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[hushed voices]
[footsteps approach]
[piano plays "Ave Maria" from Verdi's Otello]
[Maria Callas sings, in Italian] ♪ Ave Maria, piena di grazia ♪
♪ Eletta fra le spose E le vergini sei tu ♪
♪ Sia benedetto il frutto, o benedetta ♪
♪ Di tue materne viscere ♪
♪ Gesù ♪
♪ Prega ♪
♪ Per chi adorando te si prostra ♪
♪ Prega pel peccator ♪
♪ Per l'innocente ♪
[applause]
♪ E pel debole ♪
♪ Oppresso e pel possente ♪
♪ Misero anch'esso ♪
♪ Tua pietà ♪
♪ Dimostra ♪
♪ Prega ♪
♪ Per chi sotto l'oltraggio ♪
♪ Piega la fronte e sotto ♪
♪ La malvagia sorte ♪
♪ Per noi ♪
♪ Per noi tu prega ♪
♪ Prega sempre ♪
♪ E nell'ora ♪
♪ Della morte ♪
♪ Nostra ♪
♪ Prega per noi ♪
♪ Prega ♪
♪ Ave Maria... ♪
[paparazzi calling]
[music softens]
♪ Nell'ora della morte ♪
♪ Ave! ♪
[rapturous applause, cheering]
♪ Amen! ♪
[music continues]
[music fades]
[birds singing]
[moans softly]
[stirs gently]
[sighs softly]
[heels clacking]
- [Maria clicks tongue] - [dog yelps]
[Maria] Morning!
[dogs pant excitedly]
[Maria] Mm-hmm. [chuckles]
99% of your devotion is about food.
1% is about love.
[dogs pant, yelp]
How is your spine, Ferruccio?
As fragile as a twig, the doctor said.
Hmm. So you should be careful.
When I ask you to do something, you should occasionally tell me no.
I am careful, madam.
That is why I don't dare to tell you no.
[Maria] Bonjour.
[woman] Buongiorno.
[Maria] I slept until two,
and then he came into my room.
And I said in a very clear voice,
"I know you are dead."
And he went away?
And he went away, which is very unlike him.
[orchestra plays "Casta Diva" from Bellini's Norma]
Perhaps when... when men are dead, they become more manageable.
[Maria chuckles] Perhaps.
[dogs whining]
Anyway, madam,
a doctor is coming today at 11:00.
Ferruccio made the appointment for you.
I cannot see a doctor today. I am busy.
You can tell him about the visions you are having,
and no doubt he will change your medication.
I'm perfectly happy with my medication and its effects.
I am happy with the theater behind my eyes.
Doctors often label revelation as illness,
when in fact it is a form of sanity they don't understand.
Right?
Madam, if I may ask,
you will be busy doing what?
Bruna, I want you to listen.
And I want you to be honest.
[music fades]
[music resumes]
[Maria clears throat]
[sings] ♪ Ca... ♪
♪ ...sta Diva ♪
♪ Casta Diva ♪
♪ Che inarge...♪
- ♪...nti ♪ - [pan sizzling]
♪ Queste ♪
♪ Sacre ♪
♪ Queste sacre ♪
- ♪ Queste sacre ♪ - [sizzling continues]
[singing continues in distance] ♪ Antiche piante ♪
♪ A noi volgi ♪
♪ Il bel sembiante ♪
[pan sizzling loudly]
♪ A noi volgi ♪
♪ Ah ♪
- [dogs whine] - [high-pitched note cuts off]
[high-pitched note resumes] ♪ Ah ♪
[pots and pans clang]
- [high-pitched note continues] - [orchestra plays]
♪ Il bel sembiante ♪
♪ Sen... ♪
- ♪ ...za nube ♪ - [pan sizzling]
♪ E senza vel ♪
So?
[Bruna] It was...
magnificent.
Thank you.
[footsteps approach]
How is that for a position for the piano, madam?
[Maria] Hmm.
It's not right.
But I'm nice, so leave it.
Oh, there is a television camera crew coming to interview me in about an hour.
Perhaps hide the ashtrays.
[footsteps recede]
[sighs]
[blows]
[knocking on door]
- [Ferruccio] May I come in, madam? - Only if you must.
[footsteps approach]
What did you take?
I took liberties all my life.
And the world took liberties with me.
You know what I mean, madam.
This morning, I took only Mandrax.
[Ferruccio] How many?
Two.
I need to go somewhere and I want Mandrax to accompany me.
[Ferruccio] Mandrax is not a reliable companion if you are going out.
I will drive you.
- Where are you going? - I will walk.
'Cause you would laugh.
[Ferruccio] What did Bruna say about your singing?
She said it was magnificent.
She's a housemaid.
And housemaids, of course, cannot know opera?
[Ferruccio] They are not qualified to judge it.
I know where you are going.
She said it was "magnificent,"
and before, she said it was "excellent."
So...
And so "magnificent" means
you have decided to try?
Yes. On the word of a housemaid.
- Madam, this television crew... - [Maria] Hmm?
Is it real?
I'd like you to move the piano to the other window.
And as of this morning,
what is real and what is not real
is my business.
Yes, madam.
Oh! And I won't be here for the doctor's appointment
you made without my permission.
[Ferruccio] Madam, you must...
Don't cancel. Have them look at your back.
You're becoming a little crooked.
In case the television crew are real.
- Madam Callas. - [Maria] Mm.
My name is Mandrax.
I'd like to walk with you through your life.
[Maria] Mm.
A handsome interrogator always gets the most honest answers.
Should I call you Maria or La Callas?
Either is perfectly fine.
I prefer La Callas.
Then that is perfectly fine.
Unless, of course, you feel you're a victim of that identity?
Oh.
So much has been written about me,
and many unfair things.
Stories that are... pure fabrication.
Shall we sit?
Okay, roll.
[cameraman] Rolling.
I am quite rebellious by nature.
I heard a story once that you burned all your dresses.
What dresses?
Your old theater costumes.
That is true.
Bravo.
This will be worthwhile.
I burnt my dresses before I left Milan.
May I ask why?
No, you may not.
Uh, then, when did you last perform on stage?
You really should be more persistent with your questions.
I burnt my theater dresses, because they were a part of the past.
And to answer your... less interesting question,
I last performed four-and-a-half years ago.
Because performing on stage is also a part of the past.
[Mandrax] You'll never perform again?
No.
Then tell me how it felt to be on stage?
[Maria] An exaltation.
An intoxication.
Sometimes I thought the stage itself would burn.
And on the bad days?
[Maria] Well, there are two sides.
One side says to fight.
And the other says, "You are awful, and you should be ashamed."
I'm afraid audiences expect miracles.
I can no longer perform miracles.
Perhaps we could speak a little of your life away from the stage.
There is no life away from the stage.
