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4
00:01:35,200 --> 00:01:38,400
Don't blaspheme.
Don't profane the music.
5
00:01:38,600 --> 00:01:41,600
Here are the widows.
6
00:01:44,600 --> 00:01:48,200
A genius leaves many kinds
of widows.
7
00:01:58,400 --> 00:02:02,000
The biography...
8
00:02:02,100 --> 00:02:06,200
...of the cello virtuoso Felix...
9
00:02:07,000 --> 00:02:10,300
...by me, Cornelius.
10
00:02:27,500 --> 00:02:31,600
Dear Maestro...
11
00:02:34,000 --> 00:02:37,900
I'm lost for words,
here by your coffin...
12
00:02:38,000 --> 00:02:40,400
Really?
13
00:02:41,800 --> 00:02:45,900
What constitutes genius?
14
00:02:46,000 --> 00:02:49,900
Genius - is to make a critic
change his mind.
15
00:02:51,600 --> 00:02:53,800
Goethe.
16
00:02:57,700 --> 00:03:00,300
The widow Tussauds.
17
00:03:01,400 --> 00:03:03,400
The same...
18
00:03:03,500 --> 00:03:06,400
...yet different.
19
00:03:11,600 --> 00:03:14,100
The widow Beatrice.
20
00:03:18,500 --> 00:03:23,300
The same, yet different.
21
00:03:28,300 --> 00:03:30,800
The widow Traviata.
22
00:03:33,200 --> 00:03:36,800
The same, yet different.
23
00:03:42,600 --> 00:03:44,900
The widow Cecilia.
24
00:03:46,700 --> 00:03:49,800
Just the same...
25
00:03:50,400 --> 00:03:52,500
Yet different.
26
00:03:59,000 --> 00:04:01,500
The widow Isolde.
27
00:04:08,100 --> 00:04:11,500
The same, yet different.
28
00:04:18,600 --> 00:04:21,100
The widow Bumblebee.
29
00:04:21,200 --> 00:04:24,400
No, he looks so different!
30
00:04:24,600 --> 00:04:26,900
Yet the same.
31
00:04:27,600 --> 00:04:30,200
How silly of me!
32
00:04:32,200 --> 00:04:34,300
"The" widow.
33
00:05:17,100 --> 00:05:21,600
Forgive me, Maestro,
but this is the only copy.
34
00:05:22,600 --> 00:05:25,400
Or... Do you mind?
35
00:05:33,000 --> 00:05:34,900
Four days before
36
00:05:48,100 --> 00:05:50,900
The renowned music critic Cornelius
37
00:05:51,000 --> 00:05:56,000
visits the cello virtuoso Felix
at his summer residence
38
00:06:10,300 --> 00:06:13,000
Hallo there, Jilker!
39
00:06:13,100 --> 00:06:15,500
Hallo yourself!
40
00:06:21,400 --> 00:06:23,300
Maestro...
41
00:06:23,400 --> 00:06:28,600
What a great honor.
Maestro, Maestro...
42
00:06:28,800 --> 00:06:32,800
Don't think of it!
Maestro, your precious hands...
43
00:06:33,900 --> 00:06:36,200
- Who's?
- That's Felix playing.
44
00:06:36,400 --> 00:06:38,400
- Who's he?
- Tristan.
45
00:06:38,500 --> 00:06:43,000
Felix's valet and chauffeur.
There is a certain likeness.
46
00:06:44,600 --> 00:06:48,000
- You should have stopped me.
- That's usually impossible.
47
00:06:48,100 --> 00:06:51,100
Villa Tremolo.
48
00:06:53,100 --> 00:06:55,500
- The Tusculum of our Maestro!
- Bravo!
49
00:06:55,600 --> 00:07:01,200
Villa Tremolo. A name marked by the
Maestro's erudition and imagination.
50
00:07:01,300 --> 00:07:03,800
Such plasticity of detail
51
00:07:04,000 --> 00:07:08,800
makes the subject of a biography
come alive to the reader.
52
00:07:08,900 --> 00:07:11,700
How far have you come?
53
00:07:11,800 --> 00:07:15,400
The chapter on the inmost and utterly
personal is lacking.
54
00:07:15,500 --> 00:07:18,600
- How is Stravinsky?
- I don't know.
55
00:07:18,700 --> 00:07:22,700
It was my duty as a music critic
to expose him.
56
00:07:22,800 --> 00:07:25,600
And did it stop him composing?
57
00:07:25,700 --> 00:07:29,000
Such a splendid house.
58
00:07:29,200 --> 00:07:33,000
A gigantic cello in the concert hall
of our Lord.
59
00:07:35,200 --> 00:07:39,700
"The Maestro lives,
as it were, in a gigantic cello
60
00:07:39,800 --> 00:07:42,700
"in the concert hall of our Lord."
61
00:07:42,800 --> 00:07:46,800
That's 'in' twice...
Confounded prepositions!
62
00:07:47,000 --> 00:07:51,300
"He lives as if solo, as if in a cello."
That�s 'as if' twice. Tricky.
63
00:07:53,400 --> 00:07:56,000
No, I thought possibly...
64
00:07:56,100 --> 00:08:00,300
Has the Maestro seen
my composition? I sent it to him.
65
00:08:00,400 --> 00:08:04,700
His interpretation of it
would make an excellent opening.
66
00:08:04,800 --> 00:08:07,800
The interpreter's relationship
with the interpreted.
67
00:08:08,000 --> 00:08:11,900
You interpret him, and he you.
Do you marry in the end?
68
00:08:12,000 --> 00:08:16,400
- What do you mean?
- I'll show you to your room.
69
00:08:25,500 --> 00:08:29,900
- What a lot of women.
- Yes, a lot of women.
70
00:08:35,200 --> 00:08:39,100
As you can see, Felix and Tristan
look very alike.
71
00:08:51,600 --> 00:08:56,400
- Plenty of matter for the biography.
- Yes, I'm afraid so...
72
00:09:18,300 --> 00:09:21,600
Beautiful matter!
73
00:09:34,400 --> 00:09:36,200
MAESTRO FELIX
74
00:11:07,900 --> 00:11:10,300
This is your room.
75
00:11:11,500 --> 00:11:13,900
You can wash yourself here...
76
00:11:14,000 --> 00:11:16,400
...after your journey.
77
00:11:21,200 --> 00:11:26,500
I will need to rehabilitate
after that slight mishap.
78
00:11:40,100 --> 00:11:42,200
Maestro!
79
00:11:44,000 --> 00:11:46,000
Maestro...
80
00:11:47,600 --> 00:11:50,600
Why are you creeping about?
81
00:11:50,700 --> 00:11:53,900
I'm writing the Maestro's biography.
82
00:11:54,000 --> 00:11:56,100
Oh, it's you.
83
00:11:56,200 --> 00:12:00,200
- Have you met Felix?
- He hasn't been able to contact me.
84
00:12:00,400 --> 00:12:05,000
I've sent him a composition of mine,
dedicated to him.
85
00:12:05,200 --> 00:12:09,800
I thought he might play it
at his big radio concert.
86
00:12:10,000 --> 00:12:12,800
If he does, I will shoot him.
87
00:12:13,800 --> 00:12:19,000
The Maestro just retired with his wife.
Discretion's a point of honor.
88
00:12:19,100 --> 00:12:21,900
My name is Adelaide.
