All language subtitles for Mozart in the Jungle s04e05 The Coach

♪ ♪

(rhythmic clinking)

It's an unwinding,
the molto accelerando.

It's like a tape
going backwards.

-(viola playing in distance)
-Like an unwinding.

My God, this--
that's an unwinding.

-That... (exhales)
-He's trying. Hey.

I need someone
who can play the flower pots.

-I can play the flower pots.
-No.

You're already the boyfriend
and the coach.

Anyway, how's your, uh,
Requiem preparation going?

It's kind of... it's-it's going.

-(viola plays off-key)
-(sighs): Oi.

Hai Lai, you know, when I first
came to the orchestra,

I wanted to fire, like,
25% of all the musicians.

But then, I-I couldn't, because
I fell in love with them.

Yeah, but we live with him.

-But the scout doesn't
know that. -I don't know.

I already need
to find a new flautist

because Morgan went
on tour with Drake, and...

(viola plays off-key)

You only get
to do this once, Hai Lai.

LIBERACE:
I'm having a vision.

You're conducting the Requiem.

You throw off your mink cape,

and your bare skin is covered
in Swarovski crystals.

-Mm? -(laughs) And you know,
for the Lacrimosa,

I was thinking of bringing
the timpani to the front,

because he was humming that
when he died.

(piano playing the Requiem)

Play the melody,
not the spiritual struggle.

That's what people want.

(piano trilling)

What did it feel like
when you died?

Fabulous.

Mm.

(viola playing)

-HAILEY: Hey.
-Hey.

Um...

It's not working out
with the Shaw.

And I know that you can get it,

just not in the time
that we have.

Are you, are you firing me?

No. No, I'm not firing you.

-Okay.
-Yeah.

I'm-I'm just
giving you the week off.

Just for the performance.

I think you're a great musician.

-Just not good enough
for Hailey Rutledge. -Uh...

-I'm fired.
-No. Only temporarily.

Really? You're just
gonna ditch him?

No, I'm just doing
what's best for the music.

Well, then, I'm out, too.

Wait, what?

No, no, no, no, no.

THOMAS:
Fuck.

What's the problem?

Credit card declined.

-(doorbell rings)
-Perhaps you maxed it out on

the five motorcycles you bought
for your mechanical orchestra.

I'm just gonna say it:
I'm glad we're not married.

-Maestro Hesby's here.
-GLORIA: Hesby!

-HESBY: Gloria, here.
-Dahlias.

-How did you know these were
my favorite? -Well, I didn't.

They were in the doorway
already, but you're welcome.

-HESBY: How are we, tell me?
-Hi, Hesby.

-(Hesby laughs)
-THOMAS: Hi-- oh.

THOMAS:
Uh, who are those from?

Oh, no, mm. A donor.

HESBY:
Well, I finished the symphony.

-What?!
-What?

-Ah! Hooray!
-Huzzah!

Well, hey, you came--
brought it in under a decade.

Yes, eight years
I've been blocked.

And then,
I was watching the news,

and I kept hearing these words,

"fraud" and "scrutiny"

-and "obstruction."
-Ha, ha.

I've been up for three days.

I finished the last movement.

It's on, uh, 15 paper towels

and a, and a floral hand cloth.

-Oh.
-I call it "Asyla,"

which is plural for "Asylum,"

which is the world
we live in today.

It's the best thing
I've ever done.

Let's premiere it in a month.

(whooping)

Maybe it's terrible.

-M-Maybe I should tear it up.
-GLORIA: No.

I'm sure it's amazing.

And it couldn't be
a better time.

THOMAS:
Yeah, she needs a fresh start

because she almost
killed the Pope.

-On purpose?
-Could you make us some tea,

-please, darling...
-Hmm? Oh.

...while Hesby plays,
because this is for employees

of the symphony only.

-Oh. Well.
-Yeah.

Milk and sugar?

Yes. Thank you.

-Thank you. All right.
-All right, so start here.

(Gloria and Hesby continue
chattering)

(timpani roll
increasing in volume)

(orchestra plays dramatic note)

(piano playing gentle music)

Winslow.

(piano stops)

(clears throat)
Darling...

I can barely hear you.

I've been at an ashram.

I know you've been
in a bloody ashram.

Took us weeks to find you.

