Original subtitles

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Reporter: So how did your career start, Mrs. Hunter?

Lisa: Hollis.

When I was a little girl in the bathtub in Minneapolis--

that's where I'm from.

And then I won a first prize in a talent contest

and that was a ticket to Paris.

I loved it here.

The bright lights, the funky clubs,

the vibrant atmosphere.

And one day I got my big break.

Reporter: Weren't you nervous?

Lisa: Well, a little.

I'd spent my last precious francs on an overpriced dress

and a pair of gold earrings.

Ow! Shit.

Lisa: I was so excited

to finally be trying out my material on a live audience.

♪ Baby, is it true?

♪ It's lonely out there

♪ In a room at the top

♪ Where there's nothing to share ♪

♪ You got everything you live for ♪

♪ Fame and the rest

♪ Knocking at your door

♪ But you haven't got me ♪

♪ Is she as pretty as on the 9:00 news? ♪

♪ Are you happy at last?

♪ Has the room got a view?

♪ If we meet in a day or a year ♪

♪ Well, I'll smile polite

♪ I won't shed no tear...

Reporter: Is that when you met Charlie?

Lisa: Yes. No, no. Actually, it was after the show.

He ran down the street after me to tell me how much he liked my performance.

Miss! Hey, excuse me!

- Hey, how are you? - Hi.

Listen, I don't usually chase women down the streets of Pigalle,

but I just heard you sing back there.

- Oh, yeah? - Yeah, and I've got to tell you, man,

I've never heard a set of lyrics get destroyed like that.

- Oh, thanks a lot. - I mean, the band really sucks.

- I know. - Does your band have a drug problem?

- Listen, they're not my band. - Oh, okay.

The hell of it is they're great lyrics.

- Yeah? - Yeah, I've never heard lyrics like that.

- Now, who writes for you? - I do.

- Really? No shit? - No.

But if you write songs like that, you don't have to do that.

- Do what? - Sing.

- I want to sing. - You don't need to sing.

- Do I know you? - Charlie Hunter.

I write music.

Give me five minutes. Let me work on your song.

I'll make it a hit. I promise.

Lisa: There was no way I intended going anywhere with him.

But he was very persuasive.

So I came to Paris to write music.

Only, lately, I haven't been able to reach my muse.

- Is she avoiding you? - Yes.

- I can't understand why. - Well, only tonight.

When I heard your lyrics-- bang!

I'd like to hear "My Way."

This is gonna be better.

Okay, "Room at the Top."

All right, give me the lead into the chorus.

Okay.

Wait, don't sing it.

Just say it.

"Fame and the rest knocking at your door."

- Right. - [ playing slowly ]

- "But you haven't got me." - "Haven't got me."

Oh, that's good.

♪ Haven't got me

♪ You haven't got me

- ♪ You haven't got me... - Uh-huh, there it is.

♪ Yeah, you haven't got me ♪

♪ You haven't got me...

- I like it. - Yeah.

- ♪ You haven't got me... - It's much better, isn't it?

♪ You haven't got me.

Woman: And the winning song is...

"Room at the Top,"

Charlie Hunter and Lisa Hollis.

[ music playing ]

Reporter: Cindi Benendi presented you with your award.

Lisa: Yeah. It was the most exciting moment of my life.

Look at this.

There's so many people that I'd like to thank.

First, everyone at Technosound.

Um, Fred and Lauren, thank you so much.

- Julia, Mark. - Right.

Well, Marion, of course. Thank you.

- Um, who else? - Um...

I know there's other people that I'm forgetting,

but thank you so much.

[ applause ]

This is the happiest day of my life.

There's only one thing that would make me happier.

- Will you marry me? - [ audience cheering ]

Okay, okay.

- Oh! - [ laughs ]

So you guys won the biggest award in the music industry.

- What went wrong? - I don't know.

You meet, you fall in love

and there's all this great romance,

and later on when you really need it, there's none left.

Besides, we were really young.

- Mrs. Hunter... - Hollis.

I hate to break this to you, you know, but really,

nobody wants to waste their time reading about a breakup

that's as boring as their own.

- Was Charlie drinking? - Gallons of Perrier.

Dope? You guys must have been doing great dope together, huh?

- Aspirin. - Was he balling other women?

- Excuse me? - Cindi Benendi.

Hey, I heard they had a great thing going.

No, no, no. It was nothing like that.

So what was it like, then?

After the music awards, she came to congratulate us.

And she said that she wanted us to write a song for her.

[ applause ]

Supposedly "Room at the Top" was her favorite song.

Thank you. Thank you very much.

- I can't believe this. - Isn't it great?

When are we gonna get married?

Oh, I love you.

Lisa: Charlie thought it was a good idea.

I said great, but I wanted us to write a song for me first.

You know, there's nothing like creating as a team.

It's so stimulating. It really brings you together.

I'm trying to walk here.

Walk somewhere else. I'm trying to think.

Don't read that. No, no, no, it's terrible.

Okay.

So what kind of image are you coming up with?

It's like we're prisoners of the skyscrapers.

Come on, we're in the middle of a depression. Write something happy.

Come on, this song is for me, remember?

This is what I want to sing about.

Okay, um...

Walls of the city so high you can't see the sky.

That's it! "Babylon high."

Yes!

♪ Walls of the city

♪ Babylon high...

- Oh, that's good. - Can't see the sky.

No, no, no, it needs more syllables.

"Skyscrapers scraping the view from my eyes."

That's it. Okay.

♪ Skyscrapers scraping

♪ The view from my eyes...

- Right. - Ooh, I like that.

Mmm.

Worshipping pagan gods.

Gods on motorbikes.

Black. Black's good.

Black and white tuxedos.

- Do you love me? - No.

- Liar. - That's it.

White lies. You're brilliant.

I am.

Reporter: So you never recorded "Ancient Witchcraft"?

Now that you're back onstage, are you gonna try it?

Lisa: It was my song. But one day I happen

to be having lunch with Cindi's manager

and he just happened to mention that Charlie sent the song to her.

♪ Walls of the city

♪ Babylon high

♪ Skyscrapers scraping

♪ The view from your eyes

♪ Gods in tuxedos

♪ Lying white lies

♪ No tomorrow

♪ Neon lights...

Lisa: Of course, Charlie said it all happened by accident.

- That was my song! - But I didn't exactly believe him.

Well, it caused a little bit of friction.

So we had a very adult discussion about it,

and I calmly told him that I didn't feel like

he was being sensitive to my need to sing,

and he said that he felt that my attitude

was threatening our work as a team.

We didn't exactly break up.

We just drifted apart.

So anyway, after that, I went back to the States

and I concentrated on my own singing career for a while.

How many men have you had since you broke up?

[ laughs nervously ] I don't really talk about it.

Come on, you're a good-looking woman.

It's been three years since you left Paris.

You must have guys around you like white on rice.

Listen, I've really enjoyed this interview,

but I'm afraid I'm gonna have to cut it a little short

because I'm gonna be onstage singing in about a half hour.

Listen, publicity is the lifeblood of the music industry.

You're gonna regret this.

I already do.

♪ Ancient witchcraft

♪ Modern greed

♪ I don't know where it goes ♪

♪ I know where it leads

♪ They say no use in trying ♪

♪ This is where we belong ♪

♪ I don't like the singer, honey ♪

♪ But I'll take the song

♪ No one leaves this city ♪

♪ Won't hurt to find

♪ There's a hole, a hole in the wall ♪

♪ And I'll escape tonight ♪

♪ Ancient witchcraft

♪ Modern greed

♪ Don't know where it goes ♪

♪ I know where it leads.

[ applause ]

Wow, look at these.

You deserve ever petal, honey.

- [ knocks ] - Hmm?

- That was a great show, Lisa. - Oh, thanks.

You know, I knew I shouldn't have done that song.

- I should always trust my instincts. - Oh, come on.

If it's something that I don't feel that I should do,

then I just should not--

- Who? - Moshe Mossek?

