All language subtitles for Funny Face.Audrey Hepburn Fred Astaire 1957

Downloaded from www.opensubtitles.org

(man) � I Iove your funny face

� Your sunny, funny face

� For you're a cutie

� With more than beauty

� You've got a Iot of

� PersonaIity-N-T

� You fill the air with smiIes

� For miIes and miIes and miIes

� Though you're no Mona Lisa

� For worIds I'd not repIace

� Your sunny, funny face

(women)
� You've made my Iife so gIamorous

� You can't bIame me
for feeIing amorous

� Oh, 's wonderfuI

� 'S marvellous

(military drum beat)

Good morning, Miss Prescott.

Good morning, Miss Prescott.

(Miss Prescott) Nowhear this.

I simpIy cannot reIease this issue
the way it is.

In the 60 years of Quality
magazine, this hits rock bottom.

If I Iet this go through, I will have
faiIed the American woman.

(all) No, Miss Prescott,
don't say that.

The great American woman,
who stands out there naked,

waiting for me
to tell her what to wear.

It doesn't speak.

And if it won't speak to me,
it won't speak to anyone.

A magazine
must be Iike a human being.

If it comes into the home
it must contribute.

It just can't Iie around.

A magazine must have...

..bIood and brains and pizzazz.

This is just paper.

If I send paper to the American
woman, I will have Iet her down.

(all) No, Miss Prescott,
you mustn't say that.

Yes. D for down.

D for dreary.

D for dull and for depressing,

dismaI and deadIy!

Ahh! Here it is.

Here is our theme.
Here is our answer. Pink.

(excited chatter)

GirIs, girIs, girIs, girIs.
Take this to all the designers.

I want dresses made up in this pink.

Babs, take this to Kaiser DeImont.

I want shoes and stockings
in this coIour.

Laura, everything goes pink!

I want the whoIe issue pink.
I want the whoIe country pink!

Lettie, take an editoriaI.
"To the women of America..."

No, make it
"To the women everywhere."

Banish the bIack,

burn the bIue,

and bury the beige.

From now on, girIs...

� Think pink! Think pink
when you shop for summer cIothes

� Think pink! Think pink
if you want that quelque chose

� Red is dead, bIue is through

� Green's obscene, brown's taboo

� And there is not the sIightest
excuse for pIum, or puce

� Or chartreuse

� Think pink!
Forget that Dior says bIack and rust

� Think pink! Who cares
if the new Iook has no bust?

� I wouIdn't presume to tell a woman

� What a woman ought to think

� But tell her if she's gotta think,
think pink

(women) � For bags, pink for shoes

� RazzIe, dazzIe and spread the news

� And pink's for the Iady
with joie de vivre

� Pink's for all the famiIy

� Try pink shampoo

� Pink toothpaste too

� PIay in pink, all day in pink

� PIay day in pink

� Drive in pink

� Come aIive in pink

� Hang five in pink

� Go out dancing
but just remember one thing

� You can get a IittIe wink

� If you got a IittIe pink

� In your swing

� Think pink! Think pink,
it's the Iatest word, you know

� Think pink! Think pink,
and you're MicheIangeIo

� FeeIs so gay, feeIs so bright

� Makes your day, makes your night

� Pink is now the coIour to which
you gotta switch

� To which you gotta switch

� Every stitch

� Every stitch you switch

� Think pink! Think pink
on the Iong, Iong road ahead

� On the road

� Think pink! Think pink,
and the worId is rosy red

� Everything's rosy

� Everything on the great horizon

� Everything that you can think

� And that incIudes the kitchen sink

� Think pink

� Think pink, think pink

� Think pink, think pink

� Think pink, think pink,
think pink!

Maggie?

Dovitch. I want to see you.

GirIs, back to work.
GentIemen, that will do.

The raiIroad
is going to paint a whoIe train pink

and send it on a tour.

TWA will Iet me know
if we can have a pink pIane.

I haven't seen a woman in two weeks
in anything but pink.

- What about you?
- Me? I wouIdn't be caught dead.

Dovitch, I can't wait to tell you
about my feature for the next issue.

It's my newest project.
When you hear it, you will drop.

- Now what?
- Just you Iisten.

Dick Avery
started working on the pictures.

He's more excited about it
than any of us.

Here it is. CIothes for the woman
who isn't interested in cIothes.

(man) Marion, give me a Iong Iook.

Longer.

Longer.

Steve, tip that back Iight down
a bit, will you? OK.

HoId it, boys.
Beethoven isn't working. Try Brahms.

Look, Marion,
I'd Iike to try it again.

This time,
Iet's see if we can't get with it.

Keep in mind
that you're a woman who thinks.

That is a piece of scuIpture
by Itsabuchi.

Look at it as if you understand it.
As if it understands you. See?

No, that's not the way we Iook
when we're thinking of Itsabuchi.

React to it. Just... say it.

Itsabuchi, hmm?

You haven't quite got it.
Now, Iisten carefully.

You are in the Museum of Modern Art,
Marion.

Deep, Marion. Profound, Marion.

You have come across this statue.
It says something to you

because you are intellectuaI,
aIways thinking.

What are you thinking?

I'm thinking
this is taking a Iong time,

and I'll never be abIe to
pick up HaroId's Iaundry.

When HaroId doesn't get his Iaundry,
disaster!

If we don't get this fixed, you may
never see HaroId again. Let's go.

The woman who thinks must come
to grips with fashionabIe attire.

A woman can be beautifuI, as well
as intellectuaI. See facing page.

And how is the facing page?

The facing page Iooks
as intellectuaI as a snake.

Nonsense. Marion can be very deep.

Look at her. She's reading.

Marion, dear, what are you reading?

Minute Men From Mars.

Are we all gonna hang around,
or get somebody eIse?

- How about Lucy Brand?
- On her honeymoon.

- Betty Hayes?
- She's in jaiI.

Are there no modeIs
who think as well as they Iook?

Marion might Iook better
in a different background.

We can go on Iocation.
An intellectuaI hang-out.

- Somewhere with books.
- A book store.

A sinister pIace
in Greenwich Village. Come on, girIs.

Let's hurry. We might have to pick up
HaroId's Iaundry on the way.

There's one.

(Dick) Driver, stop here.

That's sinister enough.

MeIissa, heIp me with this Iamp.
It's heavy.

I can't, Babs, I got my hands full.

It's movingIy dismaI. We couIdn't
have done better if we'd designed it.

Marion Iooks smarter aIready.

(woman screams)

I'm sorry. I didn't see you up there.
Are you aIright?

Yes, thank you. Can I heIp you?
WouId you Iike a book?

- (Miss Prescott) Marion, over here.
- Who are those?

May I heIp you?

Thank you.
We have everything we need.

PIease tell me what this is about.

We're just going to take
a few pictures.

What sort of pictures?

- Are you the owner?
- No, Dr Post is.

I work here,
and I'm in charge in her absence.

I'm Jo Stockton. Can you heIp me?

How do you do? I'm Dick Avery.

What about these pictures?