But you're sending me to sleep.

I wasn't happy with my playing.

But three months
of total silence

have wakened my ears up.

I can hear your shirt

rustling against
your chest hairs right now.

Wanker.

And I can hear that,
also, obviously.

I've got something for you.

Alan, we need some
Tibetan singing bowls.

Uh, take a break.

-Some... singing what?
-Tibetan singing bowls.

I'd be afraid.

I don't feel fear
anymore, Cynthia.

Only love.

And disgust.

Your sound has changed
from what it once was.

It's become more aggressive.

And more vulnerable.

Why is that?

I guess I know what it feels
like to not be able to play.

♪ ♪

HAILEY: So much better being on
the other side of the curtain.

(chuckles):
Yeah.

Okay. Shall we?

I have that nude circus
coming in at 5:00.

All right, number one,
are you ready, please?

(viola playing classical music)

Technically very good,
but I need someone

a little bit more human. Next!

(violin playing)

Um, thank you, that was great.

-(violin playing)
-Nope. Sloppy détaché.

Thank you. Next!

Yeah. There is no "next."

Did you find someone?

(quietly):
Oh, my...

Look, maybe you just have to
lower your standards a little.

-No.
-No.

(violin playing somber music)

(flute playing along)

You should've seen him
right before we went on.

He almost cried.

I haven't had an audition
in 29 years.

Are you guys sure
you want to play this music?

RODRIGO:
I asked Dee Dee

if he wanted to play
the flower pots and he said...

I love to play the flower pots.

We want to see him
play the flower pots,

and play for you.

We're so proud of you.

Hai Lai, I know this is a little
bit too much in the orbit...

No. I want the best musicians
for the piece.

♪ ♪

Okay, and this is where
Karl comes in, right?

-And does the, does the...
-No, there's no jetes.

-There's no more...?
-There's no Karl.

Why? What happened to Karl?

Watching him be you,
it was a little artificial.

-I think you should be you.
-Okay.

-But I-- you know, to be honest,
I'm a little stuck. -Hmm.

-Guys, can we show him
the sequence so far? -Okay.

Five, six, seven, eight.

Okay. (chuckles)

And then there's a kind of
decomposition motif.

Okay.

I like this moment.

(laughing):
Oh, no. Man.

They're becoming
like zombies, no?

-EGON: Yeah, that's
a good point. -Aah!

Mischa, a little bit
more life to Anna Maria.

Up on the table.

There you go.

And you know what, Rodrigo?

Why don't you bite her?

Yes. Yes, yes.

-(snarling)
-EGON: You have rabies.

Yes.

-(exhaling sharply)
-EGON: I like it. Yes.

I'm not sure about the biting.

Well, it's how we show
how you infect them.

Yeah, but biting, infection,
is a bit too...

-No? Like...
-You know, you're right.

You don't have to touch them.
You just, y-you...

you drive them mad
with your conducting.

-Okay.
-Right? Like, like Alessandra.

Okay, well, with that--
suddenly, it doesn't make sense,

because, yes, I did the...
she was already, you know?

-EGON: Right.
-And I made a mistake there.

But here with the orchestra,
I mean, they're not mad.

I wish they were,
but they-they're just mad

about the bathroom breaks,
that's all.

You're right again.
What if they're indifferent?

They're adrift,
they're floating.

But where does that leave you?

That's where I'm stuck.

What if we go back to the Faust?

-Like, we think Faust.
-I don't know, I think maybe

the oboe player
might be the key.

RODRIGO:
Hmm?

(grunts)

(chuckles)

What...

Hey. Hey.

Egon, Egon, Egon,
why-why is she hurting me? I...

I love Hai Lai, come on.

Well, show me how you love her.

-How would you love her?
-Okay.

Um...

(counting in Spanish)

(Rodrigo humming quietly)

EGON: I don't believe
that you love her.

What if you don't love her,
but you need her to love you

or you'll drown?

Nice.

I like it.

I...

I don't know.

Thank you.

Thank you, Natalie, but, uh,

-I don't like this anymore.
-EGON: We'll try something else.

No, no, no. No, I don't want
to try something.

I'm-I'm done, Egon.

I'm done.

-You're done?
-Yes.

-What do you mean? -I don't want
to do this anymore.

