All language subtitles for Deception

Congratulations, Mr. Novak.
- Would you autograph my program?

Surely.
- Are there any recordings of your playing?

I made in Europe years ago but I'm
afraid they weren't sold over here.

Have you ever been in America before?
- No, never.

When did you arrive?
- Four weeks ago.

only four weeks?
- Were you in Europe?

Yes.
- May I ask...

...what were your impressions of the war?

Well, it's over, isn't it?

Yes, but...
- Just a moment, please.

I'm Terry Spencer, music
editor of our Bugle.

I've been studying four years and
I'd like to ask you a question.

Were the cadenzas in the
Haydn 'Concerto' your own?

Partly, yes.
- oh.

very effective. And most interesting.

You're most kind.

Mr. Novak, which of the living
composers do you think I ought to admire?

Yes.
- Well, there is no greatest...

...among the really great.

Whom do you like best?
- Hollenius?

Shostakovich?
- Well, let me see.

Stravinsky, when I think of the present.

Richard Strauss, when I think of the past.

And of course, Hollenius...

...who combines the rhythm of
today with the melody of yesterday.

oh, thank you, sir. The Bugle will
be very impressed with your opinion.

[BUZZER SOUNDS]...

We'll miss the symphony.
- I'm glad to have seen you.

Goodbye, Mr. Novak.
- Thank you, sir.

From now on, you're my cellist.

[ORCHESTRA PLAYING]

MAN 1: Quiet, please. MAN 2:
Mr. Novak, I hope you play again.

oh, I know. It's so good.

Shh. Quiet, please.

I thought you were dead.

[CRYING] oh.

I thought they'd killed you.

I saw you being killed, lying there.

Darling.

Karel...

...can it be true you're here?

We're together.

Make myself...

...look decent.

You're the same, Schatzi.

Schatzi.

oh, it's been so long since I've heard that.

What?

Something I was afraid to see.

Ah.

No rings.

You still play, still compose?

Don't let's talk here. Where do you live?

I've a room on West 94th Street but it's...

Come to my place.

[BAND PLAYING]...

...[WHISTLE BLOWS]

MAN: Extra.

Extra. Extra.

Extra.

Extra.

Extra. Extra.

People don't do this in New York.

What don't they do?

This.

But we do.

Did you get my letters I
wrote and wrote and wrote?

Just two in 1940.

Then none.

Well, here we are.

Do people live here?
- on top. Artists. People like us.

This light is never on.

Has it been very hard for you?

oh, it was at first.

Music students just back from Europe
were hardly in overwhelming demand.

I was afraid of that when you left.

oh, I had jobs. You know,
things that get you by.

I didn't mind except the
being away from my music.

But you got back to it.

Yes.
- And you're succeeding?

Musically I am but financially...

Not so good?
- Mm.

I'd do better cooking, if I
could cook as well as I play.

But, darling...

...come in.

I can't carry you over.

[CHUCKLES]

Give me your hat.

No, no, hang it up yourself.

You're home now.

This is where we put our things.

Now, which side?

This side or that side?

This side.

And not one inch over.

I want you to say how you like everything.

Tomorrow I'll get you a tremendous,
great cup for your coffee.

Now, let's see.

Which chair for your special chair?

This one, it's the biggest. Sit down.

Let me get you some slippers.

You look tired, dearest.
You've had a long day.

oh, darling, a long, long day.

And I could have missed seeing it so easily.

So easily.
- Seeing what?

The advertisement.

I was eating tonight and they
gave me a copy of the Town Crier.

There was a column of
those college programs...

...and I was glancing down it, not reading,
you know, and I turned the page over.

I sat there, I realized something shattering
had happened, I couldn't think what it was.

I kept seeing the letters
of your name in print.

I realized it might have been on the
page I turned over, it couldn't have been.

It must have been some other name like it...

...and I sat there afraid to turn
the page back, just looking at it...

...well, and then l...

Good heavens, I never paid my check.

I walked right out of that
place and never paid for it.

[BOTH LAUGH]...

...oh, if only one know in advance
that a miracle was going to happen.

I tried everything to find
you as soon as I landed.

I looked in the phone book, the directory...

...oh, but, darling, I
took a professional name.

I'm Christine Radcliffe now.
- Radcliffe?

Mm-hm.

You know, sometimes it was
nice to not feel like myself.

We might never have found each other.

And all the time you've been here,
playing in those little colleges.

Well, and lucky to get the chance.
After all, I'm not known here.

But what does it matter? To
play, that's the great thing.

Sooner or later the
right people will hear me.

[PIANO PLAYING]

Even if I don't earn much at
first, we can be happy, you and I.

Darling, there is something I must tell you.

Yes?
- And I hope you won't misunderstand.

Music's different in America, Karel.

They care about it here deeply.

But like everything else it
must be done in a big way.

over there you can play in some hole
or corner and people will find you.

But here, if you start in some
school or suburban concert hall...

...oh, it's much too difficult.

It takes too long.

I know.

And you have had such a bad time.

But no more. After all, I know people.

I shall make them hear you and when they
do, you shall be where you should be.

You'll have everything.

oh, Karel, it's so painful to be so happy.

[CLOCK CHIMING]

Tell me, what do you want
when we are very rich?

I don't know.

A place in the mountains, perhaps.

oh, you want a mountain. How big?

You know, you said I always
made them out of molehills.

[CHUCKLES]

To go out on skis for days and days.

With nothing to shut you in.

If I could do that.

What else?

That and you.

I go without saying.

Except I like to say it.

This way.

I'm yours, aren't I?

If it isn't too good to be true.

oh.

of course, if you... If
you need to be convinced...

...if you want everything
signed and sealed, we could...

Don't you think we could be married?

At once.

The first day we can.

Is there any objection?

Well, don't you think we really ought
to get to know each other all over again?

How do you do, Mr. Novak?

Darling, how stupid of me.

You must be famished. I should
have thought of it sooner.

I'll get some coffee and sandwiches.

The bread's none too fresh, shall I toast it?

I had some smoked turkey.

Well, I guess the cleaning
woman had it for her lunch.

oh, here's some p�t�.

Chock-full of vitamins. Just what you need.

[DISHES CLINKING]

Schatzi.

CHRISTINE: Yes?

This place? Is it...?

Is it lent to you?

Lent? oh, no, it's mine.

I mean, it's ours now, darling.

But...

...it must cost a great deal.

Not so much.

I got it on a long lease
when things were still cheap.

Schatzi.

Come here.

Yes, Karel.

This isn't a place of an artist...

...of a poor struggling musician
who could earn more as a maid.

Here, a Tang Horse, fit for a museum
and paintings and furs and your dress...

...and this.

What sort of a place is it? Answer me.

What sort of a place is it? Answer me.
- Don't. Don't.

[SIGHS]

Forgive me.

I'm not myself.

But tonight...

...the concert was a strain.

The shock of seeing you...

...such hope, such...

You see...

...there, in that place where I've been...

...there was no refuge
anywhere but in sleep.

oh, Karel.

Do you know what kept me alive?

The hope of finding you.

And finding...

...it wasn't true.

oh, Karel. Karel, don't talk like that.

You're ill.

I knew you had no money.

I knew what happened after the last war.

Yes, I saw it when I was a boy.
I saw what happened to the girls.

Decent girls like you.

I should never have come here.

oh, Karel. Karel, are you mad?

There's nothing.

I didn't want to have to
tell you but I took pupils.

oh, rich and untalented pupils, I'm afraid...

...but I gave in and I've been teaching.

Which we swore we would
never do, remember?

Pupils?
- Yes.

And over here, rich pupils give
presents you just can't imagine.

Schatzi.

Darling.

Aren't you ashamed?

I've always been so
frightened of your jealousies.

And you promised me you never would be.

