Hotel New York (1984) - full transcript

An expanded version of the short, New York Story, in which we first see the arrival of the Loulou character in the big city, sharing a Soho apartment with three roommates, getting work as a film editor, and showing her previous movie Deux Fois at the Museum of Modern Art.

[Loulou]
I came to New York in 1974.

I was invited to show my film
at the Museum of Modern Art.

I became fascinated by the city.

And so I decided
to look for a place to stay.

This is how I began.

Little did I know.

- Hello.
- I'm looking for the room.

Sure, come in.

Brigit?

I seem to have a
spot on my pants.

- A spot?
- Yes.



Well, how can you
still be making spots?

I hate spots!

It's almost out. Can you see it?

- Yes, I can see it.
- [Cat meows]

- [She huffs]
- It's so annoying.

I just don't understand
how you can still be this way.

[Brigit huffs]

[Knocking at door]

Someone's at the door.

And now there's somebody and
they're going to see the spot.

I think you can't see
it any more. Okay.

I can see it.

- [Fanny exhales]
- I'll pull this down.

Hello. Yes, my name is Loulou,



I'm a friend of Denise,
and I'm here for the spare room.

Yes, come in.

I'm Fanny.

Brigit?

Will surprises never cease?

Meet Loulou,
a French film-maker.

Well, how do you do, my dear?

Hello. What a lovely place here.

Oh, maybe she knows your cousin,
Patricia.

She's a model, not an
actress. But you know
how all those models

are aspiring actresses.

Loulou's here about
the spare room.

Oh, how perfectly marvellous.

Come and have tea with us. We'll
all get to know each other.

[Loulou] Thank you.

We'll be loft-mates.

How fun.

[Bird squawks]

Oh, Arthur! Do shut your
hole when company's coming.

He'd be the
scandal of the family

if we didn't also have Patricia

- to contend with.
- [Bird squawks]

- You have another parrot?
- Not at all.

There's a dark sheep in every
family, I guess, isn't there?

Patricia is ours.

Oh, a smoker. Of course.

I'll get an ashtray.

We do not smoke.

Patricia's father
died of lung cancer.

Oh, I see.

Anyway,
what type of movies do you do?

Not those blue movies, I hope.

Oh, no...

[Fanny] Here we go.

Thank you very much.

What were you two talking about?

Patricia's father?

Oh, my, yes.

And Patricia's mother was struck
by a bus on St Patrick's Day.

How ironic.

It made a strong
impression on Patricia.

- As a matter of fact...
- [She coughs]

..I tend to think that that bus

was Patricia's Waterloo.
And her mother's also,

if you see what I mean.

My theory is,
that it unhinged her.

She has a very big mouth,
you know.

[Brigit coughs]

Is my cigarette bothering you?

Not at all, not at all.
Don't be ridiculous.

- I've got asthma.
- [She coughs]

- Oh, would you look at that.
- Sorry.

I have to get the spot remover.

- [Fanny] I'll get the dustpan.
- I'm so sorry.

[Brigit] They're all the same!

[Fanny] Now, relax, Brigit. You
know what the doctor told you.

We just don't want dirt
all over the place in case
Patricia should drop in.

She never does, though. You
would think we were outcasts.

And she wouldn't think of
inviting us up to that
Versaille on Park Avenue.

Nothing doing.

We're not good enough for the
likes of Patricia, apparently.

- Well, is the landlord here?
- Yes.

And you'd better stop dragging
your heels about the room.

You know, space in New York
vanishes like that.

Wait!

That's Patricia.

- [Sander buzzes]
- [Loulou] Are you the landlord?

- Are you the landlord?
- What?

- Are you the landlord?
- [Sander shuts off]

- [Loulou clears throat]
- Are you the landlord?

Oh, we don't like to use
the word "landlord".

Even though I do own the place,
this is more like a...commune.

Do you still have
a room in that commune?

Because Denise told me
you had a room to rent.

Well, it's not a room, exactly.

- Can I see it?
- Absolutely.

See, plenty of room for the bed,

maybe even a small
dresser in the corner,
if you're interested.

Ah, there is a closet.

Oh, I'm afraid you're too late.

It's not available.

