All language subtitles for The.Competition.1980

(PLAYING NOTES ON PIANO)

(TELEPHONE RINGING)

Hello.

Thank you.

(**)

(ORCHESTRA PLAYING
CLASSICAL MUSIC)

(APPLAUSE)

The judges of
the 23rd Annual Midwestern
Piano Competition

have asked me to reassert that
their task this year

has been
particularly difficult.

Third prize,
a bronze medal and
a check for $250,

goes to Paul Dietrich
of Chicago, Illinois.

(APPLAUSE)

STAN: All that means to me
is you got robbed.

Now you gotta get ready
for San Francisco, right?

The Hillman Competition.

You are gonna send them
a cassette, aren't you?

PAUL: What is the point?

Well, what's the point
of not sending it?

If I can't do any better
than placing third
in Cincinnati,

what am I wasting my time for?

The Hillman is
the Super Bowl, right?

Yeah.

So, what is the point?

The point is
that Lowengarth told us

you were the best pianist
for your age he ever heard.

What was my age
when he told us that?

How many dollars ago was that?

I don't advise you
about your playing,

don't advise me
about my finances.

Let him talk, Stan.

Where's the medal?

Can we emerge
from the shrine, please?

I would like to talk
to the both of you.

You shouldn't be working,
and you know it.

And you wouldn't be
if it weren't for me.

And this has got to stop.

Childhood is at an end.

Therefore?

Therefore, I have made
a decision.

There is a job
opening up in the city
school systems.

It happens to be
in my field, in music.

Now, it does involve
a certain amount of
substitute teaching.

Uh...

Group piano classes,
music theory.

However, it also allows me

to work with
student orchestras
around the city,

developing new talent.

You know, the kind of thing
that my training

has equipped me to do,
and that I enjoy.

Like your friend, Gary.

Like my friend, Gary.

Now, Gary says
that if I am who
my resume says I am,

I have the job.

Now, it pays $12,000 a year,
plus car allowance.

And I have to
be fingerprinted.

Come on, you ran into
a little bad luck
in Cincinnati.

If it was meant to happen,
it would have happened by now.

Oh, now we're into astrology.

You.

You got this thing.

Now, maybe it's a curse,
maybe it's a blessing,

but you don't have
to go much further
than the New Testament

to know what "He"
expects you to do
with a talent.

Who's he pointing at?
Have you finally
rented out my room?

(LAUGHING) I'm sorry.

(HESITANT PIANO PLAYING)

GARY: One beat, each note.

You can do it.

Keep going,
one, two, three, four.

One, two, three, four.

Okay? Keep it going.
One note, one beat.

One, two, three.

One, two, three, four.

One note, an octave higher.

C, C. D, D. Keep on going.

One, two, three, four.

One, two, three, four.

Keep going.

(**)

How long have you been
standing out there?

Has he gone to work?

Yes.

First of all,
I want you to know

that I really did
make this application.

I mean, I sent it in
even before
I went to Cincinnati.

Now...

I want you to understand.

I will be back before the
personal interview.

So, there will be
an end to this situation,
win, lose or draw.

Win, lose or draw, what, Paul?

I have to take
one last shot at competing.

The Arabella Hillman
Competition in San Francisco.

No cattle call,
you submit a cassette.

And if they like it,
you're immediately
one of 12 semi-finalists.

Whittled down
to six finalists.

First prize, $20,000,

a Carnegie Hall recital,
and two years' of
concert bookings.

Also a medal,
which will turn your tits
a lovely shade of puce.

Am I ready for this?

I've been waiting
for you to tell me.

I don't think you ever will.

You are ready, and afraid.
Like any virgin.

Who's a virgin?

Sorry.

That used to be a compliment.

Greta, they want
a cassette submitted,
it's too late.

Nope. I submitted
the cassette.

What cassette?

The one I recorded
and put your name on.

I played the Kreisleriana.

It was poignant, searching,
surprisingly strong,

and a little simple-minded.
It sounded just like you.

(EXHALES)
Is that sort of thing done?

All the time.

Congratulations, we made it.

(**)

(PIANO PLAYING)

(PLAYING STOPS)

(PIANO RESUMES PLAYING)

(HITS WRONG NOTE)

(RESUMES PLAYING)

FLIGHT ATTENDANT OVER PA:
Ladies and gentlemen,
we are beginning

our final descent
into San Francisco.

Please extinguish
all smoking materials,

replace tray tables,

and bring your seats
to an upright position.

Excuse me. Miss?

What?

Time to close the piano.
We're landing.

Oh God, how embarrassing.

Have I been doing that long?

Oh, it was fascinating.
Are you a musician?

Good question.

(**)

I need a single for a week.

Yes, sir.

Your room service
goes 24 hours?

No, we don't have
any room service here, sir.

I knew that.

(SPEAKING IN RUSSIAN)

(SPEAKING IN RUSSIAN)

(SPEAKING IN RUSSIAN)

(SPEAKING IN RUSSIAN)

(KNOCK AT DOOR)

(SHUSHING)

(SPEAKING IN RUSSIAN)

(SPEAKING IN RUSSIAN)

(**)

Hey, you one of
the 12 Apostles?
Me too.

I'm scared
out of my tiny mind.
My whole family's here.

I told them
I didn't stand a chance,

but they wouldn't stay away.

I'm from New York.
Direct from New York,
like the Yankees.

How about you?

I think you're what my teacher
told me to shun.

Who me?
Well, I'll see you inside.

How you doing?
I'm Jerry DiSalvo.

You one of the 12 Apostles?

I'm here for
a piano competition.

That's what I meant.
Me too.

I'm scared
out of my tiny mind.
How about you?

JERRY: Hey, you know
how I learned to play piano?

This faggot
in the House of Corrections.

He heard me
fooling around one day,

so he made me take lessons.

You don't want to know
how many times I got stopped.

It looks like
I came a long way for nothing.

Tell me you're not entered.

-I'm entered.
-(EXHALES)

You're so bloody good!

And you also
do not remember me,

and I'm now feeling
very foolish.

The Tanglewood Festival,
two summers ago?

-Uh-huh.
-You were on a scholarship.

I was on a parentship.

-Heidi Schoonover.
-Paul Dietrich.

I know your name.

Well, I knew yours.

You're entered?

Good for you.

You were going to compete
in Brussels.

-I did.
-And?

And I'm here.

It's crazy. You're so gifted.

We all thought so.
It's nice seeing you again.

I hope...

(CHUCKLES)
What can you hope for
and be honest?

I hope we tie?

You coming in?

No, I have to make a stop.

That is the one
they used to call Joanie.

(SIGHS)

You have no time for her.

Anything that eats
into your concentration

even a little bit is no good.

Used to call her Joanie.

You have no time for her.

