watch now! detail...
(slow jazz music playing) gil: this is unbelievable! look at this! there's no city like this in the world. there never was. inez: you act like you've never been here before. i don't get here often enough, that's the problem. can you picture how drop dead gorgeous this city is in the rain? imagine this town in the '20s. paris in the '20s, in the rain. the artists and writers! why does every city have to be in the rain?
what's wonderful about getting wet? i mean, could you ever picture us maybe moving here after we're married? oh, god, no! i could never live out of the united states. you know, if i'd stayed here, and written novels, and not gotten, you know, caught up in that... just grinding out movie scripts, i'll tell you something, i would drop the house in beverly hills,
the pool, everything, in a second! look. this is wheremonet lived and painted, we're 30 minutesfrom town! imagine the two of ussettling here. we could do it. i mean,if my book turns out. you're in lovewith a fantasy. i'm in love with you. we should get back to town.we're meeting momand dad for dinner. let's meet 'em.
there areour sightseers. inez: if i never seeanother charming boulevardor bistro again... gil: what a town! yes, to visit. no, i can seemyself living here. i feel likethe parisianskind of get me. i could see myselfstrolling alongthe left bank with a little baguetteunder my arm headed to cafe de floreto scribble away on my book.
what didhemingway say? he called ita moveable feast. in this traffic,nothing moves. well, a toastto john's newbusiness venture here. yeah. cheers! cheers! congratulations. john: thank you. well, i'll beperfectly frank.
i'm excited aboutthis corporate merger between our folksand the french company. but otherwise,i'm not a big francophile. john hatestheir politics. they'vecertainly been no friendto the united states. well, i mean,you can't exactlyblame them for not following usdown that rabbit's holein iraq with the whole bush... oh, please,
let's not getinto that discussionyet again. honey, honey,we're not getting... by the way,it's fine for your fatherand i to disagree. that's whata democracy is. your fatherdefends the right wingof the republican party, and i happen tothink you've almost got to be, like,a demented lunatic, but it's like... okay. okay!
no, but it doesn't meanwe don't respecteach other's views. am i right? helen: can we talk aboutthe wedding plans? inez: yes, please,let's do that. helen: your fatherhas used his... inez? hi. paul? carol?(gasps) oh, my... what are you doing here?
nice to see you. hi! hey. how are you? good, thanks. paul and carol bates,this is my motherand father. hi. very niceto meet you. and, of course,you know gil. carol: yes.
well, you didn't mentionyou were going to be here. no, it was sudden.paul got invited tolecture at the sorbonne. (gasps) (pronouncing in french)sorbonne. oh, how wonderful! well, dad's here on businessand we just decidedto freeload along. oh. that's great.we can spendsome time together. well, i think we havea lot of commitments,but i'm sure it's...
what? well, what are youdoing tomorrow? we're drivingto versailles. versailles. oh. i'm dyingto see versailles! yeah. yes. but it's... we're...i think we're... tomorrow we'relocked into a lunchat brasserie lipp. no, i didn't... no.
yeah, we are.it's already... hey, you know,i actually hada professor that dined thereand saw james joyce. yeah, you know,like a million years ago. and, apparently,joyce was eatingsauerkraut and frankfurters. is that...that's the endof the story? i mean,it's not a story.it was like a detail. no, we would loveto go to versailles. oh, good.
yes. i hope you're notgonna be as antisocialtomorrow at versailles. how was i antisocial? oh, please. i mean,you could totally tellyou didn't want to go. well, i mean,they're your friends. and i have to admit,i'm not quite astaken with him as you are. he's brilliant! you know,i had such a crushon him in college. and carol's very bright.
well,he's a pseudo intellectual.just a little bit. gil, i hardlythink he'd be lecturingat the sorbonne if he'sa pseudo intellectual. you should give himyour book to read. come on. why? no. because he couldcritique your writing and maybe show youwhy you're havingso much trouble. i'm having trouble becausei'm a hollywood hack who never gaveactual literaturea real shot until now.
please. gil, honey,just promise me something. if this bookdoesn't pan out, that you'll stopbeating your brains out and just go back todoing what you do best. i mean,the studios adore you.you're in demand. do you really wantto give it all upjust to struggle? well... mmm? (sighs)
why would youwant to do that? paul: i believe louis movedhis court here in 1682. originally,all this was swampland. in fact,if i'm not mistaken, in old frenchthe word "versailles" means something like,terrain where the weedshave been pulled. is that right? yeah. the middle section here,
is french classicalstyle at its height. the work,i believe, of louis vau... ...mansart, i think... mansart. ...and charles le brun,i believe. yes, that's right. i could get usedto a summer homelike this. i know you could. me, too.
except, remember,in those daysthey only had baths, and i'm definitelya shower man. where are you twoplanning on movingafter you get married? malibu. we're thinkingabout malibu. really? well, i'm pushing fora little attic in pariswith a skylight, but it's... la boheme? all that's missingis the tuberculosis.
exactly. thank you. i mean,the problem is, is that he's notactually sure he canwrite a novel. i mean, honey, so faryour track record's,you know, and... well, everyoneloves your movies, so... well, scripts areeasier, so... why don't you tell themabout the lead character that you'reworking on right now? yes!
no, i don't liketo discuss my work. come on. you don't have totell them the whole plot,just the character. no, no, no. okay, he worksin a nostalgia shop. what's a nostalgia shop? not one ofthose stores where they sellshirley temple dollsand old radios? exactly.
i never know whobuys that stuff. who'd want it? i don't know. well, people wholive in the past. people who thinkthat their liveswould be happier if they lived inan earlier time. yeah. and just whichera would you preferto live in, miniver cheevy? (laughs) paris in the '20s.
in the rain. it wouldn'thave been bad. when the rainwasn't acid rain,sorry. oh, i see,and no global warming. no tv and suicide bombing,and nuclear weapons,drug cartels. the usual menu ofcliched horror stories. well, you know,nostalgia is denial. denial ofthe painful present. well, gil isa complete romantic.
i mean, he wouldbe more than happy living ina complete stateof perpetual denial. and the namefor this fallacy is calledgolden age thinking. ah. touche. yeah,the erroneous notion that a differenttime period is better thanthe one one's living in. it's a flaw inthe romantic imaginationof those people
who find it difficultto cope with the present. both: mmm. inez: yes, this is it.that's it. helen: this isthe nicest ring we saw. diamonds fora wedding band. it's the wayyou have to go. and then everyone willsee it in the back rowwhen he puts it on my finger. oh, inez, it's goingto be such an event! oh!