Someone pays me
to store their books in there.

You're not serious?

Well, you're a friend
of Denise's and all that,

but there are plenty of people

that would jump at the
opportunity to get this
choice little area.

But my bathroom in Paris
is bigger than that.

You can't live in a bathroom,
can you, Loulou?

This is Soho, the Big Apple.

I hope you're not going
to charge me too much money.

- 300.
- 300?

Look,
I think 300's a fair price.

You don't need 300 for that
piece of space.

This is prime real estate.
I mean...

Don't play that with me.
I know who you are.

You're an artist, you're a nice
guy who just wants to play tough

but that doesn't work.

Okay, she's a friend of yours,
maybe, but...

She's not a friend,
she just arrived.

She doesn't know anybody here,
you know.

And you're not going to
charge $300 deposit for
this...walk-in closet.

- This is Soho.
- You're not going to...

Oh, no, no.
Wait a minute, wait a minute.

How much do you pay?

This is different.
I have a bigger space.

[Fanny] Now, part of this shelf
belongs to Brigit and me.

We keep our meats
and cheeses here.

If you have something small,
like a package of hamburger,

not one of those
jumbo sized ones, mind you,

you can put it here,
right alongside ours.

I told you I had time to wait.

If you have
something larger like...

milk or orange juice,

we'd prefer you double up
with Peter's groceries on
the bottom shelf.

I don't eat very much, you know.

Not domestic, huh?

Just like Patricia.

Oh, hello, Nora.

She never so much
as peeled an onion.

You haven't seen her?

Are you sure?

Well, I thought she
came over quite often.

That's why I'm phoning.

Okay.

That Nora woman says

that Patricia hasn't showed up
at the agency in several days.

- Frankly, Fanny, I'm worried.
- Call that boutique.

- That Zanzibar boutique.
- [Landlord hums melody]

[He continues humming]

- Okay, bye.
- Have a good day.

Uh, Miss Blanchard, why
did you make this film, exactly?

Well, I read an interview
with Andy Warhol

about his earlier
avant garde film.

I was impressed.

- And I...
- [She clears throat]

..saw an image and...

and then many other image.

It seems to me that this
film occasions a kind of
crisis in the codes

that effectively
de-narrativizes the images.

There's a certain gap in the
drive of the signifying chain

that, metaphorically speaking,
causes the engine

that motors the narrative
pleasure to stall and
sputter and break down.

How do you account for this?

Did you look at the film

while you were
thinking of that question?

I think what my colleague,
Charles Demerol, is trying
to express...

is that he just wants
to see a good movie.

And instead,
he feels antagonized.

He feels persecuted.
He feels annoyed.

Well, your colleague with
a name like a pill

asked a very long
and vague question

I'm not able to answer to.

I don't feel you are
talking about what you
see, really, but...

Uh, if I could interrupt,

I think that the film
does raise a number of
important feminist issues,

but I'm not sure that it isn't
yet another sadomasochistic
male fantasy film,

yet another
representation of woman
as object for the male gaze.

I didn't have such idea
while I was making the film.

I don't believe that,

but I do have a
different question.

Is she really urinating?

Or did you have some
sort of squirting device
under her tights,

some special effect?

Well, she is,
in fact...relieving herself.

If you really want to know,

she had to drink two
gallons of tea in order
to get such a release.

Now, what does that mean?

Are you trying to say
that represents the
frustration of women?

[Loulou]
But she's not frustrated.

Miss Blanchard, you don't
mean to stand there and tell us

that the urination sequence

is not a metaphor
for the problem of a
male-identified female.

Now, clearly, she's
wearing panties, some
kind of undergarment,

thus indicating...

..that she's trying
to fit a male image of a woman.

But I don't understand.

Is it a man or a woman?

[Taxi approaches]

[Errol] Okay, what's next?

It's a French film
by some French film-maker,

It's an art film.

Weinblatt thought it might
move some demographics

of the 3AM art film slot.

The 6PM audience sure as hell
is not going to go for that.

I think it sits basically right,
Arnie.

I think you might get a
couple of pig farmers at 6am,

but...PM?

It's a whole 'nother ball game.

