Original subtitles

(gentle music)

It was 4:35 p.m.

on a clear October afternoon

when an accountant named Myron Fisher

jumped off the Brooklyn Bridge.

The 32 year old Eskimo just off the plane from Nome

dived in to save him.

The Eskimo's name was Comet.

No last name.

Comet, he just kept saying Comet, right?

Right.

When Comet arrived at Kennedy that day

he headed straight for the Glass Slipper to look for Dora.

That was all she told her back at the club in Nome,

"If you're ever in New York,

you can find me as a Glass Slipper."

But the bouncer told Comet

that Dora had disappeared three months ago.

Never trust a redhead, Comet.

Comet stood on the Brooklyn Bridge

and pulled out the old photograph

with the lipstick kiss that Dora had given them

and looked at for the 100th time.

That was when he saw Myron Fisher jump.

Jump, take the plunge, whisper sayonara?

Screw it, what are you talking to yourself for?

You know what the doctor said.

All right so shut up.

As Comet dove in after him,

Dora's picture blew away with the wind.

Sergeant McBride asked Comet why he saved Myron's life?

Comet said he didn't know,

he just had to.

And all he wanted to do was get back Dora's picture.

What a mention,

who said Eskimos were a dying breed?

The next day, there was a knock at the door

of Comet's hotel room on West 28th.

Comet opened it.

Dora was standing there

looking better than all the ways he had dreamed about her.

She'd read about him in the paper.

A few hours later,

Comet and Dora were sitting in the back

of the White Rose Bar on 38th Street.

In the booth behind 'em,

two old guys were complaining about the city,

about how the heart has gone out of it

and how nothing good ever happens here anymore.

They didn't notice the Eskimo

smiling and looking into the redhead's eyes

as she reached for his hand across the table.

(Lou sighs) (gentle music)

(Lou yawns)

What are you doing with yourself?

Tracking down Eskimo's, dreams.

You stop talking to yourself long enough

maybe you could get some sleep.

Wouldn't hurt,

you might even live another year.

Then what would you do?

(Lou sighs)

(upbeat music)

♪ I feel the Earth move ♪

♪ Under my feet ♪

♪ I feel the sky tumbling down ♪

♪ I feel my heart start to trembling ♪

♪ Whenever you're around ♪

♪ Ooh baby ♪

♪ When I see your face ♪

♪ Mellow as the month of May ♪

♪ Oh darling ♪

♪ I can't stand it ♪

♪ When you look at me that way ♪

Tara.

Hi.

It's 5:30 in the God damn morning.

What the hell do you think you're doing?

I'm working.

♪ I feel your heart start to trembling ♪

♪ Whenever you're around ♪

You're incredible, you know that?

You can wake me up in the middle of the God damn night

but you can't go to the Patterson's dinner party.

You know the whole Munich deal depended on that party?

One night, that's all I asked for.

Press says come back to bed.

In a little while.

Hey.

What's bothering you?

Nothing's bothering me.

♪ I know that my emotions ♪

♪ Are something I just can't tame ♪

♪ I just got to have your baby ♪

When are you gonna grow up and start acting your age?

(Tara sighing)

(Tara breathing heavily & grunting)

♪ And you tenderly call my name ♪

♪ I know that my emotions ♪

♪ Are something I just can't tame ♪

♪ I just got to have your baby ♪

♪ Ah yeah ♪

♪ I feel the Earth move under my feet ♪

♪ I feel the sky tumbling down ♪

♪ Tumbling down ♪

♪ I feel the Earth move under my feet ♪

♪ I feel the sky tumbling down ♪

Act your age.

Who wants to act their age?

♪ I get hot and cold ♪

♪ All over, all over ♪

♪ All over, all over ♪

♪ I feel the Earth move under my feet ♪

♪ I feel the sky tumbling down ♪

♪ Tumbling down ♪

♪ I feel the Earth move under my feet ♪

♪ I feel the sky tumbling down ♪

♪ Tumbling down ♪

♪ Tumbling down ♪

♪ Tumbling down ♪

♪ Tumbling down ♪

♪ Tumbling down ♪

(Tara breathing heavily)

Maybe he's right.

Maybe I am getting too old for this.

(Tara breathing heavily)

I got to get some sleep.

(phone ringing)

Hello, what's going on?

[Mildred] Good morning, Mr. Friedlander.

This is Mildred from your service.

Now look, I know you told us never to call you-

- What the hell time is it?

[Mildred] It's 5:16 like in the dawn.

Oh no, did I pay you money not to wake me up.

[Mildred] Mr. Friedlander?

You want more money, name your price.

[Mildred] Mr. Friedlander, there's a Jeck Guffy-

- The sun is not up and I am.

Why is this, Mildred?

[Mildred] Look, I got a Mr. Jeck Guffy on line 16

yelling emergency.

He says he's your boss.

Nobody's my boss, Mildred.

I'm my boss.

[Mildred] Now don't start with me, Mr. Friedlander.

I've been on this board for 14 hours.

Alice never showed up with my dinner.

I got a tension headache.

I'm starving-Okay, put him through.

And Mildred.

[Mildred] What?

Get some sleep, take an aspirin.

You'll feel better.

[Mildred] Yeah thanks.

Here's that boss you don't have.

[Jeck] Hello?

I'm going to kill you, Guffy.

Just say goodbye to Harriet and the kids

and get out of your best suit.

[Jeck] Lou, there's a tenement fire on 161st and Broadway.

So put it out.

[Jeck] Come on, all the boys are on assignment.

Spitfield's not answering his phone.

So send him a letter.

[Jeck] Lou. - What's the matter with you?

You want me to get a heart attack?

I haven't slept since Sunday.

[Jeck] Lou, you got to do this for me. I'm begging you.

Lou, how many times have I begged?

Never, not real begging.

Now you're supposed to have a big heart, right?

Now let me have some, Lou, just this once.

Lou?

Lou, are you still there?

No, I went away.

[Jeck] Lou, would I be waking you up

if I could find someone else?

I feel terrible waking you up.

I know how hard you work.

You work harder than anybody.

But anybody's not here, Lou.

[Lou] Don't give me that.

Where's Fred?

Where's Campbelman?

Hold on a minute.

[Jeck] Lou, remember the time

you blew a whole months' salary

paying for that old boozer's kidney operation?

Now remember how I got to the front office

to give you an advance?

I was the collateral.

Now you owe me.

- Lou? - [Lou] They all flew to Newark

to go bowling or what?

[Jeck] Come on, Fred's covering the ride up to the Bronx.

Campbelman's waiting for the mayor to wake up.

It'll take you half an hour Lou.

Now come on, will ya?

Do me a favor.

Guffy, I ain't written straight news

since Ali's name was Clay.

[Jeck] Oh Lou.

I got a column.

That's what you pay me for,

that's what you get.

[Jeck] Lou, I'll make it up to you, come on.

Just this once, for old time's sake.

Old time's sake?

Hold on for old time's sake.

He's talking about old time's sake,

I'm losing my health.

I won't be around long enough for old time's sake.

Coffee.

The next free seats I get to any game I'm taking Howard,

you got that?

(Jeck laughing)

Don't laugh,

you're gonna be begging me.

Howard goes, you don't, it's a promise.

[Jeck] I love it.

There's your old time's sake.

You never learn, do you?

It would have been too easy to say no,

you'd have been asleep again.

[Franny] Who are you talking to?

[Lou] The paper.

Go back to sleep.

[Franny] Where you going?

[Lou] To a fire.

[Franny] Why?

I don't know why.

What time is it, is it late?

No, it's early.

Go back to sleep.

Close your eyes,

get some more shut eye.

Want me to make you some breakfast?

Out of what?

Franny, go back to sleep.

You keep talking like this you're gonna wake yourself up.

I'm not tired.

I could make you something for when you come back.

I could have it ready, hot on the stove.

You can't live your whole life on Twinkies and beer, Louie.

You're telling me.

I could make you something special.

You know I cook in any cuisine.

I could make you something real classy

like eggs benedict or hollandaise sauce.

Franny, give me a break, I'm hardly awake.

I know what you'd like.

How about a bagel with cream cheese and lox?

Sturgeon?

An Irish breakfast?

Are you hungry?

I'm starved.

What'll you have?

Surprise me.

[Franny] We had a good time last night.

