FOOD OF LOVE
Dialogue list
A feature film script by
Ventura Pons
adapted from THE PAGE TURNER
by
David Leavitt
RGPI number B-45047. All rights reserved. This script is strictly confidential
and cannot in any case or circumstances be distributed without previous
authorisation.
© ELS FILMS DE LA RAMBLA, S.A.
SAN FRANCISCO AUDITORIUM CORRIDORS AND STAGE WINGS
(CAL)
PAMELA: Let me just tighten the knot, honey, you don’t want a
loose knot for your debut...
PAUL: Mother. It’s not my debut.
PAMELA: If you sit up on a stage in front of a thousand people, I
consider it a debut. There, much better.
PAUL: That’s good enough.
PAMELA: Okay. Just one little adjustment...
PAUL: Mother, that’s good enough!
JOSEPH: Well, well, you’re the best-dressed page turner I’ve ever
seen. Come on, I’ll introduce you to Kennington.
PAMELA: Good luck, sweetheart! Break a leg! I’ll see you after
the concert.
SAN FRANCISCO AUDITORIUM DRESSING ROOM (CAL)
JOSEPH: Good evening, folks. Richard, I’d like you to meet Paul
Porterfield, your page turner.
RICHARD: Pleased to meet you, Paul Porterfield.
PAUL: Thank you, sir. It’s an honour for me. I’ve always been a
great admirer of yours.
RICHARD: Very kind of you to say so.
TUSHI: I’ve never seen such a well-dressed page turner before.
RICHARD: So what are you working on, Paul?
PAUL: Kreisleriana right now. Olga Novotna is my teacher, by the
way. She says to send you her best regards.
IZZY: Old Olga! Isn’t she dead yet?
PAUL: No sir, she is not.
TUSHI: Kessler wrote the Second Symphony for her.
RICHARD: So, we’d better go through the programme. We start
with the Brahms...
PAUL: A wonderful choice, sir, if I may say so.
RICHARD: I’m glad you approve. Then there’s the Archduke. No
problems there. And if the audience behaves and we decide to do an encore, it’ll
be the Schubert B-flat rondo. I presume you’re familiar...
PAUL: I own your 1993 recording with DeLaria and Miss Strauss.
RICHARD: Goodness, you have done your homework. You
know. It isn’t often that I get such a gung-ho page turner. In Ravena once I had
an old lady called, if you can believe it, signora Mozzarella. Charming but
palsied.
JOSEPH: Signora Mozzarella is legendary in the land of Dante.
RICHARD: Page turning is an art in its way, I suppose. Well, I
guess I’m ready. Izzy, you ready?
IZZY: For anything, any time, Richard.
SAN FRANCISCO AUDITORIUM STAGE WINGS (CAL)
JOSEPH: Just have a good time out there. Only be sure not to turn
two pages by mistake. Richard slapped a page turner for that once.
PAUL: Don’t worry. I’ve been practicing with my mother.
JOSEPH: Ah, your mother. I imagine she’s taken her seat.
PAUL: I hope so.
JOSEPH: So what are your plans, son? Hoping to make a career of
it?
PAUL: Not hoping, I’m intending.
JOSEPH: You must be very good indeed.
PAUL: Miss Novotna says I’m the most promising student she’s
had in years.
JOSEPH: Then I guess it’ll be the C track. Conservatory,
competitions, concerts.
PAUL: Well, I think that’s jumping ahead of things a bit. But, I do
intend to go to Julliard, if I’m accepted.
JOSEPH: Here, keep this. Come play for me if you like. I’ve got a
piano in my suite at the Clift.
PAUL: Yes, sir. Thank you, sir.
JOSEPH: Or we could have a drink. That is, if you’re old enough
to drink.
PAUL: Not legally.
JOSEPH: A Coke then.
SAN FRANCISCO AUDITORIUM BATHROOM (CAL)
VOICE: Maestro Kennington, Maestro Kennington. To the stage
please!
SAN FRANCISCO AUDITORIUM STAGE WINGS AND CORRIDORS
(CAL)
PAUL: I’m sorry to interrupt you. I just wanted to say I think you
played splendidly tonight.
RICHARD: Thank you.
PAUL: I’ll never forget it, not for the rest of my life. I’m sorry, I
nearly missed one turn during the encore.
RICHARD: It was nothing. You were perfect. Flawless, even.
PAUL: I appreciate that, sir, even if it isn’t true.
RICHARD: Please, don’t call me sir. I’m not that old.
PAUL: Well, what can I say? You’re a role model to me, Mr.
Kennington.
RICHARD: Richard.
PAUL: Richard.
RICHARD: Wouldn’t you agree it’s really much nicer to be called
by your actual name?
PAUL: Well... I’d better be going. Say, good luck with the rest of
your tour. And thank you. Again.
RICHARD: Thank you. You know, in a way, I’m sorry you have
to go.
PAUL: Why?
RICHARD: Well, I thought maybe we could go for a drink or
something.
PAUL: A drink? But, surely, people are taking you out !
RICHARD: No, no one is.
PAUL: Well, see, I’m here with my mom, and I don’t have a ride
home. You know, I couldn’t...
RICHARD: That’s fine.
PAUL: It’s not that I don’t want to... you know...
PAMELA: Paul!
RICHARD: Well, you could always get a taxi. I mean, I’d be glad
to...
PAMELA: Paul!
RICHARD: Goodbye Paul.
PAMELA: Darling, I’m so proud of you! You were wonderful!
PAUL: Mom, please...
DIANE: Say, cheese!
PAMELA: Cheese!
OLGA NOVOTNA’S SITTING ROOM (CAL)
OLGA: And now you are off to Spain. Oh, my dear, how I envy
you.
PAUL: I promise to send you a postcard from every city I go to.
OLGA: You are young, and you deserve it... and yet age has its
pleasures too. First they crown you a young king, and then you turn thirty and
find you can do no right with them, and when years have passed of struggle
and disappointment, suddenly you find yourself an old man, and the crown on
your head again. Kennington may be going through it now.
PAUL: But he’s a great pianist.
OLGA: Every great artist is a vampire, Paul. Remember that.
Vindication is sweet, my dear. This old lady has probably tired you enough for
one day. Say hola to Gaudí from an old friend.
PORTERFIELD HOUSE SITTING ROOM (CAL)
PAUL: Mom? Dad? Mom? You all right?
PAMELA: He’s not coming. Your father is having an affair. He has
been for years. It all came out this afternoon. I have the feeling he’s just been
bursting to tell. So now the plan is that you and I, we go off by ourselves like
nothing’s happened, and he and the woman shack up stateside, nice and cozy,...
What a bastard. What a bastard. Fucking, fucking bastard.
PAUL: Mom, mom, please, mom, don’t do that.
PAMELA: Well, well.
PAUL: What are we going to do?.
PAMELA: What are we going to do? Go. Do you think I want to
sit arround here and watch? He’s the past.
CAFE (BCN)
WAITER: ¿Qué será?
PAUL: Un cortado, por favor.
WAITER: Un cortadito bien caliente.
PAUL: Si. Gracias.
WAITER: ¿Alemán?
PAUL: Americano.
WAITER: Ah. Where are you from?
PAUL: California.
WAITER: Ah, California. Beautiful girls, eh?
PALAU DE LA MUSICA (BCN)
PAUL: Shit. Yesterday?
PAMELA’S ROOM HOTEL NORI (BCN)
PAMELA: Oh, Paul. Oh, sweetheart. Where have you been? I was
so scared.
PAUL: I took a walk.
PAMELA: The bathroom has been a real adventure. The hot water
was on the side that the cold water was supposed to be on. And then to make
things even more confusing, the hot side said C and the cold side said F.
PAUL: Frio y caliente.
PAMELA: Right, and caliente means cold?
PAUL: No, caliente means hot.
PAMELA: Basically it was cold. Lukewarm at most. And then,
you know, there’s no tub, there’s just this sort of showerhead thing on the wall
and a kind of drain on the floor. I mean, I practically flooded the place in
there.... Anyway... Are you hungry?
PAUL: Not really. You?
PAMELA: Well, we should eat. You know, we have to adjust to
the schedule over here, and I think probably the best way to do that is to, like,
pretend we’re not tired, when we are tired, and that we’re hungry when we’re
not hungry.
PAUL: You go.
PAMELA: You mean alone?
PAUL: You eat. I’m exhausted.
PAMELA: Oh, Pauly, I...
PAUL: Mother, let me just make one thing clear. I’m happy to be
with you, but if we’re going to get along, you have to give my space by myself.
I’m eighteen now. I’m an adult.
PAMELA: I know that, Paul. I know that, sweet... Listen, the last
thing I want to be to you is a burden; but, honey, it’s our first night, I don’t
understand this money, and your Spanish is so good...
PAUL: Just go downstairs and have supper in the hotel restaurant.
