All language subtitles for Ive.Always.Loved.You.1946.1080p.BluRay.x264.AAC-[YTS.MX]

We've come for the audition.

The Blythe Scholarship.
- In the music room.

We've come to play for The Maestro.
For Goronoff.

I am Professor Talman.
- In the music room.

Ladies and gentlemen.

Professor Leopold Goronoff.

Charming of you, Maestro.

I am thirsty. Do you have
something to drink?

Of course. Wine for the maestro.

Have you no whiskey?
- Of course. Whiskey.

The pick of the talent in Philadelphia.

I might say of the entire
state of Pennsylvania.

Yours is the honor to choose
the one who will receive ..

Four glorious years of
music at my expense.

Maestro, that young man there.
Pure genius.

He has the gift.

You. Non nonsense.

Play Bach.

I am more in tune with Debussy.

Bach.

You next.

Stop fidgeting.

What do I play, Maestro?

Anything you please.

But not much of it.

Maestro.

This is my niece.

Claire, darling.

Prelude in C. Sharp minor.

By Rachmaninoff.

Play, darling.

Play.

Friedrich Hassman. My dear old friend.
Where have you been?

What are you doing here?
- I teach.

You teach?
- Yes.

I heard you first in Vienna.

I was eight, maybe nine.

There was music in your hands.

Beethoven played by a master.

I listened to your notes.
Watched those wonderful hands.

Then you ..

You went away to America.

To meet the woman who became my wife.

The woman who ruined you as a musician.

It was simply because I spent
so many hours at the piano.

How better to spend them?

Well.

A man owes something to
the woman he marries.

The devil takes the woman
who marries a musician.

These hands.

These wonderful hands that
were hooked to a plow.

Grubbing in the earth to raise potatoes.

Have no doubt, my friend.
I'll tell this woman what she's done.

She has absolutely ..
- She's been dead for ten years.

Forgive me, old friend.

You know I do not mean a thing I say.

Let's say, I forgive you anyway.

But what are you doing in this place?

I am here with my prot�g�e.

Ah, you too.

If you'd rather not
listen we can go away.

No, no. I will listen to him.

Bring him out. Where is he?
- He is a she.

Beautiful perhaps, huh?

Myra.

No.

Myra.

I like your name.

I like your eyes.

Yes.

You will play for me. An �tude, perhaps?

Or a .. a fugue?

That will show the fine training
of your teacher. Please, please.

Yes. That will be it.

A fugue.

No?

Bravo. Bravo.

She tells Goronoff to go to the devil.

Because you are a friend
of the professor's.

Because it is his favorite.

I will play The Appassionata.

By Beethoven.

I dare you.

It goes on and on and on.

But how about in presto?

Wonderful.

Wonderful.

You have a great talent.

She is my daughter.

My fingers.

I cannot play.

Well, my baby.

I have taken you in music
as far as I can go.

Goronoff.

If only that were possible.

Why Goronoff when I have you?

Besides, I may win the scholarship.

Scholarship?

You do not understand, Myra.

Goronoff.

The Goronoff.

He says that you have great talent.

He was being kind for your sake, Papa.

Not about talent, my child.

About women and wine and politics.

About anything.

Goronoff may agree with a friend.

But not about music.

I think he is rude.

Well, Goronoff is Goronoff.

And Goronoff is rude.

Maybe.

Maybe he is rude.

But not as rude as to allow his friends
to starve to death on his front porch.

I ring the bell. I knock upon the door.

I scream at the top of my lungs.

I starve slowly while this young
lady debates my manners.

Oh yes. Oh yes.

You said I was rude.

Yes.

Well.

I am rude. I am rude because ..

At the moment I cannot find
a lie to justify my behaviour.

But you, young lady. You.

Let me see.

Here you pedalled wrong.
And here you pedalled wrong.

I'll mark it so.

You start all over again.
From the beginning.

But.

Correctly.

Yes.

This one I like.

It is very good. Just ..

A mark on my forehead.

Very good indeed.

Friedrich.

I heard you in Budapest.

You played for the Archduke against
the greatest musicians in Europe.

Why did you stop playing?

You weren't listening, Maestro.

So, now you know exactly whether
I listen or whether I don't listen?

Very well. We'll play it together.
I will play the organ.

You had better go over here.

Ready?

Now.

You are hungry, Maestro.
- I'm not hungry.

You can't starve to death on my watch.

I think you should eat first.

Eat? Eat?

Pick it up, Myra. Faster.

Who wants to eat?

No, no. Take second piano.
I will show you.

George.

That is Mrs Sampter.

Old Mrs Sampter takes
care of my house and me.

She was Myra's nurse.
She is a lady from the village.

George.

Please. That's Goronoff playing.

And he probably wants something
to eat when he finishes.

George. Dinner.

Shut it off.

What's that?

Shut it off.
- You meant Petunia's?

Is she bothering you?

She makes too much noise.

Okay. We'll shut her off.

Here, George.

Put his clean one on.

And be sure to wash your neck.

And behind your ears. Good this time.

Company?

Yes.

