♪♪
[speaking Italian]
Great. Terrific. Very profound.
[speaking Italian]
[cell phone rings]
[speaking Italian]
- Hello. Hi. Hi. - Si.
Um, so Alessandra would love to thank you,
but, um, she's on vocal rest for the concert tonight,
so I'm gonna say it for her.
Grazie mille. Bye-bye.
- Signorina. - Yeah?
- Scuze. - Uh-huh?
The diva, she promise for tonight--
Oh, yeah, yeah, yeah, yeah. Okay.
Here you go, your Beatitude,
four VIP tickets, but remember to get there early
- because it's gonna be a... shit show. - [yelling]
- Oh, my God. - [yelling]
Excuse me!
Oh, my-- Okay. Thank you.
[yelling]
This is a ham that someone gave to me to give to you.
It's a very special ham from Donatella Versace.
It's the only kind that she eats when she eats--
[muttering]
- Just here-- - [loud thud]
In case you're hungry.
Can I maybe just, like, run through a costume change?
[muttering]
Are you okay?
- I was talking. - Oh.
To who?
To Maria Callas.
Ah. Did she say anything good?
Wish you luck or anything?
She said I was a fool.
- Hailey. - Yeah.
I want you to go to Rodrigo and ask him a question.
I think I will get a more honest answer if you ask.
Well, if it's about the modern piece,
I have to say it is sounding-- [clicks tongue]
So, look. If you can stay open to the cameras as much as possible,
that would be great.
We have the three remotes here on the rafts,
then the camera boats.
I mean, not if it messes with your conducting.
- What is your name again? - [chuckles] Kyle.
Kylie. Kylie, can you leave, please?
Of course.
- Thank you. - Just remember,
you need 15 minutes to get to the piazza,
so if you need a pee break or--
I don't need a pee break, Union Bob.
Bob? Who's Bob? My name is Kyle.
Kylie.
- Hi. - Hey, Hai Lai.
Yeah, I'm so happy to see you.
So what-- what-- what's going on?
She's a little tense, she's, uh, talking to Callas.
She's so in-- Oh, she's talking to Ca-- Oh, good.
- Yeah, it's good. - Good, good, good.
Um, I have to ask you a question from her.
- Okay. - [knocking]
[door opens]
- Maestro. - Oh, Beppi.
I've come to wish you merda, tanta merda.
Grazie, grazie [speaking Italian]
And to ask you whether you might consider to
wear this camera during the performance. It's a tiny, tiny camera.
- Camera. - Yes.
It will give the world-wide audience
a conductor's eye view.
Mm, no, no, no.
I try.
And how is she? She's preparing?
She sings-- [chuckles] in her imagination.
Yeah, she's singing in her imagination.
Maybe you should go wish her tanta merda.
Wish her luck? She will kill me.
Well, here we are. The super team.
[spitting]
Ciao.
- Okay. So-- - Okay, so...
she wants to know if you're in love with her?
- If I'm in love with her? - Yeah.
If I'm in love with her?
Why? Why, why-- If I'm in love with her?
Why-- Why would you ask--
Why do you ask me that question?
You, you of all people, why do you ask me that?
What do you mean, me of all people?
I need a mate. Okay? I need a mate.
Okay, I think it's a very simple question.
Are you in love with her or aren't you in love with her?
Well, Hai Lai, you know, I mean it's a--
Okay, I'm-- I'm in love with her.
Mm. With her musicianship.
I love her voice, you know? I've always loved her voice.
- Mm-hm. - I'm in love with her craft.
I'm in love with how she looks,
because she's very-- you know.
I-- I'm in love with, uh-- with her music--
Okay, did you say that you were in love with her?
She said that you said that you were in love with her.
I think-- Mm.
I might have said something
that actually sort of means that. Yeah.
I told her that I love her, but--
Yeah. Several times.
Okay. Were you lying?
No, I wasn't lying. Of course not.
I never lie when I say those things. I mean,
in the moment, I mean it.
And then there's another moment.
- Yeah. - Okay? And then--
And then I'm-- I'm just a whirl of contradictions, Hai Lai.
- That's not good enough. - What? Not good enough for you?
No, it's not good enough for you.
You can't just tell someone that you love them, and then backtrack.
You can't just tell someone that they play with the blood,
and that they're gonna be a great conductor,
and then just throw them in a shark tank way before they're ready--
- Hey. - And beyond that,
you can't tell the orchestra that they're your family,
and then just fucking leave them.
Hai Lai.
Oh, chica.
I'm sorry.
[wood creaking]
Oh, fuck.
Ay-- Ay, ay.
- [sighs] - Hey.
Alessandra.
Do not come near me.
[chuckles] Now I will sing.
You still want me to be your dresser, right?
[traffic noise]
Cynthia, please let us chip in on the simulcast.
