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مسلسل A Gentleman in Moscow مترجم - Episode 1
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02:17For the last four years, I have resided in suite 317 of the Metropole Hotel.
02:22Why?
02:24My house was burned down.
02:27Occupation?
02:29It's not the business of gentlemen to have occupation.
02:35Do not seem to appreciate the gravity of your position.
02:38No, I fear.
02:39I understand it perfectly.
02:41You left Russia for Paris in the spring of 1914.
02:45Yes, I remember apple blossom in the trees.
02:50What concerns us here is your return in 1918.
02:56Why did you come back only a year after the revolution?
02:59You must have understood the reception a man of your nobility would receive.
03:05I miss the climate.
03:07Are you the author of this poem of 1913?
03:11Where is our purpose now?
03:20Were you the author?
03:25It was attributed to me.
03:27Yes.
03:29Many considered this poem a call to revolutionary action.
03:35Hard for us to equate with a man who has clearly succumbed to the corruptions of his class and now
03:41is a threat against Russia and her people.
03:43I am one of her people.
03:45You were.
03:47It is our inclination to have you put against the war.
03:54But there are those within the senior ranks of the party who, because of your poem, count you among the
04:01heroes of the revolutionary cause.
04:03Therefore, it is the judgment of this committee, now the Metropole is under full party control, that you be returned
04:10to the hotel of which you are so fond, where you will remain for the rest of your days.
04:19And make no mistake, should you ever set foot outside of the Metropole again, you will be shot.
04:33Let's go.
04:33Let's go.
04:34Let's go.
04:38Let's go.
04:44Gentlemen, I think I can find my own way.
04:49Move.
05:06That day, The Count thought his life was over.
05:10But in truth, it was only the beginning, not just for him, but for me too.
05:18And in the years that followed, Count Alexander Rostov would come to mean the world to me.
05:45Your Excellency, we didn't think you...
05:46Good to see you, Vasily.
05:53My suite is on the third floor, gentlemen.
05:56The lift or the stairs?
05:59How are we supposed to win on the field of battle
06:01if we can't decide between the lift and the stairs?
06:04Have you ever been on the field of battle?
06:06The stairs it is.
06:28The stairs it is.
06:54It's a beautiful view of the Bolsho, isn't it?
07:14All these things are yours?
07:17Save for the floorboards and the bed, yes.
07:28I read your poem.
07:30The tone of your voice suggests that you are not a great admirer.
07:34I found it hard to believe those words came from the mouth of a man like you.
07:38What is the meaning of all this?
07:40I'm here to show you to your quarters.
07:42These are my quarters.
07:43I'm here to show you to your quarters.
08:44What is this place?
08:45Before the revolution, these rooms were for the servants of the hotel guests.
09:04Well, it has a window at least.
09:09I'll just about fit on this bed.
09:12Ah, G-sharp, I believe.
09:16Yes.
09:17This will do very nicely, thank you.
09:20Your diminished circumstances won't allow you to keep all of your possessions.
09:26But I will allow you to take a few personal items.
09:28And the rest?
09:29Becomes the property of the people.
09:33I should add, we've liberated your currency from the hotel safe.
09:36Food and board will be provided.
09:38Life for you and your kind is over in Moscow.
09:43You must never leave this hotel.
09:50If you do, I'll be waiting.
09:59Apologies.
10:00I never thought to ask your name.
10:03My name is not your concern.
10:06Well, thank you.
10:08You have carried out your duties with the greatest courtesy available to you.
10:22That's your pleasure.
10:28As you've told me, as far as possible, you'll see the description.
10:30Thank you for your attention.
10:31Something that you've been living with.
10:31You've got to keep your hands on, I'm leaving and you're home.
10:31I can't wait.
10:32I'm leaving now.
10:34I can take a few minutes.
10:34Pardon me.
10:40I have to leave.
10:47You open the door, raise the weights, once a week, without fail, Alexander.
11:32Alexander!
11:34Alexander!
11:35Alexander!
11:35Alexander!
11:37Alexander!
11:37Alexander!
11:38Alexander!
11:39Alexander!
11:40Alexander!
11:43Alexander!
11:44Alexander!
11:46Alexander!
11:47Alexander!
11:48Alexander!
11:48Alexander!
11:51Alexander!
11:51Alexander!
11:52Alexander!
11:53Alexander!
11:53Alexander!
11:53Alexander!
11:53Alexander!
11:59Alexander!
12:03Oh, my God.
12:34Oh, my God.
13:12Oh, my God.
