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Amadeus - Season 1 Episode 5
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00:00Mozart, your father has died.
00:08I thought it might help to have the news delivered my friendly face.
00:13Is that where you are?
00:15There, in that demonic figure on the stage was his old father.
00:19And in that poor, wretched philander of Mozart himself.
00:23And I knew where in time I would place the final blade.
00:27How long do I have?
00:28I wouldn't linger.
00:30The mood is changing.
00:32You're a man out of time.
00:34I'm enjoying it.
00:36I found it rather, um, tuneful.
00:40And I'd say the whole thing's rather thin so far.
00:42You're getting distracted.
00:43You have to focus on the music.
00:45You made me realize everything I know about you.
00:47I've had to learn through your characters.
00:49And I wondered if you could ever open up to me.
00:52You can't stay with me.
00:54It is a good idea.
00:55There is always a reckoning.
00:58You told me to do this.
01:00This can't happen again.
01:01This was your idea, Mozart.
01:03He was weak, broken, and alone.
01:06So, into the darkness we go.
01:10From her, sir.
01:38Yes?
01:43Oh, thank goodness.
01:44My name is Alexander Pushkin.
01:47I've been searching for you.
01:49I, um, I've asked around everywhere.
01:52Cafes, bars, concert halls.
01:53And then finally I tried the post office.
01:55I don't know why I didn't start there.
01:56But, uh, here we are.
01:57What is it that you want, Mr. Pushkin?
02:02What is it that I want?
02:03Yes.
02:04Uh-huh.
02:05Well.
02:05Uh, I'm a writer.
02:11You might have heard of me.
02:15Or you might not.
02:15Anyway, I'm writing a play.
02:18Or rather, I'm hoping to write a play.
02:20Are you going around to everyone's houses to tell them individually?
02:22No.
02:25No.
02:26I came to find you because I'm hoping to write about your husband.
02:30No.
02:30Which one?
02:32I think you know which one.
02:35And what are you hoping to write about him?
02:37Well, I...
02:38I want to write about his death.
02:41He died of a fever.
02:42People think his music should have been some kind of shield.
02:47But he was flesh and blood, just like the rest of us.
02:51He got ill.
02:53Hmm.
02:56I heard something different.
02:58And what did you hear?
03:00I heard it was murder.
03:03You heard that?
03:04Yes.
03:05From who?
03:07The old Hofkappermeister, Salieri.
03:09He ended up in an asylum.
03:13He lost his mind.
03:14Did you know that?
03:16I did.
03:17Presumably you heard he died last year.
03:19Yes.
03:20And they say he was ranting and raving.
03:24Screaming like a baby towards the end.
03:27And they say in the weeks before he died,
03:29it was mostly incomprehensible, mostly nonsense.
03:31Hmm.
03:32Except for one thing.
03:35One thing he kept saying.
03:36He told them
03:40that it was he
03:42who killed your husband.
03:46Apparently they say he confessed.
03:50And apparently he confessed
03:52to you.
03:54What do you think of that?
04:01Because I can tell you what I think.
04:02I think that would make
04:05a pretty good story.
04:06I think that would make a pretty good story.
04:07I think that would make a pretty good story.
04:08I think that would make a pretty good story.
04:09I think that would make a pretty good story.
04:10I think that would make a pretty good story.
04:11I think that would make a pretty good story.
04:12I think that would make a pretty good story.
04:13I think that would make a pretty good story.
04:14I think that would make a pretty good story.
04:15I think that would make a pretty good story.
04:16I think that would make a pretty good story.
04:17I think that would make a pretty good story.
04:18I think that would make a pretty good story.
04:19I think that would make a pretty good story.
04:20I think that would make a pretty good story.
04:21I think that would make a pretty good story.
04:22I think that would make a pretty good story.
04:23I think that would make a pretty good story.
04:54I state merely as a fact that I, on the 5th of December in the year 1791, killed Wolfgang Amadeus Mozart.
05:17What am I to glean from all of this, Antonio?
05:21You still don't believe it.
05:22Oh, it's lacking something.
05:24What?
05:26Specificity.
05:26Oh.
05:28How did you do it?
05:30Poison?
05:31Strangulation?
05:32You desire details.