Didn't we, Lou?

Oh yeah, we had a great time.

I'll see you in a couple hours all right there, poops?

I'll be here

and I'll have your surprise for you.

Bye Lou.

Bye bye dimples.

What's today?

Tuesday.

Tuesday.

This seat taken?

Not much left of the old place, is there?

What do you want?

I told them already

I ain't moving to no hotel.

They want me to move,

they can sweep me away with the garbage, I don't care.

I ran away from Poland

so I could be in the promised land.

My wife gets cancer,

burn down my house,

if they sweep me away with the garbage nobody will notice.

What's your name?

Name?

Edelman, Lester Edelman.

All right, Lester, there's a couple of things I-

- You just met me.

Why are you calling me Lester?

Okay, take it easy, Mr. Edelman.

We got a few things we got to talk about here.

Nobody's gonna sweep you away.

You're not a piece of garbage.

You're a person.

And you got to start thinking a little more positive.

You understand?

Sure, think positive.

If I had a nickel

for every time someone told me how to think

I'd be in Miami getting air in my lungs

instead of this black poison gas.

You'd hate Miami.

Believe me, you'd wind up talking to the oranges.

Go, go tell it to the Indians.

Come on, let's go, the van's waiting.

Hold it a minute.

Wait a minute.

Mr. Edelman here don't want to go to the hotel.

So why don't you call in to Sergeant Hennessey 51

and tell him to get a home care assistant

up here right away

and they can find Mr. Edelman an apartment today?

Are you kidding me, man?

Okay, just call him,

tell him it's Lou Friedlander.

- Lou Friedlander? - Oh, so what do you know?

The great Lou Friedlander?

Quiet Lester.

I didn't know you were writing a story about the guy.

You can read all about it yourself.

It's up to you.

That's Joe Christy with an H

at the 21st precinct.

I've been on the force for eight years.

My wife's name is Marjorie.

Yeah I got it, thanks Joe.

We'll take care of you, Mr. Edelman.

Such a big shot.

Yeah listen, Lester Edelman,

I got a couple things I got to take care of.

Here's my number at the paper.

If you run into any trouble, call me.

Don't give this cop a hard time,

he's only trying to help you out.

When were you born?

He wants to get his name in the paper.

So it's not a perfect world.

I got Sergeant Hennessy on the case, Lou.

Thanks Joe.

Lester, you take care of yourself.

You're gonna be okay.

Take it easy.

Thanks.

Listen officer, did you tell the sergeant there

I want a regular kitchen, no hot plates?

And running water too, hot and cold?

I got to wash everyday, you know?

I'm a person, not a piece of garbage.

[Lou] If I had a nickel

for every time somebody told me how to think.

[Larry] Good morning, Lou.

You're looking good, Larry.

That's a great suit.

[Male] Oh Friedlander,

I'd appreciate the return of my frying pan

before the end of the year.

Oh yeah.

Look, there's some stuff stuck to the side of it

but I got a guy working on it

and he says it's gonna be ready anyday.

So as soon as it's ready,

I'll slip it under your door, okay?

That's a promise.

[Sarah] I'm not a broad, I'm a person.

[George] I don't take no single female persons.

[Sarah] Who do you take, animal acts?

[George] No, no animal acts here.

Hey George.

George, what's going on here?

There's nothing going on, man.

Hi there.

Hi yourself.

[Lou] George, what's going on here?

She wants to rent 3B.

I already told her I done had trouble

with that last broad in 5A.

Sure you had trouble.

You wanted a good time

and all you ever got was the rent.

That's a lie, man.

Who told you that?

Gentleman, this is all very amusing

but I am late for work.

There's an apartment here and I want to see it now.

- What kind of work do you do? - She said she's a dancer.

I am a dancer, George.

If you're worried about references,

you can call the Manhattan Dance Company.

We're opening at Lincoln Center on Saturday night.

Lincoln Center, that ain't bad, George.

Eh.

Look, if you don't show me the place you go to jail.

Discrimination in housing refers to sex too.

See what I told you, sex, animals, no broads, that's it.

Hey George, George,

this could be trouble.

You better show her the place.

Dames get to vote now and everything,

it's a whole new world.

Okay, I show the broad a stinking apartment.

Here.

[Lou] Hey, I bet you're not from New York, are you?

Let me guess.

I bet you're from somewhere in England, right?

Canada.

Oh no kidding.

I've never been to Canada

but I met an Eskimo last week.

Great guy, you know any Eskimos?

Some of my best friends are Eskimos.

Well that's good.

Well you should get along terrific with George here.

I know he may not look it

but he's part Eskimo on his mother's side.

I ain't no Eskimo, man.

Well anyway, I think you're really gonna like 3B.

The guy kept the place real good.

Arty his name was, Arty Price.

He just left town last week.

He's opening a restaurant down in Tampa.

Couldn't take the city anymore.

Every time he rode on the subway,

he got this rash on the bottoms of his feet.

It stinks up here, man.

Did you let that floozy cook for you now?

[Lou] Hey, she ain't no floozy.

That's my sister.

If she's your sister, man,

(mumbles).

So listen, you got any questions

or you need any help,

just give a knock.

I'm right next door in 3B.

I'm in 3A, you're in 3B, I'm in 3A.

I'll see you around the campfire.

- Can't wait. - We got ping pong at four,

arts and crafts at five,

volleyball's at six.

So don't be late.

Or even if you're a little late,

it's not the end of the world.

Show up anyway.

(Lou sighs)

And this room don't come with the apartment.

You can't go in there,

I got the only key.

And if you want to go in there, you can't.

And this is,

this is the crapper

and sometimes the hot water makes noise

and sometimes it's cold

and this is the living room

and you can't put anything nails in the walls

and you can't change the paper

and the furniture comes with the place

and you can't move it.

I'll take it.

You will?

Hey Franny, you got something on fire in there?

What do you mean on fire?

It's just cooking.

I had to get a whole lot of stuff from the store.

You didn't have much in the fridge, Louie?

Lou?

Yeah, I got to stock up one of these days.

You got to start taking care of yourself.

You know what happened to Gwen Mosa.

Who?

[Franny] Gwen, the girl who works the bar my day off.

Oh yeah Gwen, what happened to Gwen?

She was getting these cramps in her elbows

every time she lifted a tray.

You know what the doctor said?

He told her after you're 25, it's all downhill.

There's no telling what could happen to you.

You been taking the Zerotol I got you, Lou?

Lou?

What?

Nothing.

Oh Franny, what am I doing when I'm not working?

You see me out at the Copa looking for chorus girls?

What's the matter, huh dimples?

We ain't getting any younger.

Franny, you try to make big long term plans in this life

the next day you get run over by a truck.

Believe me, I got the tire marks to prove it.

Sure.

I'll get you your breakfast.

What are you giving her trucks and tire marks?

Hey Franny, need some help in there?

No, no, it's okay.

What kind of cuisine is that?

I thought I turned off the stove.

It stuck to the pan.

All right, just wrap it up, put it in the fridge.

It'll taste better cold anyway.

Why do you even like me?

What are you talking about?

Why?

You know why.

What am I always calling you, what?

I don't know.

Yeah you do, go on, say it.

Your muse, right?

Right.

Now let me tell you something.

A guy can know a lot of people in this world

but he's only got one muse.

Someone see a little break in the weather there, huh?

It's better.

I'll see you next Thursday, huh?

Who wants to be a God damn muse?

[George] Do you watch TV?

I got the biggest one in the whole building,

it's got remote control.

You want I show it to you?

(knocking on door)

(mumbles)

Hello neighbor.

Oh hey George,

I'd call the bank on that right away if I were you.

You can't be too careful these days.

I just better do that man.

You're gonna really love this neighborhood.

I wouldn't worry about it if I were you.

How's your sister, Romeo?

You finish eating yet?

He's a real comedian, huh?

Listen, so we got this great little Chinese restaurant

right around the corner, that's Moo Fang's

and then you got Syd's Deli,

which is the world's greatest corned beef.

One bite of that and it's smile city.

How nice.

Well, I can see you're very busy

so I don't want to take up any more of your time.

The bathroom, by the way,

you've got to be very careful in there

because you've got a bum faucet.

Makes a lot of noise just like mine, don't work too good.

But George ought to be fixing that any day now.

