♪♪ [theme]
[brakes screech]
Gloria: Yow!
Oh, my God.
Whew. Oh, Jesus.
Do you even have a license?
Why, I have an English one.
Uh, does that count?
Apparently not.
Listen. Now we have the chance.
Shall we just blow out of here
and go to Sag Harbor for the weekend?
You don't want to meet them.
Of course I do.
I'm thrilled. I'm delighted.
No, no. I mean, you know, kids and parents.
- [tapping at window] - I mean,
it's always a bit tricky introducing--
It's too late now. They've seen us.
Hi. Hi. Thomas,
I-- You-- I want you to be yourself,
and I want you to have fun and--
but, you know, sometimes these--
they can be a little-- and you can--
and you-- you know what? Never mind.
It's fine. Let's go in. It's fine.
Man: Welcome, welcome.
Woman: Hi.
Glo, bring your tuchus over here.
You heard her, Glo. Get your tuchus over there.
- Hi, honey. - Hi.
- How are you? - Hi, Mom. Hi.
Nice to see you.
- Hi, darling. - Both of you,
This is Thomas Pembridge.
- How do you do? - Oh, you must be very special.
She never brings any of her boyfriends home.
Well, she has horrible taste in men.
- [laughing] - You said it.
Oh, he's fun.
And this was at the prom.
Oh. Never seen so much hair.
And her date. My God.
Looks like a porcupine with acne.
Well, actually, he now runs a tech company
worth 7 billion.
Hmm. Oh, my Lord.
Who's this little butterball?
Well, that's Glo at age 12.
We used to call her Princess Twinkie.
- [laughing] - Oh.
You don't say. Well, hello, Princess Twinkie.
All right. That's enough.
I was a very heavy little girl.
I promised myself I was going to lose 40 pounds
and move somewhere with a library
just as soon as I possibly could.
I think we hit a nerve.
She always thought she was too good for us.
Yeah. And, you know, I'm always trying
- to get her to lighten up. - That-- That's not true.
- It's not false. - Mom,
I got the strudel cake you like in the kitchen.
[chuckling]
So listen, kid,
what are your intentions for our daughter?
Oh, well, not marriage.
Do you think I want to be number 5?
So that's it, honey.
No grandchildren.
Y--
Ha!
- Oh, you! - Look at his face!
He believe we were going to give him the third degree.
- You got me. - Really?
That's a good one.
What's so funny?
Your parents are being abusive to me.
I love them.
They're fantastic.
Well, I'm glad everyone's getting along so well.
Come here.
Bye. Bye, Glo.
- Wow. - Father: Bye.
I think that went splendidly.
Oh, I'm glad you had so much fun.
Well, you would, too, if you removed
that lumpy piece of stick from up your ass.
I will, and then I will hit you over the head with it.
Oh, ho ho. That's the spirit.
Listen, we have to go to your place tonight.
I've got a lodger.
I think I'd just like to take a night to myself.
Oh, well, I mean, what the hell did I say?
Oh. You know, I--
I don't know what I was thinking.
Bach: 4 in the morning, and you still can't sleep.
Maybe a little music will help.
♪♪ [piano]
John Sebastian,
hey, keep on playing,
but don't play for me
because I'm home.
I'm fine, okay?
I don't-- You know?
A man without a house who says he's home.
A man who goes to prison and says he's free.
Is he a child, a genius, or a madman?
Shut up, John Sebastian!
Whoa. Who-- What-- What's all the noise for?
Sorry, sorry, Maestro. Sorry. I--
What are you throwing?
It's just-- It's John Sebastian--
Oh, my God, you're doing the bubbles
- in the house again. - I have to.
There's something I'm trying to figure out,
but I can't until I sleep,
and I can't sleep until I can figure it out.
Because I saw Melody Yang to an amazing bubble,
a big one, and then a little one
that goes inside that bubble,
and then another one
which circled around the bubble.
You know, I--
I've been wanting to tell you something.
Yes, tell me, tell me.
Well, it's about Gloria and me.
