Country Concert Full Movie (English Subtitles)
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Short filmTranscript
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00:04:52This will be your last time, okay?
00:05:04Major Eleuterio and I are now responsible for you.
00:05:09Don't betray our trust.
00:05:12You know I'm a man of my word.
00:05:15But...
00:05:16What is this man of mine?
00:05:18Forming an orchestra.
00:05:19I like the idea.
00:05:21It's the biggest dream of my life.
00:05:24Major Eleuterio is a rigorous man, but he's fair.
00:05:28Treat him with a lot of respect.
00:05:31One more thing.
00:05:32Forget the women in your house.
00:05:36All of them.
00:05:38Do you give me your word?
00:05:40It's yours, sir.
00:05:41Thank you.
00:05:48Thank you.
00:06:19Ma'am!
00:06:20Ma'am!
00:06:21Easy, girl.
00:06:22Easy.
00:06:23A man came down the river, ma'am.
00:06:26It must be the conductor.
00:06:28If that's what I'm thinking, you should stay away from him.
00:06:32Why?
00:06:33They say he was in jail and your father got him out of there.
00:06:38What did he do?
00:06:40I don't know.
00:06:41But the good thing is, he didn't.
00:06:45The good thing is, he didn't.
00:07:04Figaro says you're from Bahia, right?
00:07:06That's right, sir.
00:07:07You know the saying, don't you?
00:07:09What?
00:07:10Bahiano, Cavalo Tubiano, Castellano,
00:07:12only good people are born by mistake.
00:07:17It's not your case, don't expect it.
00:07:20Well, then, maestro, here are your rooms.
00:07:25And with what musicians will I form this orchestra?
00:07:29You'll find out soon enough.
00:07:31Come.
00:07:41Here are the instruments.
00:07:43They came straight from Montevideo by cart.
00:07:46I paid more than 180 bois for them.
00:07:50I hope now you show that all this was worth it.
00:07:54I'll do my best, Major.
00:07:56Well, two things.
00:07:58Severity and virtue.
00:08:00Severity to straighten out these degenerates
00:08:03who live here with me,
00:08:05and who think they're better than me.
00:08:08And who think they're musicians.
00:08:11Virtue to save the choir, understand?
00:08:38Water.
00:09:09Ah.
00:09:16Uh.
00:09:21Ah.
00:09:39Vamos, em pé. Todos em pé.
00:09:43Maestro, estes são teus músicos.
00:09:49Escutem bem.
00:09:51Este é o maestro.
00:09:53Ele é um grande músico.
00:09:55Ele veio de longe.
00:09:57Ele vai se encarregar da disciplina
00:09:59e fazer vocês tocar direito.
00:10:01Entenderam?
00:10:04Bueno, maestro.
00:10:06Te deixo no comando da indiada.
00:10:08Mas, senhor, alguns sequer podem manter-se em pé.
00:10:11Certo, certo.
00:10:13Tu vais fazê-los andar direito.
00:10:15Isso é impossÃvel.
00:10:16Como posso com essa gente
00:10:17formar uma orquestra como o senhor quer?
00:10:19Escuta aqui.
00:10:20Quando eu cheguei aqui,
00:10:22não tinha nada desta charqueada,
00:10:24não tinha nada desses gados,
00:10:26não tinha nada desses escravos.
00:10:28Sabe como que eu consegui tudo isso?
00:10:30Com trabalho.
00:10:32Com trabalho, com disciplina.
00:10:34E usando o relho às vezes, quando foi preciso.
00:10:38Vai trabalhar, maestro.
00:10:45Que ideia é essa do teu pai
00:10:47colocar esse homem nessa casa?
00:10:53E as roupas que usa?
00:10:55Parece um mariquita.
00:10:58Ele faz muito barulho?
00:11:00Eu acho que devias trocar de quarto.
00:11:03Eu?
00:11:04Trocar de quarto?
00:11:06Nem pensar.
00:11:08Sou a filha do dono da casa.
00:11:10E se alguém tem que trocar, é ele.
00:11:13Mas não se escuta nada, mãe.
00:11:28O senhor não disse que sabia tocar a tchacona de Bach?
00:11:32Essa é a parte que eu sei.
00:11:38É o seguinte...
00:11:49Nome?
00:11:50Como?
00:11:52Como se chama?
00:11:53Ah, Trindade.
00:11:55Desculpe, eu sou meio surdo neste ouvido.
00:11:59Muito bem, então toque.
00:12:09Basta, basta!
00:12:12O seguinte...
00:12:25O senhor tem cara de músico.
00:12:56Quantas vieram?
00:12:58Umas quarenta.
00:13:00Não sei ao certo.
00:13:01Quarenta e três, patrão.
00:13:03Quarenta e três, Silvestre.
00:13:05Assim, o barão dos três rios,
00:13:08ele se levanta da cama e te tira da administração.
00:13:11Cuidado.
00:13:12Ora, major,
00:13:13negócio com o senhor, eu nem me preocupo.
00:13:19Seu tio barão ainda tá de cama?
00:13:22Já nem levanta mais.
00:13:24Do jeito que tá, não vai cruzar o inverno.
00:13:27Triste.
00:13:28É verdade o que estão dizendo?
00:13:30O que estão dizendo?
00:13:31O senhor está formando uma orquestra.
00:13:33É verdade, eu quero trazer um pouco de civilização para essas terras.