Yes.

I like this very much.
I wrote this in Prague.

It's one of my best.
Yes. Very good indeed.

I am sorry.
- You should be.

Come on, we play four hands.

Not now. Dinner is ready.

Splendid. Splendid, I am famished.

What is that? Biscuits.

Excellent. Coffee, ham, bacon, eggs.

Madame. In London, in Prague.
In Vienna, in Paris.

Never have I seen food like this.

My compliments, Madame.

Friedrich, where shall I sit?
- Here.

My son George.

Yes. George runs the tractor
that makes all the noise.

He has been with us
since he was that high.

George. This is Professor Goronoff.

He is a very great pianist.
- I've heard about you from Myra.

She plays a lot of piano too.

Yes. A lot of piano but ..

Not all of it is good.

You farm this place, eh?
- I try to.

I too am a farmer. I was born on
a farm in the north of Europe.

Cold in winter. Hot in summer.

I went away quickly.

Later, you show me the place.

Will you?
- Yes. Later.

But Maestro. Your concert.

Your train for New York
leaves at two o'clock.

Let it leave.

But the next one won't
take you in until nine.

So I will be late.

How can you with all those people
waiting to hear you, Maestro?

Devil take the people.

Where is Nicholas?

Nicolas?
- Nicholas. My secretary.

I had him a minute ago.

Nicholas. Nicholas.

Here I am.
- Come in here.

The door is locked, Maestro.
- The window is open.

Always, I forget things.
Mostly, I forget Nicholas.

That's why I like him.

Nicholas. Tell them I
don't play tonight.

You don't play tonight?

And the reason?

I am sick. I expect a baby.

A baby?

Go along. Go along.

But you will be at the pier
to catch the boat for Europe?

Europe? When?

Tomorrow.

Europe tomorrow?

Oh yes.

London, Amsterdam, Stockholm.

And Madrid and Rome.

Madrid and Rome.

I don't go. I decide on a vacation.

For how long?

Do you have room for me?

Yes, Maestro.
- A week.

A week?

A month.
- Month?

Maybe a year. I do not know.
- You don't know.

Go away. Go away please.

Please. Do not shout.

That is Nicholas.

You like that I stay here?

I think it would be wonderful.

Wonderful. Yes.

Wait, Myra. Wait.
When I get you at a piano ..

I will break your back.

No, Myra. No. Your runs must be crisp.

Crisp to the end.

Again.

Yes, Myra. Crisp.

Like icicles breaking off a roof.

Again.

Maestro.

There is a lady to see you.
- A lady? The same lady?

A tall lady with red hair.

She drove in from New York.

Tall? Red?

Oh, that one.

I cannot see her. Tell her to go away.

I am tired.

She won't go away.

I'm afraid you are right.
In New York she didn't go away either.

Myra, this red-haired one.
She is a mistake.

A big mistake.

Someday I will tell you about it.
But now you must help me.

Because you are tired?

Yes.

Tell her that I am sick.
That I am dying.

But that isn't true.

No. But it will be true.

Next week I will see you. Or next month.

Take care, Myra. Please.

Alright. Come with me, Maestro.

[ Door knocks ]

What do I tell her?
- Tell her to wait.

Please don't let her get me.
- No. I won't. Come on.

He is very busy.
- Don't tell me he's too busy.

Leopold Goronoff is never
too busy to see me.

I can see what you mean.

Sit down.

I'll see what I can do about it.

I will wait just one minute.

You'll be alright here.

This is my wishing room.
- Your wishing room?

Yes, Myra.

You belong to this.

Green things and flowers.

As easily as another
blossom on a rambler vine.

Come on. Talk to me.

But.

The lady with the red hair, Maestro.

Yes. The lady with the red hair.

She says she'll wait just one minute.

She did, eh?

I'll take care of her.

Who ..

Who made this place so beautiful?

The professor.

Alone?

God helped a little.

Trouble?

A little.
- Violent?

A little.

Myra, you are wonderful.

What's this, blood?

Lipstick.

Lipstick?

You ..

Myra, you are wonderful.

You know, that reminds me
of a day in Barcelona.

No. In ..

Where? In Rome.

I have forgotten where it was.
But anyway.

There was a red-haired lady who ..

I agree with you.

Why should we talk about
red-haired ladies in Rome?

Alright.

I agree. You win.

How long is it now we
have worked together?

Four weeks.

Four weeks and you never
showed me that place. Why?

That is my own little corner.

I store my dreams there.

A place to be alone.

And dream things that
can never come true.

What, for instance?

That time might stop.

That today might be for always.

Sometimes when you're
busy, when you are playing.

I come here.

And dream that you'll never go away.

I must go away.

Today.

Do you hear what I say?

I am going away today.

Yes, master.

'Yes, master'?
That's all you are going to ..

You can only say 'Yes, master'
when I say I am going away?

And I will take you with me.

Myra Hassman.

How would you like that? Huh?

Friedrich.

Friedrich, come here for a minute.
I want to talk with you.

My old friend. I leave for
New York today and ..

I would like to take Myra with me.

