Maria (2024)

[bunniefuu]

[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

Ges

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 piet

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!

Dgli, 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 rptiteur.

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 bello, bello

Vo'andare in Porta Rossa

A comperar l'anello!

S, s, 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 caf

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.

[caf 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?

[caf owner sighs]

Because you're kind to us with this.

[recording of Maria singing Catalani's

"Ebben? Ne andr lontana" plays]

E forse a te

[murmurs agitatedly]

I never listen to my own records.

Please turn it off.

[caf owner] This is my caf, 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] a fait combien?

Rien, c'est bon.

C'est offert par la maison.

Que de a pour le garon, alors.

[in English] Let me help you

with that, madam.

[aria continues] ...della pia campana

L fra la neve bianca

N'andr

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!

Gi l'abisso s'apr!

- 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 kokani

[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 prire

L'un parle bien, l'autre se tait

Et c'est l'autre que je prfre

Il n'a rien dit mais il me plat

L'amour

L'amour

L'amour est enfant de bohme

Il n'a jamais, jamais connu de loi

Si tu ne m'aimes pas, je t'aime

Si je t'aime, prends garde 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 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 t*rture.

- 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 f*ck off.

You should write a whole chapter

about it in the autobiography.

You must call it The Day

I Finally Told My Mother to f*ck 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 f*cking sing.

La Callas is expected to sing.

No excuses. No diva-imagined sickness.

Not like Rome,

not like Covent Garden, not like New York.

f*cking 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 spar

Qui giurava

Esser fedele

Qui il giurava

E poi crudele

Poi crudele

- [piano slows to a stop]

- Mi fugg!

[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 b*stard?

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

f*cking 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 f*cking...

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 f*cking 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 k*ll 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] f*ck 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 parl di Percy?

Ch'io non lo vegga

Ch'io m'asconda a' suoi sguardi

[strings crescendo]

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 f*ck 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]

[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 f sincera

La mia preghiera

Ai santi tabernacoli sal

Sempre con f sincera

Diedi fiori

Agli altar

Nell'ora del dolore perch

Perch, Signore, perch

Me ne rimuneri

Cos?

[clears throat]

[resumes singing] Diedi gioielli

Della Madonna al manto

E diedi il canto

Agli astri, al ciel,

Che ne ridean pi belli

Nell'ora del dolore

Perch

Signor...

[voice cracks]

[sobs]

[continues extending the note]

[orchestra fades]

Perch me ne

- Rimuneri

- [orchestra resumes softly]

Cos?

[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]

[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

S bella e perduta!

O membranza

S cara e fatal!

Arpa d'or

Dei fatidici vati

Perch 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 virt!

Che ne infonda

Al patire

Virt!

Che ne infonda

Al patire

Virt!

Al patire

Virt!

[orchestra plays "Coro a bocca chiusa"

from Puccini's Madama Butterfly]

[music fades out]