Anything that eats
into your concentration

even a little bit is no good.

Joanie.

You have no time for her.

Anything that eats
into your concentration

even a little bit is no good.

(PIANO PLAYING)
(ELECTRICITY HUMMING)

Shut up!

(PIANO PLAYING CONTINUES)
(ELECTRICAL HUMMING CONTINUES)

(MULTIPLE PIANOS PLAYING)

Sorry.

(OFF KEY NOTE PLAYING)

Ah, Mr. Rudko,

I am truly appreciative.

They give you any shit?

(CHUCKLES) What, a soupcon?

Oh, I'm sorry, Mr. Rudko.

I've got no pockets
at the moment.
Can I sign something?

It's okay, Mr. Humphries,

I'm still shaking from the tip
when you first checked in.

I'll let you know
if you use it up.

Now, you sure?

(TELEPHONE RINGING)

Mr. Humphries' room.

One minute. Don't get up!

(PIANO BEING PLAYED)

(PLAYS DISCORDANT NOTES)

(SPEAKING IN RUSSIAN)

(SIGHS)

Tatjana!

(HORN HONKING)

HEIDI: Good morning.

Hey!

I'm gonna try this
one more time.

We do know each other.

Not well,
but we played two-piano

at the Tanglewood Festival
for an hour.

You went to my recital
and I went to yours.

Now, it occurs to me,
I hadn't come to terms
with my first name.

I was going by
my middle name, Joan.

Everyone called me Joanie,

which is what helped me
come to terms with "Heidi."

Uh, let's see, what else.

Oh, yeah, you played
Gaspard de la nuit.

And Franco Maneri
said it was magical.

And if you're thinking,
"Oh, I see,

"this little snerd
had an itch for me

"at the Tanglewood Festival
two years ago."

You couldn't be wronger.
I had an itch
for Marshall Goldman,

who turned out to be gay,
big surprise.

As for you, I agreed
with Signor Maneri.

I also thought it was too bad

a guy as young as you
already had
a receding hairline.

Plus I also thought
you had an itch for me.

So, when I say "hello,"

it comes with some
expectation of response

and a background
of familiarity.

(SCOFFING)
God, aren't you even
going to smile?

What concerto
are you gonna play
if you reach the finals?

Oh, you wanna talk shop?
We'll talk shop,
but answer my question first.

Why? You seem
quite capable of answering
your own questions.

Did you?

Did I what?

God, forget it.
Have a wonderful day.

Did you have an itch for me?

Nope.

It was Marshall Goldman,
right from the start.

Not a chance.
I think you did,

and I think you
possibly still do.

(LAUGHING) You see?

You do answer
your own questions.

What do you need me for?

I don't.

God, what the hell's
happened to you?

(PIANO PLAYING)

Come on, Mitzi,
get it over with.

They've all seen the dress.

MAN: Thank you.

Thank you.

That's good.

MAN: If there was an easy one,
that was it.

Yes. A pleasure.

Thank you.

They're ready.

MAN: And now I, uh,
would like to introduce

our principle conductor,
Mr. Andrew Erskine.

Ladies and gentlemen,
we will announce
the six finalists

as per tradition,
alphabetically,
place of origin first.

And please withhold
your applause

until I've announced all six.

Contestants,
when I call your name,

please join me
here on the stage.

Now from...
We begin with
a real tongue twister.

From Semipalatinsk,
Kazakhstan,

Autonomous Socialist
Republic, USSR,

Tatjana Baronova.

(AUDIENCE MURMURING)

From Chicago, Illinois,
Paul Dietrich.

From the Bronx, New York...

-(STIFLED CHEERING)
-MAN: I knew you could do it!

...Gerolamo DiSalvo.

-(SQUEALING)
-MAN: Yeah! All right, Jerry!

(SCATTERED APPLAUSE)

Born in Wilmington, Delaware,

currently residing
in Venice, Italy,

Michael Humphries.

From Montreal,
Province of Quebec, Canada,

Mark Landau.

(AUDIENCE MURMURING)

And finally...

From Newton Highlands,
Massachusetts,

Heidi Joan Schoonover.

(AUDIENCE MURMURING)

Ladies and gentlemen,
the finalists.

All right, Jerry! Yeah!

Way to go! Whoo!

MAN: All right, Jerry! Whoo!

(WHISTLING)

MAN: All right, Jerry!

(**)

ANDREW: As we begin
this business,

I'd like to make
a small apology.

This method of
selecting the order

in which you play
in the finals,

is one that was begun
by my predecessor.

It's highly inconvenient
for the orchestra,

but the Philharmonic
Association believes in magic,

and I cannot persuade them
to abandon the ritual.

Now, my plan is
to get through rehearsals

of all six concerti
in one day,

that day being tomorrow,
commencing at 9:00.

I'm not going to play through
the entire work.

This will only be for cueing
and for emphasis.

So I want all of you in here.

Uh, when the orchestra's
ready for you, we'll call you.

And please let
the music librarian
know by 4:00 today

what concerto
you'll be playing.

Congratulations, once again.

No doubt you've all heard
the story about
the two conductors.

The first conductor goes...

Who got number one?
Excuse me.

What concerto are you playing?

Liszt, E-flat.

I'm number two, if you'll
pardon the expression.

Saint-Saens.

The Brahms' First.

Well, if nobody's dying
to play the Chopin E Minor,

I'll settle for it.

Well, the Mozart D Major.
Or the Prokofiev Third.
I'm still juggling.

I'm number six.

And I am also planning
the Saint-Saens.

MICHAEL: Whoops.

PAUL: It's a good showcase.

Especially if you're
playing last.

Yeah, position in life
is everything.

Almost everything.

But I'll tell you the truth.
I am the over-anxious type.

I... I'd just as soon
play the first night
and get it over with.

So unless you're
emotionally wedded
to the second spot,

why don't we swap numbers?

Then you can have
the Saint-Saens,
all to yourself.

Yeah, okay.

MICHAEL:
And what will you struggle
along with then, Mr. Dietrich?

-I'm gonna try
the Emperor again.
-Again?

Tatjana would like
to give her love
and best wishes

for success to all of you.

And ours to her, madame.

Picked out a piano yet?

They only got four
to choose from.

I've got to decide
on the concerto first.

Hey, see this?

(SCOFFS)

HEIDI: You were
very straightforward with
the reporter, weren't you?

-Why'd you stop
at reform school, huh?
-Hey!

Why didn't you tell them
you were the Son of Sam?

I didn't say nothing
about reform school.

He drew his own conclusions.

I said I was in trouble
when I was a kid.

-You liar!
-Well, how does it make
the rest of us look?

Hey! All right, look,
I'm trying to find a hook,

a way of picking me
out of the crowd.

You don't know anything
about publicity.

