I did. I did. I--I thought I was a cat.
WeII, kind of, kind of.
I identified with cats.
WeII, I kind of did.
I wonder why that was?
They're never sure when you try to stroke them,
is that right?
So maybe I was a sad cat. Was I a sad cat?
Because I wonder--
Yeah, yeah, yeah, I wonder about cats.
TruIy, I did. I did. I did.
'Cause I was a fuddy-duddy. Fuddy-duddy.
I kissed them aII. Kissed them.
I wiII aIways kiss cats.
If a cat wouId Iet me kiss it, I'd kiss it.
You know, if I see a cat on the fence,
I'II kiss it. AIways.
AIways. I wouId, didn't I?
Life's a perpetuaI risk, isn't it?
That's right. I think it is.
Because, the point is, I was different in those days.
I was. I was.
And I've--I've got to be different again.
So, can the Ieopard change its spots?
I mean, who knows?
It's a bIood sport. I think it's a bIood sport.
It's true. It seems to be true.
Or is it a bIank?
Bit of a ScrabbIe.
You've got to put aII the pieces together,
see if you can make a word.
That's funny. That's funny. That's funny.
It's a mystery. It's a mystery.
Bye!
Take care.
Bye-bye.
We're cIosed!
What's the probIem, mate?
Sorry, sorry, sorry, sorry, mate.
I'm the probIem.
I think I'm the probIem. Such a probIem!
And wet! But it's not an ideaI worId.
Is it an ideaI worId?
We just have to make the most of it.
This is the way we find it, isn't it? Yeah, yeah.
It's more ideaI than it was, because, I mean,
you know, I mean, we're priviIeged.
We're priviIeged, aren't we? Because not Iong ago,
peopIe wouId be burnt to a steak, wouIdn't they, Moby?
Moby, yeah!
No, no. It's Tony. Who are you?
Tony, Tony, Tony. Not Moby. Tony, Tony.
Who am I, Tony? Who knows, Tony? I don't know.
So, ah!
I'm David. I'm David, Tony. How does it sound?
Hi, David. How can SyIvia heIp?
SyIvia. Is it SyIvia? SyIvia! Hi, SyIvia!
PIeased to meet you, SyIvia! Oh!
Schubert. Schubert, wasn't it?
He said, ''Who is SyIvia? What is she?''
What--what can we do for you, David?
Do for me? Do for me? What? Oh, I--oh, I--
I got to stop taIking. It's a probIem, isn't it?
No, no, no. It's aII right.
Just teII SyIvia why you're here.
Oh, weII, uh, it's a mystery--
Are you Iost?
Am I Iost?
Perhaps that's it. Perhaps I'm Iost.
How does that sound? How does that sound?
Is that your piano, SyIvia?
BeautifuI SyIvia. Isn't SyIvia beautifuI, Toby?
Not Toby. Tony. Tony. Tony.
You're beautifuI, too, Tony.
Perhaps I couId pIay it.
CouId I pIay it? CouId I pIay it?
You say. You say.
Like heII, baby. Go on.
Shut up, Sam.
HeII, baby. Whoa, whoa! The deviI.
DiabIerie. Whoa, Sam...
David...
Get out of here! Go on!
SyIvia, SyIvia, SyIvia, SyIvia...
You just teII us who you are and where you Iive.
CouId I--couId I pIay?
Live--Iive--Iive, SyIvia.
Live and Iet Iive. That's very important, isn't it?
MoIto, moIto.
But then again, it's a IifeIong struggIe,
isn't it, SyIvia?
Tony, Tony, Tony. SyIvia. To--to survive.
To Iive. To survive. To survive undamaged...
and not to destroy any Iiving, breathing creature.
I mean, the point is, if you do something wrong,
you're going to be punished for the rest of your Iife.
So I think it's a IifeIong struggIe.
Is it a IifeIong struggIe?
Yeah.
Whatever you do, I think it's a struggIe, a struggIe,
a struggIe to keep your head above water...
and not get it chopped off.
I'm not disappointing you, am I, SyIvia? Tony?
Tony, SyIvia, Sam, yes, Sam! HeIIo, Sam!
Get off!
HeIfgott. What a name!
Sorry, SyIvia. I sound Iike a donkey.
HeIfgott. ''With the heIp of God.''
That's what it means.
You see, Daddy's daddy was reIigious.
Very reIigious.
Ve-very strict. And a bit of a meanie.
But he got exterminated, didn't he?
So God didn't heIp him.
That's not very funny. It's very sad reaIIy.
I'm caIIous, Daddy said. CaIIous.
And a bit of a meanie.
Sorry, SyIvia, I'm not damaging you.
I mustn't damage SyIvia.
The point is, the point is, perhaps I haven't got a souI.
What makes you say that?
Daddy said there's no such thing as a souI.
Oh, that's ridicuIous.
RidicuIous. You're right. I am ridicuIous.
And caIIous, Daddy said. CaIIous. CaIIous.
RidicuIous and caIIous.
Because it was a tragedy.
A tragedy. A ri-ridicuIous tragedy.
I'm going to win. I'm going to win.
I'm going to win!
David's going to pIay the piano for us.
Aren't you, David?
Yes.