00:13:36Ah, bom.
00:13:37Estão dizendo também que o senhor está ficando louco, major.
00:13:40É?
00:13:41Eles vão ver quem é que tá ficando louco com o tempo.
00:13:43Eles vão ver.
00:13:44E Clara Vitória?
00:13:45Tá bem, tá em casa.
00:13:46Vamos passar para o almoço e tu fala com ela lá.
00:13:53Hum...
00:13:55Isto não é para comer ainda.
00:13:57Nossa, e por que tanto alvoroço?
00:13:59O Silvestre veio almoçar aqui em casa.
00:14:02Veio trazer um gado para o teu pai.
00:14:04O Silvestre é muito chato.
00:14:06Graças a Deus dele não ter se casado ainda.
00:14:09É o melhor partido dessas bandas.
00:14:11Dona BrÃgida tem toda a razão.
00:14:13E tu devias aprender a cozinhar.
00:14:15Vai que outra se adianta e casa com ele.
00:14:18Por mim?
00:14:19Eu acho que a Clara e o Silvestre nasceram um para o outro.
00:14:22Te lembra, filha?
00:14:24Quando vocês brincavam no potrer?
00:14:26Ai, mãe, não vai contar tudo de novo?
00:14:35Dona BrÃgida, com licença.
00:14:37O major tá em casa?
00:14:39Não.
00:14:40O que aconteceu?
00:14:41Fugiram dois escravos.
00:14:43Bandearam o arroz e se foram.
00:14:45E esse ordinário do João Cunha?
00:14:48O ordinário do João Congo tá metido nisso.
00:14:51Mas se faz de tonto.
00:14:54O major não está.
00:14:56Quando ele chegar eu conto pra ele.
00:14:58Não é preciso.
00:15:05O que Salvador falou é verdade, João?
00:15:08Fala! Perdeu a lÃngua?
00:15:11Amarre esse negro no tronco!
00:15:18Clara Vitória, pra dentro!
00:15:23Vamos ver se esse negro fala ou não fala.
00:15:35Os tempos são outros, major. É preciso progredir.
00:15:38Está cada vez mais difÃcil conseguir bons escravos.
00:15:41Tens razão.
00:15:43O almoço estava excelente, minha senhora.
00:15:45Gostou?
00:15:47The dessert was made by Clara Vitória.
00:15:51I can't believe it.
00:15:53Why can't you believe it?
00:15:56It's very tasty.
00:16:03Let's go crazy for this shit of musicians.
00:16:06Mother!
00:16:07Start thinking you're right when people say I'm crazy.
00:16:11Then send them away at once.
00:16:14The door of the street is the servant of the house.
00:16:17Let's take a walk, Silvestre.
00:16:20Excuse me.
00:16:26Maestro!
00:16:31Silvestre, this is the maestro.
00:16:34He's the man who's trying to make this flute play well.
00:16:37Apparently, there's a long way to go.
00:16:39I'm in no hurry, Silvestre.
00:16:41Patience is a virtue.
00:16:43There's no doubt that you'll have to be very patient, major.
00:16:47Excuse me, major.
00:16:48Go, boy. Go with your musicians.
00:16:54No one with a sense of judgment could imagine
00:16:57that an orchestra can be formed with musicians like you.
00:17:03You want to know.
00:17:05I don't even believe it.
00:17:08But if we're here, it's because they probably don't want us anywhere else.
00:17:14And I'm going to tell you.
00:17:17We're going to form an orchestra even if our hands bleed.
00:17:21Even if we go deaf and go crazy.
00:17:25And you know why?
00:17:28Because playing in this orchestra is all we have left.
00:17:38When we're done, you'll know how to play as well as you know how to pronounce your names.
00:17:44Even if we have to stay here all year.
00:17:49Now, take your scores.
00:17:57Josef Heinden.
00:18:07Sigh.
00:18:17Shit.
00:18:19This is worse than I thought.
00:18:23Ouch!
00:18:28I can't deal with this hell.
00:18:38I want to see these pots shining right now.
00:18:46If you don't mind, I could send these women somewhere else.
00:18:50The housework won't stop because of you.
00:18:53As you wish, miss.
00:19:08THE END
00:19:21So, Major, how is our teacher behaving?
00:19:25Baby, she's doing very well.
00:19:28I'm not very satisfied.
00:19:31It looks like she has to rehearse in a shed.
00:19:34There, of course, there are certain things that disturb the musicians.
00:19:39She asked for your permission to rehearse in the chapel.
00:19:42What? Rehearse in the church?
00:19:44Isn't that a sin?
00:19:45No, it's common in Spain.
00:19:48In the churches in Minas, the music is divine, Major.
00:19:53Well, if that's what you think, all right.
00:19:55I just want them to play as well as I used to play the Indians.
00:19:58You need to calm down.
00:20:00Chroma wasn't made in one day.
00:20:02I trust the teacher's ability.
00:20:04But you need to be calm.
00:20:08Major, I've been thinking of a name for the orchestra.
00:20:11A name for what?
00:20:12What do you mean, for what?
00:20:13Every orchestra has a name.
00:20:15Well, then...
00:20:16Orquestra São Eleutério.
00:20:19It's my saint, isn't it?
00:20:20Yes, São Eleutério.
00:20:21It's a beautiful name.
00:20:23But even if it's not the case,
00:20:25they can accuse you of committing the sin of vanity.
