- 12 minutes ago
Amadeus - Season 1 Episode 3
Category
😹
FunTranscript
00:00language and scenes of a sexual nature from the outset
00:03it's the salieri your bride is on a table we all know how beholden you are to this emperor
00:16a new job has become available i was wondering if you might bring me his manuscripts make his
00:21case to the emperor but you are a woman i am a man this is a way of things now
00:26you're just so dressed why have you changed your mind you're gonna run out of students
00:33fight stanza pack your trunk we're going away you are throwing away the gift that god gave you
00:41you selfish little bastard
00:50sir i'm sorry to tell you that your son is dead the mass for raymond is ready to perform
00:56from this time on we are enemies you and i kill the man
01:10kill the god
01:22oh it's nothing the tune i heard you go to the concerts i go to casinos it's usually a string
01:40quartet quintet for that one but the tune stuck with you i haven't been able to get it out my head
01:48oh
01:51do you know who wrote me no
01:56i do
02:03keep singing
02:03second movement
02:11so don't like kfc major
02:18it enters your brain coming into your subconscious like a spell
02:25yes
02:25i didn't come here for absolution you understand not not for pleasure
02:33i can give you whatever you came here for just keep singing
02:38and chant me like the pied piper
02:41like aura
02:43what would you do if you caught a rat
02:46would you be kind with it
02:48no
02:48no
02:49no you'll want to punish it
02:52you'll want to hurt it crush it
02:57harder
03:03harder please
03:13stop
03:15do
03:27do
03:27do
03:28do
03:30do
03:31do
03:34do
04:39Child labour outlawed.
04:41Peasants allowed to move wherever they want.
04:42How is Constanza these days?
04:44She worries sometimes about, you know, my students and so on.
04:47Your students?
04:49Yes, my students are drying up.
04:51Anyway, more importantly, the Emperor's commissioned me to write another opera.
04:55I did hear that. What's it about?
04:57No idea.
04:57I was going to ask you, would you like to be a part of it? Fancy putting some words to the music?
05:03Well, I'm sorry, darling, but I have another master.
05:07Do you?
05:09That's funny.
05:11You never used to come to these things.
05:13Well, I think they've grown something of a dark side.
05:16What do you mean?
05:16Well, I heard that they don't see him much at church on Sundays anymore.
05:20Let's just say that.
05:23That's not going to happen, Jess.
05:26The Emperor slaps the faces of the aristocracy, asks us to turn the other cheek and thank him.
05:31Oh, hello.
05:33Hello.
05:34Oh, hi.
05:35I don't really have anything to say to you.
05:37I just thought if someone didn't step in and stop talking to you, you might have murdered one of those men.
05:41Oh, I might as hell.
05:44I'm Franz Sussman.
05:46Are you a friend of my husband's?
05:47Oh, no, just with Myra.
05:49Oh.
05:50Oh, well, you're fitting well here, then.
05:52Very well.
05:53I saw you sing last year.
05:56The Mass.
05:58Yes, hey.
05:59I still think about it.
06:01Anyway, I'm glad I met you.
06:06Have a nice evening.
06:10Court composer.
06:11What happened to her eye?
06:25Oh, slip getting out of the bar.
06:28They're death traps.
06:28Well, my wife insists on having to her mouth.
06:31I tell her she's taking her life into her hands.
06:33How's the new work?
06:35Oh, good.
06:36Lazarus.
06:37Operatic tragedy.
06:38An operatic tragedy?
06:39Wow.
06:40It's been at least five minutes since the last one.
06:42The librettist?
06:44The ponte.
06:45Oh, feckless creature.
06:47Lorenzo has his eccentricities, but he's the best, and only the best will do.
06:51How are you, Antonia?
06:55I'm fine.
06:56It's just you seem not yourself these days.
06:58I'm not sure what it is.
06:59I worry, actually.
07:00You can tell me if there's something wrong.
07:02Are we talking about our feelings, Giuseppe?