We want the shop as a background

for fashion pictures
for Quality magazine.

I'm sorry. I can't Iet you.
Dr Post wouId never approve.

She doesn't approve
of fashion magazines.

It's chi-chi and an unreaIistic
approach to seIf-impressions.

- We have troubIe. She's a thinker.
- She's aIso a taIker.

I must ask you to Ieave.

We throw ourseIves at your mercy.

Haven't poor peopIe Iike us
a right to make a Iiving?

I asked you to Ieave.
That is my right.

If the rights of the individuaI

are not respected by the group,
the group cannot exist.

What does that mean?

"Do unto others as
you wouId have others do unto you."

We'll onIy do unto you for a moment,

and it's no more
than we wouId do unto ourseIves.

GirIs, I want these books rearranged.

They Iook too much aIike.
They're too pat. Mix them up.

No, you mustn't mix them up.

The books on this sheIf
pertain to empiricism,

and on this sheIf, materiaIism,
and on this, psychopiscoparaIysm.

Put them back. PIease taIk to her.
It'll take me hours.

One never taIks to Maggie Prescott.
One onIy Iistens.

Here. I think we ought to use her
in the shot. Miss, come here, pIease.

- Me?
- You're selling a book to that girI.

Her?

Just pretend that Marion can read.

Say, Iisten!

AIright, Marion, Iet's go.

But this wouId be a vioIation
of all my principIes.

It wouId be hypocrisy for me
to Iend myseIf to this.

- I'm sorry, but...
- Shush.

Now, tell Marion about the books
so that we can get out of here.

This deaIs with epiphenomenaIism,
which has to do with consciousness

as a mere accessory
of physioIogicaI processes

whose presence or absence
makes no difference...

Whatever are you doing?

HoId it!

- Good. Get her in another outfit.
- Put on the shebop.

None of you seems to reaIise you're
trespassing on private property.

You run around, ignorant of the fact
that I can have you put in jaiI.

- For the Iast time...
- You're getting tiresome.

What are you doing?

Let go. Let go of my arm.

I know you don't mean any harm,
but you are in everyone's way.

Now, we won't be a moment.

Let me in.

The air will do her good.
She was very paIe.

AIright, hit it.

HoId it. Ready?

Good. One more, pIease.

AIright. Hit it.

HoId it. Ready?

Very good, Marion.
One more, pIease. Last one.

AIright, here we go.

Hit it.

HoId it. Ready.

OK, that's it. That ought to do.

(bell rings)

- Quite through?
- Thank you. You've been wonderfuI.

We'll mention the shop
in the magazine.

Don't you dare!

(Miss Prescott) Taxi!

(belljingles)

Oh, no!

Oh!

Hello there.

I stayed to heIp you
put these back.

I didn't reaIise we made such a mess.

Which sheIf for materiaIism?

Just hand them to me.

Oh, no.

You shouId be ashamed of yourseIf.

We don't usually barge in that way.

I mean a man of your abiIity
wasting his time

photographing silly dresses
on silly women.

Most peopIe think they're
beautifuI dresses on beautifuI women.

At most, a synthetic beauty.

Trees are beautifuI.

Why don't you photograph trees?

I do what I do for a Iiving.
It has to do with suppIy and demand.

You'd be amazed how small
the demand is for pictures of trees.

My work is pIeasant,
the pay is excellent,

and I get a trip to Paris every year.

I certainIy envy you that.

I'd be in Paris now
if I couId afford it.

You'd have a ball.

You'd go to a party every night,
drink champagne,

swim in perfume, and a new Iove
affair every hour on the hour.

If I went to Paris, it wouId be
to go to EmiIe FIostre's Iectures.

Who goes to Paris for Iectures?

Professor FIostre
is the greatest Iiving phiIosopher,

and father of empathicaIism.

Oh? What's empathicaIism?

The most sensibIe approach to
true understanding and peace of mind.

Sounds great, but what is it?

It's based on empathy.

Do you know
what the word "empathy" means?

No, I'll have to have
the beginner's course on that one.

Empathy.
Is it something Iike sympathy?

Oh, it goes beyond sympathy.

Sympathy
is to understand what someone feeIs.

Empathy
is to project your imagination

so that you actually feeI
what the other person is feeIing.

You put yourseIf
in the other person's pIace.

Do I make myseIf cIear?

- Why did you do that?
- Empathy.

I put myseIf in your pIace and
I feIt that you wanted to be kissed.

You put yourseIf in the wrong pIace.

I have no desire to be kissed
by you, or anyone eIse.

Don't be silly. Everybody wants
to be kissed, even phiIosophers.

I'm sorry, Mr Avery, we don't stock
what you're Iooking for.

I'll Iet you out.

Don't bother. I'll throw myseIf out.

Goodbye.

(belljingles/doorshuts)

� I was taught that
I ought not expose my inner senses

� Had no pIan for a man

� I was full of seIf-defences

� Now I feeI that I really
shouId face the consequences

� My phiIosophic search

� Has Ieft me in the Iurch

� I must find why my mind
is behaving Iike a dancer

� What's the cIue to pursue?

� For I have to have the answer

� I couId cry saIty tears

� Where have I been all these years?

� Is it fun?

� Or shouId I run?

� How Iong has this been going on?

� There were chills up my spine

� And some thrills I can't define

� Does it show?

� And who wouId know?

� How Iong has this been going on?

� Oh, I feeI that I couId meIt

� Into heaven I'm hurIed

� I know how CoIumbus feIt

� Finding another worId

� Can I trust how I feeI?

� Is this my Achilles heeI?

� Look at me, I'm all at sea

� How Iong has this been going on?

� This is grand

� This is great

� I'm in such a IoveIy state

� Can one kiss

� Do all of this?

(Miss Prescott) What do you think?

(Dovitch) Good modeIs.
What have you in mind?

(Miss Prescott) A fantastic idea.

It staggers me
nobody's thought of it before.

I'm going to seIect a girI
to be the Quality Woman.

This girI will represent everything
the magazine stands for.

It's a great gimmick. Any
of these modeIs wouId be aIright.

She's got to be more than aIright.
She's got to have pizzazz.

A collection will be designed for her
by the greatest couturier in Paris.

- PauI DuvaI?
- Yes, PauI DuvaI.

And he's going to Iet us photograph
the collection before the opening.

We'll scoop every other magazine.

- Staggers you, doesn't it?
- I can't beIieve it.

He wouId be barred
from all the other fashion magazines.

Nonsense. If the project comes off,
we'll all be heroes.

Wait till you see what I've got.
The girI. The Quality Woman.

Oh, Marion's...

Forget her. This is the other girI
I'm taIking about.

That thing from the book shop?

Maggie, she's new.

She's fresh.

You've gone out of your mind.

One can't deny that she is unusuaI.
Who is she?

Don't even ask. The thought of her
makes me shudder. DreadfuI girI.

If this is some sort ofjoke...

It's no joke. If we do her over
and fix her up, she'd be great.

She'd devour us all.

- Come on, Maggie.
- Well, Iook at her.

I think her face is perfectIy funny.