00:20:29No, no, no.
00:20:30It's not vanity.
00:20:31No, let's make a deal.
00:20:33Today is...
00:20:34What day is it today?
00:20:36It's...
00:20:38Santa CecÃlia.
00:20:41Orquestra Santa CecÃlia?
00:20:42The patroness of music!
00:20:44Really?
00:20:45It's true!
00:20:46All right, I just want them to play very well.
00:20:48And they will play.
00:20:49They will play.
00:20:50So it's decided.
00:20:52From now on, the Orquestra Santa CecÃlia is born.
00:21:01It's one of the black men who ran away, Major.
00:21:04He didn't want to stop when we found him unhappy,
00:21:07so we had to shoot him.
00:21:09You did well.
00:22:02Did you see this man?
00:22:04Do you want to end up like him?
00:22:06Maestro, we are musicians, not slaves.
00:22:10Musicians?
00:22:12You are trash.
00:22:14Scum.
00:22:16And if this continues,
00:22:18if the orchestra doesn't play properly,
00:22:20your situation will be worse than theirs.
00:22:26They will eat what?
00:22:29They will eat what?
00:22:31Until when do you think Major will keep us here?
00:22:35We will rehearse until sunset.
00:22:38We will enter at night, at dawn if necessary.
00:22:41We will rehearse the candlelight of Candinheiro.
00:22:44The dark ones!
00:22:46We will rehearse until it sounds like it has to sweat.
00:22:50Understood?
00:22:59THE CANDLELIGHT OF CANDINHEIRO
00:23:29THE CANDLELIGHT OF CANDINHEIRO
00:23:59THE CANDLELIGHT OF CANDINHEIRO
00:24:29THE CANDLELIGHT OF CANDINHERO
00:24:59THE CANDLELIGHT OF CANDINHEIRO
00:25:21Good morning, Major.
00:25:23Good morning.
00:25:25What are you doing here, Silvestre?
00:25:27Looking for a lot of stray cats.
00:25:30Do you remember the other day...
00:25:32when Mr. Capatazio counted 43 animals?
00:25:35Because Guará says there were 50 in my room.
00:25:39Young man, without trying to meddle...
00:25:42I believe you should check...
00:25:44the quality of your pawns.
00:25:47They must be in Boqueirão.
00:25:49There, on the border of my field with your uncle's.
00:25:52Maybe you could help me find the cat.
00:25:55Yes, yes. Go with him, Salvador.
00:26:10It's not like that, Gabriel.
00:26:12Things are going wrong. It's not like that.
00:26:26IT'S NOT LIKE THAT
00:26:29It's not like that either, Maestro.
00:26:34Who are you?
00:26:37A colleague.
00:26:39A colleague.
00:26:41Then maybe our colleague can show me how to play.
00:26:45If you don't mind.
00:26:47Please, colleague.
00:26:56VIOLIN PLAYING
00:26:59VIOLIN PLAYING
00:27:24I've heard a lot about Boqueirão.
00:27:27I'm not surprised that you tell me about him.
00:27:30Nonsense. I've never heard of him.
00:27:37What's that?
00:27:39Nature's whims. The sound comes from the room.
00:27:42It's an orchestra rehearsal.
00:27:57VIOLIN PLAYING
00:28:07Bravo!
00:28:12My real name is Antônio Lima.
00:28:15But my master in Rio de Janeiro called me Rocine.
00:28:18Because I love opera.
00:28:20You worked in an orchestra?
00:28:22For how long?
00:28:23Eight years.
00:28:25See for yourself.
00:28:27This is Alcina's performance schedule.
00:28:31September 4th, 1854.
00:28:35Spala as guest. Antônio Lima.
00:28:39And who did you work with last?
00:28:42I was in a brothel in Rio Pardo.
00:28:48Playing, of course.
00:28:51When I found out that Major Eleuterio was forming an orchestra.
00:28:55I came to see if it was true.
00:28:58I also need a copyist for the scores.
00:29:01How's your musical calligraphy?
00:29:04Not bad.
00:29:11Colleague Rocine.
00:29:13Very well.
00:29:15I'll get you a place to sleep.
00:29:18We'll see tomorrow.
00:29:25The bows must show harmony.
00:29:28They must move at the same time as if they were one.
00:29:32And don't mark the rhythm with your feet.
00:29:35It must be in your head.
00:29:39Good morning, Miss.
00:29:41Good morning.
00:29:45What a boring song.
00:29:47That's not music. We're tuning the instruments.
00:29:50Tuning?
00:29:52Yes, that's what you do before you play, so that the music sounds good.
00:29:59You were very nervous the other day, weren't you?
00:30:02There are certainly more appropriate places to clean the pans, aren't there?
00:30:07The sound of your orchestra was much worse.
00:30:10Or is it deaf?
00:30:12You are absolutely right.
00:30:15I apologize.
00:30:21Is it true that musicians read in these papers?
00:30:25Just as you know how to read words in a book.
00:30:31Well, I doubt it.
00:30:33If you don't understand, doubt.
00:30:37Excuse me.
00:30:45Excuse me.
00:30:52Do you know what this is, Mother?
00:30:55They are tuning.
00:30:58Tuning?
00:31:00Is that what it is?
00:31:03That's what you do before you play, so that the music sounds good.
00:31:08How do you know?
00:31:12I need to learn to read, Mother.
00:31:15For what?