i only wish that... i don't want tokeep going over it. your choice.what can i say? no, gil is...he's smart and he's...he's very successful. but he talks aboutgiving that all upand moving here. yeah,he talks about it. well, that frightens me. guide: this is, of course,rodin's most famous statue. a cast of this workwas placed nextto his tomb.
rodin wished for itto serve as his headstoneand epitaph. is that true? that would be...that would be in meudon. he died of the flu,if i'm not mistaken. in 1917, i believe. guide:that's very good, sir. he's so knowledgeable,isn't he? so much of rodin's workwas influenced byhis wife, camille. yes, she wasan influence,
though camillewas not the wifebut his mistress. camille? no. yes, rose was the wife. no, he was nevermarried to rose. yes, he did marry rose,in the last yearof their lives. i thinkyou're mistaken. carol: are you arguingwith the guide? yes, i am. yeah. no,i'm certain, monsieur.
yeah, actually,she's right. i recently reada two-volume biographyon rodin, and rose wasdefinitely the wife,camille the mistress. you read that?where did you read that? yeah, i just read it. i was surprisedbecause i mistakenlythought, like you, that it wasthe other way around.it's an easy mistake. so, tonight,dad invited you guysfor a wine tasting. oh, it'll be so fun!
yeah, yeah. paul is an experton french wine. you're joking.really? of course.of course. okay. an expert! when did you readthe biography on rodin? me? why would i reada biography on rodin? i will always takea california wine,
but the napa valley's6,000 miles away. john, old boy,how are you? gil. hey! what areyou doing here? i can't stand that guy. how about we trysome more wine? yes, let's start here. now, which didyou prefer here? well, i think weneed to be scientific
and just startdrinking them all again. i don't know.i mean, they... why are your cheeksso red? what do you mean?they're not red. they're bright red. well, maybe it'sbecause of the pheromonesthat you're giving off. these pheromonesare driving me mad. stop it. stop. sex and alcohol? mmm?
it fuels the desire,but kills the performance,according to the bard. speak for yourself. have youtasted the '61?it is divine! though paulpicked it out.i didn't do... what? what's happening?what's happening? slightly moretannic than the '59. i prefera smoky feelingto a fruity feeling. i agree. so, carol and i aregoing to go dancing.
dancing. we heard ofa great place.interested? no, no, no, i... sure! yeah! come on! i don't want tobe a killjoy, but i need to geta little fresh air. come on. come on. no, no, i just...
although if you'rejust going to sit there and obsess overwhere the fireexits are, then... hey,if gil doesn't want to go,i'll share paul with you. i am very democratic. and paul isa marvelous dancer. no, no, no.if it's okay with you, i think i just wantto take a little walk, go to bed,and then we'll do itanother night. okay, all right. well,i can go, though, right?
what?you want to go? well, yeah. come. yeah. i mean,i'm not tired, and i've beendying to go dancing. i'll just meet youback at the hotel. okay. i'll take good careof her, all right? let's get a cab.
i'll get a cab. all right. okay. okay, but youshould take a cab. no, no, no,i'm not taking a cab.i'm walking. no, you'll get lost. okay, i'm gonna walk. is he a good writer?i mean, have youread his prose? well, he won'tlet anybody. he won't let anybody?
no. look, if he wants,i'd be glad to look over his noveland critique it for him. that would be great. would you? i think that'swhat he needs. i really wouldn't mind. yeah? well, it helps. just to have itread by someone, yeah.
yeah, you need that. you wouldn'tpull any punches. well,i certainly won't do that.you know i won't do that. no. i do knowthat about you. (both laughing) see, but the problem is,when it comes tohis writing, he has absolutely no respectfor anybody else's opinion. excuse me! parlez-vous... do you speak english?
non, non. the hotel bristol? (speaking french) (clock striking) (men laughing) (men speaking french) woman: hey! man 1: hey! man 2: hey!
(woman speaking french) man 2: hey, come on! man 1: come on! come on, boy! come on, guy. i didn't hear you.what? man 1: come on. come on, guy.come on,get in the car. no, no, guys, l thinkyou've got me mixed up.
what? i can't understand you.i'm a little drunk. i can't... come on.for god's sake. what, is thisan old peugeot? i have a friendwho collects thesein beverly hills. come on!come on, have a drink. have a drink.come on. come on. come to the party.come on, come on. you're goingto a party? go, go, go. get in!
give me your hand. sit down here. man 2: let's goin paris... (all laughing) okay, now where areyou guys taking me? this isn't quite fair,because i've already hada lot of red wine tonight. i do like champagne.yes, okay. cheers. the night is young.drink up.
i'm drinking! drink up, drink up! drink up,drink up, drink up! cole: ♪ let's fall in love ♪ in spain, the best upper sets do it ♪ lithuanians and latts do it ♪ let's do it, let's fall in love ♪ the dutch in old amsterdam do it ♪ not to mention the fins
♪ folks in siam do it ♪ think of siamese twins ♪ some argentines, without means, do it ♪ people say in boston even beans do it ♪ romantic sponges, they say, do it ♪ oysters down in oyster bay do it ♪ let's do it, let's fall in love... ♪ you look lost. oh, yeah.no, i'm just...you're an american?
if you count alabamaas america, which i do. i miss the bathtub gin.what do you do? me? i'm a writer. what do you write? well, right nowi'm working on a novel. oh, yes?i'm zelda, by the way. scott! scott!come over here. yes. what is it,sweetheart? here's a writerfrom... where?
oh, a writer. california. scott fitzgerald. and who are you,old sport? the... you havethe same names as... as what? scott fitzgerald and... scott and zelda fitzgerald.the fitzgeralds.
isn't she beautiful? yes. yes!yeah, that's... that's a coincidence.like a... you have a glazed lookin your eye. stunned. stupefied.anesthetized.lobotomized. no, no, i...i keep looking atthe man playing piano, and i, believe it or not,recognize his facefrom some old sheet music. i know. i could beone of the great writersof musical lyrics, not that i canwrite melodies,and i try.
and then i hearthe songs he writes and i realizei'll never writea great lyric and my talentreally lies in drinking. it sure does. yeah, but he didn'twrite the music, did he? that's not possible. (singing continues) so, what kind ofbooks do you write? (stuttering)i'm working on a...
where am i? (laughing) i'm sorry.don't you know the host? some friendshave gotten together a little partyfor jean cocteau. hey, lady, what...are you kidding me? i know whatyou're thinking. this is boring.i agree! i'm ready to move on.let's do bricktop's,scott! bricktop's?bricktop's.