I-- I just don't know what the hell I'm doing.
At the beginning of this thing, it was--
she was so much fun, you know.
We had a wonderful time together, and it--
and then, for no reason, she just turned.
It's always like that.
- No fun-- - Always--
- ...anymore. - ...like that.
- Nothing. - One day it's okay,
and then next day's really weird,
and nobody knows why.
- Yeah. - It's like the orchestra,
you know? They were together.
- Yeah. - Now it separated,
together again, but who knows what's gonna happen?
It's always like this. It's always changing.
- Feh. - Yeah. Hey.
What about the sticky stuff?
Oh, right, remember that one?
Yeah, you're going--
Yes. I finished it before going to Venice.
- Oh, shoot. - Yes.
But try this. Try this.
Oh, my God.
Give it-- Give it a try.
- Jesus. - And you'll see.
- ♪♪ [Bach playing] - Just feel it. You know?
Right.
Look at that.
Wow.
I fee like you're making me play second fiddle
in our relationship.
Yes, I know I actually play second fiddle.
Why would you say that?
How am I gonna get people to play this for me?
It's too small for the orchestra people.
Well, never underestimate the power
of free pizza and beer.
I'm using it to build a whole cabaret.
- [bell rings] - It's the fire alarm.
We got to go to the courtyard. Leave your stuff.
- [sirens] - [instruments tuning up]
Watch it, tuba.
- [alarm stops] - ♪♪
Hey, are you Esther Ohnn?
- I am. - Oh, wow.
I'm a really big fan of yours.
I know that sounds, like, super nerdy.
I just think it's really cool
that you turned down a residency at Julliard
for the Moscow Symphony,
and that you play with Bjoörk, and--
Yeah. I'm Hailey Rutledge.
You're the one who threw up on Andrew Walsh.
Well, yeah, I threw up around Andrew Walsh,
and he fired me.
Good. Because after he asked me
to wash his laundry by hand,
I was out of there. He is the bane.
Yeah. He's kind of the worst.
Well, it is good to meet another cult survivor.
Uh, hey,
I am putting together an ensemble for an event,
and I was just wondering if you wanted to play.
Does it pay?
Do you like free beer?
Yes. Who's conducting?
I am.
Okay. Cool.
What?
I'll do it.
Shock and awe, right?
Yeah. Shock and awe.
All right, see you at rehearsal.
It's some kind of metacarpal fracture
which explains the chronic inflammation.
What about another round of injections?
We can keep on with that and the physio,
but in the end you're probably going to need the surgery.
However, if the surgery goes well,
there's a good chance you'll still be able to play.
I don't get it.
Excuse me?
The sign.
Is that for the nurses or for us?
[chuckle]
How did you do that?
Too many threes.
Too much Bach.
Uh, threes-- is that basketball?
Yes. Kevin Masers. New York Knicks.
Cynthia Taylor, New York Symphony.
Oh, cool. You know,
I play a mean "Fuür Elise" on the piano.
- Yeah? - Or at least I could.
[chuckle]
You had surgery?
Yeah, ten days ago. What about you?
My metacarpal is jacked.
A guy on my team had that.
You know what helped him?
Bourbon.
With me.
[chuckle] It was probably just the bourbon.
But you probably shouldn't have it without me,
just to be safe.
Ahem. Ms. Taylor.
Uh, here's a prescription.
Remember to stay off that arm.
Understand?
Yep.
♪♪
[instruments tuning up]
Pull. [chuckling]
Eh, kind of.
Glad we didn't have to break in.
Oh, yes.
I can't believe these things are still here.
Oh, Maestro says the bubbles can stay.
We're in the bubble with them?
- Eh. - I don't know.
- Hey. - Hey.
- Good morning. - Good morning.
Hey. Subbing for Betty?
Yeah, just until the auditions,
which is awesome because I only have,
like, $40 in my bank account.
Do you know what piece you're playing?
Uh, yeah, I have a couple of options.
Let me know if you want some help.
Thanks.
I missed this.