00:31:17Well, I used to like it, Mother.
00:31:21First, the ink.
00:31:24If Sylvester comes to talk to your father, as I think he will,
00:31:29go to the wedding naked.
00:31:41No.
00:31:57Maestro.
00:32:06What is he doing in the orchestra?
00:32:08Who?
00:32:09I play the timpani in Hong Kong.
00:32:11Since when?
00:32:12Two days ago.
00:32:13I don't want slaves in my orchestra.
00:32:15Much less this black man.
00:32:17But Major, I need Hong Kong in the orchestra.
00:32:20Otherwise, it will be incomplete.
00:32:22But I don't want to.
00:32:23It's not good to listen to black music.
00:32:25But Major, black people do everything we dress, eat.
00:32:28Why can't we listen to the music...
00:32:30Don't try to teach me.
00:32:33I was just thinking about the best.
00:32:35You don't want a quality orchestra.
00:32:38I've tried others, and Hong Kong is the best.
00:32:41No comparison.
00:32:45Are you sure, Maestro?
00:32:48I've told you.
00:32:52Well, stay with this black man.
00:32:55But don't bring me any more surprises, understood?
00:32:58Yes, sir.
00:33:04Clara.
00:33:07We have some things to get right.
00:33:09And what do we have to get right?
00:33:11We've known each other for many years.
00:33:14When my uncle dies, I will own all his land.
00:33:17There's a bug.
00:33:20Do you understand what I'm trying to say?
00:33:25You also inherited a large estate.
00:33:29This one is good.
00:33:31The boat will also be mine, won't it?
00:33:35I'll know how to explore the sea better than your father.
00:33:39I can be the most powerful landowner in the region.
00:33:42And you will be my queen.
00:33:44This one also has a bug.
00:33:50Clara.
00:33:53Clara.
00:33:59I brought some scores to copy.
00:34:02What are you doing?
00:34:04Look at the moon, Maestro.
00:34:07Here in the south, it's more beautiful than the moon in Rigoletto.
00:34:13What do you think of this end of the world?
00:34:19Do you like it?
00:34:21It doesn't matter to me.
00:34:23Where there is good, there is home.
00:34:25What does that mean?
00:34:27Where there is good, there is home.
00:34:31Do you know Latin?
00:34:33Two sentences.
00:34:35That's enough for me.
00:34:39Did you hear Latin at school?
00:34:43I heard it or I listened to it.
00:34:47What's the difference?
00:34:49I heard it if there was a river, a carriage passing by.
00:34:53Listening is different.
00:34:56It's a college of the soul.
00:35:00When we listen to the soul,
00:35:02even the most unpleasant noise
00:35:05turns into the melody.
00:35:10So the Orchestra Santa CecÃlia has to be listened to.
00:35:16It's true.
00:35:18The musicians of the orchestra, except me, of course,
00:35:22eat the notes like the bastards.
00:35:26Listening to the soul is like listening to the orchestra of the emperor.
00:35:30It's no big deal.
00:35:41Do you know what will happen
00:35:44if your father comes to my room?
00:35:48I want to learn to read.
00:35:51My mother doesn't want me to learn.
00:35:54And you're the only person...
00:35:56I'm a music teacher, not a lyricist.
00:36:00You've mistaken me for someone else.
00:36:03You're the only wise person around here.
00:36:06I don't want to teach him.
00:36:08I have enough problems with the orchestra.
00:36:12Please, don't bother to leave my room.
00:36:24Come in.
00:36:26Come in.
00:36:52Come in.
00:36:57Each letter has a sound.
00:37:00Your name, for example.
00:37:02Clara Vitória.
00:37:04C-L-A-R-A-V-I-C-T-O-R-I-A.
00:37:12It's composed of three letters.
00:37:15Now write.
00:37:17And your name, teacher?
00:37:19What is it?
00:37:27C-L-A-R-A-V-I-C-T-O-R-I-A.
00:37:40But I still can't read.
00:37:42Soon you will.
00:37:45Your father is very worried.
00:37:48Any day the Baron will die.
00:37:51What do I have to do with this, mother?
00:37:54It would be very good if you and Silvestre were already married.
00:37:59Your father is an old man.
00:38:01He wants to have a heir.
00:38:03There's still a long way to go for the father to die.
00:38:06No one is going to die.
00:38:08Your father is an old man. He wants to have a heir.
00:38:11There's still a long way to go for the father to die.
00:38:14No one is going to die.
00:38:16But I don't love Silvestre, mother.
00:38:18Oh, my daughter.
00:38:20There are some things you will learn.
00:38:23Like every woman.
00:38:26Do you think I love your father?
00:38:31Silvestre will come this afternoon.
00:38:34Try to be nice to him.
00:38:38GERMANY
00:39:02Excuse me, teacher.
00:39:04Did I scare you?
00:39:07I was distracted.
00:39:10What are you doing?
00:39:13Tuning the nail.
00:39:15Does the nail tune itself?
00:39:18Of course.
00:39:22Where is the key?
00:39:30Clara.
00:39:32I was looking for you.
00:39:34Tomano told you he would come this afternoon?
00:39:38Excuse me.
00:39:44I know your reputation.
00:39:46Don't forget your place in this house.
00:39:52I know my place.
00:39:54You don't seem to know yours.
00:39:57Boss.
00:40:04SILVESTRE
00:40:20Sit down, maestro.
