Amour
SCENE 1 - INT. APARTMENT - DAY
The hallway is a mess. A window opening onto a light well is
open.
The door to the apartment is suddenly broken open. A plainclothes
detective, two uniformed police officers and several
firemen - also in uniform - enter and look around. They all
wear gloves and masks that cover their mouths and noses.
Behind them, the superintendent and his wife also push their
way in. They’re both holding their noses. In his free hand,
the superintendent holds a pile of mail and promotional
flyers. Behind him, comes a female neighbor.
PLAIN-CLOTHES DETECTIVE
(to the superintendent and the
neighbor)
Wait Outside please.
He signals to a police officer who herds the curious
onlookers back out through the door.
POLICE OFFICER:
(to the superintendent, pointing to
a pile of mail)
What’s the date of the last letter?
SUPERINTENDENT:
(verifying)
The 16th from what I can see...
Wait...
The plain-clothes detective has tried in vain to open the
door on the left. It has been sealed up with adhesive tape.
PLAIN-CLOTHES DETECTIVE
(to the fire officer)
Can you try?
While the firemen go to work on the door, the plain-clothes
detective goes into the adjoining dining room. He opens the
windows quickly and turns to go into the room to the left via
the double doors. They are locked and the gaps are also taped
up. He turns to the right and goes into the living room,
where he also opens up the windows...
FIREMAN (O.S.)
The door is open.
...and comes back into the hallway, passing by the waiting
firemen. Once again, we hear snatches of dialogue between the
police officer and the janitor.
2.
JANITOR:
...no as far as I know. During the
whole time, they had a nurse, but
it’s been a while since I last saw
her. My wife has been...
The plain-clothes detective enters the bedroom which is now
accessible. Its windows are open and the draft makes the
curtains billow into the room.
PLAIN-CLOTHES DETECTIVE
(to the firemen who are now curious
enough to come and stand by the
door)
Did you open the windows?
The firemen shake their heads.
The PLAIN-CLOTHES DETECTIVE turns toward the big double bed
placed against the back wall of the bedroom. On the right-
hand bed, there’s only the bare mattress. On the left-hand
bed lies the partly decomposed body of an old woman. Where
once there were eyes, now there are only gaping holes. The
corpse has been neatly dressed and is adorned with flowers
that have already dried out a little. On her chest is a
crucifix.
SCENE 2 - White letters on a black background: THE CREDITS
SCENE 3 - INT. CONCERT HALL - NIGHT
All we see is the audience pouring into the hall. GEORGES and
ANNE, both are around eighty, are part of this crowd. They go
to their seats in one of the rows near the front. Once
everybody is seated, we hear the usual ANNOUNCEMENT asking
people to turn off their mobile phones. Some people, caught
with their phones switched on, hasten to comply. Then the
lights go out. APPLAUSE.
Off-screen, we hear the soloist make his entrance. THROATS
ARE CLEARED here and there. Finally, the MUSIC begins.
SCENE 4 - INT. ARTISTS DRESSING ROOM - NIGHT
The music from Scene 3 continues. The soloist is surrounded
by admirers who congratulate him.
Now Georges and Anne push their way into the room. (If the
soloist is female, they will be carrying flowers, like most
of the others).
3.
When the soloist notices their presence, he leaves his group
of fans, heads towards them and greets them very warmly,
visibly glad to see them.
SCENE 5 - INT. BUS - NIGHT
Continuation of the MUSIC from Scene 3.
Georges and Anne are seated side by side in the half empty
bus. Anne talks enthusiastically, Georges says something from
time to time, and smiles now and then. They are both relaxed
and happy.
SCENE 6 - INT. APARTMENT - HALLWAY - NIGHT
The door to the apartment is unlocked and opened from the
outside. THE MUSIC ENDS.
Georges comes in, turns on the light. He and Anne observe the
open door. Around the lock, one can see the traces of an
attempted forced entry.
Georges bends down and runs his fingers over the deep
grooves.
GEORGES:
They used a screwdriver or
something like that...it doesn’t
look very professional...
ANNE:
But who would do something like
that?
GEORGES:
No idea. Why do people break in?
Because they want to steal
something.
ANNE:
From us?
GEORGES:
(laughs briefly out loud)
Hey, why not? If I thought about
it, I could come up with at least
three or four people we know who’ve
been burgled.
After having examined the outside of the second leaf of the
double door, he comes in, closing the door behind him.
4.
ANNE:
What time is it? Can’t we call the
superintendent?
GEORGES:
I’ll do that tomorrow morning.
Anyway, they didn’t see anything.
He unbuttons his overcoat and heads toward the large closet
in the hallway.
GEORGES (CONT’D)
Don’t let it spoil your good mood
now.
ANNE:
Or the police?
GEORGES:
Come on, give me your coat.
She goes toward him, he takes her coat off and hangs it with
his in the closet.
ANNE:
Imagine if we were here, in our
beds, and someone broke in.
GEORGES:
ANNE:
But it’s terrible! I think I’d die
of fright.
GEORGES:
(laughing)
So would I.
He undoes his shoes.
GEORGES (CONT’D)
Shall we have a drink?
ANNE:
I’m tired.
GEORGES:
I still fancy a drink.
He puts away his shoes with the others and slips on his
slippers. Anne has gone into the bathroom.
5.
ANNE (O.S.)
Go ahead then. Mathilde told me
that in her building, the attic
apartment was burgled from the
loft. They just knocked a hole in
the wall, cut out all of the
valuable pictures from their frames
and disappeared without a trace.
He goes toward the kitchen.
GEORGES:
They must have been professionals.
As he passes in front of the bathroom, he stops and appears
to be looking at Anne.
GEORGES (CONT’D)
Did I tell you, you looked good
tonight?
SHORT PAUSE. THEN:
ANNE (O.S.)
(Flattered)
What’s got into you?
With a gentle LAUGH, Georges disappears into the kitchen,
where he turns on the lights. We hear him FIDDLING AROUND,
apparently getting a glass and some wine. After a short
PAUSE:
ANNE (CONT’D)
Weren’t those semiquavers in the
presto incredible? What staccato!
Don’t you agree?
Short PAUSE.
GEORGES (O.S.)
You’re proud of him, huh?
SCENE 7 - INT. BEDROOM - NIGHT
Georges wakes up. He looks with amazement beside him, then
raises his eyes. Anne is sitting upright, her back against
the headboard.
GEORGES (CONT’D)
Something wrong?
ANNE:
No.
6.
After a while, the RINGING of a kitchen egg-timer leads us to
the next scene.
SCENE 8 - INT. KITCHEN - DAY
The egg timer in the kitchen RINGS.
Georges is seated in front of the window, at a table which is
half set for breakfast. He has mobile phone raised to his ear
and a phone book opened in front of him. Anne is getting up
from the table. She goes toward the stove, turns off the gas,
takes the egg out of the pan with a spoon and runs it under
cold water. Like Georges, she is still in her robe.
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"Amour" Scripts.com. STANDS4 LLC, 2024. Web. 23 Dec. 2024. <https://www.scripts.com/script/amour_552>.
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