Mozart in the Jungle (2014–2018): Season 3, Episode 2 - Episode #3.2 - full transcript
Rope.
Check.
Cutting blades.
- Check.
- Gasoline.
I got it.
Please, say "check"
so I don't get confused.
Fine, Bob. Check.
No problem. I got this.
- No problem.
- Hey, Warren.
I can't do it, Bobby.
I'm scared.
So am I.
But you know
what really scares me?
- What?
- Is never being able
to play music
with you guys again.
Damn right, brother.
What's the status, Dee Dee?
Six blocks away.
Okay, you ready
to blow it up?
Ah, this is gonna
be beautiful.
We're sold out for months.
Everybody loves bubbles.
Sure. But doesn't
booking out the hall
- send a negative message?
- No.
It says that
we're all committed
so finding a solution
and getting the players
back playing.
In the meantime,
having our halls
filled with bubbles
is better than having
it filled with nothing.
- When do we want it?
- Now!
- What do we want?
- Respect!
- When do we want it?
- Now!
- This is ridiculous.
- Respect!
- When do we want it?
- Now!
- What do we want?
- Respect!
- When do we want it?
- Now!
Thank you for coming.
Did you have a good time?
Good. What the hell
are you doing?
So this is what it takes
to get a face-to-face
conversation.
Our lawyers made you
a counteroffer.
Yours have not responded.
It wasn't an offer.
It was a joke.
You've been stalling
for a month,
and now you've put
bubbles into our house?
- Boo!
- Lily, I'm so sorry.
Do you want to go
inside and relax?
I'm fine right here.
Ha ha. She's fine.
Okay, look, why don't we
just move down the street
away from these
lovely folks?
You're all scabs!
Now. Now. I want you
out of here right now.
That's how it works in your
world, right, Gloria?
You want something gone?
Fair wages, health insurance.
Move down the street,
or I'll call the police
and have you politely
removed.
So call them.
Call the police.
She just wants us to take
a few steps back there.
And take that rat
with you.
That rat is not just a rat.
It's a symbol of--
of our solidarity--
- Right.
- ...with the labor and--
No. Pavel, no!
No, no!
It's a rental!
Don't touch our--
I thought you were
with us, Pavel!
Yes, but not with
these things you do!
When do we want it? Now!
You have some tape?
We can save--
You're not going to make it.
You've got to let it go.
Girl.
- Girl!
- What?
Luggage.
Wow.
Hello.
Oh, my God.
I am so sorry.
I didn't mean
to intrude at all.
I asked
if you were here,
but I didn't
hear anything,
and I was just looking.
Your house
is very beautiful,
and I was
taking a tour of it.
Rest.
No, uh, I'm--
I'm really good.
I actually slept
a lot last night.
It's, like, 1:00
or something, so--
No. Vocal rest.
- Oh.
- No talk.
Okay. You got it.
No talk.
Is Rodrigo here?
Do you want me
to come with you?
Hey, do you think you could
tell me the WiFi password?
Because, um, I just need
to rebook my flight home,
and then I could
be out of your way.
No internet.
No internet.
Okay. Cool.
Yeah, I was supposed
to leave, uh, for Moscow
in, like, three weeks.
Shit. I can't believe
I got fired.
What is waiting
for you at home?
Uh...
nothing, really.
So you're free.
I'm jealous.
Well, kind of.
I'm free and broke.
Is--
Is this clams?
When something
makes us scared,
must face it again
right away.
Is that an Italian thing?
This is what my mother
used to say.
But you know
what happened to her.
No. What happened to her?
Oh, my God.
I'm so sorry.
Eat the clams.
I don't think
that's a good idea.
Do you think I should
sing the concert?
I was not sure.
Yes, you should definitely,
definitely sing the concert.
I will sing
if you eat the clams.
Huh.
Wait. Really?
No clams, no concert.
Okay.
Ohh.
Ohh.
How did you become
the maestro's lover?
Oh, no, no.
We're not lovers.
We're just friends.
I mean, kind of.
We're kind of friends.
Did he say
something to you?
Because, I mean,
his grandmother,
she did say that we were
going to have kids,
but she was also
reading coffee grounds,
so I don't think
that's very reliable.
Epa. Hey, the two of you
in one room. Okay.
- Oh, wow.
- Yep.
Hai Lai,
look what I got you.
