9cbe9d08ff6673e8dba308ac11ba88d71b425209
movie
http://www.imsdb.com/scripts/Last-Tango-in-Paris.html
ULTIMO TANGO A
THE END .
 Paul (Marlon Brando), a middle-aged American hotel owner mourning his wife's suicide, meets a young, engaged Parisian woman named Jeanne (Maria Schneider) at an apartment that both are interested in renting. Paul takes the apartment after they begin an anonymous sexual relationship there. He insists that neither of them must share any personal information, even given names. The affair continues until one day, Jeanne arrives at the apartment and finds that Paul has packed up and left without warning.
Paul later meets Jeanne on the street and says he wants to renew the relationship. He tells her of the recent tragedy of his wife. As he tells his life story, they walk into a tango bar, where he continues telling her about himself. The loss of anonymity disillusions Jeanne about their relationship. She tells Paul she does not want to see him again. Paul, not wanting to let Jeanne go, chases her back to her apartment, where he tells her he loves her and wants to know her name.
Jeanne takes a gun from a drawer. She tells Paul her name and shoots him. Paul staggers out onto the balcony, mortally wounded, and collapses. As Paul dies, a dazed Jeanne mutters to herself that he was just a stranger who tried to rape her and she did not know who he was, as if in a rehearsal, preparing herself for questioning by the police.
Paul ( Marlon Brando ) , a middle-aged American hotel owner mourning his wife s suicide , meets a young , engaged Parisian woman named Jeanne ( Maria Schneider ) at an apartment that both are interested in renting . Paul takes the apartment after they begin an anonymous sexual relationship there . He insists that neither of them must share any personal information , even given names . The affair continues until one day , Jeanne arrives at the apartment and finds that Paul has packed up and left without warning . Paul later meets Jeanne on the street and says he wants to renew the relationship . He tells her of the recent tragedy of his wife . As he tells his life story , they walk into a tango bar , where he continues telling her about himself . The loss of anonymity disillusions Jeanne about their relationship . She tells Paul she does not want to see him again . Paul , not wanting to let Jeanne go , chases her back to her apartment , where he tells her he loves her and wants to know her name . Jeanne takes a gun from a drawer . She tells Paul her name and shoots him . Paul staggers out onto the balcony , mortally wounded , and collapses . As Paul dies , a dazed Jeanne mutters to herself that he was just a stranger who tried to rape her and she did not know who he was , as if in a rehearsal , preparing herself for questioning by the police .
http://en.wikipedia.org/wiki/Last_Tango_in_Paris
Last Tango in Paris
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<b>                               ULTIMO TANGO A PARIGI
</b>                         
<b>                               [LAST TANGO IN PARIS]
</b>                         
                         
                         
                         
                                    Written by
                         
                        Bernardo Bertolucci & Franco Arcalli


                         
                         
<b>                                               FINAL SHOOTING TRANSCRIPT
</b>

<b>          FADE IN:
</b>                         
                         
<b>          EXT. PARIS FRANCE - PONT DE BIR-HAKEIM - DAY
</b>                         
          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.
                         
<b>                          PAUL
</b><b>                          (ENGLISH)
</b><b>           FUCKING GOD!!!!
</b>                         
          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.
                         
<b>                          CUT TO:
</b>                         
<b>          EXT. APT. BUILDING - PASSEY - DAY
</b>                         
          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.
                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. KENNEDY EIFFEL BAR - DAY
</b>                         
          Jeanne comes in and speaks to the BARTENDER.
<b>           2.
</b>                         
                         
<b>          DIALOGUE IS IN FRENCH
</b>                         
<b>                          JEANNE
</b>           A phone token, please.
                         
<b>                          BARTENDER
</b>           No tokens. At the end, on the left.
                         
<b>                          JEANNE
</b>           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.
                         
<b>                          JEANNE (CONT'D)
</b>           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.
                         
<b>                          JEANNE (CONT'D)
</b>           Then I've got to go to the station
           to met Tom. I promised him. OK, see
           you later. Bye!
                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. APT. BUILDING - FRONT DESK
</b>                         
          Jeanne talks to THE CRAZY CONCIERGE through a SMALL WINDOW
          who is SMOKING and has ROLLERS in her hair.
                         
<b>                          JEANNE
</b>           I've come to see the flat. I saw
           the sign.
                         
<b>                          CONCIERGE
</b>           The sign?
<b>           3.
</b>                         
                         
<b>                          JEANNE
</b>           Yes.
                         
          The Concierge joins Jeanne AT THE WINDOW.
                         
<b>                          CONCIERGE
</b>           It's always the same! Nobody ever
           tells me anything.
                         
<b>                          JEANNE
</b>           I'd like to see it.
                         
<b>                          CONCIERGE
</b>           You want to rent it?
                         
<b>                          JEANNE
</b>           I don't know yet!
                         
<b>                          CONCIERGE
</b>           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.
                         
<b>                          CONCIERGE (CONT'D)
</b>           If you want to go up alone--
                         
          She looks through her KEYS...
                         
<b>                          CONCIERGE (CONT'D)
</b>           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.
                         
<b>                          CONCIERGE (CONT'D)
</b>           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.
                         
<b>                          CONCIERGE (CONT'D)
</b>           Wait! Don't go! There must be a
           duplicate.
                         
          She looks for it.
                         
<b>                          CONCIERGE (CONT'D)
</b>           Here it is.
<b>           4.
</b>                         
                         
          Jeanne, against her better judgement, goes back to the desk.
          She holds out her hand. The Concierge puts the KEY IN HER
<b>          HAND.
</b>                         
<b>                          CONCIERGE (CONT'D)
</b>           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.
                         
<b>                          JEANNE
</b>           Let go of me!
                         
          She gets free of her and heads to the ELEVATOR, rubbing her
          hand.
                         
<b>                          JEANNE (CONT'D)
</b>           She's crazy!
                         
          The ELEVATOR arrives and she gets on. We watch her ascend and
<b>          DISAPPEAR.
</b>                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. APT. BUILDING - BEDROOM
</b>                         
          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.
<b>          DIALOGUE IS IN FRENCH
</b>                         
<b>                          JEANNE
</b>           Who are you?
                         
          No response.
                         
<b>                          JEANNE (CONT'D)
</b>           You gave me a fright.
                         
          No response.
                         
<b>                          JEANNE (CONT'D)
</b>           How did you get in?
                         
          He replies WITHOUT LOOKING AT HER.
<b>           5.
</b>                         
                         
<b>                          PAUL
</b><b>                          (BARELY AUDIBLE)
</b>           Through the door.
                         
<b>                          JEANNE
</b>           Oh yes, I left it open. I didn't
           hear you come in.
                         
<b>                          PAUL
</b>           I was already here.
                         
<b>                          JEANNE
</b>           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.
                         
<b>                          JEANNE (CONT'D)
</b>           An armchair by the fireplace would
           look good.
                         
<b>                          PAUL
</b>           The armchair should go in front of
           the window.
                         
<b>                          JEANNE
</b>           Are you American? You've got an
           American accent.
                         
          He gets off the radiator and WANDERS into the next room for
<b>          SOLITUDE.
</b>                         
<b>          LIVING ROOM - CONTINUOUS
</b>          But she has followed him. She OPENS THOSE WINDOWS also. He is
          forced into ANOTHER ROOM.
                         
<b>          DINING ROOM - CONTINUOUS
</b>                         
          As he studies a WICKER CHAISE LOUNGE, she calls from the
          other room.
                         
<b>                          JEANNE (CONT'D)
</b>           Are you going to take it? Are you?
                         
<b>                          PAUL
</b>           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
<b>          IN THE CORNER.
</b><b>           6.
</b>                         
                         
<b>                          JEANNE
</b>           What are you doing?
                         
          She thinks he is VERY ODD as he PLAYS WITH a lamp shade.
          Nature calls. She heads to the --
                         
<b>          BATHROOM - CONTINUOUS
</b>                         
          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.
                         
<b>          LIVING ROOM - CONTINUOUS
</b>                         
          The PHONE RINGS on...
                         
<b>                          JEANNE (CONT'D)
</b><b>                          (PERTURBED)
</b>           Oh la la. Should I answer It or
           not? Oh...
                         
<b>                         DINING ROOM
</b>                         
          They pick up the phone at the SAME TIME. Paul EAVES DROPS
                         
<b>                          JEANNE'S VOICE
</b>           Hello? Hello --
                         
<b>                          PAUL
</b>           (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.
                         
<b>          LIVING ROOM - CONTINUOUS
</b>                         
          Jeanne is STARTLED. She hangs up the phone.
                         
<b>                          JEANNE
</b>           So you're going to take it? You've
           decided?
                         
<b>                          PAUL
</b>           I had already decided. But I'm not
           sure now. Do you like it?
                         
          She's SPEECHLESS.
<b>           7.
</b>                         
                         
<b>                          JEANNE
</b>           I don't know. I shall have to think
           about it.
                         
<b>                          PAUL
</b>           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.
                         
<b>                          JEANNE
</b>           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.
                         
<b>                          PAUL
</b>           Ah... Oh, God.
                         
          They KISS SAVAGELY and HIT the floor as THEY CLIMAX TOGETHER.
                         
<b>                          PAUL (CONT'D)
</b>           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.
                         
                         
<b>                          PAUL (CONT'D)
</b>           Oh, God.
                         
<b>                          CUT TO:
</b>                         
                         
<b>          EXT. APT. BUILDING - ENTRANCE - MOMENTS LATER
</b>                         
          Paul comes out the FRONT DOOR. He puts on his TRENCH COAT.
          Jeanne LAGS behind, trying to fix herself also.
<b>           8.
</b>                         
                         
          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.
                         
<b>          PONT DE BIR-HAKEIM - CONTINUOUS
</b>                         
          They go their SEPARATE WAYS. Jeanne crosses the street while
          Paul takes the RAISED WALKWAY.
                         
<b>                          CUT TO:
</b>                         
                         
<b>          EXT. SUBWAY STATION - PLATFORM
</b>                         
          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.
                         
<b>                          TOM
</b>           Watch out!
                         
<b>                          JEANNE
</b>           Have they taken us for someone
           else?
                         
<b>                          TOM
</b>           We're in a film.
                         
          He walks her and EXPLAINS.
                         
<b>                          TOM (CONT'D)
</b>           We're in a film. If I kiss you...
                         
          He KISSES HER...
                         
<b>                          TOM (CONT'D)
</b>           ... 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.
                         
<b>                          JEANNE
</b>           What's going on? Do you know them?
<b>           9.
</b>                         
                         
<b>                          TOM
</b>           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!
                         
                         
<b>                          JEANNE
</b>           You're mad! You might have asked me
           first.
                         
<b>                          TOM
</b>           Yeah, but I wanted...
                         
          Jeanne SMACKS THE MICROPHONE out of their faces.
                         
<b>                          TOM (CONT'D)
</b>           I wanted to start with shots of
           Jeanne at the station meeting her
           fiancé. Yes, I know them. They're
           my crew.
                         
<b>                          JEANNE
</b>           So you kissed me, and you knew it
           was being filmed. You're a bastard!
           Traitor!
                         
<b>                          TOM
</b>           No, you'll see. It will be a love
           story. Tell me, Jeanne, darling.
           What did you do while I was away?
                         
<b>                          JEANNE
</b>           I thought of you day and night, and
           I cried. Darling, I can't live
           without you!
                         
<b>                          TOM
</b>           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
<b>          PASSIONATE EMBRACE.
</b>                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. HOTEL - ROSA'S BATHROOM - DAY
</b>                         
          CATHERINE cleans the bathroom of EXCESSIVE BLOOD.
                         
          Paul sits on the other side of the PRIVACY SCREEN --
          REFLECTING, in a GLUM FOG, listening.
<b>           10.
</b>                         
                         
          She WRINGS OUT a washcloth frequently as she speaks. The
          EXCESSIVE BLOOD AND WATER falling into a BUCKET.
                         
<b>                          CATHERINE
</b>           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.
                         
<b>                          CATHERINE (CONT'D)
</b>           There was so much blood everywhere.
           They had fun making me do a
           reconstruction. "She went there."
                         
          She wipes another GLASS SURFACE.
                         
<b>                          CATHERINE (CONT'D)
</b>           "She came through here."
                         
          She opens the curtain to the SHOWER/TUB. It's INUNDATED with
<b>          BLOOD.
</b>                         
<b>                          CATHERINE (CONT'D)
</b>           "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.
                         
<b>                          CATHERINE (CONT'D)
</b>           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.
                         
<b>                          CATHERINE (CONT'D)
</b>           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.
                         
<b>                          CATHERINE (CONT'D)
</b>           They got familiar right away! They
           said, "Your boss is a bit
           unstable." "Do you know that he was
           a boxer?" So?
<b>                          (MORE)
</b><b>           11.
</b><b>                          CATHERINE (CONT'D)
</b>           "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.
                         
<b>                          CATHERINE (CONT'D)
</b>           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.
                         
<b>                          CATHERINE (CONT'D)
</b>           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
<b>          SAX.
</b>                         
          Paul has had enough of the running water and her cleaning.
                         
<b>                          PAUL
</b>           Turn the tap off now.
<b>                          CATHERINE
</b>           They'll be doing the autopsy right
           now.
                         
          Paul walks to her side.
                         
<b>                          PAUL
</b>           Why won't you turn the tap off?
                         
<b>                          CATHERINE
</b>           They told me to give you your razor
           back.
                         
          She hands him the STRAIGHT RAZOR. He STUDIES IT.
                         
<b>                          PAUL
</b>           It's not mine.
<b>           12.
</b>                         
                         
<b>                          CATHERINE
</b>           They said they don't need it any
           more. The investigation is over.
                         
          He grabs her hands VIOLENTLY and studies them.
                         
<b>                          CATHERINE (CONT'D)
</b>           Yes, she had cuts there...
                         
          He tilts her head back FORCEFULLY.
                         