So what do we do with it?
That's 15,000 down the crapper.

Look,
here comes that French thing.

[Projector whirs]

[Sid]
Oh, my God, I can't take this.

I'll see you fellas tomorrow.

It's too much for me.

[Errol] A hundred and
thirteen films today already,

and it's going to go
on and on and on.

What's next?

- You must be Loulou.
- Yeah.

Come on in.

So, you make your movie.

Yeah, I'm in the business.

Actually, I don't think
I was very specific on...

what, you know, you're
supposed to do on the phone.

Mm...

What do you mean? What...what
kind of job is it, exactly?

Well, it's not a movie job,
per se, if you follow me.

But it's definitely a
film connected job.

See, what I need is someone
with a heavy French accent...

..to talk on the telephone.

Ooh,
it sounds like you've had a day.

Do you like this wig?
It's the new style.

They're all wearing them.

Although the acetate is
just horrible on your skin.

I couldn't believe it.

My own government tried to set
me up as a kind of a prostitute.

Oh, well, I wish mine would.

Those hookers in Washington
make a fortune.

I've got to get a Quaalude
before we go on tonight.

There's some blow
in the bathroom.

- [Fanny] In the toilet?
- Yes.

God, am I out of it.

Where are you playing tonight?
CBGB?

Darling, when I've got this
guitar I don't know where I am,

let me tell you.

Loulou, do you know some Sid?

Some what?

[Fanny] I think a guy
named Sid called, had
a kind of husky voice.

Oh, yeah, I know. Yeah.

[She clears throat]

[Brigit continues
playing guitar]

[Guitar playing stops]

[Melancholy orchestral music
gradually increases in volume]

[Music continues]

[Music continues]

[Music continues]

[Music concludes]

[Soft clatter]

[Telephone rings]

[Blender whirs, rattles]

[Blender shuts off]

[Phone continues ringing]

[Car horns]

[Projector whirs]

[Man, on film] And they're
really at it, writhing
bodies, really...

[Director] I just
came by to give you...

Do you mind?

I don't like to be disturbed.

I try to cut your film.

I realise that.

I want to give you a
few guidelines. This
film has got to sell.

It's got to work like a
well-oiled piece of machinery.

You get what I mean?

I mean, when people see this
film in a theatre,

I don't want one dry
seat in the house.

I want their pants
standing at attention when
they watch this thing.

Well, we know what
your intentions are.

It's not such a big mystery.

- Well, then how come...
- [Loulou] Oh, la, la.

Just hear me out.

How come when the hero tells
the man he loves,

"I love you" in
the Turkish bath,

You caught the "I" out
of "I love you". Can
you answer me that?

Do you think it makes any
difference with that script?

He will say, "Pass me the salt."

I believe in this movie.

It's sexy, its warm,
it's got laughs.

It's got tragedy,
love and violence.

- In a word...
- [Loulou] Emotion.

Exactly. That's what
motion pictures are all about.

Right.

[Man, on film] ...The music,
which was full blast,

and he just sort of smiled,

took off his clothes,
walked over to them...

- [Man] Loulou!
- [Projector shuts off]

Do you want
anything from the deli?

Well, I don't know.

I was wondering if I could get
a fresh salad around here.

You know,
like a plain vegetable salad.

Not around here.

One second.

[Loulou] You mean you have only
hamburger and Coca-Cola here?

That's all I can drink?

One second,
I'm talking to a pretty woman.

You know, we're not in France.

We only get an
hour for lunch here.

Well, then, forget about it.

[Man] Okay, so that's three
Cokes, three deluxe hamburgers

and four fries, double coleslaw,
heavy on the mayo...

[Projector whirs]

[Man, on film] We were
smoking this incredible grass.

And... actually he was
making love to Juan.

[Projector shuts off]

...A chocolate Yoo-hoo.

[Mechanical whiring]

Yes, I'm Loulou. You called me?

I didn't understand, I
thought you didn't like my film.

Okay, fine.

Uh, where is it?

Oh, I know where it is.
Okay, in an hour.

About an hour,
I'll have time to get ready.

[Sid] She's gonna feel...

[Gary] You think
she likes the offer?

[Sid] I think she'd very much
like the offer...