I'm going to make you
a tea for the stomach.
My grandmother
used to do this.
Oh, we were just talking
about your grandmother,
but actually La Fiamma just--
just made me eat clams again,
and that's actually making
me feel a lot better.
Uh, I will dress
for rehearsal.
Si. Claro.
Si, rehearsal.
Hai Lai. What's up?
I thought you were dead.
Yeah, I know. I also
thought I was dead.
Yeah?
I should have
listened to you
about Walsh.
You were right.
Ah. Well, no. You should
only listen to yourself.
That's your only job,
really, as an artist.
Even if you're
completely wrong,
that's what an artist does,
listen to one's self.
Hey, what are you doing here?
Everyone in New York said
that you'd
fallen off the map.
Well, yeah. They took
me off the map.
Didn't they? Right?
I'm doing opera.
For La Fiamma.
Oh.
Are you living here?
I moved in, yes.
Me-- We can rehearse.
We can do music, you know?
We don't talk about meetings
or "A ten minute
break, maestro."
None of that here.
No, no. Mm-mm. No, no.
What?
Nothing.
What, Hai Lai?
Uh, what!
Uh, it's just in the park,
you said that the orchestra
was your home.
Okay. I just feel like
everyone's kind of waiting
for you to come back.
Ah, sí, sí, sí.
He's like a child.
Yeah. He is.
Okay.
Did you go to school here?
No. They rejected me,
you see?
Really?
But I wanted to observe
the teachings,
so I took a job as, uh--
how you say in English?
to clean the floors.
Like a janitor?
Ah. Maybe that would be
a better nickname for me
instead of La Fiamma.
The Janitor.
Uh io...io solo canto.
Anch'io.
She will show you.
Okay. Thanks.
Hey.
Ah. Alessandra.
Hey. Hey, I want you
to meet someone.
Come, come. Nico.
Hi. It's so good
to meet you.
Thank you so much
for coming.
Piacere, Nico.
He's my friend Nico Mulli.
He's about to premiere
an opera in New York,
and there is an aria there
that we would love
for you to do.
How wonderful.
And what's
the character?
So the character's
a young American woman
named Amy Fisher,
and she is having an affair
with an older man,
an she goes over to his house
and shoots his wife
in the head,
and his name
is Joey Buttafuoco.
Buttafuoco?
Baghdad, Budapest
to how? How?
Girl?
Yes. Hello.
Who are you?
Yeah, I'm Hailey Rutledge.
I play the oboe. I'm just
here with the maestro,
uh, just using the WiFi--
So you are with the maestro,
and, uh, he is with you.
No. No, no. I'm just here
with the maestro.
- Common mistake.
- Please, of course.
It's understood.
You have done me
a fantastic service.
Molti grazie.
Molti grazie.
Okay, de nada.
What?
So this is what you'd
be singing, this line,
then the rest of it
is all going to be made
by sort of prerecorded sounds
and then you singing
all these numbers
and little pieces of fragmented
text into the microphone
that you're going to repeat
with your foot pedal.
Foot pedal?
You wouldn't have to
use the foot pedal.
Someone else could
use the foot pedal.
I'll do the pedal.
Let me do the pedal.
- Exactly.
- Yeah.
And what does
the orchestra play?
The orchestra does nothing.
They just sit there
because the whole thing
is about you,
what's happening
inside your head,
and how that's reflected
in the counting,
the repeated numbers,
the obsessive rhythms.
- Basically.
- It's all in your head--
all the numbers and the little
things you're thinking,
and the audience
is listening to you
and your humble pedal.
So what do you think?
J'adore.
Mm-hmm.
I adore.
The combination of sounds,
technologies,
the voices, the counting,
16, 17.
Ah, it's going to be such
a grand finale, you know?
And people
are going to go crazy.
They're going to go wild.
But I don't
understand it at all.
If Amy Fisher
was his wife,
then bang, yes.
But she's
the Buttafuoco's lover.
Why does the lover
shoot the wife?
Maybe you should
change the story.
Yeah, man.
Uh, I never--
I hadn't thought
about changing it
because it-- well, you know
it's actually based
on a real thing
that happened--
Amy Fisher's real?
Amy Fisher's
completely real.
I don't believe it.
It's a myth.
Alessandra, I think
you should do this.
I want to make you happy.
