- 24 minutes ago
Amadeus - Season 1 Episode 3
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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
03:13i
03:15i
03:19i
03:21i
03:23i
03:25i
03:27i
03:29i
03:31i
03:33i
03:35i
03:37i
03:39Oh, my God.
04:09Oh, my God.
04:39Yes.
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.
04:56What's it about?
04:57No idea.
04:57I was going to ask you, would you like to be a part of it?
05:01Fancy putting some words to the music?
05:02Well, 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 much at church on Sundays anymore.
05:20Let's just say that.
05:23That's not going to happen, Joseph.
05:25The Emperor slaps the faces of the aristocracy,
05:29asks us to turn the other cheek and thank him.
05:32Hello.
05:33Hello.
05:34Hi.
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,
05:39you might have murdered one of those men.
05:41Oh, I might still.
05:44I'm Franz Sussman.
05:46Are you a friend of my husband's?
05:47No, just with Myra.
05:49Oh.
05:50Oh, well, you're fitting well here, then.
05:52Very well.
05:52I saw you sing last year, the Mass.
05:58Yes, I...
05:59I still think about it.
06:03Anyway, I'm glad I met you.
06:06Have a nice evening.
06:10I'm a court composer.
06:11What happened to your eye?
06:25Oh.
06:26Slip getting out of the bar.
06:28They're death traps.
06:29Well, my wife insists on having two a month.
06:31I tell her she's taking her life into her hands.
06:33How's the new work?
06:35Oh, good.
06:36Les Rats.
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.
06:47Well, Lorenzo 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?
07:05You'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.
07:37Joseph wants his opera houses to be a shining light for all of Europe to...
07:41Just okay.
07:45You're a king.
07:45Come on.
07:52I love you.
07:53Help.
07:54Help.
07:55Help.
07:55Help.
07:56Help.
07:57Help.
07:58Help.
07:59I love you.
07:59We're going to need a new couple, Meister.
08:29Our new Kappelmeister, congratulations.
08:46So, how does it feel?
08:49No different.
08:50You 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?
08:58Well, that Kappelmeister 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, Katerina, you, I intend to keep in my palm.
09:28I am going to have to let a lot of people go.
09:40I am going to have to let a lot of people go.
09:52Can 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.
10:08I love it.
10:10Anton, that sounds a bit flat to me.
10:14We've made Salieri Kappelmeister, did you hear?
10:17Well, I wish I mentioned it 89 times, yes.
10:19He's actually summoned me to go and meet with him.
10:23What's he 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.
10:33There 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.
10:46Hadn'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, professionally?
11:00Well, I was a good enough soprano when I was younger.
11:04There are roles out there in my range.
11:07I mean, yes.
11:10Yes, no, it's just singing in mass is one thing,
11:12but opera's kind of weeks on end, sometimes months.
11:19See you later.
11:20Mozart, come 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.
12:14Yes, absolutely, no, 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.
12:47I was imagining, if anything, something a little bit more sort of real life.
12:51You know, just sort of relatable.
12:52What's, uh, audiences don't come to the opera to see relatable characters?
13:00They come to be inspired.
13:03Yes, I think I can do both.
13:07Of course you can.
13:10I have, uh, given you the librettus Argenti.
13:17Argenti?
13:18Mm-hmm.
13:19Are you joking?
13:20Am I writing a birthday card?
13:23Or a sing-spiel for three-year-olds?
13:25Argenti is more than confident librettus.
13:27Argenti can barely spell librettus.
13:29He's a moron.
13:30Be that as it may, everyone else is...
13:33is busy.
13:35Oh, 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'd better tell Argenti to start sharpening his quill.
13:46Hopefully he won't accidentally stab himself up the arsehole with it.
13:48Good.
13:49Well, uh, let me do the thing.
13:52As soon as possible.
13:54Of course.
13:54And my best to Constanza.
13:57Thank you so much.
13:57I 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?
14:26My uncle, obviously.
14:32What's it about?
14:34Marriage.
14:35Lust.
14:38A desire.
14:40That lies and truth.
14:42Why is the emperor banned this book?
14:46He thinks it's dangerous.
14:48It sounds so silly, doesn't it?
14:51Being afraid of something like a book or a song.