That's no lie.

I'm looking
for a handle, that's all.

A hook? A handle?

You play like an angel.
Isn't that enough?

No. We all play like angels.

But the little Russian kid's
got big baby browns

and they dress her up
two years younger
than she is.

And when we got interviewed,

who do you think they wanted
to talk to the most?

DENISE: You got no shame,
you know that?

JERRY: Hey, watch your mouth.
DENISE: Just shut up.

JERRY: Nice face.

"It was like Beethoven
was showing me
a way out of the ghetto."

(SMIRKS)

Wait!

Wait till your
Uncle Frank finds out

he's been living in the ghetto
for 30 years.

DENISE: Would you guys
be quiet?

I don't want to hear this
and neither do
the damn neighbors!

-Hey, you...
-Hey, keep that door open!

Did you hear what I said?
Get your feet off the sheets.

-That's one hell of a picture.
-It looks great.

Here, lookit.
I got an article.
Nobody else did.

Hey, what does
"checkered past" mean?

It means I was in trouble.
I made it up...

You did say
you went to reform school,
didn't you?

Hmm?

You did lie.

You go to confession
this afternoon,

or I'm never
talking to you again,
you hear me?

I will. I was going to.

Yeah, I was going
with him, Ma.

No wonder that
sweet, young woman

don't want nothing
to do with you.

She's frigid.

(SNICKERING)

(SIGHS WITH FRUSTRATION)

(**)

(BELL CLANGING)

When did you find out?

Almost immediately.

Oh!

I asked Josephine Rinaldi
to go to the semifinals,

and she called me
the minute your name
was announced.

I thought you might like
to see a friendly face.

Now, let's get you packed.

-Where are we going?
-Josephine has a huge studio.

GRETA:
Two pianos and five beds.

She's led quite a life
if it comes to that.

Anyway, it's ours
for the duration.

When do you have
your first rehearsal
with the maestro?

Tomorrow afternoon.

-What do you think of him?
-(SCOFFS)

Very formidable.

Nothing at all like he is
on television.

He's a shit.

Maybe that was the word
I was searching for.

Aren't you glad I'm here?

Yes, ma'am.

$3.90.

-There are you. Thank you.
-Thank you.

Oh, she brought everything
from New York.

This is a temple, Heidi.

God, I hate that name.
It sounds even worse in here.

She told me the way you played
the Waldstein

made her forget her sciatica.

She said that?

Ludwig von Beethoven
taught Carl Czerny...

Who taught...

Leschetizky,

who taught Schnabel,

who taught Rinaldi,

who taught me.

And now the sixth
pianist in a direct line
from Beethoven

in standing here staring at me

in her Jordan Marsh
mix-and-match.

You shouldn't smoke.

If we lived
in a world of sanity,

no one would even expect you
to start concertizing

until you were
in your late 20s,

so you could keep studying
and enlarging the repertoire

and deepening as a person,

and growing up
to be a national treasure.

But... If you waited
that long, no one would
ever book you.

They want you fresh
out of the egg or not at all.

They must waste 500
good pianists a year that way.

(IN MOCK RUSSIAN ACCENT)
We will try to see
this does not happen to you.

(CLASSICAL PIANO BEING PLAYED)

The action's wonderful,

but all these
middle-register keys
need voicing.

The pianos will be tuned
by curtain time
Saturday night.

But not voiced?

No, Miss Schoonover.

PAUL: So why bother
tuning these instruments
in the first place?

They will be out of tune
by intermission anyway.

Mr. Dietrich,
we're not quite ready for you.

HEIDI:
It's all right. I've decided
this one will be fine.

Do not let me rush you.

I'm not letting you
do anything.

Just sign here, please.

(SNIFFS SHARPLY)

(PLAYING PIANO)

(SIGHS)

Is it absolutely necessary
for you to stand over me

while I'm making
this selection?

I'll be more than happy
to wait outside.

Thank you.

All you had to do was ask...

...politely.

(SNAPS FINGERS AND CLAPS)

(PIANO BEING PLAYED)

-(PIANO STOPS)
-Sorry. I'm leaving.

It's okay. It's okay.
(CHUCKLES)

I see you stopped juggling.
You're gonna play the Mozart.

Oh, yeah.

Your parents
having a good time?

-I suppose.
-It's nice
that they could come.

My mother's threatened to,

-but I'll believe it
when I see it.
-Why is it nice?

Support.

My teacher's here.

She's moved me into
Josephine Rinaldi's studio.

It's a wonderful old house
that sort of scowls down
on the rest of Vallejo Street.

How did she manage that?

She was her star pupil.
Greta Vandemann?

Are you studying
with Greta Vandemann?

I was when we first met, too,
remember?

(LAUGHS)

-Never mind.
May I ask you something?
-Sure.

Were you really planning
to play the Saint-Saens,

or were you just trying
to frighten poor Jerry
into trading spots with you?

You know, I think it's
real nice how protective
you are of him.

He looks like he
must be a heck of a lot
of fun to be with.

He has a sensational body.

And no receding hairline?

And no receding hairline.
Why are we talking like this?

Paul, outside of nerves,

is there anything
terribly wrong with you?

I mean, I want to do
two things every
time I see you.

One is cry, the other one
is smack you around.

There is nothing
terribly wrong.

It's just that you
have to have blinders on

when you prepare for one
of these things, that's all.

Why would you want to cry?

(FOOTSTEPS APPROACHING)

Mr. Dietrich,
have you decided?

Sign here, please.

Off to practice?

Where else?

A real old-fashioned
charmer, isn't he?

He plays piano
like one anyway.

(PLAYING PIANO)

CONDUCTOR: All right, there
doesn't seem to be anything
tricky until about bar 310.

-Let's take it
from three bars before...
-Excuse me?

Could... I'm sorry.

Could we have a review of the
transition into the rondo?

Well, we take that from you,
Mr. Dietrich.

I understand,
but it seems to me

that when the strings
were answering me,

that you were
slowing down there.

Are you indicating
a sostenuto there?

Da-da-dum, da-da-dum,
da-da-dum.

That's what I thought.

And what else do you think,
Mr. Dietrich?

I think that that is the wrong
approach for this ensemble.

Have you spent a lot of time
with Beethoven, Mr. Dietrich?

-I mean, was he an old friend
of the family?
-(ORCHESTRA CHUCKLES)

Maybe he told you
something about his tempi
that we all don't know.

But, uh, I see no
metronome marking here.

What I do see is allegro
ma non frigging troppo.

(ORCHESTRA LAUGHS)

Which, when I went to school,

meant lively,
but not too lively.

The meaning hasn't changed,
but when I went to school,
allegro was a relative term.

Brownell, how many
times have I conducted
this concerto?

BROWNELL: More than 200.

