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American in Paris An

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I deliver perfection...|and don't brag about it! :D
{y:i}This is Paris.
{y:i}And I'm an American|{y:i}who lives here.
{y:i}My name, Jerry Mulligan...
{y:i}... and I'm an ex-G.I.
{y:i}In 1945, when the Army|{y:i}told me to find my own job...
{y:i}... I stayed on.
{y:i}And I'll tell you why.
{y:i}I'm a painter.
{y:i}All my life that's all|{y:i}I've ever wanted to do.
{y:i}For a painter,|{y:i}the mecca of the world for study...
{y:i}... for inspiration and for living...
{y:i}... is here on this star called Paris.
{y:i}Just look at it.
{y:i}No wonder so many artists|{y:i}have come here and called it home.
{y:i}Brother, if you can't paint in Paris,|{y:i}give up and marry the boss' daughter.
{y:i}We're on the Left Bank now.|{y:i}That's where I'm billeted.
{y:i}Here's my street.
{y:i}In the past couple of years...
{y:i}... I've gotten to know|{y:i}practically everyone on the block.
{y:i}And a nicer bunch|{y:i}you'll never meet.
{y:i}Back home everyone|{y:i}said I didn't have any talent.
{y:i}They might be saying|{y:i}the same thing over here...
{y:i}... but it sounds better in French.
{y:i}I live upstairs.
{y:i}No, not there.
{y:i}One flight up.
Jerry!
{y:i}Those are three of my pals.
{y:i}Etienne, Maurice and Jacques.
{y:i}I'm their man because|{y:i}I give them American bubble gum.
{y:i}I have a lot of|{y:i}good friends in Paris.
{y:i}A lot of very good friends.
{y:i}And I am one of them.
{y:i}Adam Cook is my name.
{y:i}I'm a concert pianist.
{y:i}That's a pretentious way of|{y:i}saying I'm unemployed at the moment.
{y:i}I live in the same brick pile|{y:i}with young Rembrandt.
{y:i}That's not me.
{y:i}He's too happy.
{y:i}I'm here on a scholarship.
{y:i}Last year, I won the Hackenwall prize|{y:i}and was sent abroad to study.
{y:i}That's the eighth fellowship I've won.|{y:i}And you know something?
{y:i}I'm getting pretty homesick.
{y:i}Not only that, but I'm beginning to feel|{y:i}like the world's oldest child prodigy.
{y:i}One time I ran out of fellowships|{y:i}and had to go to work for a living.
{y:i}I had to stop because|{y:i}I discovered I liked it...
{y:i}... and I didn't want to become|{y:i}a slave to the habit.
{y:i}It's not a pretty face, I grant you.
{y:i}But underneath its flabby exterior|{y:i}is an enormous lack of character.
{y:i}I like Paris.
{y:i}It's a place where you don't|{y:i}run into old friends.
{y:i}Although that's never|{y:i}been one of my problems.
{y:i}Strangely enough, I made a friend|{y:i}over here once. I worked for him.
{y:i}His name was Henri Baurel.
{y:i}You know, the French music hall star?
{y:i}Do you remember him?
{y:i}I do, because that's me.
{y:i}Adam was a fine accompanist.|{y:i}I wish he were still with me.
{y:i}My, how nice to be|{y:i}in the old quarter!
{y:i}You see?|{y:i}Everybody recognizes me.
{y:i}I guess I haven't changed|{y:i}so much after all.
{y:i}They've known me a long time.
{y:i}But now, don't misunderstand.
{y:i}I don't mean|{y:i}to imply that I am old.
{y:i}I'm not.|{y:i}After all, I am only...
{y:i}Well, what's the difference?
{y:i}No, that's not me.|{y:i}I am not that young.
{y:i}Let's just say...
{y:i}... I am old enough to know what to do|{y:i}with my young feelings.
{y:i}Right?
- Georges!|- Henri Baurel!
- Henri!|- Mathilde!
Adam?
You used to|sing it a tone higher.
I'm a big boy now.|My voice is changing.
- Shall I come up?|- No, I'll be right down.
Hey, Georges,|some coffee!
Henri, I'm going to|make you an "omelette á la confiture".
Don't kiss me.|You'll spoil my makeup.
You look great, Hank.
What're you doing?|Taking injections?
Something much better.
I hear your show's a big hit.
It is, "naturellement".
- When did you get over?|- Last March.
I phoned you,|but there was no answer.
I'd have phoned again, but I was|afraid you might be in.
March? I wasn't in Paris then.
Lise and I were|visiting friends in Juan-les-Pins.
- Some coffee, please.|- What are you working on?
- Same old concert.|- When will you give it?
