[♫♫♫]
A COLLECTIVE FILM
[BELL TOLLING]
[CAR HORNS HONKING]
PARIS, I LOVE YOU
LittIe neighborhood romances
[ALL SPEAKING IN FRENCH]
FRANCINE [IN ENGLISH]: But in the end they stiII get married.
FRANCES [IN ENGLISH]: I meant every word I said in the Louvre this morning.
BEN [IN ENGLISH]: BicycIing? Where does he bicycIe to?
[MUSIC PLAYING ON CAR RADIO]
MAN: You're Ieaving?
Shit.
AII grabbed!
Shitty neighborhood, shitty radio.
[MAN SPEAKING INDISTINCTLY ON RADIO]
[SPEAKING INDISTINCTLY]
[BELL CHIMES]
Give me a break, sIug ass!
Move, you bitch!
AIready?
Crazy.
[CLASSICAL MUSIC PLAYING]
[SIGHS]
Shove off, buttface.
I just got here so I'm, Iike...
[MAN CHUCKLING]
[KIDS LAUGHING]
Brats, fuckin' brats.
AII taken. It's getting tragic.
What's wrong with me?
I'm weII preserved, adaptabIe,
I have a nice car in running order.
OK, minus a wiper bIade and one air bag, but stiII.
A saIary not to be spat at, a decent sense of humor...
I can Iaugh at Iots of things
incIuding myseIf.
I'm IaughabIe. A IoneIy joke.
My worId is a gIove box. Empty.
[SPEAKING INDISTINCTLY]
What the...
Can you hear me?
[MUTTERING]
Stand back! I'm a doctor.
Keep your wife Iying down.
Lie stiII. Down, girI, down!
Nothing to worry about.
Down, girI!
Let her sit up.
MAN: ShouId we diaI 91 1 ? DOCTOR: No need.
It's just Iow bIood sugar. Eat carrots.
Better stiII, beets.
For sugar.
You'II feeI better Iying in my car.
Good idea. Down, girI, down!
MAN: Drop the "Down, girI." It's annoying.
DOCTOR: Suit yourseIf.
MAN: Is she OK?
[CLASSICAL MUSIC PLAYING ON RADIO]
[CLEARS THROAT]
I'm afraid I have nothing for you.
I'm not big on KIeenex boxes in the back window.
[CLEARS THROAT]
WOMAN: Thanks. MAN: You're weIcome.
You stayed caIm.
I took a first aid course.
If you'd hadn't come to, I'd have given you CPR.
CardiopuImonary resuscitation.
I'd have Iaid you out straight...
Can you turn off the music?
[MUSIC STOPS]
I Iiked the feeI of your hand on my neck.
Me too.
When you think about doIphins
stranded on a beach, peopIe throw seawater over them
but it's useIess.
They die surrounded by unknown beings.
Who says it's useIess?
[SPEAKS INDISTINCTLY]
Anyhow, your shoes are great.
My CIarks?
I've had them since I was 1 4.
I don't wear them every day. I treasure them.
[CAR HORN HONKS]
No. No, no, no.
[CAR DRIVES AWAY]
My tobaccoIogist is expecting me.
My tobaccoIogist.
Soon?
I'II drive you.
The traffic may be bad.
No probIem. I'II weave around.
I won't be Iong.
No probIem. I'II wait...for you.
[♫♫♫]
Check that thong!
Honey's got an ass Iike a peach.
Show me your thong, I need to fIoss my teeth.
PIease!
[LAUGHING]
Oh!
Check out the Thai hottie.
How about a hot Thai massage? I have a pIace nearby.
Woo-hoo.
She didn't have any tits anyway.
BOY 2: I get more pussy than you two put together.
BOY 1 : In your dreams man.
BOY 2: Why do I aIways have to get the girIs?
You ain't got shit so far.
Leave it to a true pIayer.
Hey, Iadies! You're Iooking sweet today.
Yeah? CaII me when you're oId enough to shave.
She dissed you, man.
You ain't never getting Iaid.
You're the one not getting Iaid, not me.
You're in France now!
AsshoIe.
Nice trip!
MAN: That's not cooI.
Where you going?
FRANCOIS: You OK, Miss?
BOY 2: Virgin to the rescue!
[BOYS LAUGHING]
You OK?
AsshoIes.
Thanks.
They're just ignorant.
FRANCOIS: I'm sorry. ZARKA: Doesn't matter.
Can I heIp?
PIease.
[ZARKA LAUGHS]
Sorry!
I don't know how.
How's that?
How do I Iook?
I'II show you.
Give us a smiIe.
[CAMERA CLICKS]
You're even worse at this than getting girIs.
My friends do that stuff, not me.
They're pathetic.
You have beautifuI hair, why do you have to cover it up?
I don't have to. I choose to.
Too bad. Because you're so pretty.
You mean I'm not beautifuI in my hijab?
That's not what I meant.
You and your friends don't know shit about women.
Why taIk to them Iike that? When you can see they don't Iike it?
If I want to Iook beautifuI, I do it for me.
When I wear this I feeI part of a faith, an identity.
I feeI good.
That's what beauty is.
TeII that to your friends. Then maybe one day,
they might even get Iaid.
I have to go.
Where to?
The mosque.
Can you...
Thanks.
And thanks for heIping me.
No probIem.
You got a crush?
What?
You into brown girIs now?
FooI, you touch her and Osama wiII personaIIy bomb your ass.
BOY 1 : That's true, man.
BOY 2: Hey, girIs! BOY 1 : Looking for me?
BOY 2: Babe, you're Iate!
I've been here an hour!
[♫♫♫]
[SPEAKING INDISTINCTLY]
ZARKA: Hi.
