Well.
No. Do it again. Very good.
ExquisiteIy worked. You've crafted ajeweI, my boy.
Perfect for a courtesan or priest...
to pIuck after supper
In other words...
this vioIin wiII never bear my name.
Put your anger into your work, my boy.
Stay with me and Iearn.
US$ 1 million.
US$ 1,600 million.
Bid to you all now.
US$ 1,650 million.
US$ 1,675 million.
Is that a bid, Sir? Don't be shy. All right, then I'll take it.
US$ 1,700 million.
US$ 1,725 million.
US$ 1,750 million. Thank you.
The bid is US$ 1,750 million.
US$ 1,775 million on my left.
Mr. Morritz.
-PIease don't Iet me forget this. -Was that a bid, Sir? No?
US$ 1,775 miIIion on my Ieft.
Against the teIephone now. Against you, Sir.
US$ 1,775 miIIion.
US$ 1,810?
US$ 1,810 miIIion. US$ 1,850.
US$ 1,875 on my Ieft.
In the room. US$ 1,900.
US$ 1,920. In the room.
Yes, I got you, Sir.
US$ 1,940.
Not yours, ma'am. Neither of yours.
US$ 1,940 miIIion.
I'II take ten.
Do you want back in, Sir? Is that a yes? No?
The Stradivarius now at US$ 1,940 miIIion.
US$ 1,950 on my Ieft.
Down to you two.
US$ 1,950.
Not yours, Sir?
Not yours?
US$ 1,950 miIIion.
AII done, then?
Fair warning.
I'm seIIing now at US$ 1,950 miIIion.
And... soId to the Iady on my Ieft.
The Iast saIe of the evening, Iot number 72 on the turntabIe there.
The star of the night, and... Where is she?
The Iast vioIin of NicoIo Bussotti, 1681.
A masterpiece of the GoIden Age.
And if she wiII give us the pIeasure...
Here she is now, Iot 72...
the so-caIIed "Red VioIin".
And this time, the Iast order bid is at US$ 250,000.
A Iot of interest here, of course.
Now, let's open, and who wiII start us off?
US$ 260,000. Good evening, Mr. RuseIsky.
Madame?
Cesca, can you stiII see the future?
Are you aII right?
Sit down.
Did you caII me? I was in the garden.
-I can come here, can't I? -Of course.
This is part of my house.
Of course, Madame.
I have some new amuIets and bones for you.
If your husband spits on them, it wiII heIp.
Are you hungry?
Don't eat that, it's fish.
So?
Your chiId wiII be sIow to Iearn. There it is.
I aIso have some stones for you, and a key...
...to wear around your neck.
My husband is tired of spitting.
Spitting's what men are good for.
A father's saIiva is the best thing he can give.
Cesca, teII me my chiId's future.
I can't do that.
Don't worry about my husband.
No, it's not your husband...
I'm simpIy not abIe to do it.
I see.
UntiI the baby is born, your humors are one.However...
...I can read your future.
No, I toId you, I'm scared.
Come on, Madame.
Five cards.
It's onIy the future.
What if it's bad?
I'II pretend not to see it.
TeII me everything.
The Moon.
You'II Iive a Iong Iife, fuII and rich.
There's... a traveI ahead.
I see a Iong journey.
NicoIo.
Leave us.
CIose the door.
What is it?
Why do you come here in your condition?
-I know I'II find you here. -What is it?
-I taIked to Cesca. -And?
She read my future.
Cesca! Dear God!
And the birth, she said, wiII be very difficuIt and painfuI.
They aIways are.
This is no prediction!
We are taIking about me!
Why do you Iisten to Cesca?
She is our servant.
I have an exceIIent midwife, an astroIoger, a doctor.
They'II aII be there. It wiII be perfect.
I know.
How do you know?
I know.
I'm so oId to be having a baby.
This is a vioIin.
It's different.
I stiII have to varnish it.
But there's something...
It's perfect.
Everything eIse is just junk
worthy of a peddIer or the trash heap.
But this is my masterpiece.
I made it for our son, Anna.
Our son wiII be a musician.
He'II Iive for music.
He'II bring us pride...
and beauty to the worId, my Iove.
I wanted to surprise you, but you see
I can aIso make predictions.
It's too big for a baby.
He'II grow.
My chiId wiII come in the fuII moon.
Come to bed.
You're jeaIous of our reIationship. Me and the moon.
No, I'm not jeaIous.
I know you'II come back.
Master, a boy is asking for you.
TeII him to go away.
The doctor sent him.
I think you'd better come.
Your wife, Sir... The doctor...
What is it?
She's not weII. She's having the baby.
Get out.
Get out! Leave me aIone, for God's sake!
US$ 1,650 miIIion.
US$ 1,675 miIIion.
Is that a bid, Sir? Don't be shy. AIright, then I'II take it.
-US$ 1.700 miIIion. -Excuse me, Mr. RuseIsky.
US$ 1,725 miIIion.
The Stradivarius now at US$ 1,725 miIIion.
paul? US$ 1,750.
US$ 1,775 on the Ieft.
Against the teIephone now. Against you, Sir.
US$ 1,775 miIIion. US$ 1,810.
US$ 1,810 miIIion.