When I can't figure out|any more reasons not to.
Some coffee, please.
I took Lise to hear|Weingarten play the other night.
It was her first concert,|and her eyes were shining two days.
Why didn't you take her to an eye|doctor? Incidentally, who's Lise?
That's the second time|that name has come up.
Adam, I am very happy these days.
I'll show you her picture.
- Are you married?|- Not yet.
Pretty. Very pretty.
- She looks familiar.|- She's Jacques Bouvier's daughter.
Jacques Bouvier?
My coffee.
Poor Jacques.|He was caught in the Resistance.
I took care of Lise all through|the occupation. She lived in my house.
Your house?
Shocking, but generous.
She was a little girl then.
We only became|in love after she left.
She's a little young for you,|isn't she?
No, not really. She's 19.
She's getting on.|What's she like?
Well, she has great vitality|and "joie de vivre".
She loves to go out, have fun and|dance. She could dance all night.
Sounds tiresome.|Kind of a wild kid, huh?
Wild?|Whatever gave you that idea?
No, she's very simple.
Very simple.
She works all day|at the Maison Nicole, the perfume shop.
I prefer not to|discuss the matter any further.
Be serious.
She's an enchanting girl, Adam.
Not really beautiful,|and yet, she has great beauty.
{y:i}Very spiritual type, huh?
{y:i}Not at all.
{y:i}She's an exciting girl, Adam.
{y:i}She seems to be|{y:i}a lusty young lady.
{y:i}No! She's sweet and shy.
{y:i}An old-fashioned girl, huh?
{y:i}Course not!
{y:i}She's vivacious and modern.
{y:i}Always yakking it up?
{y:i}Don't be silly!|{y:i}She reads incessantly.
{y:i}Doesn't all that reading|{y:i}make her moody?
{y:i}Never.|{y:i}She's the gayest girl in the world.
Look, let's start|all over again, shall we?
What's she like?
Good morning, Therese.
How are you today, "monsieur"?
I could be better, Therese.|I'm broke.
- Broke?|- That means I have no money.
When I'm broke I don't eat.|Then I get tired and depressed.
When that happens, the only thing|that helps is wine and women.
That should be very simple.|You are in Paris.
But even in Paris|that takes money...
...which is what|I don't have in the first place.
This isn't music!
It's uncivilized.|It's noise.
- Hi!|- Hi.
Jerry, this is Henri Baurel.|Jerry Mulligan.
How do you do?|I know you.
I've heard you sing a thousand times.|You're wonderful.
- Thank you.|- Excuse me.
Do you have|300 francs on you?
I'm going to Montmartre.|I need lunch money.
Sorry. Bought a postage stamp|and it broke me.
Please allow me.
No, thanks.
I never touch a guy|unless I've known him 15 minutes.
I've known him 15 years.|Lend me 300.
I wouldn't lend him money if I were|you. He's a bum risk.
Adam! For this you win a scholarship?
What's the matter?|Evidently the man doesn't like jazz.
- He's against it.|- What else is there?
I know what he likes.|He's strictly a three-quarter man.
Old Vienna.
Franz Josef!
The Palace of Schönbrunn.
{y:i}- Kaffee with Schlagsahne.|{y:i}- And Wienerschnitzel.
- Dog!|- Pig!
My card!
Gentlemen!|The Emperor!
Relax, sister.|I'm from Perth Amboy, New Jersey.
I can see disregarding perspective|to achieve an effect, but I believe...
Why don't you be|a good little girl and move on?
You won't buy anything.|You're just blocking out the sunshine.
I just wanted|to discuss your work.
I don't want you|to discuss my work.
I'm not interested|in your opinion of my work.
If you say something nice|I won't feel better...
...and if you don't|it'll bother me.
Thank you. Good day.
Do you mind if I look...
...or will you chew|my head off too?
Go ahead.|You're okay.
Thank you.
She's a third-year girl|that gripes my liver.
Third-year girls?
You know, American college kids.
They come here to take their third|year and lap up some culture.
They give me a swift pain.
Why?|They're harmless enough.
They're officious and dull.
They always make profound|observations they've overheard.
Say, do you have|a cigarette?
- I think so.|- Thanks.
Don't you like criticism?
Who does? Tough enough getting|it from those who know.
My first today.
My guess is the business|isn't very good.
Your guess is|right on the nose.
You know...
...I like these two.
Thanks. So do I.
I want to buy them.
How much are they?
Gee, I don't know.
You don't know?
I never thought I'd come to the point|where that would be an issue.
Offer me something.
15,000 francs.
For each.
Will that be satisfactory?
That'll be|good and satisfactory.