89
00:12:22,000 --> 00:12:24,100
Cornelius.
90
00:12:25,200 --> 00:12:28,000
I am Felix's wife.
91
00:12:42,200 --> 00:12:44,800
A wonderful woman.
92
00:12:54,500 --> 00:12:56,200
No!
93
00:13:01,900 --> 00:13:04,500
After all, I "am" writing
his biography.
94
00:13:06,000 --> 00:13:09,300
- And next week...
- Certainly, Adelaide dear.
95
00:13:09,400 --> 00:13:11,500
Here we have Isolde.
96
00:13:11,600 --> 00:13:15,200
- She can't make it until Friday.
- Oh, right.
97
00:13:15,300 --> 00:13:18,000
- I'll go!
- No, you've got the Wednesday.
98
00:13:20,300 --> 00:13:23,000
Unbelievable...
99
00:13:23,100 --> 00:13:25,400
I take it, you'll do Tuesday.
100
00:13:25,600 --> 00:13:28,700
By the way, could you have a word
with Traviata?
101
00:13:28,800 --> 00:13:32,400
She goes green-eyed at the slightest
caress outside the schedule.
102
00:13:32,600 --> 00:13:35,100
We can't be that selfish!
103
00:13:35,200 --> 00:13:38,400
Good night, Adelaide.
Sweet dreams.
104
00:13:47,000 --> 00:13:49,200
Quite true.
105
00:13:49,300 --> 00:13:51,800
- What?
- I'm Bumblebee.
106
00:13:53,600 --> 00:13:57,400
- I will be in the biography, won't I?
- Bumblebee?
107
00:13:57,500 --> 00:13:59,100
Bumblebee.
108
00:13:59,200 --> 00:14:03,300
- His mistress, of course.
- I'm not sure I understand.
109
00:14:03,400 --> 00:14:06,100
Just now, the Maestro and a lady,
110
00:14:06,200 --> 00:14:08,900
and it wasn't his wife...
111
00:14:09,000 --> 00:14:13,000
She isn't his official mistress,
because that�s me.
112
00:14:16,000 --> 00:14:18,800
You're really quite sweet.
113
00:14:23,500 --> 00:14:28,200
- Do you want to see his bedroom?
- That would be interesting.
114
00:14:28,400 --> 00:14:32,400
- But isn't he?
- Silly! They're not in "his" bedroom.
115
00:14:32,500 --> 00:14:34,800
Come on!
116
00:14:44,300 --> 00:14:47,800
I dare say the setting is...
117
00:14:48,000 --> 00:14:48,900
...promising.
118
00:14:49,900 --> 00:14:52,500
It is... sometimes.
119
00:14:58,400 --> 00:15:02,400
The Maestro's bedroom.
The Maestro's mistress.
120
00:15:05,700 --> 00:15:07,700
What matter!
121
00:16:23,600 --> 00:16:29,000
In view of the censorship risk,
the sexual act is depicted as follows...
122
00:18:17,800 --> 00:18:21,900
Felix, you forgot
it was my turn!
123
00:18:40,700 --> 00:18:43,000
- Bumblebee?
- Yes.
124
00:18:43,200 --> 00:18:46,100
- Bumblebee?
- Yes!
125
00:18:46,200 --> 00:18:50,700
- Is Bumblebee dead?
- No. What about Cornelius?
126
00:18:50,800 --> 00:18:54,000
- Alive.
- Well then, come out.
127
00:18:55,300 --> 00:18:57,200
No, I'm naked!
128
00:18:57,400 --> 00:19:00,200
Now who was that?
Shooting and all!
129
00:19:10,800 --> 00:19:15,600
Someone tried to kill the Maestro.
Give me my notebook, my pen.
130
00:19:22,100 --> 00:19:25,100
The impresario Jilker
handles the Maestro's business.
131
00:19:26,100 --> 00:19:30,600
Villa Tremolo, hallo?
Impresario Jilker speaking.
132
00:19:30,800 --> 00:19:33,200
Oh, is it you? Hallo.
133
00:19:33,400 --> 00:19:36,800
Do you want a programme?
We haven't any yet.
134
00:19:37,000 --> 00:19:41,500
Isn't it more important "that" he plays
than "what" he plays?
135
00:19:41,600 --> 00:19:44,800
Cello - that's all we know,
and that�s enough, isn't it?
136
00:19:45,000 --> 00:19:49,500
The Broadcasting Corporation will
have to be content with that for now.
137
00:19:50,500 --> 00:19:55,100
He has to decide on his programme
soon. The world's waiting.
138
00:19:55,200 --> 00:19:57,400
Almost "tout le monde".
139
00:19:59,200 --> 00:20:01,600
Villa Tremolo, hallo.
140
00:20:01,700 --> 00:20:04,100
Oh, it�s you. What do you want?
141
00:20:04,200 --> 00:20:09,500
Oh, Bach. We'll have to see
about that. Speak to you later.
142
00:20:10,500 --> 00:20:14,500
Now they want the Sixth Suite
- the Fifth Suite was so successful.
143
00:20:14,600 --> 00:20:18,000
"A revelation of inspired
Bach interpretation."
144
00:20:18,100 --> 00:20:20,800
- Does he want to?
- "Qui sait?"
145
00:20:21,000 --> 00:20:24,200
- Should I talk to him?
- What about my lesson?
146
00:20:24,400 --> 00:20:27,700
I haven't spoken to him yet,
Traviata.
147
00:20:28,600 --> 00:20:31,400
- I have to speak to you.
- Like everyone else.
148
00:20:31,500 --> 00:20:36,300
- In private.
- There are no secrets in this house.
149
00:20:36,400 --> 00:20:40,000
Someone tried to murder
the Maestro.
150
00:20:43,700 --> 00:20:48,400
- Without success, it seems.
- It's no joke! I myself...
151
00:20:49,300 --> 00:20:54,600
Yes, Felix? No, you don't have
to worry about the programme.
152
00:20:56,400 --> 00:21:01,600
Traviata! There'll be no lesson today,
at least not in cello.
153
00:21:01,700 --> 00:21:03,600
Maestro...
154
00:21:03,800 --> 00:21:06,600
- No, nothing.
- Jilker, you've got to...
155
00:21:06,700 --> 00:21:09,700
Oh, right - someone's
tried to kill you.
156
00:21:12,900 --> 00:21:14,800
That�s that.
157
00:21:15,000 --> 00:21:19,000
- Is the Maestro going to die?
- He, like everybody else.
158
00:21:19,100 --> 00:21:21,700
- But be murdered?
- Why not?
159
00:21:21,800 --> 00:21:24,700
What a concluding chapter
for your biography...
160
00:21:39,400 --> 00:21:44,000
- Jilker! You don't say that!
- Why not? Between us salesmen...
161
00:21:47,800 --> 00:21:49,700
Save myself.
162
00:21:49,800 --> 00:21:51,800
Him!
163
00:22:09,700 --> 00:22:12,700
The door banged shut.
164
00:22:12,800 --> 00:22:15,900
- There's quite a draught in the house.
- I thought...
165
00:22:16,000 --> 00:22:18,600
Are you admiring the mosaics, sir?
166
00:22:18,700 --> 00:22:21,400
- No.
- I do.
167
00:22:22,100 --> 00:22:26,700
I admire everything in this house.
Everything is nice - it has to be.
168
00:22:26,800 --> 00:22:31,500
Maestro Felix has given me
a nice name - Isolde.
