Information
| Year: | 1998 |
| Rating: | 6.2(52502) |
| Listed in: | Comedy, Romance |
| Directed by: | Nora Ephron |
| Actors: | Tom Hanks Greg Kinnear Steve Zahn Meg Ryan Katie Sagona Parker Posey Jean Stapleton |
| "Someone you pass on the street may already be the love of your life." | |
Cast
| Directed by | |
|---|---|
| Nora Ephron | |
| Actors | |
| Tom Hanks | as Joe Fox |
| Greg Kinnear | as Frank Navasky |
| Steve Zahn | as George Pappas |
| Dave Chappelle | as Kevin Jackson |
| Dabney Coleman | as Nelson Fox |
| John Randolph | as Schuyler Fox |
| Jeffrey Scaperrotta | as Matt Fox |
| Michael Badalucco | as Charlie |
| Bruce Jay Friedman | as Vince Mancini |
| Howard Spiegel | as Henry, Zabars Shopper |
| Chris Messina | as Fox Salesperson |
| Ronobir Lahiri | as Man at Cafe Lalo |
| André Sogliuzzo | as Waiter at Cafe Lalo |
| Peter A. Mian | as Capeman |
| Richard Cohen | as Starbucks Customer |
| Enzo Angileri | as Starbucks Customer |
| Nick Brown | as Juggler |
| Neil Bonin | as Party Guest |
| Bill McHugh | as Party Guest |
| Santiago Quinones | as Decorator |
| Jason Cicardo | as Party Guest |
| Elwood Edwards | as Online 'You've Got Mail' Voice |
| Alfonso Gomez-Rejon | as Party Guest |
| Gideon Jacobs | as Young Joe Fox |
| Brick Mason | as Man Letting Joe Fox in |
| Scott Mullin | as Male Runner |
| Actresses | |
| Meg Ryan | as Kathleen Kelly |
| Katie Sagona | as Young Kathleen Kelly |
| Parker Posey | as Patricia Eden |
| Jean Stapleton | as Birdie Conrad |
| Heather Burns | as Christina Plutzker |
| Hallee Hirsh | as Annabelle Fox |
| Cara Seymour | as Gillian Quinn |
| Katie Finneran | as Maureen, the Nanny |
| Deborah Rush | as Veronica Grant |
| Veanne Cox | as Miranda Margulies |
| Sara Ramirez | as Rose, Zabars Cashier |
| Diane Sokolow | as Zabars Shopper |
| Julie Kass | as Zabars Shopper |
| Reiko Aylesworth | as Thanksgiving Guest |
| Kathryn Meisle | as Cecilia Kelly |
| Nina Zoie Lam | as T.V. Reporter |
| Maggie Murphy | as Theater Patron |
| Michelle Blakely | as Shopper |
| Meredith White | as Shopper |
| Dianne Dreyer | as Shopper |
| Julie Galdieri | as Shopper |
| Leila Nichols | as Shopper |
| Mary A. Kelly | as Fox Books Shopper |
| Ann Fleuchaus | as Sarah Mancini |
| Lynn Grossman | as Yvette Fox |
| Dolores Sirianni | as Mother of Twins |
| Nicole Bernadette | as Florist |
| Jane Adams | as Sydney Anne |
Movie info
| Languages: | English |
| Filming dates: | 25 February 1998 - 8 June 1998 |
| Budget: | USD 65,000,000 |
| Gross: |
USA - 98,905,738 USD (17 January 1999) UK - 4,753,422 GBP (4 April 1999) |
| Plot: | Kathleen Kelly, owner of a little and famous bookstore for children's books, has an affair. Being together with Frank Navasky, a well-known journalist, she betrays him by e-mailing secretly and anonymously with a (also betraying) man whom she met in a chat room. Suddenly, her business gets endangered by the opening of Fox Books discount store just "around the corner". She meets Joe Fox, son of the owner, and soon gets annoyed by his arrogant way of managing business matters. Although getting advice by her anonymous mail-pal, she has to close down her store. But Joe Fox's life suddenly gets out of control when he learns that his anonymous mail-pal is nobody other than Kathleen Kelly. |
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Original Soundtracks
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"Puppy Song" Written by Harry Nilsson Performed by Harry Nilsson Courtesy of the RCA Records Label of BMG Entertainments "Remember (Christmas)" Written by Harry Nilsson Performed by Harry Nilsson Courtesy of the RCA Records Label of BMG Entertainments "I Guess The Lord Must Be in New York City" Written by Harry Nilsson Performed by Harry Nilsson Courtesy of the RCA Records Label of BMG Entertainments "I Guess The Lord Must Be in New York City" Written by Harry Nilsson Performed by Sinéad O'Connor Produced by John Reynolds Courtesy of Atlantic Recording Corp. "Over the Rainbow" Written by Harold Arlen / E.Y. Harburg Performed by Harry Nilsson Courtesy of the RCA Records Label of BMG Entertainments "Dreams" Written by Noel Hogan and Dolores O'Riordan Performed by The Cranberries Courtesy of Island Records Inc. With Arrangement with PolyGram Films and TV Music "Rockin Robin" Written by Leon René (as Jimmie Thomas) Performed by Bobby Day Courtesy of Janus Records Inc. With Arrangement with Celebrity Licensing Inc. "Never Smile At A Crocodile" Written by Frank Churchill and Jack Lawrence Performed by The Paulette Sisters Courtesy of Columbia Records With Arrangement with Sony Music Licensing "Splish Splash" Written by Bobby Darin and Jean Murray Performed by Bobby Darin Courtesy of Elektra Entertainment Group With Arrangement with Warner Special Products "Dummy Song" Written by Lew Brown , Billy Rose and Ray Henderson Performed by Louis Armstrong Courtesy of GAP Records Under