Dear Myra.

My sweet.

Will you please us
together for a moment?

George.

Paris and Vienna.

Goronoff wants to take
me with him to teach me.

Oh.

They say it's very nice
in Vienna and Paris.

When you play concerts over
there I bet they'll like you.

Do you, George? I wonder.

They will if they know good
music when they hear it.

You are the best piano
player I've ever heard.

You are leaving soon?

I don't know.

When will you know?

Soon, I hope.
Goronoff is talking with Papa now.

It might be.

That he won't let you go.

But I want to go.

Wish for me, George.
Wish that he'll let me go.

Wish hard.

I wish.

Myra.

Myra.

You did not let me know.

Where is she?
- In there.

You didn't send me a telegram.
A man is entitled to know.

Babushka, my wonderful.
Look. It is I, Leopold.

I have come back.

Seven concerts in Europe. Pah.

Always cancelled.

Where have you been, you loafer?

See what I have. She is mine.

I discovered her in Philadelphia.

[ German language ]

Women, women, women.

You, your father, your grandfather.

Even your Dutch mother
could not improve you.

Three generations.

Always it is women.

You don't understand, Babushka.
This is Myra Hassman.

Friedrich's daughter. She plays.

Come, butterball.
You play for Mama Goronoff.

She will tell them if Leopold
hears the music with his ears.

Or sees it with his eyes.

Hello? Yes.

This is the Goronoff suite.

What is that?

It's after 4 o'clock in the
morning and you can't sleep?

What do you expect me to do about it?

I beg your pardon?

You want me to ask Leopold
Goronoff to stop playing?

My dear, you are insane.

We live here for ages.

We lease this suite by
the year, I might add.

Oh?

The music is keeping you awake.
How fortunate you are.

Goronoff's music in bed and for nothing.

Do you realize it will cost you at least
five dollars to hear him in concert?

And with no pillows.

Bravo.

Didn't I tell you, Babushka?
She is wonderful.

Yes.

I don't like New York.

The daylight comes too soon.

I think we'll go to Prague.

Nicholas.

Nicholas.

Cable a letter to Telhoppen in Prague.

Goronoff does a concert
for him next month.

Next month?

Next month.

Next month. Next year. Who knows?

I know.

Next month.

Prague.

Come, butterball.

I rub your back and you go to sleep.

Prague?
- Yes. Prague.

Many cities. You will see them all.

It is a big world, butterball.
A nice world.

I hope you will like it.

I hope it will like you.

'Four of your letters
just caught up with us'.

'Tell father that last night Maestro did
the Chopin C Major to a crowded house'.

'The audience applauded
for ten minutes'.

Ten minutes?

That was in Paris?

Yes. Paris.

'But last week when he played
the Schumann A Minor in Vienna'.

'The audience refused to leave the
hall until he had done five encores'.

Yes. I did it there too, George.

The Archduke came to hear me, you know.

That was quite a successful occasion.

And what else does she say?

I mean about herself.

Here she says:

'We leave for London tomorrow'.

'After London I am not sure where
the maestro will decide to go'.

London.

That is a very, very nice city, George.

Now let us see.

They have been in Prague.

Berlin.

Budapest, Vienna, Rome.

And in Paris.

And now.

They are off to London.

'The earth is brown again'.

'Vines cover the walls
of your wishing room'.

'And there will be
lilies of the valley'.

'I go there often to think about you'.

Who is George?

And why do you waste your time with the
pen when there is a piano to be played?

Who is that man, butterball?

George?

Oh .. he's almost like a brother.

He's part of the farm, Babushka.

He is big and strong?

Nice to look at?

I've never thought much about it.

He is just a fine boy.
I like him very much.

To like him is alright.

Maybe you love him?

No, Babushka.

He thinks about you.

Pah.

A farmer.

You had better practise.

I am tired.

Keep on. Keep on. You are not tired.

I am tired.

Tired of what?

I am tired of concertizing.

I am tired of Europe.

I am tired of ..

Do I have to be tired of something?

We will go to the Riviera.

I like Nice.

Cannes, Antibes.

No.

We go to ..

We go to South America.

Nicholas.

Get tickets for South America.

Where in South America?

I don't know.

Someplace in South America.

Why not North America?

Because Rio de Janeiro
is in South America.

Rio de Janeiro?

Yes. I have just decided to go there.

Myra.

Myra. Come.

For you, Myra.

Oh no.
- Don't say no to me.

I created you. I dress you in
a lovely shawl if I want to.

Voil�.

Lovely.

Very lovely.

Myra, that second movement.
You have been working on it?

Yes, Maestro. But ..

Please. Don't tell me.
Just show me. Show me.

You speed, Myra.

It shades the heroic. It makes it weak.

And take that stupid thing off
your shoulders when you play.

This is the female theme.
The lesser one.

Now the male theme.

'I am the man', he says.

'I am the man'.

I am the man.

And I am the woman.

So.

It should be so. It is like that, Myra.

There is the beginning.
Then the blossoming out.

What you call 'the exposition'.

Then in the end,
like a man who has lived.