Oh, here she is now.

Hello, Loulou.
So nice that you could join us.

This is Gary.
Gary, this is Loulou.

- Hi, Gary.
- Hi.

Sit down and
have dinner with us.

Welcome to the Belgian Congo.

So, this must be the
place where the nouveau
riche come for dinner.

Please, I don't speak French.

I mean, I could if I wanted to,
but I just don't care to.

I was astonished you called me.

I thought you hated my film.

My father adored your film.

We didn't come to
talk about your film tonight.

I have something else on my mind
I wanted to talk to you about.

I want to talk about a
project that Gary has been
working on for two years,

and I thought you
might help me with it.

- So...
- [Waiter speaks French]

Oui, oui.
I want a steak, medium well,

some pomme frites...
and a salad.

Nothing else, that's all.

And I'd like
Assiette de Crudités,

and, uh...

blanc de noir.

[David] I was wondering if this
was one of my father's schemes

to get me interested in women.

He always said he wanted
to make a film of a play I wrote

called Nights of Samantha,

and he was always finding
these women film-makers

trying to get us to work
closely together on the script.

And that was okay, except
that I worked closely
with three of them now

and the film never
seemed to get made.

I mean, it would be great
if I was interested in women.

but, uh...I'm basically gay.

So, nothing ever happens.

Oh, he's only kidding, joking.

He's got something,
this boy of mine.

I don't know what it is,
if it's anything.

But I'm willing to
put up money to find out.

I thought you might direct it.

Direct?

- Right, Gary?
- [Gary] Sure.

- Couldn't she direct it well?
- [Gary] Terrific.

She's just what
the doctor ordered.

See that piece of land
over there, the one
we're passing right now.

Ten years ago I
had a deal on that.

It was all set to go.

I decided to wait over
the weekend before I
made a decision.

Monday morning, I woke up
and the Santucci brothers

had bought the building
right out from under me.

You know the Santuccis?
Those are the people...

The mafia people that came and
made a visit to us one night.

Look, sweetheart.
Let me explain something to you.

In this life, right now,
with inflation the way it is,

you've got to get in on the
ground floor or you're lost.

I'm on the ground floor.

[Sid] Well,
get off of it, that's all.

Don't worry.

I'm not worried.

It's all there is to it.

Dad, I'm worried.

[Sid] Worried?
What are you worried about?

A young man like you with
your whole life ahead of you?

My God.

Look at Loulou.
She's got it made.

She's a big artist.

What am I? What did I ever do?

I don't have it made.
I just got there.

And besides, it's hard.

You have to work
really constantly.

Look, in life, you've got
to learn how to take it easy.

Let things come naturally.
Be patient.

Let me take your
coat. Have a seat.

I'll put the music on
and we'll be home.

[Sedate classical music plays]

This is Mahler's 4th,
one of my favourites.

You know,
I used to collect everything

that was ever recorded by Mahler
when I was young.

It was a passion for me.

[Music continues]

You know, I don't think
Mario knows anything
about the theatre.

He knows about movies...

..because...

..the last big success
he had was, what?

La Dolce Vita, 1964.
That was a long time ago.

He doesn't know
what's going on now.

Theatre,
he's never done anything.

Not a thing.

[David sniffs]

- He's not too bright.
- [David sniffs]

[David slurs indistinctly]

Loulou,
you want to go to Crisco Disco?

It's nice here,
but I want to get out of here.

You want to...you want to go?
It'll be fun.

I'll take... I'll see that
she gets home, deary.

I'll take her home.

- Don't worry about it.
- You don't want to go?

No?

Well, I'm going to go.

- So...
- [Sid] Take it easy, son.

Um...

Okay...okay.

I'll leave you to it.

Bye.

Be good.

[Indistinct conversation]

I don't know what's happening.

I don't know why I'm here,
why I didn't go with Gary.

I can't...I can't...

I can't find anything
to say to you.

Too many sensations,
too many emotions.

- No, it's not that.
- Too much going on at one time.

New York is full of those
kind of energies.

[She inhales]

But I don't know,
I never been with an older man.

I've never been with an
older man, so I don't know.