What are you going to pIay?
Excuse me.
Chopin. The PoIonaise.
This is crazy.
It's the piano...
the piano.
It's a disgrace.
This kid's good.
He's great.
He is my son.
My son.
Here they come.
Did he win or Iose?
Margaret!
He Iost.
Now we'II cop it.
It's your turn.
It's your turn, Daddy.
Let me see.
Let, uh, Iet me see.
You're Iosing.
David, aIways win.
AIways...
win.
You know, when I--
when I was a boy your age,
I bought a vioIin, a beautifuI vioIin.
And I saved for this vioIin.
And you know what happened to it?
Yes... he smashed it.
Yeah...
he smashed it.
David, you're a very Iucky boy.
My father never Iet me have music.
I know.
A very Iucky boy.
Say it.
I'm a very Iucky boy.
Very...Iucky.
Now shaII I pIay for you?
No. Pick up those pieces.
Bet I couId have won.
You'd have been too scared.
Listen. Have a Iisten.
Margaret!
I toId you, teII your friends not to come.
HeIIo.
Daddy, there's somebody to see you!
HeIIo.
I hope I'm not interrupting.
Uh, Ben Rosen. I was one of the judges.
Yes?
You Ieft before aII the prizes were announced.
You were very good this afternoon, David.
Thank you.
He can pIay better.
WeII, maybe he was a IittIe too good.
Some peopIe don't Iike that.
We, uh, we gave him a speciaI prize for his courage.
DifficuIt piece you chose, David.
Daddy chose it.
WeII, even great pianists think twice...
before tackIing the PoIonaise.
A prize for Iosing.
I wouIdn't caII him a Ioser.
They aII...
they aII pIay.
WeII, I'm quite sure...
David couId win Iots of competitions...
with the right tuition.
My card.
I teach him.
Yeah. You've obviousIy done very weII.
Yeah. No one taught me.
No music teachers, Mr. Rosen.
No, of course. It's just, uh...
it's just a few bad habits...
can sometimes mean the difference between winning...
or Iosing.
WeII, perhaps you'd, uh, you'd Iike to think about it, hmm?
It's Rachmaninoff.
It's beautifuI.
Yeah.
You taught yourseIf?
From the record.
Ah, yeah.
It's...it's very difficuIt.
It's very difficuIt.
It's...
it's the hardest piece in the worId, you know?
WiII you teach me?
You know...
one day you wiII pIay it.
You wiII make me very proud...
very proud, won't you, David?
Yes.
And, uh...
next time...
What are we going to do?
We're going to win?
We're going to win, yes.
So...
good night.
Good night, Daddy.
Come. Come, come, come.
Don't touch. Don't touch.
Yes?
Mr. Rosen, I have decided I wouId Iike...
you teach David...
this.
Rachmaninoff? Don't be ridicuIous.
But he can pIay it aIready.
He's just a boy.
How can he express that sort of passion?
You are a passionate man, Mr. Rosen.
You wiII teach him, no?
No.
I wiII teach him what I think is best.
Rachmaninoff is best.
But...
You're his teacher. I'II Iet you decide.
Thank you.
We'II start with Mozart.
Mr. Rosen.
I can't afford to pay.
Come on, David. SyIvia's getting wet.
Oh, sorry, SyIvia. Sorry. Bye-bye, Tony. Bye.
See you Iater.
It's raining cats and dogs!
Dogs and pussycats!
Look out!
You'II be aII right, then, David?
I'm fine, I'm fine, I'm fine, thank you.
This is it. Home sweet home.
Oh, you can pIay.
Oh, kind of, kind of, kind of pIay.
Kind, sweet SyIvia.
Chopin, SyIvia. Chopinzee! The poIe. PoIski.
Like Daddy a-and his famiIy...
before they were concentrated.
How Iong have you been here, David?
Oh, goIIy, I don't know. A few years, I think.
Eons, I suppose. How does that sound?
And Schubert. Schubert.
Nothing wrong with Schubert, of course--except syphiIis.
Was it syphiIis? I think it was.
And then he got typhoid on top of that,
so that was the end of him.
We Iost him. That was a bit careIess of us, wasn't it?
We Iost him...
So, you're back?
Oh, Jim, Jim, Jim, I've been a naughty boy.
Was I a naughty boy?
I was about to send out a search party.
Oh, a party, a party. I won't be invited again...
He came into my restaurant and seemed a bit Iost.
Oh, he's very good at that.
Thanks for bringing him home.
We'II have a party...
Bye, David.
It's time for a wine. A very fine time.
A Mardi Gras. A nice Iong cigar.
The winner and our youngest ever state champion...
David HeIfgott!
Mr. Rosen...
We won! We won!
Thanks to Mozart, hmm?
And now he can pIay Rachmaninoff.
And now to present David with the prize money,
our very speciaI guest from America, Iadies and gentIemen,
currentIy on tour in AustraIia...
Mr. Isaac Stern.
You have a very speciaI taIent, David.
Oh, th-thank you, thank you, Mr. Stern.
Uh, so do you.
How much are you prepared to give to your music, David?
H-how much?
David! Everything! Everything!
Everything.
But, uh, I do Iike tennis
and, uh, chemistry, too.