You see the result of his life.

But the woman, Maestro?

There is no woman in music.

Remember.

No woman in music.

I will try to remember.

See that you do.
Tonight we work on it again.

No. Not tonight.
- Why not?

Because tonight there is another woman.

Another one?

Not just another, Myra.

This one is different.
This one is tall and blond.

Her hair.

Her hair is somewhere
between copper and gold.

You have to see it
before you believe it.

She must be beautiful.

She must be very beautiful.

Yes.

Her shoulders, her arms ..
- Is she coming here?

Yes. And you must help me, Myra.

The atmosphere. Just as this.

The lights. Flowers, Myra.
Flowers. Everywhere.

Fresh flowers.
Dozens and dozens of them.

Now.

Her chair should be so.
Come here Myra. Please.

Sit down there and face the piano.

Now.

She will ask me to play of course.

I will do .. I'll do some Chopin.

No. I had better play ..

Moonlight sonata.

Please suggest something, Myra.
Something to set a mood.

Why don't you play ..

The Liebestanz. The love dance.

No, no. That is later.

Then we go out into the garden
and you play Liebestanz for us.

Myra, promise me.

Will you?
Don't forget the flowers please.

The gentle summer twilight.

The sweetest scent of
night-blooming jasmine.

I love you.

For me, you are some delicate
blossom in the tropics.

Your hair is soft.

As soft as ..

Softer in fact.

Much softer.

Very much softer.

What are you doing?
You drown out my work.

The whole thing is ruined.

Is it a letter from that
George fellow again?

Why does he write?

My father has gone, Babushka.

Poor butterball.

That is too bad.

He went as he wanted to.

Quietly. In his sleep.

George says he was smiling.

Such a great talent.

Friedrich Hassman.

You, Myra. He gave it to you.

He bred it into your head.

Music, Myra.

For you, only it is music.

For you are an artist.

I know, little one.

I know.

Myra.

Myra.

Do something. Do something, Myra.
- Now what, Maestro?

She is here. That woman.
- Which woman?

The blond woman to whom you
played Liebestanz last month.

I don't remember.
She says I promised to marry her.

Don't you always?

Of course. Of course.
But why do they always believe me?

Myra, please tell her to go away.

Very well, Maestro. You wait here.

Some day one of these
women will catch you tight.

By the nose.
And then she will marry you.

Oh no.

No.

That's what you think.

That is what your father thought.

That is what your grandfather thought.

But I married him.

[ German language ]

Better play the piano.

Instead of playing with women.

Especially in Brazil.

She has gone?
- Yes.

Myra, you are wonderful.
What could I do without you?

And no lipstick, huh?

What is this?

You showed that to the lady?

That is magnificent.

Why didn't I think of that before?

Myra.

Now we can get rid of them all that way.

Huh?

Lovely city.

Rio de Janeiro.

A beautiful city.

But the women are difficult.

Maestro, am I ready for a concert?

Huh?

Not an important work perhaps.
But I could do some of the lesser.

Lesser? What is 'lesser'?
What is important?

Maestro, stop playing with words.

You know all about Goronoff, huh?
You know exactly if he plays with words?

Don't you think it's about time I did?

Time?

Talking about time. How long is it?

How long do you belong to me?

You've been teaching me for two years.

Two years.
Two years or two minutes. Poof.

And now you want to concertize. Huh?

Is that bad?
- No. It is good.

Then you'll let me play?

Of course.

You can play ..

Let me see. Rachmaninoff's second.

Here in Rio, Maestro?

In some smaller city perhaps?

In some ..

You will play Rachmaninoff in
New York and I will conduct.

We will give them a surprise.

We'll show them what Goronoff
found on a farm in Pennsylvania.

We'll show them what Goronoff
can make out of nothing.

Nicholas.

Nicholas. We go to New York.

Put them there please.

All these flowers and I haven't
even played yet, Babushka.

That is a concert.
First come the flowers.

And then a kick in the pants maybe.

But for you, only flowers.

'Good luck, Myra'.

'George'.

What did you say?

Nothing, nothing.

Everyone sends flowers.

It must be good business for flowers.

So.

Frightened?

Very.
- That is stupid.

Those people you play for tonight.

Not people. Just cabbages.

Rows and rows of cabbages in a garden.

Cabbages can't hurt you.

You will watch me always.

Remember? I am there.

Always.
- Yes, Maestro.

I'm sorry.

Quiet.
- Shush.

It's like a sherry before the meal.

That music. Huh?

Leopold teases them.

Says to them.

Wet your lips and get ready.

Soon there's the feast.

And you are a very pretty bird
to be put upon the table.

Miss Hassman.

Come.

Drink.

To make your stomach
still while you play.

Aren't you going to listen here?

No. I go out the front.

You play good for Babushka.

May I?

Oh, a critic.

I don't think there's going to
be much to criticise tonight.

I hope not.

Crisp, Myra. Crisp.

Wait, wait. You will hear.

I've heard them all.

She will do it.

I've got an idea.

Let's give her a bouquet
from the boys backstage.

