I've Always Loved You (1946)

[bunniefuu]

We've come for the audition.
The Blythe scholarship.

In the music room.

We've come to play for the maestro,
for Goronoff.

- I'm Professor Telsman...
- In the music room.

Ladies and gentlemen.

Professor Leopold Goronoff.

That's charming of you, Maestro.

I am thirsty.
Do you have something to drink?

Of course. Wine for the maestro.

- Have you no whiskey?
- Of course!

Whiskey.

The pick of the talent of Philadelphia.

I might say of the entire State
of Pennsylvania.

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

...four glorious years of music
at my expense.

Oh, Maestro, that young man there,
pure genius. He has the gift.

You, no nonsense, play Bach.

I am more in tune with Debussy.

Bach.

You next.

Stop fidgeting.

- What shall I play, Maestro?
- Anything you please.

But not much of it.

Maestro, this is my niece.

Claire, darling.

Prelude in C-sharp minor
by Rachmaninoff.

Play, darling, play.

Friedrich Hassman, my dear old friend.
Where have you been?

- What are you doing here?
- I teach here.

- You teach.
- Yes.

I heard you first in Vienna.
I was eight, maybe nine.

Oh, there was music in your hands.
Beethoven played by a master.

I listened to your notes.
Watched those wonderful hands.

Then you... you went away to America.

To meet the woman who became
my wife.

Oh, the woman who ruined you
as a musician.

Well, it was simply because I spent
so many hours at the piano.

Why, how better to spend them?

Well, a man owes something
to the woman he marries.

Oh, the devil take the woman
who would marry a musician.

These hands, these wonderful hands...

...that were hooked to a plough, grubbing
in the earth to raise potatoes.

Have no doubt, my friend, I will tell
this woman what she has done.

- She has absolutely...
- She has been dead for ten years, Maestro.

Oh... forgive me, old friend.
You know I do not mean a thing I say.

Let's say I forgive you anyway.

But what are you doing in this place?

- I'm here with my proteg?e.
- Oh, you too.

But if you'd rather not listen,
we can go away.

Oh, no, no, no, no, I'll listen to him.
Bring him out, where is he?

He is a she.

Hm... beautiful, perhaps, hm?

Myra.

No.

Myra.

I like your name.

I like your eyes.

Yes, you will play for me.

An ?tude, perhaps. Or a...
or a fugue.

That will show the fine training
of your teacher.

Please, please.
Yes, that would be it.

A fugue.

No?

Bravo, bravo. She tells Goronoff
to go to the devil.

Because you're a friend of the professor's,
because it's his favorite,

I'll play the Appassionata,
by Beethoven.

I dare you.

It goes on and on and on.

But how about the presto?

Wonderful.

Wonderful.

You have a great talent.

She's my daughter.

My fingers... I cannot play.

Well, my baby, I have taken you
in music as far as I can go.

Goronoff. If only that were possible.

Why Goronoff when I have you?

Besides, I may win the scholarship.

Scholar... scholarship? But you don't
understand, Myra.

Goronoff, the Goronoff! He says that
you have great talent.

Oh, he was being kind for
your sake, Papa.

Not about talent, my child.

About women, and wine, and politics,
about anything...

...Goronoff may agree with a friend.

But not about music.

I think he's rude.

Well, Goronoff is Goronoff.

And Goronoff is rude.

Maybe.

Maybe he is rude.

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

I ring the bell, I knock upon the door,

I scream at the top of my lungs.

I starve slowly while this young lady
debates my manners.

- Oh, no, Mr...
- Oh, yes, oh, yes!

You said I was rude.

- Yes.
- Well, I am rude.

I am rude because...

Well, at the moment I cannot find
a lie to justify my behavior,

but you, young lady, you...

Let me see.

Here you pedaled wrong,
and here you pedaled wrong.

All marked... soft.

Now you start all over again from
the beginning. But correctly.

Hm... this one I like.

It's very good. It shows the height
of my forehead.

Very good indeed.

Friedrich, this is I heard you
in Budapest.

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

- Why do you stop playing?
- You weren't listening, Maestro.

Oh, so now you know exactly whether
I listen or whether I don't listen.

Very well, we'll play it together,
I'll play the orchestra.

Um... you'd better get over here.

Ready?

Now.

- You were hungry, maestro.
- I'm not hungry.

But you starved to death on my porch.
I think you should eat first.

Eat? Eat?
Pick it up, Myra, faster.

Who wants to eat?

No, no, no, no, take second piano.
I'll show you.

George!

That's Mrs. Sampter.

Leo, Mrs. Sampter takes care
of my house and me.

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

Yes...

- George!
- Please, that's Goronoff playing.