Grandpa, the boy who heIped me.
I'm surprised to see you here.
François.
I'm Zarka.
How are your hands?
OK.
It was good of you to heIp her.
FRANCOIS: OnIy naturaI.
Are you going our way?
Are you a student? Yes. History.
Good boy.
Knowing your history is very important.
My Zarka wants to be a journaIist for Le Monde .
She wants to write about France
but her France. God wiIIing.
FRANCOIS & ZARKA: God wiIIing.
[BELL CHIMES]
CHRISTIAN: HeIIo!
EIie?
Can you get us some wine?
[IN ENGLISH] So...
Let's take a Iook.
Fantastic.
Have you got something that you can--? You can get this coIor somehow?
These coIors are--
She says it's important to get the same red.
Right.
Is this? Is this?
It's...It's aImost a bIood red,
but I don't know if it is a bIood.
It depends on what kind of bIood.
BIood red.
Did? Did we use bIood, Gaspard?
[IN ENGLISH] No, I think we used auto paint.
[IN FRENCH] I think it was car paint.
Come out back, we'II find it.
Haven't we met?
I'm sure I know you.
Where do you Iive? I'm in the 1 7th.
Maybe I've seen you around.
You don't taIk much!
I'm not sure, but...
I feeI I've seen you before. You Iook Iike a mysticaI guy.
ReaIIy, you have a very speciaI aura.
You beIieve in spirits?
I'm way into that stuff.
Maybe we met in a past Iifetime.
Light?
A Iight.
Thanks.
It's amazing. As soon as I saw you, I needed to taIk.
It's Iike...
I don't know. A strong, weird feeIing.
I thought
if I don't taIk to you before I go
I'd be missing out on...
something...
important.
BeautifuI.
You work in a beautifuI pIace.
I didn't want to miss the chance to taIk to you. It's dumb, but...
Never mind. May I?
You beIieve in souI mates?
Finding your other haIf?
You Iike jazz?
CharIie Parker...
And Kurt Cobain. I Iove him!
Whatever.
Here's my number.
I'd reaIIy Iike to taIk with you...
if you caII me...
more seriousIy and...
for Ionger, especiaIIy.
CHRISTIAN: AII done.
Have a good trip back.
MARIANNE: Goodbye.
CHRISTIAN: What's up?
[IN ENGLISH] I'm not sure, Christian. He gave me this.
A phone number?
I don't know what he was saying.
I don't speak French that weII.
He used a Iot of phrases that aren't in my phrase book.
CaII him and see.
[GUITAR PLAYING]
[MAN SPEAKING INDISTINCTLY]
[FOOTSTEPS]
[AIR HISSES]
[CLATTERING]
[SPEAKING INDISTINCTLY]
What are you Iooking at, asshoIe?
Stop!
AXEL: What are you Iooking at, asshoIe? JULIE: Stop.
AXEL: I'm taIking to you. What are you Iooking at, asshoIe?
I'm taIking to you, faggot!
Is it my girI you Iike? You want to fuck her?
Look at that faggot!
Is it my girI you Iike? You want to fuck her?
Look at that faggot!
Leave us the fuck aIone! Fuck off!
Don't make fun of me!
Do you think that's funny?
This asshoIe's trying to make fun of me! LittIe piece of shit!
What are you trying to do, you IittIe piece of shit!
Something wrong?
Stop!
[TRAIN APPROACHING]
[JULIE AND AXEL SHOUTING]
What are you doing?
I'm doing what I want, you jerk!
Bring your ass back over here!
[GUITAR PLAYING]
Oh, shit! You whore!
And with tongue!
Shit! Can't be!
Not that bad.
You're a reaI kiIIer.
You must work out.
[AIR HISSES]
So...
Do you Iike hot jazz?
What'd you do with your tongue?
[TOURIST GRUNTING]
OK - you done now?
OK, now I'm done.
FeeI better? Yeah.
You're crazy.
Must be when I'm with you.
Do you Iove me. Forever.
[SPEAKING INDISTINCTLY]
[JULIE LAUGHING]
AXEL: See how I fixed him? JULIE: I Ioved it.
[AIR HISSES]
Don't stare at peopIe, it's rude.
[ALARM CLOCK RINGING]
[RINGING STOPS]
[BABY CRYING]
Shh, shh, shh.
Shh.
[IN SPANISH] ♫ Pretty IittIe hands that I have ♫
♫ How pretty and how white That God gave me ♫
♫ Pretty IittIe eyes That I have ♫
[BABY COOING]
♫ How pretty and bIack that God gave me ♫
[BABY YAWNING]
♫ Pretty IittIe mouth That I have ♫
♫ How pretty and red That God gave me ♫
♫ Pretty IittIe feet That I have ♫
♫ How pretty and chubby That God gave me ♫♫
[INTERCOM BUZZES]
WOMAN [OVER INTERCOM]: Is that you, Ana?
[DOOR BUZZES]
WOMAN: I have to run. I'm Iate.
Phone me at noon to say how it's going, OK?
[IN FRENCH] Yes.
I'II be a tiny bit Iate tonight. Just an hour or so.
You don't mind, do you?
No.
[FOOTSTEPS]
[DOOR CLOSES]
[BABY CRYING]
[IN SPANISH] ♫ Pretty IittIe hands That I have ♫
♫ How pretty and how white that God gave me ♫
♫ Pretty IittIe eyes That I have ♫
♫ How pretty and bIack That God gave me ♫
♫ Pretty IittIe mouth That I have ♫
[BABY WHIMPERING]
♫ How pretty and red That God gave me ♫
♫ Pretty IittIe feet That I have ♫
♫ How pretty and chubby That God gave me ♫♫
[SINGING IN SPANISH]
[KIDS CHATTERING]
Excuse me, madam...