169
00:22:31,600 --> 00:22:34,800
- Not at all suitable.
- That's what everyone calls me.
170
00:22:34,900 --> 00:22:39,600
Tristan is called Tristan by everyone.
That's the Maestro's idea, too.
171
00:22:39,700 --> 00:22:44,000
Tristan's so nice. Everything's so nice
in this house.
172
00:22:44,100 --> 00:22:47,100
Do you know what
Maestro Felix says?
173
00:22:47,200 --> 00:22:51,000
Everything nice would be pointless
without my admiration.
174
00:22:52,200 --> 00:22:55,300
He follows me around,
watching my admiration.
175
00:22:55,400 --> 00:22:59,500
- Then he plays to me.
- He remembers his childhood.
176
00:22:59,600 --> 00:23:03,700
He gives his art to the people.
You represent the people.
177
00:23:03,800 --> 00:23:06,400
He looks at you while playing.
178
00:23:06,500 --> 00:23:10,200
How would I know?
The way he squints...
179
00:23:11,000 --> 00:23:13,000
Oh, yes.
180
00:23:13,100 --> 00:23:15,200
I admire his hands.
181
00:23:15,400 --> 00:23:20,300
Watching him finger the strings
makes me go all funny.
182
00:23:20,400 --> 00:23:24,000
Then all of a sudden I'm sitting
where the cello sat.
183
00:23:25,100 --> 00:23:28,600
- That�s impossible?
- His fingering is wonderful.
184
00:23:28,800 --> 00:23:32,800
- Is that the term?
- Yes.
185
00:23:35,100 --> 00:23:37,300
Listen...
186
00:23:44,400 --> 00:23:46,900
He calls me his gamba.
187
00:23:48,300 --> 00:23:51,000
His little 'lap viola'.
188
00:23:51,100 --> 00:23:54,800
He hasn't got a clue what...
Show me to his room!
189
00:23:54,900 --> 00:23:58,700
- He mustn't be disturbed now.
- He's in danger.
190
00:23:58,800 --> 00:24:01,200
Not while he's playing.
191
00:24:02,100 --> 00:24:04,600
I don't believe it!
192
00:24:37,100 --> 00:24:40,700
- What�s the meaning of this?
- I'm amusing myself.
193
00:24:40,800 --> 00:24:43,000
I'll show you, Mr. Cornelius!
194
00:24:45,600 --> 00:24:48,200
- Why are you here?
- I'm a young relative.
195
00:24:48,300 --> 00:24:51,700
I came here to reconcile the old man
with his family.
196
00:24:51,800 --> 00:24:55,100
The family suddenly came
into money - tobacco.
197
00:24:55,200 --> 00:25:00,400
Felix is a famous man.
So, why not use him for publicity?
198
00:25:00,600 --> 00:25:02,900
Hence - a cigar called 'Felix'.
199
00:25:03,000 --> 00:25:07,000
He sued them - which could
get expensive for the family.
200
00:25:07,200 --> 00:25:11,200
- What was their idea?
- They knew about his weak spot.
201
00:25:11,300 --> 00:25:15,000
So they sent luscious little me here
- with a box of cigars.
202
00:25:15,200 --> 00:25:19,200
- Surely they don't think?
- God knows what they think?
203
00:25:20,300 --> 00:25:25,300
They thought, "The girl's so young,
he must have some standards."
204
00:25:26,200 --> 00:25:29,200
They didn't know that I...
205
00:25:29,300 --> 00:25:32,200
...didn't have any.
206
00:25:32,300 --> 00:25:35,000
Old Felix has the hots for me.
207
00:25:35,100 --> 00:25:38,900
He wants to prove
he's not old and useless.
208
00:25:39,000 --> 00:25:41,800
Do you know what he called me
last night?
209
00:25:44,000 --> 00:25:46,300
Saint Cecilia.
210
00:25:47,400 --> 00:25:51,000
He pretended to respect
my innocence.
211
00:26:01,000 --> 00:26:04,500
- Does it taste of heaven?
- Yes...
212
00:26:05,600 --> 00:26:08,000
More heaven.
213
00:26:50,500 --> 00:26:53,300
A steady hand, Madam.
214
00:26:55,400 --> 00:26:57,800
I surrender!
215
00:27:01,000 --> 00:27:03,500
- For God's sake!
- Want to try?
216
00:27:03,600 --> 00:27:06,900
- So it was you?
- Tristan, that's it for today.
217
00:27:07,000 --> 00:27:11,700
- You don't require any assistance?
- That will be all, Tristan.
218
00:27:14,400 --> 00:27:19,600
Someone tried to kill your husband.
Fortunately, he wasn't present.
219
00:27:21,800 --> 00:27:27,000
Madam! You share the prejudice of
artist�s against biographers and critics.
220
00:27:27,100 --> 00:27:32,300
The artist longs to be immortalized,
to be distributed as widely as possible.
221
00:27:32,400 --> 00:27:34,800
Madam Adelaide...
222
00:27:34,900 --> 00:27:41,000
You may think I feel my book would
benefit from the Maestro's murder.
223
00:27:41,100 --> 00:27:43,400
I'm not that cynical.
224
00:27:43,500 --> 00:27:48,600
It's not in my interest at all
to involve the Maestro in a scandal.
225
00:27:51,600 --> 00:27:54,400
You seem to overlook
your husband's secrets.
226
00:27:54,600 --> 00:27:57,600
- I don't care a bit.
- Not a bit? Yet you tried to...
227
00:27:57,800 --> 00:28:00,400
I would never "try," sir.
228
00:28:00,600 --> 00:28:05,400
You heard Tristan.
I have a very steady hand.
229
00:28:08,500 --> 00:28:11,600
That woman knows
how to shoot.
230
00:28:12,400 --> 00:28:16,000
That woman hits the heart.
231
00:28:16,700 --> 00:28:18,000
Dear God!
232
00:28:18,100 --> 00:28:21,700
What constitutes genius?
233
00:28:21,800 --> 00:28:24,200
Genius?
234
00:28:24,300 --> 00:28:28,200
Genius - is to make a critic
change his mind.
235
00:28:29,900 --> 00:28:31,900
The same...
236
00:28:32,000 --> 00:28:34,800
...yet different.
237
00:28:36,300 --> 00:28:38,200
The same...
238
00:28:38,400 --> 00:28:41,000
...yet different.
239
00:28:44,500 --> 00:28:46,400
The same...
240
00:28:46,500 --> 00:28:48,700
...yet different.
241
00:28:52,400 --> 00:28:53,800
The same...
242
00:28:59,000 --> 00:29:00,400
The same.
243
00:29:00,500 --> 00:29:02,000
Yet the same.
244
00:29:02,100 --> 00:29:03,800
Three days before
245
00:29:11,800 --> 00:29:15,200
Adelaide!
246
00:29:22,600 --> 00:29:24,900
Little bird!
247
00:29:25,800 --> 00:29:31,500
You sing, heedless of
the exacting critic listening.
248
00:29:47,000 --> 00:29:50,300
Even you respect my words?
249
00:30:07,800 --> 00:30:10,600
So this is the Maestro's
famous pavilion,
250
00:30:10,800 --> 00:30:15,800
where he practices on hot summer
days, getting fresh air and exercise?
251
00:30:21,100 --> 00:30:23,400
Rest, Maestro.
