(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
¶ Personality-N-T
¶ You fill the air with smiles
¶ For miles and miles and miles
¶ Though you're no Mona Lisa
¶ For worlds I'd not replace
¶ Your sunny, funny face
(women) ¶ You've made my Iife so gIamorous
¶ You can't blame me for feeling amorous
¶ Oh, 's wonderfuI
¶ 'S marvellous
(military drum beat)
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...
..blood 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)
Girls, girls, girls, girls. Take this to all the designers.
I want dresses made up in this pink.
Babs, take this to Kaiser Delmont.
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 black,
burn the blue,
and bury the beige.
From now on, girls...
¶ Think pink! Think pink when you shop for summer clothes
¶ Think pink! Think pink if you want that quelque chose
¶ Red is dead, blue is through
¶ Green's obscene, brown's taboo
¶ And there is not the slightest excuse for plum, or puce
¶ Or chartreuse
¶ Think pink! Forget that Dior says black 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
¶ Razzle, dazzle 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
¶ Play in pink, all day in pink
¶ Play day in pink
¶ Drive in pink
¶ Come alive 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 Michelangelo
¶ Feels so gay, feels so bright
¶ Makes your day, makes your night
¶ Pink is now the colour 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 world is rosy red
¶ Everything's rosy
¶ Everything on the great horizon
¶ Everything that you can think
¶ And that includes the kitchen sink
¶ Think pink
¶ Think pink, think pink
¶ Think pink, think pink, think pink!
Maggie?
Dovitch. I want to see you.
Girls, back to work. Gentlemen, that will do.
The railroad is going to paint a whole 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. Clothes for the woman who isn't interested in clothes.
(man) Marion, give me a Iong Iook.
Longer.
Steve, tip that back Iight down a bit, will you? OK.
Hold it, boys. Beethoven isn't working. Try Brahms.
Look, Marion, I'd Iike to try it again.
This time, let's see if we can't get with it.
Keep in mind that you're a woman who thinks.
That is a piece of sculpture by ltsabuchi.
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 intellectual, always 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 Harold doesn't get his laundry, 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 fashionable attire.
A woman can be beautiful, as well as intellectual. 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 else?
- How about Lucy Brand? - On her honeymoon.
- Betty Hayes? - She's in jaiI.
Are there no models who think as well as they look?
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 place in Greenwich Village. Come on, girls.
Let's hurry. We might have to pick up Harold's laundry on the way.
There's one.
(Dick) Driver, stop here.
That's sinister enough.
Melissa, help me with this lamp. 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.
Please 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 trouble. She's a thinker. - She's also a talker.
I must ask you to Ieave.
We throw ourselves at your mercy.
Haven't poor people like us a right to make a living?
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 would have others do unto you."
We'll only do unto you for a moment,
and it's no more than we would do unto ourselves.
Girls, 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 shelf pertain to empiricism,
and on this shelf, materialism, and on this, psychopiscoparalysm.
Put them back. Please talk to her. It'll take me hours.
One never talks to Maggie Prescott. One only listens.
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!
Alright, Marion, let's go.
But this would be a violation of all my principles.
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 deals with epiphenomenalism, which has to do with consciousness
as a mere accessory of physiological processes
whose presence or absence makes no difference...
Whatever are you doing?
Hold it!
- Good. Get her in another outfit. - Put on the shebop.
None of you seems to realise 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 pale.
Alright, hit it.
Hold it. Ready?
Good. One more, please.
Alright. Hit it.
Hold it. Ready?
Very good, Marion. One more, please. Last one.
Alright, here we go.
Hit it.
Hold 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 shelf for materialism?
Just hand them to me.
Oh, no.
You should be ashamed of yourself.
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 people think they're beautiful dresses on beautiful 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 pleasant, 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 Flostre is the greatest living philosopher,
and father of empathicalism.
Oh? What's empathicalism?
The most sensible 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 feels.
Empathy is to project your imagination
so that you actually feeI what the other person is feeIing.
You put yourself in the other person's place.
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 yourself in the wrong place.
I have no desire to be kissed by you, or anyone eIse.
Don't be silly. Everybody wants to be kissed, even philosophers.
