- 1 Headline text
- 2 Scene II – “You’re American? Are You Sure?” (The Lounge Car)
- 3 Scene III – “Think Of This As Time Travel” (Arriving in Vienna)
- 4 Scene IV – “I Am The Cow” (The Bridge)
- 5 Scene V – “It’s Q & A Time” (The Streetcar)
- 6 Scene VI – “There’s a Wind That Blows In From the North” (Record Store)
- 7 Scene VII – The Cemetery
- 8 Scene VIII – “Are You Saying You Want To Kiss Me?” (The Prater)
- 9 Scene IX – “You Are Stardust” (Kleines Café)
- 10 Scene X – The Seurat Exhibition Poster
- 11 Scene XI – “Do You Believe in God?” (The Church)
- 12 Scene XII – “Daydream Delusion, Limousine Eyelash” (The Poet)
- 13 Scene XIII – “Pedro, Antonio, Gonzalo, Maria, Suzie…” (Playing Pinball)
- 14 Scene XIV – “The Answer Must Be In The Attempt” (The Alley)
- 15 Scene XV – “She Was Literally a Botticelli Angel” (Café Sperl)
- 16 Scene XVI – “This Feels So Otherworldly” (The Opera House)
- 17 Scene XVII – “Maybe We Should Try Something Different” (The Boat)
- 18 Scene XVIII – “For the Greatest Night in Your Life” (The Wine Bar)
- 19 Scene XIX – “I Have to Say Something Stupid” (The Park)
- 20 Scene XX – “I’m Gonna Take Your Picture” (The Harpsichordist)
- 21 Scene XXI – “The Years Shall Run Like Rabbits” (The Statue)
- 22 Scene XXII – “Goodbye – Goodbye – Au Revoir – Later”
- 23 Scene XXIII – Ending Montage and Closing Credits
]]Before Sunrise (1995)
“There’s a wind that blows in from the North…”
An un-official transcript of the ass award-winning
screenplay created by members of SunriseAndSunset@yahoogroups.com
Check this webpage: https://archive.is/20130622141055/joeyhuangnyc.webs.com/b4sunrise01.html
Please join us at: http://movies.groups.yahoo.com/group/sunriseandsunset
- 1995 Golden Bear Winner for Best Film,International Film Festival (a.k.a. “Berlinale”)
Screenplay & Story by Richard Linklater & Kim Krizan
The opening titles are overlaid atop images of the train route from Budapest, Hungary, to Vienna, Austria. We believe that many of the landscape shots were taken between St. Pölten and Vienna.
Dido and Aeneas Overture by Purcell plays in the background as the opening titles roll. The scene cuts to a young woman entering a train compartment, then to another coach car we see a number of passengers in their seats. The coach car is quiet as the first scene begins.
_ == Scene I – “What Are You Saying?” (The Train) == Location notes: the train is en route from Budapest, Hungary, to Vienna, Austria, which is usually about a three-hour journey by rail. Scene trivia: Celine is reading “Madame Edwarda; Le Mort; Histoire de l'œil” by Georges Bataille. Jesse is reading “All I Need Is Love” by Klaus Kinski (autobiography). Also, the couple that argues in German is recognized to have Austrian accents.
(We see a middle-aged couple sitting in the front of the coach car, on the left of the screen. Celine is sitting across the aisle from them, on the right of the screen, reading a 1 book.)
Woman: Kannst Du sie bald auswendig?
(Can you tell me what is so interesting?)
Man: Es wird dich nicht interessieren, aber es steht etwas ueber dich in der Zeitung. 70,000 Frauen sind dem Alkohol verfallen. Du bist eine davon.
(It won't interest you, but there's something written about you in the newspaper. 70,000 women are addicted to alcohol. You're one of them.)
Woman: Das trifft mich ueberhaupt nicht. Wenn hier jemand dem Alkohol verfallen ist, dann bist es du. Schau dich doch mal in den Spiegel. Schaust Du Dich manchmal in den Spiegel?
(That doesn't concern me, if someone is addicted to alcohol then it's you, just look at you in the mirror, you look at yourself in the mirror sometimes?)
Man: Bei mir hat es einen Grund, ich bin mit dir verheiratet.
(I have a reason to do it, I'm married to you.)
Woman: Koenntest du diese verdammte Zeitung endlich weglegen jetzt.
(Put the damn newspaper away already!)
Man: Das mach ich jetzt seit 15 jahren. Koenntest du mir den Gefallen tun und mich endlich in Ruhe lassen.
(I've been doing this now for 15 years, could you do me a favor and just leave me alone?)
(Jesse appears on camera briefly for the first time.)
Woman: Ich lass dich so gern in Ruhe, aber ich hab einen Vorschlag. Du lasst mich auch in Ruhe. Ich hab einen wunderbaren Vorschlag, du ziehst zu deiner Mutter und du kannst alle deine Kochbuecher mitnehmen.
(I'll gladly let you alone, I suggest you let me alone you.)
Jesse: (Still looking in Celine’s direction.) Do you have any idea what they were arguing about?
Céline: (Glances up at him, looks over.)
Jesse: Do you…do you speak English?
Céline: Yeah. No, I'm sorry, my German is not very good. (Jesse leans back, disappointed. Celine pauses for a second, then continues.) Have you ever heard that as couples get older, they lose their ability to hear each other?
Céline: Well, supposedly, men lose the ability to hear higher-pitched sounds, and women eventually lose hearing in the low end. I guess they sort of nullify each other, or something.
Jesse: I guess. Nature's way of allowing couples to grow old together without killing each other. (Céline smiles, small laugh, turns away.) What are you reading? (She shows him.) Oh, yeah.
Céline: How bout you?
Jesse: Umm. (Looks down, then laughs as he shows her, and she smiles.)
(Couple returns to car, still arguing, albeit a lot calmer.)
Woman: Typisch! Sind ihre? Wirklich so gehuepft, dass du sie dauernd anstarren musst?
(Can you tell me why you were always staring at her?)
Man: Vergiss es.
Jesse: Look, I was thinking about going to the lounge car sometime soon. Would you like to come with me?
Céline: (Nods.) Yeah.
(*** Scene trivia: “Sheba” is a brand of cat food.)
(They get up and leave the coach car. Jesse “punches” the automated door mechanism as they enter the lounge car.)
Scene II – “You’re American? Are You Sure?” (The Lounge Car)
Location notes: the train continues en route from Budapest, Hungary, to Vienna, Austria.
Jesse: So how do you speak such good English?
Céline: I went to school for a summer in Los Angeles. (Points to table.) This fine here?
Jesse: Yeah, this is good. (They sit.)
Céline: Then I spent some time in London. How do you speak such good English?
Jesse: Me? I'm American.
Céline: You're American?
Céline: Are you sure?
Jesse: (Innocently.) Yeah.
Céline: (Laughing.) No, I'm joking. I knew you were American. And of course, you don't speak any other language, right?
Jesse: (Catching on to the joke.) Yeah, yeah, I get it. So I'm the crude, dumb, vulgar American who doesn't speak any other language and has no culture, right? But, I tried. I took French for four years in high school. When I first got to Paris, I stood in line at the metro station. I was practicing. (Gestures with his hand to show how hard he was trying.) “Une billet, s'il vous plaît. Une billet s'il vous plait…” (One ticket please. One ticket please…) You know…
Céline: (Interrupts him, corrects his pronunciation.) UN billet.
Jesse: Un. Whatever. Un, Un. (Laughs.) Un billet s'il vous plaît, un billet s'il vous plaît, you know, and I get up there, and, uh, I look at this woman, and my mind goes completely blank. And I start saying, “Uh, listen, uh I need a ticket to get to, um...” you know, so anyway. (Pauses and swallows, before breaking the slience.) So, where are you headed?
Céline: Well, back to Paris. My classes start next week.
Jesse: Oh, you're still in school? Where do you go?
Céline: Yeah, La Sorbonne, you know?
Jesse: Well, sure. (Pause.) Hey, you coming from Budapest?
Céline: Yeah, I was visiting my grandmother.
Jesse: Oh. How's she?
Céline: (Laughing.) She's okay.
Jesse: She's alright?
Céline: She's fine, yeah. (Pause.) How about you? Where are you going?
Jesse: Uh, I'm going to Vienna.
Céline: Vienna? What's there?
Jesse: Uh, I have no idea. I'm flying out of there tomorrow.
Céline: Aha. You on holiday?
Jesse: Uh, ye- (Indecisive.) Uh, I don't really know what I'm on.
Jesse: I've just been. I'm just traveling around. I've been riding the trains the past two, three weeks.
Céline: You were visiting friends, or just on your own?
Jesse: Uh, yeah. You know I had a friend in Madrid, but, umm...
Céline: Madrid? That's nice.
Jesse: Yeah, I got one of those Eurail passes, is what I did.
Céline: That's great. So, has this trip, around Europe, been good for you?
Jesse: Yeah, sure, yeah, it's been, umm...it sucked. You know...
Céline: (Laughs.) What?
Jesse: No, uh, it's had its, umm. Well, I'll tell ya, you know, sitting, you know, for weeks on end, looking out the window has actually been kinda great.
Céline: What do you mean?
Jesse: Well, you know, for instance, you have ideas that you ordinarily wouldn't have.
Céline: What kind of ideas?
Jesse: You want to hear one?
Céline: Yeah, tell me.
Jesse: Alright, uh, I had this idea, okay?
Jesse: For a television show. Some friends of mine are these cable access producers, do you know what that is, cable access? (Céline shakes her head.) Umm, I dunno...Anybody can produce a show real cheap, and they have to put it on. Right? And I have this idea for this show that would last twenty-four hours a day for a year straight, right? What you do, is you get three hundred and sixty-five people from cities all over the world, to do these twenty-four hour documents of real time, right, capturing life as it‘s lived. Um, you know, it would start with uh, a guy waking up in the morning, and, uh, you know, taking the long shower, eating a little breakfast, making a little coffee, you know, and, uh, reading the paper.
Céline: Wait, wait. All those mundane, boring things everybody has to do every day of their fucking life?
Jesse: I was going to say the poetry of day to day life, but (Celine starts laughing) you know, you say the way you say it, I'll say it the way I say it...
Céline: (Laughs.) I like that.
Jesse: No listen, think about it like this...
Céline: Who's gonna want to watch this?
Jesse: Well, alright, think about it like this. Why is it, that a dog, you know, sleeping in the sun, is so beautiful? You know, it is, it‘s beautiful, you know, but a guy, standing at a bank machine, trying to take some money out, looks like a complete moron?
Céline: So, it‘s like a National Geographic program, but on people?
Jesse: What do you think?
Céline: Yeah, I can. (Laughs.) I can. (Laughs.) I can see it. Like twenty-four boring hours, sorry, and like a three minute sex scene, where he falls asleep right after, no?