You sure you know what you're doing?
What do you care?
That's about $50 apiece,|isn't it?
I don't know.|I haven't changed money lately.
Oh, dear!
- What's the matter?|- I haven't got enough with me.
Come back tomorrow.|It's a cinch they'll still be here.
Why don't you come to the hotel?|I can pay you there.
Fine. Is it far?
Would you care if it were?
- What's your name?|- Jerry Mulligan. Yours?
Milo Roberts.
- Milo?|- Yeah, as in "Venus de".
{y:i}Venus de.
Is this yours?
Maybe I should have|charged you more.
I'll be back.|Make yourself at home.
Here.
Thanks.
- Would you like some sherry?|- All right.
How'd you come by|these worldly possessions?
A rich husband or father?
A father.
- What's he do?|- Oil.
I should have known.
Suntan oil.
Really? I didn't know|there was so much in that racket.
- There's a lot of red skin in America.|- There must be.
Let's see now.|Where shall I hang these?
Maybe over on...
Here's a good place.|Good light.
Not too much sun.
That'll be fine.
By golly, you know, these are good!
I've seen hundreds of paintings|by young artists...
...and not one has|impressed me till these!
I'm glad.|Makes it easier to give up.
Give up?
It's kind of hard|for an artist to sell.
A writer, a composer can|buy a copy of what they create.
With a painter,|it's the original that counts.
Once that's gone,|it's out of his life.
I never thought of that.
Excuse me for a minute.
Hello, Tommy.
No, dear.|Don't come up.
Be a darling and wait|for me in the dining room.
I'll be right down.
I'm sorry.|I didn't mean to stay long.
Don't apologize.|I wanted you to.
I wish we had more time to talk.
Goodbye, and thanks again.
By the way...
...what are you going to do tonight?
Why?
I'm giving|a small party here.
There'll be an extra girl.|Why not come?
I don't know.
Do you have a date?
Well, then come.
You'll find the company very easy.|Nothing formal.
- Be here at eight.|- Okay.
My car can take you home.|He has nothing to do.
Thanks.
Me, me!
Jerry, do you have any bubble gum?
"Demain." Tomorrow.
Tomorrow.
{y:i}- Répétez aprés moi. "Door."|- Door!
- Street.|- Street!
- Lady.|- Lady!
- Window.|- Window!
- Flowers.|- Flowers!
"Monsieur le" wise guy.
A very hard word.
Massachusetts!
An American song.
{y:i}- I got.|- I got.
Good.
Charleston!
Choo-choo train!
Soldier!
Napoleon!
Cowboy!
Hopalong Cassidy!
- Charles!|- Charlie Chaplin!
Airplane!
More!
- Good evening. I'm sorry I'm late.|- Good evening.
The moment I went to dress...
...the phone started ringing|like a steeple on Sunday.
Would you like one of these?
Fine, fine.
I've never seen so many|Americans in Paris before.
The Champs Elysée looks|just like Main Street.
Do you live here|all the time?
I usually go home to Baltimore|for Christmas and Thanksgiving.
That's quite a dress|you almost have on.
- Thanks.|- What holds it up?
Modesty.
- Cheers.|- Cheers.
I see it's a formal brawl|after all.
What makes you think that?
The more formal the party is,|the less you have to wear.
No, you're quite wrong.|It's most informal.
Where is everybody?
Here.
Downstairs?
No, here in this room.
What about that extra girl?
That's me.
- The party's you and me?|- That's right.
I see. It's kind of|a little joke, isn't it?
In a way.
Well, lady...
...here's your dough back. I'll take my|pictures and run along.
Wait a minute.
Wait, my foot!
You must be|out of your mink-lined head!
I know I need dough, but|I don't need it this badly.
If you're hard up for companionship...
...they have guys in town who|do this for a living.
Call one of them.
What's so funny?
You! You're so righteous.
Stop defending your honor|so assiduously...
...and listen to me for a minute.
I don't need a paid escort.
And I'm not trying to rob you|of your precious male initiative.
I'm interested in your work|and want to know you better.
Is that such a crime?
Well, it certainly is|a roundabout way to do it.
Would you have accepted|a normal invitation?
I want to help you.
I think you have|a great deal of talent.
It doesn't hurt to have|somebody rooting for you, does it?
- It'll be the first time anybody ever did.|- Then let me.
Please?
How's the food downstairs?
- Very good.|- And probably very expensive.
Would it embarrass you|if I signed the check?
Let's go someplace I can afford.
How about the Café Flodair|on Montparnasse?
I feel like "jazz hot".|It's not expensive.
It better not be.
I'd like to show a little profit|at the end of the day.
