ULTIMO TANGO A PARIGI
[LAST TANGO IN PARIS]
Written by
Bernardo Bertolucci & Franco Arcalli
FINAL SHOOTING TRANSCRIPT
FADE IN:
EXT. PARIS FRANCE - PONT DE BIR-HAKEIM - DAY
PAUL (50's) stands on the street under a RAISED TRAIN BRIDGE.
He covers his ears in UTTER DISGUST at the UNBEARABLE NOISE a
train makes as it ROARS OVERHEAD.
He BELLOWS TO THE HEAVENS.
PAUL
(ENGLISH)
FUCKING GOD!!!!
As the train moves on he walks, slowly, DESPONDENT. Lost in a
private WORLD OF PAIN.
Behind him we see a woman in a fur collard coat and flowered
hat walking, gaining on him. This is JEANNE (20's).
As she PASSES Paul, she turns to GLANCE at him. We read a
HINT of EMPATHY on her face.
He is OBLIVIOUS to her or anything else for that matter.
She walks on, dodging STREET SWEEPERS as she covers the long
walkway, trying to forget the SAD MAN she saw.
We see her walk toward a 6 story APARTMENT BUILDING.
Paul, with TEARS STREAMING DOWN HIS FACE, comes to reality as
he also notices the building. He REGARDS it.
CUT TO:
EXT. APT. BUILDING - PASSEY - DAY
Jeanne stands looking at the grandeur of the building at 1
RUE JULES VERNE. She reads a FOR RENT sign on the door frame.
She HESITATES but then RINGS THE BELL. She checks her watch.
She SMILES to herself then descends the nearby stairs.
She goes into a BAR.
CUT TO:
INT. KENNEDY EIFFEL BAR - DAY
Jeanne comes in and speaks to the BARTENDER.
2.
DIALOGUE IS IN FRENCH
JEANNE
A phone token, please.
BARTENDER
No tokens. At the end, on the left.
JEANNE
Thank you.
Jeanne goes to the TELEPHONE/WASHROOM.
The telephone booth is OCCUPIED.
As she waits, she watches in disgust as an OLD LADY cleans
her DENTURES with a toothbrush and then puts them back in her
mouth.
Jeanne STUDIES her own face in the MIRROR, puffing her cheeks
up in judgement. As she does, Paul exits the phone booth,
still LOST IN ANGUISH.
After watching him leave, Jeanne USES THE PAY PHONE. She
speaks to her MOM.
JEANNE (CONT'D)
Mama? Yes, it's Jeanne. I've found
a flat to rent in Passy. I'm going
to see it.
She puts her foot up on the seat. We see her LONG BOOTS as
her SHORT SKIRT hikes up.
JEANNE (CONT'D)
Then I've got to go to the station
to met Tom. I promised him. OK, see
you later. Bye!
CUT TO:
INT. APT. BUILDING - FRONT DESK
Jeanne talks to THE CRAZY CONCIERGE through a SMALL WINDOW
who is SMOKING and has ROLLERS in her hair.
JEANNE
I've come to see the flat. I saw
the sign.
CONCIERGE
The sign?
3.
JEANNE
Yes.
The Concierge joins Jeanne AT THE WINDOW.
CONCIERGE
It's always the same! Nobody ever
tells me anything.
JEANNE
I'd like to see it.
CONCIERGE
You want to rent it?
JEANNE
I don't know yet!
CONCIERGE
They rent, they leave and I'm the
last to know. Do you think that's
right?
She sits at her desk and PUTS OUT HER CIGARETTE.
CONCIERGE (CONT'D)
If you want to go up alone--
She looks through her KEYS...
CONCIERGE (CONT'D)
Go on. I'm afraid of spiders. The
key is missing. Strange things
happen.
One of the APT. GUESTS puts an empty WINE BOTTLE outside
their door. They both TAKE NOTICE.
CONCIERGE (CONT'D)
They drink six bottles a day.
Jeanne thinks the place is like a FUNNY FARM. As the
concierge TRILLS OUT FIGARO, she gives up and walks away.
CONCIERGE (CONT'D)
Wait! Don't go! There must be a
duplicate.
She looks for it.
CONCIERGE (CONT'D)
Here it is.
4.
Jeanne, against her better judgement, goes back to the desk.
She holds out her hand. The Concierge puts the KEY IN HER
HAND.
CONCIERGE (CONT'D)
You must be very young.
She GRABS AND HOLDS ON to Jeanne's hand way too long,
LAUGHING CRAZY, HYSTERICAL. Jeanne has to forcefully break
away from her grasp.
JEANNE
Let go of me!
She gets free of her and heads to the ELEVATOR, rubbing her
hand.
JEANNE (CONT'D)
She's crazy!
The ELEVATOR arrives and she gets on. We watch her ascend and
DISAPPEAR.
CUT TO:
INT. APT. BUILDING - BEDROOM
Jeanne comes in the DARK ROOM and heads straight for the
window. She opens it and the STORM SHUTTER.
Light STREAMS IN, revealing Paul, sitting on the RADIATOR.
Jeanne is STARTLED when she sees him.
DIALOGUE IS IN FRENCH
JEANNE
Who are you?
No response.
JEANNE (CONT'D)
You gave me a fright.
No response.
JEANNE (CONT'D)
How did you get in?
He replies WITHOUT LOOKING AT HER.
5.
PAUL
(BARELY AUDIBLE)
Through the door.
JEANNE
Oh yes, I left it open. I didn't
hear you come in.
PAUL
I was already here.
JEANNE
Sorry? Oh it was you who took it. I
had to bribe the concierge. These
old houses are fascinating.
She walks up to the FIREPLACE.
JEANNE (CONT'D)
An armchair by the fireplace would
look good.
PAUL
The armchair should go in front of
the window.
JEANNE
Are you American? You've got an
American accent.
He gets off the radiator and WANDERS into the next room for
SOLITUDE.
LIVING ROOM - CONTINUOUS
But she has followed him. She OPENS THOSE WINDOWS also. He is
forced into ANOTHER ROOM.
DINING ROOM - CONTINUOUS
As he studies a WICKER CHAISE LOUNGE, she calls from the
other room.
JEANNE (CONT'D)
Are you going to take it? Are you?
PAUL
I don't know.
She continues to LOOK AROUND. Her CURIOSITY of Paul gets the
best of her. She peeks around the corner and watches him SIT
IN THE CORNER.
6.
JEANNE
What are you doing?
She thinks he is VERY ODD as he PLAYS WITH a lamp shade.
Nature calls. She heads to the --
BATHROOM - CONTINUOUS
As the PHONE RINGS, she pulls up her skirt and sits on the
toilet for a PEE. She looks around.
She finishes and FLUSHES THE TOILET as the PHONE RINGS ON
incessantly.
LIVING ROOM - CONTINUOUS
The PHONE RINGS on...
JEANNE (CONT'D)
(PERTURBED)
Oh la la. Should I answer It or
not? Oh...
DINING ROOM
They pick up the phone at the SAME TIME. Paul EAVES DROPS
JEANNE'S VOICE
Hello? Hello --
PAUL
(to the caller)
Hello -- Hello. There's no-one
here. There's no-one. I don't know.
He puts the SMALL LAMP SHADE back. He hangs the receiver on
the back of the chaise. Jeanne continues to listen on her
end, UNAWARE.
Paul SNEAKS AROUND THE CORNER.
LIVING ROOM - CONTINUOUS
Jeanne is STARTLED. She hangs up the phone.
JEANNE
So you're going to take it? You've
decided?
PAUL
I had already decided. But I'm not
sure now. Do you like it?
She's SPEECHLESS.
7.
JEANNE
I don't know. I shall have to think
about it.
PAUL
Think fast.
He WALKS OFF.
Jeanne picks her hat off the floor, lost in CONFUSION.
The front door SLAMS.
She walks toward the door...
But Paul didn't really leave. He walks slowly TOWARD HER.
JEANNE
I thought you'd left.
He STUDIES HER for a moment. He takes her hat and DROPS IT on
the ground. He PICKS HER UP in his arms and CARRIES to the
window. He puts her down on the window sill. They start
MAKING OUT ferociously.
He RIPS her panty hose, UNDOES HIS ZIPPER and PENETRATES HER.
They are lost in ANIMALISTIC SEX as she WRAPS HER legs around
him.
PAUL
Ah... Oh, God.
They KISS SAVAGELY and HIT the floor as THEY CLIMAX TOGETHER.
PAUL (CONT'D)
Oh, Jesus... Oh... Oh, Christ.
Totally spent, they ROLL AWAY from each other. Her skirt,
hiked up is showing her ripped panty hose. We can see her
AMPLE BUSH through the SHEER FABRIC.
They WRITHE on the floor trying to CATCH THEIR BREATH.
PAUL (CONT'D)
Oh, God.
CUT TO:
EXT. APT. BUILDING - ENTRANCE - MOMENTS LATER
Paul comes out the FRONT DOOR. He puts on his TRENCH COAT.
Jeanne LAGS behind, trying to fix herself also.
8.
Paul takes the FOR RENT sign off the DOOR FRAME as Jeanne
heads off, still STUPEFIED.
He watches her descend the stairs and throws the CRUMPLED UP
sign on the sidewalk.
PONT DE BIR-HAKEIM - CONTINUOUS
They go their SEPARATE WAYS. Jeanne crosses the street while
Paul takes the RAISED WALKWAY.
CUT TO:
EXT. SUBWAY STATION - PLATFORM
Jeanne RUNS through the crowd IN A PANIC dodging people. She
finds who she is LOOKING FOR, her boyfriend TOM (30's). She
runs into his arms like LONG LOST LOVERS.
All of the sudden, a FILM CREW appears, filming their every
moment.
They KISS PASSIONATELY.
Tom tries to UNTANGLE HER from the cords.
TOM
Watch out!
JEANNE
Have they taken us for someone
else?
TOM
We're in a film.
He walks her and EXPLAINS.
TOM (CONT'D)
We're in a film. If I kiss you...
He KISSES HER...
TOM (CONT'D)
... it might be cinema. If I stroke
your hair, it might be cinema.
They walk on as the SOUND ENGINEER pokes a MICROPHONE in
their faces.
JEANNE
What's going on? Do you know them?
9.
TOM
It's a long story. In short,
Portrait of a Girl. It's been
accepted for television! And the
girl is you. It's you!
JEANNE
You're mad! You might have asked me
first.
TOM
Yeah, but I wanted...
Jeanne SMACKS THE MICROPHONE out of their faces.
TOM (CONT'D)
I wanted to start with shots of
Jeanne at the station meeting her
fianc�. Yes, I know them. They're
my crew.
JEANNE
So you kissed me, and you knew it
was being filmed. You're a bastard!
Traitor!
TOM
No, you'll see. It will be a love
story. Tell me, Jeanne, darling.
What did you do while I was away?
JEANNE
I thought of you day and night, and
I cried. Darling, I can't live
without you!
TOM
Wonderful! Cut! That was perfect!
He is THRILLED. He tries to kiss her but she won't let him.
She is still MIFFED. But she finally GIVES IN. They have a
PASSIONATE EMBRACE.
CUT TO:
INT. HOTEL - ROSA'S BATHROOM - DAY
CATHERINE cleans the bathroom of EXCESSIVE BLOOD.
Paul sits on the other side of the PRIVACY SCREEN --
REFLECTING, in a GLUM FOG, listening.
10.
She WRINGS OUT a washcloth frequently as she speaks. The
EXCESSIVE BLOOD AND WATER falling into a BUCKET.
CATHERINE
I'd have finished by now, but the
police wouldn't let me touch
anything. They didn't believe it
was suicide.
She WIPES A MIRROR.
CATHERINE (CONT'D)
There was so much blood everywhere.
They had fun making me do a
reconstruction. "She went there."
She wipes another GLASS SURFACE.
CATHERINE (CONT'D)
"She came through here."
She opens the curtain to the SHOWER/TUB. It's INUNDATED with
BLOOD.
CATHERINE (CONT'D)
"She opened the curtain."
She STARES at the blood... It's so much. She uses the SHOWER
HEAD to rinse the blood off the tub.
CATHERINE (CONT'D)
I copied all her actions. The
guests were awake all night! The
hotel was crawling with cops! They
enjoy playing around with blood.
She rinses the blood FROM HER HANDS AND ARMS.
CATHERINE (CONT'D)
They were all spies! Asking if she
was sad, if she was happy, if you
fought, how long you'd been
married, why you didn't have any
children. Pigs!
Disgusted and exhausted, she sits on the edge of the tub. We
switch to PAUL'S SIDE of the PRIVACY SCREEN. We see he is
DEEPLY DISTURBED by this situation.
CATHERINE (CONT'D)
They got familiar right away! They
said, "Your boss is a bit
unstable." "Do you know that he was
a boxer?" So?
(MORE)
11.
CATHERINE (CONT'D)
"It didn't work out, so he became
an actor." "Bongo player,
revolutionary in South America,
journalist in Japan."
She begins to clean blood from THE STRAIGHT RAZOR Paul's wife
used to KILL HERSELF WITH.
CATHERINE (CONT'D)
One day, he lands in Tahiti, hangs
around, Learns French." "Then he
comes to Paris. There... he meets a
woman with money, marries her
and... "Since then what has your
boss done?" "Nothing."
Paul pulls the curtains aside from the window. He looks out.
He SPIES a BLACK COUPLE, one a SAX PLAYER, in an adjacent
building. She is attempting ORAL SEX on him.
CATHERINE (CONT'D)
I say, "Can I clean up now?" "No!
Don't touch anything!" "Do you
really think she killed herself?"
He pushed me into a corner and
tried to paw me...
When the couple are spotted, they stop. He starts PLAYING HIS
SAX.
Paul has had enough of the running water and her cleaning.
PAUL
Turn the tap off now.
CATHERINE
They'll be doing the autopsy right
now.