The waiters speak excellent English and they’ll put your charges on the hotel
bill. I have to sleep.
PAUL’S ROOM HOTEL NORI (BCN)
VOICE: Hotel Claris.
PAUL: Hello. Can I speak to Mr. Kennington?
VOICE: I’m sorry. He is not in this hotel.
PAUL: Ok, thank you. Hotel Colon...
OTHER VOICE: Hotel Colón. ¿Dígame?
PAUL: Hello. Could I speak to Richard Kennington, please.
OTHER VOICE: One moment.
RICHARD: Hello?
LOBBY HOTEL COLON (BCN)
PAUL: Hi. Buenas tardes. I’m here to see Mr. Kennington.
CONCIERGE: May I ask your name?
PAUL: Porterfield. Paul Porterfield.
CONCIERGE: Mr. Kennington?
RICHARD’S ROOM HOTEL COLON (BCN)
PAUL: It’s realy very nice to have invited me up here. Believe me,
I never expected it.
RICHARD: Why not?
PAUL: You must have better things to do.
RICHARD: Not really.
PAUL: But what about your tour?
RICHARD: It’s over. As of this morning, I’m officially on
vacation.
PAUL: Still, you must know lots of people in Barcelona.
RICHARD: No.
PAUL: When I saw your poster, and I saw that I’d missed your
concert by just one night, I couldn’t bear the bad timing of it.
RICHARD: The page turner from San Francisco. How old did
you say you were?
PAUL: I didn’t. I’m eighteen.
RICHARD: Eighteen.
PAUL: When you were my age, you were on your second
European tour.
RICHARD: I was very bad in those days, always threatening to
hurt myself. Once I put my right hand into the garbage disposal and threatened
to turn it on.
PAUL: Why did you do that?
RICHARD: To scare people. You must be very tired after your
long flight.
PAUL: Not so tired that I wouldn’t have hurried over to see your
concert had it been tonight.
RICHARD: You know, when I get off a long flight, there’s nothing
I like better than a good backrub.
PAUL: And if you do...
RICHARD: Do you want me to give you one? Okay. Come on. Sit
on the floor. That’s right. Too deep?
PAUL: No. The thing is, I’ve never actually had a backrub before.
You’ve got big hands. Me, I’ve only got smallish hands.
RICHARD: Let’s see. Mine’s not much bigger.
PAUL: Your forefinger’s got to be half an inch longer than mine.
Anyway, get back to your Chopin...
RICHARD: Don’t you talk about anything except music?
PAUL: Sure..., lots of things.
RICHARD: Well, let’s make a deal. Let’s not talk about music
anymore, at least not today.
PAUL: Fine.
RICHARD: Okay. So, tell me about yourself. If we’re going to be
friends, it hardly seems fair that you should know so much about me when I
don’t know anything about you.
PAUL: Well, what do you want me to tell you?
RICHARD: Anything you like.
PAUL: Ok,... I lived in Boston until I was eight. Then we moved
west. And my father owns a printing company. My mother... she’s a housewife,
and she also does volunteer work.
RICHARD: Brothers and sisters?
PAUL: One of each. They’re older than me, and they’re married.
RICHARD: And are you... married?
PAUL: Of course not! I’m only eighteen!
RICHARD: You must have a girlfriend.
PAUL: No.
RICHARD: Boyfriend? Okay, now that I’ve interrogated you, you
can ask me any questions you like.
PAUL: Okay... Well, I know that you’re not married. Do you have
a girlfriend?
RICHARD: No.
PAUL: Oh.
RICHARD: Why do you sound so surprised?
PAUL: Well, I assumed that you and Miss Strauss were...
RICHARD: Tushi? No. There. That’s good, you’re loosening up.
Look, get up. Lie on the bed. Then I can give you a proper massage. You can
leave your clothes on the chair.
PAUL: My clothes!
RICHARD: Well, I can hardly massage you through your clothes,
can I?
PAUL: What’s so funny?
RICHARD: Those pants remind me of something my grandfather
would have worn.
PAUL: What’s wrong with them? They’re comfortable. I’ve always
preferred a more classic style of dress.
RICHARD: You’re quite right to be sensible. You know... Sorry if
I’ve embarrassed you.
PAUL: You haven’t embarrased me.
RICHARD: Okay. You’d better take your T-shirt off too.
PAUL: Yeah, I was going to.
RICHARD: Okay.
PAUL: Where do you want me to lie down? You have a
comfortable mattress.
RICHARD: Do you think so? You’re quite welcome to sleep on it
any time you like.
PAUL: It’s okay. I have my own room! Not as nice as this one, but
there’s a window... ah, that’s cold!
RICHARD: It’ll warm up in a second.
PAUL: Miss Novotna once told me that there was this...
RICHARD: Just relax. You’re never going to learn to play Chopin
until you learn to relax.
PAUL: Okay.
RICHARD: Okay. That’s good. That’s better. You’re shivering.
You’d better get under the covers.
PAUL: Look, I think you may have misunderstood..., or maybe I
have.
RICHARD: Misunderstood what?
PAUL: Why I came here.
RICHARD: Why did you come here?.
PAUL: To see you. Not because... How do you know what you’re
like if you haven’t done anything?
RICHARD: You can’t.
RICHARD’S ROOM HOTEL COLON (BCN)
RICHARD: You all right?
PAUL: I’m fine.
RICHARD: But you didn’t...
PAUL: It doesn’t matter.
RICHARD: Don’t you want to take a shower?
PAUL: I’m okay. I don’t need one.
RICHARD: Paul, slow down. There’s no need to rush.
PAUL: I’m tired. More tired than I’ve ever been.
RICHARD: Why don’t you just sleep?
PAUL: I have to get back. My mother will be worried.
RICHARD: Are you sharing a room?
PAUL: No.
RICHARD: Then how is she going to know?
PAUL: You haven’t met my mother. She probably checked
downstairs to see if the key’s in the box. Wallet, watch, keys. Except tonight I
don’t have keys. So, thank you. Good night.
RICHARD: Paul...
PAUL: I’ll never forget this evening...
RICHARD: Let me just ask you one thing. Did I make a mistake? I
mean, did I lead you into something that you weren’t ready for?
PAUL: No, of course not.
RICHARD: Only I assumed, you know, when you came here, that
this was what you came here for.
PAUL: I don’t know why I came here.
RICHARD: I understand.
PAUL: You do realize, that I love you.
RICHARD’S ROOM HOTEL COLON (BCN) & JOSEPH’S APARTMENT
(NY)
RICHARD: Hello?
JOSEPH: I’ve been trying to reach you all night. Were you at
dinner?
RICHARD: No, I was just taking a walk.
JOSEPH: Oh, that sounds nice. I’m afraid I have some bad news.
Sophie’s not doing too well.
RICHARD: What’s wrong?
JOSEPH: She was having trouble breathing, so in the afternoon I
took her over to Dr. Wincote, who thinks it’s... you know, time to put her to
sleep.
RICHARD: I’m so sorry, Joseph.
JOSEPH: Most of the day she just lies around and seems peaceful.
So for the moment, I’ve decided to wait. Do you think it’s the right decision?
RICHARD: As long as she’s not in any pain.
JOSEPH: That’s my feeling, too. Well, and how are you doing
over there?
RICHARD: Just relaxing.
JOSEPH: Oh, by the way, I got an e-mail from the Palau people.
They were thrilled, they want you back next year.
RICHARD: That’s great.
JOSEPH: I hope that you’re not intending to skip that dinner
tomorrow with Mr. Batista.
RICHARD: What do you mean, skip it?
JOSEPH: I only want to stress, as your manager, the importance of
this dinner in terms of your career. After all, that’s my job.
RICHARD: I know it’s an important dinner.
JOSEPH: Okay, so long as that’s clear. Not much other news from
here. Oh, except, yes, I had dinner with Tushi. She has a new young man. A
doctor.
RICHARD: Handsome?
JOSEPH: And twenty-seven. When are you flying back?
RICHARD: Saturday, I think.
JOSEPH: You will be back by the fourteenth, won’t you?
RICHARD: Of course.
JOSEPH: I just wanted to make sure... Well, sweet dreams. I miss
you.
RICHARD: I miss you, too.
JOSEPH: I love you.
RICHARD: I love you, too.
JOSEPH: Good night, darling.
RICHARD: Good night. Dear Paul: I have left your mother. I am
in love with Muriel Peat, from the office. We plan to marry as soon as we obtain
our divorces. I hope that you can forgive me. Please look after your mother.
With love, Dad.
SANTA MARIA DEL MAR CHRUCH (BCN)
PAUL: Listen to this. "Santa MarÌa del Mar is the most perfect of
the Catalan gothic churches. It was built between 1329 and 1384 in an age in
which great significance was given to the conquest of new colonies..." .
PAMELA: In America?