252
00:30:24,300 --> 00:30:26,600
I'll watch over you.
253
00:30:40,200 --> 00:30:42,900
"Size 61 in hats."
254
00:31:13,400 --> 00:31:18,700
It wasn't Felix, dear Traviata.
I would never disturb the line-up.
255
00:31:18,800 --> 00:31:22,400
- So who was it?
- That Cornelius.
256
00:31:22,500 --> 00:31:27,100
- The critic?
- Yes. No great loss if you'd hit him.
257
00:31:27,200 --> 00:31:31,400
But you gave me a bruise. Look!
What will Felix say?
258
00:31:31,600 --> 00:31:35,800
- Say you were stung by a critic.
- By him!
259
00:31:36,000 --> 00:31:41,400
He wasn't what I'd call lively. Though
his initial charge was full of promise.
260
00:31:43,400 --> 00:31:48,000
The artifice we employ
for the sake of Art.
261
00:31:48,100 --> 00:31:52,100
Still he never gives me any lessons.
I demean myself.
262
00:31:52,200 --> 00:31:54,800
I lie in his bed, begging for lessons.
263
00:31:55,000 --> 00:31:59,300
He just croons:
"Traviata, why do you quarrel?"
264
00:31:59,400 --> 00:32:02,900
"I've taught you the basics of
cello playing - the parting of the legs."
265
00:32:03,000 --> 00:32:05,000
The brute!
266
00:32:06,400 --> 00:32:09,900
And there he lies now,
sleeping in shameless nudity.
267
00:32:10,000 --> 00:32:14,700
If only I had the strength to leave!
If only I had the strength!
268
00:32:16,000 --> 00:32:19,500
- You mustn't leave, Traviata.
- Oh yes!
269
00:32:19,600 --> 00:32:22,800
We're all infatuated with
the poor man.
270
00:32:24,800 --> 00:32:26,000
Is that what he says?
271
00:32:26,100 --> 00:32:29,300
"The basics of cello playing
is the parting of the legs."
272
00:32:31,200 --> 00:32:36,200
- Will you share the joke?
- No, it isn't a joke for pianists.
273
00:32:37,300 --> 00:32:40,200
Everything is off balance.
The line-up's disturbed.
274
00:32:40,400 --> 00:32:42,900
Our inner bitterness
is showing.
275
00:32:43,000 --> 00:32:48,000
He won't tell me what he'll play.
I'm not a machine!
276
00:32:48,100 --> 00:32:52,400
You and your music.
You see, with me he can rest.
277
00:32:52,500 --> 00:32:56,400
- He gets a rest, does he?
- Yes, from major and minor.
278
00:32:58,200 --> 00:33:03,000
I'm so sorry, girls, for throwing
Adelaide's clever line-up into disarray.
279
00:33:03,100 --> 00:33:06,000
- You're a trollop, Cecilia.
- I'm a saint.
280
00:33:06,100 --> 00:33:09,300
Saint Cecilia, his patron saint.
281
00:33:34,800 --> 00:33:38,000
- So the old goat doesn't venture out?
- My little goat!
282
00:33:38,100 --> 00:33:40,000
Our old goat.
283
00:33:40,100 --> 00:33:44,000
Cecilia, we girls have learnt
to live side by side.
284
00:33:44,100 --> 00:33:48,100
We have created our own
moral order.
285
00:33:48,200 --> 00:33:53,800
Talk to Felix. I'm just a child,
I don't understand these things.
286
00:33:53,900 --> 00:33:55,900
You serpent!
287
00:33:56,400 --> 00:33:58,600
Snake!
288
00:33:58,700 --> 00:34:00,100
Worm!
289
00:34:00,200 --> 00:34:02,900
Where's your pistol,
Traviata?
290
00:34:16,000 --> 00:34:18,800
Tristan, give me my tea.
291
00:34:19,900 --> 00:34:23,300
- Why isn't Felix here?
- He's afraid.
292
00:34:23,400 --> 00:34:26,800
- He's being unfaithful.
- Of course. We know that.
293
00:34:27,000 --> 00:34:30,200
- With that thing.
- Yes, she's very young.
294
00:34:30,300 --> 00:34:32,200
Yes, I am!
295
00:34:32,300 --> 00:34:34,400
He's unfaithful all the time.
296
00:34:34,500 --> 00:34:37,200
Every night he cheats
on scores of us.
297
00:34:37,300 --> 00:34:42,600
- Right now he's on his own in there.
- Right now he's faithful to all of us.
298
00:34:42,800 --> 00:34:44,800
Dear little Felix.
299
00:34:47,700 --> 00:34:50,300
Come out and face us, Felix.
300
00:34:50,400 --> 00:34:53,100
All at the same time.
You can, if you squint!
301
00:34:53,200 --> 00:34:55,900
Look, your little saint mocks us.
302
00:34:56,000 --> 00:34:58,500
- Tea, Felix!
- With biscuits and cakes.
303
00:34:58,600 --> 00:35:02,400
- Let's drag him out.
- Yes, let him see his little saint now.
304
00:35:02,500 --> 00:35:04,300
I'll have a look.
305
00:35:05,800 --> 00:35:10,900
- There's no sound from in there.
- I'll clobber you with your saint!
306
00:35:14,200 --> 00:35:17,100
Can't you hear? He's playing.
307
00:35:47,400 --> 00:35:50,500
If only he were poor!
308
00:36:27,800 --> 00:36:32,900
Four hundred and fifty-two thousand
one hundred and forty-four kronor...
309
00:36:33,000 --> 00:36:35,100
...and three �re.
310
00:37:04,900 --> 00:37:07,900
Asset�s, Tristan.
311
00:37:12,600 --> 00:37:15,100
Six million...
312
00:37:21,300 --> 00:37:23,600
...and sixty-seven �re.
313
00:37:32,600 --> 00:37:35,400
And my blasted commission.
314
00:37:47,500 --> 00:37:49,600
Felix?
315
00:37:53,800 --> 00:37:58,500
The grand total,
when all has been counted, is...
316
00:38:00,800 --> 00:38:03,200
Ninety-seven �re.
317
00:38:22,900 --> 00:38:26,500
Two days before
318
00:39:09,500 --> 00:39:14,000
"A distinction between the subjectively
personal and the objectively musical
319
00:39:14,100 --> 00:39:19,500
"is hard to draw; it involves a choice
between discretion and concealment."
320
00:39:20,700 --> 00:39:23,400
What the blazes do I mean by that?
321
00:39:25,900 --> 00:39:31,500
"Concealment would result in
a distorted picture of the Maestro,
322
00:39:31,600 --> 00:39:35,700
"which would be mendacious
and morally reprehensible."
323
00:39:36,100 --> 00:39:39,100
Yes, of course, that�s what I mean!
324
00:39:41,200 --> 00:39:43,300
Blasted bumblebee!
325
00:39:45,200 --> 00:39:48,000
"As the author of these lines..."
326
00:39:48,100 --> 00:39:52,900
No! "As the humble..." No.
327
00:39:53,700 --> 00:40:01,000
"As the modest author
of these humble lines
328
00:40:01,600 --> 00:40:06,800
"I have had the opportunity to follow,
at close hand, the erotic...
329
00:40:08,400 --> 00:40:10,900
"erotic..."
330
00:40:11,200 --> 00:40:15,100
Oh, Bumblebee... Bumblebee...