i'm bored,he's bored,we're all bored. we are all bored. let's do bricktop's. why don't youtell cole and lindato come with and... gil, you coming? cole: ♪ you've got that thing, you've got that thing ♪ that thing that makes birds forget to sing ♪ yes, you've got that thing, that certain thing ♪ you've got that charm, that subtle charm
♪ that makes young farmers desert the farm ♪ (groovy music playing) (singing in french) (zelda laughing) this is one ofthe finest establishmentsin paris. they doa diamond whiskey sour. greetingsand salutations. you'll forgive me.i've been mixinggrain and grappa. now, this is a writer.gil, yes?
gil pender. hemingway. hemingway? you liked my book. liked? i loved.all of your work! yes,it was a good book becauseit was an honest book. and that's whatwar does to men. and there'snothing fine and nobleabout dying in the mud. unless youdie gracefully.
and then it's notonly noble, but brave. did you read my story?what'd you think? there was somefine writing in it,but it was unfulfilled. i might haveknown you'd hate it. darling,you're too sensitive. you liked my story,but he hates me! please, old sport,you make mattersextremely difficult. i'm jumpy. suddenly, i don'tlike the atmospherein here anymore.
oh! where areyou going? (speaking spanish) ah! he's goingto saint-germain.i'm going with him. zelda, sweetheart... if you're gonna stayhere and drink with him, i'm goingwith the toreador. well, would youbring her backat a reasonable time? she'll drive you crazy,this woman. she's exciting.
and she has talent. hemingway: this month,it's writing. last month,it was something else. you're a writer.you need time to write,not all this fooling around. she's wasting youbecause she'sreally a competitor. don't you agree? speak up,for christ sake. i'm asking ifyou think my friend ismaking a tragic mistake. actually, i don'tknow the fitzgeraldsthat well, so...
you're a writer.you make observations.you were with them all night. can we not discussmy personal lifein public? she's jealousof his gift. would you... and it's a fine gift.it's rare. you like his work?you can speak freely. fitzgerald: stop it! stop it. you like mark twain? i'm going to find zelda.
i don't likethe thought of herwith that spaniard. may i?yeah, i'm actuallya huge mark twain fan. i think you caneven make the case that all modernamerican literature comesfrom huckleberry finn. you box? no. no. i mean, i... not really, no. what are you writing?
novel. about what? it's about a manwho works ina nostalgia shop. what the hell isa nostalgia shop? you know, a place wherethey sell old things,memorabilia. and what...does that sound terrible? no subject is terribleif the story is true, and if the proseis clean and honest, and if it affirmscourage and graceunder pressure.
you know... can i ask youthe biggest favorin the world? no, i can't. what is it? would you read it? your novel. yeah, it's, like,400 pages long and i'm just lookingjust for, you know,just an opinion. my opinion is i hate it.
i mean,you haven't even read it. if it's bad,i'll hate it becausei hate bad writing. if it's good,i'll be envious andhate it all the more. you don't wantthe opinion ofanother writer. yeah, it's just...you know what it is? it's just, i'm havinga hard time, you know, trusting somebodyto evaluate it. writers are competitive. i'm not gonna becompetitive with you.
you're too self-effacing.it's not manly. if you're a writer,declare yourselfthe best writer! but you're notas long as i'm around. unless you want toput the gloves onand settle it. (laughing)no. no, i don't. okay, i'm notgonna read your novel, but i'll tell youwhat i'll do. yes? i'll bring it togertrude stein's.
she's the only onei trust with my writing. you'll show my novelto gertrude stein? give it to me. i'll bring it to you. she gets backfrom spain tomorrow. great. i'm gonna goget it. i'm gonna... i can't tell youhow excited i am. this has given mesuch a lift that my heart isjust racing right now.
(stuttering) okay, i'm gonna get itand then i'll be back. okay. whoa, whoa! gil, gil,just take it easy. step it back, baby.you had a big night. fitzgerald.hemingway. papa! you got to... okay, we never saidwhere we're goingto meet. okay. good thing you didn'tgo last night.
you'd have hatedthe music and the crowd. but i had fun. what are you thinkingabout? you seem likeyou're in a daze. if i was to tell youthat i spent last night withernest hemingwayand scott fitzgerald, what would you say? is that what youwere dreaming about?your literary idols? yeah, yeah. but ifi wasn't dreaming... what does that mean?
if i was with hemingwayand fitzgeraldand cole porter... i'd be thinkingbrain tumor. i mean, i tell you,zelda fitzgeraldis exactly as we've come toknow her through, you know,everything you've readin books and articles. she's, you know, charming,but all over the map. and, you know,she does not likehemingway one bit. and scott knows hemingwayis right about her, but you can seehow conflicted he isbecause he loves her.
come on, get up. we should quitthe idle chatter because, you know,we're gonna be late. you know, actually,i'm not gonna... i think i'm gonna stay hereand do some work on my novel, because there'sa little polishingi want to do. no, you cando that later. mom saidwe can use herdecorator's discount. get up.
come lookat these, inez. wouldn't these be charmingin a malibu beach house? (helen speaking french) (replying in french) (helen thanking in french) what is that? they're a stealat $18,000. $18,000 for this? wait. it's euros,so it's more.
so, that'slike 20. $20,000. even more, i think.yeah. i know, but it's very hardto find anythinglike this at home. she's right, gil. yeah, but remember i... we haven't evenfound a house yet and we're trying tokeep expenses down, so i don't have to takeany crummy rewrite jobs. well, you getwhat you pay for.
well, it is... it is nice. cheap is cheap. okay. you guyswant to walk back? walk? no!it's starting to rain. no, it'll be nicewalking in the rain.it's beautiful. inez: no. there isnothing beautiful aboutwalking in the rain. helen: don't forget,we're taking youto dinner tonight. inez: oh, right, yes.great.
and then also,i have a big surprisefor you after dinner. what? no. i have an incredible...yes. no, no, i don'tlike surprises. trust me,you're gonna love this. are you sure you don't wannawalk in the rain?this is our last chance! inez: get in!i'm not walking. it's not that bad out.
inez: let's just... i don't understand.where are we going? hang on. just... but... we're almost there. you made us rushthrough dinner. and dad wasn't finishedwith his profiteroles. okay, forgetthe profiteroles. you're gonna havethe most amazing adventureof your life! okay?
where? just...inez, please. why are you carryingthat manuscript around? you'll see.you'll see. and when you do,your jaw is goingto drop. okay? and you knowi don't hype things, so if i'm sayingit's incredible,it's... inez: i just...i don't understand. gil: i know,i know, i know.
you've been wonderingwhy i've beenacting strange all day. you're aboutto find out. and you're gonnawonder why i wasn't acting more strangewhen you find out. this is very... trust me.i know. i know. well, i don't know whatyou're carrying on about, but this is not my ideaof an amazing adventure. i am tiredfrom the gymand the massage,
so i'm going toget this cab. taxi! no, inez. wait, wait, wait.let's just waita little longer. look, if you want towalk the streets of parisand take it in by night, that's fine,you go ahead. but i'm in the middleof a great bookthat carol lent me. no, no. come on,just 10 more minutes,and then we'll walk home. if i'm asleepwhen you get in,don't wake me up.
