(ORCHESTRAL FANFARE PLAYS)
(MORSE CODE BEEPING)
(FANFARE ENDS)
(WOMAN COUGHS SOFTLY)
(DOOR OPENS)
(FOOTSTEPS ECHOING)
(LOUD APPLAUSE)
(SLOW, SOMBER
ORCHESTRAL OVERTURE PLAYS)
(LATCHES CLICK)
(PLAYING SLOW,
MELANCHOLY MELODY)
MAN: "Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable.
Or say that the end precedes
the beginning,
And the end and the beginning
were always there
Before the beginning and after the end.
And all is always now. "
That's T.S. Eliot,
his take on Beethoven's late quartets.
Today, we think
about what Eliot might have meant.
We begin with Beethoven's Opus 131,
said to be his personal favorite.
It has seven movements,
at a time when the standard was four.
And they're all connected. You're
not allowed to stop between movements.
No resting, no tuning.
Beethoven insisted it be played attacca,
without pause.
Was he maybe trying to point out
some cohesion, some unity between...
Excuse me.
MAN: ...the random acts of life?
Or being deaf, alone,
and sensing the end,
he might have felt he had no time,
to pause, to take a breath.
For us, it means
that playing for so long without pause,
our instruments must
in time go out of tune,
each in its own quite different way.
It's a mess.
What are we supposed to do, stop?
Or, struggle, to continuously adjust
to each other up to the end,
even if we are out of tune?
I don't know.
Let's find out.
(PHONE RINGING)
(RINGING)
That was quick.
(WOMAN SPEAKING INDISTINCTLY
OVER PHONE)
- (CHUCKLES)
- (CLICKS MOUSE)
All right, hold on a sec.
Hong Kong on the second and fourth.
Shanghai on the 13th.
Let me double-check
with everybody first.
MAN: Toast, if I may.
I've missed you this pre-season break.
The past year has been difficult,
as you know.
Miriam would have been here
with us today, celebrating...
Peter, she's always here.
It's a year in three weeks.
But the music, the quartet, us together
have gotten me through it,
and I need to thank you and tip a glass
to our... Can it be 25 seasons together?
- To the Fugue.
- To the Fugue.
The Fugue.
Alexandra tells me
your class really rocks.
Really? When did you speak with her?
MAN 2: This afternoon.
PETER: She's very good.
Advanced, quick.
- You should be pleased.
- That's my girl.
She really hardly ever plays
for us anymore.
PETER: Let's hope she does
now that she's back from Curtis.
But to be first violin...
...she needs particular,
careful coaching.
In fact, Daniel,
I wonder if you'd give her a listen.
Tell her what you think, encourage.
I'll give her a listen. If you want to.
Sure, that'd be great.
- Shall we?
- All right, yes.
Ready?
You know, maybe this is the season
we play the Beethoven cycle... by heart.
- I've always liked that idea.
- I still think it's a gimmick.
I think playing the cycle
without these endless markings
would be exciting
and a worthwhile risk.
A risk?
A risk.
We're in the casino business now,
Robert?
These, these markings
represent layers of thought.
I tend to agree with Daniel.
Tie goes to the conservatives, I guess.
(TUNING INSTRUMENTS)
(PLAYING SLOW,
MELANCHOLY MELODY)
(OTHERS STOP PLAYING)
Our vibrato doesn't match.
I must be on vacation time still.
(CHUCKLES)
- From the top, once more please.
- OK.
- Let's do it from, from Juliette.
- Sure.
(MELANCHOLY MELODY RESUMES)
(MUSIC STOPS)
- I'm sorry, my mind's wandering.
- It's the cello.
Sorry, guys. I'm not myself.
Maybe a day or two, get my hands back.
- That's all right.
- Sure.
Let's reschedule?
- Reschedule.
- ROBERT: Next Tuesday.
You all right, Peter?
Sure. It's just... strange.
Put your hands out like this.
(INDISTINCT ANNOUNCEMENTS
OVER PA)
OK. Now close the right fist,
and open it.
Left fist. Open it.
Now do it fast.
Open, shut. Open, shut.
All right.
OK. Now, just stand.
Now walk to the end of the room,
to the door, and then walk back,
naturally, towards me.
OK.
OK. I think we should get
a blood sample,
and arrange for a MRI.
Why don't we meet in a week
when we should have all the results?
MRI? Is there something I should know.
I think we should run the test first.
You could tell me what you think,
even if you're not certain.
It's OK. We've known
each other a long time.
Well?
Well, based on the examination
that we just ran,
and the complaints
you've described to me,
it's my opinion
that you are experiencing
the early symptoms of Parkinson's.
Well, you know...
From this, from what we just did,
you can tell that?
- Yes. I'm afraid I can.
- Parkinson's?
But we should still run
the blood test and have the MRI,
just to rule out
any more adverse possibilities.
Wow.
(KETTLE WHISTLING)
(LIVELY, ANIMATED
STRING QUARTET MUSIC PLAYING)
(PLAYFULLY) The aroma...
(WHISPERS) Wake up.
I'll make it worth your while.
(MUMBLING)
What about if I talked
in a really bad French accent?
Oui oui?
- Please, I'm not...
- Lover?
Robert. Robert, please.
I'm really... I'm not...
I'm really not in the mood.
(PLAYING SLOW,
MELANCHOLY MELODY)
OK. It's an adagio, right?
Slower, please.
(VOCALIZING MELODY)
The bow goes into the string and out.
You have to feel the resistance,
then the release afterwards.
That's what I'm trying to do.
- Without intention.
- What do you mean without intention?
This fugue is a tremendous...
it's an emotional upheaval,
and I don't hear it.
The color must be dark, always. Again.
Vibrato. From the first note.
Mm-hm.
It's a prayer, Alexandra.
Can you let me play one bar?
I don't think
you're ready for this piece.
In class, everybody was very happy
with my performance.
That's fantastic.
Peter was too.
Why does he open with a slow fugue?
Beethoven, that is.
I don't know.
If you insist on tackling
the 131 prematurely,
at least read
his biography first. Right?