The stage is in my mind.
I have to go.
- Go? - [Maria] Yes.
No, we were promised three hours.
Then come with me.
Come with you where?
"Come with me," said the Diva,
and there was really no need to ask where.
Then I will come with you, wherever you're going.
Walk with me across Paris.
My butler says that Mandrax is a very unreliable companion, but
I think we're a perfect combination.
["Vedi! Le fosche notturne spoglie" from Verdi's Il Trovatore plays]
[orchestra plays animatedly]
[orchestra continues playing]
[chorus sings] ♪ Vedi! Le fosche notturne spoglie ♪
♪ De' cieli sveste l'immensa volta... ♪
You see?
When I am with you and your camera, Mandrax,
I don't have to perform, because everyone else is performing.
[music continues]
[chorus resumes] ♪ All'opra! All'opra! ♪
♪ Dàgli, martella ♪
[chorus singing robustly] ♪ Chi del gitano ♪
♪ I giorni abbella? ♪
♪ Chi del gitano ♪
♪ I giorni abbella? ♪
♪ Chi? ♪
♪ Chi i giorni abbella? ♪
♪ Chi del gitano ♪
♪ I giorni abbella? ♪
♪ La zingarella! ♪
- [music ends] - [car horns honking]
[gulls calling]
[laughter]
[baby crying]
[car horns continue honking]
[birds calling]
[arpeggios playing on piano]
[door opens]
[rumbling]
[piano stops]
[Maria] I'm late.
[pianist] You're Maria Callas.
You're not late. Everyone else is early.
[softly plays "O mio babbino caro" from Puccini's Gianni Schicchi]
[Maria sighs dramatically]
Hmm.
You're casting breadcrumbs as if I were a blackbird...
[piano stops]
...and the stage a bird table.
Hmm?
It won't work, of course.
[sighs] Although I sang for Bruna this morning,
and she said she thought I was magnificent.
Who's Bruna?
Bruna is my housekeeper.
She was making an omelet.
She makes magnificent... omelets.
She knows little about opera.
And what she knows, she learned from me.
And what she has learned from me is to always be complimentary.
So I am here on the word of an obedient housemaid.
[footsteps clacking]
You know, blackbirds have a song.
If you buy a recording, on the label it just says,
"Blackbird Song."
There must be a song just called "Human Song."
I'd like to sing it before I stop.
Stop?
Maria...
You said you'd come here and at least find out if you still have a voice.
I'm not a répétiteur. I'm not here to teach you.
- I couldn't teach you anyway. - [exhales]
But if I hear, I will know.
Puccini will know.
Puccini is dead, and he may be glad that he is.
[pianist chuckles]
Why don't we just stand here and look out as if it was the edge of the future?
[sighs heavily]
What do you want to sing?
A love song.
- [pianist] And who are you in love with? - Guess.
Ugly and dead.
- Mr. Onassis still? - [Maria] Mm.
He comes to my bed every night. [sighs]
He won't leave me alone. I... I love sending him away though.
When did you last perform?
[clicks tongue]
A long time ago.
It made me sick.
I got a hernia and purple legs.
Everything swelled, except my ego.
I was in Japan,
and all the Japanese doctors said, "What is this thing?"
And my people said, "Well, this is La Divina, La Prima Donna."
And they said, "But then why does she look like a purple frog?"
[pianist chuckles]
[Maria] So I came back to Paris.
And I sit in my apartment, look out the window, and I say,
"Ticktock, ticktock. The brute is dead."
"My voice has gone. What do I do now?"
- [pianist] I have my car. - [sighs]
I can drive you back to your prison cell
on Avenue Georges-Mandel if that's what you want.
[Maria] Mm.
Bruna is my mother, my sister,
my daughter, my housemaid.
Ferruccio is my father, my son, my brother, my butler.
It is a terribly crowded apartment.
[voice breaks softly] I don't want to go just yet.
- Okay, so I have an idea. - [Maria sniffs, sighs]
You're evidently mad about something, or scared,
or bitter, or whatever it is,
so don't sing.
Shout.
Shout so loud even Puccini can hear.
[footsteps recede]
So loud, ugly, dead Onassis can hear.
[Maria sighs]
[pianist continues "O mio babbino caro" from Puccini's Gianni Schicchi]
[Maria sniffles softly]
[sighs]
♪ O mio babbino caro ♪
♪ Mi piace è bello, bello ♪
♪ Vo'andare in Porta Rossa ♪
♪ A comperar l'anello! ♪
♪ Sì, sì, ci voglio andare! ♪
♪ E se l'amassi indarno ♪
♪ Andrei sul Ponte Vecchio ♪
♪ Ma per buttar--♪ [voice cracks]
[stamps foot]
[piano continues encouragingly]
[sniffs, sighs]
[pianist stops playing]
Ugh. [sniffs]
[sighs, sniffs]
- [sighs, exhales] - [pianist] That was Maria singing.
I want to hear La Callas.
It will not happen in one day.
Puccini and I will be here tomorrow, same time!
[footsteps recede]
[door opens]
[door slams]
[door opens]
[door closes]
- [Ferruccio] Madam? - [Maria] Mm?
[Ferruccio] I asked the doctor to wait for you.
Dr. Fontainebleau,
Maria Callas.
I'm a huge admirer of your work.
[Maria] Hmm.
And how is my butler's back?
Oh, there is no cure for it
other than stop moving pianos.
[Maria] Hmm.
I showed him the diary,
the medicines that you are taking every day.
[Maria] Hmm.
I have a strange feeling sharing someone's medical information
is against the law.
- No? - [Fontainebleau] Madame? Uh...
[Maria] Mm?
I need to have a conversation with you
about life and death.
About sanity and insanity.
[piano softly plays "Ave Maria" from Verdi's Otello ]
[birds chirp]
The piano is in a good place.
Thank you.
[footsteps recede]
[Fontainebleau] Madame, please.
[Maria clears throat]
[piano continues playing]
[Bruna] I'm going to cook, and she will be better.
[piano stops]
She's too skinny.
She hasn't eaten for three days.
[Bruna sniffs]
Last time, she didn't eat for four days, so...
[piano resumes]
...we're still okay.
Hmm?
Yeah, but then you're going to prepare it, and she'll give it to the dogs, as usual.
[Bruna sighs]
[piano continues "Ave Maria"]
[orchestra softly joins]
[Ferruccio] Madam?
[Maria] Leave me alone.
Madam, I have made coffee.
[Maria] Mm-hmm.
[Ferruccio] Madam, also,
there is a message for you.
- [Maria] Mm? - From the pianist.
[hesitates] He said, uh, no matter what happens,
you must go to see him again tomorrow.
He said he heard hope in your voice.
I thought that might be a good thing.
- I thought that, uh... - Mm?
It might make you happy.