PAUL: That was one and a half centuries later, Mom.
PAMELA: So they took a long time.
PAUL: "The church became a symbol of the power of the new
mercantile aristocracy, which is why it was given the nick-name of the the
Cathedral of the Sea." It must have been marvellous in it’s time.
CARRER MONTCADA (BCN)
PAUL: I’m trying to find where the Picasso Museum is.
PAMELA: Oh, sweetheart. I’m sorry. Could you, could you get a
newspaper from that little store?
PAUL: Newspaper? From that one?
PAMELA: Herald Tribune...
PAUL: Okay.
GYPSY: Vamos a ver. Buenos días. ¿Un clavel?
PAMELA: I don’t speak Spanish! I’m sorry.
GYPSY: Si está muy guapa. Guapa. Mira, España.
PAMELA: Please. Leave me alone. Please. Paul! Paul!
PAUL: Thank you.
GYPSY: Venga, vámonos.
PAMELA: Oh my god!
RICHARD: Vete. Vete. Lárgate.
GYPSY: Hijo puta. Mala puñalá te den. Mala puñalá te den. Anda ya.
RICHARD: Lárgate. Your purse.
PAMELA: Oh, thank you.
RICHARD: Is everything in order?
PAMELA: I think so, yes. Oh, thank you so much. I can’t tell you
how grateful I am... Oh! Oh....
RICHARD: Have we met before?.
BAR CARRER MONTCADA (BCN)
PAMELA: I had everything in it. You know, my credit cards, my
traveler’s checks. We’re travelling alone. My husband and I are separated.
RICHARD: Right.
PAMELA: What a coincidence! I mean, at breakfast this morning
Paul just told me that he saw a poster for your concert.
CARRER MONTCADA (BCN)
RICHARD: So.
PAMELA: You have let us take you to lunch. To thank you.
RICHARD: On the contrary, you must let me take you to lunch.
Come on.
PAMELA: But that’s ridiculous...
RICHARD: You know... I insist.
PAMELA: But there’s no reason at all.
RICHARD: Exactly.
PAMELA: Well listen. How about we go to lunch and then decide
who pays? Does that sound all right?
AGUA RESTAURANT (BCN)
PAMELA: What an exciting life you must lead! You know,
travelling all time and...
RICHARD: The funny thing is, I’ve probably been here about a
dozen times, and I’ve hardly done any sightseeing at all.
PAMELA: Right.
RICHARD: But this time, this time I’ve decided to stay on for a
bit. Do you know I’ve never even been to the Sagrada Familia?
PAMELA: You know what? You should have Paul show you
around. He’s a wonderful tour guide, aren’t you, honey? You know, this
morning we did Santa Marina...
PAUL: Santa María.
PAMELA: Santa María. You know, we’re only here a week
unfortunately. And then after that we go to Granada.
RICHARD: You’re a student of history as well as the piano, are
you?
PAMELA: Sweetheart, you really should take
Mr. Kennington around this afternoon. Show him the sights. You know, I really
have to get something done about my hair. I’ve been staring at all these chic
Barcelona ladies all morning, and, oh, I feel like a frump. But you know, what
about it? You two.
PAUL: Don’t you think you ought to ask if he wants to be taken
around?
RICHARD: Actually, I’d love it.
PAMELA: Wonderful, that’s settled then.
RICHARD: Yeah, that sounds great. In fact, I have nothing
scheduled for the rest of my life.
PAMELA: Yeah, right.
LOBBY HOTEL COLON (BCN)
RICHARD: The hairdresser they recommend is really very good.
PAMELA: Good. Such an elegant lobby! The place we’re staying
in is very simple. But it’s characteristic, though, eh, Pauly?
CONCIERGE: Shall I accompany your guest now Mr.
Kennington?
RICHARD: Yes, yes, that’s... Pamela, the concierge will take you.
PAMELA: Oh, oh. Wonderful. Right. Okay.
RICHARD: See you later.
PAMELA: Yes. Bye. See you later, honey.
PAUL: Good-bye!
PAMELA: Thank you.
RICHARD: Pamela! Seven o’clock, Plaza Real.
PAMELA: Have fun!
RICHARD: Look, I’m sorry about that, obviously I never intended
to....
PAUL: It’s okay. I’m afraid my mother’s a bit of a hysteric.
RICHARD: The thing is, well I wanted to give you this.
PAUL: Oh.
RICHARD: I have to admit, I’ve read it, just to see what it was
about. Look, Paul, if I’d realized that you were under such pressure, then...
PAUL: Am I under pressure?
RICHARD: Well, if I’d realized, I wouldn’t have been quite so
agressive. About the sex, I mean.
PAUL: You don’t need to explain.
RICHARD: I lost control of myself, and then I let lust get the
better of me. For which I’m sorry.
PAUL: Apology accepted, but it’s not necessary.
RICHARD: I’m glad I found you again.
PAUL: So am I.
RICHARD: Oh, you are?
PAUL: Of course. You can’t be surprised.
RICHARD: No, I... actually, I am a bit. Surprised and happy. So,
what do you want to do this afternoon? You know, we could go and see the
Gaudí or... we could go up to my room.
RICHARD’S ROOM HOTEL COLON (BCN)
PAUL: We’re late. My mother will be worried.
RICHARD: Relax.
TERRACE PLAÇA REIAL (BCN)
RICHARD: Pamela! Sorry we’re so late. We just got so caught up
in seeing things...
PAMELA: Oh, don’t worry, I’m fine!
RICHARD: That’s gorgeous.
PAMELA: Oh, do you like it? Well, I have you to thank for it. And
how was Pauly, did he treat you okay?
RICHARD: Oh yeah, Paul... Paul was stunning.
PAMELA: He’s very knowledgeable, isn’t he? Well, I had an
absolute ball. After my hair I got a manicure and then a pedicure, and then I
bought myself this new outfit. Cost an arm and a leg, but that’s what your
father’s credit cards are for, right, Paul?
HALL AT JOSEPH’S APARTMENT BUILDING (NY)
HECTOR: Afternoon, Mr. Mansourian. Everything okay?
JOSEPH: I’m afraid not, Hector. Sophie’s passed on.
HECTOR: Oh, I’m sorry to hear that, sir. She was a nice dog.
JOSEPH: Thank you.
HECTOR: I know what it’s like. You know, a couple of years ago
my mother lost her dog. It was very upsetting.
JOSEPH: It always is. You love them like children, you know?
HECTOR: I know, sir. I know.
JOSEPH’S APARTMENT LIVING ROOM (NY)
JOSEPH: Did you give him the message? Joseph Mansourian.
Thank you. Good afternoon.
JOSEPH’S LIVING ROOM APARTMENT (NY)
JOSEPH: So, where are you from?
HUSTLER: Kansas City.
JOSEPH: Been in New York long?
HUSTLER: About fifteen years.
JOSEPH: I’m from New York. Queens, actually.
HUSTLER: I don’t know about you, but I’m kind of hot. Do you
mind if I take off my shirt?
JOSEPH: Feel free. Very nice.
HUSTLER: Mind if we take care of the money first?
JOSEPH: Oh, of course not. Excuse me. So you said two hundred
dollars for an hour, is that right?
HUSTLER: Yeah. Plus twelve for the taxi.
JOSEPH: Now, let’s see, twenty, forty, sixty, eighty. Oh, I don’t
believe it. This never happens. Let me... Eighty-four dollars. But that’s not
possible! I only got the money this morning! Oh, of course, the vet. I had to pay
in cash. You see, my dog died today. I’m sorry. You wouldn’t take a check? Or a
credit card?
HUSTLER: I turned down another job for this.
JOSEPH: I really do apologize. I’m not in the habit of doing this
sort of thing. Let me at least give you forty dollars for the trouble.
HUSTLER: I turned down another job for this.
JOSEPH: Then, eighty. Sorry, again.
RECORD SHOP (BCN)
PAUL: This was made in London, wasn’t it?
RICHARD: Yes, it was. Please put that back. You’re embarrassing
me.
PAUL: What did it feel like, making it?
RICHARD: Oh, God. I... I was just a kid. You know. That
afternoon Joseph had shown me how to shave.
PAUL: Oh, look, here’s your encore disc! I love this record. What’s
the most encores you’ve ever played in a night?
RICHARD: Eight, I think.
PAUL: Where?
RICHARD: Was it Vienna? Yeah, Vienna, Vienna.
PAUL: And what were they?
RICHARD: I really can’t remember...
PAUL: Please?
RICHARD: Okay, there was a Chopin waltz, and Godowski’s
transcription of “The swan”. Actually, that was very, very moving for me
because...
PAUL: That’s not on the disc...
RICHARD: No. Anyway, as I was saying, that was very
important because...
PAUL: This is definitely the best picture that anyone’s ever taken
of you.
RICHARD: Probably.