13:34Good evening, André.
13:36Your Excellency, Moussour.
13:38I wasn't sure if you would be dining with us this evening.
13:41I was assured food and board.
13:44I'll show you to a table.
14:06A saltimbocca requires veal wrapped in prosciutto.
14:11Where is the prosciutto?
14:12Where is the sage?
14:13We have no prosciutto, Chef.
14:15Or sage.
14:16Then is it not a saltimbocca?
14:18No, Chef.
14:18It is merely badly cut to veal.
14:20Sorry, Chef.
14:22We're out of veal.
14:25Of course we're out of veal.
14:29Assaultimbocca on table seven.
14:33Oh, the count.
14:35The count.
14:37Is he here?
14:51What's he doing?
14:52I believe he's refusing to be beaten.
14:58Everything to your satisfaction, Your Excellency.
15:03The saltimbocca.
15:05A chicken instead of veal.
15:09And instead of prosciutto, shaved Ukrainian ham.
15:14In place of the sage.
15:15And I must admit, this took me a moment.
15:18But I think it's never...
15:28A man with taste is a rare thing these days.
15:31Metal it was, Your Excellency.
15:34Your palate remains unsuppressed.
15:36Bravo, sir.
15:39Bravo.
15:51Your Excellency.
15:53I didn't expect you.
15:55Yes, Chef.
15:55For you, I'm happy to wait.
16:24Hey!
16:42Yes, Chef.
16:50Oh, my God.
17:18Hello.
17:21Hello.
17:22I like your moustache.
17:24Oh.
17:25I like your hair.
17:33Alexander Elyse?
17:37Is it really you?
17:39Prince Nikolai, my dear friend.
17:41It's so wonderful to see.
17:42It's just Nikolai now.
17:45You're looking well.
17:48How have you been?
17:52I'll be with you in a moment.
17:55Tell me everything.
17:57The last time I saw you, you were playing Bach at one of your grandmother's dinner parties.
18:01I guess I'm still playing Bach at dinner parties.
18:04I'll be here most weeks.
18:06And your mother and sister are well?
18:09They're in Switzerland.
18:10Oh, yes.
18:11I think I had heard that.
18:16Are you still living at the old palace?
18:19They've taken it over.
18:21But let me keep a room.
18:26Well, at least we have our health.
18:34Well, I'd better get on.
18:35Of course.
18:36I'm sorry.
18:36I didn't mean to keep you.
18:39Perhaps we could have a drink at the bar after my dinner.
18:45I'd like that very much.
18:50Nikolai.
18:52They can take away your house.
18:54Or your rooms.
18:56They can't take away who you are.
18:59Oh, yeah.
19:30That's all you live in Paris.
19:32Why on earth did you return to this madhouse?
19:35To get my grandmother safely on a ship to England.
19:41Audrys, could we have the same again?
19:43Yes, Your Excellency.
19:50I was sorry to hear about your sister.
19:56What are we still doing here?
20:00When I was a young boy, not long after my parents died,
20:05my grandmother, the Countess, invited a boy over from the neighbouring estate.
20:08She thought it might cheer me up.
20:11Obolensky, he was called.
20:13He beat me at a game of drafts.
20:16I didn't take it well.
20:18Her tears were shed, pieces were scattered.
20:20I might even have uttered a curse.
20:22Later that evening, she phoned me, still full of rage.
20:25And she said,
20:27there's nothing pleasant to be said about losing.
20:30And that Obolensky boy certainly is a pill.
20:34But, Sasha, my dear, why on earth would you give him the satisfaction?
20:45Obolensky, that's not Vladimir Obolensky, is it?
20:50Of the Nizhny Obolensky?
20:51Yes, the very same boy.
20:53Your grandmother's correct.
20:54He is a pill.
20:56He was.
20:58They burned him alive in his house.
21:01They won't stop, Sasha.
21:11I know someone who can provide papers ensuring safe transit.
21:20We could leave the country.
21:22Unless we were recognised, don't we?
21:25Well, you'd have to clip your wings.
21:27Well, that alone is a good reason to say.
21:29Sasha, how can you joke?
21:32Because if I take it seriously,
21:34I could fall into a dark despair I could find no way out from.
21:38There's no bars across the doors.
21:41Once you're out of the hotel, we could disappear, go east, go west.
21:45We could start again.
21:47As who?
21:49As what?
21:50Does it matter?
21:51We would be alive.
21:55This is still my country.
22:00This is still my country.
22:05To Russia.
22:08To Russia.
