His targets are two thirty-something adults who reside in the same New York City apartment building: Anna (she hears dead people!) and Edward, who is no less gifted but is the possessor of a talent more explainable. He is a classical pianist of great skill. Unfortunately, this talent causes him to practice almost constantly - an activity which interferes with Anna’s ability to be a medium and earn a living.
In this predictable but entertaining romance, Anna and Edward do not at all appreciate each other’s talents; however, they are destined to overcome this obstacle. Luckily, help comes from Mozart, who not only knows music but is also the product of a rocky romance. Mozart loves Edward’s playing and decides to contact him through Anna.
Anna is reluctant to confess her livelihood to Edward. Talking to dead people, however, isn’t her only means of subsistence. She is also a substitute teacher. (Editorial comment: A substitute teacher In New York City? I’d rather deal with gangs of angry banshees!) Anna has other problems which consist of dealing with a deadbeat brother, Alan, who spent his youth telling people about his “weird sister” and a best friend, Stacy, who thinks Edward is hot!
Edward has his own stresses; he has patrons who are paying his living expenses, he is constantly practicing for a highly-regarded competition and is determined not to let them or the folks back home down. Mozart is equally determined to make Edward realize that there is life beyond etudes and he’s not above using Anna to reach this goal.
Both Anna and Edward are misfits. She, because of her unusual gift and he, because of his complete lack of social skills. Making them happy can only be accomplished by (some say) the most gifted individual in the history of music. Go, Mozart!
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