PAUL: Oh, look at this. What do you think of four-hand
repertoire?
RICHARD: It’s fine.
PAUL: I tried playing one of those Saint-Saëns études for the left
hand once. What would you do if your right hand got mangled in some
horrible accident, and you had to start playing left-handed?
RICHARD: I’d robably breathe a sigh of relief and retire forever.
Do you want to buy anything?
PAUL: All of your CDs I already have.
JOSEPH’S APARTMENT LIVING ROOM (NY)
JOSEPH: Maestro Kennington’s room, please.
RECEPTIONIST: I’m sorry, sir. He ins’t back yet. Would you like
to leave a message?
JOSEPH: No, no. I’ve left one already. You make sure it was
slipped under his door. Joseph Mansourian.
RECEPTIONIST: Yes, sir.
JOSEPH: He didn’t happen to say when he’d be back, did he?
RECEPTIONIST: No, sir.
JOSEPH: All right. Thank you. Good night. Bona nit.
RICHARD’S ROOM HOTEL COLON (BCN)
PAUL: Mr. Mansourian must be a great manager.
RICHARD: The best in the business.
PAUL: You must be very grateful. He’s done a wonderful job by
you.
RICHARD: Has he? I thought I’d done the wonderful job.
PAUL: I didn’t mean that you hadn’t. I’m sorry, I...
RICHARD: It’s okay.
RESTAURANT (BCN)
RICHARD: So, a toast to Barcelona, to us, to you, okay...
RICHARD’S ROOM HOTEL COLON (BCN)
RICHARD: Paul.
PAUL: Yeah?
RICHARD: Why are you staring at me?
PAUL: Staring?
RICHARD: That’s right.
PAUL: I guess I’m trying to memorize your face. In case I never
see you again.
RICHARD: What makes you think that?
PAUL: Well, the day after tomorrow my mother and I leave for
Granada.
RICHARD: That’s true.
PAUL: And you head back to New York.
RICHARD: Also true.
PAUL: Unless...
RICHARD: Unless what?
PAUL: Unless you’ve given any thought to the possibility of
coming with us. You know, yesterday you said that you might.
RICHARD: Did I? I must have been in a delirium.
PAUL: Oh.
RICHARD: Not that I don’t want to. It’s just that..., well, it’s just
not realistic. You know, I haven’t been home for more than a month. The mail
must be piling up to the ceiling.
PAUL: And how important is the mail?
RICHARD: It’s important enough. And Joseph’s dog has been
sick, so...
PAUL: He’s only your manager...
RICHARD: And I need to practice, you know. I haven’t been near
the piano for nearly a week. You’re leaving?
PAUL: You may have forgotten, but we’re supposed to meet my
mother for dinner, unless you’ve decided, of course, that that’s not realistic.
CATHEDRAL PLAÇA (BCN)
RICHARD: You’re not your usual perky self this evening. Is
something on your mind?
PAUL: I’m disappointed about Granada. You sounded so
enthusiastic that I assumed you were really serious about it. Maybe after my
mother left, we could travel on together. Alone together.
RICHARD: Yeah, it sounds wonderful.
PAUL: But not wonderful enough to do, right?
RICHARD: Look, Paul, if I had a dollar for every wonderful thing
I haven’t done.
PAUL: So, why don’t you do it? I’ll give you the dollar.
RICHARD: Look, look, certain patterns can’t be broken.
PAUL: Not even for a few days?
RICHARD: Come on.
PAUL: So what happens next?
RICHARD: Well, I go back to New York. You go to on Granada.
And in the fall you’ll start at the Juilliard, r ight?
PAUL: And will we see each other?
RICHARD: Of course.
PAUL: But you said you were going to be away for most of the
fall. You said that you had to go to Germany in October, and then you had to go
to Japan...
RICHARD: Yeah, but that’s nothing for me. I’ll be at home a lot
more than I usually am. We can see each other all the time.
PAUL: But you haven’t even given me your phone number.
RICHARD: That’s because I’m hardly ever there, you know. It’s
much easier if I call you...
PAUL: I hate this. The way you’re describing it, you get your tour,
you get your apartment, and you get me whenever you call. Whereas I get
nothing.
RICHARD: Is that what you’re in this for? To get something?
AGUA RESTAURANT (BCN)
PAUL: So will Mr. Mansourian be going with you to Germany?
RICHARD: No. He doesn’t usually travel with me these days. San
Francisco was just a one-off.
PAUL: He’s homosexual, isn’t he?
RICHARD: Yes. Why do you ask?
PAUL: Because of the way he acted toward me.
RICHARD: And how did he act toward you?
PAUL: Oh, you know..., the way you did here.
PAMELA: Yoohoo!
RICHARD: Sorry we’re late.
PAMELA: No. Don’t worry. I’ve been having a wonderful time,
watching all these plates of delicious food go by.
PAUL’S ROOM HOTEL NORI & RICHARD’S ROOM HOTEL COLON
(BCN)
PAUL: Hello.
RICHARD: Good morning. Did you sleep well?
PAUL: No, not really. About our conversation last night... I feel I
owe you...
RICHARD: No, look. If anyone owes anyone an apology it’s me,
okay?
PAUL: Are you all right?
RICHARD: No, actually. I think I’m getting a bit of a cold.
PAUL: Oh?
RICHARD: It’s nothing serious. I mean, only I’m not sure I’m up
to an expedition today. Would you mind terribly if I didn’t come?
PAUL: No. Of course not. You’re free to do whatever you want.
You know that.
RICHARD: I’ll miss you.
PAUL: Thank you. I’ll miss you too.
PAMELA’S ROOM HOTEL NORI (BCN)
PAMELA: You sleep well, sweetheart?
PAUL: Richard isn’t coming. He says he has a cold.
PAMELA: You know, that’s funny, Paul. Because it happens that
my allergies are really acting up this morning. Would you mind terribly...?
PAUL: So, now I’m supposed to go on my own?
PAMELA: Sweetheart, you’re always saying you want more time
by yourself.
PAUL: All right. Well, bye.
PAMELA: Bye.
RICHARD’S ROOM HOTEL COLON (BCN)
PAMELA: At the last minute I decided to stay. I wasn’t really in
the mood for a long bus ride. I think it’s like two hours to the Dalí Museum.
RICHARD: Yeah. That’s right.
PAMELA: And then when I heard you weren’t feeling well, I
thought, I’ll take him some breakfast. So, here we are. We have croissants, and...
orange juice and... where is it?... yeah, Vitamin C.
RICHARD: You needn’t have gone to all this trouble, you know.
PAMELA: Oh, no... but I wanted to. Especially after all the meals
you’ve bought us.
RICHARD: Well, that was my pleasure.
PAMELA: Well, now it’s my turn to be hospitable. Glasses?
RICHARD: They’re just by the minibar.
PAMELA: Stay put. I’ll get them.
RICHARD: Okay.
PAMELA: All right, here we are.
RICHARD: Great.
PAMELA: Salud.
RICHARD: You know, you’re not supposed to toast in anything
other than wine.
PAMELA: Oh, I didn’t know. Oh, well.
RICHARD: Anyway.
PAMELA: You know, Richard, I have a little confession to make. I
didn’t come round only to bring you orange juice.
RICHARD: You didn’t.
PAMELA: I had an ulterior motive. In fact, I didn’t decide not to
go until I found out from Paul that you weren’t going. Was that very wicked of
me?
RICHARD: Why would that be wicked?
PAMELA: Well, because, you know, I wanted you all to myself. I
mean, do you realize that this whole week you and I have not had a single
minute by ourselves? Without Paul?
RICHARD: No, I suppose we haven’t.
PAMELA: Have a croissant. Here. Excuse the fingers.
RICHARD: Great.
PAMELA: How is it?
RICHARD: Mm, it’s delicious.
PAMELA: You know, Richard, I’ve been wanting to thank you so
much and tell you how grateful I am to you for all the help you’ve given us on
this trip. I mean, you know, when we arrived, I was basically a wreck. And now
look at me.
RICHARD: I’m glad you’re feeling better. But, I can’t take credit
for it.
PAMELA: Oh, but you should! If today I can face things again, it’s
thanks to you. You know, a bad marriage is a very ego-draining thing. You
assume that because there’s no love, that nobody can love you. That kind of
misery becomes so familiar, like a home almost. But now, if my husband came
over and begged me to take him back, I would basically say, “Up yours!”. Oh
God! Is it horrible of me to say that?
RICHARD: No. I think it’s natural.
PAMELA: Oh, I’m happy to hear it. I trust your judgment. And so
does Paul, of course.
RICHARD: Does he?
PAMELA: Oh, are you kidding? You’re his hero, Richard. You
know, I remember taking him to buy his first record. He was, oh, he must’ve
been about nine years old. And he thumbed through all the albums until he
found your new one, and then he made these meticulous comparisons between
each copy until he found the perfect one. Oh, I mean, that’s why he’s... that’s
why for him this trip has been extraordinary.