The medicine cabinet is unlocked.
You can throw it all away.
Ah, um, that is not what the doctor told us we should do.
Was he even a doctor?
[Ferruccio] He's a specialist, madam.
And what does he specialize in?
Blood.
That is why he took a sample of your blood.
But he said, even before the result of the test,
we should get your medication under control.
It is under control.
It's under my control.
And doctors hate that.
I need you to make me an appointment with a hairdresser that doesn't speak.
And when I write my autobiography,
I will title it The Day Ferruccio Saved My Life.
And what day was that, madam?
Every day. Every single day.
That's why I hate you.
I fall into a river, and you always fish me out.
Yes, madam.
Book me a table at the café where the waiters know who I am.
I'm in the mood for adulation.
[bustling chatter]
[music fades]
- [man] Madame Callas. - [Maria] Hmm.
I just wanted to say that once, in New York, you broke my heart.
What aria?
No, no, you broke my heart because I bought two tickets
and you failed to appear.
They said you were unwell, so...
- C'est la vie. - Then I was unwell.
It's okay. No hard feelings.
- [sharply] I was unwell. - Madame, it's okay.
I forgot about it until I saw you just now.
People always said I was faking it. I was never faking it.
You have no idea, no idea of the pain
to pull music through your belly, out your poor mouth.
No idea!
[footsteps recede]
Madame.
Perhaps we can find you a seat inside.
I'm not hungry.
I come to restaurants to be adored.
Please.
[inhales deeply, sighs]
[orchestra plays "Intermezzo" from Verdi's La Traviata]
[sighs]
Thank you.
May I say that tonight you defined Violetta forever.
You are Violetta.
[partygoers murmuring]
- Maria. - [Maria] Hmm.
- [Meneghini] Where have you been? - [Maria] I think you know.
- [man] Excuse me. - [Maria] Mm?
My English no good, but flower says it.
Magnificent Traviata.
Mm.
- Tonight, everyone wants to worship you. - Mm.
Excuse me, Madame Callas.
There is someone who's just dying to meet you.
I wondered if you would make his day, his week,
his month, his life.
Excuse me, sir, may I borrow your wife just for a few moments?
- [chuckles] I think there is a queue. - No, I don't queue.
[Maria] Who are you?
Aristotle Onassis.
This is my party, thrown in your honor.
And if you want to count them, I got a thousand pink roses just for you.
I was told it was a smart thing to do
to associate myself with the Prima Donna Assoluta.
So this party was a business strategy.
[Maria] Hmm.
But then I fell in love.
- You fell in love with opera. - No.
I fell in love with you.
[Maria] Hmm.
I'm ugly, but I'm rich.
I'm Greek, but I'm from Argentina.
I'm married,
but it's 1959.
So...
To falling in love through binoculars.
I watched you through these.
[Maria] You love me,
and yet you've never set eyes on me before tonight.
Oh!
Now I'm offended.
- We met. - Hmm?
In Venice. At the film festival.
But I guess there were a lot of movie stars,
so you forgot the little ugly guy.
Well, I didn't forget you.
Do you want to dance?
I should get back to my husband.
You will never go back to your husband.
[Maria] Hmm.
Sometimes this thing happens,
the thing... that's happening right now.
And what is the thing that is happening right now? Hmm?
A decision is made.
Not by anyone, but
it's how it's going to be.
I'm sorry, Mr. Onassis.
Am I supposed to be feeling something?
Yes.
For the first time in your life.
[music fades]
Well.
There's a point where self-confidence becomes a kind of insanity.
[Onassis chuckles]
I crossed that border long, long ago.
I don't mean to be abrupt.
Oh, I think I can confidently say
you are being abrupt.
[Onassis chuckles]
"Abrupt" might not even be a strong enough word for what you are.
[Onassis chuckles]
- But there is a ship, my ship. - Mm-hmm?
- Called the Christina. - Yes.
Sailing from Monte Carlo to Greece on the 21st of July.
[Maria] Mm-hmm?
I'd love you to be on board.
["Moonlight Promenade" by Ib Glindemann plays]
[Onassis sighs]
I get it.
There's a lot of people who want a piece of her,
and my time is up, I get it.
But I was just telling your wife
that I've arranged a cruise from Monte Carlo
and invited the most illustrious people.
And I was just telling her
that it would be an absolute honor
if you and your wife would join me on board.
And guess what she said.
And I said, "Yes."
"Why not?"
And my husband agreed.
Hmm.
There is a very common theory...
[pen scribbling]
...that if you ask for something, it means that you want it.
It is not true.
I didn't want to go on his yacht,
because I knew where it would take me.
And it took me there,
to the place I did not want to go.
But when I got there,
I stayed.
[café owner] Madame.
[clears throat] Madame Callas,
my son has called your apartment,
and someone is on their way to fetch you.
[Maria] Hmm.
Uh...
Another, please.
Mm.
I know you...
I know you think my behavior is unusual.
I'm actually working.
Uh, writing something.
What are you writing?
An autobiography.
An aria.
A third act.
"The Human Song."
Something along those lines.
I didn't know you wrote.
Mm. Neither did I.
[glass clinks]
[inhales deeply]
[tapping finger]
I don't, uh... I don't use a pen.
I use myself.
It seems the part of me that, uh, that dreams is
taking the wheel of the ship
and taking the ship into... safe harbor.
[clears throat]
[clicks tongue]
Why are you kind to me?
[café owner sighs]
Because you're kind to us with this.
[recording of Maria singing Catalani's "Ebben? Ne andrò lontana" plays]
♪ E forse a te ♪
[murmurs agitatedly]
I never listen to my own records. Please turn it off.
[café owner] This is my café, Madame.
And this is what I listen to when I am alone.
You are not alone. Please turn it off.
I cannot listen to my own records.
Why not?
Because it is perfect.
And a song should never be perfect.
It should be performed in that moment
differently to every other time.
That is why--
[Maria clears throat]
- Whenever you are ready, madam. - [Maria] Hm.
[Ferruccio, in French] Ça fait combien ?
Rien, c'est bon. C'est offert par la maison.
Que de ça pour le garçon, alors.
[in English] Let me help you with that, madam.
[aria continues] ♪ ...della pia campana ♪
♪ Là fra la neve bianca ♪
♪ N'andrò ♪
♪ Sola e ♪
♪ Lontana ♪
♪ E fra le nubi ♪
♪ D'or ♪
[aria ends]
[car door opens]
[door closes]
Dr. Fontainebleau called.
He said the results of your blood tests have arrived.
He said you must call him in the morning.
He said I "must" call him?
[Ferruccio] I think, yes.
He might have said you "should" call him.
Perhaps he said I "can" call him if I wish.
He just wants you to call him, madam.