Jesse: Yeah, you know I mean, and...I mean, that would be a GREAT episode.
Jesse: People would talk about that episode. I mean, you and your friends could do one in Paris, if you wanted to, I mean.
Céline: Oh, sure.
Jesse: I dunno, the key, the key (squints his eyes as if perplexed)...thing that kind of haunts me is the distribution, you know. I mean, getting these tapes from town to town, city to city, so that they could play continuously, ‘cause it would have to play all the time, or else it just wouldn't work.
(Waiter approaches the table, hands them menus.)
Céline: Thank you.
Jesse: Thanks. (Pause, while waiter walks away. The camera begins to pan out, as his voice fades out.) You know what? Not service-oriented. It‘s just, I don't know, an observation about Europe.
(Scene fades, then returns to lounge car an unknown amount of time later.)
Céline: You know my parents never really spoke of the possibility of my falling in love or getting married or having children. Even as a little girl they wanted me to think as a future carrer as a... interior designer or lawyer something like that. I'd say to my dad " I want to be a writer." And he's said "Journalist." I'd say "I wanted to have a refuge for straycats." He'd say "Veterinarian" I'd say "I wanted to be an actress." He'd say, "TV newscaster." It was this constant conversion of my fanciful ambition into these practical momeymaking ventures.
Jesse: I always had a pretty good bullshit detector when I was a kid. I always knew when they were lying to me. By the time I was in high school, I was dead set on listening to what everybody thought I should be doing with my life and just kind of doing the opposite. No one was ever mean about it. It's just I could never get very excited about other people's ambitions for my life.
Céline : But you know what, If your parents never really, fully contradict you about anything, and are basically nice and supportive it makes it even harder to officially complain. Even when they're wrong it's this passive-aggressive shit. You know what I mean? I hate it. I really hate it.
Jesse: Well you know despite all that kind of bullshit that comes along with it I remember childhood as this magical time I do. I remember when my mother first told me about death. My great grandmother had just died and my whole family had visited them in Florida. I was about three, three-and-a half years old. Anyway, I was in the back yard, playing and my sister had just taught me how to take the garden hose and do it like such a way it sprayed into the sun and would make a rainbow, right? So I was doing that and through the mist, I could see my grandmother. She was just standing there smiling at me. And I held it that for a long time and I looked at her. Finally, I let go of the nozzle, you know? Then I dropped the hose, and she disappeared. So I ran back inside and tell my parents. And they sit me down and give me this big crap on how when people die, you never see them again, and how I'd imagined it. But I knew what I'd seen. I was just glad that I saw that. I mean, I've never seen anything like that since, But I don't know, It just kind of let me know how ambiguous everything was. Even death.
Celine : You're really lucky you can have this attitude toward death. I think I'm afraid of death 24 hours a day. I could've flown to Paris but I;m too scared.
Jesse : Come on.
Celine : I can't help it. I know the statistics say it's safer, Whatever. When I'm in a plane, I can see it, I can see the explosion. I can see me falling through the clouds. And I'm so scared of those few seconds of consciousness before you're gonna die, when you know for sure you're gonna die. I can't stop thinking that way.
Scene III – “Think Of This As Time Travel” (Arriving in Vienna)
Location notes: the train arrives in the Westbahnhof station in Vienna. As far as we know, many trains coming from the east from Budapest really enter Vienna somewhere in the southeast and travel some kilometers back to stop at the Westbahnhof which is a "dead end station."
(Jesse has been up from the table for an unknown amount of time. We see Celine sitting alone, looking out the window.)
Jesse: (Returns to the table with his bag and jacket.) Alright, I have an admittedly insane idea, but if I don't ask you this, it‘s just, uh, you know, it‘s gonna haunt me the rest of my life.
Jesse: Um... (Pauses, then sits down.) I want to keep talking to you, you know. I have no idea what your situation is, but, uh, but I feel like we have some kind of uh, connection. Right?
Céline: Yeah, me too.
Jesse: Yeah, right, well, great. (Speaking very quickly.) So listen, so here's the deal. This is what we should do. You should get off the train with me here in Vienna, and come check out the town.
Céline: (Surprised by the question, and smiles.) What?
Jesse: Come on. It'll be fun. Come on.
Céline: What would we do?
Jesse: Umm, I don't know. All I know is I have to catch an Austrian Airlines flight tomorrow morning at nine-thirty, and I don't really have enough money for a hotel, so I was just going to walk around, and it would be a lot more fun if you came with me. And if I turn out to be some kind of psycho, you know, you just get on the next train.
(Céline smiles, still unsure.)
Jesse: Alright, alright. Think of it like this. Umm-uh, jump ahead, ten, twenty years, okay, and you're married. Only your marriage doesn't have that same energy that it used to have, you know. You start to blame your husband. You start to think about all those guys you've met in your life, and what MIGHT have happened if you'd picked up with one of them, right? (Céline starts laughing a bit.) Well, I'm one of those guys. (Points at himself.) That's me, you know, so think of this as time travel, from then, to now, uh, to find out what you're missing out on. See, what this really could be is a gigantic favor to both you and your future husband, to find out that you're not missing out on anything. I'm just as big a loser as he is, totally unmotivated, totally boring, and, uh, you made the right choice, and you're really happy. (Motions toward the door with both thumbs, and mouths the words “Come on.”)
Céline: (Thinks.) Let me get my bag.
Jesse: (Whispering under his breath.) Yeah!
(Jesse gets off the train, and walks to his left. Celine follows him, pausing for a moment to look to her right, before stepping down to the platform. Jesse takes Celine’s bag from her, and they begin walking down the platform.)
Jesse: We should get a locker for all this stuff.
(They enter the station.)
Céline: What's your name?
Jesse: (Stops.) My name? Uh, it's Jesse. It's James, actually, but everybody always calls me Jesse. (Puts bag down and offers hand.)
Céline: You mean, “Jesse James”? No.
Jesse: No, no. Just Jesse.
Céline: I'm Céline. (They shake hands.)
Scene IV – “I Am The Cow” (The Bridge)
Location notes: the green footbridge is called Zollamtssteg (or, alternatively, Zollambrucke), and is located between the 1st and 3rd district, across the Wienfluss, not far from the Donaukanal.
Jesse: This is a nice bridge.
(They walk a few steps.)
Céline: This is kind of weird.
Jesse: Yeah, this is kind of weird isn't it? I mean, I feel a little awkward. Um...But it‘s alright, right? It‘s okay.
Céline: Yeah, this is great, this is great. Let's go to some places. Look at your book.
Jesse: Yeah, we're in Vienna, let's go to some places. Let's ask these guys.
(They approach two men who are looking over the bridge at the water below.)
Jesse: Excuse me, excuse me uh, sprechen Sie English? (Do you speak English?)
Man with jacket: Ja, of course.
Man with tie: Couldn't you speak German for a change?
Man with tie: No, it was a joke.
Jesse: Well, listen, we just got into Vienna today, and we're looking for something fun to do.
Céline: Like museums, exhibitions, things...
Man with tie: But museums are not that funny any more these days, uh...
Man with jacket: Uh, (looking at watch) but they are closing right now. How long are you going to be here?
Jesse: Just for tonight.
Man with tie: Why did you come to Vienna? What, uh, what could you be expecting?
Jesse: (Perplexed.) Uh...
Céline: We're on honeymoon.
Jesse: Yeah, she got pregnant, we had to get married, you know.
Man with tie: (Points at Jesse.) You know I don't believe you, you're a bad liar.
(The two men exchange some words in German.)
Man with tie: Ja.
Man with jacket: See here. (Pulls paper out of pocket.)
Man with tie: This is a play we're both in, and we would like to invite you.
Céline: You're actors?
Man with tie: No, not professional actors uh, part-time actors, for fun.
Man with jacket: It's a play about a cow, and an Indian searching for it. There are also in it politicians, Mexicans...
Man with tie: Russians, Communists…
Man with jacket: Russians.
Jesse: So, you have a real cow on stage.
Man with tie: No, not a real cow. It‘s an actor in a cow costume.
Man with jacket: (Gesturing.) And he's the cow.
Man with tie: Yes, I am the cow. And the cow is a bit weird.
Man with jacket: The cow has a disease.
Man with tie: She's acting a bit strange, like a dog. If someone throws a stick, she fetches it, and brings it back. And she can smoke, with her hooves (motions with his hand, as if smoking with cow’s hooves), and everything.
Man with jacket: And as you see, there is the address. It‘s in the 2nd District.
Man with tie: Near the Prater. You know the Prater?
Céline: Oh, the big Ferris wheel?
Man with tie: By the wheel, yes.
Céline: Oh, we should go.
Man with tie: Yes, the wheel, everybody knows the wheel.
Man with jacket: Perhaps you can go to the Prater before the play. It starts at twenty-one-thirty.
Jesse: Twenty-one thirty?
Man with tie: That's nine-thirty.
Jesse: Nine-thirty? Oh, right, right. Okay, great, well, what's the name of this play?
Man with tie: Uh...
Man with jacket: It translates as, “Bring Me The Horns...(together with other man) of Wilmington's Cow.”
Man with tie: Ja, I am Wilmington's cow.
Jesse: We'll try to be there.
Man with tie: You'll be there?
Jesse: We'll try.
Man with tie: I am the cow.
Jesse: You're the cow.
Man with tie: Goodbye.
Scene V – “It’s Q & A Time” (The Streetcar)
Location notes: Jesse and Celine ride an electric streetcar, or tram, which appears to be on “The Ring Boulevard” that encircles the 1st District, and serves as the boundary between the 1st District and the 2nd through 9th Districts. Web: http://www.aboutvienna.org/sights/ring.htm.
Jesse: Alright, I got an idea. Are you ready?
Jesse: Alright, it's Q&A time. We've known each other a little while now, we're stuck together, so we're going to ask each other a few uh, direct questions. Alright?
Céline: So, we ask each other questions.
Jesse: And you have to answer one hundred percent honestly.
Céline: Of course.
Jesse: Okay, alright, first question.
Jesse: (Speaks in a German accent, or what Americans would consider “Freudian.”) Describe for me. (Back to regular accent.) Yes, I'm going to ask you. (Freudian accent again.) Describe for me your first sexual feelings towards a person.
Céline: (Laughs.) My first sexual feelings, oh my God. Um, I know, I know. Jean-Marc Fleury. (Laughs.)
Jesse: Jean-Marc Fleury?
Céline: I remember we were at this summer camp together. And he was a swimmer.
Céline: Yeah, he had bleached out chlorine hair and green eyes. And to improve his times, he'd shave the hair off his legs and arms.
Jesse: That's disgusting.