Paul walks to her side.
PAUL
Why won't you turn the tap off?
CATHERINE
They told me to give you your razor
back.
She hands him the STRAIGHT RAZOR. He STUDIES IT.
PAUL
It's not mine.
12.
CATHERINE
They said they don't need it any
more. The investigation is over.
He grabs her hands VIOLENTLY and studies them.
CATHERINE (CONT'D)
Yes, she had cuts there...
He tilts her head back FORCEFULLY.
CATHERINE (CONT'D)
... and on the neck, too...
He PULLS HER OUT OF THE WAY and turns off the water. He pulls
the SHOWER CURTAIN closed.
He storms out of the bathroom, leaving Catherine there.
When he is gone, she opens the curtain and turns the water
back on OUT OF SPITE.
CUT TO:
EXT. PONT DE BIR-HAKEIM - DAY
Formerly known as the Passy Viaduct. We see a great shot of
the DOUBLE-DECKER ROAD-AND-RAIL BRIDGE and PAUL'S NEW
APARTMENT BUILDING.
CUT TO:
INT. APT. BUILDING - DAY
The front door opens and Jeanne's hand comes in, holding the
KEY.
The rest of her peeks in. She SPIES A CAT. She decides to
make CRAZY NOISES at the animal, CRAWLING ON THE FLOOR,
making it RUN FOR THE HILLS.
Just then, MOVERS pop in carrying furniture catching Jeanne
off guard.
MOVER
Excuse me, where shall I put this?
JEANNE
You could have rung the bell.
13.
MOVER
The door was open. I'll put it
there.
He puts the chair down in the middle of the room. She moves
it to in front of the fireplace instead.
JEANNE
In front of the fireplace.
She heads to the front door but is stopped by...
MOVER 2
Careful, madame.
With and armfull of chairs.
JEANNE
There.
She tries to leave again but then runs into...
MOVER
What about the table?
With a table.
JEANNE
How do I know? He'll decide.
BEDROOM - CONTINUOUS
Jeanne REGARDS the room.
MOVER 2
This is a king-size.
JEANNE
It won't fit!
MOVER
Well, your husband has no idea. All
this in an hour... It's not long.
She leans against a wall and looks around, FLABBERGASTED.
JEANNE
What a mess!
We see Paul in the DOORWAY paying the movers.
MOVER
Thank you.
14.
MOVER 2
Thank you.
He comes in.
LIVING ROOM - CONTINUOUS
Jeanne is sitting in the chair in front of the fire place.
PAUL
The armchair goes in front of the
window.
He DRAGS THE CHAIR AND HER to the window instead.
PAUL (CONT'D)
Like that.
JEANNE
But I only came to return the key.
To return it to you.
PAUL
I don't care about the key. Take
your coat off.
He takes his COAT OFF and hangs it on a DOOR HANDLE.
PAUL (CONT'D)
Take your coat off and help me.
JEANNE
OK.
PAUL
Get those chairs and bring them
here.
He grabs the TABLE and brings it to the DINING ROOM.
DINING ROOM - CONTINUOUS
He places the table. She FOLLOWS with the CHAIRS.
PAUL (CONT'D)
Put them on the other side. Take
that, too. That's it.
JEANNE
You didn't waste any time...
But he has WANDERED OFF to another room.
15.
JEANNE (CONT'D)
Listen monsieur! I've got to go.
DIALOGUE TO ENGLISH
JEANNE (CONT'D)
Look, sir! I've got to go!
BEDROOM - CONTINUOUS
She walks across the mattresses with her BOOTS ON. Paul leans
against the wall STUDYING THE ROOM.
PAUL
The bed is too big for the room.
JEANNE
I don't know what to call you.
PAUL
I don't have a name.
JEANNE
Do you want to know mine?
PAUL
No, no! I don't. I don't want to
know your name.
He COVERS HER MOUTH and backs her up agianst a WALL.
PAUL (CONT'D)
You don't have a name and I don't
have a name either. Not one name.
She THROWS HIS HAND off and puts some space between them.
JEANNE
You're crazy!
She leans against the adjacent wall.
PAUL
Maybe I am, but I don't want to
know anything about you. I don't
wanna know where you live or where
you come from. I wanna know
nothing, nothing, nothing...
JEANNE
You scare me.
Back to the OTHER WALL.
16.
PAUL
You and I are gonna meet here
without knowing anything that goes
on outside here.
He indicates OUTSIDE THE WINDOW.
PAUL (CONT'D)
OK?
JEANNE
But why?
PAUL
Because... Because we don't need
names here. Don't you see? We're
gonna forget... everything that we
knew. Every... All the people,...
all that we do,... wherever we
live. We're going to forget that,
everything, everything.
JEANNE
But I can't. Can you?
PAUL
I don't know. Are you scared?
JEANNE
No.
She walks to the bed, inviting him with her eyes.
JEANNE (CONT'D)
Come?
CUT TO:
INT. HOTEL - PAUL AND ROSA'S ROOM - DAY
ROSA'S MOTHER roots through Paul and Rosa's belongings.
Searching for answers... and maybe some tokens of her
DECEASED DAUGHTER.
Paul WAITS, listening in the HALLWAY. He loathes the upcoming
reunion.
ANNOYED by all the RATTLING while she searches, he bites the
bullet and GOES IN.
He CATCHES her in the ARMOIRE...
She stops her ROOTING.
17.
ROSA'S MOTHER
I thought you'd be here.
PAUL
I expected you later.
ROSA'S MOTHER
I took the first train.
We notice the IRONY of the SIGN ON THE DOOR, it reads "PRIVY"
(PRIVATE).
ROSA'S MOTHER (CONT'D)
Oh, Paul! How awful! How awful,
Paul!
She walks TIMIDLY up to Paul. After a moment, they EMBRACE
each other in a GRIEF STRICKEN HUG.
MOMENTS LATER
Paul grows BORED of the reunion, he TAPS HIS FINGERS on the
closet he LEANS AGAINST, studying the accessories of the
DECOR and her silly hat.
She sits, SPILLING HER GRIEF on Paul as if it is a THERAPY
SESSION.
ROSA'S MOTHER (CONT'D)
Papa is in bed with asthma. The
doctor wouldn't let him come. It's
better like that. I'm stronger.
She starts RUMMAGING AGAIN, this time through Rosa's empty
PURSES, spilling them out one at a time on the bed BEHIND
PAUL.
PAUL
What are you looking for?
ROSA'S MOTHER
Something that would explain... A
letter, a clue.
PAUL
Nothing. I told you, there's
nothing, nothing at all.
He takes the purses and PUTS THEM BACK. She sits on the bed
in DESPAIR.
ROSA'S MOTHER
My little Rosa wouldn't have...
Nothing for her mother. Not a word.
18.
PAUL
It's useless to keep on searching.
ROSA'S MOTHER
Not even for you, her husband!
He closes the ARMOIRE.
PAUL
You need to rest. I think room
12 is free.
He GATHERS HER BELONGINGS and leads her UP THE STAIRS.
STAIRS - CONTINUOUS
They pass some GUESTS coming down.
GUEST
Hi.
Rosa's Mother stops on the stairway, REFLECTING PAINFULLY.
ROSA'S MOTHER
ROSA'S MOTHER (CONT'D)
With a razor?
Paul goes on, IGNORING HER.
ROOM 12 - CONTINUOUS
Paul comes in and puts her belongings on the BED.
ROSA'S MOTHER (CONT'D)
What time did it happen?
PAUL
I don't know. In the evening.
ROSA'S MOTHER
And then?
PAUL
Then I... I already told you on the
phone... When I found her, I called
the ambulance.
Paul goes out to the HALLWAY to gather himself.
19.
ROSA'S MOTHER
After you called, Papa and I stayed
up all night, talking about Rosa
and you. Papa kept whispering, as
if it had happened in our house.
Rosa's mother thinks he LEFT. She YELLS.
ROSA'S MOTHER (CONT'D)
Paul!
Paul is BROKEN OUT OF HIS TRANCE... the sudden yelling has
INCENSED HIM.
He PEERS ANGRILY at her in room 12.
ROSA'S MOTHER (CONT'D)
Where did it happen?
PAUL
In one of the rooms.
ROSA'S MOTHER
Did she suffer?
PAUL
Ask the Doctors. They're doing the
autopsy.
ROSA'S MOTHER
The autopsy.
He goes into the ...
BATHROOM - CONTINUOUS
He turns off the ANNOYING RUNNING WATER. He looks at himself
in the mirror.
She UNPACKS her suitcases on her bed. He rejoins her.
ROOM 12 - CONTINUOUS
She takes out some CARDS.
ROSA'S MOTHER (CONT'D)
I already had some announcement
cards. I've seen a lot of death. I
think of everything. I'll prepare
her a beautiful room with flowers.
20.
PAUL
The cards, clothes, relatives,
flowers. You've got everything in
that suitcase. You didn't forget
anything. But I don't want any
priests here.
ROSA'S MOTHER
But...
PAUL
No priests.
ROSA'S MOTHER
But Paul...
PAUL
Understand?
ROSA'S MOTHER
We have to. Funerals must be
religious.
Paul EXPLODES -- She jumps a foot back.
PAUL
No!!!
He DARES HER with his eyes, ENRAGED.
PAUL (CONT'D)
Rosa didn't believe! Nobody
believes in the fucking God here!
He throws her suitcase AGAINST THE WALL.
ROSA'S MOTHER
Paul, don't shout. Don't talk like
that.
He SNATCHES THE PAPER from her hands.
PAUL
The priest doesn't want any
suicides. The Church doesn't want
any suicides, do they?
ROSA'S MOTHER
They'll give her absolution.
He RAISES HIS HAND threatening to HIT HER.
PAUL
Heh!?
21.
Scared, she pushes on.
ROSA'S MOTHER
Absolution and a nice mass. That's
all I ask, Paul. Rosa... Rosa is my
little girl, do you understand?
Rosa... Why did she kill herself?
She starts WEEPING.
PAUL
Why? Why did she commit suicide?
Why?
He PUMMELS THE DOOR with his fists ... ENRAGED...
PAUL (CONT'D)
You don't know? You don't know.
He closes her DOOR.
HALLWAY - CONTINUOUS
Some of the OTHER GUESTS pop their heads out to see what the
COMMOTION IS. He gently CLOSES THEIR DOORS in a "mind your
own business" sort of way.
There is always the "Miss know it all, busybody type" though.
She sheepishly REOPENS HER DOOR.
Paul walks calmly back to it and SLAMS IT in her face ---
IRATE.
CUT TO:
INT. APT. BUILDING - DAY
Jeanne enters the ALREADY OPEN DOOR. She looks around the
still sparsely furnished living room.
LIVING ROOM -
Paul has decided his BED FITS BETTER in here. The BOTTOM
MATTRESS is on the floor in the MIDDLE OF THE ROOM. He LEANS
AGAINST THE WALL and top mattress, WAITING FOR JEANNE. He
knew she'd be there.
She TAKES A SEAT on the bottom mattress and takes off her
boots.
He watches her and does the same with his shoes. KICKING THEM
OFF and CATCHING THEM in the air PLAYFULLY.
22.
LATER
Paul and Jeanne sit NUDE, entwined, WRAPPED AROUND EACH
OTHERS BODY'S.
DIALOGUE IS ENGLISH
PAUL
OOh... Now... Let's... Let's just
look at each other.
JEANNE
It's beautiful without knowing
anything.
They REGARD each other for seconds.
JEANNE (CONT'D)
Maybe... Maybe we can come without
touching.
PAUL
Come without touching? OK.
He leans his head back and CLOSES his eyes... SCREWING UP HIS
FACE. She COPIES HIM.
PAUL (CONT'D)
Are you concentrating? Did you come
yet?
JEANNE
No. It's difficult!
PAUL
I didn't either yet. You're not
trying hard enough.
They STOP THE SILLINESS. They laugh. She wraps her arms
around his neck.
JEANNE
I shall have to invent a name for
you.
PAUL
A name? Oh, Jesus Christ! Oh, God,
I've been called by a million names
all my life. I don't want a name.
I'm better off with a grunt or a
groan for a name. Do you wanna hear
my name?
23.
Paul does some PLAYFUL ANIMAL SOUNDS. APE SOUNDING GRUNTS and
such. He contorts his face and LOOKS SILLY.
JEANNE
It's so masculine.
PAUL
Yeah.
JEANNE
Listen to mine.
She mimics his idea and makes her own PLAYFUL ANIMAL SOUNDS.
He laughs.
PAUL
I didn't get the last name.
She redoes the SOUNDS for him. He JOINS her. Their ANIMAL
SOUNDS BLEED INTO...
CUT TO:
EXT. JEANNE'S FAMILY COUNTRY MANOR - YARD - DAY
... A DOVER OF LIVE DUCKS QUACKING --
Tom and his FILM CREW record the ducks for b.g. SOUND CLIPS
while they WAIT FOR JEANNE.
This includes ROOSTERS, PIGEONS and annoyed NAIL FILING by
one of the CREW.
FINALLY, Jeanne opens the gate door, sheepishly. She is LATE
and has a DIFFERENT HAIR STYLE.
Tom is MIFFED, for continuity sake...
DIALOGUE IS FRENCH
TOM
You shouldn't have done that to me.
She is much more EXCITED about the NEW PERM.
JEANNE
It's not a wig, it's my hair.
She CLOSES THE GATE.
Doesn't it suit me? Tell me, don't
you like it? Tell me.
24.
TOM
Of course I like it. Listen, you
know... I don't know. You have
changed, and yet you haven't. I can
see the shot now.
He twirls around, setting up the shot between his hands and
his MINDS EYE...
TOM (CONT'D)
The camera is up high. It descends
slowly and follows you. You come
forward, and it moves in on you.
There's music, too. It gets closer
and closer to you.
