Looks like Dick has changed his mind about going to the symphony, deciding that it might not be possible to relax there. (Come on, Dick, it's not like Tess is taking you to a thrash metal concert. It's the symphony. Sure, some of the music might be pretty exciting, but some can also be very relaxing. Give it a chance, man, give it a chance.) He's also decided that the symphony is where the long-hair music is, which I suppose is true considering that men used to wear their hair long back then, but maybe he should also remember that people are still composing classical music today, so there are plenty of short-haired composers and musicians as well. Meanwhile, stepping away from this oh-so-exciting exchange between Tess and Dick, we turn back to the mysterious caller man's son (who does happen to have long, lovely, flowing locks) who also happens to be on the phone, talking to another mysterious person about that thing that he stole from his father that his father really, really wants back.
Turning back to the Tracy's, dragged to the symphony, Dick has decided to take the same route he took when Tess and Bonnie dragged him to the circus: complain about everything. (What's next? Are you going to say
that you could hear this music on the radio at home?) Leaving Dick's
grousings about seat locations behind, we go backstage at the symphony, where the first chair violinist has just received some disturbing news from the mysterious caller man, who is apparently the Maestro of this particular symphonic ensemble (and shall henceforth be known as the Maestro). Apparently he's going to have to improvise, which means that he's either lost the sheet music or the violin. If it's the music, so long as he doesn't have any solos, he can probably just fake it, or look on the music of the person next to him. If it's the violin, however, he's got his work cut out for him, and he can either pretend to play an imaginary instrument while humming the notes, or just go freestyle and
beatbox it. Good luck, sir. I know you'll make the right decision.
Meanwhile, as tragedy strikes the first chair violinist, the reason for his distress is revealed as we see the Maestro's son continue walking through the city carrying a violin case (even though we can only assume that there's actually a violin in there and not a T
ommy Gun). Looks like he's trying to get some money for the supposed violin, but why? Is it for drugs? Does he want plenty of change for the bell ringers and their red kettles? Is he in trouble with
iTunes because downloading individual songs is just so darn easy? Does he need money for Christmas presents? Is he trying to start a new life under an assumed name? Does he need a new scarf because he's tired of everyone asking him if he's from those
Harry Potter movies? The mind reels.
Looks like Dick has changed his mind about going to the symphony, deciding that it might not be possible to relax there. (Come on, Dick, it's not like Tess is taking you to a thrash metal concert. It's the symphony. Sure, some of the music might be pretty exciting, but some can also be very relaxing. Give it a chance, man, give it a chance.) He's also decided that the symphony is where the long-hair music is, which I suppose is true considering that men used to wear their hair long back then, but maybe he should also remember that people are still composing classical music today, so there are plenty of short-haired composers and musicians as well. Meanwhile, stepping away from this oh-so-exciting exchange between Tess and Dick, we turn back to the mysterious caller man's son (who does happen to have long, lovely, flowing locks) who also happens to be on the phone, talking to another mysterious person about that thing that he stole from his father that his father really, really wants back.
Turning back to the Tracy's, dragged to the symphony, Dick has decided to take the same route he took when Tess and Bonnie dragged him to the circus: complain about everything. (What's next? Are you going to say that you could hear this music on the radio at home?) Leaving Dick's grousings about seat locations behind, we go backstage at the symphony, where the first chair violinist has just received some disturbing news from the mysterious caller man, who is apparently the Maestro of this particular symphonic ensemble (and shall henceforth be known as the Maestro). Apparently he's going to have to improvise, which means that he's either lost the sheet music or the violin. If it's the music, so long as he doesn't have any solos, he can probably just fake it, or look on the music of the person next to him. If it's the violin, however, he's got his work cut out for him, and he can either pretend to play an imaginary instrument while humming the notes, or just go freestyle and beatbox it. Good luck, sir. I know you'll make the right decision.
Meanwhile, as tragedy strikes the first chair violinist, the reason for his distress is revealed as we see the Maestro's son continue walking through the city carrying a violin case (even though we can only assume that there's actually a violin in there and not a Tommy Gun). Looks like he's trying to get some money for the supposed violin, but why? Is it for drugs? Does he want plenty of change for the bell ringers and their red kettles? Is he in trouble with iTunes because downloading individual songs is just so darn easy? Does he need money for Christmas presents? Is he trying to start a new life under an assumed name? Does he need a new scarf because he's tired of everyone asking him if he's from those Harry Potter movies? The mind reels.
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