Screenplay data
Grieving widower Paul begins an anonymous, passionate affair with young Jeanne in a vacant Parisian apartment, their relationship built solely on physical intimacy. Their encounters escalate in intensity, marked by both tenderness and violence, as Jeanne's fiancé, Tom, a filmmaker, obsessively documents her life. Paul's grief and emotional instability clash with Jeanne's desire for a deeper connection, leading him to abruptly end their affair and leave the apartment. Jeanne later shoots Paul with his own gun after he chases her, confesses his love, and reveals his name, then begins rehearsing an alibi for the police.
Save the Cat beat sheet
The film follows Jeanne, a young woman seeking independence, who enters into an intensely physical but emotionally detached relationship with the grieving Paul.
Open full beat sheetJeanne is listed as Protagonist. 20s, young woman, engaged to Tom, searching for identity. In the parsed data, Jeanne is connected to 38 scenes, 152 dialogue lines, 159 text mentions, first appearing around scene 3.
38 scenes / 152 dialogue linesPaul is listed as Protagonist. 50s, American, grieving widower, emotionally unstable, former boxer/actor/journalist. In the parsed data, Paul is connected to 31 scenes, 139 dialogue lines, 144 text mentions, first appearing around scene 1.
31 scenes / 139 dialogue linesTom is listed as Jeanne's Fiancé. 30s, filmmaker, obsessed with capturing Jeanne's life on film. In the parsed data, Tom is connected to 10 scenes, 57 dialogue lines, 60 text mentions, first appearing around scene 7.
10 scenes / 57 dialogue linesConcierge is listed as Supporting. Eccentric, smoking, rollers in hair, manages the apartment building. In the parsed data, Concierge is connected to 4 scenes, 18 dialogue lines, 18 text mentions, first appearing around scene 34.
4 scenes / 18 dialogue linesRosa's Mother is listed as Supporting. Mother of Paul's deceased wife, grieving and searching for answers. In the parsed data, Rosa's Mother is connected to 4 scenes, 7 dialogue lines, 7 text mentions, first appearing around scene 10.
4 scenes / 7 dialogue linesOlympia is listed as Supporting. Jeanne's nanny, faithful, admiring, and racist. In the parsed data, Olympia is connected to 3 scenes, 6 dialogue lines, 10 text mentions, first appearing around scene 14.
3 scenes / 6 dialogue linesMarcel is listed as Supporting. 60s, Rosa's lover, meticulous, lives in the same hotel. In the parsed data, Marcel is connected to 1 scene, first appearing around scene 21.
1 scenes / 0 dialogue linesJeanne's Mother is listed as Supporting. Lives in the country manor, obsessed with her late husband's military past.
0 scenes / 0 dialogue linesPaul stands under a bridge in distress while Jeanne passes by, noticing him.
Paul, JeanneJeanne inspects an apartment building and rings the bell.
JeanneJeanne calls her mother from a bar while Paul exits the phone booth.
Paul, JeanneJeanne interacts with the eccentric concierge to get the apartment key.
Jeanne, ConciergeJeanne enters the apartment and finds Paul; they engage in a sexual encounter.
Paul, JeannePaul and Jeanne leave the building separately.
Paul, JeanneJeanne meets Tom, who is filming her for a project.
Jeanne, TomCatherine cleans the bathroom where Paul's wife committed suicide.
PaulPaul and Jeanne arrange the furniture in the new apartment.
Paul, JeanneRosa's mother visits Paul to grieve her daughter's death.
Paul, Rosa's MotherPaul argues with Rosa's mother about the funeral arrangements for Rosa, refusing religious rites.
Paul, Rosa's MotherPaul deals with curious neighbors after his outburst.
Paul, ConciergeJeanne arrives at Paul's apartment and they engage in intimate, playful behavior.
Paul, JeanneTom and his crew film Jeanne at her family home; she reunites with her nanny, Olympia.
Jeanne, Tom, OlympiaTom directs Jeanne through a nostalgic tour of her childhood photos.
Jeanne, Tom, OlympiaJeanne reminisces about her childhood while being filmed; kids are chased off.
Jeanne, Tom, OlympiaJeanne and Paul argue about her past and his cynicism.
Paul, JeanneJeanne and Paul engage in a tense, provocative conversation while Paul shaves.
Paul, JeannePaul leaves the apartment, slamming the door on Jeanne.
Paul, JeanneJeanne confronts Tom about their relationship and his film.
Jeanne, TomPaul visits Marcel to discuss Rosa and their shared past.
Paul, MarcelPaul and Jeanne engage in a violent sexual encounter involving butter.
Paul, JeannePaul and Jeanne listen to music after their encounter.
Paul, JeanneTom and Jeanne sit together while being filmed.
