Mozart in the Jungle

Thomas.

Claire.

I have a present for you.

Your favorite: lilies.

Lilacs.

- Lilacs. Yes, of course.

Oh, I've signed the bloody divorce papers.

And now, as friends, maybe a new beginning?

- Thomas, you know I can't read your whole score.

- No, no, this is just for me to follow;

mitigate the agony

of waiting for the verdict from the one woman that I trust.

- Come. I've made tea.

- Oh, lovely. I'm parched.

All right, put these on.

Make sure they're comfortable.

Is that good? All right.

Get ready.

Coming through?

Good, good.

I inverted the opening section and put--

just listen, yeah.

Can you hear me?

Just nod your head if you can hear me.

- Thomas, when you talk, I can't listen.

- Our marriage in a nutshell, hmm.

- It's-- - Ah, relax.

Thomas!

- All right-- I know.

Pipe down, Thomas.

All right, good. I'll shut up.

Just listen.

What was that, a wince?

Was it the woodwinds? Oh, no, no, no, no.

No, don't. It's not finished yet.

You're nearly there.

It all weaves together in the end.

Just--it's beautifully-- it comes together.

Was that an exhausted slump

or a "Oh, God, Thomas, your career is over" slump?

Claire?

Oh, hi. - Maestro, we're so sorry.

- Thank you, thank you. Appreciate it.

Yes, Maestro.

Thank you for coming.

Thank you. Thank you.

Gloria.

Sad occasion.

- Yes, tragic. Claire was a lovely woman.

Oh, Erik, hey.

What the hell's happening with the yuan?

God knows, right?

Gloria, my condolences.

Thank you.

She was a dear friend

and a dear friend of the orchestra.

- Ay, Michel, I think that maybe we shouldn't go.

- I think it's the right thing to do.

- Of course it's the right thing.

Yes, it's the right thing.

Yes, yes, this is the only way that I'm gonna get this--

this thing out of my system.

Maestro, about the curse...

do you think it could be psychosomatic?

Of course, Michel.

Of course it's psychosomatic. Everything is.

Me, you, the music,

the way we experience things.

It's in the head. Psychosomatic.

- I like working for you, Maestro.

- I know, Michel. I know.

- It's gonna happen to all of us.

And soon.

Death?

- Well, basically-- a lockout.

Show some respect.

There's a dead lady up there.

She's not up there anymore.

Just an empty vessel.

Oh, it's just so sad.

- Carpe diem, because next diem, there'll be nothing to carpe.

- Oh, God. The whole board is here.

We can't let this happen.

We can't let this orchestra die.

We have to make a deal.

- Why don't you just walk across the aisle

and ask them to dance?

Hi, Nina.

Surprised to see you here.

Scouting the opposition.

There's Darth. There's young Luke.

The question is, will he go over to the dark side,

or will he vote for us?

I need four yeses for the board to approve our counteroffer.

Not impossible.

Gloria's sympathetic to us.

She wants what we want.

Well, that's one yes.

- We know where Biben stands.

Yeah, right on our backs.

He's an obvious no.

- Well, so one speculative yes,

one obvious no.

What about Erik Winklestrauss?

- I bet he's a yes. He's really nice.

How do you know?

I met him.

And he kind of gave me his number.

Call him.

Maybe he'll tell you how he's gonna vote.

Claire was venomous.

But she was my oldest friend.

- Stiff upper lip, Arlene.

Now you're my oldest friend.

- Well, if I have to be an oldest something,

I'm happy to be your oldest friend.

Hello.

Buongiorno.

Okay.

Hello.

I'm looking for Ana Maria.

My name is...

Rodrigo DeSouza.

Thank you.

Ahi esta.

You've changed.

Ana Maria?

Your lawyers, they're saying

that you want to get married?

Yeah.

I am promised.

But not to any man.

I want to take my vows, Rodrigo.

I want to leave everything behind.

Okay.

Don't you think you're overreacting a little bit?

We got into a fight, yes, but we can always work it out.

We can always, you know-- we can always talk about it.

- Why is always about you, mi amor?

It just is.

Hey, Ana Maria.

Something terrible happened to me in Mexico.

You fell in love?

- No! No, no, no, no.

No, I-- I was--

I got cursed.

Is it not the same thing?

No, it's not the same--

I mean, between you and me, yes,

but between normal people, it's not the same.

It's something else.

Maestro Rivera, he asked me

to go back to Mexico and take his place.

- You accepted? - No, I did not.

Fuck.

Of course not. - I know.

- You cannot give up the grand stage.

- I'm beginning to accept that, yes.

Yes, but I think it's something more.

I think it has to do with finding my place.

You know?

And I mine.

Will you release me?

Oh...

Sign here over my heart.

Divorce me so that I can marry

someone greater than either of us.

Greater than either of us?

That doesn't exist.

It does.

Okay, okay, give me the pen. Okay, fine. I'll do it.

Ana Maria...

I think we're being a little bit too hasty on this, you know?

- Sign at the bottom and then on page three.

Okay.

You're bleeding!

- Oh, yes, yes-- it's my--

I've got something wrong with my ear.

- No, there is something wrong with your soul.

Why do you say those things?

- Because I wish you what I have.

I wish you to give yourself to something bigger--

greater than your little self.

Hey, no, no! No.

'Cause I give myself all the time to music.

I'm giving myself to music.

- Ha! - Yes, Ana Maria.

You forgot the last page.

Ay, okay.

Okay, fine.

It's just a paper. It's just a paper.

Welcome, everyone.

Thank you all for coming.

It's so wonderful to see so many of Claire's friends.

And it's also wonderful to see the orchestra here

supporting me, and I appreciate that.

Thank you so much.

You know, Claire Pembridge

was a doting wife,

a caring friend.