:19:01
OK.
:19:03
Fade out.
:19:05
And fade in.
A picturesque Parisian square,
:19:09
where the holiday festivities
are in progress.
:19:12
A simple Parisian working girl,
:19:14
who looks remarkably like you,
Miss Simpson,
:19:16
emerges from
her simple Parisian dwelling
:19:18
and makes her way through the crowd
and across the square.
:19:28
She seats herself at a table
at this little café she goes to.
:19:31
With breathless anticipation,
she awaits the arrival of her date.
:19:35
Some... actor.
:19:38
Now I suppose
we'll have to describe him.
:19:41
I see him
as curiously unattractive.
:19:44
Not at all. Philippe happens to be
very handsome.
:19:47
In fact, he looks rather like,
erm, Tony Curtis.
:19:50
I see him as one of those
mumbling scratching actors
:19:53
destined only for minor roles
and character parts.
:19:55
And his name is not Philippe.
It's Maurice.
:19:58
Maurice!
:20:04
Like, er, bonjour, baby.
:20:07
- Bonjour, Maurice!
- Hey.
:20:08
Oh, I'm so excited. I didn't sleep
a wink. Do you like my dress?
:20:12
Yeah, very groovy.
:20:14
Would it be too wicked
if instead of breakfast
:20:17
we had a glass of champagne
right here?
:20:20
Thanks.
:20:25
- Look, baby...
- Yes, Maurice?
:20:28
This Bastille Day gig?
:20:31
Like, erm,
we're gonna have to cool it.
:20:34
But, Maurice, I don't understand.
:20:36
Well, see, baby, I'm going to
have to cut. See, last night,
:20:40
while I was making the scene
at le drug store,
:20:43
I was tearing an expresso
with a couple of local citizens
:20:47
when, erm, all of a sudden
this New Wave-looking stud comes in
:20:52
and says his name is Roger Roussin
:20:54
and, like, he's making a film
about Bastille Day.
:20:58
No Dancing in the Streets.