Midnight in Paris Page #4

- Even more, I think. Yeah.

I know, but it's very hard

to find anything like this at home.

- She's right, Gil.

- I know, but we haven't even found a house yet,

and we're trying to keep expenses down,

so I don't have to take any crummy rewrite jobs.

Well, you get what you pay for.

- Nice.

- Cheap is cheap.

OK, you guys want to walk back?

Walk? No, it's starting to rain.

Oh, it'll be nice walking in the rain!

It's beautiful!

No, there's nothing beautiful

about walking in the rain.

No, don't forget.

We're taking you to dinner tonight.

Oh, right. Yes. Great.

And then, also, I have a big

surprise for you after dinner.

- What? No. I don't like surprises.

- I have an incredible...Trust me, you're gonna love this.

- What is it?

- Are you sure you don't want to walk in the rain?

This is our last chance.

It's not that bad out.

Okay.

I don't understand.

Where are we going?

But, you made us rush through dinner,

and Dad wasn't finished with his profiteroles.

Profiteroles? You're going to have

the most amazing adventure of your life!

- Where?

- Just, Inez, please.

- Why are you carrying that manuscript around?

- You'll see, and when you do,

your jaw is gonna drop.

OK. You know I wouldn't hide anything,

so if I'm saying it's incredible,

- it's...

- OK.

- It's just, I don't understand!

- I know. You've been wondering why I've been acting strange all day?

- Yeah.

- Well, you're about to find out,

and you're gonna wonder why I wasn't

acting more strange, when you find out.

- This is very...

- I know. I know.

Well, I don't know what you're carrying on about,

but this is not my idea of an amazing adventure.

I am tired from the gym and a massage,

so I'm gonna get this cab.

- Taxi!

- Inez, wait!

- Let's just wait a little longer.

- Look,

you want to walk the streets of Paris,

and take it in by night,

that's fine. You go ahead.

But I'm in the middle of a great book that Carol lent me.

Come on, just 10 more minutes,

and then we can walk home.

If I'm asleep when you get in,

don't wake me up.

What am I doing wrong?

Unless she's right,

and I need to see a neurologist.

OK, you left the wine-tasting, a little drunk,

but not out of control.

Lost, you walk along...

this is the spot...

I mean, it's just like a one-shot deal.

The clock struck midnight...

Hello!

Oh, hi, Mr. Hemingway. Here.

Let me just jump in.

The assignment was to take the hill.

There were 4 of us.

lost his hand when a grenade went off

and couldn't fight as he could when I first met him.

And he was young, and brave.

And the hill was soggy from days of rain,

and the hill sloped down toward a road,

and there were many German soldiers on the road.

And the idea was to aim for the first group,

and if our aim was true, we could delay them.

- Were you scared?

- Of what?

Getting killed?

You'll never write well

if you're afraid of dying.

- Do you?

- Yeah, I do. I'd say it's probably...

maybe my greatest fear, actually.

Well, that's something all men before

you have done. All men will do.

- I know. I know.

- Have you ever made love to a truly great woman?

Actually, my fiance is pretty sexy.

And when you make love to her,

you feel true, and beautiful

passion, and you, for at least that moment,

lose your fear of death.

No. That doesn't happen.

I believe that love that is true and real

creates a respite from death.

All cowardice comes from not loving,

or not loving well, which is the same thing.

And when the man who is brave and true

looks Death squarely in the face

like some rhino-hunters I know,

or Belmonte, who's truly brave.

It is because they love with sufficient

passion, to push death out of their minds,

until it returns, as it does, to all men.

And then you must make really good love again.

Think about it.

- Alice. How the hell are you?

- Hi!

Good? Good. Ah, she's here. Follow me.

- Non. Je ne suis pas d'accord.(No. I don't agree.)

- Mais pourquoi? (But why?)

Parce-que... (Because...)

This is Gil Pender, Miss Stein.

He's a young American writer.

I thought you two should know each other.

I'm glad you're here.

You can help decide which of us is right,

and which of us is wrong.

I was just telling Pablo that

this portrait doesn't capture Adriana.

It has a universality, but no objectivity.

Non, non, non. Vous ne le comprenez pas correctement.

(No, no ,no. You don't understand correctly.)

Connaisez pas Adriana. Regardez...

(You don't know Adriana. Look...)

Regardez le mouvement, le tableau.

(Look at the motion, the painting.)

C'est exactement ce qu'elle reprsente!

(It's exactly what she represents!)

Non. Tu n'as pas raison.(No. You're wrong.)

Look how he's done her:

dripping with sexual innuendo,

carnal to the point of smoldering,

and, yes, she's beautiful, but

it's a subtle beauty;

an implied sensuality.

I mean, what is your first

impression of Adriana?

Exceptionally lovely.

Belle, mais trop subtile. Plus implicite, Pablo!

(Beautiful, but too subtle. More defined, Pablo!)

Yes, you're right, Miss Stein.

'Course...uh...

you can see why he's lost all objectivity.

He's made a creature of Place Pigalle.

A whore with volcanic appetites.

Non, non! C'est ce qu'elle vraiment si vous la connaissez!

(No, no! It's true if you know her!)

Yes, avec toi, au priv,

(Yes, with you, in private,)

because she's your lover,

but we don't know her that way!

So you make a petit-bourgeois judgment

and turn her into an object of pleasure.

- It's more like a still-life than a portrait.

- Non.

Non. Non. Je ne suis pas d'accord.

(No. No. I do not agree.)

And what's this book of

yours I've been hearing about?

Is this it?

- Yeah, this is...uh...

- I'll take a look.

Have you read it, Hemingway?

No, this I leave to you.

You've always been a fine judge of my work.

" "Out of the Past" was the name of the store,"

"and its products consisted of memories."

"What was prosaic and

even vulgar to one generation,"

"had been transmuted by

the mere passing of years"

"to a status at once magical and also camp."

I love it.

I'm already hooked.

Hooked!

I'll start it tonight,

but first, you and I

have something to talk about.

I've been waiting for two months

for a reply from that editor.

I sent him the piece you and I

looked at, plus four others,

plus four shorter pieces.

And this guy, I gave him a copy of the...

- Nevertheless, two months: nary a word.

- Right.

So were you really hooked

with those opening lines?

Oh, the past has always had a

great charisma for me.

Oh, me, too.

Great charisma for me.

I always say that I was born too late.

Mmm. Moi aussi.

(Mmm. Me, too.)

For me, la Belle poque Paris

would have been perfect.

- Really? Better than now?

- Yes.

Another whole sensibility,

the street lamps, the kiosques,

the...horse and carriages,

and Maxim's then.

You speak very good English.

- No, not really.

- No, you do!

How long have you been dating Picasso?

My God, did I just say that?

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