Okay, so you're not up
for the work.

I'm always up for the work.
That's the problem.

Everyone, a little round
of applause.

Thank you. Thank you so much
for your precious time.

I really appreciate it.

Everyone, let's watch
how he exits.

I think I left my fucking keys.

-Where are they?
-We can use this.

We can still do the piece.

-Where's my keys? I left them...
-Where's my keys?

-I know, they're-they're
right... -Where's my keys?

-They're here in my pocket.
-Where's my life?

Hey, yeah, stop, guys.

-Stop.
-Stop. Stop, guys.

-Stop!
-Stop. -Stop.

Ya basta.

-Enough!
-Ciao.

-RODRIGO: Ya basta.
-You'll be back!

(orchestra playing rapid tempo)

-(music stops)
-Warren.

Do you see the,
uh, "X" marked on

-bars two and three? -Yeah,
I was wondering what that was.

Try playing that
like a scratchy stop.

-"Scratchy stop"?
-Yes.

Think of it as like
a punctuated hit

that launches us
into the next piece.

Try it, please.

(violin screeches harshly)

Um, what I'm looking for
more of is like a...

sudden angled pop.

I'm not sure...

Okay. Um...

Warren, you know the feeling
when you're standing

on top of, like,
a very tall building

and you kind of want to jump,
but then you don't,

but it's just the idea
that's kind of thrilling?

Or like when you're on
a really high-speed train...

...and it takes a sudden turn,

and then your stomach
goes into your ears.

And so I was just talking
and I couldn't stop myself

from talking,
even though I was kind of

just, like,
watching myself talk.

And Warren is just
sitting there, looking at me

like he's literally asleep
with his eyes open.

I love you, Hai Lai.

I don't need you to love me.

We're saying that now?

-Yeah, we say that all the time.
-No, we don't.

For many years,
yeah, yeah, yeah.

We've been saying that.

I love you and I don't need you
to love me.

Well, I do... love you.

Warren Boyd.

He's a very sleepy character.

All musicians are.
They're very bad with words.

They-they don't listen
that well with words.

Did you just put
your coaching hat back on?

-Yeah, yeah, yeah.
-Okay.

The-the hat, the-the slippers,

-the-the heavy thing, yes.
-Yes.

What you're saying
is very good,

but in Japan
you'll only have time for,

like, 20 minutes to work
with the orchestra.

Well, I haven't even
gotten in yet.

Well, just, you know,

learn to give them
what you want, you know?

-Okay.
-With-with no sermon.

-No sermon.
-No.

♪ ♪

-(grunts) -You'll be
behind the podium, Hai Lai,

so the instruments can be
with their musicians, you know.

Just make yourself huge.

-Bigger, like a vision,
like a vision. -Ooh!

-You know? -I feel kind of silly
right now, though.

Yeah, well, it's very silly,
yes, because everything we do

is-is kind of ridiculous.

This is very different
than my lessons with Thomas.

Yeah? Which way?

All right, okay.

We really need to focus now.
Get up.

-Mm? Focus, okay.
Yes, yes, focus. -Yes.

Okay, so I'm the mirror, okay?

And you do the conducting, okay?

Okay, wait,
Hai Lai, Hai Lai, the...

What? It's a bit too much, no?

Oh, that's, uh,
so that they know

that I'm referencing
the opening.

Okay. Okay, well, they don't
need to know, you know.

-They just need to play. -I feel
like they do need to know

so that they can play.

-Okay, but try it without words.
-No words?

-No.
-(shouts)

♪ ♪

RODRIGO:
I don't understand.

How can you play something
that just... disappears?

I've never experienced that.
I don't know.

But what's to understand?

(laughs): Just play the music
and cash the checks.

This is the reason why
Mozart left me.

I have nothing
to give to this piece.

I'm gonna have to stop you
right there.

You're sad, and I'm sorry...

but I don't do sadness.

Best of luck to you.

(Tibetan bowl chimes,
ringing melodically)

(orchestra playing gentle music)

(music building)

(piano playing rapidly)

(piano fades)

(orchestra playing
dramatic music)

THOMAS:
You've got 88 keys.

Use them!

All right!

THOMAS:
"Thomas Pembridge's Queens Phil

has emerged like a phoenix
on a motorcycle."