US$ 1,850. US$ 1,850.
US$ 1,875.
US$ 1,900.
Son of a bitch! US$ 1,920 in the room. Yes, Sir, I got you.?????
-He knows nothing! -Who?
Morritz!
US$ 1,940 miIIion.
-US$ 1,950 on the Ieft. -He's cheated me.
AII done, then?
I'm seIIing now at US$ 1,950 miIIion.
SoId to the Iady on my Ieft.
Now, Iadies and gentIeman, the Iast saIe of the evening, Iot number 72.
The star of the night.
Where is she?
The Iast vioIin of NicoIo Bussotti, 1681.
A masterpiece of the GoIden Age.
If she wiII give us the pIeasure.
And there she is.
Now, Iot number 72, the so-caIIed "Red VioIin".
The Iast order bid is at US$ 250,000.
Who wiII start us off? US$ 260,000. Good evening, Mr. RuseIsky.
You must cIean the vioIin every day.
Care for it weII.
This is your vioIin for as Iong as
you're with us at the orphanage.
a curse hangs over you, Madame.
Danger to those who come under your thrall.
And there will be many...
It is a powerfuI card, the Hanged Man.
I see danger... infirmity and disease.
I'm sorry, but what kind I can't say.
There are many kinds of sickness.
These roads, Brother Christoph!
You've no idea what I've endured.
And why such haste?
What is so urgent that it couIdn't wait untiI my next visit?
We have a boy, Sir.
You have many boys!
This boy is a miracIe. You'II see.
Vienna swarms with miracIes.
Not Iike him. We feIt
you shouId see him at once.
Does he speak French?
No, Sir. UnfortunateIy.
AII your students shouId Iearn French.
It's the Ianguage of music.
It hones the ear and eIevates the mind!
Monsieur Poussin, this is Kaspar Weiss.
What vioIin is this?
I haven't seen it before.
We've had it for 100 years.
Far too big for him.
Look at his hands.
He shouId pIay on a chiId's vioIin.
Even Mozart... God rest his souI...
pIayed in VersaiIIes
on a chiId's vioIin.
No shame in that.
WouIdn't you Iike a smaIIer instrument?
He seems to manage.
Let him try.
PIay, my boy. PIay.
I see.
Monsieur Poussin?
We're prepared to offer a smaII sum...
to heIp him in his study.
They say you're a good boy...
weII-mannered and cIean.
GIad to hear it.
But you don't Iike vegetabIes. Is that so?
Yes, Sir.
What don't you Iike?
Carrots, Sir. And beans and cabbage and...
These monks can't cook.
They aIso write you've got a weak heart.
Is that so?
You must have a strong heart to pIay vioIin.
BeIieve me.
And stronger stiII to Iive in Vienna.
You shaII see. Vienna is an infuriating city.
Infuriating, but magnificent.
Magnificent this city!
Antoinette!
May I present to you... Kaspar Weiss.
One of the most gifted chiIdren on Earth.
But Georges, we can't...
My wife, Antoinette Poussin.
Good afternoon, Kaspar.
How nice to meet you.
Go on in. I'II show you your room in a minute.
Georges, pIease! We can't afford to keep him!
We can't afford not to.
There's something about your pIaying that eIudes me.
I've decided to anaIyze it
IogicaIIy, with a scientific method.
First, your bowing...
and your Ieft hand phrasing. Your d??ach? ornamentation and your taste.
And theory! Theory, too, is important.
You need a Iot more than inspiration to pIay the vioIin.
You need method. You must think...
-Won't you eat? -...and work!
You must eat!
Do you want something eIse?
Try this cheese. I think you'II Iike it.
It's French.
Try some.
Taste it.
You'II see, a IittIe different from the monk's crumbIy cheese!
Go on. Kaspar, if you pIay weII
you'II enjoy the finest fare.
We can't afford coaI, Iet aIone food!
SeII your jeweIry! SeII your David!
He voted to behead the king, the monster!
My boy... pIay weII, and there wiII be cheese.
VioIin... cheese.
May I go to my room now?
Go ahead. And sIeep weII.
Madame Poussin wiII assist you in your prayers.
Why speak French? He doesn't understand.
So he'II Iearn!
I want them to know who taught him.
Good morning, Poussin.
I pride myseIf on visiting the Taufer Orphanage three times a year...
to offer my services as a teacher, as a gesture of support...
for those good men of the cIoth.
This year, they caIIed earIy.
I was skepticaI, but...
when this chiId raised his bow...
when he pIayed his first note,
weII, Baron von SpieImann...
I knew my prayers had been answered.
You've unearthed another
I've got no money for you, Poussin.
I have no concerts to offer you.
It isn't for the money.
I suggest you find another patron.
Must I beg?
Isn't that what you're doing?
Yes. I am.
In three weeks...
I'm hoIding a private audition at my saIon.
Prince MannsfeId is Ieaving for Prussia...
and seeks a prodigy to accompany him.
He must hear this boy.
Three weeks. Can you be ready? TruthfuIIy!
I couId be ready tomorrow.
Be very certain, Poussin.
If you embarrass me again...
I've charmed the crowned heads...
Where are those heads now?
RoIIing in the gutters of the new RepubIic!
No, no, no! The first phrase
the entire section, must be pIayed staccato.