[door closes]
- Hey, everyone. - Maestro.
Look at this.
Wow, we-- we're back in our home.
Wait. Why so few of you?
It's the chamber group
for the big donors' gala, Maestro.
What?
Hi. Hello.
Sit down, sit down, please.
Take a seat. Take a seat.
An, uh...
[yawning] How do you guys feel? Okay?
- Yeah? - Good.
Not tired?
- No. - Okay.
Um...
are those trees on?
Is it me, or-- or are they, like--
- No, they have lights. - They have them.
- They have lights. - Yeah.
[muttering]
All right. Elegy.
♪♪
Maestro.
[music stops]
Maestro.
Hey-- [whispering]
Okay. Ahem.
Okay, let's keep on rehearsing.
- You need a rest. - Okay. No.
- It's okay. - Mm-hmm?
Okay, I'm okay, I'm okay.
I'm okay. Okay.
Why don't you rehearse? Okay?
Why don't you keep on rehearsing a little bit?
Okay? Let's keep on doing it,
and I will be from here supervising. Okay?
- But you guys do it-- - Let's help him.
...in the-- in the best way possible, you know?
- ...Because we have to-- - ♪♪ ["Lullaby"]
Ha ha.
Oh, no. We're not doing this one. [chuckle]
It's okay. Use it for warming up. Okay.
♪♪ [continues]
Oh, man.
♪♪ [music stops]
Hai Lai?
Cynthia?
Tanya?
[grunt]
Ai, those trees.
Hello?
Heh. You awake?
Yeah.
- Hi. - Hi.
I'm Rodrigo de Sousa.
Ah, I know who you are.
You're the guy on all the posters.
Yes. Yes, I am.
Yes, and you-- you are the--
I'm just security.
Yeah? I've never seen you before now.
I've been here 25 years.
[gasp]
Whoa.
What time is it?
3 a.m.
- Here? - Mm-hmm.
Did you get some rest?
Oh, yes. Yes, I-- I really needed--
I'm going to get some maté. Do you want some?
Some what?
- Were you here when-- - Yeah, I--
Pembridge's "Eroica" was.
I don't remember that one so much.
Yeah. That-- That's, like--
I'm sorry, man. You know, sometimes I just--
I fall asleep.
Why?
You know, I-- I like jazz, Coltrane.
Oh, yeah. Yeah, Coltrane--
Sure, no question.
- And the-- - Of course.
We can see the link from Stravinsky.
- Yeah. - That's good.
Yeah, but, you know, like, Beethoven, Chopin, Bach--
you-- you don't appreciate them?
Yeah, yeah, yeah, they're okay,
but, you know, they--
I think I need that rhythm,
you know, that kind of swing,
like the pop
that you get from, like, jazz solos
- and stuff like that. - What--
What do you think, then, that--
I mean, what would make it better for you?
Uh, better costumes with it.
Oh, yeah, well, definitely that.
It's so formal. In Cats--
You ever see Cats on Broadway?
- No. - That show-- The show Cats.
They have, like, whiskers and everything.
It's different from this.
Hmm.
Yeah. Sorry.
You know, I'll give you
some tickets for next season.
You come to the concerts, you know,
and maybe that'll make you change your mind--
- [snicker] - ...a little bit.
I doubt it. No offense.
But I-- I could bring my, uh,
my grandson. He plays the violin.
- Mm. - Yeah.
He played the violin. He stopped.
Yeah, he just-- You know,
lessons were expensive,
and, uh, he just didn't stick with it.
- Hmm. - Kids.
[chuckle]
But you know, when a child is playing
or running...
- inside their minds-- - Hmm.
they are listening to music.
♪♪
Oh. Hi. Welcome.
That sounds like it's really developing.
- Yeah, it's coming on. - Is that a second movement?
- Here. That's for you. - Thank you.
I want you to go back to the piece
that we were working on before.
- Right. Okay. - Just no music.
Just show me.
Good.
[chuckle] That's good, that's good.
Uh, show me the way
you bring in the bassoons again.
Yeah.