Try to get into his mind.
Did you know his father used to wake
him up in the middle of the night
to play for his drunken cronies?
Imagine the mark
that leaves on you. May I?
L---
(PLAYING BRIGHT, LYRICAL MELODY)
(UP-TEMPO, BUOYAN ORCHESTRAL MUSIC PLAYING)
(UP-TEMPO, BUOYAN ORCHESTRAL MUSIC PLAYING)
Pilar.
Hello, Robert.
- Long time no see.
- Yeah.
What've you been up to?
Practicing for my new show,
remember? We start Thursday.
You've got to come this time.
I'll put your name on the guest list.
OK.
I loved the Bartok quartet
you recommended.
The Fifth? Explosive.
Hold on,
hold on a second.
- You liked it?
- Yeah.
I could choreograph a piece to it.
The next step is the...
Shostakovich cycle.
- You up for it?
- Yeah.
It's all on here.
Listen to it while you run.
What are you playing
on this one?
Second violin. Always, that's my part.
Always?
Yeah. Well, without me
they'd be a lonely, frustrated trio.
Seriously, the second and first violin
aren't hierarchical,
they're just different roles.
Different how?
Well, sometimes I get the melody,
sometimes the bass line.
Uh...
I connect the first violin,
which tends to be the soloist's part,
with the viola and cello,
which just flow...
right underneath the surface.
Simply put, I pull it all together.
That's my job.
Sounds important, but still...
Don't you have the urge to play
the solo part once in a while?
Yeah. Of course.
So? Why don't you do
something about it?
L-Hm'?
Well, I was gonna do something about it,
but then, last year, uh...
It just wasn't the right time, so...
I know that feeling.
My mother says,
"it's never the right time,
and therefore
it's always the right time," Robert.
- Your mother. Yeah.
- God bless her.
Let's go, come on.
(MEDIUM TEMPO, WARM
STRING QUARTET MUSIC PLAYING)
(VOICES MURMURING)
(CHUCKLING, CHATTERING)
(MUSIC PLAYS OVER AUDIO)
(MUSIC FADES)
I spoke with Dr. Nadir.
This difficulty I've been having...
...Parkinson's, she says,
early stages, maybe.
Parkinson's?
Yes, my brain
is running out of something.
Dopamine. It regulates movement.
Is it painful?
Not at all, and the even better
part is, there is medication.
It replaces this dopamine.
It's not a cure,
but it can slow the progress.
That's encouraging.
However, playing for much longer
is not in the cards for me.
What if the drugs work?
I need to be real about this.
Deal with it. Name it.
The doctor says it might give me
a season, could be two.
But I've made up my mind
that it's best for the quartet
to plan ahead,
to think about what comes next.
I think Nina Lee should replace me.
She's a wonderful cellist,
we all like her.
She's the one.
Everybody OK with that? Daniel?
Nina... She's playing
with Gideon still, right?
No, I'm not OK with this. We shouldn't
be discussing this right now.
- It's not the time.
- ROBERT: I agree.
One thing more: If this drug works
and I am able to play
well enough by then,
I'd like the season's first concert
to be my farewell.
(SLOW, PENSIVE
ORCHESTRAL MUSIC PLAYING)
It's just...
You know, if we do end up
taking on a new cellist,
if that's what we decide...
...I think it'll feel like a beginning.
We'll have a new sound.
If that happens,
I don't want to play second violin
exclusively anymore.
OK. So what exactly do you
have in mind, may I ask?
That you and I
alternate between the two chairs.
It doesn't have to be
an even split at first,
but eventually on each piece,
I think we could decide
who plays first violin
and who plays second.
Oh, my God, I cannot
believe this is happening.
What a terrible idea, Robert.
It's a terrible idea.
- It's not a terrible idea.
- Yes, it is.
And you know what? The timing...
it just couldn't be worse.
(SLOW, TENDER
ORCHESTRAL MUSIC PLAYS)
Peter says you're
ready for a new violin.
He did?
Start looking for one.
Your mom and I
will check it out for you.
Aw, man, Peter's so awesome.
You know he canceled
tomorrow's coaching class?
Do you know
how he's doing?
All in all, he's taking it
surprisingly well.
It's your mother
I'm worried about.
Oh, God. It's like she's the one
with the Parkinson's.
Don't be so hard on her.
She's upset.
Why don't you give her a break?
Whatever.
How's Mr. Perfection
coping with the situation?
He's helping Peter
look for a new cellist.
Ooh. He has no heart.
Oh, he's got plenty.
He just reserves it for the violin.
Well, I don't think I'm going to keep
taking these classes with him.
Why not?
Because he sent me
home after ten minutes
in order to read
Beethoven's biography,
so I could connect to his misery
before I dare attempt the Opus 131.
He might have a point, though.
Did Peter ever tell you about
Schubert's last musical request?
Yeah, how... he only wanted to hear
Beethoven's Opus 131,
and they played it for him,
like, five days before he died.
Right. Here's what I do.
Before we play the piece,
I imagine our quartet,
surrounding Schubert
on his deathbed,
about to play for him
the last music he'll hear on earth.
(SLOW, LYRICAL
STRING QUARTET MUSIC PLAYING)
Bow Bridge.
I don't think I've been here since
the first time I came to this country.
L-Hm-
Juilliard years.
Juilliard.
Do you remember why we picked
this as our meeting place?
Um...
- No.
- Darwin.
Darwin.
You were so into Darwin.
Everything was natural selection.
Yep.
In that respect,
things haven't changed much.
- Really?
- Yep.
The old man is ill,
the old man is out.
(SIGHS)
Any news about the medication?
It hasn't had much effect yet,
but it's still... it's still early.
Let's hope it's quick enough
for the concert.
If he's well enough
to play the concert,
then he should be able to finish
the rest of the season with us, Daniel.
Why not respect his wish, Jules?
Because I don't believe it is his wish.
He's overwhelmed right now.
Imagine how devastating
this has been for him.
First Miriam and now this.
We have to give him time to adjust.