License from Universal Music Special Markets "Tomorrow" (From The Broadway Musical ANNIE)" Written by Charles Strouse and Martin Charnin "River" Written by Joni Mitchell "Dream" Written by Johnny Mercer Performed by Roy Orbison Courtesy of Sony Music Special Products "Lonely At The Top" Written by Randy Newman Performed by Randy Newman Courtesy of Warner Bross Records Inc. With Arrangement with Warner Special Products "Signed Sealed Delivered I'm Yours" Written by Stevie Wonder, Syreeta (as Syreeta Wright), Lee Garrett and Lula Mae Haraway Performed by Stevie Wonder Courtesy of Motown Records Company L.P. With Arrangement with PolyGram Films and TV Music "Both Sides Now" Written by Joni Mitchell "Anyone At All" Words and Music by Carole King and Carole Bayer Sager Performed by Carole King Produced by Carole King, Carole Bayer Sager and Humberto Gatica "I'm Gonna Sit Right Down and Write Myself a Letter" Written by Joe Young and Fred E. Albert Performed by Billy Williams Courtesy of MCA Records Under License from Universal Music Special Markets "The Instrument Song" Traditional Performed by Jean Stapleton, Steve Zahn, Meg Ryan, Greg Kinnear and Heather Burns |
Goofs
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Continuity: When Joe Fox is making martinis for himself and his father, he puts an olive in the second glass twice (but there are not two olives in the glass). Continuity: When Joe and Kathleen are sitting at the sidewalk cafe, a woman pushing an orange shopping cart passes by twice. SYNC: When logging on to AOL, the monitor's on-screen display doesn't correspond to the sound of the connection being made. Continuity: When Annabelle throws the rings on the bottle, he gives her a pink one and she throws a pink one, but a green one lands on the bottle. Continuity: When Kathleen leaves Joe on the street to get ready to meet NY152, she is wearing a wristwatch. It disappears when she arrives at her apartment. Continuity: The clock behind the counter in Kathleen's store reads exactly 4:30 through the entire 2 minutes plus when Joe is purchasing the books. It shows different times in other scenes, so it's not stopped. Continuity: The position of the hat on Kathleen's head when she is reading the stories. Continuity: When Kathleen is in the cafe waiting for NY152 to show up she rearranges the book and flower and ends up putting the flower inside the book, then Joe comes in and she picks up the book to cover her face and the flower is now on top of it and the book is in a different position. Continuity: At the dinner party, when Kathleen confronts Joe about his identity, the food on his plate keeps changing. Fact errors: Joe Fox's explanation of The Godfather (1972)'s significance would have been greeted with a "You have exceeded the send limit" error. CHAR: When Kathleen goes to Starbucks and orders a Tall Caramel Macchiato, the employee actually gives her a Grande cup. Revealing mistakes: Toward the end of the movie, Joe and Kathleen are standing at a hot dog stand by a window. To avoid reflections/glare there is no glass in the window, which would be fine except that the glass is present in adjacent panes and the reflections of passers-by come and go as they walk along the street. Continuity: When frank is typing on his new typewriter and calls Kathleen a "lone reed", the carriage stops halfway as he is typing the second line and does not move even though Frank is still typing. Continuity: When Kathleen is waiting to meet NY152 for the first time and Joe walks in, he puts his coat over the back of the chair twice. CHAR: It is shown several times that a key is needed to get into Kathleen's apartment building. However, when she leaves her building to go meet NY152 for the final time, she does not have her keys (and no purse or pockets). Continuity: When Joe comes to visit Kathleen at her apartment when she is sick, he tells her to sit down at the table. When she sits down, there is a large pile of tissues on the table, but in later shots, they are gone. Continuity: At a party where Kathleen realizes that Joe is in fact Joe Fox she is talking to him as he helps himself to the caviar garnish from a plate. He scrapes a section of the garnish from around the edge of the plate. When he does this again a moment, later the caviar garnish is intact. Fact errors: When Joe fox is in the shop around the corner the "open/closed" sign is facing "open" side in thus "closed" side out. CHAR: When Joe and Patricia get stuck in the elevator, the elevator man suggests they all jump up to trick the elevator into thinking no one is inside so the doors will open. Yet you know from their entry on the ground floor (and earlier scenes) that the elevator doors are operated BY HAND, and by that same elevator man. Continuity: In the final scene at the 91st St gardens, when Kathleen and Joe kiss, a hot dog vendor behind them opens up his umbrella fully, and