A modern styIe, weII and good
but Iet's not be crude.
You Iiked it, didn't you?
I'm deIighted.
You're going to pIay it again. You're going to pIay it again and again and again.
See this? It's a cIockwork chronometer, of my invention.
It's caIIed the Poussin-meter.
You wiII heed it with the same deference you wouId me.
What you just pIayed
corresponds to a tempo Iike this.
Each day, as we progress...
we shaII push down this IittIe baII notch.
UntiI finaIIy, in three weeks,
you'II be pIaying Iike this.
The worId wiII be yours!
You see, Antoinette, there's something I stiII don't understand.
His vioIin has a wonderfuI sound,
and a IoveIy form.
Of course, it's ItaIian.
Is it very vaIuabIe?
Why do you ask?
WeII, it couId pay the rent, if ever...
He wiII pIay divineIy, my dear.
Can't you trust me?
Of course I can.
But must he sIeep with it?
He couId roII over on it.
What?
He sIeeps with it?
Straight, proud. Lift your chin. There.
Perfect, your bow. You're cIutching.
Your body's stiff, your eIbow Iocked.
I knew something was hoIding you back.
Something, but I didn't know what.
Now it's totaIIy cIear.
You're oppressed by your vioIin.
It has you compIeteIy ensIaved.
Look at you. There, very good.
If you want to advance
Kaspar Weiss, you must Iet go.
What do you mean, Sir? I don't understand.
Antoinette teIIs me you sIeep with your vioIin.
Tonight you'II sIeep by yourseIf. Without the vioIin.
Without your vioIin!
Thank you for coming so quickIy.
Thank you so much, Doctor. Good night.
FeeIing better?
Yes, thank you.
The doctor says your heart
must have stopped for a minute.
I'm sorry.
It's aII right
but we don't want it to happen again.
Were you worried?
Were you nervous about the audition?
It wiII be just fine.
You know that, don't you?
Georges!
I know, I know.
Kaspar, we want to teII you... you don't have to do it
if you don't want to.
You don't have to pIay.
I don't?
We can canceI the audition.
We'II manage, somehow.
It's better than making you sick, see?
You don't have to be famous.
No? Yes... Oui.
Sorry... maIade.
I want to be famous.
Sir, I reaIIy do.
That's my boy!
I'm very proud of you.
I want you to rest, reIax.
Madame Poussin wiII bring a visitor you Iike very much.
Merci, Madame.
One, two, three, four! One, two, three, four! Good!
Good!
One, two, three, four! One, two, three, four! Go on!
There you go.
We better sIeep now.
Tomorrow's going to be a busy day.
Perfect.
And now, backwards. Are you ready?
Rejected! The shame!
Kaspar Weiss. Kaspar Weiss, vioIin!
PIay the best you can, Kaspar.
PIay your best.
Master Poussin and his protg? Kaspar Weiss.
CIoser. Come cIoser.
So you're the wiId chiId
I've heard aII about.
An orphan raised by monks.
If you prefer, we can caII in the next.
-There's the son of... -No, no.
How charming to think a monastery
has actuaIIy produced something... something worthwhiIe.
That's a IoveIy instrument you have.
May I see it? May I see it, my boy? PIease.
Is it for saIe?
I'd give you a good price for it.
He's very attached to his instrument.
So I see.
Perhaps after he's pIayed... Of course, Iet him pIay.
I might take him too.
Come, pIay for me.
Won't you pIay something for me? PIease.
Poussin!
Just pIay for him, son. PIay.
Monsieur Poussin?
On behaIf of the brothers
I thank you... for the generosity you showed Kaspar.
He takes with him the many gifts you gave him.
I did what I couId.
WouId you honor us
by sharing our modest supper?
It's very kind of you, but...
my wife awaits me,
aII of Vienna awaits me.
Of course, we understand.
-I do have one question. -Yes?
-The vioIin. -Yes?
What wiII become of it?
I'm sorry, I thought you knew.
NaturaIIy you were foremost in our thoughts.
After aII the time and energy you invested...
it wouId be wrong to give it to another chiId.
Yes, of course.
So we buried it with the boy.
He can pIay it in heaven.
Yes, quite right.
And... and then I see a time of life...
a time of Iust and energy...
Ioosed across mountains and oceans, and time.
Confusing, Madame, I know.
But I see it.
I'm certain.
Yours is a Lazarus souI.
Yes, I see.
WeII, put her through when you can.
We're on hoId.
You shouId teII her our story. ExpIain its past.
Brother, pIease, she doesn't care.
She's doing her job.
But if you convince her...
-Father Viktor, good morning. -Good morning.
This is Suzanne.
They're just cIosing Iot 71.
Can you hear the auctioneer?
SoId to the Iady on my Ieft.
Yes, I can hear him.
Suzanne, how do I teII you when I want to...
Leave it to me, Sir. Just teII me when you want to stop.
...a masterpiece of the Golden Age.
If she would give us the pleasure.
I feeI heIpIess.
Isn't there something we can do?
Yes. We can pray.
This time the last order bid is at
US$ 250,000. Let's open the floor.
Who wiII start us off?
US$ 260,000.
Good evening, Mr. RuseIsky.
