All language subtitles for Leonardo s01e05_English

[MUSIC PLAYING]

[MUSIC CONTINUES]

[LEONARDO SIGHING]

Open it to
the page I marked.

Tell me
what you see.

It's a list
of ingredients.

To make composition
of death.

The poison from which
you saved Ludovico.

The same poison
used to murder
Caterina da Cremona.

[SCOFFS SOFTLY]

Oh, you think
this is funny?

I think it's absurd.

You deny
poisoning her?

Mmm, I do.

Why then didn't you
give her the same antidote
you gave Il Moro?

I lacked
the necessary ingredients.

Tell me what they are,
and we'll search
your studio.

If it's true
you didn't
have them,

it will add
credibility
to your story.

I don't recall the names.

Leonardo, every witness
I've spoken to
believes you're guilty,

do you wish to hang?

You told me how much
Caterina da Cremona
meant to you.

I told you
she was love.

Yet you're accused
of killing her

simply because she burnt
some of your work.

That is the most
credible part
of the accusation.

That you killed
love... itself

for destroying
mere ink on paper?

Some daubs of paint
on wood?

You doubt I would
spill blood for my art.

But I already have.

MAN: And now, gentlemen,
our next speaker
on the topic this evening,

Leonardo da Vinci.

What is the most
noble endeavor

mankind can pursue?

[SHUDDERED BREATHS]

[STRAINING]

Others have made
the case for
the study of plants,

the design and engineering of man-made structures,

the understanding of complex machines,

the kind of which the world has never seen before.

[BEATRICE GRUNTS IN PAIN]

Very good, Madonna.
Another push, please.

I'm with you,
my darling.
I'm here now.

Don't leave me.
Don't leave me.

But only one endeavor
combines these disciplines

to make something

magical.

Only art

can take the pain
and suffering
of our lives

and turn it
into beauty.

[SHOUTING FROM PAIN]

Something is wrong?

Do something,
damn you!

LEONARDO: Beauty.

Great beauty is a truth
that echoes through the
centuries defying time.

Giving the artist
and his patron
a kind of immortality.

And that, gentlemen,

is why art
is the noblest endeavor.

Maestro.

Come, quickly.What is it?

Just come.

Your Grace.

Yes. Uh...
Come. Come.

The...

The child is gone.

But my wife...

You must
bring her back.

Like you did me.

Your Excellency,

the poison only briefly
stopped your heart.

There is no potion,

no medicine,

that can restore life,
once life has been
taken away.

No.

[STAMMERS]
That cannot be.

[SOBBING]

Do something.

I assure, your Excellency,
if there was anything
I could do,

anything at all...

I...

[CRYING]

[DOOR OPENING]

It's about time.

Leonardo.

What's wrong?

[KNOCKING ON DOOR]

TOMMASO: Leonardo?

[KNOCKING CONTINUES]

Leonardo.What?

It's the bronze.What about it?

They're taking it all.
All the bronze
for the horse.

They're taking it?Yes.

LEONARDO:
What is the meaning
of this?

He says
it's all been
confiscated.

On whose authority?The Duke's.

That bronze is
for the statue
he commissioned.

Not anymore, it's not.
I'm sorry, Leonardo.

The French are
threatening towns
nearby.

We have to cast cannons
to defend ourselves.

No, no, please.
Tell them to stop.

At least until
I've spoken to Il Moro.

It'll mean all the work
that we've done
has been wasted!

Perhaps you should
have used the bronze
when you got it.

Instead of dawdling.

Where is the Duke?

Il Moro is grieving.

But I advise you
not to disturb him.

Where is he?

Leonardo.

He's been here
all night.

Your Excellency?

Sorry to disturb you.

Sanseverino,
he's taking
all the bronze.

Yes, I know.

But he can't do this.

He can't?

He works for me.

Do you mean to say...

I can't?

This statue is
to honor your family.

I've been
working on it
for a long time.

And do you think
I don't know that?

[SHOUTING]
You trespass
on my grief!

Look into my eyes,
Leonardo.

What do you see?

I see pain.

I will never again hear
my sweet wife's voice.

