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