it is open for the rest of this kiss. A second later, as the film cuts to the dolly/crane shoot pull-away, the vendor is again opening his umbrella. Continuity: During the scene when the staff of the store are selling off items prior to the closing, Kathleen puts a blue toy in the customers bag twice. CHAR: When Joe is buying books for the children, the total is $73. He hands one bill over the counter to pay, then turns and leaves without receiving any change, and without anyone attempting to give him change. Continuity: When Joe visits sick Kathleen, and she sits at the table while he fills the vase for the flowers, the table runner is alternately straight/wrinkled at the furthest end from her. Revealing mistakes: When Kathleen is telling Joe he will love Pride and Prejudice and he is trying to read it, it clearly shows the Colin Firth cover. When Joe picks up the book Kathleen has brought at the café and says 'Pride and Prejudice, I bet you just love this book', it is actually the cover of Austen's Persuasion. Revealing mistakes: In the opening scenes when all the shops are being opened, and the gates are raised - one of the stores being "opened" sports a sign that says "24 hour service". Continuity: When Frank leaves the apartment at the beginning of the movie, the computer is at a table at the end of their bed. After Kathleen checks on him as he leaves the building and runs around to sit down at the computer, it is now on a table facing the living room furniture. CHAR: In the scene where Joe is typing his message about "The Godfather", Joe types "Don't lose you're nerve." This is clearly visible on screen both as it is being sent and as it is being read. It should read, "Don't lose your nerve" - "you're" is the contraction for "you are". FAIR: When Kathleen writes the email to Joe about how she just told off someone at the café, Joe reads the email and logs off. You hear the AOL voice say "Goodbye."; so when he replies to her email, he just begins typing the email, without logging back on. AOL allows you to write emails offline. |
Quotes
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George Pappas: Well, as far as I'm concerned, the Internet is just another way of being rejected by women. Kathleen Kelly: Well, is there someone else? Oh! That woman on television, Sidney-Ann. Frank: [sheepish] Uh... I mean, nothing has happened or anything, but... Kathleen Kelly: Ooh, Frank. Is she a Republican? Frank: I... can't help myself. [they both laugh] Frank: What about you? Is there someone else? Kathleen Kelly: No. No, but... but there's the dream of someone else. Joe Fox: I like Patricia. I *love* Patricia. Patricia makes COFFEE nervous. Joe Fox: What happened with that guy at the cafe? Kathleen Kelly: Nothing. Joe Fox: But you're crazy about him. Kathleen Kelly: Yes, I am. Joe Fox: Well, why don't you run off with him? What are you waiting for? Kathleen Kelly: I don't actually know him. [cringes] Joe Fox: Really? Kathleen Kelly: I only know him through the, uh... you're not going to believe this... Joe Fox: Oh, let me guess. Through the Internet? Kathleen Kelly: Yes. Joe Fox: Hmm. You've... got mail. Kathleen Kelly: Yes! Joe Fox: Some very powerful words. Kathleen Kelly: Yes... Joe Fox: The Godfather is the I-ching. The Godfather is the sum of all wisdom. The Godfather is the answer to any question. What should I pack for my summer vacation? "Leave the gun, take the cannoli." What day of the week is it? "Monday, Tuesday, Thursday, Wednesday." Kathleen Kelly: [writing to "NY152"] Sometimes I wonder about my life. I lead a small life - well, valuable, but small - and sometimes I wonder, do I do it because I like it, or because I haven't been brave? So much of what I see reminds me of something I read in a book, when shouldn't it be the other way around? I don't really want an answer. I just want to send this cosmic question out into the void. So good night, dear void. Joe Fox: The whole purpose of places like Starbucks is for people with no decision-making ability whatsoever to make six decisions just to buy one cup of coffee. Short, tall, light, dark, caf, decaf, low-fat, non-fat, etc. So people who don't know what the hell they're doing or who on earth they are can, for only $2.95, get not just a cup of coffee but an absolutely defining sense of self: Tall. Decaf. Cappuccino. Joe Fox: [on the new Fox Books superstore] Hey, you know what? We should announce ourselves to the neighborhood. Just let them know, here we come. Kevin: Oh, no, this is the Upper West Side, man. We might as well tell 'em we're opening up a crack house. They're gonna hate us. Soon as they hear, they're gonna be lining up... Joe Fox, Kevin: - to picket the big bad chain store... Kevin: - that's out to destroy... Joe Fox: - everything they hold dear. Kevin: Yeah. Joe Fox: Do you know what? We are going to seduce them. We're going to seduce them with our