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[PIANO NOTES]

[RINGS]

Hello. Thank you.

[**]

[ORCHESTRA PLAYING
OPERATIC MUSIC]

[AUDIENCE APPLAUDS]

The judges of the 23rd Annual
Midwestern Piano Competition

have asked me to reassert
that their task this year

has been particularly
difficult.

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

goes to Paul Dietrich
of Chicago, Illinois.

[APPLAUSE]

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

Now you gotta get ready
for San Francisco, right?

The Hillman Competition.

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

PAUL:
What is the point?

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

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

what am I wasting
my time for?

The Hillman is the Super Bowl,
right?

Yeah.

So, what is the point?

The point is that
Lowengarth told us

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

What was my age
when he told us that?

How many dollars ago
was that?

I don't advise you
about your playing,

don't advise me
about my finances.

Let him talk, Stan.

Where's the medal?

Can we emerge
from the shrine, please?

I would like to talk
to the both of you.

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

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

And this has got to stop.

Childhood
is at an end.

Therefore?

Therefore, I have made
a decision.

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

It happens to be in my field,
in music.

Now, it does involve certain
amount of substitute teaching.

Uh...

group piano classes,
music theory.

However,
it also allows me

to work with student orchestras
around the city,

developing new talent.

You know, the kind of thing
that my training

has equipped me to do
and that I enjoy.

Like your friend,
Gary.

Like my friend, Gary.

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

I have the job.

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

And I have
to be fingerprinted.

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

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

Oh, now we're into
astrology.

You.

You got this thing.

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

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

to know what he expects you
to do with a talent.

Who's he pointing at?

Have you finally
rented out my room?

[LAUGHS]

I'm sorry.

[PIANO BEING PLAYED]

GARY:
One beat, each note.

You can do it.

Keep going,
one, two, three, four.

One, two, three, four.

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

One, two, three.

One, two, three, four.

One note,
an octave higher.

C-C. D-D.
Keep on going.

One, two, three, four.

Keep going.

[**]

How long have you been
standing out there?

Has he gone to work?

Yes.

First of all,
I want you to know

that I really did
make this application.

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

Now...

I want you
to understand.

I will be back
before the personal interview.

So there will be an end
to this situation,

win, lose or draw.

Win, lose or draw,
what, Paul?

I have to take one last shot
at competing.

The Arabella Hillman
Competition in San Francisco.

No cattle call,
you submit a cassette.

And if they like it,

you're immediately
one of 12 semi-finalists.

Whittled down
to six finalists.

First prize: $20,000,

a Carnegie Hall recital and
two years of concert bookings.

Also a medal which will
turn your tits

a lovely shade of puce.

Am I ready for this?

I've been waiting
for you to tell me.

I don't think
you ever will.

You are ready and afraid.
Like any virgin.

Who's a virgin?

Sorry.

That used
to be a compliment.

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

Nope. I submitted
the cassette.

What cassette?

The one I recorded
and put your name on.

I played the "Kreisleriana."

It was poignant, searching,
surprisingly strong

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

Is that sort of thing done?

All the time.

Congratulations,
we made it.

[**]

STEWARDESS [OVER P.A.]:
Ladies and gentlemen,

we are beginning our final
descent into San Francisco.

Please extinguish
all smoking materials.

Replace tray tables,

and bring your seats
to an upright position.

Excuse me. Miss?

What?

Time to close the piano.
We're landing.

Oh, God,
how embarrassing.

Have I been doing that long?

Oh, it was fascinating.
Are you a musician?

Good question.

[**]

I need a single
for a week.

Yes, sir.

Your room service
goes 24 hours?

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

I knew that.

[SPEAKING FOREIGN DIALECT]

[SPEAKING FOREIGN DIALECT]

[SPEAKING FOREIGN DIALECT]

[PLAYING NOTES]

[KNOCK AT DOOR]

[SHUSHING]

[**]

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

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

I told them
I didn't stand a chance,

but they wouldn't
stay away.

I'm from New York,
direct from New York.

Like the Yankees.
How about you?

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

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

How you doing?
I'm Jerry DiSalvo.

You one
of the 12 apostles?

I'm here for a piano
competition.

That's what I meant.
Me too.

I'm scared out of my tiny mind,
how about you?

Hey, you know how I learned
to play piano?

This faggot
in the House of Corrections.

He heard me
fooling around one day,

so he made me
take lessons.

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

It looks like
I came a long way for nothing.

Tell me you're not
entered.

I'm entered.

Oh, you're so
bloody good!

And you also
do not remember me,

and I'm now feeling
very foolish.

The Tanglewood Festival,
two summers ago?

Uh-huh.
You were on a scholarship.

I was on
a parentship.

Heidi Schoonover.
Paul Dietrich.

I know your name.

Well, I knew yours.

You're entered?

Good for you.

You were going to compete
in Brussels.

I did.
And?

And I'm here.

It's crazy.
You're so gifted.

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

I hope--

What can you hope for
and be honest?

I hope we tie.

You coming in?

No, I have to make
a stop.

That is the one
they used to call Joanie.

[SIGHS]

You have no time
for her.

Anything that eats
into your concentration

even a little bit
is no good.

Used to call her
Joanie.

You have no time
for her.