JEANNE
I'm in a hurry. Let's start.
She MOSEYS OFF.
TOM
But... can't we talk a little
first?
JEANNE
Tonight we improvise. You follow.
He does.
FAMILY PET GRAVE-YARD - CONTINUOUS
Jeanne kneels in front of a HEAD STONE that reads "Mustapha".
JEANNE (CONT'D)
He was my childhood friend. He used
to watch me for hours and hours. I
think he understood me.
A VOICE from behind Jeanne pipes in.
OLYMPIA'S VOICE
Dogs are worth more than people.
Much more.
Jeanne smiles, FAMILIAR.
JEANNE
Meet Olympia, my nanny.
OLYMPIA
Mustapha could always tell the poor
from the rich.
(MORE)
25.
OLYMPIA (CONT'D)
If someone well-dressed came in, he
never stirred. But if someone
scruffy came in, you should have
seen him! What a dog!
The colonel trained him to
recognise Arabs by their scent.
JEANNE
Olympia, open the front door.
OLYMPIA
Give me a kiss.
Jeanne stands and KISSES HER on the cheek through the gate.
JEANNE
Go and open it.
(TO TOM)
Olympia is a compendium of domestic
virtues. Faithful, admiring, and
racist.
We watch Olympia walk to the MANOR HOUSE as Jeanne WAXES
NOSTALGIC. Slowly, the rest of the property is revealed to
us.
JEANNE'S VOICE
After Papa died, we moved back to
the family home for a while. My
childhood was made up of smells.
Musty smells, the smell of walls
and rooms.
A GROUP OF KIDS runs into the yard.
Children used to come and play in
my jungle, all day long. Growing
old is a crime.
CUT TO:
INT. JEANNE'S FAMILY COUNTRY MANOR
Jeanne holds up a PICTURE. She points to people as she
describes them.
JEANNE
That's me there. And that's
Mademoiselle Sauvage, the teacher.
She was very strict... and very
religious.
Olympia CHIMES IN AGAIN from behind the CAMERA CREW.
26.
OLYMPIA
She was too good. She spoilt you.
The Camera Crew turns the camera on her. Jeanne has a
DIFFERENT PICTURE, pointing again.
JEANNE
That's Christine...
They turn back to Jeanne.
JEANNE (CONT'D)
...my best friend. She married the
pharmacist and has two children.
It's like a village here. We all
know each other.
Olympia chimes in again from behind, in an open door.
OLYMPIA
I couldn't live in Paris.
The camera turns on her, then back to Jeanne.
JEANNE
We're safe here. It's odd looking
at the past.
TOM
Cut!
He walks to her.
TOM (CONT'D)
Why is it odd? It's you! It's
fantastic, it's your childhood.
It's everything I was looking for.
He turns on his camera crew who is UNDER HIS HEELS, shewing
them out.
TOM (CONT'D)
What are you up to? Move it! Move
it!
(to the lead crewman)
Who are these zombies who are
always following you around?
(to all of them)
Scoot! Go on! The door, the door...
He starts opening all the doors in the MANOR.
27.
TOM (CONT'D)
I'm opening the door. I'm opening
all the doors.
JEANNE
What are you doing?
TOM
Setting up my shot. There it is!
That's it! I've found it. Reverse
gear!
Olympia is loitering in one of the rooms he comes in. Imagine
her nerve, in her own house!
Tom is the typical RUDE FRENCH DIVA DIRECTOR.
TOM (CONT'D)
What are you doing there? Beat it!
He turns his attention back to Jeanne, the subject of his
OBSESSION.
TOM (CONT'D)
That's it. Into reverse. Yes! Do
you see? Like a car, you go into
reverse gear. That's it. Close your
eyes.
She closes her eyes. He guides her BACKWARDS by the shoulders
through the MANOR.
TOM (CONT'D)
Start reversing. Close your eyes.
That's it, come on. Come on
backwards. That's it. Go back to
your childhood.
Jeanne BACKS TO a ROW OF PICTURES. She touches each and
recalls the subject.
JEANNE
Papa?
TOM
You're soaring. Take off and return
to your childhood.
Next picture.
JEANNE
In full uniform.
28.
TOM
Don't be afraid. Overcome the
obstacles.
Next.
JEANNE
Papa in Algeria.
TOM
You're...
He starts a COUNTDOWN of ages, as if he is HYPNOTIZING HER.
TOM (CONT'D)
15...14...12...13...11...10...9...
Jeanne backs into a DESK.
TOM (CONT'D)
We're there.
Jeanne kneels down in front of the desk.
JEANNE
My favorite route when I was eight.
She crawls under A TABLE. She finds a NOTEBOOK in a SECRET
HIDING SPOT.
JEANNE (CONT'D)
My old notebook.
She reads from it.
JEANNE (CONT'D)
French homework. Theme: the
countryside. Exposition: the
countryside is cow country. The cow
is all dressed in leather. The cow
has four sides: the front, the
back, the top and the bottom. Isn't
that good?
TOM
Beastly.
STUDY - CONTINUOUS
She reads on.
JEANNE
Here are my cultural sources. Le
Grand Larousse.
(MORE)
29.
JEANNE (CONT'D)
I just copied from it.
Menstruation. Noun. Physiological
function comprising the discharge
of menses. Penis. Noun. Male
copulation organ, measuring five to
forty centimeters. That's Le Petit
Robert.
She shows him a PICTURE she has found that she DREW AS A
CHILD.
JEANNE (CONT'D)
Tom! Tom! Tom! Look!
TOM
Who's that?
JEANNE
My first love.
TOM
Who?
JEANNE
My cousin Paul. My first love.
TOM
But his eyes are closed.
JEANNE
What?
TOM
His eyes are closed!
JEANNE
He played the piano divinely.
That's how I remember him...
AS WE --
CUT TO:
EXT. BACK YARD
Jeanne and Tom walk BUNDLED TOGETHER as Jeanne REMINISCES...
JEANNE'S VOICE
Sitting at the piano... His fingers
would skim the keys.
The FILM CREW follow them, filming.
30.
Olympia stumbles behind, watching.
JEANNE'S VOICE (CONT'D)
He played for hours and hours. At
the bottom of the garden, there
were two big trees. A plane tree
and a chestnut tree. After mass on
Sundays, we used to sit there, each
under our own tree. It was
wonderful. We sat gazing into each
other's eyes.
All WANDER THE GARDEN.
JEANNE
Aren't my trees beautiful? They
were my jungle.
They come upon the CROWD OF KIDS again. One KID is squatting
behind some thatch, doing his business.
JEANNE (CONT'D)
What are you doing?
KID 1
Having a shit.
The boy pooping stops and PULLS UP HIS PANTS.
KID 2
No, we're doing a poo.
Jeanne SCOLDS THEM.
JEANNE
Shame on you, doing it in my
jungle!
KID 1
Watch out!
KID 2
Run for it!
They SCATTER towards the STONE WALL with Olympia and Crew
CHASING AFTER THEM.
OLYMPIA
Oh, these dirty little Arabs! Go
and shit in your own country!
The kids CLIMB THE WALL for escape from the CRAZY ADULTS.
31.
TOM
Keep filming. Keep filming! Don't
stop, whatever you do!
Tom wanders back over to Jeanne while Olympia and the Crew
continue to SCARE OFF THE KIDS in the b.g..
JEANNE
Did you get it?
TOM
Everything.
JEANNE
Olympia was great. It'll give a
good idea of race relations in the
suburbs of Paris.
TOM
It's a real jungle here. So, tell
me about your father.
JEANNE
I thought we'd finished.
TOM
Five minutes.
JEANNE
I'm meeting someone for work.
TOM
But the colonel... the colonel!
But Jeanne is OFF.
AND WE CUT TO--
CUT TO:
INT. APT. BUILDING - LIVING ROOM - DAY
We are back at Paul's new place. Jeanne WANDERS THE ROOM
TOPLESS but covering her breasts with a PILLOW.
She continues to WAX NOSTALGIC about her father.
JEANNE
The colonel had green eyes and
shiny boots. I worshipped him. He
was so handsome in his uniform.
32.
PAUL'S VOICE
What a steaming pile of horseshit.
JEANNE
What?
Pissed, she THROWS THE PILLOW she was covering her AMPLE
BREAST with at Paul.
We now see Paul is LOUNGING ON HIS MATTRESS, pant legs rolled
up past his knees, TOYING WITH A HARMONICA and drinking from
a WOODEN CUP.
JEANNE (CONT'D)
What? Don't...
PAUL
All uniforms are bullshit.
Everything outside this place is
bullshit. Besides, I don't want to
hear about your stories, about your
past, and all that.
JEANNE
He died in Algeria in 58...
PAUL
Or 68 or 28 or 98...
JEANNE
58, and don't joke about things
like that.
PAUL
Listen, why don't you stop talking
about things that don't matter
here? What the hell's the
difference?
DIALOGUE SWITCHES TO ENGLISH
JEANNE
OK.
She huffs over to the other SIDE OF THE ROOM, crossing her
arms, POUTING.
JEANNE (CONT'D)
So what do I have to say? What do I
have to do!?
He turns on to his back to evince his CROTCH.
33.
PAUL
Come on the good ship...
(SINGS)
Lollipop...
He PLAYS A TUNE on his harmonica. She sneaks onto the bed IN
THE SHADOWS.
JEANNE'S VOICE
Why don't you go back in America?
He stops PLAYING THE TUNE.
PAUL
I don't know. Bad memories, I
guess.
JEANNE
Of what?
PAUL
Oh... My father was a... a drunk.
Tough. Whore-fucker, bar-fighter.
Super-masculine. And he was tough.
My mother was very... Very poetic.
And also a drunk. And... one of my
memories, when I was a kid, was of
her being arrested nude. We lived
in this small town. Farming
community. We lived on a farm.
And I'd come home after school and
she'd be gone. In jail... or
something. And... I used to... I
used to have to milk a cow every
morning and every night and I liked
that. I remember...
An IRISH COUNTRY JIG plays over the MONOLOGUE.
PAUL (CONT'D)
One time I was all dressed up to go
out and take this girl to a
basketball game. And I started to
go out and my father said, "You
have to milk the cow." I said,
"Would you please milk it for me?"
And he said, "No, get your ass out
there." So I went out and I was in
a hurry and didn't have time to
change my shoes. And I had cow shit
all over my shoes. And on the way
to the basketball game, it smelled
in the car. I don't know. I-I can't
remember very many good things.
34.
JEANNE'S VOICE
Not one?
PAUL
Yeah. Some. There was a farmer, a
very nice guy. Old guy, very poor,
and worked real hard. I used to
work in a ditch, draining land for
farming. And he wore overalls and
he smoked a clay pipe. Half the
time he wouldn't put tobacco in it.
And I hated the work. It was hot
and dirty and... it broke my back.
And... all day long I'd watch his
spit which would run down the pipe
stem and hang on the bowl of the
pipe. And I used to make bets with
myself on when it was going to fall
off. And I always lost. I never saw
it fall off. I'd just look around
and it'd be gone and then the new
one would be there. And then we had
a beautiful... My mother... My
mother taught me to love nature.
And... I guess that was the most
she could do. And... we had... In
front of our house we had this big
field... meadow. It was a mustard
field in the summer and we had a
big black dog named Dutchy. And she
used to hunt for rabbits in that
field but she couldn't see them. So
she'd have to leap up in this
mustard field and look around very
quickly to see where the rabbits
were. And it was... very beautiful.
And she never caught the rabbits.
Jeanne looks up from the bed, MISCHIEVOUSLY.
JEANNE
You have been had!
PAUL
Oh really?
JEANNE
I don't wanna know anything about
your past, baby!
PAUL
You think I was telling you the
truth?
35.
Jeanne flaps her arms. Paul TWILLS his eyebrows in response.
PAUL (CONT'D)
Maybe... Maybe...
Jeanne climbs on the bed with the top sheet like a LIONESS
STALKING her prey.
JEANNE
I'm a Red Riding Hood and you're
the wolf.
She COVERS HIM UP with the sheet. Then she uncovers his arm.
JEANNE (CONT'D)
What strong arms you have!
She SNIFFS HIS ARM. Paul PLAYS ALONG.
PAUL
The better to squeeze a fart out of
you!
She plays with his hands.
JEANNE
What long nails you have!
PAUL
The better to scratch your ass
with.
She REACHES UNDER the sleeve of his shirt to his chest.
JEANNE
Oh, what a lot of fur you have!
PAUL
The better to let your crabs hide
in.
She lifts the sheet from his face, moves his harmonica and
looks in his mouth.
JEANNE
Ooh, what a long tongue you have!
He TALKS FUNNY as Jeanne holds on to his tounge.
PAUL
The better to... to stick in your
rear, my dear.
36.
She makes her way down to his CROTCH, uncovering the sheet as
she goes. She REGARDS HIS PRIVATE AREA.
JEANNE
What's this for?
PAUL
That's your happiness and my... my
ha-penis.
JEANNE
Peanuts?
Jeanne SMILES ON as Paul reels off a list of FOREIGN NAMES
for the MALE GENITALIA.
PAUL
Schlong. Wienerwurst. Cazzo. Bitte.
Prick! Joint!
Jeanne gets a kick out of this... Sort of.
JEANNE
It's funny. It's like playing grown-
ups when you're little. I feel like
a child again here.
PAUL
Did you have fun as a kid?
JEANNE
It's the most beautiful thing.
PAUL
It's beautiful to be made into a
tattletale or forced to admire
authority or sell yourself for a
piece of candy.
JEANNE
I wasn't like that.
PAUL
No?
JEANNE
I was writing poems. I was drawing
castles,... big castles with tower.
A lot of tower.
PAUL
Did you ever think about sex?
37.
JEANNE
No. No sex.
Paul MOCKS HER.
PAUL
"No. No sex."
JEANNE
Tower.