I like the robot sounds.
But I cannot sing
what I do not feel.
This American girl in love
with this older man,
so desperate
and life so empty
that she will do anything
to be near him.
How can I understand her?
Well, the good news is
I got a flight tomorrow,
but the bad news is
it goes through Estonia
and then Houston
and then New York.
My darling, I'm so
happy to see you,
and we all are.
- Hai Lai.
- Hi.
Hi.
Would you come with me
this afternoon
to my fitting?
- To your costume fitting?
- Mm-hmm.
And, Maestro, you must
go and find a place
for me to sing
out of the cage.
Hmm. Out of the cage.
We will.
We will.
What was that?
What?
What was that?
Oh, my God.
Okay, he's here.
Uh, there's no receptionist.
Nobody around. I can't--
Hey, can you
just say something
to prove that--
that you are you
and that this is real?
Are you eraseface?
Yeah. Danny.
You can call me Danny.
Oh, thank God for that.
Hello.
This is Thomas Pembrige
speaking to you from,
um, Studio B, Brooklyn.
Danny and I are about
to collaborate
on a piece of work--
original, I hope--
and I'm looking forward to it.
Who am I talking to?
It's my mom. She loves you.
Oh, really?
Well, give her my love.
Uh, he, uh,
he sends his love.
- I think she's crying.
- Really?
Okay. I'll talk
to you later. Bye.
Hmm.
Dude, thank you so much.
You have no idea how much
that means to her.
She's, like,
such a big fan of yours.
She saw you do Mahler's
Sixth in San Francisco,
and she was, like, a
fundamentally different
person after--
like, kind of
strangely different.
Well, let's, uh--
shall we get down to it?
- Yeah, yeah, yeah.
- Now, look, I don't know
how you want
to proceed here.
I set up a piano for you.
I've got
an invention here,
a fugue there.
Would you mind if I show
you what I have first?
No, not at all.
That's
my washing machine.
I knew this was a mistake.
Oh, uh, yeah. I mean, we can
work on something else.
I still have so much
mixing to do on that one.
It's-- I mean,
it's way too rough.
Too rough? My cat's
tongue is way too rough.
But this-- this thing?
This is a hop, skip,
and a fucking jump
through Robocop's anus,
and you know it.
I mean, what is it?
You want me to play
some cliché'd bullshit
classical stuff
to put on top?
Do you want this crap?
- No, no.
- Yeah. Bullshit.
Yes. That's terrible.
Please, don't do that.
- So what do you want?
- Okay.
The Martians have landed.
Introduce them
to Thomas Pembridge.
How do you do that?
The Martians?
Okay. I think I get it.
Um--
Yeah. No. Yeah.
That's really--
- Hmm.
- ...good.
Um, no,
can you do, uh,
just the top voice?
Just the right hand,
please.
Oh.
Yeah. Yeah. Okay, right now,
uh, just do that again,
but do it one octave up.
- Yeah?
- One octave.
Yeah,
just one octave higher.
Good. Tell me when.
- Yeah, now.
- All right.
Yeah. Yeah, yeah, yeah.
That's it, that's it.
- Hold on.
- Wait a minute.
Wait. That's it.
What do you mean?
That's it?
That's what I need.
And now we give it
to the orchestra. Look.
Oh, yeah.
Oh, yeah.
I love it.
I love it.
It's fucking great!
Yee-ha! Yeah! Well done.
Do that again.
Do that again.
- Do what?
- Do the "Yee-ha," dude.
- Uh, make some noise.
- Yee-ha!
- Yee-ha!
- Yee-ha!
Welcome to the world,
you motherfuckers!
You've got to come.
He wants me to go to Venice
to perform the damn thing.
And the turbot
for the lady.
If I could just scoot
your calculator over.
Yeah. Sorry.
We're on the clock.
You know, I'm going to have
to start making reservations
you, me,
and the calculator
monster there.
Please. If anyone
sees us, it's a--
it's a perfect cover.
We're working
on the budget.
Darling,
don't be so paranoid.
We live in a city
of 9 million people.
I mean,
what are the chances--
Oh, I don't believe it.
Hi, Bunny.
- Oh, Bunny.
- Thomas.
We missed you
at the ballet benefit.
- Oh.
- Beautiful.
I cried
through the Giselle.
Claire would have
loved it.