[inhales sharply]
But you don't remember what word he used... [sighs]
...which would decide whether I sleep tonight or not.
You're getting old.
And more and more crooked.
But you will call him, madam.
Yes?
Please.
[orchestra plays "Introduzione" from Cherubini's Medea]
[recording of Maria singing Cherubini's "E che? Io son Medea" plays]
♪ ...L’ombra mia! ♪
[strings play fervently]
[chorus sings] ♪ Giusto ciel! ♪
♪ Oh terror! ♪
♪ Terra e ciel fiamme son! ♪
♪ Fuggiam, fuggiam L'arso ciel, l’atro duol! ♪
♪ Già l’abisso s’aprì! ♪
- ♪ Fuggiam da questo infausto suol! ♪ - ♪ Fuggiam, fuggiam ♪
♪ Fuggiam da questo infausto suol! ♪
♪ Fuggiam, fuggiam, fuggiam ♪
♪ Fuggiam da questo infausto suol! ♪
♪ Fuggiam, fuggiam ♪
♪ Fuggiam da questo infausto suol! ♪
♪ Fuggiam, fuggiam ♪
♪ Fuggiam, fuggiam, fuggiam ♪
♪ Fuggiam! ♪
[strings play rigorously]
[Maria] Bruna!
[music ends]
[softly] Bruna.
[yells] Bruna!
[frustrated sigh]
Bruna!
[sighs]
[moaning]
[church bell rings]
[counts in Greek]
[sings a cappella] ♪ Pou einai ekeina ♪
♪ Mou ta kalli ♪
[joins in] ♪ Pou einai i tosi m’ emorfia ♪
[both sing] ♪ Stin Athina ♪
♪ Den eixe alli ♪
♪ Tetoia leventia ♪
♪ Imoun koukla ♪
♪ Nai, st’ alitheia ♪
♪ Me megalin archontia ♪
♪ De sas lego ♪
♪ Paramythia ♪
♪ Trelana ntounia ♪
♪ Ma m’ emplexe enas mortis ♪
♪ Ach, enas magkas protis ♪
♪ Mou pire oti icha kai m’ afinei ♪
♪ Mou pire tin kardia mou ♪
♪ Ta niata, ta lefta mou ♪
♪ Ki ap’ ton kaimo mou foumaro kokaïni ♪
[singing ends]
That will be 100 drachma.
That one can dance.
But that one,
she can sing.
[officer sniffs, sighs]
What else can they do?
[officer] No.
Not now.
Just sing.
[sings a capella] ♪ L'amour est un oiseau rebelle ♪
♪ Que nul ne peut apprivoiser ♪
♪ Et c'est bien en vain qu'on l'appelle ♪
♪ S'il lui convient de refuser ♪
♪ Rien n'y fait, menace ou prière ♪
♪ L'un parle bien, l'autre se tait ♪
♪ Et c'est l'autre que je préfère ♪
♪ Il n'a rien dit mais il me plaît ♪
♪ L'amour ♪
♪ L'amour est enfant de bohème ♪
♪ Il n'a jamais, jamais connu de loi ♪
♪ Si tu ne m'aimes pas, je t'aime ♪
♪ Si je t'aime, prends garde à toi ♪
♪ Si tu ne m'aimes pas ♪
♪ Si tu ne m'aimes pas, je t'aime ♪
♪ Mais si je t'aime ♪
♪ Si je t'aime ♪
♪ Prends garde à toi ♪
[curtains being drawn]
[Maria sighs]
Did you sleep, madam?
[Maria] I don't know.
I was with my sister, which was part of the plan.
- [Bruna] What plan? - Until you woke me up.
How am I to sleep when Ferruccio has taken all my pills?
Ferruccio has gone for coffee and croissants.
Where is my medication?
[Bruna] Dr. Fontainebleau said we should keep them in the kitchen.
Even the ones I hid?
You went through my pockets.
Also, you are going to call the doctor today.
No. No, today I have an appointment with Bellini.
- Madam. - Mm?
You can still call the doctor.
Has a package arrived for me?
Yes. A parcel from Athens, from your sister, Yakinthi.
Good. [sighs]
[paper rustling]
[footsteps recede]
- [Mandrax] Okay. - [Maria] Mm-hmm.
Here is great.
It looks great. It looks La Callas.
Greek, grand, sad, framed by the past...
Now, am I calling you Maria or La Callas today?
Today, Maria.
- Here? - Please, okay.
- Okay, roll. - [cameraman] Rolling.
[camera whirrs]
Maria.
I understand you're looking to make something of a comeback.
Not really. I have no intention of performing on stage.
I understood that you were seeking to find your voice again.
I am seeking something I lost.
[Mandrax] And why do you want to sing again?
Oh, because music is so enormous.
It envelops you in a state of torture.
- That is a reason? - [Maria] Mm-mm.
Music is born of misery.
Of suffering.
Happiness never produced a beautiful melody.
It seems, music is born of distress.
And poverty.
[Mandrax] And you were born very poor.
Mm, yes.
I used to sing for money.
[sighs] I just realized last night,
that is where it all began.
Do you want coffee?
[Maria] No, I want courage.
I want courage to be able to go into this Mexican restaurant,
and order a plate of fajitas and cream and salsa.
Why courage?
Because the smell when I walk by here each morning with my dogs reminds me
of the day I finally told my mother to fuck off.
You should write a whole chapter about it in the autobiography.
You must call it The Day I Finally Told My Mother to Fuck Off
in a Restaurant in Mexico.
It wasn't in a restaurant in Mexico.
[orchestra plays "Coro a bocca chiusa"]
I asked Bruna to cook for her,
because Bruna can cook anything.
And my mother can ruin anything.
["Coro a bocca chiusa" from Puccini's Madama Butterfly continues playing]
[chorus begins to hum]
This is the part of the film where you're expected to sing, Maria.
So fucking sing.
La Callas is expected to sing.
No excuses. No diva-imagined sickness.
Not like Rome, not like Covent Garden, not like New York.
Fucking sing!
I will sing when I am ready to sing.
[music and chorus continue]
[music ends]
- Okay, so I had some thoughts overnight. - [Maria] So did I.
- [pianist] La Callas needs a spotlight. - [clears throat]
I asked one of the lighting guys. He's...
He's up there.
Pierre?
Bonjour, madame.
Bonjour.
[pianist] Only La Callas could make a French theater technician miss lunch.
But it's just you and me and the piano.
- [Maria] And sweet Pierre. - No, no.
I asked him to give us the light, then go away.
This is private.
But also, this is wherever the hell you want it to be.
New York, Covent Garden, La Scala...
Venice.
Venice, 1949.
I was fat.
Beautiful fat.
- No, you were never fat. - I was.
I arrived by gondola and thought I would sink it.
[chuckles softly] Venice, '49...
You were Elvira.