Jeanne, TomTom and Jeanne sit on a sea wall while his film crew records them; Tom proposes marriage to Jeanne.
Tom, JeanneJeanne's mother cleans military items while Jeanne prepares to leave.
Rosa's Mother, JeanneJeanne and her mother discuss her father's belongings and Jeanne's upcoming marriage.
Jeanne, Rosa's MotherTom films Jeanne trying on wedding dresses and they discuss the concept of marriage.
Tom, JeannePaul and Jeanne reunite in the lobby.
Paul, JeannePaul carries Jeanne into the apartment.
Paul, JeannePaul taunts Jeanne with a dead rat.
Paul, JeannePaul washes Jeanne while they discuss love and life.
Paul, JeannePaul visits Rosa's body and expresses his grief and anger.
PaulA prostitute and her client arrive at the hotel demanding a room; Paul eventually lets them in, but the client leaves, leading Paul to chase him.
Paul, ConciergePaul catches up to the client in an alley, roughs him up, and kicks him out.
PaulPaul returns to his room and lies down; his bags are packed.
PaulJeanne discovers Paul has moved out and collapses in grief.
JeanneJeanne questions the concierge about Paul, but the concierge claims ignorance.
Jeanne, ConciergeJeanne calls Tom to tell him she found a new flat.
Jeanne, TomTom arrives at the new flat; he and Jeanne discuss their future and the end of his film.
Jeanne, TomJeanne leaves the building and is followed by Paul.
Paul, JeannePaul and Jeanne attend a tango contest; Paul tries to win her back while she remains distant.
Paul, JeannePaul chases Jeanne through the streets as she tries to escape him.
Paul, JeanneJeanne enters her mother's building and tries to escape Paul using the elevator.
Paul, JeannePaul chases Jeanne up the stairs as she tries to escape him.
Paul, JeannePaul confronts Jeanne in her mother's apartment, leading to a fatal shooting.
Paul, JeannePaul dies on the porch.
PaulJeanne rehearses her alibi for the police.
JeanneYeah. Some. There was a farmer, a very nice guy. Old guy, very poor, and worked real hard. I used to work in a ditch, draining land for farming. And he wore overalls and he smoked a clay pipe. Half the time he wouldn't put tobacco in it. And I hated the work. It was hot and dirty and... it broke my back. And... all day long I'd watch his spit which would run down the pipe stem and hang on the bowl of the pipe. And I used to make bets with myself on when it was going to fall off. And I always lost. I never saw it fall off. I'd just look around and it'd be gone and then the new one would be there. And then we had a beautiful... My mother... My mother taught me to love nature. And... I guess that was the most she could do. And... we had... In front of our house we had this big field... meadow. It was a mustard field in the summer and we had a big black dog named Dutchy. And she used to hunt for rabbits in that field but she couldn't see them. So she'd have to leap up in this mustard field and look around very quickly to see where the rabbits were. And it was... very beautiful. And she never caught the rabbits.
Sitting at the piano... His fingers would skim the keys. He played for hours and hours. At the bottom of the garden, there were two big trees. A plane tree and a chestnut tree. After mass on Sundays, we used to sit there, each under our own tree. It was wonderful. We sat gazing into each other's eyes. Aren't my trees beautiful? They were my jungle.
Of course I like it. Listen, you know... I don't know. You have changed, and yet you haven't. I can see the shot now. The camera is up high. It descends slowly and follows you. You come forward, and it moves in on you. There's music, too. It gets closer and closer to you.
Mustapha could always tell the poor from the rich. If someone well-dressed came in, he never stirred. But if someone scruffy came in, you should have seen him! What a dog! The colonel trained him to recognise Arabs by their scent.
That's not true. When you're full, you put a sign outside. I know the hotel. I'm sick of arguing out on the street. Call the owner. What are you waiting for? The owner has never made a fuss. Rosa and I are old friends. Open up.
Setting up my shot. There it is! That's it! I've found it. Reverse gear! What are you doing there? Beat it! That's it. Into reverse. Yes! Do you see? Like a car, you go into reverse gear. That's it. Close your eyes.
Behind the house, there were two trees. A plane tree and a chestnut. I sat under the plane tree and he sat under the chestnut. And one, two, three... We each began to masturbate. The first who came... won!
Do you like our flat? It's very light. There's a tiny room, too. It's too small for a double bed. It would be fine for a child. Fidel. That's a nice name for a boy. Fidel, as in Castro.
SlugDB turns parsed screenplays into scene, character, dialogue, trivia, semantic search, Save the Cat, and API-ready analysis.
Use SlugDB when you need screenplay API data, movie dialogue search, character evidence, scene context, or MCP tools without building a scraper first.