what am i doing wrong? unless she's right.i need to seea neurologist. you leftthe wine tasting. you were a little drunk,but you're notout of control. lost. you walk along.this is the spot. maybe it's justlike a one shot deal. the clock struckmidnight and... (car approaching) hello?
oh. hi, mr. hemingway! here, let mejust jump in. the assignment wasto take the hill.there were four of us. five, if youcounted vicente, but he had lost his handwhen a grenade went off and couldn'tfight as he couldwhen i first met him, and he was youngand brave. and the hill was soggyfrom days of rain, and it slopeddown toward a road.
and there weremany german soldierson the road. and the idea was toaim for the first group. and if our aim was true,we could delay them. were you scared? of what? getting killed. (scoffs) you'll never write wellif you fear dying. do you?
yeah, i do. i'd say it's probably...maybe my greatest fear,actually. it's something all menbefore you have done,all men will do. i know, i know. have you ever made loveto a truly great woman? actually, my fianceeis pretty sexy. and when youmake love to her, you feel true andbeautiful passion, and you,for at least that moment,lose your fear of death?
no. that doesn't happen. i believe that lovethat is true and real creates a respitefrom death. all cowardice comesfrom not loving, or not loving well,which is the same thing. and when the manwho is brave and true looks deathsquarely in the face, like somerhino hunters i know, or belmonte,who is truly brave,
it is because they lovewith sufficient passion to push deathout of their minds. until it returns,as it does to all men. and then you must makereally good love again. think about it. alice, how the hellare you? good? good, i see she's here.follow me. (stein speaking french) this is gil pender.miss stein.
he's a youngamerican writer. i thought you twoshould know each other. i'm glad you're here. you can help decidewhich of us is rightand which of us is wrong. i was just telling pablothat this portraitdoesn't capture adriana. it has universalitybut no objectivity. (picasso speaking french) look howhe's done her. dripping withsexual innuendo,
carnal to the pointof smoldering and... yes, she's beautiful,but it's a subtle beauty,an implied sensuality. i mean,what is your firstimpression of adriana? exceptionally lovely. yes, you're right,miss stein. of course,you can see why he'slost all objectivity. he's made a creatureof place pigalle, a whore withvolcanic appetites. (speaking in french)
yes, avec toi en prive,because she's your lover. but we don'tknow her that way. so, you makea petit bourgeois judgment and turn her intoan object of pleasure. it's more likea still lifethan a portrait. (denying in french) and what's this bookof yours i've beenhearing about? is this it? yeah, this is...i just... i'll take a look.
have you read it,hemingway? no, this i leave to you.you've always beena fine judge of my work. "out of the past wasthe name of the store, "and its productsconsisted of memories. "what was prosaicand even vulgarto one generation "had been transmutedby the mere passingof years "to a statusat once magicaland also camp." i love it. i'm already hooked.
hooked? i'll start it tonight. but first,you and i havesomething to talk about. i've been waitingfor two months fora reply from that editor. i sent him the pieceyou and i looked at, plus four others,plus four shorter pieces. and this guy,i gave him the copy of the storyand the onethat i rewrote. but nevertheless,two months, nary a word.
so, were you really hookedwith those opening lines? the past has alwayshad a great charismafor me. oh, me, too. great charisma for me. i always say thati was born too late. for me, la belle epoque pariswould have been perfect. better than now? the whole sensibility.the streetlamps,the kiosks, the horseand carriages.
and maxim's then. you speakvery good english. no, not really. no, you do. how long have youbeen dating picasso? my god,did i just say that? pardon? i don't mean to...i didn't mean to pry.are you born in paris? i was born in bordeaux.
i moved hereto study fashion. but you don'twant to hear this. no! yes, i do. yes, continue.you moved here tostudy fashion... i came here to studywith coco chanel, and i fell in lovewith paris. and also, a very dark-eyed, haunted,jewish-italian painter. and i knew amedeohad another woman,
but still i couldn't resistmoving into his apartmentwhen he asked. and it wasa beautiful six months. not modigliani. you livedwith modigliani? you asked me.so, i'm telling youmy sad story. with braque, also,there was another woman. many. and now, with pablo. i mean, he's married.
but every day,it's on-again,off-again. i don't know howany woman can staywith him. he's so difficult. my god,you take art groupieto a whole new level. nothing.i'm just sayingthat it is... tell me about yourself. what?i don't know.what can i say? so, have you cometo paris to write? because, you know,
these days so many americansfeel the need to move here. isn't hemingwayattractive? i love his writing. i know. actually,i'm just here visiting. you must stay here. it's a wonderful cityfor writers, artists. i know. i would like to.but it's not that easy. and,
i did fall in love madlywith your book. so, i want tohear the rest of it. you really liked it?because i'm stillkind of tinkering. i wasn't sure about... pender! let's go up to montmartreand let's get a drink. okay. yeah, that's... i'll discuss your bookwith you as soonas i've finished it. where cani reach you?
why don't i drop back byrather than you havingto find me, if that's all right? we runan open house. great. are you comingwith us? yeah, i... i wish that i could.i can't, but hopefully i'll seeyou again, eventually. that would be nice.
yes. yeah. let's go. one of these days, i plan to steal you awayfrom this geniuswho's great, but he's no miro. i'm gil pender. i was withhemingway and picasso. pablo picasso andernest hemingway. i'm gil penderfrom pasadena.
cub scouts. i failedfreshman english. but little ol' gil penderhas his novelwith gertrude stein. boy, that girlwas so lovely. (exhales) helen: it's a shameyou two didn't come with usto the movies last night. we saw a wonderfullyfunny american film. gil: yeah. inez: who was in it?
oh, i don't know.i forget the name. wonderful,but forgettable. that sounds likea picture i've seen.i probably wrote it. well, i know it wasmoronic and infantile and utterly lacking inany wit or believability, but john and ilaughed in spite of... have we beendown this way yet? was it? what time did youget in last night?
not that late. i was... i'm really findingthese midnight strollsgreat for me creatively without the distractionsof the day. i'll probably end upgoing on anotherlittle hike tonight. well, we'll see. yeah, yeah,we'll see. how about these? look at thosewonderful glass figures! (playing on gramophone) ♪ that simply mystifies me
♪ tell me, why should it be ♪ you have the power to hypnotize me? ♪ (gabrielle speaking french) yes, very beautiful. oh, you are american. you like cole porter? i do.i'm a big fan. yeah, i like to... i like to thinkthat i'm a member
of linda andcole's inner circle. i'm kidding. (chuckles) very pretty lyrics. very amusing. charming. inez: gil? gil? yeah. we should go. we're going now?