square footage, and our discounts, and our deep armchairs, and... Joe Fox, Kevin: Our cappuccino. Joe Fox: That's right. They're going hate us at the beginning, but... Joe Fox, Kevin: But we'll get 'em in the end. Joe Fox: Do you know why? Kevin: Why? Joe Fox: Because we're going to sell them cheap books and legal addictive stimulants. In the meantime, we'll just put up a big sign: "Coming soon: a FoxBooks superstore and the end of civilization as you know it." Schuyler Fox: Your father is getting married. Joe Fox: Really? Nelson Fox: Yes. Joe Fox: Congratulations. Nelson Fox: Thank you. Joe Fox: Why? Nelson Fox: Who knows? Joe Fox: Love? Nelson Fox: Possible. Frank: [to TV interviewer] Thank your. Christina Plutzker: [repeated by George and Birdie, to Kathleen] He stood you up? Joe Fox: You know, sometimes I wonder... Kathleen Kelly: What? Joe Fox: Well... if I hadn't been Fox Books and you hadn't been The Shop Around the Corner, and you and I had just, well... met... Kathleen Kelly: I know. Joe Fox: Yeah. I would have asked for your number, and I wouldn't have been able to wait twenty-four hours before calling you and saying, "Hey, how about... oh, how about some coffee or, you know, drinks or dinner or a movie... for as long as we both shall live?" Kathleen Kelly: Joe... Joe Fox: And you and I would have never been at war. And the only thing we'd fight about would be which video to rent on a Saturday night. Kathleen Kelly: Well, who fights about that? Joe Fox: Well, some people. Not us. Kathleen Kelly: We would never. Joe Fox: If only. [pause] Kathleen Kelly: I gotta go... Joe Fox: Well, let me ask you something. How can you forgive this guy for standing you up and not forgive me for this tiny little thing of... of putting you out of business? [Kathleen starts to cry] Joe Fox: Oh, how I wish you would. Kathleen Kelly: I really have to go. Joe Fox: Yeah, well... you don't wanna be late. Birdie Conrad: [reading from Frank's article in the Observer] Save The Shop Around the Corner and you will save your soul. Kathleen Kelly: [Kathleen is excited at work and Christina thinks she's in love] I'm in love? No! Oh, that's right, I'm in love with Frank. I practically living with Frank. Joe Fox: [about a sculpture on Nelson Fox's desk] Porcelain? Nelson Fox: Rubber. Joe Fox: [refering to Kathleen Kelly] Oh, no, she's beautiful, but she's a pill. Kathleen Kelly: [on "NY152"] What if he showed up, took one look at me, and left? Christina Plutzker: Not possible. Kathleen Kelly: [writing to "NY152"] People are always saying that change is a good thing. But all they're really saying is that something you didn't want to happen at all... has happened. My store is closing this week. I own a store, did I ever tell you that? It's a lovely store, and in a week it'll be something really depressing, like a Baby Gap. Soon, it'll be just a memory. In fact, someone, some foolish person, will probably think it's a tribute to this city, the way it keeps changing on you, the way you can never count on it, or something. I know because that's the sort of thing I'm always saying. But the truth is... I'm heartbroken. I feel as if a part of me has died, and my mother has died all over again, and no one can ever make it right. Joe Fox: Tweaking? A project that needs "tweaking"? Kathleen Kelly: Yes. Joe Fox: T-w-e-a-k-i-n-g. Kathleen Kelly: -i-n-g. That's what he said. Joe Fox: I think he's married. Married, three kids. Kathleen Kelly: I could never be with someone who has a boat. Joe Fox: I have a boat. Kathleen Kelly: Oh. Joe Fox: Which clinches it; we'll never be together. Joe Fox: [about Kathleen's internet friend] He could be anyone! It could be that guy right there! And those flowers could be for you! Joe Fox: [speaking to the grumpy cashier] Happy Thanksgiving... it's your turn to say Happy Thanksgiving back. Rose, Zabars Cashier: Happy Thanksgiving back. Joe Fox: I think you'd discover a lot of things if you really knew me. Kathleen Kelly: If I really knew you, I know exactly what I'd find: instead of a brain a cash register, instead of a heart a bottom line. [gasps] Joe Fox: What? Kathleen Kelly: I just had a breakthrough. Joe Fox: What is it? Kathleen Kelly: I have you to thank for it. For the first time in my life, when confronted with a horrible, insensitive person, I knew exactly what I wanted to say and I said it. Joe Fox: I think you have the gift for it. It was a perfect blend of poetry and meanness. Kathleen Kelly: Is she a Republican? Frank: I can't help myself. Kathleen Kelly: Oh, Birdie, what am I going to do? What would Mom have done? Birdie Conrad: Well, let's ask her. [Birdie opens her locket, revealing a picture of Cecilia Kelly] Birdie Conrad: Cecilia, what should we do? [holds the locket to her ear] Kathleen Kelly: Birdie... Birdie Conrad: Shhh! She has no idea. But she thinks the window display looks lovely. Joe Fox: My father's getting