As soon as he calls the bank, right?

Oh the bank, no I was kidding about the bank.

I know.

Now if you don't mind,

I'll just see if my door works.

Oh, oh the door, yeah the door. (Laughing)

(Sarah sighs)

All right listen up.

Let's not lose the energy.

And maybe our lead dancer

will get it right for us this time.

Music please.

(gentle music)

Come on, keep that energy.

Dawn, you should be up by now.

Sarah's late, I take my cue from her.

Sarah's she's right, you're dragging.

(gentle music)

Come on now, hold that balance, Sarah.

Energy, energy, come on.

(gentle music)

(humming)

Okay now hold that pose, that's it.

Turn, turn, now keep your concentration.

(gentle music)

Turn, turn, turn.

Turn, turn, turn, turn, turn, turn, turn, turn, turn.

Forward Sarah, now come on, you're behind.

All right that's enough.

What is it, Sarah?

(Sarah grunting)

It's nothing, I'm sorry.

Look, just concentrate, okay?

All right, let's take it from Sarah's jete's

and let's do it right.

And music.

(gentle music)

Forward, forward.

All right that's enough.

(Sarah grunting)

Why did you stop?

I'll never get it this way.

You were five beats behind.

Can't you hear the music?

Yes, I hear it very well.

Let's do it again.

Look, I've had two weeks of this with you now, Sarah.

I'm getting tired of it.

It's your dance. When are you going to dance it?

Now, I'll take it from the beginning of the movement.

Now you'll go home and get some sleep

because you don't have enough energy to do anything today.

I have plenty of energy.

It needs work.

Let's do it, I'll do it again.

You'll do it tomorrow.

All right, everybody forward.

Now listen, we open in four days.

Now if we don't get the Rockefeller grant,

we're back where we started eight years ago.

Now come on, is that what we worked for?

I want a perfect run through tomorrow.

Rest well and dream about the dance.

Rehearsal's at 10 sharp and thank you.

I'm sorry.

That's not good enough.

(gentle music)

[Roger] Is everyone decent?

No.

Terrific.

Do you mind, Roger?

No, I don't mind at all, Diana.

What's up, lady?

It's that new piano player.

He doesn't know what he's doing, he plays too fast.

Didn't it sound faster to you?

Maybe.

You've pulled something, haven't you?

Is that helping any?

Who knows?

Listen, I know this doctor.

His name is Foster.

He works with the Giants.

I've got money but I can shake, you're two days late.

Did I tell you I got my own place this morning?

Good for you.

Look, I want you to go see Dr. Foster

and have everything checked out.

I mean what have you got to lose?

I have no time.

Go take care of your knee and your kids, okay?

How can you be so pretty

and such a pain in the ass?

Constant practice.

Go home and lie down.

I'll see you tomorrow.

Say hi to Olivia.

Twill.

(gentle music)

(Sarah crying)

(upbeat music) (Marty drumming)

Hey Marty.

Hey Olivera, come here a second.

How am I gonna write about ya

if you don't let me talk to ya?

(upbeat music)

Come on.

Come on, I ain't got till next Thursday.

I want to talk to you.

What's the matter?

You forgot we had a date, right?

Look man, you're cutting into my stick time.

Ain't you got eyes?

[Lou] Yeah, well I thought

maybe you could take a few minutes off.

I ain't got no minutes for you man.

My brother was talking about you

at Pedro's last night.

Who's Pedro?

The bar, man, his bar.

He says you ain't no news guy, no way.

T.C. says you're after my ass and that's it.

Look, do you remember the first time I saw you?

Yeah, I was waiting for 'em to take my prints.

That's right, you were playing your sticks

on the floor the whole time

and all the cops were standing around watching.

Yeah, so what?

So that's when I got the idea that I wanted to be around

when the next Gene Krupa got his start.

Who's Gene Krupa?

The best drummer that ever lived until you got here.

Yeah, well,

if you're a news guy

you better be writing me up good.

I don't need no lousy publicist.

I don't write no lousy publicisity.

Who's this jerk off?

- Shut up. - [Lou] My name is Lou.

What's your name?

Call him punk.

Yeah, call me punk.

You got a smoke, mister?

Yeah, you smoke?

Yeah, I smoke.

What's it to you?

Yeah, make that two.

Oh we got a couple of smokers here.

- That's right. - How long you been smoking?

About 10 years?

That's how long I've been trying to quit.

These stink man.

Ain't you got no filter tips?

No, filter tips don't help.

These things are tougher to kick than smack.

This guy's a jerk off. What are you talking to him for?

Just shut up.

You think I'm one of those man?

Show me the marks.

I don't see any.

'Cause they ain't there.

When T.C. shoots you up nobody spots it.

Yeah?

I got five bucks

says I know where he does it.

You're on sucker, start guessing.

Under your tongue?

In your crotch?

Between your toes?

I don't know, I give up.

Give him the five bucks.

Yeah, give me the five bucks.

Get lost.

You're looking at it, man,

right under this hair in my head.

T.C.'s got a way with the needle

that's so far out, it's outta sight.

Sucker.

You think you know a lot, don't ya?

Well you don't know shit about nothing, man.

[Punk] That's right.

So why don't you go down to Fifth Avenue

and buy yourself a dress, faggot?

That's right, faggot.

Come on.

(upbeat music)

(whistling)

(upbeat music)

(speaking in foreign language)

Hey there, how you doing?

Marty told me I might find you up here.

You don't remember me?

This is that famous fat ass faggot from the Daily News.

Ain't you pal?

What can I say?

They know what the news you are writing.

Oh, it's no secret.

Hey that's very smart.

Well anyway, I just wanted to talk to ya

for a few minutes.

Marty said that you're a bright guy

and I figure you'd have an open mind about it.

Okay, Mr. Faggot, sit down.

Sure.

You want to talk?

Here I am, you talk.

Well all I wanted to say

is that your little brother Marty's a gold mine.

I mean he's a genius.

And one of these days he could put you on easy street

with his drumming.

My little brother put me on easy street with his drumming?

Yeah if you give him a chance.

Got anything else to tell me?

No, that's it.

Sit down.

We're still talking.

I forgot.

Hey, hey, forgetting is a bad thing.

Yeah it is.

Yeah.

Now I'mma tell you something you don't forget.

You don't come up here,

you don't tell speak what to do.

You got that?

Sure, I got it.

Now I want you to say it.

Come on.

Say it!

How you come up here

and I don't say to speak what to do.

Say it.

(speaking in foreign language)

Enrique, I don't think this faggot

knows how serious I am.

(Enrique laughing)

Maybe this faggot don't know

this is a serious neighborhood.

Maybe this faggot don't know this is a serious time.

(Lou grunting)

How'd you find this place?

In the paper.

You fall in love with it right away?

Immediately, I couldn't resist it.

Hey, look at this little beauty,

a 54 Hooper Bentley.

[Male] Ooh, excellent condition.

Man, you don't see cashmere anymore,

grill, dash, and rims, smooth.

And just look at the clarity of the lacquer.

[Male] Brother, maybe the limeys can't cook

but they can sure paint.

[Male] I've always said that.

(birds chirping)

I just know you and Orville

are gonna be very happy here.

You didn't see my place on 59th Street

before I fixed it up.

You never invited me.

Well now I've got Arty Price's furniture

and a broken faucet in the bathroom sink

and I'm sure I'll be very happy here.

Come home.

I am home.

(knocking on door)

Who is it?

[Lou] Clyde Armstrong,

volleyball captain for the third floor.

I don't want to play, Clyde.

Who's that?

It's my funny next door neighbor.

I'll get rid of him.

[Lou] Never leave your door open

because George might get the wrong idea.

What happened to you?

I had a little disagreement with my tailor, he won.

Hi there.

Hello.

This is my next door neighbor.

Lou, Lou Friedlander.

David Fillmore, good to meet you.

I've enjoyed your work.

No kidding?

Why didn't you tell me who you were this morning?

I thought you and George were a team.

No, I just kid around with him.

What's your name?

Sarah Gantz.

Hi Sarah Gantz.

That's a good grip you got there.

Thanks.

Won't you come in and sit down?

Sure, don't mind if I do.

The place is a mess.

You ought to see my place.

So Dave, that must be your car down there, huh?

I know it don't belong to anybody in this building.

