One Chance Page #8

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(”the heights of (”enter my heart”)

tenderness!”) Tu sol comandi amore!

Nel bacio freme amor! (”Love, you alone

(”Love trembles at our rule!)

kiss!”)

An orchestra joins the soundtrack, supplanting the piano

as the duet continues over the following MONTAGE:

INT. THEATRE - DAY

Where Paul and Alessandra are on-stage with a director,

who has Paul put his arm around Alessandra. Both are

uncomfortable until Paul makes a face and she laughs.

DIRECTOR:

Attenzione!

EXT. PALAZZO COURTYARD - DAY

Where Paul and Alessandra sing in each others arms. The

Asst. Conductor stops them, pushes them apart and has them

hold hands.

ASST. CONDUCTOR

Prova di nuovo.

(”Try it again.”)

INT. LANGUAGE CLASSROOM - DAY

More verbs on the board. Paul sits in the back, eyes

closed, right hand gently waving/conducting the music from

the scene which we hear on the soundtrack and he hears in

his head.

EXT. CAFE - DAY

Where Paul and Alessandra sit together, surrounded by

other students but oblivious to all others as they discuss

a part of the libretto.

46.

Unconsciously, she leans an arm on his shoulder as they

argue over the same passage. The gesture is lost on Paul,

but Gerhardt notices.

INT. BASEMENT CONSERVATORY - DAY

As Paul and Alessandra sing while holding hands, Signore

Fiorentino places her hands on the small of their backs

and pushes them together.

SIGNORA FIORENTINO

Molto meglio.

(”Much better.”)

INT. PALAZZO - DAY

Alessandra is venting her frustration with all of the backand-

forth...

ALESSANDRA:

Apart. Together. Hold hand. No hold

hands. What it matters so much?

PAUL:

Well sod them.

ALESSANDRA:

“Sod them?”

PAUL:

It means... Fino loro asini.

(”Up their asses.”;

Alessandra nods in

agreement)

Che cosa volete fare?

(”What do you want to do?”)

ALESSANDRA:

I don’ know.

INT. THEATRE - NIGHT

The final performance... On stage, Paul and Alessandra

perform the duet in costume with props and light makeup.

PAUL:

Dammi il braccio, mia piccina.

(”Give me your arm, my

dear.”)

ALESSANDRA:

Obbedisco, signore!

(”Your servant, sir.”)

47.

The fatal moment comes and Paul takes charge, grabbing her

roughly around the waist and pulling her to him.

PAUL:

Che m’ami di’

(”Tell me you love me.”)

His hand gently holds her face, turning it to him just as

she had done with him... She almost laughs with joy.

ALESSANDRA:

Io t’amo!

(”I love you.”)

PAUL ALESSANDRA:

Amore! Amor! Amor! Amore! Amor! Amor!

(Behold! My love! My love!)

CUT TO:

EXT. PIAZZA SAN MARCO - NIGHT

Where Paul and Allesandra run into the square, hopping and

yelling and bouncing for joy.

ALESSANDRA:

Questo . stato incredible!

(”That was incredible!”)

PAUL:

Siamo i campioni di Venezia!

(”We are the champions of

Venice!”)

ALESSANDRA:

Di tutto il mondo!

(”Of the whole world!”)

Allesandra leans in and kisses him. He’s stunned as she

pulls away, a new expression on her face before she kisses

him again, deeply. His eyes close for a brief moment,

before he pulls away.

ALESSANDRA (CONT’D)

You are okay?

PAUL:

Yes, sorry I...

ALESSANDRA:

What is wrong?

PAUL:

Nothing, I just...

48.

ALESSANDRA:

Li ha fatto l’amore, prima, si?

(”You have made love before,

yes?”)

PAUL:

(beet red at the suggestion)

Of course I have, but... Actually I

haven’t, but that’s not-

ALESSANDRA:

You have a friend-girl at home?

PAUL:

Um, well, yes. A girlfriend.