I will never
feel the softness
of her touch.

Have you ever borne
such a loss?

Do you know what it is
to live with such a wound?

I will honor my family.

But in a different way.

Come.

The entire convent
is to become a mausoleum
for my beloved Beatrice.

Bramante will redesign
the dome and the crossing,

and you...

You will paint this.

What?

A fresco.

Our Lord's final night
with the apostles,

before death came.

Your Excellency, um...

I don't know
how to work
in fresco.

Then you will learn.

[BREATHING HEAVILY]

[CRYING]

[KNOCKING ON DOOR]

Thank you
for coming, Father.

He's in his room
upstairs.

He hasn't eaten
or spoken to anyone
in days.

I understand
his disappointment,

but the fresco could be
an even more important
commission.

Well,
he's refusing
to accept it.

If he doesn't take
this commission,

it's not just
the statue
he's lost.

It's his place
in this city.

And ours.

[SIGHS]

It's not just
about him,
you know?

[KNOCKING ON DOOR]

Come in.

[DOOR CLOSING]

Maestro,
I'm Friar Luca Pacioli,
from the court.

I know who you are,
Father Luca.

I read your books
on mathematics.
They're inspired.

Your friends think
you are in need
of spiritual guidance.

I am beyond consolation.

No one is beyond
the love of Christ.

I've devoted myself
to a folly.

And now I am commanded
to begin another. I...

I am a toy

for His Excellency's pleasure.

It's a kind of living hell.

You cannot find
beauty or truth

in the story
of the last supper?

You heard my address.

I was quite persuaded
by it.

I have no desire
to search for truth
in this subject.

Then you must find it
in yourself.

What is your truth,
Leonardo?

My truth?

As a man, not as an artist.

What is the thread

that runs through
the tapestry of your life?

Betrayal.

Betrayal by whom?

My mother, my father,
as a child.

[HORSE NEIGHING]

[IN ITALIAN]
Papa! Papa!

LEONARDO: By a man I trusted when I came to Milan.

LEONARDO: And now Il Moro.

And do you not think
Jesus suffered
betrayal also?

He'll see you now.

Thank you.

Tell Giulio
to order wood
for the scaffolding.

And I want Marco
to get pigments

from the convent
at San Giusto
alle Mura.

Then we're
getting to work?

We've wasted enough time,
don't you think?

Where are you going?Research.

TOMMASO: Where?The market.

The apostles
will need faces,
won't they?

LEONARDO:
"Dearest Caterina,

"I send this letter
to Florence not knowing
if it'll reach you,

"or whether you'll read it
if it does.

"I am desperate
to know how you are,

"and I never should have
let you leave in anger.

"Your absence has
torn a hole in my heart
that cannot be mended.

"So I seek consolation
in my work.

"I spend day after day
in the market,

"seeking to find truth
in the faces I see there.

"I have been given
one last chance to
create a masterpiece."

[SPEAKING INDISTINCTLY]

"After all I've lost,
I must seize it."

[INAUDIBLE]

"I don't expect you
to understand

"but I hope, in time,
you will forgive.

"Yours, Leonardo."

[SIGHS]

TOMMASO: This is not
how a fresco is painted.

How do you know?
Verrocchio never
taught us the technique.

Precisely.

I am not suited
for fast work
like you are.

But that is the only way
a fresco can be painted.

It was, until now.

On a fresco,
the plaster is damp.

Which means we can
only paint a small
section each day

before the work
has to be completed
and the plaster dries.

Just so.Well, this is a new
type of fresco!

One that will
allow us more time.

Leonardo...

People have painted
frescos the same way
for hundreds of years.

This is impossible.

Oh, just stop saying
it's impossible!

All right.

Listen, I'm sorry.

This method
not only allows us
to work more carefully,

but it ensures that
the fresco retains
its true colors for longer.

It sounds
excellent.

Inspired.LEONARDO: It is.

And what is
this method?

So, we... we apply
our special kind of
tempera onto a dry wall

and after it dries,
we're able to paint
another layer.

And another, and another.
We can do this
maybe five or six times.

This is something
we couldn't do with
a traditional fresco.