US$ 270,000.
Suzanne, on the teIephone.
US$ 280,000. Back to you, Sir.
US$ 300,000. I see you, Suzanne.
And then...
a man comes into your life.
A handsome man... and intelligent.
He'll seduce you with his talent... and worse. In short...
he's the DeviI.
What a marveIous vioIin!
What do you want?
I was Iured by the music by the heath.
Oh, yes?
Maybe you can go back the same way.
I'm your host. This is my Iand.
Now I see. My mistake.
We wiII not be a troubIe.
We'II be Ieaving here by nightfaII.
That won't be necessary.
I'm sure we can come to some arrangement.
Excuse me, Sir.
I must ask you to Ieave.
We have an invitation.
You can read?
PersonaI invitation. Come on in.
-Evening, Percy. -Good evening, ma'am.
In the dressing room, warming up.
Not without me, I hope.
Victoria. I need you.
I feeI a composition coming on.
So do I.
Ladies and gentIemen, if I can have your attention.
Mr. Pope has asked me to announce he'II be performing this afternoon...
on an antique instrument of the ItaIian schooI...
which has revitaIized his affections for the vioIin.
I hope that... whets your appetite somewhat.
Mr. Pope, Sir, whenever you're... -DarIing! -...ready.
I'd Iike to pIay for you a new composition...
which came to me recentIy... in a moment of inspiration.
"How did it come to this?
Saints in heaven.
How did it happen to him?
An artist who could not be denied. A poet, in fact.
But a murderer?
Yet the looking-glass image was hard to refute.
His fingers and cuffs were still ruddy ith gore
and as he watched in horror... the speckles of blood seemed to multiply before his eyes...
like maggots on a fetid corpse.
What would become of him now? Where would he run to...
and where would he hide?
The options then were depressingly few.
Indeed, his mind was already racing...
east across the frozen continent and over the frozen steppes"
-DarIing. -back to the refuge of his childhood estate."
I have a theme I want to work out.
"To Russia, the Cossack call..."
That needs to be addressed.
Can't you see I'm trying to work?
You're so seIfish.
I had mutuaI inspiration in mind.
Can't you see I don't need it? I was...
My Iove, don't be angry.
Oh, pIease.
You've onIy yourseIf to bIame.
It's your beauty that summons the music.
And when it comes... I must pIay.
Damn you.
Is this what you wanted?
"East, east, across the frozen continent...
and over the frozen steppes back to the refuge of his childhood estate.
To Russia, to Russia
he heard the Cossack call."
Frederick.
My darIing. My one inspiration.
I have something terribIe to teII you.
TerribIe?
The worst.
It must be most terribIe for you to teII me now and ruin this perfect moment.
Jack has kiIIed the minister.
-It was an accident. -I see.
He's now fIed to Russia.
SeIf-imposed exiIe.
I see. You're Ieaving me.
I've never been there.
I wouIdn't know what to write. I have to foIIow him.
I can't go. I have concerts.
I know, darIing.
Are you very angry?
Why shouId I be?
Dearest Frederick
I have just passed the church where Jeffrey was baptized.
and I'm quickly approaching the Rutherford Bridge.
In other words...
darling, we have parted for under ten minutes and already I'm lost.
I return to my writing in the hope that these few honest words...
...might rejoin our lips...
"Darling Victoria..."
"...Bring back your hands to my shivering skin."
"You trust in words and comfort of letters in a way that I simply do not.
And no matter what, no words can convince me that you are not gone."
"Finally, my love,
it's Moscow at last and my very first night was unspeakably dreary.
Can one nation be so abysmal?"
"What is this nonsense?"
"Or is it because you are not here?"
"I won't sigh for your woes.
If everything truly is as dismal as you say
then heed my simple remedy."
-"Frederick..." -"Return at once, betrothed love."
"...darling, I long for your touch.
I still seek your scent on my clothes."
"I should have pinned you to the
mattress when last I had the chance.
Like you were the butterfly, I was the pin."
"Embroidered together, heart against heart."
"Victoria, listen. Our moment is dying.
What is this nonsense? The music is gone. Like you were the butterfly.
This impression is passing, my love.
Where everything I said to you...
and everything I might ever say could be contained in these two words.:
Come back, Victoria.
Come back."
Do not write to me any more, Iove.
Ladies and gentIemen... thank you for your patience and understanding.
UnfortunateIy, I have just received notice...
that Mr. Pope has been affIicted by an iIIness...
and unfortunateIy cannot be with us today.
Of course, we wiII refund those who desire...
but for those who do stay, we are pIeased to pIay my arrangement... of favorite EngIish madrigaIs.
"Darling Frederick, I have seen the truth at last.
Eternity has passed since we parted.
One full week without your letters...
and I am shriveling here like a flower in the desert.
I will not suffer more.
Are you not reading as well as not writing?
Then you'll miss this crucial report.
I'm coming back, my love...
by any means I can, tomorrow morning if I'm able.
Will you then forgive me, my love?
The wasted time, my selfish folly.
Will you take me in your arms again...
and with one kiss eradicate each hour apart from your embrace?
I long for your love.
I long for your touch.
We can't stay apart. Victoria."
Savage.
-...Extreme, rude crueI, not to trust! -Victoria...
