[projector clicking]
♪ ♪
[waves sloshing]
[seagulls chirping]
-What have you got there? -[gasps]
[laughs]
-I hope you don't mind. I snuck a peek. -No.
-The scene where Adelle confronts Hustings. -Mm.
Right before he ties her to the tree,
and she's sure she's going to die.
Oh, my goodness, the drama.
[chuckles] You like that, do you?
[sighs]
"You don't understand us at all.
"Americans.
"You think because we smile at each other at church on Sundays
"and plant gardens and help each other across the street
"that we're pushovers.
"But we built this place from the ground up.
"This country.
"And there's not one of us who wouldn't give his last breath
"to stop you from harming one branch, one brick,
"one twig of it.
That is who we are, Mr. Hustings."
I'm sorry, I mangled it, I know.
I'll make us some breakfast.
Betsy, would you take this out
and put it in the trunk of my car, please?
Thank you.
BRADY: I was hoping you weren't serious about this.
A painter. Really?
It's for a friend.
Well, that's a relief.
I'm surrounded by too many artists as it is.
You know, Rose, I always thought of you
as more of a people person.
Like you, Pat?
Will you be home for dinner tonight?
I wouldn't wait.
I've got drinks with Sally Sweet's manager.
Not an easy woman, that one.
[quietly]: That's not what I heard.
Have you seen this?
We're developing your anti-fascist picture, aren't we?
Pictures take too long, Daddy. We have to do something now.
-Such as? -Such as...
a relief fund for European Jews.
BRADY: Relief for the Jews.
I need relief fromthe Jews.
What?
Nobody can take a joke anymore?
LANG: We are all refugees
from Europe, gentlemen.
Some of us just got here first.
Monroe?
We're a movie studio.
I think that's enough to keep us busy, don't you?
That's your answer?
What about the fact that you're Jewish?
Get me Sy Green in the music department.
And have some invitations made.
We're throwing a party.
Right away, Mr. Stahr.
[engines revving on-screen]
You took the Nazis' own words
and put them into the mouths of criminals and madmen.
Your idea for "Enemy Among Us."
Goebbels banned my film, but... but he can't ban ours.
It's not enough.
Movies are not enough.
LANG: Next weekend, there will be a dinner
at the home of Salka Viertel.
There will be like-minded people there.
Artists, émigrés from Central Europe.
-[train whistle blows] -[bell chiming]
You should come.
Fair warning: it's three minutes to my close-up.
You're easy to light.
The glow from within.
[laughs]
Oh, Pat. Don't tell me.
Yesterday's rushes were the best so far.
If you're tired of the same good news every day, how about this:
I got five more scripts sitting on my desk,
every bit as good, waiting for you.
Minna Davis's unfinished library.
You'll make them your own, just like you did this one.
Let's just get this one in the can first,
and then we'll talk.
I already know everything I need to know.
I want Brady-American to be your home.
[laughs softly]
You want to lock me up?
In a golden cage.
Of your own design.
[laughs]
[sighs]
I got a message you needed to see me.
I've got a tour starting in ten minutes.
Well, you won't be late.
I want to test you for Adelle.
You were meant to play her.
Trust me. After I heard you read this morning...
One speech, on a lounge chair.
I know what I heard.
I'm not an actress.
I think you are.
-You see how much I believe in you? -[laughs softly]
You're very sweet.
And I'm glad that you love me, but this is delusional.
I'd have that destroyed if I were you.
People might lose faith in your judgment.
I'll see you later.
It's quiet here at lunchtime.
CELIA: Why does he want it? It's not ready.
We haven't finished the latest set of notes.
I'm just the messenger. Please don't shoot.
Okay, messenger, but tell him no more notes until I say so.
See ya.
Is there something else?
You want to go riding with me?
-What? -I had this idea
you might like to ride horses with me.
Unless you don't like horses, 'cause I love horses,
and I haven't ridden since I was in Oklahoma.
So I thought...
Is this a date?
What?
No-- well, calling it a date might...
Besides, I can't afford an actual date right now,
with food and things like that.
Maybe Saturday?
I know I'm not much of a catch.
-Max. -It's just lately,
you seem to be showing some interest in those of us
from the wrong side of the tracks.
Unless that was just research.
Oh, I'm sorry. Are... are you asking me out or insulting me?
Both.
Definitely both.