Anything that eats
into your concentration

even a little bit
is no good.

Joanie.

You have no time for her.

Anything that eats
into your concentration

even a little bit
is no good.

[PLAYING]
[ELECTRICITY HUMS]

Shut up!

Sorry.

[PLAYING CLASSICAL PIANO]

Ah, Mr. Rudko,
I am truly appreciative.

They give you any shit?

What, a soupçon?

Oh, I'm sorry,
Mr. Rudko.

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

It's okay,
Mr. Humphries

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

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

Now you sure?

[PHONE RINGS]

Mr. Humphries' room.

One minute.
Don't get up!

[PIANO BEING PLAYED]

[SPEAKING FOREIGN DIALECT]

[SIGHS]

Tatjana.

HEIDI:
Good morning.

Hey!

I'm gonna try this
one more time.

We do know each other.

Not well,
but we played two-piano

at the Tanglewood Festival
for an hour.

You went to my recital
and I went to yours.

Now it occurs to me
I hadn't come to terms

with my first name.

I was going by my middle name,
Joan.

Everyone called me
Joanie,

which is what helped me come
to terms with Heidi.

Uh, let's see what else.

Oh, yeah, you played
the"Gaspard de la Nuit"

and Franco Maneri
said it was magical.

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

"this little snerd
had an itch for me

at the Tanglewood Festival
two years ago,"

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

who turned out to be gay,
big surprise.

As for you, I agreed
with Signor Maneri.

I also thought
it was too bad

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

Plus I also thought
you had an itch for me.

So when I say hello,

it comes with some expectation
of response

and a background
of familiarity.

[SCOFFS]

God, aren't you even
going to smile?

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

Oh, you wanna talk shop,
we'll talk shop,

but answer my question first.

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

Did you?

Did I what?

God, forget it.
Have a wonderful day.

Did you have
an itch for me?

Nope.

It was Marshall Goldman
right from the start.

Not a chance.
I think you did

and I think you possibly
still do.

[LAUGHING]
You see?

You do answer
your own questions.

What do you need me for?

I don't.

God, what the hell's
happened to you?

[CLASSICAL PIANO
BEING PLAYED]

Come on, Mitzi,
get it over with.

They've all seen the dress.

MAN:
Thank you.

Thank you.

That's good.

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

Yes.
A pleasure.

Thank you.

They're ready.

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

our principle conductor,

Mr. Andrew Erskine.

[APPLAUSE]

Ladies and gentlemen, we will
announce the six finalists

as per tradition,
alphabetically,

place of origin first.

And please withhold
your applause

until I've announced
all six.

Contestants,
when I call your name,

please join me
here on the stage.

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

From Semipalatinsk,
Kazakhstan,

Autonomous Socialist Republican
U.S.S.R,

Tatjana Baronova.

From Chicago, Illinois,
Paul Dietrich.

From The Bronx, New York...

[STIFLED CHEERING]
MAN: I knew you could do it!

...Gerolamo DiSalvo.

MAN:
Yeah! All right, Jerry!

Born in Wilmington,
Delaware,

currently residing
in Venice, Italy,

Michael Humphries.

From Montreal, Province
of Quebec, Canada, Mark Landau.

And finally, from Newton
Highlands, Massachusetts,

Heidi Joan Schoonover.

Ladies and gentlemen,
the finalists.

All right, Jerry!
Yeah!

Way to go! Whoo!

MAN:
All right, Jerry! Whoo!

All right, Jerry!

[**]

ANDREW:
As we begin this business,

I'd like to make
a small apology.

This method of selecting
the order

in which you play
in the finals

is one that was begun
by my predecessor.

It's highly inconvenient
for the orchestra,

but the Philharmonic Association
believes in magic,

and I cannot persuade them
to abandon the ritual.

Now my plan is
to get through rehearsals

of all six concerti
in one day,

that day being tomorrow
commencing at 9:00.

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

This will only be for cueing
and for emphasis.

So I want all of you
in here.

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

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

what concerto
you'll be playing.

Congratulations
once again.

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

The first conductor goes--
Who got number one? Excuse me.

What concerto
are you playing?

Liszt,E-flat.

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

"Saint-Saëns."

The Brahms'"First."

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

I'll settle for it.

Well, the Mozart D-major.
Or the Prokofiev"Third."

I'm still juggling.

I'm number six.

And I am also planning
the"Saint-Saëns."

MICHAEL:
Whoops.

PAUL:
It's a good showcase.

Especially if you're
playing last.

Yeah, position in life
is everything.

Almost everything.

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

I-- I'd just as soon
play the first night

and get it over with.

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

why don't we swap numbers?

Then you can have the
"Saint-Saëns"all to yourself.

Yeah, okay.

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

I'm gonna try
the"Emperor"again.

Again?

Tatjana would like to give
her love and best wishes

for success
to all of you.

And ours to her,
Madame.

Picked out a piano yet?

They only got four
to choose from.

I've got to decide
on the concerto first.

Hey, see this?

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

Why'd you stop
at the reform school, huh?

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

I didn't say nothing about
reform school.

He drew his own
conclusions.

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

You liar!

Well, how does it make
the rest of us look?

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

A way of picking me
out of the crowd.

You don't know anything
about publicity.

That's no lie.

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

A hook? A handle?