[Maria, softly] Mm.
Someone got sick and you learned it in one week.
And so it began.
[inhales]
Do you know I Puritani?
Do I know I Puritani?
[Maria clears throat]
[trills lips]
Whoo!
[rubs hands]
[pianist plays "Qui la voce sua soave" from Bellini's I Puritani]
♪ Qui la voce
♪ Sua soave ♪
♪ Mi chiamava ♪
♪ E poi sparì ♪
♪ Qui giurava ♪
♪ Esser fedele ♪
♪ Qui il giurava ♪
♪ E poi crudele ♪
♪ Poi crudele ♪
- [piano slows to a stop] - ♪ Mi fuggì! ♪
[pianist] I just felt La Callas in this room.
We just need to keep trying.
[Maria] Mm.
[orchestra continues playing "Qui la voce sua soave"]
[younger Maria resumes singing] ♪ Ah! Rendetemi ♪
♪ La speme ♪
♪ O lasciate ♪
♪ Lasciatemi ♪
♪ Morir! ♪
[audience applauds] Brava!
[music ends]
- [woman] Brava, brava! - [man] Bellissima!
[audience continues cheering]
[applause fades]
Let's try again.
[Maria clears throat]
Not today.
[footsteps recede]
[train rattles]
[Mandrax] Great.
You haven't really explained.
What is this film you're making?
It's called La Callas: The Last Days.
Well, in that case,
roll camera.
- [camera whirs] - Rolling.
[Maria clears throat]
Your child would've been that age by now.
Your baby.
The one he wouldn't allow you to have.
Well, that is true, isn't it?
He got you pregnant and then wouldn't allow you to have the baby.
[clicks tongue] Just now,
I was in Venice.
Before him.
Before love.
Slowly, slowly, I am looking back at my life.
Seeing the truth.
[orchestra plays "Prelude" from Wagner's Parsifal]
[Maria] I won at roulette.
Perhaps he let you win.
[Maria] You cannot cheat at roulette.
Everyone can cheat at everything.
Especially these people.
Hmm. What people?
["Prelude" continues playing softly]
He doesn't even try to hide his desire for you.
- I spoke to Winston Churchill. - [Meneghini scoffs]
The girl from Athens.
For a Prima Donna, pleasure is unavoidable.
[Meneghini] Are you quoting the bastard?
No. I am saying my own thoughts out loud.
It's a new thing.
My thoughts. Out loud.
[music continues]
[locks opening]
[music fades]
The herald of the gods, Hermes.
- Hermes is my god. - ["Prelude" resumes softly]
Hermes is myself.
It dates from the second century BC.
A rare beauty.
I have no consideration for beauty.
I myself am ugly,
and I'm loyal to my tribe.
You represent the opposite tribe.
I'm not a long a member of the tribe.
I used to be part of your tribe.
- I would have loved you then. - Oh, no.
I was unlovable. You can ask my mother.
[Onassis chuckles]
- Hermes is a busy god. - Hmm.
[Onassis] He is the protector of travelers, merchants,
orators, and thieves.
And you are all those things?
- [Onassis] I'm a merchant. - Mm.
[Onassis] My ships travel the world.
I use oratory to get what I want.
And if it doesn't work, I steal it.
This statue, matchless,
priceless...
I had it stolen to order from a museum in Athens.
No one knows it exists.
Only those who come into this room know I have it.
[Maria] Hmm.
So your wife.
[Onassis] If I want something,
I steal it.
And you think this would be theft?
You think I belong to my husband,
and after we sleep together, I will belong to you, hmm?
To be a possession in a cabinet
is not my ambition.
["Prelude" continues]
And why do you think Aristotle Onassis didn't marry you?
- Because he knew he could not control me. - ["Parsifal" continues softly]
And it wasn't that he didn't allow me to have a baby.
[Mandrax] Wait. Important truth. Mark it.
[film slate clacks]
[Mandrax] Go on.
[Maria sniffs, clears throat]
I didn't marry Aristotle Onassis,
because he wanted someone he could control.
And I didn't have a baby because
my body declined the invitation to make another self.
Because my body knew I was a tiger.
[music fades]
[Maria vocalizing in distance]
♪ Sempre libera degg'io ♪
♪ Folleggiare di gioia in gioia ♪
♪ Vo' che scorra il viver mio ♪
♪ Pei sentieri del pia-- ♪
- [neighbor] Mr. Ferruccio. Mr. Ferruccio. - Good evening, Mr. Marcel.
Even my wife has complained, and... and... and she's almost deaf.
I understand. I understand. I'll see what I can do, Mr. Marcel.
[recording of Maria continues] ♪ Sempre libera degg'io ♪
♪ Folleggiare di gioia in gioia ♪
♪ Vo' che scorra il viver mio ♪
♪ Pei sentieri del piacer ♪
♪ Nasca il giorno ♪
- ♪ O il giorno muoia ♪ - [volume lowers]
What are you doing?
[Ferruccio] Preventing a visit from the gendarmerie.
Opera at this volume is bad luck.
Opera at this volume is American radio.
[Ferruccio sighs]
Madam, you never listen to recordings of yourself.
While on a bridge, I made a decision.
The dogs were afraid of the loud noise.
Did you buy what I asked you for?
Yes.
Unwrap it, please.
What decision, madam?
If I am to become La Callas, I need to listen to La Callas.
I have to record myself
and then compare myself to my past voice.
Does it have a...?
Yeah, there... there should be a cassette inside.
[Maria] Mm.
Madam, today you said you would call the doctor.
Did you call the doctor?
Bruna? I don't, ah, machines...
Did you call Dr. Fontainebleau, madam?
[Bruna clears throat]
[recorder clicks]
Now it's recording, madam. You just--
Bruna, I would like you to bring this machine with you tomorrow and record.
Ferruccio, because of your obsession with doctors,
I would like you to stay back and clean the car.
And the piano is better near the other window.
Better for what, madam?
Better for my purposes.
[recorder clicks]
[Bruna on recording] Now it's recording, madam. You just--
[Maria] Bruna, I would like you to bring this machine with you tomorrow and record.
Ferruccio, because of your obsession with doctors,
I would like you to stay back and clean the car.
[recorder clicks]
[piano softly plays "Ave Maria" from Verdi's Otello]
[film whirs and clicks]
[Maria] Mm, don't spill.
- [Mandrax] Oh. - [Maria] No?
[Mandrax] Oh yes.
[both chuckle]
- [Maria] Here, I'll give you some. - Okay.
Ask your questions.
Why... Why be with such a brute like Onassis?
Because with him, I could...
I could be a girl again.
[piano continues playing "Ave Maria"]
[Mandrax sighs]
[clicks tongue]
[Ferruccio groans]
[Bruna] Piano, piano.
Did you give her her pills today?
No.