Okay.

'To Miss Hassman'.

'From .. the stagehands'.

'From Jokovo Emanuello'.

This guy's an agent. We'll use these.

Here.

She is taking over.

Stealing the show from Goronoff.

Why is he fighting her? She plays well.

Too well.

What is it, Maestro?

Why are you angry?

Don't be angry with me.
Don't fight against me. Please.

I love you, Maestro.

I love you.

What has he done to her?

Taught her who is the master.

Too bad.

But who can stand against Goronoff?

Go and get Murphy. He's got to see this.

Murphy don't like Rachmaninoff.
He only comes up for Beethoven.

He'll come up for this.

Alright. I'll try him.

Hey, Murphy. Come on upstairs.

This you got to see.

Go on. You know I only
listen to Beethoven.

Yeah. But tonight Goronoff is
taking a beating from a girl.

Taking a beating, is he?

For that I might listen to Rachmaninoff.

Just for a minute, mind you.

Goronoff is fighting to take
the play away from her.

Yeah.

But she's not hurting.

She's licked.

It really looks nice.

You may leave now, Joe.

I said you may leave.

Oh. A pen?

That is all.

Good evening, Miss Hassman.
- Evening, Nicholas.

Your d�but a success?

Yes. I hope so.
- You hope so?

Has Madam Goronoff come home yet?
- Not yet.

I was able to get just what you wanted.

Partridge.

Mushrooms.

And his favorite champagne.

Don't you like it, Miss?

Yes. It is very nice.

Please go away, Nicholas.
- I beg your pardon.

I ordered something very
special for tonight.

I know you like to eat after a concert.

Babushka will be home soon.

I should have waited for
her but I was frightened.

The applause and the people standing.

I know it's old stuff to you.
You've been through it so many times.

I am sure I acted very stupidly.

And I know I played very badly too.

If it hadn't been for you ..

Maestro, you were magnificent.

I am flattered.

Don't be angry with me, Master.

Whatever I did, whatever I am.
You have made it.

I was nothing until you taught me.

And now you are the master.

Is that what you try to tell me?

No, no.
- Don't lie to me.

I know what you want.

You wanted to be the great maestro.

You want people to say:

'Look. Goronoff's pupil is
greater than he himself'.

No, Maestro.

Maestro. Maestro. Maestro.

How dare you try to
imitate me at the piano.

My style. My technique.

Clever, weren't you?

Prepare my food. Fix my wine.
Kneel at my feet.

And all the while trying to
steal that which is mine.

But you can't.

No. I will pay Rachmaninoff.

I will play it as only
Goronoff can play it.

Then those fools will see.

They will see you for what you are.

A little plowgirl.

Good to grow up in the earth.

And now.

Get out.

I said.

Get out.

Butterball.

What is it, baby?

You have sent her away?

Yes.

Does it matter?

More than you know, Leopold.

It means you admit that
she is greater than you.

That is ridiculous.

No, Leopold.

That is the truth.

And tonight.

Truth was unkind to you.

To both of us.

How do you do.

You would be George?

Yes. I am George.

I know. I know.

Always before.
You were a name on a letter.

'As ever'.

'G-e-o-r-g-e'.

Now I see you. I like you.

You are a nice boy.

Thank you very much, Mrs ..

I am Madame Goronoff.

Madame Goronoff?
I have heard a lot about you.

Is Mr Goronoff with you?

No. He is in New York.

And if my watch is not slow right now.

He plays at Carnegie Hall.

Yes. She talks with Leopold.

She talks with him.

Talks?

Her voice is the piano.

She says: 'I am here, master'.

'I sit beside you'.

'I play as you play
the things you play'.

I don't understand.

No. You could not understand.

Nice boy.

Maybe Leopold will
not understand either.

But he will hear her.

Goronoff is in New York.

What difference? A hundred miles.

A thousand miles.

Walls cannot stop that voice.

Distance and time are nothing.

You love her, nice boy?

Yeah.

I guess I have always loved her.

This I did not know.

About you I did not know.

Aren't you going to talk with Myra?

No.

No. I've decided it is better
if I keep my mouth shut.

I go home.

You want her?

Nice boy.

Very much.

Then fight for her.

Fight for this woman.

We go now.

I'm not going to let you do it.

I have finished.

I will not play for you.

I had to stop you, Myra.

Why?

Because you've been living a dream.

Have I?

Sometimes I think you are
in love with a dream.

I'm a woman, George.

Women don't fall in love with dreams.
They fall in love with men.

With one man.

When they do, they ..

They listen to that man's
first steps in the morning.

Their day starts when he smiles.

And then they wait and
see him again at night.

Watch him while he eats.

Watch the light of a reading lamp as it
plays on his face and touches his hair.

That's what happens when love
comes to a person, George.

Someday it will happen to you.

Maybe it's already happened.

While I was away?

Who is she?

You.

But I don't mean that kind of love.

Neither do I.

I suppose I didn't say it very well.

And it isn't something that
just happened all of a sudden.

I've always loved you, Myra.

Even when I put toads in your desk
and scared you with a garden snake.