He gives her a LOVE SMACK on the head.
PAUL
You were probably in love with your
teacher.
JEANNE
My teacher was a woman.
PAUL
And she was a lesbian.
JEANNE
How did you know?
PAUL
That's classical... Anyway...
JEANNE
My first love was my cousin Paul.
Paul explodes.
PAUL
No! I'm gonna get a hemorrhoid
if you keep telling me names. No
names. I don't mind if you tell
the truth, but don't give me the
names.
JEANNE
Sorry. Sorry.
PAUL
Well, go on. Tell the truth. What
else?
JEANNE
I was ... He was dark, very thin. I
can see him. Big nose! A big
romance. I fell in love with him
when I heard him playing piano.
38.
PAUL
You mean when he first got into
your knickers.
JEANNE
He was a child prodigy. He was
playing with both hands.
PAUL
I'll bet he was... Probably getting
his kicks.
JEANNE
We were dying of heat.
PAUL
Oh, yeah. Good excuse. What else?
JEANNE
In the afternoon, when the grown-
ups were napping...
PAUL
You started grabbing his joint.
JEANNE
You're crazy!
PAUL
Well, he touched you.
JEANNE
I never let him! Never!
PAUL
Ohhhh. Liar, liar, pants on fire,
nose as long as a telephone wire.
JEANNE
No, I'm not.
PAUL
Look me straight in the face and
say, "He didn't touch me once."
Huh?
She SMILES.
JEANNE
He touched me, but the way he did
it.
39.
PAUL
Aha! The way he did it. OK, what
did he do?
JEANNE
Behind the house, there were two
trees. A plane tree and a chestnut.
I sat under the plane tree and he
sat under the chestnut. And one,
two, three... We each began to
masturbate. The first who came...
won!
Paul is suddenly LOST IN HIS THOUGHTS. He wanders to the
wall, leans on it and studies his harmonica.
JEANNE (CONT'D)
Why aren't you listening to me?
PAUL
When did you first come? How old
were you?
JEANNE
The first time? I was really late
for school. I started running and
it was downhill. All of a sudden,
I felt a strong sensation here.
So I ran and ran and I came as I
ran. The faster I ran, the better
it was and the more I came. A
couple of days later, I tried to do
it again, but no luck.
Paul climbs a TRIPOD that is leaning against the wall.
JEANNE (CONT'D)
Why aren't you listening to me?
He takes the PIN OUT and it comes apart. He FALLS BACK.
JEANNE (CONT'D)
Why do I feel like I'm talking to a
brick wall when I talk to you? Your
solitude weighs on me. It isn't
indulgent. It isn't generous. You
are selfish!
He finally looks at her.
JEANNE (CONT'D)
I can be by myself, too, you know!
DRUM MUSIC STARTS AS...
40.
He smiles, twirls a drum stick, puts his harmonica on her
head and goes into the NEXT ROOM.
She THROWS THE HARMONICA on the floor in disgust.
As he FIDDLE FARTS around the apartment, Jeanne MASTURBATES.
DINING ROOM
Paul is REUNITED with his SMALL LAMP SHADE. He puts it over
his face and CRIES into it.
LIVING ROOM
Jeanne has CUM. She ROLLS OFF THE MATTRESSES onto the floor,
SPENT.
She ROCKS BACK AND FORTH on her haunches.
A SIREN screams outside. She hugs the wall.
DINING ROOM
Paul is LOST IN GRIEF, crying harder.
CUT TO:
INT. HOTEL - LOBBY
SAX MUSIC PLAYS - from a room in the HOTEL.
It's soothing and nice. Nevertheless, Rosa's mother roams the
room, sleepless, a CROCHET BLANKET wrapped around her. Paul
sleeps on the couch. She covers him with a the blanket,
MATERNAL.
He THROWS IT on the floor.
ROSA'S MOTHER
I can't sleep with this music.
PAUL
I came to this hotel a long time
ago, to spend one night. And I
stayed for five years.
ROSA'S MOTHER
When Papa and I had the hotel,
people came here to sleep.
PAUL
Now, there's all sorts. They can
hide, take drugs, play music.
41.
Rosa's mother reaches out and strokes Paul's arm.
PAUL (CONT'D)
Take your hand away.
She continues stroking.
ROSA'S MOTHER
You're not alone, Paul. I'm here.
He sits up calmly, taking her hand in his own, then... BITES
HER!!!
She PULLS HER HAND BACK in obvious pain.
ROSA'S MOTHER (CONT'D)
You're crazy! I'm starting to
understand.
PAUL
Do you want me to make them shut
up? OK. I'll make them shut up.
Paul gets up and TURNS OFF THE MASTER LIGHT SWITCH. Rosa's
mother STANDS, SCARED.
ROSA'S MOTHER
What are you doing, Paul? I'm
afraid!
Paul STALKS TOWARD her in the DARK.
PAUL
What's the matter, Mother? Are you
upset? Don't be. There's nothing to
be upset about. It takes so little
to make them afraid. I'll tell you
what they're afraid of.
He leads her by the ARM to the stairs.
PAUL (CONT'D)
They're afraid of the dark. Imagine
that! Come on, Mother. Meet my
friends.
ROSA'S MOTHER
Put the light on!
They look up the stairs to all the GUESTS that are out of
their rooms.
42.
PAUL
You should meet a few clients of
the hotel. Hey, folks. I'd like you
to say hello to Mom. Mom, this is
Mr Juicehead Junky here. And... Mr
Saxophone, he's... He's our
connection, Mom. He gives us some
hard stuff once in a while. And
right here is the beautiful Miss
Blowjob of 1933. She still makes a
few points when she takes her teeth
out.
ROSA'S MOTHER
The light, Paul.
PAUL
Say hello, Mom! This is Mom! Oh!
You afraid of the dark, Mom? She's
afraid of the dark. Oh, poor thing.
All right, sweetheart. I'll take
care of you. I'll give you a little
light. I'll give you a little
light. Don't you worry about a
thing.
Paul turns the lights back on. The GUESTS who are gathered on
the stairs, scurry back to their rooms.
HOTEL ENTRANCE
Rosa's Mother stares on as the COMMOTION CLEARS. A GUEST
comes in the front door carrying NEWSPAPERS. This is MARCEL,
(60's) Rosa's LOVER.
He takes off his hat for her.
MARCEL
Good evening, madame.
ROSA'S MOTHER
Good evening.
Paul saunters into the room. He surveys the IRONIC SCENE.
PAUL
Good evening, Marcel.
Marcel picks up on the awkward energy. He heads up the stairs
to his room. Paul hands him a key on the way up.
MARCEL
Goodnight, Paul.
43.
ROSA'S MOTHER
Who's that?
PAUL
Do you like him? He was Rosa's
lover.
CUT TO:
INT. APT. BUILDING - BATHROOM - MORNING
Jeanne, NAKED, roots through Paul's coat pockets. She finds
his RAZOR, but scoots to the sink when she HEARS HIM COMING.
She starts applying makeup and SINGING.
Paul enters the bathroom. He takes his SHAVING ACCOUTREMENTS
(razor, strop, brush, etc.) out of his coat pockets. Jeanne
watches him intently in the MIRROR.
He joins her at the LARGE BASIN SINK. She pretends to have
been putting on her make-up all along. She RESUMES HER SONG.
JEANNE
What am I doing in this apartment
with you? Love?
Paul starts putting his SHAVING CREAM on with a shaving
brush.
PAUL
Well... Let's say we're just taking
a flying... a flying fuck at a
rolling doughnut.
JEANNE
So you think I'm a wore.
He MOCKS her obvious mispronunciation of "whore".
PAUL
I think you're a what? A what? A
wore?
JEANNE
A wore.
PAUL
You mean whore.
JEANNE
Yes, a whore. Whore.
44.
PAUL
No, you're just a good old
fashioned girl... trying to get
along.
JEANNE
I prefer to be a whore.
She applies more makeup.
PAUL
Why were you going through my
pockets?
JEANNE
To find out OOH you are.
He MOCKS her mispronunciation of "who" this time.
PAUL
To find out OOH you are.
JEANNE
Yes.
PAUL
Well, if you look real close,
you'll see me hiding behind my
zipper.
JEANNE
Well, we know that he buys clothes
in some big store. That's not much.
But it's a beginning.
PAUL
That's not a beginning, that's a
finish.
JEANNE
Well, OK. Let's forget it. How old
are you?
PAUL
I'll be 93 this weekend.
JEANNE
Oh, you don't look it.
PAUL
Thank you.
She LAUGHS.
45.
JEANNE
Have you been in college?
PAUL
Oh yeah. Yeah. I went to... the
University of Congo. Studied whale-
fucking.
JEANNE
Wow!
He SHARPENS his razor on the STROP.
JEANNE (CONT'D)
Barbers don't usually go to
university.
PAUL
Are you telling me that I look like
a barber?
JEANNE
No, but that's a razor's barber.
He CORRECTS her again.
PAUL
That's a barber's razor.
JEANNE
Barber's razors, yes.
PAUL
Or a madmans.
He starts SHAVING his neck with the STRAIGHT RAZOR.
JEANNE
So you want to cut me up?
PAUL
No. That would be like writing my
name on your face.
JEANNE
Like they do to slaves?
PAUL
Slaves are branded on the ass and I
want you free.
JEANNE
Free?! I'm not free! You want to
know why...
(MORE)
46.
JEANNE (CONT'D)
why you don't want to know anything
about me? Because you hate women.
PAUL
Oh, really?
JEANNE
What the hell have they ever done
to you?
PAUL
Well,... either they always pretend
to know who I am or they pretend I
don't know who they are and that's
very boring.
JEANNE
I'm not afraid to say who I am. I
am 20 years old...
Paul EXPLODES.
PAUL
NO! I... Jesus Christ! Where is
your brain? State zitta. Halt's
Maul, Schweinehund. Shut up. Get
it?
She stands, POUTING.
PAUL (CONT'D)
I know it's tough but you're gonna
have to bear it.
She hits the sink and TURNS to us, we see her AMPLE BUSH. She
crosses her arms and continues to POUT like a child.
PAUL (CONT'D)
You know, these sinks are really
beautiful. They're very rare, you
don't find them any more. I think
it's these sinks that let you stay
together.
He has finished SHAVING.
PAUL (CONT'D)
Hmm? Don't you think?
He FINALLY NOTICES her pouting.
PAUL (CONT'D)
What's that? What's all this?
47.
PAUL (CONT'D)
Mad?
He throws her over his shoulder. He SPINS HER AROUND. She
screams but goes with it.
PAUL (CONT'D)
Mad? Mad? Mad?
She LOVES IT. He puts her down on the sink. She is LAUGHING.
PAUL (CONT'D)
I think I'm happy with you.
He leaves the bathroom. She slaps the sink top, CHILDLIKE.
JEANNE
Again! Do it again! Again!
CUT TO:
INT. APT. BUILDING - FRONT DOOR - A LITTLE LATER
Paul is all dressed. He is ready to leave. We hear Jeanne
from the BATHROOM.
DIALOGUE IS FRENCH
JEANNE'S VOICE
I'm coming! I'm ready.
She comes around the corner...
JEANNE
Shall we leave together?
... Just in time for Paul to SLAM THE DOOR IN HER FACE.
JEANNE (CONT'D)
Bastard! He's a git! Not even
goodbye!
She THROWS HER PURSE at the door.
CUT TO:
INT. SUBWAY STATION - PLATFORM - DAY
A train enters the station. Tom gets off. He searches for
Jeanne.
48.
When the Train leaves, we see her sitting on a bench on the
adjacent track.
She notices him first.
JEANNE
Tom!
TOM
Jeanne! What are you doing there?
I'm coming! I'll fly!
He starts RUNNING TO THE EXIT.
JEANNE
Wait! I've got to talk to you.
TOM
Why didn't you speak on the phone?
What's up?
JEANNE
You must find someone else.
TOM
For what?
JEANNE
For your film.
TOM
Why.
He FRAMES HER with his fingers.
JEANNE
Because you're taking advantage of
me! Because you make me do things
I've never done! Because you're
taking up my time! You make me do
whatever you want! The film is
over!
A train ROARS into the station between them. Jeanne is
ANNOYED.
JEANNE (CONT'D)
I'm tired of being raped!
The train is gone, but there is no one there... Tom is GONE.
Jeanne walks toward the EXIT. Tom appears on HER SIDE of the
platform.
49.
They STALK EACH other like ANIMALS. He SLAPS HER HARD in the
head. She SLAPS him back.
They FIGHT until she collapses from exhaustion in his arms.
CUT TO:
INT. HOTEL - MARCELS ROOM - EVENING
Marcel is in his RED PLAID BATHROBE. He sits at his desk,
clipping coupons from a NEWSPAPER.
[OC] KNOCK ON DOOR
DIALOGUE IS FRENCH
MARCEL
Come in!
Paul comes in. He is in a MATCHING RED PLAID BATHROBE.
PAUL
You wanted to talk to me. Go on,
then. You know I haven't come to
cry with you?
MARCEL
Do you mind if I carry on working?
He does while Paul ROOTS AROUND.
MARCEL (CONT'D)
It helps me a lot after what has
happened.
He takes notice of PAUL'S ROBE.
MARCEL (CONT'D)
Identical. Rosa wanted them
identical.
PAUL
Our bathrobes? You can't tell me
anything I don't already know.
MARCEL
Same colour, same pattern.
PAUL
Yes, yes, yes.
Paul takes a look at one of the newspapers from Marcel's
desk.
50.
PAUL (CONT'D)
Your meticulous. I've always
wondered why you save newspaper
clippings. Is it work? Or a hobby?
MARCEL
Hobby? I don't like that word.
Let's say it's some extra cash.
I do it for an agency.
PAUL
Oh, so it's serious. It's a job
that makes you read? Very
educational.