331
00:40:16,700 --> 00:40:20,500
"at "very" close quarters..."
332
00:40:21,400 --> 00:40:24,500
I could certainly write that.
333
00:40:35,800 --> 00:40:41,100
Why, I do believe I have to rise up
and do some research.
334
00:40:50,600 --> 00:40:54,400
Catlike cockchafer spies
335
00:40:55,700 --> 00:40:58,700
On Bumblebee, where she flies
336
00:41:04,500 --> 00:41:08,800
Are all rooms empty tonight?
Do I dare try another door?
337
00:41:08,900 --> 00:41:12,900
Well, as I've already set out.
And I "am" in urgent need.
338
00:41:22,300 --> 00:41:27,200
May I wake the bumblebee-bum
339
00:41:27,300 --> 00:41:30,500
So that we can start to hum?
340
00:41:51,000 --> 00:41:56,000
This will be very funny, Cornelius.
You'll get a print.
341
00:41:58,900 --> 00:42:02,600
You see, photography
is my little hobby.
342
00:42:02,700 --> 00:42:07,200
- The design of this house is complex.
- You easily get lost.
343
00:42:07,300 --> 00:42:10,800
- And stray.
- I was on the way to my room.
344
00:42:13,200 --> 00:42:15,400
Good evening.
345
00:42:23,500 --> 00:42:28,400
Isolde, can you tell me which room
is Miss Bumblebee's?
346
00:42:28,500 --> 00:42:31,000
- It�s very important.
- Down the stairs,
347
00:42:31,100 --> 00:42:35,800
through the drawing room
and up the stairs.
348
00:42:36,000 --> 00:42:39,600
First corridor to the left,
second door to the right.
349
00:42:39,700 --> 00:42:43,700
First corridor to the right, second door.
And that's Miss Bumblebee's room?
350
00:42:43,800 --> 00:42:47,900
But be careful, Mr. Cornelius.
Maestro Felix is very jealous.
351
00:42:48,000 --> 00:42:50,000
Good night, sir.
352
00:42:52,000 --> 00:42:55,400
Up the stairs, through
the drawing room, second door...
353
00:43:01,400 --> 00:43:05,300
- Tristan, you still hate our Felix?
- Yes, Madam.
354
00:43:06,300 --> 00:43:11,700
You should have seen the young
genius I took under my wing,
355
00:43:11,800 --> 00:43:15,800
before I - and my money -
made him world famous.
356
00:43:16,000 --> 00:43:18,300
You still love him, Madam?
357
00:43:18,400 --> 00:43:22,300
Madame Tussauds.
I "am" Madame Tussauds.
358
00:43:22,400 --> 00:43:24,800
At first he was just pleasant.
359
00:43:25,000 --> 00:43:29,000
A young, ugly
and very talented boy.
360
00:43:29,200 --> 00:43:33,300
Pleasant for my body
and my vanity.
361
00:43:34,700 --> 00:43:38,600
One night I heard him whisper
to my maid,
362
00:43:38,700 --> 00:43:40,700
"I'll be right there darling.
363
00:43:40,800 --> 00:43:45,800
"I just have to fulfill my obligations
towards Madame Tussauds."
364
00:43:45,900 --> 00:43:48,500
That night I loved him.
365
00:43:48,600 --> 00:43:50,900
I still love him.
366
00:43:51,000 --> 00:43:53,000
Yes, Madam.
367
00:43:53,100 --> 00:43:55,500
Madame Tussauds.
368
00:43:55,600 --> 00:43:59,700
Founder and proprietor
of a waxworks museum.
369
00:43:59,800 --> 00:44:03,800
He thinks Madame Tussauds herself
is a wax doll.
370
00:44:04,000 --> 00:44:07,400
- He's so very ignorant.
- Yes, Madam.
371
00:44:07,500 --> 00:44:12,200
And Tristan is Tristan.
A sometime great cellist.
372
00:44:14,200 --> 00:44:17,600
Yes, Madam.
I became Tristan,
373
00:44:17,800 --> 00:44:23,400
after the big cello competition
in The Hague thirty-two years ago.
374
00:44:23,600 --> 00:44:29,000
That day he defeated me.
A great cellist, if somewhat nervous.
375
00:44:30,700 --> 00:44:33,700
That night he seduced
my wife.
376
00:44:33,800 --> 00:44:36,400
It was beyond my comprehension.
377
00:44:36,500 --> 00:44:41,200
Something snapped inside me,
as they say in the novels.
378
00:44:42,500 --> 00:44:45,300
My entire existence
had been wrecked,
379
00:44:45,400 --> 00:44:49,700
so I sought him out
- to kill him.
380
00:44:49,800 --> 00:44:53,200
There I stood, trembling
- with a hangover and full of hatred.
381
00:44:53,300 --> 00:44:58,400
"What a state you're in, Tristan.
I believe you're drinking too much.
382
00:44:58,500 --> 00:45:02,400
"If you can stay sober,
you can be my chauffeur."
383
00:45:02,500 --> 00:45:04,800
I accepted.
384
00:45:04,900 --> 00:45:07,200
I became his chauffeur.
385
00:45:08,700 --> 00:45:10,000
Madam?
386
00:45:12,700 --> 00:45:14,800
Good night, Madam.
387
00:45:45,300 --> 00:45:47,300
No.
388
00:45:48,500 --> 00:45:50,700
No.
389
00:45:53,100 --> 00:45:55,200
Bumblebee?
390
00:46:01,300 --> 00:46:04,500
Come now, Cornelius,
time for bed!
391
00:46:04,600 --> 00:46:07,600
Christ almighty, the murderess!
392
00:46:27,100 --> 00:46:29,200
It�s dark here.
393
00:46:33,400 --> 00:46:35,900
The commotion in this house!
394
00:46:36,000 --> 00:46:41,000
My mouth's agape... Rather
unfortunate - I dropped my cigar.
395
00:46:41,200 --> 00:46:43,500
Where did it go?
396
00:46:44,600 --> 00:46:47,000
Where is it?
397
00:46:47,100 --> 00:46:49,400
Here's a match.
398
00:46:59,500 --> 00:47:01,400
A box with letters!
399
00:47:01,500 --> 00:47:08,000
"From Felix to Adelaide, 1912."
400
00:47:13,700 --> 00:47:18,200
"Adelaide, my beloved..."
401
00:47:18,300 --> 00:47:20,900
My God, my God!
402
00:47:21,000 --> 00:47:24,700
"I deceive you and betray you.
403
00:47:24,800 --> 00:47:28,300
"This is inevitable.
But remember this:
404
00:47:28,400 --> 00:47:32,700
"If I ever fail or demean my art...
405
00:47:34,400 --> 00:47:36,900
"you must surely kill me."
406
00:47:39,600 --> 00:47:41,900
Inconceivable.
407
00:47:42,000 --> 00:47:43,500
The lost cigar...
408
00:48:31,400 --> 00:48:36,500
Traviata is out shooting again.
I must speak to Adelaide.
409
00:48:41,100 --> 00:48:43,100
Adelaide, dear!
410
00:48:44,200 --> 00:48:48,700
We have to speak about Traviata.
She is out shooting again.
411
00:48:59,600 --> 00:49:01,600
Preserving the moment for posterity
412
00:49:37,500 --> 00:49:38,900
Fireworks and pandemonium.
413
00:49:50,800 --> 00:49:54,900
- Look, on the balcony!
- Maestro Felix.