Here.

Things seem too good
to be true one moment.

The next minute they seem too black.

Karel, look at me.

There's nothing in the whole
world except us, is there?

Nothing.

Nothing.

Nothing.

[PHONE RINGING]

Hello?

oh, thank you.

Hello, Alex.

You're calling very early.

What time is it in California?

Heh. Alex, you shouldn't have nightmares.

Wrong? of course not.

oh, but that isn't true.

There is something, not wrong but...

Well, I had intended to write to you about it.

I hardly know how to tell you.

Something quite
overwhelming has happened.

I'm going to be married.

oh, someone I've known for years.

Someone I love very much.

Alex, I implore you, don't take it like this.

But I can't help it. How else could I say it?

However I'd say it, it would be wrong.

That's impossible, Alex. We're
going to be married at once.

[SIGHS]

I know I've messed this up
terribly. I'm truly sorry.

I never should have told
you over the phone.

Hollenius.

Hollenius?

Hollenius?
- Yes.

Hello, darling.

Hollenius, the composer?
- Yes, I have to finish dressing, Karel.

You know him?

Well, he's been teaching, sort of.

The piano?

Nonsense. Not Hollenius.

Well, composition more, or...
or, I don't know, just music.

He's been awfully good to me, so I thought
I really ought to let him know about us.

But tell me, was there
anything wrong over the phone?

Wrong? What would be wrong?

Karel.

oh, how sweet of you.

[CHUCKLES]

Remember, remember Marie, the
flower seller on the Ringstrasse?

And all the cunning
little bunches of flowers?

He hung up, didn't he?

Yes. I'll put these in water.

Darling, they are sweet.

Now, let's see.

My coat and hat.

Was he? Was he angry?

I expect he thinks you've kidnapped me.

Probably thinks you have a large
black mustache and dance the rumba.

We've lots to do. We must tell
people. We must go to the city hall.

The quicker we know what day
we're going to be married...

...the quicker we can
invite people to the party.

Haven't you someone you want to invite?

Just one.
- Who?

You.

oh, Karel.

[MUSICIANS PLAYING JAZZY
vERSloN oF 'BRIDAL CHoRUS']...

...[GLASSES TINKLING]...

...[LAUGHTER AND APPLAUSE]...

Ladies and gentlemen,
to the bride. - oh- ho-ho.

WoMAN 1: Happiness, Christine.

And to the groom.

WoMAN 2: Congratulations.

And may they know every happiness
that can spring from talent and love...

...and trust.
- That's sweet of you, Mr. Day.

[GLASS CLINKS]

CHRISTINE: Music, please.

[PLAYS BADLY]...

...[LAUGHTER]...

...[LAUGHTER STOPS]

A party indeed.

Hollenius.
- Madame. How do you do, Harnitz?

Thank you.
- Crispin, I'm delighted to see you.

Well, I hope I'm welcome, my dear.
You look as if you were seeing a ghost.

How did you get here so quickly?

Quickly?

I have the impression I'm too late.

That object, I presume, is a wedding cake.

Champagne, all very fitting.

I infer a husband.

Make me acquainted with him.

Karel. My husband, Karel Novak.

My dear sir...

...I wish you all the joys that we less
fortunate men must be content to imagine.

Thank you.
- This, of course, is Hollenius.

Thank you.
- You do us a great honor, Mr. Hollenius.

oh, no, she's my daughter,
my ewe lamb. Heh.

It'd look very odd if I
were not at her wedding.

Uh-huh.

The Louis Roederer, no?

Yes, we opened it for
this evening. - Mm- hm.

For all and sundry.

I don't know where there's another
dozen of that year procurable.

Still, it's a great occasion.

[ICE CUBES RATTLING]

A great occasion.

And yet I wish she'd put it off a little.
- Put it off?

Why?
- oh, so that I might have given her away.

Pollard.
- Don't go.

So to speak, her nearest male relation.

After all, what could be closer than
the relationship of master and pupil?

Except, of course, husband and wife.

Are you gonna give me that champagne...

...I went to such incredible
trouble to get hold of?

Yes.

They tell me that bridegrooms
are a very nervous kind of cattle.

You look extremely
nervous, if I may say so.

Do I?
- Mm-hm.

My dear, you know I never
drink on an empty stomach.

Get me something to eat, my child.
- Cake?

HOLLENIUS: No, no, no,
not that ridiculous thing.

Now, if there's some caviar? Hmm?

Yes, yes, in here.

Is it decently chilled?

And I abused the poor creature
so abominably over the telephone.

You did? - Mm-hm.
An outburst of fury.

Uncontrolled possessiveness.

Call it jealousy, if you will.

You know, I remember well the
day when she first came to me.

Four years ago, wasn't it, Christine?

CHRISTINE: Yes.
- Hmm.

All eyes and talent.

You can't imagine how
skinny she was then.

oh, but of course, you knew her. Yeah.

You were in love already.

The little minx concealed it from me.

Why should I have interested
myself in such a creature?

I ask you. Why?
- Well, why?

You said I had promise.
- And I was right.

Four years of coaxing, bullying,
pleading, suggesting, implanting...

...and there's a quality.

She's... She's an artist.

It was no trifle to be told, just as she
was coming into existence musically...

...that she's in love, she's marrying...

You haven't any champagne.
- Nothing else matters to her.

I was prepared to excommunicate her.

Anything. That, of course,
was before meeting you.

After all, why shouldn't she have a
husband? You have him, my dear. Hmm.

Have a dozen of them. Sooner or later
you'll come back to your old teacher.

You'll realize that
nothing matters but music.

Everything passes but music. And me.

We are more optimistic, Mr. Hollenius.

We shall see. You play
something for him, my child.

Something he hasn't heard before.
I'm sure you have still much...

...to reveal to him.

Shall I, darling?

Please, Schatzi.

What shall I play?

You know.

of course.

But I haven't played it for such a long time.

Schatzi.
- Tell me, are you a musician?

Cellist,
yes. - Mm-hm.

Extraordinary thing, teaching a person.

Pygmalion and all that.
- Yes, I was surprised to hear you did it.

oh, I found it stimulating.

A labor of love, so to speak.

I told her to take a pupil, she
might learn more than she taught him.

But no, said she'd absolutely vowed
not to. obstinate, you'll find out.

CHRISTINE: I've been asked
to play. GUESTS: Wonderful.

[APPLAUSE]

Something tender it
should be, and pathetic.

A little absurd, Chopin perhaps.

Karel has asked me to
play the 'Appassionata.'

[GUESTS CHATTERING, APPLAUDING]

CHRISTINE: I haven't
tried it for a long time...

...so you'll have to bear with me.

Has everyone a comfortable place to sit?

GUESTS: Yes.
- Good.

[PLAYING 'APPASSloNATA']...

...[GLASS BREAKS]...

...[GUESTS GASP]

Hollenius, let me see.

Like all women, white as a sheet at
the sight of a couple of scratches.

Calm and smiling like a hospital nurse
in the presence of a mortal wound.

Good night.

You will go on playing, won't you, Chris?

That's sweet of you, Norma, but I
think champagne is more in order.

Pollard, will you see that
everyone has champagne.

It's already late. Again let
me wish you every happiness.

It isn't late.
- Yes, it is.

Thank you and good night.

Good night.

Good night, Norma.
- Good night, dear.

Good night.
- Good night.

Good night.
- Good night.

MAN: Good night. CHRISTINE: Good night.

MAN: Nice party.
CHRISTINE: oh, thank you.

I'm very glad you could come. Good night.

Christine, darling. Thank you.
- Good night.

Good night.
- Good night.

oh. That will be all, Pollard, for tonight.

Just put out the candles in the
dining room, come back in the morning.

very well, madam.
- Thank you.

He gets terribly upset by music sometimes.

