music.
Oh, we were just having a little chat.
You're not getting paid to chat.
Isadore really loves the music.
- (ISADORE PURRING) - I can tell.
(LAUGHTER) I'm not interrupting anything, am I? Oh, hello, darling.
Hope you don't mind, I used my key.
It's my own fault for giving you one.
Hello, Betty.
Fukumoto San, how nice to see you.
FUKUMOTO: You as well, Gloria.
I came here to tell you that - Don't say it.
- Don't say what? Whatever it is you called this emergency meeting to say.
What makes you think it's going to be bad? - It's not? - Well You you you (MUTTERING) (SIGHING SHARPLY) Okay okay, say it.
I'm withdrawing my donation.
Oh, don't say it! You're too late, darling.
Look, I-I know I know that it's been a little whee-whee-whee-whee here, but this is still a once-in-a-lifetime branding opportunity for FukuSoft.
Yes, I agree.
I just feel that the current leadership at the symphony is not strong enough.
Well, if you think she can run this place any better than I can What? I don't want to run this place.
I miss playing.
But you're not interested in more power? Honey, I can rattle the skull of an audience member sitting in the last row of the hall by blowing air through two tiny pieces of cane.
It's all the power I need.
- Bravo.
- Look, anyone who doesn't have their head up their ass knows that you're not the problem with this place.
I hope you're not referring to the brilliant Maestro DeSousa, because that's where I put my foot down.
(CHILDREN SHOUTING, SIREN IN THE DISTANCE) MAN: Rodrigo.
- There you are.
- Hey, Egon.
I have decided - the role of Faust is still yours.
- Great.
- Yeah? - Great, yeah.
Well, - I thought it was - Today's the dance.
Today? No, I can't, I can't, because I'm going to the symphony.
- I've got a performance.
- Right.
The legions of adoring fans getting their culture in.
Don't keep 'em up too late, they got Botox in the morning.
Don't be cynical, Egon.
Only naive people are cynical.
Don't be cynical.
- Let's do it tomorrow.
- I can't do it tomorrow.
The next day I go to Reykjavik.
I'm working with a huge rock star that is not Bjork.
But it's a ballet for no audience.
I mean, we can do it anytime, right? The Hans Christian Andersen sculpture in three hours.
That's the invitation.
- Three hours? - Yeah.
I need that back.
Shit.
And, yes, you were right about me being cynical.
You are the most innocent narcissist I know.
Stop being so grown up before you get trapped.
Three hours.
Could be your last chance.
(INDISTINCT CHATTER) Uh, excuse me, where's the nearest bathroom? And will we be able to use it prior to the performance? Also, we're supposed to be getting a snack break in five minutes, just in case you forgot.
What-What's your name again? - Esme.
- I like your style.
Hey, Hailey.
I heard you were back.
- Yep.
- How does it feel? Really weird.
You know, I remember your first day here playing with the orchestra.
Boy, were you nervous.
Yeah, and you offered me pills to calm me down.
Yeah, those were the days.
Anyway, it's great to see you back here.
- We've missed you.
- I missed you, too.
Oh, my God.
This is the best-looking orchestra I've ever seen in my life.
CHILDREN: Thank you.
You guys look incredible.
My God, you look like like, so cool, you know? Tara, Tara, where's your bow? Oh, it's in my backpack.
Okay, run and get it, quick.
I can lend her mine if you okay.
- Uh - How's your wrist? - Is it okay? - Uh, you know, I haven't had a second to think about it.
Excellent, okay.
- Well, keep it up, keep it up.
- Okay.
Hey, Ricky, Ricky.
What's up, man? How's it going? There's a lot of people out there, right? There is, there is.
There are, like Yeah.
It's b-but don't be nervous.
I'm not nervous.
We have Ms.
Cynthia.
Yeah.
Yeah.
Okay.
We don't need hard hats, do we? - (CHUCKLES) - Earplugs maybe.
I just think this is going to be so amazing to hear these kids play Beethoven's Fifth.
And then to follow it up with Rodrigo back in the saddle with Hesby's piece fantastic.
(APPLAUSE) Thank you, thank you.
Tonight, we will open our program with the very first public performance of the Maestro Rivera Youth Orchestra.
(CHEERING, APPLAUSE) Thanks to you.
They will be performing not Beethoven's Fifth Symphony.
But they will be performing something.
I'm not certain what it's gonna be, but (SCOFFS) A-Anyways, it's, uh, it is a pleasure to introduce you to the person that's been in charge of all this.
