Jobim: "Generique" and "Felicidade" and "Manha de Carnavel" and "Scene de Lever du Soleil" and "Samba de Orfeo"
Off the album Stone Flower, "Brazil"
Live at the Monterey Jazz Festival, "Black Orpheus Medley" by Bola Sete
"Psychastenie" by Serge Gainsbourg and Michel Colombier
Strangers on a Train
Theme by Dimitri Tiomkin
From The Book of Angels (vol. 1), "Beleth" by John Zorn
Five Easy Pieces
"Stand by Your Man" by Tammy Wynette
INT. ROADSIDE CAFE - DAY All four are seated at a booth. The women have given their orders and a WAITRESS stands above Bobby, waiting for his: BOBBY (looking at his menu) I'll have an omelette, no potatoes. Give me tomatoes instead, and wheat toast instead of rolls. The waitress indicates something on the menu with the butt of her pencil. WAITRESS No substitutions. BOBBY What does that mean? You don't have any tomatoes? WAITRESS (annoyed) No. We have tomatoes. BOBBY But I can't have any. Is that what you mean? WAITRESS Only what's on the menu... (again, indicating with her pencil) A Number Two: Plain omelette. It comes with cottage fries and rolls. BOBBY I know what it comes with, but that's not what I want. WAITRESS I'll come back when you've made up your mind... She starts to move away and Bobby detains her. BOBBY Wait, I've made up my mind. I want a plain omelette, forget the tomatoes, don't put potatoes on the plate, and give me a side of wheat toast and a cup of coffee. WAITRESS I'm sorry, we don't have side orders of toast. I can give you an English muffin or a coffee roll. BOBBY What do you mean, you don't have side orders of toast? You make sandwiches, don't you? WAITRESS Would you like to talk to the manager? PALM Hey, mack! BOBBY (to Palm) Shut up. (to the waitress) You have bread, don't you, and a toaster of some kind? WAITRESS I don't make the rules. BOBBY Okay, I'll make it as easy for you as I can. Give me an omelette, plain, and a chicken salad sandwich on wheat toast -- no butter, no mayonnaise, no lettuce -- and a cup of coffee. She begins writing down his order, repeating it sarcastically: WAITRESS One Number Two, and a chicken sal san -- hold the butter, the mayo, the lettuce -- and a cup of coffee... Anything else? BOBBY Now all you have to do is hold the chicken, bring me the toast, charge me for the sandwich, and you haven't broken any rules. WAITRESS (challenging him) You want me to hold the chicken. BOBBY Yeah. I want you to hold it between your knees. The other three laugh, and the waitress points to a "Right to Refuse" sign above the counter. WAITRESS You see that sign, sir?! Bobby glances over at it, then back to her. WAITRESS (CONT'D) You'll all have to leave, I'm not taking any more of your smartness and your sarcasm! He smiles politely at her, then: BOBBY You see this sign? He reaches his arm out and "clears" the table for her.
Chopin - Prelude in E-minor, Op. 28 No. 24
(cutting her off) And what about love? SAMIA What about it? Wouldn't you agree that a great deal of mischief has been done in the name of love? CATHERINE No, I wouldn't. SAMIA Well, you're a romantic, Catherine, as are most musicians, and what's more, about to be married... ON BOBBY and his reaction as Samia goes on: SAMIA ... which should exclude you from any objective discussion. But keep in mind, even the arts aren't free of aggressive content, nor the institution of marriage. CATHERINE I think these cold, "objective" discussions are aggressive, Samia... She gets up and starts to move away. SAMIA But I'd like to say, so that I don't dampen the spirit of your adventure... CATHERINE (cutting her off) You haven't dampened my spirit, Samia... Excuse me. SAMIA Well, I should hope not... She leaves the room, with Bobby's eyes following her, and as Carl moves over to sit beside Rayette, Samia resumes to Fincher while the other friend moves in beside Bobby and tries to engage him in conversation. SAMIA (CONT'D) Because obviously there are loftier classes of people that do establish a kind of relating, that's relatively free of... (Etc.) ON CARL AND RAYETTE as she indicates Tita's dog, lying near the fireplace. RAYETTE What kind of doggy is that? CARL It's a Borzoi. RAYETTE Oh, uh huh. I had a little kittycat once, that Bobby give me... She calls across to Bobby, interrupting Samia. RAYETTE (CONT'D) Remember, Bobby?! The little pussycat you gave me?! Bobby, now feeling trapped by the other friend, looks across to her ass she returns her attention to Carl. RAYETTE (CONT'D) She had four little white paws, an' oh, was I crazy over her. We hadda go an' leave her one time at some friends, an' she went out an' got smashed flatter'n a tortilla right outside their mobile home. Samia gestures toward Rayette as if she were an example to prove her point. SAMIA There. You see what I mean? Bobby looks over at Samia. SAMIA (CONT'D) The choice of words, "squashed flat," juxtaposed against the image of a fluffy kitten... RAYETTE Well, she was. SAMIA Perhaps... She addresses Fincher gesturing toward Rayette again. SAMIA (CONT'D) But you see how close that is to what I'm trying to... Bobby stands up, cutting her off: BOBBY Don't sit there pointing at her. SAMIA I beg your pardon. BOBBY (advancing on her) I said, don't point at her like that! What gives you the right to sit there and tell anybody about class and who the hell's got it, and what she typifies! You shouldn't even be in the same room with her, you creep! SAMIA Carl, this is really too much... BOBBY (to Samia) You're totally full of shit! CARL Robert, I think you better just... BOBBY (cutting him off) You're all full of shit!
Beethoven - String Quartet No. 14 in C-sharp minor, Op. 131
I'd like to be able to tell you why, but I don't really... I mean, I move around a lot because things tend to get bad when I stay. And I'm looking... for auspicious beginnings, I guess... He breaks off again, resuming with evident difficulty. BOBBY (CONT'D) I'm trying to, you know, imagine your half of this conversation... My feeling is, that if you could talk, we probably wouldn't be talking. That's pretty much how it got to be before. I left... (another pause) Are you all right? He searches his father's face, entreating him for some kind of answer, some sign of response, and seeing none... BOBBY (CONT'D) I don't know what to say... ... he breaks down, barely able to utter the following: BOBBY (CONT'D) Tita suggested that we try to... I don't know. I think that she... seems to feel we've got... some understanding to reach... She totally denies the fact that we were never that comfortable with each other to begin with... (pauses, trying to gain control) The best I can do, is apologize. He looks silently at his father for a moment... BOBBY (CONT'D) We both know I was never really that good at it, anyway...
"Loan Me a Dime" by Boz Scaggs