[She clears throat]

I don't know why I'm here,
but at the same time,

I like you very much.

Well, I don't know
whether I'm an older man or not.

I know a man that's...

had a lot of things put on him.

I lived 25 years
with a woman that...

..really was in love
with the idea of being in love.

You ever run into
women like that?

I don't run into
women. I like men.

Do you ever run into men
that are in love with the
idea of being in love?

- Sure.
- Mm-hm.

Tell me, what do you really...

What do you really
think about... about love?

- About love?
- Sure.

That's supposed to have been
created in France.

You're supposed to be...

the real experts in love.

Well,
love is when you share things.

It's when you...
feel comfortable with somebody.

Now I feel comfortable.
His bullshit is gone, thank God.

You mean you're falling in love.

[Chuckling] No...I'm not.

[Water lapping, burbling]

Where am I? What's going on?

[Sid] Good morning!

Did you sleep well?

Oh, I sleep so well.

[Sid] I know you did.

- You slept like a little baby.
- Mm.

- Would you like some coffee?
- Mm-hm.

Sit down at the table
and I'll make you some,

bring it to you.

[Boat creaks]

[She exhales]

[He exhales]

Why don't you stay all
day and we'll go through
all the Mahler together?

Without a job now, you know,
now I have to go back.

But you'll come back?

Yes.

Oh, that's nice, I'd like that.

I have to make a living.

- But I'll come back.
- Good.

[She chuckles softly]

We'll go through all
the Mahler together.

[Sid] Don't forget.

I'll try!

If there is one thing
that will make you more serious,

you have to get him to invest
in the relationship.

What do you mean, "invest?"

The moment they pour
money into anything, they
become fascinated with it.

It's an investment.

Take my advice, treat
yourself like the stock exchange

and he'll go bananas over you.

[She laughs]

You mean...

..invest like you
invest in the stock exchange?

Okay, well, I'll...

I'll try to do it the
next time I see him.

Where were we?

- Sensuality, love...
- Romance, action.

[Projector whirs]

[Sprightly music]

[Sid]
Another one with fur? My God.

Isn't it fabulous,
the way that it's cut?

What do you think?

Of all the ones I've
shown you, this one is
the most becoming on her.

You shouldn't
turn this one down.

It's beautiful, Loulou, really.

Really, you should take it.

I'm wondering
how much that cost.

You hardly have to ask.

We're practically
giving it away.

$400.

Well, there, you see.
It's a giveaway.

Let's take it. Take it.

[Music continues]

Ah! Now, there is a piece
of clothing, aren't I right?

- Oh, yes, it's gorgeous.
- Yeah, go ahead.

I warn you. That one,
they don't give it away.

- It's $700.
- [Sid] What?

Look, at Sak's Fifth
Avenue, for material like
this, by a name designer,

you'd pay at least twice,
if not three times the amount.

It's like we're paying you
to take it off our hands.

Well, you know,
it's like an investment.

- Mm-hm.
- Let's look at it this way.

Do you think the Museum of
Modern Art would accept it
when you're finished?

Well, you know, a good
piece of clothing lasts longer.

- Everybody knows that.
- She's got a point there.

I have this little beige
jacket at home I've been
wearing for 13 years.

It's never given me any trouble.

She's got a point.

Let's take everything.

Okay, here's my cheque-book.

You fill it out
and I'll sign it.

[Loulou] Hmm.

- He was a coureur.
- He was a coureur?

He was a skirt-chaser, you know.

You stayed with him all
that time? All that time?

But,
I had no choice but to stay.

Ah, you look beautiful.

- Thank you.
- Absolutely beautiful.

Just like these flowers.

Well, I don't know what to say,
about those...compliments.

- Compliments?
- Not so much.

Why not? You deserve them.

You inspire them.

[Sid] Ah, with you,
my love, I could ride
this cable car all day.

Look at that magnificent river.

Come on, sweetheart.

[Sid] Shall we
walk straight home?

[Loulou] Yes, come on.

So, that's home!

[Loulou] Six months later,
things were not so good.

..Up all night, practicing
my speech, getting ready
for this conference.

What kind of a night
did you have, Loulou?

Not so good, I must say.

I dream about a meatball.