Céline: Oh, no. He was like this gorgeous dolphin. And my friend Emma had a big, big crush on him. So one day I was cutting, you know across the field, back to my room, and he came walking up beside me. You know, and I told him, you know, you should date Emma, she has a big crush on you. And he turned to me and said, (Making her voice a bit lower.) ‘Well, that's too bad, 'cause I have a big crush on you.‘ (Jesse lets his jaw drop.) Yeah, it really scared the hell out of me, because I thought he was so fine. And then he officially asked me out on a date, and you know I pretended I didn't like him. You know I was, I was so afraid of what I might do, you know. Uh, well. So, you know, I went to see him swim a few times, at the swim competition. And he was so sexy, really, I mean, really sexy. You know we kind of wrote these little declarations of love to each other at the end of the summer, and you know, promised we would keep writing forever, and I, you know, meet again very soon, and...
Jesse: Did you?
Céline: Of course not.
Jesse: Well, then I think this is the opportune time to tell you that I happen to be a fantastic swimmer.
Céline: I'll make note of that.
Jesse: Okay. Uh..
Céline: So its my turn, no?
Jesse: Yes, yeah, it's your turn.
Céline: Uh, have you ever been in love?
Jesse: Yes. Next question. What was the fir--
Céline: Wait, wait.
Céline: Wait a minute.
Céline: So I can give one word answers?
Jesse: Sure, why not?
Céline: No, no. After I went into such private details about my first sexual feelings.
Jesse: Yeah, I, I know, but, sexual feel...Those are two very different questions. I mean, I could've answered the sexual feelings thing, no problem, but you know, love. Well, what if I asked you about love?
Céline: I would have lied, but at least, you know, I would have made up a great story.
Jesse: (While Céline is finishing her line, above.) Yeah, well, you would have lied. Great. I mean, love is a complex issue. You know, I mean, it‘s like, uh. I mean, yes, I have told somebody that I love them before, and I have meant it. Was it totally a totally unselfish, giving love? Was it a beautiful thing? Not really, you know. It‘s like love, I mean, uh, I don't know. You know?
Céline: Yeah, I know what you mean.
Jesse: But as far as sexual feelings go, I'll have you know it started with an obsessive relationship with Miss July 1978. Do you know Playboy magazine?
Céline: Oh, yeah, I've heard of it.
Jesse: Yeah? Do you know Crystal?
Jesse: You don't know Crystal? Well, I knew Crystal. Well...(Laughing.) Is it, um...my turn now. Okay. Tell me something that really pisses you off, really drives you crazy.
Céline: Pisses me off? My God! Everything pisses me off.
Jesse: Okay, okay, list a couple.
Céline: Uh, okay. I hate being told by a strange man, a strange man in the street, you know, like, to smile, like, to make them feel better about their boring life, um, what else? I hate, I hate that three hundred kilometers from here there's a war going on, you know, people are dying, and nobody knows what to do about it, or they don't give a shit, I don't know. I hate that the media, you know, they are trying to control our minds.
Jesse: The media?
Céline: Yeah, the media. You know it‘s very subtle, but you know, it‘s a new form of fascism. (Jesse takes that in.) Um, I hate, I hate when I am in foreign countries, especially in America, they are the worst. Each time I wear black, or like, lose my temper, or say anything about anything, they always go 'oh, it‘s so french, it‘s so cute.' (She mimics vomiting.) I hate that. I can't stand that, really.
Jesse: Is that all?
Céline: Well, there's a lot of things, really. So it‘s my turn.
Céline: You're going to answer.
Jesse: Yes, I'll answer.
Céline: Ah, what's a problem for you?
Jesse: You, probably.
Jesse: Um, no, alright, I had a thought the other day that was kind of a--qualifies as a problem.
Céline: What is it?
Jesse: Well, it was a thought I had on the train, so...um...okay, alright. Um, do you believe in reincarnation?
Céline: Yeah, yeah, its interesting.
Jesse: Most people, you know, a lot of people talk about the past lives, and things like that, you know, and even if they don't believe in it in some specific way, you know, people have some kind of notion of an eternal soul, right?
Jesse: Okay. Well, this is my thought. Fifty thousand years ago, there are not even a million people on the planet. Ten thousand years ago, there's like two million people on the planet. Now, there's between five and six billion people on the planet, right? Now, if we all have our own, like, individual, unique soul, right, where do they all come from? Are modern souls only a fraction of the original souls?. Because if they are, that represents a five thousand-to-one split of each soul in just the last fifty thousand years, which is like a blip in the earth's time. You know, so, at best, we're like these tiny fractions of people, you know, walking... I mean, is that why we're all so scattered? You know, is that why we're all so specialized?
Céline: Wait a minute, I'm not sure I...I don't....
Jesse: Hang on, I know, I know, its a totally scattered thought, which is kind of why it makes sense.
Céline: Yeah... (unsure, but laughing.) I agree with you.
Jesse: Let's get off this damn tram. (They exit.)
Scene VI – “There’s a Wind That Blows In From the North” (Record Store)
Location notes: the Teuchtler Alt & Neu record store is located at 10 Windmühlgasse in the 6th district, near Mariahilfer Straße. Public transit: U3 Neubaugasse stop, U2 Babenberger Strasse stop, or bus 57A Köstlergasse stop. Web: http://cityguide.max.msn.de/cityguide/wien/tipps.html?id=872660.
Jesse: (Walks up to Céline, who is browsing a rack of LP’s.) This place is pretty neat.
Céline: Yeah, there's even a listening booth over there. (Finds an album, and shows it to Jesse.) Have you ever heard of this singer? (He shakes his head.) I think she's American. A friend of mine told me about her.
Jesse: (Pointing to booth in back.) Do you want to go see if that listening booth still works?
Céline: Yeah, okay.
(They go into the listening booth, and put the record on the turntable. As they listen to the song, Jesse and Céline nervously steal glances at each other, never once making eye contact for very long.)
There's a wind that blows in from the north, And it says that loving takes its course. Come here. Come here.
No I'm not impossible to touch, I have never wanted you so much. Come here. Come here.
If I never lay down by your side? Baby, let's forget about this pride. Come here. Come here.
Well, I'm in no hurry. You don't have to run away this time. I know that you're timid. But it's gonna be all right this time.
Scene clip: Jesse and Céline walk though Maria Theresien-Platz, in the 1st District, near the 7th, between Naturhistorisches and Kunsthistorisches Museum.
Jesse: Look at this. This is beautiful.
Scene clip: the underground/subway, most likely on the U4 line within station Stadtpark or Schönbrunn.
Céline: Quickly. It‘s leaving. (Indicating the tram.)
Scene clip: Jesse and Céline stand on the tram, exchanging small talk, and laughing.
Scene VII – The Cemetery
Location notes: Friedhof der Namenlosen ("Cemetery of the Unknown") is located in the 11th District, at the Alberner Hafen at the Danube. It is about .5 km from the end of the Alberner Hafenzufahrtsstraße. On film, the cemetery appears to be only a few minutes from the underground/subway station, but in fact it is very far outside the city center, almost at the city limits. It can be a bit complicated to get there by public transport. Web: http://www.wienerlinien.at under “Elektr. Fahrplanauskunft”. If you have a lot of time, you could also walk there or go by bicycle along the Donaukanal for several kilometers, but turn right before the Alberner Hafen.
Céline: Oh, look, there's a rabbit.
Jesse: Yeah. Hey there, rabbit.
Céline: He's so cute. (Sees a cemetery.) I visited this as a young teenager. I think it left a bigger impression on me at that time than any of the museums we went to. (They go into the cemetery, and walk through.)
Jesse: Yeah? It‘s tiny.
Céline: I know. There was this little old man that talked to us. He was the groundskeeper. He explained that most of the people are buried here that washed up on the bank of the Danube.
Jesse: How old are these?
Céline: Around the beginning of the century or so. It's called the cemetery of the no-name because they often didn't know who these people were. Maybe a first name, that's all.
Jesse: Why were all the bodies washing up?
Céline: I think some were from accidents, on boats and things like that, but most of them were suicides that jumped in the river. I always liked the idea of all those unknown people lost in the world. When I was a little girl, I thought that if none of your family or friends knew you were dead, then it‘s like not really being dead. People can invent the best and the worst for you. (She sees a gravestone, and indicates it.) Ah, here she is, I think. Yeah, this is, this is the one I remember the most. (Name on gravestone is Elisabeth.) She was only thirteen when she died. That meant something to me, you know, I was around that age when I first saw this. Hmm. Now, I'm ten years older, and she's still thirteen, I guess. That's funny. (They leave the cemetery.)
Scene VIII – “Are You Saying You Want To Kiss Me?” (The Prater)
Location notes: the Prater (amusement park) is located in the 2nd District. Metro stop: Praterstern, accessible on the U1 (red) line, or Train S1, S2, S3, S7, S15, Tram 5, 21, O, or Bus 80A. You can enter and walk through the Prater free of charge, but you must pay 1- 10 Euros for rides or attractions. Web: http://www.prater.at.
(Céline and Jesse are in the carriage of the ferris wheel, high atop the skyline of Vienna below. They are each gazing at the scenery below, but looking in opposite directions, and standing a few feet apart.)
Céline: That's the Danube over there.
Jesse: That's the river, right?
Céline: (Laughs.) Yeah.
Jesse: (Walks around the carriage, gazing out.) This is gorgeous.
Céline: Yeah, it‘s very beautiful.
Jesse: (Approaches Céline and faces her directly.) We got, uh, we got a sunset here.
Jesse: We got the Ferris wheel. It seems like, um, this would be a...
Jesse: (Sighs.) Uh, you know, uh.
Céline: (Putting her arms around him.) Are you trying to say you want to kiss me?
Jesse: (Nods head. Mouths, emphatically 'yes'.)
Céline: (Also nods, and whispers.) Yes. (They kiss, then stop and look at each other for a moment. Then, Céline goes in for another kiss, but instead hugs him, and Jesse reciprocates.)
(Still in amusement park, walking around, after dark. They get to a Strong-Man machine. Jesse puts in a coin, and a song starts. They dance a bit, until Jesse suddenly stops and elbows the machine hard. His ranking is seventy, which is told to him in German. He raises his arms in mock triumph. Céline seems amused, but unimpressed. The scene cuts to them walking hand-in-hand, a few moments later.)
Céline: But you know what?
Céline: I don't think it really matters what generation you are born into. Look at my parents. They were these angry, young, May '68 people, revolting against everything. You know, the government, their conservative catholic backgrounds, I mean. I was born not long after, and then my father went on to become this successful architect, and they began to travel all around the world, where he built bridges, and towers, and stuff. I mean, I really can't complain about anything. You know, they love me more than anything in the world, and I have been raised with all the freedom they had fought for. And yet for me now, it‘s another type of fight. We still have to deal with the same old shit, but we can't really know who, or you know, what the enemy is.