So who did, then?
[Bruna gasps]
There was a package from Yakinthi.
[piano continues playing softly]
I find carrying out simple instructions a great comfort. [sighs]
As if things were normal again.
When were they ever normal?
I think it was...
one day, once, in 1964.
[Bruna laughs]
It was a dull day, I imagine.
[chuckles]
Good.
The piano is much better there.
Both of you, put on nicer clothes.
We're going out to celebrate my life.
[music ends]
- [elevator dings] - [phone rings]
[Maria] I believe I'm expected.
[Ferruccio] I don't believe you are, madam.
[Maria] Well, I believe I am, and that's all that matters.
Wait here.
[jazz version of Bizet's "L'amour est un oiseau rebelle" plays]
[Onassis] Look, there. The king.
That's me, right?
Will President Kennedy be coming?
He's probably up in the Gossamer Suite fucking Marilyn Monroe.
His wife will be here, sure enough.
[Maria] Why would you know that?
How do you like the places I take you to, hmm?
- I like the painting. - How do you like it, little Athens girl?
- Please don't drink too much. - Oh, baby, that bird has flown.
You might even say thank you sometimes.
I just took you to the birthday party for the President of the fucking--
Maria Callas?
- [Onassis groans] - [fan] Oh my.
I saw you at the Met, and oh my God.
Yeah, she is a goddess.
[flustered] She had me in tears,
and my husband saying, "Okay, I get it."
Hmm, yeah. She's a bird.
She's a songbird.
I leave the cage door open, but she doesn't want to fly.
[fan] Excuse me, who are you?
Could you explain to this sweet lady
that I am the richest man in this fucking room.
Oh, here's the luckiest man alive.
Have you seen his wife? Man! Phwoar!
[Maria] Mm.
My dream is to see you perform at the amphitheater in Athens.
I'm told the acoustics are better than anything in any modern theater.
Yes.
Do you have any plans to tour the States?
[Onassis] Hi, Mr. President. Onassis.
Um... uh, no. Not at this time.
I'm having some struggle with my voice.
[sympathetically] Oh.
Well, maybe the songbird should leave the cage occasionally.
[Marilyn Monroe singing] ♪ ...birthday to you ♪
[crowd cheers]
♪ Happy birthday to you ♪
♪ Happy birthday, Mr. President ♪
[crowd chuckles]
♪ Happy birthday to you ♪
Isn't it interesting the effect you can have
even if you don't have a real voice?
No one cares about her voice.
Just as no one cares about your body.
[audience cheering]
[applause fades]
[agent] All clear.
[piano softly playing "Addio, del passato" from Verdi's La traviata]
[agent] This way.
Maria Callas.
[Maria] Yes?
I hear you were born in the United States.
I was. New York.
Welcome home. May I?
[chair scrapes]
[piano continues playing "Addio, del passato" softly]
Would you sing for us in the White House?
I don't think the White House would much like my voice right now.
So, Onassis...
He's your... whatever?
Yes, he is my whatever.
The father you never had.
And how do you know I never had a father?
The CIA has 17,000 college graduates with listening devices finding things out.
You look great, by the way.
Thank you.
You look tired.
Never too tired for beauty.
Your husband invited Jackie and me to take a cruise on his yacht.
I think you know he is not my husband.
He is my whatever.
Last night, he called you his wife.
Maybe he plans to propose.
Ari would look very funny on one knee.
[Kennedy] It would be great fun to sail away with you.
Mr. Onassis told me he has an El Greco painting on his yacht
that he would like to show my wife.
[Maria] Hmm.
Yes.
In his bedroom.
You seem quite sad.
Last night, before he fell to sleep,
Ari told me he loved me.
Considering where he'd been until 4:00 a.m.,
don't you find that sad?
Well, where was he last night?
Where's Jackie?
Inside her own circle.
Well, I don't have many people with devices finding things out,
but I do know that you and I
belong to a very, very small group of lucky angels
who can go anywhere we want in this world.
But we can never, ever get away.
Doesn't make us friends though.
[piano continues playing "Addio, del passato"]
Where to now?
[Bruna] We are tired, madam.
I'm not tired.
We are tired.
And we are worried.
[music ends]
[door opens]
[door closes]
What is he doing here?
I invited him.
I left a key.
I have news that can't wait.
No.
Bruna and I will... we'll take the dogs out.
Yes. Yes, we will.
And then we will return.
Apparently, tonight we had a little bit of a party, Doctor.
Oh. The gravity of it all.
Hm?
People always disappoint me.
Always.
I had a wonderful evening.
Madame Callas.
Do you know opera?
Of course.
In La Traviata,
Violetta is diagnosed with tuberculosis.
[Fontainebleau] It is not tuberculosis.
It is not anything with one name.
Your blood tells a story.
An autobiography written in blood.
[Fontainebleau] As well as, uh, the Mandrax,
the various sedatives and stimulants,
you are taking the steroid Prednisone?
To combat my body's attempt to turn me into a frog.
And now your liver is beginning to fail.
It is no longer taking out all the trash.
- Your heart is failing too. - [Maria] My poor heart.
[Fontainebleau] Your system is very frail.
Your wonderful Ferruccio tells me
you are planning to try again to sing.
My wonderful Ferruccio is very free with all my secrets.
In my opinion,
the extra stress it will cause to your body,
the medications you will probably need to get through each day,
they will kill you...
if you keep pushing yourself to sing.
[piano plays "Ave Maria" from Verdi's Otello]
And I say that as someone
who would dearly love to see you perform again.
Well, you see, I have no intention of performing again.
Not for you or anyone else.
So...
Then why are you rehearsing?
[Maria] My mother made me sing.
Onassis forbade me to sing.
And now, I will sing for myself.
Well, your... [hesitates]
...your beautiful life--
Played before my eyes.
[Fontainebleau] Meaning what?
Meaning now, finally,
I am in control of the end.
I'm begging you
to see reason.
My life is opera.
There is no reason in opera.
Your voice will not return.
Your voice is in heaven,
and on a million records.
Get out.
[rustling]
[footsteps pass]
[piano continues softly]
[footsteps fade]
[door opens]
[sighs]
[music fades]
[Maria] It took a great deal of effort for me to come into this restaurant.
I had to say a magic spell.
Since I sent you the medication,
I keep regretting it.
I have no regrets.
How do I look?
- Too thin. - Mm.
Well, a lot of me has been taken away.
- Maria? - Hmm?
I've come to Paris. I love Paris. I am happy.
[exhales] My life is
floating on like a tight ship.
I don't want to be sunk.
In your message, you said you "needed" me.
You needed to see me.
I'm not gonna give you any more medication. I'm not.
I don't need any more medication. It served its purpose.
Thank you.
I suggested this restaurant
because it reminds me of her.
Of who?