All right, then.
If you say so.

But it's not
if I say so,
is it?

I need you all
to use your minds
to ensure this works.

[GROANS SOFTLY]

[SIGHS]

You know,

loyalty doesn't just mean
agreeing with him.

Sometimes it means
telling him the truth
when no one else will.

Awfully gloomy,
aren't you?

So you just
smile and nod?

Like everything
will be fine?

Better than piling
your fears

on top the weight
that's already
on his shoulders.

[SPEAKING ITALIAN]
Girls, listen.

Make another 20 in green
and a dozen in yellow.

Good, go on.

[IN ENGLISH]
I beg you sir,
I need a job.

There isn't one.
We've got all
the women we need.

But surely you could
use one more?No.

You're wasting
my time.

Please.

Please...

I'll work
at half wages.

Please, sir.

Marco says
the pigments
have been delivered

to the convent
at San Giusto
alle Mura.

Thank you.

TOMMASO: Still
sketching faces?

Mmm. Just as one
selects actors
for a play,

one must select
the right faces

to express the temperament
of each of the apostles.

Are you sure
you're not doing
too much?

What do you mean?

Well, you told me
the Adoration
of the Magifailed

because you tried
to cram it full
of too many ideas.

Are you sure
you're not repeating
the same mistake here?

No.

No, I'm not sure.

You tell everyone
we'll start work at
the convent tomorrow.

Of course.

[MEN SPEAKING INDISTINCTLY]

My coins!

They have disappeared
from my bag.

Salai?

Were those
your coins?

I found them
on the floor

and put them
in my pocket
for safekeeping.

You really must be
more careful, boy.

Let's see.

One, two, three.
Anything left? No.

Salai, a word.

You have talent.

You could be
a great artist.

But if I catch you
stealing again,

I'll kick you out on
the street where you
came from. Am I clear?

It's like asking
a fish not to swim.Mmm.

Will you find
another place for
these friars to eat?

Of course.

Friars, please.

[BREATHING HEAVILY]

Are you with child?

Mind your own business.

This is
the vanishing point,

the farthest place
in the room

in which Jesus
and the apostles
are seated.

The walls
in that room

extend out from it.

Some people enter
and look up...

It will seem as if
this room continues
into that one.

That they are,
in fact, one.

It will feel as if
we are in the room
with Jesus

as he ate his final meal
before the crucifixion.

That will make disciples
of us all.

Higher.

Straighten.

What will people think
about the way
they are sat?

Well, the placement
of the apostles suggests

their relationship
to Christ.

While their
facial expressions
convey their emotions.

What emotions?

He's talking about
the bread becoming
his body, so...

No, no,
this is a different moment,
from the gospel of John.

So, if you see
this triad here,

we see John is leaning
away from Jesus
towards Peter

who's whispering
in his ear,

while Judas here
recoils.

"Amen, amen,
I say to you,

"one of you
shall betray me."

I've been to church.

Occasionally.

I hope
they locked up
the silverware.

[SNICKERING]

The moment
Jesus reveals he will
be betrayed. Exactly.

Betrayal? Surely Il Moro
means this work to
celebrate our Lord.

If the Duke wishes
to celebrate our Lord,

let him do so
by remembering
Jesus was also a man.

With passions
and feelings.

As were the apostles
who loved him.

MARCO: Leonardo? Come.

What is it?

You'll see. Come.

I'm not sure
this is what
the Duke expected.

I think the Duke expected
that Leonardo would
exceed his expectations.

How many of the pigments
have they mixed?All of them.

LEONARDO: Beautiful.

Do you remember
how we used to stare
at the alchemist's closet

at the back of
Verrocchio's workshop?

It all seemed
so unreachable then.

LEONARDO:
Not anymore.

Now we have the key
to everything.

LEONARDO:
"Dearest Caterina,

"we were not
the only ones
celebrating.

"Il Moro triumphed
in battle
against the French.

"It seems he put to good use
those cannons he cast
from our bronze.

"But yesterday,
while walking
in the market,

"I witnessed an event
that made my blood
run cold."

