剧本: Before Sunrise (1995)
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来自:http://sunrisesunset.wikia.com/wiki/Main_Page Before Sunrise script From Before Sunrise, Before Sunset Jump to: navigation, search Before Sunrise (1995) “There’s a wind that blows in from the North…” An un-official transcript of the *** award-winning screenplay created by members of SunriseAndSunset@yahoogroups.com Please join us at: http://movies.groups.yahoo.com/group/sunriseandsunset 1995 Golden Bear Winner for Best Film, Berlin International Film Festival (a.k.a. “Berlinale”) Screenplay & Story by Richard Linklater & Kim Krizan Opening Titles 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 where we see a number of passengers in their seats. The coach car is quiet as the first scene begins. Contents 1 Scene I – “What Are You Reading?” (The Train) 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 [edit] Scene I – “What Are You Reading?” (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 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'm doing this since 15 years now, 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 too. I have a great suggestion, you move to your mother and take all your cookbooks with you.) Man: Das ist ein wunderbarer Vorschlag, den unterbreitest du mir ungefaehr zwei mal im Monat. (That's a wonderful suggestion, you bug me with that about twice a month.) (She slaps his newspaper down, and out of his hands, then grabs the paper.) War das jetzt wirklich notwendig? War das notwendig? (Was that now really necessary? Was that necessary?) (Disturbed by the couple’s fighting, Céline stands up, takes her bag from the overhead rack, and moves to another seat about halfway toward the back of the car. As she settles into her new seat, she looks across the aisle at Jesse. He looks back. She looks at Jesse one more time after picking up her book.) Man: Geh zu deiner Mutter. (Go back to your mother.) Man: “Geh zu deiner Mutter zurueck,” ich kann es nicht mehr hoeren. immer das Gleiche . immer das Gleiche. Ich kann es nicht mehr hoeren. (“Go back to your mother,” I can’t take it anymore. Always the same. Always the same. I can’t take it anymore.) Woman: Das ist so langweilig! (This is so boring!) Man: Ja, du bist langweilig! (Yes, you’re boring!) Woman: Ja, du auch. (Yes, you too.) Man: Ich kann doch diese Wohnung nicht dem Chaos preisgeben. (I cannot expose this apartment to that Chaos) Woman: Das Chaos ist alleinschon deine Sache. Ich behalte...Ich kann’s nicht behalten, die Katzen. (The Chaos is just your thing. I keep…I can’t keep it, the cats) Man: Apropos Katzen. (Appropriate, the cats.) Woman: Ja? (Yes?) Man: Wieder vergessen! (Again forgot it!) Woman: Wer hat das Sheba nicht gekauft? DU hast das nicht gekauft! Ich geh' jetzt in den Speisewagen. Nimm das Geld mit. (Who didn’t buy the ***Sheba? YOU haven’t bought it! I’m going now in the lounge car. Take the money with you) Man: Jetz' bleib doch einen Augenblick. (Now, just stay for a moment.) Woman: Ich moechte nicht, dass du mit mir kommst. (I don’t want that you are coming with me.) Man: Wart' doch einen Augenblick. (Wait a moment.) Woman: Wie geht diese scheiss Tuer auf?! (How do I open this fucking door?) (Céline looks up from book, disturbed. She moves to another seat, across from Jesse. They glance over at each other. The woman who was arguing with her husband leaves the car, walking down the aisle with her husband following her between Jesse and Celine. They look at each other, smile then Céline looks away.) Jesse: (Still looking in Celine’s direction.) Do you have any idea what they were arguing about? (Points toward the exit.) 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? Jesse: No. 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. (Forget it.) Jesse: Look, I was thinking about going to the lounge car sometime soon. Would you like to come with me? Céline: (Nods.) Yeah. Jesse: Okay. (*** 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.) [edit] 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? Jesse: Yeah. 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 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...” 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. Céline: Okay. 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? Céline: Um-hmm... 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-four 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: Yeah! Céline: Hmm. 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. Céline: Yeah. 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)...the 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 the play is continuous, ‘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 have never really spoken of the possibility of my falling in love, or getting married, or having children. Even as a little girl, they wanted me to think of a future career, as a, you know, as an interior designer, or a lawyer, or something like that. I'd say to my dad, “I want to be a writer.” and he'd say, “journalist.” I'd say I wanted to have a refuge for stray cats, and he'd say, “veterinarian.” I'd say I wanted to be an actress, and he'd say, “TV newscaster.” It was this constant conversion of my fanciful ambition into these practical, money-making ventures. Jesse: Hmm. I always had a pretty good bullshit detector when I was a kid, you know. I always knew when they were lying to me, you know? 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 (shakes head, shrugs shoulders) doing just the opposite. Céline: Mm-hmm. Jesse: 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 like are basically nice, and supportive... Jesse: Right... Céline: It makes it even harder to officially complain. You know, even when they're wrong, it‘s this, it‘s this passive-aggressive shit, you know what I mean, it‘s... 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, you know, this magical time. I do. I remember when, uh, my mother first told me about death. My great-grandmother had just died, and my whole family had just visited them in Florida. I was about three, three and a half years old. Anyway, I was in the backyard, playing, and my sister had just taught me how to take the garden hose, and do it in such a way that, uh, (holds his hand up to demonstrate the garden hose technique) you could spray it into the sun, and you could make a rainbow. And so I was doing that, and through the mist, I could see my grandmother. And she was just standing there, smiling at me. And uh, then I held it there, for a long time, and I looked at her. And then finally, I let go of the nozzle, you know, and then I dropped the hose, and she disappeared. And so I went back inside, and I tell my parents, you know. And they, uh, sit me down give me big rap on how when people die you never see them again, and how I'd imagined it. But…I knew what I'd seen. And 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, you know, even death. Céline: You're really lucky you can have this attitude towards death. I think I'm afraid of death twenty-four hours a day. I swear. I mean, that's why I'm in a train right now. I could have flown to Paris, but I'm too scared. Jesse: Oh, come… Céline: I can't help it. I can't help it. I know the statistics say na-na-na, it‘s safer, whatever. (Jesse laughs.) When I'm in a plane, I can see it. I can see the explosion, (Jesse makes an explosion sound effect) I can see me falling through the clouds, and I'm so scared of those few seconds of consciousness before you're gonna die, you know, when you know for sure you're gonna die. I can't stop thinking that way. It‘s exhausting. Jesse: Yeah, I bet. Céline: Really exhausting. (She looks out window and points, as the train slows down.) I think this is Vienna. Jesse: Yeah? Céline: You get off here, no? Jesse: Yeah, what a drag. I wish I had met you earlier, you know, I really like talking to you. Céline: Yeah, me too. It was really nice to meet you. (Train stops, scene fades.) [edit] 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. Céline: What? 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. Céline: Okay. (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.) [edit] 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. Céline: Yeah. (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? Jesse: What? 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. Céline: Great. 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. Céline: 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: Alright. Celine: Great. 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. [edit] 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? Céline: Okay. 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. Céline: You. 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. Jesse: Um-hmm... 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: Really? Jesse: Yeah. 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. Jesse: What? Céline: Wait a minute. Jesse: What? 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? Céline: No...(Laughing.) 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. Jesse: Okay. Céline: You're going to answer. Jesse: Yes, I'll answer. Céline: Ah, what's a problem for you? Jesse: You, probably. Céline: What? 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? Céline: Yeah. 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.) [edit] 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. [edit] 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.)
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