This guy's a producer. What does he want with me?

It says, "Please, please, please." Please what?

Well, Mossek's been calling about the possibility

of your writing the song for his next movie.

You're kidding. When did this happen?

- About one week ago. - One week ago?

- Why didn't you tell me? - 'Cause you won't do it.

Why not? Do you know him? Is he a jerk?

What, does he pay peanuts?

Because he wants you to write it with Charlie.

Oh.

Doesn't he know that Charlie and I broke up?

He doesn't care. He keeps calling from all over the world

and I keep telling him, but you and Charlie wrote the song

that made him fall in love with his third wife.

Oh, great. A sentimental fan.

Well, he says it would only be for this one song.

That you and Charlie could at least talk about it.

Anyway, we don't know where he is.

Well, he couldn't be all that hard to find.

You know? Not that I'd want to.

Of course not. Charlie's in the past.

How can Mossek be so insensitive,

asking you two to get together to write again?

Well, it's not all that insensitive.

I mean, it is just one song.

- Mmm. - Not that I'd want to do it.

- You're still vulnerable. - Oh, I'm not vulnerable.

No, not me. It's Charlie.

- He's the one that's vulnerable. - [ knocks ]

Lisa, you got a message from a guy called Charlie Hunter.

Speak of the devil. What does he want?

He wants you to meet him tomorrow at the Royal Monsieur Hotel.

[ piano music playing ]

No wheels.

You know, I had no idea you were working in a place like this.

Yeah, well, you know, things are tough everywhere.

You know, if you're in trouble, I wish that you had let me know.

- So... - You called me?

- No, you called me. - No, you called me.

No, I have a pile of messages that says you called me.

- Charlie, I have a message that-- - Lisa.

Come on.

Oh, it's Marion.

Marion set us up.

- Charlie. - What?

- I was thinking-- - Could you excuse me for a second?

- Woman: Darling. - Hey, honey.

I've been looking for you all over the hotel.

Charlie: Here I am.

So did Boulanger call back with an answer?

He's gonna need some convincing, yes.

That's okay. We can take care of it.

- Yes, I know. - Um...

- Lisa. - Right, Lisa. Julie Sanson.

Lisa?

I'm Charlie's fiancée.

Oh.

I didn't realize that-- well, anyway.

- [ laughs ] Heard an awful lot about you. - Oh, really?

Well, anyway, we're all checked out, ready to go.

- Charlie: Good. - Checked out?

- You mean you don't work here? - No.

Okay, I'm sorry. I couldn't resist the sympathy.

- We don't even have a piano. - What?

I had an accident with the last one.

Uh, so what do you compose on?

- I don't. - Charlie doesn't have much time for composing.

We run our own real estate investment company.

Real estate investment? How interesting.

You know, darling, we really do have a train to catch.

- Right. Right. Okay. - Well, congratulations.

- You two seem really happy. - We are.

And we'll be even happier in a couple of weeks.

13 days.

We're getting married.

- If Daniel can get the paperwork sorted out. - Right, Daniel is our lawyer.

Which reminds me, Lisa. We're having a little problem--

We really have to catch that train.

- --with our divorce papers. - We can talk about this later.

Well, you obviously have each other's numbers, so we'll be in touch.

It was really nice to meet you finally.

Pardon. Pardon, pardon.

Charlie!

Taxi, sir?

It's nice to see you again, Mr. Watanabe.

- Monsieur Watanabe. - Yes?

You have a message at Reception.

Thank you very much.

Charlie. Charlie, wait up.

- Lisa. - Hi, listen.

I probably shouldn't mention this,

but I sort of got the feeling at the hotel that you guys needed some money.

- Do you know Moshe Mossek? - Oh, sure. Moshe Mossek, yeah.

Yeah, well, he's been after Marion for us to write a song for his next film.

- Moshe Mossek's a film producer. - Yeah, he's a big one.

- You're kidding. - No.

Oh, my God, he makes great films. Remember "Stardust"?

- You love that movie. - Can we talk about this later?

- Ladies and gentlemen, into the train, please. - Come on, darling.

The thing is, Moshe Mossek's only gonna be here for a couple of days.

Maybe you should stick around and meet with him.

Darling, there is so much to do before the wedding.

Yeah, but you can take a later train to Saint Martin.

- Right. It's not gonna take that long, right? - Charlie!

No, I think it's worth meeting this guy.

We have just been through all this in the car.

I know that, honey. It's possible

that we can make enough money to finish financing the project ourselves.

- Seriously? - Yeah, it's possible.

- Oh! - Okay?

Go and speak to this man.

Okay, I'll see you later. Thank you.

- Call me tonight. Bye. - See you later, Julie.

[ whistle tweets ]

Charlie.

[ knocks ]

- Charlie. - Mr. Mossek.

- Wonderful to meet you. - It's such a pleasure.

Lisa, it's really great to meet you.

- God, that's a great suit. - [ knocking ]

- Oh, Julie Sanson. - Young lady?

- I'm sorry. - Hello, I'm Charlie's fiancée.

So you're having some marital difficulties?

Oh, you could say that.

You know, Christine and I were having difficulties.

And then one night we heard your song.

I'll never forget it. It spoke to us to the bottom of our gonads.

It made everything all right forever.

Well, forever doesn't last quite like it used to.

You have to write this song, the two of you.

- Now, why us? - Because this film I'm making is about me.

About me and Christine, when we fell in love.

Nobody else can write that song.

Hi, Uncle Moshe.

Oh, all right, everyone. Sorry I'm late.

I went up the Eiffel Tower and got halfway up and got stuck in the lift.

- [ phone ringing ] - I hate heights.

Donnie.

Don't mind me.

Oh!

Just hold on a moment, will you?

This is my second wife's sister's boy.

He's from Liverpool and I promised her he'd get a vacation job on the film.

- Both: Oh! - And he's gonna be your assistant.

- Both: Oh. - This is great.

I've always wanted to write songs just like you.

This is my big chance.

I read about you in the paper today.

- Oh, yeah? - I think you should sue that reporter.

He's an organizational genius.

He'll assist you. There's no Julie here.

- Oh, that's for me. - Honey!

Anything you want. You ask and you'll--

Yogurt, pianos, whatever. He's completely at your disposal.

Lean on me.

Thanks a lot, but--

He'll save you time. I need the song by the weekend.

- The weekend? - Wait, that's four days.

That's right, four days.

They're shooting the last scene today.

We lock picture on Friday and we remix on Monday.

Then bingo. I'm so excited about this film.

I mean, it's the perfect film.

If it's so perfect, then why reshoot?

In order to make it 10 times more perfect.

- But the weekend? - A problem?

- Do I hear a problem? - No. No, no.

- There's no problem. - This is so exciting.

I just can't wait to get started.

If we're gonna meet this deadline, we're gonna have to get started straightaway.

Yeah, no distractions. We should rent a piano.

- Piano. - Julie: But, darling.

Hole up somewhere. My hotel, maybe?

- Hotel reservations. - Honey.

Sweetheart, what about the wedding

and the presentation to Boulanger?

Yes, I can take care of all that.

What I don't understand is why you can't work by phone.

- I mean, you could fax things back and forth. - Fax machine.

No, I'm sorry. That won't work.

No, we have to work alone and we need peace and quiet.

- Donnie: Peace and quiet. - She can come to Saint Martin.

- Where's Seine-Maritime? - It's just outside Paris.

It's peaceful, it's quiet, and it has clean air.

Clean air. Beautiful.

- Great, just like camping out. - Wait a minute.

Moshe: Perfect, that's a deal.

- Julie: Great. - Uh, oh.

It's really nice to meet you.

- Donnie: See you later. - I guess clean air would be nice.

- Marion: Hi, honey. - Lisa: Hi.

Ah, so Charlie talked you into it, huh?

We talked each other into it.

Mm-hmm. Look at it this way, Lisa.

- It's just a career move, that's all. - Yeah.

You haven't written a song worth recording since you broke up with him.