yeah, we're meetingpaul and carol at the museum forthe private showing. okay, yeah. great, great, great. paul happens to bean expert in monet, so you'll find itenlightening, i think. good. yeah, okay. let's get some culture! the juxtapositionof color is amazing.
this man wasthe real father ofabstract expressionism. i take that back.maybe turner. i mean, i love turner,but i just findthis overwhelming! if i'm not mistaken,it took him two yearsto complete this. and he worked outat giverny, where he wasfrequently... i heard that monet,one of the thingsthat he used to try... (shushing) i'm trying to hearwhat paul is saying.
well, he wasfrequently visitedby caillebotte, an artistwho i personally feelwas underrated. ah. now, here'sa superb picasso. if i'm not mistaken,he painted thismarvelous portrait of his french mistress,madeline brissou,in the '20s. paul, i'm goingto have to differwith you on this one. gil. gil. just pay attention.you might learnsomething. okay, well,if i'm not mistaken,
this wasa failed attemptto capture a young french girlnamed adriana from bordeaux,if my art historyserves me, who came to paristo study costume designfor the theater. and i'm pretty sureshe had an affairwith modigliani then braque,which is howpablo met her. picasso. of course,what you don't getfrom this portrait, is the subtletyin her beauty. she was justa knockout.
what have youbeen smoking? i'd hardly callthis picture marvelous. it's more ofa petit bourgeoisstatement on how pablosees her...saw her. he's distractedby the fact that she wasan absolute volcanoin the sack. mmm. mmm. too rich for me. where did gilrun off to?
work. he's been walkingaround paris, you know. the way the city'slit up at night allegedly inspires him,so... but that's okay,because i am goingdancing with paul. where's carol? she's in bedwith a bad oyster. so, i'll see you guys later.thanks for dinner, daddy. bye, sweetie.
where do you thinkgil goes every night? you heard her.he walks and gets ideas. you sound skeptical. i mean, i've seenwhat he earns, but sometimesi think he's gota part missing. and i didn't like his remarkabout tea party republicans. they are decent peopletrying to takeback the country. they are notcrypto-fascistairhead zombies. did you hear himsay that?
nevertheless,i don't thinkyour idea of having him followedis very practical. no? uh-uh. i'd like to knowwhere he goesevery night. well, we know one thing.he doesn't go dancing. (big band music playing) excuse me. is this gentlemanbothering you?
hello again! hey, how are you? i was hopingwe'd see you here. what a great party! it's nice tosee you here. thank you.thank you. delphine! gil, we'll catch upwith you later, okay? sure, sure.great to see you.
what a surprise! i know. it wasjust a total fluke. i was at gertrude stein's,she's almost finishedwith my novel. and i run into this guy,turns out he'sarchibald macleish. he says he's onhis way over here."come on." "i'm not gonnacrash the fitzgeralds'." but then he saidyou'd be here! you and pablo.and... oh, pablo's home.
we had a bitof a quarrel. oh, no. you looked likeyou were having funwith djuna barnes dancing. oh, yeah. wait.that was djuna barnes? wow, no wondershe wanted to lead. (both chuckling) isn't thisa wonderful placeto throw a party? this is so great. only the fitzgeraldscan do that.
i want toshow you something. only the fitzgeralds... yeah. come with me. so, what aboutyour book? it's coming along,yeah. look at that. whoa. it's fromthe turn of the century.isn't it beautiful? it's my favorite era.i love it so much.
everything wasso perfect. it's so nice tosee you tonight.i was hoping that... it's nice tosee you, too. voila ma petite adriana. isn't thislittle parisian dreama moveable feast? mark my words,i'm going tosteal you away from thatfugitive from malagaone way or another. betweenbelmonte and myself,whom would you choose? but he has more courage.he faces death more oftenand more directly.
and if you chose him,i'd be disappointed,but i'd understand. yes, she's chosenpicasso, but pablo thinkswomen are only tosleep with or to paint. what about you? i think a womanis equal to a manin courage. have you evershot a charging lion? never. would you like toknow how that feels? i don't think so.
you ever hunted? you? only for bargains. (laughing) well, you know,it's so loud. i wonder,should we go someplace where we canhear ourselves thinka little bit? bye. who wants to fight?
gil: i hopeit was nothing seriouswith you and pablo. adriana: he's moodyand possessive. artists arelike children. well, you certainlyunderstand why all these guyswant to paint you because you havejust about one ofthe best faces ever. i mean,it's so interesting.you know, it's just... you're interesting, too. in a lost way.
lost? well, i guessi am lost. tell me moreabout your book. my book iskind of a... you know what?i couldn't care lessabout my book tonight. i just want to walkaround paris with you. i keep forgettingyou're just a tourist. that's putting itmildly. i can never decidewhether paris
is more beautifulby day or by night. no, you can't.you couldn't pick one. i mean, i can give youa checkmate argumentfor each side. i sometimes think,"how is anyone "ever going tocome up with a book "or a paintingor a symphonyor a sculpture "that can competewith a great city?" you can't, because,like, you look around, every street,every boulevard is itsown special art form.
and when you thinkthat in, you know, the cold, violent,meaningless universe that paris exists,these lights... i mean, come on,there's nothing happeningon jupiter or neptune. but from way out in space,you can see these lights, the cafes,people drinkingand singing. i mean, for all we know,paris is the hottest spotin the universe. ah, come on,that's just... you're very kind,but i wouldn't callmy babbling poetic.
although, i was ona pretty good roll there. see anything you like? yeah, i'm ashamedto admit i'm attractedto all of them. i like cheap and sexy.i guess that makes meshallow. when i wasin catholic school, one weekendmy roommate and i, we paid a girlfrom pigalle to come and teach usall her tricks. honestly? wow.that's...
i'm gonna be thinkingabout that one. i love walkingwith you. you look amazing. thank you. gil: my god, is thatwho i think it is? what is she doing here,staring into the water?oh, my god! (sobbing) zelda,what are you doing? please!i don't want to live!
stop! adriana: what is it? scott and thatbeautiful countess, they were...it was so obvious,they were whispering about me. and the more they drank,the more he fellin love with her! no, no. no, no, no. he...scott loves only you. i can tell you thatwith absolute certainty. no, he's tired of me! you're wrong.you're wrong. i know.
how? how? sometimes you geta feel for people. my skin hurts. what do you mean? i don't know!i hate the way i look! no, no, no, no.don't do that! don't do that! gil: no, no, no, no. honey, don't do that.