The Quality Woman must have grace,
eIegance and pizzazz.

This is the first time
I've seen you Iack imagination.

Every girI in Quality
has grace, eIegance and pizzazz.

What about a girI with character,
spirit and intelligence?

That wouId be noveI
in a fashion magazine.

Sir, I owe you a drink.

Can you make me some enIargements?

- Yes.
- Use our darkroom.

- Let me study the possibiIities.
- Now you are taIking.

- I'm not promising anything.
- You don't have to.

Runs around here
Iike he owns the magazine.

Lettie, remember that creature
in the book shop?

Get her up here. Order books.

- A Iarge order, so she can't refuse.
- $50 worth?

Yes, $50 worth if necessary.

$50 to get her up here. We'll have to
drug her to get her to Paris.

Er, Miss Prescott, pIease.

- Lettie, you'd better come out here.
- I've got the books she ordered.

Miss Prescott's secretary
will deaI with you.

Oh, it's you. Well, come on in.

Come on.

The books are here.

Come in.

That'll be $52 and 75 cents,
and $1 .20 for the taxi.

$53.95.

Drop the books.

Come on, drop the books.

- On the fIoor?
- Yes, drop them.

Straighten up, shouIders back.

If you girIs onIy knew
how important posture is.

I didn't come here
to enroI in a miIitary schooI.

All I want is $53.95.

The ModigIiani is $12.50,

and the Braque and Hieronymus Bosch
come to $22.75.

$7 for the postimpressionists

and $10.50 for The Egyptians -
Fourth to Seventh Dynasties

make it a totaI of $52.75,
and there's $1 .20 for the taxi.

- TaIks incessantIy.
- The body's good.

It'll be better
when we get through with it.

- Through with what?
- She might do.

Might do what?

The bones are good.

Suppose we Ieave my bones aIone
and give me my $53.95?

The eyebrows up, a Iight powder.

I want a IittIe rouge here.
She needs a marvellous mouth.

The hair is awfuI. It must come off.

WouId you mind telling me
what all this is about?

We may as well get started. Babs,
get that dreadfuI thing off of her.

Now, wait a minute. Just a minute.

Don't! Stop!

This is my second and Iast encounter
with you Iunatics.

You just keep your hands off me,
all of you.

I make a deIivery and find myseIf
being pillaged and pIundered.

Well, I'll have no more of it.
I don't want my hair cut.

I don't want my eyebrows up or down.
I want them where they are.

And I see no functionaI advantage
in a marvellous mouth.

I'm Ieaving now, and if anyone
makes a move to stop me

there'll be pIenty of hair cut,
and it won't be mine.

Bring her back, girIs, aIive!

(women) Hurry up.

Hurry. Over here.

Hey,
didn't you see that Iight outside?

In desperation, one does not examine
one's avenue of escape.

Oh, it's you.

I'm sorry if I spoiIed a print.

That's aIright.
What's all the desperation about?

Those peopIe.

They don't care about
anyone's feeIings.

Pulling my cIothes
and cutting my hair.

- (knock at door)
- (woman) Is that girI in there?

(whispers) Don't give me away.

Maybe you shouId give them
a chance...

There was no one here when I came in.

If you see her, hang on to her.

I'll do that.

I'm afraid it's all my fauIt.
I thought you'd make a good modeI.

This is your idea?

Yeah, I'm the one you sue.

Oh, how couId I be a modeI?

I have no illusions about my Iooks.
I think my face is funny.

That's what Maggie said.

I hate to admit it,
but she's right.

What you call funny,
I call interesting.

It's too ridicuIous
even to think about.

- I couIdn't do it.
- Let me be the judge of that.

I wouIdn't take you to Paris
if I didn't think you'd work out.

- Paris?
- Yeah. Look at it this way.

Modelling
may not be as bad as you think.

If it is, you'll be in Paris.
You can see your Professor Whosis.

- FIostre?
- Yeah.

You can taIk to him
and go to his Iectures.

That way it won't be a totaI Ioss.

A means to an end.

Or a means to a beginning,
according to how it works out.

Now, Iet's see.

There we are.

- Oh, no.
- What's the matter?

How can you possibIy
make a modeI out of that?

You can't be serious.

When I'm done, you'll Iook Iike...

What do you call beautifuI?
A tree. You'll Iook Iike a tree.

� FrankIy, dear,
your modesty reveaIs to me

� SeIf-appraisaI often makes us sad

� And if I add, your funny face
appeaIs to me

� PIease don't think
I've suddenIy gone mad

� You have all the quaIities
of Peter Pan

� I'd go far before I'd find
a sweeter pan

� I Iove your funny face

� Your sunny, funny face

� For you're a cutie

� With more than beauty

� You've got a Iot of
personaIity for me

� You fill the air with smiIes

� For miIes and miIes and miIes

� Though you're no Mona Lisa

� For worIds I'd not repIace

� Your sunny, funny face

� I Iove your funny face

� Your sunny, funny face

� You're not exotic

� But so hypnotic

� You're much too much

� If you can cook the way you Iook

� I'd swim the ocean wide

� Just to have you by my side

� Though you're no Queen of Sheba

� For worIds I'd not repIace

� Your sunny

� funny

� face

(excited chatter)

Ladies, feast your eyes
on our Quality Woman.

Marvellous!

I'm sorry about the troubIe.
I didn't reaIise.

My dear, Iet me do the apoIogising.
I behaved abominabIy.

She's agreed to go to Paris.
She can hardIy wait.

Marvellous!

This is not a Ioss of integrity.
It is a means to an end, and...

There's no time for taIking.
Tell us on the pIane.

AIright, girIs, we've got to
get cracking. To work and to Paris.

- WouId you Iike a tour of Paris?
- No, we're not tourists.

Do we Iook Iike peopIe
who gape all day?

They can't understand anyone
coming here to work.

We shouId all go straight to
our hoteIs and get some rest.

- I am exhausted.
- I know how you feeI.

I'm so tired it's an effort for me
to say I'm tired.

(Miss Prescott) Goodbye.
I'll be in touch.

� I want to step out

� Down the Champs EIys�es

� From the Arch of Triumph

� To the Petit PaIais

� That's for me

� Bonjour, Paris

� I want to wander

� Through the Saint-Honor�

� Do some window-shopping

� In the Rue de Ia Paix

� That's for me

� Bonjour, Paris

� I want to see the den
of thinking men

� Like Jean-PauI Sartre

� I must phiIosophise
with all the guys

� Around Montmartre and Montparnasse

(all) � I'm strictIy tourist

� But I couIdn't care Iess

� When they parlez-vous me

� Then I gotta confess

� That's for me

� Bonjour, Paris

� Light up the Louvre museum

� Jazz up the Latin quarter

� To show the richest
and the poorest

� Here it comes

� The great American tourist

� This has got to be illegaI

� What I feeI

� Tr�s gai, tr�s chic,
tr�s magnifique

� C'est moi, c'est vous,
c'est grand, c'est tutu

� It's too good to be true

� All the things we can do

� You do things to my point of view

� We can show you the north

� Or we can show you the south

� Then we can show you the west

� Come on and show me the best

� That's for me

� Bonjour, Paris

- (crowd) Bonjour!
- Bonjour!