<b>                          CATHERINE (CONT'D)
</b>           ... 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.
                         
<b>                          CUT TO:
</b>                         
                         
<b>          EXT. PONT DE BIR-HAKEIM - DAY
</b>                         
          Formerly known as the Passy Viaduct. We see a great shot of
          the DOUBLE-DECKER ROAD-AND-RAIL BRIDGE and PAUL'S NEW
<b>          APARTMENT BUILDING.
</b>                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. APT. BUILDING - DAY
</b>          The front door opens and Jeanne's hand comes in, holding the
<b>          KEY.
</b>                         
          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.
                         
<b>                          MOVER
</b>           Excuse me, where shall I put this?
                         
<b>                          JEANNE
</b>           You could have rung the bell.
<b>           13.
</b>                         
                         
<b>                          MOVER
</b>           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.
                         
<b>                          JEANNE
</b>           In front of the fireplace.
                         
          She heads to the front door but is stopped by...
                         
<b>                          MOVER 2
</b>           Careful, madame.
                         
          With and armfull of chairs.
                         
<b>                          JEANNE
</b>           There.
                         
          She tries to leave again but then runs into...
                         
<b>                          MOVER
</b>           What about the table?
                         
          With a table.
                         
<b>                          JEANNE
</b>           How do I know? He'll decide.
                         
                         
<b>          BEDROOM - CONTINUOUS
</b>                         
          Jeanne REGARDS the room.
<b>                          MOVER 2
</b>           This is a king-size.
                         
<b>                          JEANNE
</b>           It won't fit!
                         
<b>                          MOVER
</b>           Well, your husband has no idea. All
           this in an hour... It's not long.
                         
          She leans against a wall and looks around, FLABBERGASTED.
                         
<b>                          JEANNE
</b>           What a mess!
                         
          We see Paul in the DOORWAY paying the movers.
                         
<b>                          MOVER
</b>           Thank you.
<b>           14.
</b>                         
                         
<b>                          MOVER 2
</b>           Thank you.
                         
          He comes in.
                         
<b>          LIVING ROOM - CONTINUOUS
</b>                         
          Jeanne is sitting in the chair in front of the fire place.
                         
<b>                          PAUL
</b>           The armchair goes in front of the
           window.
                         
          He DRAGS THE CHAIR AND HER to the window instead.
                         
<b>                          PAUL (CONT'D)
</b>           Like that.
                         
<b>                          JEANNE
</b>           But I only came to return the key.
           To return it to you.
                         
<b>                          PAUL
</b>           I don't care about the key. Take
           your coat off.
                         
          He takes his COAT OFF and hangs it on a DOOR HANDLE.
                         
<b>                          PAUL (CONT'D)
</b>           Take your coat off and help me.
                         
<b>                          JEANNE
</b><b>           OK.
</b>                         
<b>                          PAUL
</b>           Get those chairs and bring them
           here.
                         
          He grabs the TABLE and brings it to the DINING ROOM.
                         
<b>          DINING ROOM - CONTINUOUS
</b>                         
          He places the table. She FOLLOWS with the CHAIRS.
                         
<b>                          PAUL (CONT'D)
</b>           Put them on the other side. Take
           that, too. That's it.
                         
<b>                          JEANNE
</b>           You didn't waste any time...
                         
          But he has WANDERED OFF to another room.
<b>           15.
</b>                         
                         
<b>                          JEANNE (CONT'D)
</b>           Listen monsieur! I've got to go.
                         
<b>          DIALOGUE TO ENGLISH
</b>                         
<b>                          JEANNE (CONT'D)
</b>           Look, sir! I've got to go!
                         
<b>          BEDROOM - CONTINUOUS
</b>                         
          She walks across the mattresses with her BOOTS ON. Paul leans
          against the wall STUDYING THE ROOM.
                         
<b>                          PAUL
</b>           The bed is too big for the room.
                         
<b>                          JEANNE
</b>           I don't know what to call you.
                         
<b>                          PAUL
</b>           I don't have a name.
                         
<b>                          JEANNE
</b>           Do you want to know mine?
                         
<b>                          PAUL
</b>           No, no! I don't. I don't want to
           know your name.
                         
          He COVERS HER MOUTH and backs her up agianst a WALL.
                         
<b>                          PAUL (CONT'D)
</b>           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.
                         
<b>                          JEANNE
</b>           You're crazy!
                         
          She leans against the adjacent wall.
                         
<b>                          PAUL
</b>           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...
                         
<b>                          JEANNE
</b>           You scare me.
                         
          Back to the OTHER WALL.
<b>           16.
</b>                         
                         
<b>                          PAUL
</b>           You and I are gonna meet here
           without knowing anything that goes
           on outside here.
                         
          He indicates OUTSIDE THE WINDOW.
                         
<b>                          PAUL (CONT'D)
</b><b>           OK?
</b>                         
<b>                          JEANNE
</b>           But why?
                         
<b>                          PAUL
</b>           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.
                         
<b>                          JEANNE
</b>           But I can't. Can you?
                         
<b>                          PAUL
</b>           I don't know. Are you scared?
                         
<b>                          JEANNE
</b>           No.
                         
          She walks to the bed, inviting him with her eyes.
                         
<b>                          JEANNE (CONT'D)
</b>           Come?
<b>                          CUT TO:
</b>                         
                         
<b>          INT. HOTEL - PAUL AND ROSA'S ROOM - DAY
</b>                         
          ROSA'S MOTHER roots through Paul and Rosa's belongings.
          Searching for answers... and maybe some tokens of her
<b>          DECEASED DAUGHTER.
</b>                         
          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.
<b>           17.
</b>                         
                         
<b>                          ROSA'S MOTHER
</b>           I thought you'd be here.
                         
<b>                          PAUL
</b>           I expected you later.
                         
<b>                          ROSA'S MOTHER
</b>           I took the first train.
                         
          We notice the IRONY of the SIGN ON THE DOOR, it reads "PRIVY"
<b>          (PRIVATE).
</b>                         
<b>           ROSA'S MOTHER (CONT'D)
</b>           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.
                         
<b>                         MOMENTS LATER
</b>                         
          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
<b>          SESSION.
</b>                         
<b>           ROSA'S MOTHER (CONT'D)
</b>           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
<b>          PAUL.
</b>                         
<b>                          PAUL
</b>           What are you looking for?
                         
<b>                          ROSA'S MOTHER
</b>           Something that would explain... A
           letter, a clue.
                         
<b>                          PAUL
</b>           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.
                         
<b>                          ROSA'S MOTHER
</b>           My little Rosa wouldn't have...
           Nothing for her mother. Not a word.
<b>           18.
</b>                         
                         
<b>                          PAUL
</b>           It's useless to keep on searching.
                         
<b>                          ROSA'S MOTHER
</b>           Not even for you, her husband!
                         
          He closes the ARMOIRE.
                         
<b>                          PAUL
</b>           You need to rest. I think room
           12 is free.
                         
          He GATHERS HER BELONGINGS and leads her UP THE STAIRS.
                         
<b>          STAIRS - CONTINUOUS
</b>                         
          They pass some GUESTS coming down.
                         
<b>                          GUEST
</b>           Hi.
                         
          Rosa's Mother stops on the stairway, REFLECTING PAINFULLY.
                         
<b>                          ROSA'S MOTHER
</b>                         
<b>           ROSA'S MOTHER (CONT'D)
</b>           With a razor?
                         
          Paul goes on, IGNORING HER.
                         
<b>          ROOM 12 - CONTINUOUS
</b>                         
          Paul comes in and puts her belongings on the BED.
                         
<b>           ROSA'S MOTHER (CONT'D)
</b>           What time did it happen?
                         
<b>                          PAUL
</b>           I don't know. In the evening.
                         
<b>                          ROSA'S MOTHER
</b>           And then?
                         
<b>                          PAUL
</b>           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.
<b>           19.
</b>                         
                         
<b>                          ROSA'S MOTHER
</b>           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.
                         
<b>           ROSA'S MOTHER (CONT'D)
</b>           Paul!
                         
          Paul is BROKEN OUT OF HIS TRANCE... the sudden yelling has
<b>          INCENSED HIM.
</b>                         
          He PEERS ANGRILY at her in room 12.
                         
<b>           ROSA'S MOTHER (CONT'D)
</b>           Where did it happen?
                         
                         
<b>                          PAUL
</b>           In one of the rooms.
                         
<b>                          ROSA'S MOTHER
</b>           Did she suffer?
                         
<b>                          PAUL
</b>           Ask the Doctors. They're doing the
           autopsy.
                         
<b>                          ROSA'S MOTHER
</b>           The autopsy.
                         
          He goes into the ...
<b>          BATHROOM - CONTINUOUS
</b>                         
          He turns off the ANNOYING RUNNING WATER. He looks at himself
          in the mirror.
                         
          She UNPACKS her suitcases on her bed. He rejoins her.
                         
<b>          ROOM 12 - CONTINUOUS
</b>                         
          She takes out some CARDS.
                         
<b>           ROSA'S MOTHER (CONT'D)
</b>           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.
<b>           20.
</b>                         
                         
<b>                          PAUL
</b>           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.
                         
<b>                          ROSA'S MOTHER
</b>           But...
                         
<b>                          PAUL
</b>           No priests.
                         
<b>                          ROSA'S MOTHER
</b>           But Paul...
                         
<b>                          PAUL
</b>           Understand?
                         
<b>                          ROSA'S MOTHER
</b>           We have to. Funerals must be
           religious.
                         
          Paul EXPLODES -- She jumps a foot back.
                         
<b>                          PAUL
</b>           No!!!
                         
          He DARES HER with his eyes, ENRAGED.
                         
<b>                          PAUL (CONT'D)
</b>           Rosa didn't believe! Nobody
           believes in the fucking God here!
                         
          He throws her suitcase AGAINST THE WALL.
<b>                          ROSA'S MOTHER
</b>           Paul, don't shout. Don't talk like
           that.
                         
          He SNATCHES THE PAPER from her hands.
                         
<b>                          PAUL
</b>           The priest doesn't want any
           suicides. The Church doesn't want
           any suicides, do they?
                         
<b>                          ROSA'S MOTHER
</b>           They'll give her absolution.
                         
          He RAISES HIS HAND threatening to HIT HER.
                         
<b>                          PAUL
</b>           Heh!?
<b>           21.
</b>                         
                         
          Scared, she pushes on.
                         
<b>                          ROSA'S MOTHER
</b>           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.
                         
<b>                          PAUL
</b>           Why? Why did she commit suicide?
           Why?
                         
          He PUMMELS THE DOOR with his fists ... ENRAGED...
                         
<b>                          PAUL (CONT'D)
</b>           You don't know? You don't know.
                         
          He closes her DOOR.
                         
<b>          HALLWAY - CONTINUOUS
</b>                         
          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 ---
<b>          IRATE.
</b>                         
<b>                          CUT TO:
</b>                         
<b>          INT. APT. BUILDING - DAY
</b>                         
          Jeanne enters the ALREADY OPEN DOOR. She looks around the
          still sparsely furnished living room.
                         
<b>          LIVING ROOM -
</b>                         
          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.
<b>           22.
</b>                         
                         
<b>                         LATER
</b>                         
          Paul and Jeanne sit NUDE, entwined, WRAPPED AROUND EACH
<b>          OTHERS BODY'S.
</b>                         
<b>          DIALOGUE IS ENGLISH
</b>                         
<b>                          PAUL
</b>           OOh... Now... Let's... Let's just
           look at each other.
                         
<b>                          JEANNE
</b>           It's beautiful without knowing
           anything.
                         
          They REGARD each other for seconds.
                         
<b>                          JEANNE (CONT'D)
</b>           Maybe... Maybe we can come without
           touching.
                         
<b>                          PAUL
</b>           Come without touching? OK.
                         
          He leans his head back and CLOSES his eyes... SCREWING UP HIS
          FACE. She COPIES HIM.
                         
<b>                          PAUL (CONT'D)
</b>           Are you concentrating? Did you come
           yet?
                         
                         
<b>                          JEANNE
</b>           No. It's difficult!
<b>                          PAUL
</b>           I didn't either yet. You're not
           trying hard enough.
                         
          They STOP THE SILLINESS. They laugh. She wraps her arms
          around his neck.
                         
<b>                          JEANNE
</b>           I shall have to invent a name for
           you.
                         
<b>                          PAUL
</b>           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?
<b>           23.
</b>                         
                         
          Paul does some PLAYFUL ANIMAL SOUNDS. APE SOUNDING GRUNTS and
          such. He contorts his face and LOOKS SILLY.
                         
<b>                          JEANNE
</b>           It's so masculine.
                         
<b>                          PAUL
</b>           Yeah.
                         
<b>                          JEANNE
</b>           Listen to mine.
                         
          She mimics his idea and makes her own PLAYFUL ANIMAL SOUNDS.
          He laughs.
                         
<b>                          PAUL
</b>           I didn't get the last name.
                         
          She redoes the SOUNDS for him. He JOINS her. Their ANIMAL
<b>          SOUNDS BLEED INTO...
</b>                         
<b>                          CUT TO:
</b>                         
                         
<b>          EXT. JEANNE'S FAMILY COUNTRY MANOR - YARD - DAY
</b>                         
<b>          ... A DOVER OF LIVE DUCKS QUACKING --
</b>                         
          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...
                         
<b>          DIALOGUE IS FRENCH
</b>                         
<b>                          TOM
</b>           You shouldn't have done that to me.
                         
          She is much more EXCITED about the NEW PERM.
                         
<b>                          JEANNE
</b>           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.
<b>           24.
</b>                         
                         
<b>                          TOM
</b>           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...
                         
<b>                          TOM (CONT'D)
</b>           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.
                         
                         
<b>                          JEANNE
</b>           I'm in a hurry. Let's start.
                         
          She MOSEYS OFF.
                         
<b>                          TOM
</b>           But... can't we talk a little
           first?
                         