here you go.here, take this. what is this? it's a valium.it'll make youfeel better. you carry medicine? no, not normally.i just... since i've beenengaged to inez, i've been having justlittle panic attacks. but i'm surethey'll subsideafter the wedding. go on.
i've never heard ofvalium. what is this? it's the...the pill of the future. you neversaid you weregetting married. yeah, yeah, i am.you know, it's stilla ways in the future. well, good luckwith your book. and your wedding. yes, thanks, yeah. i think you'dlike inez. she has a very sharpsense of humor.and attractive.
which isn't to saythat we agree oneverything, but... but the important things. yeah, or actually,maybe the small things. sometimes there'sa little bit ofa disconnect with the big things. she wants to livein malibu and wants me to workin hollywood. but i will saythat we bothlike indian food. not all indian food,but, you know,the pita bread.
we both like pita bread.i guess it's called naan. i should go. pablo willbe missing me. okay,i'll walk you home. no, no, no, no, no.just finish your drink. i live justaround the corner. no, no. come on.i'm not gonna... well, i prefer to beby myself for a while. but, thank you forthe evening. bye.
we met earlier tonight. at the party. dali? i remember. dali. yeah. thank you. yeah. so... i love the language.the french! the waiters? no.
you like the shapeof the rhinoceros? what? the rhinoceros?i haven't reallythought about it. i paint the rhinoceros.i paint you. your sad eyes, and big lips,melting overthe hot sand. with one tear. yes, and in your tear,another face. the christ face! yes. and rhinoceros.
yeah, i mean,i probably do look sad. i'm in a veryperplexing situation. here they are. luis! luis. my friends. this is senor bunuel. bunuel. si. bunuel and monsieur man ray. man ray? my gosh. hello.
this is pender.pender! this is... and i am dali! dali. yes. si, you have to remember. pender is ina perplexing situation. it soundsso crazy to say. you guys aregonna think i'm drunk,but i have to tell someone. i'm froma different time.
another era.the future. okay, i comefrom the 2,000thmillennium to here. i get in a car andi slide through time. exactly correct. you inhabit two worlds. so far,i see nothing strange. well, yeah,you're surrealists.but i'm a normal guy. see, in one life,i'm engaged tomarry a woman i love. at least,i think i love her.
christ,i'd better love her.i'm marrying her. the rhinoceros makes loveby mounting the female. but is there difference in the beauty betweentwo rhinoceroses? there is another woman? gil: yeah, adriana. yes.and i'm, you know,very drawn to her. i find her, you know,extremely alluring.
the problem isthat other men, great artists, geniuses,also find her alluring. and she finds,you know, them.so, there's that, but... man ray: a manin love with a womanfrom a different era. i see a photograph. i see a film. i seean insurmountable problem. i see a rhinoceros. did you get anywork done last night?
yeah, just i'mstarting to think that maybe my bookis too realistic, that i'm missingsome chances to let my imaginationkind of go crazy and not beso damn logical. wow. why do youalways look so goodin the morning? nope, nope, nope, nope. we have to get dressed. come herejust for a second.
come here! i've beenworking like a demon. i've got to getthis stuff done, but i can't resist youwhen you look so fetchingin the morning. paul said we have togo to the countryside. he said he's taking usto this beautifullittle inn for lunch. but, i mean,if you don't wantto go, don't go. i'm not missing itbecause of you. hello! (greeting in french)
i have a quick questionfor you about rodin. okay, now,i understandhe loved his wife and he alsoloved his mistress? but do you thinkthat's possible, to love two womenat once? well, he loved them both,but in a different way. you know. i mean, that's very...that's very french. you guys aremuch more evolved
in that departmentthan we are. do you remember me?i was in the group that...you showed us... yes, the group withthe pedantic gentleman. pedantic. yes,that's a perfect word. here is his photo. i want to know wherehe goes each night. what is your suspicion? he's engagedto my daughter.to marry.
i want to be certainshe's makingthe right decision. naturally,discretion is paramount. well, you've cometo the right place, monsieur. monsieur tisserant willpersonally keep trackof the gentleman and report on hiswhereabouts at night. whoa, whoa, whoa. hey! hey!thank you for stopping! tom eliot. (stuttering)tom stearns eliot?
t.s. eliot?t.s. eliot? prufrock's like my mantra! it's like... all right,okay, sorry, sorry. listen,where i come from, people measureout their liveswith coke spoons. hello? miss stein? stein: oh, pender. i'll get to yourbook in a moment.i finished it. we're just in the middleof a little personal crisis.
okay, should i come back?i don't want to interrupt. no, it's no secret. adriana has left pabloand has flown to africawith hemingway. he took her hunting kudu,but she'll be back to him. the sound of hyenasin your ears at night when you're tryingto sleep in a tentjust drives you crazy. mount kilimanjarois not paris. are you sayinghe took her tomount kilimanjaro? now, about your book.
it's very unusual indeed.in a way, it's almostlike science fiction. we all fear deathand question our placein the universe. the artist's jobis not to succumbto despair but to find an antidotefor the emptinessof existence. you have a clearand lively voice. don't besuch a defeatist. tell gil tobring his suit because we'regonna be dining formaltomorrow night. i forgot totell you, actually,
gil isn't coming tomont saint-michel. john: why not?i don't understand it. because he writes.he rewrites. he rewritesthe rewrites,you know? he says, "picassonever left his studio." i said, "gil,you have absolutely "nothing in commonwith picasso." he just looks at me. well, he's going tomiss a great weekend.
♪ and that's why birds do it ♪ bees do it ♪ even educated fleas do it you haveany cole porter? i remember you. yeah? he was your friend. cole porter? yeah. and don't forgetabout linda, also.she was a friend, too.
yeah. you realizei was kidding? yeah, i did realize.you're a bit young. yeah. i'm...you seem a bit young to be so familiarwith his work. it's becausehe wrote many songsabout paris. what was the story?it's like he was in love with your hometownor something. are you a parisian? yes, monsieur.
"yes, monsieur." feel free tocall me gil. what do i owe you? okay. for this? ♪ cold cape cod clams, 'gainst their wish, do it ♪ even lazy jellyfish, do it ♪ do you... can you translate this? do you speakany english?
okay, all right.thank you. guide: "that paris existsand anyone could chooseto live "anywhere elsein the world "will always bea mystery to me. "dinner with pabloand henri matisse. "pablo isthe greater artist, "but matisse isthe greater painter. "paris in the summer. "what it musthave been like
"to sit oppositeone's lover at maxim's "in its...in its best time." "i'm in love withan american writer "i just metnamed gil pender. "that immediate magicone hears abouthappened to me. "i know that both picassoand hemingway arein love with me, "but forwhatever inexplicable... "inexplicablereason the heart has, "i am drawn by gil.