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 plan for a man
¶ I was full of seIf-defences
¶ Now I feeI that I really shouId face the consequences
¶ My philosophic search
¶ Has Ieft me in the Iurch
¶ I must find why my mind is behaving Iike a dancer
¶ What's the clue 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 should 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 would 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 models. 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 alright. 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 would 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, elegance 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 would be novel in a fashion magazine.
Sir, I owe you a drink.
Can you make me some enlargements?
- Yes. - Use our darkroom.
- Let me study the possibilities. - Now you are talking.
- 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, please.
- 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 floor? - Yes, drop them.
Straighten up, shoulders 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 Modigliani 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.
- Talks incessantly. - 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.
Would 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 plenty of hair cut, and it won't be mine.
Bring her back, girls, alive!
(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 alright. What's all the desperation about?
Those people.
They don't care about anyone's feelings.
Pulling my clothes and cutting my hair.
- (knock at door) - (woman) Is that girI in there?
(whispers) Don't give me away.
Maybe you should 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 could I be a model?
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.
- Flostre? - Yeah.
You can talk to him and go to his lectures.
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, let's see.
There we are.
- Oh, no. - What's the matter?
How can you possibly make a model 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.
¶ Frankly, dear, your modesty reveals to me
¶ Self-appraisal often makes us sad
¶ And if I add, your funny face appeaIs to me
¶ Please don't think I've suddenly gone mad
¶ You have all the qualities 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 smiles
¶ For miles and miles and miles
¶ Though you're no Mona Lisa
¶ For worlds I'd not replace
¶ 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 worlds I'd not replace
¶ 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 hardly wait.
Marvellous!
This is not a Ioss of integrity. It is a means to an end, and...
There's no time for talking. Tell us on the plane.
Alright, girls, we've got to get cracking. To work and to Paris.
- Would you like 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 should all go straight to our hotels 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 Elysées
¶ From the Arch of Triumph
¶ To the Petit Palais
¶ That's for me
¶ Bonjour, Paris
¶ I want to wander
¶ Through the Saint-Honoré
¶ 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
¶ Très gai, très chic, très 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
¶ Should come here to die
¶ Bonjour!
¶ Is it reaI?
¶ 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 place 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 sleep
¶ You told 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 strictly 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?
- Allô? - (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. Relax. She will be here without fail.
You said she would 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 else.
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 should 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 delicatessen in Paris.
Imported all the way from Napa Valley, CaIifornia.
Melons from Florida.
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 gentlemen 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 yourself!
I'll have her here tomorrow morning at ten without faiI.
In the meantime, be my guests.
Strike.
(beeping)
Salaud! Dégueulasse!
Je vous déteste!
Oh, chéri.
This must be the place.
(band tunes up)
Thank you.
Monsieur, Gigi would like 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 delicious 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.
Feels so good when you stop.
I have no doubt that in Iess than ten years,
people everywhere will know that only empathicalism can bring peace.
Peace through understanding is the only real...
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?
Would you mind if I had my own conversation with this lady?
- They don't understand English. - You were talking English.
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.
Gentlemen, may I tell you that you look like a mess of worms?
And that you not only look like, 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 belong 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 freely here. If a girl 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 release?
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 étiez formidable. - Merci.
You certainly made friends and influenced people.
They're empathicalists.
You talk a lot about empathy. Ever do anything about it yourself?
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 empathicalist should feel me asking for unemployment 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 telephone for hours.
I've been at the café all day. I'm terribIy sorry.
I don't want to sound Iike the personneI department,
but you ought to get to bed early. 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 talk.
Small talk? I suppose you think the neckline of a dress
makes for world-shaking conversation?
Anything you don't understand, you call small talk.
- What do you think of Flostre? - 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 Flostre in cafés, except on special occasions.
Not everyone interested in empathicalism meets him,
any more than every American meets the President.
An invitation to Flostre'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 let's be friendly. We have to work together.
You don't have to be friendly 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.
- Alright. - This is where I get off.
Wait a minute. Don't go away mad.
Can't we walk and get friendly, 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 Franklin wrote about this thing at length?
¶ 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, let'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 fly away
¶ If we'd be happy
¶ The way is clear
¶ 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 finale. - I'm getting nervous.
- You should. - Sit down.
Friends, you saw enter here a waif, a gamin, a IowIy caterpillar.
We open the cocoon but it is not a butterfly 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 accomplish when you appear?