Thanks a lot.

[ sighs ]

Charlie Hunter ripped my heart out,

chopped it up into little pieces,

and made me eat it for breakfast.

Two years after we broke up, I was so depressed,

all I did was eat Haäagen-Dazs Rum Raisin for two years.

It's taken me that long to finally work my way back to where I am.

And I've finally done it. I'm there.

Right. And it's over between you and Charlie.

- And you know he's marrying someone else. - I know.

So just consider this as a professional visit.

It'll put you back on the right track.

Give you a jump start.

[ dog barking ]

[ cows mooing ]

[ wings flapping ]

[ gunshot echoes ]

[ gasps ]

Julie: Lisa, hello.

- Hi. - We weren't expecting you quite so early.

Oh, yeah.

[ puffs ] I'm just getting something for dinner.

- Great. - It's rather basic here, I'm afraid.

We're still semi-camping out.

I suppose I should have warned you.

No problem.

- Julie: You okay? - Yeah.

And this is where we live.

As you can see, we're still building.

And this ostensibly will be our showcase.

Could you just wait a minute?

- I'll shovel this stuff in the kitchen. - Sure.

[ speaks French ] - CÇa va, Jean-Marc? - CÇa va.

Charlie insisted on building this fireplace.

You know how romantic he is.

Yeah.

Oh, Thelonious, I told you not on the furniture.

- It's Charlie's cat. - Where is Charlie?

Oh, he's in town.

He's ordering a flock of white doves to be released at the wedding reception.

- How romantic. - Mmm.

[ cat meows ]

I'm afraid the only decent bathroom is through there.

But I'm sure you won't mind sharing.

So we call ourselves "The Great Escape,"

and basically the main idea is to encourage people

to move out of the city, the smog, the pollution, the filth, the noise,

and into the countryside where they won't be condemned

to a suburban nightmare.

And this is it. Look, here is the farmhouse.

And, as you can see, this large extent of land

is what we're negotiating to buy at this moment.

- It's impressive, isn't it? - Yes, very.

And this is Tom. Tom, this is Lisa.

- Hello. - Hi.

Tom is another of our English imports.

And this is where you are going to be staying.

I'm afraid it's not very glamorous, but you should be comfortable enough.

- Tom: Hey! Mind the mud. - What?

- [ shrieks ] - Oh, I'm really sorry.

Are you designing a swamp?

Oh, yeah, we're really used to this.

We had a little problem with the septic tank.

Excuse me, Julie.

Oh, yes?

Um, forgive me for noticing this,

but I've been here for less than 10 minutes

and I've already been shot at, dipped in mud,

and I've had my clothes fertilized.

Now, I'm only gonna be here for a few days

and Charlie really wants to write this song

and it could mean a lot of money for you.

So I just want to know, do you have a problem with that?

No. No problem.

Great.

[ humming ]

Lisa.

- Hi. - Hi.

- Julie sent you some jeans. - Oh, thanks.

- You heard about the mud? - Yeah.

- You know, um... - Hmm?

I'm sorry I wasn't around when you got here.

Oh, don't worry about it.

No, I kind of got hung up with the blood tests and catering.

- The doves. - And the doves.

So much to do for a real wedding.

- Charlie. - Yeah?

Are you okay?

Sure, why?

You just sound like you're writing an article for a bridal magazine.

- It's all because of you. - Me?

What are you talking about? You were never romantic with me.

You never brought me flowers, you forgot our anniversary.

Yeah, and you were always busting me on it and you were right.

I got romantic with Julie and it's been great for our relationship.

- What a guy. - [ horn honks ]

Hey, Donnie. You found it okay?

We got a bit lost, but we're all right.

I got your piano, Mr. Hunter. Check it out.

What the hell is all this shit?

You wouldn't believe what you can do with this stuff.

Yeah, well, I can tell you what you can do with this stuff.

- Darling, this looks great. - Where's the piano?

I thought you were bringing a piano.

Well, the DK4AF can synthesize not only any piano

from concert grand to honky-tonk,

but it also replicates the exact sound

of every instrument known to man

as well as a full range of animal calls.

Oh, really? Well, that's great, but I don't want it.

I just want a real piano with wood.

But this comes with a digital transmitter.

You can send a fully orchestrated 16-track demo

of your song straight to my uncle's office.

Or you can just call him up and hum it to him over the phone.

Charlie, why are you being so difficult?

Difficult? I'm not the one being difficult.

Darling, the boy is only trying to help you.

Julie, please. Just stay out of it.

Oh, goodie.

I can see the next few days are gonna be fun, fun, fun.

Will you please? Just don't start.

- All I want is a real piano, all right? - Okay, okay.

What the hell is this? They didn't bring a piano?

- No. - I need a wood piano.

Yeah, a wood piano.

Well, I don't know. I guess some guys still use 'em.

I'm gonna kill you, Julie.

[ grunting ]

[ clock chiming ]

Uncle Moshe's deal didn't include a piano.

You just don't get the same sound out of an electronic keyboard.

The wood just resonates in a particular way.

I know, I know. But there's no way. All right, Mrs. Hunter?

Hi, Donnie.

Hey, listen. Uncle Moshe was quite adamant.

He said all the guys in the business were using 'em.

Yes, but, Donnie, Charlie's not like all the other guys in the business.

- Thank you, Lisa. - Good evening.

- Nice dress. - Thank you.

- Ah, Julie. How are you? - Hello, darling.

All right? Very imaginative.

I love your choice in textiles.

[ laughs ]

Darling, it's going to get very chilly later.

- Could you get her one of your sweaters? - Sweater, yes. Absolutely.

- I'm sorry, would you excuse me? - Donnie: Mr. Hunter.

- Donnie. - Could you help me with this tent?

- Yeah, what is it? - I don't know.

Fix this here. You've got to pull that out.

- Charlie. - Daniel.

- Hi. Good to see you. - Hi. Good to see you.

Lisa, this is Daniel, our lawyer.

Lisa Hunter Hollis, my ex-partner and wife.

Nice to meet you after all this time.

These are beautiful. May I?

Oh, yes.

- There you go. - Thank you.

So you've known Julie and Charlie long?

Well, I've known Julie some time because we're old friends.

Darling, could you help me a minute, please?

Yeah. Daniel, this is Donnie.

- Daniel Lombard. - All right, Mr. Lombard?

Do you know about tents? I seem to be having a bit of a problem.

- Yes, I was a Boy Scout. - Was you?

- The sweater. Sweater. - No, darling, could you just watch the pheasant?

- Yes. - Daniel.

Julie.

[ speaking French ] - CÇa va, mon ami? - Oui, et toi?

Well, I guess you've met.

- Yes. - Yes, sort of.

- I think these can use some water. - Oh.

Sweetheart, could you find a vase for these?

- Yeah, I'll get it. - Oh, I think Daniel needs a drink.

A drink.

About two hours ago. Oh.

Thank you.

Oh, listen, did you get a chance to go over that contract?

- What? - The Libelle property.

You have to know about it when Boulanger gets here for the presentation.

No, I forgot. I'm sorry, I'll get to it tonight.

[ screams ]

Oh, lord, no.

Get the pheasant off. Get it off.

- Oh, it's a disaster. - Charlie: You all right?

Lisa: I'll help you with your tent, Donnie.

Charlie: A little bit, please. The flies getting to you?

Mmm, that was really delicious, Julie.

Thank you.

- She's a fabulous chef. - [ coughing ]

Julie: Oh, my God. Here's some water.

Oh, I'm terribly sorry. I thought I'd got all the shot out.

Listen, would you like another piece?

Oh, no thanks.

- I'll have some. - It's his favorite dish.

- Really? - Didn't you know?

We didn't eat in much.

I'm the type that burns water.

[ laughs ]

- Do you want me to help you with that? - Oh, thank you.

I'll make someone a wonderful wife.

You're not married, Daniel?

Not yet, no.

He's too busy divorcing people.