"perhaps becausehe seems naiveand unassuming. "as alwaysin this sad life, "he's about to marrya woman named inez. "i had a dreamwhere he came to me "and brought mea little gift. "earrings, they were.and we made love." earrings! oh! oh, my god!what are you guys doing? daddy had chest pains.
oh. really? are you... yeah, i'm sureit's just indigestion. helen: we can'ttake that chance. he had an angioplastythree years ago. gil: yeah. right. they put a balloonin me, big deal. gil: a balloon? i would likethe hotel doctor, please,in room 720 a. don't call the doctor!
gil, why are youso dressed up? me? no, no,no, no, i'm not!i've been writing. i was just doinga little writing. what, you dress upand put on cologneto write? no, no, i took...i jumped in the showerjust for a second, just... you know howi think betterin the shower and i getthe positive ionsgoing in there. so, we were halfwayto mont saint-michel when daddy justwent pale as a ghost.
gil: that's terrible. it was so scary. so, we justturned right aroundand came back. yeah, you had to.john, is there anythingthat i can get for you? your color, to me,looks like it's okay, but i'm not a doctor,so maybe... no, i'm fine. i'm sure it'sthe beef bourguignonshe made me have. inez: that in your hand.
nothing. it's a present. i know. i know.i mean, it's not.it is... yes. and it's not,you know, it's not... it's just fromthe flea market,so it's not... well, can i open it? no, no, no.that's what i'm saying!honey, it's... i want... it's for a special dinnerthat we're going to have, that i'm going togive it to you at.
is it jewelry? i hope it's my tasteif it's jewelry, because thatmoonstone necklace... no, no. but you liked...i thought you likedthe moonstone. because it has a...it's understated,but elegant. that's whatyou always say! "cheap is cheap" iswhat i always say. yeah.you didn't seethis necklace. i've neveractually even worn it.
i'll show you.you'll see whyimmediately. everybody's downon moonstoneall of a sudden! well, they area little simple. well, i thought youloved their simplicity. yeah, that's the problem.they're too simple! well, what do i know?too simple. where aremy pearl earrings? did you bring them?i don't even rememberyou packing them. yes, i did, becausei've worn them here.
no, you didn't.they must havefallen out! both of them? gil, my earsare pierced! inez, i told youto keep everythingin the hotel safe. do you thinkit was the maid? it's always the maid. i know i saw themhere this morning. well, i would reportthe theft right away. she was so snotty yesterdaywhen i asked her toturn down the beds.
whoa, whoa, whoa.let's not jump toany conclusions! you don't justlevel a charge of theftagainst somebody. yes, i'd like toreport a theft. (softly) inez, no! could you callthe house detective?send him up? thank you. this is turninginto a witch hunt! you don't do thisto people! yes, you do,if they've stolen. i didn't like that maid.i didn't like herfrom the beginning.
i said that. she was sweet! she was pleasant.she was upbeat. you always takethe side of the help,as usual! that's why daddysays you're a communist! (knocking on door) i'm dr. gerard. helen: very good. do you wantsome more water?
i'm fine. i'm fine.thank you. he's had angioplasty. i didn't need it. look! are these them?i don't know, could... where did youfind them? they were justin the bathroom. in the bathroom? yeah, on the sink.i just... what the hellwere they doingin the bathroom?
i don't know.they were just... but maybeyou dropped them, and when you wereputting them away, and then the housekeepermust've picked them up and placed themthere for us to... out in the openfor us to see easily. it was actuallyreally thoughtful of her. i didn't drop them.i wouldn't drop them. i wouldn't dropmy pearl earrings.
the important thingis they're not stolen. pender! i wasjust telling matisse we're going to buyone of his new paintingsfor our personal collection. i think 500 francsis fair. 500 francsfor a matisse? yeah, i thinkthat sounds fair. i wonder, actually,if i can maybe pickup six or seven... what have we got here? oh. okay, now,i brought a rewrite
of the firstfew chaptersof my book. and if you couldjust tell me if i'm headingin the right direction, i'd reallyappreciate it. leave it with me. okay, great. and have you heardfrom hemingway? oh. they've beenback for days now. the trip didn't work out.i knew they wouldn'thit it off.
it's over.with picasso, too. gil: oh, no. she's at deyrolle,by herself. by herself? one of those crazysurrealist paintersis getting married. they're doing itup there. she'll be gladto see you. (upbeat jazz music playing) (man speaking french)
(guests exclaiming) hi. hi. what are youdoing here? i came to find you. you did? maybe this iscoming outof left field, but let's just say,as a writer, i'm pretty goodat picking upon vibrations from people,women in particular.
and i just...i sense that there's some complicatedfeelings, maybe, that you have for me. aren't you goingto get married? well, everything'sa little up in the airright now. i don't know whatis going to happen. is there someplacewhere we can talk,maybe more quiet? sure. oh, mr. bunuel!i had a nice ideafor a movie for you.
a group of peopleattend a veryformal dinner party. and at the end of dinner,when they try to leavethe room, they can't. why not? they just can'tseem to exit the door. but why? well, momento. when they're forcedto stay together, the veneerof civilizationquickly fades away, and what you're left withis who they really are.
animals. but i don't get it.why don't they justwalk out of the room? all i'm saying isjust think about it.who knows? maybe when you'reshaving one day,it'll tickle your fancy. i don't understand.what holding themin the room? what are you doing? but i did feel,for a minute there while i was doing it,like i was immortal. but you look so sad.
because life istoo mysterious. this is the timewe live in. everything moves so fastand life is noisyand complicated. yeah, but i've never...i mean, i've always beena logical person. i never... you know,i never acted too crazy. i didn't stay here wheni first came out here. i didn't... you know,i didn't take a real shotat being a writer. i just kind of,"i'll be a hollywoodhired hand," and i just...
i don't...i just want to... i feel like i justwant to just let it go. here. oh. this is...this is remarkable. go on. here.put it on. they are so beautiful. (hoofs approaching) look. come on,come on.
adriana: mon dieu,this is so beautiful! it's unbelievable.all of the picturesi've seen, and here it is, la belle epoque. wow. i don't knowwhat it isabout this city! it's like...i've got to write a noteto the chamber of commerce. (classical music playing) avant-garde, yes. isn't it amazing?the first time we met, i told youabout this place.
and the belle epoque.and here we are. i know. i don't knowwhy i have this feelinglike i'm just kind of... i don't know, like,i can't believe my luck. well, and i know exactlywhere i want to go next. you lead the way. (pompous music playing) (dancers exclaiming) (exclaims) (audience cheering)
look! oh, my god! pablo admires him so much.i have to say hello. come... no, no. maybe weshouldn't bother him. come with me,i'm nervous! really? okay. but we knowhe's a lonely man. i'm sure he wouldlove some company. okay. okay.
