Country Folk Songs " Movie Drama Text / (United States) Joel Cohen Ethan Cohen
Translated / Luojia
Subtitles: New York City, 1961
subtitles fade out. Black screen.
The camera cuts to the singer who plays guitar and sings. He is singing "I Traveled Everywhere in the World". This is Levine Davis, who is sitting in the spotlight on the small stage of a New York club—perhaps the "Gas Lamp" cafe.
He finished singing in applause.
Levine: Thank you. Maybe you have heard this song before, but what does it matter...
He got up to leave, and went back to the microphone.
Levine: ...a song that has never been a new song and will never be outdated, that's a folk song.
The applause gradually died down, something caught Levine's gaze.
The club’s owner and Italian from Greenwich Village (Note 1), Nick Polko, nodded to Levine, smiling.
Nick: Man, you were a little out of order last night.
Levine: Yes, I'm sorry, Nick. I'm a bastard.
Nick: Oh, I don't mind at all. I even agree with what you said about music. But it's really funny that you said it.
Levine: Yes, I am a funny guy.
Nick: Exactly. Come on, someone is looking for you later.
Levine: Who is it?
Nick: A guy in a suit.
A loud noise outside the screen caught Levine's gaze. Under the smoky spotlight, a man with his back to the light source, holding a guitar and sitting on a stool on the stage. The iron door of the
back alley
club opened and Levine walked out. A thin man smoking a cigarette against a wall across the alley, older than Levine, wearing an oversized suit. He looked at Levine, and then said in a Kentucky accent---
Man: You are a funny guy, huh?
Levine: What?
The man threw away his cigarette butt and stood up straight.
Man: Do you have to have that big mouth, funny guy?
Levine: Must—what? That is my job. To make a living. Who are you...
Man: Your job? Make jokes about the people on the stage. The person who sings on stage?
Levine: I'm sorry, what? me!
The man punched him in the mouth.
Man: You sprayed manure with your mouth in the audience last night?
Levine covered his mouth.
Levine: Oh, my goodness. You talk nonsense. That is acting.
Man: That's not a fucking gay show! (Beats him again)...It's not your performance!
He then punched again, and Levine fell onto the muddy ground in the alley.
Levine: This is not an opera house, bastard!
The man kicked Levine. He curled up defensively, with his forearms
covering his head, yelling --- Levine: This is the fucking club.
The man kicked again.
Man: We will leave this filthy place. I leave it to you, bastards.
The tracking
camera was advancing along the corridor. In the background, the room leading to the corridor had dim sunlight.
The music cuts into the Italian opera sung by the tenor. The source of the music has a certain angle: probably another apartment at the bottom of the ventilation shaft is playing records.
The cat's legs are drawn into the painting, leading the camera to continue advancing.
The cat enters the background room, and the camera and the cat keep in sync. The cat's head turned to one side and led the bottom of a sofa into the picture. Outside the picture, the person sleeping on the sofa has one arm hanging down on the ground. We can hear the heavy breathing of the sleeper.
The cat leaped up and went out of the painting.
A close-up view of the sleeper: Levine Davis lying on his back. After being hit softly, he let out an exclamation and opened his eyes. Blink.
He pressed his chin against his chest and looked down.
His viewpoint: The cat stood on his chest and stared back at him, making a loud, rhythmic "snoring and purring" sound.
Levine raised his hand and drove the cat off.
We heard the sound of cats walking up and down the room, and cut into the wide-angle shot: Levine moved, got up, and moved his legs off the sofa. He is wearing underwear.
The walls of the room are decorated with masks, totems and other rustic art of early civilization.
Levine sat there and looked around in a daze.
Reached out and grabbed the trousers and snapped them onto his legs. He looked down at the side table next to the armrest of the sofa. There were some change and three subway tokens on the table. He swept the tokens in his hand and put them in his pants pocket. There is also a wallet on the table. He pushed aside the bill compartment. There are three dollars in it.
Close shot: He looked at the wallet, then closed it, and stuffed it into the other pocket of his pants.
Corridor The
dark corridor, at first glance, leads to a brighter room.
Levine's head appeared at the end of the corridor, and he craned his neck to look into the corridor. Stared at it for a while.
Levine: Hi?
No one answered.
Levine breathed a sigh of relief, entered the hallway, and walked towards us in his underwear. Behind him, the cat ran across the room. Levine walked in from the
living room
, leaned over and took out the guitar from the case.
He sat on a sofa, lazily and tentatively fiddled with different chords until he was in harmony with the opera that had been playing. He used a series of varying chords to accompany the opera while still humming. Cleared his throat loudly.
The kitchen
eggs were beaten into the bowl.
The camera angle widens: Levine, still in underwear, is beating eggs.
After beating hard, he looked around and opened the drawer, but he didn't see what he wanted. Looked at the cabinets around blankly.
corridor
Levine walked through the corridor, took the scrambled eggs from the plate with a fork and put them in his mouth, looking at the pictures on the wall leisurely.
Back in the living room,
Levine stood dumbfounded in front of the shelf full of records, and swept a finger across the cardboard spine of the worn-out record jacket. The egg tray was empty, and he threw it on the audio cabinet next to it at will.
The finger rests on a record and pulls it out. He looked at the envelope, with a smile on his mouth, took out the record and put it in the speaker.
Later
, the "Song of Dink" sung by the female harmony duo flowed out of the sound.
Levine is already neatly dressed. He is wearing a corduroy sports jacket, and he scribbles on the post-it note by the side of the dining table: Thank you for the sofa. Sorry, my performance was a mess last night.
His signature: Le.
The public aisle
"Dink's Song" is still playing and is now the soundtrack of the film.
Levine just came out of the apartment, carrying a guitar case in his hand. The corridor is narrow, with only the door to another apartment and an elevator.
When Levine left, the cat jumped out with him.
He mumbled, and awkwardly tried to hook the cat with his feet when it passed by, but without success. The cat snored and ran to the other side of the corridor.
Levine put down the piano case and chased it. As soon as I took a step, I heard the apartment door hit behind me.
Levine: Damn it.
He turned and went back to the door, knowing he could not twist, he tried to turn the knob. The handle doesn't move: the door is locked.
Levine: Damn it.
The cat was spinning around the legs of the table under a small table in the corridor. Levine reached out to grab it, and it ducked. He reached out one hand to stop the cat, and the other hand to catch it.
He straightened up holding the cat and looked around the narrow corridor.
He walked to the neighbor's apartment and knocked on the door.
Wait a moment.
Levine: Hello?
There was still silence after another knock.
He presses the call button of the elevator.
While waiting, he again tried meaninglessly to twist the door handle of the first apartment.
We heard the sound of the elevator arriving, and the car door slid open. The administrator opened the outer door.
Levine picked up the guitar and walked into the elevator.
Levine: Hello... can you, can I give you the cat?
The
administrator in the elevator closes the door and starts the elevator.
Administrator: Give it to me?
Levine: Yes, this is the cat from the Gofain family. Just wait for some of them to come back.
Administrator: Give it to me?