married again. For the past five years he's been living with a woman named Gillian, who studied decorating at Caesar's Palace. Gillian Quinn: Kiss me, I'm going to be your wicked step mother. Miranda Margulies: We can get the Times to write something. Or that nut from the Observer. Kathleen Kelly: Wait, what... what nut from the Observer? Miranda Margulies: Frank something? The one who's so in love with his typewriter. This is just the sort of thing that would outrage him! Joe Fox: Kevin, this is possibly the most adorable creature I've ever been in contact with, and if she turns out to be as good looking as a mailbox... I would be crazy enough to turn my life upside down and marry her. Joe Fox: [on Kathleen's missing date] Will you be mean to him, too? Kathleen Kelly: No, I will not. Because the man who is coming here tonight is completely unlike you. The man who is coming here tonight is kind and funny, he has the most wonderful sense of humor... Joe Fox: But... he's not here. Kathleen Kelly: Well... if he's not here, he has a reason, because there is not a cruel or careless bone in his body. But I wouldn't expect you to understand anybody like that. You with your theme park, multi-level, homogenize-the-world mochaccino land. You've deluded yourself into thinking that you're some sort of benefactor, bringing books to the masses. But no one will ever remember you, Joe Fox. And maybe no one will remember me, either, but plenty of people remember my mother, and they think she was fine, and they think her store was something special. You are nothing but a suit! [pause] Joe Fox: [crestfallen] That's my cue. Nelson Fox: You know, I stayed on this boat after... let's see, your mother... Laurette, the ballet dancer... Joe Fox: My nanny. Nelson Fox: She was the nanny? Joe Fox: Yeah. Nelson Fox: [laughs] I forgot that. How ironic. Then there was the ice skater. Joe Fox: Also my nanny. Nelson Fox: Really? Joe Fox: Yeah. Nelson Fox: That's amazingly ironic. And then there was Sybil, the... um... it's an "A" word... Joe Fox: Astrologer. Nelson Fox: Exactly. Yeah. Joe Fox: Whose moon turned out to be in someone else's house, as I recall. Nelson Fox: Just like Gillian. Joe Fox: Gillian ran off with someone? Nelson Fox: The nanny. Joe Fox: Nanny Maureen? Nelson Fox: Yes. [Joe bursts out laughing] Joe Fox: Well! Gillian ran off with Nanny Maureen, hmm? Nelson Fox: You got it. Joe Fox: That's *incredibly* ironic. Annabelle Fox: Oh, that's not my Dad. That's my nephew. Kathleen Kelly: You know, I don't really think that HE could be your nephew. Joe Fox: No, no, no, it's true. Annabelle is my aunt. Isn't that right, Aunt Annabelle? Annabelle Fox: Uh-huh, and Matt is his... Kathleen Kelly: No, no, let me guess. Are you his uncle? [Matt giggles, shakes his head no] Kathleen Kelly: His grandfather? [Matt giggles harder, still shaking his head] Kathleen Kelly: His great-grandfather? Matthew Fox: [laughing] I'm his brother! Joe Fox: [answering Kathleen's very confused look] Matthew is my father's son, Annabelle is my grandfather's daughter. We are... an American family. Kathleen Kelly: I love daisies. Joe Fox: You told me. Kathleen Kelly: They're so friendly. Don't you think daisies are the friendliest flower? Joe Fox: So what's his handle? Kathleen Kelly: Uh... Joe Fox: I'm not going to write him. Is that what you're worried about? You think I'm going to e-mail him? Kathleen Kelly: [beat] All right, NY152. Joe Fox: N-Y-one-five-two. One hundred and fifty-two. He's a hundred and fifty-two years old. He's had one hundred and fifty-two moles removed, so now he's got one hundred fifty-two pock marks on his... on his face... Kathleen Kelly: The number of people who think he looks like Clark Gable. Joe Fox: One hundred and fifty-two people who think he looks like a Clark *Bar*. Kathleen Kelly: [laughing] Why did I even tell you about this? Joe Fox: A hundred and fifty-two stitches from his nose job. The number of his souvenir shot glasses that he's collected in his travels. Kathleen Kelly: No! The number... the numb... his address? No! No, he would never do anything that prosaic. Kathleen Kelly: [on learning Joe's identity] God, I didn't... I didn't realize. I didn't... I didn't know... Joe Fox: Who you were with? "I didn't know who you were with." Kathleen Kelly: Excuse me? Joe Fox: It's from The Godfather. [laughs] Joe Fox: Sorry, it's from The Godfather. It's when the... uh, when the movie producer realizes that Tom Hagen is an emissary of Vito Corleone. It's just before the horse's head ends up in the bed with all the bloody sheets, you know, wakes up and it's... AAHH! AAAHH! AAAHH! AAAHH! [pause] Joe Fox: Never mind. Joe Fox: It wasn't... personal. Kathleen Kelly: What is that supposed to mean? I am so sick of that. All that means is that it wasn't personal to you. But it was personal to me. It's *personal* to a lot of people. And what's so wrong with