[chuckles softly]
Well, I'm busy on Saturday.
Otherwise, it was a very sweet offer.
And I do like horses.
Cowboy.
Tell the caterers we'll be 40, at least.
The usual guest list.
And I'll take a look at the menu tomorrow.
Would you like me to arrange for entertainment?
That won't be necessary.
[door closes]
KATHLEEN: You have to be honest with me.
Was that idea for you or for me?
Why would it be for me?
Because I'm just a tour guide.
I'm afraid that you can't love someone
unless the whole world loves her with you.
Is that really what you think?
I'm asking you.
All day long, I am surrounded by people
who want to be more than what they are.
Actors who want to be directors,
directors who want to be producers.
You're the only one I know who wants to be less.
You have this--
I-I don't have the word for it-- this... light
inside you.
Hidden.
But I can see it.
I can.
That's my talent.
It may be my only talent.
So, you can hate me for saying this,
but... to stay a tour guide and tell someone else's stories
when someone else should be telling stories about you...
We live a short time, Kathleen.
And what would happen?
I mean...
who would direct the screen test?
I would.
For now, you're my secret.
He said I have something.
-Your drama teacher? -Mm-hmm.
-Said you have something? -Yes.
I think he meant cooties.
-Shut up, Nathan. -What do you have?
Possibilities, to stand out.
So, I-I was thinking,
if you could introduce me to a producer on the lot.
Like what happened to Lana.
Okay.
Okay, uh, I could think about that.
I might just have to work a little bit longer first.
I'd need to get photographs.
-But they want a picture of you that they can keep. -Mm-mm.
-We can't afford that. -Well, you borrowed money
-to get a new suit. -That's different.
No, it isn't.
And you're planning these dates with Celia.
That costs money.
Being a movie star is pie in the sky.
You and the boss's daughter is pie in the sky.
I didn't walk all the way from Oklahoma just for this.
Just so you know.
♪ ♪
Ah.
Guten Morgen.
Mein name ist Monroe Stahr.
Leopold Ferber, Mr. Stahr.
I-I speak English. I-I try.
I am the konzertmeister of the orchestra.
Ah, welcome to Brady-American, Mr. Ferber.
-[clears throat] Guten Morgen. -MAN: Hello.
Willkommen.
Hallo.
[Stahr continues speaking German]
Guten Morgen.
[orchestral music plays]
Fantastic. Let's roll that back.
"Angels on the Avenue," cue number one.
[orchestral music continues]
Our weekly meeting?
I waited in your office for half an hour.
Sounds like my mistake.
I read the latest set of drafts
and left my notes for your secretary.
I have to commend you.
The Vienna National Orchestra
has always been my personal favorite.
But that's quite an expense,
traveling an entire orchestra across an ocean.
They were playing in Chicago.
I arranged for them to extend their stay.
We Germanic peoples do have a certain knack for Romanticism.
I somehow doubt that's how you're going to be remembered.
Star that one.
♪ ♪
[indistinct chatter in German]
Hello.
Do you speak English?
Ein bisschen.
A little.
I studied in school.
I'm Aubrey Hackett.
Hannah Taub.
Yeah, I-I'm one of the writers.
Hmm.
Did you write this movie?
No.
Nice to meet you, anyway.
Are you excited... to be in Hollywood?
What?
Hollywood. Are you...
-Are you excited? -I'm a musician.
Vienna is the capital of music.
So now I am in your capital.
I would prefer to be home.
Well, we do have Schoenberg now, you know.
GYSSLING: Leo?
Georg. How strange.
Suddenly I'm back at the candy store
on the Fremenstrasse, on the way to school.
You wouldn't think we could recognize each other.
After all these years.
You work for the Reich?
I represent the Furer in Hollywood.
It's good we meet in America, then.
Here we can still speak.
I would say once friends, always friends, but...
Friends look backward.
We only look forward.
"Not a love seat.
-I am not the queen of..." -[Lucille clears throat]
Now you're spoiling me.
From Mr. Brady.
Hmm. "Dear Margo,
now you can have your cake and eat it, too."
Manipulative little bastard.
What?
That man would do anything for you.
And his partner will make a better actress
out of you, in better pictures.
Nowhere else offers that.
[sighs]: Whew.
You look tired.
I'm fine.
[knock on door]
-MAN: Makeup's ready for you, Miss Taft. -Oh.