<b>                          JEANNE
</b>           Tonight we improvise. You follow.
                         
          He does.
                         
<b>          FAMILY PET GRAVE-YARD - CONTINUOUS
</b>                         
          Jeanne kneels in front of a HEAD STONE that reads "Mustapha".
<b>                          JEANNE (CONT'D)
</b>           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.
                         
<b>                          OLYMPIA'S VOICE
</b>           Dogs are worth more than people.
           Much more.
                         
          Jeanne smiles, FAMILIAR.
                         
<b>                          JEANNE
</b>           Meet Olympia, my nanny.
                         
<b>                          OLYMPIA
</b>           Mustapha could always tell the poor
           from the rich.
<b>                          (MORE)
</b><b>           25.
</b><b>                          OLYMPIA (CONT'D)
</b>           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.
                         
<b>                          JEANNE
</b>           Olympia, open the front door.
                         
<b>                          OLYMPIA
</b>           Give me a kiss.
                         
          Jeanne stands and KISSES HER on the cheek through the gate.
                         
<b>                          JEANNE
</b>           Go and open it.
<b>                          (TO TOM)
</b>           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.
                         
<b>                          JEANNE'S VOICE
</b>           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.
                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. JEANNE'S FAMILY COUNTRY MANOR
</b>                         
          Jeanne holds up a PICTURE. She points to people as she
          describes them.
                         
<b>                          JEANNE
</b>           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.
<b>           26.
</b>                         
                         
<b>                          OLYMPIA
</b>           She was too good. She spoilt you.
                         
          The Camera Crew turns the camera on her. Jeanne has a
          DIFFERENT PICTURE, pointing again.
                         
<b>                          JEANNE
</b>           That's Christine...
                         
          They turn back to Jeanne.
                         
<b>                          JEANNE (CONT'D)
</b>           ...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.
                         
<b>                          OLYMPIA
</b>           I couldn't live in Paris.
                         
          The camera turns on her, then back to Jeanne.
                         
<b>                          JEANNE
</b>           We're safe here. It's odd looking
           at the past.
                         
<b>                          TOM
</b>           Cut!
                         
          He walks to her.
                         
<b>                          TOM (CONT'D)
</b>           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.
                         
<b>                          TOM (CONT'D)
</b>           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.
<b>           27.
</b>                         
                         
<b>                          TOM (CONT'D)
</b>           I'm opening the door. I'm opening
           all the doors.
                         
                         
<b>                          JEANNE
</b>           What are you doing?
                         
<b>                          TOM
</b>           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.
                         
<b>                          TOM (CONT'D)
</b>           What are you doing there? Beat it!
                         
          He turns his attention back to Jeanne, the subject of his
<b>          OBSESSION.
</b>                         
<b>                          TOM (CONT'D)
</b>           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.
                         
<b>                          TOM (CONT'D)
</b>           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.
                         
<b>                          JEANNE
</b>           Papa?
                         
<b>                          TOM
</b>           You're soaring. Take off and return
           to your childhood.
                         
          Next picture.
                         
<b>                          JEANNE
</b>           In full uniform.
<b>           28.
</b>                         
                         
<b>                          TOM
</b>           Don't be afraid. Overcome the
           obstacles.
                         
          Next.
                         
<b>                          JEANNE
</b>           Papa in Algeria.
                         
<b>                          TOM
</b>           You're...
                         
          He starts a COUNTDOWN of ages, as if he is HYPNOTIZING HER.
                         
<b>                          TOM (CONT'D)
</b><b>           15...14...12...13...11...10...9...
</b>                         
          Jeanne backs into a DESK.
                         
<b>                          TOM (CONT'D)
</b>           We're there.
                         
          Jeanne kneels down in front of the desk.
                         
<b>                          JEANNE
</b>           My favorite route when I was eight.
                         
          She crawls under A TABLE. She finds a NOTEBOOK in a SECRET
<b>          HIDING SPOT.
</b>                         
<b>                          JEANNE (CONT'D)
</b>           My old notebook.
                         
          She reads from it.
<b>                          JEANNE (CONT'D)
</b>           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?
                         
<b>                          TOM
</b>           Beastly.
                         
<b>          STUDY - CONTINUOUS
</b>                         
          She reads on.
                         
<b>                          JEANNE
</b>           Here are my cultural sources. Le
           Grand Larousse.
<b>                          (MORE)
</b><b>           29.
</b><b>                          JEANNE (CONT'D)
</b>           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
<b>          CHILD.
</b>                         
<b>                          JEANNE (CONT'D)
</b>           Tom! Tom! Tom! Look!
                         
<b>                          TOM
</b>           Who's that?
                         
<b>                          JEANNE
</b>           My first love.
                         
<b>                          TOM
</b>           Who?
                         
<b>                          JEANNE
</b>           My cousin Paul. My first love.
                         
<b>                          TOM
</b>           But his eyes are closed.
                         
<b>                          JEANNE
</b>           What?
                         
<b>                          TOM
</b>           His eyes are closed!
<b>                          JEANNE
</b>           He played the piano divinely.
           That's how I remember him...
                         
<b>          AS WE --
</b>                         
<b>                          CUT TO:
</b>                         
                         
<b>          EXT. BACK YARD
</b>                         
          Jeanne and Tom walk BUNDLED TOGETHER as Jeanne REMINISCES...
                         
<b>                          JEANNE'S VOICE
</b>           Sitting at the piano... His fingers
           would skim the keys.
                         
          The FILM CREW follow them, filming.
<b>           30.
</b>                         
                         
          Olympia stumbles behind, watching.
                         
<b>           JEANNE'S VOICE (CONT'D)
</b>           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.
                         
<b>                          JEANNE
</b>           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.
                         
<b>                          JEANNE (CONT'D)
</b>           What are you doing?
                         
<b>                          KID 1
</b>           Having a shit.
                         
          The boy pooping stops and PULLS UP HIS PANTS.
                         
<b>                          KID 2
</b>           No, we're doing a poo.
                         
          Jeanne SCOLDS THEM.
                         
<b>                          JEANNE
</b>           Shame on you, doing it in my
           jungle!
                         
<b>                          KID 1
</b>           Watch out!
                         
<b>                          KID 2
</b>           Run for it!
                         
          They SCATTER towards the STONE WALL with Olympia and Crew
<b>          CHASING AFTER THEM.
</b>                         
<b>                          OLYMPIA
</b>           Oh, these dirty little Arabs! Go
           and shit in your own country!
                         
          The kids CLIMB THE WALL for escape from the CRAZY ADULTS.
<b>           31.
</b>                         
                         
<b>                          TOM
</b>           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..
                         
<b>                          JEANNE
</b>           Did you get it?
                         
<b>                          TOM
</b>           Everything.
                         
<b>                          JEANNE
</b>           Olympia was great. It'll give a
           good idea of race relations in the
           suburbs of Paris.
                         
<b>                          TOM
</b>           It's a real jungle here. So, tell
           me about your father.
                         
<b>                          JEANNE
</b>           I thought we'd finished.
                         
                         
<b>                          TOM
</b>           Five minutes.
                         
<b>                          JEANNE
</b>           I'm meeting someone for work.
                         
<b>                          TOM
</b>           But the colonel... the colonel!
          But Jeanne is OFF.
                         
<b>          AND WE CUT TO--
</b>                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. APT. BUILDING - LIVING ROOM - DAY
</b>                         
          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.
                         
<b>                          JEANNE
</b>           The colonel had green eyes and
           shiny boots. I worshipped him. He
           was so handsome in his uniform.
<b>           32.
</b>                         
                         
<b>                          PAUL'S VOICE
</b>           What a steaming pile of horseshit.
                         
<b>                          JEANNE
</b>           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.
                         
<b>                          JEANNE (CONT'D)
</b>           What? Don't...
                         
<b>                          PAUL
</b>           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.
                         
<b>                          JEANNE
</b>           He died in Algeria in 58...
                         
<b>                          PAUL
</b>           Or 68 or 28 or 98...
                         
<b>                          JEANNE
</b>           58, and don't joke about things
           like that.
                         
<b>                          PAUL
</b>           Listen, why don't you stop talking
           about things that don't matter
           here? What the hell's the
           difference?
                         
<b>          DIALOGUE SWITCHES TO ENGLISH
</b>                         
<b>                          JEANNE
</b><b>           OK.
</b>                         
          She huffs over to the other SIDE OF THE ROOM, crossing her
          arms, POUTING.
                         
<b>                          JEANNE (CONT'D)
</b>           So what do I have to say? What do I
           have to do!?
                         
          He turns on to his back to evince his CROTCH.
<b>           33.
</b>                         
                         
<b>                          PAUL
</b>           Come on the good ship...
<b>                          (SINGS)
</b>           Lollipop...
                         
          He PLAYS A TUNE on his harmonica. She sneaks onto the bed IN
<b>          THE SHADOWS.
</b>                         
<b>                          JEANNE'S VOICE
</b>           Why don't you go back in America?
                         
          He stops PLAYING THE TUNE.
                         
<b>                          PAUL
</b>           I don't know. Bad memories, I
           guess.
                         
<b>                          JEANNE
</b>           Of what?
                         
<b>                          PAUL
</b>           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.
                         
<b>                          PAUL (CONT'D)
</b>           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.
<b>           34.
</b>                         
                         
<b>                          JEANNE'S VOICE
</b>           Not one?
                         
<b>                          PAUL
</b>           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.
                         
<b>                          JEANNE
</b>           You have been had!
                         
<b>                          PAUL
</b>           Oh really?
                         
<b>                          JEANNE
</b>           I don't wanna know anything about
           your past, baby!
                         
<b>                          PAUL
</b>           You think I was telling you the
           truth?
<b>           35.
</b>                         
                         
          Jeanne flaps her arms. Paul TWILLS his eyebrows in response.
                         
<b>                          PAUL (CONT'D)
</b>           Maybe... Maybe...
                         
          Jeanne climbs on the bed with the top sheet like a LIONESS
          STALKING her prey.
                         
<b>                          JEANNE
</b>           I'm a Red Riding Hood and you're
           the wolf.
                         
          She COVERS HIM UP with the sheet. Then she uncovers his arm.
                         
<b>                          JEANNE (CONT'D)
</b>           What strong arms you have!
                         
          She SNIFFS HIS ARM. Paul PLAYS ALONG.
                         
<b>                          PAUL
</b>           The better to squeeze a fart out of
           you!
                         
          She plays with his hands.
                         
<b>                          JEANNE
</b>           What long nails you have!
                         
<b>                          PAUL
</b>           The better to scratch your ass
           with.
                         
          She REACHES UNDER the sleeve of his shirt to his chest.
                         
<b>                          JEANNE
</b>           Oh, what a lot of fur you have!
                         
<b>                          PAUL
</b>           The better to let your crabs hide
           in.
                         
          She lifts the sheet from his face, moves his harmonica and
          looks in his mouth.
                         
<b>                          JEANNE
</b>           Ooh, what a long tongue you have!
                         
          He TALKS FUNNY as Jeanne holds on to his tounge.
                         
<b>                          PAUL
</b>           The better to... to stick in your
           rear, my dear.
<b>           36.
</b>                         
                         
          She makes her way down to his CROTCH, uncovering the sheet as
          she goes. She REGARDS HIS PRIVATE AREA.
                         
<b>                          JEANNE
</b>           What's this for?
                         
<b>                          PAUL
</b>           That's your happiness and my... my
           ha-penis.
                         
<b>                          JEANNE
</b>           Peanuts?
                         
          Jeanne SMILES ON as Paul reels off a list of FOREIGN NAMES
          for the MALE GENITALIA.
                         
<b>                          PAUL
</b>           Schlong. Wienerwurst. Cazzo. Bitte.
           Prick! Joint!
                         
          Jeanne gets a kick out of this... Sort of.
                         
<b>                          JEANNE
</b>           It's funny. It's like playing grown-
           ups when you're little. I feel like
           a child again here.
                         
<b>                          PAUL
</b>           Did you have fun as a kid?
                         
<b>                          JEANNE
</b>           It's the most beautiful thing.
                         
<b>                          PAUL
</b>           It's beautiful to be made into a
           tattletale or forced to admire
           authority or sell yourself for a
           piece of candy.
                         
<b>                          JEANNE
</b>           I wasn't like that.
                         
<b>                          PAUL
</b>           No?
                         
<b>                          JEANNE
</b>           I was writing poems. I was drawing
           castles,... big castles with tower.
           A lot of tower.
                         
<b>                          PAUL
</b>           Did you ever think about sex?
<b>           37.
</b>                         
                         
<b>                          JEANNE
</b>           No. No sex.
                         
          Paul MOCKS HER.
                         
<b>                          PAUL
</b>           "No. No sex."
                         
<b>                          JEANNE
</b>           Tower.
                         
          He gives her a LOVE SMACK on the head.
                         
<b>                          PAUL
</b>           You were probably in love with your
           teacher.
                         
<b>                          JEANNE
</b>           My teacher was a woman.
                         
<b>                          PAUL
</b>           And she was a lesbian.
                         
<b>                          JEANNE
</b>           How did you know?
                         
<b>                          PAUL
</b>           That's classical... Anyway...
                         
<b>                          JEANNE
</b>           My first love was my cousin Paul.
                         
          Paul explodes.
                         
<b>                          PAUL
</b>           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.
                         
<b>                          JEANNE
</b>           Sorry. Sorry.
                         
<b>                          PAUL
</b>           Well, go on. Tell the truth. What
           else?
                         
<b>                          JEANNE
</b>           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.
<b>           38.
</b>                         
                         
<b>                          PAUL
</b>           You mean when he first got into
           your knickers.
                         
<b>                          JEANNE
</b>           He was a child prodigy. He was
           playing with both hands.
                         
<b>                          PAUL
</b>           I'll bet he was... Probably getting
           his kicks.
                         
<b>                          JEANNE
</b>           We were dying of heat.
                         