And he'll probably want something
to eat when he finishes.

George, dinner.

Shut it off!

What's that?

Shut it off!

You mean Petunia?
Is she bothering you?

She's making too much noise.

Okay, we'll shut her off.

Oh, George!

Here, George, put this clean one on.

And be sure and wash your neck and...

...behind your ears, good this time.

- Company?
- Yes.

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

- It's one of my best.
- Yes, very good indeed.

- I'm sorry.
- Well you should be.

Come on, we'll play four hands.

Not now, dinner's ready.

Spledid, splendid, I'm famished.

What is that? Biscuits.

Hm, excellent!
Ah, coffee, ham, bacon, eggs.

Madame, in London, in Prague,
in Vienna, in Paris,

never have I seen food like this.

My compliments, madame.

And Friedrich, where shall I sit?

- Sit here.
- My son, George.

Yes, George owns the tractor
that makes all that noise.

He has been with us since
he was that high.

George, this is Professor Goronoff.
a very great pianist.

I've heard about you from Myra,
she plays a lot of piano too.

Oh, yes, yes, a lot of piano,
but, um...

not all of it is good.

- You farm this place, hm?
- I try too.

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

Cold in winter, hot in summer.

I went away quickly.

Later you show me the place,
will you?

Yes, later.

But Maestro, your concert.

Your train for New York leaves
at 2 o'clock.

Oh, let it leave.

Well, but the next one won't
take you in until nine.

So I will be late.

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

Oh, the devil take the people.
Where is Nicholas?

- N... Nicholas?
- Nicholas, yes, my secretary.

I... I had him a minute ago.

Nicholas! Nicholas!

- Here I am.
- Come in here.

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

Always I forget things.
Mostly I forget Nicholas.

That's why I like him.

Nicholas, tell them I don't
play tonight.

You don't play tonight?

- And the reason?
- I'm sick... I expect a baby.

- A baby.
- Go along, go along.

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

Europe? When?

- Tomorrow,
- Europe tomorrow?

Oh, yes, London, Amsterdam,
Stockholm, um...

And Madrid, and Rome.

Madrid and Rome.

Well, I don't go.
I've decided to vacation.

- For how long?
- Do you have room for me?

- Yes, Maestro but...
- A week.

- A week?
- A month.

- A month, maybe a year, I don't know!
- You don't know?

Go away, go away, please!

Please, do not shout.

That's, um... that's Nicholas.

You, um... you like that I stay here?

I think it would be wonderful.

Wonderful, yes.

Wait, Myra, wait. When I get you
at the piano, I'll... I'll break your back.

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

Crisp to the end.

Again.

Yes, Myra, crisp, like icicles
breaking off a roof.

- Again.
- Maestro, there's a lady to see you.

A lady, the same lady?

A tall lady with red hair.
She drove in from New York.

Tall, red... I...

Oh, that one.
I cannot see her.

Tell her to go away...

I... I'm tired.

She won't go away.

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

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

A big mistake. Um...

Some day I'll tell you about it, but...

Now you must help me.

Because you're tired.

Yes. Tell her that I'm sick.
That I'm dying.

- But that isn't true.
- No... but it will be true.

Next week I'll see her, or next month.

Take care of her, Myra, please.

Well, all right.
Come with me, Maestro.

- What'll I tell her?
- Tell her to wait.

- Please, don't let her get in.
- No, no, I won't. Come on.

- He's very busy.
- Oh, don't tell me he's too busy.

Leopold Goronoff is never too
busy to see me.

I can see what you mean.

Sit down. I'll see what I can
do about it.

I'll wait just one minute.

You'll be all right here.

- This is my wishing room.
- Your wishing room?

Yes, Myra, you belong to this.
Green things and flowers.

As easily another blossom
on the rambler vine.

Come on, talk to me.

Oh, but the lady with the
red hair, Maestro.

Oh...

Yes, the lady with the red hair.
She says she'll wait just one minute.

Oh, she did, eh?

I'll take care of her.

Who, um... who made this place
so beautiful?

- The professor.
- Alone?

God helped a little.

Trouble?

- A little.
- Violent?

- A little.
- Myra, you were wonderful.

- What's this, blood?
- Lipstick.

Lipstick? You, um...

Myra, you're wonderful.
You know,

that reminds me of a day in Barcelona...
No, in, um... where was it... In Rome.

No, well, I forgot where it was,
but anyway,

There was a red-haired lady who...

I agree with you. Why should we talk
about red-haired ladies in Rome when...

Huh? All right, all right,
I agree, you win.

How long is it now we've
worked together?

Four weeks.

Four weeks, and you have never
shown me that place.

- Why?
- Oh, that's my own little corner.