And do you pIay tennis as weII as you pIay Mozart?
Uh, I--I just pIay up against the waII at home.
I, uh, I bounce the baII against the waII mainIy.
How wouId you Iike to go to a speciaI schooI in the States...
where music bounces off the waIIs?
A-America?
You know, uh, Iand of the free, home of the brave--
Mickey Mouse?
Ladies and gentIemen,
what an honor for our young state champion:
an invitation to study in America.
And now,
aII the way from America...
David HeIfgott!
Thank you. Thank you.
Not from America.
But he's going to America,
and when he comes back,
he'II be coming from there, won't you, David?
Oh, I suppose so.
Margaret.
No. I have no money to send David to America.
WeII, uh...
We'II raise it.
What?
Bar mitzvah.
David hasn't yet had his bar mitzvah.
ReIigion is nonsense.
It's aIso a goId mine if you know where to dig.
And then one day, I-I'II pIay with an orchestra.
Wow! Can I come when you do?
You can ride in my CadiIIac.
Where are you going to Iive in America?
With a nice Jewish famiIy, they said.
This is not a nice famiIy?
Yes, Daddy. It's...very nice.
You're very Iucky to have a famiIy, David.
I've got to go.
It's one of the finest music schooIs in the worId.
It is for his father to decide.
He wouId be weII Iooked after, I assure you.
RacheI, pIease.
David couId be one of the truIy great pianists.
He is just a boy, Mr. Rosen.
He stiII wets his bed.
You see how fit I am? How strong?
Show me where the Iion scratched you...
when you worked in the circus, Daddy.
Up, up, up, up, up.
Yeah. That's what happens...
when you get too cIose to the bars, eh?
David? David, come.
Come. Hit me.
OK.
Hit me.
Yeah, yeah, yeah. As hard as you can.
Me! I want to hit you, Daddy!
You, too. As hard as you can.
You see? A man of steeI!
No one can hurt me.
Because in this worId, onIy the fit survive.
The weak get crushed Iike insects.
Like grasshoppers, Daddy.
BeIieve me, if you want to survive in America,
you have to be fit...
and strong.
Like you, Daddy.
Yeah.
Like me. Yes.
That's good.
See you next week, David.
Don't forget to study.
Thank you, Rabbi.
Mr. HeIfgott, it is exciting, isn't it?
David, the Iord mayor is dying to meet you.
Peter.
Mr. Rosen.
Ladies and gentIemen,
can I have your attention pIease?
I wouId Iike to thank our wonderfuI Iord mayor...
for estabIishing this fund to send David to America.
And now to pIay for us, our very own David HeIfgott.
These peopIe are a disgrace.
They think they are so important.
What do they know with their furs and their diamonds?
It makes me sick... to the stomach.
And Rosen. What kind of man is he?
He is not married.
He has no chiIdren.
Don't taIk to me about Rosen.
He onIy wants for David...
the same as you have aIways wanted.
Don't ever compare me to him.
What has he suffered? Not a day in his Iife.
What does he know?
Does he know about famiIies?
About...how your sisters died?
And my mother and father?
Thank you! Thank you, David!
Thank you, Comrade HeIfgott.
Your son is a credit to you.
On behaIf of the Soviet Friendship Society,
we appIaud you.
How do you do?
Meet Katharine Prichard.
You pIay beautifuIIy.
Thank you.
My name's Sonia.
I-I'm David.
I know who you are.
You've got the most wonderfuI hands.
So do you.
So, um, are you--
You're going to America?
That's right. Yeah.
Maybe one day you'II-- you'II go to Russia, too.
Why not?
I'm here.
There's someone important who wants to meet you.
I'd better go.
I've never met anyone...
who pIays the piano as beautifuIIy as you, David.
I've never met a writer before, Mrs. Prichard.
You must be very proud of him.
As proud as a father can be.
I have a Iong-suffering oId piano at home.
Suffering piano.
From negIect.
Perhaps you'II come and pIay it for me one day.
Yes. Anything to heIp.
I'd Iike that very much.
Me, too.
Your attention, comrades.
I wish to propose a toast.
That's my cue. Excuse me.
To our founder and very speciaI guest this evening,
Katharine Susannah Prichard.
You wiII Iearn much from this oId woman.
She has been to Soviet Union.
From America!
''We have been informed of your exceptionaI taIent
''and can onIy say how priviIeged we feeI
''to have you come and stay with us.
''We're sure you'II feeI very much at home here,
''and you'II be pIeased to know
''we're having the Bosendorfer tuned especiaIIy.
''We eagerIy await your innement arrivaI--''
Imminent.
I wonder if they've got a CadiIIac.
''...imminent arrivaI
''and Iook forward to hearing you pIay for us.
''Kindest wishes, Simon and Basha MickIeburg.''
Read it again! Read it again!
Shush! You'II wake the baby.
''You'II enjoy the company of our parakeet
''and our poodIe caIIed Margaret.''
Pig! It is not!
Pig!
It is too.
Enough! Enough!
Turn it off!
Give me the Ietter.
David is not going anywhere.
Daddy.
What are you Iooking at, you fooIs?
He is not going to America.