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

No. We all play
like angels.

But the little Russian kid's
got big baby browns

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

And when we got
interviewed,

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

GIRL:
You got no shame, you know that?

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

JERRY:
Nice face.

"It was like Beethoven
was showing me

a way out of the ghetto."

[SNICKERS]

Wait! Wait till your
Uncle Frank finds out

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

Would you guys
be quiet?

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

Hey, you.
Hey, keep that door open!

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

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

Lookit, I got an article.
Nobody else did.

Hey, what does
"checkered past" mean?

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

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

Hmm?

You did lie.

You go to confession
this afternoon,

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

I will.
I was going to.

Yeah, I was going
with him, Ma.

No wonder that sweet
young woman

don't want nothing
to do with you.

She's frigid.

[SNICKERS]

[**]

[BELL CLANGING]

[TROLLEY RUMBLING]

When did you find out?

Almost immediately.

Oh!

I asked Josephine Rinaldi
to go to the semifinals,

and she called me the minute
your name was announced.

I thought you might
like to see a friendly face.

Now let's get you packed.

Where are we going?
Josephine has a huge studio.

Two pianos and five beds.

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

Anyway, it's our
for the duration.

When do you have your first
rehearsal with the maestro?

Tomorrow afternoon.

What do you
think of him?

Very formidable.

Nothing at all like
he is on television.

He's a shit.

Maybe that was the word
I was searching for.

Aren't you glad
I'm here?

Yes, ma'am.

Three ninety.

There are you. Thank you.
Thank you.

Oh, she brought everything
from New York.

This is a temple, Heidi.

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

She told me the way you played
the "Waldstein"

made her forget
her sciatica.

She said that?

Ludwig von Beethoven
taught Carl Czerny...

who taught...

Leschetizky,

who taught Schnabel,

who taught Rinaldi,

who taught me.

And now the sixth pianist
in a direct line from Beethoven

in standing here
staring at me

in her Jordon Marsh
mix and match.

You shouldn't smoke.

If we lived
in a world of sanity,

no one would even expect you
to start concertizing

until you were
in your late 20s,

so you could keep studying
and enlarging the repertoire,

and deepening
as a person,

and growing up
to be a national treasure.

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

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

They must waste 500
good pianists a year that way.

We will try to see
this not happen to you.

[CLASSICAL PIANO BEING PLAYED]

The action's wonderful,

but all these middle-register
keys needs voicing.

The pianos will be tuned
by curtain time Saturday night.

But not voiced?

No, Miss Schoonover.

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

They will be out of tune
by intermission anyway.

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

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

Do not let me rush you.

I'm not letting you
do anything.

Just sign here, please.

[PLAYING]

Is it absolutely necessary
for you to stand over me

while I'm making
this selection?

I'll be more than happy
to wait outside.

Thank you.

All you had to do was ask...

politely.

[PIANO BEING PLAYED]

[STOPS PLAYING]
Sorry. I'm leaving.

It's okay. It's okay.

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

Oh, yeah.

Your parents
having a good time?

I suppose.

It's nice
that they could come.

My mother's
threatened to,

but I'll believe it
when I see it.

Why is it nice?

Support.

My teacher's here.

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

It's a wonderful
old house

that sort of scowls down
on the rest of Vallejo Street.

How did she manage that?

She was her star pupil.
Greta Vandemann.

Are you studying
with Greta Vandemann?

I was when we first met too.
Remember?

[LAUGHS]

HEIDI:
Never mind.

May I ask you something?
Sure.

Were you really planning
to play the "Saint-Saëns,"

or were you just trying
to frighten poor Jerry

into trading spots with you?

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

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

He has a sensational body.

And no receding
hairline?

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

Paul, outside of nerves

is there anything
terribly wrong with you?

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

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

There is nothing
terribly wrong.

It's just that you
have to have blinders on

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

Why would you want
to cry?

Mr. Dietrich,
have you decided?

Sign here, please.

Off to practice?

Where else?

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

He plays piano like one
anyway.

[PLAYING]

All right, there doesn't seem
to be anything tricky

until about bar 310.

Let's take it
from three bars before--

Excuse me.
Could-- I'm sorry.

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

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

I understand,
but it seems to me

that when the strings
were answering me,

that you were
slowing down there.

Are you indicating
a sostenuto there?

* Da-da-dum, da-da-dum
Da-da-dum *

That's what I thought.

And what else do you think,
Mr. Dietrich?

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

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

I mean, was he an old friend
of the family?

[ORCHESTRA LAUGHING]

Maybe he told you something

about his tempi
that we all don't know.

But I see no metronome
marking here.

What I do see is allegro
ma non frigging troppo.

[ALL LAUGH]

Which, when I went
to school,

meant lively,
but not too lively.

The meaning hasn't changed,

but when I went to school
allegro was a relative term.

Brownell, how many times
have I conducted this concerto?

BROWNELL:
More than 200.

And how many times
have you played it?

Six.

And I have misread it too,

just the way you did
over 200 times.

The only difference being
that I began to get a hint

that something was wrong,

and I kept studying and kept
working and kept listening.

And kept open to it.

You've played it
six times.

How often
have you conducted it?

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

Well, let's complete
your education.

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

I have conducted,
Mr. Erskine.