ALESSANDRA:

. lei il tuo primo?

(”Is she your first one?”)

PAUL:

Lei . l’unico.

(”She is my only one.”)

ALESSANDRA:

There is a difference.

PAUL:

There is.

ALESSANDRA:

Signore Fiorentino was right. You have a

very pure heart.

She kisses him firmly on the mouth then smiles at him. She

turns quickly away and speed dials her cell phone as she

walks down the square towards the Basilica.

ALESSANDRA (CONT’D)

Ciao, Papa.

He watches for a moment, then walks the other way. Dials

his own phone.

INT. POTTS HOUSE - NIGHT (INTERCUT)

Where Roland watches “The Bill” while Yvonne snores softly

on the couch beside him.

ROLAND:

Yeah, hello?

PAUL:

Oh, um hi, Dad.

49.

ROLAND:

(to Yvonne)

Oy, it’s the eye-talian.

(to Paul)

What’s good, son?

PAUL:

Oh you know, lots of studying and

singing.

ROLAND:

(sarcastic)

Sounds grand.

PAUL:

Actually we, my scene partner and I, we

just won a scene competition and-

ROLAND:

Hang on, yer mum’s on the snore again.

(adjusts Yvonne’s head)

Tucked into the sherry again this

evening. So did you win anymore pocket

money?

PAUL:

No, but even better, they told us we get

to sing for-

ROLAND:

(listens)

Well that’s not bad. He’s no Willie

Nelson, mind you.

PAUL:

Right.

CUT TO:

INT. JULZ’ PARENTS’ HOUSE - NIGHT (INTERCUT)

Jaw dropping as she hears the news...

JULZ:

Sod off!

EXT. GRAND CANAL - NIGHT

Paul sits on a stone wall, feet dangling over the edge as

he watches the lights of the city shimmer over the waters.

PAUL:

It’s true.

50.

JULZ:

You’re not takin’ the piss?

PAUL:

I swear I’m not.

JULZ:

I don’t believe it. Paul! What’re you

going to sing?

PAUL:

The duet, I suppose.

JULZ:

Oh. Right. ‘Course you are.

PAUL:

And thinking of you the entire time.

JULZ:

There’s a good boy... Nervous?

PAUL:

Off the charts.

JULZ:

Maybe open with a joke or something, let

the air out a bit.

PAUL:

A joke? In front of-- Have you gone mad?

CUT TO:

LUCIANO PAVAROTTI

INT. THEATRE - DAY

Arguably the 20th century’s greatest tenor sitting in the

first row, dabbing his upper lip with a scented

handkerchief while listening to Alessandra sing an aria.

Paul watches from the wings as her final note diminishes,

applauding along with the audience. Pavarotti is on his

feet, eyes devouring Alessandra as he claps. She feels his

ardor and smiles shyly.

He beckons her to sit beside him as the Asst. Conductor

brings him a teacup of hot water.

ASST. CONDUCTOR

Maestro.

51.

PAVAROTTI:

Grazie.

He follows Alessandra until she’s next to him, and begins

whispering/congratulating her.

In the wings, a pair of students stare at Paul.

STUDENT #1

I wouldn’t want to follow that.

STUDENT #2

Me neither.

PAUL:

Thanks.

He sets his jaw and heads for the center-stage microphone.

PAUL (CONT’D)

Good evening.

(paralytic fear)

It uh, must be bargain night, it only

costs one tenner to get in, instead of

the usual three...tenors.

A smattering of laughter from the crowd. Pavarotti notices

him for the first time, but seems less than amused.

Paul begins to sing; Rodolfo’s, “Che Gelida Manina”, the

same aria Paul “conducted” in his room at his parents’

house.

He’s singing well, better than we’ve ever heard, eyes

tightly closed as he focuses on his breathing and pitch.

Finally his eyes open...and what he sees seems to deflate

his entire being, even as he continues to sing...

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