Try to stay with us for a while. Duval 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, hold 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.
Alright, 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 Tuileries.
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 wonderful, noble self-sacrifice.
Your Iover has just kissed you goodbye.
You may never know that kiss again, or Iove again.
Marcel, put some tears in her eyes.
There are tears in her eyes.
Good. You're not only a model, you're an actress.
Jo, give me the works. Heartbreak, Ionging, tragedy.
Wet your Iips.
Good. Alright. Now, la 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 flowers. Flowers. Arms full.
Alright. More. More. More!
Alright, Jo, it's spring. You're in love.
Now, turn around. Fabulous!
(Tristan undlsolde by Wagner)
You're walking 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 simple little girl.
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 flying 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.
Alright. Now, give him a kiss.
He's your Prince Charming, isn't he? Well, get happy!
That's a killer.
Alright, Marcel, lights!
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".
Alright. Go!
Holy Moses! You look fabulous!
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, flowers blooming, angels 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.
- Please, Dick. - I don't understand.
Yes, I know.
Oh, mais quelle mariée 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 relax. 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, please. There's a good place. Fine.
Lovely.
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 only...
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 should do
¶ I aIways knew someday
¶ You'd come along
¶ We'll make a twosome
¶ That just can't go wrong
¶ Darling
¶ 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 able 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 dazzle 'em!
- Give 'em the old 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 sleep 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 world looks good to you
¶ As it should to you
¶ On how to be IoveIy
¶ You gotta be jolly
¶ When you can be fancy-free
¶ And flash a smile that folks come flocking 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 clothes.
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 manquée, mais on n'a pas le temps de s'arrêtermaintenant.
Flostre part au café et on est déjà en retard. Au revoir.
What were they saying about Flostre?
That he is speaking at the café and that they are Iate.
Mr Avery will be by in five minutes.
Ask him to pick me up at the café.
Vous retrouverez tout cela
à travers tous mes écrits sur I'empathicalisme.
La spiritualité inhérente à I'empathicalisme
matérialise 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 littérature.
Pardon, monsieur.
Je suis... terribly sorry.
- I... - Quite aIright, mademoiselle.
You're quite welcome.
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 shouldn'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 couldn't have a more loyal disciple of empathicalism 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.
People there think, and do things. Useful 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...
Darling, guess who this is. You'll never guess!
- Your brother? - Professor Flostre.
- 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.
Couldn't I stay? The professor wants to talk to me.
- You've heard it all before. - Have you Iost your mind?
- We'll talk about that later. - What are you doing?
I've never been so humiIiated in all my Iife!
What's got into you? Have you any idea...
How could you be so rude?
Embarrassing me in front of Professor Flostre!
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!
Flostre may be the quiz kid,
the greatest philosopher since Aristotle.
But he's also a man. He's more man than philosopher!
His interest in me is anything but intellectuaI?
He's as interested in your intellect as I am.
(fanfare)
Ladies and gentlemen of the press, my friends.
I have asked you here to meet the woman seIected to represent
the most discriminating publication in the world, Quality.
Let's forget it and get this over with.
Forget it?
Attack Flostre and you attack the things I believe 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 ineffable charm.
We can never reconcile our differences.
They are too elemental.
This is no time to discuss our differences.
Please, let's get this show on.
Yes, the show! Our personaI Iives don't matter!
- Would you please sit down? - Leave me alone!
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 cold, artificial 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. Only she's not wasting them on us.
I went to the café. She isn't there.
So where is she?
She's at her hotel, 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 11:30, Dick Avery called."
"At 12:16, Professor Flostre called."
Lousy, rotten good-for-nothing!
"Having an evening of internationaI phiIosophy, poetry,
song and meditation tonight at my salon."
"Would be delighted if you would join us. Emile Flostre."
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 involved. Like me.
You'll never get in.
Empathicalists have a very firm way with hostile vibrations.
Let's turn into a couple of friendly 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.
- Florida. - That's us. De Tallahassee.
Bon. Entrez.
- Come on, sugar. - Alright, darlin'.
- Où est Flostre? - Pourquoi?
I don't know. I just asked.
¶ On me demande
- (woman sobs) - ¶ Pourquoije I'ai tué
C'est triste!
- What's the matter? - The song's a bundle of laughs.