Levine: It slipped out, I don't have the key. Can you take care of it and return it to them when they come back?
Manager: I have to drive the elevator.
Levine: It’s not a problem, is it? This is Gofain's cat.
Administrator: No way. I have to drive the elevator.
The
dilapidated address book was opened, and the scribbled entries were faded to varying degrees. Some were written in pencil, and some were written in pen.
We heard ringing from the other end of the telephone line.
The camera angle widens: Levine stands in the phone booth, clamps the receiver between his shoulders and ears, holds the address book in one hand, and holds the cat in front of his chest in the other.
In the background, the city's traffic was rolling on the muddy road, and passers-by were wearing Belveen's corduroy jacket and thick winter clothes.
A female voice interrupted the ringtone.
Female voice: Department of Sociology.
Levine: Please go to Professor Gofain.
Female voice: He is teaching, do you need me to bring him a message?
Levine: Okay, please tell him, don't worry, Levine takes the cat.
Female voice: Levine...it's a cat.
Levine: Levine took the cat. My name is Levine. His cat is with me.
Street
"Dink's Song", whose volume was reduced during the above dialogue, became louder again with the appearance of the cast and crew subtitles.
A subway exit on the sidewalk of the Upper West Side. The signs indicate lines A, C, and E. Levine walked down, carrying the piano case in one hand and the cat in the other.
The turnstile
guitar is lifted high above the gate.
There
were not too many passengers on the subway car, Levine sat, his body swaying slightly as the car moved. His point of view: A business person pulling a ring, wearing a coat, a narrow-brimmed woolen hat, and the newspaper in his hand folded. Business people also looked at Levine, who was dressed in thin clothes and hugged a cat.
The camera refocused on Levine. He looked away.
Two black children—presumably on their way to school—are also staring at Levine.
The camera refocused on Levine. The cat broke free from his arms.
Levine stood up, leaned over, and hurriedly pursued. People gave way to cats and cat chasers with different expressions. The subway exit on another sidewalk on
West Fourth Street
. Levine walked out, the cat being chased still held on his chest. Levine walked along the
streets of Greenwich Village
, carrying the guitar in one hand and the cat in the other. As the credits of the cast and crew finished, he turned into an apartment building in the middle of the street. Levine scanned the floor index
on the porch of the apartment building
, and rang the intercom doorbell of "6C-Burkey". There is no answer. So he pressed the doorbell of "1C-Supel".
The door "clicked" opened. At the end of the corridor, an old Italian man in a vest and blue overalls opened the door.
Levine: Hi, Nuncio.
Nuncio: Well, but they are not at home.
Levine: It's okay, I know. Can I borrow a fire escape?
Ventilation shaft
Levine climbed from the fire escape to the sixth floor. He put the cat on the metal slatted platform, freed a hand, and lifted up the window of an apartment. While he was doing these actions, the cat tried to escape. Levine stopped the cat, picked it up, and opened the window at the same time, breathing a sigh of relief.
Berkey home in the apartment
Lewei En Shut the window behind him, then walked over to the window and open another door, close the window.
He then let go of the cat.
Later
Lewei En opened the refrigerator door, tilted his head and looked inside.
The saucer on the ground
Levein's hand painted and poured some milk. The cat jumped over and licked the milk. We heard the refrigerator door open and close, and then the sound of footsteps drifted away, and then the heavy apartment door opened and slammed shut.
The office of the outside office
is small and messy. Photos of musicians on the wall show that they are engaged in music-related businesses. The pose of each musician is a short, sturdy middle-aged man with one arm. Some photos have autographs and thoughts on the person named "Meer".
A glass door was half open, revealing the inner office, and Mel, a short middle-aged man, sat behind his desk. The chin rested directly on the table. The shoulders drooped down behind the table.
We saw his body straining, and at the same time heard the sound of things dragging on the floor.
Mel relaxed and slid the office chair back. He leaned over, picked up the file box that had just been dragged out from under the table, put it on the table, and began to look through it.
Levine walked in.
Levine: How is our situation?
Mel: Very good!
Levine: Really? The new album is doing well?
Mel immediately showed a sad look.
Mel: Oh, our situation. Honestly, not very good. (Raised voice) Ginny, where is Cincinnati's information?
She also shouted back like him.
Ginny’s voice: What?
Mel: Cincinnati's information. not here.
Ginny's voice: It should be inside.
Mel: Not here. I said that.
Ginny's voice: Cincinnati?
Mel was still searching.
Mel: Yes.
Ginny's voice: I found it.
Mel: What.
Ginny's voice: I found it.
Mel: It's...
Ginny's voice: What?
Mel: Did you find information on Cincinnati?
Ginny’s voice: Yes. Do you want it?
Mel: Can I see it?
Ginny's voice: Do you want me to take it in?
Mel: Yes.
Levine tried to regain the original topic.
Levine: Should you give me money? You must owe me something.
Mel (shakes his head regretfully): I hope too.
Ginny walked in with the information Melcha asked. Leave.
Mel: People need time, you know. Let them accept you as a solo actor. Even if they know that you have flown solo... (looking at the file and shaking his head)
Ginny's voice: Is this this one?
Levine (sullenly): Yes, that's it. God bless.
Levine: We were not well-known when we were a group. It's not that Mike and I were once famous. For the public, re-acceptance is not a problem. Mel. Mel!
Mel, who was immersed in the file, was startled.
Mel: Yeah. Um. How are you?
Levine: Mel, my solo album didn't pay a prepayment, there should be some royalties. Damn it, it's cold outside, I don't even have a winter outfit.
Mel: Oh my goodness! You are joking!
He put down the file and was shocked.
He walked around the desk and left the office.
Levine looked around, looking confused.
From the open door, we can see a corner of the outside office. There is a coat rack there. Mel started painting and took a coat from the coat rack.
The hand disappeared, and after a moment, Mel walked back with his coat.
Mel: Take it, kid.
Levine: Mel...no.
Mel: It must be! must!
Levine: Damn it, I don't want your coat! What else are you wearing?
Mel: Kid... I can deal with the past.
Levine: I don't even wear it well! This is really nonsense, Mel! This is purely fake bluffing.
Mel: Fake model and fake model! Child, what, what did you say... fake model! I gave you this fake model? ! Get out of my office!
Levine: Okay. Thank you for your coat.
Mel: What? Okay, wait, hell... I'll give you forty dollars.
The floor index
entered the picture with one finger and pressed the intercom doorbell of "Burkey".
With a "click", the lock was unlocked.
Levine pushed in.
On the first floor
, Nuncio leaned out from the door of his apartment.
Nuncio: They are at home.
Levine: Yes.
He stepped upstairs.
Looking down at
us, we heard Levine gasping for breath, and at the same time we saw his hand railing up.
The apartment door
Jean --- a young woman - opened the door.
Gene: Explain about the cat.
In the living room of the apartment, a young man in camouflage clothes and boots sits in a rocking chair, stroking the cat on his lap. His hair was shaved short, exposing a large forehead.
Levine: It's Gofain's cat. sorry. I spent the night at his house last night.