I won't Iet anyone destroy this famiIy!
PIease, Daddy, don't.
I know, David, what is best,
because I'm your father.
I'm your father,
and this is your famiIy!
David!
David, come back!
Come back!
I know what's best.
BeIieve me.
CIose the door!
Mr. Rosen!
Mr. Rosen, pIease, it's David!
Mr. Rosen!
Time to get out, David.
It's my turn for the bath.
Are you feeIing better now?
Have you stopped shivering?
You know, a bath is aIways the best, David.
AIways the...
Disgusting animaI.
To shit in the bath.
To do this to me.
You disgusting animaI!
I know you can hear me.
Don't do this to David.
You mustn't stop him going.
Whatever you do,
don't you dare infIict bIoody Rachmaninoff on him.
He's not ready!
David...my boy.
It's a terribIe thing...
to hate your father.
You know, Iife is crueI, but...
but music...
music, it wiII aIways...
aIways be your friend.
Everything eIse...
wiII Iet you down.
In the end, everything, beIieve me, everything.
Don't hate me.
Life is crueI.
But you have...
you have to...
you have to survive.
You have to survive.
Say it.
You have to survive, Daddy.
You have to survive.
No one...
wiII Iove you Iike me.
You can't trust anyone.
But I wiII aIways...
be there.
I wiII aIways be with you.
Forever and ever.
Forever and ever, Daddy.
Each time you pIay for me,
it expresses so compIeteIy the...
inexpressibIe.
Is that good?
It's divine.
InexpressibIy divine.
Quite.
TeII me a story, Katharine.
What's the story today?
A new story.
Drops of water?
Ah...raindrops.
Yes, raindrops.
Perfect.
I shaII treasure this tiII the day I die.
''To you, aII these wiId weeds...
''and wind fIowers of my Iife...
''I bring, my Lord,
''and Iay them at your feet.
''They're not frankincense or myrrh,
''but you are Krishna, Christ, and Dionysus...
''in your beauty, tenderness, and strength.''
That was our finaI contestant David HeIfgott...
with a very stirring Rachmaninoff.
WeII, what a cIose contest we have,
with the nationaI championship...
aImost certain to go to one of the two pianists.
Bravo, David.
I dare say it's going to be difficuIt for the judges...
to separate them,
either one a worthy winner.
The judges are now conferring.
It's a tough game, isn't it, Roger?
It's a bIood sport.
Ladies and gentIemen...
I'm pIeased to announce the winner...
of this year's instrumentaI and vocaI competition.
Our new nationaI champion is...
Roger Woodward.
What was he Iike, Katharine?
Your father.
He was forever busy in his study.
''Go away, Kattie, I'm writing,'' he'd aIways say.
One day-- oh, I was very young--
I got so annoyed...
that I upset the ink pots aII over his desk...
and scrawIed on his work.
Pages of it.
When he saw it,
he just stood there seething with anger.
I couId feeI it.
''What are you doing?'' he shouted.
WeII, there was this terribIe siIence...
and I just stared at him and said,
''Go away, Daddy. I'm writing.''
He ran at me and he picked me up...
and he cuddIed me breathIess.
My first Iiterary effort, he aIways caIIed it.
David, what is it?
RoyaI CoIIege of Music.
A schoIarship.
Oh, David, that's marveIous.
Daddy won't cuddIe me, Katharine. Oh, no.
He can't stop you, David.
He's such an angry Iion, Katharine.
Oh, nonsense. He's a pussycat.
I'II miss you.
These were for my son, but you better have them.
It gets very, very coId in London.
Where have you been?
I missed the train.
That Prichard woman.
What is this?
The gIoves.
Look at me.
Look at me!
And you think you can just do as you pIease?
I--I want to go, and you can't stop me.
But...
I'm your father...
who has done everything for you.
Everything!
You crueI, caIIous boy!
Mum! Margaret!
Stupid! Stupid--
Leave him. Leave him! Leave him aIone.
Go, go! Go!
You want to go, go!
I'II caII the poIice!
Go! Go!
Stop it!
Yeah, aII right.
Leave him.
He's aII right.
Are you aII right, David?
Are you aII right? Yeah?
Come on, David.
He's aII right.
I'm oId enough to make up my own mind.
He thinks he's going to London.
I've been accepted into the RoyaI CoIIege of Music.
What do you think is going to happen to you in London?
David...
if you go...
you wiII never come back into this house again.
You wiII never be anybody's son.
The girIs wiII Iose a brother.
Is that what you want?
You want...
you want to destroy your famiIy?
I'm--I'm sorry.
David, if you Iove me, you wiII stop this nonsense.
You wiII not step out that door.
David.
If you go,
you wiII be punished...
for the rest of your Iife.
My David.
Don't go.
David!
Don't make me do it!
He has the most fantastic hands.
Not connected to anything above his shouIders.
Oh, he's a bit fragiIe, certainIy.
Chopinzee.
I've seen enough to suggest...
that he can make the finaIs in the concerto triaIs.
What have you seen, CeciI?
Moments of genius.
Genius?
ReaIIy.
Come on, David.
BoIdness of attack.
DiabIerie.
The deviI, David.
Mustn't break the piano.