[HORSES NEIGHING]

"Despite his victory,

"Ludovico's grip on power is not as secure as it seems."

ANNOUNCER: Open the gates!
Ludovico Sforza wants to exit.

Let's go!

Death to
the tyrant!

LEONARDO:
"Two supporters
of the French

"made a daring attempt
on his life
in broad daylight."

After him! "One of the men
escaped.

"He looked
right into my eyes."

Would you
like some wine?

No.

I'd rather
get some sleep.

So should you.

Where are
the pigments?

They were right
here yesterday.

It's a church.
We thought
they'd be safe.

Where have they gone?

You don't think
I took them.

Who else?
Everyone knows
you're a thief.

Leonardo, you know
I would never do
such a thing.

We're ruined.

We have to
replace them.With what?

Do you have
any idea what
those pigments cost?

TOMMASO:
No, that will
take weeks.

If not months.

[SIGHS]

Leonardo,
what do you
want to do?

All the men
must be laid off.

The work is stopped
until we can replace
what we've lost.

[PEOPLE SPEAKING INDISTINCTLY]

Well, if it isn't
the pretty boy.

I was getting to think
we'd never see you
again, Giacomo.

I certainly hoped
I'd never see you again.

That's not kind.

After all the money
I made you.

You mean all the money
I made you, Filippo.

Some pigments
went missing
last night

from Santa Maria
delle Grazie.

I might have
heard about it.

Whoever took them,
I figured they might
end up in your hands.

[CHUCKLES]How much do you
want for them?

How much are you
willing to pay?

Name your price.

My! You're eager,
aren't you?

I might be willing
to recover those
paints for you.

But you'll have to
work them off
in trade.

I don't do that anymore.

You don't?

I'm an artist now.

[LAUGHS]

An artist.

Is that what you think?

If you want
those paints back,

you'll do exactly
what I say.

Huh?

Sleeping on the job?

Oh...

Yes, I must have
drifted off.

I was in
the chapel praying.

I understand
your pigments
have gone missing.

A temporary setback.

[TAPPING BENCH]

Rumors are circulating
at court that you're in
over your head.

Some are
taking bets.

What kind of bets?

That you'll never
finish it.

Did I frighten you?

Well.

A little fear is
good for an artist.

I have invested
much in you,
Leonardo.

And you have
given me

very little
in return.

I saved your life.

There are times I wonder
if you don't regret that.

Why do you
say that?

You had the bronze
to cast that statue
for months.

Well, no one has
ever cast a statue
of that size.

I've been trying to
solve the technical
challenge of it.

Possibly.

Or possibly you were
no longer eager
to honor me,

after the death
of my nephew,

and the abrupt departure
of your friend,

the lovely Caterina.

I remain fully committed,
Your Excellency.

Then prove it.

[SIGHS DEEPLY]

[WHISPERS] Leonardo.
Come. Quickly.Mmm?

Come on.What?

How did you get these?

You just need to know
who to ask.

Everything's here!

Yes.

Tell the men
we return to work
tomorrow morning.

Will do.

[BOTH CHUCKLING]

LEONARDO: "Dearest Caterina,

"I feel like
I'm drowning without you.

"I am driven
to complete the fresco,

"and have been unable
to sleep for weeks.

"The slightest error
has been enough to
send me into a rage."

Oh, no, no, no!
Giulio, no!

No, don't start
on the hands!
Start on the shirt!

"I felt as if all my life
hanged in the balance.

"I have been consumed
by a terrible foreboding."

Good boy.

LEONARDO: "I sense
that I have made
some fatal mistake.

"And today,
I realized I had."

Stop. Everyone stop.

It's wrong.

What's wrong?

The ceiling
is too low.

But it's the ceiling
you drew.

I... I know I drew it,
but I drew it wrong.

It's too low.
If the apostles were to stand,
they'd bump their heads.

Leonardo, the ceiling
may be too low,
but it's a painting.

None of them
will stand. It's...

It looks fine.

Is that what you think
we're here to do?

Make things look fine?
Make them look adequate?

No one
will notice.

[SHOUTING]
I will notice!

It will torture me
every time
I look at it!

Now that I've seen it,
I can't un-see it!