Young man: What is its name?
Levine: I don't know. It slipped out...
Gene: Do you want to stay here tonight?
Levine: I hope so. Is Jim at home?
Young man: What a lovely cat.
Jean: Jim is not here. We have let Troy stay here for the night.
Young man: Troy Nelson. Hi.
Levine: Well, hi. Levine Davis.
Troy: Oh, hello! I have listened to your music, and I have also heard a lot of your kind words. According to what Jim and Gene said, there are others.
Levine: You haven't heard a good word from me from Jean. there has never been. Right, Troy?
Jean: You promised Gofain to take care of their cat, and then bring it here for us to take care of?
Troy: I heard a lot of good things from Jim and Gene. There are others.
Levine: I didn't... just an accident...
Troy: This cat is very good. Look how comfortable it is.
Levine: So I can't stay here tonight.
Gene: Listen. We agreed to let Troy stay. We can't leave the sofa empty waiting for your appearance.
Troy: If it's not convenient, I can take a ride back to Fort Dix after the evening show.
Gene: Don't be silly, we have left the sofa for you.
Levine: Do you have a show?
Gene: Troy is going to perform on the public grass in the evening. We met with Jim there.
Troy: Well, I can sleep on the floor, here. I don't care whether it is comfortable or not. Levine sleeps on the sofa. Or — I will go back to Fort Dix after the show.
Gene scribbled a few words in his notebook. She tore off the page and handed it to Levine, at the same time ---
Gene: Levine can sleep on the floor. With his cat.
Levine: It's Gofain's cat.
He saw the paper read: I am pregnant.
He looked up at Gene.
Levine: Damn it, what's the matter!
Troy: Well, I don't want to embarrass anyone.
On the public grass
stage, Troy, wearing slacks and a jumper, sang "The Last Memories in My Heart".
In the audience, Levine and Gene were sitting together, the seats between the two were empty, and their eyes were fixed on the performance on the stage.
Entering the picture with both hands from behind, grabbed Levine's shoulder and pressed it hard. The owner of the hand—a young man—sit on the empty seat.
Jim: Hi, Levine! Nice to meet you, buddy!
Levine: Hi.
Levine smiled, and then hesitated whether he should look away when Jim leaned in to kiss Jean.
Jim looked up at the show.
Finally, Levine lowered his voice, his eyes still fixed on the stage——-
Levine: What do you think?
Jim (also looking ahead): What?
Levine: He. Troy.
Jim nodded appreciatively.
Jim: Very good singer.
Levine: Really?
Jim: Very good.
Levine: Is he... a high position?
One voice: Hush!
Levine turned to look at the hissing man, then leaned in close to Jim.
Levine: Listen, Jim, I don't want to talk about this before Jean, you know her temper.
Jim: What do you mean?
Levine: You know, it's... I need a little money. It will be returned to you soon. This time, there is one borrowed last time. A girl I knew was in trouble. Need to be properly prepared.
Jim: Here again.
The singing is over. Warm applause. Levine moved closer.
Levine: This time it's another girl. Don't tell Gene.
Jim: I can't get money without telling Gene. It doesn't matter, she won't mind.
Levine: No, no, no, it doesn't matter. I, um, I find someone else to find a way.
Onstage —
Troy: Thank you very much. thank you all. There is a special person in the audience tonight. If you give some warm applause, he will stand up and come to the stage to help me.
Levine's eyes rolled round.
Levine: I didn't bring a guitar.
Troy: I know you know them and like them, ladies and gentlemen, please Jim and Jean!
Levine: Ah.
Jim and Gene take the stage. Levine applauded with the audience.
Three guitars, three voices: They are singing "Dawn Rain".
Jean turns the microphone she and Jim share to make eye contact with the audience. When her gaze passed over Levine, she was angry.
He showed her an innocent look of "what did I do?"
She looked away.
Nick Polko sat down on the empty seat next to Levine.
Nick: Man, they are not bad.
Levine: Yeah.
The two stared for a while, and then ---
Nick: That Jean, I want to fuck her.
Levine: Yeah. I guess so.
Apartment
night. A soft snoring sound.
The cat walked past the big man on the ground — Troy Nelson — and jumped out of the painting.
The cat landed on Levine's chest and he grunted and stopped the soft snoring.
He and the purring cat looked at each other.
The clang of
spoons in the morning .
Levine woke up and looked around.
Troy Nelson is sitting in a low rocking chair, arching his knees, putting back his camouflage uniform and boots, and eating cereal from a bowl.
Troy: I'm sorry. It's still early. I don't want to wake you up.
Levine: It doesn't matter.
Troy: A busy morning.
Levine: Yeah.
There was another clink; the cereal was crunched between the teeth.
One more spoonful.
Troy put down the spoon and looked at the bowl. Then he took the bowl with both hands and drank the milk inside. He cleared his throat.
Troy: Well. That's good.
Levine lay on his side, resting his head on one hand, watching him.
Levine: Well... what's next?
Troy: What do you mean?
Levine: Do you... have a fixed place?
Troy blinked.
Troy: No.
His gaze was fixed for a moment, and then he wandered around the room. When his gaze fell on Levine again, he patted his waist.
Troy: Well. I return to the team. Back to Fort Dix.
Levine: They trained you to be a killing machine?
Troy: Oh, no, hey, hey! No, the situation is probably different from what you think. The training you are referring to is there. I actually like it. Weapons are - uh, part of the job.
Levine: Aha.
Troy stood up and began to pack a few personal items into his bag.
Troy: Ordnance is not for me. I don't even like gun toys.
Levine: Do you consider it a profession?
Troy: No, no. I will be discharged from the army in a few months. Bud Grossman has expressed interest in being my agent.
This remark caused Levine's attention.
Levine: Bud Grossman. How about others?
Troy: Mr. Grossman is an amazing man. He helped me a lot. I played at his club in Chicago during the last vacation, just after I came back from Germany.
Levine sat up and put on his pants.
Levine: Have you seen Elvis?
Troy: No. Everyone asks this. I did not see Pvt. Presley.
He packed up his things. Levine took a cigarette into his mouth and patted him for a match.
Levine: It means that you played at the "Clarion Gate".
Troy: Yes. I think Mr. Grossman likes my performance. He thinks I can have a career.
Levine: Aha.
He left the window ajar, reclining on the sofa, facing the window, smoking.
Troy stopped at the door with his belongings. Because he was close to the bedroom, he lowered his voice ---
Troy: Thank you Jim and Gene for me. I don't want to wake them up.
Levine: I will.
Troy: Nice to meet you.
Levine: Me too.
Troy went out and closed the door gently.
Levine took a puff of smoke, expelled the smoke out of the window, and then glanced back at the bedroom.
The cat came up to him, his tail cocked, and it made a "snoring" sound.
Levine: What is your name?
The cat leaped on the window sill and jumped out of the window.
Levine: Damn it!
He leaped forward, and put one arm out of the window and onto the fire escape, but he was still far from the cat.
He stuck his head out of the window.
Looking down from his point of view: the cat leaped lightly to the alley down along the fire escape, making a very slight "boom" every step on the metal stairs.