MARCEL
Be honest. You didn't know we had
the same bathrobes.
Paul finds this VERY AMUSING.
PAUL
Marcello...
He sits on MARCELS BED.
MARCEL
We've got a lot of things in
common.
PAUL
Marcello, I know everything.
He flicks the light on and off as he talks.
No, Rosa often talked to me about
you. I don't think there are many
marriages like that. It's
strange... I'm thirsty.
He heads to the door.
PAUL (CONT'D)
Would you like a shot of bourbon?
Marcel stops him.
MARCEL
Hold on. Here's the bourbon.
He takes a BOTTLE OF BOURBON from a hiding place. Paul joins
him. He pours a glass for Paul.
51.
PAUL
Was that a present from Rosa, too?
He POURS A GLASS for himself.
MARCEL
I don't really like bourbon, but
Rosa wanted me to keep a bottle
here in my room.
He SITS back down.
MARCEL (CONT'D)
I was asking myself this question.
If, with these little things,
unimportant things, we could go
back over things, and understand
together.
PAUL
Together?
MARCEL
It's almost a year that Rosa and
I... Not passionately, but
regularly... I thought I knew her
as much as you can know...
PAUL
Your mistress...
MARCEL
For example, a while ago, something
happened that I still don't
understand. Do you see there, on
the wall?
He points to a spot on the wall above them.
MARCEL (CONT'D)
She had climbed onto the bed and
she was trying to tear at the walls
with her hands. I stopped her
because she was breaking her nails.
She had a strange... violence about
her. I'd never seen her like that.
PAUL
Our room is painted white. Rosa
wanted it to be different from the
other rooms in the hotel.
Marcel takes some LIPS SALVE from his bathrobe pocket.
52.
PAUL (CONT'D)
To make it look like... a more
normal home. But... it had to be
changed here, too. I think she
started with the wall.
Paul takes notice of the LIP SALVE operation.
MARCEL
A cold sore. I don't know. Shit.
Paul regards him for a second.
PAUL
You're lucky huh? You were... You
must have been very handsome 20
years ago.
MARCEL
Not as much as you.
PAUL
You've still got all your hair.
MARCEL
My hair... I have to have it
trimmed often. And wash it. I wash
it nearly every day.
PAUL
Don't you have massages?
He massages his own temples.
MARCEL
Yes, I do.
PAUL
You're in good shape.
He paws at Marcel's stomach.
PAUL (CONT'D)
What do you do for... your stomach?
That's my problem.
MARCEL
For that...
He gazes across the room.
MARCEL (CONT'D)
I have a secret.
53.
He gets up and heads across the room.
PAUL
Tell me!
He takes a bar from the floor and slides it into a spot on
the top of a DOOR FRAME.
PAUL (CONT'D)
Ah...
MARCEL
Are you leaving us? I saw your
suitcase was packed. Ah... America.
Why was she unfaithful to you?
PAUL
You can't believe that Rosa...
killed herself. It's hard for me
to... believe, too.
While Paul has a moment of REFLECTION, Marcel shows him his
PULL-UP LEG KICK combo on his PULL-UP bar.
MARCEL
This is my secret! Thirty times
every morning.
Paul leaves, DISGUSTED.
PAUL
(ENGLISH)
Really, Marcello, I wonder what she
ever saw in you.
CUT TO:
INT. APT. BUILDING - DAY
Jeanne comes in carrying her FUR COLLARED COAT, purse and a
BAG.
JEANNE
Are you in?
She looks around the place.
JEANNE (CONT'D)
Is anyone here?
She kicks the door shut with her foot. She wanders to the...
DINING ROOM
54.
JEANNE (CONT'D)
Hi, monster.
She throws her coat and purse on the table. She puts a
PORTABLE RECORD PLAYER in the BASSINET.
JEANNE (CONT'D)
Is something wrong?
From the other room we hear Paul...
PAUL'S VOICE
There's butter in the kitchen.
We see that Paul is laying on the floor eating bread.
JEANNE
So you're here? Why didn't you
answer?
PAUL
Go get the butter.
JEANNE
I have to hurry. I have a cab
waiting.
PAUL
Go get the butter.
She STORMS into the kitchen. Paul continues eating.
She comes out and THROWS THE BUTTER on the floor in front of
him.
JEANNE
It makes me crazy!
She sits on the floor and opens a MIRRORED door on a cabinet.
We see PAUL'S REFECTION IN IT.
JEANNE (CONT'D)
That you're so damned sure that I'm
coming back here.
He laughs at her. She sits on her HAUNCHES, then her ass.
JEANNE (CONT'D)
Do you really think that an
American sitting on the floor in an
empty flat eating cheese and
drinking water is interesting?
55.
He NODS YES. She knocks on the FLOOR near her.
JEANNE (CONT'D)
There's something under here. Can
you hear it? It's hollow. Can you
hear it? It's hollow.
PAUL
Yeah. That's a hiding place.
He crawls toward her. We see Jeanne's reflection in a MIRROR
behind him. He reaches toward the hollow spot. She SLAPS HIS
HAND.
JEANNE
Don't open it!
PAUL
Why not?
JEANNE
I don't know. Don't open it.
He points to her CROTCH.
PAUL
What about that? Can I open that?
He reaches for it but she MOVES AWAY.
PAUL (CONT'D)
Huh? Wait a minute. Maybe there's
jewels in it.
He starts to UNDO HER PANTS.
PAUL (CONT'D)
Maybe there's gold.
He PULLS THE BUTTER OVER WITH HIS FOOT.
PAUL (CONT'D)
Are you afraid?
JEANNE
No.
PAUL
No?
He YANKS HER by the legs CLOSER TO HIM.
PAUL (CONT'D)
You're always afraid.
56.
He FLIPS HER ON HER stomach, violently. She is not in the
SAME GAME.
JEANNE
No, but... maybe there is some
family secrets inside.
PAUL
Family secrets?
He RIPS HER PANTS DOWN TO HER ANKLES.
PAUL (CONT'D)
I'll tell you about family secrets.
He gets a HAND FULL OF BUTTER.
JEANNE
What are you doing?
PAUL
I'm gonna tell you about the
family.
He YANKS her pants down enough to put his HAND FULL OF BUTTER
in her ASS.
PAUL (CONT'D)
That holy institution meant to
breed virtue in savages.
He SPREADS the butter in her ASS as she STRUGGLES.
PAUL (CONT'D)
I want you to repeat it after me.
He MOUNTS HER, opening his ZIPPER. She STRUGGLES more.
JEANNE
No and no! No!
PAUL
Repeat it. Say, "Holy family."
Come on, say it.
He grabs her arms, stopping her from STRUGGLING as he
SODOMIZES HER.
PAUL (CONT'D)
Go on. Holy family. Church of good
citizens.
She is WEEPING.
57.
JEANNE
Church...
PAUL
Good citizens.
JEANNE
Good citizens...
She CRIES OUT in pain as he enters her.
He smacks her savagely on the back of her head.
PAUL
Say it. Say it! The children are
tortured until they tell their
first lie.
JEANNE
The children... are tortured...
Her MUFFLED CRIES.
PAUL
Where the will is broken by
repression.
JEANNE
Where the will... broken...
repression.
TEARS STREAM DOWN her face.
PAUL
Where freedom...
JEANNE
Free... Freedom!
PAUL
..is assassinated. Freedom is
assassinated by egotism. Family...
JEANNE
Family...
He DRIVES IT HOME TILL HE COMES...
PAUL
You... You... You... You f...
You... fucking... fucking...
family. You fucking... family! Oh,
God... Jesus. Oh, you... Oh...
58.
He COLLAPSES on her, SPENT as she continues to WEEP.
CUT TO:
EXT. PONT DE BIR-HAKEIM - THAT MOMENT
A TRAIN ROARS by on the TRAIN BRIDGE.
CUT TO:
INT. APT. BUILDING - LIVING ROOM
Paul is SLEEPING on the floor amidst the BREAD AND BUTTER.
CUT TO:
EXT. PONT DE BIR-HAKEIM - MOMENTS LATER
Another couple of TRAINS go by.
CUT TO:
INT. APT. BUILDING - LIVING ROOM - LATER
Paul SLEEPS more. On his STOMACH now, with his foot on a
piece of FURNITURE.
Jeanne puts a record on the RECORD PLAYER she brought with
her. She goes to plug it into the FLOOR PLUG but gets an
ELECTRICAL SHOCK.
JEANNE
Shit!
She looks at him sleeping.
JEANNE (CONT'D)
Hey, you!
He looks at her UPSIDE DOWN.
JEANNE (CONT'D)
Yes, you!
PAUL
Huh?
JEANNE
I've got a surprise for you.
59.
PAUL
What?
He looks at himself in a SMALL MIRROR.
JEANNE
I've got a surprise for you!
PAUL
That's good. I like surprises.
He FLIPS HIMSELF over backwards onto his feet. He walks over
to her and the RECORD PLAYER. He stares down at her.
PAUL (CONT'D)
What is it?
JEANNE
Music. But I don't know how to work
it.
He sits on the FLOOR next to her. He plugs in the RECORD
PLAYER. He JUMPS as he gets an ELECTRICAL SHOCK. Jeanne is
secretly amused.
PAUL
Do you enjoy that?
He gets the RECORD PLAYING. It's some 70's HIPPY MUSIC.
Jeanne sways to it while Paul reads the JACKET COVER.
CUT TO:
EXT. PASSY VIADUCT PARK - DAY
HIPPIE MUSIC CONTINUES
Tom and Jeanne sit, ROMANTICALLY ENTWINED on a SEA WALL while
his FILM CREW films in the b.g.
They sit FACE TO FACE, he holds her shoulders and stares into
her eyes.
TOM
Do you know why I sent the others
away?
JEANNE
Because you're angry, or you want
to be alone with me?
60.
TOM
And why do I want to be alone with
you?
JEANNE
You have something really serious
to tell me.
He plays with her hair.
TOM
I have something really very
serious to tell you.
JEANNE
Is it happy or sad?
TOM
It's a secret.
JEANNE
So it's happy. What sort of secret?
TOM
A secret...
As his FILM CREW dolly around them in the b.g., his SOUND
PERSON yells at them.
SOUND PERSON
Speak up! I can't hear anything.
TOM
...between a man and a woman.
JEANNE
Is it dirty or is it about love?
TOM
About love. But that's not all.
JEANNE
A secret about love, but which
isn't love. What is it?!
He puts a LIFE PRESERVER over her.
TOM
Voila. That in a week I'm marrying
you.
JEANNE
What?
61.
TOM
I'm marrying you.
JEANNE
What?!
TOM
I'm marrying you!
JEANNE
You're marrying me?
TOM
Yes!
JEANNE
We're getting married?
TOM
Yes we're getting married.
JEANNE
No.
TOM
Yes.
JEANNE
No!
TOM
Yes.
JEANNE
Yes?
TOM
Yes.
JEANNE
No.
TOM
Yes.
JEANNE
Yes?
TOM
No. Are we getting married or not?
JEANNE
I don't know.
62.
TOM
So, yes, then?
JEANNE
Yes!
TOM
No!
JEANNE
Yes!
TOM
Yes.
JEANNE
No.
TOM
Yes or no?
She take the life preserver off and THROWS IT IN THE WATER.
Together, they WATCH IT SINK.
CUT TO:
EXT. JEANNE'S MOTHERS APT. - PORCH - DAY
JEANNE'S MOTHER beats the dirt off her LATE HUSBANDS MILITARY
JACKET.
JEANNE'S MOTHER
Of course, I'll send everything to
the country. What do you think,
Jeanne?
INT. LIBRARY - CONTINUOUS
Jeanne tries on another of her FATHERS MILITARY UNIFORMS
complete with HAT.
JEANNE
Olympia will be happy. I went there
yesterday with Tom.
Her mother joins her inside. She carries the FATHERS BOOTS.
JEANNE (CONT'D)
She's preparing a family museum.
63.
JEANNE'S MOTHER
Of course, I'm not sending the
boots. I'm keeping them with me. I
get strange shivers when I touch
them.
Jeanne goes into an ADJOINING ROOM while her mom continues
reflecting, IRONING the JACKET.
JEANNE'S MOTHER (CONT'D)
All these military things never
age.
She looks up just in time to see that Jeanne has found her
fathers gun and is pointing it in her direction.
JEANNE
When I was little, it seemed really
heavy when Papa taught me how to
shoot.
JEANNE'S MOTHER
I'm keeping that here. In a
respectable household, it's useful
to have a weapon.
JEANNE
You don't even know how to use it.
JEANNE'S MOTHER
The important thing is to have one.
It makes an impression.
JEANNE
You really kept everything of
Papa's.
She shows her mom a picture she has scrounged up from her
FATHERS WALLET of a TOPLESS NEGRO FEMALE.
JEANNE (CONT'D)
Who's that? His orderly?
JEANNE'S MOTHER
A fine example of a Berber.
JEANNE
Oh.
64.
JEANNE'S MOTHER
A strong race. I tried to employ
them as servants, but it was
disastrous. 'm glad I decided to
send everything to the country. All
his things were piling up and
piling up.
JEANNE
Don't worry. You'll soon have all
the space you want.
JEANNE'S MOTHER
What does that mean?
JEANNE
Nothing.
She takes off the HAT and JACKET and throws them on the sofa.
She heads to the FRONT DOOR with MOM FOLLOWING, on pins and
needles.
JEANNE (CONT'D)
Madame, the colonel's lady, I
announce...
Mom RUNS IN.
JEANNE'S MOTHER
What? What?
JEANNE
On this solemn day...
She goes out the door...
JEANNE'S MOTHER
What? What solemn day?
She RUNS AFTER her daughter.
HALLWAY - CONTINUOUS
Jeanne is on the ELEVATOR. She sticks her head out.
JEANNE
I'm getting married in a week!
She shuts the door and HEADS DOWN.