-Well, that's wonderful.
-Listen to this.

"We're finally awake
after being lulled to sleep

"by the New York Symphony,

"whose crumbling ceiling
might have proved

to be too apt a metaphor."

-Oh, what?!
-(laughs)

That fickle asshole.

We're announcing
Hesby's "Asyla" next week.

We'll see what
they're writing then!

Oh, you... wait.

-You mean my old friend, Hesby?
-Yeah.

Ah, yes, the-the Hesby
who I introduced you to,

who would never have
taken that commission

if I hadn't told him to.

The symphony commissioned him,
and you quit the symphony

to go play with
your scooter bikes.

Who sent this?

-Oh. -Ooh, it's got...
oh, lovely chocolate.

Just a donor.

-Mm, lovely.
-(stammering)

They keep coming, don't they?
These little packages.

(singsongy):
Let go.

Who keeps sending you
these gifts?

-Let me have it.
-Mm, no, no.

(Spanish music playing)

CYNTHIA:
All right, I'm here.

-Go. Get your lesson.
-You sure you can take waiting?

It's harder than you think.

Oh, I'm sorry. I need to be
a mouthy 13-year-old

to do a good job?

You know what? Never mind.

Hey, I meant like in money.

You think you're the first
teenager to act like a punk?

I wrote the fucking book.

Now I'm supposed to be
a one-handed waitress

for an ungrateful little prick?

(under breath):
Fuck.

(Cynthia sighs)

What's wrong?

I was really stupid.

I fucked up my wrist again.

It's fucking stupid. I'm stupid
about a lot of things.

I'm supposed to call a doctor,
but, you know,

he's gonna say
take another year's rest.

Fuck.

(under breath):
Oh, shit.

(Cynthia sniffles)

You know, you have
to really want this.

-What?
-Music.

The drums.

You want it?

It's the only thing
I like doing.

Then ask me.

Ask me to help you...
with respect.

Can you please take over
my shift so I can go practice?

Yeah.

But if I ever hear you
talk about a girl or a woman

the way you talked to me,
we're done.

Okay.

Hailey, I'm still not sure
about that notation. I...

(pot clinking rhythmically)

(ensemble playing rapidly)

(music stops)

SASHA:
Hailey, what's up?

Uh, throat?

WARREN:
You have no throat.

Laryngitis.

Is it contagious?

-It's a laryngitis of the mind.
-WARREN: Interesting.

Oh.

Got it. Cool.

How...

(plays abrupt note)

Not like that?

Oh, you want me
to go ponticello.

(plays ascending note)

(playing light melody)

Oh, you...

(chuckles): You want me to dance
around like a little girl?

I'm sorry, Maestra.

(playing light melody)

(pot clinking rhythmically)

HESBY: They're my first
and best critics,

because they don't lie.

Here, Thomas,
look in Swoozie's eyes.

There's a simple,
gentle truth there.

-See what she thinks of.
-Yes, beautiful, beautiful.

I want to show you something.

What do you think, now?
What do you think?

Hey, Winslow!

What are you...? Come here.

Look. Max's Kansas City. Huh?

-Ah.
-That was Bowie--

-that elbow there.
-THOMAS: You remember?

We bombed around this town
together, the three of us.

God, I feel like
I'm back there now.

You have to fight
to keep from calcifying.

You do realize, don't you,

that by letting Gloria
debut your piece,

I mean, that's exactly
what you're doing?

What about the three of us
doing the premiere?

-Yes.
-I mean, we could do that.

-It'd be a sort of a reunion,
huh? -Maybe we could.

Yeah?

No. No.
No, no, no, no, we can't.

-We can!
-No, no, no, no, no, no.

Don't you remember
we used to say,

if we are truly collaborative,
we will experience...

ALL:
...unity!

-We were on LSD!
-But we meant it.

And don't you still
believe those things?

I mean, it wasn't until I got
back together with Thomas again

that I truly felt set on fire!

Literally.

She's commissioned the piece.
It's hers.

Come on, let's fuck things up
and let's just go have

some goddamn fun!
What do you say?!

-Come on, let's do it.
-WINSLOW: Exactly.

MAN:
Gloria, I want you.

I need you.

I shouldn't even be here.
(chuckles)

-Have you enjoyed my gifts?
-I have.