Lucille, will you find an icebox for the pie
-and take these to wardrobe? -Yes, ma'am.
[Lucille chuckles]
Ready.
[women laughing]
Yes, I love that.
[women gasping]
-Anyone see what happened? -No, she just fell.
Did she faint?
I think she might be dead.
[sobbing]
I can leave you alone.
No one even told me.
They put her body in an icebox.
They took her to the morgue and left me here working,
like I wouldn't want to be disturbed!
I need to see her again.
[sobbing softly]
She was wonderful.
Kind and... gentle.
-And smart. -Yes.
And, forgive me if I'm wrong, but...
...she wasn't your maid, was she, Margo?
Justyour maid?
Yes. She was my maid.
-She was just... She was just... -It's okay. It's okay.
-It's safe with me. -[sobbing]
Tell me about your mother.
[sniffling]
My mother?
My mother was a lion.
She was a lion, Mr. Stahr.
She gave her whole life to me.
[sniffles]
She was the daughter of a slave.
I am...
[sniffles]
I am the granddaughter of a slave.
[whispers]: But you mustn't tell anyone that.
No. Of course not.
N-No one. You must promise me.
-Of course not. -You promise me. It would ruin me.
There would be people who would be so angered,
they would try to hurt me.
It's a secret.
It stays a secret.
[Margo sniffling]
Look what Lucille made.
In one generation.
-Margo Taft. -[chuckles]
I mean, isn't that something?
How far she came?
Yes, yes. Maybe.
But her-her entire life, she was, she was invisible.
None of you ever looked at her and thought,
"This is Lucille.
"Lucille, who is special,
who is unlike anyone else who has ever lived."
You just... looked at her like she was one of the coloreds.
So, yes, she came very far...
and yet nowhere at all.
[music playing quietly over radio]
-Hello. -Hallo.
Good evening.
Hi.
-Comfortable? -Ja.
Good.
[clears throat]
Uh, sorry.
Um...
I wanted to come visit you all sooner,
but it's been a busy day.
Busier than I expected.
All of this was planned so suddenly,
there was no way to secure proper lodging
for so many of you.
But it's only for a few days, and the food on the lot is good.
[people chuckle]
Anything we can do to make you feel more at home, we will.
Sleep well.
[people murmur quietly]
Vu iz dos botsimer?
Oh. Uh, it's out the back.
Men's on this side, women's on the other.
Danke.
[man coughs]
[Hannah speaking Hebrew quietly]
Kaddish?
For my parents.
When did you lose them?
My father died in the World War.
My mother from the influenza.
I was raised by nuns.
Jewish nuns?
They were very kind.
They raised me as my parents would have.
How did you know the Kaddish?
-Jewish. -"Monroe Stahr"?
No. [clears throat]
Born Milton Sternberg.
I know why some of us must,
but what are you hiding from?
Shlof gezunt.
BRADY [voice-over]: You shut down"Her Royal Shyness"?
For one day.
For Margo.
So she can visit the morgue.
You just bought me an orchestra from Europe.
You have any idea how much this is gonna cost me?
Because of her maid?
Something you should know.
Wanted to take a moment for us all to mourn...
as a family.
Pictures are made by people, after all.
And it is the people who matter.
So while we can't bring back our beloved Lucille...
...we can remember her.
And what she meant to Margo.
Thank you very much.
Thanks for coming.
[quietly]: I'll remember this.
You are good.
Flowers, jewelry, minks.
Anyone could woo them that way.
But a memorial for a maid.
That's me. I'm all about closing the deal.
Say, Monroe, you do throw the greatest parties,
but this one seemed sort of spur of the moment.
What's the occasion?
It's not just movie stars who need taking care of, Pat.
See you tonight.
Oh, you poor dear.
We're lost without them, aren't we?
We are.
I have a wonderful girl, with a sister.
They're from somewhere in Georgia, I think.
She will make your whole house sparkle.
-Thank you. -Oh.
I mean sparkle, really.
So...
STAHR: All right.
Take a big breath with me.
[both breathe deeply]
Now, ignore everything around you.
All the noise.
It's just you and the camera.
You barely have to do a thing, I promise.
The camera will see it all.
Just your face.
This face.
So be who you are.
-This is not who I am. -But today it is.
Today you are Adelle in the world of this scene.
You can do that.