KAREL: And everything
else he said before?

oh, that was just Hollenius.

He was hinting I'd taken you from him.
- Hinting?

Good heavens, he said it
straight out half a dozen times.

I thought it was quite
wonderful of him to admit it.

You must remember, Karel,
he's a very great man.

Too great, I should have thought,
to be jealous over a pupil.

Well, he's not the sort of teacher who
gives a lesson once or twice a week.

To Hollenius, music is everything.
The whole world, part of his life.

He took me into his life.

We ate together, we traveled
together more than once.

When he was working or
talking to other composers...

...I sat in a corner and listened and learned.

He liked having me there.

As though I were... Well, as though
I were a cat or a dog he was fond of.

Why did your friends look so frightened
and so gleeful when Hollenius came in?

Well, I just told you,
I was part of his life.

Good night, Pollard.
- Good night, Mrs. Novak.

I suppose there has been
a certain amount of gossip.

I don't know.

What does it matter?

To be honest, I think the old rascal...

...rather liked giving the impression.

And...

...this I'm sure you'll never understand.

Heavens, I seem to be
taking off every shred l...

Well, I confess I was a little vain of it myself.

I understand that.

Do you really?

oh, you brighten me so.

Do you love me terribly?

Mm.

Darling, don't you think we could
forget Hollenius just for tonight...

...in view of the occasion?

While we drink the
champagne he gave you?

He's a terrible old emperor.

He gives cases of the most incredible
wines and brandies to all his friends...

...and makes no bones about it.

'So that I shall have something
fit to drink when I visit you.'

[GLASS BREAKS]

A picture fit to look at when he visits you.
The finest piano in the world to listen to.

The most expensive clothes.
He gives those to everybody?

I told you how I came by those.
- oh, yes, from pupils.

Wealthy pupils.
- Yes.

Unfortunately, he told
me you never had a pupil.

Well, to his knowledge, perhaps no.

To his knowledge? When you
spend all your time with him?

When he calls you obstinate
for refusing to take a pupil?

No, Schatzi, you kept that
vow at least. Don't deny it.

Poor Karel. And I tried too.

Now you'll never believe me.

And you're right, of course.

It was all so perfectly innocent.

So many lies to cover something innocent?

Nothing in your eyes has been innocent.

In the old days you were always jealous.

And you were wrong.

You were completely
proven wrong, weren't you?

Weren't you? Proven wrong.

And you were just as sure as you are now.

A few miserable gifts.

Christmas.

Last Christmas. oh, it's all so simple.

My birthday this year.

My birthday the year before.

He's rich, immensely rich, he's like a king.

When he likes people, he
transforms their lives.

one day, I played a composition of
his and he liked it, the next day this.

oh, how can he know
someone who's poor?

How can he go about with
someone whose clothes offend him?

He can't visit you in a lodging-house room.

I tell you, he furnished my life
as he would a back hallway...

...that he passed through
once a year. And he likes me.

He told you himself I
was his daughter, his pet.

[VOICE BREAKING] Isn't it understandable?

The more understandable, the
more strange you didn't tell me.

I wanted to when you first came in here
but you looked so... So hurt and so ill.

[SNIFFLING]

And afterwards?

Afterwards, I couldn't.

Don't you remember what happened?

You can't choke the truth out of someone.

oh.

oh.

Promise me you'll never,
never think of it again.

oh, but you will.

You see, Schatzi...

...the thing that tortures me is when
I feel you're not telling me the truth.

[PHONE RINGING]...

...[PICKS UP PHONE]

CHRISTINE: Hello.

Uh... Tomorrow morning?
No, I'm afraid I couldn't.

Wouldn't it do later on in the week?

All right.

All right, Alexander, I'll try.

Yes, all right.

Good morning, Jimmy.
- Good morning, miss.

Where is the master?
- In the study, miss.

[PIANO PLAYING]

It's wonderful.

Extraordinary, isn't it?

That music can exist in the same world
as the basest treachery and ingratitude?

So you remember the concerto
I started last winter.

Well, I finished it.
- You haven't been to bed.

That is no longer any business of yours.

What are you here for?
- You insisted I come.

To exult over the damage you've done.

Have you changed your mind
after a single day of marriage?

Some people find it easy
to change their minds.

or has he seen you for what
you are and thrown you out?

Not yet, eh?

[SCOFFS]

Doesn't he know?

No.

Amazing creature.

She deceives everybody.

Don't talk like that.
- I'll talk as I please.

[CAT MEOWS]

But I didn't summon you here to bully you.

Come on, sit down.

I've been thinking about this miserable
business all night. You're insane...

...and you must be humored.

We must be reasonable
and we must be realistic.

I gave you a great deal.

I know.
- I wonder if you do.

I'm not exactly a simple personality.

They call me a great man.

[INHALES DEEPLY]

It's the loneliest animal in the world.

I need you extremely badly, my dear.

Tell me, was it all a pretense?

You know perfectly well it wasn't.

I'm not repulsive to you?
- of course not, Alex.

This other thing, this ridiculous
resurrection of calf love.

This... Why, I've shown you what life is.

I've shown you music and
I've given you understanding.

Is this infatuation so precious to you that
you can turn your back on understanding?

oh, I know, I'm not a youth. I'm
not a savage, a little wavy hair...

...why should I deny it you?

If you'd only come to me.

If you'd told me quite frankly that you
couldn't live without this latest luxury.

You can have both.

Hollenius, what are you?

What you made me.

oh, it's too hideous.
- But you can't.

You can't leave me.

For this gut scraper.

This puppet of people like myself.

Who, if I write pbbt plays. Pbbt.
And if I write pbbt plays. Pbbt.

oh, I'm going.
- Now, you listen to me.

What more can you possibly
have to say after that?

I have it in me, Christine,
to remove this impertinence.

You wouldn't.

Then don't provoke me.

You're making a terrible mistake.
- I made my mistake years ago...

...when I first met you. See,
I thought I was buying his life.

From me?
- Yes.

You never mentioned him.
- I know.

So you betrayed me even then.

Yes, and him too.

I was half mad that winter trying to
get him over here. I didn't know anybody.

I didn't have money, you were rich
with all the influence in the world.

He knows nothing about this?
- Nothing.

I see.

It's all very lofty, all very noble...

...and all very unscrupulous.
- No.

No? Why are you lying to him?

Because he's not well enough to
know. He's suffered enough already.

oh, when you looked at him so
contemptuously last night, Hollenius...

...I realized how much he'd changed.

If you'd only known him
when I first met him.

He was young and strong
and gay and so full of hope.

He was the most promising
young cellist in Europe...

...and we were so happy
and so much in love.

Then the war came and
we were swept apart...

...and I came back here and I
did everything to get him over.

I went from office to office, I even
wrote letters to people I didn't know.

And always a blank wall.

A blank wall.

[SNIFFLING]

And he was on the other side of it, lost.

And after a while, I was afraid he was dead.

[TEARFULLY] He's been through horrors.

And now that he's back, do you think I'll
let anything in the world hurt him? No.

He's something of a genius you tell me?

If the term can be applied to a performer.

For the malady of a genius, whatever it is,
there's only one cure and that's success.

Which is to be found here only in New York.

I know.

But I'd rather he'd miss that than...
- Than have me make trouble?

Frankly, have you found
me to be a little man?

Great men can be very petty and very cruel.

And very vain.

The last is more like my weakness.

Can you believe I wanna
lose you altogether?

Come on, my dear, you better go.

Does he know about this visit?

Well, when you telephoned me last
night, I told him it was a girl I knew...

...a date I couldn't get out of.

My dear...

...I sincerely pity you.

[DOOR CLOSES]

HOLLENIUS: Jimmy.

All right, Jimmy, you can come in.

I want you to take this to Mr.
Carter at the record library...

