(beeping)
(mooing)
(Spanish music)
(chatter)
What are they doing? They've been hours.
There was a lot to be done.
- They don't look happy. - They don't look unhappy.
I can't tell. Do they look pleased?
- They don't look displeased. - (Duval) Everyone.
- The grand finale. - I'm getting nervous.
- You should. - Sit down.
Friends, you saw enter here a waif, a gamin, a lowly 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 believe it. - Maggie, what did I tell you?
You look absolutely fabulous. How does it feel?
It feels 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 lot of pizzazz.
Take her, and whatever you do, don't let 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 let the balloons go.
Run as fast as I can and don't let the balloons go.
Right. Now, ready?
Head up a little. 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 like 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 myself under the train?
We'll see. For now, just wonderfuI, noble self-sacrifice.
Your lover has just kissed you goodbye.
You may never know that kiss again, or love 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, longing, tragedy.
Wet your lips.
Good. AIright. Now, la steam!
La steam!
That's great. Just like 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.
AIright. More. More. More!
AIright, Jo, it's spring. You're in love.
Now, turn around. Fabulous!
(Tristan und Isolde by Wagner)
You're walking out of the opera,
leaving to the passionate music of Tristan und Isolde.
- 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, walk down with fire in your eyes and murder on your mind.
Wet your lips.
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 live on the Seine, and you're trying to catch a fish for lunch.
Jo, fish. I want you to look like 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 look like 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 let 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, 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''.
AIright. Go!
Holy Moses! You look fabulous!
Look, stop.
Stop!
- I can't stop. Take the picture. - Stop!
I don't want to stop. I like it. Take the picture.
(hildren singing)
This is your wedding day, the happiest day of your life.
Bells are ringing, flowers blooming, angels singing.
The man you love more than anyone is inside the church waiting for you.
What's the matter?
I just feel so dishonest in this wedding dress.
It's not the happiest day of my life. 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 mariee charmante!
On ne m'avait pas dit qu'il y 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 ici pour photographie, pour la magazine de la fashion.
I'm sorry. Perhaps we should'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 last 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 model, I can get you bookings.
- We'd be working together every day. - I'll model.
Good. We'll put you to work.
Stand here, please. There's a good place. Fine.
Lovely.
Now, tip your head just a little bit.
Good. A little smile.
Jo.
Yes?
Something is wrong.
No. Why?
You're the saddest bride I've ever seen.
You look as if you've been jiIted.
This is your wedding day.
The day you've dreamt of. You're marrying the man you love.
The man who loves you.
He's the only...
And you're...
Dick, I thought it would never happen.
I never want to go home. I love Paris!
I love these clothes and the little church. And I love you.
What did you say?
I love Paris.
That's not what I heard.
My, my, my...!
Well, what do you know!
He loves
And she loves
And they love
So why can't... you love
And I love too?
Birds love
And bees love
And whispering trees love
And that's what
We both should do
I always knew someday
You'd come along
We'll make a twosome
That just can't go wrong
Darling
He loves
And she loves
And they love
So won't you love me
As I love you?
Armande, let me see a breeze in the trees.
Not too much. I don't want a cyclone.
Fountains.
It's thrilling! It makes me cry for the Carolines.
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 oId pizzazz. - I'll try.
I will introduce you to them.
Be charming and answer their questions.
- What sort of questions? - It's remarkably simple.
I've written editorials on it for years.
As one lady to another...
We ought to look like one lady 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 lovely.
What am I going to tell them?
Just listen and repeat after me.
On how to be lovely
You gotta be happy
When you can feel light and gay
Then you'll be lovely as a holiday
On how to be charming
You gotta be merry
If only to weave a spell
And you'll be lovely as a carousel, too
I know you can show how
It's all in the know-how
And once you know, oh how
The worId looks good to you
As it should to you
On how to be lovely
You gotta be jolly
When you can be fancy-free
And flash a smile that foIks come flocking to see
You'll be as lovely as can be
Can't do it with make-up
You just gotta wake up
And starting to take up
The life delirious
Nothing serious
On how to be lovely
You gotta be cheery
I'll give you a guarantee
You don't need dough
You don't need a college degree
Make sorrow incidental
Let joy be monumental
And you'll be lovely
You'll be as lovely as can be
Ah, beautifuI!
BeautifuI!
These are not my clothes.
They were lent 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 manquee, mais on n'a pas le temps de s'arreter maintenant.
Flostre part au cafe et on est deja en retard. Au revoir.
What were they saying about Flostre?
That he is speaking at the cafe and that they are late.
Mr Avery will be by in five minutes.
Ask him to pick me up at the cafe.
Vous retrouverez tout cela
a travers tous mes ecrits sur l'empathicalisme.
La spiritualite inherente a l'empathicalisme
materialise les plus nobles aspects de la nature humaine.
Consciemment ou inconsciemment,
elle est perceptible dans tout ce qui nous touche.
Dans nos meilleures sculptures... Et dans notre meilleure litterature.
Pardon, monsieur.
Je suis... terribly sorry.
- I... - Quite alright, mademoiselle.
You're quite welcome.
Etudiez la statue un instant. Je reviens tout de suite.
Now, mademoiselle.
I can't believe it. I thought you'd be oId.
Well, I mean, a philosopher 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 myself 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 myself.
If only you knew how anxious I am to talk 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 long way to talk with me,
by all means, let us talk.
(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. UsefuI things.
- Do you live 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 empathicalist
as charming as you.
Well, I hate to throw a wet blanket...
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 Duval'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 lost your mind?