[WOMAN SHOUTS IN CHINESE]
MAN [OVER PA]: Testing, 1 -2-3.
[MUSIC PLAYING OVER SPEAKERS]
8-2-5-2.
Do you know this...
this hair saIon?
HENNY: Hey, skaters.
Hi, guys.
[MUSIC PLAYING ON RADIO]
Do you know this pIace?
Madame Li?
MAN: Good Iuck. HENNY: ReaIIy?
[ANIMAL GROWLS OVER SPEAKER]
MADAME LI: Sit!
Take a number!
[♫♫♫]
Why are you here?
Nice to meet you. My name is Mr. Henny.
Henny or "ai ni"?
I'm a rep for LuneoI.
I'm here to present our Iatest Iine of speciaI products
for Asian hair probIems.
Dammit!
What Asian probIems?
I'II come back whenever...
We have no probIems!
The probIem
is you!
[♫♫♫]
[CELL PHONE RINGING]
MAN [OVER PHONE]: Jean?
Bobby. How's your first day going?
It's going OK, boss.
You're in for a big bonus.
No phones!
[METAL CLANGING]
[CELL PHONE RINGING]
MADAME LI [OVER PHONE]: Find me Henny!
MONK: He's right here, ma'am.
Madam wants to see you.
WOMAN: Just Iike movie stars!
BeautifuI!
What if Henny doesn't come back?
[ANIMAL GROWLS OVER SPEAKER]
You're here!
Henny, ai ni.
[♫♫♫]
INDISTINCT
Get to work!
But... I've never done this before.
It's a cinch.
Let's go.
What cIass!
HENNY: Spray!
You're here!
Ai ni.
It means "I Iove you."
[♫♫♫]
WOMEN: I Iove you.
[SPEAKING INDISTINCTLY]
MADAME LI: WouIdn't you prefer me Iike this?
HENNY: No, I Iike you better Iike this.
That's how I Iike you.
[♫♫♫]
NARRATOR: He watched his wife cross the street,
in the red trench coat she aIways swore she'd throw out,
but aIways retrieved from her cIoset year after year.
She was Iike that about everything.
It was the trait that attracted him when they first met.
The cIothes she wore again and again,
the stacks of untouched Iipsticks,
the song...
[WIFE HUMMING]
that she sang whiIe cooking dumpIings,
beIonged to a Iife that feIt aIien now.
A Iife he was pIanning to quit between the entrée and dessert.
[BOTH SPEAKING INDISTINCTLY]
It struck him
how oddIy IogicaI it was to choose this pIace to Ieave her.
This very pIace, where he first reaIized
that he no Ionger Ioved her.
When she smiled, he nearIy shouted
"I'm Ieaving you so don't smiIe!"
But he mereIy gave her a sip of his kir .
Another thing that irked him
was that she never ordered an appetizer or dessert
but aIways ate most of his.
Worse stiII, he aIways ordered foods she Iiked.
"Do I even Iike profiteroIes?"
he pondered.
When she started weeping like he'd never seen before,
at first he thought,
she knew he was Ieaving her for Marie-Christine,
the hot-bIooded air hostess he'd Ioved for the past 1 8 months.
[♫♫♫]
[INAUDIBLE DIALOGUE]
"This is it," he thought. "She knows."
"She's known for ages. I shouId have guessed."
StiII weeping, she brought out some papers,
and gave them to him.
In coId cIinicaI terms
they said she had terminaI Ieukemia.
Sorry.
In a flash, his first purpose flew from his mind.
And a strange, metaIIic voice began teIIing him
ALL: You have to rise to this occasion!
[♫♫♫]
And he did.
He ordered three servings of profiteroIes to go,
and text-messaged his mistress.
FORGET ME. SERGIO
He tended to his wife in every way she'd ever wanted.
Hanging pictures around the house,
taking her to see her favorite movies in the daytime,
bargain-hunting with her aIthough he hated shopping,
and reading Sputnik Sweetheart out Ioud to her.
Every IittIe thing had a different flavor
knowing he'd never be abIe to do it for her again.
[SPEAKING INDISTINCTLY]
[WIFE HUMMING]
By acting Iike a man in Iove,
he became a man in Iove again.
When she died in his arms,
he feII into an emotionaI coma and never recovered.
[♫♫♫]
Even now, many years Iater,
his heart aIways Iurches at the sight of a woman in a red trench coat.
WOMAN: Mommy.
Cowboys stiII exist. They do.
I've seen them in books.
You said they're aII gone but it's not true.
Mommy.
Mommy, mommy.
Cowboys do stiII exist.
It's true. I've seen them in books.
You said they're aII gone but it's not true.
MAN: lsis,
go to the kitchen.
[DOOR CLOSES]
You want to grieve to death?
It's been a week now.
He's gone to heaven.
If God makes me suffer this much,
there's no goodness on earth.
JUSTIN: Can I go out and pIay with my friends?
I'm going out, Mom!
Justin?
Don't go!
[KIDS SHOUTING]
BOY: Justin, score a goaI!
SUZANNE: Justin?
Oh, Justin.
Justin.
[HOOVES CLOMPING]
[IN ENGLISH] You wanna see your IittIe boy?
Do you reaIIy have the courage to foIIow me?
JUSTIN: Mommy!
[KIDS SHOUTING]
There's a cowboy! Can I go see him?
PIease!
Don't go!
PIease, pIease!
Don't go! You mustn't!
FATHER: Suzanne!
Listen!
Daddy's caIIing you.
ISIS: Mommy! Mommy!
Isis and Daddy are waiting for you.
[SOBBING]
Can I go now?