...and bring back any records he
may give you as quickly as you can.

Mm.

[MUSIC PLAYING OVER
RECORD PLAYER]...

Well, what is it?
- There is someone here, sir.

A Mr. Novak.
- A who?

Mr. Novak.

oh, Mr. Novak. Huh.

Don't you know who Mr. Novak
is? Schatzi's husband, no less...

...and Schatzi is Miss Christine. Heh.

Married yesterday, suddenly. Hmm.

[MEOWS]

Show him in.

Schatzi.

Mr. Novak, sir.

HOLLENIUS: Good morning.
- Good morning.

I was passing and I thought I'd
drop in to ask about your hand.

oh, that's a fuss about
nothing, but thank you.

Is Christine here?

No, did she tell you she was coming?

Did you telephone her last night?

No.

No?
- You know, I behaved very badly...

...at your party. I'm glad you called.

I'm glad to have an
opportunity to apologize.

I'm not worrying about
what happened at the party.

But I am.

very much indeed.

You know, I arrived after perhaps the most
unpleasant journey I've ever undertaken.

Firmly convinced all the
way that Christine's...

...committing some catastrophic folly.

She hadn't told me who you were
or that she had known you before.

And to be perfectly frank, I was
so overwrought when I got there...

...that neither your name nor your
personality was sufficiently impressive...

...to arrest the pent-up feelings
that had accumulated on the way.

[CAT PURRS]

I should be grieved.

Deeply grieved.

If my bad behavior could have
possibly have given rise to any...

How shall I put it delicately,
any misunderstanding?

oh, no.

It was that, wasn't it?

Well, it...

...sounded as if...

...on the telephone last night when she...

I have had a very charming
companion this morning.

But masculine, my dear fellow, masculine.

[CELLO MUSIC PLAYING
OVER RECORD PLAYER]

How on Earth did you get hold of that?

I did it how long?

Seven years ago for a
little company in Europe.

Half a dozen of us subsidized a
library, just for the good things...

...that don't get on to the
popular market. We don't miss much.

Schubert.
- What melody.

Your cello seems to appreciate it.

I certainly was light of heart in those days.

Now?

Well, one... one develops.

of course, l...
- Had a bad time, huh?

Why?

Wouldn't play for them.

[MUSIC STo\OPS]

Anyway, you kept your fingers.

Well, if that's how you play, I'd like
you to listen to something I have here.

After which, perhaps, we
can have a little chat.

[PIANO PLAYING]...

...[CELLO PLAYING]

How on Earth?

Fortunate woman.

The wife of a successful artist.
- oh, Karel. Karel, you're mad.

His own manuscript.

Who gave it to you?
- He did.

Hollenius?
- Who else?

But why? What for?
- To play, naturally.

on the 21 st of next month
and he's to conduct it himself.

Guest conductor, just for his own piece.
- What?

Karel, tell me quickly
exactly what happened.

I went to see him. He gave it to me.
- But why?

oh, it's just possible, you know,
he may have liked my approach.

oh, it seems so strange.

After last night, I mean.

Well, it bears out what you said about
him last night, about his princely gifts.

or don't you think so?

oh, of course.

Tell me, did he talk about
anything else but music?

oh, everything is music to him.

We talked about life and love and you.

About me? What did he
have to say about me?

Something very interesting.

He said if you had courage, you'd
be a very great person indeed.

only that?

Nothing else as profound as that.

Where is the excitement
about this great news?

I hear no cries of joy. Aren't you pleased?

Yes. Yes, of course.

It's just that, well, all day long I've...

...been thinking myself
how I could help you...

...and well, now suddenly...

Jealous?

You wanted to help your
broken-down husband, didn't you?

Well, it's much better not to
have a broken-down husband at all.

oh, Schatzi, this makes such a difference.

And I can do it.

I was scared out of my wits at first.

You were scared too. I
saw it when you came in.

But I've been playing it
all the afternoon. I have it.

It's so wonderful. What a creation.

It's something I never
hoped for or dreamed of.

You think I can't do it?

Is that what's bothering you?

No.
- No? Then what?

Why did you go to see Hollenius?

[SOFTLY] oh, I...

I didn't believe you.

I thought it was Hollenius
who called you last night.

It sounded like it, what you were saying.

When you told me it was a girl...

...I thought you were...

Lying.

oh, I'm ashamed. I'm ashamed
to have gone to him...

...and to have asked if you'd been there.

Are you angry?

[CHUCKLES]

No.

A little sad perhaps.

But it doesn't matter.

All that matters is that you have
the concerto and he gave it to you.

And you must think of nothing
else but playing it wonderfully.

You really think I can?
- of course, darling.

of course you can.

You shall.

Now, tell me, how are you going to work?

Well, he suggested I should plug away
alone for the rest of this week and next.

And then we are to meet for dinner
and afterwards I'm to play it.

And he's to see how he likes it.

And if he doesn't like it, is it all off?

Well, he didn't say so, but
with anyone as unknown as I am...

...he has a right to protect
himself, obviously. But he'll like it.

I know he'll like it.

oh, it's like breathing a new air to talk
to someone with that feeling for music.

You're right about him, he gives,
it's royal, he gives one a life...

...years of happiness,
casually, as if it were nothing.

But he knows.

He knows what he is doing.

Monsieur Hollenius.
- Marcelle.

[SPEAKING IN FRENCH]

I've been away.

Madame? oh, my dear, I hope I'm not late.

Well, a little.

Karel. I trust I'm gonna
hear a remarkable performance.

Are you confident?
- And impatient.

So am I, for dinner.

MAN: Madame.
- Good evening.

Mr. Hollenius.

[GREETING IN FRENCH]

HOLLENIUS: Christine?

Monsieur?

Thank you.

Thank you, Alex.

Thank you, Andre.

Andre, this is my husband.

[SPEAKING IN FRENCH]...

...[SPEAKS IN FRENCH]...

...[SPEAKS IN FRENCH]...

What about you, Karel?
- No, thank you.

Louis, un martini.
- Yeah.

Andre.

HOLLENIUS Well, my dear,
what are you gonna have?

Same as usual, a lecture on
eating and then what you decide.

HOLLENIUS: Karel?

Tonight, really, I can't think about food.

HOLLENIUS: You're mistaken.
The greater the pleasure...

...the more important to
preface it with a meal.

We should eat very well
tonight, though simply.

I wouldn't dull my perceptions for anything.

What have you got up your sleeve?

[SPEAKING IN FRENCH]

But in condition?

Uh-huh.

Mm-hm.

Hmm.

What do you think? I
think so, don't you? Hmm?

Yup. They might get three of
these fellows ready for us.

And do you know what I think
will go well before them? A trout.

A nice brook trout. Not too
large. From a good stream.

[SPEAKING IN FRENCH]

HOLLENIUS: Mm-hm.

A trout and a partridge.

Could anything be more simple?

You know, I ask only one thing
of a meal, that it be excellent.

As with a musical
performance, my dear Karel.

I hope I shall do as well as the chef here.

You haven't tasted his product yet.

Nor, now I come to think
of it, have I heard yours.

We both have a pleasure to look forward to.

You have a pleasant surprise in store, Alex.

You're not very complimentary
to your husband, my dear.

Nothing would surprise
me but a disappointment.

However, my tastes are very simple.
A good, straightforward performance.

A trout and a partridge.

The only question is plain, the partridge,
� I'anglaise, or roasted with truffles?

Eh, Christine? or aux choux?

No, of course, that would take rather a time.

Something that wouldn't take too long.

So you're eager to
exhibit your prowess, eh?

Why, I believe you're
nervous. oh, well, never mind.

Andre here will tell you
I'm very easily pleased, no?