22:18Is it just us now?
22:30Yes, yes, so good.
22:32To Russia.
22:44To Russia.
23:11Apologies for my tardiness.
23:15What will it be today, Your Excellency?
23:17Just the usual, if you'd be so kind.
23:21What was next?
23:22I will be with you in just a moment, sir.
23:26Who was he before he was?
23:27Oh, I have a standing appointment at 12 on a Tuesday.
23:31If you would just please wait.
23:33What should I?
23:34What should he do for me?
23:35Well, that's unexplained.
23:36He has a standing appointment.
23:39Aye, we'll see you first.
23:43You'll have the appointment soon enough.
23:46Your Excellency.
23:48Oh!
23:49Oh!
23:52Hey!
24:17Oh, that won't be necessary, I know it by heart.
24:20Oh!
24:21You must be the guest from the top floor.
24:24Yes, delighted to make your acquaintance.
24:30Oh, um, well, yes.
24:33I will have the fillet of soul.
24:35Would you like a glass of wine with your fish?
24:40A sauternes, perhaps?
24:42I think a bottle of Shadow Baudelaire might be more fitting.
24:49Of course.
25:01No fish, sir?
25:02No.
25:03That looks delicious.
25:16Where did they go?
25:17I beg your pardon?
25:18Your moustaches.
25:20Well, they...
25:21I...
25:22It...
25:22Is it true that you're a Count?
25:24It is.
25:24Have you ever known a princess?
25:26I have known many princesses.
25:27Was it terribly hard to be a princess?
25:29Terribly.
25:30Especially so since our glorious revolution.
25:51Is that any good?
25:54Didn't you have a lunch of your own?
25:56At a different table.
25:58I didn't like it.
26:06I don't know.
26:08I don't know.
26:08I don't know.
26:09I don't know.
26:15I don't know.
26:17her day. Like any young lady, in the morning she would have lessons, in the afternoon she
26:23would visit with friends, and at lunchtime she would eat her vegetables. My father says
26:29that a princess personifies the decadence of a vanquished dearer. Well, perhaps a few.
26:34Not all, I can assure you. Don't worry, Papa knows everything there is to know about the
26:40workings of a tractor, but absolutely nothing about the workings of a princess.
26:51Have you ever been in a duel?
26:55Not exactly.
27:03But my godfather was a second on more than one occasion. A second? When two gentlemen
27:08agree to duel, they each appoint seconds. Lieutenants who settle upon the rules of
27:14engagement. What sort of rules of engagement? The time, the place, what weapons will be
27:19used, if it's pistols, how many paces. One of the duels my godfather seconded sprang
27:26from a dispute that occurred in this very hotel, between an admiral and a prince,
27:32whose differences came to a head one night in the lobby. Were they in love with the
27:36same woman? I don't think a woman was involved. A woman is always involved. Yes,
27:42well, whatever the cause. At the time, the hotel was managed by a fellow named Kefler, and
27:48it was well known that he kept a pair of antique pistols in his office behind a painting, so
27:53that if a challenge was accepted, carriages could be summoned and parties could be whisked
27:57away weapons in hand. In the hours before dawn. To a secluded spot. The reality, I'm afraid,
28:09it was not quite as romantic. The hotel manager would like to speak to you. Well, might I
28:28finish my lunch first? Of course. Thank you.
29:02I appreciate your stopping by. It's my pleasure. It's been brought to my attention that certain
29:08members of the staff, er, when addressing you, have continued to make use of certain,
29:19amplifications. Amplifications? Your Excellency, what have you? Ah, yes. I suppose they have.
29:29Well, if it were up to me, er, naturally enough. Well, it goes without saying. But what with, er,
29:41uh, honorifics were elegant things in their day, but they, er, they do seem to have outlived
29:47their usefulness. It is the business of times to change, Mr. Haletsky, and gentlemen to change
29:54with them. Quite. Might I ask, who brought this to your attention? You know why they allowed
30:08this hotel to continue operating? Serving the clientele that it does. So that everyone could
30:15be watched. So they can find those disloyal to the party. It's been that way since the
30:22Revolution. It's certainly going to get worse. This hotel is a dangerous place. Especially
30:28to see you. As you can see, let's see that I'm in the middle of a conversation with one
30:32of our guests. My apologies to you both, but if I could see you for a moment. Here you are.
30:43Um, yeah.
30:50Um.
34:12From there we lose our Red Army insignia and we walk the 200 miles to Minsk.
34:20And to our freedom.
34:29And our belongings?