Mm, actually, she didn't
like the ballet.
But she did love to weep.
Ha ha!
We're just burning
the midnight oil--
- Mm-hmm.
- ...at this work dinner.
Just running the numbers
on the annual gifts.
Work, work, work.
Speaking of which,
I haven't received a check
from you this season.
Who would I
be giving money to?
The bubble people?
- See you on
the way out, Gloria.
- Oh, yeah?
I'm going
to the ladies' room.
- Ooh.
- Follow me, but be discreet.
Good idea.
My God, that's amazing.
- Mm.
- What are you doing?
Mm.
Oh. Well, I--
I think it's your phone
somewhere vibrating.
- Oh.
- Oh.
Yes, yes. This is she.
What can I do for--
Ohh!
- Oh, hello, Mr. Mayor.
- Mr. Mayor?
Hailey, about Amy Fisher,
why she shot Mary Jo?
I would shot
Buttafuoco instead.
Yeah. I guess. Same.
I honestly don't
really know, though.
You don't know the story?
Uh, no. I think it kind
of happened, like--
- Tell me something.
- Yeah.
Have you ever wanted
to shoot someone?
No. No.
Even just for a moment.
Uh...
yeah, well, maybe my
eighth grade oboe teacher.
He was kind of gropey.
Would you ever shot him
in the head or the heart?
Uh, I think lower.
Lower? Me, too.
But not Amy Fisher.
Not Mary Fisher--
Amy Fisher.
Signore, La Fiamma!
La Fiamma!
Francesca.
- Lionel.
- Alessandra.
Oh, my God. Okay.
Oh. Don't worry.
That crocodile
doesn't bite.
- The girl's killing death.
- Oh.
- Prego.
- No. Grazie.
- Thank you.
- Ah, you must.
Francesca makes
the limoncello herself
in her bathroom.
Oh. Okay.
- Salute.
- Salute.
Ooh. That's really good.
Salute.
Grazie.
- Hailey.
- Mm.
- Yeah.
- Come here.
You'll be my dresser.
I'll be your what?
Shh.
Stay just
for the Festival.
You help me, we'll
talk about Amy Fisher,
and then I'll get you
a proper ticket
to New York
or some place better.
I just really don't know
that much about Amy Fisher
and, like, clothes or--
It's just a few dresses
for a concert.
Please.
Come.
If you'll stay,
it makes me feel the solo.
Oh.
You'll stay?
Okay. Okay.
Uh, it's fine.
- Lionel.
- Hmm?
She needs to see
all the costumes.
So Francesca
is Alessandra.
Stefano is you.
The diva,
she finish, and then--
But when you do it,
it must be
completely silent.
Okay.
And take half the time.
Lionel.
Oh.
- Hailey.
- Yeah.
Tell him who is Amy Fisher.
Uh, okay. Well, um...
she's from Long Island.
She's a girl, and she was
in love with a man,
an, um,
she shot his wife
in the face.
Alessandra?
- Joey.
- Aah!
Joey Buttafuoco.
Why you want
to go home
and leave me alone?
Look at me. Why
does it have to end?
Uh, Amy Fisher's actually
a really sad story.
Opera is
supposed to be sad.
So is love.
Hai Lai, look at me.
Rodrigo.
Do you trust me,
Hailey?
Uh, yes.
Why do I
deserve your trust?
Um...
because you're
a really bad liar.
You love me.
I don't know yet.
Hai Lai, I love you.
Hai Lai.
What?
Al telefono.
Grazie. Oh.
- ¿Hóla?
- Oh, thank God, Rodrigo.
I called everyone
I know in Venice.
Ai, chíngame, Gloria.
Why----
Wh-Where are you?
What's going on?
I know you're not
happy with us,
but the mayor called
demanding
you come to a meeting--
What? I--
The mayor and the meeting?
I don't want to talk
about a meeting, Gloria.
I want to talk about
music or football.
What do you want
to talk about?
This is about the music.
We have to show
a united front,
or they might
pull the funding.
Rodrigo, Rodrigo,
you have to come
to this meeting, Rodrigo.
You have to!
- Attenzione.
- Hello?
They will pull the funding.
They'll pull the funding.
- Maestro.
- ¿Qué?
We have unfinished
business.
Alessandra,
yes, we have.
I want to.
I want to as well.
Come hear me
be Amy Fisher.