RICHARD: And tomorrow you go to Granada. You excited?
PAMELA: Well. Let’s not talk about that. Would you like some
more juice?
RICHARD: No, I’m fine.
PAMELA: Or some Vitamin C? I’m so scatterbrained, I haven’t
even asked you how you’re feeling.
RICHARD: Oh, I’ve just got a bit of congestion. And my throat’s a
bit sore, that’s all.
PAMELA: And, any fever?
RICHARD: No. There’s no fever.
PAMELA: No, you’re not warm.
RICHARD: Told you. Pamela.
PAMELA: You know, I think you have the tiniest little bit of a
temperature. I’ll go and get you a wet cloth. Here. This should make you feel
better.
RICHARD: Thank you.
PAMELA: I always made these up for my kids when they were
sick. They really eat the fever. Well, I should probably skedaddle. You need to
rest.
RICHARD: Yeah, I’m sure that will do me the world of good.
PAMELA: So, we’ll see you this afternoon at the cafe. How about
that? Unless... Well, if you don’t feel up to meeting us, you shouldn’t feel
obligated.
RICHARD: No, no. I’m sure after a little sleep I’ll feel as fit as a
fiddle.
PAMELA: Oh, good. Well, that’ll mean a lot to Paul.
RICHARD: Okay.
JOSEPH’S APARTMENT (NY)
RICHARD: Joseph, Look I am so sorry about Sophie. Please, call
me back. I..., I don’t know what else to say.
RICHARD’S ROOM HOTEL COLON (BCN)
RICHARD: Hello, Delta? Yes, this is Richard Kennington. I want
to change my reservation for New York. Yeah, to today, please. First class.
NY STREETS
SIX MONTHS LATER
PAUL’S APARTMENT LIVING ROOM
KITCHEN (CAL)
(NY)
& PORTERFIELD’S
TEDDY: Hello.
PAMELA: Teddy? Hello. It’s Pamela.
TEDDY: Oh, hi, Mrs. Porterfield. How are you?
PAMELA: You know, the divorce and all. But I do what I can to
get through the day.
TEDDY: That’s too bad.
PAMELA: I saw your mother this morning at the supermarket.
We had a little chat. She can’t wait to see you at Christmas. And is Pauly
around, by any chance?
TEDDY: No, he’s at school, practicing.
PAMELA: I never seem to catch him at home.
TEDDY: I can take a message if you want.
PAMELA: Just tell him I called. Sometimes I think I call too much.
I worry that it bothers him. Do you think it bothers him?
TEDDY: I couldn’t speak for Paul, Mrs. Porterfield.
PAMELA: Well, it’s been lovely chatting with you, Teddy. Do let
Paul know that I called, won’t you?
TEDDY: Will do.
PAMELA: Bye-bye.
TEDDY: Bye.
PAUL’S ROOM APARTMENT (NY)
TEDDY: How are you doing?
PAUL: Not bad. Alden’s a good person.
TEDDY: Comfort and luxury. It’s probably none of my business...
but, your mother doesn’t sound so good.
PAUL: She isn’t. Say, I finished reading Maurice. Thanks for
loaning it to me.
TEDDY: What did you think?
PAUL: I liked everything except the ending. The fact you don’t get
to hear what happens to Maurice and Alec after they run away together doesn’t
sit well with me. Besides, what is a greenwood?
TEDDY: A wood or a forest with green foliage.
PAUL: My professor told me that for Forster’s generation a
greenwood is a hypothetical gay-positive space that they had to posit in order
to will into being.
HALL AND LIFT JOSEPH’S BUILDING (NY)
PAUL: Hi.
HECTOR: Hi, Paul.
JOSEPH: Wait! Hold the elevator, please.Thank you. Haven’t we
met?
PAUL: Yeah. I’m Paul Porterfield. I turned pages for Richard
Kennington in San Francisco.
JOSEPH: Of course! The well-dressed page turner! And what
brings you to my building?
PAUL: I didn’t know this was your building. I have a friend who
lives here.
JOSEPH: You do?
16TH FLOOR LANDING JOSEPH’S BUILDING (NY)
JOSEPH: Sixteen. So your friend must be Alden Haynes.
PAUL: That’s right.
JOSEPH: Funny that we haven’t run into each other. Alden and I
go way back. How’s the Public Theater working out?
PAUL: Oh, great. Yeah, he loves it. He’s very busy, of course.
JOSEPH: Call me sometime. I’ll give you my card.
PAUL: Thanks. You already gave it to me.
JOSEPH: I assume, by the way, that you’re at Juilliard?
PAUL: First year.
JOSEPH: Everything going all right? Anything I can do to help?
PAUL: Oh no, nothing. Thank you. Listen, I wondered, how is Mr.
Kennington doing these days?
JOSEPH: Oh, terribly well. He’s in Japan.
PAUL: I see. Well. Say hello to him for me, will you?
JOSEPH: Sure. Tell me your name again?
PAUL: Paul Porterfield.
JOSEPH: Paul Porterfield. I’ll remember.
LIVING ROOM ALDEN’S FLAT (NY)
PAUL: Alden? How are you today?
ALDEN: Not bad, not bad. There. Well, what do you think?
PAUL: Nice.
ALDEN: This picture’s ancient. Norman was a couple of years
older than you here.
PAUL: I had a surprise today. I just ran into someone I knew in
the elevator.
ALDEN: Oh, yeah? Who was that?
PAUL: Joseph Mansourian. He says he knows you too.
ALDEN: Oh, yeah. He lives up on the twenty-third floor. Where’d
you meet him?
PAUL: San Francisco.
ALDEN: It’s probably a good thing you ran into him. He could
help you, you know. No one has more influence in the piano world. I don’t feel
like cooking tonight. What do you feel like having for dinner? Chinese?
PAUL: Fine.
ALDEN: How does chicken with mustard greens sound to you?
PAUL: Fine.
ALDEN: And cold noodles with sesame sauce, of course...
PAUL: This Mansourian, does he have a boyfriend?
ALDEN: I don’t know. Probably.
PAUL: Only, when I was in San Francisco, I got the distinct feeling
that he was coming on to me.
ALDEN: I’m sure he was.
PAUL: So he must be single, right?
ALDEN: Ha! You know the old saying. When the cat’s away, the
mouse will play.
PAUL: Yeah, but...
ALDEN: Not that the cat has to be away. The cat merely has to
be... hello, Empire Szechwan? Yes, I can. I’m sure Mansourian is sitting upstairs
plotting how to get into your pants.
PAUL: No he isn’t!
ALDEN: You know, it makes me think how lucky I am I got you
first.
PAUL: And I’m very lucky to be with you, Alden. You know how
happy I am with you...
ALDEN: Hello? Empire Szechwan? This is Alden Haynes calling.
How are you this evening?
CLASSROOM AT JUILLIARD SCHOOL/LINCOLN CENTER (NY)
STUDENT 1: Hey, have you heard the news?
PAUL: What news?
STUDENT 1: Zenon’s been signed by Joseph Mansourian.
PAUL: What? How..?
STUDENT 1: It’s really an inspiring story. Zenon was a refugee
from South America. His parents had nothing. They run a grocery in Queens.
STUDENT 2: God isn’t he incredible? You know who he reminds
me of more than anyone? You know who? Richard Kennington.
CORRIDOR AT JUILLIARD SCHOOL/LINCOLN CENTER (NY)
PAUL: Hey, Zenon. Hi, I’m Paul Porterfield. I’m in your class.
ZENON: Hello.
PAUL: Yeah, I just wanted to say that that was a really incredible
concert. In fact, maybe one of the best pieces of Chopin I’ve ever heard. So,
congratulations.
ZENON: Thanks. I dropped a note in the march, though.
PAUL: Really? I didn’t notice.
ZENON: Uh-huh.
PAUL: Well, you know, I wouldn’t get too bothered about things
like that. I mean everyone loved you. I mean, obviously.
ZENON: I guess.
ALDEN’S & MANSOURIAN’S LIVING ROOMS (NY)
PAUL: Hello?
JOSEPH: Alden?
PAUL: No, It’s Paul.
JOSEPH: Paul, Mansourian here. How are you?
PAUL: Fine, fine.
JOSEPH: I hope you don’t mind my calling at Alden’s.
PAUL: No. It’s okay.
JOSEPH: Good. You see, aside from needing an excuse to tell you
what a pleasure it was running into you... I don’t know if you’ve heard, but I’ve
just signed on a classmate of yours.
PAUL: Yeah, I heard. I was at his recital today.
JOSEPH: I was chatting with your director, and I happened to
inquire if he could give me the name of a student I might ask...
PAUL: Oh, Mr. Mansourian...
JOSEPH: About page turning.