Jesse: I don't really know if there is an enemy. You know, I mean, everybody's parents fuck them up. You know, rich kids' parents gave them too much, poor kids' not enough. Too much attention, not enough attention. They either left them, or you know, they stuck around and taught 'em the wrong things. You know. I mean, my parents are just these two people who didn't like each other very much, who, uh, decided to get married and have a kid, and they try their best to be nice to me.
Céline: Did your parents divorce?
Jesse: Yeah. Finally. They should have done it a lot sooner, but they stuck together for a while (in a prim “high-society” accent) for the well-being of my sister and I, thank you very much. (Back to normal voice.) I remember my mother once. She told me, right in front of my father, they were having this big fight, that he didn't really want to have me, you know, that he was really pissed off when he found out that she was pregnant with me, you know, that I was this big mistake. And I think that really shaped the way I think. I always saw the world as this place where I really wasn't meant to be.
Céline: That's so sad.
Jesse: No, I mean, I eventually kind of took pride in it. You know, like my life was my own doing, or something. You know, like I was crashing 'The Big Party.'
Céline: That's a way to see it. You know, my parents, they're still married, and I guess they're very happy, but I just think it‘s a healthy process to rebel against everything that came before.
Jesse: Yeah. Yeah.
Céline: You know, I've been wondering lately. Do you know anyone who's in a happy relationship?
Jesse: Uh, yeah, sure. You know, I know happy couples. But I think they lie to each other.
Céline: Hmmph. Yeah. People can lead their life as a lie. My grandmother, she was married to this man, and I always thought she had a very simple, uncomplicated love life. But she just confessed to me that she spent her whole life dreaming about another man she was always in love with. She just accepted her fate. It's so sad. And in the same time, I love the idea that she had all those emotions and feelings I never thought she would have had.
Jesse: I guarantee you, it was better that way. If she'd ever got to know him, you know, I'm sure he would have disappointed her eventually.
Céline: How do you know? You don't know them.
Jesse: Yeah, I know, I know. It's just, people have these romantic projections they put on everything. You know. That's not based on any kind of reality.
Céline: Romantic projections?
Céline: Oh, Mr. Romantic, up there in the Ferris wheel ('Cutsie voice'.) Oh, kiss me, the sunset, oh, it‘s so beautiful.
Jesse: Oh, alright, alright, alright. Tell me about your grandmother. What were you saying about her?
Céline: No, uh --
(They approach a carousel, and Jesse jumps on, playfully nudging Céline as he spins past her.)
Scene IX – “You Are Stardust” (Kleines Café)
Location notes: Kleines Café is located in Franziskanerplatz (along Weihburggasse), in the 1st District, just southeast of Stephansplatz. Metro: U1 or U3, Stephansplatz stop. Web: http://cityguide.max.msn.de/cityguide/wien/tipps.html?id=871230.
(They walk around a vehicle barricade then proceed down a cobblestone walkway lined with trees and vines.)
(Sitting at a cafe. A pair of friars walk by, apparently in prayer.)
Jesse: Hey...check these guys out. “Hey Hans, I have a confession to make. I'm not wearing any underwear underneath this thing.” “Oh really?” “Does that frighten you?” (Pauses, then turns to face Céline.) Can I tell you a secret?
Jesse: Come here. (Leans in toward her ear.)
Céline: What? (Leans in a bit closer.)
Jesse: Come here. (Leans all the way toward her, and kisses her on the lips.)
(They pause, looking in the direction where they hear some laughter, seeing a gypsy as she finishes reading somebody's palm.)
Céline: Look at this palm-reader. She's interesting-looking, no?
Céline: Uh-oh, uh-oh.
Jesse: What, what?
Céline: I just made eye contact.
Jesse: She's not coming over here.
Céline: Yes, she is.
Jesse: Oh, shit. Oh, no.
Céline: Oh my God. You want your palm read?
Jesse: No, no.
Céline: No? Are you sure?
Jesse: I'm sure.
Jesse: Hello. (Mocking.)
Céline: Here she is.
Gypsy: Ich moechte deine hand lesen. (Would you like your palm read?)
Céline: (Not understanding.) Uh, français, English?
Gypsy: (Takes Céline's hand, and touches it. ) Want your palm read?
Céline: (Hesitantly.) Yeah. How much is it.
Gypsy: For you, fifties. Okay?
Gypsy: (Takes Celine’s palm, gazing and running her fingers over it.) Oh, so, you have been on a journey, and you are stranger to this place. You, are an adventurer, a seeker. An adventurer in your mind. You are interested in the power of the woman, in a woman's deep strength, and creativity. You are becoming this woman. You need to resign yourself to the awkwardness of life. Only if you find peace within yourself, you will find true connection with others. (Indicates, with her head, Jesse.) That is a stranger to you?
Céline: I guess so.
Gypsy: (Takes Jesse's hand, and looks at it only briefly.) Oh, you will be alright. He's learning. Okay. (Claps hands.) Money. (Offers hand, awaiting payment.)
(Céline pays her, and gypsy begins to walk away. With the money in her hands, gypsy turns back to Jesse and Céline, raising her arms.)
Gypsy: You are both stars, don't forget. And the stars exploded billions of years ago, to form everything that is this world. Everything we know, is stardust. So don't forget, you are stardust!
Jesse: (Looks away with cynical expression.) I mean, that's very nice and all, I mean, that, you know, we're all stardust, and you're becoming this great woman, I mean, but I hope you don't take that any more seriously than some horoscope in a daily syndicated newspaper.
Céline: You, what are you talking about? I mean, she knew I was on vacation, and that we didn't know each other, and that (laughs) I was going to become this great woman.
Jesse: Aw c'mon. But what was that “I am learning” bullshit? I mean, that's WAY condescending. You know? I mean, she wasn't even doing me. I mean, if opportunists like that, ever had to tell the real truth, it would put their ASSES out of business. You know? I mean, just once, I'd love to see, some little old lady, save up all her money, you know, to go to the fortune teller, and she'd get there, all excited about hearing her future, and the woman would say (taking Céline's hand, mimicking a fortune teller, including the voice) , “Um-hmm. Tomorrow, and all your remaining days will be exactly like today--a tedious collection of hours. And you will have no new passions, and no new thoughts, and no new travels, and when you die, you'll be completely forgotten. Fifty shillings, please.” You know, that I'd like to see.
Céline: It‘s so funny how she almost didn't notice you, you know. It's weird. I wonder why. She was, she was really wise, and intense, no? I really loved what she said, you know?
Jesse: Yeah, of course you do, you know. You pay your money, you get to hear something that makes you feel good about yourself. If you want, maybe there's a seedy section of Vienna, we can go buy a hit of crack, you know. Would you like that? Yeah?
Céline: You're so (makes gesture to give impressive of wacko)…
Jesse: Stardust, Stardust.
Scene X – The Seurat Exhibition Poster
Location notes: we believe this street is most likely in the 1st District, not far from the scenes that appear before and after this scene, but we do not know for sure. If you have more detailed information, please post updates to yahoogroups.
(Jesse walks a bit behind Céline, and moves so that she trips over her foot.)
Céline: (While walking hand-in-hand with Jesse, sees an art exhibition poster when Jesse trips her.) Ow! Trou du cul! (Asshole.) Ah, there's an exhibition. Yeah, I guess we'll miss it. Doesn't start until next week.
Jesse: Yeah, I think so.
Céline: (Points at art work by Seurat on the poster.) I actually saw this one a few years ago in a museum. I stared, and stared at it. Must have been forty-five minutes. I love it. La voie ferre. Ah. (Points to another image on poster.) I love the way the people seem to be dissolving into the background. (Indicates another.) Look at this one. It‘s like the environments, you know, are stronger than the people. His human figures are always so transitory. It‘s funny. Transitory?
Jesse: Yeah. Transitory.
Scene XI – “Do You Believe in God?” (The Church)
Location notes: please "Maria am Gestade" church is located near Passauer Platz, in the 1st District. Web: http://www.planet-vienna.com/spots/Maria-Gestade/gestade.htm.
(Jesse and Céline approach a cathedral.)
Jesse: Think this is open?
Céline: I don't know, let's try it.
(They cross the street to enter, as a car stops and honks at them. Inside, Céline slowly walks down the aisle.)
Céline: (Almost whispering.) I was in an old church like this with my grandmother a few days ago in Budapest. Even though I reject most of the religious things, I can't help but feeling for all those people that come here lost or in pain, guilt, looking for some kind of answers. It fascinates me how a single place can join so much pain and happiness for so many generations
Jesse: You close with your grandmother?
Céline: Yeah. I think it‘s because I always...I always have this strange feeling that I am this very old woman laying down about to die. You know, that my life is just her memories, or something.
Jesse: That's so wild. I mean, I always think that I'm still this thirteen year old boy, you know who just doesn't really know how to be an adult, pretending to live my life, taking notes for when I'll really have to do it. Kind of like I'm in a dress rehearsal for a Junior High play.
Céline: That's funny. Then, up there in the Ferris wheel, it was like this very old woman kissing this very young boy, right?
Jesse: Hmm. Do you know anything about the Quakers, the Quaker religion?
Céline: No, not much, no.
Jesse: Well, I went to this Quaker wedding once, and it was fantastic. What they do is the couple comes in and they kneel down in front of the whole congregation, and they just stare at each other, and nobody says a word unless they feel that God moves them to speak, or say something. And then, after an hour or so of just uh, staring at each other, they're married.
Céline: That's beautiful. I like that.
(The two stare at each other for a few moments. Céline turns away, and a few moments later, so does Jesse.)
Jesse: This is a horrible story.
Jesse: It‘s not the appropriate place to tell it, but...
Jesse: Well, I was driving around with this buddy of mine, he was a big atheist, and we came to a stop, next to this homeless guy. And my buddy takes out a hundred dollar bill, and leans out the window, and he says, 'Do you believe in God?' And the guy looks at uh, he looks at my friend, and he looks at the money, he says uh, 'Yes, I do.' My friend says, 'Wrong answer.' (Motions as if putting money back in pocket.), and we drove away.
Céline: That's mean, no?
Jesse: Yeah uh, it‘s uh. (They stop and look at one another.)
Scene XII – “Daydream Delusion, Limousine Eyelash” (The Poet)
Location notes: this scene takes place along the Donaukanal, somewhere near Schwedenplatz. If you have more detailed information, please post updates to yahoogroups.
(Jesse and Céline, walking beside the Danube.)
(Jesse takes a bite at Céline's hand.)
Jesse: Would you be in Paris by now, if uh, you hadn't gotten off the train with me?
Céline: (Thinks.) No, not yet. What would you be doing?
