:48:14
- Hi, Jo.
- Hello, Rick.
:48:16
- Great.
- Thanks, Louis.
:48:17
I want you to meet Amy North.
This is Rick Martin.
:48:20
- Hello.
- It isn't there anymore.
:48:23
- Well, what?
- The expression on your face.
:48:25
Your whole mood.
:48:26
When you were playing that trumpet,
you were exalted, sure of yourself.
:48:31
You've undergone a startling
transition, Richard.
:48:34
I'd rather call you Richard.
You don't mind?
:48:36
People try to find security
in a lot of strange ways.
:48:39
You've solved your problems. At least
while you're playing that trumpet.
:48:43
I don't understand a word,
but I love your voice.
:48:46
- It's got a rough spot in it.
- I should've warned you.
:48:49
She talks like a medical book
and likes to analyze everything.
:48:53
She's studying to be a psychiatrist.
:48:55
Oh, well, how do I stack up?
:48:58
My interest isn't purely professional.
:49:00
When I meet a great talent,
I want to know him.
:49:02
You don't mind, do you?
:49:04
Not at all. Go on.
:49:07
Tell me about jazz.
Do you think it's purely African?
:49:10
I don't do much thinking
about it. I just play it.
:49:13
- Lf you listen to it...
- I didn't come here to listen to it.
:49:16
I came to study the people, watch
their faces. They're interesting.
:49:20
Something about jazz releases inhibitions.
:49:23
It's a sort of cheap,
mass-produced narcotic.
:49:26
I gather you don't like jazz.
:49:28
Not particularly.
:49:30
I know it's supposed to
be our native art.
:49:32
Cotton fields, the levees,
New Orleans and blues in the night.
:49:36
Excuse me, please.
Would you do a number, please, Jo?
:49:39
- I don't like to ask, but...
- All right, Louis.
:49:42
If you're a singer,
they never let you talk.
:49:44
Sure, knock them dead.
:49:48
- Can I buy you a drink?
- No, thanks.
:49:51
You don't like me, do you?
:49:53
I think you're very charming, Miss North.
:49:55
You can call me Amy.
:49:59
I bet I could.