But later. We got--
For now, let's rehearse.
Oh.
Check.
Cutting blades.
- Check.
- Gasoline.
I got it.
Please, say "check"
so I don't get confused.
Fine, Bob. Check.
No problem. I got this.
- No problem.
- Hey, Warren.
I can't do it, Bobby.
I'm scared.
So am I.
But you know
what really scares me?
- What?
- Is never being able
to play music
with you guys again.
Damn right, brother.
What's the status, Dee Dee?
Six blocks away.
Okay, you ready
to blow it up?
Ah, this is gonna
be beautiful.
We're sold out for months.
Everybody loves bubbles.
Sure. But doesn't
booking out the hall
- send a negative message?
- No.
It says that
we're all committed
so finding a solution
and getting the players
back playing.
In the meantime,
having our halls
filled with bubbles
is better than having
it filled with nothing.
- When do we want it?
- Now!
- What do we want?
- Respect!
- When do we want it?
- Now!
- This is ridiculous.
- Respect!
- When do we want it?
- Now!
- What do we want?
- Respect!
- When do we want it?
- Now!
Thank you for coming.
Did you have a good time?
Good. What the hell
are you doing?
So this is what it takes
to get a face-to-face
conversation.
Our lawyers made you
a counteroffer.
Yours have not responded.
It wasn't an offer.
It was a joke.
You've been stalling
for a month,
and now you've put
bubbles into our house?
- Boo!
- Lily, I'm so sorry.
Do you want to go
inside and relax?
I'm fine right here.
Ha ha. She's fine.
Okay, look, why don't we
just move down the street
away from these
lovely folks?
You're all scabs!
Now. Now. I want you
out of here right now.
That's how it works in your
world, right, Gloria?
You want something gone?
Fair wages, health insurance.
Move down the street,
or I'll call the police
and have you politely
removed.
So call them.
Call the police.
She just wants us to take
a few steps back there.
And take that rat
with you.
That rat is not just a rat.
It's a symbol of--
of our solidarity--
- Right.
- ...with the labor and--
No. Pavel, no!
No, no!
It's a rental!
Don't touch our--
I thought you were
with us, Pavel!
Yes, but not with
these things you do!
When do we want it? Now!
You have some tape?
We can save--
You're not going to make it.
You've got to let it go.
Girl.
- Girl!
- What?
Luggage.
Wow.
Hello.
Oh, my God.
I am so sorry.
I didn't mean
to intrude at all.
I asked
if you were here,
but I didn't
hear anything,
and I was just looking.
Your house
is very beautiful,
and I was
taking a tour of it.
Rest.
No, uh, I'm--
I'm really good.
I actually slept
a lot last night.
It's, like, 1:00
or something, so--
No. Vocal rest.
- Oh.
- No talk.
Okay. You got it.
No talk.
Is Rodrigo here?
Do you want me
to come with you?
Hey, do you think you could
tell me the WiFi password?
Because, um, I just need
to rebook my flight home,
and then I could
be out of your way.
No internet.
No internet.
Okay. Cool.
Yeah, I was supposed
to leave, uh, for Moscow
in, like, three weeks.
Shit. I can't believe
I got fired.
What is waiting
for you at home?
Uh...
nothing, really.
So you're free.
I'm jealous.
Well, kind of.
I'm free and broke.
Is--
Is this clams?
When something
makes us scared,
must face it again
right away.
Is that an Italian thing?
This is what my mother
used to say.
But you know
what happened to her.
No. What happened to her?
Oh, my God.
I'm so sorry.
Eat the clams.
I don't think
that's a good idea.
Do you think I should
sing the concert?
I was not sure.
Yes, you should definitely,
definitely sing the concert.
I will sing
if you eat the clams.
Huh.
Wait. Really?
No clams, no concert.
Okay.
Ohh.
Ohh.
How did you become
the maestro's lover?
Oh, no, no.
We're not lovers.
We're just friends.
I mean, kind of.
We're kind of friends.
Did he say
something to you?
Because, I mean,
his grandmother,
she did say that we were
going to have kids,
but she was also
reading coffee grounds,
so I don't think
that's very reliable.
Epa. Hey, the two of you
in one room. Okay.
- Oh, wow.
- Yep.
Hai Lai,
look what I got you.
I'm going to make you
a tea for the stomach.