The last time I saw Mama,
she asked me for money.
And she said, "I brought you into this world
so you could take care of me."
Then she said I was fat and unlovable.
Wonderful memories.
The time has passed, Maria.
You close the door.
[Maria] Hmm.
I will end this with the beginning.
[Yakinthi sighs]
[Maria] A toast.
To memories shared only by you and I.
[glasses clink]
Close the door.
German soldiers won't leave me alone.
[Yakinthi scoffs]
[sighs]
Sometimes,
when you were crying,
I took your place so you could rest.
Remember?
[sighs]
I live my life looking like this.
And I live my life looking back,
writing an autobiography.
Look, if you're going to write your autobiography,
you will have to do it without my help.
It's already writing itself before my eyes.
[chuckles softly]
I don't even know if you're real.
[Yakinthi laughs]
Okay.
[chuckling]
Ay! Stop.
[in Greek] Maria, stop.
That hurts, Maria.
Stop.
- I'm hallucinating. - You're hallucinating?
Then see a doctor.
You are a doll.
- [in English] I have seen a doctor. - [Yakinthi clicks tongue]
Enough.
You have your driver waiting for you.
I don't have no debt to pay to you.
My advice?
Do not write anything about your life.
But if you do,
be kind to yourself.
Because
I was there in Athens with you,
and I know that
whatever your faults, whatever...
[inhales shakily]
...wrong you did, whatever... [voice catches]
...it's...
[clicks tongue]
...you're not to blame, baby.
You're really not to blame.
Thank you.
Sometimes I think it was all in my head.
[Yakinthi] Close the door, little sister.
I can't.
It's the only way the music gets in.
[Yakinthi] Fuck the music!
Baby, you... you're 53 years old.
You've never been free. Forget the music and live.
[Maria sniffles]
[sighs emotionally]
[footsteps approach]
[clicking, sustained low whirring]
[pianist] My God.
You're on time.
[Maria] My audience awaits, full of hate.
What hate?
I'm going to sing the mad scene from Anna Bolena.
I performed it at La Scala.
- 1957. - Yes, the people of Milan hated me.
I had canceled. I was sick. They never forgave me.
And I spilt my venom across the poor innocents.
- But then you sang. - [Maria] Then I sang.
Full of fury.
At the press.
Fury at the judgment,
my mother, the world...
Bruna, now.
Begin.
- [recorder clicks] - [pianist] Light, please.
[pianist plays "Piangete voi?" from Donizetti's Anna Bolena]
♪ Oh! Chi... ♪
♪ ...si duole? ♪
[orchestra begins to play]
♪ Chi parlò di Percy? ♪
♪ Ch'io non lo vegga ♪
♪ Ch'io m'asconda a' suoi sguardi ♪
[strings crescendo]
♪ È vano ♪
♪ Ei viene ♪
- ♪ Ei m'accusa ♪ - [orchestra crescendoes]
♪ Ei mi sgrida ♪
- ♪ Oh! ♪ - [piano slows to a stop]
♪ Oh! Mi perdona ♪
♪ Mi perdona ♪
♪ Infelice... ♪
[struggles to sing] ♪ Son io ♪
[piano resumes]
♪ Toglimi a questa ♪
♪ Miseria estrema ♪
[coughs, clears throat]
[piano resumes]
♪ Tu sorridi? ♪
♪ Oh gioia! ♪
♪ Non fia ♪
- [orchestra resumes] - ♪ Non fia che qui deserta io moia! ♪
♪ Io moia! ♪
♪ Tu sorridi? Percy? ♪
♪ Oh gioia! ♪
♪ Oh gioi--! ♪
[weakly singing out of tune]
[breathing deeply]
[cheering and applause]
[audience cheering] Brava! Brava!
[applause continues]
[applause fades]
[breathing shakily]
Madam?
You were magnificent.
[Maria breathes shakily]
[whispers] Oh God.
[sighs softly]
Let's go home.
Love is at home.
[Maria moans softly]
Madame Callas, I write a music column for Le Figaro newspaper,
and, for reasons connected to the duty of journalists,
I was in the theater just now.
I heard you perform the mad scene from Anna Bolena,
and it was pretty not great.
- It was pretty terrible, in fact. - [car door opens]
[journalist] There are rumors you plan to make a comeback.
Would you care to give me a comment on your progress,
bearing in mind what I just heard and recorded?
- Why the fuck would you print this? - [journalist] She's Maria Callas.
She is-- [grunts]
Hey, people want to know.
- Please, please. - [journalist] Go ahead, Madame Callas!
You al-- You always had a reputation for having a terrible temper.
These photos will sell the story all over the world.
Madame Callas, why don't you calm down and give me your side of the story?
- Our readers are very interested-- - [footsteps approach]
[journalist grunts]
- You have to leave us alone. - [journalist grunts]
- [Bruna] No! - [journalist groans]
- You have to leave us alone. - [Bruna] No!
[both grunting]
[cassette clatters]
Our readers want to know what the hell happened to you.
What a tragedy, eh?
I cleaned the car as you instructed, madam.
[sighs]
And I am ready to take you home.
- [camera shutter clicking] - [camera winding]
[camera shutter clicking]
[Maria] Play it.
Madam, please.
Play it.
[Bruna sighs]
[recording of Maria singing "Piangete voi?" plays]
♪ Infelice... ♪
♪ Son io ♪
♪ Toglimi a questa ♪
- ♪ Miseria ♪ - [Maria sighs]
♪ Estrema ♪
♪ Tu sorridi? ♪
- ♪ Oh gioia! ♪ - [recording fades]
["E lucevan le stelle" from Puccini's Tosca begins to play]
[clarinet plays softly]
[orchestra joins]
[Maria] I'm guessing this film of yours is almost over.
["E lucevan le stelle" continues playing softly]
Have I told you I've fallen in love with you?
That happens a lot.
[chuckles softly]
Before the final scene,
there is something I want you to know.
Record, please.
I have no equipment.
[Maria] Then remember this.
Because no one else will know.
When he was dying,
here, in Paris,
I went to him.
[music continues]
[ragged breathing]
I love you.
[music fades]
Is that it?
Should I go now?
[Maria laughs gently]
[Maria sighs deeply]
I have some things to say.
[Maria] Hmm.
[Onassis] Number one...
[Maria] Hmm?
...I still hate opera.
[Maria chuckles softly]
You don't have to say so much.
I know most things.
- Oh? You know most things? - Mm-hmm.
Okay.
- You never lacked confidence. - Mm.
Are you happy?
Well,
I found out in the newspaper
that Frank Sinatra makes ten times more than I earn.
Oh. [chuckles softly]
- You are poor. - Always.
[Onassis chuckles quietly]
I wish you could sing right here, right now.
I'd wake the whole of Paris.