Well, then, come on.

Prove your point.

We're all waiting.

[SIGHS]

Uh, now here's
what I feel.

I am just looking for a kind
of a rhythmic precision

to set up
what is coming.

Seconds and violas,

if you could just ligeiro.

Um, we needn't work
so hard.

Uh, the wrist
rather than the elbow.

From bar 275
and following,

I would appreciate it

if we could all exaggerate
the sforzando.

It seems to me
that Beethoven

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

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

[ORCHESTRA PLAYING]

That's nice.

That's it.

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

Uh, 10 minutes,
everybody.

We'll pick it up
from bar 307.

[SIGHS]

Thank you very much,
ladies and gentlemen.

[RAPID TAPPING]

[APPLAUDING]

[ENGINE STARTS]

[**]

Stop.

[SPEAKING FOREIGN DIALECT]

[TIRES SCREECH]

[SHOUTING IN FOREIGN DIALECT]

[ARGUING IN FOREIGN DIALECT]

Excuse me, gentlemen.

I'm going to give her
an injection.

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

I understand.

[SPEAKING FOREIGN DIALECT]

[TATJANA SOBBING]

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

This is the Soviet Consulate.

[SPEAKING FOREIGN DIALECT]

Hello?

Yes, it is definitely
an emergency.

[PLAYING]

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

It's important.

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

Yes?
Mr. Erskine,

my name's Hank Brudenell.

I'm with
the State Department.

Could I speak to you
for a moment?

I apologize for interrupting
your rehearsal,

but we seem to have run
into something rather delicate.

One of your finalists,
a young Russian girl.

Tatjana Baronova. Yes?
Yes.

Well,

what exactly
are you saying?

That the postponement
is indefinite?

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

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

My God!
You've already agreed?

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

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

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

But it's some kind
of nervous affliction.

It couldn't be much worse
than ours.

Now, you key yourself up
to give one concerto

on a given evening,

with some small significance
as to the outcome.

Now, Mr. Dietrich,
I am familiar

with the difficulties.

I was a pianist myself.

[SCOFFS]

By way of compensation,
we will, of course,

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

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

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

And the extra time to get ready.
There is that.

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

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

[DOOR OPENS]

[DOOR CLOSES]

Well, enjoy the day,

those who have
the capacity to do so.

Send up a flare
when you win.

All of this

and you don't even get a chance
to see the finals.

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

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

It's time, milady.

What are you going to do?

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

About the job, Paul.

I'll try and stall them,
I suppose.

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

Winning a competition
that may never take place.

Or withdrawing right now,
getting yourself home

nailing down a job
for this year.

There are other years

that will all belong
to somebody else.

I am five months
away from the cutoff age.

This is the last year
that could belong to me.

That makes two of you.

I have asked you repeatedly
to tell me

if anything
was the matter.

And I have repeatedly
said no.

Just the way
you hoped I would.

Okay.

Go on.

He wasn't supposed
to make the trip.

And he is not supposed
to go back to work.

Do you want it
any simpler than that?

What do you mean,
exactly?

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

And when I say soon...

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

Kiss your mother goodbye,
will you?

[**]

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

[PLAYING]

Tenuto, all those B's
should be.

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

Now, more.
More crescendo.

This is the first major climax
in this variation.

Rubato, let it breathe.

I know.
I know you know.

I know you know
I know.

All right,
put it aside.

Work on the Mozart
for a half an hour

and then we'll get
some sleep.

Why do we keep working
on the Prokofiev?

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

The orchestra's
up on it too.

They played it
with Ashkenazy two weeks ago.

And you should always have
more than one concerto ready.

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

what can you play
on 24 hours notice

if Serkin or Gilels
cancels?

"The Serkin-Gilels
24 Hour Cancellation Blues."

Are you getting
your period?

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

Uh-huh.

Greta.
What?

Why are you always
in such command?

Mainly because...

[KNOCK AT DOOR]

Uh, is Jo--
Is Heidi at home?

HEIDI:
Don't take the chain off.

Yes?

[SIGHS]

Can we talk?

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

I was very rude.

Try again.

I'm sorry.

If you make it easier for me
this time,

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

Greta Vandemann,
Paul Dietrich.

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

Uh-huh.

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

Anything you'd like.

Anything I'd like?

Why?

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

Okay, on one condition.

You come by car?

Yes.

I want
a driving lesson.

I'm sick of not knowing
how to drive.

I've never had time
to learn.

We're postponed
at least a week.

I want a driving lesson.

It's been raining.

People don't drive
in the rain?

Okay. Sure.
You got it.

I have a spare key.

I'll be okay.

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

[DOOR CLOSES]

[**]

Oh, shit.

HEIDI:
It feels so strange.

PAUL:
You ride? No doubt you ride.

HEIDI:
I've ridden.

PAUL:
And the instructor told you

to think of the horse
as your legs.

Well, think of the car
as your horse.

My instep is beginning
to seize up.

It's perfectly normal tension.
Just relax.

You're doing fine.

Should I try a turn?

Sure. Why not?

HEIDI:
Oh, my God!

What do I do?

You do--
Just keep a light--

Keep a light touch
on the thing. Light touch.

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

You see? Keep it steady.
Just relax.

You're doing all right.