being personal, anyway? Joe Fox: Uh, nothing. Kathleen Kelly: Whatever else anything is, it ought to begin by being personal. [trapped in the elevator] Veronica Grant: If I ever get of here, I'm gonna start speaking to my mama. I wonder what she's doing right this very minute. Charlie: If I ever get of here... I'm marrying Oreet. I love her. I should marry her. I don't know what's been stopping me. Patricia Eden: [rummaging through her purse] If I ever get out of here, I'm having my eyes lasered. Joe Fox: If I ever get out of here... Patricia Eden: Where are my Tic-Tacs? Ugh! [pause] Patricia Eden: What? George Pappas: I'm going to get some eucalyptus candles 'cause it makes my apartment smell moss-ay! Frank Navasky: Name me one thing, ONE, that we've gained from technology. Kathleen Kelly: Electricity Frank Navasky: That's one. [points to computer] You think this machine is your friend but it's not. Joe Fox: Brinkley is my dog. He loves the streets of New York as much as I do, although he likes to eat bits of pizza and bagels off the sidewalk and I prefer to buy them. Kathleen Kelly: }: I hear nothing, not even a sound on the streets of New York. Just the beat of my own heart. I have mail - from you. Kathleen Kelly: What will NY152 say today, I wonder. I turn on my computer. I wait impatiently as it connects. I go online, and my breath catches in my chest until I hear three little words: You've got mail. I hear nothing. Not even a sound on the streets of New York, just the beating of my own heart. I have mail. From you. Kevin: The electrical contractor called. His truck hit a deer last night, so he's not going to be here until tomorrow. And the upstairs shelves are delayed because the shipment of pine we ordered has beetles. Joe Fox: Very good. *Very* good. Kevin: And we got a fifty-thousand dollar ticket for construction workers peeing off the roof. Joe Fox: Great, that is great! [in the backgroud horns are honking, tires are skidding and people are shouting in the street] Kathleen Kelly: [seriously] Don't you just love New York in the fall? Joe Fox: Don't you love New York in the fall? It makes me wanna buy school supplies. I would send you a bouquet of newly sharpened pencils if I knew your name and address. On the other hand, this not knowing has its charms. Kathleen Kelly: Is it infidelity if you're involved with somebody on email? Christina Plutzker: Have you had sex? Kathleen Kelly: No, of course not! I don't even know him. Christina Plutzker: No, I mean *cyber*sex. Kathleen Kelly: No. Christina Plutzker: Well, you know what? Don't do it, 'cause the minute you do, they lose all respect for you. Joe Fox: Hey, this... this fabric on the couch, what is it? Does it have a name? Nelson Fox: Money. Joe Fox: Huh? Nelson Fox: It's name is *money*. Joe Fox: Ah, Gillian selected it. Birdie Conrad: What are you girls talking about? Christina Plutzker: Cybersex. Birdie Conrad: I tried to have cybersex once, but I kept getting a busy signal. Nelson Fox: How much son? How much you payin'? Joe Fox: Well, whatever it costs it won't be as much as that exquisitely uncomfortable mohair episode there, which is NOW ALL OVER MY SUIT. Kathleen Kelly: [writing to "NY152"] Once I read a story about a butterfly in the subway, and today, I saw one! It got on at 42nd and off at 59th, where, I assume, it was going to Bloomingdales to buy a hat that will turn out to be a mistake, as almost all hats are. Frank Navasky: Kathleen, you are a lone reed. You are a lone reed, standing tall, waving boldly in the corrupt sands of commerce. Kathleen Kelly: I am a lone reed. Annabelle Fox: Maureen's getting a divorce. Joe Fox: Oh. I'm sorry to hear that. Maureen: [giggling] It's my own fault. Never marry a man who lies. Joe Fox: That is so wise, yes. Annabelle, remember that. Joe Fox: I'm sure you must be late for something: volunteering at the Henry Street Settlement, or rolling bandages for Bosnian Refugees. Gillian Quinn: I am. I'm having my eggs harvested. Joe Fox: And getting those eggs harvested. George Pappas: Who belongs to this fish? Nelson Fox: Perfect. Keep those West-Side liberal nuts, psudo-intellectuals... Joe Fox: Readers, Dad. They're called readers. Nelson Fox: Don't do that, son. Don't romanticize them. George Pappas: The, uh, illustrations are hand tipped. Joe Fox: And that's why it costs so much? George Pappas: No, that's why it's WORTH so much. Kathleen Kelly: [to Joe] What is that? What is that? What are you doing? You're taking all the caviar? That caviar is a *garnish*! [Joe scoops up more caviar and dumps it on his plate] Joe Fox: Is it about love? [voice over] Please say no. Kathleen Kelly: No. [voice over] How sweet is that? Matthew Fox: F-O-X. Kathleen Kelly: That is amazing, you can spell "fox"! Can you spell "dog"? Matthew Fox: F-O-X. Joe Fox: Whatever you do, just don't listen to anything I say. Kathleen Kelly: When you read a book as