[Onassis] Oh, they'd forgive you.
[breathes raggedly]
[Maria inhales deeply, sighs]
[Onassis] You know,
I think I'll go to Athens.
My spirit will find a chair on the harbor
and watch the ships.
And who will you be waiting for?
I thought you knew most things.
[inhales deeply, sighs emotionally]
You know, I...
I found out you married her in the newspaper.
[Onassis murmurs]
Sometimes you get married because you have a free day.
- [chuckles weakly] - [Maria] Well...
The morning I found out, I checked, and my heart was not broken.
You hurt my pride though.
Well, I guess that's something, right?
When it's your turn,
will you come to Athens to see me?
Well, I'm sure I have business there.
Yes.
[Onassis] So I'll make sure
I have two canvas chairs.
[Maria breathes shakily]
Yes.
I should never have tried to stop you singing.
That is correct.
I always loved you.
That is also correct.
[Onassis sighs]
[footsteps approach]
Mr. Onassis, your wife is here.
- [Maria laughs ruefully, clears throat] - [Onassis sighs]
[Maria laughs softly]
Athens, Maria.
You and me... only.
[Maria sighs]
[orchestra resumes "E lucevan le stelle"]
[Mandrax] And how was he?
We are Greek.
Death is our familiar companion.
Why did you visit him?
[Maria] Because he asked me to.
[Mandrax] Did you see Jackie?
I went out the back door.
Even in death, I was the secret.
Yes, but he wanted you.
Jackie was his wife.
But you...
you were his life.
[inhales softly]
[Maria sobs]
[music continues]
[strings crescendo]
- Eight. - Nine.
[music fades]
- [Maria sighs] - [Bruna giggles]
- You always win. - [Bruna giggles]
- She cheats. - No!
- Yes, you do. - No, no, no.
- Yes, you do. - Oh, Bruna, we know. We know.
[Bruna giggles]
She is the sphinx, that one.
- Yes. - [chuckles] No.
- Yeah, you pretend to be... - "I'm so..."
- What's the score? You're winning. - Dangerous.
No, no. Maria is winning.
- Yeah, one. - Yeah, one more than...
- I'm losing. - I hope you always stay together.
- What? - I hope you always stay together.
When I'm gone. I hope you always stay together.
[sadly] You're very good together. Good people.
[sniffles]
[clears throat]
If she keeps winning, it's gonna be difficult.
- [Maria chuckles] - I don't know if I'm gonna be... staying.
[Maria chuckles softly]
- [Maria sniffs, sighs] - [Ferruccio] Wait, wait.
Wait, wait, wait.
[both strain]
[Ferruccio pants]
[knocking on door]
[Bruna] Madam? We have moved the piano again.
Come and see.
Madam, it is gone midday.
Are you okay?
Madam, please.
[Bruna sighs nervously]
Er, we will buy all of your favorite food...
Oysters and salt beef
and... and those silly chocolates.
Tonight, we will sit down together, and, uh... and we will eat.
- [Maria] Leave me alone. - Madam?
[knocking on door]
[Ferruccio] So, we are going to the grocery, madam,
to take what we need and, uh, we will be back soon.
[piano gently plays "Vissi d'arte" from Puccini's Tosca]
- ♪ Vissi d'arte ♪ - [orchestra joins as Maria sings]
♪ Vissi d'amore ♪
♪ Non feci mai male ♪
♪ Ad anima viva! ♪
♪ Con man furtiva ♪
♪ Quante miserie ♪
♪ Conobbi aiutai ♪
[music continues serenely]
♪ Sempre con fé sincera ♪
♪ La mia preghiera ♪
♪ Ai santi tabernacoli salì ♪
♪ Sempre con fé sincera ♪
♪ Diedi fiori ♪
♪ Agli altar ♪
♪ Nell'ora del dolore perché ♪
♪ Perché, Signore, perché ♪
♪ Me ne rimuneri ♪
♪ Così? ♪
[clears throat]
[resumes singing] ♪ Diedi gioielli ♪
♪ Della Madonna al manto ♪
♪ E diedi il canto ♪
♪ Agli astri, al ciel, Che ne ridean più belli ♪
♪ Nell'ora del dolore ♪
♪ Perché ♪
♪ Signor-- ♪
[voice cracks]
[sobs]
[continues extending the note]
[orchestra fades]
♪ Perché me ne ♪
- ♪ Rimuneri ♪ - [orchestra resumes softly]
♪ Così? ♪
[music fades]
[breathes heavily]
[sobs, moans mournfully]
[Bruna breathes shakily]
[door unlocks]
[rapid footsteps]
[dogs whine]
[Bruna gasps]
[door closes]
[Bruna breathes shakily]
[Bruna sobs quietly]
[Ferruccio breathes shakily]
[sighs]
[man on phone] Hello?
Dr. Fontainebleau?
Madam Callas has died.
[dogs whine]
[dog whimpers]
Thank you.
[dog whines]
[sighs]
[dogs whine]
[Bruna sniffles]
[Bruna sobs quietly]
[dogs continue whining]
[hushed voices]
[Ferruccio] They believe
it might have been a heart failure.
[clock ticks]
[hushed voices continue]
["An Ending (Ascent)" by Brian Eno plays]
[music continues]
[orchestra plays "Va, pensiero, sull'ali dorate" from Verdi's Nabucco]
♪ Va', pensiero ♪
♪ Sull'ali dorate ♪
♪ Va, ti posa sui clivi ♪
♪ Sui colli ♪
♪ Ove olezzano ♪
♪ Tepide e molli ♪
♪ L'aure dolci ♪
♪ Del suolo natal! ♪
♪ Del Giordano ♪
♪ Le rive saluta ♪
♪ Di Sionne
♪ Le torri atterrate ♪
♪ Oh mia Patria ♪
♪ Sì bella e perduta! ♪
♪ O membranza ♪
♪ Sì cara e fatal! ♪
♪ Arpa d'or ♪
♪ Dei fatidici vati ♪
♪ Perché muta ♪
♪ Dal salice pendi? ♪
♪ Le memorie ♪
♪ Nel petto raccendi ♪
♪ Ci favella ♪
♪ Del tempo che fu! ♪
♪ O simile ♪
♪ Di Solima ai fati ♪
♪ Traggi un suono ♪
♪ Di crudo lamento ♪
♪ O t'ispiri il Signore ♪
♪ Un concento ♪
♪ Che ne infonda ♪
♪ Al patire virtù! ♪
♪ Che ne infonda ♪
♪ Al patire ♪
♪ Virtù! ♪
♪ Che ne infonda ♪
♪ Al patire ♪
♪ Virtù! ♪
♪ Al patire ♪
♪ Virtù! ♪
[orchestra plays "Coro a bocca chiusa" from Puccini's Madama Butterfly]
[music fades out]