05:34Well, you have given me details of every other damn aspect of your life so far.
05:38I apologize.
05:39I thought I'd been providing context.
05:41Well then, let's get to it.
05:43Your confession.
05:44You want me to let the world know that you killed my husband?
05:50I need to know how.
05:52I don't need to be convinced.
05:54I don't need to know how much I Kabbalah used.
06:16Where is it that you go?
06:36I used to be more certain of your indiscretions.
06:40As it is carnal desires that he feeds tonight.
06:43You are inflicting wounds on me, but they were survivable.
06:48But this spectre walking through my house, what am I to make of this?
06:54I have known, Antonio.
06:58I have known everything.
07:01And every time I have looked at you, I have seen a fallible, ruined man, and that has brought me sadness.
07:08Now I see no man at all.
07:11The sins of the flesh are at least human.
07:15But what sins are you looking for when you creep out of here?
07:20I'll lock our bedroom door tonight and hope you don't think to look for me when you return.
07:27A fever was cutting through Vienna, killing those who didn't have the strength to fight it.
07:37And so night by night, I returned and weakened him further.
07:43His spirit, his body, and his mind.
07:50It's okay.
07:51It's okay.
07:52It's okay.
07:53It's okay.
07:54It's a España.
07:55I'm excited to ask you to have the ability to get there.
07:56And so...
07:57It's okay, it's okay.
07:58And so...
07:59I said I'll close.
08:00This is something else.
08:01It is so...
08:02It's okay.
08:03CHOIR SINGS
08:33I'd been playing this little game, inspired by Don Giovanni.
08:57I stood outside his window every night for a week.
09:03For a masked man come to drag him to hell.
09:12It's remarkable, really.
09:16How fragile the mind is.
09:20How quickly it unraveled is.
09:22Yes, that was him.
09:28Unraveled.
09:31Unsure.
09:34And alone.
09:35What's up?
09:44May I come in?
09:48Please.
09:48Sorry to call on you so late.
09:56I...
09:57Well, I've been worried.
10:01You have a new commission?
10:03Did you speak with the Masons about the magic flute?
10:07Ah, I did.
10:09I'm afraid they've taken it rather badly.
10:12Symbols were intended as a tribute.
10:15I know.
10:15I explained that to them.
10:18I must admit, I was surprised by the force of their feelings on the matter.
10:22Don't worry.
10:23They'll calm down in time.
10:25I'm not sure I have that.
10:28You don't look well, Maestro.
10:29I haven't been sleeping.
10:35I try, but I can't.
10:36Why not?
10:40Do you believe in hell, Antonio?
10:44Yes, I do.
10:46Do you?
10:52I remember...
10:54when I was staying in London as a child.
10:57My father
11:00became ill,
11:03bedridden for a few weeks.
11:06There was one night where
11:07his fever
11:08was particularly bad.
11:11I could hear something in the street outside,
11:14sort of singing.
11:20So perhaps it was the angels
11:22come to take him away.
11:25Or if not the angels,
11:26then something worse.
11:27Just the first time I can remember having this for you.
11:34Like I was being shown.
11:40Death?
11:41You can feel the end is close, Antonio.
11:48I'm writing a requier.
11:53You just need to eat, Maestro.
11:55Dourish yourself for something other than wine.
11:59I'll get you something.
12:00I'll be back soon.
12:02I'll be back soon.
12:06Your vessel is weak.
12:10Silence is coming.
12:12I'll see if you can speak without a tongue.
12:17I can stop it, I can, I can stop it, let me give up your stuff, just give me a sign, I'll end it all, alright.
12:47Is this what you want, please give him, please, speak for me once more, let me stop, let me stop, let me stop.
13:17Define, define, define, define, selfless, and my family.
13:30Hello?
13:47It's all right.
14:06Please.
14:17It's all right.
14:47And what do you want from me?
15:01I want to know the truth.
15:05If there really was a confession.
15:07If I'm to write it, condemn a man, even a dead man,
15:11I want to know he was guilty of the crime I'm attributing to him.
15:16I don't want to be sued.
15:27Did the capital minister talk to you about the death of your husband?
15:30Yeah.
15:34And when was the last time you saw him?
15:37Salieri.
15:39It was after my husband's passing.
15:42He conducted a memorial concert for him.