What do we do about Robert?
What about Robert?
Alternating chairs Robert?
You should talk to him about that.
I doubt me talking
to him would help.
It will completely alter our sound,
Jules, you understand that.
That's also true if we replace Peter
with another cellist.
Not if it's Nina, no.
She subbed for Peter very well
last year. She's very compatible.
Would you please talk to him?
Anyway, if Peter quits,
I may not continue.
All right.
I talk to Peter,
you talk to Robert.
You know, I didn't expect to feel this,
but it turns out, I love being our age.
I just love not having to prove
anything to anybody.
It's just great to go on stage,
sit down and play music.
You know, in Munich,
after our concert,
the audience was applauding and Nina
whispered to me, "That was fun!"
Ah.
Can you imagine Nina?
"That was fun!"
You really taught her well,
and I am very, very grateful to you.
Gideon, I need to ask
a big, serious favor.
Well, for you, anything.
I've made up my mind to stop performing,
and my choice to replace me
at the Fugue would be Nina.
- Nina? From my trio?
- Your Nina.
She's the one who can do it.
She knows our repertoire,
the quartet likes her,
personally, creatively.
We need her.
If she'll agree, of course.
Peter that would be a big mistake.
Don't retire!
I promise you,
you are going to get a second wind,
and it could be the nicest
part of your entire life.
I mean, and you certainly
can't ask me to give up Nina.
I mean, she's become an integral part
of the trio, I could never replace her.
Gideon, there's no comparing.
It's easier to replace for a piano trio.
There are cellists who could
take her place, I can help you find one.
To my mind, the Fugue without Nina
might not survive.
It's that serious.
I understand what you're saying,
but I can't do that.
I can't give her up.
I'm going to begin
by talking about some general principles
I'm going to begin
by talking about some general principles
that involve Parkinson's.
One of them
is that everything gets smaller.
Our posture gets smaller,
our stride gets smaller,
our voice gets smaller,
even our handwriting gets small.
Everything contracts and closes in.
So we need to push those boundaries out.
We need to move big, so that
we can take control of Parkinson's,
rather than it taking
control of us.
And to do that,
we use conscious movement.
So, let's just start by stretching
the arms out,
and bringing them up
and bringing them down,
and bringing them up and out.
And we're gonna go front and side.
And up and down. Good job.
And front, and stretch side.
And up and down.
(PLAYING SLOW, LUSH MELODY)
Nice.
My father gave me a tip.
Sounds like a good one.
It was a good one. You should
take a tip from him yourself.
Yeah? Like what?
He could teach you
to be a little less...
...anal.
That's funny.
OK... Frankly, I don't think
you need my help anymore.
And don't worry, I'll call Peter,
tell him something.
Come on, Daniel, I was... I was kidding.
I didn't mean it like that.
Of course you did. Just testing
the extent of your power, it's fine.
The extent of my power?
Could you illuminate me please?
Actually, it's more of a desperate need
for attention.
I would suggest you focus on the music.
Focus on the music?
(METRONOME CLICKING)
Is that all?
Yeah, you've probably just realized
how much hard work it takes
to become a decent violinist,
let alone a good one,
and you're not sure anymore
whether it's worth the trouble,
whether you're talented enough,
whether you can handle the pressure.
Just you and the violin
in a small studio
making the most miniscule progress
every day... of your life.
That's why you formed your quartet.
You thought it would alleviate
all of your problems.
You found it's even more work and now
you're stuck with three other people.
Totally dependent
on the way they play, their taste.
They constantly scrutinize
your talent. They hear every flaw.
And that hurts
your little ego very much.
Doesn't it?
(RAIN PATTERING)
(DISTANT SIREN BLARING)
(THUNDER RUMBLES)
You're special, Alex.
Yeah, right.
Don't waste it.
See you next week.
(STRING QUARTET PLAYING
SOFT, LIGHT MELODY)
PETER: I was relentless about getting
him to form a quartet,
but he yearned, as they always do,
to become a soloist.
How little they know,
or even suspect.
Then, on the final day of the semester,
Daniel comes to me and he says,
"Professor,
I've decided to form a quartet
and I want you to be its cellist."
I'm thinking, "Is this guy nuts?
I'm 30 years older."
And I had made it clear
that since the Hudson's breakup,
where I played with Juliette's mother,
I was not inclined to perform anymore.
Daniel insisted and my wife said,
"Do it!"
So I said, OK, providing
that Jules would join us on viola.
That would've been
my first choice regardless.
But the really curious, star-crossed
aspect of this is how we found Robert.
You tell 'em.
ROBERT: I was leaving
Juilliard for the day,
and Daniel pokes his head
out of the room and says,
(IN DANIEL'S ACCENT): "Robert...
(LAUGHING) ...would you like to play...
play a movement with us,
just to, you know, wrap up the night?"
I was. . .
I hadn't even really considered it.
Andi was a freshman at the time,
and was about to transfer to NEC
to study modern composition with Lampl.
And, you know, second violin,
playing with a quartet,
I wasn't sure if I was ready
for that commitment.
Anyway, from the first note, it was...
...I got it.
You know, I understood, this...
...the dynamic of a quartet
and how special that was
to be a pan' of a group.
And that being a pan' of the group
is about becoming one.
And until that point,
I don't think I understood that.
I thought! was the one, you know?
But that was more special,
to be a pan'.
And... and there was
this incredibly beautiful woman
across from me, playing the viola,
like... like her life depended upon it.
She was... breathtaking.
"Star-crossed, " you know,
I don't know.
- JULIETTE: Robert.
- Mm-hm.
I'd really like you to drop
the alternating chairs idea.
Why?
Because it puts the quartet in danger.
Why is it every time I...
Daniel will never agree
to accompany you.
Well, I don't view our roles
as accompaniment.
No, of course not.
Of course not.
But why now, why are you
making an issue of this now?
I never wanted to be
a second violin.
And I never pushed it
because... we were good.
Well, I liked it...
for the harmony.
I know, I appreciate that.
You know, when Peter brought
up that he might be leaving...