Jesse: I'd probably be hanging around the airport, reading old magazines, crying in my coffee (Mimics sad voice.) ‘cause you didn't come with me. (He kisses her hand a few times.)
Céline: Awwww. Actually, I think I'd probably have gotten off the train in Salzburg with someone else.
Jesse: Oh, yeah? Oh, I see. So, I'm just that dumb American momentarily decorating your bland canvas.
Céline: I'm having a great time.
Jesse: Me too.
Céline: I'm so glad because no one knows I'm here, and I don't know anyone that knows you that would tell me all those bad things you've done.
Jesse: I'll tell you some.
Céline: Yeah, I'm sure.
Céline: You know, you hear so much shit about people. I always feel like the general of an army when I start dating a guy, you know, plotting my strategy and maneuverings, knowing his weak points, what would hurt him, seduce him. It's horrible. (They walk a bit.) If we were around each other all the time, what do you think would be the first thing about me that would drive you mad?
Jesse: No uh, no, no, I'm not gonna answer this question, no.
Jesse: I just, I dated this girl once who, who used to always ask me that question, “What about me bugs you?” you know. And so finally I said, “Well, you know, I uh, just don't think you handle criticism too well.” She flew into a rage, and broke up with me, alright? That's a true story. All she ever really wanted to do was to have an excuse to tell me what she thought was wrong with me, you know. Is that what you want?
Jesse: Something about me bugs you?
Jesse: It's alright. Tell me. What is it? What about me bugs you?
Céline: Nothing, nothing at all.
Jesse: Well, if it had to be something, what would it be?
Céline: If it had to be something, if I had to think about it, I...I kind of didn't really like this reaction back at the palm reader. You were like this rooster prick.
Jesse: “Rooster prick”?
Jesse: What the hell a “rooster prick”?
Céline: You were like a little boy whining because all the attention wasn't focused on him.
Jesse: Alright, listen, this woman robs you blind, okay?
Céline: You were like a little boy walking by an ice cream store, crying because his mother wouldn't buy him a milkshake or something.
(A voice comes from behind.)
Jesse: I don't care what this woman has to say about anything.
Poet: Aeaehh, entschuldigung. Eine Frage, eine Frage. Hallo! Eine Frage. Ich moechte 'was fragen, eine Frage. (Um, excuse me. A question, a question. Hello! A question. I'd like to ask something, a question.)
Poet: Ich moechte 'was fragen, eine Frage.
Céline: Oh, I understand a little bit, but he doesn't, I'm sorry.
Poet: Okay uh, so um, may I ask you a question?
Poet: So, I would like to make a deal with you. I mean, instead of just asking you for money, I will ask you for a word. Yeah, You give me a word, I take the word, and then, and then I will write a poem, with the word inside. And if you like it, I mean, if you like my poem, and you feel it adds something to your life in any way, then you can pay me whatever you feel like. I will write in English, of course.
Jesse: Great, alright.
Poet: So? Pick a word.
(Jesse and Céline look at each other.)
Céline: A word uh...milkshake.
Jesse: “Milkshake”? Oh, good. Yeah, I was gonna say “rooster prick,” but great. (Turns to poet.) “Milkshake.”
Poet: “Milkshake”? (Pauses, as if surprised by the challenge.) Okay, milkshake.
Jesse: Yeah, right, so we'll...
(The poet begins to write in his notebook, while Jesse and Celine turn away to talk amongst themselves.)
Jesse: (Quietly.) What can I say? I like this Viennese variation of a bum.
Céline: I like what he said about adding something to your life, no?
Jesse: Yeah. So uh, were we having our first fight back there?
Jesse: Yeah, I think so, I think we were.
Céline: Well, even if we were a little bit, you know. Why does everyone think conflict is so bad? There's a lot of good things coming out of conflict.
Jesse: Yeah. Yeah, I guess so. I don't know, you know? I always think that if I could just accept the fact that my life was supposed to be difficult, you know, that's what's to be expected, then, I might not get so pissed off about it, and I'd just be glad when something nice happens.
Céline: Maybe that's why I'm still in school, you know. It‘s easier to have something to fight against.
Jesse: Yeah, well, we've all had such competitiveness engrained in us...
(Poet finishes, and rips sheet from book.)
Jesse: ...you know, I could be doing the most nothing thing, you know, I could be uh, throwing some darts, or shooting some pool, and all of a sudden, I feel it come over me, “I have got to win.”
Céline: Is that why you tried to get me off the train? Competitiveness?
(Poet stands up and approaches them.)
Jesse: What do you mean?
Poet: Okay. (Hands the sheet to them.) Look at the poem.
Jesse: (Takes poem.) Oh, alright. (Opens it up.)
Céline: (Takes poem from Jesse, offers it back to Poet.) Will you read it to us?
Poet: (Takes poem.) Sure, okay. (Reads it.)
Daydream delusion. Limousine Eyelash. Oh, baby with your pretty face Drop a tear in my wineglass. Look at those big eyes See what you mean to me. Sweet cakes and milkshakes. (Laughs.) I am a delusioned angel. I am a fantasy parade. I want you to know what I think Don't want you to guess anymore. You have no idea where I came from. We have no idea where we're going Launched in life Like branches in the river. Flowing downstream Caught in the current. I'll carry you. You'll carry me. That's how it could be. Don't you know me? (Poet hands poem back.) Don't you know me by now?
Céline: (Taking poem.) Great. Thanks.
Jesse: Thanks, man. (They both reach for change to give to the poet.) Uh here you go, uh…
Poet: Thanks, thank you.
Céline: Here, thank you.
Poet: Thank you.
Jesse: Yeah, good luck, man.
Jesse/Céline: Bye. (They walk away.)
Céline: That's wonderful, no?
Jesse: Yeah, yeah.
Jesse: You know he probably didn't just write that. I mean, you know he wrote it, but he probably just plugs that word in (points his finger for emphasis), you know, whatever “milkshake”...
Céline: What do you mean?
Jesse: (Reconsidering his words, then motions with his hands as if to “back off.”) Nothing, I love it, it was great.
Scene XIII – “Pedro, Antonio, Gonzalo, Maria, Suzie…” (Playing Pinball)
Location notes: "Arena" club/bar is located at 80 Baumgasse, intersecting with Franzosengraben, in the 3rd District. Metro: U3 Erdberg stop; walk down Erdbergstrasse one block, then turn right on Franzosengraben. Web: http://www.arena.co.at.
(The scene opens with Jesse and Celine walking through a square surrounded by industrial-looking buildings. Some walls are covered in graffiti.)
Jesse: You know what drives me crazy?
Jesse: It‘s all these people talking about how great technology is, and how it saves all this time. But, what good is saved time, if nobody uses it? If it just turns into more busy work.
Jesse: Right, I mean, you never hear somebody say, "Well, you know, with uh, the time I've saved by using my word processor, I'm gonna go to a Zen monastery and hang out." I mean, you never hear that.
Céline: Time is so abstract anyway. Were you looking at this girl?
Jesse: What? What?
Jesse: Do you want to go in here? (Indicating a bar/club.)
Jesse: Do you want to go in here?
Céline: Yeah. It‘s a club, no?
Céline: Wanna go?
Céline: (To doorman.) Allo.
Doorman: (German equivalent of.) Fifty shillings.
Céline: (To Jesse) Fifty shillings.
Jesse: (Begins taking out money.) Fifty shillings.
Jesse: I got a hundred. Here, I got it.
Céline: I'll buy you a beer. (To doorman.) Thank you.
(They enter the club. Live German alternative music is playing by a single musician with an acoustic guitar. Jesse and Celine stop at a bar table to listen to the last several verses of the song. The musician finishes the performance speaks into the microphone.)
Musician: Ja, das war noch nicht alles von mir, besser gesagt es kommen noch ein paar von mir.
(Yeah, that wasn't all from me yet, I mean there's more from me to come.)
Jesse: You gonna buy me a beer?
Jesse: (Voice fading, as the scene changes.) You think Ole Milwaukee's a little expensive here?
(The scene cuts to Jesse and Celine standing, playing pinball, and drinking beer. Celine loses her ball as the scene begins.)
Céline: (Hitting the machine.) Merde! (Shit!)
Jesse: (Takes over, and starts playing.) Well, um, we haven't talked about this yet, but are you dating anyone? You got a boyfriend waiting on you back in Paris, or anything like that?
Céline: No, not right now.
Jesse: Not right…but you did? (He loses ball, she takes over.)
Céline: We broke up about six months ago.
Jesse: Six months ago.
Jesse: I'm sorry. I mean, I'm not that sorry. But, uh, tell me about it.
Céline: Ah, no. No, no way, I can't. It‘s really, really boring.
Jesse: C'mon, tell me about it.
Céline: Okay. I was really disappointed. I thought this one would last for a while. I mean he was very stupid, ugly, bad in bed, alcoholic, you know.
Jesse: Real prize-winner.
Céline: Yeah. (Laughs.) I was kind of giving him a favor, but he left me, saying I loved him too much, and, you know, I was blocking his artistic expression, or some shit like that, you know. But anyway, I was traumatized, and became (She loses ball. She shrugs, they switch.) and became totally obsessed with him. And so I went to see this shrink, you know, and it came up that I had written this little stupid story about this woman, trying to kill her boyfriend, and how she was gonna do it, you know, with all the intricate details of, you know, how to do it, and not get caught, And...
Jesse: She was gonna kill her boyfriend? (Loses ball. Switch.)
Céline: Yeah. Yeah, she was. I mean, it’s nothing I would do, but it was just some writing, you know.
Jesse: Alright, no, no, I understand.
Céline: But anyway, this stupid shrink believed everything I was telling her, and it was my first time seeing her. She said she had to call the police.
Jesse: She had to call the police?
Céline: (Loses ball. Switch.) Yeah. She was, merde! She was totally convinced I was really gonna do it, you know, even though I'd explained to her it was just some writing, you know. She said, looking deep into my eyes, "The way you said it, I know you are going to do it, the way you said it." She was totally out of her mind. It was my first and last session.
Jesse: Yeah, so what happened then?
Céline: I totally got over him, you know. But now I'm obsessed that he's gonna die from an accident, or you know, a thousand kilometers away, I'm gonna be the one accused. Why do you become obsessed with people you don't really like that much, you know, I mean…
Jesse: I don't know.
Céline: So, how about you?
Céline: Are you with anyone?
Jesse: Umm, it‘s funny how we managed to avoid this subject for so long, isn't it?
Céline: Yeah, but now you have to tell me.
Jesse: Well, I kind of see love as this uh, escape for two people who don't know how to be alone, you know, or uh, I mean, you know it‘s funny. People always talk about how love is this totally unselfish, giving thing, but if you think about it, you know, there's nothing more selfish.