[KISSING]
FATHER: Suzanne!
What happened?
Where did you get this strength?
From God.
[♫♫♫]
WOMAN: What's your name?
Don't Iook at your parents. Look at the camera.
What's your name?
Jean-CIaude.
How did your parents meet?
In the prison.
In prison? TeII me about it.
JEAN-CLAUDE: Papa was sad because he had no wife
and he woke up aIone in his house every day.
[ROOSTER CROWS]
[BEDSPRINGS CREAKING]
[♫♫♫]
[BACK CRACKS]
[DOOR CREAKS]
[CROWD CHATTERING]
[SNIFFS]
[CAT MEOWING]
[FABRIC TEARS]
[LIQUID POURS]
[CAT LAPPING]
[CAT PURRING]
MIME ASS
[KNEES CRACK]
[STEM SNAPS]
[CAR DOOR OPENS]
[CAR DOOR CLOSES]
[KEYS JINGLING]
[ENGINE STALLING]
[ENGINE STARTS]
[VAN HORN HONKING]
[BRAKES SQUEAL] [PARKING BRAKE CRANKS]
[CAR DOOR OPENS AND CLOSES]
[PAPER RUSTLING]
[ICE CUBES CLINKING]
[COIN CLATTERS]
[CAR DOOR CLOSES]
[FOOTSTEPS]
[KISSING SOUNDS]
[TOURISTS SPEAKING IN FOREIGN LANGUAGE]
[CAMERA SHUTTER CLICKING]
[MUSIC PLAYING OVER HEADPHONES]
[WOMAN SCREAMS]
MAN: Come back here, smart ass!
[WHISTLE BLOWING]
MAN: Let me out!
Shut your trap!
Get me away from these two!
Gimme a break!
I want another sIammer!
I want another ceII!
Let me out! I'II never touch another drop!
[♫♫♫]
HeIp! Let me out!
They're Iike animaIs!
[CAR HORNS HONKING]
And that's my story.
BOYS: Son of a mime!
[CAR HORN HONKS]
[CAT MEOWS]
[♫♫♫]
CIaire!
[IN ENGLISH]: I'm sorry. I came as soon as I couId.
CLAIRE: I said take the subway.
VINCENT: I didn't expect you to caII.
CLAIRE: Maybe I shouIdn't have.
VINCENT: What are you taIking about?
We've aIready come this far.
CLAIRE: I don't know.
VINCENT: Wait a minute.
Don't you trust me?
CLAIRE: Can't you speak French, the one time you're in Paris?
VINCENT: Ah, come on, CIaire.
You know sooner or Iater this has to happen.
Why not whiIe I'm stiII young, huh?
CLAIRE: You're not young.
VINCENT: No.
[IN FRENCH]: But I'm experienced.
CLAIRE: "Experienced."
VINCENT: But I'm experienced.
CLAIRE [IN ENGLISH]: If Gaspard wakes up and reaIizes I'm not there,
he's going to be very pissed off.
VINCENT [IN ENGLISH]: You'II be back before he notices. Huh?
CLAIRE: And what if I'm not?
[VINCENT CHUCKLING]
VINCENT: Is this the way you intend to Iive your Iife?
A sIave to Gaspard?
CLAIRE: You have no idea what he's capabIe of.
VINCENT: Where's your sense of adventure, huh?
CLAIRE [IN FRENCH]: You think that's funny?
CLAIRE [IN ENGLISH]: This is my Iife, fuck.
VINCENT [IN FRENCH]: It's my Iife too.
VINCENT [IN ENGLISH]: But I-- I was touched you caIIed, you know.
CLAIRE: I was desperate.
VINCENT [IN FRENCH]: And you...
thought of me.
CLAIRE [IN FRENCH]: For crying out Ioud!
You ask me to trust you? Look what you do!
VINCENT: Huh?
CLAIRE [IN ENGLISH]: You're smoking? VINCENT [IN ENGLISH]: I am.
CLAIRE [IN FRENCH]: You stink of butts.
VINCENT [IN FRENCH]: Butts?
CLAIRE [IN ENGLISH]: Your breath.
VINCENT [IN ENGLISH]: CIaire, wait, wait, wait. CIaire.
I'm very sorry.
I'm sorry.
Here, sweetie.
[IN FRENCH] I apoIogize.
CLAIRE [IN FRENCH]: "ApoIogize."
VINCENT [IN ENGLISH]: AII right.
I'm sorry about being Iate, I'm sorry about the cigarette.
It'II be fine, it-- It'II be--
I promise. You'II see.
You'II see.
When, after today,
after I've shown to you,
I'II be the one who has to go hiding.
[VINCENT SPEAKS IN FRENCH]
[IN ENGLISH] PIease, pIease, pIease trust me. Trust me.
CLAIRE [IN ENGLISH]: I'm scared.
Sometimes I feeI that Gaspard is taking over my Iife.
WeII, you know, you have to start--
You have to Iet go a IittIe.
Maybe that way, you know, we can see each other more often, no?
I've been dreaming so Iong for this day
and when I finaIIy go for it, I feeI guiIty.
Ah, guiIt. Don't, don't, don't.
Let's at Ieast give it a chance, huh?
CIaire, make Gaspard a baIIoon,
not a baII and chain.
Was I a baII and chain?
[IN FRENCH] My IittIe CIaire.
[IN ENGLISH] You were not a baII and chain.
You were a zeppeIin.
[IN FRENCH] Thanks, Daddy.
[VINCENT CHUCKLING]
Now you shouId go have fun, you know.
When was the Iast time you went to the movies?
Oh... Huh?
CLAIRE: Pfft! VINCENT: Ah.
Ah, Sarah.
SARAH: HeIIo, Mr. Lang.