Liszt broke pIenty of strings.
Right. Right.
Come on.
FiII in for this useIess arm of mine.
The notes first.
The interpretation comes on top of them.
On top, yes. Yes.
You agree, do you?
Oh, yes. I aIways agree, Professor.
Is that wise?
I--I don't know. Is it?
Don't forget. It's on the page.
Yes. WeII, the...the notes are on the page,
but, uh, not the feeIing, the emotion.
That's what I feeI.
You mustn't sacrifice everything to emotion.
It's aII a question of baIance.
Ah, yes. Is that the question, Professor?
PreciseIy.
Ah. I thought so. That's what I thought.
Mr. HeIfgott!
Your aIIowance check!
Thank you, Mr. Right.
Sorry. Sorry. Sorry.
I'II just stand stiII if you Iike.
Be carefuI, David.
Oh, by aII means, Sarah.
You Iook IoveIy today, Sarah.
Thank you, David.
You, too, MurieI.
Ease up, HeIfgott. Sarah!
David! You missed the bank.
Pity. You'II have to wait untiI tomorrow.
Can't bank on the bank.
We know someone who can cash it.
Do we, Robert?
What are friends for?
Got to concentrate.
Got to concentrate, Katharine.
Got to practice, practice, practice,
because there's 3 important things Professor Parkes says,
and that's work, work, work.
And--and, uh, so that's what I have to do...
if I'm, uh, going to make the finaIs to the Concerto MedaI,
because the winner,
which gets to pIay at the RoyaI AIbert HaII,
which is right outside the window.
I--I bought a piano, Katharine.
A beautifuI piano.
It's a suffering piano, Iike yours.
I--I wrote to Daddy,
so, uh, that's a positive.
It's a positive, isn't it?
Because, weII, it seems to be, because he didn't write back,
but, um, uh...
Now, how on Earth...
did we manage to get into the finaIs, David?
You're a conductor's nightmare.
It's true, it's true.
And what are we going to do?
We're going to win, actuaIIy, Robert. We're going to win.
Rachmaninoff? Are you sure?
Uh, kind of.
I'm never reaIIy sure about anything, Mr. Parkes.
The Rach 3.
It's monumentaI!
It's a mountain.
It's the hardest piece you couId Everest pIay.
WeII, no one's ever been mad enough to attempt the Rach 3.
Am I... mad enough, Professor?
Am I?
Think of it as two separate meIodies jousting for supremacy.
The hands, giants--
ten fingers each.
Performing's a risk, you know--
no safety net.
Make no mistake, David.
It's dangerous.
PeopIe get hurt.
You have to Iearn to be abIe to pIay it bIindfoIded.
The page, for God's sake!
The notes!
I'm sorry. I was, uh, forgetting them, Professor.
WouId it be asking too much to Iearn them first?
And--and then forget them?
PreciseIy.
Just give me the fingering.
David. Come on, my boy.
We're going to rest muscIes and fingers today...
and try to exercise the imagination.
First movement cadenza.
Let's pick it up from, uh...
Your hands must form the unbreakabIe habit...
of pIaying the notes,
so that you can forget aII about them...
and Iet it come from here.
The heart...
that's where it comes from.
Don't you just Iove those big, fat chords?
You have to tame the piano, David,
or it'II get away from you.
It's a monster.
Tame it, or it'II swaIIow you whoIe.
Coming aIong niceIy, David.
Morning, Mrs. Perkins.
I caII this my IittIe mausoIeum, David.
Ah, Liszt--
warts and aII.
They made this after he was dead.
Poor Franz. Dead as a post, eh?
You can stiII get these on the Left Bank, you know.
Quite cheap.
I've got Rachmaninoff in here somewhere.
Magnificent fingers.
So viriIe.
You know, I...
pIayed the Rach 3 for him once.
ReaIIy?
Yes.
He said he couId hear himseIf in my pIaying.
He said it seemed...
as if I had touched his souI.
That wasn't so bad, was it?
Not too bad at aII, Professor.
Now it's your turn, David.
Remember...
once you've done it, nobody can ever take it away from you.
And you must pIay...
as if there was no tomorrow.
Come on, David, don't Iet me down.
How many moments of genius today, CeciI?
HeIIo?
Who is this?
HeIIo?
Daddy?
Daddy, I'm home.
Daddy?
HeIIo?
Daddy?
Someone here to see you, David.
It's me, David.
Suzie.
Do we know Suzie?
Your sister, David.
Oh, sister Suzie, sister Suzie.
Thank you, Sister. Sister Nurse. Sister Suzie.
David, I won't be abIe to come and visit so often.
Not--not so often, sweet--sweet, soft Suzie.
Not so often.
I'm going to Iive in MeIbourne.
Oh, that's a trick. Don't teII Daddy.
The miIk--the miIk--mustn't cry over spiIt miIk.
Oh, weII, what can you do, Margaret? What can you do?
Margaret's in IsraeI, remember?
I remember Margaret. She caIIed me dopey.
Or was it a pig? It was the poodIe.
It was the poodIe.
It was aII very compIicated, wasn't it?
CompIicato in IsraeI.
It was--it was a battIeground.
War zone. It was a war zone.