You put it down my neck.

I really meant to give it to you in a
milk bottle but all the kids were there.

I had to show off I guess.

You got your face
slapped for your trouble.

I was sorry before you slapped me.

I never minded when you slapped me.

Whether it was for wiping
my nose on my sleeve or ..

Forgetting to button buttons.

But.

That isn't love.

Not .. not real love.

Maybe not for you.

But for me it's the realest thing
that's ever happened in my life.

It tells me that without you there
isn't much sense to anything.

But you do have me. I am here.

I'll always be here on the farm.

Working with you. Talking with you.

Sharing my dreams with
you if you will let me.

Because you are good.

A fine man. A clean man.

I need someone to help
me over the rough spots.

I've always understood
that was a husband's job.

You would marry me?

Knowing.

Knowing how I feel about Goronoff?

If ever he calls.

I may go running.

I love you, Myra.

I'll take that chance.

Watch me, daddy.

Are you sure it won't bring
lightning into the house, George?

I've heard a radio can do that.

Hardly. The charge is so heavy
it would burn up the aerial.

Besides, I have lightning
arresters on the leads.

Why?

To stop the lightning in case ..
- In case it doesn't burn up the aerial.

George, please turn it off.

Daddy, you are mean.

I think so too. But there's nothing
much we can do about it, Porgy.

Mother says: 'No radio'.

But I want to dance.

Maybe mother will play for you.

Then you can dance.

You might try, Myra.

Porgy has never heard you play.

I'd rather not.

I'd hoped that sooner or later
you'd get round to playing again.

This might be a good time to start.

Yes. I want to dance.

Go on, Myra.

Play for Porgy.

Six years.

It must be all out of tune by now.

When did you have it tuned?

Every so often.
When you were in town, generally.

Well, let's try this one.

She wants to play.

Yes, mummy. I want to play.

You play some more, mummy.

Strange.

Tonight I feel like playing.

Then play, Leopold.

Not that, Leopold.

No, Leopold. Not that.

Why not?

Why not?

I love her.

Do you hear me?

I love her.

Why didn't you tell me?

Why didn't I know?

I must go to her.

She must know it now.

You are too late, my boy.

She is married.

Married?

That is impossible.

Babushka. She is mine.

I created her. She is mine.

All these years she was here.

Mine. If I had only wished.

Myra is not for you, little one.

She, nor any woman.

But I have known so many women.

Did they know you?

No, Leopold.

Not for an instant.

There is your mistress.

Music.

Only music, Leopold.

Men, women, children all come and go.

Pretty faces grow old.

Pretty hands grow thin.

Soon there is nothing.

But the name on a stone.

Music goes on forever, Leopold.

It has no pretty face to grow old.

No pretty hands to grow thin.

Always it is sweet.

And fresh.

And kind to the ears.

But Babushka.

I love her.

I want her.

Not for you.

That you will not go after her.

Promise me.

But .. if we should meet.

If she should come to me.

That is over my power.

I am tired, Leopold.

Very tired.

Play for me.

Rachmaninoff.

If you wish.

Give me the score.

I will read it as you play.

Don't stop.

Where is Porgy?

She fell asleep while you were playing.
I put her to bed.

Please.

I'm not going to play anymore.
- Tonight?

Ever.

Goronoff.

George, God has been good to me.

I'm happy. I am very happy.

I have you and Porgy and my home.

Can't we leave well enough alone?

We could if you were really happy.

It isn't what you have
that makes you happy.

It's what you give.

But I've been a good wife to you.
I've given you all I have to give.

All except you.

That is true.

If a man can't have all of a woman
he might as well have none.

I wish you'd thought of
that a long time ago.

Myra, I'm not trying to
go back on the deal.

It's just that you're missing so much.

I am? Or you?

Both of us.

And for no reason.

I'm not afraid of Goronoff.
I don't know why you should be.

What is it you want me to do?

I want you to play the theme
you were playing a moment ago.

I want to hear it when
I drop off to sleep.

Don't ever let me see Goronoff.

Please, dear God.

Don't let me lose the
things you have given me.

Here you are, nanny.

Three spools of Number 50 black cotton.

Three of Number 40 white.

A packet of embroidery
needles size 3 and 9.

And the blue wool didn't come in yet.

Did you get the elastic?
- Yes.

I had to go all over town
for the quarter-inch size.

What did you want it for anyway?

If you must know,
I want it for your pants.

Grandma.

I am a big girl.

Come on, dad. We'll be late.

See you later, mom.
- Goodbye, Porgy.

Where to this time, George?
- Just places.

Philadelphia maybe.

Same old answer.
- Do I look alright for the city?

It must be a blonde.

Could be. Could be.

Goodbye.

Philadelphia twice a week.

Gone all afternoon.

Have they told you what they're up to?
- Not exactly.

I wouldn't worry though.

Never was a Sampter yet who
couldn't take care of himself.

Or herself.

Does that include me?

You'd know better than I would.

How long since you've been to New York?

Not since George and I were married.

How long since you've been to a concert?

The same.