Meatball? Would you like
some coffee, sweetheart?

Meatball? Tell me,
what kind of a meatball.

Well, no, I dream about
a meatball all night.

Then at the end of the dream,
I realised

that my meatball was...

to symbolise all the desire
I have for another man.

Can you believe in
that kind of situation?

[She clears throat]

Desire for another man?

- Are you serious?
- Yes.

You mean you're...you're
thinking of being unfaithful?

Well, no. What do you mean?

Unfaithful to what,
our marriage?

Certainly, to our marriage.

- That's being unfaithful.
- [Loulou] What do you mean?

Well, it's easy for you to say
that because you have a desire.

You can always, you know,

satisfy it by going down
the street to pick up a girl

and thats...the
end of your desire.

For me it's not easy.

Wait a minute, sweetheart.
Let me understand this.

I really want to understand what
what you're trying to tell me.

Try to explain it to me.

If it's not being unfaithful,
what is it? Tell me what it is.

Strictly a sexual desire?

Well, it's...I...

I'm not sure. I think it's a
desire beyond necessity.

Look, I'm happy.

I have everything I want
a roof for once.

I have affection.

- There's your coffee.
- Yes.

- You have affection, what else?
- I have money.

You know, and... beyond that,
I want something else.

I don't know what it is.

And I think it's my desire
for another man.

That's how we concretize.

Well, if that's the kind of
desire you have

and if that's all it
takes, is somebody from
the street to satisfy it,

that's something that I...
I think probably...

- I would want you to have.
- What?

Are you really
to do that for me?

Certainly.

I'd be glad to do that for you,
sweetheart, but I'm in a hurry.

I have a lot of things to do.

You should dress up, by the way.

[She clears throat]

[Sid] Did you go to
the laundry yesterday?

Yes, I went to the laundry,
I pick up your beige pants.

[Sid] How about my jacket?

Where's my jacket,
in the closet?

No, your jacket is
right on the... on the
holder, right there.

[Sid] How about the
photographs? Did you get
them from the photographer?

Yeah, I get the photograph.

I get the dinner for tonight.

[Sid] Oh, what are we
going to have for dinner?

Well, I don't know but...

- Is it going to be a surprise?
- Yes.

I'm very much in a hurry,
sweetheart.

I've got to button my shirt.

I think I'll have to even...
put my tie on on the tram car

because I just
don't have the time.

I'm late...and it looks like...
we're really pressed for time.

But, sweetheart...

So you're really...
you're really serious about it.

Yes, totally. Absolutely.

I'm very serious about it.

Sweetheart, anything that I can
do to bring you the desires...

are my pleasure.

I want a young Puerto Rican.

- A young boy.
- A young Puerto Rican?

- Skinny.
- Skinny.

- And very gentle.
- And very gentle.

- And juicy, very juicy.
- [They kiss]

My love, just to bring
and satisfy your desires
is my greatest pleasure.

- I'll see you, tout à l'heure.
- A tout à l'heure.

[Door closes]

[Loulou exhales]

[She exhales]

[She sings softly in French]

[Man, on TV]
Mr Clean has captured the sun

with a fresh, clean fragrance.

[Woman, on TV]
Mm, he's sunshine fresh!

[Man] For a fragrance
fresh as sunshine

every time you clean.

[Man 2, on TV]
Mm, what a fresh smell.

And look at that shine!

[Man]
Mr Clean has captured the sun

to make everything you clean
smell sunshine fresh!

[Man 3, on TV]
What are you staring at?

[Girl, on TV]
Ring around the collar.

You've got ring
around the collar!

[Woman 2, on TV]
Those dirty rings.

I tried spray. I tried powder.

Then I discovered Wisk.

Wisk is strong enough
to get a ring around the collar,

and your whole wash-load clean.

[Child, on TV]
I see you cleaned up your act.

No more...

[In sing-song voice]
Ring around the collar!

[Woman 2] Wisk, strong enough
to get ring around the collar,

and your whole wash clean.

And if you noticed a chill
in the air, it's because
fall is officially here.

And Bob Harris will tell us what
to expect for the week to come.