¶ Un moment de passion engageante Je le détestais
She stabbed her Iover because she hated him.
¶ Mais quandje I'ai vu
¶ Mort, froid, et massacré
Now that the poor thing is dead...
¶ Tout d'un coup, je savais bien Queje I'ai aimé
Now that he's dead, she Ioves him.
¶ Ma tête éclate
¶ Je suis complètement dérangée
This kid's a IittIe confused.
¶ Et maintenant
¶ Il n'y a plus rien
¶ Il n'y a qu'un seul remède
Now she's gonna get even.
- ¶ Je vais mejetersur la rue - She's gonna kill herself.
¶ Corbillard
(man) C'est tragique!
- C'est tragique! - You can say that again.
Hey!
Look up the airstay.
We're on the wrong floor.
Un moment, s'il vous plaît.
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 Flostre will hear about this.
Now, wait, we're spirituaI singers on a tour and...
Now the hostile vibrations have gone...
Attendez! We are ready for your show.
- Command performance! - Come on, Mama. We're on.
Let's give 'em the old pizzazz.
¶ Ring-a dem bells
¶ We is goin'
¶ Don't know where-a
¶ All we know is
¶ It's up there-a
¶ Somehow we gotta
¶ Climb that stair-a
¶ Ring-a dem...
¶ Bells
(rings)
(music moves up tempo)
¶ Come, all you children, gather around
¶ Gather around, you children!
¶ And we will Iose that eviI spirit called voodoo
¶ Nothing but trouble 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
¶ Jubilee today
¶ He'll never hound you, step on the ground you...
¶ Children!
¶ Clap your hands
¶ Slap your thighs
¶ Hallelujah! Hallelujah!
¶ Everybody come along
¶ And join the jubilee!
¶ Clap your hands
¶ Slap your thighs
¶ Don't you Iose time
¶ Come along And shake your shoes time
¶ Now for you and me
¶ On the sands of time
¶ You're only a pebble
¶ Remember trouble must be treated just like a rebel
¶ Send it to the deviI
¶ Clap your hands
¶ Slap your thighs
¶ Hallelujah! Hallelujah!
¶ Everybody come along and join the jubilee!
¶ 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 friendly vibrations you ever seen.
Hey, diddle diddle, the cat and the fiddle.
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 floor! - You is a genius!
Roses are red, the violets are blue,
the dresses is gotta be showed. Let's get this show on the road!
¶ Clap your hands, slap 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 clap your hands
¶ Clap your hands, slap your thighs, gimme some heat, man!
¶ Gimme some, gimme some Dixieland beat!
¶ When you hear that Dixieland, you gotta clap your hands
¶ Clap-a your hands
¶ Hallelujah! Hallelu... Hallelu...
¶ Hallelujah
¶ Come along and join ourjubilee!
(applause)
(Jo) IntellectuaI gratification is nonexistent.
- Only you can fulfil that potential. - This is it.
- Flostre, there you are. - Professor, we need you.
What are you doing here? You Iook ridicuIous!
We've come to see Flostre. Professor, Maggie and I need guidance.
We realise what futile lives we lead.
- When did you realise this? - Today. At about two o'clock.
- 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 difficult. You don't own empathicalism.
It's in the pubIic domain.
- Why don't you trust these people? - 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 please leave?
DuvaI can't show his collection without you.
You can't do this to him, or to all the others.
Hundreds of people.
I'm not interested in your peopIe.
- Your empathy is a IittIe one-sided. - Get out!
Alright!
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 plane 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 alright?
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 guilt for something that was unavoidable.
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 Emile.
Would there be any value in my contacting philosophers
in cities Iike Omaha and Detroit and...
and acquainting them with empathicalism?
Your mouth suggests to me burgundy velvet.
Dr Post, who runs a shop I worked in, has contacts in severaI universities.
Please.
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 Flostre, I came to talk with a philosopher.
You're talking like 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 closer. - Why are you behaving like 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 told him to go and he went. He flies 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 talking 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. - Orly. 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 plane now, monsieur. Pleasant flight.
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 clock 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 finale 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 should'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 herself in your place, so put yourself in her place.
You'll meet each other in somebody's place.
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 should 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 blame me for feeling amorous
¶ Oh, 's wonderfuI
¶ 'S marvellous
¶ That you should care
¶ For me