She's an accomplished, amazing cello player.
She has an injury, and and I feel that sometimes the injuries help heal things.
Please give a big applause to the Maestro Rivera Youth Orchestra and to Cynthia Taylor.
(CHEERING, APPLAUSE) (SPEAKING INDISTINCTLY) (SPEAKS INDISTINCTLY) CYNTHIA: Thank you, Maestro.
We very much look forward to playing Beethoven's Fifth for you at some point in the near future.
These kids have been working very hard, and we're very pleased to welcome them here tonight.
("FRÃRE JACQUES" BEGINS PLAYING) They sound great.
Yeah, they do.
I just wanted to say thank you for letting me play.
Of course.
No, thank you, thank you.
It's crazy, no? How simple the melody is, but it's still it's still really beautiful.
Maestro Rivera had a saying: (SPEAKING IN SPANISH) What does it mean? It means "Keep it simple, stupid.
" I don't think that he invented that.
But it's a good saying, no? It works.
Like "Play with the blood.
" (LAUGHS SOFTLY) Sure.
(MUSIC STOPS) (CHEERING, APPLAUSE) (CHEERING) - Into the? - Yeah.
Go now.
- Pavel, Pavel.
- PAVEL: Maestro.
- Hey, man.
- Yes.
- Can I ask you a favor? - Yes.
Would you mind giving this to Bob the Union? Union Bob, yes.
Yes, tell him to read it to the audience - when he gets onstage.
- Read to the audience.
Yes, yes, yes.
To read to the audience - when the orchestra goes on.
- Before you get - to the podium? - Yes.
Yes.
Okay.
Yes.
I-I would ask you to read it, but, uh It's your accent.
It's a little bit too heavy.
What accent? VIOLIN PLAYER: Good to see you back, Hailey.
- Thank you.
You, too.
- Ah! One of us, one of us, gooba-gobble.
- One of us.
- Okay, that's really creepy, Warren.
What, you never saw Freaks? - I've seen Freaks.
- Ah.
- Where's the maestro? - Hmm? - MAN: What's going on? - (PEOPLE WHISPERING, MUTTERING) What's Bob doing? Hey.
Okay, all good.
I got this.
- Right.
MAN (QUIETLY): Bob, where's Rodrigo? (UNION BOB CLEARS THROAT) Um - What's going on? - I don't (UNION BOB CLEARS THROAT) I have a, uh, a-a letter from our conductor, Maestro DeSousa.
Darling, you're puncturing my hand.
"Introduce yourself, Bob the Union.
" (LAUGHTER) My name is Robert Szymkowski, and, uh, I play the flute.
And the piccolo.
Also the Jew's harp and, uh, jazz harmonica, but not here here I just play the flute.
And the piccolo.
(WHISPERS): Get on with it.
Yeah.
Uh, "Leading the New York Symphony "is the best job in the world, "and this steadily maturing conductor does not feel worthy of the job.
" - Holy shit.
- What? "Today it is someone else's turn.
" - Get up there.
Get up go, go.
- Um - Go right up there.
- Darling.
I have my own orchestra.
"I have sent a baton" Oh.
Go grab that baton.
- Grab it.
- Next time, darling.
- Come on.
- (GASPS) - Excuse me.
- Thomas, Thomas.
"The baton has someone's name on it.
" Huh.
WOMAN (WHISPERS): What does it say? I don't think he knows how to spell your name.
(PEOPLE MURMURING) "This person has helped me study this very promising piece by Hesby Ennis.
" "Promising"? Fuck you.
"Hai Lai, I know you do not want to be handed this by me, so I've given it to Bob the Union" (QUIETLY): You can do this? HAILEY: Good evening.
Um, tonight, we will be premiering a beautiful new piece by Hesby Ennis.
I will try to do it justice.
Uh, but-but I need something before we start.
I need an oboist who is amazing enough to be able to do this cold.
So is-is Betty Cragdale in the house? BETTY: You know I am! Now you're in for a treat.
I'm blowing this one for you, Fugu.
Rodrigo, hello.
Hello, Egon.
What made you come? Well I was remembering the first chance I had to conduct a real orchestra.
It was in Oaxaca at a competition.
I was eight.
And I was very nervous, I was I did terrible.
Maestro Rivera, he he was very angry at me, and he didn't talk to me for a week.
He was a very tough guy, you know? His version of tough love was no love.