The most we got in this building

is a pair of ice skates on the fourth floor.

And Arty Price had a bicycle

but I think he took it with him.

The car is mine.

Oh yeah, well that's a great looking car.

Did you win it or are you a financial genius?

In which case, could you give me a few tips?

(laughing)

My father was a genius.

I just kept it going.

Ah, my old man would've liked you.

He had a hardware store, 18th and 2nd.

Spent all of his life trying to find me

when it was my turn to help out.

I was always out playing ball or something.

They got a parking lot there now.

Really?

So what about your dad?

He was a song and dance man.

He sang my mother a song and danced away before I was born.

Oh, that's too bad.

You got any pictures of him?

I have this curiosity about the way people look.

Well that's your job now, isn't it?

I guess that's it.

He left behind a picture of himself in "Guys and Dolls".

Oh, can I see it?

Now?

Yeah, I got a couple of minutes.

Look, am I interrupting anything here?

No you're not, no that's all right.

I'll get it.

It's right over here.

So Dave, how do you like the place?

It's different.

Now you're talking.

I lived here eight years,

loved every minute of it.

Really?

Here he is.

Charlie Gantz,

he sings the songs that make you dance.

That's a good line.

He made it up.

And who's this beautiful little girl here?

That's me, the dancing demon.

I guess you've seen these already.

No, I haven't.

Really?

Your old man should've stuck around.

You were some terrific looking little girl here.

Thanks, I wish he'd seen it that way.

I'll bet.

So...

Yeah, all right,

just thought I'd check up

see if everything's okay.

Look, watch out for that faucet in the bathroom.

It makes a lot of funny noises-

- You told me that this morning.

I did?

Uh huh.

What do you know?

The old memory must be going.

Thanks for stopping by. It's been a pleasure meeting you.

Right.

Look, I almost forgot these are for you,

thought they'd brighten things up.

They got a little tired on the way home,

looks like they could use a month in the country, huh?

So could I.

And this is a corned beef sandwich from Syd's,

that's the place that I was telling you about.

One bite of this and it's smile city.

Thanks, why don't you hold onto it.

I'm only allowed protein drinks and wheat germ these days.

Sounds delicious.

It's the pits.

I'll bet.

Well, nice meeting you, Dave,

keep up the good work.

It's David.

Oh David sure, that's much better than Dave.

See ya neighbor.

(gentle piano music)

Up.

In time.

Good, keep it sharp.

Point the feet more.

Dawn, you got it backwards.

Next group.

And one, good.

Good work, that's very good.

Okay, listen, I want to start the rehearsal-

- Hi there.

That's some place to keep a ladder.

Look, what are you doing?

The studio's closed to the public.

This is Lou Friedlander, he's from the Daily News.

Yeah right, I'm making deliveries.

Anybody here need today's paper?

Lou Friedlander, this is Christopher Roar.

Oh yeah, hi Chris.

He's the director of our company.

Oh sure, well look,

I just happened to be in the neighborhood

and I saw your sign.

Sarah here tells me

that you're opening Saturday night at Lincoln Center.

So I thought maybe I'd do my Sunday piece on Sarah.

I'm a big dance aficionado, you see.

I'm glad to hear that.

So I thought it would make a real

kind of interesting story for Sunday's paper.

That's very nice but we're rehearsing right now.

Oh, why don't you just go on with what you're doing

and I'll sit over here, take a few notes,

you pretend I'm not even here.

My name is Lou.

And that's where I sit.

Oh yeah well that makes sense, don't it?

How 'bout sitting over here with me?

[Lou] Do I need a ticket?

[Barbara] Nope, you're with me.

[Lou] Who are you?

[Barbara] Barbara Bass.

[Lou] Hiya Barbara.

[Barbara] Grab a chair and we'll sit here and watch.

[Lou] Okay.

[Barbara] I'm a big fan of yours.

- No kidding. - No kidding.

I read your Eskimo story this morning, it was fabulous.

- No kidding? - No kidding.

[Christopher] Could the two of you

please get acquainted after rehearsal?

I'm sorry, but we do have work to do today.

Thank you, you're very kind.

Oh sure, go ahead.

I got all the ground rules down now.

Break a leg.

That means good luck, don't it?

- Right. - Bill, music please.

(gentle music)

[Lou] What's going on here?

[Barbara] See this is the primeval forest.

Men and women are discovering each other for the first time.

Sarah's the first one who understands love.

She finds Roger and she shares it with him.

I thought all the women in these things

were supposed to be swans and fairies.

Boy, she's some dancer.

[Barbara] You think so, huh?

(gentle music)

Left hip,

arm extended.

Alright, okay,

let's take it from the beginning of the love duet.

(Lou clapping)

Quiet.

I want to take it from the love duet.

Roger, Sarah, positions please.

I guess he's the only one in here

who's allowed to clap huh?

[Christopher] And music.

(gentle music)

That Roger has an incredible body, doesn't he?

She ain't exactly chopped chicken liver.

I mean-

- Don't be embarrassed.

She's a natural spellbinder.

If she tries not to be, it only makes things worse.

Look, we're just next door neighbors, nothing fancy.

I just decided to write up "The Primeval Forest" this week,

that's all.

Saves me a trip to Central Park.

Know what I mean?

[Barbara] Yeah, I know what you mean.

[Christopher] Okay, that's getting better.

Let's break for lunch.

(upbeat piano music)

Want some yogurt?

No thanks.

They make that stuff from dead cheese, huh?

That'll kill ya.

What's the fight about?

See, Diana is the force of destruction.

She's killing Roger off.

So Sarah let's her have it.

Boy is she good.

- Sarah, that was terrible. - We've got to clean this tomorrow

'cause it's getting late.

I want to take it to the end.

Roger, you're dead, Sarah, take your place.

(dramatic piano music)

Move Sarah, move.

When are you gonna get this right, when?

We've spent an hour on this.

Look, move yourself for god's sake, move.

(dramatic piano music)

[Lou] What a jump.

[Barbara] This is the last moment of the dance.

Sarah's bringing Roger back to life now.

She squeezes her life into him

and then she dies.

10 beats Sarah.

All right, cast on deck.

10 beats Sarah, not four, not five, 10.

Everybody go home and rest.

It's been a long day.

What's he giving her such a hard time for?

He built the whole company around her.

He wants her to be perfect.

She already is perfect.

What happened?

Nothing, I just lost my grip.

That was, that was wonderful.

That was, that was amazing.

How come there's nobody out in Times Square

shouting about this?

You gotta let people know what's going on in here.

Lou, I'd like you to meet Roger Lucas.

Nice to meet ya.

Hi Roger, yeah likewise.

Look what do you say we all go out and grab a bite to eat,

find a yogurt parlor or something and talk about dancing?

- Maybe some other time. - Sure.

Sarah and I have a few things to talk about.

Talk, I'm starving.

Lady, it's important.

What's important?

Just come on.

Really, it's nice meeting you, Lou.

Sure.

I'll try to see you at volleyball practice.

Yeah, I'll be there.

I almost had a free meal back there.

What do you want?

I want to know what's the matter with you.

I'm hungry.

I had your legs wrapped around me, lady,

you were trembling.

Now what hurts?

Nothing hurts, I'm tired, that's all.

Goodnight.

Goodnight brother.

I want you to give me your legs.

- No. - Come on, give it to me.

Come on.

Ah, stop it.

What is that?

Old age.

Will you cut the jokes?

Look, I am taking you to Dr. Foster

and I'm gonna take you right now.

I'm not going to any doctor.

I'm going to have something to eat

and then I'm gonna head home to bed.

Sarah, you can't get up there Saturday night

and blow it in front of the 3,500 people.

[Diana] See you tomorrow, Roger.

Goodnight.

If you don't care about yourself,

care about the rest of us.

[Doctor] Up with the left.

Down with the left.

Does this hurt?

No.

[Doctor] How 'bout this?

(Sarah grunting)

Okay, sit up now.

I did a lot of drinking once when I was little.

It was a lot more fun.

Well what have I got, measles, a sprain?

Wow that hurt.

You don't have to look at me like that.

I know I pulled something.

I couldn't stay off it,

I'm in the middle of rehearsals.

[Doctor] You haven't pulled anything.

I haven't?

Basically you have a muscle structure

that's completely unsuited to dancing.