I store my dreams there.

It's a place to be alone and...

...dream things that can
never come true.

What, for instance?

That time might stop,
that today might be for always.

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

I come here and dream that you'll
never go away.

I must go away today.

Do you hear what I said?
I'm going away today.

Yes, Master.

Yes, Master, that's all you're
going to...

You can only say "Yes, Master"
when I say I'm going away?

And I'll take you with me,
Myra Hassman.

How would you like that, huh?

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

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

I would like to take Myra with me.

Myra, Myra...

My sweet, will you please
leave us together for a moment?

George!

Paris and Vienna!

Goronoff wants to take me
with him to teach me.

Oh... they say it's very nice
in Vienna and Paris.

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

Do you, George? I wonder.

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

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

- You're leaving soon?
- I don't know.

- When will you know?
- Soon, I hope.

Goronoff's talking with Papa
right now.

Might be he won't let you go.

Oh, But I want to go.

Wish for me, George.

Wish that he'll let me go,
wish hard.

- I wish.
- Myra!

Myra!

Oh, why didn't you let me know?

- Where's Grand-m?re?
- In there.

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

Boys, put it there.
Do as I tell you.

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

I have come back.

Seven concerts in Europe, puff,
all is canceled.

Where have you been, you loafer?

See what I have, she's mine.
I discovered her in Philadelphia.

( In Russian )

( In Russian )

Women, women, women.

You, your father, your grandfather.

Even your Dutch mother couldn't
improve you.

Three generations and always
is women.

You don't understand, Babushka.

This is Myra Hassman,
Friedrich's daughter, she plays.

Come, butterball, you play
for Mama Goronoff.

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

...or sees it with his eyes.

Hello? Yes?

This is the Goronoff suite.

What's that?

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

Well, what do you expect me
to do about it?

I beg your pardon?

You want me to ask Leopold Goronoff
to stop playing?

My dear, you're insane.

We've lived here for ages. And we lease
the suite by the year, I might add.

Oh, the music is keeping you awake.
How fortunate you are!

Goronoff's music in bed and
for nothing.

Do you realize it would cost you at least
$5 to hear fim in a concert?

And with no pillows!

Bravo!

Didn't I tell you, Babushka,
she is wonderful?

Yes!

Ah, I don't like New York.
Daylight comes too soon.

I think we go to Prague.

Nicholas!

Nicholas!

Cable a letter to Feldhoffer in Prague.

Goronoff does a concert for him
next month.

- Next month?
- Next month!

Next month, next year, who knows?

I know!

Next month, Prague.

Come, butterball, I rub your back
and you go to sleep.

- Prague!
- Yes, Prague.

Many cities, you will see them all.

It's a big world, butterball,
a nice world.

I hope you will like it.
I hope it will like you.

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

"Please tell Father that last night
the maestro...

...did the Chopin C-major to
a crowded house."

- "The audience applauded for ten minutes."
- Ten minutes...

And where... that was in Paris?

Yeah, Paris.

"But last week when he played
the Schumann A-minor in Vienna,

the audience refused to leave the Hall
until he had done five encores."

Ah, yes, I did it there too, George.

The Archduke came to hear me,
you know.

It was quite a successful
occasion.

What else does she say, I mean,
about herself?

Oh, here she says,
"We leave for London tomorrow."

"After London, I'm not sure where
the maestro will decide to go.

London, that is a very,
very nice city, George.

Now, let us see.

They have been in Prague, in Berlin,

Budapeste, Vienna, Rome
and in Paris.

And now they are off to London.

"The earth is brown again."

"Vines cover the walls of your
wishing room."

"And there will be lilies of the valley."

"I go there often to think about you."

Who is George?

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

Who is that man, butterball?

George? Oh, he's almost like a brother.

He's part of the farm, Babushka.

He's big, strong, nice to look at?

Well... I never thought much about it.

He's just a fine boy
and I like him very much.

To like him is all right.
Maybe you love him.

No, Babushka.

He thinks about you.

Puff, farmer!
You'd better practice.

I'm tired.

Keep on, keep on, you are not tired.

- I am tired.
- Tired of what?

I'm tired of concertizing.

I'm tired of Europe, I'm tired of...

Do we have to be tired of something?

We will go to the Riviera.
I like Nice, Cannes, Antibes...

No, we go to... to...
We go to South America.

Nicholas, get tickets for
South America.

- Where in South America?
- I don't know!

Some place, South America.

Why not North America?

Because Rio de Janeiro is in
South America.

- Rio de Janeiro?
- Yes, I've just decided to go there.

Myra! Myra, come!

- For you, Myra.
- Oh, no!

