Plot
Kate Moseley (Moira Kelly) is a world-class figure skater training for the 1988 Winter Olympics. She has genuine talent, but years of being spoiled by her wealthy father Jack (Terry O'Quinn) have made her all but impossible to work with. Doug Dorsey (D.B. Sweeney) is an exceptional hockey player with drive, skill, and a full complement of arrogance. His team is also in the Olympics. Just minutes before his match, he and Kate literally run into each other at the arena. Doug suffers an eye injury during that game which damages his peripheral vision, and he is forced to retire from the sport. Later in the Games, Kate falls during a program, costing her pair a chance at the gold medal.
In the lead-up to the next Winter Olympics four years later, Kate has driven out all potential skating partners with her attitude and perfectionism; her coach, Anton Pamchenko (Roy Dotrice), needs to find another replacement. He proceeds to track down Doug, who by now is back home in Minnesota, working in a steel mill, living with his brother and playing in a semi-professional hockey league on the side. Desperate for another chance at Olympic glory, Doug agrees to work as Kate's partner, even though he has a macho contempt for figure skating. However, Kate's snooty, prima donna behavior gets on his nerves immediately. The first few practices between them do not go well. In time, though, their relationship grows warmer, and they learn to work together and become a pair to be reckoned with both on and off the ice.
To everyone's surprise, they advance all the way to the finals in Albertville and look to be one of the top pairs competing for the gold. Everything is going well until they realize that they have fallen in love with each other. Doug and Kate are forced to reconcile these new feelings with their mutual desire to win at all costs.
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Famous quotes containing the word plot:
“Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.”
—Mark Twain [Samuel Langhorne Clemens] (1835–1910)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“Those blessed structures, plot and rhyme—
why are they no help to me now
I want to make
something imagined, not recalled?”
—Robert Lowell (1917–1977)