00:40:22Sit down, sit down.
00:40:24Maestro, call him.
00:40:27The orchestra rehearsals are taking too long.
00:40:30Let's set the date of the premiere.
00:40:32Yes, Major.
00:40:34What do you think of Easter?
00:40:36Very good. Easter.
00:40:38A great date.
00:40:56Mr. Zigarro.
00:40:58If you only knew how nervous I am.
00:41:00Don't worry, Major.
00:41:02We trust in God.
00:42:00THE END
00:42:30THE END
00:43:00THE END
00:43:30THE END
00:44:00THE END
00:44:03THE END
00:44:28My son.
00:44:30I'm glad I trusted you.
00:44:32It was a divine inspiration.
00:44:34Thank you, Father.
00:44:42It was very beautiful.
00:44:44Thank you.
00:44:55Doesn't that one mix?
00:44:58Capataznos forbade us to drink mate with him.
00:45:01Why?
00:45:03He's a bastard.
00:45:06They say that in the war with the Castilians...
00:45:09he spilled over a hundred.
00:45:14That's right.
00:45:16They could have invited the maestro.
00:45:20After all, all this...
00:45:23is to celebrate the success of the orchestra.
00:45:27And they owe it to him.
00:45:29I won't deny it.
00:45:46I thought I'd forgotten our lesson.
00:45:49I still have a lot to learn.
00:45:53You learned faster than I thought.
00:45:56And your calligraphy is better than mine.
00:45:59I still don't understand...
00:46:01how this can turn into music.
00:46:05Do you really want to know?
00:46:07Yes.
00:46:09Well.
00:46:11Music is made...
00:46:14of high and low tones.
00:46:17The higher the tone...
00:46:20the higher...
00:46:22the five lines are written.
00:46:25They're called scales.
00:46:30And this music?
00:46:33What is it?
00:46:36It's a song I'm writing for a woman.
00:46:41A woman you loved?
00:46:44A woman who fascinates me.
00:46:50And when are we going to hear it?
00:46:55Saturday afternoon.
00:46:58And the young lady will be my only guest.
00:47:04Another guest. That would be Rilpardo.
00:47:07He's the third to arrive. We're famous.
00:47:09Everyone wants to hear my orchestra.
00:47:12It may take weeks to answer all the requests.
00:47:16They said I was crazy.
00:47:20But I'm not crazy.
00:47:50My uncle won't last long.
00:47:52Don't say that!
00:47:54It's obvious. Everyone knows.
00:47:57If it were him, I'd shoot him in the head...
00:48:00without being able to work and ride a horse.
00:48:02It's not worth living.
00:48:04Never do that, Silvestre. Never.
00:48:14Do you like me that much?
00:48:17I don't want anyone's death.
00:48:19Much less a friend's.
00:48:21We're more than friends.
00:48:24It must be terrible to realize we're dying.
00:48:29Do you think we realize it?
00:48:32I'd rather talk about something else.
00:48:35We've been engaged for a long time.
00:48:38We need to get to know each other better...
00:48:41as a man and a woman.
00:48:49Let's go.
00:49:19¶¶ ¶¶
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00:51:27Is it always so good?
00:51:31Only when you really love yourself.
00:51:35Will this trip to the orchestra take long?
00:51:41A few weeks.
00:51:45Will you look at other women?
00:51:50I only have eyes for you.
00:52:08This violin has been with me for 30 years.
00:52:13See the curves?
00:52:16It's an instrument shaped like a woman.
00:52:21Women, when they wake up to a passion...
00:52:25need love just like flowers need the sun.
00:52:29I don't know if you understand.
00:52:32I don't know where you want to go.
00:52:35Maestro...
00:52:38I know, but I won't say anything.
00:52:42I'm your friend.
00:52:46It was the first thing the vicar warned me about.
00:52:50I didn't look at her.
00:52:54I did everything I could.
00:52:57But it was inevitable.
00:53:00It happened.
00:53:03It didn't burn a heart, Maestro.
00:53:07I'm sure of it.
00:53:11We need to focus on the great moment we're about to live.
00:53:17The first tour of our orchestra.
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00:55:51Thank you.
00:56:21Miguel, why were you arrested?
00:56:36I committed a crime. Out of love.
00:56:41Really? And you'd do it for me?
00:56:48Yes.
00:56:53And where is she?
00:56:56I don't know.
00:56:59The success of the orchestra was greater than we expected.
00:57:03Only in Rio Pardo we had to stay three more days.
00:57:08The bishop wants to take us to Rio de Janeiro.
00:57:12Will you leave me again?
00:57:15No. My place is here, by your side.
00:57:26Lá se dó sustenido.
00:57:30That's it, maestro.
00:57:33Maestro.
00:57:37I'm sorry, Rocinho. I was distracted.
00:57:39Maestro, you'll have to forget everything else and think only of the music.
00:57:43Thank you for reminding me.
00:57:48Is it the girl?
00:57:53I love her.
00:57:57I've never felt anything like it, Rocinho.
00:58:01Amantes, amentes.
00:58:03That's another phrase I know in Latin.
00:58:07It means that lovers are like madmen.
00:58:13I know that.
00:58:16Maestro, there are two things you should consider.
00:58:20First, you like the girl and she likes you.
00:58:25And if they go too far, you won't be able to deny it.
00:58:28And the second?
00:58:31Clara Vitória will marry you.