<b>                          PAUL
</b>           Oh, yeah. Good excuse. What else?
                         
<b>                          JEANNE
</b>           In the afternoon, when the grown-
           ups were napping...
                         
<b>                          PAUL
</b>           You started grabbing his joint.
                         
<b>                          JEANNE
</b>           You're crazy!
                         
<b>                          PAUL
</b>           Well, he touched you.
                         
<b>                          JEANNE
</b>           I never let him! Never!
                         
<b>                          PAUL
</b>           Ohhhh. Liar, liar, pants on fire,
           nose as long as a telephone wire.
                         
<b>                          JEANNE
</b>           No, I'm not.
                         
<b>                          PAUL
</b>           Look me straight in the face and
           say, "He didn't touch me once."
           Huh?
                         
          She SMILES.
                         
<b>                          JEANNE
</b>           He touched me, but the way he did
           it.
<b>           39.
</b>                         
                         
<b>                          PAUL
</b>           Aha! The way he did it. OK, what
           did he do?
                         
<b>                          JEANNE
</b>           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.
                         
<b>                          JEANNE (CONT'D)
</b>           Why aren't you listening to me?
                         
<b>                          PAUL
</b>           When did you first come? How old
           were you?
                         
<b>                          JEANNE
</b>           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.
<b>                          JEANNE (CONT'D)
</b>           Why aren't you listening to me?
                         
          He takes the PIN OUT and it comes apart. He FALLS BACK.
                         
<b>                          JEANNE (CONT'D)
</b>           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.
                         
<b>                          JEANNE (CONT'D)
</b>           I can be by myself, too, you know!
                         
<b>          DRUM MUSIC STARTS AS...
</b><b>           40.
</b>                         
                         
          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.
                         
<b>                         DINING ROOM
</b>                         
          Paul is REUNITED with his SMALL LAMP SHADE. He puts it over
          his face and CRIES into it.
                         
<b>                         LIVING ROOM
</b>                         
          Jeanne has CUM. She ROLLS OFF THE MATTRESSES onto the floor,
<b>          SPENT.
</b>                         
          She ROCKS BACK AND FORTH on her haunches.
                         
          A SIREN screams outside. She hugs the wall.
                         
<b>                         DINING ROOM
</b>                         
          Paul is LOST IN GRIEF, crying harder.
                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. HOTEL - LOBBY
</b>                         
          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,
<b>          MATERNAL.
</b>                         
          He THROWS IT on the floor.
                         
<b>                          ROSA'S MOTHER
</b>           I can't sleep with this music.
                         
<b>                          PAUL
</b>           I came to this hotel a long time
           ago, to spend one night. And I
           stayed for five years.
                         
<b>                          ROSA'S MOTHER
</b>           When Papa and I had the hotel,
           people came here to sleep.
                         
<b>                          PAUL
</b>           Now, there's all sorts. They can
           hide, take drugs, play music.
<b>           41.
</b>                         
                         
          Rosa's mother reaches out and strokes Paul's arm.
                         
<b>                          PAUL (CONT'D)
</b>           Take your hand away.
                         
          She continues stroking.
                         
<b>                          ROSA'S MOTHER
</b>           You're not alone, Paul. I'm here.
                         
          He sits up calmly, taking her hand in his own, then... BITES
<b>          HER!!!
</b>                         
          She PULLS HER HAND BACK in obvious pain.
                         
<b>           ROSA'S MOTHER (CONT'D)
</b>           You're crazy! I'm starting to
           understand.
                         
<b>                          PAUL
</b>           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.
                         
                         
                         
<b>                          ROSA'S MOTHER
</b>           What are you doing, Paul? I'm
           afraid!
                         
          Paul STALKS TOWARD her in the DARK.
                         
<b>                          PAUL
</b>           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.
                         
<b>                          PAUL (CONT'D)
</b>           They're afraid of the dark. Imagine
           that! Come on, Mother. Meet my
           friends.
                         
<b>                          ROSA'S MOTHER
</b>           Put the light on!
                         
          They look up the stairs to all the GUESTS that are out of
          their rooms.
<b>           42.
</b>                         
                         
<b>                          PAUL
</b>           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.
                         
<b>                          ROSA'S MOTHER
</b>           The light, Paul.
                         
<b>                          PAUL
</b>           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.
                         
<b>                         HOTEL ENTRANCE
</b>                         
          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.
                         
<b>                          MARCEL
</b>           Good evening, madame.
                         
<b>                          ROSA'S MOTHER
</b>           Good evening.
                         
          Paul saunters into the room. He surveys the IRONIC SCENE.
                         
<b>                          PAUL
</b>           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.
                         
<b>                          MARCEL
</b>           Goodnight, Paul.
<b>           43.
</b>                         
                         
<b>                          ROSA'S MOTHER
</b>           Who's that?
                         
<b>                          PAUL
</b>           Do you like him? He was Rosa's
           lover.
                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. APT. BUILDING - BATHROOM - MORNING
</b>                         
          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.
                         
<b>                          JEANNE
</b>           What am I doing in this apartment
           with you? Love?
                         
          Paul starts putting his SHAVING CREAM on with a shaving
          brush.
                         
<b>                          PAUL
</b>           Well... Let's say we're just taking
           a flying... a flying fuck at a
           rolling doughnut.
<b>                          JEANNE
</b>           So you think I'm a wore.
                         
          He MOCKS her obvious mispronunciation of "whore".
                         
<b>                          PAUL
</b>           I think you're a what? A what? A
           wore?
                         
<b>                          JEANNE
</b>           A wore.
                         
<b>                          PAUL
</b>           You mean whore.
                         
<b>                          JEANNE
</b>           Yes, a whore. Whore.
<b>           44.
</b>                         
                         
<b>                          PAUL
</b>           No, you're just a good old
           fashioned girl... trying to get
           along.
                         
<b>                          JEANNE
</b>           I prefer to be a whore.
                         
          She applies more makeup.
                         
<b>                          PAUL
</b>           Why were you going through my
           pockets?
                         
<b>                          JEANNE
</b>           To find out OOH you are.
                         
          He MOCKS her mispronunciation of "who" this time.
                         
<b>                          PAUL
</b>           To find out OOH you are.
                         
<b>                          JEANNE
</b>           Yes.
                         
<b>                          PAUL
</b>           Well, if you look real close,
           you'll see me hiding behind my
           zipper.
                         
<b>                          JEANNE
</b>           Well, we know that he buys clothes
           in some big store. That's not much.
           But it's a beginning.
<b>                          PAUL
</b>           That's not a beginning, that's a
           finish.
                         
<b>                          JEANNE
</b>           Well, OK. Let's forget it. How old
           are you?
                         
<b>                          PAUL
</b>           I'll be 93 this weekend.
                         
<b>                          JEANNE
</b>           Oh, you don't look it.
                         
<b>                          PAUL
</b>           Thank you.
                         
          She LAUGHS.
<b>           45.
</b>                         
                         
<b>                          JEANNE
</b>           Have you been in college?
                         
<b>                          PAUL
</b>           Oh yeah. Yeah. I went to... the
           University of Congo. Studied whale-
           fucking.
                         
<b>                          JEANNE
</b>           Wow!
                         
          He SHARPENS his razor on the STROP.
                         
<b>                          JEANNE (CONT'D)
</b>           Barbers don't usually go to
           university.
                         
<b>                          PAUL
</b>           Are you telling me that I look like
           a barber?
                         
<b>                          JEANNE
</b>           No, but that's a razor's barber.
                         
          He CORRECTS her again.
                         
<b>                          PAUL
</b>           That's a barber's razor.
                         
<b>                          JEANNE
</b>           Barber's razors, yes.
                         
<b>                          PAUL
</b>           Or a madmans.
          He starts SHAVING his neck with the STRAIGHT RAZOR.
                         
<b>                          JEANNE
</b>           So you want to cut me up?
                         
<b>                          PAUL
</b>           No. That would be like writing my
           name on your face.
                         
<b>                          JEANNE
</b>           Like they do to slaves?
                         
<b>                          PAUL
</b>           Slaves are branded on the ass and I
           want you free.
                         
<b>                          JEANNE
</b>           Free?! I'm not free! You want to
           know why...
<b>                          (MORE)
</b><b>           46.
</b><b>                          JEANNE (CONT'D)
</b>           why you don't want to know anything
           about me? Because you hate women.
                         
<b>                          PAUL
</b>           Oh, really?
                         
<b>                          JEANNE
</b>           What the hell have they ever done
           to you?
                         
<b>                          PAUL
</b>           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.
                         
<b>                          JEANNE
</b>           I'm not afraid to say who I am. I
           am 20 years old...
                         
          Paul EXPLODES.
                         
<b>                          PAUL
</b>           NO! I... Jesus Christ! Where is
           your brain? State zitta. Halt's
           Maul, Schweinehund. Shut up. Get
           it?
                         
          She stands, POUTING.
                         
<b>                          PAUL (CONT'D)
</b>           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.
                         
<b>                          PAUL (CONT'D)
</b>           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.
                         
<b>                          PAUL (CONT'D)
</b>           Hmm? Don't you think?
                         
          He FINALLY NOTICES her pouting.
                         
<b>                          PAUL (CONT'D)
</b>           What's that? What's all this?
<b>           47.
</b>                         
                         
<b>                          PAUL (CONT'D)
</b>           Mad?
                         
          He throws her over his shoulder. He SPINS HER AROUND. She
          screams but goes with it.
                         
<b>                          PAUL (CONT'D)
</b>           Mad? Mad? Mad?
                         
          She LOVES IT. He puts her down on the sink. She is LAUGHING.
                         
<b>                          PAUL (CONT'D)
</b>           I think I'm happy with you.
                         
          He leaves the bathroom. She slaps the sink top, CHILDLIKE.
                         
<b>                          JEANNE
</b>           Again! Do it again! Again!
                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. APT. BUILDING - FRONT DOOR - A LITTLE LATER
</b>                         
          Paul is all dressed. He is ready to leave. We hear Jeanne
          from the BATHROOM.
                         
<b>          DIALOGUE IS FRENCH
</b>                         
<b>                          JEANNE'S VOICE
</b>           I'm coming! I'm ready.
                         
          She comes around the corner...
                         
<b>                          JEANNE
</b>           Shall we leave together?
                         
          ... Just in time for Paul to SLAM THE DOOR IN HER FACE.
                         
<b>                          JEANNE (CONT'D)
</b>           Bastard! He's a git! Not even
           goodbye!
                         
          She THROWS HER PURSE at the door.
                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. SUBWAY STATION - PLATFORM - DAY
</b>                         
          A train enters the station. Tom gets off. He searches for
          Jeanne.
<b>           48.
</b>                         
                         
          When the Train leaves, we see her sitting on a bench on the
          adjacent track.
                         
          She notices him first.
                         
<b>                          JEANNE
</b>           Tom!
                         
<b>                          TOM
</b>           Jeanne! What are you doing there?
           I'm coming! I'll fly!
                         
          He starts RUNNING TO THE EXIT.
                         
<b>                          JEANNE
</b>           Wait! I've got to talk to you.
                         
<b>                          TOM
</b>           Why didn't you speak on the phone?
           What's up?
                         
<b>                          JEANNE
</b>           You must find someone else.
                         
<b>                          TOM
</b>           For what?
                         
<b>                          JEANNE
</b>           For your film.
                         
<b>                          TOM
</b>           Why.
                         
          He FRAMES HER with his fingers.
<b>                          JEANNE
</b>           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
<b>          ANNOYED.
</b>                         
<b>                          JEANNE (CONT'D)
</b>           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.
<b>           49.
</b>                         
                         
          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.
                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. HOTEL - MARCELS ROOM - EVENING
</b>                         
          Marcel is in his RED PLAID BATHROBE. He sits at his desk,
          clipping coupons from a NEWSPAPER.
                         
<b>          [OC] KNOCK ON DOOR
</b>                         
<b>          DIALOGUE IS FRENCH
</b>                         
<b>                          MARCEL
</b>           Come in!
                         
          Paul comes in. He is in a MATCHING RED PLAID BATHROBE.
                         
<b>                          PAUL
</b>           You wanted to talk to me. Go on,
           then. You know I haven't come to
           cry with you?
                         
<b>                          MARCEL
</b>           Do you mind if I carry on working?
                         
          He does while Paul ROOTS AROUND.
                         
<b>                          MARCEL (CONT'D)
</b>           It helps me a lot after what has
           happened.
          He takes notice of PAUL'S ROBE.
                         
<b>                          MARCEL (CONT'D)
</b>           Identical. Rosa wanted them
           identical.
                         
<b>                          PAUL
</b>           Our bathrobes? You can't tell me
           anything I don't already know.
                         
<b>                          MARCEL
</b>           Same colour, same pattern.
                         
<b>                          PAUL
</b>           Yes, yes, yes.
                         
          Paul takes a look at one of the newspapers from Marcel's
          desk.
<b>           50.
</b>                         
                         
<b>                          PAUL (CONT'D)
</b>           Your meticulous. I've always
           wondered why you save newspaper
           clippings. Is it work? Or a hobby?
                         
<b>                          MARCEL
</b>           Hobby? I don't like that word.
           Let's say it's some extra cash.
           I do it for an agency.
                         
<b>                          PAUL
</b>           Oh, so it's serious. It's a job
           that makes you read? Very
           educational.
                         
<b>                          MARCEL
</b>           Be honest. You didn't know we had
           the same bathrobes.
                         
          Paul finds this VERY AMUSING.
                         
<b>                          PAUL
</b>           Marcello...
                         
          He sits on MARCELS BED.
                         
<b>                          MARCEL
</b>           We've got a lot of things in
           common.
                         
<b>                          PAUL
</b>           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.
                         
<b>                          PAUL (CONT'D)
</b>           Would you like a shot of bourbon?
                         
          Marcel stops him.
                         
<b>                          MARCEL
</b>           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.
<b>           51.
</b>                         
                         
<b>                          PAUL
</b>           Was that a present from Rosa, too?
                         