You should have been stopped when you were a child.

I'll bet you always had to work

twice as hard as the other kids.

Maybe, it never bothered me.

You've been working against the natural limitations

of your particular body structure for years.

It's caught up with you now.

The femoral tendons,

the tendons around your hip joints are inflamed.

The swelling has begun to affect your lumbar discs,

your whole central nervous system.

My hunch is you've developed fibromyositis.

[Roger] What does that mean?

Well, it means she better meet me

at Mount Sinai tomorrow morning at nine.

I'll take some x-rays

and if they prove me right, I'll have to operate.

What kind of operation?

Oh, it's nothing complicated.

What we have to do

is relieve the pressure on your lumbar discs.

The only way to do that

is to sever your femoral tendons and elongate them.

Then you'll be walking again

as soon as you've healed up.

And dancing?

Dancing?

That's what's caused this whole problem in the first place.

Dancing's out of the question.

So if my hunch is right,

if you do have fibromyositis,

it's imperative I operate next week.

Sarah, please wait a second, Sarah.

Sarah, just one second, okay?

Sarah, let me just talk to you.

I don't know what to say.

I mean I can't even catch up with it.

Is there anything I can do for you?

Tell me, anything, anything you want at all.

You can do one thing.

What?

Don't tell Christopher.

He won't let me go on if he knows.

I won't tell him but you can't-

- Promise?

I promise.

Thanks.

You go home, I'm okay.

Go on, see you tomorrow.

(sad music)

Hey man, what you doing out here?

Sitting on the stoop.

It's an old New York custom, you never heard of it?

Don't give me that crap.

You never sat on that stoop in your life.

What are you waiting for 3B to come home?

Hey do I come in your apartment,

say how come you're sitting on the can reading Hustler?

Who told you that?

It's all over the neighborhood.

Don't worry about it, go in, watch some TV,

try to relax yourself.

I swear to Christ

when I find out who's talking about me in this building,

there's gonna be some leaky flooring

or my name isn't George Washington Monero.

[Boys] Trick or treat.

Oh boy, you came to the right place alright.

There you go.

Dig in, we got figs and dates

and all kinds of good things in there.

[Boy] Is that a cookie?

Yeah, but I only got one.

That's okay, we'll split it.

Yeah okay, I got a few more upstairs.

You sure you don't want some figs for the road?

Nah it's okay, you eat 'em,

they're good for you.

They help your digestion.

Hi Lou.

Oh hi Sarah.

What are you doing?

Well, around this time of night,

I always sit on the stoop. It's an old New York custom.

Would you care to join me?

Don't mind if I do.

I said goodbye to Syd.

Syd who?

You know, the corned beef sandwiches.

Oh yeah, smile city.

Yeah that's right.

From now on it's Celery Castle.

I got this.

It's a half pound of soya burger, all natural.

Got soya beans in there, dates, figs, plant life.

I don't know what they got in there

but I feel better already.

(giggling)

So how was your date with Roger?

Oh, it wasn't a date.

He just wanted to talk, that's all.

He gets nervous before opening night.

Can I have some of that?

Sure.

No, no, the beer.

Oh, well it's ale.

That's even better.

Should you be doing that? I mean ain't you supposed to be

on some kind of wheat germ routine or something?

I'm tired of routines.

I'm taking the night off.

You want to go all out and put away some pasta?

Why not?

You're on.

We can't be litterbugs here.

There's one thing I should tell you about this joint.

[Sarah] I'm ready.

[Lou] You got to sing for your linguine.

[Sarah] Could I cha-cha for my cacciatore?

(Lou laughing)

(singing in Italian)

Pasta, pasta, you're gonna make me

lose a bet all over again.

Okay.

What are you looking at?

Her.

Yeah, she's pretty, ain't she?

Yeah.

Yeah.

You know what she does?

She dances.

I saw her today.

She takes off like this beautiful magic bird.

She flies so high there's a moment there

you think she's never gonna come down.

You know all the angels flying around up in heaven?

[Girl] Yeah.

Well they're all taking notes

to see if that can get as good as her.

She looks like an angel.

(speaking in Italian)

Hey, hey Caruso, move.

You go inside yeah, you eat some bread.

Oh no, no bread.

We'll wait for the salad.

We're trying to get healthy here.

Just salad and a little pasta.

(speaking in Italian)

Grandma, can I be a dancer when I grow up?

This is America,

you be anything you want.

Rose and Fabrizio

made this place look just like the place where they met

just outside of Rome.

So whenever they get homesick

they come back here and sip their espresso.

This is their table.

I think they like you.

Yeah, I did the column on 'em one time.

What'd I call that?

In the good old days before money.

What was that about?

Well, when they first opened up over here

they were giving free meals to guys on the bowery

who weren't eating so good.

Well these guys would come in

and help them out with the work.

And everybody was happy.

Thanks, Tony.

How come I walk around New York

and everything looks so icky and you walk around New York

and all you see are good stories?

Oh but that's part of the story, that yucky stuff.

Look, you got eight or nine million people here

all trying to make it on this little concrete island

day in and day out.

But every once in a while,

some toy maker we never heard of

climbs up the side of the world's tallest building

or some brokenhearted Eskimo

saves some crazy accountant from drowning in the East River.

That is something.

I guess it is.

Sure.

Thanks.

One human being

doing something they never thought they could

right in the middle of the concrete and the stink.

Yet somehow, we're all part of that.

I'll tell you,

if we can beat the odds in New York, we can do anything.

Walk on the stars, kiss the moon,

turn the garbage into roses.

Happy Halloween.

You're a poet.

You're beautiful.

So how'd you get started

in this dancing business in the first place?

When I was little I was always running,

in the streets, down the hall.

I couldn't keep still.

I thought if I could run fast enough

I could take off

like an airplane or a magic bird.

Why'd you want to take off?

Mmm, the sky always seemed like a better place to be.

It was big and clear.

There weren't any walls to keep me in.

Anyway, when I was eight

my mother finally put me in a dance class.

She thought I could run it off there.

And you've been trying

to get off the ground ever since, huh?

For 20 years.

You think I would've learned by now.

(Lou laughs)

Here, let me help you.

Arty always had the same trouble with this door.

Look, usually about this time of night,

I end up talking to myself.

I'd rather talk to you.

Do you mind if I come in for a few minutes

wheat germ or something?

I think I just better get some sleep.

Right, better get some sleep.

You know you aren't the only one on the third floor

who talks to themselves.

[Lou] No kidding.

I talk to myself too sometimes.

[Lou] You too, huh?

Sometimes, to keep myself going.

[Lou] Yeah well if it happens tonight

just give a knock on that wall

and I'll come over and listen for awhile, okay?

What are friends for?

Okay, night.

Don't let the bed bugs bite.

Pardon me?

Don't let the bed bugs bite.

Oh, I won't.

You're very sweet.

Night.

Night.

Sweet,

she said I was sweet.

(gentle music)

(Sarah sighs)

(train squeaking)

(upbeat music)

Hey Marty.

How you doing slick?

Punk said maybe I'd find you here.

What's the matter,

school too much for you today, huh?

Get your face out of my way, man.

Hey, I was just gonna ask you

if you wanted to see a big show with me Saturday night?

They got dancing and-

- T.C. almost stayed me out

'cause you went to Pedro's man.

I had to sleep in the alley all night.

Gee, I'm sorry about that.

You ain't no news guy either.

Oh yeah?

Yeah, I got me a paper yesterday.

Wasn't in it nowhere.

So what are you doing up here bothering me, huh faggot?

Oh well, I thought maybe I could show you one thing

before I-

- Hold it, hold it right there.

Hold it or I shoot your hands off.

Nobody move.

Drop those cans.

Who are you?

The name is Friedlander

and I'm doing a little story

on these young artists over here.

What are you talking about artists?

Don't shoot, okay.

I'm just gonna go for my press card.

Here, the photo ain't so good.

I had some kind of flu or something.

What do you think?

So you're Friedlander?

I heard of you, so what?

Well, you see these kids here,

they're involved in a program, PS149.

It's a mural painting kind of thing.

These kids are writing crap on a train.

What are you giving me murals?

No, no you see,

they were just getting warmed up

when you decided to come over and investigate.

It's all very innocent.

Okay, kids, start the mural now for the officer.