Don't say no to me. I create you, I dress
you in a lovely shawl if I want to.

- Voil?!
- Lovely.

Very lovely.

Myra, the second movement,
you have been working on it?

Yes, Maestro, but the... the...

No, please don't tell me,
just show me, show me.

The themes, Myra.

Why do you let the lesser
one ring up so?

It shades the heroic, it makes it weak.

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

Now this is the female theme,
the lesser one.

Now the male scene.

I am the male sex. I am the man.

I am the man.

And I am the woman... and I love you.

So, it should be so.
A concerto is like that, Myra.

There's the beginning. Then the blossoming
out, which you call the exposition.

Then in the end, like a man who has lived,
you see the result of his life.

- But the woman, maestro.
- There is no woman in music.

Remember, no woman in music!

I'll try to remember.

See that you do. And tonight perhaps
we will work on it again.

- No, not tonight.
- Why not?

Because tonight there is another woman.

- Hm...
- Another one?

Well, not just another, Myra.

This one is different. This one is tall,
blonde, a hair that is...

Well, her hair is somwhere between
copper and gold.

Well, you have to see it before
you believe it, but she...

She must be beautiful.

- She must be very beautiful.
- Yes.

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

Yes, and you must help me, Myra.

The atmosphere just as this...
the lights...

Flowers, Myra, flowers! Everywhere fresh
flowers. Dozens and dozens of them.

Oh... the chair should be so.
Come here, Myra, please.

Sit down there and face the piano.

Now. She'll ask me to play,
of course, and I'll do a...

I'll do some Chopin.

No, I'd better play a Moonlight Sonata.

Oh, please, suggest something, Myra,
something to set a mood.

Oh... why don't you play the Liebestod,
the Love Death?

Oh, no, no, no, that's later.

When we go out into the garden,
then you play Liebestod for us.

Myra, Myra, promise me, will you?
Don't forget the flowers.

You're as gentle as summer twilight.

Sweet as the scent of night-blooming jasmin.

I love you.

For me you are some delicate
blossom in the tropics.

Your hair is soft...

Softer, in fact. Much softer.

Very much softer!

What are you doing,
you drown out my work!

The whole thing is ruined!

Is that a letter from that George
fellow again?

Why does he write?

My father's gone, Babushka.

Oh, poor butterball, that is too bad.

He went as he wanted to.
Quietly in his sleep.

George said he was smiling.

Such a great talent, Friedrich Hassman.

You, Myra, he gave it to you.

He bred it into your hands.

Music for you, Myra, only is music.

For you are an artist, I know,
little one.

I know.

Myra!

Myra, do something,
do something, Myra.

- Now what, Maestro?
- She is here, that woman.

- Which woman?
- The blond woman...

That you played Liebestod last week,
last month. I don't remember, she...

She says I promised to marry her.

Don't you always?

Of course, of course, but why do they
always believe me?

Myra, please, tell her to go away.

Well... very well, Maestro,
you wait here.

Some day one of these women
will catch you tight by the nose.

And then she will marry you.

- Oh, no.
- No?

That's what you think.
That's what your father thought.

That's what your grandfather thought.

But I married him.
(In Russian)

Better play the piano instead
of playing with women.

Especially in Brazil.

- She's gone?
- Yes.

Myra, you're wonderful.
What could I do without you?

And, um... no lipstick, huh?

What's...

- You showed that to the lady?
- Hm-hmm.

That's magnificent!

Why didn't I think of that before?

Myra... now we can get rid
of them all that way.

Hm?

Lovely setting, Rio de Janeiro!

Beautiful city.
But the women are difficult.

Maestro, am I ready for a concert?

Hm?

Well, not an important work perhaps,
but I could do some of the lesser.

Lesser, what is lesser,
what is important?

Oh, Maestro, stop playing
with words.

Oh, you know all about Goronoff, huh?
You know exactly when he plays with words.

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

Time? Talking about time,
how long is it?

How long do you belong to me?

You've been teaching me for two years.

Two years. In two years,
two minutes, poof!

And now you want to concertize, hm?

- Is that bad?
- Bad? No, it's good.

- Then you'll let me play?
- Of course!

You can play, um...
Let me see, Rachmaninoff's Second.

Here in Rio, Maestro?

Oh... in some smaller city, perhaps.
- Uh-huh.

In some...

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

We'll give them a surprise.

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

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

Nicholas! Nicholas!
We go to New York!

Put them there, please.

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

Oh, that is a concert,
first come flowers.

And then, a kick in the pants, maybe.

But for you, only flowers.

"Good luck, Myra. George."

What did you say?

Oh, nothing, nothing, everyone
sends flowers.

It must be good business flowers, hm?