But what if he stays?
I'd still want us to alternate.
You remember, remember
when we first started out,
that every rehearsal was...
discovery?
We'd looked
forward to going there.
We'd argue just to argue
over a hairpin.
We'd jump down each other's
throats over a bow stroke.
"I think it's up." "it's down."
"I think it's up."
"it's down."
- "I think it's up."
- I know, it was awful.
(CHUCKLES)
- I miss that.
- Yeah.
I miss being excited.
I miss that. I can't tell you.
Daniel...
Daniel doesn't think that your qualities
are best suited for first chair.
Excuse me?
He just doesn't think that you
would be a good first chair.
- Why don't you have my back on this?
- I do.
Why do you have his back,
and you do not have my back on this?
That's not the case.
Look, we've always
agreed to be impartial
in these particular matters,
you know that.
Fine.
Completely impartial.
Do you think I wouldn't be as good
a first violin as Daniel?
- Oh, come on. I think you...
- Impartial. Impartial.
I think you're an amazing violinist.
I think you're... great.
First, second...
it doesn't matter to me.
- It matters to me.
- But this isn't about you or me.
- Yes, it's about me. Yeah, it is.
- No. No, this is about the quartet.
(SIGHS)
And I think that you are...
...the best second violinist out there.
- There's nobody better for your part.
- Wow.
Wow.
- Could you stop the cab?
- JULIETTE: Please don't. Robert.
- Everyone values your contribution.
- Oh, God.
- Robert...
- Right here.
When did you and Daniel
talk this through?
He wanted to meet to talk about
how we could stay together, Rob...
(SLOW, DESPONDEN ORCHESTRAL MUSIC PLAYING)
I met with Gideon...
Mm-hm.
...and he says no.
You offered to help him
find another cellist, right?
He likes working
with Nina too much.
Yeah, of course he does.
He had six different cellists he liked
working with too much before Nina.
Over 40 years.
Right, don't worry,
I'll talk to Nina tomorrow.
Not yet, wait. See what happens.
Maybe you should reconsider
your retirement, Peter.
If you'll be able to play well soon,
we're all confident you will,
we would love for you to continue
playing with us for as long as you can.
What about no compromise,
quality above all?
Find a new cellist and then take
the Fugue to another place.
Now, if you don't mind,
I need to rest.
Practice, practice.
Get ready to do what we do best.
We have a performance coming up.
(FLAMENCO MUSIC PLAYING)
(SINGING IN SPANISH)
(FLAMENCO MUSIC CONTINUING)
(SIGHS)
(FLAMENCO MUSIC FADES)
(STRINGS PLAYING
SOFT, SAD MELODY)
Nina, he has Parkinson's.
Yeah.
He probably didn't want Gideon to know.
Not good.
It's not good.
(SOFT, SAD MELODY CONTINUING)
(PILAR BREATHING HEAVILY)
(FOOTSTEPS APPROACHING)
JULIETTE: Hey.
- Hi.
- Hey.
I made your favorite breakfast.
You hungry? You must be.
Hey, I'm sorry about yesterday.
I was wrong. I'm so sorry.
- I don't mind.
- I just... I really stink.
Oh, that's OK.
I just wanna go to the bathroom
and take a shower. Just one second.
OK. I'll be right back.
(DOOR CLOSES)
Um...
(CELL PHONE BUZZES)
- (BUZZES)
- (WATER RUNNING)
(FOREBODING MUSIC PLAYING)
- Um... Where's your violin?
- ROBERT: What?
I need rosin. I can't find it.
It's not by the couch?
No, it's not there.
It's not in the bedroom either.
ROBERT: Oh, fuck!
Fuck, I left it at the bar.
Really? What bar? I'll call.
I'll get it, just give me a second,
let me get out. I'll get it. Fuck!
(STRING QUARTET PLAYING
SLOW, SOBER MELODY)
- Hi.
- Hi.
Thank you.
- You look tired.
- Yeah.
Did you manage to get some sleep?
Only a few hours.
I didn't get a single minute,
you know.
I just lay in bed
thinking of us till sunrise.
We can't do this.
We can't, um...
What happened between us last night
is rare, Robert, you know?
And you don't deny these feelings.
You just have to live,
you just have to feel them.
I know. I really can't.
(FOOTSTEPS APPROACHING)
Hi, Jules.
This is, uh, Pilar.
We, um...
Remember I told you about her?
We run together in the park.
She's a fan of the Fugue.
I was just about to leave.
Please, you can have my chair.
She seems nice.
Yeah, she's... she's nice.
You took this whole
alternating chairs theme
a little too far, though,
don't you think?
- I mean, my God...
- Fuck. Oh, great.
I'm sorry.
I'm so sorry.
It was a... It was a one-time thing.
- I... I just ended it. It's done.
- Yeah? You reamed me yesterday.
You were furious with me yesterday
for talking to Daniel
about securing the future...
I was really hurt
by what you said yesterday.
- ...the quartet's future!
- You said I wasn't good enough!
This is how you decide to communicate
this to me, by fucking another woman?
I'm not good enough?
I don't give a shit
about first chair...
It's my life!
- ...that's all your ego. Bullshit!
- And the violin, it's everything!
I don't care!
- I love you.
- (SCOFFS)
I love you more
than anything in the world.
You have to know that.
I made a stupid mistake.
God, I fucked up.
I'm asking you to forgive me.
I'll be out late.
I want your stuff out by midnight.
- No...
- Jules...
Get your stuff out of the house.
(ORCHESTRA PLAYING
SLOW, SAD MELODY)
(PHONE RINGING)
- It's Daniel. Leave a message.
- (MACHINE BEEPS)
PETER: Daniel, I have news. Very good.
Gideon called. He changed his mind.
I spoke with Nina. She's standing by.
I'll call you later. Bye, bye.
Good news. Nina will be joining us.
Peter...
What's the matter?
You're upset about something?
I can't imagine...
I can't imagine playing
in the quartet without you, Peter.
You know, traveling without you,
performing without you next to me.