Levine: Damn it!
He retracted his head and bumped the back of his head against the window frame. He hurried out the door, letting the door slam shut behind him.
On the stairs,
he passed by Troy Nelson, who looked surprised, and rushed down.
Levine: Cat!
Location
Levine pushed open the corridor door and ran into the alley at a speed of 100 meters.
Did not see the cat.
Levine, wearing a T-shirt, walked along the alley, looking around, holding his arms against the cold.
Levine: Cat...meow...meow...heck.
There was no movement around.
Levine: Damn it.
Levine turned back. He walked out of the alley and looked to the side of the street.
The streets in the early morning were empty. One block away, there are occasional cars crossing the intersection.
He looked to the other side of the street.
The same is empty. There is only one figure that has gone away: a soldier in camouflage uniform with a guitar case in his hand and a travel bag on his shoulder.
Apartment
nightgown Jean Le Weien to open the door.
Gene (low scolding): Thank you for keeping quiet, bastard.
Levine: I am freezing to death! can we talk?
Gene: Not here! Hold!
Levine: Okay, sorry. Which one to choose? Go out or fuck you? Let's go out. Can I borrow Jim's jacket?
Gene: Fuck you!
The streets
they walk along Washington Square North, Lewei En wearing a borrowed jacket.
Gene: I don't know.
Levine: You don't know if it's mine?
Gene: Yes. How would I know?
Levine: So it could also be Jim's.
Gene: Exactly! asshole!
Levine: But you don't want this kid anyway. This is very clear.
Gene: One thing is very clear, bastard, you fucking bastard, if it were Jim's child I would really want it. This is what I always wanted. But I don't know whose it is. You slept with me, and you probably made me pregnant and messed up things, but even if the child is not yours, I have no way of knowing, so I have to knock out this possibly perfect child. The child I want. Because everything you touch will become rubbish. You are like the idiot brother of King Midas.
Levine: Okay. I see.
Gene: You know a doctor, don't you?
Levine: Yes.
Gene: It was that time—what's it called—Diane met that time.
Levine: Yes.
Gene: You pay.
Levine: Good.
Gene: Can't tell Jim. obviously.
The two walked in silence for a while.
Gene: I should let you wear two condoms. Well — we shouldn’t have done that in the first place. But if you encounter this kind of thing again-for the sake of all women, you shouldn't do it, but if you really do it, you must wear two condoms. Then wrap the insulating tape. You should put a big condom on yourself and go far. Because you are just a pile of shit.
Levine: Good.
Gene: You should not come into contact with any living creatures. As a lump of shit.
The two walked for a while.
Levine: You know there is a saying that one slap won't make a sound...
Gene: Fuck you.
Walked for a while.
Levine: I want to say that we should talk about this when you are calmer, but that will be... that will be... when...
Gene: Fuck you.
They keep walking.
Gene: I miss Mike.
Levine: Could you please do me a favor?
Gene: You are kidding.
Levine: Not for me, but for Gofain. Their cat ran away, can you leave the doorway open?
She stared at him.
Gene: It's winter now.
Levine: Just enough for the cat to get in, let it get in, and it will go back.
Gene: Go back? Back to our apartment? It seems to have only been there for a few hours. Why does it go back there?
In the conversation between the two, Levine showed anxiety for the first time.
Levine: I don't know, I am not the damn cat! Think about it, I lost their cat! I feel very uncomfortable.
Gene: Do you feel uncomfortable for this? The rumbling of a
subway car
suddenly rang at the cutting junction. A close shot of Levine, his body swayed as the train moved. The window behind the head is like a dark mirror in the dark subway tunnel, reflecting the carriage.
The picture stays for a long time.
The train drove onto an approach bridge, and the bright light outside the window flashed, allowing us to briefly see the view of the East River below. Levine
, a street in Queens, is
already very small, walking away along a quiet residential street. Levienne was sitting on the
porch
reading a newspaper with his elbows on his knees.
Hearing the sound, he raised his head.
A woman slightly older than him walked from the sidewalk holding a grocery bag and looked surprised when she saw him.
Woman: Hey, where's your coat?
Levine got up and folded the newspapers.
Levine: It's not very cold.
Woman: Is your brain flooded?
The
woman in the kitchen cleans up the groceries, and Levine sits at the dining table.
Woman: How is your music?
Levine: Oh, very good. very good.
Woman: That's good. It seems that you don't need to borrow money.
She continued to pack things.
Levine: Actually, I want to ask...
Woman: Huh?
Levine: Have you sold it?
Woman: Is it a house?
Levine: Yes.
Woman: Yes, yes. I mean the house is now hosted by a third party.
Levine: Why?
Woman: Is there something wrong? That is not our house.
Levine: Not our house?
Woman: Yes. Yes, it's mom and dad's house. Levine, the money is used to pay for his alimony.
Levine: Exactly.
Woman: We have no money to take it. (Pause) Your music is developing smoothly, that's good. (Pause again) I'm sorry.
Levine: Well, all right. What the hell is this.
Woman: Levine.
Levine: What?
Woman: Pay attention to the wording.
Levine: Oh, yes. sorry.
Woman: I am not your friends in Greenwich Village.
Levine: Okay, yes.
She stared at him for a moment.
Woman: Is your seaman's license still there?
Levine: Yes. What's wrong?
Woman: If the music doesn't go well...
Levine: How about — give up? ! Going to run a merchant ship again? Just...alive?
She smiled.
Woman: "Alive"? Apart from acting career, isn't this what we are going to do? To be alive is not too bad.
Levine: Just like Dad?
Woman: Levine!
Levine: What?
Woman: How can you say that dad!
Levine: What?
Woman: Say he is just alive.
Levine: I didn't say that—you said it! I... forget it.
Woman: Say he is "alive"! Live like that? !
Levine: Yes, yes. sorry.
Woman: Have you been to see him?
Levine: Yeah. What? Should i go?
Woman: What do you think? He is your father.
Levine: Okay. Of course he is.
Woman (gets up): I have... Wait... I have... Do you have time?
Levine: They, they want me to go back and participate in the rehearsal of the Sullivan TV show. There are still some photos to be signed. There is also a champagne party...
Woman (leave): Don't go away.
He looked around boredly.
This is a kitchen belonging to the working class. The table is covered with oilcloth.
The voice came from outside the painting---
woman: I cleaned up the old house. Clean up something. I put all your things in this box.
She re-entered the painting holding an uncovered box.
Woman: I think there is something you might want.
She put the box on the table in front of him. He glanced uninterestedly, rolled over, and shrugged.
Levine: I don't know, Joey, it's just, what am I going to do...throw it to the side of the road.
Woman: Levine! Are you joking? check it out. Do you know what this is? (She pulls out a compact disc with a white cover) This is the "Spanish Girl" you recorded for Mom and Dad! (He looks at her and shrugs nonchalantly) Why are you—you are as ignorant as you are 8 years old. How nice this record is!
Levine: Look, Joey, in the entertainment industry, we shouldn't openly rubbish our studies. Will destroy the mystery.