07:04You're getting soft, Kapilmeister.
07:07I'm perfectly fine.
07:10Well, I do have something to talk to you about.
07:13The court has commissioned Mozart again.
07:15The emperor likes him.
07:16Well, he's a risk.
07:17Well, I mean, you've heard it, Antonia.
07:21My God, the boy come right.
07:23You can't deny that.
07:24Well, I think his talents may be outweighed by his...
07:28Excentricity?
07:30The emperor wants to give him another go.
07:32My hands are tied.
07:34We are opening ourselves up to ridicule.
07:38Joseph wants his opera houses to be a shining light for all of Europe to...
07:42Giuseppe.
07:59We're going to need a new couple, Meister.
08:20Our new Kapilmeister.
08:43Congratulations.
08:45So, how does it feel?
08:48A lot different.
08:49You have all of Vienna and its musicians in your palm.
08:52You must feel something.
08:54We'll have to be quick today.
08:55I have a lot of meetings.
08:57Will you still be able to tutor me?
08:59Well, that Kapilmeister has to be very selective over who he keeps in his inner circle.
09:06I am going to have to let a lot of my pupils go.
09:10But you, Katarina, you, I intend to keep in my palm.
09:18I am going to have to let a lot of singers in your palm.
09:53Can you imagine choking to death with beef of all things?
10:04What's wrong with beef?
10:05Well, I can think of better things to choke on.
10:08There we are, sir.
10:09I love it.
10:10Anton, that sounds a bit flat to me.
10:14We've made Salieri Kappelmeister, did you hear?
10:17Aloysia mentioned it 89 times, yes.
10:21He's actually summoned me to go meet with him.
10:23What do you want?
10:23No, Anton, that's sharp now.
10:25Just go through it all again, I think, please.
10:28I think he wants to talk to me about the new opera.
10:30Rosenberg thinks I might get a longer run this time, which is good.
10:34There was a boy at our party a few weeks ago.
10:37He'd been at Raymond's mass.
10:40Right.
10:41He remembered hearing me sing.
10:47Hadn't been able to stop thinking about it.
10:48Yes, well, it was a good piece and all that, wasn't it?
10:52I was just thinking about doing it again.
10:55Doing?
10:56Singing.
10:57Oh, as in, uh, professionally?
11:00Well, I was a good enough soprano when I was younger.
11:04There are roles out there in my range.
11:07Me.
11:08Yes.
11:10Yes, no, it's just singing a mass is one thing,
11:12but opera's kind of weeks on end, sometimes months.
11:17Anyway.
11:19See you later.
11:20Moza!
11:38Come in, come in.
11:41Oh, I was very sorry to hear about Bono.
11:43Oh, yes, yes.
11:45Terrible.
11:47Makes one wonder, doesn't it?
11:48All this chaos, what God's plan might be.
11:53Mm-hmm.
11:55Yes, now, your new commission.
11:57Um, I have to petition hard for you.
12:00Uh, there are still some at the court who needed persuading.
12:05I don't wish to speak ill of the dead,
12:07but I think that Bono's passing may have been a benefit to you,
12:13if you take my meaning.
12:15Yes, absolutely.
12:16No, yes, of course.
12:17And, uh, believe me, I'm grateful for everything.
12:20I really am.
12:22Still, what's the theme?
12:24General idea of the thing?
12:26No idea, I'm afraid.
12:27I'm still working on that.
12:28Really?
12:30Well, we were all thinking something a little fantastical.
12:34Fantastical?
12:35Uh, gods, angels, kings, knights, that sort of a thing.
12:40Bit of a spectacle.
12:41The emperor wants crowd pleasers, if you understand.
12:43No, thank you, no.
12:45I think people are bored of that now.
12:46I was imagining, if anything, something a little bit more sort of real life.
12:51You know, just sort of relatable.
12:55What's, uh, audiences don't come to the opera to see relatable characters.
13:00They come to be inspired.
13:02Yes, I think I can do both.