[ thumps ]

Charlie: Uh, Donnie? Lisa, thank you.

Not found the right bird then, Mr. Lombard?

It's a very nice spot of claret, this, Charlie.

Yes, it's the '82 I was telling you about.

Seems strange to me to keep it in a bottle for so long.

I think you should just, like, drink it.

I'm real excited to work with you, Mrs. Hunter.

Have you heard Mrs. Hunter sing, Miss Sanson?

She's got a really beautiful voice.

Oh, no, no. I didn't realize you sang.

- Oh. - Well, you know, some people can sing

and some people can cook.

Indeed.

Indeed.

- Indeed, Donnie. - Oh, sorry.

Oh, no, no. You men sit down.

Sit down and talk.

There's something I've been meaning to ask.

Why exactly did you stop writing together?

- Well... - I mean, it can't be like what that article said.

- What article? - It said something about

Mrs. Hunter went back to America and hit the bottle really badly.

And Mrs. Hunter OD'd on aspirin when she found out

- that Mr. Hunter was screwing Cindi Benendi. - Dessert, everyone?

- Okay, Donnie, that's enough. - Wait, there's a wasp!

- [ Julie screams ] - [ Donnie laughing ]

I'm really sorry, Julie.

- These are the... - Watch your step.

...the dailies from the reshoot yesterday. Sorry.

They're pretty rough, but I think you'll get the basic idea.

I think I'm going to leave you to it.

Thank you.

So why exactly did they reshoot?

You didn't read about it in the papers?

I mean, it was on all the front pages.

No.

Right, Alison and Lance broke up during the filming,

right, and it marred the performance.

So they wanted to do it over now that time has healed the wound.

It's the romantic climax that leads to where your song will go.

- Oh, good, good. - Great. Let's watch it.

- Okay. - Camera.

861, take 18.

Director: Both ready? A lot of energy.

Action.

Oh, my darling, it will never be over between us.

I love you. You must believe it.

Alison, I've got to have a little bit more energy than that.

Oh, yeah, I'd say there's still a problem with the chemistry.

Yeah, like Chernobyl.

Yeah, but the right tune will fix that.

Charlie: Yeah, maybe a dirge.

Director: Alison, what is it now?

Tell him not to kiss me like that.

Okay, all right. I've seen enough.

No, no, no. Let it run.

So you came back to me.

Yes, I'll never leave you again.

Director: Alison, would you please smile?

You're supposed to be in love.

- I hate you! - Ooh.

Director: And action.

- Oh! Oh! [ screams ] - [ splashes ]

[ laughing ]

- [ snores ] - Hey, get her out of there.

Oh, it's a good thing they reshot it.

It's much better now, eh?

- Look! - What?

Star light, star bright, first star I see tonight.

Wish I may, wish I might, have the wish I wish tonight.

- I wish it hits us. - Come on.

Well, this is some opportunity.

Okay, Charlie, I know it's not a great film,

but that doesn't mean it can't be a great song.

You know, we write great songs,

so all we have to do is just write one.

How hard can that be, right?

I've got to go. It's late.

I'll see you tomorrow at 11:00.

Get some rest.

- [ bell tolling ] - [ rooster crowing ]

[ coughing ]

[ chickens clucking ]

[ Donnie groans ]

Why didn't you wake me up?

Come on, Charlie, you're in my light.

Well, you're in my way.

[ chicken clucks ]

Sorry, mate.

Sorry I'm late. I overslept.

Really?

- Egg butty? - What?

Egg butty? I know how you feel.

Gross.

[ phone ringing ]

Hello, Hunter Studio.

Oh, all right, Uncle Moshe.

Oh, yeah. It's great, yeah.

Ideas are just bouncing all over.

Yeah, we'll call you when we're done. Okay.

All right. Bye.

[ keyboard playing ]

I can't tell you what an honor it is

to be actually assisting inside one of your creative sessions.

I mean, not merely a creative session,

but more like an intensely creative session.

Donnie. Donnie. We really need to have quiet

before we can be intensely creative, okay?

Oh, sure.

- What is that? - No.

Hey, I like that. That's great.

- That's really fantastic. - Could you...

When do you think they will be able to marry us?

Well, we're still waiting for a certified copy

of Charlie and Lisa's divorce decree to arrive from New York.

I mean, since Lisa's here,

maybe she could sign an affidavit.

I don't see why that should be a problem, do you?

That reminds me of that song that we wrote once.

What was it?

Same chords.

Do you think that Boulanger

will need the income project for the year 2010?

I don't know, but, you know,

Charlie really has to read that contract.

He hasn't read it yet?

Oh, Daniel.

All right, I'm just gonna speak to him.

All right, a bit more to the left.

Good.

- Charlie. - [ music playing within ]

Darling.

- [ music stops ] - What?

Have you read the contract yet?

- The what? - The contract.

Oh, no. No, I didn't.

I'll get to it tonight, I promise.

Could you leave us alone, please?

My pleasure.

Oh, great, Tommy. You're starting on the path.

Sure.

Well, let's see if it works.

- [ sputtering loudly ] - Charlie: What's going on?

Tom.

- What are you doing? - Shut it off.

Tom, shut it off!

- What is it, Mr. Hunter? - What?

- What is it? - Quiet!

We need lots of quiet.

Okay, leave it to me.

Come here.

We need more juice, mate.

[ motor stops ]

If you want a tea break,

Miss Sanson says you can take it now.

[ footsteps on stairs ]

Uh, I think somebody's broken the cement mixer.

Well, we've got a problem, mate.

Better get on with the walls.

[ playing melody ]

[ motor running loudly ]

So what do you think? This sound okay?

How am I supposed to know? I can't even hear it.

Oh, Lisa, please. Just don't start.

Me start? Wait, Charlie, I'm the one that got rooked

into coming here by Miss Peace, Quiet, and Clean Air

and now I have to work in the middle of a construction site?

Look, I have to get it done before the wedding.

It's important to Julie and to me.

Of course, that's typical. You never cared about what's important to me, did you?

Julie: Hope we're not interrupting.

The wedding cake samples have arrived

and we thought this might be the perfect time for a tea break.

- Did I hear cake? - Fine. Fine. Great.

- Let's try it. - [ hammer banging ]

What's going on out there?

Charlie: Now what is it? God.

Seems that Tom's having a bit of a problem with the cement mixer.

You've got to try this chocolate, Mr. Hunter. It's amazing.

Charlie, I realize you're trying to work,

but there's something we have to discuss right now.

- What? - Well, it's that you can't get married

without a certified copy of the divorce papers

and that could take up to three months to arrive.

And since we are getting married in 11 days,

my darling, this obviously poses rather a problem.

- Unless. - Lisa: Unless what?

Well, unless you're prepared to sign an affidavit

to the effect that you really are divorced from Charlie.

No, wait a minute. I already gave them a copy of the divorce papers.

Oh, no. What you gave them was a photocopy.

They want it certified or an affidavit from Lisa.

Um, so, Lisa--

Lisa, um, you see,

if you wouldn't mind signing here.

What does it say?

It's simply that you swear that you're divorced from Charlie.

French bureaucracy. Deeply boring, I know.

[ phone ringing ]

Hello. Hunter Studio.

Mrs. Hunter?

Someone called Marion for you.

I'm gonna take this outside.

Oh!

Oh, hi, honey. How are things going?

I don't know. We're just working.

You don't sound too hot. You've got a deadline, you know.

I know. I know. But it's just not happening.

Are you having any problems with Charlie?

No. I don't know. It's just--

it's really hard to concentrate here.

Oh, listen, honey, I know I set this whole thing up.

If it's getting too much for you, just get out.

I mean it. Really. It's not worth it.

No, don't worry. I'm gonna be okay.

I'm gonna give it another shot, okay?

Okay. I have to go back to work,

so I'll speak to you later, okay?

Okay. Bye.

And take care. Take care.

Okay, bye.

[ sighs ]

- [ keyboard playing ] - [ water running ]

Julie, which one sounds the best?