414
00:49:55,000 --> 00:49:57,000
- He's waving.
- He's talking.
415
00:49:57,100 --> 00:50:00,200
- What could he be saying?
- "Thanks for your tribute."
416
00:50:00,800 --> 00:50:03,600
He's looking at me...
Look!
417
00:50:03,800 --> 00:50:06,300
He's looking at us.
418
00:50:07,400 --> 00:50:10,000
My beloved Felix.
419
00:50:12,100 --> 00:50:15,800
Adelaide...
The way he's looking at me.
420
00:50:44,900 --> 00:50:48,300
These fireworks should not
be taken symbolically.
421
00:51:04,500 --> 00:51:06,200
Are you alone?
422
00:51:07,500 --> 00:51:10,500
Not any more...
423
00:51:10,600 --> 00:51:12,200
Unfortunately.
424
00:51:12,300 --> 00:51:15,600
I still haven't had a chance
to see the Maestro.
425
00:51:16,500 --> 00:51:21,200
How then can I vouch for the inmost
and utterly personal in my biography?
426
00:51:21,300 --> 00:51:24,600
- You'll have to avoid it.
- Impossible.
427
00:51:24,700 --> 00:51:28,500
- The world has a right to know...
- Does it?
428
00:51:28,600 --> 00:51:33,800
If the worst comes to the worst,
my observations would have to suffice.
429
00:51:35,800 --> 00:51:40,600
With regards to my musical piece,
I demand an answer.
430
00:51:41,600 --> 00:51:47,000
Should he perform it, the word
'generosity' could be considered...
431
00:51:47,100 --> 00:51:49,800
In my biography, that is.
432
00:51:59,200 --> 00:52:03,200
Cornelius, this "inmost and utterly
personal" you mentioned...
433
00:52:03,400 --> 00:52:06,800
- Do you think it's there?
- Naturally.
434
00:52:07,000 --> 00:52:11,000
I don't think I'm going to like
your book, Cornelius.
435
00:52:11,100 --> 00:52:14,300
That will depend on the Maestro.
436
00:52:21,500 --> 00:52:22,700
Sapristi!
437
00:52:22,900 --> 00:52:26,700
- What was that?
- I know how you can contact Felix.
438
00:52:26,800 --> 00:52:29,500
I think we've reached
an understanding.
439
00:52:29,600 --> 00:52:33,000
- As you know, Felix has a weakness.
- Women.
440
00:52:33,200 --> 00:52:36,700
- Doesn't this tell you something?
- A little...
441
00:52:38,100 --> 00:52:42,000
- Why not dress up as a woman?
- You're completely mad.
442
00:52:42,100 --> 00:52:46,000
This "is" a madhouse.
One has to adapt - you too.
443
00:52:46,100 --> 00:52:51,300
Don't worry about your somewhat
virile appearance - he's insatiable.
444
00:52:51,400 --> 00:52:54,000
I'll give him a photograph of you.
445
00:52:54,200 --> 00:52:59,100
I'll tell him that you're desperate
to see him. He won't be able to resist.
446
00:52:59,200 --> 00:53:04,400
- That wouldn't be entirely untrue.
- Come, Cornelius.
447
00:53:04,700 --> 00:53:09,200
- How do I bring up my composition?
- That�s up to you.
448
00:53:20,100 --> 00:53:23,700
There we are.
I'll do some fast developing.
449
00:53:23,800 --> 00:53:27,200
Little Miss Cornelius is having
an acid bath.
450
00:53:27,400 --> 00:53:32,200
- I don't like your turn of expression!
- Lovely hairstyle. Mind if I copy it?
451
00:53:32,300 --> 00:53:35,800
- How can I move around like this?
- We're full of guile.
452
00:53:36,000 --> 00:53:38,800
- What do you think?
- I'm nervous.
453
00:53:39,000 --> 00:53:42,300
- We'll cover you up and guide you.
- I protest!
454
00:53:42,400 --> 00:53:47,000
- You won't even recognize yourself.
- I can't see a damned thing!
455
00:53:52,300 --> 00:53:54,700
Bye-bye, Cornelius.
456
00:53:54,800 --> 00:53:58,700
- What, are we there?
- I have to hand him the photograph.
457
00:53:58,800 --> 00:54:02,400
- Where shall I hide?
- You are hidden.
458
00:54:03,100 --> 00:54:06,400
- You're mocking me, Jilker!
- Me?
459
00:54:06,500 --> 00:54:09,800
- What do I do if someone comes?
- Just stand still.
460
00:54:10,000 --> 00:54:12,500
No one would believe their eyes.
461
00:54:25,700 --> 00:54:28,400
So you want to see
my husband?
462
00:54:29,400 --> 00:54:32,200
The last person I wanted
to be exposed by!
463
00:54:32,300 --> 00:54:36,200
I'll add you to the house list of women
straight away.
464
00:54:36,400 --> 00:54:41,800
This cursed house! No one is
who they say they are.
465
00:54:42,000 --> 00:54:46,300
- Don't rupture Beatrice's dress.
- And these fancy names!
466
00:54:46,400 --> 00:54:49,100
- What's Beatrice's real name?
- Bertha.
467
00:54:49,200 --> 00:54:50,900
- Traviata?
- Hedda.
468
00:54:51,000 --> 00:54:52,700
- Madame Tussauds?
- Jeanette.
469
00:54:52,800 --> 00:54:55,200
- Isolde?
- Lisa.
470
00:54:55,400 --> 00:54:57,800
And Bumblebee is Ingrid.
471
00:54:57,900 --> 00:55:02,400
- And what�s your name?
- My name is... Adelaide.
472
00:55:05,600 --> 00:55:07,700
Adelaide.
473
00:55:08,800 --> 00:55:11,000
My beloved!
474
00:55:18,100 --> 00:55:20,600
Oh, my God! What is that?
475
00:55:28,400 --> 00:55:32,000
Cornelius! Where are you?
476
00:55:32,200 --> 00:55:35,100
- Here.
- Peekaboo!
477
00:55:35,200 --> 00:55:39,000
Can you forgive me?
A terrible mistake...
478
00:55:39,100 --> 00:55:43,600
- Now what?
- I brought both the photographs.
479
00:55:43,800 --> 00:55:48,100
The one of you as a beauty, and
the one where you're a bumblebee.
480
00:55:48,200 --> 00:55:51,800
They are very similar. Do you know
what Felix said?
481
00:55:51,900 --> 00:55:55,100
He'll hand both of them
to your publisher.
482
00:55:55,200 --> 00:56:00,600
They'll be on the cover of your book.
"The critical mission."
483
00:56:00,700 --> 00:56:03,900
- Imagine that.
- Jilker...
484
00:56:05,400 --> 00:56:07,900
Brother.
485
00:56:08,000 --> 00:56:10,300
Friend.
486
00:56:11,100 --> 00:56:14,100
You staged this.
487
00:56:14,200 --> 00:56:17,600
- Me?
- To stop the book.
488
00:56:17,800 --> 00:56:22,300
- I'll kill you!
- Shouldn't you get changed first?
489
00:58:04,400 --> 00:58:08,200
- Are you studying bumblebees?
- No!
490
00:58:08,300 --> 00:58:12,200
- Why are you dressed in this way?
- I don't know!
491
00:58:13,300 --> 00:58:17,000
- Please, Isolde, don't laugh at me.
- Right.