My grandmother
used to do this.
Oh, we were just talking
about your grandmother,
but actually La Fiamma just--
just made me eat clams again,
and that's actually making
me feel a lot better.
Uh, I will dress
for rehearsal.
Si. Claro.
Si, rehearsal.
Hai Lai. What's up?
I thought you were dead.
Yeah, I know. I also
thought I was dead.
Yeah?
I should have
listened to you
about Walsh.
You were right.
Ah. Well, no. You should
only listen to yourself.
That's your only job,
really, as an artist.
Even if you're
completely wrong,
that's what an artist does,
listen to one's self.
Hey, what are you doing here?
Everyone in New York said
that you'd
fallen off the map.
Well, yeah. They took
me off the map.
Didn't they? Right?
I'm doing opera.
For La Fiamma.
Oh.
Are you living here?
I moved in, yes.
Me-- We can rehearse.
We can do music, you know?
We don't talk about meetings
or "A ten minute
break, maestro."
None of that here.
No, no. Mm-mm. No, no.
What?
Nothing.
What, Hai Lai?
Uh, what!
Uh, it's just in the park,
you said that the orchestra
was your home.
Okay. I just feel like
everyone's kind of waiting
for you to come back.
Ah, sí, sí, sí.
He's like a child.
Yeah. He is.
Okay.
Did you go to school here?
No. They rejected me,
you see?
Really?
But I wanted to observe
the teachings,
so I took a job as, uh--
how you say in English?
to clean the floors.
Like a janitor?
Ah. Maybe that would be
a better nickname for me
instead of La Fiamma.
The Janitor.
Uh io...io solo canto.
Anch'io.
She will show you.
Okay. Thanks.
Hey.
Ah. Alessandra.
Hey. Hey, I want you
to meet someone.
Come, come. Nico.
Hi. It's so good
to meet you.
Thank you so much
for coming.
Piacere, Nico.
He's my friend Nico Mulli.
He's about to premiere
an opera in New York,
and there is an aria there
that we would love
for you to do.
How wonderful.
And what's
the character?
So the character's
a young American woman
named Amy Fisher,
and she is having an affair
with an older man,
an she goes over to his house
and shoots his wife
in the head,
and his name
is Joey Buttafuoco.
Buttafuoco?
Baghdad, Budapest
to how? How?
Girl?
Yes. Hello.
Who are you?
Yeah, I'm Hailey Rutledge.
I play the oboe. I'm just
here with the maestro,
uh, just using the WiFi--
So you are with the maestro,
and, uh, he is with you.
No. No, no. I'm just here
with the maestro.
- Common mistake.
- Please, of course.
It's understood.
You have done me
a fantastic service.
Molti grazie.
Molti grazie.
Okay, de nada.
What?
So this is what you'd
be singing, this line,
then the rest of it
is all going to be made
by sort of prerecorded sounds
and then you singing
all these numbers
and little pieces of fragmented
text into the microphone
that you're going to repeat
with your foot pedal.
Foot pedal?
You wouldn't have to
use the foot pedal.
Someone else could
use the foot pedal.
I'll do the pedal.
Let me do the pedal.
- Exactly.
- Yeah.
And what does
the orchestra play?
The orchestra does nothing.
They just sit there
because the whole thing
is about you,
what's happening
inside your head,
and how that's reflected
in the counting,
the repeated numbers,
the obsessive rhythms.
- Basically.
- It's all in your head--
all the numbers and the little
things you're thinking,
and the audience
is listening to you
and your humble pedal.
So what do you think?
J'adore.
Mm-hmm.
I adore.
The combination of sounds,
technologies,
the voices, the counting,
16, 17.
Ah, it's going to be such
a grand finale, you know?
And people
are going to go crazy.
They're going to go wild.
But I don't
understand it at all.
If Amy Fisher
was his wife,
then bang, yes.
But she's
the Buttafuoco's lover.
Why does the lover
shoot the wife?
Maybe you should
change the story.
Yeah, man.
Uh, I never--
I hadn't thought
about changing it
because it-- well, you know
it's actually based
on a real thing
that happened--
Amy Fisher's real?
Amy Fisher's
completely real.
I don't believe it.
It's a myth.
Alessandra, I think
you should do this.
I want to make you happy.
I like the robot sounds.
But I cannot sing
what I do not feel.