00:58:34And if your love is so strong, only one thing can happen.
00:58:39What?
00:58:41What always happens in operas. A tragedy.
00:58:45Maestro, we're in the South.
00:58:48This kind of thing is solved by shooting or by a machete.
00:58:52As you suggest.
00:58:56Forget this girl now.
00:59:01Before I die, Rocini,
00:59:04she's more necessary to me than the air I breathe.
00:59:08More necessary than the air I breathe.
00:59:13She's ready.
00:59:16I just hope it's not me closing the curtain.
00:59:21The girl is a little fatter.
00:59:24I gained some weight.
00:59:26It's always like this after the summer.
00:59:29I'm going to leave a nail in my waist.
00:59:33Yes, do that.
00:59:40127 degrees and 35 minutes.
00:59:45We can make an open-air theater here, Major.
00:59:48The natural depression of the terrain will make the work easier.
00:59:52It's easy for you to understand.
00:59:54Here, where we are, the stage.
00:59:56On the other side, the audience.
00:59:58A circular or elliptical format.
01:00:01Like an amphitheater, like in Greek times.
01:00:05I want it to be the biggest in the whole province.
01:00:09It'll be a little different.
01:00:11But there'll be a lot more audience.
01:00:13Yes, a lot more.
01:00:15The audience there.
01:00:17All this extension.
01:00:22I have no sins.
01:00:24All of us have sinned, my daughter.
01:00:27Then I have, but I don't want to say.
01:00:29But that's serious.
01:00:31You can die and be condemned.
01:00:33That won't happen to me.
01:00:35Who can say you won't die?
01:00:37God punishes those who love, Father.
01:00:39Is it a sin to love?
01:00:43You know, Clara Vittoria,
01:00:45that I couldn't make your marriage official
01:00:47without you making a full confession.
01:00:49Yes, Father.
01:00:50We'll have time.
01:00:52But today I can't leave without your blessing.
01:00:54All right.
01:00:56May God have mercy on your soul.
01:01:04Charque with pumpkin, Vigário.
01:01:06Your favorite dish.
01:01:08It's true.
01:01:10Your house is full of temptations, Major.
01:01:16And how is our Zilvestre?
01:01:19Taking care of the sick uncle and the baroness.
01:01:23He's a good boy.
01:01:25He and Clara Vittoria get along very well.
01:01:27They went for a walk in the baron's park.
01:01:43Don't let him go back alone, Mrs. Brigida.
01:01:46Who?
01:01:47Zilvestre and Clara Vittoria.
01:01:49Because of that walk in the baron's park?
01:01:52They were alone for a moment.
01:01:55Evil always finds an opportunity, Mrs. Mara.
01:01:58Father, don't even think about it.
01:02:01I know what I'm saying.
01:02:10Mr. Vigário, they need you in the room.
01:02:17Thank you.
01:02:47Good night.
01:03:17In the name of the Father, and of the Son...
01:03:20and of the Holy Spirit. Amen.
01:03:30Hang in there, son. Hang in there.
01:03:32Now your responsibilities will increase.
01:03:35I know, Father.
01:03:38I know, Father.
01:03:41I know, Father.
01:03:44I know, Father.
01:03:48I heard you went for a walk in the park...
01:03:51with Clara Vittoria.
01:03:54Yes.
01:03:58You can't do that.
01:04:00What do you mean?
01:04:02I just went for a walk with Clara Vittoria.
01:04:05You'll spend the rest of your life taking walks with her...
01:04:08after you get married.
01:04:14That's so fake.
01:04:45FRIENDS, I WANT TO TELL YOU SOMETHING
01:04:56Friends, I want to say a few words.
01:05:00As you know, it's been my wish for a long time...
01:05:05that Clara Vittoria and Silvestre get married.
01:05:09So I want to inform you...
01:05:12that the wedding will take place this Christmas.
01:05:16Our families are very happy.
01:05:19I want you to have fun.
01:05:22Thank you for coming.
01:05:29Maestro.
01:05:42Maestro.
01:06:12I WANT TO TELL YOU SOMETHING
01:06:15I WANT TO TELL YOU SOMETHING
01:06:38Leave it to me, Mrs. Brida. Take care of the guests.
01:06:45Thank you, Father.
01:06:48Don't thank me. I'll try to get better.
01:06:51I'm fine now.
01:06:54Tell me, daughter, what's going on with you?
01:07:02I'll tell you that in confession, Father.
01:07:06All right.
01:07:09Let's go to confession.
01:07:15I WANT TO TELL YOU SOMETHING
01:07:31So, Vigalio, why are you so serious with me?
01:07:35You know, Major, I've been thinking...
01:07:39and analyzing my commitments until the end of the year.
01:07:42Why don't you get your daughter married soon?
01:07:45But that's what we're going to do.
01:07:48When I say soon, I mean...
01:07:51in a week or two.
01:07:54It's cold as hell. Go get some water.
01:08:01Listen, Vigalio. Listen carefully.
01:08:05There are families that postpone the wedding dates...
01:08:09but there are families without morals.
01:08:12Major, there are certain cases...
01:08:14So it's because the bride is already a wretch.
01:08:16That's not it, Major. That's not it.
01:08:19Of course, Vitória is one of those mood swings.
01:08:23You can prove it at the party.
01:08:25She's eager to get married, Major.
01:08:28Never. Never.
01:08:32I'll never get over this shame.