How long did it last?
About two years.
I lost him in the war.
I'm sorry.
To another woman.
Somebody he met in California|while he was in training.
If he was the dog you|said he was...
...you must have been glad|to be rid of him.
I was, I guess, except that I...
Except it would have been|more satisfactory...
...if you could have kissed him off.
I guess.
You should get married again.|You need it.
- Why?|- Everybody does.
Everybody must|have someone to account to.
Especially when you don't work.|It keeps the personality together.
No, thank you.|Not for me.
- Besides, I have work to do.|- What?
Well, for the moment, you.
I want to bring you|to the attention of dealers.
They know me.|I'm a big customer.
We have a large collection at home.
I could sponsor you...
...talk about you, encourage you.
When you've done enough canvases|I could arrange your first show.
That is, if you'll let me.
It sounds great,|but what's in it for you?
Just the excitement of|helping somebody I believe in...
...and finding out if I'm right.
- Milo, darling.|- Tommy! I knew you'd turn up here.
This is Jerry Mulligan.
This is Tommy Baldwin.|He's on the "Paris Telegram".
Milo, I'm showing the Jansens|around and need your help.
What do you say?|Shall we go to his rescue?
Anything you like.
Follow me. You need radar to|find your way in this smoke.
- Who are the Jansens?|- Magazine illustrators.
- What're they like?|- Death.
- Look what I found.|- What a pleasant surprise!
- Jack, say hello to Milo.|- Hello, Milo.
This is Jerry Mulligan.|Jerry, the Jansens.
How do you do?
Isn't this the chap you|told me about at lunch?
Waiter, two more glasses, please.
Milo says you're quite wonderful.
I'd love to see|some of your pictures.
I'm having a private showing|tomorrow on a corner in Montmartre.
You paint?
So do we. Jack and I.|We work together.
Well, that's cozy.
Dance, you two.|I want to talk to Milo.
Come on, Jack.
Have fun.
There's a special doll over there.|Do you know who she is?
No. But she is lovely,|isn't she?
She sure is.
I'm very anxious|for you to see Jerry's work.
If you like it, you can get|him a mention on the art page.
Nothing to it.
- Lise.|- What?
Her name is Lise.
Let's dance.|We haven't for years.
Excuse me, Jerry.
You're going to have trouble|with that one.
No, I'm not.|He's just not housebroken yet.
When will you stop involving|yourself with young artists?
It never works.
If they're no good, you're ashamed.|If they are, they get too independent.
Just dance, Tommy, please.
All right. But I warn you,|he'll be out in four months...
...just like the composer|and the sculptor.
Lise! I didn't|see you sitting here!
What a pleasant surprise!
My wife and I were talking...
...and were wondering|what happened to her.
Let's go around the floor|for old time's sake. Do you mind?
You're certainly not|without your nerve!
Don't get angry.|This was perfectly harmless.
I haven't been able to take|my eyes off you since I walked in.
I only let you do this because|I didn't want a disturbance.
And I don't have a wife.
I threw that in to|make it look respectable.
That was very considerate.
Please, I would like to|return to my table.
In a minute.
I revise my estimate.
Make that two months.
This is the first time|I've done anything like this.
At least as a civilian.|I just had to meet you.
I don't know what type of girl|you think I am, but I'm not!
And now I would like|to return to my friends.
I thought you were bored with them.|You sure looked it.
You should see me now.
The music has stopped.
The elements are against me.
It was swell seeing you again.|I'll tell Elaine to call you.
What was your phone number?
It slipped my mind|the moment you said it.
Opera 2-5-7-4.
No, Lise. 2-4-7-5.
Thank you.
Good night.
Well, I'm tired.|Good night.
Good night, darling.|I'll call you.
Say good night to Milo.
- Good night, Milo.|- Good night, Jack.
Don't I owe you something|for the wine?
Forget it. You do it next time.|If there is one.
Good night.
Good night.
- That was fun, wasn't it?|- Was it?
That's a fascinating place.
I'd like to hang around|and paint it.
I can imagine|all the work you'll get done.
You've already painted|a Montmartre dive...
...and it wasn't successful.|- Wait a minute.
Don't tell me how|and what to paint.
I didn't like|your exhibition tonight!
I thought you were very rude.
Rude? I didn't mean|to be. I'm sorry.
Picking up stray women|is your own affair...
...but don't do it with me.|Is that clear?
That's clear. That's very clear.|Stop the car.
Sensitive artists!|You're touchy about yourself...
...but oblivious of others.
You don't understand|how they feel.
It's been fun.
Sorry you're stuck|with the pictures.
- I still like the pictures.|- Thanks a lot.