So. Frightened?

- Very!
- That's stupid.

Those people you play for tonight,

no people, just cabbages,
rows and rows of cabbages in a garden.

Cabbages can't hurt you, no?

You'll watch me always, remember?

I am there.

- Always.
- Yes, Maestro.

Like sherry before the meal
that music, hm?

Leopold teases them. Says to them, wet your
lips and get ready, soon is the feast.

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

Miss Hassman.

Um, come.

Drink.

To make your stomach still
while you play.

Aren't you going to listen here?

No, I go out front.

You play good for Babushka.

- May I?
- Oh, a critic.

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

I hope not.

Crisp, Myra, crisp.

Wait, wait, you will hear.

I've heard them all.

She'll do.

I've got an idea.

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

Okay.

For Miss Hassman, from the stagehands.

From Jacobo Emmanuelo.

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

Why is he fighting her?
She plays well.

Too well.

What is it, Maestro?
Why are you angry?

Don't be angry with me, don't fight
against me, please.

I love you, Maestro.

I love you.

What has he done to her?

Taught her who was the master.

Too bad.

Well, who can stand against
Goronoff?

Go get Murphy, he's got to see this.

Oh, Murphy don't like Rachmaninoff,
he only comes up for Beethoven.

- He'll com up for this.
- All right, I'll try.

Hey, Murphy, come on upstairs,
this you've got to see.

Oh, you know I only listen
to Beethoven.

Yeah, but tonight Goronoff's taking
a b*ating from a gal.

Taking a b*ating, is he?

Well, for that I might listen to
Rachmaninoff,

just for a minute, mind you.

Goronoff's fighting to take the play
away from her.

Yeah, but she's not fighting,
she's licked.

I really looks nice.
You may leave now, Joe.

I said you may leave.

Oh, a pencil?

That's all.

- Oh, good evening, Miss Hassman.
- Good evening, Nicholas.

Your debut was a success.

- Yes, I hope so.
- You hope so.

- Has Madame Goronoff come home yet?
- Not yet.

I was able to get just
what you wanted.

Partridge.

Mushrooms.

And your favorite champagne.

Don't you like it, Miss?

Yes, yes, it's very nice.
Please go away, Nicholas.

I beg your pardon, Miss.

I ordered something very special
for tonight.

I know you like to eat after a concert.

Babushka will be home soon. I should have
waited for her, but I was frightened.

The applause and the people
standing and...

I know it's old to you, you've been
through it all so very many times.

I'm sure I acted very stupidly.

And I know I played very badly too.

If it hadn't been for you...

Maestro, you were magnificent.

I'm flattered.

Don't be angry with me, master.

Whatever I did, whatever I am,
you've made it.

I was nothing until you taught me.

And now you are the master.

- Is that what you're trying to tell me?
- No, no!

Don't lie to me!

I know what you want.
You wanted to be the great maestro.

You wanted the people to say, look,
Goronoff's pupil is greater than he himself!

- No, no, Maestro.
- Maestro, Maestro, Maestro!

How dare you try to imitate me
at the piano.

My style, my technique!

Clever, weren't you?

Prepare my food, fix my wine,
kneel at my feet.

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

But you can't.

No, I will play Rachmaninoff. I will play
as only Goronoff can play it.

Then those fools will see.
They will see you for what you are.

A little plough girl,
good to grub in the earth!

Enough, get out.

I said get out.

Butterball.

What is it, baby?

You sent her away?

Yes.

- Does it matter?
- More than you know, Leopold.

It means you admit she is
greater than you.

- That's ridiculous.
- No Leopold.

That is truth.
And tonight truth was unkind to you.

To both of us.

- How do you do?
- You would be George, hm?

- Yes, I'm George.
- I know, I know.

Always before you were a name
on a letter.

"As ever, G-e-o-r-g-e.

Now I see you, I like you.

- You are a nice boy.
- Well, thank you very much, Mrs...

I'm Madame Goronoff.

Oh, Madame Goronoff, I've heard
a lot about you.

Is Mr. Goronoff with you?

No, he's in New York.

And if my watch is not slow right now,
he plays at Carnegie Hall.

Yes, she talks with Leopold.
She talks with him.

- Talks?
- Her voice is the piano.

She says, I'm here, Master.

I sit beside you, I play as you play
the things you play.

I don't understand.

No, you could not understand,
nice boy.

Maybe Leopold will not understand either.
But he will hear her.

Goronoff is in New York.

What difference? A hundred miles,
a thousand miles.

Walls cannot stop that voice.

Distance, time, nothing.

You love her, nice boy.

Yeah.

I guess I've always loved her.

This I did not know.
About you I did not know.