- We'll talk about that later. - What are you doing?
I've never been so humiliated in all my life!
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 could talk 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, Duval. I'll be back.
When a man looks at a woman the way Flostre looks at you...
(all speak at once)
If you weren't so serious, this would be terribly funny.
I'll check the lights, 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 intellectual?
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 selected to represent
the most discriminating publication in the worId, 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 personal lives 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 laughing.
- I'm not. - This is all your fauIt.
I know. I said things I shouldn't have. She got upset.
- Just a lovers' quarrel. - A what?
- You and that girl... - Why not?
Impossible! You're in the fashion worId.
We're coId, artificial and without sentiment.
- How can you be in love? - I'm a black 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 girl has integrity.
She's filled with virtues. Only she's not wasting them on us.
I went to the cafe. She isn't there.
So where is she?
She's at her hotel, but she won't take messages.
So I bribed the desk clerk into letting me copy her phone messages.
''At 10:15, Dick Avery called.''
''At 1 1 :30, Dick Avery called.''
''At 12:16, Professor Flostre called.''
Lousy, rotten good-for-nothing!
''Having an evening of international philosophy, 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 Flostre's tonight and bring her back.
And take someone who isn't emotionally invoIved. 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 lick 'em, join 'em.
- Do I look 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. - AIright, darlin'.
- Ou est Flostre? - Pourquoi?
I don't know. I just asked.
On me demande
- (woman sobs) - Pourquoi je l'ai tue
C'est triste!
- What's the matter? - The song's a bundle of laughs.
Un moment de passion engageante Je le detestais
She stabbed her lover because she hated him.
Mais quand je l'ai vu
Mort, froid, et massacre
Now that the poor thing is dead...
Tout d'un coup, je savais bien Queje l'ai aime
Now that he's dead, she loves him.
Ma tete eclate
Je suis completement derangee
This kid's a little confused.
Et maintenant
Il n'y a plus rien
Il n'y a qu'un seul remede
Now she's gonna get even.
- Je vais mejeter sur 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 plait.
Suivez moi. Il me semble qu'il y a une erreur.
Il y a un autre couple qui s'appelle Barker de Florida.
Oh-oh, the real Barkers.
Now what's this all about?
- They are not from Tallahassee! - They ain't even from Miami.
I've never seen these people 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 spiritual 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 oId 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 lose that eviI spirit called voodoo
Nothing but trouble If he's found you
If he has found you, children
But you can chase that hoodoo
With the dance that you do
Let us lead 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 lose 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 land
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) Intellectual gratification is nonexistent.
- Only you can fuIfiI that potential. - This is it.
- Flostre, there you are. - Professor, we need you.
What are you doing here? You look ridiculous!
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 lunch. - Professor, don't believe them.
We want to sit at your feet and learn.
We sit at your feet, ignorant, but so willing.
You leave his feet alone.
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 empathicalism.
It's in the public 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 listen to her. She is a child.
They came to see me, not you.
To get me over to Duval's to model their collection.
- I should have known. - You should've heard what he said.
If we'd come a few minutes later, you'd have found out for yourself.
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 leave.
I think I can change your mind.
- Catch! - (Jo screams)
Oh! Oh, no!
Look what you've done! Bursting in here like a hoodlum.
- I never touched him. - Go away!
It's time you woke up to your responsibilities.
Will you please leave?
Duval 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 people.
- Your empathy is a little one-sided. - Get out!
AIright!
I assume you mean me, too.
On you it looks cute, sugar.
Well, you fixed everything!
If you can't lick 'em, join 'em and if you can't join 'em, lick 'em!
- Tell Duval 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 leave me in the street like this! Taxi!
- Have they gone? - They've gone.
- And you're still here? - I'm still here.
Are you alright?
Well.
In fact, I feel 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 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 close mine.
- Professor? - Call me Emile.
Would there be any value in my contacting philosophers
in cities like 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 several universities.
Please.
Don't say another word.
- But I came here to talk. - We'll talk.
- Later. - Why don't I come back later?
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 talk about.
My dear.
There is a magical 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 toId him to go and he went. He flies at 10:30pm.
He mustn't!
I knew you would not let us down!
- You must do the collection! - Later. I've got to get to Dick.
- We are so late already. - I want to help.
I know how you feel, even if you think I don't.
- I can put myself in your place. - 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 hotel?
- Le Savoyard. - Get me the number.
- How long before we can begin? - We're ready.
Messieurs et mesdames.
We are proud to bring you a new collection by PauI Duval,
inspired by the Quality Woman,
chosen to represent a great American fashion magazine, Quality.
We begin with Hors d'Oeuvre.
Hotel Savoyard? M. Dick Avery, s'il vous plait?
(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. Monsieur Avery? He just left.
Well, run out and get him! It's urgent!
Oui, madame.
I'm so sorry. It was too late.
(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!
Monsieur Avery? Monsieur Richard Avery?
Maggie, is there any news?
They promised they'd get my message to him before he boarded.
(clock strikes)
It's too late.
The clock must be fast. He just hasn't got the message yet.
I'm sure he got it. He didn't want to talk to me.
I don't blame 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 lay one finger on me, I will call your embassy.
I want to apologise. 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 lip.
And six stitches in my ear.
Professor, I love every broken bone in your body!
Excuse me, Duval. 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 love 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 love
To see
You've made my life so glamorous
You can't blame me for feeling amorous
Oh, 's wonderfuI
'S marvellous
That you should care
For me
Subtitles by Ayaz [ ayazonline@gmail.com ]