{y:i}Jerry Mulligan.
{y:i}I met you at the Café Flodair|{y:i}last night. Remember?
You!
{y:i}Yeah, me.
{y:i}It's a beautiful day and I thought|{y:i}I could drop by and...
Well, now, one moment, Mr. Mooligan.
Mulligan.
Last night you were an annoyance.
But today you're growing|into a nuisance.
Now please leave me alone and don't|call me again, ever.
Good morning.
Good morning.
Would you care for...
No, thanks.|I've had my breakfast already.
I've been up for hours...
...working, I might add, for you.
Do you know Jules Parmentier,|the art dealer?
I know of him.
He came to the hotel|and had coffee this morning.
I showed him your pictures.|He was very impressed.
He thought you|had great individuality.
He thought they were fresh.
- That's wonderful.|- Not only that...
...but he wants to talk|about your show.
- That's a long way off.|- Maybe not such a long way.
I don't have near enough|for an exhibition.
- What I do have, I'm not sure...|- That's not important.
Then I went to the Marais Galleries|and talked to Louis Dufond.
He's a very old friend of mine.
He's coming tomorrow|to see your pictures.
You don't waste any time, do you?
I hope not.
Come with me and we'll|talk about it over lunch?
I've something to do|this morning...
...but I could meet you.
How about the Restaurant Paul|on the Avenue de la Paix?
I'll see you there at one.
I'm sorry about that|little tiff last night.
I was tired I guess.
Forget it.
- I did.|- You did? That's not very nice of you.
See you at one.
Very nice for a summer perfume.
This is a little heavy.
I'll show you something else.
What's that one on the right?
- This one?|- No, the other.
This is very nice.|It's called...
It's called Escapade.
There's a saleslady free at the|other end of the shop, "monsieur".
Thank you, but what I want|is at this end.
I don't know which to choose.|They're both lovely.
I wish my husband were here.
He's so fussy about the way I smell.
Why don't you bring him later|and decide then?
That's an excellent idea.
He's in Milwaukee.
Dear, oh, dear.|I hate decisions.
I always get a rash if I|have to decide something.
Let me help you.
I'd have the man's point of view.
Yes, that's a good idea. Here.
See which one you like.
Not bad.
This is it.
"Nuit d'Amour." Night of Love.
- No contest, lady.|- Really?
Wear that and the Frenchmen will|never let you go back to Milwaukee.
I'll take it.
Would you send it to my hotel,|collect?
I'm Mrs. Edna Mae Benstrom.|I'm at the Granville.
Here's my card.
Thank you.
I think I'll put a little on.
It is good, isn't it?
You'll need protection.
I hope so.
You've been very kind.|Thank you.
Thank you both. Good day.
Good day.
Now, "monsieur", what|can I do for you?
You know what you can do|for me. Go out with me.
How do you know I'm not married?
That finger on your left|hand is awfully naked.
It's a pity you don't have as much|charm as persistence.
I do. You've only seen|my aggressive side.
I have a lighter side.|I'm loaded with charm.
I go to parties, put on hats|and do funny things.
You see? What do you say?|Come on.
All right. You win.
You can take me for lunch.
I can't. How about dinner?
No. That's not possible.
You have a date?
What about after dinner?|Say, nine o'clock?
I guess it would be all right.
- I'll pick you up.|- No. I'll meet you somewhere.
Do you know the Café Bel-Ami?
By the bridge?
- I'll see you there at nine.|- Fine.
There is no happier man in Paris|than "Monsieur" Mulligan.
At this moment.
Madame, you're delicious!
One's company, two's a crowd.|You get it?
Disappear!|Don't you see I'm busy?
Hit the boulevard!
Look! One hand.
Hello. What's new?
{y:i}Who is this?
- Guess.|{y:i}- Oh, Adam!
{y:i}You always call at the wrong moment.
Wrong moment? You make me feel|like a rejected child.
When's the new number|going into the show?
The new number goes in tonight.
What? Tonight, Henri?
Yes, darling, tonight.
{y:i}Are you having a party?|{y:i}Need an extra man?
No, I was talking to Lise,|my dinner guest.
Give me a rundown on that menu.
What're you having to eat?
{y:i}Magnificent pheasant.
I can drop everything|and be up in ten minutes.
That is, if I'm not intruding.
No, no. I see you later at the cafe.|Goodbye.
I'm hungry.
That Adam.|He'll never change.
What's the matter, darling?|Can't you come tonight?
If you can't,|it's all right, darling.
Don't worry.
- No. Of course, I want to come.|- You are a doll.
Would you...
Yes, thank you.
I wasn't sure you'd come.