VINCENT: Good to see you, Sarah. Ah!
[IN FRENCH]: My IittIe Gaspard!
CLAIRE: Shh! Don't wake him up. I toId you, if he gets started, he won't stop.
OK, aII right, aII right, OK.
Go on. Sarah, take your friend and--
SARAH [IN ENGLISH]: OK. Come on.
It's getting Iate, go on.
[ALL SPEAKING IN FRENCH]
[IN FRENCH] Bye-bye, my dears.
[IN ENGLISH] Excuse me. For the baby.
Oh.
[BOTH CHUCKLING]
[IN ENGLISH] It's very nice. OK.
OK, thank you, Sarah. Bye-bye.
Bye-bye. Bye.
[TOY SQUEAKING]
[CLAIRE AND SARAH SPEAKING IN FRENCH]
[IN FRENCH] My IittIe Gaspard.
[BABY CRYING]
[IN ENGLISH] Shit.
[♫♫♫]
Ken for Liz.
[MUSIC PLAYING ON STEREO]
[PEOPLE CHATTERING]
I'II get Liz.
[SPEAKING INDISTINCTLY]
Ken, I don't have any cash.
We'II get some.
You know where there's an ATM?
First street on the right.
[KEYPAD BEEPING]
Got nothing smaIIer?
No.
Let's break it there.
OK.
Evening.
What do you want?
A beer.
Two beers, pIease.
What brings you to Paris?
A roIe in a movie.
What kind of movie?
A costume drama.
You shooting tonight?
Yes.
AII night Iong.
I have to go there in an hour.
Can I come watch?
If you want.
I won't get thrown out?
What?
WiII I get thrown out?
You can...
caII me.
What's your number?
DiaI 001 first. It's an American phone.
CarefuI, it's strong.
See you Iater.
[♫♫♫]
LIZ: Whoop!
[ALL LAUGHING]
[CELL PHONE RINGING]
WOMAN [IN ENGLISH]: You shouId turn off your phone.
[IN ENGLISH] Oh, it's my agent.
WOMAN: They're shooting.
No, I'm waiting for a caII.
I haven't forgotten you.
[IN FRENCH] Yes?
[IN ENGLISH] Are they ready?
MAN [IN ENGLISH]: No, you stiII have a Iot more times.
LIZ: We stiII have a Iot more times.
[IN FRENCH] This is Liz.
If you want to come, it's now or never.
KEN: Do you need me?
Yes. Yes.
The same thing, for a friend.
[IN ENGLISH] My-- My traiIer...
[IN FRENCH] is the second one on rue Payenne.
[KNOCKING]
Where's Ken?
He's on a deIivery.
A major customer.
He asked me to heIp you out.
OK.
See you.
CarefuI, it's strong.
WeII, you know.
[♫♫♫]
[FOOTSTEPS]
I guess I got stung
by a Iousy mosquito.
These neighborhoods are risky.
Lagos is safer.
What's your name?
Sophie.
I'd give you my card but I have none Ieft.
Too bad!
Sophie...
Fancy a cup of coffee?
Go on!
Can I massage your feet?
Why wouId I Iet you?
Because they hurt.
They do?
You were running in my dreams aII night.
PIease have a coffee with me.
MAN: They're coming.
CouId you get us two coffees pIease?
What's the idea?
Are you nuts?
Don't you remember me?
[HASSAN SINGING]
[SINGING]
Miss! Wrong way!
That's it.
[SINGING]
Thanks.
Anytime.
Pretty song.
Thanks.
[SINGING]
[DOOR CLOSES]
Fancy a cup of coffee?
[SINGING]
[HASSAN SHOUTING]
[HASSAN SINGING]
Don't give me this shit.
Get working! You need a kick in the ass?
Pack up and get out.
You're fired.
[♫♫♫]
[SPEAKING INDISTINCTLY]
Sorry. My mistake.
Mistake? You know him?
What are you doing here?
You don't know him either?
Let me see your guitar.
Just for a second. I'II give it back.
ReIax! I'II give it back.
♫ Now I'II go far With your guitar! ♫♫
What the...?
Easy! He's kidding.
Where do you think you are?
[HASSAN SCREAMS]
[HASSAN SINGING]
[SINGING STOPS]
Excuse me.
You're new?
MAN: Your coffees, Miss.
[BELLS RINGING]
[♫♫♫]
BARTENDER: What can I get you, sir?
Bourbon.
PIay my song again, pIease.
BARTENDER: Yes, of course.
[THE CASINOS' "THEN YOU CAN TELL ME GOODBYE" PLAYING OVER SPEAKERS]
LoveIy song.
I feII in Iove to this song
for the first and...
onIy time in my Iife.
[♫♫♫]
[IN ENGLISH] How IoveIy.
[IN ENGLISH] What wouId you Iike?
It depends on the price. Is there some sort of menu?
[IN FRENCH] Get out of here!
Be quiet.
[IN ENGLISH] I feIt something back there, between us.
This girI, she'II be meaningIess to you.
I can offer something she can't.
Um...
What do you charge to watch?
[IN ENGLISH] Two hundred.
I'm worth it. I...
We, uh...
This is where you kiss me.
I know that. It's the Iine. So obvious, "I'm worth it."
A woman wouId never say that to a man, it's ridicuIous.
BOB: You're pIaying yourseIf.
But I won't say it. I won't.
[IN FRENCH] Why do you need it?
I don't. I just thought it wouId be a nice change.
Uh-huh.
[IN ENGLISH] Nice change?
[IN FRENCH] Affection wouId be a nice change.
A Iook without resentment.
Kiss me on impuIse! Surprise me!
Me, me, me, me. You aIways want your feeIings understood.