I don't... I'm not sure I can do it.
I don't think I want to.
Please don't speak that way.
When your mother died,
the big mistake I made
was allowing the quartet to break up.
I should have fought,
find a new violist,
stay together, despite all the sadness.
Instead of being weak
and scared and lazy.
Don't make that mistake.
Be brave. I got a second chance.
Not everybody does.
(UP-TEMPO, CHEERFUL
STRING QUARTET MUSIC PLAYING)
ALEXANDRA: Thank you for inviting me
along on this ride.
DANIEL: I just love it out here.
(ALEXANDRA SPEAKS
INDISTINCTLY)
Let me tell you what makes the Fugue
such a great quartet.
OK.
First, they have you.
And you're hypnotizing the audience
with your relentless precision.
They follow you like a cobra
follows a snake charmer.
Well...
Then... you have my father.
And he's adding color
and texture and rhythm.
He's always enhancing you,
he's lifting you up,
but he'll never outshine you.
There are many quartets
with an accomplished first violin.
It's the second violinist,
the quality of the second violinist,
that makes a quartet stand out.
And your father is great.
Then there's my mother.
She adds a depth of sound
that none of you could bring.
She makes you wanna weep
without exactly knowing why.
Is that the voice of a wounded soul?
The survival skills she had to develop
prepared her to perfectly serve
three masters at the same time.
The one she loves,
the one she partners with,
and the one she desires.
That was a long time ago, Alex.
It was before your parents got together.
Oh, yeah. Sure, sure.
Whatever.
To close a perfect square, you've got
the big-hearted man with the cello.
When the gates are secured,
emotions are welcome.
We can all sit down
ready to be swept away.
It's the ideal quartet.
Bravo.
Hey, what are you gonna do now
with Peter retiring,
everything that's happening
with Mom and Dad?
What's happening
with your mom and dad?
WOMAN: Robert?
- Hi.
- Hello.
Grabbed the Gagliano for you.
Terrific.
Give it a try. We've got some time
before the auction starts.
- OK. Thank you.
- Yeah.
- Hi, Jules.
- So sorry I'm late. Hi. Juliette.
- Hi. Brenda Franklin.
- How do you do?
- Nice to meet you.
- Thank you.
- I'll be back in a bit.
- OK.
Thank you.
Perfect timing.
- Wanna give it a try?
- No, you go ahead.
(PLAYING DRAMATIC
MUSICAL PHRASE)
The lower register has
nice depth, it'll blend...
- Warm tone, responsive.
- ...very nicely with the viola. Yeah.
- The scrolls.
- I can see why Alexandra wants it.
Beautiful.
Let me see it, please.
The body's in perfect condition.
- Sure you don't want it?
- No, thank you.
- Yeah, we should bid on it.
- Definitely.
Can we talk now?
We're here to buy a violin, Robert.
Can we discuss this?
We've discussed it.
Well, we haven't discussed it.
I think that's the problem.
You know, we've... shared an intense
life for almost 25 years together.
I think that, you know,
deserves more discussion, you know?
And, um... I mean,
living and playing together...
Both of us knew going in
it wasn't gonna be easy.
(CHUCKLES)
That was exciting back then,
but we've had our ups and downs.
But on a whole, I think...
I think our marriage is a good one.
So I can't believe that one truly
regrettable night's gonna ruin all that.
I've loved you madly
since the moment I met you,
but I've always feared deep down that
you felt like you were forced into it.
That you wouldn't have married me
if you didn't get pregnant.
Because in so many ways,
you haven't really been there.
Not completely.
And I've learned to live with that,
you know, expecting one day
that you'll, you know,
finally want to be closer to me.
I did away with my dreams of composing
and playing other forms of music.
And I did it gladly,
without reservation, for us.
To be together.
To play-
To have a child.
Do you really love me?
Or am I just convenient?
Good father. Good husband.
Good second violin player.
- FRANKLIN: Isn't it great?
- Yes, it's... perfect.
We'll bid on it, yeah.
- Oh, great. Good luck.
- Thank you.
- We're getting started.
- OK.
(WHINNIES)
This is some
good stuff, man.
It's not bad. Not bad.
What about this one here?
Actually, he doesn't
cut it off the horse.
He imports it from
all over the world.
- This is Siberia, right?
- That's right, yeah.
Look, I'll bundle up
the best samples that I've got,
and whatever you don't use,
you can just mail 'em back to me.
Thanks, Jack.
"This one's Siberia."
What? What is that about?
You can't just use
any hair for a bow.
The smallest differences
in hair structure change the timbre
of the instrument completely.
What?
You're obsessed.
You're obsessed.
I guess so.
You cold?
(HORSES WHINNYING)
Why didn't you pursue
a solo career?
I would never trade
with them.
As a soloist, you rehearse with an
orchestra three, maybe four times,
and perform the piece once or twice.
And that's it. Next city,
next conductor, next orchestra.
We celebrated 3,000 concerts
together last season.
Which makes me feel
kind of ancient, but...
(CHUCKLES)
It's the only way to find
meaningful interpretations.
The greatest composers,
when they wanted to express
their most sincere thoughts, feelings...
...dig deep into their souls,
always this form,
always, always the quartet.
If they were courageous enough, Alex...
(WHISPERING):
What are you doing?
Need to get the samples.
A really beautiful Gagliano
with a slab cut back.
- At 14,000 on the telephone now.
- Raise your hand.
- MAN: ...at 14,000, with a circa 1820.
- How far are we willing to go?
Fifteen.
- MAN: Fifteen thousand is on the aisle.
- Raise your hand.
Fifteen thousand dollars now.
Sixteen thousand.
Thank you, on the right.
The lady with the really lovely hat.
It's 16,000 on my right.
That's $16,000.
Now bidding at 16.
Raise your hand.
Jules, I didn't mean
to upset you back there.
- MAN: Gagliano...
- Twenty!
- Twenty thousand dollars on the aisle.
- If I am off track, just tell me.
Twenty-one thousand dollars in the back.
It's a lady in the back.