          He POURS A GLASS for himself.
                         
<b>                          MARCEL
</b>           I don't really like bourbon, but
           Rosa wanted me to keep a bottle
           here in my room.
                         
          He SITS back down.
                         
<b>                          MARCEL (CONT'D)
</b>           I was asking myself this question.
           If, with these little things,
           unimportant things, we could go
           back over things, and understand
           together.
                         
<b>                          PAUL
</b>           Together?
                         
<b>                          MARCEL
</b>           It's almost a year that Rosa and
           I... Not passionately, but
           regularly... I thought I knew her
           as much as you can know...
                         
<b>                          PAUL
</b>           Your mistress...
                         
<b>                          MARCEL
</b>           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.
                         
<b>                          MARCEL (CONT'D)
</b>           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.
                         
<b>                          PAUL
</b>           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.
<b>           52.
</b>                         
                         
<b>                          PAUL (CONT'D)
</b>           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.
                         
<b>                          MARCEL
</b>           A cold sore. I don't know. Shit.
                         
          Paul regards him for a second.
                         
<b>                          PAUL
</b>           You're lucky huh? You were... You
           must have been very handsome 20
           years ago.
                         
<b>                          MARCEL
</b>           Not as much as you.
                         
<b>                          PAUL
</b>           You've still got all your hair.
                         
<b>                          MARCEL
</b>           My hair... I have to have it
           trimmed often. And wash it. I wash
           it nearly every day.
                         
                         
<b>                          PAUL
</b>           Don't you have massages?
                         
          He massages his own temples.
<b>                          MARCEL
</b>           Yes, I do.
                         
<b>                          PAUL
</b>           You're in good shape.
                         
          He paws at Marcel's stomach.
                         
<b>                          PAUL (CONT'D)
</b>           What do you do for... your stomach?
           That's my problem.
                         
<b>                          MARCEL
</b>           For that...
                         
          He gazes across the room.
                         
<b>                          MARCEL (CONT'D)
</b>           I have a secret.
<b>           53.
</b>                         
                         
          He gets up and heads across the room.
                         
<b>                          PAUL
</b>           Tell me!
                         
          He takes a bar from the floor and slides it into a spot on
          the top of a DOOR FRAME.
                         
<b>                          PAUL (CONT'D)
</b>           Ah...
                         
<b>                          MARCEL
</b>           Are you leaving us? I saw your
           suitcase was packed. Ah... America.
           Why was she unfaithful to you?
                         
<b>                          PAUL
</b>           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.
                         
<b>                          MARCEL
</b>           This is my secret! Thirty times
           every morning.
                         
          Paul leaves, DISGUSTED.
                         
<b>                          PAUL
</b><b>                          (ENGLISH)
</b>           Really, Marcello, I wonder what she
           ever saw in you.
<b>                          CUT TO:
</b>                         
                         
<b>          INT. APT. BUILDING - DAY
</b>                         
          Jeanne comes in carrying her FUR COLLARED COAT, purse and a
<b>          BAG.
</b>                         
<b>                          JEANNE
</b>           Are you in?
                         
          She looks around the place.
                         
<b>                          JEANNE (CONT'D)
</b>           Is anyone here?
                         
          She kicks the door shut with her foot. She wanders to the...
                         
<b>                         DINING ROOM
</b><b>           54.
</b>                         
                         
<b>                          JEANNE (CONT'D)
</b>           Hi, monster.
                         
          She throws her coat and purse on the table. She puts a
          PORTABLE RECORD PLAYER in the BASSINET.
                         
<b>                          JEANNE (CONT'D)
</b>           Is something wrong?
                         
                         
          From the other room we hear Paul...
                         
<b>                          PAUL'S VOICE
</b>           There's butter in the kitchen.
                         
          We see that Paul is laying on the floor eating bread.
                         
<b>                          JEANNE
</b>           So you're here? Why didn't you
           answer?
                         
<b>                          PAUL
</b>           Go get the butter.
                         
<b>                          JEANNE
</b>           I have to hurry. I have a cab
           waiting.
                         
<b>                          PAUL
</b>           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.
<b>                          JEANNE
</b>           It makes me crazy!
                         
          She sits on the floor and opens a MIRRORED door on a cabinet.
          We see PAUL'S REFECTION IN IT.
                         
<b>                          JEANNE (CONT'D)
</b>           That you're so damned sure that I'm
           coming back here.
                         
          He laughs at her. She sits on her HAUNCHES, then her ass.
                         
<b>                          JEANNE (CONT'D)
</b>           Do you really think that an
           American sitting on the floor in an
           empty flat eating cheese and
           drinking water is interesting?
<b>           55.
</b>                         
                         
          He NODS YES. She knocks on the FLOOR near her.
                         
<b>                          JEANNE (CONT'D)
</b>           There's something under here. Can
           you hear it? It's hollow. Can you
           hear it? It's hollow.
                         
<b>                          PAUL
</b>           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
<b>          HAND.
</b>                         
<b>                          JEANNE
</b>           Don't open it!
                         
<b>                          PAUL
</b>           Why not?
                         
<b>                          JEANNE
</b>           I don't know. Don't open it.
                         
          He points to her CROTCH.
                         
<b>                          PAUL
</b>           What about that? Can I open that?
                         
          He reaches for it but she MOVES AWAY.
                         
<b>                          PAUL (CONT'D)
</b>           Huh? Wait a minute. Maybe there's
           jewels in it.
                         
          He starts to UNDO HER PANTS.
<b>                          PAUL (CONT'D)
</b>           Maybe there's gold.
                         
          He PULLS THE BUTTER OVER WITH HIS FOOT.
                         
<b>                          PAUL (CONT'D)
</b>           Are you afraid?
                         
<b>                          JEANNE
</b>           No.
                         
<b>                          PAUL
</b>           No?
                         
          He YANKS HER by the legs CLOSER TO HIM.
                         
<b>                          PAUL (CONT'D)
</b>           You're always afraid.
<b>           56.
</b>                         
                         
          He FLIPS HER ON HER stomach, violently. She is not in the
<b>          SAME GAME.
</b>                         
<b>                          JEANNE
</b>           No, but... maybe there is some
           family secrets inside.
                         
<b>                          PAUL
</b>           Family secrets?
                         
          He RIPS HER PANTS DOWN TO HER ANKLES.
                         
<b>                          PAUL (CONT'D)
</b>           I'll tell you about family secrets.
                         
          He gets a HAND FULL OF BUTTER.
                         
<b>                          JEANNE
</b>           What are you doing?
                         
<b>                          PAUL
</b>           I'm gonna tell you about the
           family.
                         
          He YANKS her pants down enough to put his HAND FULL OF BUTTER
          in her ASS.
                         
<b>                          PAUL (CONT'D)
</b>           That holy institution meant to
           breed virtue in savages.
                         
          He SPREADS the butter in her ASS as she STRUGGLES.
                         
<b>                          PAUL (CONT'D)
</b>           I want you to repeat it after me.
          He MOUNTS HER, opening his ZIPPER. She STRUGGLES more.
                         
<b>                          JEANNE
</b>           No and no! No!
                         
<b>                          PAUL
</b>           Repeat it. Say, "Holy family."
           Come on, say it.
                         
          He grabs her arms, stopping her from STRUGGLING as he
<b>          SODOMIZES HER.
</b>                         
<b>                          PAUL (CONT'D)
</b>           Go on. Holy family. Church of good
           citizens.
                         
          She is WEEPING.
<b>           57.
</b>                         
                         
<b>                          JEANNE
</b>           Church...
                         
<b>                          PAUL
</b>           Good citizens.
                         
<b>                          JEANNE
</b>           Good citizens...
                         
          She CRIES OUT in pain as he enters her.
                         
          He smacks her savagely on the back of her head.
                         
<b>                          PAUL
</b>           Say it. Say it! The children are
           tortured until they tell their
           first lie.
                         
<b>                          JEANNE
</b>           The children... are tortured...
                         
          Her MUFFLED CRIES.
                         
<b>                          PAUL
</b>           Where the will is broken by
           repression.
                         
<b>                          JEANNE
</b>           Where the will... broken...
           repression.
                         
          TEARS STREAM DOWN her face.
                         
<b>                          PAUL
</b>           Where freedom...
<b>                          JEANNE
</b>           Free... Freedom!
                         
<b>                          PAUL
</b>           ..is assassinated. Freedom is
           assassinated by egotism. Family...
                         
<b>                          JEANNE
</b>           Family...
                         
          He DRIVES IT HOME TILL HE COMES...
                         
<b>                          PAUL
</b>           You... You... You... You f...
           You... fucking... fucking...
           family. You fucking... family! Oh,
           God... Jesus. Oh, you... Oh...
<b>           58.
</b>                         
                         
          He COLLAPSES on her, SPENT as she continues to WEEP.
                         
<b>                          CUT TO:
</b>                         
                         
<b>          EXT. PONT DE BIR-HAKEIM - THAT MOMENT
</b>                         
          A TRAIN ROARS by on the TRAIN BRIDGE.
                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. APT. BUILDING - LIVING ROOM
</b>                         
          Paul is SLEEPING on the floor amidst the BREAD AND BUTTER.
                         
<b>                          CUT TO:
</b>                         
                         
<b>          EXT. PONT DE BIR-HAKEIM - MOMENTS LATER
</b>                         
          Another couple of TRAINS go by.
                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. APT. BUILDING - LIVING ROOM - LATER
</b>                         
          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
<b>          ELECTRICAL SHOCK.
</b><b>                          JEANNE
</b>           Shit!
                         
          She looks at him sleeping.
                         
<b>                          JEANNE (CONT'D)
</b>           Hey, you!
                         
          He looks at her UPSIDE DOWN.
                         
<b>                          JEANNE (CONT'D)
</b>           Yes, you!
                         
<b>                          PAUL
</b>           Huh?
                         
<b>                          JEANNE
</b>           I've got a surprise for you.
<b>           59.
</b>                         
                         
<b>                          PAUL
</b>           What?
                         
          He looks at himself in a SMALL MIRROR.
                         
<b>                          JEANNE
</b>           I've got a surprise for you!
                         
<b>                          PAUL
</b>           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.
                         
<b>                          PAUL (CONT'D)
</b>           What is it?
                         
<b>                          JEANNE
</b>           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.
                         
<b>                          PAUL
</b>           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.
                         
                         
                         
<b>                          CUT TO:
</b>                         
<b>          EXT. PASSY VIADUCT PARK - DAY
</b>                         
<b>          HIPPIE MUSIC CONTINUES
</b>                         
          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.
                         
<b>                          TOM
</b>           Do you know why I sent the others
           away?
                         
<b>                          JEANNE
</b>           Because you're angry, or you want
           to be alone with me?
<b>           60.
</b>                         
                         
<b>                          TOM
</b>           And why do I want to be alone with
           you?
                         
<b>                          JEANNE
</b>           You have something really serious
           to tell me.
                         
          He plays with her hair.
                         
<b>                          TOM
</b>           I have something really very
           serious to tell you.
                         
<b>                          JEANNE
</b>           Is it happy or sad?
                         
<b>                          TOM
</b>           It's a secret.
                         
<b>                          JEANNE
</b>           So it's happy. What sort of secret?
                         
<b>                          TOM
</b>           A secret...
                         
          As his FILM CREW dolly around them in the b.g., his SOUND
          PERSON yells at them.
                         
<b>                          SOUND PERSON
</b>           Speak up! I can't hear anything.
                         
<b>                          TOM
</b>           ...between a man and a woman.
<b>                          JEANNE
</b>           Is it dirty or is it about love?
                         
<b>                          TOM
</b>           About love. But that's not all.
                         
                         
<b>                          JEANNE
</b>           A secret about love, but which
           isn't love. What is it?!
                         
          He puts a LIFE PRESERVER over her.
                         
<b>                          TOM
</b>           Voila. That in a week I'm marrying
           you.
                         
<b>                          JEANNE
</b>           What?
<b>           61.
</b>                         
                         
<b>                          TOM
</b>          I'm marrying you.
                         
<b>                          JEANNE
</b>          What?!
                         
<b>                          TOM
</b>          I'm marrying you!
                         
<b>                          JEANNE
</b>          You're marrying me?
                         
<b>                          TOM
</b>          Yes!
                         
<b>                          JEANNE
</b>          We're getting married?
                         
<b>                          TOM
</b>          Yes we're getting married.
                         
<b>                          JEANNE
</b>          No.
                         
<b>                          TOM
</b>          Yes.
                         
<b>                          JEANNE
</b>          No!
                         
<b>                          TOM
</b>          Yes.
                         
<b>                          JEANNE
</b>          Yes?
<b>                          TOM
</b>          Yes.
                         
<b>                          JEANNE
</b>          No.
                         
<b>                          TOM
</b>          Yes.
                         
<b>                          JEANNE
</b>          Yes?
                         
<b>                          TOM
</b>          No. Are we getting married or not?
                         
<b>                          JEANNE
</b>          I don't know.
<b>           62.
</b>                         
                         
<b>                          TOM
</b>           So, yes, then?
                         
<b>                          JEANNE
</b>           Yes!
                         
<b>                          TOM
</b>           No!
                         
<b>                          JEANNE
</b>           Yes!
                         
<b>                          TOM
</b>           Yes.
                         
<b>                          JEANNE
</b>           No.
                         
<b>                          TOM
</b>           Yes or no?
                         
          She take the life preserver off and THROWS IT IN THE WATER.
          Together, they WATCH IT SINK.
                         
<b>                          CUT TO:
</b>                         
                         
<b>          EXT. JEANNE'S MOTHERS APT. - PORCH - DAY
</b>                         
          JEANNE'S MOTHER beats the dirt off her LATE HUSBANDS MILITARY
<b>          JACKET.
</b>                         
<b>                          JEANNE'S MOTHER
</b>           Of course, I'll send everything to
           the country. What do you think,
           Jeanne?
                         
