A Musée D'orsay Encounter

# SCENE 1: FIRST MEETING -- MUSÉE D'ORSAY -- SUNDAY MORNING

Sunlight pours through the vaulted glass ceiling of the Musée d'Orsay, casting golden patterns on the marble floor. ETHAN (20), a young American art student, weaves through the morning crowd, a notebook in one hand, a slightly crumpled museum map in the other.

A silk scarf--deep burgundy with gold threading--flutters to the ground ahead. Before he can call out, the scarf's owner has already moved on. Ethan hesitates, then picks it up, fingers brushing the luxurious fabric. He hurries after her.

ETHAN

(tentatively, struggling with pronunciation)

Excusez-moi, madame... votre écharpe?

She turns. CLÉMENCE (46), elegant in that intangible, Parisian way. Her dark hair is tucked beneath oversized sunglasses. With her are PHILIPPE, a poised man with silver at his temples, and two teenagers who wear the vague scowl of adolescent boredom.

ETHAN

(offering the scarf)

You dropped this. I mean--vous avez... uh... laissé tomber.

Clémence studies him, amused. She accepts the scarf, her fingers brushing his--a brief, warm contact.

CLÉMENCE

(switching to flawless English)

Merci. Not every tourist would bother.

ETHAN

Not every scarf would be worth returning. That's Hermès, right?

Something flickers in her expression--surprise, then something else: curiosity. She loops the scarf around her neck with graceful economy.

PHILIPPE

(offering his hand)

My wife has an eye for beautiful things. Philippe Valois. I teach at the Sorbonne--Art History.

ETHAN

Ethan Harris. University of Chicago.

PHILIPPE

Ah. And what brings a young American to our museums?

ETHAN

I'm writing my thesis on the use of negative space in Impressionist works.

Clémence tilts her head, intrigued. Her sunglasses mask her eyes, but her stillness suggests focus.

PHILIPPE

Hmm. Bold subject. Somewhat overdone, perhaps, but still rich. Clémence, shall we continue? The children are losing patience.

As they walk away, Clémence glances back at Ethan. Though he cannot see her eyes, there is weight in that glance. Not quite a smile. Not quite indifference.

# SCENE 2: AFTERNOON RECONNECTION -- CÉZANNE GALLERY -- THREE HOURS LATER

Ethan stands before a lesser-known Cézanne, sketchbook open, pencil poised. At twenty, his youthful confidence is evident in the assured strokes of his pencil. He's absorbed in the tension between color and space when a voice breaks softly behind him.

CLÉMENCE

*Tu serais mieux servi par Degas pour ton obsession de l'espace négatif. Aile Est.*

(You'd be better served by Degas for your obsession with negative space. East Wing.)

He turns. Clémence stands close, dark glasses lowered just enough to reveal eyes that travel deliberately across his young face and broad shoulders before meeting his gaze. At forty-six, she carries herself with the poise of a woman who has long since stopped apologizing for taking up space. Her taupe suede pixie boots with their sharp heels bring her almost to his height, drawing attention to her slender legs encased in what appear to be fine Italian stockings with a barely perceptible seam running up the back. She is alone, her silk scarf--the one he'd returned earlier--now elegantly draped around her neck.

CLÉMENCE

I wanted to thank you properly. For finding my scarf this morning.

She touches the patterned silk briefly, her fingers lingering on the fabric in a way that draws attention to the delicate lines of her neck.

CLÉMENCE

And to apologize for my husband's comment about American art students. He's... rather a snob when it comes to art. Believes the Louvre should require an exam for entry.

ETHAN

No apology needed. I've met many art snobs. Few with such beautiful wives.

A slight flush colors her cheeks. She slides her glasses back up, regaining composure.

CLÉMENCE

*(shocked, switching to rapid French)*

*Mon Dieu! Quel culot! Un gamin qui me drague comme ça. C'est dingue et... flatteur, je dois l'avouer.*

(My God! Such nerve! A kid flirting with me like that. It's crazy and... flattering, I must admit.)

ETHAN

(confused smile)

I caught "crazy" and something about "flattering"?

CLÉMENCE

(with pointed challenge, in English again)

How old are you? Twenty? Twenty-one? You should be careful with compliments like that. I have a son nearly your age.

ETHAN

(unfazed, his eyes briefly dropping to her legs)

Age doesn't dictate taste. Or appreciation.

She shifts her weight, the movement causing her skirt to reveal another inch of her stockinged legs. The seam running up the back catches the light in a way that draws his attention.

CLÉMENCE

(noticing his glance)

*T'es vraiment sans gêne. Tes yeux se baladent partout.*

(You really have no shame. Your eyes are wandering everywhere.)