PAUL: Page turning?
JOSEPH: Yes. On Friday Zenon’s playing some chamber music
here at my apartment. Just a little private get-together. Kennington may even be
here, if he gets back from Tokyo in time.
ALDEN’S BEDROOM (NY)
ALDEN: Paul, what’s wrong?
PAUL: Never mind.
ALDEN: Never mind?
PAUL: Never mind. I’ll never be what I hoped.
MANSOURIAN’S APARTMENT CORRIDOR (NY)
JOSEPH: Hello, Paul. Enjoying my little gallery?
PAUL: Yes, yes, I am. And so many of Mr. Kennington!
JOSEPH: He and I go back a lot of years. Well, let’s drink a toast,
then.. To our well-dressed page turner.
PAUL: By the way, this photograph here... when was it taken?
JOSEPH: That one? Oh, yes. He was doing his Jean Peters
imitation.
PAUL: Jean Peters?
JOSEPH: Haven’t you seen Three Coins in the Fountain? At least ten
years ago. I really should start travelling again. I used to go with Richard all the
time. But then it was hard, on account of my dog. She died this summer.
PAUL: Oh, sorry.
JOSEPH: Thank you. Most people, they think the death of a dog
doesn’t mean much. But Sophie was like a child to me.
PAUL: Have you thought about getting another dog?
JOSEPH: Oh, I couldn’t possibly. You have to respect the grieving
process, it seems to me.
PAUL: You know, it’s true what you just said about grieving. I
know someone whose friend died once, and the first thing he did was go out
and look for a replacement.
JOSEPH: They’re afraid of being alone. Terrified. Do you have
any plans for dinner tonight?
PAUL: No.
JOSEPH: Why don’t you stay, then? I’ll order something in.
MANSOURIAN’S APARTMENT LIVING ROOM (NY)
JOSEPH: Alone at last.
PAUL: I’ve never seen such a big collection.
JOSEPH: Goes with the job. What would you like to drink, Paul?
PAUL: Nothing, thanks. I couldn’t help noticing how many
recordings you have of Mahler’s Fifth.
JOSEPH: A particular favorite of mine.
PAUL: Look, here’s Richter! I’ve been looking for this for years.
Wow, it’s even autographed.
JOSEPH: Take it.
PAUL: No, no. I didn’t mean that I wanted...
JOSEPH: Go on, take it. I never listen to it anyway.
PAUL: Really? Thank you.
JOSEPH: You have nice hair.
PAUL: Mmm.
JOSEPH: You sure you’re not thirsty?
PAUL: No. I’m fine.
JOSEPH: Would you like to hear Kennington’s latest Chopin
recording? I have an advance copy.
PAUL: I’d love to.
JOSEPH: You’re going to be one of the first people in the world to
hear this.
PAUL: Barcarolle.
JOSEPH: What are you doing tomorrow night?
PAUL: Nothing.
JOSEPH: Would you like to hear the Berlin Philharmonic?
PAUL: But it’s sold out.
JOSEPH: I have tickets.
PAUL: I’d love to, if you’re sure that it won’t be a problem.
JOSEPH: Of course not. First drinks here, then dinner at Café
Luxembourg, then the concert.
PAUL: Sounds great.
JOSEPH: Why don’t you sit with me?
PAUL: I’m sorry. Can we change the music?
JOSEPH: Sure.
PAUL: It’s not that I don’t like it, I love it..., it’s just...
JOSEPH: You don’t have to explain. Just tell me what you’d like
to hear instead.
PAUL: Anything. Scarlatti.
JOSEPH: Scarlatti. Scarlatti, Scarlatti, Scarlatti. Is that better?.
PAUL: That’s good.
JOSEPH: You’ve got a very nice musculature.
PAUL: Thank you.
JOSEPH: Let me see what you look like. You’re a beautiful boy.
PORTERFIELD’S HOUSE ENTRANCE (CAL)
PAMELA: Pauly! Sweetheart!
OLGA NOVOTNA’S SITTING ROOM (CAL)
OLGA: Paul, dear, it’s called the Well-tempered Clavier, not the Illtempered Clavier.
PAUL: I’m sorry. I’ll start again.
OLGA: No, don’t start again. Sit down over here. We shall have
some tea. Consuelo! Tea! You’re not playing your best today.
PAUL: It’s not been an easy Christmas. My parents are divorcing.
OLGA: Oh, I’m sorry.
PAUL: My mother’s very depressed.
OLGA: And how is Juilliard?
PAUL: It’s okay. It’s not great.
OLGA: And your professor?
PAUL: Fine. Fine. He’s not like you, of course. To be honest, he’s
more interested in a boy called Zenon. Have you heard of him? He’s going to
Brussels for the Queen Elisabeth.
OLGA: Ah, the Queen Elisabeth.
PAUL: And I’m jealous. There we are. I admit it. I’m not going to
Brussels. I guess I’m not ready.
OLGA: Judging from your performance today, Paul, I’m afraid I
must agree. I have to be honest. You have fallen off since the summer. What I
had hoped Juilliard would develop in you...that.... quality of sincerity, of
holding the music together..., I do not hear.
PAUL: I’ll never make a concert pianist, will I?
OLGA: I suspect you will not.
PAUL: But earlier you seemed to think that...
OLGA: That was my failure. It is possible to see one thing one
moment, and then later realize...
PAUL: But if I can’t be a pianist, what am I going to do? I can’t do
anything else.
OLGA: Nonsense. You can do anything you wish. Go to medical
school, or law school. Or write. That is, if you can bear remaining in the world
of music.
PAUL: Page turner.
OLGA: To be a page turner is not a profession. To be an
accompanist, on the other hand, is a noble calling. You may consider that an
option. Certainly you could make a success of it...
PAUL: Will carries an artist further than talent.
OLGA: Precisely. And will, Paul, you possess in abundance.
PAUL: But talent only enough to accompany. Is that what you’re
saying?
OLGA: I’m only trying to spare your future suffering. It’s best to
decide now whether you can bear accepting a secondary role. And now, I must
see what is keeping Consuelo with that tea.
PAUL’S ROOM PORTERFIELD’S HOUSE (CAL)
PAMELA: YOU’RE ALL THAT I WISH FOR.
KITCHEN PORTERFIELD’S HOUSE (CAL)
PAMELA: Oh. Hi, sweetheart. So, how was your lesson?
PAUL: I’m thinking of quitting.
PAMELA: What? Quitting what?
PAUL: I’m not so sure the performing life’s really for me.
PAMELA: Paul, Paul, wait a minute. I can’t quite believe what I’m
hearing here. You want to quit the piano?
PAUL: Why not?
PAMELA: But you love the piano, sweetheart!
PAUL: So?
PAMELA: And you’re unbelievably talented! I mean, everybody
thinks so. Miss Novotna thinks you’re the most...
PAUL: Not anymore. We talked about it and she agrees with me.
PAMELA: Agrees with you? She must be senile!
PAUL: She’s not senile in the least!
PAMELA: I’m sorry, sweetheart. I’m sorry. I’m just a little
shocked. I can’t imagine what’s gotten into you.
PAUL: Maybe the truth..., that I’m just not good enough.
PAMELA: Paul I listen to you, sweetheart, I hear you play, and I
think...
PAUL: You only think I’m good because I’m your son. You know
nothing about music. Now please, can we change the subject?
LIVING ROOM PORTERFIELD’S HOUSE (CAL)
PAUL: Okay, come out with it. You might as well let me know
what’s on your mind.
PAMELA: Oh, no, there’s nothing, no. I just feel it’s too early,
that’s all, sweetheart. Why not finish out the year, at least? You might feel
differently then.
PAUL: I’m not going to end up on skid row, if that’s what you’re
worried about. I’ll do fine. I’ll get a job or something. Like a normal person.
PAMELA: But you’re not...
PAUL: What? I’m not what?
PAMELA: I can’t help but wonder if that man...
PAUL: What man?
PAMELA: If Kennington had something to do with this.
PAUL: Kennington?
PAMELA: Well, you can’t blame me for trying to put two and two
together, sweetheart.
PAUL: You’re wrong.
PAMELA: What did you talk about, all those afternoons?
PAUL: Nothing. Music. Art. Life.
PAMELA: Have you seen him since you’ve been in New York?
PAUL: No.
PAMELA: Oh, I’m sure he must have said something to you that
you’re not telling me. If I could get my hands on that man.
PAUL: Mother, for the last time, he has nothing to do with this. I
didn’t confide in you so that you could become completely hysterical. I needed
some advice. A mistake, since I could get more advice from a child than I can
from you.
PAMELA: Oh, Paul, don’t talk to me like that!
PAUL: So from now on, when I need advice, I’ll go somewhere
else, all right? Oh, for God’s sake, stop crying!
PAMELA: I can’t help it. It’s been such an awful Christmas...