a child, it becomes a part of your identity in a way that no other reading in your whole life does. Frank Navasky: Joe Fox? Joe Fox: F-O-X. Frank Navasky: The inventor of the superstore, of course. The enemy of the mid-list novel, the destroyer of City Books. Tell me something: really, how do you sleep at night? Patricia Eden: [walking up] Ah, I use a wonderful over-the-counter drug, Ultradorm. Don't take the whole thing, just half, and you will wake up without even the tiniest hangover. George Pappas: This place is a tomb. I'm going to the nut shop where it's fun. Joe Fox: [in Kathleen's store, buying books] May I ask who you are? Kathleen Kelly: Kathleen Kelly, and this is my store. And you are? Joe Fox: [quickly] Joe. Just call me Joe. We'll take these books. Joe Fox: [about "NY152"] Maybe he's fat. He's fat. He's a fatty. Kathleen Kelly: I don't care about that. Joe Fox: You don't care that he's so fat, he's one of these guys that has to be removed from his house by a crane? You don't care? Kathleen Kelly: [snickering] That is very unlikely. That is completely ridiculous. Joe Fox: [a video on the news] I sell cheap books, I do. So sue me. Joe Fox: Hey! Kevin: That's what you said? Joe Fox: Well... yeah, that's not *all* I said. I said - aww, I can't believe those bastards! I said we were great. I said you could sit and read for hours and no one will bother you. I said we have a hundred and fifty thousand titles. I showed them the New York section. I said we were a goddamn Piazza! A place in the city where people can mingle and mix and be. Kevin: Piazza? Joe Fox: I was eloquent. Shit! Kevin: Piazza... Birdie Conrad: If you need more, ask me, I'm very rich. I bought Intel at six. Joe Fox: [about "Shopgirl"] I hope she doesn't have one of those high, squeaky voices like the mice in "Cinderella". I hate that. Kathleen Kelly: You poor, sad, multimillionaire. I feel so sorry for you. Kathleen Kelly: [about "NY152"] He couldn't possibly be the Rooftop Killer! Christina Plutzker: Remember when you thought Frank might be the Unibomber? Kathleen Kelly: That was different. Frank Navasky: [about Birdie] She fell in love with Generalissimo Franco! Kathleen Kelly: No, don't say that. Really. We don't know that for sure. Frank Navasky: Well, who else could it have been? It was probably around 1960. Kathleen Kelly: Do you want some popcorn? Frank Navasky: I can't believe this! I mean, it's not like he was something normal, like a socialist or an anarchist or something. Kathleen Kelly: It happened in Spain. People do really stupid things in foreign countries. Frank Navasky: Absolutely. They buy leather jackets for much more than they're worth. But they don't fall in love with fascist dictators! Person in Theatre: Do you mind? Frank Navasky: A HOTDOG is singing. You need quiet while a hotdog is singing? Kathleen Kelly: You don't love me. [Frank shakes his head 'no'] Kathleen Kelly: Me, either. Frank Navasky: You don't love me? [they both laugh] Frank Navasky: But we're so right for each other! Kathleen Kelly: I know! I know. Joe Fox: Mr. 152 Felony indictments. Kathleen Kelly: Mr. 152 insights into my soul. Joe Fox: Oh yeah. No competing with that. Kathleen Kelly: Wow, I keep on bumping into you. Joe Fox: Yeah. Kathleen Kelly: I hope your mango's ripe. Joe Fox: I think it is. Hey, you want to bump into me on, say, Saturday around lunchtime? Over there? Nelson Fox: I just have to meet someone new, that's all. That's the easy part. Joe Fox: Oh right, yeah, a snap to find the one single person in the world who fills your heart with joy. Nelson Fox: Well, don't be ridiculous. Have I ever been with anyone who fit that description? Have you? Kevin: [At Cafe Lalo, spying on "Shopgirl"] You know what? She looks... I mean, she almost has the same coloring as... that Kathleen Kelly person. Joe Fox: Kathleen Kelly with the little bookstore? Kevin: Well, why not? You said you thought she was attractive. Joe Fox: Absolutely, yes, why not. Who cares about Kathleen Kelly? Kevin: Well... if you don't like Kathleen Kelly, I can tell you right now... you ain't gonna like this girl. Joe Fox: Why not? Kevin: Because it *is* Kathleen Kelly. Joe Fox: I brought you flowers. Kathleen Kelly: Oughhh... thank you. [last lines] Joe Fox: Don't cry, Shopgirl. Don't cry. Kathleen Kelly: I wanted it to be you. I wanted it to be you so badly. Kevin: I always take a relationship to the next level. If that works out, I take it to the next level after that, until I finally reach that level when it becomes absolutely necessary for me to leave. Kathleen Kelly: [in an email to Joe Fox] The odd thing about this form of communication is that you're more likely to talk about nothing than something. But I just want to say that all this nothing has meant more to me than so many somethings. Kathleen Kelly: Why did you stop by again? I forget. Joe Fox: I wanted to be your friend. Kathleen