Aren't you going to talk with Myra?

No, no, I have decided it's better
if I keep my mouth shut.

I go home.

- You want her, nice boy?
- Very much.

Then fight for her.

Fight for this woman.

We go now.

I'm not going to let you do it.

I finish.

I will not play for you.

- I had to stop you, Myra.
- Why?

Because you've been living a dream.

Have I?

Sometimes I think you're in love
with a dream.

I'm a woman, George.

Women don't fall in love with dreams,
they fall in love with men.

With one man.

And when they do, they listen to
that man's footsteps in the morning.

Daybreak starts when he smiles.

Then they wait to see him again
at night, watch him while he eats,

watch the light of a reading lamp as it
plays in his face and touches his hair.

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

Some day it'll happen to you.

Maybe it's already happened.

While I was away?

- Who is she?
- You.

But I don't mean that kind of love.

Neither do I.

I suppose I didn't say it very well.

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

I've always loved you, Myra.

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

You put it down my neck.

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

I had to show off, I guess.

And you got your face slapped
for your trouble.

I was sorry before you slapped me.

I never minded when you slapped me.

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

...forgetting about your buttons.

But that isn't love.

Not... not really love.

Maybe not for you, but...

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

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

But you do have me, I'm here.

I'll always be here on the farm.

Working with you, talking with you.

Sharing my dreams with you
if you let me.

'Cause you're good, a fine man,
a clean man.

I need someone to help me over
the rough spots.

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

You'd marry me?

Knowing...

Knowing how I feel about Goronoff?

If ever he calls, I might go running.

I love you, Myra.

I'll take that chance.

Watch me, Daddy.

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

I've heard a radio can do that.

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

Besides, I've got lightning arresters
on the lead-in.

- Why?
- To stop the lightning in case...

In case it doesn't burn up the aerial?
George, please turn it off.

Daddy, you're mean.

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

Mother says no radio.

But I wanna dance.

Maybe Mother will play for you.

Then you could dance.

You might try, Myra.
Porgy's never heard you play.

I'd better not.

I'd been hoping that sooner or later
you'd get around to playing again.

This might be a good time to start.

Yes, I want to dance.

Go on, Myra, play for Porgy.

Six years.

Must be all out of tune by now.

When did you have it tuned?

Oh, every so often, when you were
in town, generally.

Well... let's try this one.

- She wants to play.
- Yes, Mommy, I want to play.

You play some more, Mommy.

Strange, tonight I feel like playing.

Then play, Leopold.

Not that, Leopold.

No, Leopold, not that.

Why not?

Why not? I love her.

Do you hear me? I love her.

Why didn't you tell me?
Why didn't I know?

I must go to her.
She must know it, now.

You are too late, my boy.

She's married.

Married?

But that's impossible.
Babushka, she's mine.

I created her, she's mine.

All these years she was here,

mine if I had only wished.

Myra is not for you, little one,
she nor any woman.

- But I have known so many women.
- Did they know you?

No, Leopold, not for an instant.

There is your mistress.
Music.

Only music, Leopold.

Men, women, children, all come and go.

Pretty faces grow old.

Pretty hands grow thin.

Soon there's nothing...

...but a name on stone.

Music goes on forever, Leopold.

It has no pretty face to grow old,

no pretty hands to grow thin.

Always it is sweet, and fresh,
and kindly to the ears.

But... Babushka, I love her.

- I want her.
- Not for you.

That you will not go after her.

Promise me.

But... if we should meet?
If she should come to me?

That is over my power.

I am tired, Leopold.

Very tired.

Play for me.

Rachmaninoff if you wish.

Give me the score.
I will read as you play.

Don't stop.

- Where's Porgy?
- She fell asleep while you were playing.

I put her to bed.

Please.

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

Ever.

Goronoff.

George, God has been good to me.

I'm happy, I'm very happy.

I have you, and Porgy,
and my home.

Can't we leave Goronoff alone?

We could if you were really happy.

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

It's what you give.

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

All except you.

That isn't true.

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

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

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

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

I am or you?

Both of us, and for no reason.

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

What is it you want me to do?

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

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

Don't ever let me see Goronoff.

Please, dear God, don't let me lose
the things you've given me.

Here you are, Nanny. Three spools
of number 50 black cotton.

- Right.
- Three of number 40, white.

A package of embroidery needles,
size 3.9.

And the blue wool didn't come in yet.

- Did you get the elastic?
- Yes.

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

What did you want it for anyway?

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

Grandma!
I'm a big girl!

Come on, Dad, we'll be late.

- See you later, Mom.
- Goodbye, Porgy.

Goodbye, son.

- Where to this time, George?
- Oh, just places.