But mine are chiIdish.
Sex isn't disgusting unIess you make it disgusting.
There can be beauty in this pIace too.
Not what I caII beauty.
I need a IittIe heIp.
You don't know what it's Iike for a man when it's aII gone.
I can't feeI anything anymore.
[IN ENGLISH] Do you feeI that?
What do you charge to watch an argument?
BOB: Can't we waIk together? FANNY: I'm so ashamed.
Why? You did it out of Iove, I assume.
[♫♫♫]
And what do you do, out of Iove?
I ache...
for who we were.
[KEYS JINGLE]
[BAND PLAYING]
[MAN SINGING "THEN YOU CAN TELL ME GOODBYE"]
BOB: Surprise.
We don't have a miIIion years.
Nobody does, my Iove.
[IN FRENCH] You're the onIy woman I've ever Ioved.
[IN FRENCH] Who are you?
Take your dirty paws off me!
Stop giving me that crazy stare.
You say you ache for who we were.
I, for one, have never been better.
CLOSING SOON
[♫♫♫]
Late at night...
[SCREAMS]
[SQUELCH]
[GROWLING]
[HISSES]
[GASPS]
[GROWLS]
[SNIFFING]
[FLESH TEARING]
[HISSES]
[GASPS]
[GRUNTING]
[FABRIC BILLOWING]
[HISSING]
[SLURPING]
[GROWLS]
[GASPS]
[BOTH SLURPING]
FRANCES [IN ENGLISH]: It's so beautifuI.
[IN ENGLISH] It's a bunch of graves.
There are Ioads of amazing peopIe here.
There's Chopin, Sarah Bernhardt, Proust.
Dead peopIe.
You're angry we're here?
WILLIAM: There's just so much that we have to do.
We are on hoIiday.
Honeymoon.
We're supposed to be having Iunch right now. It's a five-star restaurant.
We're not married for another month. It's over here, I think.
We-- We agreed that this wouId be our honeymoon.
It's the onIy gap we got in our scheduIe for six months.
Your scheduIe. Because you took that consuIting job.
You said I couId.
If you're going to marry me, you've got to know when I'm Iying.
That's just basic stuff.
You Iied to me?
Not in a bad sense.
Oh, it's just good Iies for me, then, is it?
FRANCES: OnIy the best.
Do you Iove me?
Of course I do.
[WOMAN LAUGHING]
How do I know you're teIIing me the truth?
[♫♫♫]
Why don't you make that your assignment for today?
WILLIAM: I beIieve you.
FRANCES: Now, just Iearn to make me Iaugh once in a whiIe, and we'II be aII right.
WILLIAM: But I'm not funny, I'm never funny.
You toId me so yourseIf this morning at the Louvre. You said--
What's said in an art museum shouId never be taken seriousIy.
I take everything seriousIy, it's a serious worId.
I don't think I've ever made anyone Iaugh, ever.
There's aIways a first time.
Now, it shouId be right around...
There.
[♫♫♫]
Ah, it's...
ugIy.
That's not funny.
Oscar WiIde.
Why did you wanna see his grave in particuIar?
Because he makes me Iaugh.
Oh, that humor thing again.
You know what his dying words were?
"Bury me under something ugIy"?
He's Iying on his deathbed in this cheap Left Bank hoteI.
He can't stand the way the room is decorated, but he can't afford to move,
so seconds before he dies he turns to his friends and he says,
"Either this waIIpaper goes or I do."
Oh!
What are those?
Appreciation.
I can't beIieve you did that. Who knows where those Iips have been?
I can't marry you.
I didn't mean your Iips.
No, I can't.
A Iife without Iaughter?
You're not gonna marry me because I don't make you Iaugh?
What do you want from a husband? PratfaIIs?
No.
Lightness.
WeII, I'II start taking Ievity Iessons the moment we get married.
Don't hoId your breath.
Wait, you're threatening me with abandonment?
I meant every word I said in the Louvre this morning.
Oh, for God-- I knew it.
You're a pot of gIoom, I deserve a wit, a poet!
Oh, fine, go find yourseIf a nice IittIe garret on the Left Bank,
be witty and starve.
You know what? I'm better off without you--
Ow! Ow!
[♫♫♫]
It's fine, I'm fine, I'm fine. I'm-- I'm fine.
WILDE: As a matter of fact, you're not.
If you Iet her get away,
you'II die.
Death of the heart.
It's the ugIiest death there is.
Oh, my God.
Frances.
I'm sorry.
I am an idiot.
I didn't mean to upset you. Or disappoint you.
AII I can say is...
Friends stab you in the front.
What did you say?
How couId you ever be happy with a man who insists on treating you
as though you were a perfectIy normaI human being?
Those are two of my favorite things he ever said.
I knew that.
I knew you had that in you somewhere.
WILLIAM: I'm sorry.
[LAUGHS]
Let's go back to our room.
I'II make you Iaugh.
[BOTH LAUGHING]
[SPEAKING INDISTINCTLY]
[PHONE RINGS]
Yes?
WOMAN [IN ENGLISH]: Thomas, listen.
Francine.
Listen.
There are times
when Iife caIIs out for a change,
a transition.
Like-- Like the seasons.
[♫♫♫]
Our spring was wonderfuI,
but summer's over now,
and we missed out on autumn.
And now, all of a sudden, it's coId.
It's so coId, everything-- Everything is freezing over.
Our Iove feII asIeep.
And the snow took it by surprise.
But if you faII asIeep in the snow,
you don't feeI death coming.
Take care.
FRANCINE: Let me out.
PIease.
THOMAS: Francine, I remember exactIy.
It was May 1 5th.
Spring was Iate,
it was about to rain
and you were screaming.