And how many times
have you played it?

Six.

And I have misread it, too,

just the way you did
over 200 times.

The only difference being
that I began to get a hint
that something was wrong,

and I kept studying, and kept
working, and kept listening.

And kept open to it.

You've played it six times.

How often
have you conducted it?

I am not a conductor
and I do not claim to be one.

Well, let's complete
your education.

Don't tell me that you've
never worked from
a full score before.

-I have conducted,
Mr. Erskine.
-Well, then, come on!

Prove your point.

We're all waiting.

(SIGHS)

Uh, now here's what I feel.

I am just looking for a kind
of a rhythmic precision
to set up what is coming.

Seconds and violas,
if you could be just leggiero.

Um, we needn't work so hard.

Uh, the wrist,
rather than the elbow.

From bar 275 and following,

I would appreciate it
if we could all
exaggerate the sforzando.

It seems to me that Beethoven

wants these accents
to jump out at you, you know?

So, we will pick it up
from 270. And...

(ORCHESTRA PLAYING)

That's nice!

That's it!

If that's what you want,
that's what you've got.

Uh, 10 minutes, everybody.
We'll pick it up from bar 307.

(SIGHS)
Thank you very much,
ladies and gentlemen.

(TAPPING)

(ORCHESTRA APPLAUDING)

(ENGINE STARTS)

(**)

Stop.

(SPEAKING IN RUSSIAN)

(TIRES SCREECH)

(SHOUTING IN RUSSIAN)

(SCREAMING IN RUSSIAN)

(ARGUING IN RUSSIAN)

Excuse me, gentlemen.

(SOBBING)

I'm going to give her
an injection.

You must hold her arm
very still, do you understand?

I understand.

(WAILING IN RUSSIAN)

-(SOBBING)
-(MEN SPEAKING IN RUSSIAN)

(WAILING)

No, no, please,
don't put us on hold.

This is the Soviet Consulate.

(SPEAKING IN RUSSIAN)

Hello?

Yes, it is definitely
an emergency.

I'm sorry, sir, but
there's a man to see
you. It's important.

Excuse me, everybody.
I'll be right back.

-Yes?
-Mr. Erskine,

my name's Hank Brudenell.

I'm with the State Department.

Could I speak to you
for a moment?

I apologize for interrupting
your rehearsal,

but we seem to have
run into something
rather delicate.

One of your finalists,
a young Russian girl...

-Tatjana Baronova. Yes?
-Yes.

Well, what exactly
are you saying?

That the postponement
is indefinite?

No, we've agreed
to hold for a week.

At that point,
we'd have to re-examine...

My God! You've already agreed?

Hey, now, now.
Wait, wait, wait, wait.

Exactly what is the nature
of the little girl's illness?

Well, there isn't much
information at this point.

But it's some kind
of nervous affliction...

It couldn't be much
worse than ours!

Now, you key yourself up
to give one concerto
on a given evening,

with some small significance
as to the outcome...

Now, Mr. Dietrich,
I am familiar

with the difficulties.

I was a pianist myself.

(SCOFFS)

By way of compensation,
we will, of course,

be picking up your
expenses from now until
the end of the finals.

Hey, I don't know
what we're staring
at each other for.

It's done.
Let's make the best of it.

And the extra time
to get ready, there is that.

Time does not mean the same
thing to me as it does to you.

And if you're not
ready now, you have
no business being here.

(DOOR OPENS)

(DOOR SLAMS SHUT)

Well, enjoy the day,

those who have
the capacity to do so.

Send up a flare when you win.

All of this, and you don't
even get a chance
to see the finals.

Well, we're obviously not
bringing you any luck.

-Didn't I have a wife?
-I'll get her.

It's time, my lady.

What are you going to do?

What can I do? I'll
pray the kid gets
better in a hurry, I guess.

About the job, Paul.

I'll try and stall them,
I suppose.

It's getting to be quite
a gamble, isn't it?

Winning a competition
that may never take place.

Or withdrawing right now,
getting yourself home,

nailing down a job
for this year.

There are other years

that will all belong
to somebody else.

I am five months
away from the cutoff age.

This is the last year
that could belong to me.

That makes two of you.

I have asked you
repeatedly to tell me

if anything was the matter.

And I have repeatedly said no.

-Just the way
you hoped I would.
-Okay.

Go on.

He wasn't supposed
to make this trip.

And he is not supposed
to go back to work.

Do you want it
any simpler than that?

What do you mean, exactly?

He is going to die
if he doesn't stop soon.

-And when I say soon...
-(KNOCKING ON WINDOW)

It's a courtesy limousine.
How about some
goddamn courtesy?

Kiss your mother goodbye,
will you?

(**)

Darling, let's go. We're late.

(PLAYING PIANO)

Tenuto, all those b's
should be...

Now use the una corda on those
descending thirds and hold it.

Now, more. More crescendo...

This is the first major climax
in this variation.

Rubato, let it breathe.

-I know.
-I know you know.

I know you know, I know.

All right, put it aside.

Work on the Mozart
for a half an hour
and then we'll get some sleep.

Why do we keep working
on the Prokofiev?

Just in case.
Now there's time to
change your mind.

The orchestra's up on it, too.

They played it
with Ashkenazy two weeks ago.

And you should always have
more than one concerto ready.

A question any manager
will ask you at the
start of your career,

"What can you play
on 24 hours notice

"if Serkin or Gilels cancels?"

The Serkin-Gilels
24 Hour Cancellation Blues.

Are you getting your period?

No, I decided to
wait till the spring
collections came out.

(CHUCKLES SARCASTICALLY)

-Greta?
-What?

Why are you always
in such command?

Mainly because...

(KNOCK AT DOOR)

Uh, is Joan...
Is Heidi at home?

HEIDI: Don't take
the chain off!

Yes?

(SIGHS)

Can we talk?

I haven't seen any evidence
of it so far.

I was very rude.

Try again.

I'm sorry.

If you make it easier
for me this time,

I'll make it easier
for you the next time.

Greta Vandemann,
Paul Dietrich.

-It's an honor.
-He's a finalist, too.

Uh-huh.

You think we could go
someplace and have
some coffee or a drink?

Anything you'd like.

Anything I'd like?

Why?

I don't think I'm ready
to answer that just yet.

Okay, on one condition.

-You come by car?
-Yes.

I want a driving lesson.

I'm sick of not knowing
how to drive.

I've never had time to learn.

We're postponed
at least a week.

I want a driving lesson.

PAUL: It's been raining.

People don't drive
in the rain?

(LAUGHS) Okay. Sure.
You got it.

I have a spare key.

I'll be okay.

You can tell he's a careful
driver just by looking at him.

(DOOR CLOSES)

(**)

Oh, shit.

HEIDI: It feels so strange.