13:07Of course you can.
13:08I have, uh, given you the librettus Argenti.
13:17Argenti?
13:17Mm-hmm.
13:19Are you joking?
13:21Am I writing a birthday card?
13:23Or a sing-spiel for three-year-olds?
13:25Argenti is a more than confident librettist.
13:27Argenti can barely spell librettist.
13:29He's a moron.
13:30Be that as it may, everyone else is busy.
13:34Oh, and I almost forgot.
13:37The emperor wants this before Christmas.
13:39Before Christmas?
13:40Yes, I'm sorry.
13:41I hope that won't be a problem.
13:42Not for me, but I suppose I better tell Argenti to start sharpening his quill.
13:46Hopefully he won't accidentally stab himself up the arsehole with it.
13:49Good.
13:50Well, uh, let me know the thing.
13:52As soon as possible.
13:54Of course.
13:54And my best to Constanza.
13:57Thank you so much.
14:04I want to know what it's like to make something beautiful.
14:18I'm reading the most wonderful book.
14:22It's a play.
14:23It's a band, you know.
14:26And by whom?
14:27My uncle, obviously.
14:32What's it about?
14:32A marriage.
14:35Lust.
14:38A desire.
14:40It lies in truth.
14:44Why is the emperor banned this book?
14:47He thinks it's dangerous.
14:49It sounds so silly, doesn't it?
14:51Being afraid of something like a book or a song.
14:54Well.
14:56Words can be dangerous.
14:59Perhaps I quite like danger.
15:02If I don't get what I want, I get bored.
15:11I hate getting bored.
15:12Well, sometimes life is boring, so.
15:19If you can't give me what I want, then I don't see there's any point in you being my tutor anymore.
15:27And I don't think you can afford to lose me.
15:29I mean, what are you going to do without me?
15:36Beg on the street?
15:42I'll make you back.
15:43This is a band play.
16:08It's banned because there's truth in it.
16:10It's banned because it depicts the servants as smarter than the masters.
16:14Which they are.
16:14Let me say, as a particularly smart servant myself, you should find a different story.
16:19Okay. Let me play you something.
16:21Something of what?
16:22Of this. I've already started writing it. I can't stop thinking about it.
16:26Well, try harder.
16:28Come on.
16:29No.
16:29One aria. One aria. That's the deal. Come on.
16:31To what end?
16:32Because you are going to be my librettist.
16:34Thank you, but I told you I'm spoken for, and my other half gets very jacked.
16:40Do you really want to spend the rest of your life writing milk toast operas for Kappelmeister Salieri?
16:44Yes. Don't you ever just want an easy life?
16:47No. Not at the expense of the music.
16:49Come on. One aria.
16:51All right.
16:52What do you mean you're quitting?
16:55I've promised my services to another composer.
16:59Who?
17:00Mozart.
17:01But you're working for me.
17:03Yes.
17:03No. Um, it's just...
17:05Yes. No. Um, it's just what?
17:10He played me some of it.
17:20Well, I suppose you could work on both at once.
17:23Well, that won't be possible.
17:25Why not?
17:27You're leaving Vienna?
17:28Just until we finish writing it, yes.
17:30We?
17:31Me and Deponte.
17:31Why can't you write it here?
17:32Because if anybody finds out about what we're doing, they'll shut us down.
17:36What are you talking about? What is this opera?
17:37It's a secret stanza.
17:39I don't understand.
17:40Look, this is how we have to do it.
17:42It can't be ruined.
17:43It's very, you know, it's very delicate, okay?
17:45I can't explain it to you.
17:46No, no, you can't.
17:47It's very...
17:48And the Princess Elizabeth, her lessons.
17:50I don't know.
17:52It's probably good that we have some time apart, frankly.
17:54Time apart?
17:55What do you mean, time apart?
17:56What happened?
17:59Oh, no, nothing's happened.
18:01Those lessons are important.
18:02We worked really hard to get you that job.