JEANNE'S MOTHER
What did you say?
65.
Mom follows her down STEP FOR STEP.
JEANNE
To Tom! In a week!
JEANNE'S MOTHER
Pardon?
JEANNE
Tom! In a week!
JEANNE'S MOTHER
What are you doing in a week?
CUT TO:
EXT. OUTDOOR SHOP BAZAAR - DAY
Tom and his FILM CREW film Jeanne trying on wedding dresses.
He COUNTS DOWN to the shot.
TOM
Five... two!
He does the CLAPPER with his hands.
Jeanne and her HOST OF DRESSERS is lost in her fittings.
TOM (CONT'D)
Move into shot! We're shooting!
They move into the center of the shop.
We get another look at Jeanne's LEFT BREAST as it slips out
of the dress being fitted.
Tom fires off QUESTIONS for film purposes.
TOM (CONT'D)
So,... how do you see marriage?
JEANNE
Marriage?
TOM
Yes.
Jeanne gives her upbeat EXTISTENTIAL RESPONSES as her fitting
continues.
JEANNE
I see it everywhere. All the time.
66.
TOM
What do you mean, everywhere?
JEANNE
On walls. On buildings.
TOM
Walls and buildings?
JEANNE
Yes, on advertising hoardings.
TOM
What are they selling? Cars. Tinned
meat. Cigarettes.
JEANNE
No. They're all about young
couples. Before marriage, no
children. Then the same couple,
married with children. In short,
marriage. The perfect, ideal,
successful marriage. It's no longer
the preserve of the Church. The
husband was burdened with
responsibilities and the wife
nagged. Now, weddings in
advertising smile!
TOM
They smile. On posters.
JEANNE
On posters, of course. But why t
take poster marriage seriously?
Marriage... Pop marriage!
Tom comes out from under a DRESS.
TOM
Pop? That's the formula. For pop
youth, pop marriage! But... what if
the pop marriage doesn't work?
JEANNE
Then you have to fix it like you
would a car. The spouses are two
workers in overalls bending over an
engine to fix it.
TOM
And in case of adultery what
happens to the pop marriage?
67.
JEANNE
In that case, there are three or
four workers.
TOM
What about love? Is love pop?
JEANNE
No. That's not. Love isn't pop.
TOM
Love isn't pop. So what is it?
JEANNE
The workers retire to a secret
flat, take off their overalls
and become men and women again
and make love.
The fussing on the dress is finished. Jeanne slowly, PUTS ON
HER GLOVES, relishing them.
She STRUTS slowly for all to stare and LAVISH her in her
dress.
Tom is CAPTIVATED.
TOM
You're wonderful.
JEANNE
It's the dress that makes the
bride.
TOM
You're better than Rita Hayworth.
He wanders out into the street. It is RAINING HEAVILY.
Better than Joan Crawford! Better
than Kim Novak! Better than Lauren
Bacall! Better than Ava Gardner
when she was Mickey Rooney's lover!
Hes FILM CREW scatters for cover.
TOM (CONT'D)
What are you doing? Stop! Stop, but
keep filming! Why aren't you
filming in the rain?
CREW 1
You're crazy!
68.
They huddle underneath the DOOR of the FILM TRUCK.
Tom has lost Jeanne in all the HUBUB. He is disgusted with
his CREW.
TOM
You're all fired!
He goes back to the SHOP.
TOM (CONT'D)
Where's Jeanne?
DRESSER 1
She must have run off.
TOM
When? ln the rain?
He runs down the street in the rain looking for her.
JEANNE
Jeanne! Jeanne! Jeanne! Jeanne!
CUT TO:
INT. APT. BUILDING - LOBBY - DAY
Paul comes POINDING in from the rain. He STOMPS the water off
his shoes. He breaks into an IMPROMPTU SOFT SHOE.
He opens the gate to the ELEVATOR and gets on. He pushes the
button. The elevator STARTS UP.
JEANNE'S VOICE
Please forgive me!
Paul stops the elevator. He SENDS IT BACK DOWN.
We see Jeanne has been waiting on the ADJACENT STAIRS for
Paul. She is still in her WEDDING DRESS.
She implores Paul from outside the elevator.
JEANNE
(FRENCH)
Forgive me! I wanted to leave you
and I couldn't.
(ENGLISH)
I wanted to leave you and I
couldn't. I can't. I can't leave
you, do you understand?
69.
She stands, PLEADING at the ELEVATOR.
JEANNE (CONT'D)
Do you still want me?
Paul does the EYEBROW TRILL. He opens the elevator so she can
get on.
ELEVATOR
As it ascends, Jeanne slowly RAISES HER DRESS, revealing NO
UNDERWEAR and her AMPLE BUSH to Paul.
CUT TO:
INT. APT. BUILDING - ENTRANCE - MOMENTS LATER
The door flies open. Paul comes in CARRYING Jeanne in his
arms.
PAUL
Voil�!
He starts doing a JIG AND SONG... all the way to the
MATTRESSES.
PAUL (CONT'D)
Oh, there once was a man
And he had an old sow ow! Hi-diddle-
dow...
He puts her on the bed. She is GIGGLING.
PAUL (CONT'D)
You're wet.
Paul pats her stomach and leaves the room.
DINING ROOM - CONTINUOUS
Paul opens the curtains.
Jeanne's SCREAMS come from the other room. He goes to
investigate.
PAUL (CONT'D)
What the hell?
BEDROOM - CONTINUOUS
Jeanne screams BLOODY MURDER and points to a DEAD RAT on the
STILL UNMADE MATTRESS.
70.
PAUL (CONT'D)
A rat. Only a rat.
He PICKS IT UP by the tail. She stumbles over herself to get
away.
PAUL (CONT'D)
There are more rats in Paris than
people. Yum, yum, yum.
He holds it out, OFFERING IT to her. She freaks. She runs to
the other side of the room.
JEANNE
I want to go!
He brings it to her... she continues to BACK PEDDLE.
PAUL
Wait, wait! Don't you want a bite
first? You don't want to run and
eat.
JEANNE
This is the end!
He points to the ASS of the RAT.
PAUL
No, this is the end...
Then points to the HEAD.
PAUL (CONT'D)
...but I like to start with the
head. That's the best part. Are you
sure you won't have any? OK.
He DANGLES IT over his mouth, flitting his tounge, pretending
to eat it. She is gonna HURL.
PAUL (CONT'D)
What's the matter? You don't dig
rat?
JEANNE
I wanna go! I can't make love in
this bed any more. I can't. It's
disgusting! Nauseating!
PAUL
Well, we'll fuck on the radiator or
standing on the mantel.
71.
He holds up the RAT again.
PAUL (CONT'D)
Listen, I gotta get some mayonnaise
for this. Because, it really is
good with mayonnaise.
He heads out, then stops and LOOKS BACK AT HER.
PAUL (CONT'D)
I'll save the asshole for you.
He really leaves this time.
PAUL'S VOICE
Rat's asshole with mayonnaise!
He LAUGHS at himself.
Jeanne is a BASKET CASE. She sits on her HAUNCHES, muttering.
JEANNE
I want to get out of here. I want
to go. I can't stand it here any
more. Yes. I'm going.
She gets up, gets her purse and goes to the door. We see her
ASS through the SHEER FABRIC of her wedding dress.
JEANNE (CONT'D)
I'm not coming back... ever.
She gets to the...
FRONT DOOR
Paul is there, WAITING, NONCHALANT.
PAUL
Quo vadis, baby?
JEANNE
I forgot to tell you something. I
fell in love with somebody.
PAUL
Oh, isn't that wonderful? You know,
you're going to have to get out of
these wet duds.
He PATS HER ASS.
JEANNE
I'm going to make love with him!
72.
She opens the door but he closes it. She STOMPS into the
HALL.
PAUL
Well, first you have to take a hot
bath. Cos if you don't...
He walks toward her.
PAUL (CONT'D)
...you're gonna get pneumonia,
right? Huh?
She STOMPS a few more steps toward the BATHROOM.
PAUL (CONT'D)
And then you know what happens? You
get pneumonia, then you know what
happens? You die. And then, you
know what happens when you die?
I get to fuck the dead rat!
He THROWS HER OVER his shoulder and carries her KICKING AND
SCREAMING into the...
CUT TO:
INT. BATHROOM
Jeanne is in the BATHTUB. Paul sits on the BIDET behind her
with a WASHCLOTH.
PAUL
Give me the soap.
She does.
JEANNE
I'm in love.
PAUL
You're in love?
He shoves her head UNDER THE WATER.
PAUL (CONT'D)
How delightful.
She comes up ANGRY.
JEANNE
I'm in love! I'm in love, you
understand?
73.
He SMACKS her with the washcloth on the head.
JEANNE (CONT'D)
I'm in love, I'm in love!
He SHOVES HER under again.
JEANNE (CONT'D)
Oh! I'm in love!
He HITS HER on the head with her own shoe. She just gets more
ANGRY.
JEANNE (CONT'D)
You know, you're old! You're
getting fat.
PAUL
Fat, is it? How unkind.
JEANNE
Half of your hair is out and the
other half is almost white.
He smacks her in the mouth with the wash cloth, she smiles.
PAUL
In ten years, you'll be playing
soccer with your tits.
He starts WASHING HER back.
PAUL (CONT'D)
What do you think of that? You know
what I'm gonna be doing?
JEANNE
You will be on a... wheelchair!
PAUL
Well, maybe. But, you know... I'll
be smirking and giggling all the
way to eternity.
JEANNE
How poetic. But please, before you
go, wash my feet.
She holds up A FOOT.
PAUL
OK. oblesse oblige.
74.
He sits on the edge of the TUB and grabs her foot. He takes a
sniff... She pulls it away.
JEANNE
You know, he and I, we make love.
He WASHES her foot.
PAUL
Oh, really? That's wonderful. Is he
a good fucker?
JEANNE
Magnificent.
He puts up the OTHER FOOT to was, he obliges again.
PAUL
You know, you're a jerk. Cos the
best fucking you're gonna get
is right here in this apartment.
Stand up.
She does. He washes her ASS.
JEANNE
He is full of mysteries.
PAUL
Give me the soap. Listen, you dumb
dodo. All the mysteries that you're
ever gonna know in life are right
here.
He washes her STOMACH.
JEANNE
He is like everybody but... at the
same time he's different.
PAUL
You mean, like everybody.
JEANNE
Yeah, but... even he fright me.
Even he frightens me.
PAUL
What is he, your local pimp?
JEANNE
He could be. He looks it. You know
why I'm in love with him?
75.
PAUL
I can't wait.
JEANNE
Because he know. He know how to
make me fall in love with him.
She gets out. He COVERS her with a BIG RED TOWEL.
PAUL
You want this man you love to
protect and take care of you.
JEANNE
Yeah.
PAUL
You want this golden, shining,
powerful warrior to build a
fortress where you can hide in. So
you don't have to ever... have...
You don't ever have to be afraid.
You don't have to feel lonely or
empty. That's what you want, isn't
it?
JEANNE
Yes.
PAUL
Well, you'll never find it.
JEANNE
But I find this man.
PAUL
Then it won't be long until he'll
want you to build a fortress for
him out of your tits and out of
your cunt and your hair and your
smile and the way you smell. And...
and some place where he can feel
comfortable and secure enough so
that he can worship in front of the
altar of his own prick.
JEANNE
But I find this man!
They lean against SEPERATE WALLS.
76.
PAUL
No, you're alone. You're all alone.
You won't be free of that feeling
of being alone until you look death
right in the face. I mean, that
sounds like bullshit, some romantic
crap, until you go right up into
the ass of death. Right up in his
ass... till you find the womb of
fear. And then,... maybe... Maybe
then, you'll be able to find him.
JEANNE
But I find this man. He's you! You
are that man!
Paul doesn't like that comment. He needs to TEACH HER another
LESSON. He bites a HANGNAIL.
PAUL
Get me the scissors.
JEANNE
What?
PAUL
Get me the fingernail scissors.
She STOMPS past him to get them, hands them to him.
PAUL (CONT'D)
No. I want you to cut the
fingernails on your right hand,
these two.
She DOES.
JEANNE
That's it.
He stands FACING the wall and PULLS HIS pants down.
PAUL
I want you to put your fingers up
my ass.
JEANNE
What?
PAUL
Put your fingers up my ass, are you
deaf? Go on. I'm gonna get a pig...
and I'm... I'm gonna have the pig
fuck you.
(MORE)
77.
PAUL (CONT'D)
I want the pig to vomit in your
face and I want you to swallow the
vomit. Are you gonna do that for
me?
JEANNE
Yeah.
PAUL
Huh?
JEANNE
Yeah!
PAUL
I want the pig to die while...
while you're fucking him. Then
you'll have to go behind him. I
want you to smell the dying farts
of the pig. Are you gonna do all of
that for me?
JEANNE
Yes, and more than that! And worse!
And worse than before.
CUT TO:
INT. HOTEL - TEMPORARY VIEWING ROOM - DAY
ROSA'S WAKE. Rosa's mother has set up a room in the Hotel as
a VIEWING ROOM for her daughter. She is, as promised,
surrounded by TONS OF FLOWERS.
Paul comes in and pulls up a chair next to ROSA. He turns on
the LIGHT.
PAUL
You look ridiculous in that make-
up. Like the caricature of a whore.
A little touch of Mommy in the
night. Fake Ophelia drowned in the
bathtub. I wish you could see
yourself. You'd really laugh.
You're your mother's masterpiece.
He pulls the chair closer to her.
PAUL (CONT'D)
Oh Christ! There are too many
fucking flowers in this place. I
can't breathe. You know on the top
of the closet?
(MORE)
78.
PAUL (CONT'D)
The cardboard box, I found all
your... I found all your little
goodies.
Pens, keychains, foreign money,
French ticklers, the whole shot.