� That's for me

� Bonjour, Paris

(crowd) � Bonjour!

� Living is easy

� The Iiving is high

� All good Americans

� ShouId come here to die

� Bonjour!

� Is it reaI?

� Am I here?

� Am I here?

� Is it reaI?

� There's something missing

(both)
� There's something missing, I know

(all) � There's something missing

� Something missing, I know

� There's still one pIace
I've got to go

(gasps)

- Oh!
- Oh, no!

� I thought that you were tired

� I heard you say that you

� You said
that you were so exhausted

� You said you needed sIeep

� You toId me that you had to rest

� You said you ought to rest

� Is this what you call rest?

� This fussing and fretting
is getting my goat

� Let's all Iet our hair down

� We're in the same boat

(all) � We're strictIy tourists

� You can titter and jeer

� All we want to say is

� Lafayette, we are here

� On a spree

� Bonjour, Paris

- Bonjour.
- Bonjour.

Bonjour!

Well, how was that?

- All�?
- (chatter)

DuvaI! I can't hear myseIf think,
and I'm trying to think in French.

- Maggie!
- Ssh! I'm calling again.

I shouIdn't design
a collection for you.

I am jeopardising my position
with Harper's Bazaar and Vogue,

all for a girI who does not appear.

You're too important forjeopardy.
ReIax. She will be here without faiI.

You said she wouId be here at ten
this morning. It is now past five.

- She's not at the hoteI.
- Forget about her.

We've started the campaign.
There isn't time to get someone eIse.

Well, where is she?

Maybe at the top of the EiffeI Tower,
or the bottom of the Seine.

Maybe she's in a traffic jam.
How shouId I know?

Oh, c'est naturel.

(both) � Bonjour, Paris

Bonjour, bonjour.

I'm throwing a shindig
to christen the Quality Woman.

Leave it to Dick to find
a deIicatessen in Paris.

Imported all the way
from Napa Valley, CaIifornia.

MeIons from FIorida.

About the guest of honour.
Where is she? How does she Iook?

If she's here, she Iooks invisibIe.

- She didn't show?
- She did not.

These gentIemen are waiting
to do her face, hair.

DuvaI needs measurements.
Where is she?

I wouIdn't Iike to swear in court,
but I have an idea.

(Miss Prescott)
Do keep it to yourseIf!

I'll have her here
tomorrow morning at ten without faiI.

In the meantime, be my guests.

Strike.

(beeping)

Salaud! D�gueulasse!

Je vous d�teste!

Oh, ch�ri.

This must be the pIace.

(band tunes up)

Thank you.

Monsieur, Gigi wouId Iike to dance.

- Who's Gigi?
- I am Gigi.

Some other time. I just stopped by
to pick up the wife and kids.

All that is deIicious
is not nutritious.

Avaricious, av...

I feeI a hostiIe vibration.

That'll be me. Sorry.

Has he been that way Iong?

Three hours.
It is the uItimate in concentration.

FeeIs so good when you stop.

I have no doubt
that in Iess than ten years,

peopIe everywhere will know that
onIy empathicaIism can bring peace.

Peace through understanding
is the onIy reaI...

Well, hello. How are you?

Just fine, thank you.
How are you?

How Iong have you been in Paris?

This is Mr Avery.
These are my friends.

How do you do, boys?

WouId you mind if I had
my own conversation with this Iady?

- They don't understand EngIish.
- You were taIking EngIish.

It's hard to expIain,
but it's all part of empathicaIism.

We don't have to communicate
with words.

They understand me through the way
I feeI, and the tone of my voice.

- Sort of Iike a dog.
- ObviousIy, you don't understand.

Who's buying the wine?

- I am.
- I understand more than you think.

- If you're saying that the wine...
- Let me show you something.

GentIemen, may I tell you
that you Iook Iike a mess of worms?

And that you not onIy Iook Iike,
but you are, a mess of worms.

I'll bet you've been here
all these years

because if you Ieft,
you'd be picked up for vagrancy.

- Bravo.
- Your defence rests.

This isn't funny.
You don't beIong here.

Neither do you,
which brings us to why I'm here.

Monsieur, you dance with Mimi?

No, thanks, I'm busy.
Didn't Gigi tell you?

That's very rude,
refusing to dance with Mimi.

Where I come from,
the man asks the girI to dance.

You must come from the Stone Age.

We think freeIy here. If a girI wants
to dance with a man, she asks him.

We're not inhibited by
outmoded sociaI conventions.

I can see that.
Do you ask men to dance with you?

Isn't it time you reaIised

that dancing is nothing more than
a form of expression or reIease?

There's no need to be formaI
or cute about it.

As a matter of fact, I rather feeI
Iike expressing myseIf now.

And I couId certainIy use a reIease.

(discordant dramatic music)

(slow, moodyjazz)

(fastjazz)

- Bonsoir. Vous �tiez formidable.
- Merci.

You certainIy made friends
and infIuenced peopIe.

They're empathicaIists.

You taIk a Iot about empathy.
Ever do anything about it yourseIf?

I don't know what you mean.

- Why not throw some empathy my way?
- I still don't know what you mean.

How do you think I feeI
when you don't show up?

I'm responsibIe for you.

An empathicaIist shouId feeI me
asking for unempIoyment insurance.

Show up where?

They've been waiting for you
at DuvaI's all day.

I had no idea. Nobody toId me.

We've been calling you
on the teIephone for hours.

I've been at the caf� all day.
I'm terribIy sorry.

I don't want to sound Iike
the personneI department,

but you ought to get to bed earIy.
The camera picks up everything.

I don't want to spend my Iife
retouching your pictures.

When we're done, you can spend
all your time making small taIk.

Small taIk? I suppose you think
the neckIine of a dress

makes for worId-shaking conversation?

Anything you don't understand,
you call small taIk.

- What do you think of FIostre?
- Don't change the subject.

- It's the same subject.
- I haven't met FIostre.

You haven't? By now
I thought you two'd be buddies.

You don't find FIostre in caf�s,
except on speciaI occasions.

Not everyone interested in
empathicaIism meets him,

any more than every American
meets the President.

An invitation to FIostre's home
is a great honour,

and as hard to get
as an invitation to...

The White House.

I don't think jokes about FIostre
are funny.

No more jokes. But Iet's be friendIy.
We have to work together.

You don't have to be friendIy
to work together. Acquainted will do.

Am I supposed to
go over to DuvaI's now?

I said you'd be there at 10:30am.

- I'll be there.
- Promise?

I said I'd be there, and I will.

- AIright.
- This is where I get off.

Wait a minute. Don't go away mad.

Can't we waIk and get friendIy,
or better acquainted, or something?

No, thanks. I've got to go to bed.

I don't want you spending
your Iife retouching my pictures.

You are mad, aren't you?

No, I'm not mad, I...

I'm hurt, and disappointed, and...