18:04I can't be thinking about fucking music lessons, okay?
18:07I have to do this.
18:08I have to do it.
18:09Yes, you have to leave.
18:10Yes.
18:11Well, yes.
18:16Will you be back next month?
18:17I don't know.
18:20Probably not.
18:21Why?
18:23It'll be Raymond's anniversary.
18:29But I will lay flowers on your behalf, shall I?
18:42Good afternoon, sir.
18:47Good afternoon, sir.
19:17Good afternoon, sir.
19:18Good afternoon, sir.
19:27Your Majesty, I have some rather unfortunate news.
19:30You'll remember how it follows insistence Mozart was given another opera commission.
19:34Well, he's stolen my librettus, you see?
19:37And what's more, he's refusing to reveal what his opera is even about.
19:42Your Majesty, what happened?
19:45One of the dogs bit me.
19:46I tried to stop it mauling the stay.
19:49Stupid.
19:50Bono didn't commission Mozart, I did.
19:54When there are enough librettists in this damn town to go around, probably we'll share.
19:57Of course, of course, of course, of course we can.
20:01There is, however, another matter, a more sensitive matter I thought you should be aware of.
20:06But there are rumours that Mozart may have been indelicate with the princess.
20:12Indelicate?
20:14Well, I've been whipped.
20:15No, no, Justice Banner, sir, nothing that would have crossed that line, I assure you, could even so.
20:23Um, yes, no, we can't have any suggestion of impropriety, especially even her temperament.
20:29We can have him quietly removed from the position, no need for a scandal, and I can find somebody more appropriate to tutor her.
20:37A fisher, perhaps?
20:38No, you do it.
20:39Me tutor her?
20:40Are you sure?
20:41Yes, it's cleaner that way.
20:43Besides, I have enough of my plate as it is right now.
20:45Of course, and then the opera.
20:48You're the capital master now, Salieri.
20:50If one of your composers is writing a secret opera, it is up to you to find out what it is before whining to me about it.
20:56I've washed this shit off me.
21:04Amadeus!
21:05Amadeus!
21:15Jesus Christ, are you working?
21:32You're not in the carriage, Wolfgang.
21:34This is a sacred space.
21:37What's there to it, anyway?
21:38Wait, excuse me.
21:38It's a farce.
21:40Everyone dresses up as everyone else.
21:42So-and-so hides under so-and-so's frock.
21:45They all fuck each other.
21:46The end.
21:47It's not that kind of farce, though, is it?
21:48There's more to it than that.
21:49Figaro, Susanna, they lose each other, then they find each other again.
21:52It's complicated.
21:54You need to capture the spirit of it.
21:55Oh.
21:56The marriage of Figaro.
21:59Yes.
22:00How's the marriage of Mozart?
22:02Okay, look.
22:03Pour me another drink.
22:08Oh, my God.
22:10What an okay.
22:11Very, very good night, good night.
22:18That's in bed.
22:20Who's like that?
22:23Go on.
22:24Ah!
22:27Come on.
22:28Oh, sorry.
22:29Come on.
22:32Wolfgang, you dragged me away from Vienna to write an illegal opera with you.
22:36I was under the impression that we'd at least be very drunk.
22:40Very drunk.
22:40I'm trying to work out the feeling of this section.
22:42What is the feeling of it?
22:43The count is confused.
22:45He thinks that Susanna doesn't love him.
22:47Okay.
22:48We can have her lie to him.
22:49You don't give him a false hope, a false promise.
22:52Deception.
22:53Deception.
22:54Betrayal.
22:57Forgiveness.
22:58Oh.
22:58Forgiveness is good.
23:00Yeah.
23:01Forgiveness is good.
23:01Okay.
23:02Yes.
23:02Feeling of forgiveness.
23:04Wolfgang, I'm going to invite some girls over now.
23:07Mm-hmm.
23:07You could just put a pin in the opera chat for five minutes.
23:11Mm-hmm.
23:12Susanna and the countess have started working together.