492
00:58:19,200 --> 00:58:21,600
Isolde...
493
00:58:21,800 --> 00:58:26,000
- You know Maestro Felix intimately.
- Me? Oh no.
494
00:58:26,200 --> 00:58:28,500
- But you?
- Oh yes, that.
495
00:58:28,600 --> 00:58:31,400
- But in that case...
- That�s not "knowing" him.
496
00:58:31,600 --> 00:58:34,700
But how "does" one
get to know him?
497
00:58:34,800 --> 00:58:36,900
One can't.
498
00:58:37,000 --> 00:58:40,200
- One can't?
- Many think they know things.
499
00:58:40,300 --> 00:58:45,200
It gives one status to know about him,
because he's such a great cellist.
500
00:58:45,300 --> 00:58:50,500
It�s like knowing how to play oneself.
But no one could, not like him.
501
00:58:51,700 --> 00:58:55,700
- That doesn't mean one couldn't...
- He doesn't know where it originates.
502
00:58:55,800 --> 00:59:00,100
His beautiful music.
He's said so himself.
503
00:59:00,200 --> 00:59:03,200
And his music is all that matters.
504
00:59:03,400 --> 00:59:05,700
One can get to know others.
505
00:59:05,800 --> 00:59:09,700
Of course. Though no one's
interested in their secrets.
506
00:59:11,400 --> 00:59:16,000
"Isolde," he will say. And when I reply,
"Yes, what do you want?"
507
00:59:16,100 --> 00:59:18,800
It�s as if he hasn't noticed.
508
00:59:18,900 --> 00:59:21,600
He's just uttered my name.
509
00:59:21,700 --> 00:59:25,600
Then he utters all the other names
he's made up.
510
00:59:25,800 --> 00:59:28,400
He utters them very slowly.
511
00:59:28,500 --> 00:59:30,400
"Beatrice.
512
00:59:30,500 --> 00:59:32,300
"Traviata.
513
00:59:32,400 --> 00:59:35,400
"Bumblebee. Madame Tussauds."
514
00:59:36,600 --> 00:59:39,100
As if it mattered greatly to him.
515
00:59:39,200 --> 00:59:42,300
I understand.
516
00:59:42,400 --> 00:59:45,300
No, you couldn't understand.
517
00:59:45,400 --> 00:59:49,400
He thinks he's made me up, too.
518
00:59:49,500 --> 00:59:52,000
What imagination!
519
01:00:47,600 --> 01:00:51,400
- Go away! We're having a lesson.
- So I see.
520
01:00:56,300 --> 01:00:58,800
- Still here?
- I want to talk to the Maestro.
521
01:00:59,000 --> 01:01:01,000
Talk away.
522
01:01:02,200 --> 01:01:03,900
Maestro...
523
01:01:04,000 --> 01:01:08,500
I have suffered great humiliation
in the house of Madame Tussauds.
524
01:01:08,600 --> 01:01:13,300
You have shown slight respect for me
as a composer, critic and biographer.
525
01:01:14,400 --> 01:01:17,600
You're impossible!
He's impossible...
526
01:01:17,700 --> 01:01:20,800
You've shown no interest
in your own biography.
527
01:01:20,900 --> 01:01:24,600
Have you ever noticed how soon
instrumentalist�s are forgotten?
528
01:01:24,800 --> 01:01:27,000
No - hold me!
529
01:01:27,300 --> 01:01:30,300
They die. Standards are raised.
530
01:01:30,400 --> 01:01:34,700
New and better virtuosos appear.
Ideals change - you'll be gone.
531
01:01:36,100 --> 01:01:38,500
What's wrong, Felix?
532
01:01:38,700 --> 01:01:41,600
Who identifies what's important?
533
01:01:42,700 --> 01:01:45,600
Who, I ask you...
534
01:01:48,700 --> 01:01:50,600
Who?
535
01:01:51,700 --> 01:01:54,500
The biographer.
536
01:01:54,600 --> 01:01:58,100
A musician without a biography
will be forgotten.
537
01:01:58,400 --> 01:02:00,800
Ouch! Stop pinching me!
538
01:02:01,800 --> 01:02:07,700
No, Maestro, you don't want the book
to be written. And there won't be one.
539
01:02:07,800 --> 01:02:11,200
I won't expose you,
as I exposed Stravinsky.
540
01:02:11,300 --> 01:02:14,300
Not even a bad reputation
will live on.
541
01:02:17,600 --> 01:02:20,500
You're all in a sweat.
542
01:02:21,700 --> 01:02:24,300
Let me tell you the truth.
543
01:02:24,400 --> 01:02:29,600
The instrumentalist who purchases
my biography by performing my work
544
01:02:29,700 --> 01:02:35,000
will be remembered long after
the cellist Felix has been forgotten.
545
01:02:38,600 --> 01:02:40,500
Farewell...
546
01:02:40,600 --> 01:02:42,800
Maestro.
547
01:02:43,800 --> 01:02:46,600
I consign you to oblivion.
548
01:02:47,300 --> 01:02:50,200
Three hours until the concert begins.
549
01:02:51,400 --> 01:02:54,400
Ring, little bell, ring!
550
01:02:54,500 --> 01:02:58,500
So that poor Jilker and Beatrice
can get a programme.
551
01:02:58,600 --> 01:03:02,800
Please, dearest little sweet bell,
ring... Ring!
552
01:03:04,500 --> 01:03:06,600
Ring, damn it!
553
01:03:09,200 --> 01:03:11,500
Who else?
554
01:03:11,700 --> 01:03:14,500
What - you're the angry one here?
555
01:03:14,600 --> 01:03:16,900
Yes, "he's" here.
556
01:03:17,000 --> 01:03:22,400
You've torn up the photos? What
a shame - they were my best ever.
557
01:03:22,500 --> 01:03:24,700
I've kept the negatives.
558
01:03:24,800 --> 01:03:29,000
What - there'll be no book?
I thought not.
559
01:03:30,000 --> 01:03:34,900
The world has a right to know...
So the world has rights, has it?
560
01:03:35,000 --> 01:03:37,900
Discretion? I doubt it.
561
01:03:38,800 --> 01:03:42,500
The programme. At last, some reason
in the madness.
562
01:03:44,100 --> 01:03:47,200
Good! Very good.
563
01:03:48,700 --> 01:03:51,200
Excellent.
564
01:03:51,400 --> 01:03:53,600
Bold.
565
01:03:54,500 --> 01:03:59,600
What was that? 'The Dream
of the Fish', or 'Abstraction No. 14'.
566
01:03:59,700 --> 01:04:02,100
What the hell is that?
567
01:04:04,600 --> 01:04:07,200
You can't be serious?
568
01:04:12,500 --> 01:04:14,500
What?
569
01:04:15,100 --> 01:04:18,600
Are you that concerned about
the bloody book?
570
01:04:19,600 --> 01:04:23,600
If you're that vain, you may as well
play the other thirteen!
571
01:04:23,700 --> 01:04:26,800
'The Dream of the Fish',
or 'Abstraction No. 14',
572
01:04:26,900 --> 01:04:30,400
means there are thirteen other
masterpieces.
573
01:04:30,500 --> 01:04:33,000
Cancel it at once!
574
01:04:34,200 --> 01:04:37,900
What! That's none
of my business?
575
01:04:39,300 --> 01:04:42,100
I hereby tender my resignation.