But then I got a second chance.
And it was quite good.
So I think, uh, today is the day of second chances.
(PEOPLE MUTTERING) (WHISPERING): Hi.
Thank you so much.
I really appre I need the oboe.
Don't fuck up.
- So, where's the dancers? - Oh, they're not here.
You don't need them.
They were just for practice.
It's just you and me? No, it's just you.
You don't need anyone else.
No, Egon, no, no.
I need someone.
I'm used to working with people, you know? Like, composers that are dead or alive, or, or with an orchestra, or with, I don't know, an audience.
If not, I'm nothing.
Then be nothing.
Be nothing.
Be nothing.
What a load of scheie.
- Wolfgang.
- Who you talking to? - To an-an old friend.
- MOZART: You flatter yourself.
Ah, it's so good to see you.
You have some nice fake color in your cheeks.
That's-that's good.
What are you up to? Uh I came here to watch you make an ass of yourself and destroy your career.
So far, you're doing a good job of it.
I know.
It's, uh ooh.
Okay, Egon, I think I'm ready.
- Yeah? - I think I found my no audience.
Let's begin the performance.
Let's begin.
- What music are we gonna do? - Oh, you pick the music.
- Whatever.
- Okay, just, uh - I-I think I know what.
- Explore your jetés.
Good.
Are you gonna be watching? No, I'm not gonna watch.
I'm gonna go.
So center yourself.
Lift the frame, and (MUSIC BEGINS PLAYING) (WOMAN GASPING) Mein Gott.
(MUSIC INTENSIFYING) Rutledge, you freak.
I love you.
(GRUNTS) (BABY CRYING) (WHISTLES) Okay, now you are scaring me.
- And you're scaring that baby.
- I love you, baby.
(CHILDREN CLAMORING) (LAUGHTER) (EXHALES) (MUSIC STOPS) (CHEERING, APPLAUSE) Betty nailed it! Incredible! God, I-I almost had a heart attack.
Brava, Rutledge! Brava! (CHEERING AND APPLAUSE CONTINUE) Yes! Hai Lai! Yes! Yes, you did it, Hai Lai! (WHISTLES) - Ha, ha.
- Yes! You really are a lunatic.
Didn't I tell you she was gonna be great? I told you she was gonna be great, right? Didn't I tell you? She was She was amazing.
Hai Lai! You are the best, Hai Lai! Rodrigo! Yes.
Yes, Gloria Windsor.
Yes.
What? (SIGHS) You're fired.
RODRIGO: Aw.
It's okay.
Aw, Gloria, it's okay.
It's gonna be okay.
- Isn't she great? She did it.
- Ah! Great! Oh, my God, that's incredible.
- She was.
- I didn't see it, but I felt it.
I felt it from a distance.
Yeah.
She was beautiful.
Oh, Gloria, it's okay.
"Oboist Hailey Rutledge, a recent runner-up "at the Fukumoto Conducting Competition "was thrust into the limelight "as Maestro DeSousa was a last-second scratch.
"While sometimes overmatched, Rutledge was particularly adept "at dredging out the emotion from the sometimes over-intellectual symphonic enigma.
" "Adept.
" That's good.
- That's good.
- Right? That's very good.
Um, have you seen this? RODRIGO (OVER VIDEO): Didn't I tell you she was gonna be great? Yeah, yeah, I told you she was gonna be great, right? Didn't I tell you? She was amazing you did it! Yes! Yes! Hai Lai! You are the best, Hai Lai! - (CRYING) - Yes! You're playing with the blood! With the blood! Yes! SHAWN: You can cry.
Cry your eyes out.
If you can't cry about this, what can you cry about? Do you have to turn everything into a Bette Davis movie? Yes, I do.
Man, was that you, as a toddler, telling me that I'm a piece of scheie? No, that was my second child, Karl.
- Mm.
- What a rascal.
He's the reason I never finished the Requiem.
Really? Why? Yeah, I-I was almost done, and he came in and purposely knocked over a pot of ink all over the score.
I had to start over.
Man.
I thought it was because you were overwhelmed by the enormity of mortality or something.
"The enormity of mortality"? The only people scared of mortality haven't died yet.
Before I forget, Maestro Rivera asked me to tell you Oh, you you're talking to him? Wow.
Okay.
What-what did he say? Yes, he said "Get to work, you little shit.
" Yes.
(CLAPPING) Yes, yes.
Get to work.
But doing what? No, seriously.
What d-doing what?