PAUL: You ride? (LAUGHS)
No doubt you ride.

HEIDI: I've ridden.

PAUL: And the instructor
told you to think of the
horse as your legs.

Well, think of the car
as your horse.

My instep is beginning
to seize up.

It's perfectly normal tension.
Just relax.

You're doing fine.

Should I try a turn?

Sure. Why not?

HEIDI: Oh, my God!
What do I do?

You do... Just keep a light...

Keep a light touch
on the thing. Light touch.

That's it, that's it,
that's it. You're doing fine.

You see? Keep it steady.
Just relax.
You're doing all right.

It's gonna level off
at the bottom.

It looks a lot worse
than it is.

Steady on the brake.

Now make a right turn.

Okay?

-Can you feel the way
I'm shaking?
-That's perfectly natural.

(SIGHS)

Jeez!

What?

How can you be so gentle
and soothing

when you're doing this
and such a down, cold bastard

when you're rehearsing
a concerto?

It's the same guy.

Oh, that's pompous.

What do you mean,
"No doubt you ride?"

Well, you have that aspect.

You have a rich girl's neck.

And don't ask me
to explain that,
I know what I mean.

-Are you okay?
-Oh, yeah.

Except now I feel like
you're staring at my neck.

Okay, that's enough
for one lesson.

PAUL: All right, hold it,
hold it, hold it.
Brake it, brake it.

Just brake it, brake it.
Brake it. Stop it.

There we go.
Now, put it in park.

Pull up the brake.

(CAR SHUTS OFF)

Well, you want to
go someplace and talk?

Well, actually,
I don't want to talk.

I just wanted
to be with somebody.

"Somebody."

I heard some very
bad news tonight.

And the first person...

The only person
I thought of...was you.

I wanted to be with you.

Oh.

I know it's kind of
an imposition.

Will you shut up
before you spoil it?

Let's walk.

(**)

Thank you.

HEIDI:
I wonder what time it is.

You wanna go home?

No, I was just wondering.

(DISCO MUSIC PLAYING)

Let's leave.

Let's dance.

No, I don't...
I don't know how to do that.

Oh, come on. They say that
anybody can do it.

How did we get
into this century?

PAUL: What?

What have we been doing
with our lives?

HEIDI: Isn't that where
you're staying?

Mmm-hmm.

Is it nice?

(**)

I want to be here with you.

I want to be as close
as we can get.

But I don't think
we should make love.
Does that infuriate you?

It comes as a great relief.

(SOBBING)

Oh, my God. What?

(SNIFFLING)

Shh, it's okay,

(SOBBING)

(SNIFFLING)

(SIGHS)

I'm getting you all wet.

Teardrops on my boobs.
Great country
western standard.

Do you feel like talking yet?

PAUL: I don't know.

Less of a difference between
the reward and the punishment.

I stood there
and I looked at Gary.

Nineteen years
knocking at the same door,

and he ends up explaining
octaves to a bunch of kids

who don't really want
to be there.

I started on the cello.

I had a real feeling
for it, too.

My brother was supposed
to be the pianist.

What went wrong?

It tickled.

What?

I said, it tickled.

-(LAUGHING)
-Not my legs, either.
My nose.

And he apologized
to the audience.

And he said,

"Music is a hard enough trip
without any distractions."

And I thought,
"Hard enough trip?"

I was 22 years old,
I didn't know what the hell
he was talking about.

You have no business
feeling guilty. Okay, true.

There's absolutely no fallback
position for a pianist.

Nothing that's fulfilling.

So go for it.

You're not stealing
their money, you're
letting them love you.

What are parents for
if not that?

(CHUCKLES)

What are you thinking?

Hello?

(**)

(INTENSE CLASSICAL MUSIC
PLAYING)

This music takes a bit
of getting used to.

But it's sensual,
don't you think?

More modal than serial.

I'm beginning to hear it.

(DOORBELL RINGS)

Just relax.

You haven't been answering
your telephone, so I...

(CHUCKLES)
What's on your mind?

Tatjana is not making
a great deal of progress.

Well, that would seem
to be that, then, wouldn't it?

One week from today,

I must begin rehearsals
in Salzburg for Magic Flute.

Bensies arrives here Monday
to guest conduct my orchestra

-and five concerts.
-(DOOR CLOSES)

Now, surely it's obvious,
even to the Russians,

that we must begin the finals
this coming Friday.

Yes, they understand that.

We've had a small
breakthrough.

You know where
the old lady is, don't you?

Oh, it was no major effort
to find out.

Well, it's kind of sad.

She didn't wanna
leave the kid that way,

but it was her only chance,

and she'd been planning
it with her relatives
for a long time.

She feels very bad about it.

And so?

She's willing not to seek
asylum officially

or make any public
statement whatsoever.

If what?

BRUDENELL:
Well, if someone she trusts

can arrange a meeting
for her with the little girl.

So she can explain.

This may not work.
Do they know that?

They'll take
what they can get.

The main thing is
there's no Bolshaya scandal.

(CHUCKLES)

Do you feel like
Scattergood Baines?

Sure. Why not?
A little effort.

And we didn't blow anybody's
life to hell and gone.

(BOTH PLAYING CLASSICAL
COMPOSITION)

You know, there's a variation
on this section.

-What?
-Sure.

See? You don't know
everything.

It happens to be one
of the most famous

four-hand passages
in 18th century music.

Pick it up right here.

(RESUME PLAYING)

(PLAYING HEART AND SOUL)

(LAUGHS)

Take it.

(LAUGHING)

(PLAYING HEART AND SOUL
JAZZILY)

Hi. Can you stand it?

(CONTINUE SONG)

Do I have any choice?

Where you have been?

Snooping around
at Symphony Hall.

Well, I'm not denying
you two look...very sweet

and old-fashioned together.

You're right.
As much as I hate

to leave this gorgeous
instrument...

Well, thank you very much.

Or this one,
I'd better get down there.

-Couldn't we just...
-I don't think you can
rehearse

two separate concerti
at once, Heidi-ho.

Have you heard anything more
about the finals?

No. They start tomorrow night.

With or without
the Russian kid?

With or without.

Twenty-seven hours from now.

There's a press reception
scheduled at the Hilton

at 8:30 tonight.

The Symphony Association
is trying to atone.

So get your story straight.

Everybody knows my story.

Then change it.

Will you pick me up?

Yeah.

-You okay?
-Don't I look it?

Don't fence with me.
I get enough of
that from Greta.

Look, it was a turkey job.

It doesn't mean a thing.
And you mustn't let it...

Mustn't let it eat
into my concentration.

Exactly.
God, you're so smart.

Plan to miss me?

Well, that would likewise
eat into my concentration.

(LAUGHS)

Don't look at me that way.