15:46What are these?
15:51Oh.
15:52Old letters.
15:53From Amadeus.
15:54Could I...
15:55No.
15:56It's a very nice apartment.
16:01And you live alone?
16:06No.
16:07No.
16:08No.
16:09I live with my sisters, Sophie and Aloysia.
16:11It's a comfortable life.
16:13Look's it.
16:17But your husband never made much when he was alive.
16:22For a while he almost made as much as he spent.
16:25But then it dried up.
16:27Don Giovanni.
16:28The marriage of Figaro.
16:29The magic flute.
16:30How does the man who writes all of that end up penniless?
16:33Sabotage?
16:34What other reason could there be?
16:36Wolfgang!
16:37Where are you?
16:38You feeling better?
16:39You got the basket I sent?
16:40The basket?
16:41Basket?
16:42Bread and eggs and milk.
16:43I left it outside the door.
16:44You didn't get it?
16:45I felt a bit distracted.
16:47Hello, Frau Cavalieri.
16:48Yes, Katerina.
16:49You remember Katerina?
16:50I wanted to bring her to see the great Maestro again.
16:51In fact, we're off to see you.
16:52What?
16:53What?
16:54What?
16:55What?
16:56What?
16:57What?
16:58What?
16:59What?
17:00What?
17:01What?
17:02What?
17:03What?
17:04What?
17:05What?
17:06What?
17:07What?
17:08What?
17:09What?
17:10What?
17:11What?
17:12What?
17:13What?
17:14What?
17:15What?
17:16What?
17:17What?
17:18What?
17:19Hello, very fast.
17:20SECOND MY Hasn't seen a flute in fact, we're off to see your opera.
17:23My opera?
17:24A magic flute.
17:25Katerina hasn't seen it yet, have you?
17:26Tara MacIast.
17:27No.
17:28I've heard...
17:29Wonderful things.
17:30Oh, it's really wonderful.
17:31I thought the masons were closing it down.
17:32No, no.
17:33No.
17:34On the contrary.
17:35Once they saw how lucrative it was, they found a place in their hearts to let it play on.
17:37Why didn't nobody tell me?
17:38You should come with us.
17:40No, I can't.
17:41Oh, come on.
17:43Three old friends and colleagues sharing the joy
17:45of your music together.
17:46When might we get another chance?
18:08Oh, come on.
19:08The cellos were late.
19:38The cellos were late.
20:08The cellos were late.
20:38The cellos were late.
21:08The cellos were late.
21:38The cellos were late.
22:08The cellos were late.
22:15The cellos were late.
22:17The cellos were late.
22:22The cellos were late.
22:29The cellos were late.
22:30The cellos were late.
22:31The cellos were late.
22:32The cellos were late.
22:33The cellos were late.
22:34The cellos were late.
22:35The cellos were late.
22:36The cellos were late.
22:38The cellos were late.
22:42The cellos were late.
22:43The cellos were late.
22:45The cellos were late.
22:49The cellos were late.
22:50The cellos were late.
22:52The cellos were late.
22:56The cellos were late.
22:57The cellos were late.
22:58The cellos were late.
22:59The cellos were late.
23:00The cellos were late.
23:01The cellos were late.
23:02The cellos were late.
23:03There you are.
23:09You took me there so people could see what I've become.
23:12I took you there because I thought it might raise your spirits
23:16to see your great success.
23:22May I?
23:34Dear God.
23:39I've always wondered,
23:43with Figaro,
23:46to Giovanni,
23:49to Masons.
23:54It's always felt as though some invisible hand
23:58was steering me to the rocks.
24:04Did I offend you so much?
24:09Did the music offend you so much?
24:15Yes, you offended me.
24:18You're obscene.
24:20Your nature, it's obscene.
24:25But your music...
24:28No.
24:29No.
24:32And for it to come from such a creature,
24:35how could I not take it as an insult?
24:38How could I not see the provocation in that?
24:42All this time, it just comes to you.
24:46It just comes to you.
24:47It just flows out of you like a stream running down a mountain,
24:51and you give nothing in return.
24:52You make no sacrifice.
24:54No sacrifice?
24:56Look at me, Antonio.
25:02Do you remember when we sat on that stage,
25:05and you asked me if I think music comes from God?