01:08:36There's nothing a man can be ashamed of, Major.
01:08:40Listen carefully, Vigalio.
01:08:42A daughter with a mood swing, without a mood swing...
01:08:46gets married, no matter what.
01:08:49She gets married as everything was planned...
01:08:53with proclamations and on the scheduled date.
01:08:56That's how it is.
01:08:58All right. I have to go now.
01:09:01See you soon, Mr. Barista.
01:09:03See you soon, Major.
01:09:06See you soon.
01:09:14You don't look well, daughter.
01:09:17What are you feeling?
01:09:20Don't be like that, Vitória.
01:09:22As if you were bitten by a frog.
01:09:24You're sick.
01:09:26What are you feeling, daughter?
01:09:29Does your head hurt?
01:09:36Clara, Vitória...
01:09:40you're pregnant!
01:09:50You're pregnant.
01:09:52You're pregnant, you wretch!
01:09:54Speak!
01:09:56He's my father.
01:09:58Silvestre.
01:10:00Silvestre is the father!
01:10:04What are you going to do, for God's sake?
01:10:13Silvestre!
01:10:15Silvestre!
01:10:17Get out of your house, you bastard!
01:10:25What's going on, Major?
01:10:27Don't play dumb!
01:10:29Irresponsible kid!
01:10:31You're pregnant with my daughter, you bastard!
01:10:33Me?
01:10:35Clara Vitória is expecting a child.
01:10:37And you think it's me?
01:10:39No, sir.
01:10:41I'm not the father.
01:10:43Ask her, Major!
01:10:44Don't you dare admit it, you bastard!
01:10:46I have nothing to do with it, Major.
01:10:48As her fiancé, I know as much as you do.
01:10:51Now, do you want me to be left out of the party?
01:10:55All right, Major.
01:10:56Used merchandise.
01:10:58I'll return it.
01:10:59I respect what you said, you coward!
01:11:01I repeat, yes!
01:11:02Do you think I'm going to take care of the other kids?
01:11:05You're very mistaken!
01:11:07Son of a bitch!
01:11:13Enough, Major! Let's go!
01:11:23Eleutério, wake up.
01:11:26What happened?
01:11:27There's news from Silvestre.
01:11:30What time is the funeral?
01:11:31Thank God he didn't die.
01:11:34But they say he's going to be hanged.
01:11:37God saved you from killing a man.
01:11:45This is the last time you see me.
01:11:49Get her things ready.
01:11:51Where is she going?
01:11:53To the brothel.
01:11:56She's going to rot there.
01:11:59I never want to hear her name in this house again.
01:12:27But where are they taking her?
01:12:31Let me go! Let me go!
01:12:56Senhora...
01:12:58How long are you going to stay in the brothel?
01:13:01How should I know?
01:13:03You should have thought it over before you turned yourself in.
01:13:08Do you think I don't know?
01:13:12Promise you'll ask him to leave.
01:13:15Promise, senhora.
01:13:17Don't be silly, girl.
01:13:19You'll be back soon.
01:13:21And you'll say it yourself.
01:13:23The longer I stay in the brothel...
01:13:26the better for my love.
01:13:44Bueno, from now on, only on foot.
01:13:53Come on.
01:14:23Yeah.
01:14:53Come on.
01:15:23Come on.
01:15:41You can go, Salvador.
01:15:53Don't you forgive me for abandoning Clara Vitória like this?
01:15:57What could I do?
01:15:59Take a shot?
01:16:01The Major has the brothel guarded.
01:16:04No one comes in.
01:16:12What does that mean?
01:16:14It's better to have a part than to lose everything.
01:16:17I thought you only knew two sentences in Latin.
01:16:22I was modest.
01:16:26You'll get used to it.
01:16:29Never.
01:16:32I'll be back.
01:16:34Don't have the slightest doubt.
01:16:37Let me know when you're back.
01:16:40I won't miss the last act of the tragedy.
01:16:44That's how it will be, Mico Rossini.
01:16:52Guará...
01:16:54you know I won't get up from this bed again.
01:16:57I know.
01:16:59I'm finished.
01:17:01Finished forever.
01:17:04I've thought about it day and night.
01:17:08I want you to find the one who gave birth to Clara Vitória.
01:17:12It can only be that son of a bitch, that teacher.
01:17:15There was no one else.
01:17:17Come back.
01:17:19Find him for me, Guará.
01:17:21I will.
01:17:23He'll see.
01:17:25I will.
01:17:29Son of a bitch.
01:17:49Son of a bitch.
01:18:19Son of a bitch.
01:18:29Campeiro!
01:18:31How did you find me here?
01:18:33Peace!
01:18:35Will you stay here with me?
01:18:37Will you?
01:18:49Yes.
01:19:19Will you stay with me?
01:19:21Yes.
01:19:49I love you.
01:20:19I love you.
01:20:32Dona BrÃgida.
01:20:34What?
01:20:38I was doing the accounts.
01:20:40I spoke to the midwife.
01:20:42It's time for the child to be born.
01:20:45Do you know the orders of the Major?
01:20:47But it's your daughter.
01:20:49She needs help.
01:20:51She could die in that mess.
01:20:53And what do you have to do with it?
01:20:55I gave birth to Clara Vitória.
01:20:57Shut up, you whore!
01:20:59You always wanted to be more than you are.
01:21:03You didn't even have the capacity to make a man.