All right, kids, come on.

For the officer, start the mural now, Marty.

Come on, you heard the guy, start the mural.

Wait a minute.

Hey, you don't want to be obstructing a public project

sponsored by the mayor, would ya?

Can I show you something else?

Here look, I'm doing a follow-up story on this kid here,

Hot Sticks Olivera they call him.

Here's the first story I did on him.

It's in today's paper right here.

Your name Olivera?

Yeah, what if it is?

I'm just going to lunch anyway.

I want to thank you for your cooperation.

A bullshit program if you ask me,

a bunch of spicks spraying a train.

Let me see that.

That's me, that's me right there.

Yeah that's you right there.

So what do you say,

you want to meet me 5:30 in the playground Saturday, huh?

You're gonna be sorry if you miss this show.

They got a real live dream lady in it.

She's a dancer.

She's got feet like you got hands.

They're magic.

All right, 5:30 Saturday in the playground, right?

Yeah right, Saturday 5:30.

All right, I'll see ya, Slick.

How come I ain't got my picture in this?

You keep practicing,

you'll see your face on the front page.

Okay, see ya news guy.

See ya, Marty.

(gentle piano music)

You're behind, Sarah.

(clapping) Diana, I want you to get over there

behind Sarah and mark her.

Why?

Is this still my company?

- Yes. - That's why.

And take it from the running section. Bill, music please.

(gentle piano music)

(grunting)

Is that the way I choreographed it?

No.

I'm sorry, I didn't hear you.

No.

I've decided to give the part to Diana.

You can't.

We open in 48 hours.

Tomorrow morning we move into Lincoln Center

and I can't wait anymore.

I can do it.

I haven't seen you do it in weeks.

I can do it.

Just listen to me, Sarah.

You just listen.

Unless I see you dance tomorrow like I know you can

Diana takes over.

Do you understand me?

Do you?

Yes.

All right everybody;,

Lincoln Center tomorrow morning at 10.

(sad music)

We're gonna keep moving, old man.

That's the law around here from now on.

No lying down.

Nobody's gonna replace me Orville, you understand?

You don't work your ass off your whole life

to get replaced.

Where there's a will, there's a way, right?

You know who said that?

My mother said that.

Of course, that was a long time ago.

(sighs)

What would you do

if they told you you couldn't be a parakeet anymore?

What do they expect you to do,

turn into a gorilla?

Exactly, so what am I supposed to do?

What do they think,

I'm gonna join the Navy?

(Sarah sighs)

Are you watching?

Here we go.

What a life.

Maybe the Navy wouldn't be so bad.

(dramatic piano music)

Hey Lou, Arty was in earlier,

said you'd pick up his tab.

Yeah?

Yeah, yeah, he's covered.

Hey Lou.

Hi.

[Bartender] When you gonna learn, Lou?

Probably never.

Hey Dimples, how you doing?

Hey Lou, I'm doing okay.

Want a doggy bag for later?

Ohno, I ate.

Oh yeah?

Yeah.

Where'd you eat?

Uptown.

What'd ya have?

I had a little salad.

Salad?

Hey, where'd you get the new tie?

You know, I just got it.

Unique, huh?

Yeah, it's real nice.

I've never seen you in a new tie before.

Well I just got it.

You never wear the one I got you last Christmas.

I got that tie, I still got that tie.

It's a good tie, I got to wear it.

Hey, I think I can get off early if you want.

We could do something special.

Right.

Look Franny.

Yeah?

Remember I told you if I ain't nothing else,

I'd always be straight with you?

Yeah, I remember you said that Lou.

I remember.

Well, I got something-

- Hey Lou!

I really liked the drummer boy,

it was a good piece.

Hey, what's up next, huh?

Dancers.

Dancers?

You mean like the disco dishes?

No, like the Lincoln Centers.

[Male] I don't know, Lou.

New York is dying on its feet

and you're writing about dancers.

I really don't know.

Oh, you writing about dancers?

Yeah, that's what I want to tell you about.

See I met one of them, this dancer and-

- A girl?

Yeah, she's a girl.

And she moved into Arty's old place.

And I'm doing a Sunday piece on her and-

- Oh, wow.

And that's why I got the new tie.

You really like her, huh?

Uh,

yeah I really like her.

It's funny,

I never thought a woman would mean nothing to you.

I mean I was just waiting around

hoping someday you'd get tired enough

and I could move in and take care of you.

Yeah.

What'd she do to make you like her so much?

She didn't do nothing.

Oh.

Franny, you're my muse, you know that?

You'll always be my muse.

I'll always be a waitress.

Sure you don't want a doggy bag for later?

We got good pot roast.

No I better push off.

You take care of yourself, Dimples.

Yeah.

I'll see ya, Franny.

Yeah, see ya.

See ya, Lou.

[Lou] See ya, Franny.

(knocking on door)

Hey Twinkle Toes.

It's Lou.

I want you to tell me

what you think of this tie a guy gave me.

I ain't too good at these things.

Sarah, you in there?

(gentle piano music)

(Sarah grunting)

Are you okay?

What's wrong?

Nothing, it's just a cramp.

There it's gone.

You sure?

Yes, I'm fine.

You never stop, do ya?

You dance all day, dance all night.

You're like a mayfly, you know that?

A mayfly?

Yeah, they're born when the sun comes up,

they spread their wings by noon,

they spend the rest of the day

giving it everything they got

and by midnight they're a memory.

They pack a whole lifetime into a few hours

so when they go out, they got no regrets.

But I guess when you love something the way you do

you just got to keep going till you drop.

It must be a wonderful feeling.

Yes it is.

So thought maybe I could join you for a few minutes.

You know, I thought we might try a slow dance or two.

A slow dance?

Yeah, you know...

Okay.

Great, let's see if we can get it here.

(slow romantic music)

I'm sorry.

Don't worry about it.

If I put one more thing in my life right now,

I'm going to capsize.

I understand.

I'd better get Mr. Wright to bed.

Who?

Orville, my bird.

Oh, where's Wilbur?

There's only Orville.

My mother gave him to me when I came to New York.

He knows karate.

One day I'll get to the tropics and set him free.

He shouldn't be in a cage.

[Lou] Yeah I know what you mean.

Thanks for the dance.

[Lou] Thank you.

(gentle piano music)

(Christopher clapping)

Now that's what I had in mind

when I first choreographed this.

We now seem to have our lead dancer back with us.

There are still a few moments she refuses to get right

but by tomorrow I think we can trust her

to do the whole dance perfectly.

That was good work today, everyone.

Now tomorrow we'll warm up,

pace through the battle section

and then at eight o'clock the stage is yours.

You are all wonderful dancers.

Now be kind to yourselves tonight, rest well

and thank you.

Sarah, hey Sarah, wait up?

Hey, what happened to you since yesterday?

How did you come up with all that?

Somebody told me about mayflies.

They've only got 24 hours,

but they put on a great show between noon and six.

What are mayflies?

I'll tell you sometime.

Look, you still gonna have to see Foster

and find out about those x-rays.

Maybe he was wrong, maybe you're fine.

I am fine.

I don't have to see any x-rays.

And what about the pain?

What about it? I can move, I can dance.

I just proved it.

Come on, you can't go in not knowing tomorrow night.

You've got to know the truth sometime.

I'll be with you

no matter what you decide to do.

Come on, you have to hurry.

It's important, lady.

Okay, okay, I'll go.

Can I borrow your roller skates?

You want some company?

You won't lend me your roller skates?

I'll call you later,

you give me the news.

Ciao.

Hi.

Hi.

Want a rub down?

(laughs)

I'm flying to Munich tonight.

Are you taking a plane?

I dropped by on the off chance

that you'd tell me not to go.

Your flowers are funny.

I miss you.

(knocking on door)

Who is it?

Anybody in here order a wheat germ malt?

Maybe I'll drop in later, huh?

That's okay.

David was just leaving.

He has to catch a plane.

Ah, where you off to?

Munich.

[Lou] Yeah, well I hear it's very nice this time of year.

Take care of yourself, huh?

Are you getting enough sleep?

I'm working on it.

You are a princess, you know?

You got to get used to the idea.

Have a good trip.

Bye.

Yeah, take it easy.

Keep out of them beer halls.

Did you see the rehearsal?

No, I just got here.

I was working on a story.