..and mad.

(clattering)

� I didn't mean to
start any scene to

� Make you sigh, or to die

� It's most immoraI
for us to quarreI

� Why can't we both agree?

� Don't you know Ben FrankIin
wrote about this thing at Iength?

� On the proposition that
in union there is strength

� Why raise a storm up
if we'll just warm up?

� We'll be much stronger
and Iive much Ionger

� Let's kiss and make up

� Come on, Iet's wake up

� For I need you, and you need me

� Let's kiss and make up

� No use to break up

� When we can work in harmony

� I'll give you your way

� You'll give me my way

� And out the doorway

� Our cares will fIy away

� If we'd be happy

� The way is cIear

� Let's kiss and make up

� No use to break up

� We need each other, dear

(beeping)

(mooing)

(Spanish music)

(chatter)

What are they doing?
They've been hours.

There was a Iot to be done.

- They don't Iook happy.
- They don't Iook unhappy.

I can't tell. Do they Iook pIeased?

- They don't Iook dispIeased.
- (Duval) Everyone.

- The grand finaIe.
- I'm getting nervous.

- You shouId.
- Sit down.

Friends, you saw enter here a waif,
a gamin, a IowIy caterpillar.

We open the cocoon but
it is not a butterfIy that emerges.

- It's not?
- No, it is a bird of paradise.

Lights!

Curtain!

Oh...

- BeautifuI! I don't beIieve it.
- Maggie, what did I tell you?

You Iook absoIuteIy fabuIous.
How does it feeI?

It feeIs wonderfuI, but it's not me.

The hair, the dress. It's perfection.

You see how much we accompIish
when you appear?

Try to stay with us for a whiIe.
DuvaI shows the collection on Friday.

The night before,
we'll introduce you to the press.

It is your opportunity.
It will be your evening.

- You will be there?
- Yes, of course.

Dick, that gives you a week
to photograph her.

I want marvellous pictures.
Give me a Iot of pizzazz.

Take her, and whatever you do,
don't Iet her out of your sight.

Do what I tell you.
Don't worry about it.

Here, hoId these balloons high
in the air, and when I say "run",

run as fast as you can
and don't Iet the balloons go.

Run as fast as I can
and don't Iet the balloons go.

Right. Now, ready?

Head up a IittIe. You're so happy.

AIright, run!

Run!

What? Oh, why did I ever...

- What's wrong?
- I don't know which way to go.

That way.

I'm sorry, I'm nervous.
I've never done anything Iike this.

There's nothing to be nervous about.
You're in Paris, the TuiIeries.

You've got balloons. There's
a sudden shower. You're very happy.

- Why am I so happy?
- Because I say you are.

That's all you have to know.
You're happy. Now, run!

Great. That's great.

Now, stop!

WonderfuI!

Now, today you're not happy.

- I'm hurt and...
- Right, a creature of tragedy.

Heartbroken, suffering.
You're Anna Karenina.

Shall I throw myseIf under the train?

We'll see. For now, just wonderfuI,
nobIe seIf-sacrifice.

Your Iover
has just kissed you goodbye.

You may never know that kiss again,
or Iove again.

MarceI, put some tears in her eyes.

There are tears in her eyes.

Good. You're not onIy a modeI,
you're an actress.

Jo, give me the works.
Heartbreak, Ionging, tragedy.

Wet your Iips.

Good. AIright. Now, Ia steam!

La steam!

That's great. Just Iike the movie.

Poor Anna Karenina.

No, not too much steam.

Cut down the steam.
That's wonderfuI. That's it.

Good. Now give her some fIowers.
FIowers. Arms full.

AIright. More. More. More!

AIright, Jo, it's spring.
You're in Iove.

Now, turn around. FabuIous!

(Tristan undIsolde by Wagner)

You're waIking out of the opera,

Ieaving to the passionate
music of Tristan undIsolde.

- You're very unhappy.
- What happened now?

A rendezvous at the opera.
Two seats.

He didn't show up. You're furious.

When I say go, waIk down with fire
in your eyes and murder on your mind.

Wet your Iips.

You're IsoIde. You're a queen.
Now, go, go, go!

You're furious at Tristan.

That's great.

(horn blows)

Today,
you're just a simpIe IittIe girI.

You Iive on the Seine, and you're
trying to catch a fish for Iunch.

Jo, fish. I want you
to Iook Iike you're fishing.

I'm trying,
but I've never fished before.

That's quite obvious. You might
just as well be fIying a kite.

Don't Iook Iike such an amateur.

You're just not fishing.

I am, but it's caught on something.

Well, give it a yank.

Pretend you caught a fish.
Pull it out.

Marvellous!

- Here's what I want you to be.
- I know. I'm a princess at a ball.

The bird is Prince Charming,
turned into a bird by a sorcerer.

But we've decided
not to Iet it spoiI the ball

and to go on dancing
as if nothing had happened.

You've outgrown me.

AIright. Now, give him a kiss.

He's your Prince Charming, isn't he?
Well, get happy!

That's a killer.

AIright, MarceI, Iights!

Jo! Jo, where are you?

Tell me when you're ready. Say "go".

I'm ready. What are you gonna do?

Never mind what I'm going to do.
Just say "go".

AIright. Go!

HoIy Moses! You Iook fabuIous!

Look, stop.

Stop!

- I can't stop. Take the picture.
- Stop!

I don't want to stop. I Iike it.
Take the picture.

(children singing)

This is your wedding day,
the happiest day of your Iife.

Bells are ringing, fIowers bIooming,
angeIs singing.

The man you Iove more than anyone
is inside the church waiting for you.

What's the matter?

I just feeI so dishonest
in this wedding dress.

It's not the happiest day of my Iife.
No one's waiting for me anywhere.

But you weren't Anna Karenina.
The bird wasn't Prince Charming.

- PIease, Dick.
- I don't understand.

Yes, I know.

Oh, mais quelle mari�e charmante!

On ne m'avaitpas dit qu'ily aurait
un mariage aujourd'hui.

Mais entrez donc.

But, Padre, we're not here to marry.

- Such a beautifuI bride.
- This is not my dress.

We're here to take pictures.

Nous sommes icipourphotographie,
pour la magazine de la fashion.

I'm sorry. Perhaps we shouId've
asked your permission first.

No wedding? Quel dommage!

Merci.

Jo!

Jo?

I'm sorry. I don't know
what's the matter with me.

Forget it and reIax.
We've been working too hard.

I suppose we'll be going home soon?

That's it. You're homesick.

Well, just this Iast picture,
then you'll be through.

- And then what happens?
- We go home.

And then?

What do you mean?

Will I see you any more?

And how! If you modeI,
I can get you bookings.

- We'd be working together every day.
- I'll modeI.

Good. We'll put you to work.

Stand here, pIease.
There's a good pIace. Fine.

LoveIy.

Now, tip your head just a IittIe bit.

Good. A IittIe smiIe.

Jo.

Yes?

Something is wrong.

No. Why?

You're the saddest bride
I've ever seen.

You Iook as if you've been jiIted.

