rush from a rehearsaI to a recording,
from a recording to a concert.
I'm constantIy in need of money,
more money.
FiIm studios, radio...
I snatch at every piece of hackwork.
We never have friends to our house.
I can understand my wife. She
doesn't want to cook, wash dishes.
We invite onIy usefuI peopIe.
And we get from it... no joy.
Our daughter has her own Iife.
We have Iost her.
I'm in pubIic aII the time,
aIways mixing with peopIe...
But in fact, I'm aIone.
It's fate.
Now I wiII pIay for you.
I testify as a wife that he's stiII
trumpeting!
To our mighty hero!
ShaII I serve the main course?
Listen to this beautifuI music.
Get Iost. He's pIaying for me.
Got it.
He's my friend.
Your friend makes me feeI Iike crying.
- What do you want him to pIay?
- Something rhythmicaI.
No probIem. We'II order it.
You know, I've recognized you, friend.
Oh, I've recognized you, too.
Look, pIay something rhythmicaI,
something exciting.
With great pIeasure.
Dear friends, for our guest
from the sunny Uzbekistan,
I'm going to pIay
a rhythmicaIIy exciting meIody.
- Greetings, competitor.
- Greetings, aboriginaI.
Giving your tour performance?
Just trying to make some bread.
By steaIing someone eIse's bread?
Get out of here.
You're a pianist and I'm a pianist.
I've been robbed of my money.
I onIy have to earn enough for
the dinner.
Are you Vera's beau?
Sort of.
What are you eating?
Three hundred grams of cognac,
two saIamis,
two Chickens Kiev and two ice-creams,
yes, and a saIad.
That wiII be aII, you got it?
Dear Comrades!
Today is my husband's jubiIee.
Can you pIay
"The Dying Swan'' for him?
- Can you do the swan?
- The dying one? I can do anything.
- He wiII do it.
- Thank you.
Into the money-box.
Shoot the dying one.
Didn't you say
you'd be pIaying for me?
And you were making money instead.
It was that rare occasion when
feeIings and interest had agreed.
And you were compIaining that you
pIay not that good.
To say the truth, no one has ever
pIayed as weII in our restaurant.
It's onIy for restaurants that I'm
an outstanding pianist, but for art...
A quite ordinary one.
WeII, my dears.
Thank you, everything was very good.
When we want to, we can do it.
As for the check, pIease give it
to your pianist.
- To Shurik?
- Yes, to him.
What are you gaping at? Take it to
Shurik.
AIexander AnatoIyevich, it's for you.
It's funny. You're innocent,
and you're going to triaI.
That seems to be my fate.
- VioIetta!
- Yes, my dears?
Come on, bring it aII.
Pastries, chocoIate,
coffee and fruit. What the heck...
On what money?
Now it's me who's dining and wining
you! Your heaIth!
So you want to be a martyr?
And you want her to be Iocked up?
No, I don't want it for anyone.
Give me your number. When in Moscow,
I may caII you. WouId you mind?
No, on the contrary,
I'II be happy to hear your voice.
My number is very easy to remember.
123-4567.
1 , 2, 3, 4, 5, 6, 7.
That simpIe? I'II caII you.
Or maybe not.
Come on, don't be afraid,
I was just kidding.
I'm not afraid.
- Thank you for the wonderfuI evening.
- Thank you for making me company.
- No, it wasn't so...
- Never mind me.
Let me see you to your bus.
To my bus? No, first I have to put
you up for the night. Let's go.
Tonight you're going to sIeep with aII
conveniences, Iike a reaI foreigner.
But we've aIready been turned out of
there.
In Iife, everything depends
not on those who're in charge,
but on those who're on duty today.
Imagine, I've accidentaIIy sent his
passport with the Tashkent train.
They don't Iet in the hoteI without
a passport, you know. HeIp us out.
I know they don't.
What's in it for me?
You know, he pIays the piano
so weII that...
It won't work. There's no piano.
Can you pIay cards, passenger who's
been Ieft behind?
Sure he can.
But not as weII as the piano.
What am I going to do with you?
Though it Iooks Iike no dipIomatic
persons are expected tonight.
AII