I do plan to miss you.

I just can't do that
until I go.

(SIGHS)

Well, believe it or not,
we got through the Mozart.

Heidi-ho.

Do you know what a step it is

for him to even make
a dumb joke like that?

My little wonder worker.

Why were you playing

what you were playing
when I came in?

To cheer him up.

Have you ever heard
of competitive edge?

In which one looks for ways
to dislike one's opponents?

This is not an ashram,
sweety-face.

This is a battleground.

Oh, it's always the messy
ones, the irregular weaves.

If you have an itch,
God knows I understand that.

What's wrong with that punk
from the Bronx?

He's got a super body

and I'll bet some notion
of how to use it.

Jerry? He'd be okay. Why?

Because all you can tolerate
right now is an implement.

A human vibrator.

That doesn't count
as infidelity.

I'm lost.

Infidelity to that!

That is your first husband.

That...you marry it,
the way a nun marries Jesus.

You cleave to it,

because it gives your life
a center that no man...

That very few men
can possibly give you,

least of all a rival
for the thing your life
is centered on.

Do you know?
Do you have any idea

what a drain that can be?

It's no drain at all,
damn it, Greta.

You're wrong for once.

If anything, he doesn't take
enough from me.

He's feeling
a lot of pressure...

No, I do not want to hear
about his problems!

I don't want to know what
they are, and neither do you!

If we're pretty,
and aren't we both?

And if we're accomplished,
and are you not, and wasn't I?

There will always come along
a man

who is what Eleanor Roosevelt
used to refer to

as "less fortunate
than ourselves."

No.

Everybody's got a story.

We are not going to hear mine.

Gary? It's Paul.

No, I'm still out here.
There's been a hitch.

The finals have been
put off for a few days,

that's why I'm calling.

I'd like you to do me a favor.

No, I'd like you to tell them

that I'm withdrawing
my job application.

Because I don't think
I can play full-out

if I hedge my bet, you know?

It just struck me,

if you have something
to fall back on

you're gonna have a tendency
to do just that, fall back.

You wanna know the truth?

I feel like I just lost
100 pounds.

(LAUGHS)

Yeah.

(BAND PLAYING JAZZ MUSIC)

(INDISTINCT CHATTERING)

Well, well, well,
the circle is complete.

Not quite.

Yeah, I guess our little
comrade is exed out.

I wonder what the matter is.

Well, there are rumors,
you know.

Such as?

Ah, to hell with it.

Now listen up, everybody.

Undoubtedly, the organization
is going to throw

some sort of festive
celebration

after all this is over,
all right?

And undoubtedly,
it's gonna be quite boring.

So, you're all invited
up to my apartment
for another party

in honor of the winner,
whomever he or she may be.

(DRUM ROLL)

(INDISTINCT CHATTERING)

(BAND PLAYING MAJESTIC MUSIC)

(CAMERA SHUTTERS CLICKING)

(CAMERAMEN CHATTERING
INDISTINCTLY)

MAN 1: Over here, please.

MAN 2: This way.

WOMAN: Should I get a head
shot over this way?

Let's get some air.

(TIRES SCREECH)

(HORN HONKS)

Well, so much for the Hillman.

I'm glad there was
nothing riding on it.

Well, at least you're talking.
I was beginning to...

Paul, would you please
slow down?

You're gonna leave it here?

That's highly perceptive
of you.

Listen, I am serious.
What is wrong?

I mean, did I say something?

God knows if I did,
you've made up for it.

Heidi, do you know
what's happened?

It's over.

Back up the truck.

If there was ever a fair shake
at this competition,

it's has been blown away now.

We have been manipulated
into some supporting cast

for this neurotic little kid.

(SCOFFS)

She's under a terrible strain.

How terrible can it be

if she's performing
tomorrow night?

You don't feel anything
for her?

(LAUGHS SARCASTICALLY)
Oh, I feel something for her,
all right.

Oh, that's competitive edge,
isn't it?

Oh, you make it sound just
like the clap, you know that?

I mean, what is this
whole thing to you, anyway?

Some kind of experience?
Notes for a journal?

(MEN SPEAKING FRENCH)

I mean it. What is the
point of competition?

Unless you are somewhat
interested in the outcome.

I'm interested,
but to make yourself

hate some poor, sweet kid...

Some poor sweet kid
is standing on my neck!

(MEN CHATTERING LOUDLY)

And shut up!

-Oh, super.
-Goddamn clowns!

Paul, for God's sake,
open your hands.

Your hands! Are you crazy?

(SPEAKING FRENCH)

Oh, shit!

(BOTH SPEAKING FRENCH)

-Paul!
-I'm angry.

-You've seen it before.
-Exactly!

Angry enough to get me raped!

Remember?
You had a girl with you

when you got out of the car.

You're talking yourself
into this.

Nothing can mean that much.

Right now?
Nothing else means anything.

And if you don't feel
the same way,

why are you taking up space?

Am I standing
on your neck, too?

What I really think...

Is that you are ashamed
to admit how much
this means to you.

And what I really think is
that you're lying to yourself,

but that is something
for a shrink

to be concerned about.

I just don't have the time.

No, you haven't.

(**)

Okay.

In the long run,

what does this damned,

misbegotten competition
have to do with you and me?

What do you mean,
"you and me"?

What has you and me
have to do with anything?

I seemed to have
walked off my appetite.

I'm out of your way,
I'll catch a cab.

Taxi!

Fine.

(UP-TEMPO CLASSICAL
PIANO PLAYING)

(ORCHESTRA WARMING UP)

(AUDIENCE APPLAUDS)

(APPLAUSE)

(INHALING DEEPLY)

(ORCHESTRA PLAYS)

(PLAYING PIANO SCALE)

(SOFT CLASSICAL PIANO
MUSIC PLAYING)

(MUSIC STOPS)

(MUSIC ENDS)

(AUDIENCE CHEERING)

(APPLAUDING CONTINUES)

(INDISTINCT CHATTERING)

Excuse me.

Hot stuff.

Here we go.

You actually let me
buy you a drink.

He was something, wasn't he?

You mustn't let that
worry you.

Hey, it doesn't worry me.
I don't expect to win.

I was shocked out of my gourd
to make the finals.

Lookit, I know
I'm not fooling anybody.

I can play one stinking
concerto at this point.

And if you want
to know the truth,

if I did win tomorrow night
I'd be in a hell of a mess.

You can't exactly build
a career on the
Saint-Saens concerto.

Not even Saint-Saens
could do that.

Then why are you here?

Because from here,

I can maybe get
where I wanna go.

All right, you might
not think so,
but I'm good-looking.

And this is our time.

De Niro. Pacino. Travolta.

-DiSalvo.
-Yeah.

But DiSalvo
can play the piano.