She was disappointed that Levine did not share her enthusiasm.
Joey: I'm sorry. I don't know much about the entertainment industry.
Levine: Yeah. OK. Do not apologize. The ground
platform of the subway platform
Queens. Levine is using a pay phone.
Levine: No, no, no. I will send the cat back, it’s okay, I just...can’t do it today, I can’t send her back today according to the current situation...
Voice: "He".
Levine: He. He is at Jim and Gene's house, and he likes it there.
Voice: I will pick him up. I don't want to...
Levine: No, no, no. They are always not at home, anyway I can't let you go all the way to Greenwich Village, I will send her back tomorrow. It's him".
Voice: Okay. All right. Remember to call Jim. He said there was an urgent matter.
Levine: Good. I doubt if it is really urgent, but I will call him, thank you.
Voice: No, he said it was anxious. There was a recording at the American record company this afternoon. Someone quit because of illness. He thinks you would want to take this job...
Levine raised his voice to suppress the roar of the train approaching, and the voice on the other end of the phone was covered by the rumble, we Can't hear it.
Levine: What? What? Should I bring a guitar? Did he say whether I should bring a guitar? ……Need not?
The approaching train roared into the painting.
The
large front desk inside the magnificent double-door door is decorated with the American Records logo.
Levine pushed the door hard and entered. He walked to the receptionist
inside the door
.
Levine: I'm here to participate in Mr. Kulomadi's recording. Levine Davis.
Receptionist: Please sit down. I will tell him you are here.
The seating area is
later.
Levine sat and waited, the crotch seat was much more expensive than the furniture he was used to.
The surroundings are quiet.
He looked around.
On the wall is a golden record set in an elegant frame.
In the recording room, the singer's black and white photos were illuminated. There are many types of singers: Diez Gillespie, Johnny Matisse, young Leonard Bernstein.
A slight click of the door lock caught Levine's attention.
An upper class gentleman in tweed clothes strolled along the corridor. Levine jumped up.
Kuromadi: Are you Levine?
Levine: Mr. Kuromadi, it is an honor to meet you.
Kuromadi: Where's your guitar?
Recording studio
This is a comfortable but not very large recording studio. Jim walked in with Levine, with one arm around his shoulder.
Jim: You play the Gibson guitar, right?
Levine: Use yours? no problem. Then you use...
Jim: D-15. Do you know Al?
There are three stools next to the microphone. A young man was sitting on one of the stools with a guitar in his arms.
Levine: Hi, buddies.
A voice rang into the speaking tube.
Voice: Levine, will you watch the arrangement?
This is Kuromadi, who is in the control room, standing behind the partition wall.
Levine: I...I...can stare at the adaptation and make a copy, sir.
Kuromadi laughed silently behind the glass wall. We can still hear the lingering sound of laughter after he presses the intercom button.
Kuromadi: Jim and Al will teach you. Take it easy. We are here to find fun.
Levine: Okay. (To Jim) So...what are we called? John Glenn Band?
He looked up.
His point of view: high ceilings, suspended golden wooden reflective speakers.
Kuromadi's voice: This is not the most important music we have recorded here.
Jim (explained): It's also important.
After a while, the
three men took their positions next to the microphone.
Levine: So, I will drop the key here in the "capsule". like this.
He demonstrated it with a guitar.
Al: Yes, I play a rising pitch...
They rehearsed a few phrases, the guitar sound intersects the singing, and the sound is not maximized.
Levine: Okay. All right. (Whispering) I'm very happy to participate in the performance, but...who wrote this?
Jim looked embarrassed.
Jim: I wrote it.
Kuromadi (via the intercom): Is it all right?
Finally, adjust your sitting posture. Clear your throat.
Jim: Alright. Kuromadi: Are you ready?
Al: Alright.
Kuromadi: Wait a minute.
Wait for a moment. Kuromadi talked silently with the sound engineer in the control room. Kuromadi smiled silently. The sound engineer smiled and nodded. He checked the equipment. Kuromadi became serious and leaned forward and pressed the intercom button.
Kuromadi: Okay... "Please, Mr. Kennedy" was recorded for the first time. Count down, and... start recording.
Al and Levine looked at Jim, the latter nodded, and whispered to the count---
Jim: ...2, 3, 4...
They began to sing.
A corner of the recording studio
later.
There was a row of folding chairs against the wall. Levine sat on one of the chairs. On the table beside him were coffee pots, cups and other supplies. There are some microphone stands next to it.
Jim and Al are wearing coats. Another man in a shirt and tie stood in front of Levine, holding a pen and a clipboard in his hand. He squinted his eyes and looked at the paper on the front page of the splint. At this time, Levine turned his head towards Jim ---
Levine: No, thank you. I appreciate it. I really need this. You know.
Jim: Don't thank me, thank you Rich Sheridan. He quit the John Glenn band because of vomiting.
Levine: We will have a tour, right?
Al smiled.
Al: Patrol fart.
Levine: Then I have to get a vaccine. (To the man in the shirt who is still staring at the clipboard) Where is it?
Man: Sign here and here. You don't have a record company?
Levine: Yes, the "legacy" company.
Man: Are you Mel’s exclusive artist? I need an authorization. He will give you a copy.
Levine: But that will take time, damn... I need money now.
The man shrugged.
Man: If you just want to be an independent contractor, the accountant can give you a check today. As a service remuneration paid by us, two hundred dollars. Higher than the accompaniment fee, because you do not take royalties.
Levine: Good. Can I cash it out?
Man: Of course, it's all right on the corner. But then you will not appear on the accompaniment list.
Levine: Okay, no problem... (said while signing) Where do you live, Al?
Al: Downing Street.
Levine: Isn't it a good place?
Al: Junkyard.
Levine: Aha. Is there a sofa at home?
The
dirty and messy office of the "Legacy" record company- where we met Mel Novikov before.
We pushed the door into the office and heard the crackling of the typewriter. Going inside, the door to Mel's office was half open, revealing a desk, empty chairs, and a few rays of sunset.
Levine looked at Ginny who was typing.
Levine: Is Mel here?
Ginny stared at her work, and replied absently while typing---
Ginny: Mel, go to... attend the funeral.
Levine: Good guy, he has attended many funerals.
Ginny: He likes many people.
Levine: He likes fewer and fewer people.
She continued typing.
Ginny: It's family this time. The mother of the girl who was engaged to his nephew George died.
Levine: I... don't know if this counts as family.
Ginny's eyes were still fixed on work.
Ginny: He likes funerals. I really don't know how to say it.
Levine: I forgot to take the mail yesterday. I was so angry with Mel at the time.
Ginny: You didn't forget to take the mail.
Levine: It's true.
Ginny: You have no mail.
Levine: Oh. (Pause) Damn it. No? (Ginny continues typing; he hesitates) Is there no letter from Bud Grossman to me? Chicago?
Ginny: Do you deserve a letter from Bud Grossman?
Levine: I asked Mel to send him my solo record. After the release. More than a month ago.
Ginny: Oh!
She stopped typing and stood up, which gave Levine short-lived hope.