Oh.

Why don't you sit over there while I get changed?

I'll be right out.

Yeah.

Looks like you won a derby.

I know, they're funny, aren't they?

Yeah.

So look, I found this great little health food joint

on 53rd Street,

all the lettuce you can eat, 10 bucks.

You want to grab a bite? We can talk about the story.

"Cause I got hand it in for Sunday's paper.

Can't we do it tomorrow?

Yeah, I guess so.

Where are you off to?

I have a few things to take care of.

Boy, you're a tough one to figure.

I mean you don't exactly give out

a lot of free information about yourself, do ya?

How does anybody get to know you?

They usually pick better moments.

Look, why don't you interview Christopher or Barbara?

She's got a terrific life story.

Well, I'd rather find out about yours.

Didn't you ever have to go anywhere by yourself?

I don't get it,

all I want to do is take a ride in a taxi with ya.

I already told you I have an appointment.

Who with?

I have to go.

We can talk about the story tomorrow.

Goodbye.

(Lou sighs)

(phone ringing)

[Male] Watch it buddy.

Yeah I'm watching.

Taxi?

Just a minute.

Sarah, Sarah Gantz!

She just left, who wants her?

She just left.

Go ahead.

Doctor Foster, 944.

(gentle music)

- You want to go up to First? - Maybe we can find you a taxi.

No thanks, I like to walk.

[Foster] You know you're lucky you're in such good shape.

You're very strong.

You should be up and walking

two to three weeks after the operation.

There'll be some tenderness at first

but you should heal quickly.

I've decided I'm going to dance tomorrow night.

Sarah, you can't.

I'm strong enough to dance one more time, I know I am.

It's impossible.

You have to rest before the operation.

I'll rest after the operation.

Sarah, you saw the x-rays.

Your tendons have ruptured,

you're bleeding inside.

Your legs couldn't take the strain of a performance,

believe me.

You wouldn't be able to walk, let alone dance.

I'll take my chances.

Sarah, you're not being reasonable.

I don't want to be reasonable.

This is a serious operation we're talking about.

I don't want you to perform,

I want you to rest.

I'll have my whole life to rest.

Sarah, my advice is that you save your strength

for the operation.

You'll need it.

I have a room for you at Mount Sinai on Monday morning.

Okay.

Go home and think it over some more.

Try to understand what I said.

Don't worry, I'll be there.

Think it over?

Twill.

I know you will.

Now get some sleep.

Okay, goodnight.

Goodnight.

(sad music)

(knocking on door)

Hey Twinkle Toes, it's me, Lou.

Open up, okay?

Look I interviewed Dr. Foster on the phone,

I know the whole story,

we can talk about it.

(knocking on door)

Hey, can you hear me in there, Twinkle toes?

Come on.

Open the door for Christ sake.

Now if you can turn off the water,

you can make it to the door.

So make it to the door.

Come on, I'm waiting for you, come on.

Oh that's terrific.

She's bleeding to death

and you're a 98 pound weakling.

Hey man, what'd you do to that door?

Screw the door.

Where is she? Where's the dame who lives here?

How the hell am I supposed to know?

I had to fix the pipes, it was leaking down in 2B.

What you doing?

[Lou] The roof.

Ain't on the roof.

I was just up there turning off the water.

Think, think.

You better start thinking

how you're gonna pay for that door.

Why did I take that broad?

She's a big enough pain in the ass

with her Lincoln Center and her animal lax.

You're a genius, George.

You're a genius.

Hey, hey Friedlander.

You're paying for that door man.

(speaking in foreign language)

You hear me, Frieldander?

You better start saving up.

You hear me, Friedlander?

Nobody listens to me anymore.

Oh, come on Sarah.

You'll never get it lying down.

(Sarah sighs)

(Sarah grunting)

We're gonna do it again.

Now.

Move.

Move, move, move.

Move.

Move.

Move.

Move.

Move.

Move, move, move.

Move, move.

[Lou] Hello.

Don't you think we ought to give those legs a rest?

Lou, the performance is tomorrow.

Don't you read the paper?

How'd you know I was here?

You never stop.

Why should I stop?

I get paid to run around.

Believe me, people don't pay their money to see stopping.

Lou, you're not supposed to be here.

[Lou] You're not supposed to be here either.

I called Dr. Foster.

Who told you about him?

Look it's okay, I know about the x-rays.

You have no right to do that.

[Lou] He told me you have to quit.

I'm not quitting anything.

Wait a minute, Twinkle Toes,

we got to talk about this.

My name is Sarah

and I don't want to talk to you anymore.

This is none of your business.

It's nobody's business but mine.

Sarah, I ain't gonna tell a soul, okay?

You don't have to worry about that.

That's good.

Go away.

Look, I don't want to see you hurt yourself anymore,

that's all.

The doctor told me how much pain you're in.

You've got to stop fighting that.

I fight it every day.

There's always pain.

I don't care about pain.

I care about dancing.

I love it, it's my life.

And I'm going to dance on this stage tomorrow night

and nobody's going to stop me,

not you, not some crummy doctor,

not any stupid x-rays, nothing.

Now go away and leave me alone.

You're terrific.

[Sarah] Thank you now please go away.

Where am I gonna go?

I'm tired of talking to myself.

I want to talk to you.

Let me tell you something,

I admire you.

I respect your commitment,

your intelligence, your courage.

I'm nuts about you.

I spend all of my time thinking about you.

I haven't done that since I was 12 years old

and I was stuck on Jackie Robinson.

I love you.

I love you.

So now you know.

(gentle music)

Look, let's get you some sleep, you're gonna need it

'cause tomorrow night when the people see you dance,

you're gonna make them feel like they can all take off

just like you and touch the sky.

How about I take you home now, okay?

I'll go get dressed.

[Lou] Great, okay.

Hey, can I carry your bag?

Let me carry that, you must be beat.

[Sarah] I guess I am.

[Lou] Boy that was some workout you were doing in there.

It's always a lot of work.

Well it's really gonna be something to see.

I'm taking this kid with me tomorrow night.

He could use a special treat.

He ain't had much inspiration in his life.

He's got some problems, but I found a family in Queens

who's gonna take good care of him.

His name is Marty.

Marty Olivera?

You read the column?

Yeah, it was a good story.

Did you really like it?

Yeah, I liked it.

That's Marty,

that's the kid I'm taking with me tomorrow night

if it's okay with you.

It's fine with me.

As soon as I can close the door and get some sleep

everything will be fine with me.

Yeah I know just what you mean.

About your door-

- What door?

Your front door.

What about it?

Well, I broke it down.

You what?

It's a long story.

I heard water running and I thought your place was flooded.

Flooded?

It's no big deal.

There's no flood, everything's okay

and I got it all figured out.

You can sleep at my place.

What do you mean you knocked down my door?

Look it's okay, you can sleep at my place.

Your place?

I'm not sleeping at your place.

[Lou] Why not?

What's the matter with my place.

[Sarah] I'm not sleeping with you.

Who asked you to sleep with me?

I'm sleeping on the sofa.

Can't you let somebody hold your hand

while you're going through all of this?

I told you I loved you back there.

Didn't you hear me saying that to you?

I didn't hear you saying it back to me.

That's okay.

I can't say that.

Yeah well that's fair.

Lou, I might be a lot different after tomorrow night.

That's a reality.

What are you talking like that for?

You're never gonna stop being who you are.

It ain't just your dancing that's magic,

don't you know that?

It's you, it's what's inside of you.

You're a champion and that's never gonna change.

[Sarah] How do you know?

It's my job to know. I know about things like that.

So well let me take you to my place.

You can get some sleep or what?

I'm not going to your place.

What's the matter with my place, huh?

I'll rent the red carpet.

I'll get in the gator with some 41.

I'll buy you a satin pillow.

Maybe we could even hang a chandelier in the kitchen.

Or maybe you want to go to Munich.

No, I don't want to go to Munich.

Let me ask you something, Mr. Friedlander,

do you write your column

because you love the people you write about

or is it because you want them to love you?

That's fine.

That's just swell.

That's who you think I am, huh?

Okay, alright.

I can't try anymore with you. I don't know what else to do.

Taxi!

So let's forget the whole thing, okay?

You bring the house down tomorrow night

and I'll take Marty to a rock show

because you're impossible and I'm going crazy.