Céline: Yeah, I know. So, who just broke up with you?
Jesse: What? (Loses ball, switch.)
Céline: You sound like you've just been hurt, or something.
Jesse: No...do I?
Jesse: Alright. Um, big confession, you know. I should have told you this earlier, Céline, but, you know...I didn't just come to Europe just to hang out, and read Hemingway in Paris, and shit like that, you know. I saved up my money all spring to uh, fly to Madrid, and spend the summer with my girlfriend, who has been on this...
Céline: Your girlfriend? (She loses ball. They switch.)
Jesse: (Correcting himself) My EX-girlfriend, who has been on this asinine art history program for the last year. Anyway, I got here, right, and now we're reunited, at long last, and we went out to dinner, our first night ah, with six of her friends: Pedro, Antonio, Gonzalo, Maria, Suzie, from home, you know? She pretty much managed to avoid being alone with me for the first couple of days we were there, and I stuck around for a while, just to kind of let it really sink in that she wished I hadn't come. So I bought the cheapest flight out of Europe, this one leaving out of Vienna tomorrow, but it didn't leave for a couple of weeks. So, I bought this Eurail pass, you know? You know…you know what's the worst thing about somebody breaking up with you? It‘s when you remember how little you thought about the people you broke up with, and you realize that that is how little they're thinking about you, you know? (Loses ball.) You know, you'd like to think that you're both in all this pain, but really, they're just, “Hey, I'm glad you're gone.“ (They switch.)
Céline: I know. You should look at bright colors. (Points at him for emphasis.)
Céline: That's what the shrink told me, you know. I was paying her nine-hundred francs an hour, to hear that I was a homicidal maniac, and that I could eliminate my obsession if I would concentrate on bright colours.
Jesse: Yeah, well did it work?
Céline: Well…(loses ball, switches with Jesse)
Jesse: Didn't help your pinball, did it?
Céline: No. Yeah, well, you know. I haven't...I haven't killed anyone lately.
Jesse: Not lately? Well, that's good, you're cured, then. (Céline gives him a sadistic look, as if to say, “Not necessarily.”)
Scene XIV – “The Answer Must Be In The Attempt” (The Alley)
Location notes: these scenes altnerate between the 1st and 7th Districts, we believe. Please post updates to yahoogroups if you have more accurate information.
(Jesse and Céline have resumed walking outside. We see them approaching the top of some stairs, then continuing down a quiet street.)
Jesse: I mean, there's these breeds of monkeys, right, and all they do is have sex, like all the time, you know? And uh, they turn out to be, like the least violent, the most peaceful, the most happy, you know, so I mean, maybe fooling around is not so bad.
Céline: (Incredulously.) Are you talking about monkeys?
Jesse: Yes. I'm talking about monkeys.
Céline: Ah, I thought so, yeah.
Céline: You know, I never heard this one, but it reminds me of, like this perfect, you know, male argument to justify them fooling around.
Jesse: No, no, no. Woman monkeys are fooling around, too. (Waves his hands to defend his point.) Everybody's fooling around.
Céline: Yeah, that's cute. (They laugh.) You know, I have this awful paranoid thought, that feminism was mostly invented by men, so they could, like, fool around a little more. You know, women, free your minds, free your bodies, sleep with me. We're all happy and free as long as I can fuck (makes a punching motion with her fist) as much as I want.
Jesse: Alright, alright, alright. But maybe, maybe there's some biological things at work here. I mean, if you had an island, right, and there were ninety-nine women on the island, and only one man, in a year, you'd have the possibility of ninety-nine babies. But if you have an island with ninety-nine men, and only one woman, in a year, you'd have the possibility of only one baby. So...
Céline: So. You know what?
Jesse: What? gu kha
Céline: On this island, you know, I think that there will only be, like maybe forty-three men left. Because they would kill each other, trying to fuck this poor woman, you know what I mean? And on the other island, there would be ninety-nine women, ninety-nine babies, and no more man, because they would have all gotten together, and eaten him alive.
Jesse: Oh yeah?
Jesse: (Smiling and nodding in mock agreement.) Yeah? Yeah? See...see, I think there's something to that. I think on some level, women don't mind the idea of destroying a man, you know. Like, I was once walking down the street with my ex-girlfriend, you know, right, and we just walked by these, like real four, kind of (twitches shoulders in a “tough guy” sort of motion) thuggy looking guys, next to a Camaro, you know, and one of 'em, sure enough, says, “Hey baby, nice ass.” You know, I mean. So, I'm like alright, “Hey, no big deal,” I'm not gonna get uptight about this, right?
Céline: Yeah, plus, there were four of them, right?
Jesse: Yeah, exactly, there's four of them, right, but she turns around and she says, (flips the bird to the air behind him.) “Fuck you, dickheads,” and I'm like, okay, wait a minute, here, right? They're not gonna come over here and kick her ass, you know what I mean? So who just got pushed to the front line on that one? You see what I'm saying? I mean, women say they hate it if you‘re all territorial and protective, but if it suits them, then they'll tell you you're being all unmanly, or wimpy, or uh…
Céline: You know what? I don't think women really want to destroy men, and if, even if they want to, they don't...they don't succeed. You know what I mean? I'm sure even, you know, men are destroying women, or are able...capable of destroying women, much more than women...Well, anyway, it‘s depressing, I mean you know what?
Jesse: What? You want to stop talking about this?
(Voices fade as they walk down an incline with their backs to the camera.)
Céline: Yeah. I really hate it. You know, men, women you know, it‘s, it‘s...there's no end to this, like, you know...
Jesse: It‘s like a skipping record, you know?
Jesse: Every couple's been having this conversation forever.
Céline: And nobody's come up with anything.
(The scene cuts to a belly dancer dancing to a percussionist, performing on a street corner as several people watch. Jesse and Céline approach, then Céline pulls Jesse closer to watch.)
Céline: I saw a documentary on that. It's a birth dance.
Jesse: A birth dance?
(They stop and watch for a little while, until it‘s over. They clap.)
Jesse: Should I give her some money?
Jesse: (Speaking with hesitation, as he puts money in the pot.) Everything that's interesting costs a little bit of money. I'm telling you. So, birth dance, huh? Looked a little bit like a mating dance to me.
Céline: No, but really. Women used this when giving birth. In some parts of the world, they still do it.
Céline: Yeah. The woman in labor enters a tent, and the women of her tribe surround her, and dance, and they encourage the birthing woman to dance with them as...so as to make the birth less painful.
Céline: When the baby is born, they all dance in celebration.
Jesse: Wow. I don't think my mom would've gone for that. (Puts a coin on his forearm, snatches it, and shows it to Céline, who ignores him.)
Céline: I like the idea of dancing as a common function in life, something everybody participates in.
(SCENE CUT SOMEWHERE AROUND HERE…)
Jesse: Yeah, I know. I heard about this old guy, who was watching some young people dance. And he said, how beautiful. They're trying to shake off their genitals, and become angels.
Céline: I like that (Smiles.)
Jesse: Alright. One question, though, back there. When the women are dancing, and being all spiritual, and stuff, right? Where are the men? Are we out food-gathering? Are we not invited? Y'all don't need us? What?
Céline: Men are lucky we don't bite off their head after mating. Certain insects do that, you know, like spiders, and stuff.
Céline: We, at least, let you live. What are you complaining about?
Jesse: Yes. See, you're officially kidding, but there's something to that, you know. You keep bringing stuff like that up.
Céline: No, no, no, wait a minute. Talking seriously here. I mean,...I, I always feel this pressure of being a strong and independent icon of womanhood, and without making...making it look my...my whole life is revolving around some guy. But loving someone, and being loved means so much to me. We always make fun of it and stuff. But isn't everything we do in life a way to be loved a little more?
Jesse: Hmmm. Yeah, I don't know (They sit on a pile of skids in an alley they are walking through.) Sometimes I dream about being a good father and a good husband, and sometimes that feels really close.
Jesse: But then, other times, it seems silly. Like it would uh, ruin my whole life. And it‘s not just a uh, a fear of commitment, or that I'm incapable of caring, or loving, because I can. It's just that if I'm totally honest with myself, I think I'd rather die knowing that I was really good at something, that I had excelled in some way, you know, then that I had just been in a nice, caring relationship.
Céline: Yeah, but I had worked for this older man, and once he told me that he had spent all of his life thinking about his career and his work, and...he was fifty-two and it suddenly struck him that he had never really given anything of himself. His life was for no one, and nothing. He was almost crying saying that. You know, I believe if there's any kind of God, it wouldn't be in any of us. Not you, or me...but just this little space in between. If there's any kind of magic in this world, it must be in the attempt of understanding someone, sharing something. (Sigh.) I know, it‘s almost impossible to succeed, but...who cares, really? The answer must be in the attempt.
(They both stare for a while, and then half-sigh, half-laugh.)
Scene XV – “She Was Literally a Botticelli Angel” (Café Sperl)
Location notes: Café Sperl is located at 11 Gumpendorfer Straße, where it intersects with Lehargasse. Metro: U2 line, Museumsquartier stop on Mariahilferstraße. Bus: 57A line, Köstlergasse stop on Gumpendorfer Straße. Web: http://www.cafesperl.at.
(Scene clip: a Maître d' arranging roses in a vase.)
(Scene clip: a group of 3 men and 3 women, having a political/philosophical type discussion.)
Man: Bloss nicht dieses Postkartenbild von Wien stoeren. Das find ich scheisse. (Whatever you do, don't disturb the picture postcard image of Vienna. I think that's crap.)
Woman: Dir ist es...ist es dir lieber wenn man die in der U-Bahn trifft? (You'd...would you prefer them to meet those people down in the metro stations first?)
Man: Darf ich mal ausreden bitte? (Do you mind if I finish talking first?)
(Scene clip: two men, playing cards.)
Man on left: Juergen...Dubrovnik. (Names of cities?)
Man on right: Das ist egal, das ist egal. Das ist Urlaubszeit. (That's irrelevant, that's irrelevant. That's holiday/vacation time.)
Man on left: Ich bin verliebt in Dubrovnik. (I'm in love with Dubrovnik.)
Man right: Wunderbar, jetz' kann's hingehen un' siehst 'ne zerstoerte Stadt. Spiel aus. (Great. Well, now you can go there and see a destroyed city. Come on, get on with the game.)
(Scene clip: two older men, both with beards. One is speaking very slowly, deliberately, while the other listens.)
Older man: Egon Schiele hat einen masslos wichtigen Aufbruch in die moderne Zeit gebracht. Dann darfst du nicht vergessen, Otto Wagner, der grosse Baumeister. (Egon Schiele gave us an imeasurably important start into the modern era. Then you mustn't forget Otto Wagner, the great architect.)
(Scene clip: a woman sitting alone, reading a book, with a finished coffee by her side.)