01:21:06Imagine Paris!
01:21:09Now get out of here!
01:21:11Leave me alone!
01:21:17Leave me alone!
01:21:19Leave me alone!
01:21:45Leave me alone!
01:21:49Leave me alone!
01:21:52Leave me alone!
01:22:03Leave me alone!
01:22:08Let's take the child to the village.
01:22:11You are very weak, my daughter.
01:22:14There is a black woman who has just given birth.
01:22:16You can breastfeed her.
01:22:18In the meantime, I will take care of you, my girl.
01:22:24She is so beautiful.
01:22:26Nonsense!
01:22:27Not even a newborn is beautiful.
01:22:30Go, don't ask for more.
01:22:40Father, I am a wanderer who has just arrived from far away.
01:22:44I want to confess.
01:22:49What was the first thing I told you?
01:22:51Not to look at any woman in that house.
01:22:54Exactly!
01:22:56And what did you manage to do?
01:22:59For a good and honest man to be prostrated in a bed all his life.
01:23:04For the honor of his daughter and the ruin of his family.
01:23:08But I couldn't help it.
01:23:09You could have done it.
01:23:11But now it's too late.
01:23:12I should have expelled you from here.
01:23:16Only God knows how much I suffered for everything that happened.
01:23:19But it's not your fault.
01:23:21Nor mine.
01:23:22Loving is not a sin.
01:23:24Loving?
01:23:26You destroyed the life of this girl.
01:23:28And you call that love?
01:23:30But I want to redeem myself.
01:23:32And for that I will go to the end of the world if necessary.
01:23:35Help me, Father.
01:23:37Help?
01:23:39But what do you think I can still do?
01:23:42Intercede for me in front of Major.
01:23:48He's been very bad lately.
01:23:52They say he's going crazy.
01:23:56That there were invisible concerts.
01:23:59Invisible concerts?
01:24:12Invisible Concerts
01:24:17Invisible Concerts
01:24:38The Holy Cecilia will play again.
01:24:48The Holy Cecilia
01:24:58My musicians.
01:25:00I'm glad you came.
01:25:02I'm glad.
01:25:03My musicians.
01:25:04Maestro.
01:25:05Eat.
01:25:06Eat a lot.
01:25:08Rest.
01:25:09Rehearse.
01:25:10Rehearse a lot.
01:25:12We're going to have a concert.
01:25:14I've invited the whole village.
01:25:16The whole village.
01:25:18It's going to be a party you've never seen before.
01:25:22In my theater.
01:25:24In my theater.
01:25:25A concert.
01:25:28A great concert.
01:25:30Music, Maestro.
01:25:31Music.
01:25:36Poor man.
01:25:38We're going to have a concert the way he wants.
01:25:42Maybe later I can talk to him about Clara Vitória.
01:25:47I need to get her out of that hole.
01:25:50He's changing, Maestro.
01:25:53He doesn't even remember that his daughter exists.
01:26:01Boss.
01:26:02Boss.
01:26:03I have good news.
01:26:07Maestrinho is back.
01:26:12You shouldn't have done that, boss.
01:26:31Are you sure, boss?
01:26:42Boss.
01:26:48Boss.
01:26:56It's over now.
01:26:57What is it, boss?
01:26:58It's over.
01:26:59You're going to live a long time.
01:27:03Finish that son of a bitch.
01:27:06I swear I'll finish the job.
01:27:12Finish this agony.
01:27:14Kill me now.
01:27:15Kill me.
01:27:17What is it, boss?
01:27:18Finish my life.
01:27:20I can't do that, boss.
01:27:22Bite me.
01:27:23Kill me.
01:27:33Where are the guests?
01:27:35Why aren't they here yet?
01:27:36It's time.
01:27:37Why aren't they here yet?
01:27:38Why aren't they here yet?
01:27:39Did you expect to see someone after what you did...
01:27:42...to your own daughter?
01:27:44You bastard.
01:27:45Unhappy.
01:27:46Shut up, witch.
01:27:48Shut up.
01:27:49We're going to have a concert today.
01:27:50We're going to have a concert the way he wants.
01:27:52I want a concert.
01:27:53We're going to have a concert.
01:27:54Let's go.
01:27:55Gentlemen.
01:27:56Feonada.
01:27:57Negrada.
01:27:58Sit down.
01:27:59Let's go.
01:28:00Who's in charge?
01:28:01It's Major Eleutério Fontes.
01:28:03Hurry up.
01:28:04Let's go over there.
01:28:05Go.
01:28:06Sit down.
01:28:07Sit down.
01:28:08Let's go.
01:28:09Let's go.
01:28:10We're going to have a concert today.
01:28:11We're going to have a concert today.
01:28:17Attention.
01:28:18Maestro.
01:28:19Attention.
01:28:22Go ahead, maestro.
01:28:34Go ahead, maestro.
01:29:04Go ahead, maestro.
01:29:34Go ahead, maestro.
01:29:35Go ahead.
01:30:04Go ahead, maestro.
01:30:05Go ahead.
01:30:06My God, it's raining blood!
01:30:33My God, it's raining blood!
01:30:50No, no, no, no, no, no, no, no!
01:31:16No, no, no, no, no, no, no, no, no!
01:31:45No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no
01:32:15You
01:32:45You
01:33:15You
01:33:45You
01:34:15You
01:34:45You
01:35:15You
01:35:45You
01:36:15You