23:14That's why Susanna goes to the count.
23:16But she needs to convince him that she does love him.
23:19That's all part of his amusing plot.
23:20And it's like, oh, finally, crudel.
23:22Perché finora crudel?
23:24Why did you make me wait so long?
23:26You know, I was a priest in Venice.
23:28And how does it end?
23:30The opera.
23:31Well, they end up happily together.
23:33So not like real life, then?
23:34Oh, no.
23:35Don't say that.
23:36He's so sweet.
23:38He's writing this for his wife.
23:40Anyway, thank you for the company.
23:41This has been fun.
23:42Where are you going?
23:43Going to work.
23:45Fucking hell.
23:46You can't leave.
23:46I mean, you just told us all about your opera.
23:48You have to play the song.
23:49Well, the instruments are all in my room.
23:51Well, you can play it to me in your room, then.
23:59Amadeus!
24:01Amadeus!
24:02Put your bow down and fuck someone!
24:06That's the duet from the third act.
24:19I didn't actually think you were going to play me your opera.
24:21Yes.
24:28Yes.
24:31It was very nice, though.
24:35And you're writing it for your wife?
24:38Yes.
24:40You could just talk to her.
24:43This is how I talk.
24:52Well, they better be good, then.
24:55Yes.
24:56Let's go.
25:08I mean, I'm not...
25:10Because...
25:10I'm not...
25:12I mean...
25:14I'm not any.
25:15I'm not...
25:15I'm not...
25:16I'm not...
25:17I'm not...
25:18I don't know...
25:18I'm not...
25:19I'm not...
25:19I'm not...
25:20I'm not.
27:21Oh, he's not here.
27:24Oh, that's a shame.
27:27I'm here on behalf of the Royal Viennese School of Music, you see.
27:30We've been writing to him about performing for the school.
27:32You should come in.
27:33No, I shouldn't.
27:34You'll get washed away.
27:35Come in.
27:39So this performance?
27:41For the school.
27:43I mean, it would just need to be a half an hour, just some works on the fortepiano, maybe the viola, whatever he wanted.
27:51Two florins.
27:52Two florins.
27:54For an hour, yes.
27:56It doesn't do half-hour concerts.
27:58My husband is a royally commissioned opera composer and a stuile tutor to the Princess Elizabeth.
28:02If you require a quartet, we'll source musicians for 15% cut of each of their fees.
28:06Yes, of course.
28:07I just need to discuss that with the head of the school.
28:10And the fee would need to be paid up front, of course.
28:12Naturally.
28:14You speak very plainly.
28:16Is that a problem?
28:18No.
28:19No, not at all.
28:21I like it.
28:24But, well, it was a pleasure seeing you again.
28:32Sorry.
28:34You know, this is probably an imposition, but there's a concert tomorrow, actually.
28:39It's just a small thing, but it's quite fun, and you and your husband would be very welcome.
28:43Well, my husband's away, too.
28:45Yes, of course.
28:46You said.
28:48Well, I mean, you could come.
28:52I'll save your table.
28:52It's at Schumann's.
28:53Do you know it?
28:54Yes.
28:54Well, I could tell you all about the school and the performance.
28:57A couple of glasses of schnapps.
28:58I'm sure he could even raise that fee by a bit.
29:03Yes, well, maybe.
29:07Maybe.
29:08Maybe I'll come.
29:10Ah.
29:12It's perfect.
29:13Send a call out for musicians.
29:14Get them here within the week.
29:15Well, you think they'll all come?
29:17Just tell them that Mozart and de Ponte have written the greatest opera they'll ever have the chance to perform, and then they'll come.
29:23This will be, um, worth it, won't it, doing this?
29:27Yes, I think she'll like it.
29:29Um, I was more talking about whether its artistic merits might be enough to keep us out of jail for disobeying the emperor.
29:36Well, that's part of the fun.
29:38Well, that's part of the fun.
29:40That is part of the fun.
29:43Okay.