It's gonna level off
at the bottom.

It looks a lot worse
than it is.

Steady on the brake.

Now make a right turn.

Okay?

Can you feel the way
I'm shaking?

That's perfectly
natural.

[SIGHS]

Jeez!

What?

How can you be so gentle
and soothing

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

when you're rehearsing
a concerto?

It's the same guy.

Oh, that's pompous.

What do you mean
no doubt you ride?

Well, you have
that aspect.

You have
a rich girl's neck.

And don't ask me
to explain that.

I know what I mean.

Are you okay?
Oh, yeah.

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

Okay, that's enough
for one lesson.

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

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

There we go.
Now, put it in park.

Pull up the brake.

[IGNITION SHUTS OFF]

Well, you want to go someplace
and talk?

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

I just wanted
to be with somebody.

Somebody.

I heard some very bad news
tonight.

And the first person...

The only person
I thought of was you.

I wanted to be with you.

Oh.

I know it's kind of
an imposition.

Will you shut
up before you spoil it?

Let's walk.

[**]

Thank you.

HEIDI:
I wonder what time it is.

You wanna go home?

No, I was just
wondering.

[DISCO MUSIC PLAYING]

Let's leave.

Let's dance.

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

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

How did we get
into this century?

What?

What have we been doing
with our lives?

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

Mm-hmm.

Is it nice?

[**]

I want to be here
with you.

I want to be as close
as we can get.

But I don't think
we should make love.

Does that infuriate you?

It comes as a great relief.

[SOBBING]

Oh, my God. What?

[SNIFFLING]

[SIGHS]

I'm getting you all wet.

Teardrops on my boobs.
Great country/Western standard.

Do you feel like
talking yet?

I don't know.

Less of a difference between
the reward and the punishment.

I stood there
and I looked at Gary.

Nineteen years
knocking at the same door,

and he ends up explaining
octaves to a bunch of kids

who don't really want
to be there.

I started on the cello.
I had a real feeling for it too.

My brother was supposed
to be the pianist.

What went wrong?

It tickled.

What?

I said it tickled.

Not my legs, either.
My nose.

And he apologized
to the audience.

And he said...

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

And I thought,
hard enough trip?

I was 22 years old,

I didn't know what the hell
he was talking about.

You have no business
feeling guilty. Okay, true.

There's absolutely no fallback
position for a pianist.

Nothing that's
fulfilling.

So go for it.

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

What are parents for
if not that?

What are you
thinking?

Hello?

[**]

[INTENSE CLASSICAL MUSIC
PLAYING]

This music takes a bit
of getting used to.

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

More modal than serial.

I'm beginning
to hear it.

[DOORBELL RINGS]

Just relax.

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

[LAUGHS]
What's on your mind?

Tatjana is not making
a great deal of progress.

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

One week from today

I must begin rehearsals
in Salzburg for "Magic Flute."

Bensies arrives here Monday
to guest conduct my orchestra

and five concerts.
[DOOR CLOSES]

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

that we must begin the finals
this coming Friday.

Yes, they
understand that.

We've had a small
breakthrough.

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

Oh, it was no major effort
to find out.

Well, it's kind of sad.

She didn't wanna
leave the kid that way,

but it was her only chance,

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

She feels very bad
about it.

And so?

She's willing not to seek
asylum officially

or make any public
statement whatsoever.

If what?

MAN:
Well, if someone she trusts

can arrange a meeting
for her with the little girl.

So she can explain.

This may not work.
Do they know that?

They'll take
what they can get.

The main this is
there's no Bolshaya scandal.

[NO AUDIO]

[LAUGHS]

Do you feel like
Scattergood Baines?

Sure, why not?
A little effort.

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

[PLAYING CLASSICAL COMPOSITION]

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

What?
Sure.

See? You don't know
everything.

It happens to be one
of the most famous

four-hand passages
in 18th century music.

Pick it up right here.

[RESUMES PLAYING]

[PLAYING "HEART AND SOUL"]

[LAUGHS]

Take it.

[LAUGHING]

["HEART AND SOUL" PLAYING
CONTINUOUS]

Hi. Can you stand it?

Do I have any choice?

Where you have been?

Snooping around
at Symphony Hall.

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

and old-fashioned
together.

You're right.
As much as I hate

to leave this gorgeous
instrument.

Well, thank you
very much.

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

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

two separate concerti
at once, Heidi-ho.

Have you heard anything more
about the finals?

No. They start
tomorrow night.

With or without
the Russian kid?

With or without.

Twenty-seven hours
from now.

There's a press reception
scheduled at the Hilton

at 8:30 tonight.

The Symphony Association
is trying to atone.

So get your story
straight.

Everybody knows
my story.

Then change it.

Will you pick me up?

Yeah.

You okay?
Don't I look it?

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

Look, it was a turkey job.

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

Mustn't let it eat
into my concentration.

Exactly.
God, you're so smart.

Plan to miss me?

Well, that would likewise
eat into my concentration.

[LAUGHS]

Don't look at me
that way.

I do plan to miss you.

I just can't do that
until I go.

[SIGHS]

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

Heidi-ho.

Do you know
what a step it is

for him to even make
a dumb joke like that?

My little
wonder worker.

Why were you playing

what you were playing
when I came in?

To cheer him up.