Ginny: No, you don't have any letters, but we are cleaning the storage room and throwing away the remaining old records. All the slow-selling records. You and Mike's... (she moves out a box from behind the workbench) Mel left a box, thinking maybe you want to save some.
Levine shook his head, pulled out a record from the box, and stared at the envelope.
The singers above are Timlin and Davis. Levine, with a clean shave, is easy to identify, but he looks younger. He sits on a stool with a guitar in his arms and keeps his mouth shape while singing. Standing behind him must be Mike Timlin. He was immersed in music and sang to the sky, his body straightened and his palms facing the sky. The album is called "If We Have Wings".
Levine: Oh... I... (shrugs) What do I want them to do?
Ginny started typing again.
Ginny: Do you want to throw them away?
Corridor The
dark corridor of an office building. "Dink's Song" is playing.
Levine stood by the elevator holding the box. He pushed the box against the wall with his body, and freed one hand to press the button.
Street
Levine walked on the muddy streets of Greenwich Village, sweating all over, holding the box to his chest awkwardly, while the song continued to play.
The porch
box was pressed against the wall of the porch, and Levine freed a hand to reach the floor index. He found "6A-Cody" and pressed the intercom doorbell. We looked down on the
stairwell
from the height of the sixth floor. I caught a glimpse of Levine who was climbing up the stairs. He was halfway there. With the strenuous footsteps, part of his shoulders and arms holding the box circled into his line of sight. Lewynn, who was exhausted in the
corridor on the sixth floor
, put the box on the ground, leaned against the door frame of 6A, panted heavily, and knocked on the door.
We jumped into the room, and Al, who had appeared during the recording, opened the door.
Al: Very good, this is the key. I'm going to Jersey to pick up my mother's car.
Levine (gasps): Okay.
The apartments
Lewei En hands on his hips, looking around the small studio.
He sat down and bounced tentatively on the sofa: Is this sofa comfortable? He raised his leg and lay down on his back to see if he could stretch his body. The size is just right.
He got up and pushed his record case under the sofa. The box can't be stuffed in, something is blocking it.
Levine took a glance, reached under the sofa, and dragged out an uncovered box, similar to his box, filled with records.
He pulled out one, and obviously the same album was in the box. The album is called "Another View". The singer is Al Cody. Al in the cover photo looks very melancholy, different from the happy image we have always seen.
Levine stared at the record.
porch
Levine presses the doorbell of "6C-Burkey".
Pause.
Gene's voice: Who is it?
Levine: It's me, Levine.
Gene's voice: Oh?
Levine: Can I go up?
Gene's voice: No way.
Levine: Well, all right. Can I take my things?
Pause.
Gene's voice: I take things down. We meet at the Reggio Café.
Reggio Café
Gene's voice: Who won the jackpot tonight?
Levine: Huh? Oh. I stayed overnight at Al Cody's house. So, when are you going to do it?
Jean: Have a miscarriage? The sooner the better. Go tomorrow if you can. Jim is not at home, so I don't have to make up stories about where to go.
Levine: Okay, let me see if that guy can do it.
Gene: That guy? I hope he is a doctor.
Levine: Yes, yes, he is a doctor.
Gene: Are you rich?
Levine: Yes, I have money, don't worry.
Gene: I am worried when I am with you.
Levine: You don't have to.
Gene: It must be. God knows you never worry. You just make others worry. Just like your contraceptive method.
Levine: Don't start talking about two condoms again.
Gene: Have you never considered the future at all?
Levine: In the future? You mean like a flying car? Moon hotel?
Gene: That's why you are a bastard.
Levine: No, that's why you are a bastard. Try to draw a blueprint for the future. Move to the suburbs. With Jim. Give birth to children.
Gene: Isn't it good?
Levine: If this is the meaning of music to you—the way to move to the suburbs—then, yes, it's a bit utilitarian. A bit old-fashioned. It's also a bit sad.
Gene: I am sad! You are the one who can do nothing! You never even thought about achieving something! Jim and I are at least working hard!
Levine's short term is poor ---
Levine: I really thought about... I thought about...
Gene: We're working hard! You are sleeping on the sofa!
Levine: Aha, it's not good to expose the shortness in person!
Gene: You never thought of accomplishing something, so the same bad things happen to you over and over again. Because this is what you want.
Levine: Is this the reason?
Gene: There is also the reason—you are a bastard! Let’s not forget this! A bastard of a woman sleeping with someone else!
Levine: Oh, you are too magnanimous to yourself!
Gene: Whose sofa are you sleeping on tonight?
Levine: Al Cody's house, I said it. (He looks nervous, stands up, and looks out the window) You don't listen to others at all, just talk harsh words endlessly.
Gene looked at him, wondering why he suddenly lost his mind. His eyes opened wider.
Levine: Help me take care of things!
He rushed out.
Outside,
Levine flew on the sidewalk, avoiding some pedestrians, and bumping into some people.
Levine: Hey!
Several people looked around him; none of them were his target. He continued to run forward.
Levine: Hey!
When he was close to chasing the target, his eyes drooped.
Levine: Hey! Hey! Hey!
He squatted forward, leaned forward, and caught --- Gofain's cat. The cat twisted and struggled, but only struggled for a while, Levine had already carried him to his chest.
Back to the cafe
Levine came in with the cat.
Levine: Damn, I'm so lucky. Thank you for suggesting to come here.
He glanced sneakily around, then removed the coffee cup from the cup holder, poured some milk from the small milk cup into the cup holder, and put the cat on the table to feed.
Levine: It seems that the little guy hasn't eaten anything since yesterday. It is a domestic cat.
Gene watched the cat lick the milk. Levine stroked it, and the cat avoided his hand, purring and continuing to lick the milk.
Levine: Do you know what his name is? I forgot its name.
Gene: I don't know. I am not familiar with Gofain.
Levine: Thank God. Good cat. Well, where did we talk?
The harsh words are all over. The conversation was calm.
Gene: You say I am utilitarian. I say you are a loser.
Levine: Yes. Um. That is your classification standard.
Gene: No, that is your classification standard.
Levine: You know, as far as my experience is concerned, the world is divided into two kinds of people: One is to divide the people in the world into two types...
Jean: The other is a loser?
The camera followed the cat on the
ground, and the cat walked lightly through Al Cody's apartment. It walked to a table leg and jumped out of the picture.
The camera cuts in and the cat falls on the table. It stepped on a pile of mail, and the mail was messed up until Levine lifted the cat's belly with one hand and threw it to the ground.
Levine: This is not your home.
He reorganized the mail into a pile. At this moment the apartment door opened and Al walked in and took off his coat. Levine's eyes were attracted by the letter.
Levine: Who is Arthur Milgram?
Al: It's me. I plan to change my name legally. Find time. What's the matter with this cat?
Levine: It won't stay here, I want to send him back... a long story. I will send him back to Gofain's house tonight.
Al: Okay. No, it’s okay. But, uh... tonight and tomorrow are okay, but my girlfriend will be coming from Boston afterwards.