34:31No.
34:34We can't take anything with us that might give us away.
34:44Not even Helena.
34:47Not even Helena.
35:05How much will you need?
35:10Do you think that might suffice?
35:12But maybe...
35:14No.
35:23Will they really shoot you if you go outside?
35:26You appear and disappear like a spirit.
35:29What's your name?
35:31Nina Kalikova.
35:33Count Alexander Ilyat Rostov.
35:36Where's your father?
35:37He's working.
35:39He's always working.
35:40And your mother?
35:41Dead.
35:43Oh, I am sorry to hear that.
35:44I lost both.
35:46I lost both my father and my mother at a similar age.
35:48People aren't lost.
35:50They're taken from us.
35:58Oh, little Nina.
35:59How are we going to survive these endless days stuck in this hotel?
36:05I found a way to escape.
36:14I have a plastic that opens every door in the hotel.
36:22It's important to remember that there are rooms behind rooms and doors behind doors.
36:26Come on.
36:29Where are you taking us?
36:30You'll see.
36:32This is the perfect place to destroy secret messages and illicit love letters.
36:37You do receive illicit love letters, Count.
36:40Most certainly.
36:42There's more.
36:43There's more.
36:50I'm not sure we should.
36:52Don't be such a fuddy-duddy.
36:53Look, we can spy in the ballroom.
36:56Come on.
36:57If you pull the sleeper, it throws the ballroom, it succumbed to sleep to darkness.
37:03This way.
37:13Oh, she's the maid who used to change my sheets.
37:18Her name's Marina.
37:20Every day, she collects leftover food
37:22to make a feast for her little boy.
37:25His name's Yasha.
37:32These are all the novels and travel guides
37:34that I guess to sleep behind.
37:38This was my godfather's favorite chair.
37:40They're just things.
37:52All my memories exist within them.
38:05They're here.
38:20Come on. There's more I have to show you.
38:23Come on.
38:34Look.
38:40I didn't know this was here. What's all this for?
38:43Papa says some government work is too important, even for the Kremlin.
39:00Come on, let's go.
39:05Hide.
39:11How many do you have to get for tomorrow?
39:14Fourteen in the morning and twelve in the afternoon.
39:16Only twelve?
39:17That we have gathered evidence.
39:19Ah, yes.
39:20What evidence do you need?
39:23Give me a man, and I'll find the crime.
39:26Five more names.
39:28How many do you have to get there?
39:39Have we moved?
40:10CHOIR SINGS
40:40CHOIR SINGS
41:11CHOIR SINGS
41:22CHOIR SINGS
41:27CHOIR SINGS
41:28CHOIR SINGS
41:29CHOIR SINGS
41:37CHOIR SINGS
41:39CHOIR SINGS
41:45CHOIR SINGS
41:48CHOIR SINGS
41:50CHOIR SINGS
41:54CHOIR SINGS
42:15CHOIR SINGS
42:21CHOIR SINGS
42:22CHOIR SINGS
42:22CHOIR SINGS
42:22CHOIR SINGS
42:26you are a true friend
42:31but now
42:35I must go tonight
42:42I will
42:45after I've played Rachmaninoff
42:47on Russian soil one last time
43:23I'll see you next time
43:26and would you know Nina
43:28Nikolai Petrov is a real life
43:30prince
43:30yes
43:31his father was a famous general
43:34fighting wasn't in his blood
43:36his one great love is music
43:37and they say that since he was three years old
43:40he spent more time
43:42with the violin in his hand than without
43:44and
43:46and
44:00and
44:05he
44:12and
45:24Nikolai!
45:28Nikolai!
45:32Nikolai!
45:36Nikolai!
45:40Nikolai!
45:51Nikolai!
45:57Nikolai!
45:58Nikolai!
46:16Your friend did some business with an element we've been watching.
46:22I'm curious as to why he needed two sets of travel documents.
46:43Years later, the Count would tell me that he wished he'd had the courage to do more.
46:49In truth, had he left the hotel that night, he would have died on the pavement a few seconds
46:54later.
46:56And I would not be alive to tell this tale.
46:58Nikolai!
47:00Nikolai!
47:01Nikolai!
47:03Nikolai!
47:03Nikolai!
47:04Nikolai!
47:15Nikolai!
47:18Nikolai!
47:19Nikolai!
47:20Nikolai!
47:21Nikolai!
47:28Nikolai!
47:31Nikolai!
47:32Nikolai!
47:33Nikolai!
47:35Nikolai!
47:44Nikolai!
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