This is your wedding day.

The day you've dreamt of.
You're marrying the man you Iove.

The man who Ioves you.

He's the onIy...

And you're...

Dick, I thought
it wouId never happen.

I never want to go home.
I Iove Paris!

I Iove these cIothes and
the IittIe church. And I Iove you.

What did you say?

I Iove Paris.

That's not what I heard.

My, my, my...!

Well, what do you know!

� He Ioves

� And she Ioves

� And they Iove

� So why can't... you Iove

� And I Iove too?

� Birds Iove

� And bees Iove

� And whispering trees Iove

� And that's what

� We both shouId do

� I aIways knew someday

� You'd come aIong

� We'll make a twosome

� That just can't go wrong

� DarIing

� He Ioves

� And she Ioves

� And they Iove

� So won't you Iove me

� As I Iove you?

Armande, Iet me see
a breeze in the trees.

Not too much.
I don't want a cycIone.

Fountains.

It's thrilling!
It makes me cry for the CaroIines.

The correspondent from Pakistan
has accepted.

The correspondent from Madrid
will be abIe to make it.

And the man from IstanbuI
will be at the presentation.

Good. Now, where is Jo?

Here she is.

Thank heavens.
I thought you'd stand us up again.

- How did the wedding pictures go?
- Wonderfully.

He is a marvellous photographer.

All you do is sit there.
I make my speech to the press,

the curtains will open
and you dazzIe 'em!

- Give 'em the oId pizzazz.
- I'll try.

I will introduce you to them.

Be charming
and answer their questions.

- What sort of questions?
- It's remarkabIy simpIe.

I've written editoriaIs on it
for years.

As one Iady to another...

We ought to Iook Iike
one Iady to another.

They'll want to know
who does your hair,

what you eat, drink,
what sheets you sIeep on.

You're the authority
on how to be IoveIy.

What am I going to tell them?

Just Iisten and repeat after me.

� On how to be IoveIy

� You gotta be happy

� When you can feeI Iight and gay

� Then you'll be IoveIy as a hoIiday

� On how to be charming

� You gotta be merry

� If onIy to weave a spell

� And you'll be
IoveIy as a carouseI, too

� I know you can show how

� It's all in the know-how

� And once you know, oh how

� The worId Iooks good to you

� As it shouId to you

� On how to be IoveIy

� You gotta be jolly

� When you can be fancy-free

� And fIash a smiIe that foIks
come fIocking to see

� You'll be as IoveIy as can be

� Can't do it with make-up

� You just gotta wake up

� And starting to take up

� The Iife deIirious

� Nothing serious

� On how to be IoveIy

� You gotta be cheery

� I'll give you a guarantee

� You don't need dough

� You don't need a college degree

� Make sorrow incidentaI

� Let joy be monumentaI

� And you'll be IoveIy

� You'll be as IoveIy as can be

Ah, beautifuI!

BeautifuI!

These are not my cIothes.

They were Ient for tonight.
I'm being presented to the press.

Alors! Your picture will be
in all the newspapers?

Oh, yes.

And they'll ask me
all sorts of questions.

Oh!

I think perhaps you had better stay
here with me, huh?

Hello!

Don't you remember me?
Jo Stockton?

C'est Jo!

On vous a manqu�e, mais on n'a pas
le temps de s'arr�termaintenant.

Flostre part au caf�
et on est d�j� en retard. Au revoir.

What were they saying about FIostre?

That he is speaking at the caf�
and that they are Iate.

Mr Avery will be by in five minutes.

Ask him to pick me up at the caf�.

Vous retrouverez tout cela

� travers tous mes �crits
sur l'empathicalisme.

La spiritualit�
inh�rente � l'empathicalisme

mat�rialise les plus nobles aspects
de la nature humaine.

Consciemment ou inconsciemment,

elle estperceptible
dans tout ce qui nous touche.

Dans nos meilleures sculptures...
Et dans notre meilleure litt�rature.

Pardon, monsieur.

Je suis... terribIy sorry.

- I...
- Quite aIright, mademoiselle.

You're quite weIcome.

Etudiez la statue un instant.
Je reviens tout de suite.

Now, mademoiselle.

I can't beIieve it.
I thought you'd be oId.

Well, I mean, a phiIosopher
and professor.

It all suggests age.
I mean, maturity.

I'm afraid I've disappointed you.

No. There's no reason why someone
brilliant shouIdn't be young.

I find myseIf
at an awkward disadvantage.

You know who I am.

But except that you are
very charming, I don't know you.

I'm so excited about meeting you,
I forgot to introduce myseIf.

If onIy you knew how anxious I am
to taIk to you.

I came from New York
just to see you.

You couIdn't have a more IoyaI
discipIe of empathicaIism than I.

- Than whom?
- I'm sorry. I'm Jo Stockton.

I'm enchanted,... Miss Stockton.

And since you've come such a Iong way
to taIk with me,

by all means, Iet us taIk.

(Jo) ..there's so much
you can teach us.

(Flostre) I may go next year.

You must see Greenwich Village.
It's our Left Bank.

PeopIe there think, and do things.
UsefuI things.

- Do you Iive in Greenwich Village?
- Of course.

Then I will come. Perhaps we can do
usefuI things together.

I'm sure that in all America
there's no empathicaIist

as charming as you.

Well, I hate to throw
a wet bIanket...

DarIing, guess who this is.
You'll never guess!

- Your brother?
- Professor FIostre.

- This is Dick Avery.
- Professor? I thought you'd be oId.

- So did I. Aren't you surprised?
- I'm overcome.

For you, my dear,
I promise never to grow oId.

- Come on, Jo.
- What's the matter?

We've got to get to DuvaI's.

Must you go?
I was just beginning to know you.

CouIdn't I stay?
The professor wants to taIk to me.

- You've heard it all before.
- Have you Iost your mind?

- We'll taIk about that Iater.
- What are you doing?

I've never been so humiIiated
in all my Iife!

What's got into you?
Have you any idea...

How couId you be so rude?

Embarrassing me
in front of Professor FIostre!

What am I going to tell him?

You're not gonna tell him anything.
You'll never see him again.

- Not going to see him again?
- That's what I said.

Now, just a moment...

I went through all this nonsense
to meet this man.

So I couId taIk to him.

I worship everything he stands for.
The way he thinks.

You might as well tell me
never to eat again.

The Herald Tribune has brought
a correspondent from Sweden.

- The more the merrier.
- They are here.

Get them quiet, DuvaI.
I'll be back.

When a man Iooks at a woman
the way FIostre Iooks at you...

(all speak at once)

If you weren't so serious,
this wouId be terribIy funny.

I'll check the Iights,
then I make my speech.

Everybody, ready!

FIostre may be the quiz kid,

the greatest phiIosopher
since AristotIe.

But he's aIso a man.
He's more man than phiIosopher!

His interest in me
is anything but intellectuaI?

He's as interested in your intellect
as I am.

(fanfare)

Ladies and gentIemen of the press,
my friends.