[bell rings]
Soften that light, Charlie.
Max, tilt that top light down.
When you're ready.
[instruments warming up]
Make sure everyone has a drink,
and come find me if there are any problems.
[knock on door]
Our first guests.
Wait till they see you on screen.
[chuckles]
You really should let them in. It is cold outside.
Ah, hello, Virginia.
Darryl, how are you? Come in out of the cold.
Get yourself a drink.
-[orchestral music playing] -[lively chatter]
And again. [clears throat]
♪ ♪
Do you mind terribly if I pass up soda pop
and go for the bubbly?
I could use some anesthesia right now.
Mother and daughter.
Case of the Monroes.
You?
What?
[chuckles]: No.
No, just general ennui.
Parties always make you feel worse in the end.
I wonder why that is.
Courage.
I'm off to mingle.
♪ ♪
KATHLEEN: It's good to see you.
I'll be right back.
How have you been?
Enjoy the party.
Bye.
What you have is mystery.
What?
-No one knows anything about you. -[chuckles]
You just popped up. [chuckles]
-Like most people in this city. -Mm.
At one point or another.
Like you, I imagine.
Mm.
What is it you'd like to know?
Your secret.
Oh!
Sorry.
Oh, your shoe. Oh, shit.
Don't worry, I'll get some napkins.
[quietly]: Rose.
[whispering]: What?
What? It was an accident.
You can't blame someone for an accident.
Why are we whispering?
I don't want to make a scene.
Good idea.
We should go upstairs, you and me.
We can finish up there.
I'm not going upstairs.
She's lovely.
Do you know how much that hurts me?
Rose.
What? I miss you all the time.
Don't you ever miss me?
I missed Minna.
You got me through it, and I will always owe you for that.
Yes, you will.
What are you doing?
-Are you threatening me? -No.
I'm begging you.
Lots of men have more than one woman.
Look at my husband.
Why not you?
No secrets, you two.
It's time to rejoin the party.
You're right, Jack.
You are right.
Hey, give us a minute, will you?
WARNER: Hmm.
I'm sorry I was the first one of us
-to find happiness. -[sighs]
Well, I didn't even have to look; I already had it.
[whispering]: I'm in love, Rose.
What can I do?
-Napkins. -Thank you.
Thank you.
-You all right? -Yes.
These parties are insufferable, aren't they?
Ja.
I much prefer your friend Salka and the others.
We will go back there again.
Perhaps next week?
I-I'd like that.
What did Salka mean when she said that I was young,
even for you?
I'm 19, nearly 20.
I'm-I'm not that young.
No.
You're very old.
Are you a virgin?
Of course.
Got a minute, Pat?
Sorry, Bess.
Excuse me.
Uh, I think Rose may be ready to call it a night.
Oh. Good 'cause I'm doing wonderfully with Bess.
You don't want to turn into a cliché, do you?
Depends on what cliché you're talking about.
He's over there.
All right, time to go to work.
Help me, Pat.
Your wife.
Rose.
Never in public, Pat.
Wasn't that our agreement?
I'll have Henry drive you home.
Do you trust me?
Sex isn't sex...
unless it is a little bit dangerous.
I don't understand.
I will bind your hands and cover your eyes.
No, I want to be able to see.
Just relinquish control to me.
-But I... -Don't be upset.
Fetishes are very natural things.
Oh.
But I'm not like that.
You don't know unless you try.
Just try.
Fear excites me.
Perhaps it will heighten things for you, too.
What? Stop.
What?
I don't, I don't...
I don't want that.
What?
I-I thought that y-you...
You thought I was what?
Safe? Normal?
Heroic.
[chuckles]
Knocked off my pedestal, am I?
Heroic?
You don't know what that means.
I think I do.
I know what it's not, anyway.
You Americans think people need to be good to be great.
Goodness is nothing.
There are millions of good, useless people in the world,
millions of good Germans, I promise you.
Being brave, that's what matters.
And brave people can be shits undperverts, just like me.
♪ ♪
A million people read this in Los Angeles alone.
And that's why we're all here?
What do you want us to do about it?
Say no.
To Gyssling, to the Germans.
Or at some point, we won't be answering to our investors,
we'll have to answer to history.
If we create a relief fund,
it's Jew industrialists running the world.
-Mm-hmm. -If we make anti-Nazi movies,
it's Jewish propaganda.