But you're wasting your money.

I'm already taken.

The Guggenheim Museum wants you

to be our next
executive director.

Hilla von Rebay
envisioned this place

as a temple to the spirit.

Come, shepherd that spirit
into a new age.

Come join the big leagues.

The New York Symphony
is the big leagues.

Yes, but our donors are not

just the crème de la crème
of New York.

They come from
all over the world.

(sighs):
Oh.

-That is tempting.
-And the best part:

unlike your moody musicians
or conductors...

the art doesn't talk back
and won't go on strike.

Any rats at the Guggenheim?
(laughs)

No rats, Gloria.

Just look me in the eye
right now and tell me

that you're 100% satisfied
with the symphony,

that you want to stay
and that I should drop it.

And I will.

Let's have some more wine.

-Is that him?
-(instruments warming up)

Mm, no. Which one?

-The guy with the mustache?
-Oh, no.

That's Antonio
from the nude circus.

No, the guy behind him.

Uh, no, no, no, no, no, no.
That's not him. No.

I'm so glad that you're here.
Is everything okay?

-Yeah, I was just
under the weather. -Okay.

I wasn't gonna miss this
for anything.

Thank you so much.
Okay, um, get settled in.

Sasha is gonna fill you in
on the few changes,

-and, uh, I'll see you soon.
-Okay. Enjoy.

-RODRIGO (whispering):
Holy shit! Holy shit! -What?

Puta madre.
Hai Lai, they called in

Arnar Valgirsson
to be the scout.

-HAILEY: Who is that? -He's a
top critic of music in Iceland.

They call him
the Stinking Shark of Reykjavík.

He once gave me
a really bad review.

A horrendous review.
Don't worry about him.

Don't worry, don't worry.
He said that I was a...

a tropical bird with no wings.
How fucked up is that?

-That's really fucked up.
-No?

Hey, Hai Lai, I was thinking--

you know the last
ten bars of the piece?

You could do without them,
don't you think?

You can just cut them.

You know, I don't think
the music needs them.

I think Caroline Shaw
meant for them to be there,

so I'm gonna keep them.

Okay, okay.
Well, okay, but, you know,

it's not about Caroline Shaw
right now, it's about you.

It's about you and the music,
about the freedom.

-There's no donors,
there's nothing. -Yes.

Just really try things,
you know?

Just do what's good
for the music.

That's exactly
what I'm gonna do.

Okay, great.
And the viola section--

-did you find someone?
-I'm gonna try something new.

-Don't worry about it.
-Ah, a surprise.

-Okay, surprise. Okay.
-Okay.

Mierda, Hai Lai,
mierda, mierda!

(whispers):
Why is my dad here?

I told him to come.

Are you out of
your fucking mind?!

-Why would you do that?
-Because I think it's something

that you have to go through, Hai
Lai. You have to confront him.

I need you to tell him to leave.

Otherwise I'm not
gonna be able to do this.

Okay, I can tell him to leave.

-Okay.
-Or, or...

you can go onstage
and kill yourself.

-What?! -Yes, yes.
Do a sacrifice, Hai Lai.

Yes. Grab that little girl
that thinks stuff like

"you're the best or you fucking
suck"-- you know, those voices

that your father has
in your head--

and just throw them
out of the window.

Throw them,
like they're a boomerang.

Boomerangs come back, though.

But... but it depends
how you throw them.

Okay, you can't
run and make music

at the same time, you know;
you have to take a breath.

You have to confront this.
All right?

I swear, because afterwards
the whole Japan thing,

really, is just
gonna be like a quark.

A quark?

Just a little thing of an atom.

(instruments warming up)

You can't watch.

Eso.

(instruments stop)

(applause)

HAILEY:
Good evening.

We're the Hailey Rutledge
Ensemble.

Tonight we have the privilege

of debuting a new piece
by Caroline Shaw.

I also have my father here,
from North Carolina.

And I wouldn't be here
without him.

So, thanks for coming.

(clinking rhythmically)

(ensemble playing
dramatic classical music)

(vocalizing)

♪ ♪

(vocalizing)

(dramatic classical music
continues)

♪ ♪

(tempo increasing)

-(vocalizing)
-(music slows)

(vocalizing)

(music fades)

(vocalizing fades)

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