Okay, here's the first one.

- [ music playing ] - [ gargling ]

Or...

- [ music playing ] - Mmm.

Okay, so which one sounds better?

Hmm? Which one sounds better?

Well, they both sound very good to me.

Yeah, I know that, but which one sounds better?

- There's a difference. - Charlie.

Do you realize that we have a presentation to Monsieur Boulanger

in three days and that if we fail, we basically--

- well, we basically lose everything? - Yeah, I know.

Look, please, I just have to finish this part.

- It's the bass line. - And what about the wedding?

I mean, you still haven't signed the affidavit for non-citizen residency.

I didn't? I thought I did.

I'm sorry. I thought I did. I'm sorry.

Okay, try the first one.

You don't really care about the business, do you?

I don't think you really want to get married.

Of course I do.

All you really seem to care about is that song.

Oh, honey, come on. I'm doing it for us.

Besides, you know, it's gonna be over in four days.

Don't worry. It's fine. Relax.

I just think that maybe we're making a very big mistake, that's all.

You seem to resent me for this wedding.

Come on, now, honey. What are you talking about?

So much to organize and I find myself nagging you day in and day out

- over the same boring details. - Honey, all right.

- I'm very, very, very tired. - Honey. Come here, honey.

Come here. Come here.

Come here. Look.

I'm sorry.

I know I haven't been paying enough attention to you.

But I do want to get married.

I do.

It's gonna be such a beautiful day.

It is.

You know, Lisa and I, we just ran off--

no, wait, listen to me, honey.

We just ran off and did it like it didn't matter.

But you do.

And I want to see you in that beautiful dress.

And then...

our friends, your family--

You know, I want those memories.

And I want them with you.

Charlie.

[ softly ] Do you really love me?

Yes.

- [ laughs ] - Oh.

Oh, Julie.

I'm sorry.

I've got to get to the bass line, honey.

I'm sorry.

Honey, honey. Please, honey.

- Good night. - Fine. Fine.

I'll sleep on the couch.

[ cow mooing ]

Chopping wood for the fireplace?

Optimistic.

I mean, you promised that this would be ready for today.

You promised. I mean, look at it.

What am I going to do, walk down the aisle naked?

- But-- but-- - But what?

But, madam, you've lost so much weight.

Yeah, well, I'm stressed. No one seems to understand the stress I'm going through.

Excuse me, Miss Sanson. Have you seen Mrs. Hunter?

Oh, wow. That's a really beautiful dress, Miss Sanson.

- It's really romantic. - Thank you, Donnie.

Would you mind? We're just trying to do a fitting here.

- Morning. - All right, Mrs. Hunter?

I've been looking for you all over.

Bad news. Uncle Moshe's called twice.

- What'd he want? - He's getting really, really impatient.

So I've been thinking, for the bass line,

maybe we could use a tuba, you know?

No, we can't put a tuba in the bass line, Donnie,

because right now we don't have a bass line.

We don't even have a melody line.

Right now we don't even have a note.

Been here a day already. Would have thought you got a little bit further than that.

Damn it, Julie, it's not that easy, okay?

Could the two of you leave us alone for a moment, please?

- Yes, no problem. - Sure.

Quite frankly, Lisa, I just don't understand.

I mean, how many words are there in a song?

I mean, there's what, eight to 10 to a line,

five or six lines to a verse,

three or four verses in a song.

So what's taking you so long?

What you don't understand, Julie, is that we're writing a love song.

And when you write a love song, you need to use the word love.

And right now there are only eight words

in the English language that rhyme with love, one of them being shove.

You've got a real nerve coming here to my house--

Wait a minute. You're the one that invited me, remember?

Oh, right, like I was just gonna leave

you and Charlie alone together in Paris.

Well, you're marrying the guy. Don't you even trust him?

Do you think I was born yesterday or something?

Do you think I don't know what this music business stuff is really about?

Oh, wait a minute.

I'd like to know something.

Did Charlie give up music all on his own

or did you have a little something to do with it?

Do you want to know quite how miserable

Charlie was when I met him, hmm?

All I did, Lisa, is make him happy.

Well, let me tell you a little something about Charlie, okay?

He loves music. It's gonna follow him around everywhere.

Do you really think that he's not gonna miss it?

Well, let me tell you a little something about Charlie, Lisa.

He's got a completely different life now.

And you want to know something else? He's in love with a woman

who loves him very, very much indeed.

Who?

Now, I can't pretend to know you very well,

or even know you at all, Lisa,

but do you really want to know what I see?

I see a very, very confused little girl

tottering in here in her high heels,

humiliating herself, throwing herself at a man

who divorced her how many years ago was it?

Something I said?

Come on, wake up. Ch-ch-ch.

Lisa.

Lisa.

Julie: Morning, my darling.

Good morning.

What happened?

Oh, she's fine.

It's a complicated situation.

- She's gonna be okay. - What happened?

Nothing. It's-- it's fine.

Honey, will you play nice, please?

- I'm being very nice to her. - I'm sure you are.

- She's very oversensitive. - I know. I know.

- It's a difficult situation. - All right. Okay.

I'm sorry about last night.

I'm sorry, too.

- Julie: I missed you. - I missed you, too.

- I did. Mm-hmm. - Julie: Mmm.

You know, I'm all sweaty.

Donnie: Mm-hmm.

- Mm-hmm. - [ sighs ]

Mm-hmm.

- Hi. - Hi.

[ motor starts ]

- [ groans ] - Yeah, all right. Uncle Moshe's on the--

How the hell are we supposed to work like this?

I'll take a message. Yup.

- Donnie, Donnie, Donnie. - Hold on.

Remember that idea you had with the tuba in the--

- The bass line. - That's it. Exactly.

- I think that's a great idea. - What?

I've been thinking about it. It would be kind of a good idea

for you to sort of stay in the studio and kind of noodle around

- a little bit with some tuba motifs. - Noodle.

- It's a good idea, don't you think? - Yeah.

You could stay here in the studio, sort of noodle.

In the studio?

Why don't we just leave you to it?

Thanks, Mr. and Mrs. Hunter.

- Cheers. - You're a prince, kid.

Oh, great. It's almost empty.

- Sit here? - So, finally,

no distractions.

Thank you.

[ sighs ]

I'd like to tell you about the plate du jour.

- I'll just have coffee. - Yeah, me, too.

Just coffee?

Okay, why don't you tell me about the plate du jour?

Roast beef and puree.

Ooh, well, I'm going to have that.

- And my wife-- - I'll have a salad.

- Wife? - Sorry.

Thank you.

- So... - So...

- The song. - The song.

- [ ringing ] - [ keyboard playing ]

All right, so we have to write a love song

about two people who can't stand each other.

Needs some ice.

- Can I get some ice? - Waitress: No ice.

Nice.

Um, we had something nice, but we paid the price.

I hope she gets lice.

No, come on, Charlie. That was good.

Want my advice? Stop rhyming.

I wasn't talking about you and me.

- You know... - What?

I want to apologize to you

for the way that I treated your piano.

It's no big deal.

No, I really feel bad about that.

I mean, you loved that piano and I--

and you don't write music anymore.

What happened to that guy that I used to know?

- Well, people change. - Not that much.

Bread.

Salad.

Roast beef and puree.

[ keyboard playing ]

[ phone ringing ]

[ coughing ]

- Hey! - It's okay.

You do some of your best work on your back.

- This is impossible. - No, it isn't.

- This song is impossible. - No, it isn't.

It's a piece of cake.

- No cake. - Okay, so what do you got?

- The rhubarb pie is fairly fresh. - Fairly?

[ playing glissando ]

[ coughs ]

[ song playing ]

Hey, we've got fans.

"Lonely at the Top."

Oh, Charlie, it's true. It is lonely at the top.

Oh, come on, Lisa.

You can't treat your lyrics like the Ten Commandments.

We're never gonna write anything that good ever again.

- We've lost it. - No.

- Now, come on. - We've lost it.