PAUL: No more. Otherwise I leave. Now.
PAMELA: Enough. All right. Enough.
DIANE’S HOUSE LIVING ROOM (CAL)
DIANE: Our next member is Caroline.
CAROLYN: Carolyn. Mind if I smoke? Well, I’m in a little bit of a
different situation from you, because my son came out to me five years ago. The
whole acceptance thing, we’re already through that. I can handle his being gay.
What I can’t handle is his lifestyle. He’s twenty-five and he’s not doing
anything. He lives up in San Francisco and he works in this shop that’s called,
I’m not kidding, Does Your Mother Know? I read about AIDS and all, and I
really worry. He spends most of his time in the leather bars. I try to talk to him
about it, I try to tell him that he should find himself some nice guy and settle
down. But he just shuts me up. He says it’s none of my business. Is there an
ashtray? So that’s why I’m here. I’m wondering if there’s anyone else that’s had
the same experience.
DIANE: Thank you, Carolyn. Pamela is an old pal of mine. Our
boys went to high school together, and now they’re roommates in New York.
ALL: Hello, Pamela.
PAMELA: Well. First of all, thank you, Diane, for inviting me. I’m
also in a little bit of a different situation because my son... well, my son has not
actually told me that he’s, um, gay. In fact, I’m ashamed to admit it.
DIANE: Go on.
PAMELA: I was cleaning his room when he was home for
Christmas and I found a magazine. You know, only men. God, I’m so
embarrassed!
ENID: I did the same thing.
CAROLYN: It’s okay, honey.
PAMELA: I guess I just have to come out with it. Right? I went
through his suitcase and I found a picture of a man we met when we were on
vacation. And on the back he had written “You are all that I wish for”. So, well
then it all clicked. That night at dinner Paul kept looking at me very strangely.
Well, I had to keep quiet. I had to pretend absolutely nothing had happened.
Well, I’ve been having a very hard time with this. Because, you know, if I tell
him that I went through his things he’ll be furious. But on the other hand, I
want to get him away from this man because I’m convinced that he’s
influencing Paul negatively.
CAROLYN: If you want to know what I think, you’ve got to tell
him.
DIANE: Admit what you did. He’ll be mad at first, but he’ll get
over it. Then you can move on to the more important things, like making sure
he’s practicing safe sex.
PAMELA: But how can we know?
DIANE: By being absolutely frank. You just say: sweetheart, let’s
talk turkey, are you taking precautions?
CAROLYN: Especially if your son’s a bottom. No matter what the
studies say, I’m absolutely convinced, it’s more dangerous if they’re bottoms.
DIANE: Whether they’re tops or bottoms, the most important
thing is to educate them about condom use. The younger boys don’t always
know the facts. For instance, only to use water-based lubricants.
CAROLYN: Otherwise the condoms disintegrate.
PAMELA: And what about oral sex? Is oral sex safe?
CAROLYN: I’m not sure. Some say yes, some say no. Certainly it’s
worse if you’ve got cuts in your mouth.
PAMELA: Oh my God. Well, I have to do something about this.
DIANE: Well, let’s take a break. There’s plenty of food. Let’s eat.
DIANE’S HOUSE STREET (CAL)
DIANE:
Well, what did you think? Was the meeting good for
you?
PAMELA: Oh, fine. That poor woman with her boy at the leather
bars, I do feel sorry for her. It sounds like he’s really promiscuous!
DIANE: Promiscuous is a word we don’t use. It’s judgemental.
We are all in the same boat, aren’t we?
KITCHEN PORTERFIELD’S HOUSE (CAL)
TEDDY: Hello?
PAMELA: Oh... Is this Teddy? It’s Pamela.
TEDDY: Oh, hi!
PAMELA: Hi. I guess Paul’s not there.
TEDDY: No, he’s...
PAMELA: Practicing. I know. Teddy, he forgot his address book....
Would you tell Paul.... no, no, on second thought, I’ll try him later.
TEDDY: No problem, Mrs. Porterfield.
PAMELA: Thanks, Teddy. Goodbye. I have to do something
about this.
RICHARD’S LOFT SITTING ROOM (NY)
TUSHI: Hello. Can I take your coat?
PAMELA: I’m looking for Richard Kennington. Have I come to
the right apartment?
TUSHI: Yes, yes. Of course. He should be back any moment. He’s
flying from Chicago, but with this weather being so bad, his flight was delayed.
Can I help you with anything?
PAMELA: I’m here for my son.
TUSHI: Your son. But who is your son?
PAMELA: You should know.
TUSHI: I’m sorry, I don’t...
PAMELA: The concert, if nothing else, in San Francisco. But, I
know he’s here. There’s no use pretending.
TUSHI: Mrs...
PAMELA: Porterfield.
TUSHI: I’m sorry to disappoint you, Mrs. Porterfield, but I don’t
think he’s here. What did you say his name was?
PAMELA: Paul.
BOY: Can I help you with something, darling?
TUSHI: We’ve got a little confusion here. Mrs. Porterfield is
looking for her son Paul, whom she’s convinced is at the party. Only, I’ve never
heard of him.
BOY: There’s one way to find out. Can I have your attention,
please. Paul Porterfield. Is a Paul Porterfield in the house?
JOSEPH: What’s this about Paul Porterfield? Who’s looking for
him?
PAMELA: I am. I’m his mother.
JOSEPH: Why do you think he’d be here?
GUESTS: Surprise! "Happy Birthday to you, happy birthday to
you”
RICHARD’S LOFT BEDROOM (NY)
PAMELA: Where is my son?
RICHARD: I don’t have any idea.
PAMELA: Don’t lie to me.
JOSEPH: Richard, how on earth do you know this woman?
RICHARD: We met by chance in Barcelona.
PAMELA: And who are you? Do you know my son?
JOSEPH: I’m Mr. Kennington’s agent. I know Paul because before
Christmas I ran into him in the elevator in my building.
PAMELA: What was he doing in your building?
JOSEPH: He has a friend downstairs from me. And he
remembered me from San Francisco, and we got to talking. Later I asked him to
turn pages at a little recital I was hosting. This was when you were in Japan.
PAMELA: I don’t know why you’re bothering with all these lies.
RICHARD: I’m telling you the truth, I haven’t seen Paul since
June.
PAMELA: I know you’re lying. I saw the picture.
RICHARD: What picture?
PAMELA: The one you gave him. The one you... you signed to
him.
RICHARD: I didn’t give him any picture. This is insane.
PAMELA: You’re wasting your time. I saw it.
RICHARD: Okay, okay, sometimes I sign photographs after a
concert. I mean, maybe...
PAMELA: That picture? I don’t think so.
JOSEPH: What was the picture?
PAMELA: It was a portrait photograph, signed... You are all that I
wish for.
RICHARD: Look, there’s a... there’s a party going on downstairs.
We can’t stay up here all night.
PAMELA: Listen, I didn’t come here to spoil your fun. You
needn’t worry. I came here for Paul. So, if you would be so good as to tell me
where I might locate him, I will get out of your way.
JOSEPH: Have you tried his apartment?
PAMELA: He’s never there. He’s always practicing.
JOSEPH: There’s one possibility. Hello, Alden? Yeah, Joseph
Mansourian here. Listen, I’m sorry to bother you at this hour. I know it’s rather
awkward, but I’m looking for that young friend of yours, Paul Porterfield.
ALDEN’S FLAT KITCHEN & RICHARD’S LOFT BEDROOM (NY)
ALDEN: Paul, it’s for you.
PAUL: Excuse me. Hello.
PAMELA: Hello, sweetheart. Oh, I am so glad to see your voice.
To hear your voice, I mean. Oh God, I’m... I’m so nervous. Well, look,
sweetheart, I... Guess what? I’m in New York. I’m in Richard Kennington’s
apartment.
PAUL: You’re where?
PAUL’S APARTMENT SITTING ROOM (NY)
PAUL: Teddy, would you mind leaving my mother and me alone
for a little while?
TEDDY: Of course not. I was going to Coney Island tonight.
PAMELA: Have fun. Be safe. You boys certainly do keep late
hours.
PAUL: What are you doing here?
PAMELA: That’s no way to talk...
PAUL: I asked you a question. What are you doing here?
PAMELA: I just wanted to see my son. Is there anything wrong
with that?
PAUL: So you got on a plane, you flew to New York and you went
to Richard Kennington’s apartment? To see me?
PAMELA: You’re never home.
PAUL: Christ, Mother, what were you thinking, just turning up
there? How did you even get his adress?
PAMELA: You forgot this. We need to talk, Paul.
PAUL: All right, what? I hope you know I’m not staying here all
night. I was in the middle of a very enjoyable dinner party when you called,
and it’s my full intention to be back there within half an hour. So you’ve got
twenty-two minutes.