Oh. Very extravagant.
Where-- Where did you get that?
Uh, that's how Kutchar was doing it on YouTube.
Oh, that's his, then, isn't it?
Uh, what does it actually mean to you?
Uh, well, it's all about leaving Czechoslovakia
- after the war-- - No, no, no. I get all that.
That's just a book report.
Uh, you can't just conduct something
because you think it's interesting.
You see, I'm trying to get you
to find a piece of music
that you can really feel
and conduct like no one else can.
Hai Lai, hey.
- Hey. - What's up?
I really have to talk to you.
Uh, yeah. Are you just appearing places now or--
- I live here. - No. No, he doesn't.
- You said for the meantime-- - You're a guest.
Look, do you mind? You can see
we're in the middle of a lesson.
Oh, the lesson. Oh, you're having a lesson with--
- Yeah. - The best.
- He is. - He's the best.
- I know. - Very lucky.
Thank you. We're trying to...
- Can I talk to you? - Can you-- Yeah.
Just give us just a minute, Maestro.
- Come with me. - Okay.
- Hai Lai. - Yes, what?
Do you want to have a child with me?
What?
Let's have a child, you and me.
- [thumping on low keys] - Uh, I'll be right there.
I'm doing something that's really important to me,
and I would really appreciate it
if you would give me the space to do that.
- I give you the space. - Sorry.
Do you want to do this or not?
I really, really do. Okay.
So go back to, uh, measure--
He's still here.
You got to leave, man.
Hey.
Cynthia.
- Maestro. - Hey.
Wow. This is really good.
Ah, yeah, it works for me.
Yes, yes, I'll do this for you.
I can move in. Yeah, yeah.
- What? - Stay here. Yeah.
You know, I stayed with Gloria last time.
I can stay here. Why not?
It'll be fun.
So wait.
Bradford's not coming to the opening?
No. He's touring with his documentary.
- Hmm. - It's really important to him, you know?
Yeah, and this really matters to you. He should be here.
Yeah, he should really be here, shouldn't he?
Yes.
What about Rodrigo?
Is he gonna make it for your big moment?
Yeah, I was going to invite him,
and then he, like, asked me to have a child with him.
Wait. What?
Yeah, he was not being serious.
How do you know?
Because I know him.
Have you ever just, like,
asked Rodrigo what the deal is with you two?
No. I don't need to. I know what the deal is.
There isn't one.
Okay.
Just as long as you're not,
you know, waiting around for him.
Wake up.
Ai, 'mano.
- [laughing] - 'mano.
It's the fucking five flights up
and the five flights down.
I'm so glad you're here!
You look like shit, man.
I am like shit, man...
I'm lower than shit, like if a shit took a shit.
-Want something to drink?
A beer please.
Dos, dos, dos.
And a tequila.
Yo no, yo no. No yo.
Ah, sí.
Cynthia. Look, look,
Cynthia.
Huh? My toca box.
- What is that? - Heh heh.
There's batteries and wires inside...
and people on the street pay for you to shock them to prove their cojones.
You want to see if it still works?
I'm okay, thanks.
You know, Maestro Rivera, he took it away from me.
He took it away from me, and he locked it up.
He locked it up with all my things.
He locked it.
Before he died Maestro Rivera told me to bring this to you.
Did he say anything about me?
Not much.
- Mira. - Ha ha!
The Maestro's lovers.
This one's from the movies...
but what does this mean?
Who knows?
He didn't suffer. They gave him drugs.
[sobbing]
Hey, hey, no, no, no.
No, no. Hey, Rodrigo.
Give me a shock!
No I was talking about the box!
I know, but there's no batteries.
Wait, look.
Mira.
♪♪ [cello]
Of course Maestro.
Look at this crowd.
Half of Wall Street is here.
I'm half expecting the SCC to kick the door down.
Yes. I'm going to make my money back tonight.
I can feel it. I don't care
if I have to rifle through pockets in the coat room.
Sorry. What was that?
We're doing great financially.
That was a joke and totally off the record.