Levine: Okay, okay, thank you for these two days.
Al: You never thought about going to Chicago, did you?
Levine: Why should I go to Chicago?
Al: Exactly.
Levine: Why do you ask?
Al: I lent my mother's car to a friend who worked for Roland Turner. Do you know Roland Turner? (Levien shrugs and expresses not knowing) An old man. Playing jazz. He doesn't want to fly. They are going to drive to Chicago to attend a show and want to find someone to share the gas bill.
Levine: I have nothing to go to Chicago. But-thank you, I will look for things to do.
Open the door
a door open and a uniformed nurse out of the inner office, into the future.
Nurse: Mr. Davis?
The back shot shows Levine sitting abruptly among a group of pregnant women. He stood up.
In the inner office,
Levine was sitting across the table across from the doctor Gary Rufken.
Levine shook his head.
Levine: No, no, she definitely doesn't want me to be with her.
Gary: Okay, then she should find a friend who can take her home.
Levine: Okay, I will tell her.
Gary: I have to find a Saturday to do it. I can do it this Saturday.
Levine: Okay. I'll pay you now, because I can't see you anymore, I pay in cash, um...
he put his hand in his pocket.
Gary: No, no! No need to pay!
Levine was stunned.
Levine: What?
Gary: You know, deduct it from the last time.
Levine: The last money? You mean Diane?
Gary: Yes. I don't have your phone number and no address. Where do you live?
Levine: Wait, what are you talking about?
Gary: I don't have yours...
Levine: Why not charge this time?
Gary: Uh?
Levine: Why?
Gary: Well, you know.
After a while, the atmosphere was embarrassing.
Levine: Well, I don't know, buddy. Are you working for free now?
Gary: Well, no, because it didn't work last time.
A longer pause.
Levine: What hasn't been done?
Gary blinked.
Gary: Didn’t Diane tell you? (Responding to Levine's gaze) Diane did not terminate the pregnancy. She came to tell me that she decided to... give birth to a child. (Pause again) Didn't she tell you?
Levine: Hmm...no.
Gary: She... my goodness. She asked me to refer her to a doctor in Cleveland.
Levine: Cleveland...
Gary: Give her a baby...
Levine: Well, that... (pause) I know she will go to Cleveland. She is from Cleveland.
Gary: Yes. Sorry, I thought...
Levine: Her parents are in Cleveland.
Gary: Oh.
Levine: The child should be around two years old now?
Gary: Yes, I think... Yes. Sorry, I don't know how to return the money to you. I never saw you again. Levienne, a
subway car,
was sitting in a car with a small number of people, holding the cat in front of his chest, staring blankly, thinking, his body swayed slightly as the train moved. Finally, he shrugged and got rid of his thoughts—no matter what he was thinking, his eyes wandered.
What attracted his attention.
A business person holding a ring watched him. Is this the man he met when he went out from the Gofain’s home to the city?
In the elevator of
the Gofain's apartment in the elevator, the previous administrator pressed the control lever and looked at Levine behind him suspiciously, the floor passing by the door. Levine stood at the back of the car, hugging the cat firmly to his chest. We heard the sound of fists knocking on the door.
The door of Gofain's house
was opened, revealing a short middle-aged man wearing glasses and a woolen sweater.
Mickey: The cat is back! (The cat breaks free from Levine's arms and runs into the apartment. Mickey hugs Levine) Return from the mountain! Levine, welcome! Come in, Lillian is making her best egg box in the kitchen.
Levine: Oh, no, I can't run around for dinner, I just want to...
Mickey pulled him into the house.
Mickey: Look at what you said, are you afraid of one more person eating eggplant box? ! Come in... Do you know Marty Green and Janet Feng?
A man who looked like a Jew and a Chinese woman nodded and smiled at him.
Levine: Nice to meet you. Levine Davis.
Marty Green: Oh! Friends of Mickey and Lillian playing folk songs.
Mickey: Will you stay overnight with us?
Levine: No, no, I didn't even plan to eat here...
Mitch: Levine can't live in the Upper West Side. We can only see him in...
Levine: After I took turns living in a friend's house in Greenwich Village.
Mickey: We are his last election. Marty works in my department, Joe is a musician, and this is Joe Fromm, and he performs with Lillian.
Levine: Hi, hello.
Joe: Nice to meet you.
Levine: What instrument do you play?
Joe: Keyboard instruments are fine. I play celesta and harpsichord in Massachusetts. I am the piano instructor most of the time.
Levine: Can you give me a cigarette?
Joe: Of course.
Mickey: Would you like a glass of wine, Levine? A little Italian wine?
Levine: Of course, uh, I should have brought some gifts.
Mickey: Don't be foolish, you brought the cat.
Levine: When I was a child, I had a piano lesson with Mrs. Sieglerstein. You don’t know Mrs. Sieglerstein, do you? Oversized leather orthopedic shoes? Live in Far Rockaway? Upstairs at Kuran's house?
Joe: Does she play early music?
Levine: Harry James’s, playing on the radio. As for the piano, what she plays the most is...what's the matter...we play...well, "A Autumn Toast". I have no idea. It sounds like an early one.
Joe: Aha.
Levine: She is not a hipster.
Joe: Well — Harry James.
Levine: Well, all right. But her performance is very harmonious.
Joe: Do you still play the piano?
Levine: I sit in front of the piano and can play everything, but I can't play well. Not very good.
Joe: Well, it's very demanding to be nice.
Levine: Yes, I agree. That's why I sang. I have a loud voice.
Mickey: What did Anton say? When Levine sang solo...
Levine: Yes, pigs within a few miles of it are uneasy.
Baby photo
inserted into the lens: A photo of a two-year-old baby. The baby looks strange and is a mixture of Asians and other races.
There was a jingle on the dining table at the editing point, and Levine's voice---
Levine: He...he was very cute. How old?
The angle of the camera widens, and it is aimed at the dining table: he handed the photo back to Janet Feng.
Janet: Two years old in April. He is with my mother now.
Marty: The grandmothers have a place.
Levine: What is his name?
Marty: Howie.
Janet: He has named him Howie. Howard.
Marty: Howie Griffin.
Levine: What, um, Green, Feng? Hyphenated?
Marty: No, it's a word. Griffin.
Janet: Howard Greenfeng.
Levine: Are you — are you kidding me?
Janet (confused, a little annoyed): No.
Mickey
cuts in - Mickey: Levine, why not sing us a song?
Levine: Oh, no, I...
Lillian: Oh, please — he sings very well. Joe should listen to you sing.
Mickey: And Marty and Janet.
Lillian: Of course, there are also Marty and Janet.
Levine: No, they don't have to make it difficult...
Mitch got up.
Mickey: I will get my Kalamazoo guitar. You must sing to play it.
Levine: Well, I dare say, if I keep rejecting, you will think that I just want to take Joe, which is common.
Lillian: Exactly.
Levine: You know, I am not a well-trained poodle.
Mickey came back with the guitar.
Mickey: It's almost untrained.
Levine: Yes, yes, okay. Wow. Good piano. (He picks up the piano and plays a few short passes) This is, this is a very early song. Joe should like it.