25:12Yes, and you said when you write,
25:14it's not to capture the voices of angels,
25:15they're just instructions.
25:17For an oboe player or something, yes.
25:21But you were right.
25:23I knew it.
25:27Look at this thing.
25:31It's bigger than us.
25:33It's unimaginable.
25:38I knew it then, but I was scared.
25:39I was scared. Why?
25:40Why were you scared?
25:41Because I don't understand.
25:43You must understand it.
25:44You must know how you do it.
25:45I need to know.
25:46I wish I could tell you.
25:49If only to unburden myself.
25:51Unburden yourself?
25:52Yes.
25:53For music.
25:55For some peace.
25:58It never stops.
25:59Oh, my God.
26:00You hear yourself?
26:01You are unbearable.
26:02I'm surprised you can't hear it in this room.
26:05I'm surprised the walls don't shake with it.
26:08I want to hear it!
26:10For a moment, a minute, a second.
26:12I would do anything to have your gift.
26:14You wouldn't want this.
26:15You don't know how it feels.
26:17You wouldn't know what to do with it.
26:19I wouldn't know what to do with it.
26:20You stalked me like I'm praying,
26:22but what would you do with this thing
26:23that you covered so much?
26:26You wouldn't kill it.
26:28Like it's killing me.
26:30What would you do with the silence I've suffered through?
26:34It will drive you mad!
26:39I couldn't stop thinking about you.
26:42I couldn't stop thinking about you.
26:43writing your requiem.
26:47And so I kneeled down,
26:49and I prayed to a God I hadn't spoken to in years
26:52to speak through me one last time.
26:54And if he did in return, I would offer him my own
26:57requiem for my own death.
26:59First I offered him my love,
27:01then I offered him my hate,
27:03and then finally I offered him my whole life.
27:05And you know what I heard?
27:10I heard nothing.
27:14I've heard nothing.
27:18Oh God.
27:22Oh God.
27:23Oh God.
27:27Come here.
27:31Come here, Antonio.
27:33Come.
27:34Come here, Antonio.
27:35Come here.
27:36Come here.
27:38Come here.
27:40Come here.
27:44Come here.
27:47Oh man.
27:49Close your eyes.
27:50Oh man, close your eyes, enjoy this, see mine, requiem eternum dominae, start low, grant
28:18the maternal wrath, dear lord.
28:48You're requiem, maestro.
29:15Offer that to God and see what he says.
29:22You need to talk to him, what's that?
29:26It's too late.
29:31What did I do?
29:36Why did he not let me stop?
29:40He doesn't listen to us, Antonio.
29:43He doesn't listen to us.
29:50He doesn't listen to us.
29:54He doesn't listen to us.
29:58He doesn't listen to us.
30:05For a moment, I was the only man on earth who knew.
30:13Who knew that we had lost the finest composer to have ever lived.
30:28His tongue cut from his mouth.
30:31And only jealous Salieri there to mourn him.
30:35He doesn't listen to us.
30:36He doesn't listen to us.
30:40What does he do?
30:42He doesn't see the most.
30:44He doesn't listen to us.
30:45I'm sorry.
30:47My confession claims murder, and it's true enough.
31:16I'm responsible for his death. Without me, he would have lived longer. But I loved him. We wrote together. He wanted the details. He wanted the specifics. Well, there they are. The rest you know.
31:46Move, gang. Move, gang. Move, gang.
32:07CHOIR SINGS
32:37CHOIR SINGS
33:07CHOIR SINGS
33:12CHOIR SINGS
33:17CHOIR SINGS
33:22CHOIR SINGS
33:27CHOIR SINGS
33:32CHOIR SINGS
33:37CHOIR SINGS
33:42CHOIR SINGS
33:44CHOIR SINGS
33:49CHOIR SINGS
33:54CHOIR SINGS
33:56CHOIR SINGS
34:01CHOIR SINGS
34:05CHOIR SINGS
34:15Well, there we are.
34:36What a story.
34:42I wonder what he's doing.
34:44I'm going to go home, go to bed.
34:46No, you can't.
34:47It's late.
34:48And I'm old.
34:49Tired?
34:50But what about my confession?
34:51What do you want me to do with this, Antonio?