- [ horse whinnies ] - [ keyboard playing ]

Do you have any Jose Cuervo Gold?

- No. - Yes. Yes.

- What is it? - It's a tequila.

- I don't know. - Okay, where do you keep the booze?

- Over there. - All right.

[ sniffling ]

I know how you feel.

Charlie, no. We're supposed to be working here,

not destroying brain cells.

Come on, we need to take a break.

- Oh, God. - Tequila.

Do you have any limes? And some salt.

- Yes. - Great.

- What do you say? - Okay.

- Just one. - Just one.

[ music playing ]

[ coughs ]

[ music continues ]

Okay.

- Ready? - Ready.

One, two...

Ah! Wow!

Now, isn't that better?

[ laughs ] It always is.

Julie on recording: Hello, and welcome to the Great Escape.

Please leave a message after the tone

and we'll get back to you just as soon as we can.

[ beeps ]

Good afternoon, Lisa and Charlie.

This is Mr. Mossek's secretary again.

- Mm-hmm, our honeymoon. - Our honeymoon.

- Oh, what a great honeymoon. - And we danced on the beach.

- Was it the beach? - Yeah.

- Out in the rain. - It started to rain.

- It started pouring. - Pouring down.

- Rain pouring down. - Rain pouring down.

- That's good. - That's really good. Get a pen.

Paper. Paper. Tablecloth.

Can I borrow your pen? Okay, great.

Rain falling down. Rain falling down.

Rain falling down on your love.

Down on love. Down on love.

Rain pouring down, lost your love.

- Right. - Misplaced your love.

Misplaced your love.

And then salt...

- Rainbows! - Rainbows.

Making rainbows from nothing at all.

Mr. Mossek requests that you contact him

at your earliest convenience.

Moshe: Where the hell is that song, damn it?

You two better be hard at work.

Oh, Charlie,

we've been listening to this song for two hours.

Mm, do you have something else in mind?

The melons are cheaper in the market.

Oh, hello.

How are you?

Oh, fine.

I'm fine. You?

Well, I'll be relieved when you've finished

with that presentation to Monsieur Boulanger.

Oh, yup.

How's Charlie?

Oh, he's fine. He's fine.

Still busy with that song, you know.

- With Lisa? - Yup.

Julie, don't get me wrong if I say this.

If I were about to marry you,

I wouldn't be walling myself off with my ex-wife.

[ laughs ] You don't have an ex-wife, Daniel.

Maybe I'm still looking for the wrong girl.

Anyway, if you ever want to talk, you know where I am.

Um, I'll get Charlie to sign those contracts.

- Okay. - And we'll see you tonight.

- Yes. - About 8:00.

- Of course. - Okay. Okay. Bye-bye.

[ speaks French ]

Oh, shit.

[ truck passes ]

Julie?

Try again.

Oh, shit!

Well, if it's any consolation to you,

I feel exactly the same way.

Okay, it was a mistake, Charlie, okay?

Yeah. You're right.

It's not the first mistake I've ever made.

It's certainly not going to be my last.

You want to know what your biggest mistake was?

Walking out on our marriage.

Oh, come on. I was pushed out.

I was supposed to sing that song.

- It was an accident. - Yeah, right.

For the hundredth time, I was sending out songs

and that one got mixed in by accident.

There are no accidents, Charlie.

You were always trying to undercut me.

Oh, come on. Don't be so paranoid.

- Paranoid? - Yes, paranoid.

Undercut you? Why would I want to undercut you?

Come on, we had the perfect life.

We ate food, we wrote songs, we made love.

Yeah, yeah, but you never wanted me to sing

and I always wanted to sing.

Since you were a little girl.

Since before I was a little girl.

There was a want-to-sing egg

and a want-to-sing sperm and that was me.

Yes, yes, I've heard all this before.

Yeah, you heard it, but you just never understood it.

You don't understand anything unless it's me giving in to you.

- You know what the trouble with you is? - What?

You don't know how to put anybody else first.

Oh, and what do you put first?

Real estate income projections? Very impressive.

It's a business.

The hardest thing is is I'm just so disappointed in you.

I must have been crazy to think that we could actually get back together again.

Get back together?

Wait a second. Who said anything about getting back together?

- Oh, come on. - What? I thought we were writing a song.

Oh, yeah. And what was this?

A fast game of Monopoly?

You were the one that ordered the tequila, not me.

You know what tequila does to us.

Come on, it takes two to tango.

Anyway, I had to do something to cheer you up so you could write the song.

Oh, don't do that, okay? Don't you do that.

You're always blaming it on the song.

If you don't want something, if you want something,

you never just say it. It's always the song.

It's always the song. The song, the song--

oh, my God, the song.

Well, I don't care about the songs anymore

because I've got a person, a real person,

and she's not gonna run after the spotlight.

What happened to this table?

We sat at it. And then we ordered soup. Didn't we, Oswald?

Soup? You ordered the soup.

I wanted foie gras with a little glass of Beaumes de Venise.

He's got a very delicate system.

I've told you, Oswald, it doesn't agree with your system.

Forget it.

Strange dress.

Excuse me.

There was a tablecloth we were writing on earlier today.

- In the garbage. - In the garbage.

Okay, the garbage.

Um...

Oh, mashed potatoes. We ordered roast beef, mashed potatoes.

- Yes, you didn't eat them. - Yeah, we didn't eat them.

Then we danced and then we wrote on the--

this is it. Is this it?

This is it! I found it.

Would you like me to wrap it up for you?

[ geese honking ]

[ music playing ]

Charlie. Hey! Stop!

Charlie, stop!

What were you gonna do, leave me there?

[ music continues ]

What were you thinking? Were you just gonna leave me there?

I'm not talking to you.

Fine, I'm not talking to you.

[ sizzling ]

[ quacks ]

Hello.

I'm afraid dinner's gonna be longer than I thought.

- [ music stops ] - Do you want an aperitif?

Oh, yes, please. I'm starving.

Mm, what's that smell? It's amazing.

- Where are the others? - Who?

Oh, Mr. and Mrs. Hunter.

They said I could work on it in the studio

with the tuba for the bass line.

And I put in some flutes and some French horns.

And it's really coming along great, too.

If you really want to know,

I think they wanted to be alone for a little while.

You are joking.

No.

Right.

[ engine starts ]

Julie, where are you going?

What happened? Where is she going?

I'm not really sure.

For your information, the song sucks and I'm going home.

Great. Go.

I have to pack before I can go.

- What happened? - I'm not really sure.

She sort of blew up when she found out you and Mrs. Hunter went off together.

Who told her?

Um, I think I did.

Great. Great. Great. That's just great.

- [ horn honks ] - Oh, my God, it's Uncle Moshe.

[ honking ]

What are we gonna say to him?

He's your uncle.

What the hell is happening? I've been calling all day.

I leave messages until my tongue is tired.

We're humming right along, Uncle Moshe.

I mean, we got a bass line already. Let me play you a few bars.

- No, no. No. - No, no, don't.

[ music playing ]

Turn that noise off.

Well, maybe it could use just a little bit more vibrato.

- What is this? - Well, it's funny you should ask.

You see, Lisa and I thought we had a solid, stable breakup.

- And we-- - It turns out we hate each other's guts.

Right. My point exactly.

And you can't write a love song if you hate each other's guts.

- Right. - I was afraid of that.

So I suppose you would like to get out of the contract.

Thank you, Mr. Mossek. That'd be really, really kind.

Kind? Kind is a word I do not know.

You're trying to screw me. Nobody screws Moshe Mossek on a contract.

I've got a dozen man-eating lawyers just waiting.

They'll sue you from here to eternity.

I'll take your house, your car,

- your business. - [ cat meows ]

I'll even take your goddamn cat.

Did you ever hear of Reginald Ray?

- No. No. - No.

Well, that's exactly my point. And you never will.

He tried to screw me and I smashed him like a bug.

But we can't write the song.

Oh, yes, you can. I'll be in Paris until the end of tomorrow.