- At$21,000, $21,000.
- Twenty-five!
Twenty-five thousand,
$25,000 now on the aisle again.
Twenty-five thousand. Twenty-six?
All through at 25?
At $25,000, now bidding at 25,
all through.
Twenty-five thousand dollars,
fair warning. Sold for $25,000.
Congratulations, sir, you just took
a quality violin from a real musician.
Jules!
Jules!
Jules, hold on!
JULIETTE: Would you mind waiting
a minute, please?
- Hold on.
- Thank you.
What is it?
What is it that you want... Robert?
What is it that you
want me to tell you?
That I've always loved you,
but I'm just incapable of showing you
in the way you'd like me to?
Here's the truth: I don't know.
I don't know if I love you,
I don't know if I don't.
I don't know how I feel. I don't.
You need to leave me alone.
(TAXI DOOR CLOSES)
(TAXI DRIVES OFF)
(SLOW, SEDATE
ORCHESTRAL MUSIC PLAYING)
(SIGHS SOFTLY)
(KNOCKING ON DOOR)
Who is it?
(KNOCKING)
- Daniel.
- Hey.
Come on in.
(DOOR CLOSES)
(SCOFFS) What were
you thinking, Robert?
Compromising your marriage,
our quartet, for what, for a fuck?
(SIGHS)
What about you?
What about me?
Oh, sneaking around
with Juliette behind my back.
Trying to manipulate my wife against me.
Don't be ridiculous. Please,
no one is trying to manipulate you.
You just went too far.
Somebody had to bring you back
to your senses, that's all.
Actually, my senses
are coming back to me
for the first time
in a very long time.
Really?
Stay someplace
where I'm not respected?
That's over.
You're a great violinist.
I love playing
with you, I truly do.
You can't lead a quartet, man.
- You're not sufficiently disciplined...
- You think you're better...
...not motivated.
- ...than me.
You just don't have that in you,
and it's fine. It's perfectly fine.
You think you're better than me.
When did I say that?
You're wrong.
You know, practicing obsessively
doesn't make your playing perfect.
It actually sucks the life
right out of it.
It's rigid and... and monotonous,
and, and self-loving, and safe.
Jesus, Robert,
would you stop being so childish?
Please. Yeah, I know it's
a challenging period...
The whole group is going down
the path that you have us on.
Yes. I understand that.
The way you play
is the way the quartet plays,
and it's the same thing
over and over and over and over!
I am in my 40s. We've been playing
since we were in our early 20s.
That is where you've taken this group.
But if we keep it together,
now we have Nina on board...
That is where you
have taken this group!
That is where we have
let you take this group!
I have let you do that!
A disservice.
You're not even willing to play
Beethoven without your notes.
- Unleash your passion, man.
- Unleash my passion?
Unleash your passion!
What are you afraid of?
You have the three of us
to cover your ass.
Unleash your passion.
Wow.
GIRL (HALTINGLY):
"People expect old men to die,
They do not really mourn old men.
Old men are different.
People look
At them with eyes that wonder when...
People watch with unshocked eyes,
But the old men know
when an old man dies."
(SLOW, SOF ORCHESTRAL MUSIC PLAYS)
(J.VIEWZ: "SALTY AIR")
(DOORBELL BUZZES)
Come on up.
Mom.
(MUSIC STOPS)
(DOOR CREAKS OPEN)
(DOOR CLOSES)
(MAN SNIFFS)
("SALTY AIR" RESUMES PLAYING)
- (DOORBELL BUZZES)
- (MOANING, PANTING)
Shit.
What?
- It's my mom.
- What?
- That's... not funny, Alex.
- I'm not kidding.
- That's not funny.
- She's coming over.
- Your mom?
- Yeah.
(ALEXANDRA LAUGHS)
Oh, my God. You gotta get dressed.
(DOORBELL BUZZES)
(BUZZES)
- Hello?
- JULIETTE: Hi, it's me.
I'm gonna grab my stuff,
I'll meet you down stairs.
I'd like to come up
and see your apartment.
I'm dying for some coffee.
I don't have any coffee here.
We'll go right after, Alex.
OK, come on up.
No, she's coming up
the stairs.
Daniel, you're gonna have
to go out the window.
Daniel, I'm really sorry,
but that's the only option.
I'm so sorry.
- Shit, shit. Go, go, go...
- (KNOCKING ON DOOR)
(WINDOW OPENS)
- (WINDOW CLOSES)
- (KNOCKING CONTINUES)
JULIETTE: Alexandra.
- Hey, sorry. The door...
- That's OK.
How are you?
- Good. Oh.
- You look great.
- Nice. Nice.
- Yeah?
- I brought you a housewarming...
- Thank you.
- Madeleines.
- I'll open it in a sec.
JULIETTE: So how do you
like living out here?
- ALEXANDRA: Oh, it's perfect.
- JULIETTE: Yeah?
Yeah, I'm really happy here.
Good. Reminds me
of SoHo 20 years ago.
- (GRUNTING)
- (CLATTERING)
I saw Dad on Sunday for dinner.
So I suppose he told you
what was going on between us.
He's very unhappy.
I don't know why you're torturing him.
He told you I was torturing him?
No. No, Dad would never
say a bad word about you.
What your father did, though,
is totally unacceptable to me,
Alexandra, and wrong.
If you treat him like a doormat,
he's gonna start to wonder
what's outside the door.
A doormat? You don't have any idea
about our relationship, Alexandra.
- I know what I see.
- I'll tell you what I see.
Daniel's car... on the street.
What was he doing
at your apartment?
He teaches me.
The violin, I hope,
because your bed is a mess.
I'm not going to lie to you.
Good.
Daniel and I are in love.
You're not in love. That's ridiculous.
You're jealous.
Why are you so angry with me?
What did I do to cause you
to talk to me in this way?
I mean, did we just spoil you
too much, is that what it is?
Do you think I had fun?
Do you think it was fun growing up with
two roving quartet players for parents,
who were gone seven months of the year,
and I was always taking a backseat
to a violin and a viola?