It's okay, it's only $3.99.
It's gonna be weird watching him conduct,
- and not holding my violin. - [door bell rings]
You can hold my cello if that'll make you feel better.
Yeah, it might, it might.
Welcome. Hey, everyone,
this is Lizzie. Remember Lizzie?
- Hailey's friend and my friend. - Oh, hey.
- Nice get up. - Thank you.
I'm mildly obsessed with a turn of the century composer.
This is how she dresses.
I used to dress up as Lord Byron and smoke opium in college.
- No shit. - Yeah.
Yeah, I was you before you were you, Dee Dee.
What is it?
I don't want to resign.
Well, then don't.
Why let that bugger determine your future?
He's just a lucky fucking bastard.
Now, this is exciting.
Who would have thought we'd run into each other here,
- huh, Maestro? - Yeah.
And I've always been such a big fan.
You may not remember this, but we met once 15 years ago
in Helsinki at the airport.
I was having a shrimp sandwich in the lounge.
They make fantastic shrimp sandwiches there in Helsinki.
And you were on your way to Vilnius, Lithuania,
and I complimented you on your blue Balenciaga shoes,
and here you are dressed in blue again.
Winnie, Winnie.
Hey, nice ax, by the way.
Thank you.
What do you think?
You can read tomorrow...
but I think this will make Callas' return...
look like a triumph.
Is this too ripe? Because then it will not carry.
[applause, cheering]
♪♪[Schubert's "Die Junge Nonne"]
What, has she gone mute?
- Somebody should give her a kick up the ass. - Shh.
♪♪
- Cynthia: She's missed the entrance. - Twice.
I can't take this.
[chatter]
♪ Wie braust durch die Wipfel der heulende Sturm ♪
Ah, thank God.
[sighs]
♪♪
♪ Es kirren die Balken, se zittert das Haus ♪
♪♪
♪ Es rollet der Donner, es leuchtet der Blitz ♪
♪♪
- Yes, Bob? - What?
You're staring at me.
Sorry. Schubert has a weird effect on me.
♪ Und finster die Nacht ♪
♪♪
♪ Wie das Grab ♪
♪♪
[applause, cheering]
♪ Là di darem la mano ♪
♪ Là mir dirai di siì ♪
♪ Vedi, non è lontano ♪
Bugger me, it's Placido.
It's Placido.
♪ ...da qui ♪
♪ Vorrei e non vorrei ♪
♪ Mi trema un poco il cor ♪
♪ Felice, è ver, sarei ♪
♪ Ma puoò burlarmi ancor ♪
♪ Vieni, mio bel diletto ♪
♪ Mi fa pietà Masetto ♪
♪ Io cangieroò tua sorte ♪
♪ Presto, non son piuù forte ♪
♪ Non son piuù forte ♪
♪ Vieni, vieni ♪
♪ Là ci darem... ♪
- Man, I wish I was there. - We all do.
I wish Rodrigo was here.
Bob: The heck with him.
If he'd rather be over there in Venice
conducting one of the most beautiful women in the world
instead of on the picket lines here with us,
that's his loss.
♪ Mi trema un poco il cor ♪
♪ Partiam, ben mio, da qui ♪
♪ Ma puoò burlarmi ancor ♪
- ♪ Vieni, mio bel diletto ♪ - ♪ Mi fa pietà Masetto ♪
- ♪ Io cangieroò tua sorte ♪ - ♪ Presto non son piuù forte ♪
♪ Non son piuù forte ♪
♪ Andiam, andiam ♪
♪ Andiam, andiam, mio bene ♪
♪ A ristorar le pene ♪
♪ D'un innocente amor ♪
♪♪
♪ Andiam ♪
♪ Andiam, mio bene, andiam ♪
♪ Mio bene, a ristorar ♪
♪ D'un innocente amor ♪
♪♪
[music ends]
[applause, cheering]
Bravo! Bravo! Bravo!
Bravo! Bravo!
[cheering, applause]
Alessandra, are you cold?
Not in your arms, Placido.
Perhaps in some other bastard's embrace.
Okay, so, we have 10 minutes to get to Piazza San Marco
and I have your tasty wig.
Can I take anything from you?
- Take this. - Okay. Ow! Mother--
- Accident. - Marvelous. Transcendent
- There are 30 million watching in Beijing - [speaking Italian]
- It's gonna be okay. - 30 millions.
- Maestro. - Rodrigo.
Thank you so much for being here!
You know I'm missing a Real Madrid match for this!
I know the score - a stagehand just told me...
Shh.
[speaking Spanish]
You tell me and I might have to kill you.
No, no, no, no, please, no, no, no.
Bueno, bueno.
Between us...
You seem to have lit La Fiamma's fire...
Perhaps you would conduct the next section for me?
This is your circus, my friend! Not mine!
