Paris, je t'aime (2006) - full transcript

[♫♫♫]

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?

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!

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?

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?

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]