14:54Well...
14:56Words can be dangerous.
14:57Perhaps I quite like danger.
14:58Perhaps I quite like danger.
15:06If 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...
15:31What are you going to do without me?
15:36Beg on the street?
15:42I'll make you back.
15:43I don't think you're going to do without you.
16:00this is a banned play it's banned because there's truth in it it's banned because it depicts the
16:12servants as smarter than the masters which they are as a particularly smart servant myself you
16:17should find a different story okay let me play you something something of what of this i've
16:24already started writing it i can't stop thinking about it well try harder come on no one aria
16:30one aria that's the deal come on to what end because you are going to be my librettist
16:34thank you but i told you i'm spoken for and my other half gets very jealous you really want to
16:40spend the rest of your life writing milk toast operas for kapelmeister salieri yes don't you
16:45ever just want an easy life no not at the expense of the music come on one aria all right what do
16:53mean you're quitting i've promised my services to another composer who mozart but you're working
17:02for me yes no um it's just no um it's just what he played me some of it
17:12well i suppose you could work on both at once well that won't be possible why not
17:26you're leaving vienna just until we finish writing it yes we mean to ponte why can't you write it here
17:32because if anybody finds out about what we're doing they'll shut us down what are you talking about
17:36what is this opera it's a secret stanza i don't understand look this is how we have to do it
17:42it can't be ruined it's very you know it's very delicate okay i can't explain it to you no no you
17:47can't and and the princess elizabeth her lessons i don't know it's probably good that we have some
17:53time apart frankly time apart what do you mean time apart what what happened oh no nothing's
18:00happened those lessons are important i worked we worked really hard to get you that job i can't
18:04be thinking about fucking music lessons okay i have to do this i have to do it yes you have to
18:10leave yes well yes will you be back next month i don't know probably not why it'll be raymond's anniversary
18:25but i will lay flowers on your behalf shall i
18:31good afternoon sir
18:43okay
18:46okay
18:50okay
18:52okay
19:00so
19:05Your 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, and what's more, he's refusing to reveal what
19:39his opera is even about.
19:41Your Majesty, what happened?
19:44One of the dogs bit me.
19:46Tried to stop it mauling the stare.
19:49Stupid.
19:50Bono didn't commission myself, I did.
19:53Aren't there enough librettists in this damn town to go around?
19:56Probably we'll share.
19:58Of course, of course, of course we can.
20:01There is, however, another matter, a more sensitive matter I thought you should be aware of.
20:06There are rumours that Mozart may have been indelicate with the princess.
20:13Indelicate?
20:14Well, I've been whipped.
20:16No.
20:17Justice Banner, sir.
20:18Nothing that would have crossed that line, I assure you.
20:21Could even so.
20:23Yes, no, we can't have any suggestion of impropriety.
20:26Especially, even her temperament.
20:29We can have him quietly removed from the position, no need for a scandal, and I can find somebody
20:34more appropriate to tutor her.
20:36Fisher perhaps?
20:37No, you do it.
20:38The tutor?
20:39Are you sure?
20:40Yes, it's cleaner that way.
20:42Besides, I have enough of my plate as it is right now.
20:45Of course, and the opera.
20:47You're the capital master now, Salieri.
20:49If one of your composers is writing a secret opera, it is up to you to find out what it is
20:53before whining to me about it.
20:55I've washed this shit off me.
20:57I'll box it down.
20:58I'll box it down.
20:59Oshoi, what's the sweeter note plan, Milan?
21:00What's going on there?
21:01Speak to me.
21:02Well, if they're on the line!
21:03I'm going to move this guy for you to be able to remember to Dublin.
21:04I'm going to dance more!
21:05I'm going to dance!
21:06I'm a dancing!
21:07I'm gonna dance!
21:08I'm a dancing!
21:16��!
21:21tail!
21:22specifically, don't move this man
21:26Jesus 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.
21:43So-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.
21:54I need to capture the spirit of it.
21:55Um, the marriage of Ciccarilla.
21:59Yes.
22:00How's the marriage of Mozart?
22:02Okay, look.
22:03Pour me another drink.
22:22Oh!
22:23Oh!
22:24Oh, 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 know, give him a false hope, a false promise.