(Scene clip: an American man and woman; he is fidgety, she is playing with her pie with a fork, apparently bored.)
Man: I really think this is a civilization in decline. Look at the service. I mean, where is the waitress? In New York, this person would be out of a job. (Looks around for the waitress.)
(Scene clip: two men and a woman, all roughly middle-aged, talking, joking, in reasonably good spirits.)
(Scene clip: Jesse and Céline sitting at a table, with platters from coffee on the table in front of them, finished.)
Céline: Okay, now I'm going to call my best friend in Paris, who I'm supposed to have lunch with in eight hours. Okay?
Jesse: (Nods.) Okay.
Céline: (With her hands mimicking a telephone, lifting it off the base, and putting it to her ear.) Dring-Dring. Dring-Dring. Dring-Dring. Pick up!
Céline: Pick up the phone!
Jesse: (Also mimics a phone with his hand, puts it up to his ear.) Oh, hello?
Céline: Vanie? Ici Celine, hein?
Céline: Comment ça-va?
Jesse: (Wide open eyes, then recognition.) Ca va…bien. Et toi?
Céline: Vanie, ma vacation est incroyable!
Jesse: Ahhh...y' -a- I- you know, I've been working on my English, recently, w- y'want to talk in English?
Céline: Yeah, okay, that's a good idea. Ummm...I don't think I'm gonna be able to make it for lunch today, I'm sorry. I...I met a guy on the train, and I got off with him in Vienna. We're still there.
Jesse: Are you crazy? (Playing the role.)
Jesse: We...wa...he's Austrian, he's from there?
Céline: N-n-n-n-no. He's passing through here too. He's American. He's going back home tomorrow morning.
Jesse: (Mocking a shocked expression.) Why'd you get off the train with him?
Céline: Well...he convinced me. Well, actually I was...(smiles) I was ready to get off the train with him after talking to him a short while. He was so sweet, I couldn't help it. We were in the lounge car, and he began to talk about him, as a little boy, seeing his great-grandmother's ghost. I think that's when I fell for him. Just the idea of this little boy with all those beautiful dreams. He TRAPPED me.
Jesse: Mm-hmm. (Emphatically.)
Céline: And he's so cute! He has beautiful blue eyes (Jesse closes his eyes), nice pink lips (Jesse sucks in his lips to hide them), greasy hair. (Laughs.) I love it. He's kind of tall, and a little clumsy. (Softly.) I like to feel his eyes on me when I look away. (Pauses, then smiles while Jesse fixes his eyes on her.) He kind of kisses like an adolescent, it‘s so cute.
Jesse: (Indignantly.) What?!
Céline: Yeah, we kissed. It was so adorable. As the night went on, I began to like him more and more. But I'm afraid he's scared of me. You know, I told him the story about the woman that kills her ex-boyfriend, and stuff. He must be scared to death. (Jesse begins to shake his head, slowly.) He must be thinking I'm this manipulative, mean woman. I just hope he doesn't feel that way about me, because you know me, I'm the most harmless person. The only person I could really hurt is myself.
Jesse: I don't think he's scared of you. I think he's crazy about you.
Jesse: I mean, I've known you a long time, and I got a good feeling. You gonna see him again?
Céline: We haven't talked about that yet. (Pauses. “Hangs up.”) Okay it‘s your turn. You call your friend.
Jesse: (Hangs up phone, too.) Alright, alright. Umm...(Thinks.) Uh, (Picks up 'phone', puts to ear.) Bring-Bring-Bring. Uh, I usually get this guys answering machine. Brawwwwwwng.
Céline: (Picks up 'phone', mimics American accent.) Hi dude, what's up?
Jesse: Uhhhh...Hey Frank, how you been? Glad you're home.
Céline: Cool. Yeah. So, how was Madrid?
Jesse: Uh, Madrid...SUCKED. You know, Lisa and I had our long-overdue meltdown.
Céline: Oh. Too bad. I told you, no?
Jesse: Yeah, yeah, yeah. The long-distance thing just never works. I was only in Madrid for a couple of days. I got a cheaper flight, out of Vienna...but uh, you know, it really wasn't that much cheaper. I just uh...I couldn't go home right away. I didn't want to see anybody I knew, I just wanted to be a ghost. Completely anonymous.
Céline: So are you okay, now?
Jesse: Yeah. Yeah, no, no, yeah, I'm great, I'm great! That's the thing, I'm...I'm rapturous. And I'll tell you why. I met somebody. On my last night in Europe, can you believe that?
Céline: Ah, that's incredible.
Jesse: I know, I know. And you know how they say we're all each others' demons and angels? Well, she was literally a Botticelli angel. Just telling me that everything was gonna be okay.
Céline: How did you meet?
Jesse: On the train. Yeah, she was sitting next to this very weird couple who started fighting so she had to move. She sat right across the aisle from me. So, we started to talk, and uh, she didn't like me much at first. She's super smart (Celine shifts uneasily), very passionate, um...and beautiful (Celine looks down, embarrassed). And I was so unsure of myself. I thought everything I said sounded so stupid.
Céline: Oh, man, I wouldn't worry about that.
Céline: No, I'm sure she was not judging you. No...and by the way, she sat next to you, no? I'm sure she did it on purpose.
Jesse: Oh, Yeah?
Céline: Yeah. Us men are so stupid. We don't understand anything about women.
Céline: They act kind of strange. The little I know of them. Don't they?
Jesse: (Pauses, then nods.) Yeah.
Scene XVI – “This Feels So Otherworldly” (The Opera House)
Location notes: this scene takes place on an outdoor terrace of the Albertina Museum, overlooking the Vienna Opera House. The museum is located at 1 Albertinaplatz, whereas the Opera House is located just outside the Karlsplatz metro station. Metro: lines U1, U2, or U4, Karlsplatz stop, or line U3, Stephanslplatz stop. Tram: lines 1, 2, D, or J, Staatsoper stop. Bus: line 2A, Albertina stop. Web: information for the Vienna Opera House (Wien Staatsoper) is at http://www.aboutvienna.org/sights/oper.htm; information for the Albertina Museum is at http://www.albertina.at.
(On a balcony, overlooking a lower part of the city. Jesse is sitting on the stone rail, Céline is leaning against it.)
Jesse: I feel like this is uh, some dream world we're in, you know.
Céline: Yeah, it's so weird. It‘s like our time together is just ours. It‘s our own creation. It must be like I'm in your dream, and you in mine, or something.
Jesse: And what's so cool is that this whole evening, all our time together, shouldn't officially be happening.
Céline: Yeah, I know. Maybe that's why this feels so otherworldly. But then the morning comes, and we turn into pumpkins, right?
Céline: Yeah, I know. (Pause.) But at this time, I think you're supposed to produce the glass slipper, and see if it fits.
Jesse: It'll fit.
(He leans over. They kiss, then stare out at the city.)
Scene XVII – “Maybe We Should Try Something Different” (The Boat)
Location notes: the boat scene takes place aboard the DDSG Johann Strauss, which is docked on the Donaukanal near Schwedenplatz. Note: this is not far from where scene XII (The Poet) takes place. Web: http://www.clubschiff.at.
Jesse: This friend of mine had a kid, and it was a home birth, so he was there helping out and everything. And he said at that profound moment of birth uh, he was watching this child, experiencing life for the first time, I mean, trying to take its first breath...all he could think about was that he was looking at something that was gonna die someday. He just couldn't get it out of his head. And I think that's so true, I mean, all-- everything is so finite. I mean, but, but don't you think that that's what um, makes our time, at specific moments, so important?
Céline: Yeah, I know. It's the same for us, tonight, though. After tomorrow morning, we're probably never going to see each other again, right?
Jesse: You don't think we'll ever see each other again?
Céline: What do you think?
Jesse: Well um, gosh, I don't know. Uh, I mean, I hadn't planned another trip to...
Céline: Oh, me too, you know. I live in Paris, you live in the U.S. I totally understand that...
Jesse: I mean, I'd hate to make you fly. You know, you hate to fly, right?
Céline: I'm not so scared of flying. I mean I could...
Jesse: I mean, if you were gonna come to the U.S. or if, you know, I mean if I, or you know, I mean, I could come back here, I mean...(Celine starts to shake her head.) What?
Céline: Now let's just be rational adults about this. We, maybe we should try something different. I mean, it‘s not so bad if tonight is our only night, right? People always exchange phone numbers, addresses, they end up writing once, calling each other once or twice...
Jesse: Right. Fizzles out. Yeah, I mean, I don't want that. I hate that.
Céline: I hate that too, you know.
Jesse: Why do you think everybody thinks relationships are supposed to last forever?
Céline: Yeah, why. It's stupid.
Jesse: So, you think tonight's it, huh? I mean, that tonight's our only night.
Céline: It‘s the only way, no?
Jesse: Well, alright. Let's do it. No delusions, no projections. We'll just make tonight great.
Céline: Okay, let's do that.
(He points to a pair of musicians, playing on the boat, then looks back at her.)
Jesse: We should do some kind of handshake, you know? Give me your hand. (They clasp each other's hands, so that all four are clasped together.) Alright. To our one and only night together, and the hours that remain. (He kisses her hand, and she looks sad.) What?
Céline: It‘s just...it‘s depressing, no? That the...the only thing we're gonna think of is when we're gonna have to say goodbye tomorrow.
Jesse: Well, we could say goodbye now. Then we wouldn't have to worry about it in the morning.
Jesse: Yeah. Say goodbye.
Céline: (Softly.) you have a...(With more emphasis.) Au revoir.
Céline: Later, yeah.
(They stop and stare at each other for a while.)
Scene XVIII – “For the Greatest Night in Your Life” (The Wine Bar)
Location notes: we do not know where this bar is located. Please post updates to yahoogroups if you have any detailed information.
(Walking down some stairs into a bar.)
Jesse: Alright, so here's the plan, right. You're gonna grab the glasses, and I'm gonna get the wine.
Céline: Red wine.
Jesse: Red wine. Right.
Céline: You think you can do that?
Jesse: Noooo problem.
(They get into the bar, Céline goes over to a table, and Jesse goes up to the bar.)
Jesse: (Whispers.) Wish me good luck.
Céline: (Whispers.) Good luck.
Jesse: (To bartender.) Hello.
Jesse: (As Céline goes over to a table and opens her purse.) Uh...Do you speak English?
Bartender: Euh, a bit.
Jesse: Yeah, a bit? I'm having kind of an odd situation...which is that...this is...you see that girl over there? (Indicates Céline as she is putting glasses in purse, she stops, and smiles.)