Do you know who outdraws
Frank Sinatra

every time he plays Las Vegas?

I'll tell you who outdraws
Frank Sinatra

every time he plays Las Vegas.

Liberace. Well, shit,
I play better than him.

So, what are you laughing at?

I shouldn't laugh?

Yeah, go ahead.

Ah, the hell with me.
What are you doing later on?

What am I with you,
a matter of pride?

Hey, it's nothing like that.
You're just, you know, juicy.

What can I tell you?

I'm not as juicy
as I look these days.

-You'd be very disappointed.
-Listen, I...

If I thought it would do
either of us any good,

I'd take you up on it,
trust me.

I do.

(CHIME SOUNDS)

Well, here we go again,
back in the USSR.

(CLASSICAL PIANO PLAYING)

(ORCHESTRA PLAYING)

(**)

You want to pull out,
don't you?

Greta, if I didn't
have to face you, I would.

Oh, no. I will not
be responsible either way.

You get not a curse
or a blessing from me.

I am the teacher.

It means so damn much to him.

What does it mean to me?

Don't ask the teacher.

Oh, yes, there will
be next year.

And next year
there will be...another one

who's older, desperate,

more deserving.

Always.

Until it's your turn
to be those things.

And then a 23-year-old
man will step aside
for you, won't he?

Of course he will.

Because life is always
so equitable.

I'm just not in the right
mental state to play.

Something's missing.

And it was not stepping aside.

I don't have a chance,
you heard him play.

Don't ask the teacher.

And don't lie to her, either.

(**)

Good morning.

So it is. She's not here.

Do you expect her back?

She was gone before I woke up.

You did yourself proud.

Thank you very much.

I don't mean
last night, sonny.

Oh, yes, you were splendid.

I don't know where Lowengarth
keeps finding them.

Hold it. You don't mean
last night?

I mean you did a masterful job

of eliminating the only
serious competition you have.

Don't worry,
she'll play like a lox tonight

if that's what you came
to check on.

If she told you anything
about me at all,

you couldn't believe that.
I don't operate that way.

She may not believe it,
I don't have any trouble.

It must be a terrific
responsibility,

knowing everything.

And it always ends
the same way.

He feels misunderstood.

(BAND PLAYING MEDIEVAL MUSIC)

Why the hell
aren't you practicing?

Answer me.

Answer you?
I don't even know you.

Then what the hell
do you think you're doing?

Making some grand gesture?

I'm not scared of you
and I'm not worried about you.

So don't do me any favors.

-Is that clear?
-It's clear.

I won't do you any favors.

Okay!

Oh, Christ! I did not come
here to tell her that.

You know, you bring out
the worst in me.

I came here to tell you
that I am a liar.

I realized it this morning
when I woke up and
you weren't there.

I am a liar about
"You and me,"
and what all that means.

-Wait a minute...
-No, no, no, no, no.

I don't want to wait
about anything.

That's all I've been doing
is that, waiting.

I've been waiting to win,
as if that's gonna
change my life.

And that was fine
until I ran into you.

And kept running in you.

And then...things began
to happen.

Like that morning on the steps
when you yelled at me.

I mean, let's face it,

nobody looks that good
in direct sunlight.

So it's not like
you're such a knockout.

But you stood there
reading me off,

and I could see the blotches
on your skin

and the discoloration
under your eyes

-and tiny hairs on your arm.
-Hey!

And none of it mattered,
because I wanted you so much

I couldn't make a fist.

I wanted to climb inside you

and pull you around me
like a blanket.

And now I know that
that is more important

than this damn, misbegotten
competition. Let me finish!

Okay.

So, what I really feel
about you and me

is that we are a corporation.

Now, if you win, great.

If I win, better.

(BOTH LAUGH)

And if neither of us wins,
then the hell with it,

but the corporation goes on.

And I wish to hell that
I could have answered

you like this
the night before,

but I just
wasn't seeing straight.

So I lied.

I'll never lie to you again.

And if you think
that that was easy...

What are you waiting for,
a yes or no answer?

Now what? (CHUCKLES)

Now I drive you back,
so you can practice.

Wait a second.

We have to have a plan.
I mean, if one of us wins

there'll be a week and a half

before the Carnegie Hall
recital, right?

What if we were to
take part of that time

and just disappear

and get to know each other?

I mean, we can go anywhere.

I have some friends on
the Cape. We can stay there.

If they're there,
we'll throw 'em them out.

Or stay someplace
real tacky. Las Vegas.

We'll ask Jerry what
the tackiest place is to stay.

-It doesn't matter...
-(LAUGHING)

What's important is
we should do it, shouldn't we?

To hell with everything else?

You're right. We'll do it.

I love you.

So you said.

I love you, too.

It's a standoff.

Come on.

(CLASSICAL PIANO BEING PLAYED)

(MUSIC ENDS)

(APPLAUSE)

(CHEERING)

Where are you going to be?

Where do you want me?

Where I want you right now,
they don't give medals for.

She's been to the john?

HEIDI: Yes, sir.

Well, up we go.

(AUDIENCE APPLAUDS)

(MOUTHING) I love you.

(ORCHESTRA PLAYING)

(METAL CLINKING)

(METAL CLINKING CONTINUES)

(AUDIENCE MURMURING)

I'll get a technician.

It won't take very long.
Now don't fall apart on me.

I don't want a technician.
I want another piano.

The whole middle register
on this one is uneven

and you know it.

I need some time to think.

(AUDIENCE MURMURING)

I'll be back.

Now, calm down.
This sort of thing happens.

This one didn't have to.
Now, cut the crap

and get her another piano.

The one I used.

I don't want your piano.
I want the other Steinway.

It doesn't have
as light an action.

I don't need
as light an action.

I'm out of the mood to play
the Mozart tonight.

I'm going to play
the Prokofiev Third.

That is the silliest proposal
I ever heard!

Why?

Oh, Greta, darling,
how are you?

I'm peachy. Why?
Why is it silly?

Look, I am not
running a course

in music appreciation
for beginners, am I?

The Prokofiev requires

almost a totally different
orchestral set!

Different instruments!

I know what it requires.

More brass, more strings
and more percussion.

Including castanets.

You have everybody you need
downstairs smoking,

waiting to play
the Saint-Saens.

The scores are locked up
in the library.

You should be up on it.
You played it with Ashkenazy

two weeks ago.

Well, maybe I am not
in the mood

to conduct
the Prokofiev Third!

Andrew!

It costs extra to carve
"schmuck" on a tombstone,

but you would definitely
be worth the expense!

(CHUCKLES)

(SIGHS)

The Prokofiev.

(ORCHESTRA BEGINS PLAYING)

(ORCHESTRA STOPS)

(**)

(PIANO PLAYING)

(SONG ENDS)

(AUDIENCE APPLAUDS)

(CHEERING)

(INAUDIBLE)

(INAUDIBLE)

Yeah, Jerry!