This American girl in love
with this older man,
so desperate
and life so empty
that she will do anything
to be near him.
How can I understand her?
Well, the good news is
I got a flight tomorrow,
but the bad news is
it goes through Estonia
and then Houston
and then New York.
My darling, I'm so
happy to see you,
and we all are.
- Hai Lai.
- Hi.
Hi.
Would you come with me
this afternoon
to my fitting?
- To your costume fitting?
- Mm-hmm.
And, Maestro, you must
go and find a place
for me to sing
out of the cage.
Hmm. Out of the cage.
We will.
We will.
What was that?
What?
What was that?
Oh, my God.
Okay, he's here.
Uh, there's no receptionist.
Nobody around. I can't--
Hey, can you
just say something
to prove that--
that you are you
and that this is real?
Are you eraseface?
Yeah. Danny.
You can call me Danny.
Oh, thank God for that.
Hello.
This is Thomas Pembrige
speaking to you from,
um, Studio B, Brooklyn.
Danny and I are about
to collaborate
on a piece of work--
original, I hope--
and I'm looking forward to it.
Who am I talking to?
It's my mom. She loves you.
Oh, really?
Well, give her my love.
Uh, he, uh,
he sends his love.
- I think she's crying.
- Really?
Okay. I'll talk
to you later. Bye.
Hmm.
Dude, thank you so much.
You have no idea how much
that means to her.
She's, like,
such a big fan of yours.
She saw you do Mahler's
Sixth in San Francisco,
and she was, like, a
fundamentally different
person after--
like, kind of
strangely different.
Well, let's, uh--
shall we get down to it?
- Yeah, yeah, yeah.
- Now, look, I don't know
how you want
to proceed here.
I set up a piano for you.
I've got
an invention here,
a fugue there.
Would you mind if I show
you what I have first?
No, not at all.
That's
my washing machine.
I knew this was a mistake.
Oh, uh, yeah. I mean, we can
work on something else.
I still have so much
mixing to do on that one.
It's-- I mean,
it's way too rough.
Too rough? My cat's
tongue is way too rough.
But this-- this thing?
This is a hop, skip,
and a fucking jump
through Robocop's anus,
and you know it.
I mean, what is it?
You want me to play
some cliché'd bullshit
classical stuff
to put on top?
Do you want this crap?
- No, no.
- Yeah. Bullshit.
Yes. That's terrible.
Please, don't do that.
- So what do you want?
- Okay.
The Martians have landed.
Introduce them
to Thomas Pembridge.
How do you do that?
The Martians?
Okay. I think I get it.
Um--
Yeah. No. Yeah.
That's really--
- Hmm.
- ...good.
Um, no,
can you do, uh,
just the top voice?
Just the right hand,
please.
Oh.
Yeah. Yeah. Okay, right now,
uh, just do that again,
but do it one octave up.
- Yeah?
- One octave.
Yeah,
just one octave higher.
Good. Tell me when.
- Yeah, now.
- All right.
Yeah. Yeah, yeah, yeah.
That's it, that's it.
- Hold on.
- Wait a minute.
Wait. That's it.
What do you mean?
That's it?
That's what I need.
And now we give it
to the orchestra. Look.
Oh, yeah.
Oh, yeah.
I love it.
I love it.
It's fucking great!
Yee-ha! Yeah! Well done.
Do that again.
Do that again.
- Do what?
- Do the "Yee-ha," dude.
- Uh, make some noise.
- Yee-ha!
- Yee-ha!
- Yee-ha!
Welcome to the world,
you motherfuckers!
You've got to come.
He wants me to go to Venice
to perform the damn thing.
And the turbot
for the lady.
If I could just scoot
your calculator over.
Yeah. Sorry.
We're on the clock.
You know, I'm going to have
to start making reservations
you, me,
and the calculator
monster there.
Please. If anyone
sees us, it's a--
it's a perfect cover.
We're working
on the budget.
Darling,
don't be so paranoid.
We live in a city
of 9 million people.
I mean,
what are the chances--
Oh, I don't believe it.
Hi, Bunny.
- Oh, Bunny.
- Thomas.
We missed you
at the ballet benefit.
- Oh.
- Beautiful.
I cried
through the Giselle.
Claire would have
loved it.
Mm, actually, she didn't
like the ballet.
But she did love to weep.
Ha ha!