Have you ever heard
of competitive edge,

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

This is not an ashram,
sweety-face.

This is a battleground.

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

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

What's wrong with that punk
from The Bronx?

He's got a super body

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

Jerry? He'd be okay. Why?

Because all you can tolerate
right now is an implement.

A human vibrator.

That doesn't count
as infidelity.

I'm lost.

Infidelity to that!

That is your first
husband.

That-- You marry it,
the way a nun marries Jesus.

You cleave to it,

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

that very few men
can possibly give you,

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

Do you know,
do you have any idea

what a drain
that can be?

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

You're wrong for once.

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

He's feeling
a lot of pressure--

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

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

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

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

There will always come along
a man

who is what Eleanor Roosevelt
used to refer to

as less fortunate
than ourselves.

No.

Everybody's got a story.

We are not going
to hear mine.

PAUL:
Gary? It's Paul.

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

The finals have been
put off for a few days.

That's why I'm calling.

I'd like you
to do me a favor.

No, I'd like you
to tell them

that I'm withdrawing
my job application.

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

if I hedge my bet,
you know?

It just struck me,

if you have something
to fall back on

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

You wanna know
the truth?

I feel like I just lost
100 pounds.

[LAUGHS]

Yeah.

[BAND PLAYING JAZZ MUSIC]

[INDISTINCT CHATTERING]

Well, well, well,
the circle is complete.

Not quite.

Yeah, I guess our little comrade
is exed out.

I wonder
what the matter is.

Well, there are rumors,
you know.

Such as?

Ah, to hell with it.
Now listen up, everybody.

Undoubtedly, the organization
is going to throw

some sort of festive
celebration

after all this is over,
all right?

And undoubtedly,
it's gonna be quite boring.

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

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

[DRUMROLL]

[INDISTINCT CHATTERING]

[BAND PLAYING UPBEAT,
MAJESTIC MUSIC]

[CAMERA SHUTTERS CLICKING]

[CAMERAMEN CHATTERING
INDISTINCTLY]

MAN 1:
Over here, please.

MAN 2:
This way.

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

Let's get some air.

[TIRES SCREECH]

[HORN HONKS]

Well, so much
for the Hillman.

I'm glad there was
nothing riding on it.

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

Paul, would you please
slow down?

You're gonna
leave it here?

That's highly perceptive
of you.

Listen, I am serious.
What is wrong?

I mean,
did I say something?

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

Heidi, do you know
what's happened?

It's over.

Back up the truck.

If there was ever a fair shake
at this competition,

it has been
blown away now.

We have been manipulated
into some supporting cast

for this neurotic
little kid.

[SCOFFS]

She's under
a terrible strain.

How terrible can it be

if she's performing
tomorrow night?

You don't feel anything
for her?

Oh, I feel something for her,
all right.

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

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

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

Some kind of experience.
Notes for a journal?

[MEN SPEAKING FRENCH]

I mean it.
What is the point of competition

unless you are somewhat
interested in the outcome?

I'm interested,
but to make yourself

hate some poor,
sweet kid--

Some poor sweet kid
is standing on my neck!

[MEN CHATTERING LOUDLY]
And shut up!

Oh, super.
Goddamn clowns!

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

Your hands! Are you crazy?

[SPEAKING FRENCH]

Oh, shit!

[BOTH SPEAKING FRENCH]

Paul!
I'm angry.

You've seen it before.
Exactly!

Angry enough
to get me raped!

Remember?
You had a girl with you

when you got out
of the car.

You're talking yourself
into this.

Nothing can mean
that much.

Right now,
nothing else means anything.

And if you don't feel
the same way,

why are you
taking up space?

Am I standing
on your neck too?

What I really think...

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

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

but that is something
for a shrink

to be concerned about.

I just don't have the time.

No, you haven't.

[**]

Okay.

In the long run,

what does this damned,

misbegotten competition
have to do with you and me?

What do you mean
you and me?

What has you and me
have to do with anything?

I seemed to have
walked off my appetite.

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

Taxi!

Fine.

[UP-TEMPO CLASSICAL PIANO
BEING PLAYED]

[APPLAUSE]

[ORCHESTRA WARMING UP]

[AUDIENCE APPLAUDS]

[APPLAUSE]

[INHALING DEEPLY]

[ORCHESTRA PLAYS]

[PLAYING PIANO SCALE]

[MELLOW CLASSICAL PIANO
MUSIC PLAYING]

[SONG ENDS]

[APPLAUSE]

[INDISTINCT CHATTERING]

Excuse me.

Hot stuff.

Here we go.

You actually let me
buy you a drink.

He was something,
wasn't he?

You mustn't let that
worry you.

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

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

Lookit, I know
I'm not fooling anybody.

I can play one stinking concerto
at this point.

And if you want
to know the truth,

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

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

Not even "Saint-Saëns"
could do that.

Then why are you here?

Because from here,

I can maybe get
where I want to go.

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

And this is our time.

De Niro. Pacino. Travolta.

DiSalvo.
Yeah.

But DiSalvo
can play the piano.

Do you know who outdraws
Frank Sinatra

every time
he plays Las Vegas?

I'll tell you who outdraws
Frank Sinatra

every time he plays
Las Vegas.

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

So, what are you
laughing at?