monsieur lautrec? he's asking us tosit down with him. this much frenchi do understand,and the gesture. yes, i'm an american. yeah. yeah, oui, oui. i loveyour drawings, also. paul gauguin. wow. yes, yes, yes!
you see the sketchhe's made? nobody can drawlike this today. not picasso.not matisse. no, it's unbelievable! no, no, i speak well. degas and i werejust talking abouthow this... he says that thisgeneration is emptyand has no imagination. better to havelived during the...during la renaissance. no! this isthe golden age.
not... no. (giggles) (continues speaking french) he wants degasto have you meethis friend, richard. he's looking for someoneto do costumesfor the new ballet. ballet costumes? oh, my god.i don't live here. i mean, i do,but i don't. i... it's best not to gointo too many details.
we're temporarilypassing through. can i speakwith you a minute? wow, it didn'ttake gauguin longto start steaming in. let's never goback to the '20s. what are youtalking about? we should stay here.it's the start of la belle epoque. it's the greatest,most beautiful eraparis has ever known! yeah, but whatabout the '20s, and the charleston,and the fitzgeralds,and the hemingways?
i mean,i love those guys. well, it's the present.it's dull. dull? well, it's notmy present.i'm from 2010. i dropped inon you the same way we're dropping inon the 1890s. i was trying toescape my present the same way you'retrying to escape yours to a golden age.
surely you don't thinkthe '20s are a golden age. yeah, to me, they are. but i'm from the '20s,and i'm telling you the golden age is la belle epoque. i mean,look at these guys. to them,their golden agewas the renaissance. they'd rather...they'd trade belle epoque to be paintingalongside titianand michelangelo. and those guysprobably imaginelife was a lot better
when kublai khanwas around. i'm havingan insight now. it's a minor one,but it explains the anxietyin my dream that i had. what dream? i had a dreamthe other night where... it was like a nightmare,where i ran outof zithromax. and then i wentto see the dentist, and he didn'thave any novocain. you see whati'm saying?
these people don'thave any antibiotics! adriana, if youstay here, though, and this becomesyour present then pretty soonyou'll start imagining another timewas really your... you know, was reallythe golden time. yeah, that's whatthe present is. it's a little unsatisfyingbecause life'sa little unsatisfying. that's the problemwith writers.
you are so fullof words. but i am more emotional. and i am going to stayand live in paris'smost glorious time. you made a choiceto leave paris onceand you regretted it. yeah, i did regret it.it was a bad decision, but at leastit was a choice. i mean,it was a real choice. this way, i think, is crazy.it doesn't really work. if i ever want towrite somethingworthwhile
i have to get ridof my illusions, and that i'd behappier in the pastis probably one of them. so, goodbye, gil? goodbye. pender, i read your rewriteand you're nicelyon the right track. you've understood meclearly. if the rest ofthe book reads as wellwhen you're done, you'll havesomething of value. that is the best news!i really did listen to you,
so i'm happy to hearthat it seems likei'm moving forward. it meansthe world to me. hemingway readthe chapters, too. hemingway read it? he thinksit's going tobe a fine book. but he did haveone plot suggestion. what washis suggestion? he doesn't quite believethat the protagonistdoesn't see that his fianceeis having an affairright before his eyes.
with? the other character,the pedantic one. yeah,it's called denial.thank you. you're crazy!paul and i? where did you getsuch an insane notion? where?from ernest hemingway. he figured it out.and guess what?it makes perfect sense. gil, your brain tumor'sacting up again. no, no, no, no.
no. no! there's nothing crazyabout hemingway. or fitzgerald.or gertrude stein.or salvador dali. yeah. except thatthey've all been deadfor years! no, no.the past is not dead! actually,it's not even past. you know who said that?faulkner, and he was right! and i met him, too.i ran into himat a dinner party. you're a ravinglunatic!
no, i'm not. yes, you are. no, no.i'm too trusting. i'm jealousand i'm trusting. it's cognitivedissonance. scott fitzgeraldtalked about it. gil. gil... inez, i know.you can fool me, but you cannotfool hemingway.
jesus christ! i'm dealingwith a madman here! okay! yes! i did! i was with paulfor a few nights. because he's romantic,and he speaks french, and you werealways working. and maybeit's the mystiqueof this corny city, but get over it, gil. you just putthis in perspectivewhen we get home.
i'm not...i'm not going back. i'm sorry. what? i'm staying here. and it has nothing to dowith your romantic fling.paris is paris. inez, you and i,it's obvious we're not... i don't think we'reright for each other. i think that we... what are you saying? what are youeven talking about?
you ready togo swimming? we're breaking up. yeah.gil's movingto paris. i knew it!i told you. what's going on? no, no,i'm going tostay in paris. but just because we've...if i'm unhappy,i'll move back. but for thetime being, yes. with...with who, gil?
with no one. all your crazy,hallucinatory friends? i mean, mom's rightabout you, you know? you havethis part missing. yeah, i saidthat first. anyone whose protagonistmakes a livingselling old cap pistols and joan crawfordcutout books, honestly... she's upset. listen, listen, i'm nottrying to be a martyr,
but i think you'll bebetter off without me. i really do. well, we would! yeah, you gotthat right. i can't believeyou're moving. go ahead. go ahead! walk the streets. gush overthe parisian lightand the rooftops! okay. goodbye, inez.
john: yeah,say hi to trotsky. helen: yeah. unbelievable. i had a privatedetective follow him. i knew he wasup to no good. oh, you bet i did. he saw him getinto a car at midnightevery night, and he followedhim very closely. and what happened?
the detective agency saysthe detective is missing. (yelling in french) gabrielle: hey, hi! good to see you.(chuckling) i'm returning fromdinner with friends. oh, okay. i live here. oh. yeah. and you?what are you doing here?
i was just outfor a walk. yeah, actually,i decided i'm movingto paris. wow. i'm sureyou will love it. you think so? you know,i thought about youthe other day, because... my boss gota whole new albumof cole porter songs. and that madeyou think about me. i like to bethought of that way. you're on your wayhome right now?
can i walk with you?or i'll buy youa cup of coffee or... (rain pattering) okay, now it'sstarting to rain. no, but that's okay.i don't mind getting wet. and actually, paris isthe most beautifulin the rain. you think that?i feel like that'swhat i'm always saying. i couldn'tagree more with you. yes, it ismore beautiful. by the way,my name is gabrielle.
nice to meet you. that's a pretty name.