Philadelphia maybe.

- Same old act.
- Do I look all right for the city?

- It must be a blonde.
- Could be, could be.

Goodbye.

Philadelphia twice a week.

Gone all afternoon.

They told you what they're up to?

Not exactly. I wouldn't worry, though.

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

- Does that include me?
- You'd know better than I would.

How long since you've been
to New York?

Not since George and I were married.

How long since you've been
to a concert?

The same.

- I know.
- Do you?

Does George know too?

Yes.

- I've never seen Goronoff.
- George knows that.

I never want to see him.

That's just the trouble.

I'm never going to see him.

I've got what I want.

It'd be nice if George had too.

What was that, Nanny?

Oh, I said this elastic nowadays
hasn't got any sap in it.

They've brought company, Nanny.

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

Mother, I want you to meet someone.

All right.

Mother, no less.
Must be an important male.

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

How do you do?

If you'll pardon the intrusion,
Mrs. Sampter,

it was my last night in Pennsylvania and I
persuaded your husband to let me meet you.

Well, I'm so happy you did.
I'm afraid dinner will be late.

- Won't you sit down?
- Thank you.

Mrs. Sampter, your name was once...

Honestly, Myra, I didn't tell him.

Myra, Myra Hassman.

I heard you play in Carnegie Hall
with Goronoff.

Yes, yes, I remember!

I almost thought you'd know her.

All these months you've been
letting me teach...

...little Georgette and kept this
thing as a secret?

Yes, they have kept it a secret.

But as for you remembering me,
it was all so long ago really...

It seems like yesterday.
It was yesterday to the master.

- The master?
- Goronoff.

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

I told you about that.

Yes, I seem to remember you
mentioning Goronoff.

And now you're the new Goronoff.

Hardly, there's only one master.

But I have been fairly successful.

Fairly successful?

Mother, Prof. Severin has just been
appointed head of the Conservatory.

In New York.

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

And the professor wants me
to continue my work with him...

...at the Conservatory.

- In New York?
- Yes.

I'd never thought much about
Porgy going away.

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

Well, it wouldn't necessarily have
to be until the winter,

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

They're rather critical at Carnegie Hall.

Carnegie Hall?

She's your daughter, why not,
she has your gift.

Carnegie Hall!

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

One of them I'll set aside for you.

And that night you will play...

...the Rachmaninoff Second.

- Hard driving?
- Not too bad.

There's slop in New York, though.

I found a nice apartment for Porgy.

Three rooms, kitchenette and bath...
and I have a room on the airshaft.

You do?

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

Oh, in spring. For a moment I thought
you both were going to run away from me.

Tell me, does Severin still insist
upon Carnegie Hall?

Yes.

Will Porgy be ready?

I don't know, George. I've listened,
I've tried to decide, but...

Suppose I hear talent because
she's my daughter?

Suppose she's just another little girl
who plays well, very well, but...

But not good enough for the critics.

If she isn't good, they'll break
her heart.

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

It was a girl in Budapest.
She was young and lovely, but...

She k*lled herself.

Seems as though there must be
someone who could help us.

There is a fellow, though.

You told me once he'd lie about anything.

Women, politics, money...

But not about music.

- No, George.
- You could, Myra.

You could take her to Goronoff.

He'd know.

He'd tell you the truth.

No! No!

Who's there?

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

- Dad!
- Hello, Porgy.

We didn't expect you for another hour.
Did you drive in?

Hm-hmm.

- Where's your mother?
- Oh, finishing her hair.

- Tails or dinner jacket?
- Dinner jacket.

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

I wish you'd speak to your husband,
Mrs. Sampter.

He's fresh!

Very, very lovely.

Reminds me of a little girl I saw at a big
concert grand piano in Carnegie Hall.

A long time ago.

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

Jealous of your own daughter?

No, George, worried.

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

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

Oh, Severin will carry her through.

Severin can't help her, no one can if...

Has Goronoff heard her play?

You know he hasn't.

You know I asked you to take
Porgy to him.

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

Why not?

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

That this whole situation is
something you created.

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

I want you to see Goronoff.

All of this.

Porgy's lessons, her concert,

all because you want me to face Goronoff,
is that the man I married?

You make it sound rather bad, Myra.

Sometimes we don't deliberately
plan things.

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

But now that it's happened,
perhaps it's just as well.

Let's find out how we stand.

Don't George.
Don't, you may find that...

That I've lost you?

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

Oh, I didn't mean that.

Does this meet with your approval,
Mr. Sampter?

Oh, it's a little something I worked up
on the machine this morning.

Elegance is the word, Porgy.

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

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

We're gonna let Goronoff hear you play.

Today?