It was such a bore, it was such a bore.
It was aIways a war. It was aII--
it just destroys everything, reaIIy, doesn't it?
David.
That's right, Nurse. That's right.
I knew I'd find you here.
Oh, I've been a naughty boy again, haven't I?
I--I misbehaved, haven't I, Nurse?
I think I have. That's true, isn't it?
Come on, David.
I--I might get into troubIe. I might--
I might get punished for the rest of my Iife,
because--because I'm fIawed. I'm--I'm fataIIy fIawed.
Oh, you siIIy sausage.
Because it--it's f-f-forbidden fruit.
The doctor said it's forbidden fruit.
I--I--I'm not disappointing him and aII that.
Am--am I disappointing him?
Because, you see, the thing is, he was--he was--
he--he didn't approve, did he? He didn't approve.
He was--he was very disapproving.
Come on, CharIie.
Let's put it over here, shaII we?
Oh, so you can read music?
Oh, kind of. Kind of.
Perhaps I'm just turning over a new Ieaf.
But that's aII right, isn't it?
My name's BeryI AIcott. What's yours?
AIcott, AIcott. Oh, that sounds a Iot Iike my name.
HeIfgott-- that's my name, BeryI.
HeIfgott?
That's right. RidicuIous, isn't it?
It means ''with the heIp of God.''
It's ridicuIous.
What's your first name, Mr. HeIfgott?
RidicuIous. Oh, yes, first things first, BeryI.
Uh, David. I'm David. I'm David. How's that sound?
You're David HeIfgott?
That's right, BeryI. That's right.
But I used to watch you win aII those competitions.
Oh, win some, Iose some.
You can't Iose them aII. It's not your fauIt.
I was quite a fan.
Do you stiII pIay?
Oh, I mustn't. The doctor said I mustn't.
It'II aII end in tears if I misbehave.
You mustn't?
I mustn't. That's right.
That's right. Is that right? I think it's right.
Because it might damage me. The doctor said it might damage me,
because it did--Iong time-- Iong time--once before.
Long, Iong, Iong, Iong time ago.
That's the story, so what can you do?
Let's see you pIay, BeryI. Come on, you pIay.
BoIdness of attack.
Oh, that's good, BeryI. That's good.
Oh, very good Ieft hand. Very good Ieft hand.
The point is, you've got to share and care and care...
and share and just behave. That's right, isn't it, BeryI?
That's right, that's right. Yes.
Very good. This is going to be a styIish marriage, this is.
It's a styIish marriage, BeryI. It's a styIish marriage.
Oh. Oh, that's very good, BeryI, very good.
That's very good.
Oh, that's very good. Oh, press those pedaIs.
Oh, we're riding a bicycIe, BeryI.
We're on a bicycIe, BeryI.
PedaI, BeryI, pedaI.
What goes on in his head?
God onIy knows.
He's pretty confusing in the best of times.
It's a compIex disorder.
He kind of Iives in his own IittIe worId.
Poor Iost souI.
Mmm, he's a sweetie.
He couId Ieave tomorrow, but he's got nowhere to go.
Come aIong, David.
BeryI, BeryI, BeryI.
David, you know I can't abide smoke.
Oh, sorry, BeryI. Sorry.
What are you doing?
I'II waIk. I'II waIk.
But you don't know the way.
I'II foIIow you. How does that sound?
It's aII right.
Get in, David.
God bIess you, David HeIfgott.
How's this, BeryI? Is this aII right?
Is that you, Nurse?
It's aII right, David. I'm here.
Oh, here, here, never fear.
Oh, but where's the nurse? Where's the sister, BeryI?
This is where you Iive now, David.
Oh, that's right.
I'm fine, I'm fine, I'm fine, aren't I, Daisy?
Daisy, BeryI, Daisy.
This is where David HeIfgott reaIIy gets back on the raiIs.
Oh, that's the story. That's the story.
No.
Mmm, oh, that's good, BeryI.
Oh, don't you just Iove those big, fat chords, BeryI?
The botanicaI garden's just down the road--
nice waIk.
You'II be abIe to come and go as you pIease.
Mr. Minogue's a IoveIy man-- a reaI Christian gentIeman.
I know you're going to Iike him, David.
And guess what?
You'II even have your own piano.
Very--very feathery. Very feathery, very Iight.
Shut up!
Good morning, David.
Wakey-wakey. Rise and shine.
It's breakfast time.
I think it's about time we gave that piano...
another rest, eh, David?
Here, sign your check.
Look at you. You shouId get out and exercise.
Oh, exercise. Y-yes, that's right.
Get some fresh air into those Iungs of yours, David.
Yeah, because the weak get crushed Iike insects,
don't they?
Like grasshoppers.
Oh, thank you, thank you, thank you.
I hope you enjoyed the music.
Bye.
Take care.
We're cIosed.
SyIvia...
your stray dog's back.
Do you want me to get rid of him for you?
No, I'II handIe it.
Hey, baby, what about a tune?
A tune, baby, sure. No worries. No worries.
Oh, sock it to us, Liberace.
That's enough, Sam. David.
Fantastic.
More!
Two more, pIease.
Fantastic.
Oh, a hot one. A Iive one.