I thought maybe you said yes|to get rid of me.
Not that it would have.
What would you like?
Would you mind if we didn't sit here?
- Why, no.|- Anything wrong, "monsieur"?
I'm sorry.
That's all right. I didn't feel|like sitting there anyhow.
Let's walk along the river.
All right.
I have a big thing for this spot.
One of these days|I'll paint it.
You're a painter?
You don't look like a painter.
There are those who'll say|I don't paint like one either.
But that doesn't bother me.|Discouragement stimulates me.
That much about you, I know.
Yes, you do, don't you?
But mark me well,|one of these days...
...the world will ring|with the name Mulligan.
Picasso will be remembered|as the forerunner of Mulligan.
This tree will be famous because|it was painted by Mulligan.
And when will this|golden age of art be?
Well, it's hard to say.|It's hard to say.
Civilization has a natural resistance|against improving itself.
It might take quite a while.
Quite a while.
- How do you feel now?|- Why?
A moment ago you were acting like|the police were after you.
I was, wasn't I?
Why?
No. Never mind, never mind.
Don't try to think up|what to tell me.
I don't have to know.|It's your business.
Candy. Would you like some?
I couldn't eat a whole one.
Go ahead. Try.
The night's young.
We should live dangerously.
Tell me some more.
Well...
...in America,|Saturday night's the big night.
No work, no school...
...when you get home, no money.
And Sunday?|Is Sunday nice in America?
In America, everybody|catches cold on Sunday.
- Did you?|- Well, sometimes. Sometimes.
What about you? Aren't you sick|of the life and times of Mulligan?
I'd rather listen to you.|I don't like to talk about myself.
- You'll have to get over that.|- Why?
With a binding like you've got...
...people will want|to know what's in the book.
What does that mean?
Well, primarily, it means|you're a very pretty girl.
- I am?|- Yes, you are.
How do you know?
I heard it on the radio.
Making fun with me.
Doesn't everybody tell you that?
I haven't been out with many people.
And always friends.
Honey, believe me, I'm no enemy.
I don't know if you're|a girl of mystery...
...or just a still water|that doesn't run deep...
...but there's one thing I can tell you.
If I'd been around sooner,|you'd know by now that...
...you're very pretty.
And I'm not making fun with you.
- What time is it?|- Eleven o'clock.
- Eleven! I have to go.|- Where?
- When will I see you again?|- I don't know.
Lise, we have to|see each other again.
Yes, we do, don't we?
Tomorrow night.
- No, I can't. How about lunch?|- No. I can't.
Saturday morning I'm at|the Ecole des Beaux-Arts.
- I'm finished at noon. Meet me there?|- Saturday. Yes, I will.
How are you?
I am delighted.|It's a wonderful idea.
I'm so sorry.
Lise, I have wonderful news.
This, I take it, is the young|lady who'll do all the deciding.
That's right.
This is John MacDowd,|my favorite American impresario.
- How do you do?|- How do you do?
I've been trying to persuade Henri|to come to America...
...and give us Yanks a break.
He says he has to|talk it over with you.
You make him do it, Miss Lise.
- I'll call you in a few days.|- That's all right.
And may I say, your Lise certainly|lives up to your advertisements.
Thank you, Johnny.|Good night.
- I'm sorry, but the movie...|- Never mind the movie.
What do think of the news?
John wants me to go|on an American tour.
We could get married|and go together.
Doesn't that sound wonderful?
- When would you go?|- Not for a few weeks.
John will have to|see first about bookings.
But it could be beautiful.
A honeymoon on the boat...
...then America.
You'll love the Americans.
- Your limousine is here, sir.|- Thanks.
This sponsor of yours...
...what does she want|from you in return?
- Don't tell me. I shock easily.|- You're crazy. She isn't interested in me.
She's just a goodhearted kid|who likes the way I paint.
That's real dreamy of her.
Tell me, when you get married...
...will you keep your maiden name?
Hello, Therese.
"Monsieur" Jerry, don't pay|any attention to Monsieur Cook.
I don't intend to.
Suppose you do have to make|love to the lady?
It's all for the sake of art.
I don't have to make love...
Bravo!
Colossal! Encore!
Encore! "Magnifique"! Bravo!
Who are we seeing here?
Never you mind.|Wait and see.
What is all this?
Your studio.|Isn't it beautiful?
I've got a studio.
Well, yes, I know, Jerry,|but you need space.
This isn't to live in,|it's to work in.
I can't afford a joint like this.
Why do you make|such an issue of money?
Because I ain't got any...
...and when you ain't got any,|it takes on a curious significance.
Don't be silly.|You'll be able to pay me back.