22:51Deception.
22:54Deception.
22:54Betrayal.
22:57Forgiveness.
23:00Forgiveness is good.
23:00Yeah, forgiveness is good.
23:01Okay, yes.
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 cruga?
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.
23:37He'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.
23:44Fucking hell.
23:45You 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!
24:14That's the duet from the third act.
24:19I didn't actually think you were going to play me your opera.
24:24Yes.
24:28Yes.
24:31It was very nice, though.
24:32And you're writing it for your wife?
24:38Yes.
24:41You could just talk to her.
24:48This is how I talk.
24:52Well, they better be good, then.
24:55Yes.
24:56Yes.
25:02Yes.
25:08Yes.
25:17Yes.
25:18Yes.
25:19Yes.
25:20Yes.
25:21Yes.
25:22Yes.
27:08Hello, Fram Ozark.
27:10Sorry to stuttle you.
27:12Francis Meyer, we met a while ago.
27:14Yes, yes.
27:15You rescued me from a very boring conversation at a party.
27:18You remember?
27:19Yes.
27:19What can I do for you?
27:20Well, I wondered if I could talk to your husband.
27:22Oh, he's not here.
27:24Oh.
27:25That'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.
27:38Come in.
27:39So there's performance.
27:41For the school.
27:43I mean, it would just need to be a half an hour.
27:45Just 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 erstwhile tutor to the Princess Elizabeth.
28:02If you require a quartet, we'll source musicians for a 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.
28:17Is that a problem?
28:18No.
28:19No, not at all.
28:21I like it.
28:24But, well, it was a pleasure seeing you again.
28:32I'm sorry.
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, so.
28:45Yes, of course.
28:46You said.
28:48Well, I mean, you could come.
28:52I'll save you a 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 you could even raise that fee by a bit.
29:00Yes, 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.
29:16You think they'll all come?
29:17Just tell them that Mozart and DuPonté have written the greatest opera they'll ever have
29:21the chance to perform, and then they'll come.
29:23This will be 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
29:35for disobeying the emperor.
29:36Hmm.
29:37Well, that's part of the fun.
29:39It's part of the fun.
29:41That is part of the fun.
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
30:01our opera.
30:02And all of the pieces are fitting into place in ways even better than I could have hoped.
30:06And I feel so strongly that when you listen to this opera, you'll see what's in my heart
30:12in a new place.
30:14In ways that I hope you will truly understand.
30:17I miss you.
30:19And I love you.
30:20And I look forward to when we are together.
30:22And I look forward to when we are together.
30:52Now, for this next performance, I need a female voice.
30:58Who can sing here?
30:58Who do we know?
30:59Me!
30:59Ah, ah.
31:03Madam, how about you?
31:07No.
31:07You can.
31:24Yes.
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.
32:27Hmm. That's one word for him.
32:30Also 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 round 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. It'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.
33:28Trebidge.
33:29They'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...
33:40Well, I don't want to feel as if I'm engaging in subterfuge.
33:44Oh, 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
33:53to make sure he doesn't indulge those instincts.
33:57You can clear your conscience.
34:00By helping me, you are helping him.
34:04And his wife as well.
34:21Well, baby.
34:27I miss you.
34:33Do you still listen to me sing?
34:36I hope so.
34:57You must practice, princess.
35:06I don't like to.
35:10I'm sure you could think of a way to help me remember it all.
35:21Without the work.
35:22Well, do you like it?
35:33My uncle got it for me.
35:34I'm sorry.
36:00I've made a little map for you.
36:02I've made a little map for you
36:06Don't play with me and never play games. I can't win
36:12When's Wolfgang coming back? Oh, he's not
36:32Viola, you still on viola, sir?