29:43Okay.
29:44Okay, all right.
29:46We'll take it.
29:47My darling Constanza, we have stopped in a small town for a few weeks in the hope of finding our opera.
30:02And all of the pieces are fitting into place in ways even better than I could have hoped.
30:08And I feel so strongly that when you listen to this opera, you'll see what's in my heart in the new days.
30:14In ways that I hope you will truly understand.
30:17I miss you.
30:18I love you.
30:19And I look forward to when we are together.
30:33Bye.
30:33Thank you, ladies and gentlemen.
30:53Now, for this next performance, I need a female voice.
30:58Who can sing here?
30:58Who do we know?
30:59Me!
30:59Madam, how about you?
31:07No.
31:08No.
31:25You too?
31:25Yes.
31:27Do you know this one?
31:58So you'll never be a prima donna, so what?
32:15Amisioka Soprano, in a family full of coloratures.
32:19That wouldn't bother you.
32:21It would bother me a little bit.
32:22And then marry a prodigy and see how that feels.
32:25Your husband is exceptional.
32:28That's one word for him.
32:31Also useless, chaotic, and no one knows what to do with him.
32:35They can't rely on him, but they can't let him go.
32:38He's just like a moth dancing around in a lamp.
32:43And he'd rather fly away or he'll burn.
32:46And be with him.
32:47What?
32:51A moth in a lamp.
32:53Mm-hmm.
32:53It's a metaphor.
32:54It's a good one.
32:55Shut up.
32:58How long is he away for?
33:00I don't know.
33:02I got a letter from him saying they'd find a rehearsal space in Trebidge at the end of the month.
33:07I think they plan to stay there until November, at least.
33:09Where the hell's Trebidge?
33:12No idea.
33:13Hmm.
33:16November is a long time to be alone.
33:17Hmm.
33:19Yes, it is.
33:19Trebidge.
33:30They've booked a rehearsal space there for the end of the month.
33:35Kabelmeister, I hope you don't mind me questioning you, but I...
33:39Well, I don't want to feel as if I'm engaging in subterfuge.
33:43Oh, Franz, I care deeply for Mozart.
33:47He has the artist's proclivity for self-destruction.
33:50It's my job as Kabelmeister and his friend to make sure he doesn't indulge those instincts.
33:58You can clear your conscience.
34:01By helping me, you are helping him.
34:04And his wife as well.
34:13Well, baby, I miss you.
34:32Do you still listen to me sing?
34:36I hope so.
34:43You must practice, princess.
35:05I didn't like to.
35:10I'm sure...
35:11You could think of a way to help me remember it all.
35:21Without the work?
35:30Or do you like it?
35:33My uncle got it for me.
35:41I've made a little map for you.
35:51There.
36:02I've made a little map for you.
36:06Don't play with me.
36:08I never play games I can't win.
36:10When's Wolfgang coming back?
36:15Oh, he's not.
36:17Hi there.
36:20Hi.
36:21Nice to see you.
36:21Thank you so much.
36:22Please, that's Lorenzo.
36:24Hello, my friend.
36:26Hi, sir.
36:26You're welcome.
36:28Singers over there with Lorenzo.
36:30Quiet, hello.
36:31Singers.
36:32Viola.
36:32You still on viola, sir?
36:33Okay, so everyone go to the pillow.
36:36Okay.
36:36All right.
36:40Thank you, everybody, for traveling all this way.
36:45You're probably wondering why the clandestine nature of this whole affair.
36:49Well, Lorenzo and I have a confession to make.
36:52We're not just asking you here to be co-collaborators on this opera.
36:56We're also asking you to be co-conspirators.
36:59What we're rehearsing today is a version of The Marriage of Figaro.
37:07Just give us a few hours of your time, and if at the end of the rehearsal you want to leave, you can leave.
37:14Well, here we go.
37:15Let's go.
38:35Franz?
38:36Constanza.
38:38I was just passing.
38:41Well, no, actually, I never pass by here.