                         
<b>          INT. LIBRARY - CONTINUOUS
</b>                         
          Jeanne tries on another of her FATHERS MILITARY UNIFORMS
          complete with HAT.
                         
<b>                          JEANNE
</b>           Olympia will be happy. I went there
           yesterday with Tom.
                         
          Her mother joins her inside. She carries the FATHERS BOOTS.
                         
<b>                          JEANNE (CONT'D)
</b>           She's preparing a family museum.
<b>           63.
</b>                         
                         
<b>                          JEANNE'S MOTHER
</b>           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.
                         
<b>           JEANNE'S MOTHER (CONT'D)
</b>           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.
                         
<b>                          JEANNE
</b>           When I was little, it seemed really
           heavy when Papa taught me how to
           shoot.
                         
<b>                          JEANNE'S MOTHER
</b>           I'm keeping that here. In a
           respectable household, it's useful
           to have a weapon.
                         
<b>                          JEANNE
</b>           You don't even know how to use it.
                         
<b>                          JEANNE'S MOTHER
</b>           The important thing is to have one.
           It makes an impression.
                         
<b>                          JEANNE
</b>           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.
                         
<b>                          JEANNE (CONT'D)
</b>           Who's that? His orderly?
                         
<b>                          JEANNE'S MOTHER
</b>           A fine example of a Berber.
                         
                         
<b>                          JEANNE
</b>           Oh.
<b>           64.
</b>                         
                         
<b>                          JEANNE'S MOTHER
</b>           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.
                         
<b>                          JEANNE
</b>           Don't worry. You'll soon have all
           the space you want.
                         
<b>                          JEANNE'S MOTHER
</b>           What does that mean?
                         
<b>                          JEANNE
</b>           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.
                         
<b>                          JEANNE (CONT'D)
</b>           Madame, the colonel's lady, I
           announce...
                         
          Mom RUNS IN.
                         
<b>                          JEANNE'S MOTHER
</b>           What? What?
                         
<b>                          JEANNE
</b>           On this solemn day...
                         
          She goes out the door...
                         
<b>                          JEANNE'S MOTHER
</b>           What? What solemn day?
                         
          She RUNS AFTER her daughter.
                         
<b>          HALLWAY - CONTINUOUS
</b>                         
          Jeanne is on the ELEVATOR. She sticks her head out.
                         
<b>                          JEANNE
</b>           I'm getting married in a week!
                         
          She shuts the door and HEADS DOWN.
                         
<b>                          JEANNE'S MOTHER
</b>           What did you say?
<b>           65.
</b>                         
                         
          Mom follows her down STEP FOR STEP.
                         
<b>                          JEANNE
</b>           To Tom! In a week!
                         
<b>                          JEANNE'S MOTHER
</b>           Pardon?
                         
<b>                          JEANNE
</b>           Tom! In a week!
                         
<b>                          JEANNE'S MOTHER
</b>           What are you doing in a week?
                         
<b>                          CUT TO:
</b>                         
                         
<b>          EXT. OUTDOOR SHOP BAZAAR - DAY
</b>                         
          Tom and his FILM CREW film Jeanne trying on wedding dresses.
                         
          He COUNTS DOWN to the shot.
                         
<b>                          TOM
</b>           Five... two!
                         
          He does the CLAPPER with his hands.
                         
          Jeanne and her HOST OF DRESSERS is lost in her fittings.
                         
<b>                          TOM (CONT'D)
</b>           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.
                         
<b>                          TOM (CONT'D)
</b>           So,... how do you see marriage?
                         
<b>                          JEANNE
</b>           Marriage?
                         
<b>                          TOM
</b>           Yes.
                         
          Jeanne gives her upbeat EXTISTENTIAL RESPONSES as her fitting
          continues.
                         
<b>                          JEANNE
</b>           I see it everywhere. All the time.
<b>           66.
</b>                         
                         
<b>                          TOM
</b>           What do you mean, everywhere?
                         
<b>                          JEANNE
</b>           On walls. On buildings.
                         
<b>                          TOM
</b>           Walls and buildings?
                         
<b>                          JEANNE
</b>           Yes, on advertising hoardings.
                         
<b>                          TOM
</b>           What are they selling? Cars. Tinned
           meat. Cigarettes.
                         
<b>                          JEANNE
</b>           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!
                         
<b>                          TOM
</b>           They smile. On posters.
                         
<b>                          JEANNE
</b>           On posters, of course. But why t
           take poster marriage seriously?
           Marriage... Pop marriage!
                         
          Tom comes out from under a DRESS.
                         
<b>                          TOM
</b>           Pop? That's the formula. For pop
           youth, pop marriage! But... what if
           the pop marriage doesn't work?
                         
<b>                          JEANNE
</b>           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.
                         
<b>                          TOM
</b>           And in case of adultery what
           happens to the pop marriage?
<b>           67.
</b>                         
                         
<b>                          JEANNE
</b>           In that case, there are three or
           four workers.
                         
<b>                          TOM
</b>           What about love? Is love pop?
                         
<b>                          JEANNE
</b>           No. That's not. Love isn't pop.
                         
<b>                          TOM
</b>           Love isn't pop. So what is it?
                         
<b>                          JEANNE
</b>           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.
                         
<b>                          TOM
</b>           You're wonderful.
                         
<b>                          JEANNE
</b>           It's the dress that makes the
           bride.
                         
<b>                          TOM
</b>           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.
                         
<b>                          TOM (CONT'D)
</b>           What are you doing? Stop! Stop, but
           keep filming! Why aren't you
           filming in the rain?
                         
<b>                          CREW 1
</b>           You're crazy!
<b>           68.
</b>                         
                         
          They huddle underneath the DOOR of the FILM TRUCK.
                         
          Tom has lost Jeanne in all the HUBUB. He is disgusted with
          his CREW.
                         
<b>                          TOM
</b>           You're all fired!
                         
          He goes back to the SHOP.
                         
<b>                          TOM (CONT'D)
</b>           Where's Jeanne?
                         
<b>                          DRESSER 1
</b>           She must have run off.
                         
<b>                          TOM
</b>           When? ln the rain?
                         
          He runs down the street in the rain looking for her.
                         
<b>                          JEANNE
</b>           Jeanne! Jeanne! Jeanne! Jeanne!
                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. APT. BUILDING - LOBBY - DAY
</b>                         
          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.
<b>                          JEANNE'S VOICE
</b>           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.
                         
<b>                          JEANNE
</b><b>                          (FRENCH)
</b>           Forgive me! I wanted to leave you
           and I couldn't.
<b>                          (ENGLISH)
</b>           I wanted to leave you and I
           couldn't. I can't. I can't leave
           you, do you understand?
<b>           69.
</b>                         
                         
          She stands, PLEADING at the ELEVATOR.
                         
<b>                          JEANNE (CONT'D)
</b>           Do you still want me?
                         
          Paul does the EYEBROW TRILL. He opens the elevator so she can
          get on.
                         
<b>                         ELEVATOR
</b>                         
          As it ascends, Jeanne slowly RAISES HER DRESS, revealing NO
          UNDERWEAR and her AMPLE BUSH to Paul.
                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. APT. BUILDING - ENTRANCE - MOMENTS LATER
</b>                         
          The door flies open. Paul comes in CARRYING Jeanne in his
          arms.
                         
<b>                          PAUL
</b>           Voilà!
                         
          He starts doing a JIG AND SONG... all the way to the
<b>          MATTRESSES.
</b>                         
<b>                          PAUL (CONT'D)
</b>           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.
                         
<b>                          PAUL (CONT'D)
</b>           You're wet.
                         
          Paul pats her stomach and leaves the room.
                         
<b>          DINING ROOM - CONTINUOUS
</b>                         
          Paul opens the curtains.
                         
          Jeanne's SCREAMS come from the other room. He goes to
          investigate.
                         
<b>                          PAUL (CONT'D)
</b>           What the hell?
                         
<b>          BEDROOM - CONTINUOUS
</b>                         
          Jeanne screams BLOODY MURDER and points to a DEAD RAT on the
<b>          STILL UNMADE MATTRESS.
</b><b>           70.
</b>                         
                         
<b>                          PAUL (CONT'D)
</b>           A rat. Only a rat.
                         
          He PICKS IT UP by the tail. She stumbles over herself to get
          away.
                         
<b>                          PAUL (CONT'D)
</b>           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.
                         
<b>                          JEANNE
</b>           I want to go!
                         
          He brings it to her... she continues to BACK PEDDLE.
                         
<b>                          PAUL
</b>           Wait, wait! Don't you want a bite
           first? You don't want to run and
           eat.
                         
<b>                          JEANNE
</b>           This is the end!
                         
          He points to the ASS of the RAT.
                         
<b>                          PAUL
</b>           No, this is the end...
                         
          Then points to the HEAD.
                         
<b>                          PAUL (CONT'D)
</b>           ...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.
                         
<b>                          PAUL (CONT'D)
</b>           What's the matter? You don't dig
           rat?
                         
<b>                          JEANNE
</b>           I wanna go! I can't make love in
           this bed any more. I can't. It's
           disgusting! Nauseating!
                         
<b>                          PAUL
</b>           Well, we'll fuck on the radiator or
           standing on the mantel.
<b>           71.
</b>                         
                         
          He holds up the RAT again.
                         
<b>                          PAUL (CONT'D)
</b>           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.
                         
<b>                          PAUL (CONT'D)
</b>           I'll save the asshole for you.
                         
          He really leaves this time.
                         
<b>                          PAUL'S VOICE
</b>           Rat's asshole with mayonnaise!
                         
          He LAUGHS at himself.
                         
          Jeanne is a BASKET CASE. She sits on her HAUNCHES, muttering.
                         
<b>                          JEANNE
</b>           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.
                         
<b>                          JEANNE (CONT'D)
</b>           I'm not coming back... ever.
                         
          She gets to the...
                         
<b>                         FRONT DOOR
</b>          Paul is there, WAITING, NONCHALANT.
                         
<b>                          PAUL
</b>           Quo vadis, baby?
                         
<b>                          JEANNE
</b>           I forgot to tell you something. I
           fell in love with somebody.
                         
<b>                          PAUL
</b>           Oh, isn't that wonderful? You know,
           you're going to have to get out of
           these wet duds.
                         
          He PATS HER ASS.
                         
<b>                          JEANNE
</b>           I'm going to make love with him!
<b>           72.
</b>                         
                         
          She opens the door but he closes it. She STOMPS into the
<b>          HALL.
</b>                         
<b>                          PAUL
</b>           Well, first you have to take a hot
           bath. Cos if you don't...
                         
          He walks toward her.
                         
<b>                          PAUL (CONT'D)
</b>           ...you're gonna get pneumonia,
           right? Huh?
                         
          She STOMPS a few more steps toward the BATHROOM.
                         
<b>                          PAUL (CONT'D)
</b>           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...
                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. BATHROOM
</b>                         
          Jeanne is in the BATHTUB. Paul sits on the BIDET behind her
          with a WASHCLOTH.
                         
<b>                          PAUL
</b>           Give me the soap.
          She does.
                         
<b>                          JEANNE
</b>           I'm in love.
                         
<b>                          PAUL
</b>           You're in love?
                         
          He shoves her head UNDER THE WATER.
                         
<b>                          PAUL (CONT'D)
</b>           How delightful.
                         
          She comes up ANGRY.
                         
<b>                          JEANNE
</b>           I'm in love! I'm in love, you
           understand?
<b>           73.
</b>                         
                         
          He SMACKS her with the washcloth on the head.
                         
<b>                          JEANNE (CONT'D)
</b>           I'm in love, I'm in love!
                         
          He SHOVES HER under again.
                         
<b>                          JEANNE (CONT'D)
</b>           Oh! I'm in love!
                         
          He HITS HER on the head with her own shoe. She just gets more
<b>          ANGRY.
</b>                         
<b>                          JEANNE (CONT'D)
</b>           You know, you're old! You're
           getting fat.
                         
<b>                          PAUL
</b>           Fat, is it? How unkind.
                         
<b>                          JEANNE
</b>           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.
                         
<b>                          PAUL
</b>           In ten years, you'll be playing
           soccer with your tits.
                         
          He starts WASHING HER back.
                         
<b>                          PAUL (CONT'D)
</b>           What do you think of that? You know
           what I'm gonna be doing?
<b>                          JEANNE
</b>           You will be on a... wheelchair!
                         
<b>                          PAUL
</b>           Well, maybe. But, you know... I'll
           be smirking and giggling all the
           way to eternity.
                         
<b>                          JEANNE
</b>           How poetic. But please, before you
           go, wash my feet.
                         
          She holds up A FOOT.
                         
<b>                          PAUL
</b>           OK. oblesse oblige.
<b>           74.
</b>                         
                         
          He sits on the edge of the TUB and grabs her foot. He takes a
          sniff... She pulls it away.
                         
<b>                          JEANNE
</b>           You know, he and I, we make love.
                         
          He WASHES her foot.
                         
<b>                          PAUL
</b>           Oh, really? That's wonderful. Is he
           a good fucker?
                         
<b>                          JEANNE
</b>           Magnificent.
                         
          He puts up the OTHER FOOT to was, he obliges again.
                         
<b>                          PAUL
</b>           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.
                         
<b>                          JEANNE
</b>           He is full of mysteries.
                         
<b>                          PAUL
</b>           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.
<b>                          JEANNE
</b>           He is like everybody but... at the
           same time he's different.
                         
<b>                          PAUL
</b>           You mean, like everybody.
                         
<b>                          JEANNE
</b>           Yeah, but... even he fright me.
           Even he frightens me.
                         
<b>                          PAUL
</b>           What is he, your local pimp?
                         
<b>                          JEANNE
</b>           He could be. He looks it. You know
           why I'm in love with him?
<b>           75.
</b>                         
                         
<b>                          PAUL
</b>           I can't wait.
                         
<b>                          JEANNE
</b>           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.
                         