Either way, we're playing into the hands of the enemy.
That's a little easy, don't you think, L.B.?
You're not a Jew, Pat.
So...
we're suggesting I take on Germany?
Just me, hmm?
Lose all that revenue
with no thanks from you but a-a pat on the back.
Well, thanks, anyway.
And screw all of you.
[chuckles]
History doesn't pay my salary.
On the other hand, we all-- all--
have stockholders that we have to answer to.
Monroe, lovely party. Thank you very much.
♪ ♪
I'd be happy to offer myself as your private tour guide.
We leave for Vienna tomorrow afternoon.
What, you do?
I didn't realize it.
Yes.
So, what would be the point of getting attached?
Getting attached is the only point, if you ask me.
How did it go?
[sighs]
Maybe no one saves anyone.
Well, that didn't take long.
Oh, Monroe wanted to talk about Germany.
Bad timing.
There's still a depression.
Didn't you have your fill of that at the party?
You know, I had the perfect moment with Mayer
as we were walking out... [chuckles]
...about Margo Taft.
Left him speechless.
Tell it to Bess Burrows.
I'm not interested.
No?
You and Mayer humiliate your wives.
You fuck the women who work for you,
and pretend they want you, and then cower to the Nazis.
[laughs]: Then you argue with each other
about who's the bigger man.
Spare me.
Is that really what you think of me?
Isn't that who you are, Pat?
[clears throat] Excuse me.
Can I have a moment of your time?
Uh, I want to thank you for coming all this way,
for your wonderful work on our movie.
You're all going home tomorrow, and I know that it's a trip
back to a continent that is full of risks for some of you.
I want to offer an alternative to as many as are amenable.
It's the reason I brought you here in the first place,
not because I couldn't find musicians in Los Angeles,
but because I'm afraid of where Europe is heading.
I hired you so that I can help you.
Stay here with us.
Don't go back.
We'll find work for you,
places to live for all of you, if you're willing.
But, Mr. Stahr,
many of us have families.
I have a wife and three children, young children,
in Vienna.
I know these are all difficult choices.
Perhaps they can come, too.
We'll find a way.
But if you don't?
If you cannot?
I understand.
Think about it, at least.
We only make movies, huh?
[violin playing "Violin Concerto in E minor, Op. 64"]
♪ ♪
You are here late.
I had to watch the cut of a picture.
There was nothing objectionable about it,
except maybe the length.
Mendelssohn was a Jew, no?
He was.
Play it again.
That passage always makes me weep.
♪ ♪
BRADY [voice-over]: I've had as many surprises
as I can take in one week, Monroe.
What's this all about?
Is this about last night? About the musicians?
Just watch. And don't worry about the accent.
Odelle will take care of that.
Just... look at the face.
Roll it, Pete.
[sighs]
[projector clicking]
You have to listen to me.
He's not who he says he is.
The professor and his friends, none of them are.
It's all a terrible act.
We're in danger.
We're in great danger.
Please, say you believe me.
-[whispers]: Monroe. -I know.
KATHLEEN: I lost a job because of it.
But this time, I swear, it's all true.
The clattering sound you hear
is the click of typewriter keys on paper.
This building is where Brady-American writers come
to turn real life into fantasy, and fantasy...
I'm here on a condolence call for Margo.
-Aw. -[Mayer chuckles]
I don't believe you.
[Mayer chuckles]
Well, maybe not just that.
Uh, there is a small problem.
But I'm sure that if we put our heads together...
What is it, L.B.?
Well, it turns out Louella Parsons
has gotten ahold of a story-- a very damaging story--
about Margo and her maid.
It's a career-altering story, I would say.
From whom?
Uh, Louella never tells.
Somebody from long ago who became indiscreet
after the woman died.
Is it true?
Don't ask her that.
Fine.
Just that Louella wants to publish.
[chuckles]: And you know Louella.
Luckily, I have a particular relationship with her.
The one person who could convince her not to.
[sighs] Thank you, L.B.
Thank you, L.B.
Oh, that's not how you thank me, Pat.
If you've already drafted your agreement,
will you send it to my legal department?
It'll save my lawyers some trouble.
Son of a bitch.
MAYER: I will expect you
on the MGM lot once you've wrapped "Shyness."
Margo?
What if I just say no?
The hell with him. I am sick and tired of being afraid.