I have asked you here to meet
the woman seIected to represent

the most discriminating
pubIication in the worId, Quality.

Let's forget it
and get this over with.

Forget it?

Attack FIostre and you attack
the things I beIieve in.

We're fortunate to have found out
these things now.

I'm certain you'll not be
disappointed.

She is a rare creature...
chosen from hundreds

for her appearance, her grace,
her poise...

and her ineffabIe charm.

We can never
reconciIe our differences.

They are too eIementaI.

This is no time
to discuss our differences.

PIease, Iet's get this show on.

Yes, the show!
Our personaI Iives don't matter!

- WouId you pIease sit down?
- Leave me aIone!

May I present the Quality Woman!

(fanfare)

(Miss Prescott)
What does that one say?

They all say the same thing.
Everyone in Paris is Iaughing.

- I'm not.
- This is all your fauIt.

I know. I said things
I shouIdn't have. She got upset.

- Just a Iovers' quarreI.
- A what?

- You and that girI...
- Why not?

ImpossibIe!
You're in the fashion worId.

We're coId, artificiaI
and without sentiment.

- How can you be in Iove?
- I'm a bIack sheep.

What about my collection?
Without her I cannot show it.

- The gowns were sewn on her!
- I'm facing ruin!

She'll show up.
The girI has integrity.

She's filled with virtues.
OnIy she's not wasting them on us.

I went to the caf�. She isn't there.

So where is she?

She's at her hoteI,
but she won't take messages.

So I bribed the desk cIerk into
Ietting me copy her phone messages.

"At 10:15, Dick Avery called."

"At 1 1 :30, Dick Avery called."

"At 12:16, Professor FIostre called."

Lousy, rotten good-for-nothing!

"Having an evening of internationaI
phiIosophy, poetry,

song and meditation tonight
at my saIon."

"WouId be deIighted if you wouId
join us. EmiIe FIostre."

That's where she'll be tonight.

Not showing my collection.
I'm ruined.

I'll go to FIostre's tonight
and bring her back.

And take someone who isn't
emotionally invoIved. Like me.

You'll never get in.

EmpathicaIists have a very firm way
with hostiIe vibrations.

Let's turn into
a coupIe of friendIy vibrations.

UntiI we get in. As they say,
if you can't Iick 'em, join 'em.

- Do I Iook grubby enough?
- Yeah. How's the beard?

- Full of pizzazz.
- Come on.

Oui? Qui est vous?

Nous sommes voyager ici
pour la meditation.

Quels noms?

La.

Ah! Monsieur et Madame Barker
de Florida.

- FIorida.
- That's us. De Tallahassee.

Bon. Entrez.

- Come on, sugar.
- AIright, darIin'.

- O� est Flostre?
- Pourquoi?

I don't know. I just asked.

� On me demande

- (woman sobs)
- � Pourquoije l'ai tu�

C'est triste!

- What's the matter?
- The song's a bundIe of Iaughs.

� Un moment de passion engageante
Je le d�testais

She stabbed her Iover
because she hated him.

� Mais quandje l'ai vu

� Mort, froid, et massacr�

Now that the poor thing is dead...

� Tout d'un coup, je savais bien
Queje l'ai aim�

Now that he's dead, she Ioves him.

� Ma t�te �clate

� Je suis compl�tement d�rang�e

This kid's a IittIe confused.

� Et maintenant

� Il n'y a plus rien

� Il n'y a qu'un seul rem�de

Now she's gonna get even.

- � Je vais mejetersur la rue
- She's gonna kill herseIf.

� Corbillard

(man) C'est tragique!

- C'est tragique!
- You can say that again.

Hey!

Look up the airstay.

We're on the wrong fIoor.

Un moment, s'il vous pla�t.

Suivez moi.
Il me semble qu'ily a une erreur.

Ily a un autre couple
qui s'appelle Barker de Florida.

Oh-oh, the reaI Barkers.

Now what's this all about?

- They are not from Tallahassee!
- They ain't even from Miami.

I've never seen these peopIe
in Tallahassee,

and I have been in every corner
of Tallahassee.

- Is this some sort of a gag?
- I know who he is!

- Il est un photographer de fashion.
- Fashion?!

She's a fashion editor.
Get 'em out!

At once,
or Mr FIostre will hear about this.

Now, wait, we're spirituaI singers
on a tour and...

Now the hostiIe vibrations
have gone...

Attendez!
We are ready for your show.

- Command performance!
- Come on, Mama. We're on.

Let's give 'em the oId pizzazz.

� Ring-a dem bells

� Ring-a dem bells

� We is goin'

� Don't know where-a

� All we know is

� It's up there-a

� Somehow we gotta

� CIimb that stair-a

� Ring-a dem...

� Ring-a dem...

� Bells

(rings)

(music moves up tempo)

� Come, all you chiIdren,
gather around

� Gather around, you chiIdren!

� And we will Iose
that eviI spirit called voodoo

� Nothing but troubIe
If he's found you

� If he has found you, chiIdren

� But you can chase that hoodoo

� With the dance that you do

� Let us Iead the way

� JubiIee today

� He'll never hound you,
step on the ground you...

� ChiIdren!

� CIap your hands

� SIap your thighs

� HalleIujah! HalleIujah!

� Everybody come aIong

� And join the jubiIee!

� CIap your hands

� SIap your thighs

� Don't you Iose time

� Come aIong
And shake your shoes time

� Now for you and me

� On the sands of time

� You're onIy a pebbIe

� Remember troubIe must be treated
just Iike a rebeI

� Send it to the deviI

� CIap your hands

� SIap your thighs

� HalleIujah! HalleIujah!

� Everybody come aIong
and join the jubiIee!

� So ring-a dem bells

� Ring-a dem bells out

� Ring-a them, ring-a them
Ring-a them, ring-a them

� Bells!

(music moves down tempo)

Well, Mr Tallahassee, how we doin'?

Why, we's the two most friendIy
vibrations you ever seen.

Hey, diddIe diddIe,
the cat and the fiddIe.

The dish ran away with the spoon.

Do you know why
a chicken crosses the road?

No, why does a chicken
cross the road?

- To get to the second fIoor!
- You is a genius!

Roses are red,
the vioIets are bIue,

the dresses is gotta be showed.
Let's get this show on the road!

� CIap your hands, sIap your thighs,
gimme that beat, boy...

� Gimme that, gimme that
crazy knocked-out beat!

� You gotta...
if you wanna get to the promised Iand

� You gotta cIap your hands

� CIap your hands, sIap your thighs,
gimme some heat, man!

� Gimme some,
gimme some DixieIand beat!

� When you hear that DixieIand,
you gotta cIap your hands

� CIap-a your hands

� CIap-a your hands

� HalleIujah!
HalleIu... HalleIu...

� HalleIujah

� Come aIong and join ourjubiIee!

(applause)

(Jo) IntellectuaI gratification
is nonexistent.

- OnIy you can fuIfiI that potentiaI.
- This is it.

- FIostre, there you are.
- Professor, we need you.

What are you doing here?
You Iook ridicuIous!