PAMELA: Oh, for God’s sake, Paul. Aren’t you even going to sit
down?
PAUL: You’ve just wasted another minute.
PAMELA: I can’t believe you’re treating me... All right, I know
what is going on between you and that man, and I’ve come to put a stop to it.
PAUL: What man?
PAMELA: Don’t pretend with me. You know who I’m talking
about.
PAUL: No, I don’t.
PAMELA: All right, I’ve come to put a stop to whatever’s going
on between you and Richard Kennington.
PAUL: But there’s nothing going on....
PAMELA: I may not be a woman of the world, honey, but I’m not
naive. You don’t live within spitting distance of San Francisco without
becoming aware of... homosexuals.
PAUL: Oh, Jesus...
PAMELA: I should have seen the signs from the beginning, you
know, he wasn’t married, he knew all about clothes and hairdressers. I guess I
didn’t want to or something. And then I was so unhappy after your father left,
that I preferred to believe that... Well, he took advantage of it. Paul, he took
advantage of both of us, sweetheart.
PAUL: Christ.
PAMELA: I didn’t really put two and two together until
Christmas, when you...
PAUL: You have totally misunderstood everything, again.
PAMELA: What have I misunderstood?
PAUL: I haven’t seen Richard since June. Didn’t he tell you that?
PAMELA: Oh, sure, yes he did, of course. To protect himself.
PAUL: You assume.
PAMELA: Where did that picture come from?
PAUL: What picture?
PAMELA: The one you had at Christmas. The one he signed to
you.
PAUL: You went through my suitcase?
PAMELA: I was terribly terribly worried after you told me that
you wanted to quit the piano. And when I found the picture, everything
suddenly made sense at last. You know, that’s why I came to Richard
Kennington’s apartment, because I wanted to get you away from him.
RICHARD’S LOFT SITTING ROOM (NY)
RICHARD: I helped her when some gypsies tried to steal her
purse. That’s all.
JOSEPH: And the son?
RICHARD: We got to be friends. He’s a fan.
JOSEPH: Did you sleep with him?
RICHARD: Joseph!
JOSEPH: No. You’ve got to tell me. After all, I’m the one he stole
from. God knows what else he pawed over...
RICHARD: Will you please give me some credit as a judge of
character, you know? Paul’s not like that.
JOSEPH: Then why did he steal that picture?
RICHARD: I don’t know. He admires me.
JOSEPH: I hope you realize that I’m worried about you.
RICHARD: Are you?
JOSEPH: Why else would I make such a fuss?
RICHARD: Oh, I don’t know, Joseph. Maybe because you’re
jealous.
JOSEPH: Do I have reason to be jealous?
RICHARD: No.
JOSEPH: Good.
RICHARD: Still, that hasn’t stopped you before.
JOSEPH: No, wait a minute. This isn’t about jealousy. You became
much more involved with those people than you’ve let on, otherwise that
demented woman...
RICHARD: Pamela’s not demented. She’s in the middle of a
divorce.
JOSEPH: Well, they could be working
together. They could...
RICHARD: None of this is their fault. If it’s anyone fault, Joseph,
it’s mine.
JOSEPH: So you did sleep with him. Was he underage?
RICHARD: That never stopped you.
JOSEPH: And what about the picture?
RICHARD: The picture. I don’t know about the picture. It was
just a snapshot. And it was months before you’d even noticed it was missing.
For a moment, I thought that I was falling in love with him, but I ran away. I
mean I came back to you. He didn’t understand... He was just loving me for
what I represented, you know, the music thing, not who I am.
JOSEPH: You really can be so naive sometimes.
RICHARD: Can I?
JOSEPH: Didn’t it ever occur to you it might be a tactic?
RICHARD: Didn’t it ever occur to you that not everyone in life is
out to get something?
JOSEPH: There’s no way around. I have to tell you.
RICHARD: Tell me what?
JOSEPH: He did it to me too.
RICHARD: He did what?
JOSEPH: Came on to me. Of course I knew better than to take
him up on it... I’ve only kept it from you to protect you. But now we have to
face facts. After he turned pages he stuck around.
RICHARD: Joseph...
JOSEPH: It was hard to get rid of him. And I’m sure we’re not the
only ones. A boy like that never barks up just one tree.
RICHARD: I don’t want to hear this .
JOSEPH: You have to. You’re not a child anymore. You’re forty
today, Richard.
RICHARD: I thought his main interest was music.
JOSEPH: Oh, don’t be so innocent. If music be the food of love,
play on, give me excess of it.
RICHARD: Food of love, the forbidden fruit.
PAUL’S APARTMENT SITTING ROOM (NY)
PAUL: You’ve really fucked things up this time.
PAMELA: Don’t talk to me in that tone of voice, young man. I’m
your mother...
PAUL: Oh, be quiet...
PAMELA: However grown-up you may feel that you are, the fact
remains, you’re eighteen years old. There are things you don’t understand.
PAUL: You’re a walking disaster, you know that? The best thing
you can do is just go home, get on with your life, and leave me alone.
PAMELA: Don’t talk to me like that, Paul! Don’t!
PAUL: And don’t cry!
PAMELA: I can’t help it, sweetheart. I come here to help you, and
you treat me like...
PAUL: I don’t need your help. You need help.
PAMELA: God, it’s so horrible, it’s so horrible, I might as well
just.. kill myself, I might as well just go over that window and throw myself
out. Then you’ll be rid of me, you and your father and Richard...
PAUL: Don’t be so melodramatic.
PAMELA: All I am to anyone is trouble. That’s all I am to myself,
even.
PAUL: I’m going to explain this to you once. Not because I feel
I owe it to you, but because I don’t want you going home with the wrong
impression. First of all, that picture doesn’t belong to me. It belongs to Joseph
Mansourian.
PAMELA: But then how...?
PAUL: Because I stole it, all right?
PAMELA: Why?
PAUL: Because I liked it. I was pissed off at Richard for dumping
us. It was a stupid thing to have done and I shouldn’t have done it, but there it
is. And the only reason that I have Richard’s number and address is because I
copied them from Joseph’s Palm. I’ve never been to his apartment and I haven’t
spoken to him.
PAMELA: Something did happen between you, didn’t it? I knew
it! So not only... not only did he take advantage of your admiration for him...
PAUL: No, don’t. He didn’t take advantage of me. I was perfectly
conscious of what I was doing.
PAMELA: Well then, why did he run away like a coward?
PAUL: Artists can’t be judged with the same standards...
PAMELA: Being an artist does not justify lying.
PAUL: Well, what did you want him to say: I’m sorry, I’m having
an affair with your son, I hope you don’t mind?
PAMELA: No, not to me. Lying to you.
PAUL: He never lied to me.
PAMELA: What did he tell you about his relationship with that
man? That... Mansourian?
PAUL: Mother, Joseph is Richard’s agent.
PAMELA: Yes. As well.
PAUL: As well.
PAMELA: You didn’t see it, did you?
PAUL: I guess I never let myself see it.
PAMELA: I’m so sorry, I’d realized...
PAUL: It all makes perfect sense. An idiot could have put the
pieces together.
PAMELA: Not necessarily. No, I mean, you’re young. You know,
maybe you have to be my age before you recognize a lie.
PAUL: But I should have seen it. It was so obvious.
PAMELA: I feel so bad, sweetheart, I just want to hug you..., oh
no, I know I probably shouldn’t... Oh, to hell with it. Oh, sweet...
PAUL: It’s late. You can stay in my room.
PAMELA: Oh, that’s very sweet of you, I’d just as soon find a
hotel.
PAUL: At this hour?
PAMELA: Oh..., maybe you’re right. But I refuse to throw you out
of your bed. So, I’ll stay on the couch.
PAUL: Come on, Mom. Don’t be silly.
PAMELA: My Paul.
ROOM AT PAUL’S APARTMENT (NY)
PAMELA: The ceiling’s covered with stars.
PAUL: I know.
PAMELA: I used to know all about astronomy. Before I met your
father, that is. I had a boyfriend, who was a stargazer, and he taught me.
PAUL: What did he teach you?
PAMELA: Well, for instance, that big constellation over there,
that’s Ursa Major. The Big Dipper. And then, that one in the middle, that’s the
Little Dipper. Ursa Minor. Oh. Do you see that one? That very bright star... sort
of, right up there? Do you know what that is?
PAUL: Is it the North Star?
PAMELA: It’s not a star at all. It’s Mars.
PAUL: And what about that star, just beside it? Is that the North
Star?
PAMELA: Oh. Ganymede. One of the brightest moons that circle
Jupiter. Ganymede was a young Trojan hero, son of a king and the most
beautiful of all mortals. The Gods chose him to pour nectar for Jove, who fell in
love with the boy and gave his father two horses and a golden vineyard and
assured him that his son would become immortal.
PAUL: Did he?
PAMELA: Mmm-hmm.