576
01:04:42,200 --> 01:04:45,400
You said yourself
it�s absolute rubbish.
577
01:04:46,700 --> 01:04:51,200
Felix... your moral decline
is complete.
578
01:04:51,300 --> 01:04:54,400
Get yourself a new impresario.
579
01:05:02,100 --> 01:05:07,000
'The Dream of the Fish',
or 'Abstraction No. 14'.
580
01:05:07,100 --> 01:05:13,500
I assure you - it will be
an altogether dignified biography.
581
01:05:13,600 --> 01:05:17,600
I believe you. Dignity has suffered
a disastrous decline.
582
01:05:23,800 --> 01:05:25,900
The moment draws near.
583
01:06:30,000 --> 01:06:32,700
Oh dear, have you started already?
584
01:07:21,700 --> 01:07:25,200
The Maestro is sitting down,
instrument in hand.
585
01:07:25,300 --> 01:07:28,000
He will play not only
the standard repertoire, but also...
586
01:07:28,100 --> 01:07:32,800
The first piece is entitled 'Abstraction
No. 14', or 'The Dream of the Fish'...
587
01:07:35,300 --> 01:07:39,100
A demonic genius radiates
from his eyes.
588
01:09:47,300 --> 01:09:48,800
He's dead!
589
01:10:39,800 --> 01:10:43,300
Today we have stood
by your open grave,
590
01:10:43,400 --> 01:10:48,000
my great, unparalleled Felix.
591
01:10:48,200 --> 01:10:51,700
Yet we are not filled
with your absence,
592
01:10:51,800 --> 01:10:56,400
but with your presence
- your continued presence.
593
01:10:56,500 --> 01:10:58,900
How alive...
594
01:10:59,000 --> 01:11:03,200
How irreplaceably alive,
here in my house...
595
01:11:04,100 --> 01:11:07,300
Please read it, Mr. Cornelius.
596
01:11:08,700 --> 01:11:13,400
- As you know, I have written...
- We know, we know. Read it!
597
01:11:13,500 --> 01:11:18,800
- My biography of the Maestro...
- 'The Favorite of the Muses'.
598
01:11:19,000 --> 01:11:23,200
I have no title as yet, but a few
suggestions for it.
599
01:11:25,300 --> 01:11:28,000
- My book divides into...
- Read!
600
01:11:29,200 --> 01:11:32,200
Into four main chapters.
601
01:11:33,000 --> 01:11:35,600
- The physical appearance.
- Must be short.
602
01:11:35,700 --> 01:11:38,700
- The inner man.
- Abstraction No. 15...
603
01:11:38,800 --> 01:11:41,500
- His music.
- Must be brief.
604
01:11:41,600 --> 01:11:46,100
Finally, the inmost
and utterly personal.
605
01:11:46,200 --> 01:11:48,700
- I'm speechless.
- Read!
606
01:11:53,900 --> 01:11:57,400
"In external appearance,
the great Corne...
607
01:11:59,200 --> 01:12:03,400
"Felix was a small man."
608
01:12:03,600 --> 01:12:06,100
- He wasn't!
- He was tall.
609
01:12:06,200 --> 01:12:10,500
- That tubby little thing... man?
- Tubby? Little?
610
01:12:10,600 --> 01:12:12,600
He came up to here!
611
01:12:12,800 --> 01:12:17,200
- Yes, with you standing on a chair.
- I should know!
612
01:12:17,300 --> 01:12:21,300
- Felix looked increasingly like Tristan.
- No, the other way round.
613
01:12:21,400 --> 01:12:24,700
- Tristan isn't cross-eyed.
- Neither was Felix.
614
01:12:24,800 --> 01:12:27,600
It was the intensity of his gaze.
615
01:12:27,800 --> 01:12:30,300
- Tristan, look at me!
- Felix isn't Tristan.
616
01:12:30,600 --> 01:12:34,200
- Read another passage!
- I've barely begun the first.
617
01:12:34,400 --> 01:12:36,500
Louder!
618
01:12:36,600 --> 01:12:39,600
"Chapter Two.
619
01:12:42,200 --> 01:12:46,200
"We have in the foregoing heard
about the Maestro's appearance,
620
01:12:46,300 --> 01:12:49,300
"of how his figure and career looked
621
01:12:49,400 --> 01:12:52,700
"to a world of passionately
interested devotees."
622
01:12:53,600 --> 01:12:56,500
- I haven't heard a word about that.
- You stopped me.
623
01:12:56,600 --> 01:12:58,500
Continue!
624
01:12:58,600 --> 01:13:02,400
"But what was the inner man like?
625
01:13:02,600 --> 01:13:06,800
"The inner development?
The generosity of the artist..."
626
01:13:06,900 --> 01:13:09,600
No, he was stingy!
627
01:13:09,700 --> 01:13:14,600
- This concerns the inner, artistic...
- Ask Madame. She paid his way.
628
01:13:14,800 --> 01:13:18,300
- That's dealt with previously.
- Then read it.
629
01:13:19,400 --> 01:13:23,500
He wasn't stingy towards me.
For instance, he gave me...
630
01:13:23,600 --> 01:13:28,600
"Chapter Three. In a long line
of great cellists..."
631
01:13:28,700 --> 01:13:33,200
- No one was equal to Felix.
- I was getting to that!
632
01:13:33,400 --> 01:13:36,200
"In a long line of great cellists..."
633
01:13:36,400 --> 01:13:39,000
"Line"? The nerve.
I won't listen to this!
634
01:13:39,100 --> 01:13:42,100
Read the last chapter,
Mr. Cornelius.
635
01:13:42,200 --> 01:13:46,000
Yes, the one about
the "inmost and utterly personal".
636
01:13:49,200 --> 01:13:52,100
It�s not here! It�s gone!
637
01:13:52,200 --> 01:13:56,200
I've been robbed of the inmost
and utterly personal.
638
01:14:00,900 --> 01:14:04,900
The inmost and utterly personal.
639
01:14:06,600 --> 01:14:09,600
I'm looking for
Mrs. Jeanette Bring.
640
01:14:11,400 --> 01:14:14,600
- That�s me.
- Mr. Jilker said...
641
01:14:14,700 --> 01:14:17,100
I know, my boy.
642
01:14:17,200 --> 01:14:21,200
- You're very talented, I've been told.
- That's true.
643
01:14:21,400 --> 01:14:25,400
Would you like to live here
and let us take care of you?
644
01:14:25,600 --> 01:14:30,000
- I'll get famous, won't I?
- Most certainly, my boy.
645
01:14:31,000 --> 01:14:35,700
May we hear you play now?
What are we waiting for?
646
01:14:50,800 --> 01:14:53,000
A true find, Madame.
647
01:14:53,600 --> 01:14:57,500
- And undoubtedly very poor.
- Oh yes.
648
01:14:57,600 --> 01:14:59,800
That too.
649
01:15:03,100 --> 01:15:05,800
- Well?
- We've met.
650
01:15:06,400 --> 01:15:10,500
- Have you?
- I've just shown him his room.
651
01:15:10,600 --> 01:15:12,500
Already?
652
01:15:48,800 --> 01:15:51,200
He's the great Cornelius.
653
01:15:54,600 --> 01:15:57,200
Carry on, young man.
654
01:16:27,100 --> 01:16:29,600
That's the end of the film.
655
01:16:34,700 --> 01:16:36,000
The End?
50340
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