Kelly: Oh. Joe Fox: I knew it wasn't... possible. What can I say, sometimes a guy just wants the impossible. Shopper: We should bomb Fox Books. Kathleen Kelly: I thought all that Fox stuff was so charming. F-O-X. Joe Fox: Well, I didn't *lie* about it. Kathleen Kelly: "Joe"? "Just call me Joe"? As if you were one of those stupid 22-year old girls with no last name? "Hi, I'm Kimberly!" "Hi, I'm Janice!" Don't they know you're supposed to have a last name? It's like they're an entire generation of cocktail waitresses. Kathleen Kelly: [Kathleen is in a daze after receiving an email from NY152. She comes into her shop and picks up a roll of Scotch tape] Can you beat that? Christina Plutzker: Scotch tape? What is wrong with you? Kathleen Kelly: I have something to tell you, Frank. I didn't vote. Frank Navasky: What? Kathleen Kelly: In the last mayoral election, when Rudy Giuliani was running against Ruth Messenger, I went to get a manicure and forgot to vote. Frank Navasky: Since when do you get manicures? Kathleen Kelly: Oh, I suppose you could never be with a woman who got manicures... Frank Navasky: Never mind. It's okay. I forgive you. [pause] Kathleen Kelly: You *forgive* me? [Kathleen gets up and leaves] Joe Fox: [holding a drink] I better go deliver this. I have a very thirsty date. She's part camel. Joe Fox: [talking via email to "Shopgirl"] Do you ever feel you've become the worst version of yourself? That a Pandora's box of all the secret, hateful parts - your arrogance, your spite, your condescension - has sprung open? Someone upsets you and instead of smiling and walking away, you zing them? "Hello, it's Mr Nasty." I'm sure you have no idea what I'm talking about. Kathleen Kelly: [talking via email to "NY152"] No, I know exactly what you mean, and I'm completely jealous. What happens to me when I'm provoked is that I get tongue-tied and my mind goes blank. Then I spend all night tossing and turning trying to figure out what I should have said. What should I have said, for example, to a bottom dweller who recently belittled my existence? [stops and thinks] Kathleen Kelly: Nothing. Even now, days later, I can't figure it out. Joe Fox: Wouldn't it be wonderful if I could pass all my zingers to you? And then I would never behave badly and you could behave badly all the time, and we'd both be happy. But then, on the other hand, I must warn you that when you finally have the pleasure of saying the thing you mean to say at the moment you mean to say it, remorse inevitably follows. [pause] Joe Fox: Do you think we should meet? Kathleen Kelly: [shocked] Meet? Oh my God... Birdie Conrad: You are daring to imagine that you could have a different life. Oh, I know it doesn't feel like that. You feel like a big fat failure now. But you're not. You are marching into the unknown armed with... [pause] Birdie Conrad: Nothing. Have a sandwich. Joe Fox: I could never be with someone who like Joni Mitchell. "It's clouds illusions I recall/I really don't know clouds at all." What does that mean? Is she a pilot? Is she taking flying lessons? It's probably a metaphor for something, but I don't know what. Patricia Eden: [to Joe, about Kathleen] You know, I love how you've totally forgotten that you've had any role in her current situation. It's so obtuse. So insensitive. Reminds me of someone. Who? Who does it remind me of? [beat] Patricia Eden: Me! Joe Fox: [writing to "Shopgirl"] I came home tonight and got into the elevator to go to my apartment. An hour later, I got out of the elevator, and Brinkley and I moved out. Suddenly, everything had become clear. It's a long story, full of the personal details we avoid so carefully. Let me just say there was a man sitting in the elevator with me who knew exactly what he wanted, and I found myself wishing I were as lucky as he. Kathleen Kelly: I've been thinking about you. Last night I went to meet you, and you weren't there. I wish I knew why. I felt so foolish. As I waited, someone else showed up. A man who has made my professional life a misery. And an amazing thing happened. I was able, for the first time in my life to say the exact thing I wanted to say at the exact moment I wanted to say it. And of course, afterwards I felt terrible just as you said I would. I was cruel and I'm never cruel. Though I can hardly believe what I said mattered to this man. To him, I am just a bug to be crushed. But what if it did? No matter what he's done to me there is no excuse for my behavior. Anyway I so wanted to talk to you. I hope you have a good reason for not being there last night. You don't seem like the kind of person who'd do something like that. The odd thing about this form of communication is you're more likely to talk about nothing than ssmething. But I just want to say that all this nothing has meant more to me than so many somethings. So, thanks. |
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