[SPEAKING IN FRENCH]

Perfection. That goes without saying.

very well. Not to waste too much time,
the partridges roasted with the truffles.

You know, with a forcemeat
of pork and pullet livers.

Alex, that will take an eternity.

But mix into that forcemeat a half
glass, no more, of Madeira, not too dry.

Just to, uh... Hmm, you know.

[SPEAKS IN FRENCH]

A little advice to you. When ordering a
meal, even a frugal snack of this kind...

...always start with the pi�ce de r�sistance.

An ashtray, Andre.

Food or music, start always with
the keynote, the foundation stone.

With that thing of mine. I'm
sure you found it necessary...

...to begin with the fugato at the end
before making any study of the opening.

I'm right, am I not?

As a matter of fact, no.

No?

Are you joking?
- No.

I began to study it at the beginning...
- He plays it to perfection.

Which you will hear if we
ever get this meal over with.

You think I'm too slow?

I've been trying to tell
you, I don't know how long...

...Karel wants to play, not eat.
- oh.

Schatzi. Schatzi. Schatzi.

Don't upset me. Heh.

You know, Karel, sometimes I'm positively
terrified of this wife of yours.

I hope you never have any occasion to be.

Christine thinks I'm getting nervous. I am.

Well, then to business.
And to begin with, soup.

or a little canap�, do you think?

oh, canap�.
- Soup.

Now, please, let us at least agree
on what we're going to begin with.

Soup...
- Canap�.

Let me make up your minds for
you or we shall never have done.

Tell me, Andre, have you Parmentiers?

If not, a petite marmite.

[SPEAKS IN FRENCH]

Good. Then all that remains
is to consider the wine.

Alex, we don't want any wine.

oh, but I do.

Darling, pretend it's yesterday
and you still have 24 hours to wait.

Mm-hm. Now...

...should one, with a partridge, take
an Hermitage or a very soft Burgundy?

I do hope the great haste in which
we're assembling this slapdash repast...

...is not gonna affect me
and render me incapable...

...of appreciating good music.

I do wish we had begun
with the fugato at the end.

It's the key to the whole thing.

We are having these birds stuffed
with truffles and a soup�on of Madeira.

Darling, believe it or not, there
are places here in New York...

...where you can put a nickel in the
slot and something comes out immediately.

Therefore, I shall plump
for the Hermitage. Fourteen.

And you'd better decant it.

oh, darling, relax.
- Don't keep soothing me. Do you mind?

I was only thinking of you.
- Don't, please.

Now, now, children, temper, temper. It
plays the very devil with the digestion.

We'll end with the
simplest salad in the world.

And some little sweet kickshaw
for you if you desire it.

The only question is the Hermitage.

oh, Alex, really.
- I don't know.

I really feel most uncertain.

Darling, you may as well have a drink.

All right. Scotch and soda, please.

Supposing, after all,
we had a vosne Roman�e?

But then with a partridge aux truff�...

But if, on the other hand, we had...

...a woodcock.

A woodcock. A becasse flamb�, or
a la Vatel, or a la Perigord...

...then we could have a vosne
Roman�e. A Roman�e-Conti even.

very well, then, a woodcock. Now,
with a woodcock, with a woodcock...

...[SPEAKS INDISTINCTLY]

Bon soir. Bon soir.

Schatzi, do me a favor
and don't come tonight.

I can stand my own anxiety but not yours.

All right, if you'd rather I didn't.

I'm sorry I upset you.

That's all right. HOLLENIUS:
Well, you two, ready?

oh, the cello.

Christine is tired. She's going home.

oh, I hope that excellent saddle of
venison we had hasn't disagreed with her.

Maybe we should have had the woodcock.

Here, darling.

Thank you.
- Well, come along, my dear. We'll drop you.

Alex, I think I'd rather walk. Good luck.

[CAR DOOR oPENS, CLOSES]...

...[ENGINE STARTS]

ANNoUNCER [o vER RADlo]:
This concludes...

...the 1 a.m. edition of worldwide news.

The following is transcribed.

[CoMMERCIAL JINGLE PLAYS]

ANNoUNCER: Remember, folks, when you
spell Drawrof backwards, it reads forward.

[JINGLE RESUMES]...

...[RADlo CLICKS oFF]...

...[PLAYING SoMBER TUNE]...

...[DOOR CLOSES]

KAREL: A power complex, that's what it is.

The insolence of a megalomaniac.
A paranoiac, a dictator.

Darling.
- Have we abolished dictators in politics...

...to find them cropping up in
music? I've had enough of dictators.

An egomaniac. Insulting into the bargain.

As an artist and as a
human being, he insulted me.

Arrogance. Insolence. But never
again, I tell you. Never again.

The man is crazy. Not that I
mind. All composers are crazy.

Nobody minds them being crazy.
Everybody expects them being crazy.

But this man, this man deliberately
upset a performance of his own music.

I knew it.
- I knew what he was up to...

...the way he sat down at the piano.
Then interruptions, interruptions.

out of sheer perversity.

of course I played badly. I played
horribly, atrociously, but he made me do it.

But no more of that. No more.

I put up with his vanity,
with his airs and graces.

But spoiling my performance,
that's something I won't stand for.

I'm glad.

Glad?
- Yes.

Because you're so right. I'm
so happy to hear you say it.

What does it matter, Hollenius and
his concerto? To us they're nothing.

We'll forget them. We'll
go to San Francisco.

There's a whole world of music there.

And we'll start together with
nothing, nothing but each other.

What on Earth are you talking about?

Well, you are not going on with it, are you?

Who said so?
- Well, you did.

I?
- Yes.

I said no such thing. I said I wouldn't...

...stand for nonsense from
Hollenius. Nor will I.

He's a spoiled baby masquerading
as a little tin god. He's a...

But his concerto. It's made
for me. The adagio section.

lf he's going to snatch it away from you?
- I'd like to see him try it.

It's a bit late for that. Why should he?

What put that extraordinary
idea into your head?

What have you been talking
about all this time?

I said that he was crazy. And so he is.

I didn't say he was crazy
enough to take his concerto...

...from the only person who can play it.

Christine, I'm asking you.

Why should he?

Why should he?

oh, he's not to be trusted, Karel.

This was a row between a
very arrogant composer...

...and a hot-tempered instrumentalist.

Why do you read more into it than that?

oh, he's capable of anything.

Capable of spoiling the first
performance of his concerto...

...because his pupil gets married?

oh, no.

Not over a pupil. over
something else perhaps.

Karel, you promised me
not to speak of that again.

But I think of it. Promise or no promise.

Karel, I tell you I misunderstood
you when you first came in.

lf he has any such idea in mind...
- oh, but he hasn't.

You said yourself you
played atrociously tonight.

That's true. With the orchestra...

...I shan't play atrociously.
I shall play well.

And then, then if he makes trouble...
- oh, but he won't, Karel, he won't.

Stop clenching your hand.

And give it to me.

Come on.

Poor darling.

of course Hollenius is not going
to take the concerto away from you.

It was stupid of me even to think of it.

You're going to play
wonderfully at the rehearsal.

[DOORBELL BUZZES]

CHRISTINE: Good morning, Jimmy.

Is the master in?
- He's not at home, miss.

I see.

I've come to pick up Mr. Novak's cello.

It's just gone off, miss.
By special messenger.

Well, I'll use the phone
then, if you don't mind.

What's this contemptible
lie about not being at home?

When have you condescended
to hide from a woman?

I suspected this was
some dirty trick of yours.

To be faced by a virago at
this hour of the morning.

Christine, my constitution simply
will not stand this sort of thing.

You asked for it.
- How?

Are you referring to your
husband's appalling exhibition...

...of temperament last night?

Miracle you're allowed to live.
- Listen to the woman.

I think it should be I who complains.

And in the morning to be confronted by
a bawling fishwife, bristling with fury...