38:44To master my apartment is extremely inconvenient,
38:47but I came because I wanted to come and tell you
38:52I'm leaving.
38:56For a bit.
38:59I see.
39:01I didn't want you to think that I just disappeared.
39:04No.
39:06No, no, that's very kind of you.
39:08I will be back in Vienna on the 10th of December.
39:13Your husband will...
39:15He'll be back.
39:16Yes.
39:17Yeah.
39:20I thought maybe I would visit the St. Michael's Church
39:23on the evening I return.
39:25But then...
39:28If someone wanted to find me...
39:31Alone...
39:34That's where I'd be.
39:37Why are you telling me that?
39:39Because I think I would go mad if I didn't.
39:44I look forward to a event.
39:45Oh, I look forward to them!
39:46I look forward to them.
39:47No, no, no.
39:48No way, no.
39:49No, no, no.
39:50No, no, no.
39:52I look forward to the rest of the back of this man.
39:53Good.
39:54No, no, no, no.
39:55You look forward to them all.
39:56Yeah, I look forward to them!
39:57I look forward to them all I'm asking.
41:28Antonio?
41:29Your Majesty, I do apologise for this cacophony, but...
41:32Yes, come in.
41:35There's no time for a music lesson today, I'm afraid, Antonia.
41:44The Ottomans have provoked Russia into war, and we are treaty-bound to defend them.
41:49With everything that we have, revolution brewing in the Netherlands, Prussians sabre-rattling
41:55at the north, there could hardly be a more inopportune time for a war.
41:58I have no experience of war.
42:00Possibly.
42:01Yeah.
42:02I should hope you never will.
42:05What was it that you wanted to speak to me about?
42:10Yes, um...
42:16I have heard word of a band opera being ready for performance.
42:21Band opera?
42:22Yes.
42:23The marriage of Figaro.
42:24Your Majesty, you banned it yourself.
42:26No memory of it?
42:27What's it about?
42:28Adultery, sin, betrayal, upper classes being depicted as fools, working poor, they're betters...
42:33Who wrote it?
42:34Mozart.
42:35And the librettist?
42:37Dupont.
42:38I thought he was doing yours?
42:40No.
42:41Right, so it'll be in Italian.
42:43The only people who will understand it are the aristocrats.
42:45They're hardly likely to start a revolution, are they?
42:47Look, Antonia, I don't recall banning this play, but I also don't recall its title being
42:52used as the primary motive in any peasant uprisings that may be occurring.
42:55Let them put it on, go with Van Sweeten to the opening night, if the audience are moved,
43:00to leave the theatre and march on the palace demanding my head, then you have my permission
43:03to shut it down.
43:20Stansa, I'm back.
43:24Are you awake?
43:30The Hayden we meet a beach.
43:50Stansa!
43:52I need to leave.
43:53I'll meet you there.
43:55Panand?
43:56I'll meet you there!
43:58All right.
44:28Wolfgang, Wolfgang, I'll get you backstage.
44:58You all right?
45:00Are you all right?
45:01Yes.
45:02Constanze isn't here yet, sir.
45:04I need...
45:05Listen to me.
45:07I quit the Capital Meisters' Opera to do this because I believe in it.
45:11And I believe in you, but it does need to go well.
45:14You understand?
45:15Yes.
45:15Now, what do we say?
45:17We say, fuck them all, yes?
45:19Fuck them all, yes.
45:21Fuck them all.
45:21Good boy.
45:23No, what are you doing?
45:24Turn around.
45:26Hey, hey, sorry.
45:27Sit down.
45:27Sit down.
45:29Sit down.
45:29Sit down.
45:29Sit down.
50:00What are you doing?
51:00The emperor rides to war and you incite a mob.
51:04You couldn't hear it, could you?
51:10You couldn't hear it, could you?
51:12You never could.
51:42Shame, you know?
51:44Shame, you know.
51:46You're starting to enjoy it.
Be the first to comment