Dad, that's impossible.

The concert starts at 8:30.

We've still plenty of time.

Mother, I can't.
Tell Dad that I can't.

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

That I'm not ready for Carnegie?

Get your bag, Porgy.

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

Oh, so many things.

Aren't you coming in, George?

No.

You'll wait here.

- We won't be long.
- You may be longer than you think.

You'll be at the concert, George.

First, do you know where
there's a good bar?

Yes, sir.

Yes? What is it you want?
The master will see no one, no.

I think he'll see me, Nicholas.

Myra!

Miss Hassman! Why, won't you
come in, please?

I will call the master immediately.

Please excuse me.

Myra Hassman is here!

Idiot! Don't let her stand in the hall!

Myra.

Myra, my beautiful...

Where have you been?

This s my daughter, Maestro, Georgette.

Your...

Your daughter.

Beautiful! Beautiful!

But why are you standing Here?
Come in, come in, let me look at you.

Sit down, please.

Nicholas, I'm out, you see?
Shut off the phones,

the doors, everything.
You go out too.

Lock the door and go out of it.
Quick!

Quick!

Myra, you're ageless.

Ageless and beautiful.

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

That's a lie, such a lie.

But I am old, Maestro.

So old my daughter is ready
to make her debut.

Her debut? But that's impossible.

How can she do that without
first playing for me?

Oh, I understand.

You have come to Goronoff to have
him make you ready to, um...

...to concertize, is that so?

She's been studying with Severin,
Maestro.

Severin, Severin, who is Severin?
Oh, I remember, the tall Scandinavian.

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

- He's a bad musician.
- Oh, but he's not!

Well, maybe he is not, but, um...
I haven't seen him conduct, but...

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

You, um... you like his hair, do you?

It's very nice hair.

Hm, very beautiful, not as gray
as mine, is it?

Well, and after all, he's your teacher
so he must be perfect.

Porgy is playing at Carnegie Hall tonight.

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

Carnegie tonight, but that's impossible.

Why don't you tell me those things,
why don't I hear?

Come on, you play for me
and you show me what you know.

Take this off.

She plays your concerto, Myra.

And you have been working with her.

Yes, Maestro.

All will be well.

You wait here.

I'll be along later, dear.

So many years, Myra.

You never wondered why I didn't
come to you.

No.

- Don't lie to me, will you?
- Very well, I did wonder.

She loved you very much, Myra.

I'm sure she did.

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

I didn't go, but you came to me.

Why?

- To ask for the truth about Porgy.
- Is that the real reason, Myra?

Why did you do it?
Why did you marry that man?

Because I loved him.

That's impossible. You married him
because you were angry, you were hurt.

For all those years you
have been unhappy.

That isn't so.

Then why did you come here?
To have me listen to your daughter?

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

She is a woman. And once long ago
in Rio de Janeiro...

...I told you there is no woman in music.

- Do you remember?
- I remember.

Well, it is still true.

Music is a man, it must be so
because a woman is...

A woman is a woman.

This daughter of yours she will go
out into the world,

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

That's good.
That's as it should be.

As it should have been with you.

Because I am your master.

You're wrong.

Very wrong.

Am I?

These hands, I made them.

I put into them the music that once
delighted the whole world...

...for one single night.

Then you took them away only
to find out...

...that without a master they were lost,
they were nothing.

Do you still doubt it?

Well, don't you look wonderful?

Where's your mother?

Oh, she'll be along later.

What's the verdict?

Let me have one of your
cigarettes, Dad.

Here.

Tell me, what did he say?

He didn't have to say anything.

I've known the answer for weeks.

Months.

It just isn't there.

I've heard you play, you play perfectly.

Not one wrong note.

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

Hers don't count.

One beautiful passage played
by an artist...

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

But I like the way you play.

Maybe that's because you like me.

Do you?

Oh, baby.

What are we gonna do?

Do?

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

Professor Severin is going to stick
my head off.

Are you going through with it?

Yes.

How about you?

All right.

We'll play it through and see
what happens.

Come on.

There are your seats, Dad.

- Good luck.
- Good luck to you.

Tonight we were to have heard the debut
of Miss Georgette Sampter.

Miss Sampter will not appear.
In her place you will hear an artist...

...who I'm sure will be quite acceptable
to the music lovers in Carnegie Hall.

The mother of our young artist,
the former Myra Hassman.

You say I'm not your master.

Then play.

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

- Remember?
- Yeah.

But it's different this time.
The shoe's on the other foot.

That's Myra playing.

That's Myra playing.

She is again playing with the master.

I was wrong, Myra, there is
a woman in music.

I love you, George.

I've always loved you, always.

And I've always known it.