...Your sIuttish muse.
-Who is she? -Quiet!
Victoria, pIease.
Don't try to expIain.
It's not your fauIt.
Or yours. Victoria, Iisten...
"Do not despair, Victoria.
This is the last page of our correspondence.
I am only writing to let you know of my plans for suicide...
by poison or drowning, I've yet to decide.
All my estate I'm leaving to you.
I have some personal debts to honor
but everything else will be yours.
Do with it what you will.
It matters little to me.
Regretfully yours, Frederick."
I'm dying. Dying.
Do you know anything about music?
Have you heard of Frederick Pope?
Composer, genius. The onIy virtuoso... the nation of EngIand ever came up with.
In a few minutes, his vioIin is going to be soId...
and if I don't get there because of
your driving or this goddamned traffic...
I'm going to Iose my precious testicIes. I'm going to be castrated.
-PIease hurry. -It's there. DuvaI's.
-That's it? Why didn't you teII me? -Yeah.
I need a receipt.
HeIIo. NichoIas OIsberg. I'm Iate.
Yes, you are.
PIease don't Iet me forget this.
OIsberg, NichoIas. I registered by teIephone.
-Check again under "Pope Foundation". -Pope?
Last violin of Nicolo Bussotti...
There we are. PIease sign.
There you are.
...72, the so-caIIed ''Red VioIin''.
Last order bid is at US$ 250,000.
So we'II open the fIoor. And who wiII start us off?
US$ 260,000. Good evening, Mr. RuseIsky.
US$ 270,000. Suzanne, on the phone.
US$ 280,000. Back to you, Sir.
Here. US$ 300,000 at the back of the room. Thank you.
US$ 320,000. Suzanne, I see you.
US$ 400,000 at the back of the haII. US$ 400,000.
Darling, come here.
Do you Iike it?
Justice.
There wiII be a triaI, a great triaI...
before a powerfuI magistrate.
And you, you wiII be guiIty.
Beware! Beware of the heat of the fire!
Comrade Chan Gong has come from Beijing.
WeIcome her, pIease.
Comrades, students, revoIutionary companions-in-arms...
I give you my proIetarian saIute!
I congratuIate you on today's grand festivaI...
for which you have worked so hard.
Your cuIturaI unit has done exceptionaI work.
I wouId aIso Iike to commend you
on the chiIdren's presentation.
It made my heart rejoice.
The story of "The Three Heroic GirIs" was a vivid Iesson.
It gaIvanized our historic crusade!
But some efforts are Iess successfuI... unfortunateIy.
Sometimes the teacher must Iearn from his students.
Give it to me.
CapitaIist expIoitation
survived for centuries...
yet its "cIassics" are pitifuI!
Foreign music is meaningIess and empty.
What do they mean by "symphony", ????
This is empty formaIism.
It speaks nothing to the peopIe.
What good is making music...
except to teach and inspire the peopIe?
-Long Iive Chairman Mao! -Long Iive Chairman Mao!
-Overthrow the cuIturaI estabIishment! -Overthrow the cuIturaI estabIishment!
Chou Yuan!
Present.
Why do you teach this instrument?
Comrade Chan Gong, what you say is true...
Louder, pIease.
Comrade Chan Gong, you are right.
Much of western music is unrefined, worthIess.
This is a fact.
Everything you said is true,
but the music I teach...
Go on!
The music I teach is revoIutionary music.
Beethoven, Prokofiev...
Do you think so?
In his speech, Comrade Li said...
Comrade Li was purged and humiIiated.
Do you stiII want to quote him?
I didn't know.
I have taught for many years...
That is apparent.
We beIieve in the ruIe of many voices.
What shouId we do here?
Throw away that oId junk!
Chou Yuan, just admit your guiIt!
Let's chaIIenge degenerate Western art!
Comrade, may I say a few words?
Of course.
Students, comrades, revoIutionary Red Guards...
I'm not an authority on foreign music.
I have not studied Iike Comrade Chan Gong.
But in my opinion...
there's nothing as beautifuI as our traditionaI music.
Chou Yuan aIso teaches the hu chin.
CouId he not focus on that?
Comrade Xiang has shown her wisdom.
Put this down with the other "great oIds"!
To every probIem there is a soIution!
I'm sure you can discover the probIems.
And I'm sure you can soIve them.
Who is it? Who's there?
Ming!
You scared me. I didn't hear you.
It's a mess. I was tidying up.
What's that?
This is a vioIin...
a musicaI instrument from Europe.
From Europe?
Is it a bad thing?
No. A vioIin itseIf is a good thing.
Here. Take a Iook.
We have to study foreign music
so we can move on...
...as Chairman Mao said.
Dad asked if you're coming.
He's waiting.
Yes, teII him I'II come right away.
As soon as I finish my work.
-Ming? -Yes?
What you see here... don't teII anyone.
I want you to Iisten.
This wiII be our secret, aII right?
Go.
Ming? Ming!
-Was she home? -Yes.
Is she coming?
No. She said she'd meet you.
What? Is she coming or not?
I can't say.
Why not?
I promised her to keep it secret.
What are you saying?
I'm your father. You must teII me everything. Papa, wait!
-Xiang Pei? -Papa, don't!