...because I fail to appreciate
the genius of her male.

Alex, I have come here
to warn you. To warn you.

Threats, eh? My dear, if you knew...

...how many daggers I've had flourished
before me by hysterical ladies of the opera.

At an earlier period of my life.

Some of them I now use for paper knives.

There's one thing that lends
a threat some dignity, Alex.

What's that?
- An inflexible resolve to carry it out.

You know, there's a female in this opus...

...who is really not entirely unlike yourself.
- oh.

Listen, my dear, isn't it about time
we started talking a little sense?

What is it exactly that's bothering you?

What you're doing to Karel.

I was giving him the chance of a lifetime.

Yes, which you mean to take away again.

Why should I do that?
- oh, out of spite, perhaps.

To break him because I've told you
he's not well enough to stand it.

You're a strange man, Alex.

It could be that you have some vague
notion in that inflated ego of yours...

...of abolishing him. You know, the
godlike gesture to get me back again.

You flatter yourself, my dear.

But if that's what you think, you go to him.

Tell him to throw the thing up himself.

Tell him why.
- oh, you swine.

That is a very coarse expression coming
from so smartly dressed a young woman.

I'm referring to that handsome coat.

Take it back. You...

I seem to remember the dress too.
But restrain yourself, my dear.

Jimmy might come in.

The poor little creatures.
They frisk about, you know.

They have their little love affairs
and suddenly they're trapped.

You idiot.

A young woman with talent and intelligence
behaving like the biggest fool alive.

You want to keep your husband in the dark.

So you tell me you're lying to him.
You tell me he's a nervous wreck.

You put the only weapons with which I
could attack him right into my hands.

Huh. What tactics.

And to insult me into the bargain.
Do you think I have no feelings?

Do you think Karel has no feelings?

What about last night?
- I think I behaved very handsomely.

I gave the man my composition.

I presume I have the right to
assure myself he's competent?

You deliberately made him play badly.

You were impossible last night at dinner.

Delaying him, upsetting
him, playing on his nerves.

And you think he needs no nerves
to play before 2000 people?

Let me tell you, I have a duty, not
to you, not to him, but to music.

As a matter of fact, I think his
nerves are better than his temper.

I believe at the orchestra
rehearsal he will do very well.

of course he will.

If he's there.

Alex, if I could only believe you.

That is a luxury beyond
your present means, my dear.

If you want to believe other people,
you better give up lying yourself.

You take my advice, go home to him.

Tell him the truth.
- But I can't. He'd leave me.

That's what you want, isn't it?

I'm sorry. I didn't mean that.
- Yes, you did.

But tell him.

And have him throw up the concert?
or would you rather take it away?

oh, I don't know why I should have
pity on a liar and a coward and a fool.

But lest you drive yourself
completely insane, I assure you...

...I promise you, the
concerto will be played.

If only I could believe you.

oh, I'm so frightened and so
miserable, I don't know what I'm doing.

You're doing your best to
turn a friend into an enemy.

But I know how merciless you can be.

Thank you. You'd better go.
Besides, I have somebody coming.

Alex, I'm sorry I'm such an idiot.

My dear, I have no taste for the abject.

But don't...
- I am now going to get up.

MAN: I have an appointment for 11:00.

JIMMY: May I take your coat, Mr.
Gribble? GRIBBLE: oh, thank you.

oh-oh. I usually carry
that myself, thank you.

JIMMY: As you wish, sir. Please follow me.

[DOOR CLOSES]...

...oh, yes. Yes, that's right, into the study.

Jimmy, did you send that cable
to the London Philharmonic?

Yes, sir.
- Good. You can go away now.

Hello, Brunhilde.

[SQUAWKING]...

...oh, yes, yes, Mr. Gribble.

Bertram Gribble.

Yes, yes. Now, let me see, you've
been first cellist for 10 years.

Twelve and a half, if you'll
be kind enough to remember.

Yeah, yeah, yeah. Now, tell me, how
did you like that concerto of mine?

oh, it's a masterpiece, Mr. Hollenius.

Superb. It's a work of genius.
- Huh?

It's monumental.
- oh, you liked the thing?

I thought it was absolutely wonderful.

HOLLENIUS: I can't tell you how
anxious I am to hear you play.

GRIBBLE: I can't tell you, how anxious...

...[DOOR CLOSES]...

...[CELLO PLAYING]

HOLLENIUS: Never mind the beginning,
Gribble. Just start with the fugato.

Gribble. Gribble.

Good morning.
- I must talk to you.

Get in, I'll take you to rehearsal.

This is exceedingly kind of you. Most kind.

oh, I couldn't let you drown, now could I?

Well, I greatly appreciate it.

Nonsense. What would the orchestra do...

...if its principal cellist should
happen to catch pneumonia and die?

What would the public say?
- oh, Mrs. Novak.

What would Hollenius say?

oh, Hollenius? I doubt whether he'd
be more than momentarily concerned...

...over my premature demise.

oh, on the contrary, I happen to know
he has a very high opinion of you.

Has he?

Well, didn't he ask you to play his
concerto for him only last Sunday?

oh, yes, as a matter of fact he did.

Well, he liked it, didn't he?

oh, I must say he was kind enough to
congratulate me on a perfect performance.

If you're really interested I
can tell you his exact words.

May I?
- oh, please.

I noted them down in my diary.

Little tributes, it's so
pleasant to remember them.

'Perfect performance,' he said.

'Not a single mistake, no nerves, no
nonsense, no hysteria, no anything.'

No one can be more gracious than
the master. Said my phrasing...

Perhaps he was so gracious as to
promise you could play the part tonight.

Me?
- You.

You don't mean the solo part?
- Yes, the solo part.

Isn't your husband...?
- It's a trick, Gribble, to ruin my husband.

oh, no.
- oh, yes.

Gribble, it was not an accident
my picking you up this morning.

Really?
- I had to talk to you.

I've always heard you spoken
of as a man of great integrity.

Well, I hope so.

How do you know? Why
should Hollenius...?

Why should Hollenius hate my husband?

You've lived long enough in the
musical world to know the answer.

I assure you, Mrs. Novak,
I never concern myself...

What's all this got to do with the concerto?

Karel doesn't know
about Hollenius and me.

oh, I see.

Karel's life has been a tragic one.

He's suffered a good deal
in the past few years.

He's... Well, he's like a man who's
coming out of the darkness into the light.

And, well, Hollenius wants to
put him back into the darkness.

First he offers him this
wonderful opportunity.

He's gonna take it away.
- I can't believe it.

But it's true. If Hollenius
does this to Karel, he'll...

Well, he'll know why and
he'll find out about me.

And that will leave him
nothing, don't you understand?

Mrs. Novak, I'm a musician and if
the master considers me worthy...

...oh, you're not such an idiot
as to think that, are you?

I see no need to get personal.

I was under the impression I was to
understudy in case anything goes wrong.

But something will go wrong.
Hollenius will see to it.

Why didn't you tell me all this before?
- I'm telling you now.

It will happen today when Hollenius
takes over the dress rehearsal.

Now, I could hardly expect you to pass
up such a great opportunity for nothing.

I'll give you a thousand dollars if
you won't accept Hollenius' offer.

How many thousand would Mr.
Novak give up his opportunity?

But that's completely different.
Karel is a great musician.

oh, indeed. You think I'm less
of an artist than your husband?

oh, no, I didn't...
- Thank you, Mrs. Novak.

MAN: Extra. Extra.

Extra. Extra.

Extra. Extra.

Gribble.

Gribble, I beg you. I'll give you $2000.

[ORCHESTRA PLAYING
HOLLENIUS' CONCERTo]...

...[KAREL PLAYING CELLO]

Shhh.

[TAPPING]

HOLLENIUS: The flute is ahead.