Jesse: Yeah, well, this is our only night together. Um, and she, ahh...here’s the problem, the problem is that she wants a bottle of red wine, and I don't have any money. (Jesse and the bartender start laughing.) But I was thinking that you might want to...um, give me the address of this bar. (Bartender backs away, and looks at him suspiciously.) No I know, and I would promise to send you the money, and you’d be making our night complete.
Bartender: You would send me the money?
Bartender: (Looks over at Céline, then back at Jesse. Offers hand.) Your hand? (They shake.) Okay (Leaves.)
(Céline steals 2nd glass, Jesse gives her an A-ok gesture.)
Bartender: (Returns with bottle, looks at it, and gives it to Jesse.) For the greatest night in your life (Laugh.)
Jesse: Thank you very much (Walks away.)
Scene XIX – “I Have to Say Something Stupid” (The Park)
Location notes: we are not sure, but we believe this scene takes place in Auer-Welsbach-Park in the 15th District, or Burggarten in the 1st District. Please post updates to yahoogroups if you have additional information.
(In park, lying down, in the dark, drinking wine.)
Céline: So often in my life I've been with people and shared beautiful moments like travelling, or staying up all night and watching the sunrise, and I knew those were special moments. But something was always wrong. I wished I’d been with someone else. (They both laugh.) I knew that what I was feeling, exactly what was so important to me, they didn't understand. But I'm happy to be with you. You couldn't possibly know why a night like this is so important to my life right now, but it is...This is a great morning.
Jesse: It is a great morning. Do you think we have others like this? (Céline smiles.) What?
Celine: What about our rational, adult decision?
Jesse: Oh, yeah. Yeah. I know what you mean about wishing somebody wasn't there though, It‘s just, usually, it‘s myself that I wish I could get away from. Seriously, think about this. I have never been anywhere that I haven't been. I've never had a kiss when I wasn't one of the kissers. You know, I've never, um, gone to the movies, when I wasn't there in the audience. I've never been out bowling, if I wasn't there, making some stupid joke. That's why so many people hate themselves. Seriously. It’s just they are sick to death of being around themselves. Let‘s say that you and I were together all the time, then you'd start to hate a lot of my mannerisms. The way...the way every time that we would have people over...I'd be insecure, and I'd get a little too drunk. Or...the way I tell the same stupid pseudo-intellectual story again, and again. Y'see, I've heard all those stories...So of course I'm sick of myself. But being with you...it‘s made me feel like I was somebody else. I mean the only other way to lose yourself like that is...you know, dancing...or alcohol...or drugs or stuff like that.
Jesse: Fuh... Fucking? Yeah. That's one way. Yeah. (Swallows breath, turns away.)
Céline: (Turning towards Jesse and whispers.) Do you know what I want?
Céline: (Flips hair gently behind her neck and whispers again.) To be kissed.
Jesse: Well, I could do that. (They kiss, he starts to go down her neck.)
Céline: Wait! (She stops him, and sits up.) I have to say something stupid.
Céline: It‘s very stupid.
Céline: I don't think we should sleep together. I mean, I want to, but since we're never going to see each other again...it'll make me feel bad. I‘ll wonder who else you're with. I'll miss you. (She lies down beside him.) I know. It's not very adult. Maybe it‘s a female thing. I can't help it.
Jesse: Let's see each other again.
Céline: No, I don't want you to break our vow, just so you can get LAID. (They laugh.)
Jesse: I don't want to just get laid. I want to--I mean...I think we should. I mean, we'll die in the morning, right? I think we should.
Céline: No, then it‘s like some male fantasy. Meet a French girl, fuck her, and never see her again. And have this great story to tell. I don’t wanna be a great story, I don‘t want this great evening to just have been for that.
Jesse: Alright. Alright, alright, alright. Okay, okay.
Jesse: Okay. We don't have to have sex. It's not a big deal.
Céline: Okay. (Long pause.) You don't want to see me again?
Jesse: (Laughs.) No, of course I do. Listen. (Sits up and leans on his elbow, hovering above her.) If somebody gave me the choice right now, of to never see you again or to marry you, alright, I would marry you, alright? And maybe that's a lot of romantic bullshit...but people have gotten married for a lot less.
Céline: Actually...I think I decided I wanted to sleep with you when we got off the train. But now that we've talked so much, I don't know anymore.
(Jesse sighs of frustration and collapses to the ground again. Celine laughs, then leans over to kiss him.)
Céline: Why do we make everything so complicated?
Jesse: I don't know.
(They kiss again, breathing more deeply, and rolling over each other several times.)
Scene XX – “I’m Gonna Take Your Picture” (The Harpsichordist)
Location notes: we are not sure where this scene takes place. Please post updates to yahoogroups if you have additional information.
(In park...sun is up, birds are chirping. Scene cuts to city, where Jesse and Celine are walking along a street. Harpsichord music plays in the background.)
Jesse: What's the first thing you'll do when you get back to Paris?
Céline: Call my parents.
Céline: What about you?
Jesse: I don't know...I'll probably go pick up my dog. He's still with a friend of mine.
Céline: You have a dog?
Céline: I love dogs.
Jesse: You do?
Jesse: Oh shit!
Jesse: Oh, I don't know. We're back in real time.
Céline: I know. I hate that.
Jesse: What is that? (Notices sound, and walks towards it.)
Céline: Sounds like a harpsichord.
Jesse: Check that out.
Céline: Somebody’s playing.
Jesse: (Jesse whispers.) That’s cool.
(They look into basement window, where there is a man playing a harpsichord.)
(Jesse pulls Céline to the side of the window.)
Jesse: Can we dance to the harpsichord?
Céline: Of course. (They dance a bit.)
Jesse: (Looking at her. He stops her dancing.) Oh, wow.
Jesse: I'm gonna take your picture (puts her at arms length, and stares) so I never forget you...or...or all this.
Céline: Okay. Me, too.
(She stops and stares at him too. He leans over and they kiss. Eventually, they stop, and walk away holding hands.)
Scene XXI – “The Years Shall Run Like Rabbits” (The Statue)
Location notes: please this scene takes place on an outdoor terrace of the Albertina Museum, same as scene XVI.
(Camera shows various views of the landmarks of Vienna, stopping at a statue in a square, upon which Jesse sits while Céline lies with her head on his lap, eyes closed.)
Jesse: (In a deep, throaty voice.) “The years shall run like rabbits.“
Céline: (Opens her eyes and looks up at him.) What?
Jesse: (Shakes his head.) Nothing, nothing. I have this, uh, recording of Dylan Thomas, reading a W.H.Auden poem. He's got a great voice. Just it's like, uh...
Céline: What, what?
Jesse: (Starts with throaty voice again.)
All the clocks in the city Began to whir, and chime: Oh, let not time deceive you You cannot conquer time. In headaches and in worry Vaguely life leaks away. And time will have its fancy Tomorrow or today.
(Back to regular voice.) Something like that.
Céline: That‘s good. (Pauses.) When you talked earlier about after a few years, how a couple begin to hate each other...by anticipating their reactions...or getting tired of their mannerisms. I think it would be the opposite for me. I think I can really fall in love when I know everything about someone. The way he's gonna part his hair...which shirt he's gonna wear that day...knowing the exact story he'd tell in a given situation. I'm sure that's when I know I'm really in love. (They stop and stare for a while.)
Jesse: Hey, guess what?
Jesse: We didn't go to those guys' play.
Céline: With the cow?
Céline: (Laughs.) Yeah, we didn't. Oh no, we missed it. (Sigh.)
Scene XXII – “Goodbye – Goodbye – Au Revoir – Later”
Location notes: this scene takes place at the Westbahnhof train station, same as scene III.
(In train station. Jesse and Céline walk side by side, together holding her bag between them. Voice over loudspeaker makes an inaudible announcement.)
Céline: Okay, you know what bus to take to the airport?
Jesse: Yeah, yeah. No problem.
Céline: I should get on this one (Pointing to a coach. They stop.)
Jesse: Right here? You wanna to get on there?
Jesse: Alright. Um...
Céline: Okay. I guess this is it, no? (They hold hands.)
Jesse: (Breathing heavy, like after workout or from anxiety.) Yeah. Um, I really, (A couple of deep breaths.) I, uh, I... I mean, you know.
Céline: Yeah, I know, me too -- I, uh. Yeha, My...Have a great life. Have fun with everything you're gonna do. Work hard...
Jesse: Yeah. Good luck with school, and all that.
Jesse: I hate this.
Céline: Me too. The train is about to leave.
(They kiss, hug. They stop, and from this point on their voices are rushed.)
Jesse: Listen. Listen. You know all this bullshit we're talking about...about not seeing each other again? I don't want to do that.
Céline: I don't want to do that either.
Jesse: You don't?
Céline: I waited for you to say it.
Jesse: Well, why didn't you say something?
Céline: I was afraid you didn't wanna see me.
Jesse: Alright, alright, well look. Listen, listen. What-d...what-d...What do you wanna do?
Céline: Maybe... maybe we should meet here, in five years or something.
Jesse: Alright, alright. Five years. (Disapprovingly.) Five years? That's a long time.
Céline: Yes. It‘s awful. It‘s like a sociological experiment. How about one year?
Jesse: One year. Alright, alright.
Céline: One year.
Jesse: How about six months?
Céline: Six months?
Céline: It‘s gonna be freezing. (She starts laughing.)
Jesse: Yeah? (He starts laughing.)
Jesse: Who cares? We come here, we go somewhere else.
Céline: Okay. Okay. Uh, six months from now, or last night?
Jesse: Um...Last night. Six months from last night, which was...June 16th. So...track nine, six months from now at six o'clock, at night.
Jesse: December, yeah, right. Now listen, it‘s a train ride for you, but I got to fly all the way here. But I'm gonna be here.
Céline: Okay, me too.
Céline: And we won‘t call...or write or...
Jesse: It‘s depressing.
Céline: Yeah, okay.
Jesse: Alright. (They kiss.) Alright, your train's gonna leave. Say goodbye.
Céline: Au revoir.
(They kiss again, and he helps her onto the train. The whistle blows, and the train leaves.)
Scene XXIII – Ending Montage and Closing Credits
We see Celine, alone as she enters a passenger compartment on the train. We see Jesse, alone as he takes the escalator in the train station, then later as he rides the bus to the airport.
“Andante” From Sonata For Viola Da Gamba In G Major by Bach plays in the background as the closing montage begins to roll.
zollamtssteg Bridge, scene IV
Johann Strauss, scene XVII
eck of Johann Strauss, scene XVII
The Opera House, scene XVI
The Alley, scene XIV
The Cemetery, scene VII
The Prater, scene VIII
Franziskanerplatz outside Kleines Café, scene IX
Donaukanal near Schwedenplatz, scene XII
he Park, scene XIX
Finally, we see Celine, sitting next to a window as the train leaves the station. She leans against the wall, appearing to think for a moment before closing her eyes.