That's when I want that song

just like it says in the contract.

But, Mr. Mossek, the contract actually says--

You must honor it. That is all.

You signed it. That is your word.

Your oath.

That is your holy sacred deal.

Uncle Moshe. The guy's a nutter.

Wait, Charlie.

The guy's crazy. What are we gonna do?

- What are wegonna do? - Yeah, what are we gonna do?

- [ scoffs ] - What are you doing?

- Bonjour. - Bonjour.

- Have you seen Julie? - Hours ago.

- Hours ago? - Sorry.

[ knocks ]

You know I'm gonna get fired over this.

Oh, come on, Donnie. He's your uncle.

He's not gonna fire you.

My Uncle Fred fired me. And my Uncle Morris.

Uncle Moshe's the last one.

I figure after him, I'm all out of uncles.

Plus my mom's gonna kill me.

You know what, Donnie?

Maybe it's not so bad to be on your own for a while.

Sounds terrible.

[ laughs ] It's not.

It's really not so bad.

[ keyboard playing ]

[ gunshots ]

[ duck quacking ]

- [ gunshots ] - Charlie: Julie.

Julie, put the gun down.

[ gunshots ]

Julie.

Baby.

[ cocks rifle ]

I want to get married.

Yeah? Well, good luck to you.

- [ gunshots ] - Jesus! Ah!

[ puffs ]

Put it--

Where were you?

When?

I was looking for you. Yeah.

You mean earlier.

Oh, with Lisa.

Right, well, God, you know,

there were just so many distractions at the house.

We thought maybe if we could get some peace and quiet,

we could get somewhere.

And how far did you get?

With the song?

God, you know, we had a great start.

Yeah, had a very promising start.

Came up with some great ideas.

And then, you know, we kind of got bogged down a little.

You know, when you first invited her out here,

I thought you were testing me.

You were right to test me because I didn't know if--

Julie, baby.

Don't cry.

Oh, I love our life together.

I love being with you.

God, I wish we were in America.

We'd just run off to Vegas and get married.

You know, just get on a plane and forget about everything.

And the song?

I don't know.

Wait. No, I don't care.

Really?

I don't care.

Charlie: We'll have a long, nice, quiet dinner tonight,

just the two of us.

Yes, I'd really like that.

- Wouldn't you? - I'd better call Daniel.

Yeah, I guess. Call him.

Explain to him the situation, okay?

Oh, hello, Lisa.

We thought you'd gone.

- Charlie, can we talk? - Yes.

Mossek's gonna sue, okay?

He's gonna take your business and he's gonna wreck my career.

What? Sorry, he can take this?

- No. No. - He can't do that.

He can do that. He's just that insane.

Listen, we can beat him, okay?

All we have to do is write a song.

It doesn't have to be a hit.

The contract does not say it has to be a hit.

- Yes. - Yeah, I think this is a great idea, Lisa.

- But... - Great. Well, all I'm saying is

- I just have to stay till tomorrow afternoon. - What?

Our pleasure. I'll make sure you're not disturbed.

- You will? - Charlie, I know we hate each other's guts,

but I'll just work in my room and he can work in the studio.

- We can just have Donnie run interference. - That's settled, then.

Maybe it might work.

- Fine. - Fine.

[ sighs ]

Okay.

I think I got it.

Cheers.

Right, I'll see you later.

Special delivery.

Fine. Fine.

Why don't you tell her she writes three more verses like this,

we'll never have to write another song together as long as we live?

Mr. Hunter said

three more verses like that

and you'll never, ever have to write another song together

as long as you live.

[ playing melody ]

Punches through the defense like a gazelle.

He goes for the shot!

Donnie Parks, the man from nowhere,

scores his hat trick for England.

This looks like it could be a red card for Donnie Parks

because he's tired of taking tapes backwards and forwards.

The fans, they can't believe it either.

The man's a miracle.

- Donnie! - Oh, all right, Mr. Hunter.

I feel like a yo-yo.

That's what I am. I'm a yo-yo.

The fruit of your distant collaboration.

I hope she won't be long.

I've got Uncle Moshe's chauffeur waiting outside for me.

She'll be here.

Okay, this is fine.

Here's the rest of the lyrics.

Thank you.

So, we're all finished.

Great.

- Yeah, great. - Yeah.

- [ music playing ] - ♪ Rain falling down

♪ I'm down on love

♪ Pain works hard on my one day off ♪

♪ From the moment I saw you ♪

♪ Things seemed to change ♪

♪ Let a survivor in from the rain ♪

♪ Making rainbows

♪ From nothing at all

♪ Finding our way

♪ Of walking tall

♪ Dance in the night

♪ Until we fall

♪ Making rainbows

♪ Making rainbows

♪ Of it all.

This is so beautiful and so true.

I mean, it's gonna be a hit.

And if you never write another song,

you'll always be remembered for this one.

And to think, I, Donnie Parks,

was part of it.

Julie: Oops, mind the puddle.

Don't want to go through all that again.

Lisa: Of course not.

Charlie: Will you call me if you hear any news from Moshe?

I will.

Well, I guess that's that.

It's a hell of a note to go out on.

- Yeah. - So back to Paris?

Yeah. Got to record a few tunes,

and then I think I'll go to New York at the end of the week.

Yeah, it's getting late. You don't want to miss the train.

Yeah. You're right, I don't.

- Thank you, Julie. - Oh, it was my pleasure.

Come back and visit us sometime.

I'd love to.

- Bye. - Bye.

Safe journey.

God, it's getting cold.

[ thunder rumbling ]

[ purrs ]

- [ switch clicks ] - [ music playing ]

[ moans ]

- What are you doing? - Do you like it?

I thought you'd finished the song.

No, it's for you. To play at the wedding.

Oh.

That's so sweet, darling.

But what about the choir?

You know, even you, my darling,

can't beat Bach, hmm?

Yeah.

You're right.

In addition to which, the cultural and sports centers

are already attracting multinational corporate sponsorship.

So, as you can see from the financial statement

and the income projections, we are indeed presenting you

with a very, very stable project.

And if you check the third paragraph, Mr. Boulanger,

you'll see that the return on your investment would be considerable.

Well, what about the fluctuation in interest rates?

How would that affect you?

Charlie.

[ quietly humming ]

[ coughs ]

Oh.

I was making some notes. What?

I would be interested to see. May I?

Even a 3% variation won't have a negative effect.

In any case, certainly not before 2010, Monsieur Boulanger.

Damn it, Charlie, he almost said no.

- Yeah, but he didn't. - No thanks to you, my darling.

If Daniel hadn't stepped in and saved us,

the whole deal would have gone through the window.

Yes, but the important thing is

we got their okay. Champagne?

I really don't think so at this moment, thank you.

[ humming ]

Your nuptial doves have arrived.

Very romantic.

I thought there'd be more of them in a flock.

How many doves in a flock?

I'm afraid I don't know, sir.

[ phone ringing ]

Just put it over here on the chair.

Yeah?

Hi.

Right.

Oh, I know.

Yeah.

Uh-huh.

Uh-huh.

Uh-huh.

Yeah, uh-huh.

Bye.

Who was that?

- Lisa. - Really?

Yeah. Moshe hates the song.

He's having it rewritten by Cindi Benendi's writer

and she's gonna sing it.

And the money?

Oh, come on, you've got to be kidding me.

We're lucky he doesn't sue us.

Oh, yes, Charlie, we are so very lucky.

[ humming ]

- [ cork pops ] - Would you like some?

No?

That's too bad.

Mmm. Ah.

[ humming ]

[ music playing ]

Do you think you could cut that out, Charlie?

I mean, some of us are trying to work around here.

- [ faint tinkling ] - Charlie.

Charlie, I can still hear it!

Daniel: Fantastic news.

The papers for the marriage have finally come through.

- Really? - Great.

Charlie: Would you like a drink?

Love one.

- Can we talk? - Of course.

Daniel, do you mind leaving us alone for a moment, please?