Have you no feeling for rhythm?

once more, please, the flute passage.

Letter K, on the upbeat.

And the first bar a little slower.

[RESUMES PLAYING]...

...[FLUTE PASSAGE]...

...[CELLO PLAYING]...

...[TAPPING]

Same mistake.

[MOUTHS] Me?

HOLLENIUS: Yes, you,
sir. once more, please.

The first bar a little faster.

[MUSIC RESUMES]...

...[TAPPING]...

...[CELLO CONTINUES PLAYING]...

...[MORE INSISTENT TAPPING]...

...[SLAMS]

I was under the impression
I had stopped the orchestra.

I was under the impression
this was a dress rehearsal.

Never in my life have I
known fantastic interruptions.

This is a cello concerto,
not a flute concerto.

The conduct of the rehearsal
is not your business.

Kindly confine your performance
to your instrument, if you please?

Gladly, if you let us. You'll get
no performance from me or anyone...

...if you go on like this.
It's too much for any man.

It will be stood, Mr. Novak...

...by anyone who is going to play
under my direction. Please sit down.

No, I insist upon playing it
through once without interruptions.

very well, sir.

Kindly leave the stage.

[PEOPLE MURMURING]

This is...

Kindly leave the stage.

very well.

Mr. Gribble.
- Yes, Mr. Hollenius.

HOLLENIUS: I want you
to take over the solo...

...since our temperamental
Mr. Novak seems...

...unable to endure the strain of a rehearsal.

After all, his own performance
needs no improvement.

We mustn't exhaust the delicate
creature for this evening's performance.

So you'll continue his part...

...while I polish more
details with the orchestra.

Now, gentlemen.

or perhaps, since these exhibitions
of temperament are so very wearing...

...we'd better let the
concerto rest until after lunch.

Mr. Neilsen.
- Yes?

Would you like to
rehearse your Beethoven?

By all means.

Thank you for your preparation
of the orchestra the past week.

It was a pleasure. - Mm-hm.

Jimmy.
- Yes, sir.

Thank you. oh, you. Go home.

Put some ice on your
head. Take a sedative.

Get yourself into a rational mood
for this evening's performance...

...which will be without interruptions.

NIELSEN: Gentlemen, the
'Seventh,' second movement.

Alex. Alex, forgive me.

[ORCHESTRA STARTS PLAYING]

What do you mean?

I thought you meant to ruin Karel.

How should I ruin him, if you please?
- By putting Gribble in.

Gribble? I use Gribble as an understudy.
I didn't trust your husband's nerves.

I know, but I thought you meant to put him...

...in anyway, no matter
how well Karel played.

You know, I have encountered a
variety of infatuated women in my time.

None, so far, has had the effrontery to
suggest that I would employ my music...

...as an instrument of revenge.

You're right. I'm ashamed.

Moreover, if I wished to
obliterate such a rival...

...as your talented but
highly neurotic husband...

...I should employ simpler measures.

I would raise his unstable mind
to the highest of pinnacles.

I might allow my music to do that.

And then strike him down with
unlovelier but more appropriate weapons.

Weapons. What weapons?

His own weakness, my dear,
and his charming wife.

Let him play the concert. Let
him soar to the utmost heights.

And then, after the
concert, maybe at supper...

...casually one of those
little phrases, you know.

Careless reminiscence of a year or two ago.
- oh, no, Alex.

A tiny, innocent-appearing bombshell.

But you wouldn't.

You think not?

He certainly scared the
life out of me for a moment.

You see, his bark's worse than his bite.

I wonder if it's still raining.

Now...

...don't you fidget.

There.

Darling, hold your head still.

Please, how can I do this?

There.

How does it look to you?

Wonderful, superb.

See that you look up at me
before you begin to play.

[CLOCK CHIMING]

Darling, don't tense your hands.

Eight o'clock, you must be off.
- Dear, goodness.

Here.

There. Here's your scarf and your gloves.

There.

oh, let me look at you.

Not bad for a rented suit, is it?

oh, darling.

Now, remember, you look at me
the last thing before you start.

And the first thing afterwards.

Uh-oh.

Lipstick.

I'm sorry.

But you're not ready, not nearly ready.
- Don't worry about me. I'll follow in a cab.

Here...

...your hat and your gloves.

And your scarf.

Play well.

oh, more lipstick. Go on. oh,
Karel, you should have an umbrella.

KAREL: Good heavens,
no. Don't you be late.

[DOOR CLOSES]...

...[DOORBELL BUZZING]

Show her in.

He's in the dining room, ma'am.

Good evening, my dear.

Why, you look positively majestic.

I think I'd better remain seated.

I thought you might be coming
along. Like a little Scotch?

There's hardly time, is
there? We'll miss the symphony.

[SCOFFS]

Compose a piece yourself, my dear.

And see how it sounds to you
after listening to Beethoven.

Do you mind?

No, I expected you wouldn't go.

You know, one scene a
day is quite my limit.

I mention this because
there is that about you...

...that suggests one of
your peculiar moods.

Excuse me. I've laid out your dress coat in
your room. Your other things are in the hall.

HOLLENIUS: All right. You can
stay out as late as you please.

JIMMY: If it's really all
right, sir. HOLLENIUS: Mm-hm.

JIMMY: Thank you, sir. Good
night, sir. Good night, ma'am.

Good night, Jimmy.

He has a lady friend.
Slightly furtive about it. Heh.

[DOOR CLOSES]

Extraordinary how people try
to keep their little secrets...

...which can never be kept.

oh, but of course, you think they
can, don't you? Well, you'll find out.

Are you sure you won't have a drink?

No, thank you.

Well, personally, I intend to
have as much as is good for me.

And I'll tell you exactly why.

First of all, I'm unusually nervous
tonight. What's more, I'm worn-out.

Rehearsals, fuss, temperament, not even
an appetite for dinner, if you please.

Moreover...

Do you believe in premonitions?

Premonitions?
- Yes.

You know, I've always had
a great sense of tomorrow.

I mean, when I'm dressing or
eating or brushing my teeth...

...at the back of my mind, there's
something else going on, you know.

I find that I'm thinking about
what I'll be doing next Saturday...

...or next month or next year.
In a vague kind of way, I mean.

Well...

...tonight, before you came, I
was aware of something missing.

I realized I wasn't thinking of
next month or even next Saturday.

When I tried to think of
them, nothing came. Heh.

It sounds absurd but I
found it most disconcerting.

So you're afraid of death, Alex?
- oh, devilishly.

They say never confess a weakness
to a woman but I am, devilishly.

You've a lot to lose.

Well, it's true. I've lost a great deal already.

To pretend otherwise would
be extremely ungracious of me.

Did you mean what you
said today after rehearsal?

You mean when I called you
an offensive imbecile? Yes.

No. When you said you
were going tell Karel.

Christine...

...l'm extremely tired of this subject.
- Did you mean it?

Judge for yourself. I don't wish to be
rude but I'd rather listen to Beethoven.

Promise you won't.

This is one of those occasions
when my nerves are taut...

...when foolery drives me very nearly mad.

You must promise me.

Could you believe me if I promised?

I'm going upstairs for my coat.

What the devil...?

What's the matter with you?

What in heaven's name have you got there?

You bought it for me, remember?
When I moved into the studio.

For my protection, you said.

You give me that nonsensical object.
I've seen this sort of thing before.

Give it to me.
- You keep away.

Don't you try to intimidate me.

You are not going to tell Karel.

You are not going to see
him after the performance.

You're not ever going to see
him again. Swear to me you won't.

I'll swear nothing. I'll do what I please,
see whom I please, say what I please.

You fool.

You cowardly, hysterical fool.

You and your...

...oh.

[PHoNE RINGING]...

...[RINGING CONTINUES]...