I shouldn't laugh?
Yeah, go ahead.

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

What am I with you,
a matter of pride?

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

What can I tell you?

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

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

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

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

I do.

[CHIME SOUNDS]

Well, here we go again,
back in the U.S.S.R.

[CLASSICAL PIANO
BEING PLAYED]

[ORCHESTRA PLAYING]

[**]

You want to pull out,
don't you?

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

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

You get not a curse
or a blessing from me.

I am the teacher.

It means so damn much
to him.

What does it mean to me?

GRETA:
Don't ask the teacher.

Oh, yes,
there will be next year.

And next year
there will be another one

who's older, desperate,

more deserving.

Always.

Until it's your turn
to be those things.

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

Of course he will.

Because life is always
so equitable.

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

Something's missing.

And it was not
stepping aside.

I don't have a chance.
You heard him play.

Don't ask the teacher.

And don't lie to her,
either.

[**]

Good morning.

So it is.
She's not here.

Do you expect her back?

She was gone
before I woke up.

You did yourself proud.
Thank you very much.

I don't mean
last night, sonny.

Oh, yes,
you were splendid.

I don't know where Lowengarth
keeps finding them.

Hold it. You don't mean
last night?

I mean you did
a masterful job

of eliminating the only serious
competition you have.

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

if that's what you came
to check on.

If she told you anything
about me at all,

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

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

It must be a terrific
responsibility,

knowing everything.

And it always ends
the same way.

He feels misunderstood.

[BAND PLAYING MEDIEVAL MUSIC]

Why the hell
aren't you practicing?

Answer me.

Answer you?
I don't even know you.

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

Making some grand gesture?

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

So don't do me
any favors.

Is that clear?
It's clear.

I won't do you
any favors.

Okay.

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

You know, you bring out
the worst in me.

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

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

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

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

I don't want to wait
about anything.

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

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

And that was fine
until I ran into you.

And kept running in you.

And then
things began to happen.

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

I mean, let's face it,

nobody looks that good
in direct sunlight.

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

But you stood there
reading me off,

and I could see the blotches
on your skin

and the discoloration
under your eyes

and tiny hairs on your arm.
Hey!

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

I couldn't make a fist.

I wanted
to climb inside you

and pull you around me
like a blanket.

And now I know that
that is more important

than this damn, misbegotten
competition. Let me finish.

Okay.

So, what I really feel
about you and me

is that we are
a corporation.

Now, if you win, great.

If I win, better.

[BOTH LAUGH]

If neither of us wins,
then the hell with it,

but the corporation
goes on.

I wish to hell that
I answered you like this

the night before, but I just
wasn't seeing straight.

So I lied.

I'll never lie to you again.

And if you think
that that was easy...

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

Now what?

Now I drive you back
so you can practice.

Wait a second.

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

there'll be
a week and a half

before the Carnegie Hall
recital, right?

What if we were to take part
of that time and just disappear

and get to know
each other?

I mean, we can go anywhere.
I have some friends on the Cape.

We can stay there. If they're
there, we'll throw them out.

Or stay someplace
real tacky. Las Vegas.

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

It doesn't matter.
[LAUGHS]

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

To hell with
everything else.

You're right.
We'll do it.

I love you.

So you said.

I love you too.

It's a standoff.

Come on.

[CLASSICAL PIANO
BEING PLAYED]

[SONG ENDS]

[APPLAUSE]

Where are you
going to be?

Where do you
want me?

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

You've been
to the john?

Yes, sir.

Well, up we go.

[AUDIENCE APPLAUDS]

[MOUTHING]
I love you.

[ORCHESTRA PLAYING]

[PLAYING PIANO]

[METALLIC CLINKING]

[METALLIC CLINKING
CONTINUOUS]

I'll get a technician.

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

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

The whole middle register
on this one is uneven

and you know it.

I need some time
to think.

[AUDIENCE MURMURING
INDISTINCTLY]

I'll be back.

Now calm down.
This sort of thing happens.

This one didn't have to.

Now cut the crap and get her
another piano. The one I used.

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

It doesn't have
as light an action.

I don't need
as light an action.

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

I'm going to play
the Prokofiev "Third."

That is the silliest proposal
I ever heard.

Why?

Oh, Greta, darling,
how are you?

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

Look, I am not
running a course

in music appreciation
for beginners, am I?

The Prokofiev requires

almost a totally different
orchestral set.

Different instruments.
I know what it requires:

more brass, more strings
and more percussion.

Including castanets.

You have everybody you need
downstairs smoking,

waiting to play
the "Saint-Saëns."

The scores are locked up
in the library.

You should be up on it.

You played it with Ashkenazy
two weeks ago.

Well, maybe I am not
in the mood

to conduct
the Prokofiev "Third."

Andrew...

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

but you would definitely
be worth the expense.

[LAUGHS]

The Prokofiev.

[ORCHESTRA PLAYING]

[PLAYING]

[**]

[SONG ENDS]

[AUDIENCE APPLAUDS]

[NO AUDIO]

[PLAYING]

Yeah, Jerry!

[SQUEALS]

All right, Jerry!

[PIANO BEING PLAYED]

MAN:
You've all waited long enough,

so I'm going to dispense
with the speech.

