Mozart in the Jungle

Hey, thanks, man.

You okay, buddy?

I'm okay, I'm okay.

- You okay? - Yeah, I'm good.

Okay.

Oh, I'm so happy to hear that.

Okay.

Yeah, working with Andrew Walsh was great, it was smooth and...

Okay, yeah, just give him a call and, um...

we'll take it from there.

Thank you.

Fuck!

Dude.

Oh, my God, I've missed you so much.

Ditto.

Why are you screaming "fuck"?

Oh, I was just, like, this close to getting a sub gig in Houston,

but it turns out that Andrew Walsh just, like, knows everyone, so...

So you're secretly stoked you won't have to mess with Texas?

I appreciate you.

What's up with the outfit?

So I got really into this 1930s Czech composer

named Vítêzslava Kaprálová.

She happens to look exactly like me.

I started singing some of her songs and they're...

They really got to me, so, yeah,

I'm dressing like her now.

Of course you are.

Yeah.

Oh, my God. And I bought, um, a dive bar...

- What? - With the rest of my uncle's money, yeah.

And I'm turning it into a 1930s Czech speak easy.

- So, you're a bar owner. - Yeah.

And now you're dressing like a dead Czech lady.

Yeah.

How long have I been gone?

This is the one.

Sublet, sweet sub... Hello.

Are you Shawn?

Oh. Sebastian said, um... Well, I thought that

you were gonna be in Prague.

Uh, Prague didn't happen. Come in, come in.

Okay.

He told me not to come, but it's fine.

It'll be great to have someone to talk to.

Welcome to the Ferndale.

So this is the gallery space.

And this is the performance space.

Wow.

And...

do you notice any resemblance?

Yeah.

She was, like, 25 when she died.

Oh.

How much shit she wrote.

Orchestral suites, Czech art songs.

I would love you to do something for the opening,

some oboe piece or something.

Yeah. Maybe.

This is... Where is it?

This is the one that I'm working on.

I guess everyone knows now.

Well, I think that's the least of your worries, darling.

Ha. I'm just going to keep a smile on my face,

and everything will be fine.

Good, that's what you always do.

- Maestro. - Bob. How are you?

- Great, sir. How are you? - Wonderful to see you.

- Maestro, welcome. - Oh, how nice to see you.

Did you have a good summer, everyone?

Oh, it was a little slow.

- You look gorgeous. - Thank you.

- Are the happy couple... - Thomas.

Listen, I think we're gonna get this settled.

Thomas.

Yes, darling, coming.

- Hello. - Hey.

- Hailey. - Hi.

- Welcome home. - Oh, thank you.

Is the Maestro coming?

Uh, no, he just kind of disappeared after the concert.

What's his thinking about the lock out? Is he gonna help us?

Uh, hi. Um, I don't know.

Nice to see you guys, too.

Dee Dee. I had no idea.

Pastor Dee Dee of the online Church of the Collective Creator.

- Nice bangs. - Thank you.

And look who's back from Hawaii.

Oh, what was it like playing with the Honolulu Phil?

- Dreamy. Hey, kid. - Hi.

Oh, great cameo. Loved you flailing around on stage.

- You saw that? - The whole world did, sweetie.

Where are you going?

Back in a second.

- Betty. - Darling.

Missed you. Missed you too much.

Ohh, precious.

Aloha, sweet baby.

- Do you want to hold him? - Oh, fuck, no.

Management on one side, us on the other.

I see nothing's changed.

The bird is ready to fly.

Treat her well. Okay? That's all I ask.

What? It's supposed to be a coded conversation.

- I say the bird's ready to fly, you say... - The bird...

- Falcon. - Falcon, yes.

Not bird, falcon. The falcon has left the nest.

- Thank you. - You're welcome.

Um, and yes. Of course, I'll treat her well,

not that it's any of your business.

Maestro. Love that eraseface song.

Welcome to earth, motherfuckers.

Number one in Korea.

Hey, look. The godfather's in the house.

Hey.

- Come on down, Maestro. - How are you, man.

- Good to see you, man. - Good to see you as well.

- Hai Lai. - Hey.

We have to talk, eh? We have to talk.

Yes. Hey. Hey. Hello. Hi.

Maestro, Maestro,

we're planning a solidarity concert.

- Will you join us? - Vivalio. Vivaldi. Oh, I like this. Hey.

Thank you for coming back.

- Thank you for coming back, Maestro. - No problem.

Your old room is waiting.

Actually, he's bunking with me, so...

- An interesting idea. - You are?

Yes, the... Where... Where's the baby?

Where's the ba... Oh, hey, the baby.

Yes, of course. Yay!

Hey, how are you? Okay? Yes? Good.

- Here's your goddaughter. - Thank you very much.

Thank you. Yes, please.

Oh, yes, I have her.

- All right. - Yes. Hey.

Okay. Wow, she's grown so much.

- Yeah. - Wow. Okay. Well, everyone,

Artists, management, welcome, welcome.

Sit down. Take a seat, take a seat, take a seat.

Let's do this. Okay, we are gathered here today

for this beautiful Olivia. Hm? Yes?

Who, eh... Oh! We're also gathered here today for the beautiful parents,

Virgil, who works with the numbers,

and Christophe, who works with the violin.

They are both the most important for this baby.

Olivia, she comes to the world as a new song.

You know? Played for the first time.

She's like music.

Every time she cries, or she laughs,

she takes us to a place that we don't know the name of.

Christophe, can you hold her by the feet, please?

- Sure. - Yes, yes.

And Virgil, can you hold her by the hands?

- Oh, yeah. - Please. Yeah?

You have the baby? You have the baby in your hands?

Now pull her apart!

- Oh. - Tear her into two pieces.

'Cause that's what you've all done with music!

What the hell is he doing with my granddaughter?

No, don't worry, don't worry, Grandfather.

Don't worry. They won't hurt her.

Because they love her.

You don't hurt the thing you love most. Right?

You're damn right there, Maestro!

Thank you, Maestro, thank you.

And I'm sorry I abandoned you all. I'm sorry I left you.

I went away. I went away because

I couldn't put myself to conduct this horrendous score,

the symphony of red tape.

I think we all understand and appreciate the message.

Certainly, but it's more complicated than that.

It's simple, it's simple. I'll make it very simple.

In this place, in this church today, right now,

with this amazing priest and this beautiful baby,

we will solve the lock out with a locking you in.

What's he talking about?

- Yes. - I never really know.

If you don't make a deal by today...

- I quit. - No, please don't.

- Please, please don't. - Yes, I quit. I quit.

I... Ciao, Rodrigo, ciao, ciao, ciao, yes.

But, if you do reach a deal,

then you have me.

For whatever you want. You know?

As long as you want. Okay?

Right. Everyone, friends of the family and family themselves.

Please, if you wouldn't mind

following Pavel out to the courtyard,

where we have prepared a beautiful buffet.

And martinis for you all.

Well, what about the ceremony?

- Oh... - Mother of Virgil, don't worry.

Don't... No, no, because,

I mean, we can't have the christening in this...

In this atmosphere of hate and division, can we?

I think you're right, Maestro.

Good, then. Members of the orchestra and management,

please stay here.

Everyone else, come on, let's clear the church right now.