Even a clergyman's collar. I didn't
know you collected all those little
knick-knacks left behind. Even if
the husband lives fucking years,
he's never going to be able to
discover his wife's real nature.
I mean, I... I might be able to
comprehend the universe, but... 'll
never discover the truth bout you.
Never. I mean, who the hell were
you? Remember that day, the first
day I was there? I knew that I
couldn't get into your pants unless
I said... What did I say? Oh, yeah.
"May I have my bill, please? I have
to leave." Remember? Last night...
I ripped off the lights on your
mother. And the whole joint went
bananas. All your... guests... as
you used to call them... Well, I
guess that includes me, doesn't it?
It does include me, doesn't it? For
five years, I was more a guest in
this fucking flophouse than a
husband. With privileges, of
course. And then, to help me
understand you, you let me inherit
Marcel. The husband's double, whose
room was the double of ours. And
you know what? I didn't even have
the guts to ask him. Didn't have
the guts to ask him if the same
numbers you and I did were the same
numbers you did with him. Our
marriage was nothing more than a
foxhole for you. And all it took
for you to get out was a -cent
razor and a tub full of water. You
cheap, goddamn, fucking,
godforsaken whore. I hope you rot
in hell. You're worse than the
dirtiest street pig anybody could
find, and you know why? You know
why? Because you lied. You lied to
me and I trusted you. You lied. You
knew you were lying! Go on, tell me
you didn't lie. Haven't you got
anything to say about that? You can
think up something, can't you?
(MORE)
79.
PAUL (CONT'D)
Go on, tell me something! Smile,
you cunt!
He STARTS to WEEP.
PAUL (CONT'D)
Go on, tell me... Tell me something
sweet. Smile at me and say I just
misunderstood. Go on, tell me. You
pig-fucker! You goddamn, fucking,
pig-fucking liar. Rosa, I'm
sorry... I just can't... I can't
stand it... to see these goddamn
things on your face. You never wore
make-up. This fucking shit. I'm
gonna take this off your mouth.
This lipstick... Rosa... Oh, God!
He COLLAPSES on her, SOBBING.
PAUL (CONT'D)
I'm sorry. I don't know why you did
it. I'd do it too, if I knew how. I
just don't know how. I have to... I
have to find a way.
[OC] We hear a voice.
PROSTITUTE'S VOICE
Is anyone there?
PAUL
What?
PROSTITUTE'S VOICE
There was a noise in there!
PAUL
All right, I'm... I'm coming.
(back to ROSA)
I have to go. I have to go,
sweetheart, baby. Somebody's
calling me.
He starts to the door.
PROSTITUTE'S VOICE
Well? Is anyone there?
PAUL
Yeah. I'm coming.
CUT TO:
80.
INT. HOTEL - ENTRANCE - DAY
Outside the FRONT DOOR, the source of the voice, a WORN OUT
and OLD PROSTITUTE. She is with her JOHN.
PROSTITUTE
(TO JOHN)
Here he is.
(TO PAUL)
Hurry up! Wake up! Open up! Open
up!
PAUL
It's four in the morning.
PROSTITUTE
I need room four for a while.
(TO JOHN)
Half an hour?
(TO PAUL)
Yes, that'll do. Yes, half an hour.
PAUL
We're full.
She knocks on the door, INCESANTLY.
PROSTITUTE
That's not true. When you're full,
you put a sign outside. I know the
hotel. I'm sick of arguing out on
the street. Call the owner. What
are you waiting for? The owner has
never made a fuss. Rosa and I are
old friends. Open up.
Paul opens up.
PROSTITUTE (CONT'D)
Don't make any trouble or I'll tell
your boss.
(TO JOHN)
Come in, it's all sorted...
But the man has LEFT.
PROSTITUTE (CONT'D)
You've won. He's taken off.
PAUL
I'm very sorry.
PROSTITUTE
Hurry up! He can't be far away.
81.
She PUSHES him out to the street.
PROSTITUTE (CONT'D)
Make him come back. Tell him he
can't just walk off.
She SHOVES HIM out the door and DOWN THE STREET.
Paul CHASES the man on foot for BLOCKS and BLOCKS.
He finally CATCHES UP to him in a ---
CUT TO:
EXT. PARIS STREET - ALLEY - MORNING
The JOHN figures he has gotten away. He reverses his TRENCH
COAT to the appropriate side.
Paul comes around the corner. The John doesn't see any
HOSTILITY coming. But it DOES.
JOHN
Oh,... please don't tell her you
found me. I don't fancy it any
more. Did you see her face? Once,
my wife satisfied me. But now she's
got a skin disease. It's like
snakeskin. Put yourself in my
place.
Paul grabs him by the tie and drags him.
PAUL
Come. Come with me.
The man FIGHTS BACK.
JOHN
But... Let go of me!
Paul doesn't like that. He ROUGHS HIM UP, throwing him from
WALL TO WALL.
JOHN (CONT'D)
You're crazy! Let go of me! Let go!
He ends up on the ground MINUS HIS COAT. Paul KICKS HIM IN
THE ASS like a dog.
PAUL
Get the fuck out of here!
82.
The man RUNS OFF.
PAUL (CONT'D)
Faggot!
Paul heads back up the ALLEY as the man CONTINUES OFF in the
f.g.
CUT TO:
INT. HOTEL - PAUL AND ROSA'S ROOM - DAY
Paul lays down on his TWIN BED with his ROBE on over his
clothes.
We see that his BAGS ARE PACKED.
CUT TO:
INT. APT. BUILDING - BEDROOM - DAY
We see that the mattress is gone. Only a pile of sheets and
pillows remain in the room.
Jeanne is on the floor, on her knees, doubled over in SICK
GRIEF. PAUL HAS MOVED OUT.
JEANNE
No!
She WANDERS through the apt., GRIEF STRICKEN, from room to
room. We see only a FEW BELONGINGS left around. Shoes, the
CAT (where was it for the "rat problem"?) and phone.
DINING ROOM - CONTINUOUS
Jeanne RIPS THE SHEET OFF the piece of furniture that has
been COVERED UP all along. We all wondered what was
underneath that was so precious.
It's nothing special. She COLLAPSES in grief again, the
furniture falling on her, she KICKS IT OFF.
CUT TO:
INT. APT. BUILDING - FRONT DESK - DAY - MOMENTS LATER
Jeanne talks to the CRAZY Concierge from BEFORE. Her head
STUCK through the LITTLE WINDOW while the crazy woman PUFFS a
cig.
83.
JEANNE
Try and remember! The man from the
fourth floor. He moved in a few
days ago.
CONCIERGE
I told you, I don't know anyone.
They come and go. The man on the
fourth, the woman on the first.
What do I know?
She gives a CRAZY CACKLE.
JEANNE
Where did they take the furniture
too? It's empty. Where do you send
his mail? Give me his address.
CONCIERGE
I don't have it. I don't know these
people.
JEANNE
Not even his name?
CONCIERGE
Nothing!
Jeanne STORMS OUT.
CONCIERGE (CONT'D)
Ma'zelle!
CUT TO:
INT. PAYPHONE BOOTH - DAY - MOMENTS LATER
Jeanne is on the payphone in the bar from before. She speaks
to Tom. Still DESPONDENT, tears stream down her face.
JEANNE
I've found a flat for us. 1 rue
Jules Verne. Yes. In Passy. Come
quickly! You'll come now? Do you
know where it is? I'll wait for
you. Come over.
She struggles to HANG UP THE PHONE through her grief. She
BREAKS DOWN, closing the door for privacy.
84.
We can SEE HER through the door as she leans on it.
CUT TO:
INT. APT. BUILDING - LIVING ROOM - DAY
The front DOORBELL RINGS.
JEANNE
Come in, it's open.
Tom comes in. Jeanne stares out the window. She is BATHED in
sunlight.
Tom LOOKS AROUND in b.g.
JEANNE (CONT'D)
Do you like our flat? It's very
light. There's a tiny room, too.
It's too small for a double bed. It
would be fine for a child. Fidel.
That's a nice name for a boy.
Fidel, as in Castro.
TOM
But I'd like a girl, too. Rosa. As
in Rosa Luxemburg. Less famous, but
I like it. You know, I wanted to
film you every day. In the morning,
when you wake up, in the evening,
when you sleep. When you first
smile, and I didn't film any of
that. Here.
He hands her FLOWERS. She REGARDS them.
He circles to her front.
TOM (CONT'D)
Today is the last day of shooting.
The film is finished. I don't like
things that finish, things that
end. You have to start something
else right away.
They EMBRACE and KISS.
THAT ROOM - MOMENTS LATER
Tom looks around the place.
85.
TOM (CONT'D)
This flat is huge!
Jeanne has made her way to the DINING ROOM.
TOM (CONT'D)
Where are you?
JEANNE
I'm here!
They continue shouting across the apt.
TOM
It's too big! We'll get lost!
JEANNE
Stop it! Don't start!
TOM
How did you find this flat?
JEANNE
By chance.
TOM
We'll change everything!
Jeanne holds her ARMS OUT like a bird.
JEANNE
Everything! We'll change chance to
destiny.
TOM
Go on, Jeanne. Take off!
MUSIC RISES as Jeanne pretends to FLY AROUND the apt. from
ROOM TO ROOM making AIRPLANE NOISES as Tom DIRECTS HER.
TOM (CONT'D)
Fly away, you're in heaven! You're
soaring, you're in heaven! Come
down, take a nose dive, come down!
Make three turns, come down.
Jeanne, what's happening? There's
an air pocket.
Tom gets SUDDENLY SERIOUS.
JEANNE
What's happening?
86.
TOM
The patches of turbulence are over.
We can't play like children any
more, Jeanne.
This stops Jeanne in her TRACKS.
They face each other.
TOM (CONT'D)
We're adults.
JEANNE
Adults? That's awful!
TOM
Yes. It's awful.
JEANNE
What do adults do?
TOM
I don't know. We'll have to invent
the gestures and the words. For
example, adults...
He walks slowly toward her. They EMBRACE PASSIONATELY. They
kiss.
He breaks away again, SERIOUS.
TOM (CONT'D)
But there's one thing I do know.
Adults are calm...
He walks backward as Jeanne STALKS HIM.
TOM (CONT'D)
...serious, logical, measured,
level-headed...
JEANNE
Yes...
TOM
And... they face up to problems...
JEANNE
...Yes, yes. Yes, yes.
He STOPS ABRUPTLY.
87.
TOM
You see, Jeanne, this flat won't
work for us. This flat, it won't
work for us, Jeanne.
JEANNE
Where are you going?
TOM
To look for a flat.
He walks out to a SHOCKED Jeanne.
JEANNE
What kind of flat?
But he COMES BACK.
TOM
A flat we can live in.
JEANNE
We can live here.
TOM
It's squalid. It smells. It makes
me sick. Are you coming with me?
JEANNE
No, no. I've got to close the
windows and return the key. There's
a lot to do.
TOM
OK.
They meet in the middle of the room again. They share a
LOVING HANDSHAKE.
JEANNE
Bye.
TOM
Bye.
Tom leaves Jeanne to it.
She opens the LARGE WINDOW. We can hear the TRAIN below. She
says goodbye to the apt. emotionally, CLOSING THE SHUTTER,
then finally, the window.
CUT TO:
88.
EXT. PONT DE BIR-HAKEIM - DAY
We watch Jeanne come out of the APARTMENT BUILDING. She
climbs the stairs to the RAISED WALKWAY. She is back where it
all started. We watch her a bit.
RAISED WALKWAY - MOMENTS LATER
Jeanne walks, in her own world. A somewhat MORE CONTENT world
now. Back to HERSELF.
We suddenly see Paul. He watches her for a moment before
TRAILING HER. He is more DRESSED UP then we have seen him
previously.
As she walks, he RUNS UP BEHIND her and playfully taps her on
her SHOULDER.
She turns, SURPRISED.
DIALOGUE IS ENGLISH
PAUL
It's me again.
She stops and stares at him, DISGUSTED by his GALL and over
him.
JEANNE
It's over. It's over.
He doesn't get the hint. He doesn't care what she says. He
presses on PLAYFULLY.
PAUL
It's over, then it begins again.
JEANNE
What begins again? I don't
understand anything any more.
PAUL
There's nothing to understand. We
left the apartment. Now we begin
again with love and all the rest of
it.
JEANNE
The rest?
PAUL
Yeah, listen.
He puts his arm around her as THEY STROLL.
89.
PAUL (CONT'D)
I'm 45. I'm a widower. I've got a
little hotel, a kind of a dump. But
it's not completely a flophouse.
And... I used to live on my luck,
and I got married. My wife killed
herself.
AND WE...
CUT TO:
INT. SALLE WAGRAM SALON - DAY
As Paul WAXES ON, we watch a TANGO CONTEST in progress. He
wanders RUDELY between the DANCERS on the DANCE FLOOR,
invading their space and lighting a cigarette.
PAUL'S VOICE
But you know, what the hell. I'm...
no prize. I picked up a nail when I
was in Cuba in and now I got a
prostate like an Idaho potato. But
I'm still a good stick man, even if
I can't have any children. Let's
see. I don't have any stomping
grounds. I don't have any friends.
I suppose if I hadn't met you, I'd
probably settle for a hard chair
and a hemorrhoid. Anyway, to make a
long, dull story even duller, I
come from a time when a guy like me
would drop into a joint like this
and pick up a young chick like you
and... and call her a bimbo.
He reaches the other side of the dance floor where Jeanne
waits for him. She is able to SMILE now at his SHENANIGANS.
He has a real JOIE DE VIVRE about him now that he LACKED
PREVIOUSLY.
She sits down at a GUEST TABLE on the outskirts of the DANCE
FLOOR.
He approaches her table and FEIGNS a GENTLEMAN PERSONA.
PAUL
I'm awfully sorry to intrude
but I was so struck with your
beauty that I thought I could offer
you a glass of champagne. Is this
seat taken?