You know, each of you,

how promising and talented
you are.

Third prize,

a bronze medal
and a check for $2500, to...

Michael Humphries.

[APPLAUSE]

Second prize,

a silver medal
and a check for $5000, to...

Paul Dietrich.

[AUDIENCE APPLAUDS]

[NO AUDIO]

Ladies and gentlemen,

the first prize
of this year's

Arabella Gretsch Hillman
Memorial Competition,

consisting of a check
for $20,000

and two years of concertizing
in 50 centers of culture

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

Heidi Joan Schoonover.

[AUDIENCE APPLAUDS]

[NO AUDIO]

[INDISTINCT CHATTERING]

WOMAN:
May we have a picture, please?

Boy, I couldn't stand not being
alone with you just now.

God, I'm glad
it's over.

I hadn't realized
how tense I was.

Also, they're crazy.

You played rings around
all of us, but what else is new?

At least the fix
wasn't in.

The Corporation
took the gold and silver,

Michael got the bronze.

Boy, I bet the Russians wish
the cello didn't tickle my nose.

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

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

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

but I don't know if either
of those places appeals to you.

Truly, I don't know
what appeals to you

and I'm dying
to find out.

The main thing is we should
blow the 20 grand

while we got the time and not
do anything super...pra...

[ELECTRICITY HUMS]

My God, I said
they were crazy.

They're not crazy.
You played brilliantly.

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

Well, so are you.
The Corporation, yes?

One of the things

that makes a world-class
pianist in this world

is a launching
like yours.

And yours. You got
the silver medal.

[LAUGHS]

I'm being stupid.

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

and here I am expecting you
to be nothing but happy for me,

and that's idiotic.

I'm happy for you,
Heidi.

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

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

and back
to the Corporation.

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

Or was it only because you were
expecting to win?

You said you'd never
lie to me again.

I'm not lying
to you, Heidi.

Paul, please.

Please what?

Be with me.

How?

Suppose the positions
were reversed.

Would you or would you not
say to me,

Heidi,
the money is there,

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

and agents who will
hear you play,

and a future
for both of us?

Would you or would you not?
I might.

Paul, what's the bloody
difference?

Paul, you knew
that I could play.

No, I didn't.

Not like that.

It never crossed my mind that
you could be better than me.

Okay, I still say
they were crazy,

but if what I did seemed better
than what you did,

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

Last night when you played,
you were alone.

Isn't that even more
of a reason?

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

It could poison
everything.

It would seep
into my playing...

and bed...

and everywhere else.

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

Paul, I am in need
of a strong man,

now more than ever.

Which is exactly
what I'm trying to be.

Trying to be?

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

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

You felt something.

Okay, so you fought it,

but when you let it
take you over,

you brought everything you had
in the open.

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

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

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

and you're strong enough
for this.

This is silly.
This is your night.

It's our night.

No! There are some things
that aren't meant to be shared.

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

Now you get yourself
together.

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

And you?

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

[SIGHS]

You won't be there, you bastard.
You're going to run out on me.

Oh, Paul.

It would have been
a hell lot of easier

if the cello
hadn't tickled your nose.

[SOBBING]
Oh, Paul.

I have to call them
before they go to sleep.

[CRIES]

[SNIFFLES]

[BAND PLAYING JAZZY MUSIC]

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

I got a dance floor,

nobody's dancing.

Every good party
needs time to warm up,

and the right
ingredients.

Speaking of which, where is our
guest of honor? Do you see her?

No doubt she is celebrating
elsewhere.

Hmm. Well, you will stay
after the others have departed?

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

Don't call me
honey child.

Ah, there she is.

Where have you been?

Ladies and gentlemen,
number one.

[GUESTS APPLAUD]

Come on,
get a drink.

Yeah. It was fair.

It was as fair
as these things ever are.

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

[DISCO MUSIC PLAYING]

It's aleatoric
rather than modal.

But I'll play it
for you tonight.

Would you care
to dance?

Now listen here,
little one,

it took nature
about a million years

to develop
Grant's gazelle.

You've got about a century
to wait

before evolution produces
the man you have in mind.

So in the meantime,
get out there

and dance
with what there is.

[**]

[RANDY CRAWFORD'S
"PEOPLE ALONE" PLAYING]

* Take me along

* I don't care
where you have gone *

* And I don't
Have to know *

* Exactly where
You're going *

* If you leave me behind

* Then everything
On your mind *

* Will turn to pictures
Of the world *

* We might have been

* People alone
May go very fast *

* But maybe not so far

* Playing along
Is still solitaire *

* Remember

* People alone
May reach for a love *

* But only half as well

* People alone may seem
Satisfied *

* How can they tell?

* If we are crossing
The line *

* Where there's no yours
And no mine *

* We'll find it
Easy to see *

* People should be
Together *

* People alone
Can go very fast *

* But maybe not so far

* Playing along
Is still solitaire *

* Remember

* People alone
Can reach for a love *

* But only half as well

* People alone
May seem satisfied *

* How can they tell?

* Take me along

* Let's not be
People alone *

* I'm on your mind

* So please don't
Leave me behind *

* Crossing the line

* Where there's no
Yours and no mine *

* Please take me along

* Let's not be
People alone *

* I'm on your mind

* Please don't
Leave me behind *