34:54Run through the streets proclaiming your lies.
34:57You didn't kill him.
34:58You didn't compose with him.
35:00And you certainly didn't love him.
35:02I will leave you in peace now.
35:03Leave me in peace?
35:05Everybody's left me in peace!
35:07Do you know what it's been like to watch myself disappear,
35:11and to see my name and reputation fade as your husband's has grown?
35:15But there it is.
35:16This entire story has been a pathetic attempt to tie your name to my husband's legacy.
35:20I'm asking to be remembered.
35:24Just remembered.
35:26I have sat in your husband's shadow, and it is cold.
35:30And it is dark.
35:33I have lived long enough to see myself become extinct.
35:37Forgotten.
35:39Salieri.
35:40His life.
35:41His music.
35:42Poor girl.
35:47They won't remember your music.
35:50If this confession gets out, you live on immortal.
35:54Trapped in a story you do not control.
35:56Told by people who do not care about the truth.
36:00Is that really what you're asking me to do?
36:03I'm begging you.
36:09To be forgotten is a gift.
36:12To be forgotten is a gift.
36:39I looked up Wolfgang's burial records.
36:54His funeral.
36:55It was a modest affair.
36:57Minimal mourners.
36:59You didn't go.
37:00It was December, Herr Pushkin.
37:02It was a storm.
37:04I said goodbye to Wolfgang later.
37:06My own way.
37:07Some people did go to the burial.
37:09Did you know that?
37:10Yes.
37:11Franz went.
37:12Yes.
37:13Herr Sussmaier went.
37:14And did he ever tell you who else was present?
37:16No.
37:17A record shows six mourners present at your husband's funeral.
37:22Sussmaier von Strach, three junior members of the Viennese Opera,
37:26and one Antonio Salieri.
37:32You didn't know?
37:33What drove him there, do you think?
37:36Love?
37:37Hate?
37:38Guilt?
37:39God, I don't know.
37:40And what about Salieri's funeral?
37:42I wasn't invited.
37:43No.
37:44Well, sparsely attended, I believe.
37:45Not many friends in the end.
37:46But a much more lavish affair.
37:47The old Hofkappelmeister still demands a grand send-off.
37:50He'd even prepared his own composition, his own requiem, to be played.
37:54Taken from the conductor at Salieri's funeral.
37:59Played only once, at his request.
38:03Have a look.
38:05Why are you showing me this?
38:06Just keep looking.
38:07Why are you showing me this?
38:08Just keep looking.
38:09Just keep looking.
38:10taken from the conductor at Salieri's funeral played only once at his request
38:21have a look
38:29why are you showing me this just keep looking
38:40do you see it both their hands
38:59you knew these two men better than anyone from outside what is the truth
39:10you know
39:17I
39:19I
39:21I
39:23I
39:27I
39:29I
39:31I
39:33I
39:35I
39:37I
39:39I
39:44I
39:48can tell your story Mr. Pushkin
39:50how Salieri killed Mozart but the truth of it is real truth
39:52How silly are he killed Mozart, but the truth of it, the real truth, that will die with me.
40:02I hope your audience enjoys it.
40:22Dawn has come, and I must release you and myself.
40:39One moment's violence, and it is done.
40:44You see, I cannot accept this. I did not live on this earth to be his joke for eternity.
40:49I will be remembered, if not in fame, then in infamy.
40:56One more moment, and my battle with him is won.
41:03I shall be immortal after all.
41:07For the rest of time, whenever men say Mozart with love,
41:12they will say Salieri with love.
41:19Now I go to become a ghost myself.
41:25But I will stand in the shadows when you come here to this earth in your terms.
41:30And when you feel the dreadful bite of your failures,
41:34and you hear the taunting of an uncaring God,
41:40I will whisper my name to you.
41:44Salieri, the patron saint of mediocrities.
41:50And in the depth of your downcastness,
41:53you can pray to me.
41:56I will forgive you.
42:01I will forgive you.
42:02I will forgive you.
42:04I will forgive you.
42:17You will forgive you.
42:22CHOIR SINGS
42:52CHOIR SINGS
43:22CHOIR SINGS
43:24CHOIR SINGS
43:26CHOIR SINGS
43:28CHOIR SINGS
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