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