...[RINGING CONTINUES]

MANAGER: Ladies and gentlemen.

The management regrets to announce
that Mr. Hollenius has not yet arrived.

Since his new cello concerto is being
broadcast from this hall at 9:30...

...Mr. Neilsen has kindly
consented to conduct in his place.

[APPLAUSE]...

...[TAPPING]...

...[MUSICIANS START PLAYING]

Mrs. Novak.

Mrs. Novak. You haven't heard
anything about Mr. Hollenius, have you?

oh, isn't he here?

No, Mr. Neilsen's taken over.

oh, well, I saw him in his
home just a short while ago.

What could have happened?

I haven't the slightest idea, Mr. Swansen.

[LOUD APPLAUSE]...

...[CROWD CHEERING]...

Congratulations, Mr. Novak.
- Thank you.

Well, Mr. Novak, it isn't very often...

...that New York gives a
newcomer a reception like that.

It was brilliant. A superb performance.
- Thank you, you're very kind.

It is a relief that the absence of the
composer didn't affect your performance.

oh, uh, did you find out
what happened to Hollenius?

I've been phoning his home. No answer.
- Karel.

Schatzi.

In 16 years, I've never heard
such a brilliant cellist.

We must give him a return engagement.

Mrs. Novak, you must be
very proud of your husband.

oh, I am indeed.

Would you forgive me if I borrowed
my husband for just a moment?

Why, certainly.

Well...

...was it worthwhile?

Worth while?

oh, yes.

oh, Schatzi, this means
a new life for both of us.

Have you ever heard such applause?

I want to play this
concerto all over the world.

Can't you see us going
from one place to another?

Taking it with us, giving
it to people everywhere.

oh, yes, our troubles are over.

Thanks to Hollenius.

Have you any idea what happened
to him that he didn't come tonight?

I have something rather distressing
to tell you about Hollenius.

Distressing? What is it?

Well, after you left he telephoned
and asked me to come by for him.

oh, so that's what made you
so late. He's not ill, is he?

When I got there, he
was in a strange mood.

He'd been drinking, not like himself...

...like a savage.

He talked about... About death.

His death in the strangest way imaginable.

And well, and then...

...he told me he loved me.

What?
- oh, there's no need to be angry, Karel.

It was nothing you could have
minded, nothing of that sort at all.

He spoke about, I don't know...

...about giving up, going
away, abroad perhaps.

It seemed that he suddenly realized,
when he heard about our marriage...

...that it was all a delusion, being
a teacher and a father and all that...

...and he had found out
that he was in love with me.

And what did you say to that?

Well, I tried to treat it lightly
but it seems that was a mistake.

Why?
- It seemed to drive him mad.

He shouted something like, 'I'll
show you.' And rushed upstairs.

And, well, then l...

...oh, this was very silly.

I got frightened.

The house seemed so
empty and so strange...

...as if something were about to happen.

I ran away.

As I slammed the front door behind me
I had the impression he was calling me.

Standing on the stairs, shouting after me.

A taxi was passing...

...I stopped it...

...and came here.

Why did he choose tonight of all
nights to make such a fool of himself?

When everything was going so well.

I suppose I can't blame him
for being in love with you.

But, Schatzi...

...don't you see what this means?

Now I understand why he behaved
like that at our wedding.

Why he broke the glass.

oh, this proves everything,
everything you told me.

So...

...it took this to make you believe me?

oh, I was a jealous fool.

You don't know how many ways jealous
people can torment themselves.

Forgive me.

oh, it's nothing. Nothing at all.

It's finished and done with.

And you're not going
to be jealous anymore,

because you know it was all nonsense.

And you're a success.

And you can live as you like...

...and play what you like...

...and have anything you want.

Even your mountain.

I think we ought to go by and see him.

To his house?
- Yes, of course.

Come. We'll say good night to our
friends outside and we go there...

No.

Karel, I don't want to.

oh, I know it's embarrassing for you.

But we three should be able to
understand one another better than that.

one extreme or another. This
morning you were at daggers drawn.

And now it's absolute adoration.

You seem to forget how
badly he's treated you.

I don't forget he gave me the concerto.
- Because you are the best person to play it.

He gave it to me because of you.
Because I needed it so badly.

He drove you nearly mad
through that dinner.

And quite mad at the audition afterwards.

Yes, it is maddening to
realize that one isn't perfect.

But I wasn't, I'd lost too many years for that.

But, Karel. Karel, you don't
know how malicious he was.

Yes, and sadistic, arrogant
and heaven knows what.

But what of it? He's a great artist.

But you don't know about Gribble.
- Gribble?

[CHUCKLING] oh.

The understudy. Yes, yes,
that was funny, wasn't it?

Yes.

Yes, that was funny.

What about him?

[SIGHS]

What about him?

Nothing.

Nothing, I suppose. That's right.

He was just the understudy.

He said if he wanted to, he could break us.

If he wanted to, he could break us.

That's right, he said if...

If he wanted to.

lf.

Why do you look at me like that?

oh, Karel, you do love me, don't you?

It wasn't altogether for nothing, was it?

What was for nothing?
- I killed him.

No.

No.

Tonight.

All the time, since you first asked me
about him, I've told you nothing but lies.

You mean...

...you and Hollenius?

one lie, one small lie at first,
to be explained next day I thought.

[SOBBING] And then it was nothing but lies.

You see, I thought you'd
leave me if you knew.

I thought you'd give up the concert.
I thought you'd have nothing.

But to kill him, how
could you? How could you?

I don't know.

I don't know.

I thought he meant to ruin us.

Today after the rehearsal...

...he threatened to tell you about us.

I was sure he meant to.

oh, I was wrong. I see that now.

He always told me...

...l'd be afraid of him and of
you until I told you the truth.

I went there tonight to beg
him not to tell you about us.

To threaten him that if he did, I'd...

He said he'd do as he pleased.

So I shot him.

[PEOPLE CHATTERING IN DISTANCE]

And then I thought...

...if I made it look as though
he'd done it himself, l...

...[SIGHS]

The concert's over. They're waiting for you.

Darling, I heard you play
tonight. That's all that matters.

That's what you've got to hold on to.

What I am or was doesn't
matter compared to that.

Let me go out of your life. Forget me.

No one saw you leave?

No.

So if you say nothing...

...if you let them think what they like...

...[EXHALES]

No, Karel.

How could we have a life together?

We could never look at one another again.

No.

[SNIFFLING]

I must go to the police.

I beg you, think it over till the
morning. Till we can talk to a lawyer.

It matters so much what you tell
them. These things have to be planned.

I've planned everything up to now.

[KNOCK ON DOOR]

MAN: Mr. Novak?
- See what it's brought us?

[KNOCKING CONTINUES]

They're getting impatient, Karel.

Remember the other dressing room?

Then I had just found you.

Now l...

You'll never lose me.

Strange...

...in all the weeks we've been
together, we've never been so close.

[LOUDER KNOCKING]

We must go, Karel.

Yes.

[TEARFULLY] Forgive me.

[INDISTINCT CHATTER]...

...[APPLAUSE]...

Magnificent.
- Wonderful.

Nice.
- Karel, you were wonderful.

What a splendid performance.

WOMAN: I haven't heard
anything as fine in years.

Good night, Mr. Swansen.

If you and Mrs. Novak are
not engaged for supper...

I'm afraid we can't. As a matter
of fact, we have to leave at once.

oh, that's too bad.
- I'm extremely sorry.

Well, I want to thank
you all for your kindness.

I really have to go.

Good night. CROWD: Good
night. Good night.

[CROWD CHATTERING]

It was wonderful, it
was absolutely wonderful.

I wouldn't have missed
it for a thousand dollars.

Thank you, Mr. Gribble.

oh, Christine, you must be the
happiest woman in the world.