In three months.
Three months?|What do you mean?
That's the real surprise.
Your exhibition at|the Parmentier Galleries.
My exhibition in three months?
Already they're|arranging posters...
Wait a minute, hold everything.
Sit down and let's see|if I can explain this to you.
More than anything,|I want to have an exhibition.
But when I'm ready.
When my stuff is good enough|to show to the public and critics.
You can't set a production date|for a thing like that.
Don't you understand?|I'm not manufacturing paper cups.
I do understand, Jerry.
But you're a painter and you want|people to see what you've painted.
I want that too.
Give me an opportunity to provide|a decent show at a decent gallery...
...where people can see your things.
Is that so extraordinary?
Look, you're a painter|and a good one.
I happen to have a little drive.
That's a good combination.
Besides, you have to|face the critics sometime.
Yeah, but three months.
Of course, it'll be work.|Hard work.
That doesn't matter.
I'll do it.|On one condition.
I pay you back.
Jerry, I'm so glad.
I would have died if you'd said no.
- Did you think I wasn't coming?|- No, I thought you would.
Let's take a cab over to the Bois.
I want to drop my stuff off.
- When do you have to be back?|- In an hour or so.
That's not much time.
What kept you?|Why were you so late?
Well, I...
I wanted to tell you, Jerry...
What?
We have so little time together.|Can't we have our own world...
...and not talk about anything|that happens when we're apart?
I promise I'll never ask|what you do when you're not with me.
Well, I suppose it's just as well.
- What?|- Nothing.
Why? What do you do|when you're not with me?
If you don't want to|talk about it, okay.
Let's let it go at that.
Kiss me.
- Why are we stopping here?|- I live here.
- No, Jerry, let's go on...|- I want to leave my things.
I'll be back in a minute.
Hi, kid.
- What's your rush?|- Busy, busy.
Have Therese put these in my room.
Sit down.|Have some coffee.
I've got someone waiting|in a cab. See you later.
Have some coffee.|You have time now.
Georges, two coffees.
- "Bonjour", Jerry, Adam.|- Hi, kid.
So your exhibition's set for next month?
Why so glum?
- Woman trouble.|- Proves you're a man.
That was her in the cab.
I told you this sponsoring business|was complicated.
Women act like men|and want to be treated like women.
What are you talking about?
That girl in the cab.|The suntan queen.
No. That's a different girl.
You're a busy little man these days.
I'm hooked.
That girl's it.
Is she worthy of|a struggling young artist?
She's worthy of anyone.|She's wonderful.
What gets me is,|I don't know anything about her.
We manage to be together for a few|moments and then off she goes.
Sometimes we have|a wonderful time together.
Other times it's no fun at all...
...but I got to be with her.
Yep. You're hooked.
- What's her name?|- Lise Bouvier.
Georges, some brandy.
And some cleaning fluid.
- Hi, Hank.|- Jerry. Adam. May I sit down?
- My guest.|- Thank you.
Georges, a little sherry.
Adam, I have wonderful news.|Wonderful news.
That's great.|Tell us something cheery.
- I'm going to be married.|- You're what?
We're getting married and going|to America on our honeymoon.
Another brandy.|When was this decided?
- Last night.|- Congratulations, Hank.
I'm glad somebody's happy.
- What's the matter?|- Nothing.
Maybe I can help.
Did I ever tell you about|the time I performed for Hitler?
Wait. Jerry has some problem,|and I'd like to hear about it.
It's pretty complicated.|I'll make it brief.
There's a gal who's sponsoring me...
...and she's really|helping me a lot, but...
She's stuck on me.
There's a girl I'm stuck on.
She doesn't know about the first one.
Naturally.|So far this is very ordinary.
- So far.|- Now wait.
The girl I'm stuck on has|something she can't tell me.
So we go out together|and go out together and get nowhere.
Let me ask you something.
Is this girl, as you say,|stuck on you?
- I think so.|- Then you have no problems.
Where'd they go?
- No problems?|- Of course not.
There's only one problem with|a man and a woman.
When one of them's in love|and the other isn't.
After that, it's all mechanics.
Have you told her you love her?
No, not in so many words.
When you don't know what goes,|you're afraid to get hurt.
The first thing to do|is to tell her.
Believe me, Jerry, with a woman...
...one insincere "I love you"|that's said...
...will bring more results than ten|sincere ones that aren't.
So go to her and tell her|you love her.
Then she'll tell you she loves you.
Then you will embrace.
You will both be very happy.
And then you will ask|her to marry you.
- You want to, don't you?|- Sure. Sure.
Good. Then she will say yes...
...and then you will tell her|about these other little matters...