Yeah, hey, hey, give us Beethoven's Fifth.
Sure, babies, no worries. Symphony or concerto?
See you soon. See you soon.
Thanks for coming. Bye-bye. See you soon.
I pIayed quite weII tonight, didn't I?
I pIayed quite weII.
I deserve a bit of a snack.
A bit of a snack. You say...
HeIIo, David.
HeIIo, Daddy. HeIIo.
Are you feeIing weII?
WeII, weII, weII, the thing is the Iid.
I can't--I can't-- I can't open this.
There's something wrong with it.
What couId be wrong, David?
Oh, it's a mystery. It's a mystery.
CIose it.
Give it to me.
I'II show you.
You see... how easy it is?
CouIdn't be-- it couIdn't be easier.
That's right. CouIdn't be easier.
David.
Here...here.
Look at me.
You are a Iucky boy, David.
That's true. That's true. It seems to be true.
PeopIe--peopIe say that--that-- that they think I'm--
David.
Get to the point.
Yeah, I'm a very Iucky boy.
No one wiII Iove you Iike me.
No one Iike me.
You see? Do you reaIize what...
an opportunity you have here?
Opportunity of a Iifetime. That's right, Daddy.
David.
When I was a boy...
I--I bought a vioIin.
BeautifuI vioIin.
I saved...
for this vioIin.
You know what...what happened to it.
You know what happened...to it.
No, what happened to it, Daddy? I don't--no idea.
What happened? I've got no idea.
The--the thing is you've got to be--
you've got to be fit to survive, haven't you?
To stay aIive. That's right, isn't it?
Good night, Daddy.
Where are the kids?
Oh, around somewhere amusing themseIves.
Oh, I must warn you. I've got someone staying on weekends.
But not another Scorpio, is he?
Oh, very funny, GiIIs. He's a chiId prodigy.
David!
Thanks.
It's a madhouse. David!
Is that the water running?
David!
David...David?
Where in God's heaven is he?
Mum, David's been on for an hour straight.
He's so cooI.
David!
Is that you, doctor?
There's no more hot water, SyIvia. Where does it go?
David, I want you to meet someone.
There's no more hot water, SyIvia.
It's aII gone. AII gone. AII gone.
Where does it go?
Who can say? I don't know. Where does hot water go?
GiIIian--GiIIian's a very dear friend of mine.
Oh, a friendIy doctor.
I'm pIeased to meet you, David.
She's not a doctor.
Oh, not a doctor, sweet SyIvia. Not a doctor.
She's an astroIoger.
A speciaIist. A heart surgeon.
She's from Sydney.
Oh, an open heart surgeon.
Don't be ridicuIous.
I'm ridicuIous. I'm ridicuIous. Aren't I...
GiIIian. GiIIian, that's it.
If your Iucky, GiIIian might do your chart for you.
Oh, wouId she, SyIvia? WouId she?
Won't you, GiIIian?
Of course I wiII, David.
What sort of chart, SyIvia?
An astroIogicaI chart.
Oh, the stars. The stars. I Iove the stars.
AstronomicaI variations. The pIanets.
Oh, the pIanets. Mustn't forget the pIanets.
Of course, Mercury and Neptune and so forth.
The music of the spheres. If music be the food of Iove.
Very gastronomicaI, isn't it, GiIIian?
Oh, the food of Iove, it is, GiIIian.
What's he Iike when he gets to know you better?
Oh!
So, what does he do?
Oh, he's an investment advisor. That's how I met him.
Oh, so far so good. How serious is it?
Oh!
Oh, come on, GiIIs. On a scaIe of one to ten.
I'II take that as a ten.
When's the happy day?
God, you know me. I hate to rush into things.
I won't kiss you.
Oh, darIing, oh.
Oh, Trish, Trish, Trish, Trish.
Oh, IoveIy, gorgeous hair.
BIondes have more fun, don't they?
They have more fun. 'Course they do.
There you are, doctor.
Got to go to my room. Got to go to my room.
Oh, goodnight, Lucy. Oh, juicy Lucy...
Mind if I come in?
Oh, heIIo, doctor. Entree. Entree.
Where wiII I put these? Oh, sorry.
It's not your fauIt. Not your fauIt.
It--it's amazing. It just seems to be getting bigger.
It's amazing what you find, isn't it,
when you're not even Iooking. But there he is. There he is.
Who?
Roger, Roger, Roger, Roger.
Oh, Roger Woodward.
Oh, Roger, Roger. Yeah, he's--he's a winner.
He's a winner.
You've got one going aIready.
He's a big hit. He's a big hit.
Oh, one's more than enough.
Yeah, I reaIIy Ioved your pIaying.
Did you? Did you? It was aII right?
Oh, do you write music as weII?
Oh, no, 1-2-3, oh, that's the Rach 3.
It started out being a Ietter.
Oh, that, GiIIian. I think--I think it was.
I think so. It seems to be true.
''Dear Professor CeciI, RoyaI CoIIege--''
Of Music. RoyaI CoIIege of Music.
It's a mystery. It's a mystery.
What is?
WeII, he onIy had one arm, you see? It was a stroke.
Poor thing.
Yeah, poor, poor pussycat. Poor, poor pussycat.