Xiang Pei, open up! It's me!
Where is the key?
Go.
Quiet!
Where is she?
Water! Water!
She's gone!
Is this her?
Look at the date: 1937. It must be her mother.
Chou Yuan!
-What do you want? -PIease Iet me in.
I've done nothing.
Let me inside.
This is for you.
I don't want it.
It's for you. Take it.
It's a vioIin.
-A vioIin. -I remember.
Do you want it or not?
I'm an oId man
but I'm not a fooI.
Where are your comrades? Are they waiting outside?
This isn't a trap.
I've changed.
I don't need it now. I speak from my heart.
Enough!
And I don't need this.
It's from another time.
If you want it, you can have it...
or eIse no one wiII.
Do you want it or not?
I've no time!
No more arguments!
I am a cadre in the Party,
do you understand?
I can't keep it.
I Iove the peopIe. Do you understand?
Xiang Pei!
I wiII keep it safe.
Let's go eat. I'm starving.
Go ahead. I'II wait here.
-I'm sure she'II be back. -Let's go, you aII!
The last sale of the evening
lot number 72 on the turntable there...
and star of the night...
Where is she? The Iast vioIin of NicoIo Bussotti
-A masterpiece of the GoIden Age. -Do you see it?
-No, not yet. -If she wiII give us the pIeasure.
And here she is now, Iot number 72, the so-caIIed "Red VioIin".
It's not how I remember it.
They've cIeaned it up. It's better.
US$ 260,000. Good evening, Mr. RuseIsky.
US$ 270,000. Suzanne on the phone.
Maybe if I heard it again.
US$ 280,000. Back to you, Sir.
US$ 300,000 at the back of the haII.
US$ 320,000. Suzanne, I see you.
340, I have you. 380, Mr. RuseIsky.
The Iast card.
Oh my God!
Courage, Madame. Upside down.
At this point in the spread
it might be good news.
I feeI...
I feel the fast air sweeping around you...
carrying you, furious wind...
and then stopping.
Your journey will end. No question. I see it.
One way or another, your travels are over.
And there is trouble in this, like always.
But you... you are strong by now...
strong like a tree in the forest.
Where is he?
Upstairs.
You are not alone. A crowd of faces...
friends and family,
enemies, lovers.
You will attract many admirers...
fighting to win your hand.
And money! Lots of money!
No, Madame. Don't be afraid.
In this card I see... a rebirth.
And how was your fIight?
Very good. On time.
Sorry to cut your hoIiday short, but...
It's aII right. I'm excited, actuaIIy. Like Christmas.
Won't take too Iong. We've aIready assessed them.
Right. BaIIpark.
And I onIy want you to confirm it.
I got it. A second opinion.
I've done this sort of thing before.
Can't wait to see it, actuaIIy.
-This is Mr. Morritz, you know... -Bon jour.
So, you're the expert?
From New York.
You know what you're doing?
Yes, New York.
You know what you're doing?
Why, yes. I certainIy hope so.
These peopIe from DuvaI's have given us some figures...
as the government of China.
So, what we need now is...
A professionaI opinion.
No, a signed affidavit.
That's what I'm here for.
Show me to the Strad.
They aII Iook the same to me.
Ah, but they're not.
PIease don't Iet me forget this.
Over there.
Ah, here she is.
It's a beautifuI specimen.
I'd say about... 1683.
Reminds me of the Cobbitt.
These are the best quaIity pieces.
Over here, if you'd Iike to take a Iook...
are the Iess promising entries, some of them are pretty bad.
So I see.
So, I guess I'II Ieave it to you then.
I've taken care of the Iuggage.
I have a driver waiting.
AII right. I shouIdn't be Iong. -Bon jour. -Bon jour, Monsieur Morritz.
Everything is ready as you asked for.
Same room as aIways?
Same room, but one story down.
Then it's not the same room, is it?
No, Sir, but it's the same as the other one.
-Sir, I have a message from your wife. -Merci.
Room 2703.
New York City, pIease.
316-2799.
Carrie? CharIes Morritz here.
I have a IittIe gumshoe work for you.
Cremona. Bussotti.
Get a pen.
Made a cast of this after we set the tabIe.
So, here we are.
Here's the before picture.
Take a Iook at the corners.
Not so bad. I don't think we have to touch them.
Some reaIIy nice perfIing here.
Lot of work to get it this far.
Turn-of-the-century hackjob with some horse gIue and a patch...
so I had to reset the neck. That was the big job.
Sound post, taiI piece. New bridge, of course.
But the body itseIf is remarkabIy good, so I'II strip back some varnish here...
No, no, no.
No what?
I toId you before. Don't touch the varnish.
WeII, that's not gonna be easy.
If there's a probIem, I'II do it.
Look, the auction's in two weeks.
I have 16 other instruments. Leroux is aII over my ass.
I stiII have a Stein I haven't even touched...
I want compIete L.I.G.'s, a resonance test, mass specs...
and Iet's get some varnish sampIes off to the Iab, okay?
This instrument is not a priority.
Every minute of my day is fuII.
That's fine.
We'II do this after hours, aII right?
These are the estimates?
No, the reserves.
-That we proposed to the Chinese? -Right.
And what about these?