Let him do what he's gonna do.
I have a better idea.
You go be the biggest star in the world.
Show 'em all.
[softly]: Right. Yes.
We still have "Shyness."
We'll make a good picture with that one.
Fuck Louie Mayer.
Fuck Louie Mayer. [laughs]
And Louella Parsons.
Nobody can hold a candle to you.
[sighs]
You know what's funny about you, Pat?
Everyone in this business has two faces.
Most people, they put their best one forward
and they hide their worst.
But you, you put on a gruff face...
and you hide your heart.
-It'll have to be our secret. -[chuckles]
[sighs]
Thank you.
♪ ♪
How many are staying?
I don't know.
No one speaks of it out loud.
How about you?
Are you staying?
Look, home isn't so safe anymore.
-We all understand that. -Okay, then.
But it is home, and this is not.
After my parents died,
my nightmares were of being all alone.
Not all of us will find someone.
Being attached is the only thing that matters.
Or so I've been told.
♪ ♪
Am I mistaken,
or does it seem that there are fewer members
of the orchestra now than when they first arrived?
Is that so? I wasn't counting.
Leo. What are you doing?
I'm getting on my bus, Georg.
Don't.
Don't get on the bus, Leo.
I'm going home.
We both know how cold it can be in Vienna.
Some time in the ocean air might do you good.
There's no rush to get home, old friend.
My life is there.
Mein ganzes leben.
Leo, you're not hearing.
I am no different from other Jews.
You just know me.
[engine starts]
♪ ♪
I'll see you next week.
Uh, Mr. Dummit, um...
I was wondering if maybe we could borrow
just a little bit more.
There are some unexpected expenses.
Clapboard?
Photography.
DUMMIT: Your choice.
A good client like you. Come by my office tomorrow.
Okay.
Who was that?
What are you doing here? [chuckles]
And don't say you were in the neighborhood.
No. I made a special trip.
Is that "absolutely not a date" offer still good?
So, none of the better options panned out, huh?
Exactly.
Come in, come in.
Yeah, the, uh, place still needs
a bit of work to be done, you know.
No. It's wonderful.
You've made a home.
This is, uh, uh, my sister Darla.
This is my brother Nathan.
This is, this is Celia.
Do you like, uh, do you like bread and, uh, and soup?
I love them.
Great, okay. Well, uh, yeah, sit here.
Okay.
Let's see here.
Oop, I took yours.
-[chuckles] -Okay, yeah, thank you.
Dig in.
How is it?
CELIA: It's really good.
It's the best meal I've ever had.
I was born around the corner from here.
We lived on Hester, until my father moved us to the Bronx.
Took him seven years to save up enough to do that.
A candle?
That's for him.
It's a thing Jewish people do for the dead.
I haven't lit one in a long time.
[sighs] You've never talked about him.
Your father.
Mm. Mm.
[sighs]
Morris Sternberg.
The man whose name I discarded.
He made shirt collars.
He was a collar man.
We didn't have much to say to each other.
He didn't have much to say to anyone.
I don't think anything I did ever made him happy.
Why all this now?
[sighs]
These... these musicians
and... Hannah Taub.
Margo Taft.
We've all traveled a long way to get here.
I ran away.
But home comes with you.
I'm the son of a shirtmaker.
The grandson of peasants from outside Kiev.
Still.
Always.
You asked me if I could love the tour guide.
I love Kathleen Moore.
The girl from Rathgar.
I love the you that's you wherever you go
and whatever you do.
But I still want things to change for you.
That's why people come here.
It always has been.
♪ ♪
[softly]: Yeah.
That's why I came.
♪ Oh, every time it rains ♪
♪ It rains pennies from heaven... ♪
Oh, you've done this before.
Things were good in Vienna before they were bad, you know.
So now I am your project?
I... well, I... feel responsible.
We brought you out of the darkness of Europe,
and I want this place to be...
better for you.
Well, in my experience,
we bring the darkness with us, Mr. Hackett.
♪ Sunshine and flowers ♪
♪ If you want the things you love ♪
♪ You must have showers... ♪
♪ ♪
Rose.
I'm very sorry.
[Stahr praying in Hebrew]
Amen.
[cello playing "Violin Concerto in E minor, Op. 64"]
♪ ♪ laying "Violin Concerto in E minor, Op. 64"]