I know.

Do you?

Does George know too?

Yes.

I've never seen Goronoff.

George knows that.

I never want to see him.

That is just the trouble.

I am never going to see him.

I've got what I want.

It would be nice if George had too.

What was that, nanny?

I said this elastic you get nowadays
hasn't got any snap in it.

They've brought company, nanny.

Then the company will eat
what we've got and like it.

Mother.

I want you to meet someone.

'Mother', no less.

It must be an important male.

Darling, I want you to meet Professor
Severin. I asked him for dinner.

Hello.

Pardon the intrusion, Mrs Sampter.

It's my last night in Pennsylvania and I
asked your husband to let me meet you.

I am so happy you did.

I'm afraid dinner will be late.
Please sit down.

Thank you.

Sampter.

Your name was once ..
- Honestly, Myra. I didn't tell him.

Myra. Myra Hassman.

I heard you play in
Carnegie Hall with Goronoff.

Yes. I remember.

I almost thought you'd know her.

All these months you let me teach little
Georgette and kept this thing a secret.

Yes, they have kept it a secret.

As for remembering me.
It was all so long ago.

It seems like yesterday.

It was yesterday to the master.

The master?
- Goronoff.

After he stopped concertizing I
studied with him for five years.

I told you about that.

Yes. I seem to remember
you mentioning Goronoff.

Now, you are the new Goronoff?
- Hardly. There is only one master.

But I have been fairly successful.

Fairly successful?

Mother, Professor Severin has just been
appointed head of the conservatory.

In New York.

You'll have to forgive me.
I've been away from music so long.

The professor wants me to
continue my work with him.

At the conservatory.

In New York?
- Yes.

I've never thought much
about Porgy going away.

She has grown tall but
she's still my baby.

It wouldn't necessarily
have to be until the winter.

But I must have her then if she
is to concertize in the spring.

They're rather critical
at Carnegie Hall.

Carnegie Hall?

She is your daughter. Why not?
She has your gift.

Carnegie Hall?

I've been asked to conduct
some of the spring concerts.

One of them I will set aside for you.

And that night you will play ..

The Rachmaninoff Second.

Hard driving?
- Not too bad.

It was slippy in New York though.

I found a nice apartment for Porgy.

Three rooms, kitchenette and bath.

I have a room in a hotel.
- You do?

I thought I'd like to be with
her before the concert.

In the spring.

For a moment I thought both of you
were going to run away from me.

Tell me, does Severin still
insist upon Carnegie Hall?

Yes.

Will Porgy be ready?

I don't know, George.

I have listened and
tried to decide. But ..

I suppose I hear talent
because she is my daughter.

Suppose she is just another little
girl who plays very well but ..

But not good enough for the critics?

If she isn't good they
will break her heart.

I've seen it happen.

I've heard an audience laugh
a novice off the stage.

There was a girl in Budapest once.
She was young and lovely but ..

She killed herself.

It seems as though there must
be someone who can help us.

There is a fellow though.

He told me once he would
lie about anything.

Women. Politics. Money.

But not about music.

No, George.

You could, Myra.

You could take her to Goronoff.

He would know.

He'd tell you the truth.

No.

No.

[ Buzzer ]

Who is there?

A tall, dark stranger from the country.
Open up the door or I'll break it down.

Dad.

We didn't expect you for another hour.

Did you drive in?
- Uhuh.

Where is your mother?
- Finishing her hair.

Tails or dinner jacket?
- Dinner jacket.

And if that's your evening dress,
I don't think there is enough of it.

I wish you would speak to
your husband, Mrs Sampter.

He is fresh.

Very, very lovely.

It reminds me of a little girl I saw at
a concert grand piano in Carnegie Hall.

A long time ago.

I almost wish it were that same little
girl who was going to play tonight.

Jealous of your own daughter?

No, George. Worried.

Terribly worried.
- That Porgy doesn't know her notes?

That she doesn't feel the
music that's hidden in them.

Severin will carry her through.

Severin can't help her. No-one can if ..

Has Goronoff heard her play?

You know he hasn't.

I know I asked you to take Porgy to him.

George, please.
Let's not start that today.

Why not?

Because if you do I may
tell you what I think.

That this whole situation
is something you created.

And if you did I'd say you were right.

I want you to see Goronoff.

All this.

Porgy's lessons. Her concert.

All because you want me to see Goronoff.
Is that the man I married?

You make it sound rather bad, Myra.

Sometimes we don't
deliberately plan things.

Often they just fall into place
and make their own pattern.

Now that it's happened,
perhaps it's just as well.

Let's find out how we stand.

Don't, George.

Don't. You may find that ..

That I've lost you?

If that's your attitude,
I've never had you.

I didn't mean that.

Does this meet with your
approval, Mr Sampter?

It's a little something I whipped
up on the machine this morning.

'Elegant' is the word, Porgy.

Where is your wrap?
- I'll show it to you later.

Get it now. While you're
at it, bring your mother's.

We're going to let
Goronoff hear you play.

Today?

Dad, that's impossible.

The concert starts at 8:30.