36:34Everyone go to the pillow
36:39All right, thank you everybody for traveling all this way
36:44You're probably wondering why the clandestine nature of this whole affair. Well
36:50Lorenzo and I have a confession to make. We'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
37:06Just 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
37:29Oh
37:38Oh
37:40Oh
37:42Oh
37:44Oh
37:46Oh
37:52Oh
37:54Oh
37:56Oh
37:58Oh
38:04Oh
38:06Oh
38:08Oh
38:26Oh
38:28Oh
38:29Oh
38:30Oh
38:48Oh
38:50I wanted to come and tell you
38:51I'm leaving
38:52I'm leaving
38:57For a bit
39:00I see
39:02I didn't want you to think that I just disappeared
39:05No
39:07No, no, that's very kind of you
39:08I will be back in Vienna on the 10th of December your husband will be back
39:16Yes
39:17Yes
39:17Yeah
39:18Yeah
39:18Yeah
39:19Yeah
39:21Yeah
39:21Yeah
39:22I thought maybe I would visit the St. Michael's church on the evening I return
39:28If someone wanted to find me
39:31Alone
39:34That's where I'd be
39:37Why are you telling me that?
39:38Because I think I would go mad if I didn't.
40:08I don't know.
40:38I merely require two minutes of His Majesty's time.
41:07I'm afraid it's just not possible.
41:10Young man, I have a weekly routine with the Emperor whereby I try to teach him the fortepiano
41:15and he resolutely fails to retain a single piece of my knowledge.
41:18Now, we do this every Thursday at this time.
41:21Now, if he is too busy...
41:22Yes, Salieri, it is simply not possible.
41:24You're the Kappelmeister of the Court of Emperor Joseph II, and I...
41:28Antonio?
41:30Your Majesty, I do apologise for this cacophony, but I...
41:33Yes, come in.
41:34There'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.
41:50With everything that we have...
41:51Revolution brewing in the Netherlands, Prussians sabre-rattling at the north,
41:56there could hardly be a more inopportune time for a war.
41:59I have no experience of war.
42:01Yeah, I should hope you never will.
42:06What was it that you wanted to speak to me about?
42:10Yes, um...
42:13I have heard word of a band opera being ready for performance.
42:21Band opera?
42:22Yes.
42:23The marriage of Figaro, Your Majesty.
42:25You banned it yourself.
42:26No memory of it.
42:27What's it about?
42:28Adultery, sin, betrayal, upper classes being depicted as fools,
42:31working poor, they're betters.
42:33Who wrote it?
42:34Mozart.
42:37And the liberatists?
42:38Du Pont.
42:39I thought he was doing yours.
42:41No.
42:42Right, so it'll be in Italian.
42:43The only people who will understand it are the aristocrats.
42:46They're hardly likely to start a revolution, are they?
42:48Antonia, I don't recall banning this play.
42:50I also don't recall its title being used as the primary motive
42:53in any peasant uprisings that may be occurring.
42:55Let them put it on, go with Van Sweeten to the opening night.
42:59If the audience are moved to leave the theatre
43:01and march on the palace demanding my head,
43:03then you have my permission to shut it down.
43:05Stansa, I'm back.
43:24You awake?
43:26I need to leave.
43:54I'll meet you there.
43:56Pardon?
43:57I'll meet you there.
44:00All right.
44:01I'll meet you there.
44:31You all right?
44:59Are you all right?
45:01Yes.
45:02Constanza isn't here, so...
45:04I need...
45:06Listen to me.
45:07I quit the Capital Meisters Opera to do this
45:10because I believe in it.
45:11And I believe in you.
45:12But it does need to go well.
45:14You understand?
45:15Yes.
45:15Now, what do we say?
45:17We say, fuck them all.
45:19Yes?
45:19Fuck them all, yes.
45:21Fuck them all.
45:21Good boy.
45:22No, I'm doing a ton of rounds.
45:25Hey, hey, sorry.
45:27Sit down.
45:28Sure.
45:28Sure.
45:28I'm doing a lot of rounds.
45:29I'm doing a lot of rounds.
45:30I'm doing a lot of rounds.
45:30I'm doing a lot of rounds.
45:31I'm doing a lot of rounds.
45:32I'm doing a lot of rounds.
45:33I'm doing a lot of rounds.
45:34I'm doing a lot of rounds.
45:35I'm doing a lot of rounds.
45:36I'm doing a lot of rounds.
45:37I'm doing a lot of rounds.
45:38I'm doing a lot of rounds.
45:39I'm doing a lot of rounds.
45:40I'm doing a lot of rounds.
45:41I'm doing a lot of rounds.
45:42I'm doing a lot of rounds.
51:44Shame, you know.
51:46I'm starting to enjoy it.
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