Several viewers chuckled knowingly.
Levine began to play and sing "Dink's Song".
The audience was really attracted by his singing.
When Levine began to sing the second part, Lillian Gofain joined the melodious high-pitched harmony singing.
Levine stopped playing and singing.
Levine (sternly): What are you doing?
The charming music atmosphere is destroyed. Several viewers were stunned. Lillian was at a loss.
Lillian: What?
Levine: What is this? What are you doing?
Lillian: I...
Levine: Don't do this.
Lillian: This is... This is Mike's voice...
Levine: I know what it is. Do not do this. You know... (He gets more and more annoyed, opens the piano case and puts the guitar in) This is all nonsense. I can't do such a thing. I do this to make a living, you know? I am a musician. I sing to make a living. This is not an amusement project.
Mickey: Levine, please — it's not fair to Lillian...
Levine: It's just a fool. I will not invite you to dinner, and then suggest that you give us a lecture on what happened before Central Americans or Columbus discovered America. This is my job. I rely on this to pay the damn rent.
Lillian got up. She was so angry that she could not speak.
Lillian: Levine, that's not it, this is not... this is a warm home!
Levine: I'm a fucking professional. You know, fuck with Mike's voice.
Lillian: It's terrible. That's disgusting.
Mickey: Alright, Alright, Lillian... Lillian: I want... I want... I don't want to stay here.
She cried and left.
Levine: Oh, she doesn't need to leave. I'm going. no doubt. Thank you for the eggplant box. I'm sorry to break your interest.
Mickey, Joe, and Marty Green expressed their intention to stay and asked him to stay calm, but they were interrupted by a scream.
Everyone was stunned, looking in the direction where Lilian had left.
There was silence. Pause.
Lillian rushed in, clutching the cat's front paws, and the cat's face rushed out to lift it up.
Lillian: This is not our cat!
Mickey's eyes widened. Pause. Mouth opened wide.
Mickey: Oh my goodness!
Levine: What? ...This is of course your cat.
Mickey: Oh, my goodness, Levine!
Lillian: It's not even a male cat. (She shook the cat, emphasizing her words with its swaying body) Where is its scrotum?
Levine: I... this is...
Lillian: Levine, where is its scrotum?
Mickey: Oh, my goodness, Levine.
The black field
fades into
the lens shot through the windshield of the car as the car is driving on a street in Greenwich Village. Early in the morning, it was muddy and dim. A figure was waiting on the side of the road, with a guitar case and a small travel bag at his feet, holding a cat in front of his chest.
The car slows down and the lens cuts to the outside of the car.
This is a four-door sedan. The driver is a typical American youth, handsome, but lacks the temperament of an idol star. The blonde hair was combed back into a big back, with a cigarette butt in his mouth.
Levine looked at the back seat. A huge man with a woolen hat sat there motionless, not knowing whether he was asleep or drunk. Next to him were two walking sticks with silver animal-shaped handles.
Although the big-back driver had stopped the car in front of Levine, he didn't seem to care about him. Levine lifted the piano case.
Levine: The suitcase?
Driver: It's full.
He raised his thumb and pointed to the back seat. Levine opened the back seat door, put the piano case in it upright, and carefully tried not to wake the fat man---I don't know if he was in his sleep. The man had a goatee, sunglasses, a feather on a broad-brimmed hat, a tie clip with an animal totem, and the double-folded cuffs of a French shirt bound with bracelets.
Levine closed the door lightly and sat down in the front seat.
The driver puts into gear and starts the car. Levine was a little confused, looking at the silent driver—white T-shirt, leather jacket, and staring at the road. Levine looked back at the big man in the back seat, his body swaying as the car moved.
Levine turned to the driver.
Levine: Hello.
The driver stared at the road.
Driver: Well, hi. Later in the
country
.
Levine looked dazed, his head bumped, looking out the window.
The sound from the back seat attracted his attention.
The man in the back seat moved, smacked his lips, and looked around.
He saw the guitar case.
Roland Turner: What is this?
Levine: My guitar.
Roland Turner: Okay, put it here, please feel free to leave me alone.
Levine: He said the suitcase is full.
The car is driving. Pause.
Roland Turner: What do you do, flamenco dancer? what's your name? Pablo?
Levine: Levine Davis.
Roland Turner: My name is Roland Turner. This is my assistant, Johnny Pfeiffer.
Levine looked at Johnny Pfeiffer.
Johnny Phoebe still stared at the road blankly. There was still a burning cigarette in his mouth, and it looked the same length as the original one.
Levine looked back at Roland Turner.
Levine: Yes, we have seen it. I think.
At another time,
Roland Turner was completely awake, chattering endlessly.
Roland Turner: That was the last time I went to Murfreesboro. I understand that I will not be welcome back. I said, okay, brother, I can control myself and never return to your shit little broken town. What does N stand for?
Levine: What?
Roland Turner: Lu N. Davis? What does N stand for?
Levine: It's Levine. Levine. LLEWYN. This is a Welsh name.
Roland Turner: Well, there should be some special meaning, a name like this stupid. Listen, you must be interested in this. Johnny and I played at the "High Point" club in Seattle — remember, Johnny? I ate a grilled cheese sandwich and felt uncomfortable. It may also be because of eating bad bacon. I was vomiting and diarrhea - it was like a faucet and I couldn't stop it. I told the manager, what do you call what I just ate? He said it was "Welsh Cheese Toast". I said, okay, is everything from Wales that makes people vomit like this, or is it just this piece of toast? He said --- I will never forget what he said, because his words made this experience worthwhile. He said, Mr. Turner... my God... what is that?
He saw the cat peering through Levine's shoulder.
Levine: My cat. Uh, it's not my cat, it's...
Roland Turner: The big man brought a cat? Is it a character in your show?
Levine: No.
Roland Turner: What do you say you are acting? Flamenco?
Levine: Ballad.
Roland Turner: Ballad! I thought you said you were a musician. Folk singer with a cat. are you gay?
Levine: Ah, I... this is not my cat. I just don't know what to do with it.
Roland Turner: Really? So, have you brought your dick? I want to tell you something about Welsh cheese toast that you may not know. At least you don’t know how they make cheese toast at "High Point". According to the manager, "Dicky Wardlow"——— Have you performed in "Dickie"? No, you shouldn't, it's a music club. He said, I asked the damn toast, and he said... (What's outside the window attracts his attention) Johnny, wait, there is a Sinclair gas station here. It's up to you to pay for the gas, Irvine. Levine in the
gas station parking area is
in the foreground, leaning on the car with his back to us. In the background, Roland Turner gradually walked away and walked across the parking area to the gas station, dressed elegantly, walking forward with two crutches.
Later
Levine came out of the gas station office with a bottle of soda in his hand.
Johnny Pfeiffer leaned against the wall, with one leg bent and his foot against the brick wall. Thumb in his pocket.
Levine looked at the empty carriage and looked at Johnny Pfeiffer.
Levine: Is he still inside?
Johnny Pfeiffer: Yes.
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