We still have plenty of time.

Mother, I can't.

Tell dad that I can't.

Is it because you're
afraid I am not up to it?

That I am not ready for Carnegie?

It isn't that, Porgy.

It's just that we want
to be sure about ..

So many things.

Aren't you coming in, George?

No.

You will wait here?

We won't be long.

You may be longer than you think.

You'll be at the concert, George?

First, do you know of a good bar?
- Yes, sir.

Yes?

What is it you want?
The master will see no-one. No-one.

I think he will see me, Nicholas.

Myra.

Miss Hassman.

Won't you come in please?

I will call the master immediately.

Please excuse me.

Myra Hassman is here.

Then you do not let
her stand in the hall.

Myra.

Myra, my beautiful.

Where have you been?

This is my daughter, Maestro. Georgette.

Your ..?

Your daughter?

Beautiful. Beautiful.

Why are we standing here?

Come in. Let me look at you.

Sit down please.

Nicholas, I am out. Do you hear me?

Shut off the phones, the doors.
Everything. You go out too.

Lock the door and go out of it. Quick.

Quick.

Myra.

You are ageless.

Ageless and beautiful.

Many times I said to myself,
she too must be growing old.

That is a lie. Such a lie.

But I am old, Maestro.

So old my daughter is
ready to make her d�but.

Her d�but? But that's impossible.

How can she do that without
first playing for me?

Oh, I understand.

You came to Goronoff to have
him make you ready to ..

To concertize.

Is that so?

She's been studying
with Severin, Maestro.

Severin? Severin? Who is Severin?

I remember.
That is the tall Scandinavian.

I taught him for five years.
He makes so much noise.

He is a bad musician.

But he is not.

Well, maybe he is not. But ..

I have not seen him conduct.

They tell me he shakes his
head all over the place.

You.

You like his hair, do you?

Very nice hair.

Very beautiful.
Not as grey as mine, is it?

Well, and after all. He is your
teacher so he must be perfect.

Porgy is playing at
Carnegie Hall tonight.

I would like you to hear her just
for a few moments, Maestro.

Carnegie tonight? That's impossible.
Why don't you tell me those things?

Why don't I hear?
Come on. You play for me.

And show me what you know.

Like so.

She plays your concerto, Myra.

You have been working with her?

Yes, Maestro.

All will be well.

You wait here.

I'll be along later, dear.

So many years, Myra.

You never wondered why
I did not come to you?

No.

Don't lie to me, will you.

Very well. I did wonder.

She loved you very much, Myra.

I am sure she did.

She didn't want me to go.
She made me promise.

I did not go. But you came to me.

Why?

To ask for the truth about Porgy.

Is that the real reason, Myra?

Why did you do it?

Why did you marry that man?

Because I loved him.

That is impossible.

You married him because you
were angry. You were hurt.

Through all those years
you have been unhappy.

That isn't so.

Then why did you come here?

To have me listen to your daughter?

What difference can it make
whether she plays well or not?

She is a woman.

And once, long ago in
Rio de Janeiro I told you.

There is no woman in music.

You remember?

I remember.

Well, it is still true. Music is a man.
That must be so because a woman is ..

A woman is a woman.

This daughter of yours will
go out into the world.

She will meet a man and acknowledge
him to be her master.

That is good.

That is as it should be.

As it should have been with you.

Because I am your master.

You are wrong.

Very wrong.

Am I?

These hands.

I made them.

I put into them the music.

That once delighted the whole world.

For one single night.

Then you took them away only to
find out that without a master ..

They were lost. They were nothing.

Do you still doubt it?

Well.

Don't you look wonderful.

Where is your mother?

She'll be along later.

What is the verdict?

Let me have one of your cigarettes, dad.

Here.

Tell me. What did he say?

He didn't have to say anything.

I've known the answer for weeks.

For once.

It just isn't fair.

I've heard you play. Playing perfectly.

Not one wrong note.

And I've heard your mother
strike a lot of them.

Hers don't count.

One beautiful passage
played by an artist.

And you forget all about the notes
and the fingers that make them.

But I like the way you play.

Maybe that is because you like me.

Do you?

Oh, baby.

What are we going to do?

Do?

We are going to be
late if we don't hurry.

Professor Severin is going
to take my head off.

You are going through with it?

Yes.

How about you?

Alright.

We'll play it through
and see what happens.

Come on.

There is your seat, dad.

Good luck.

Good luck to you.

Tonight we were to have heard the
d�but of Miss Georgette Sampter.

Miss Sampter will not appear.

In her place you will hear an artist.

Who I am sure will be quite acceptable
to the music lovers in Carnegie Hall.

The mother of our young artist.

The former Myra Hassman.

You say I am not your master.

Then play.

If I shut my eyes I'd think it was that
first night they played here together.

Remember?

Yeah.

But it's different this time.

The shoe is on the other foot.

That is Myra playing.

That's Myra playing.

She is again playing with the master.

I was wrong, Myra.

There is a woman music.

I love you, George.

I have always loved you. Always.

And I have always known it.

..f-s..