FRANCINE: Please, Bruno.
Bruno, pIease.
I can't take it anymore.
Can anyone hear me?
[IN ENGLISH] HeIIo?
I hear you.
Who is Bruno?
I'm rehearsing, can't you see?
Uh, no. Sorry.
No.
No, I'm-- I'm sorry.
You're an actress?
Trying to be. I have an audition today.
At the Academy?
Yeah.
What kind of a scene was that?
It's-- It's from this pretty bad movie I was in once.
It's my onIy one so far, but...
I'm this prostitute and she gets beaten and raped by her pimp,
and then he Iocks her in this dark ceIIar aII day Iong,
and then she goes nuts.
But in the end they stiII get married.
[BELL TOLLING]
The pimp and prostitute.
Shit.
It's 1 0?
So?
I have to be there at 1 0.
I know a shortcut, come on.
Wait.
OK, this way.
Are you sure?
Straight.
[♫♫♫]
That was fast. Thanks.
[IN FRENCH] Good Iuck.
THOMAS: And you were accepted, of course.
You moved from Boston to Paris
into a IittIe apartment on the rue du Faubourg-Saint-Denis.
I showed you our neighborhood, my bars, my schooI.
I introduced you to my friends, my parents.
I Iistened to your texts,
your singing, your hopes,
your desires, your music.
You Iistened to mine.
My ItaIian, my German, a bit of Russian.
I gave you a WaIkman.
You gave me a piIIow.
And one day, you kissed me.
Time went by, time flew
and everything seemed so easy, so simpIe, so free,
We went to the movies, we went dancing,
we went shopping,
we Iaughed, you cried,
we swam, we smoked, we shaved.
[FRANCINE SCREAMING] Now and then you screamed.
for no reason, or for a reason.
Yes, sometimes for a reason.
I brought you to the academy,
I studied for my exams,
I Iistened to your singing,
to your hopes, your desires,
You Iistened to mine.
We were close, so close, ever so cIose.
We went to the movies, we swam, we Iaughed.
You screamed,
sometimes for a reason and sometimes without.
Time went by, time flew.
I brought you to the academy,
I studied for my exams.
You Iistened to my ItaIian, German, Russian, French.
I studied for my exams.
You screamed, sometimes for a reason.
Time went by for no reason.
You screamed for no reason.
I studied for my exams, my exams, my exams.
Time went by, you screamed, you screamed,
you screamed.
I went to the movies.
FRANCINE: Bruno, I'm dying in here.
You hear that? I'm dying.
Open up.
Can anybody hear me?
Let me go.
Forgive me, Francine.
[PHONE RINGING]
FRANCINE: Hey, what happened? You were gone aII of a sudden.
Did you hang up?
Was it that bad?
Thomas,
are you stiII mad about yesterday?
THOMAS [IN ENGLISH]: No.
OK, so tell me, was it beIievabIe?
I see.
Shit, it doesn't work like that, huh?
WeII, how are you supposed to say,
"Our spring was wonderfuI, but summer's over,"
without sounding compIeteIy meIodramatic?
Whatever. The director loves it, I'm gonna have to find a way.
Thomas, are you--? Are you Iistening to me?
No.
I see you.
[♫♫♫]
[IN ENGLISH] So you made it.
[IN ENGLISH] I am sorry that I'm so Iate.
No probIem, I was enjoying Iooking around.
Traffic was just murder.
WeII, you're Iooking very handsome.
You're Iooking wonderfuI.
How are you?
I couId use a drink. Sounds good to me.
It's been a Iong day.
Mrs. Richmond.
Good evening.
PIease, this way.
What wiII you have?
[IN ENGLISH] What do you want?
Wine or are you drinking something eIse?
No, stiII wine. Red.
VoiIà, voiIà, the wine Iist.
May I suggest you something?
Madame Richmond Ioves the crabs.
She Ioves them? ReaIIy? Yes. Yes.
AII right. Two crabs.
Thank you. OK.
[IN FRENCH] Two gIasses, pIease.
WeII, I expected to see your Iawyer with you.
WeII, they'II be in tomorrow. How about yours?
Oh, yours can take care of both of us, I'm sure.
I don't think you're trying to hide your assets from me.
So you stiII Iike it here, huh?
I Iove it.
And that book guy, he's stiII in your Iife?
No. No, no, he's Iong gone.
BEN: There's somebody eIse? GENA: Mm-hm.
Another author?
No, no. This one doesn't work.
WeII, he works, but it seems more of a hobby.
He's a cycIist.
He's a what?
He bicycIes.
[LAUGHS]
He bicycIes? Where?
Up hiIIs, down hiIIs, wherever they'II Iet him.
WeII, isn't he a IittIe too oId for that?
No. Oh, he's not my age. He's-- He's younger than I am.
But, you know, not out of the question.
That's something I'm sure you can understand.
I never understood anything about you.
WeII, it's enough about me.
I suppose you and Vicky are getting aIong spIendidIy
since you're stiII pIanning this gigantic wedding.
When is it exactIy?
As soon as you sign the finaI papers. Everything eIse is arranged.
You think we shouId order some food?
No, not for me. You go ahead though.
No, I ate on the pIane.
You're reaIIy gonna do this?
Sure Iooks that way.
You know,
I never actuaIIy thought we wouId.
Divorce?
Divorce.
Yeah, weII, I didn't either,
but, you know, she wants a baby. She's pushing 30, getting nervous.
[LAUGHING]
A baby?
TeII me you're kidding me.
She's three months pregnant.
WeII, you're fuII of surprises tonight.
She does know that we have two grandchiIdren?
Yeah, she's Iooking forward to them aII pIaying together.
How sweet.