Always, is that fun?
Does that seem fun to you?
You have always been
our first priority.
That is bullshit! That's bullshit,
that's just words. it's nothing.
If that were true, you would have
cut back on the touring.
- We couldn't...
- You would have paid more attention
to what was going on with me.
Not always looking for a perfect
goddamn fingering to a Haydn quartet.
I did the best I could. I tried to be
a good mother to you.
I wanted to be perfect,
but this is a musician's life.
We rehearse and we practice
and we perform.
Unfortunately, that's how it's going
to be for you, too, you'll see.
No, I won't.
Because I would never
raise a child that way.
(SNIFFLES)... I'm sorry.
If I were you,
if I had been you in that position...
...I would've had an abortion.
How can you be so cruel?
I risked everything to have you.
Do you understand?
Do you have any idea
what it feels like, do you?
- Yeah. Yeah.
- No.
I know... I know what it's like
to grow up without a fucking mother!
(SOBBING)
Oh, my God.
(STRING QUARTET PLAYING
SLOW, LUSH MELODY)
They're fucking sixteenths,
Steve, stop milking them.
Folks, disagree,
but do it nicely, and please...
...try not to get caught up in mistakes.
When I was your age,
I met the great Pablo Casals.
I was so intimidated
I could barely speak.
He must have sensed this, because...
...instead of a chat,
he asked me to play.
He requested the prelude
to the Fourth Bach suite.
I focused, took a deep breath,
began, the notes started to flow,
the music's in the air, and it was
the worst music I ever made.
(STUDENTS CHUCKLE)
I played so badly,
I got halfway through and had to stop.
"Bravo," he said, "Well done."
Then, he asked me to play the allemande.
"A second chance," I think to myself.
I never played worse.
"Wonderful. Splendid," he praised me.
And when I left that night,
I felt terrible about my performance,
but what really bothered me
wasn't my playing, it was Casals.
The insincerity.
Years later, I met him in Paris
and by then I was professional,
we played together.
We became acquaintances,
and one evening, over a glass of wine...
...I confessed to him what I thought
of his horseshit all those years ago.
(LAUGHTER)
And he got angry. His demeanor changed,
he grabbed his cello,
"Listen," he said.
And he played this phrase.
(PLAYS DYNAMIC, DRAMATIC PHRASE)
"Didn't you play that? Fingering.
You did.
It was novel to me. It was good.
And here, didn't you attack
this passage with an up-bow like this?"
Casals emphasized the good stuff,
the things he enjoyed.
He encouraged. And for the rest,
leave that to the morons,
or whatever it is in Spanish,
who judge by counting faults.
"I can be grateful,
and so must you be," he said,
"for even one singular phrase,
one transcendent moment."
Hmm?
- Wow.
- Yeah, wow. Pablo Casals. Champion.
Once more, with feeling please. Feeling!
(SLOW, LUSH MELODY RESUMES)
JULIETTE: Hello, you've reached
Robert and Juliette.
Neither one of us is available
to take your call right now,
so please leave a message
after the beep. Thanks.
(MACHINE BEEPS)
PETER: Jules, Robert...
the medication is working.
I'm OK for now. I can play.
Rehearsal at my place, Tuesday.
I'm calling Daniel. Goodbye.
(SLOW, TENDER
ORCHESTRAL MUSIC PLAYING)
(INHALES)
(PLAYING FAST, PLAYFUL MELODY)
Huh? This is good.
We're getting there. Energy. Umph.
JULIETTE: I can't figure out
which string crossing I like.
I like very much what you did now.
You should stick to that.
I think she should do
whatever she wants.
- Let's continue.
- Yeah.
All right, let's continue.
Let's continue. Let's move on.
(PLUCKING
"THE BLUE DANUBE WALTZ")
Do you mind, Robert?
(PLUCKS DISSONANT NOTE)
What is going on?
Fill me in.
We've got a concert on Thursday.
I think it would be best
if personal matters waited.
Oh, God, I think it would be best if
you'd just shut the fuck up, you know?
Can you control yourself, Robert?
You mind?
JULIETTE:
You control yourself, Daniel.
You couldn't find somebody else's
daughter to sleep with?
What?
What? What did you do?
(SIGHS)
Alex and I are involved.
It is what it is, Robert.
You slept with her?
We're in love.
Didn't mean for it to happen,
it happened. It is what it is, Robert.
Sit down!
Stop! Don't do that, please.
Not in my house, please.
That's enough.
Out! All of you, stop it.
- Feel better?
- Leave now, please.
- She's not your property.
- I'm your property.
I'm your property.
We are all your fucking property!
Well, I guess your life is a mess!
For the first time in many years,
I love someone, and you know what?
- This time, I'm not gonna give it up.
- PETER: Stop it, Daniel. Stop it.
I am sick of the bunch of you. Out.
I'm sorry.
PETER: You have no respect
for the music.
- You should've told me.
- PETER: Each other.
- I'm sorry. Robert, wait, please.
- PETER: Nothing.
I'm going upstairs, when I
come back, I want you gone.
ROBERT: Don't follow me!
You should've told me!
PETER: Forget about the concert.
There's no concert. No nothing.
(MUTTERS): Can't believe this.
(SOFT KNOCK ON DOOR)
(SIGHS)
When you asked me 25 years ago...
to help you form a quartet,
I understood what it meant
to be so much older.
I knew that one day
I'd have to step aside.
I simply never imagined
it would be so difficult.
And to watch the quartet evaporate
in front of me at the same time, it's...
It's not like anything.
It's a nightmare.
It's a nightmare for me, too.
You must end
this relationship right now.
Whatever you think it is,
whatever you think
you're doing... end it.
No.
No, I can't do that.
Then working together
has taught you nothing.
Shame on you.
(SLOW, SORROWFUL
STRING QUARTET MUSIC PLAYING)
PETER: If you look at these pictures
in a certain way,
it's as if they open up.
One might go inside
and meet these people.
They've been here watching, listening.
Miriam felt that one might
exchange thoughts with them.
She liked this one in particular.