Did none of you notice?

No? Nobody?

None of you care?

"I say to you,
one of you
shall betray me."

LEONARDO:
"Dearest Caterina,

"I can no longer
face the others.

"I felt as if I'd fallen
into a black hole.

"My worst fears realized.

"The fresco,
like the horse,
was yet another folly.

"I wanted to be erased,
to disappear."

[SPEAKING INDISTINCTLY]

GIACOMO: Well?

We've looked everywhere.
No one's seen him.

He can't have
just vanished.

What are we going
to do tomorrow?
The men are asking.

[HORSE WHINNYING]

[HORSES GALLOPING]

How did you find me?

There are no secrets
in Milan.

At least,
not from me.

I'm sorry, Your Lordship,
I haven't completed
the fresco yet.

You're afraid.

You said fear was
good for artists.

I said
a little fear.

I made an error.

If I'm to fix it,
it could take weeks.

[LAUGHING]

Is that all?

Do you know how many
times great men fail
before they succeed?

I heard about
your speech.

How art
invests the artist

and his patron,
with immortality.

Great art, yes.

I demand nothing less.

For my beloved wife.

And for me.

You don't have
much time.

What are you
talking about?

My grasp on power is

[SCOFFS] tenuous.

But the celebration, you...

You defeated
the French.

The taxes that paid
for that victory

have turned
the people
against me.

Meanwhile, the French
have formed an alliance
with the Venetians.

It's only
a matter of time

before they
strike again.

Where is everyone?

Leonardo.
They're gone.

We need to send
a messenger,
get them back now.

Right away.

[BREATHES DEEPLY]

We begin again.

[WINCES]

Oh, my God.

Oh, my God!

MARCO: Giulio!
Come and help me
with this.

You can't be in here.

[BREATHES DEEPLY]

What do you think?

GIULIO: [SHOUTING]
Leonardo! Leonardo!

His throat
has been cut.

Who did this?French colors.

It's a message,
designed to frighten
Sforza loyalists.

They dare not
kill Leonardo,

but this is a message
for the rest of you.

We're not safe here.

We'll be safe.

How can you say that?

Salai, inform Sanseverino
we need guards posted
outside the convent.

Right away.

Leonardo, we must...The work continues.

No one leaves here.
You understand?

The work continues.

[PEOPLE SCREAMING]

He's not here.

Then he's at the convent.

Leonardo da Vinci?

Yes.

The tyrant Ludovico
has fled

and Milan is now
under the control
of Louis XII.

He orders me
to cut this fresco
from the wall

and bring it to him
in France.

You do that,
and you will
destroy it.

I said
he gave me orders,

not that I intend
to follow them.

You will remain here
with your men, Ramiro.

Make sure
Maestro Leonardo

is free to complete
his work undisturbed.

Why are you
doing this?

Because I want you to know
to whom you're indebted.

I am Cesare Borgia.

TOMMASO:
So, Leonardo,

the painting
is safe at last.

So it seems.

And that means
I can go now.

Tommaso?

Caterina knew better.

Leaving you
when she did.

What are you
talking about?

You put our lives
in danger.

And for what?
For what?

For some paint
on a wall?

Marco's dead
because of you.

Tommaso,
that's not fair.

Of course
you defend him.

His friend.

The great artist.
He said so.

And it's way more
than he's ever said
to me.

You said you wanted
to create a masterpiece,
and look.

[SCOFFS] A masterpiece?

I have news
for you, Leonardo.

This paint will decay.

Your masterpiece
will not survive.

So much
for immortality.

Tommaso, I understand
you're upset.
But listen to me...

You speak of betrayal.

When it's you
who's the betrayer.

You're the Judas.

Are you coming?

Let's go.

STEFANO:
Tommaso's words
cut you.

Because they were true.

You would have killed
for your art.

But I did not kill Caterina.

Do you regret painting
The Last Supper?

I regret the sacrifices
I demanded.

The pain I inflicted.

But not the fresco itself?

It's only a short walk
from here.

You tell me
how I should answer
the question.

[DOOR CLOSING]

[BREATH TREMBLING]