Perfect. And you can write your column

about how impossible it is

to give someone a little room to breathe.

- Breathe? - Taxi!

You want to breathe?

Breathe all you want.

I'll give you all the air you want.

I'm taking up your air, huh?

You want air?

Good, here's air.

You know there's a lot more things in life

than just dancing, you know that?

There's people here too.

And one of these days

you're gonna wish you paid more attention.

What are you hollering at yourself for?

You want to get a sore throat?

Hit your head against a brick wall, you'll feel better.

You never learn, do ya?

What do you want, huh?

You got stuff on your mind?

What do you want?

You want to pass? I don't want you to pass.

You're gonna stay there.

I'm gonna stay here.

We're gonna have a good time.

Go ahead, run over me.

That's okay.

Hey, it's not the end of the world.

So he broke your door down.

I've never had anybody break my door down.

I'd give a week's salary

if a guy would just press my buzzer.

I don't even know why I did it.

Hey, you got other things to think about.

Do you realize that this is the last night

you're ever gonna spend as an ordinary person?

For the rest of your life wherever you go

you're gonna have writer's cramp

from signing so many autographs.

And you know I'm gonna be

the first one to say I told you so.

Sleep tight.

You too.

Don't let the bed bugs bite.

I haven't heard that one in a long time.

Not a lot of people say it.

I know.

(sad music)

(bird chirping)

Okay, okay, take it easy.

I'm a friend of hers.

(bird chirping)

Hey Mr. Wright, put a lid on the song.

I ain't gonna hurt ya.

(bird chirping)

(sad music)

(gentle piano music)

Sarah, keep it sharp.

This is your last chance to get it right.

Sarah, you're dragging.

Keep up.

And one and two and.

(gentle music)

Hold it, hold it.

All right, I've just been informed

that the crew have to check the lights

if we are to have a performance tonight.

We'll break for one hour, thank you.

(sad music)

Sarah.

Don't say it.

Just do it.

I'm gonna lie down for a minute and then I'll be fine.

So don't yell at me

and don't threaten me, okay?

I wasn't going to.

Oh.

I just got a message from the box office.

They tell me that Lou Friedlander canceled his house seats.

I guess he didn't want them to go to waste.

Well, how's he going to write about the performance

if he misses opening night?

He won't write it.

Well then how are you going to dance tonight

if he's upsetting you so much?

He's not upsetting me.

Oh he's not upsetting you?

Oh I see.

No, he's not.

Can I go lie down now?

Yes.

Thank you.

Just tell me this,

why is it that he's the one who want to dance for tonight?

He's not, I'm not dancing for myself.

(slams door)

(Lou typing)

There's a certain thing called home ground.

Everyone's got their own.

And there are princesses and parakeets

and then they're your normal everyday folk.

Put 'em all in the same forest together

and you're gonna have a rough time.

That's bad.

Why don't you stay on the east side?

One more time.

(phone ringing)

Yeah?

[Christopher] Hello, this is Christopher Roar.

Who?

[Christopher] From the dance company, Sarah's company.

I got your number from the news.

Oh yeah, Chris.

How's your forest?

I'm calling because I think it's important

that you be here tonight for Sarah's sake.

Yeah well, I can write the Sunday stuff fine.

I don't have to see the show.

[Christopher] She's not interested in your Sunday stuff.

She wants you to see her dance.

How do you know?

[Christopher] 'Cause she was crying just now

'cause you canceled your tickets.

No kidding.

[Christopher] Look, you'll have to watch the performance

in the wings.

Your tickets were sold off,

there was some misunderstanding.

Hello?

No, the wings are great.

Don't worry about that.

[Christopher] All right fine, then I'll see you at eight.

Hey, wait a minute, I got to pick up a kid.

I'm taking a kid with me, about 5:30, I'll pick them up.

I'll be there at eight.

Don't you worry about it, I'll be there.

Enough with these already.

Hey Orville, don't let it get you down.

She likes me better, that's all.

You're in a cage.

Me, I move around all day,

I'm a more interesting kind of guy,

you know what I mean? Of course you don't know what I mean.

Now you're Talking to a bird.

Terrific.

I got to shave.

He's coming.

I called him.

Where is he?

He'll be here.

They sold his seats,

I told him he could watch from the wings.

Thanks.

Hey Punk, Punk, wait up.

What are you doing here jerk off?

Listen, you seen Marty anywhere?

Nah, he's probably stoned out of his mind somewhere,

probably even forgot his name.

Well do you know where he lives?

You sure he ain't sick or something?

What's it to you?

We were gonna go to a show together

and I know he wouldn't pass it up.

And he was supposed to meet me here over an hour ago.

Well, he ain't where he lives.

I checked it out.

He was supposed to meet me at the junk store this morning.

He wanted new sticks but he never showed.

You got any idea where I could look for him?

No, but if you see him,

don't tell him I was looking for him, okay?

Sure.

See ya.

See ya, Lou.

Sarah.

Sarah, it's time.

Take your position.

[Smithfield] City Room, Smithfield.

Yeah, it's Friedlander.

Where's Guffy?

[Smithfield] He's in the cans.

Look, I'm trying to track down

that kid that I wrote about Thursday.

I thought he might've called the paper.

Marty Olivera.

[Smithfield] Oh yeah, yeah, I got something for you.

This nurse called.

Smithfield, I don't want to hear about a nurse.

[Smithfield] Sorry Friedlander,

they're just trying to tell ya.

This nurse said that they got the kid

that you're looking for in a hospital.

What hospital?

[Smithfield] I got it here somewhere.

Hey Lou, this nurse really wanted to talk to you.

She kept asking if I'd punch you right away?

What's the hospital, Smithfield?

[Smithfield] Okay, okay, I got it.

Here it is.

Columbia Presbyterian Ward Five.

Lou, all I was trying to tell you is that this nurse.

(audience applauding)

(dramatic music)

I'm sorry, you can't come in here.

No look, I've got a special pass.

I want to see Marty Olivera.

You're Lou Friedlander.

I'm the one who called your paper.

My name is Mary Brand.

Right, where's Marty?

The cops gave me the whole story.

They found him in an alley.

What are you talking about?

It was an overdose.

They thought it was gonna be all right.

What are you telling me?

What do you mean, he's dead?

Well, we all thought he was gonna pull through.

The cops caught the pusher.

Turns out it was his brother.

Can you believe it?

Listen, you gonna write a story now

about the way the kid died?

Well, I got his stuff here and nobody's come for it.

Maybe you want it

Mr. Friedlander, here's his stuff.

(sad music)

I'll hold onto these.

I'm sorry about the kid.

Listen, could he really play the drums with those things?

[Lou] He never had any drums.

(dark gentle music)

(dramatic music)

Where is he?

He's coming, don't worry.

Just keep your concentration

- for god's sake. - Didn't you call him?

I thought you said you called him.

Didn't you say you called him?

Yes, we called him.

He's on his way.

He'll be here any minute.

Sarah, take your place and get ready for your entrance.

He'll be here.

He will.

Be here, please be here.

(dramatic music)

Don't let it be over.

Please God, don't let it be over.

(dramatic music)

- You can't go up there. - I'm Lou Friedlander.

Oh yeah, that's your name, go ahead.

(dramatic music)

[Christopher] Didn't I tell you this was important to her?

[Lou] Yeah, yeah, you told me.

(dramatic music)

What's the matter?

Couldn't take a taxi like everybody else?

(crying)

Where were you?

I got tied up.

Where's the little boy?

He couldn't make it.

Your cue's coming up.

[Sarah] Oh God.

Do it, spread your wings, make yourself proud.

(dramatic music)

(audience applauding)

You did it.

I did it.

(gasping)

What's the matter?

I don't think I can stand up.

Don't worry.

I got you.

- Are you all right? - What's the matter?

Where do you hurt?

I'm all right, I made it.

Look, what should I do?

What do you want me to do?

Should I call the doctor?

- Why don't you call the doc? - All right, everybody out.

What is it? What did you do to yourself?

Can you walk?

I don't know.

Don't worry, I'll take care her out.

I want you to take me, please.

(gentle music) (audience applauding)

Did you order these?

No, I ordered a corned beef sandwich.

Would you take these back

and bring the lady a corned beef sandwich?

I love you.

(gentle music)