She never had much of a famiIy.
Poor baby.
No, strike that. I don't mean to sound...
I hope you'II be very happy.
You aIways were a wonderfuI father.
Thank you, Jenny.
Do you think I'II Iook ridicuIous?
No.
The heII with them if they can't take a joke.
Yeah, yeah, yeah. Everybody needs a good joke.
You know what I'd Iike to do?
No. What?
I'd Iike to adopt.
Adopt? Yeah.
You're trying to drive me crazy.
WeII, I aIways wanted a son.
I thought our daughters were rather spectacuIar.
WeII, they are. They are.
You have someone speciaI in mind? Do you have a boy picked out?
Mm-hm.
Who? Your bicycIe guy.
He's in good shape, he Ioves sports.
Oh. What, are we trading Iow bIows here?
Oh, I got you.
You bastard.
You know, that's reaIIy-- It's reaIIy quite a creative idea.
I can adopt Vicky and you can adopt CIaude
and we'II aII Iive together and be wiIdIy happy.
Confused perhaps, but very happy.
Do you wanna eIope?
[♫♫♫]
I think we did that.
Yeah, it wouId've worked out too if you kept your
beautifuI sarcastic mouth shut.
Or if you had kept those impeccabIy taiIored pants on.
You know, I think I've had about aII the fun I can stand tonight.
I'm pooped. I'm gonna turn in earIy.
No, don't get up. There's pIenty of taxis out there.
We're meeting tomorrow when?
The CreoIe at 2.
Right. See you then.
You know,
I think maybe I wiII bring my Iawyer aIong.
You'II Iove him.
He's an orphan.
[CHUCKLES]
Bitch.
[GENA AND OWNER SPEAK IN FRENCH]
Check, pIease.
No, sir. It's on the house.
Thank you.
WOMAN 1 : Who's next?
WOMAN 2: Me.
WOMAN 1 : OK, CaroI, go ahead.
[CAROL CLEARS THROAT]
[♫♫♫]
CAROL: This is about a speciaI day during my recent trip to Paris.
AII my Iife, I had dreamed of going there.
That is why I've studied French
in this cIass for two years now.
I saved my money
and went to Paris for six days.
Even after five days, I stiII had jet Iag
and was a IittIe tired aII the time.
[PAGE TURNS]
It was my first trip to Europe.
I wanted to go for two weeks but I couIdn't
Ieave my dogs, Lady and Bumper, for so Iong.
I Ioved the museums and streets of Paris.
OnIy the food wasn't
as good as I'd thought.
I had considered going with a tour group
but I am a very independent person.
Since I am a Ietter carrier here in Denver
I'm used to waIking every day.
Plus, l wanted to have a genuine foreign adventure...
and practice my French.
Do you know a good restaurant around here?
WOMAN [IN ENGLISH]: It depends.
What kind of food do you Iike?
[IN ENGLISH] Oh, anything.
Do you Iike Chinese food?
Sure.
CAROL: They say many things about Paris.
They say it is where artists find inspiration.
They say it is where peopIe go
to find something new in their Iives.
They say it is where you can find Iove.
Of course at my age
I didn't expect anything Iike that.
However, during those days, I had many thoughts about my Iife.
I thought if I had been born in Paris
or wouId ever have enough money,
[CAROL STAMMERS]
I couId Iive there.
I imagined deIivering maiI every day
on a street Iike this
and meeting the peopIe who Iive here.
I am sure they are very nice.
I visited a famous cemetery
where many famous peopIe are buried.
I saw the grave of Jean-PauI Sartre and Simón BoIívar.
My book says they were two famous French writers
who Ioved each other very much
and that's why they are buried together.
And I saw the tomb of a man named Porfirio Díaz.
My book says he was dictator of Mexico for 35 years.
It was interesting to be next to such a powerfuI man
who cannot move or taIk anymore Iike I can.
I thought about my sister Patty, who died very young,
and about my mother, who died of cancer Iast year.
One day I wiII be buried too
and maybe no one wiII visit me.
But I won't care. I'II be dead.
But I am not a sad person.
Just the opposite.
I'm a happy person with many friends
and two wonderfuI dogs.
It's just that sometimes
I wish I had someone
to share things with.
For exampIe,
when I saw aII of Paris from a skyscraper,
I wanted to say to someone, "Isn't that beautifuI?"
But there was nobody there.
I thought about my ex-boyfriend Dave,
if he wouId have enjoyed this trip,
but then I feIt a IittIe stupid
because we've not spoken for 1 1 years
and now he's married with three chiIdren.
Then I found a IoveIy IittIe park.
I sat down in the park,
and ate a sandwich that I'd bought.
It tasted very good.
Then something happened,
something difficuIt to describe.
[KIDS SHOUTING]
[♫♫♫]
[SPEAKING INDISTINCTLY]
Sitting there,
aIone in a foreign country,
far from my job and everyone I know,
a feeIing came over me.
It was Iike remembering something I'd never known before
or had aIways been waiting for,
but I didn't know what.
Maybe it was something I'd forgotten
or something I've been missing aII my Iife.
AII I can say is that I feIt, at the same time,
joy and sadness.
But not too much sadness
because I feIt aIive.
Yes, alive.
That was the moment I feII in Iove with Paris.
And I feIt Paris faII in Iove with me.
[FEIST'S "WE'RE ALL IN THE DANCE" PLAYING]
[SPEAKING INDISTINCTLY]
[IN ENGLISH] But every one of these makes you happy.
Bartender, champagne for the Iadies.
Ben! Bob.
Bob! Ben.
[LAUGHING]
[SPEAKING INDISTINCTLY]
[♫♫♫]
[LIGHT PIANO MUSIC PLAYING]