<b>                          PAUL
</b>           You want this man you love to
           protect and take care of you.
                         
<b>                          JEANNE
</b>           Yeah.
                         
<b>                          PAUL
</b>           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?
                         
<b>                          JEANNE
</b>           Yes.
                         
<b>                          PAUL
</b>           Well, you'll never find it.
                         
<b>                          JEANNE
</b>           But I find this man.
<b>                          PAUL
</b>           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.
                         
<b>                          JEANNE
</b>           But I find this man!
                         
          They lean against SEPERATE WALLS.
<b>           76.
</b>                         
                         
<b>                          PAUL
</b>           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.
                         
<b>                          JEANNE
</b>           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.
                         
<b>                          PAUL
</b>           Get me the scissors.
                         
<b>                          JEANNE
</b>           What?
                         
<b>                          PAUL
</b>           Get me the fingernail scissors.
                         
          She STOMPS past him to get them, hands them to him.
                         
<b>                          PAUL (CONT'D)
</b>           No. I want you to cut the
           fingernails on your right hand,
           these two.
          She DOES.
                         
<b>                          JEANNE
</b>           That's it.
                         
          He stands FACING the wall and PULLS HIS pants down.
                         
<b>                          PAUL
</b>           I want you to put your fingers up
           my ass.
                         
<b>                          JEANNE
</b>           What?
                         
<b>                          PAUL
</b>           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.
<b>                          (MORE)
</b><b>           77.
</b><b>                          PAUL (CONT'D)
</b>           I want the pig to vomit in your
           face and I want you to swallow the
           vomit. Are you gonna do that for
           me?
                         
<b>                          JEANNE
</b>           Yeah.
                         
<b>                          PAUL
</b>           Huh?
                         
<b>                          JEANNE
</b>           Yeah!
                         
<b>                          PAUL
</b>           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?
                         
<b>                          JEANNE
</b>           Yes, and more than that! And worse!
           And worse than before.
                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. HOTEL - TEMPORARY VIEWING ROOM - DAY
</b>                         
          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.
                         
<b>                          PAUL
</b>           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.
                         
<b>                          PAUL (CONT'D)
</b>           Oh Christ! There are too many
           fucking flowers in this place. I
           can't breathe. You know on the top
           of the closet?
<b>                          (MORE)
</b><b>           78.
</b><b>                          PAUL (CONT'D)
</b>          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?
<b>                          (MORE)
</b><b>           79.
</b><b>                          PAUL (CONT'D)
</b>           Go on, tell me something! Smile,
           you cunt!
                         
          He STARTS to WEEP.
                         
<b>                          PAUL (CONT'D)
</b>           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.
                         
<b>                          PAUL (CONT'D)
</b>           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.
                         
<b>                          PROSTITUTE'S VOICE
</b>           Is anyone there?
                         
<b>                          PAUL
</b>           What?
                         
<b>                          PROSTITUTE'S VOICE
</b>           There was a noise in there!
                         
<b>                          PAUL
</b>           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.
                         
<b>                          PROSTITUTE'S VOICE
</b>           Well? Is anyone there?
                         
                         
<b>                          PAUL
</b>           Yeah. I'm coming.
                         
<b>                          CUT TO:
</b><b>           80.
</b>                         
                         
<b>          INT. HOTEL - ENTRANCE - DAY
</b>                         
          Outside the FRONT DOOR, the source of the voice, a WORN OUT
          and OLD PROSTITUTE. She is with her JOHN.
                         
<b>                          PROSTITUTE
</b><b>                          (TO JOHN)
</b>           Here he is.
<b>                          (TO PAUL)
</b>           Hurry up! Wake up! Open up! Open
           up!
                         
<b>                          PAUL
</b>           It's four in the morning.
                         
<b>                          PROSTITUTE
</b>           I need room four for a while.
<b>                          (TO JOHN)
</b>           Half an hour?
<b>                          (TO PAUL)
</b>           Yes, that'll do. Yes, half an hour.
                         
<b>                          PAUL
</b>           We're full.
                         
          She knocks on the door, INCESANTLY.
                         
<b>                          PROSTITUTE
</b>           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.
                         
<b>                          PROSTITUTE (CONT'D)
</b>           Don't make any trouble or I'll tell
           your boss.
<b>                          (TO JOHN)
</b>           Come in, it's all sorted...
                         
          But the man has LEFT.
                         
<b>                          PROSTITUTE (CONT'D)
</b>           You've won. He's taken off.
                         
<b>                          PAUL
</b>           I'm very sorry.
                         
<b>                          PROSTITUTE
</b>           Hurry up! He can't be far away.
<b>           81.
</b>                         
                         
          She PUSHES him out to the street.
                         
<b>                          PROSTITUTE (CONT'D)
</b>           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 ---
                         
<b>                          CUT TO:
</b>                         
                         
<b>          EXT. PARIS STREET - ALLEY - MORNING
</b>                         
          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.
                         
<b>                          JOHN
</b>           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.
                         
<b>                          PAUL
</b>           Come. Come with me.
                         
          The man FIGHTS BACK.
                         
<b>                          JOHN
</b>           But... Let go of me!
                         
          Paul doesn't like that. He ROUGHS HIM UP, throwing him from
<b>          WALL TO WALL.
</b>                         
<b>                          JOHN (CONT'D)
</b>           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.
                         
<b>                          PAUL
</b>           Get the fuck out of here!
<b>           82.
</b>                         
                         
          The man RUNS OFF.
                         
<b>                          PAUL (CONT'D)
</b>           Faggot!
                         
          Paul heads back up the ALLEY as the man CONTINUES OFF in the
          f.g.
                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. HOTEL - PAUL AND ROSA'S ROOM - DAY
</b>                         
          Paul lays down on his TWIN BED with his ROBE on over his
          clothes.
                         
          We see that his BAGS ARE PACKED.
                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. APT. BUILDING - BEDROOM - DAY
</b>                         
          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
<b>          GRIEF. PAUL HAS MOVED OUT.
</b>                         
<b>                          JEANNE
</b>           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.
<b>          DINING ROOM - CONTINUOUS
</b>                         
          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.
                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. APT. BUILDING - FRONT DESK - DAY - MOMENTS LATER
</b>                         
          Jeanne talks to the CRAZY Concierge from BEFORE. Her head
          STUCK through the LITTLE WINDOW while the crazy woman PUFFS a
          cig.
<b>           83.
</b>                         
                         
<b>                          JEANNE
</b>           Try and remember! The man from the
           fourth floor. He moved in a few
           days ago.
                         
                         
<b>                          CONCIERGE
</b>           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.
                         
<b>                          JEANNE
</b>           Where did they take the furniture
           too? It's empty. Where do you send
           his mail? Give me his address.
                         
<b>                          CONCIERGE
</b>           I don't have it. I don't know these
           people.
                         
<b>                          JEANNE
</b>           Not even his name?
                         
<b>                          CONCIERGE
</b>           Nothing!
                         
          Jeanne STORMS OUT.
                         
<b>                          CONCIERGE (CONT'D)
</b>           Ma'zelle!
                         
<b>                          CUT TO:
</b>                         
<b>          INT. PAYPHONE BOOTH - DAY - MOMENTS LATER
</b>                         
          Jeanne is on the payphone in the bar from before. She speaks
          to Tom. Still DESPONDENT, tears stream down her face.
                         
<b>                          JEANNE
</b>           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.
<b>           84.
</b>                         
                         
          We can SEE HER through the door as she leans on it.
                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. APT. BUILDING - LIVING ROOM - DAY
</b>                         
          The front DOORBELL RINGS.
                         
<b>                          JEANNE
</b>           Come in, it's open.
                         
          Tom comes in. Jeanne stares out the window. She is BATHED in
          sunlight.
                         
          Tom LOOKS AROUND in b.g.
                         
<b>                          JEANNE (CONT'D)
</b>           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.
                         
                         
<b>                          TOM
</b>           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.
                         
<b>                          TOM (CONT'D)
</b>           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.
                         
<b>          THAT ROOM - MOMENTS LATER
</b>                         
          Tom looks around the place.
<b>           85.
</b>                         
                         
<b>                          TOM (CONT'D)
</b>           This flat is huge!
                         
          Jeanne has made her way to the DINING ROOM.
                         
<b>                          TOM (CONT'D)
</b>           Where are you?
                         
<b>                          JEANNE
</b>           I'm here!
                         
          They continue shouting across the apt.
                         
<b>                          TOM
</b>           It's too big! We'll get lost!
                         
<b>                          JEANNE
</b>           Stop it! Don't start!
                         
<b>                          TOM
</b>           How did you find this flat?
                         
<b>                          JEANNE
</b>           By chance.
                         
<b>                          TOM
</b>           We'll change everything!
                         
          Jeanne holds her ARMS OUT like a bird.
                         
<b>                          JEANNE
</b>           Everything! We'll change chance to
           destiny.
                         
<b>                          TOM
</b>           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.
                         
<b>                          TOM (CONT'D)
</b>           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.
                         
<b>                          JEANNE
</b>           What's happening?
<b>           86.
</b>                         
                         
<b>                          TOM
</b>           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.
                         
<b>                          TOM (CONT'D)
</b>           We're adults.
                         
<b>                          JEANNE
</b>           Adults? That's awful!
                         
<b>                          TOM
</b>           Yes. It's awful.
                         
<b>                          JEANNE
</b>           What do adults do?
                         
<b>                          TOM
</b>           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.
                         
<b>                          TOM (CONT'D)
</b>           But there's one thing I do know.
           Adults are calm...
          He walks backward as Jeanne STALKS HIM.
                         
<b>                          TOM (CONT'D)
</b>           ...serious, logical, measured,
           level-headed...
                         
<b>                          JEANNE
</b>           Yes...
                         
<b>                          TOM
</b>           And... they face up to problems...
                         
<b>                          JEANNE
</b>           ...Yes, yes. Yes, yes.
                         
          He STOPS ABRUPTLY.
<b>           87.
</b>                         
                         
<b>                          TOM
</b>           You see, Jeanne, this flat won't
           work for us. This flat, it won't
           work for us, Jeanne.
                         
<b>                          JEANNE
</b>           Where are you going?
                         
<b>                          TOM
</b>           To look for a flat.
                         
          He walks out to a SHOCKED Jeanne.
                         
<b>                          JEANNE
</b>           What kind of flat?
                         
          But he COMES BACK.
                         
<b>                          TOM
</b>           A flat we can live in.
                         
<b>                          JEANNE
</b>           We can live here.
                         
<b>                          TOM
</b>           It's squalid. It smells. It makes
           me sick. Are you coming with me?
                         
<b>                          JEANNE
</b>           No, no. I've got to close the
           windows and return the key. There's
           a lot to do.
                         
<b>                          TOM
</b><b>           OK.
</b>          They meet in the middle of the room again. They share a
<b>          LOVING HANDSHAKE.
</b>                         
<b>                          JEANNE
</b>           Bye.
                         
<b>                          TOM
</b>           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.
                         
<b>                          CUT TO:
</b><b>           88.
</b>                         
                         
<b>          EXT. PONT DE BIR-HAKEIM - DAY
</b>                         
          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.
                         
<b>          RAISED WALKWAY - MOMENTS LATER
</b>                         
          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.
                         
<b>          DIALOGUE IS ENGLISH
</b>                         
<b>                          PAUL
</b>           It's me again.
                         
          She stops and stares at him, DISGUSTED by his GALL and over
          him.
                         
<b>                          JEANNE
</b>           It's over. It's over.
                         
          He doesn't get the hint. He doesn't care what she says. He
          presses on PLAYFULLY.
                         
<b>                          PAUL
</b>           It's over, then it begins again.
                         
<b>                          JEANNE
</b>           What begins again? I don't
           understand anything any more.
                         
<b>                          PAUL
</b>           There's nothing to understand. We
           left the apartment. Now we begin
           again with love and all the rest of
           it.
                         
<b>                          JEANNE
</b>           The rest?
                         
<b>                          PAUL
</b>           Yeah, listen.
                         
          He puts his arm around her as THEY STROLL.
<b>           89.
</b>                         
                         
<b>                          PAUL (CONT'D)
</b>           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.
                         
<b>          AND WE...
</b>                         
<b>                          CUT TO:
</b>                         
                         
<b>          INT. SALLE WAGRAM SALON - DAY
</b>                         
          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.
                         
<b>                          PAUL'S VOICE
</b>           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
<b>          PREVIOUSLY.
</b>                         
          She sits down at a GUEST TABLE on the outskirts of the DANCE
<b>          FLOOR.
</b>                         
          He approaches her table and FEIGNS a GENTLEMAN PERSONA.
                         
<b>                          PAUL
</b>           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?
<b>           90.
</b>                         
                         
<b>                          JEANNE
</b>           No.
                         
<b>                          PAUL
</b>           May I?
                         
<b>                          JEANNE
</b>           If you'd like to.
                         
          He sits down with her. He CLAPS his hands.
                         
<b>                          PAUL
</b>           Garcon!
                         
          A WAITER comes over.
                         
<b>                          PAUL (CONT'D)
</b>           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.
                         
<b>                         DANCE FLOOR
</b>                         
          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.
                         
<b>                          PAUL (CONT'D)
</b>           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.
                         
<b>                         DANCE FLOOR
</b>                         
          We watch a DIFFERENT COUPLE DANCE.
                         
          Paul tries to BUTTER UP (pardon the pun) Jeanne.
                         
<b>                          PAUL (CONT'D)
</b>           Come on. Just a sip for Daddy.
                         
          She takes a sip from the glass he offers her.
                         
<b>                          PAUL (CONT'D)
</b>           Now, if you love me, you'll drink
           all of it.
                         
<b>                          JEANNE
</b>           OK, I love you.
<b>           91.
</b>                         
                         
          She SLAMS IT BACK.
                         
<b>                          PAUL
</b>           Bravo!
                         
<b>                          JEANNE
</b>           Tell me about your wife.
                         