We've come to see FIostre. Professor,
Maggie and I need guidance.

We reaIise what futiIe Iives we Iead.

- When did you reaIise this?
- Today. At about two o'cIock.

- Just after Iunch.
- Professor, don't beIieve them.

We want to sit at your feet
and Iearn.

We sit at your feet,
ignorant, but so willing.

You Ieave his feet aIone.

Professor, they want to make
a fooI of you.

- Are you making a fooI of him?
- Me?

You're making things difficuIt.
You don't own empathicaIism.

It's in the pubIic domain.

- Why don't you trust these peopIe?
- Because I know them well.

I know what they're here for
and it is not guidance.

Don't Iisten to her. She is a chiId.

They came to see me, not you.

To get me over to DuvaI's
to modeI their collection.

- I shouId have known.
- You shouId've heard what he said.

If we'd come a few minutes Iater,
you'd have found out for yourseIf.

You've said enough, Mr Avery.

Not yet. I haven't toId you
what a phoney you are.

- Get out of my house.
- I'm not ready to Ieave.

I think I can change your mind.

- Catch!
- (Jo screams)

Oh! Oh, no!

Look what you've done!
Bursting in here Iike a hoodIum.

- I never touched him.
- Go away!

It's time you woke up
to your responsibiIities.

Will you pIease Ieave?

DuvaI can't show his collection
without you.

You can't do this to him,
or to all the others.

Hundreds of peopIe.

I'm not interested in your peopIe.

- Your empathy is a IittIe one-sided.
- Get out!

AIright!

I assume you mean me, too.

On you it Iooks cute, sugar.

Well, you fixed everything!

If you can't Iick 'em, join 'em
and if you can't join 'em, Iick 'em!

- Tell DuvaI I'm sorry.
- Where are you going?

There's a pIane to New York
at 10:30pm and I'm on it.

You can't do this to me! Come back!

How dare you Ieave me in the street
Iike this! Taxi!

- Have they gone?
- They've gone.

- And you're still here?
- I'm still here.

Are you aIright?

Well.

In fact, I feeI wonderfuI.

I can't tell you how sorry I am.

I had no idea they were coming,
or what got into Dick.

My dear, you mustn't assume guiIt
for something that was unavoidabIe.

They've gone.

You are here.
That's all that matters now.

Nice of you to say so,
but it was me...

You have the most penetrating eyes.

I can still see them
when I cIose mine.

- Professor?
- Call me EmiIe.

WouId there be any vaIue
in my contacting phiIosophers

in cities Iike
Omaha and Detroit and...

and acquainting them
with empathicaIism?

Your mouth suggests to me
burgundy veIvet.

Dr Post, who runs a shop I worked in,
has contacts in severaI universities.

PIease.

Don't say another word.

- But I came here to taIk.
- We'll taIk.

- Later.
- Why don't I come back Iater?

But I need you now.

Professor FIostre, I came to taIk
with a phiIosopher.

You're taIking Iike a man.

But I am a man. And you're a woman.

That's not what I came
to taIk about.

My dear.

There is a magicaI moment
waiting for us.

- Don't come any cIoser.
- Why are you behaving Iike this?

- You come from Greenwich Village.
- I'm moving uptown. Yonkers.

But before you move...

I cannot keep them waiting.
I must make an announcement.

- What shall I say?
- Tell them it was all my fauIt.

Maggie, where's Dick?

You toId him to go and he went.
He fIies at 10:30pm.

He mustn't!

I knew you wouId not Iet us down!

- You must do the collection!
- Later. I've got to get to Dick.

- We are so Iate aIready.
- I want to heIp.

I know how you feeI,
even if you think I don't.

- I can put myseIf in your pIace.
- Maggie, that's empathy!

That's what you've been taIking
about! Why didn't you say?

Get to work. I'll take care
of Dick. Leave it to me!

Lettie, what is the name
of Dick Avery's hoteI?

- Le Savoyard.
- Get me the number.

- How Iong before we can begin?
- We're ready.

Messieurs et mesdames.

We are proud to bring you
a new collection by PauI DuvaI,

inspired by the Quality Woman,

chosen to represent a great American
fashion magazine, Quality.

We begin with Hors d'Oeuvre.

HoteI Savoyard?
M. DickAvery, s'il vous pla@t?

(bell rings)

- Monsieur, your bill is ready.
- I know. 352,428 francs.

- Merci, monsieur. Come back soon.
- Thank you.

(woman) He doesn't answer, madame.
I will give you the desk.

(phone rings)

Hello. MonsieurAvery?
He just Ieft.

Well, run out and get him!
It's urgent!

Oui, madame.

I'm so sorry. It was too Iate.

(applause)

- Did you get him?
- No. We'll get him at the airport.

- I can't find it!
- How are you spelling it?

- A-U-L-Y.
- OrIy. O-R-L-Y.

- You were there!
- I'm just so nervous.

- Are you ready?
- (Jo) Just about.

(announcer)
Monsieurs et mesdames, Jonquille.

(Jo) I'm ready.

You can board your pIane now,
monsieur. PIeasant fIight.

Thanks.

(loudspeaker)
Attention! Attention!

MonsieurAvery?
MonsieurRichardAvery?

Maggie, is there any news?

They promised they'd get my message
to him before he boarded.

(clock strikes)

It's too Iate.

The cIock must be fast.
He just hasn't got the message yet.

I'm sure he got it.
He didn't want to taIk to me.

I don't bIame him.
I hurt him too much.

And now, the finaIe
of the collection. Wedding Day.

What a beautifuI bride!

Yes. Pity it isn't her wedding.

Professor!

Keep away from me, you!

If you Iay one finger on me,
I will call your embassy.

I want to apoIogise.
She wasn't worth fighting about.

- Don't tell me I did that!
- You?

You didn't even give me a headache.

She did this to me, with a statue
that cost 200,000 francs.

- She did that?
- I have 18 stitches in my head.

- She gave you 18 stitches?
- And a gashed Iip.

And six stitches in my ear.

Professor, I Iove every broken bone
in your body!

Excuse me, DuvaI. Where is Jo?

She was magnificent!
You shouId've seen her!

- Where is she?
- I don't know, she was here...

Lettie! Have you seen Jo?

No, I...
Oh, Dick, she was just great!

Maggie, where's Jo?
Have you seen her?

She was here, but she's disappeared.

- Did she say where she was going?
- I understand now.

She put herseIf in your pIace,
so put yourseIf in her pIace.

You'll meet each other
in somebody's pIace.

That's it!
Maggie, you ought to be president.

I thought I was!

� I Iove your funny face

� Your sunny, funny...

- � 'S wonderfuI
- � 'S wonderfuI

- � 'S marvellous
- � 'S marvellous

� That you shouId care

� For me

- � 'S awfuI nice
- � 'S awfuI nice

� 'S paradise
� 'S paradise

� 'S what I Iove

� To see

� You've made my Iife so gIamorous

� You can't bIame me for feeIing
amorous

� Oh, 's wonderfuI

� 'S marvellous

� That you shouId care

� For me

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