(SQUEALS)

(APPLAUSE)

All right, Jerry!

(PIANO BEING PLAYED)

HOST:
You've all waited long enough,

so I'm going to dispense
with the speech.

You know, each of you,

how promising and talented
you are.

Third prize,

a bronze medal
and a check for $2,500 to...

Michael Humphries.

Second prize,

a silver medal
and a check for $5,000

to...

Paul Dietrich.

(APPLAUSE)

(INAUDIBLE)

(CHEERING)

Ladies and gentlemen,

the first prize
of this year's

Arabella Gretsch Hillman
Memorial Competition.

Consisting of a check
for $20,000

and two years of concertizing
in 50 centers of culture

throughout the United States
and Canada is awarded to...

Heidi Joan Schoonover.

-(APPLAUSE)
-MAN IN AUDIENCE: Bravo!

MAN IN AUDIENCE: Bravo!

(INAUDIBLE)

(CHEERING)

HEIDI: Thank you very much.

(INDISTINCT CHATTERING)

WOMAN:
May we have a picture, please?

Boy, I couldn't stand

not being alone
with you just now!

(BREATHLESSLY)
God, I'm glad it's over.

I hadn't realized
how tense I was.

Also, they're crazy.

You played rings
around all of us,

but what else is new?

At least the fix wasn't in.

The corporation
took the gold and silver.

Michael got the bronze.

Boy, I bet the Russians
wish the cello

didn't tickle my nose.

So, we should go to Michael's
and get wiped-out drunk.

But first, let's make
the plans. Let's make them.

I mean, I know I said Vegas
and the Cape,

but I don't know
if either of those places

appeals to you.

Truly, I don't know
what appeals to you

and I'm dying to find out.

The main thing is we should
blow the 20 grand

while we got
the time and youth,

and not do anything super...

(TURNS ON LIGHT)

(LIGHTS HUMMING)

(SIGHS)

Oh, my God, I said
they were crazy.

They're not crazy.
You played brilliantly.

You're going to be
a world-class pianist.

Well, so are you!
The corporation, yes?

One of the things

that makes a world-class
pianist in this world

is a launching like yours.

And yours. You got
the silver medal.

(CHUCKLES)

Oh, I'm being stupid.

There's no way
you can't be disappointed,

and here I am expecting
you to be nothing

but happy for me,
and that's idiotic.

I'm happy for you, Heidi.

I don't like the way you say
my name all of a sudden.

Paul, please, let's just
get past all this

and back to the corporation.

I mean, it was only this
morning, don't you remember?

Or was it only because
you were expecting to win?

You said you'd never
lie to me again.

I'm not lying to you, Heidi.

Paul, please.

Please, what?

Be with me.

How?

Suppose the positions
were reversed.

Would you or would you not
say to me,

"Heidi, the money is there,

"and if you travel with me,
there are contacts to be made

"and agents who will
hear you play,

"and a future for both of us"?

-Would you or would you not?
-I might.

Paul, what's the bloody
difference?

Paul, you knew
that I could play.

No, I didn't.

Not like that.

It never crossed my mind
that you could be...

...better than me.

(SCOFFS)

Okay, I still say
they were crazy,

but if what I did

seemed better than
what you did,

it was only because I had you
with me out there.

Last night when you played,
you were alone.

Isn't that even more
of a reason?

It's just that I don't know
that I could handle the idea.

It could poison everything.

It would seep into my playing,

and bed,

and everywhere else.

You haven't a clue
what you're about, have you?

Paul, I am in need
of a strong man,

now more than ever.

Which is exactly
what I'm trying to be.

Trying to be?

God, for nearly a week I threw
myself at you like a groupie.

I gave you every chance
to chalk me up like one.

You felt something.

Okay, so you fought it,

but when you let it
take you over,

you brought everything
you had in the open.

When we went to bed
for the first time, you cried!

Do you know what a compliment
that is? It's all...

Paul, you're the strongest man
I've ever known,

and you're strong enough
for this.

This is silly.
This is your night.

-It's our night!
-No! There are some things

that aren't meant
to be shared!

And this is one of them.
Don't cheat yourself of that!

Now, you get yourself
together.

You get over to Michael's
and you revel in it!

And you?

Oh, I'll be there. I just have
to call my parents.

(SIGHS)

You won't be there,
you bastard.

You're gonna run out on me.

Oh, Paul.

It would have been
a hell lot of easier

if the cello
hadn't tickled your nose.

(TEARFULLY) Paul.

I have to call them
before they go to sleep.

(SOBS)

(SNIFFLES)

(BAND PLAYING JAZZ MUSIC)

Does this remind you
of the USO on a slow night?

I got a dance floor,

nobody's dancing.

Every good party
needs time to warm up,

and the right ingredients.

Mmm. Speaking of which,
where is our guest of honor?

Have you see her?

No doubt, she is celebrating
elsewhere.

Hmm.

Well, you will stay after
the others have departed?

Oh, how sweet.
I'm engaged, honey child.

Don't call me honey child.

Ah, there she is.

Where have you been?

Ladies and gentlemen,
number one.

(GUESTS APPLAUD)

Come on, drink.

Yeah.

It was fair.

It was as fair
as these things ever are.

I'm leaving right now.
Kiss him for me. Bye.

(DISCO MUSIC PLAYING)

It's aleatoric
rather than modal.

But I'll play it
for you tonight.

Oh, would you care to dance?

Now listen here, little one,

it took nature
about a million years

to develop Grant's gazelle.

You've got about a century
to wait

before evolution produces
the man you have in mind.

So, in the meantime,
get out there

and dance with what there is!

(**)

(RANDY CRAWFORD'S
PEOPLE ALONE PLAYING)

* Take me Along

* I don't care
where you have gone

*And I don't have to know

*Exactly where you're going

* If you leave me behind

* Then everything on your mind

* Will turn to pictures
of the world

* We might have been

* People alone
may go very fast

* But maybe not so far

* Playing along
is still solitaire

* Remember

* People alone
may reach for a love

* But only half as well

* People alone may seem
satisfied

* How can they tell?

* If we are crossing the line

* Where there's no yours
and no mine

* We'll find it easy to see

* People should be together

* People alone
can go very fast

* But maybe not so far

* Playing along
is still solitaire

* Remember

* People alone
can reach for a love

* But only half as well

* People alone
may seem satisfied

* How can they tell?

* Take me along

* Let's not be people alone

* I'm on your mind

* So, please don't
leave me behind

* Crossing the line

* Where there's no
yours and no mine

* Please take me along

* Let's not be people alone

* I'm on your mind

* Please don't leave
me behind *