We're just burning
the midnight oil--
- Mm-hmm.
- ...at this work dinner.
Just running the numbers
on the annual gifts.
Work, work, work.
Speaking of which,
I haven't received a check
from you this season.
Who would I
be giving money to?
The bubble people?
- See you on
the way out, Gloria.
- Oh, yeah?
I'm going
to the ladies' room.
- Ooh.
- Follow me, but be discreet.
Good idea.
My God, that's amazing.
- Mm.
- What are you doing?
Mm.
Oh. Well, I--
I think it's your phone
somewhere vibrating.
- Oh.
- Oh.
Yes, yes. This is she.
What can I do for--
Ohh!
- Oh, hello, Mr. Mayor.
- Mr. Mayor?
Hailey, about Amy Fisher,
why she shot Mary Jo?
I would shot
Buttafuoco instead.
Yeah. I guess. Same.
I honestly don't
really know, though.
You don't know the story?
Uh, no. I think it kind
of happened, like--
- Tell me something.
- Yeah.
Have you ever wanted
to shoot someone?
No. No.
Even just for a moment.
Uh...
yeah, well, maybe my
eighth grade oboe teacher.
He was kind of gropey.
Would you ever shot him
in the head or the heart?
Uh, I think lower.
Lower? Me, too.
But not Amy Fisher.
Not Mary Fisher--
Amy Fisher.
Signore, La Fiamma!
La Fiamma!
Francesca.
- Lionel.
- Alessandra.
Oh, my God. Okay.
Oh. Don't worry.
That crocodile
doesn't bite.
- The girl's killing death.
- Oh.
- Prego.
- No. Grazie.
- Thank you.
- Ah, you must.
Francesca makes
the limoncello herself
in her bathroom.
Oh. Okay.
- Salute.
- Salute.
Ooh. That's really good.
Salute.
Grazie.
- Hailey.
- Mm.
- Yeah.
- Come here.
You'll be my dresser.
I'll be your what?
Shh.
Stay just
for the Festival.
You help me, we'll
talk about Amy Fisher,
and then I'll get you
a proper ticket
to New York
or some place better.
I just really don't know
that much about Amy Fisher
and, like, clothes or--
It's just a few dresses
for a concert.
Please.
Come.
If you'll stay,
it makes me feel the solo.
Oh.
You'll stay?
Okay. Okay.
Uh, it's fine.
- Lionel.
- Hmm?
She needs to see
all the costumes.
So Francesca
is Alessandra.
Stefano is you.
The diva,
she finish, and then--
But when you do it,
it must be
completely silent.
Okay.
And take half the time.
Lionel.
Oh.
- Hailey.
- Yeah.
Tell him who is Amy Fisher.
Uh, okay. Well, um...
she's from Long Island.
She's a girl, and she was
in love with a man,
an, um,
she shot his wife
in the face.
Alessandra?
- Joey.
- Aah!
Joey Buttafuoco.
Why you want
to go home
and leave me alone?
Look at me. Why
does it have to end?
Uh, Amy Fisher's actually
a really sad story.
Opera is
supposed to be sad.
So is love.
Hai Lai, look at me.
Rodrigo.
Do you trust me,
Hailey?
Uh, yes.
Why do I
deserve your trust?
Um...
because you're
a really bad liar.
You love me.
I don't know yet.
Hai Lai, I love you.
Hai Lai.
What?
Al telefono.
Grazie. Oh.
- ¿Hóla?
- Oh, thank God, Rodrigo.
I called everyone
I know in Venice.
Ai, chíngame, Gloria.
Why----
Wh-Where are you?
What's going on?
I know you're not
happy with us,
but the mayor called
demanding
you come to a meeting--
What? I--
The mayor and the meeting?
I don't want to talk
about a meeting, Gloria.
I want to talk about
music or football.
What do you want
to talk about?
This is about the music.
We have to show
a united front,
or they might
pull the funding.
Rodrigo, Rodrigo,
you have to come
to this meeting, Rodrigo.
You have to!
- Attenzione.
- Hello?
They will pull the funding.
They'll pull the funding.
- Maestro.
- ¿Qué?
We have unfinished
business.
Alessandra,
yes, we have.
I want to.
I want to as well.
Come hear me
be Amy Fisher.
But later. We got--
For now, let's rehearse.
Oh.