90.
JEANNE
No.
PAUL
May I?
JEANNE
If you'd like to.
He sits down with her. He CLAPS his hands.
PAUL
Garcon!
A WAITER comes over.
PAUL (CONT'D)
You know, the tango is a, is a
rite. Do you understand "rite"? And
you must watch the legs of the
dancers.
The waiter comes over, he turns to chat with him.
DANCE FLOOR
We watch one of the DANCE COUPLES DANCE THE TANGO. We focus
on their LEGS and FEET.
We make it back to Paul and Jeanne and Champagne.
PAUL (CONT'D)
Oh, no! You haven't drunk your
champagne because it was warm. And
then I ordered you a Scotch and you
haven't drunk your Scotch.
DANCE FLOOR
We watch a DIFFERENT COUPLE DANCE.
Paul tries to BUTTER UP (pardon the pun) Jeanne.
PAUL (CONT'D)
Come on. Just a sip for Daddy.
She takes a sip from the glass he offers her.
PAUL (CONT'D)
Now, if you love me, you'll drink
all of it.
JEANNE
OK, I love you.
91.
She SLAMS IT BACK.
PAUL
Bravo!
JEANNE
Tell me about your wife.
PAUL
Let's talk about us.
JEANNE
OK. But this place is so pitiful.
PAUL
Yes, but I'm here, aren't I?
He kisses her on the cheek.
JEANNE
Monsieur Maitre d'H�tel.
PAUL
That's rather nasty. Anyway, you
dummy, I love you. And I want to
live with you.
JEANNE
In your flophouse?
PAUL
In my flophouse. What the hell does
that mean? What the hell difference
does it make if I have a flophouse
or a hotel or a castle? I love you.
What the fuck difference does it
make?!
She PEEKS OUT A SMILE. He may just be WINNING HER BACK OVER.
DANCE FLOOR
We watch a COUPLE as the MUSIC STOPS. All the PATRONS CLAP as
the DANCE floor clears.
The PRESIDENT OF THE TANGO CONTEST speaks at a microphone.
PRESIDENT
The jury has chosen the following
ten best couples: Number 3! 7! 8,9
...11, 12...13, 14 ... 15 and 19!
(MORE)
92.
PRESIDENT (CONT'D)
And now, ladies and gentlemen, good
luck for the last tango!
More CLAPPING PATRONS.
We get back to Paul and Jeanne. She sits 2 tables over,
POUTING, while he struggles to light his CIG. She holds up
her glass to him.
JEANNE
Give me some more whisky.
PAUL
Oh, I thought you weren't drinking.
JEANNE
But I'm thirsty now and I want some
more drink.
PAUL
All right. I think that's a good
idea.
He starts to bring the bottle to her then stops, gets his
drink and brings it too.
PAUL (CONT'D)
Wait a minute. Because you're
really beautiful. Wait a minute.
I'm sorry. I'm terribly sorry. I
didn't mean to spill my drink.
He POURS HER SOME. She holds her glass up.
JEANNE
Let's have a toast to our life in
the hotel.
PAUL
No! Fuck all that! Come on. No.
Hey, listen. Let's drink a toast to
our life in the country. Huh?
JEANNE
You're a nature lover? You didn't
tell me that.
PAUL
Oh, for Chr... I'm a nature boy.
Can't you see me with the cows and
the chicken shit all over me?
JEANNE
Oh, yeah. To the house of the cows.
93.
She holds her glass up again.
PAUL
Cows.
JEANNE
I will be your cow, too.
PAUL
And listen... I get to milk you
twice a day. How about that?
She lays her head on the table.
JEANNE
I hate the country.
PAUL
What do you mean you hate the
country?
JEANNE
I hate it! I prefer to go to the
hotel. Come on, let's go...
PAUL
No. Let's dance. Come on. Don't you
wanna dance? We can start again.
He crouches down. She CLIMBS ON HIS BACK for a ride. He pulls
her on her back onto the DANCE FLOOR, through the TANGO
contest.
The JURY IS in an UPROAR.
The tango President FREAKS OUT.
PRESIDENT
That's the limit! What are you
doing?
They LIE ON THE FLOOR... They get back up and FEIGN some
TANGO.
The President comes out on the floor now to them. She GRABS
Paul who had DIPPED Jeanne over the JURY TABLE.
PRESIDENT (CONT'D)
You'll have to leave, sir.
She starts scurrying them off the dance floor.
94.
PAUL
Madame! 'Tis ever love.
She continues to SHEW THEM AWAY. And she can hold her own
against Paul's SMART ASS MOUTH.
PRESIDENT
Go to the circus if you want to see
love! Go on! Get out of here!
You'll have to leave.
Paul now GRABS HER and starts spinning and DANCING WITH HER.
He SWEEPS HER UP into his arms.
She struggles and Paul puts her down. She continues to SHEW
THEM AWAY. PAUL CONTINUES TO MOCK HER.
PAUL
Oh my god, I've never...
He pulls his pants down and MOONS HER.
PAUL (CONT'D)
Kiss me, sweetheart!
She is APPALLED and slaps him on the arm as he scoots to the
door, Jeanne FOLLOWING.
PAUL (CONT'D)
Farewell, you sweet peach blossom.
As they get to the door he spins one last time.
PAUL (CONT'D)
I could dance for ever. Oh, my
hemorrhoid!
He LOSES HIS BALANCE and slips. Jeanne has to catch him.
PAUL (CONT'D)
Beauty of mine, sit before me. Let
me peruse you and remember you
always like this.
They sit in some tables in a closed, darkened section. Jeanne
puts her head down on the table in EXHAUSTION.
He CLAPS LOUDLY till she wakes up. He puts on his ENGLISH
ACCENT AGAIN.
95.
PAUL (CONT'D)
Garcon! Champagne! If music be the
food of love, play on.
Jeanne looks OVER IT ALL.
PAUL (CONT'D)
What's the matter with you?
JEANNE
It's finished.
She COLLAPSES on the table again. He kisses her head.
PAUL
What's the matter with you?
JEANNE
It's finished!
He's OBLIVIOUS to her seriousness, AGAIN.
PAUL
What's finished?
JEANNE
We're never going to see each other
again. Never!
PAUL
That's ridiculous.
She shakes her head NO.
PAUL (CONT'D)
That's ridiculous!
JEANNE
It's not a joke.
PAUL
Oh, you dirty rat!
JEANNE
It's finished.
PAUL
Look, when something's finished, it
begins again.
JEANNE
I'm getting married! I'm going
away. It's finished.
96.
She starts undoing his pants. She starts to PLEASURE HIM.
PAUL
Oh, Jesus. Listen, that's not a
subway strap, that's me cock!
She continues...
JEANNE
It's finished!
PAUL
Oh... Jesus...
She MASTURBATES him to CLIMAX. She gets up, wiping her hands,
then forehead and LEAVES.
When he RECOVERS and sees her leaving...
PAUL (CONT'D)
Wait a minute...
(TO HIMSELF)
You dumb bimbo...
She doesn't stop.
PAUL (CONT'D)
Shit! Wait a minute. Goddamn it!
Hey!
She LEAVES THE SALON. He FOLLOWS her out.
PAUL (CONT'D)
Hey, rube! Come here! Come here!
He SLIDES DOWN THE BANISTER.
PAUL (CONT'D)
Come heeeeeeeeeerrrrrrrrreeeeee!
She turns to see him coming. She starts RUNNING NOW.
He still THINKS SHE'S JOKING...
PAUL (CONT'D)
I'm gonna get you! Bimbo!
He SLIDES ACCROSS THE FLOOR.
She continues RUNNING. She is FREAKED OUT NOW.
CUT TO:
97.
EXT. PARIS STREET - DAY
She is RUNNING on the sidewalk past crowds of people, the
OFFICE OF TOURISM and stores. He is in HOT PURSUIT.
She stops and turns to have a EMPHATIC SILENT CHAT with him.
He still finds this to be VERY HUMOROUS. She grows more and
more SERIOUS and SCARED.
She starts RUNNING again. But she TIRES OUT in a ...
PARKING LOT
She tries to GET THROUGH TO HIM.
JEANNE
Stop! Stop!
PAUL
Hold it!
He still DOESN'T GET IT.
JEANNE
It's over!
He tries to EMBRACE HER.
PAUL
Hey, cool it!
She THROWS HIM OFF.
JEANNE
Stop it! We're finished.
He still tries to GRAB HER PURSE. She is ADAMANT.
JEANNE (CONT'D)
Go away! Go away! Go away!
He keeps trying to grab her purse.
JEANNE (CONT'D)
Let go! Go away!
He FEIGNS GIVING UP as she walks on.
PAUL
I can't win. Give me a break!
She JETS OFF AGAIN and we round a corner...
SIDE STREET
98.
He keeps his distance on the OPPOSITE SIDE OF THE STREET but
still doesn't get that SHE IS SERIOUS. She tries to explain
it to him.
JEANNE
I'll call the police!
He BLOWS IT OFF.
PAUL
Aha! I smell the henhouse.
She needs to GO WHERE HE IS. She starts toward him TIMIDLY.
PAUL (CONT'D)
Well, shit, I'm not in your way.
He feigns a GRAND GESTURE ushering her free travel.
PAUL (CONT'D)
After you, mademoiselle!
She TENTATIVELY walks on as he PRETENDS TO ALSO.
PAUL (CONT'D)
So long, sister. Besides, you're a
crummy-looking broad. I don't give
a damn if I never see you again.
Shit.
She MAKES A BEE - LINE to her MOTHERS APARTMENT BUILDING.
He TAKES OFF after her.
CUT TO:
INT. JEANNE'S MOTHERS APT. - LOBBY
He gets himself BUZZED IN somehow.
She is SHOCKED, she backs up to the ELEVATOR.
JEANNE
It's over! It's over!
PAUL
Oh, fuck the police.
She is becoming HYSTERICAL now.
JEANNE
It's over!
99.
She makes her way to the
PAUL
Listen, I want to talk to you for
Christ sake...
She gets on the OLD FASHIONED LIFT and SLAMS the door in his
face.
She begins to ASCEND.
He FOLLOWS every floor UP THE STAIRS.
JEANNE
Help!
She is calling to anyone that can hear as he STALKS HER.
JEANNE (CONT'D)
Help! Help!
One FLOOR AFTER ANOTHER...
JEANNE (CONT'D)
Please, help!
He trips and STUMBLES up the STAIRS after her.
JEANNE (CONT'D)
Help! Help!
Finally at the top, he has to REST against the wall.
PAUL
Oh, man!
She MAKES A DASH FOR her moms apartment.
But HE FOLLOWS. He grabs her as she tries to UNLOCK THE DOOR.
She runs across to the NEIGHBORS DOOR and BANGS ON IT.
JEANNE
Help! Help me! Help!
He tries to REASON with her.
PAUL
This is getting ridiculous.
She sees her chance to get back in her moms. She dashes over
and UNLOCKS THE DOOR and flies inside trying to slam the door
shut. It's no use, he FORCES HIS WAY IN.
100.
She HUSTLES to the DRAWER with her FATHERS GUN... Paul is
still at the FRONT DOOR.
PAUL (CONT'D)
It's the title shot, baby. We're
going all the way. Oh, Christ.
He shuts the door and WANDERS IN...
LIVING ROOM
Jeanne stands with her back turned staring down into the GUN
DRAWER.
He LOOKS AROUND THE PLACE, assessing it...
PAUL (CONT'D)
It's a little old, but full of
memories, huh?
She stares down still, HITTING HER HEAD on the cabinets to
help her make a decision...
Paul finds her FATHERS MILITARY HAT. He puts it on.
PAUL (CONT'D)
Mademoiselle...
He SALUTES HER and CLICKS HIS HEELS together, playing a role.
She is incensed that he has dared touch her FATHERS PRECIOUS
BELONGINGS.
He PLAYS ON.
PAUL (CONT'D)
How do you like your hero? Over
easy or sunny-side up?
He REMOVES THE HAT and puts it down.
PAUL (CONT'D)
You ran through Africa and Asia and
Indonesia.
He walks LOVINGLY toward her.
PAUL (CONT'D)
And now I've found you. And I love
you.
He ROMANCES HER, runs his fingers through her hair...
101.
PAUL (CONT'D)
I wanna know your name.
She STARES into his eyes... as she TELLS HIM HER NAME...
JEANNE
Jeanne...
...THE GUN FIRES...
HE IS SHOCKED BY THE FORCE OF THE BULLET INTO HIS GUT.
The color DRAINS FROM HIS FACE, his eyes get WOOZY...
He can only MUTTER.
PAUL
Our children.
He STAGGERS away from her...
PAUL (CONT'D)
Our children.
He STAGGERS toward the PORCH DOOR as Jeanne watches...
PAUL (CONT'D)
Our children... will remember.
He opens the FRENCH DOORS and STAGGERS onto the PORCH.
PORCH - CONTINUOUS
He LOOKS OUT upon the city, and UP TO THE SKY. He takes his
gum out of his mouth and STICKS IT UNDER THE RAILING.
His eyes register his BEWILDERMENT as he STARES out into the
ROOF TOPS.
We see that he is DEAD -- curled in a FETAL POSITION.
SAD MUSIC RISES
LIVING ROOM - CONTINUOUS
Jeanne stands in SHOCK with PAUL'S CORPSE in the b.g.
She mutters to herself the ALIBI FOR THE POLICE.
DIALOGUE IS FRENCH
102.
JEANNE
I don't know who he is. He followed
me in the street. He tried to rape
me. He's a lunatic. I don't know
what he's called. I don't know his
name. I don't know who he is. He
tried to rape me. I don't know. I
don't know him. I don't know who he
is. He's a lunatic. I don't know
his name.
MUSIC RISES AND SWELLS
CREDITS ROLL
THE END.