Those are some contentious items you might not want to put on the bIock.
They're badIy preserved and hard to attribute.
What about that red one?
Red one?
Leroux seemed to think it might be a Bussotti.
It might be, but the IabeI's obscured and the varnish is odd...
it's sIightIy opaque.
And I'm afraid as it stands, with no documentation...
That's aII you expect?
"With aII my heart".
You ever heard of the Red VioIin?
Sure. The Frederick Pope Bussotti? Sure, I have, stories.
How about copies?
One in London, the onIy one I know of.
Supposed to be a copy commissioned by Pope.
You know who has it?
Some private coIIection.
You think I couId buy it without tipping them off?
Tipping them off to what?
WeII, we know for sure we have a Bussotti. I can date it within the year.
We stiII have this varnish that doesn't configure, but...
but we can run comparison tests and
see if this is the source of the copy.
You know I shouId probabIy teII my empIoyer.
If what you're saying is any way true, peopIe couId get a IittIe... excited.
I couId Iose my job over this.
Yes, I know.
You can go if you want to.
I can finish this myseIf.
Madame Leroux says that she has to have the cataIog proofs for today.
Are you finished?
Yes, they're back at my hoteI.
I've been working at night.
Is there something eIse?
Your wife caIIed again.
CIose the door, pIease.
Yes, is this the University of MontreaI?
WeII, may I have the ArchaeoIogy department, pIease?
Hi. This is CharIes Morritz over at DuvaI's.
I sent you some varnish sampIes on Tuesday.
Yeah, I wanted you to isoIate an organic compound.
I'm sorry.
Can I have the manager, pIease?
Yes, the manager.
WeII, fine, put him on.
Yes, this is Mr. Morritz in 2703.
Listen, I want to make something absoIuteIy cIear.
I don't want anyone coming to my room. You understand?
Not the maid, not to check the minibar,
no chocoIates on the piIIow.
I'm giving the staff sort of a break. Understand?
No one is to come in my room unIess I request it. Thank you.
-Yes? -I got it.
It's coming. I just taIked to London.
WeII, a IittIe bit of smooth taIking, a IittIe bit more money. Your money.
You better make those phone caIIs.
Yeah, yeah. Me too.
WeII, actuaIIy, I had some ideas. -WonderfuI. -Yes.
I have the recording.
Pretty good Strad, don't you think?
I feeI it is a bit tight on the top.
A IittIe bit strangIed over the break.
To me it's very cIean and precise.
Of course, it wouId have to be pIayed by a master.
What do you guess?
US$ 1,7... 1,8 miIIion.
Not bad.
Trust me on this.
What eIse do you have?
That's about it.
Thanks for coming. I hope you don't have an orchestra waiting.
WeII, they can wait. No probIem.
What about this here?
No, not that one.
Nice IittIe piece.
But not for you.
I wiII try it.
No, no, no. Don't pIay it.
-Why not? -Yes, why not?
I just repaired it. It's stiII fragiIe.
I don't even know why it's here.
I'II be very gentIe. Don't worry.
Yes, I see what you mean. Nothing speciaI.
How's it going?
What do you want me to do with that one... the Pope copy?
I'II take it back to the hoteI with me.
WeII, you got your money's worth. That is a very good copy. Nice vioIin.
But nothing Iike this one.
This is the singIe most perfect acoustic machine I have ever seen.
Amazing.
Guess I never thought I'd find it.
The uItimate... thing, as I see it.
The perfect marriage of science and beauty.
ImpossibIe thing. Now what?
What do you do when the thing you've most wanted, so... perfect... just comes?
Do you have chiIdren?
What?
ChiIdren.
Do you have any?
No, but I know what you mean.
I wouId Iove to have this baby for myseIf.
ReaIIy? What wouId you do?
Take it apart
find out how it works.
Take some Eigenbaud readings on the individuaI pIates...
I don't think you get it.
Yes, I do. Take a Iook at this.
This is mode 1.06 kHz.
Watch the response curve here.
I'II ease it up sIowIy for you.
Mode 2...
Stop it! -Bon jour, Monsieur Morritz. -Bon jour.
Oh, and I have an enveIope for you from University of MontreaI.
This says this arrived at 7 o'cIock. I was in my room.
Yes, Sir.
WeII, why wasn't I notified?
Sir, you toId us not to disturb you.
Not for a courier.
I didn't know, Sir.
If a courier comes, you caII me.
-If a fax comes, you caII me. -Yes.
It's important. You get it?
You knock on my door and you put it in my hand!
-I need you to acknowIedge. -Yes.
This is my business!
Mr. Morritz, I'm sorry.
You'd better come up. They're waiting for you.
AII right.
So nice of you to join us.
I hope you don't mind us starting without you...
but there was the question of unusuaI expenses, both here in the office and at the hoteI.
Did you check my mini-bar too?
It is our card. We are paying.
You made me wonder
so we decided to come down and have a Iook. And my... you have been busy.
With the courier biIIs and DNA tests...
Very curious procedures.
Leroux has a theory.
TeII me if she's wrong.
Is our IittIe red vioIin the Red VioIin?
Yes. I just wanted to be sure before I toId you.
This is very good news.
I'II send off the press reIease.
Good work. Thank you.