And what does Rembrandt
say to you today?
PETER: "I'm the boss. I'm the king of
painters. I'm very great and I know it.
I'm getting old, but still,
I'm at the height of my power."
Look at the gaze from
the shadow, he's strong.
He's a bit silly, in his gold dress
and all, he knows that,
but still, his body and mind
have not betrayed him. Not yet.
It's inspiring.
My own body and mind
is a different story.
The drugs I'm taking aren't going
to work for all that much longer.
In time, they'll make me anxious,
I'll begin to imagine things,
and after that I'll be dependent
on other people
to feed me, dress me, bathe me.
These days
I think about how to avoid that.
- I'm being a burden.
- Peter, you'll never be a burden.
I want to take care of you.
You have the quartet.
You have Robert and Alexandra to look
after, guide them, take care of them.
So please, keep the quartet together.
Make me happy.
OK?
(SNIFFLES)
I was born in New York City, in 1963.
My mother, Frangoise Reynaud, played in
the Hudson String Quartet with Peter.
He was her closest friend.
And my mother died,
and the quartet broke up.
She died while in childbirth with me.
I studied with Gil Breton,
until was 16,
when Peter arranged for me to study
at Juilliard, under scholarship,
and then I moved here, he and Miriam
invited me to live with them.
Happily, they became my family.
But truly, everything in my life
that was good
happened as a result
of their incredible love for me.
We formed the Fugue,
and then I met Robert.
And then we had a daughter, a baby girl.
Alexandra.
I think the truly gifted
one in the family...
(DOOR OPENS)
you'll hear, I'm sure,
see for yourself soon enough.
I've spent most of those years
traveling, but it's a very demanding...
- You OK?
- Mm-hm.
OK.
Open it.
It's for you.
Dad said this went for 25 grand.
I can't accept it.
Oh, no, don't worry about it.
It belongs to a friend
who owes me a favor.
You can use it
for as long as you wish.
And this one,
I made especially for you.
Try it.
Daniel, can I talk to you for a sec?
Uh... Yeah. Sure.
What?
You're an amazing man.
You're brilliant.
- I admire you, and I think...
- (SIGHS)
...you're a dream for any girl
who can handle a man like you.
I don't think I can be that girl now.
It's your parents, right?
- No. No.
- It's your parents. It's your dad.
This is my decision.
Not going to let them
come between us.
It's the Fugue, Daniel.
L-Hm?'?
It's the Fugue.
The Fugue?
You want to end what we have
because of the quartet, this is crazy.
Alex, you understand, it's insane.
One doesn't have to be
at the expense of the other.
Yeah, but it will be.
You know, I could never forgive myself
for that, and neither would you.
- You can't...
- Alex, Alex, relax. All right? Relax.
It's OK, it's gonna be fine.
- I'm going to take care of it.
- No, you're not listening to me.
I'm going to have a very
serious talk with your parents.
If they're not going to accept
what we have,
I have no interest in playing with these
people. You understand me?
We'll form a new quartet.
New one.
You and I, Alex. You and I.
- We have Nina.
- Daniel, this is it.
I'm trying to talk to you,
I'm trying to tell you
that this is done now,
for me. It's done.
(SOFT, FORLORN
ORCHESTRAL MUSIC PLAYS)
Go away.
Just, uh... go away.
(SNIFFLES)
Daniel?
Daniel...
(WATER RUNNING)
(STRINGS PLAYING
SLOW, GENTLE MELODY)
(WOMAN SINGING PLAINTIVE ARIA
IN GERMAN)
(ARIA ECHOES, FADES)
(SLOW, YEARNFUL
ORCHESTRAL MUSIC PLAYING)
(DOOR OPENS)
(MAN COUGHS SOFTLY)
- (FOOTSTEPS ECHOING)
- (LOUD APPLAUSE)
(APPLAUSE FADES)
(PLAYING SLOW,
MELANCHOLY MELODY)
(ROBERT JOINS IN)
(PLAYING LIVELY, ANIMATED MELODY)
(PLAYING MEDIUM TEMPO,
WARM MELODY)
(PLAYING FAST, PLAYFUL MELODY)
(PLAYING LUSH, SOULFUL MELODY)
(PLAYING BRISK, LIVELY MELODY)
(MUSIC STOPS)
(SIGHS SOFTLY)
(SIGHS QUIETLY)
Huh...
(FOOTSTEPS ECHOING)
PETER:
Ladies and gentlemen, I have to stop.
My friends are playing
way too fast, I can't keep up.
It's Beethoven's fault,
insisting we play...
...Opus 131 attacca,
without pause.
I need a pause. Nina Lee.
(APPLAUSE)
PETER: Wonderful cellist...
...friend of the Fugue...
...will replace me for the remainder
of tonight's program,
and, hopefully,
for much longer than that.
Nina, please.
It has been my pleasure
to play for you through the years...
...together with
Robert, Daniel, Juliette.
Thank you. Thank you.
And for Miriam...
My wife, is out there somewhere...
...I thank you,
I miss you, I think of you.
(CELLO PLAYING
HEAVY, SOMBER MELODY)
I'll be seeing you.
(THUNDEROUS APPLAUSE)
(CHEERING)
(APPLAUSE CONTINUING)
(APPLAUSE CONTINUING)
(APPLAUSE CONTINUING)
DANIEL: The seventh movement.
These movements are all connected.
You can't ride
the wild horses of the seventh
without mounting them
during the sixth.
So with your indulgence, ladies and
gentlemen, we'll go a few bars back.
Thank you.
Four bars back?
(HEAVY, SOMBER
ORCHESTRAL MUSIC PLAYING)
(SOMBER MUSIC CONTINUING)
(SOMBER MUSIC FADES)
(PLAYING LUSH, SOULFUL MELODY)
(PLAYING BRISK, LIVELY MELODY)
(BRISK, LIVELY MELODY CONTINUING)
(BEETHOVEN'S
OPUS 131 CONTINUING)
(OPUS 131 CONTINUING)
(OPUS 131 ENDS)