<b>                          PAUL
</b>           Let's talk about us.
                         
                         
<b>                          JEANNE
</b>           OK. But this place is so pitiful.
                         
                         
<b>                          PAUL
</b>           Yes, but I'm here, aren't I?
                         
          He kisses her on the cheek.
                         
<b>                          JEANNE
</b>           Monsieur Maitre d'Hôtel.
                         
<b>                          PAUL
</b>           That's rather nasty. Anyway, you
           dummy, I love you. And I want to
           live with you.
                         
<b>                          JEANNE
</b>           In your flophouse?
                         
                         
<b>                          PAUL
</b>           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.
                         
<b>                         DANCE FLOOR
</b>                         
          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.
                         
<b>                          PRESIDENT
</b>           The jury has chosen the following
           ten best couples: Number 3! 7! 8,9
           ...11, 12...13, 14 ... 15 and 19!
<b>                          (MORE)
</b><b>           92.
</b><b>                          PRESIDENT (CONT'D)
</b>           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.
                         
<b>                          JEANNE
</b>           Give me some more whisky.
                         
<b>                          PAUL
</b>           Oh, I thought you weren't drinking.
                         
<b>                          JEANNE
</b>           But I'm thirsty now and I want some
           more drink.
                         
<b>                          PAUL
</b>           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.
                         
<b>                          PAUL (CONT'D)
</b>           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.
                         
<b>                          JEANNE
</b>           Let's have a toast to our life in
           the hotel.
                         
<b>                          PAUL
</b>           No! Fuck all that! Come on. No.
           Hey, listen. Let's drink a toast to
           our life in the country. Huh?
                         
<b>                          JEANNE
</b>           You're a nature lover? You didn't
           tell me that.
                         
<b>                          PAUL
</b>           Oh, for Chr... I'm a nature boy.
           Can't you see me with the cows and
           the chicken shit all over me?
                         
<b>                          JEANNE
</b>           Oh, yeah. To the house of the cows.
<b>           93.
</b>                         
                         
          She holds her glass up again.
                         
<b>                          PAUL
</b>           Cows.
                         
<b>                          JEANNE
</b>           I will be your cow, too.
                         
<b>                          PAUL
</b>           And listen... I get to milk you
           twice a day. How about that?
                         
          She lays her head on the table.
                         
<b>                          JEANNE
</b>           I hate the country.
                         
<b>                          PAUL
</b>           What do you mean you hate the
           country?
                         
                         
<b>                          JEANNE
</b>           I hate it! I prefer to go to the
           hotel. Come on, let's go...
                         
<b>                          PAUL
</b>           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.
                         
<b>                          PRESIDENT
</b>           That's the limit! What are you
           doing?
                         
          They LIE ON THE FLOOR... They get back up and FEIGN some
<b>          TANGO.
</b>                         
          The President comes out on the floor now to them. She GRABS
          Paul who had DIPPED Jeanne over the JURY TABLE.
                         
<b>                          PRESIDENT (CONT'D)
</b>           You'll have to leave, sir.
                         
          She starts scurrying them off the dance floor.
<b>           94.
</b>                         
                         
<b>                          PAUL
</b>           Madame! 'Tis ever love.
                         
          She continues to SHEW THEM AWAY. And she can hold her own
          against Paul's SMART ASS MOUTH.
                         
<b>                          PRESIDENT
</b>           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
<b>          THEM AWAY. PAUL CONTINUES TO MOCK HER.
</b>                         
<b>                          PAUL
</b>           Oh my god, I've never...
                         
          He pulls his pants down and MOONS HER.
                         
<b>                          PAUL (CONT'D)
</b>           Kiss me, sweetheart!
                         
                         
           She is APPALLED and slaps him on the arm as he scoots to the
          door, Jeanne FOLLOWING.
                         
<b>                          PAUL (CONT'D)
</b>           Farewell, you sweet peach blossom.
                         
          As they get to the door he spins one last time.
                         
<b>                          PAUL (CONT'D)
</b>           I could dance for ever. Oh, my
           hemorrhoid!
                         
                         
          He LOSES HIS BALANCE and slips. Jeanne has to catch him.
                         
<b>                          PAUL (CONT'D)
</b>           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
<b>          ACCENT AGAIN.
</b><b>           95.
</b>                         
                         
<b>                          PAUL (CONT'D)
</b>           Garcon! Champagne! If music be the
           food of love, play on.
                         
          Jeanne looks OVER IT ALL.
                         
<b>                          PAUL (CONT'D)
</b>           What's the matter with you?
                         
<b>                          JEANNE
</b>           It's finished.
                         
          She COLLAPSES on the table again. He kisses her head.
                         
<b>                          PAUL
</b>           What's the matter with you?
                         
<b>                          JEANNE
</b>           It's finished!
                         
          He's OBLIVIOUS to her seriousness, AGAIN.
                         
<b>                          PAUL
</b>           What's finished?
                         
<b>                          JEANNE
</b>           We're never going to see each other
           again. Never!
                         
<b>                          PAUL
</b>           That's ridiculous.
                         
          She shakes her head NO.
                         
<b>                          PAUL (CONT'D)
</b>           That's ridiculous!
                         
<b>                          JEANNE
</b>           It's not a joke.
                         
<b>                          PAUL
</b>           Oh, you dirty rat!
                         
<b>                          JEANNE
</b>           It's finished.
                         
<b>                          PAUL
</b>           Look, when something's finished, it
           begins again.
                         
<b>                          JEANNE
</b>           I'm getting married! I'm going
           away. It's finished.
<b>           96.
</b>                         
                         
          She starts undoing his pants. She starts to PLEASURE HIM.
                         
<b>                          PAUL
</b>           Oh, Jesus. Listen, that's not a
           subway strap, that's me cock!
                         
          She continues...
                         
<b>                          JEANNE
</b>           It's finished!
                         
<b>                          PAUL
</b>           Oh... Jesus...
                         
          She MASTURBATES him to CLIMAX. She gets up, wiping her hands,
          then forehead and LEAVES.
                         
          When he RECOVERS and sees her leaving...
                         
<b>                          PAUL (CONT'D)
</b>           Wait a minute...
<b>                          (TO HIMSELF)
</b>           You dumb bimbo...
                         
          She doesn't stop.
                         
<b>                          PAUL (CONT'D)
</b>           Shit! Wait a minute. Goddamn it!
           Hey!
                         
          She LEAVES THE SALON. He FOLLOWS her out.
                         
<b>                          PAUL (CONT'D)
</b>           Hey, rube! Come here! Come here!
          He SLIDES DOWN THE BANISTER.
                         
<b>                          PAUL (CONT'D)
</b>           Come heeeeeeeeeerrrrrrrrreeeeee!
                         
          She turns to see him coming. She starts RUNNING NOW.
                         
          He still THINKS SHE'S JOKING...
                         
<b>                          PAUL (CONT'D)
</b>           I'm gonna get you! Bimbo!
                         
          He SLIDES ACCROSS THE FLOOR.
                         
          She continues RUNNING. She is FREAKED OUT NOW.
                         
<b>                          CUT TO:
</b><b>           97.
</b>                         
                         
<b>          EXT. PARIS STREET - DAY
</b>                         
          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 ...
                         
<b>                         PARKING LOT
</b>                         
          She tries to GET THROUGH TO HIM.
                         
<b>                          JEANNE
</b>           Stop! Stop!
                         
<b>                          PAUL
</b>           Hold it!
                         
          He still DOESN'T GET IT.
                         
<b>                          JEANNE
</b>           It's over!
                         
          He tries to EMBRACE HER.
                         
<b>                          PAUL
</b>           Hey, cool it!
                         
          She THROWS HIM OFF.
                         
<b>                          JEANNE
</b>           Stop it! We're finished.
          He still tries to GRAB HER PURSE. She is ADAMANT.
                         
<b>                          JEANNE (CONT'D)
</b>           Go away! Go away! Go away!
                         
          He keeps trying to grab her purse.
                         
<b>                          JEANNE (CONT'D)
</b>           Let go! Go away!
                         
          He FEIGNS GIVING UP as she walks on.
                         
<b>                          PAUL
</b>           I can't win. Give me a break!
                         
          She JETS OFF AGAIN and we round a corner...
                         
<b>                         SIDE STREET
</b><b>           98.
</b>                         
                         
          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.
                         
<b>                          JEANNE
</b>           I'll call the police!
                         
          He BLOWS IT OFF.
                         
<b>                          PAUL
</b>           Aha! I smell the henhouse.
                         
          She needs to GO WHERE HE IS. She starts toward him TIMIDLY.
                         
<b>                          PAUL (CONT'D)
</b>           Well, shit, I'm not in your way.
                         
          He feigns a GRAND GESTURE ushering her free travel.
                         
<b>                          PAUL (CONT'D)
</b>           After you, mademoiselle!
                         
          She TENTATIVELY walks on as he PRETENDS TO ALSO.
                         
<b>                          PAUL (CONT'D)
</b>           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.
                         
<b>                          CUT TO:
</b>                         
<b>          INT. JEANNE'S MOTHERS APT. - LOBBY
</b>                         
          He gets himself BUZZED IN somehow.
                         
          She is SHOCKED, she backs up to the ELEVATOR.
                         
<b>                          JEANNE
</b>           It's over! It's over!
                         
<b>                          PAUL
</b>           Oh, fuck the police.
                         
          She is becoming HYSTERICAL now.
                         
<b>                          JEANNE
</b>           It's over!
<b>           99.
</b>                         
                         
          She makes her way to the
                         
<b>                          PAUL
</b>           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.
                         
<b>                          JEANNE
</b>           Help!
                         
          She is calling to anyone that can hear as he STALKS HER.
                         
<b>                          JEANNE (CONT'D)
</b>           Help! Help!
                         
          One FLOOR AFTER ANOTHER...
                         
<b>                          JEANNE (CONT'D)
</b>           Please, help!
                         
          He trips and STUMBLES up the STAIRS after her.
                         
<b>                          JEANNE (CONT'D)
</b>           Help! Help!
                         
          Finally at the top, he has to REST against the wall.
                         
<b>                          PAUL
</b>           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.
                         
<b>                          JEANNE
</b>           Help! Help me! Help!
                         
          He tries to REASON with her.
                         
<b>                          PAUL
</b>           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.
<b>           100.
</b>                         
                         
          She HUSTLES to the DRAWER with her FATHERS GUN... Paul is
          still at the FRONT DOOR.
                         
<b>                          PAUL (CONT'D)
</b>           It's the title shot, baby. We're
           going all the way. Oh, Christ.
                         
          He shuts the door and WANDERS IN...
                         
<b>                         LIVING ROOM
</b>                         
          Jeanne stands with her back turned staring down into the GUN
<b>          DRAWER.
</b>                         
          He LOOKS AROUND THE PLACE, assessing it...
                         
<b>                          PAUL (CONT'D)
</b>           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.
                         
<b>                          PAUL (CONT'D)
</b>           Mademoiselle...
                         
          He SALUTES HER and CLICKS HIS HEELS together, playing a role.
                         
          She is incensed that he has dared touch her FATHERS PRECIOUS
<b>          BELONGINGS.
</b>                         
          He PLAYS ON.
<b>                          PAUL (CONT'D)
</b>           How do you like your hero? Over
           easy or sunny-side up?
                         
          He REMOVES THE HAT and puts it down.
                         
<b>                          PAUL (CONT'D)
</b>           You ran through Africa and Asia and
           Indonesia.
                         
          He walks LOVINGLY toward her.
                         
<b>                          PAUL (CONT'D)
</b>           And now I've found you. And I love
           you.
                         
          He ROMANCES HER, runs his fingers through her hair...
<b>           101.
</b>                         
                         
<b>                          PAUL (CONT'D)
</b>           I wanna know your name.
                         
          She STARES into his eyes... as she TELLS HIM HER NAME...
                         
<b>                          JEANNE
</b>           Jeanne...
                         
<b>          ...THE GUN FIRES...
</b>                         
<b>          HE IS SHOCKED BY THE FORCE OF THE BULLET INTO HIS GUT.
</b>                         
          The color DRAINS FROM HIS FACE, his eyes get WOOZY...
                         
          He can only MUTTER.
                         
<b>                          PAUL
</b>           Our children.
                         
                         
          He STAGGERS away from her...
                         
<b>                          PAUL (CONT'D)
</b>           Our children.
                         
          He STAGGERS toward the PORCH DOOR as Jeanne watches...
                         
<b>                          PAUL (CONT'D)
</b>           Our children... will remember.
                         
          He opens the FRENCH DOORS and STAGGERS onto the PORCH.
                         
<b>          PORCH - CONTINUOUS
</b>                         
          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
<b>          ROOF TOPS.
</b>                         
          We see that he is DEAD -- curled in a FETAL POSITION.
                         
<b>          SAD MUSIC RISES
</b>                         
<b>          LIVING ROOM - CONTINUOUS
</b>                         
          Jeanne stands in SHOCK with PAUL'S CORPSE in the b.g.
                         
          She mutters to herself the ALIBI FOR THE POLICE.
                         
<b>          DIALOGUE IS FRENCH
</b><b>           102.
</b>                         
                         
<b>                          JEANNE
</b>           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.
                         
                         
<b>          MUSIC RISES AND SWELLS
</b>                         
<b>                         CREDITS ROLL
</b>                         
<b>          THE END.
</b>

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	<td><h1>Last Tango in Paris</h1><br><br>
	    <b>Writers</b> : &nbsp;&nbsp;<a href="/writer.php?w=Bernardo Bertolucci" title="Scripts by Bernardo Bertolucci">Bernardo Bertolucci</a>&nbsp;&nbsp;<a href="/writer.php?w=Franco Arcalli" title="Scripts by Franco Arcalli">Franco Arcalli</a><br>
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What did Jeanne remove from a drawer?
What did Jeanne remove from a drawer ?
A gun.
A gun .
a gun
a gun