Why don't you take these Iast few days off...
before you go home?
No. I won't forget!
He Iied! He Iied to me!
And I knew it as soon as I saw it.
And I said it.
This instrument shouId be mine.
Son of a bitch!
Ladies and gentIemen, DuvaI's...
wouId Iike to weIcome you to this awaited evening.
Our thanks to the government of China...
for entrusting us with this marveIous coIIection.
Thanks too to Madame Leroux who organized and made possibIe this auction.
Let me remind you that the conditions of saIe are Iisted in the cataIog.
Before we begin, it is my duty to direct you to the conditions of saIe...
that you'II find at the front of the cataIog.
I wiII not read them out Ioud at this point but consider yourseIves warned.
Now, we'II begin with Iot number one,
showing on the turntabIe on my right a fine French ceIIo.
And we'II start with US$ 10,000.
US$ 10,000.
-Anything eIse? -No.
-Which airport, Sir? -DorvaI.
There is one stop we have to make.
US$ 400,000 at the back of the room.
The Stradivarius now at US$ 400,000.
Against the teIephone US$ 420.
US$ 450,000.
Against you, Sir,
US$ 500 back to the front.
US$ 500.
Wait here. I'II just be a minute.
I might have to go around the bIock.
AII right, if you have to.
US$ 1,100 miIIion. US$ 1,100...
US$ 1,200 miIIion. Is that a bid, Sir? Don't be shy.
AII right, then I'II take it.
US$ 1,300 miIIion.
US$ 1,400... 1,500. Yes, Sir, I've got you. US$ 1,600 million.
Not you, Sir? US$ 1,650 miIIion.
US$ 1,675 miIIion.
M. Morritz.
PIease don't Iet me forget this.
Against the teIephone now. Against you, Sir.
US$ 1,810 miIIion.
US$ 1,850.
US$ 1,875 miIIion in the room.
US$ 1,900?
US$ 1,900 miIIion.
US$ 1,900 miIIion on the teIephone.
US$ 1,920 in the room.
I've got you, Sir. Thank you.
US$ 1,940 miIIion.
Not yours, ma'am. Neither of yours.
US$ 1,940 miIIion.
Son of a bitch.
I'II take ten.
Do you want back in, Sir?
Is that a yes? No?
The Stradivarius now at US$ 1,940 miIIion.
Not yours, ma'am.
Neither of yours.
US$ 1,940 miIIion.
Against you aII in the room. Is that aII, then?
Fair warning.
US$ 1,950 miIIion on my Ieft. Down to you two now. US$ 1,950 million. Not yours, Sir. Not yours, Paul.
-The bid is US$ 1,950 million... -Did you cIean this?
Who's responsibIe for...?
Excuse me, I have to get the Iast Iot now.
What's going on?
Sorry, but we're going to have to...
And... soId to the Iady on my Ieft. -The last sale of the evening... -Turn it on.
Wait.
-Where is she? -The tag!
...NicoIo Bussotti, 1681.
I put the tag on myseIf!
If she wouId give us the pIeasure.
Too Iate.
And here she is now, Iot 72, the so-caIIed "Red VioIin".
Here we go now.
CaII security.
So we'II open the fIoor, and who'II start us off?
US$ 260,000! Good evening, Mr. RuseIsky.
US$ 270,000. Suzanne on the teIephone.
US$ 280,000. Back to you, Sir.
US$ 300,000 at the back of the haII.
US$ 320,000. I see you, Suzanne.
US$ 340. US$ 340 now in the front.
US$ 400 at the back of the haII.
420...
500. US$ 500,000.
Against the teIephone now.
500?
Stop it.
No? Against you, Sir?
US$ 600,000.
US$ 700,000.
US$ 900,000!
One miIIion doIIars, Mr. RuseIsky!
US$ 1,100 miIIion.
Not you, Sir?
Ma'am?
Are you sure?
US$ 1,300 miIIion. 1,400. US$ 1,400 million. 500. US$ 1,600 million.
Mr. Morritz?
Down to you two now.
US$ 2 miIIion, Mr. RuseIsky! Mr. Morritz? Mr. Morritz!
US$ 2,100 miIIion.
US$ 2,200 miIIion.
Excuse me. Is this what you're Iooking for?
-Down to you two. US$ 2,200 million. -Yes.
Your coat.
US$ 2,200 miIIion.
US$ 2,300 miIIion!
US$ 2,400 miIIion.
Is that aII, then?
US$ 2,400 miIIion.
You may have it.
AII done, then.
-Are you okay, Sir? -Yes. Take me home.
Right away.
Fair warning.
I'm seIIing now at US$ 2,400 miIIion.
And... soId to Mr. RuseIsky!
CongratuIations.
Hey, baby, it's me.
Yeah. I'm sorry.
Yes. Yes, I wanted to, every day, but...
WeII, something came up, but it's over now, and I'm coming home.
Oh, yeah. May I speak to her?
Hi, honey. It's Daddy.
How are you? I miss you too.
I'm coming home.
And honey? I'm bringing you something very speciaI.
Madame? Are you aII right?
Is everything aII right?
Yes, I'm sorry.
You have the visions.
No. I'd better go now.
My husband.
Of course. Go to your husband.
Thanks, Cesca.