Of course.

Charlie, what is going on here?

Oh, great.

Great. Great. Great.

What do you expect me to do

when you sit glued to that thing 24 hours a day?

It's not 24 hours.

Charlie. Do you remember us, Charlie?

You remember us that you cared about,

oh, what was it, a whole week ago, huh?

And now I'm with this stranger

that deigns to make love to me from time to time.

Oh, well, thank you for the input.

Let me work this one out by myself, shall I?

Okay, now, let me see now.

What do I feel I'm competing with?

Your ex-wife? No, no, she's left.

So... a song.

A mediocre piece of trash that nobody seems to like.

And yet for this, this terribly good idea

that was gonna solve all our problems

and bring us fame and fortune,

for this, this you risk

everything that we have,

cared about, and worked very hard for,

and that has been us, Charlie, for two whole years.

Do you remember when we met?

Do you remember

how depressed and pathetic you were?

Do you remember?

And now you're a man with--

with a life

and a profession

and a wife, Charlie.

Only I will not compete with your music, my darling.

I will not compete with it because I feel humiliated by this.

Do you understand?

You're right.

I can't do it.

Not for you.

Not for anybody ever again.

I'm sorry.

I want you out of my house, Charlie.

And I never want to see you again.

Do you understand? I never--

I never want to see you again, okay?

[ footsteps receding ]

[ door slams ]

[ doves cooing ]

[ cat meows ]

[ clattering ]

Hello, Thomas.

Hello.

Something wrong?

Nothing I can do anything about.

I've been there before.

The fireplace fell down. There won't be a wedding.

Thought that might happen.

The fireplace or the wedding?

- Both. - Ah.

What happened?

Well, we found out we were 100% incompatible.

What about Lisa?

We're 200% incompatible.

What are you going to do?

I don't know.

What would you do?

You don't want my advice.

- Oh, come on. - I've spent 20 years with the same woman.

- 20 years? - Yeah.

First choice is always best.

Well, I've got to go.

Good luck, mate. You'll need it.

- Take care, Thomas. - Cheers.

- [ meows ] - I know.

Yeah.

[ horse whinnies ]

Charlie?

Hi, Daniel.

What's happening?

[ meows ]

It's a long story.

Julie will fill you in.

[ music playing ]

Lisa: ♪ Yeah

♪ A dollar too much

♪ In need of a dime

♪ Spend what you got like you were blind ♪

♪ Turn back the page, you can't turn back time ♪

♪ Loving too many, too many to hold ♪

♪ Bet on a loser when you could have gone bold ♪

♪ Take a piece of the action ♪

♪ You can't have it all

♪ Now watch me close

♪ I'm fine

♪ You can change the tune, rewrite our lines ♪

♪ But you can't turn back time ♪

♪ If I make a move, you're moving in ♪

♪ Before you move in, I'm already in doubt ♪

♪ Loving too many I can do without ♪

♪ Watch me close

♪ I'm fine

♪ You can change the tune

♪ Rewrite our lines

♪ But you can't turn back time. ♪

- Take five. - Lisa: Okay.

That sounded great.

- That you? - Yeah.

What are you doing here?

I had to come to Paris to take care of some business.

More investors.

Well, you didn't have to listen to all that, did you?

I mean, I know how much you love my singing.

No, wait a minute. I never said anything about your singing.

Oh, no?

Maybe once.

Yeah, like when we first met

and a few million times after that.

You've improved.

Amazing what a little practice will do.

Which you might have done earlier if it hadn't been for me.

Maybe it wasn't by accident that I sent your song to Cindi.

I would have given anything to keep you from recording it.

Why couldn't you have loved me enough to want me to succeed?

Because I loved you. Because I was scared.

I mean, how could I--

how could I want you to succeed at something that might take you away from me?

But I didn't want to go away.

But you did.

I mean, that's what singers do. They go on the road.

Anyway, that was a long time ago.

You know, Charlie, you could still work in music.

You wouldn't have to work with me.

People are always, always asking me.

No. No.

But you used to dream music.

You used to wake up in the middle of the night

and write things down, remember?

Yeah.

Last time that happened was right after we broke up.

I thought it was the best thing I ever wrote.

See, only I didn't have anybody to play it to.

I didn't want to play it for a producer or a singer.

I didn't want to sell it to anybody.

I wanted to celebrate it with somebody.

Only you were gone.

Listen, you want to come in here and play it for me?

[ playing ]

That's nice.

- Okay, here. - All right.

It's a little rough.

Oh, no. It's perfect.

- Yeah? - Yes.

♪ If the moon should rise ♪

♪ With the sun still high ♪

♪ If the story ends bef-- ♪

♪ Because this tale is broken... ♪

Right.

♪ Is there still time

♪ For promised lands?

♪ Promise to me.

Do you really think this is a good idea?

Think tequila.

♪ Walls of the city

♪ Babylon high

♪ Skyscraper--

- Oh, can I help you? - Huh? What? Yes.

Could you just hold-- there. Thank you.

Just-- whoa. Let me get the key.

Where's the key? I got the key.

- I have a key. - Oh, really? Great.

Yes.

- [ lock clicks ] - [ door opens ]

[ snoring ]

Charlie: Light switch.

[ both whispering ]

What the hell are you doing here?

It's the middle of the night.

We got your song, Moshe.

I know and it stinks like rotten herring.

Cindi's recording a new one tomorrow.

- Get rid of it. - Get rid of it?

That's right. Get rid of it. This one's better.

Forget it.

Cindi will be in the studio at 10:00 in the morning.

It's too late.

It's never too late. Listen to this.

Just listen.

[ music playing ]

[ softly ] What do you think?

[ softly ] I think he likes it.

- Now the instrumentation-- - Shut up!

I'm trying to listen.

This is what I knew you people could do.

Wait. Wait a minute. Not so fast.

- There's one condition. - Conditions?

- Mm-hmm. - You're waving conditions at me?

You're lucky I didn't sue you.

You can forget about any more money.

Oh, come on, Moshe. We don't want any more money.

You get the song if and only if

Lisa sings it.

Oh, please. No.

Oh, come on, Moshe. Nobody understands that song like she does.

Because nobody's lived it.

I don't know.

First you send me a terrible, awful song,

then you give me this great one,

but she'sgot to sing it? I don't know.

I'm not marrying Julie.

- You're not? - Lisa: You're not?

- I'm not. - He's not.

- Why not? - I love Lisa.

You mean, the two of you are gonna get married again like Richard and Liz?

I don't know, Moshe. I hadn't gotten that far yet.

What do you say?

Will you marry me... again?

Yes!

Oh, Moshe, I think this is your chance to give us a really nice wedding present.

Terrific.

That's terrific.

Now will you let me get some sleep?!

[ sighs ]

[ snoring ]

Christine!

Oh, I'm sorry, my dear.

- [ Christine crying ] - Oh, don't cry.

My darling,

it will never be over between us.

I love you.

I missed you so much.

I love you. I've always loved you.

♪ If the moon should rise

♪ With the sun still high

♪ If the tale should end

♪ For the spell is broken

♪ Is there still time for promised lands? ♪

♪ Promise to me

♪ Fell on the streets, I can't keep the score ♪

♪ Got two open tickets, but I don't know what for ♪

♪ If there's no one in

♪ Who's minding the store?

♪ Minding the store

♪ Morning dawning

♪ Rise with the tide

♪ Morning, yawning

♪ Touched till I'm falling

♪ For someone somewhere

♪ To lay by our side

♪ Our side

♪ Mmm...

♪ If you lose my keys

♪ If I lose control

♪ Will you hold my hand

♪ On the final morning?

♪ Can we still change the storyline? ♪

♪ Play our big scene

♪ Morning dawning

♪ Rise with the tide

♪ With the tide

♪ Morning, yawning

♪ Touched till I'm falling

♪ For someone somewhere

♪ To lay by our side

♪ Our side

♪ Can we still change the storyline? ♪

♪ Play our big scene.