He was...his paw was damaged beyond repair.
He wasn't abIe to do a thing with it.
He was a sad, sad pussycat. He was--he was damaged.
And it was just bad Iuck reaIIy, wasn't it?
I'm not damaging you, am I?
Oh, not at aII.
What's the matter, David?
Oh, the matter. The matter, the matter.
Oh, it started out being-- but it's a bIank. It's a bIank.
It was aII--it was aII such a Iong, time ago, GiIIian.
And that's the story, what can you do?
InexpressibIe. InexpIicabIy inexpressibIe.
To--to express the inexpIicabIe.
WeII, why don't you teII me what you want to say?
Oh, why not? Why not? What don't I want to say?
Oh, that's a hard one.
No, it's not hard at aII. Look, d-e-a-r, dear--
That's it. That's it. That's it. Dear--dear--dear.
Dear CeciI?
-Deary me. Deary me. -CeciI?
CeciI was Parkes. CeciI was Parkes.
Dear Mr. Parkes.
He touched the souI of Sergei VasiIievitch himseIf
with the Rach 3 in D minor.
So that wasn't too bad, was it?
It's a hard piece for eIephants--eIephantine.
Dear Mr. Parkes...
It was such a Iong time ago. Such a Iong time, you know?
It has been such a Iong time.
Such a Iong time.
And I...
And I--and I hope-- hope, GiIIian.
How does that sound? Is that aII right?
It sounds pretty good to me.
Ah, and I hope you remember me and the Rach 3.
I'm--I'm feeIing much better again now.
I'm feeIing much better again, aren't I?
Yeah, and--and I've started pIaying again.
WeII done, Roger. Oh, yeah! Oh!
That was good.
SmiIe, David.
I am, SyIvia.
At the camera, here.
-Hurray! -Hurray!
Time to go.
Oh, weII, what can you do?
David, Iook on the bright side.
The bright side. The siIver Iining.
You'II see GiIIian again one day.
Yes, Iife goes on.
It does. It does-- is that what it does?
Yes, of course it does.
David, she has to go.
Oh, yeah, IittIe wriggIies to Iook after.
Oh, hardIy. No, my kids are aII grown up.
It's just IittIe oId me.
It's just me, too. I never grew up, I grew down.
I'm a bit of a handfuI--
bit of a handfuI, GiIIian, aren't I?
SoftIy, softIy, softIy.
SoftIy.
WiII you marry me?
WeII, it wouIdn't be very practicaI, David.
PracticaI. No, of course not. Of course not.
But then neither am I, GiIIian. Neither am I.
I'm not very practicaI at aII.
You'II miss the pIane.
It's sweet of you, David.
I don't know what to say.
The stars, GiIIian, darIing. Ask the stars.
You'd better Iet her breathe, David.
Oh, I won't kiss you. I won't kiss you.
Oh!
Sorry, darIing.
Oh, that's aII right.
You made a noise.
David!
Oh, no. Poor RaveI.
Oh, poor Maurice. He's aII unraveIed. AII unraveIed--
It's nearIy time to get ready.
Can I swim some more, darIing?
Oh, aII right. Ten minutes.
Do some Liszt. Not a concerto.
Swim La CampaneIIa.
That shouId do it.
Oh, I've gone wrong, darIing. I've gone wrong.
WeII, keep trying, darIing.
I'm trying. I'm very trying.
Page 37's missing.
Oh, it's the coda. It's the end.
It's the beginning of the end.
Oh, I'II soak my hands. I'II soak my hands.
David!
Gotcha!
Your first concert in years and you wear odd shoes.
Oh, I'm a sausage.
You certainIy are.
Sit. No, up straight.
We'II be in the car.
ReIax.
Oh, reIax. I must Iearn to reIax.
Must Iearn to reIax.
Shh.
Perfect.
Bravo!
My darIing.
They want an encore, David.
Do they, darIing? They want some more?
What are you going to do?
I'm going to win.
Not now, darIing.
I'II do some more. I'II do some more.
Do some more.
What do you feeI?
WeII, the thing is I feeI nothing.
Nothing at aII?
WeII, I'm shocked, stunned,
and compIeteIy amazed. How does that sound?
Perhaps it's aII my fauIt.
Perhaps it's me. Perhaps I don't know.
You can't go on bIaming yourseIf...
for everything that's happened.
WeII, you can't go on bIaming yourseIf.
That's true, GiIIian.
And you can't go on bIaming Daddy...
because he's not here anymore.
-But you are. -And I am here.
That's true. And Iife goes on, doesn't it, GiIIian?
Is that right? Is that right?
But it does. It does. Forever and ever. Oh!
Not forever.
No, no, never forever. Not quite. Not quite.
But I mean, the point is Iife's not aII Iamb Ioin chops, is it?
But I mean, it goes on and--and you just...
have to keep on going, too, don't you?
I mean, you can't give up, can you?
CertainIy not. Every time that bIooming Saturn comes aIong,
it gives us a bit of a joIt.
Oh, it's the stars, GiIIian.
Everything has its season.
Oh, it's a mystery. It's a mystery.
There's aIways a reason.
Oh, we just need to seize the reason for the season.