[both speaking Spanish]
- Rodrigo. - Siì?
I am very sorry about your old maestro...
A friend of mine in Mexico just told me the news.
- Maestro Rivera? - Siì.
What happened?
♪♪
♪ Ah! Réponds ♪
♪ à ma tendresse ♪
♪ Verse-moi ♪
You promised me.
♪ Verse-moi l'ivresse ♪
You broke my heart.
♪ Réponds à ma tendresse ♪
♪ Ah, verse-moi ♪
♪ Verse-moi ♪
♪ L'ivresse ♪
♪ Samson ♪
♪ C'est ton amour ♪
- [grunts] - [gasps]
- [gasping] - I've wanted to do that for a long time.
[cheering, applause]
She cut his hair off.
That shit was hardcore.
[applause, cheering]
Thank you for the haircut.
It's just the beginning.
Hmm.
Hm. Ah.
So that's a real knife.
It's from my kitchen.
Yeah, it looks really sharp.
- Wig. - Yes.
When did this wig happen?
Tie this.
It's gonna look really nice.
Hey, I just wanted to say, um, that thing earlier--
the me and Rodrigo thing--
it's really just not that big of a deal.
It's just something that happens sometimes,
and not even that often sometimes,
so you have nothing to worry about whatsoever.
- Box. - What?
Hand me that box.
Yes.
Right away.
It's a prop gun, right?
Right?
- [sighs] Take off this. - Yes.
♪ One, two, three, one, two, three ♪
[faster] ♪ One, two, three, one, two, three ♪
♪♪[overlapping vocals]
Thomas: Where the hell's the orchestra?
I think it's done electronically.
♪♪[overlapping vocals]
♪ He said he couldn't love me ♪
♪ Anymore ♪
♪♪[overlapping vocals]
♪ I told him... ♪
- Where'd the orchestra go? - They got locked out.
♪ And he left ♪
♪♪[overlapping vocals]
♪ So knock on Mrs. Buttafuoco's door ♪
Boo!
[crowd yelling, booing]
♪ What happens next ♪
Shh!
Philistine!
♪ Is anybody's guess ♪
♪♪[overlapping vocals]
♪ He never could leave Mary Jo ♪
♪ He's got it good ♪
♪ Why let her know? ♪
♪ Why? ♪
♪ It's sad, it's life ♪
♪ It makes you cry ♪
♪ He had a wife ♪
♪ She had to die ♪
♪ Two ♪
♪ Three ♪
♪ Minus one ♪
♪ Is me and you ♪
♪ I have a gun ♪
That is daft.
♪ I do ♪
No!
Is that Hailey?
- [gunshot] - [gasping]
♪ He said he couldn't love me anymore ♪
♪♪
♪ He said he couldn't love me ♪
♪ Anymore ♪
[applause, cheering]
Man: Alessandra!
[cheering, applause]
Woman: Stupenda, Alessandra!
I'm getting-- Oh, Christ.
[groans]
[cheering, applause]
Wow!
Ole, Alessandra.
Wow!
[cheering, applause]
- Ah, Maestro! Brilliant. - Yes.
Fabulous! I have offers from across Europe--
- Thank you, Winnie. Thank you for being here. - As well as Japan and Dubai,
[stammers] and Montego Bay.
Only you, only you could bring this out of her.
- Only you! - [cell phone rings]
- Lizzie? - Hailes. What the fuck were you doing out there?
Oh, my God, that's a really good question.
Oh, there's some people that want to say hi to you.
Hey, world traveler.
Don't forget about the little people.
- How's the Walsh Ensemble? - Good, I got fired.
You what? That's not good.
When are you coming home? We miss you.
I'm coming back as soon as fucking possible.
- Hey, Maestro. Hey. - Oh, well done, my lad, well done.
Brilliant. So brilliant, but just, uh--
The-- I don't know, knife,
just a tad, a tad, you know--
- Mm. - You know what I'm talking about.
Rodrigo, we just heard about Maestro Rivera.
I am so sorry.
- I'm a wanker. - Oh, no, no.
Yes. Yes, you were right.
- I am a-- I'm a wanker. - We're all wankers, Maestro.
- I must say hello to Alessandra. - All of us.
- All wankers. - No. No, he's a wanker.
Scuse. Scuse, scuse. Scuse.
- [glasses clinking] - [indistinct chatter]
Man: Grazie. Grazie.
Alessandra.
I'm back. I'm La Fiamma again.
I'm going to destroy you.
I will never work with you again.
If I meet you again, I'll kill you for real,
you bastard.
[indistinct chatter]
♪♪
[thunder rumbling]
[wind blowing]
My papa died in Salzburg.
I wasn't there.
He didn't want me to leave Salzburg.
He missed me.
But I had a family.
I had a wife.
What do you have?
♪♪
e?