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Ripped with SubRip 1.17 and Verified by CdinT|cdint@hotmail.com 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. Subtitles by|SDI Media Group |
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