If you wouldn't mind stepping...
Oh, my goodness.
You look magnificent.
Excuse me. I have to work.
- Oh, well-- - Ouch.
Hey.
So, uh, before?
Hmm? Oh.
Yeah, that was a bit much.
Uh-huh.
You know dark matter?
What?
Dark matter, you know?
Yeah, the thing that's all around us.
Do you know why we know it's around us?
No.
Because the universe is expanding
and contracting at the same time.
See? Changing it out and changing it in.
- Right. - Like the present.
Hmm.
Are you ready for the changes, Hailey?
Yeah.
I think they're already happening.
♪♪ [final notes]
[applause]
I guess I'm in the doghouse again.
So what did you do?
I don't know what I did.
I drove her to Long Island and drove her back.
I don't know.
Maestro. Hi. Hello.
Um, I will just cut right to the chase.
I would love to perform your new piece with my ensemble.
- Hell, no. - You're writing again?
Well, I mean, yes and no.
- That's fantastic. - It is fantastic,
and it's exciting, and it's dark,
and it's brave, and it's very sad,
and-- and the space that I want to conduct it at
is this emerging art space in Brooklyn.
- It's very cool. - Oh, you should do it.
Are you mad?
You are a minor electronic music star.
Only minor?
Brooklyn is your audience.
Maestro, you said that I should perform works that I feel,
and I really, really feel this piece.
Now, I know that there are people
probably lining up around the block to do it--
Oh, there aren't.
He's hardly known at all.
All right, that's enough. Go on. Uh...
Come on, come on.
- All right. - Yes.
There'll be conditions.
♪♪
Bravo!
Bravo, bravo!
Thank you all. Thank you all.
Thank you so much for coming.
We've had a triumphant return.
We're stronger, we're better,
but most importantly,
we're together.
[applause]
She has such a big heart.
She has such a big heart,
Gloria Windsor, right?
Yeah, a big heart, like a horse.
[laughter]
Like a horse?
Uh, thank you, Maestro.
Thank you.
Everyone here has a big horse heart
because we care about this city,
this orchestra, and that's why we're so excited
to be asking you to renew your commitment
to the New York City Symphony Orchestra.
Because we have some amazing news to give you.
Gloria is pregnant.
[audience murmuring]
Ah ha ha ha!
And also...
Warren Boyd is pregnant,
and Bob the Union is also pregnant,
and Cynthia is also pregnant--
All of you, everyone, everybod--
Me, I am pregnant.
Why? Because we're announcing
our best initiative yet,
which is we're opening
the New York Symphony Youth Orchestra!
- Yay! - [applause]
Yes, aha, yes.
But for now, this orchestra, the main orchestra,
we desperately need,
we desperately need your help,
so please,
- if you could open-- - Any child--
Any child that wants to learn an instrument,
he can come to us. He or she can come to us,
or-- or we will go to them!
- [applause] - Yes!
Ha ha ha ha! And
this amazing long-term vision
can only be possible with your near-term support.
And if there's a child
that doesn't have an instrument,
because most of them don't have an instrument,
well, we're going to give it to them for free!
- [applause] - Yes! Yes!
Yes! Ha ha ha!
[shouting]
- Do you want to add anything? - No, I think you said it.
Yes, okay, okay. Whoo!
And, everyone,
give generously and--
Darling, we had no idea.
Uh, yes, we're full of surprises.
- Yes. - We are full of them.
Oh, can we have this room
for a quick minute, please, fellas?
Thank you so much.
Thank you. Thank you.
Are you angry? I cannot tell.
Look out! Aah! Oh, my!
- What? - What are you thinking?
- I'm trying to save-- - Yeah, but it's--
[both shouting]
You can't just go marching to your own drummer!
Let's talk about it because if you're to be--
You have to talk to me about these things!
I talk to you! I talk to you all the time,
- and you don't listen to me! - I stayed for you!
...what to do! Aah!
Yes, I do promote--
Gloria-- Gloria-- Gloria! Gloria!
[both shouting]
♪♪