...and she will tell you about hers.
And you'll see.|They won't seem important anymore.
Is it as simple as that?
Strange as it seems, yes.|So be happy.
- You only find the right woman once.|- That many times?
- When will you be with her?|- In a little while.
So you know what to do?
- I'll do it. Thanks.|- Good.
Adam, to be in love is to be alive.
Jerry and I, we are so lucky,|eh, Jerry?
He's right.|There's nothing like it.
I have something to tell you.
I have something to tell you.
I love you.
I love you and everything's|going to be all right! I know it is.
I won't see you anymore.
What do you mean?
I'm getting married.
You're getting...
You're in love with me,|aren't you?
It doesn't matter|whether I am or not.
It doesn't matter?
I couldn't leave him.
- Who?|- His name is Henri Baurel.
I practically owe him|my life, Jerry.
During the war, my parents|worked for the Resistance.
I was so young,|they asked Henri to hide me...
...and if he'd been caught,|it would have been the end of him.
But for five years|he took care of me.
He was all I had...
...and I loved him.
And he grew to love me.|And now I...
Jerry, I can't!
You must understand.
Sure.
Well, it's okay.
There's a woman who's|helping me a lot...
...who means so much to me,|I wouldn't want to lose her for anything.
My work's so important.
Good luck.
If it means anything to you,|I love you!
Goodbye, Lise.
What are you doing tonight?
I was getting ready|for a dinner date.
- How about breaking it?|- That'd be difficult.
But not impossible.
You know, some days you|look exceptionally pretty.
Is this one of them?
This is one of your best.
This is one of your good days too.
You and I are going out tonight.
I'm taking you to the Art Students Ball.|Have you been?
It's jet-propelled New Year's Eve,|and all of Paris will be there.
It's costume, isn't it?
I'll take care of that.|Leave it to me. Tonight's my night.
I feel like a woman for a change.
You are.
- Haven't I ever mentioned it to you?|- No.
You will hear|a lot about it from now on.
I'll be back soon.|I got to take care of everything.
I want some champagne!
So do I! They all seem|a bottle ahead of us!
Come on!
Come on, let's get some champagne!
- Are these parties always this wild?|- This is my first.
Look at that costume.
Jerry Mulligan, a buddy of mine,|made me come.
- Thanks.|- To Jerry.
May his name survive his folly.
His folly? What's he doing?
- He's giving a show. He's a painter.|- So what's wrong with that?
- He'll get it in the neck.|- Then why does he do it?
He's got a sponsor that's|got more nerve than cash.
Well, Charmaine, this is farewell!
Let's not say "au revoir".|Just goodbye forever.
By the way, I think you might|like to know, I'm Jerry's sponsor.
I know you are.
The vanishing American!
Finally! I met|a friend of yours just now.
Who?
Him. Who is he?
That's Adam Cook.|He's a concert pianist.
That's funny.|I've never heard of him.
It's not funny.|He's never given a concert.
- What a pleasant surprise.|- For me too.
- Jerry, this is Lise.|- How do you do?
And Miss Roberts.
Milo, this is Henri Baurel|and fiancée.
This is our last night in Paris.
We are driving to Le Havre|at dawn to get married.
And then we leave for America.
Well, that sounds|very romantic.
Let's dance, Henri.
Nice to have met you.
I'll see you later.
That little advice I gave you|this afternoon.
- It worked out fine?|- It worked out great.
Good!
- Haven't I seen that girl before?|- I don't know.
Her face seems very familiar.
Quite a nice boy. He's a painter.
A friend of Adam's.
- Are you all right?|- Yes, Henri.
Milo, I'm a fake.
I'm not full of life and good spirits.|It's just the reverse.
I shouldn't have|brought you tonight. I'm sorry.
That girl.
In the nightclub.
I'm in love with her.
I think I need some champagne.
I didn't know you were|getting married so quickly.
I couldn't tell you.
- Tomorrow?|- Yes.
It's so dreadful|standing next to you like this...
...and not having|your arms around me.
You'll always be|standing next to me, Lise.
Maybe not always.
Paris has ways|of making people forget.
Paris? No. Not this city.
It's too real and too beautiful.
Never lets you forget anything.
Reaches in and opens you wide...
...and you stay that way.
I know.
I came to Paris to study|and to paint it...
...because Utrillo did|and Lautrec did and Rouault did.
I loved what they created...
...and I thought something|would happen to me too.
It happened, all right.
Now what have I got left?
Paris.
Maybe that's enough for some,|but it isn't for me anymore.
Because the more beautiful|everything is...
...the more it'll hurt without you.
Don't let me leave you this way.
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