For the complete report,

Watch the 10 o'clock weekend
news, tonight with Marvin Scott

I'm Doris McMillan.
Have a very special week ahead.

You deserve it.

[Bob Harris, on TV]
This dreadful season is
marked by the appearance

and the vapours of
infinitesimal microbes, which
proliferate like cancer cells

and give the air
and unbreathable consistency.

Fortunately, the primavera
comes to an end more quickly
than one would expect.

Those little monsters,
which are now totally
invading the atmosphere,

begin to withdraw
to the bottom of the sea,

where they conceal themselves

and instantly begin to develop
into the giant amphibians,

resurfacing only when the mating
process is ready to begin.

Yes, ladies and gentlemen,
during these crucial days,

the beaches should be closed
and the public advised

against walking
along the shores.

Once the process is completed,

yes,
summer is then ready to begin.

The beach is open again.

Weather comes to the
full bloom and the rocks
scattered along the shores

begin to accelerate in
their de-calcification.

[TV static,
indistinct audio snippets]

[TV buzzes]

- [Jaunty music on TV]
- * Let the sunshine in

* Face it with a grin.

[Woman 3, on TV] You know, life
insurance isn't just for men.

You have responsibilities, too.

So you bought your
life insurance at a
savings bank. Smart.

The SBLI specialist
helped you choose a plan
that was just right.

You got a $30,000 SBLI
policy for less than
ten dollars a month.

That's why they call
it "Low Cost Savings
Bank Life Insurance."

Listen, just because you're
good-looking doesn't mean
you can't be smart, too.

[Jingle on TV]

* Leaves you more
money for living. *

[Car horns]

Driver, I want to go to
77th and Broadway, please.

[Indistinct intercom chatter]

[Sid] Wow, what a day.

[Intercom chatter continues]

[Sid] And now for
the night's fantasies.

But where does one find
a young lover off the street?

[Sid] Maybe there is an answer.

Let's let fate play
a hand in this.

Maybe there's a
real answer inside.

[Arcade-like beeping nearby]

But where do I find this
young lover for my wife?

You'll find the man
you're looking for on
an organ keyboard.

Okay.

Okay.

Yeah, stop.

Thank you.

Right here.

[Organist plays lively music]

[Music continues]

[Music continues]

[Music continues, Sid snores]

[Music, snoring continue]

[Music concludes]

[Organist plays mellow music]

[Music fades]

What a day.

Conferences...

speeches...

desire...

noises...

people.

What a day.

What a day.

And I've got still to find
a young lover for my wife.

You must be out of your mind.

Yeah. Out of my mind.

But I know I made a promise.

But where does one find a
young lover off the street?

Off the street?
I've got just the thing for you.

Jim?

[She sings softly in French]

[Singing continues]

Loulou!

[Sid] Oh, Loulou, there you are.

Look what I brought you.

[Loulou] What?

Who is he?

[Sid] Don't you remember,
this is your dream.

- Mine?
- [Sid] Sit down, Jim.

Don't you remember?

- [Loulou] That dream!
- [Sid] Sweetheart!

You've forgotten already?

[He inhales, exhales]

Look...

The night is here.

Your desires have changed.

But don't give up your dream.

It's here. It's real.

You can have it now.

Take it. Enjoy it.

Sweetheart,
I'll call you in the morning.

So, you're a painter.

- Yes.
- [She chuckles nervously]

Hi. How are you tonight?

I'm fine, I guess.

Kind of warm today.

[Sid] Yeah, I guess it is warm.

How was your day?

Well...

I guess you might call it
an interesting experience.

I see. After you.

[Sid gasps, yells]

[Thud]

[Tango music]

- Don't be ridiculous.
- [She coughs]

I've got asthma.

Will you look at that.

[Music continues]

We don't like to use
the word "landlord".

Even though I own the
place, this is really
sort of a commune.

[Music continues]

Well, I read an
interview of Andy Warhol

about his earlier
avant garde film.

[Music continues]

We want to make
bucks on this film.

I got faith in this movie.

[Music continues]

Loulou, have you ever seen
the Statue of Liberty?

Let me show you freedom.

[Music continues]

You can't talk to me that way.

That's really the limit!

[Music continues]

[Music concludes]