ETHAN

I didn't catch that.

CLÉMENCE

Perhaps that's for the best.

She walks closer to the painting, standing just beside him. The subtle shift of weight on her heeled boots draws his attention again to her legs, to the expert way the stockings enhance rather than hide the contours of her calves.

ETHAN

(with genuine curiosity)

Those are Italian stockings, aren't they? With the seam? Or are they tights?

CLÉMENCE

(stunned by his directness)

*Quelle impertinence! Poser une question aussi personnelle!*

(What impertinence! Asking such a personal question!)

She stares at him, caught between scandal and amusement.

CLÉMENCE

(recovering, with deliberate poise)

Stockings. Calzedonia. From Milan. And that is a remarkably personal question from someone I barely know.

ETHAN

(with a half-smile)

I'm an art student. I notice details.

CLÉMENCE

You're either very brave or very foolish.

ETHAN

Maybe both. Does it matter?

She studies him, clearly not expecting this level of directness from someone so young.

CLÉMENCE

(studying him critically)

What could you possibly find interesting about a woman my age? You should be chasing Sorbonne girls through cafés.

ETHAN

I find depth more compelling than... predictability.

CLÉMENCE

(removing her glasses completely now)

A dangerous answer. What would your mother think?

ETHAN

(with a half-smile)

My mother taught me to recognize quality when I see it.

A pause. His sketchbook hangs forgotten at his side as her attempt to create distance between them only seems to charge the air further. She crosses her legs slightly, the stockings making a subtle whisper against each other.

CLÉMENCE

Where is your group?

ETHAN

There's no group. Just me.

CLÉMENCE

(tilting her head slightly)

And at twenty, you prefer to be alone in the city of love?

ETHAN

Depends on the company I find.

She catches her lower lip between her teeth for just a moment--a gesture so brief he might have imagined it.

CLÉMENCE

*Putain, ce gamin va me rendre folle. Il se croit tellement.*

(Damn, this kid will drive me crazy. He thinks he's all that.)

ETHAN

(catching only fragments)

Something about driving you crazy?

CLÉMENCE

(with a controlled smile)

Your French is better than you let on.

ETHAN

Not confidence. Just paying attention.

She laughs softly, a sound that seems to surprise even her. As she shifts position, the seam of her stocking catches the light again, drawing an invisible line up her calf to where it disappears beneath her skirt.

CLÉMENCE

(with renewed challenge)

You realize I'm forty-six? Twice your age plus six years. While you're still...experimenting, I've lived an entire life.

ETHAN

Lucky me, to benefit from all that experience.

She stares at him, caught between scandal and intrigue.

CLÉMENCE

(in rapid French)

*C'est complètement fou ce que j'envisage. Je devrais partir maintenant.*

(What I'm considering is completely crazy. I should leave right now.)

ETHAN

(understanding the tone but not all words)

If I've offended you...

CLÉMENCE

(switching back to English)

You're utterly inappropriate.

ETHAN

I'm just standing here discussing art. And Italian hosiery.

CLÉMENCE

(with knowing skepticism)

Are you?

He says nothing more. She studies him with increasing interest, her fingers absently toying with the edge of her recovered scarf.

CLÉMENCE

Tell me, young Ethan. What brings an American student to this forgotten corner of the gallery?

ETHAN

The overlooked often reveals more than the obvious.

CLÉMENCE

(with a raised eyebrow)

And what have you overlooked today?

A weighted silence settles between them. She uncrosses and recrosses her legs, the movement deliberate, almost performative.

CLÉMENCE

My husband has taken the children to the Impressionist café. He adores pastry more than Monet. I needed... space to breathe.

He looks at her. The implication hangs in the air, undefined but unmistakable.

CLÉMENCE

If you're interested in discussing art further... perhaps the Degas room. East Wing. Ten minutes.

ETHAN

Just to discuss art?

CLÉMENCE

(with practiced innocence)

What else would bring a twenty-year-old boy and a forty-six-year-old woman together in a museum?

She walks away slowly, her pixie boots marking a confident rhythm against the stone floor. The seam of her stockings creates a perfect vertical line up the back of each leg as she moves. He doesn't watch her go. He closes his sketchbook and follows the line of Cézanne's shadow one last time, then turns.

# SCENE 3: THE DECISION -- EAST WING -- FIFTEEN MINUTES LATER

The Degas room bathes in late afternoon light. CLÉMENCE stands alone before a ballerina captured mid-movement, her silhouette creating its own elegant line in the empty gallery. Her suede boots catch the light where she stands, the taupe leather rich against the polished floor. From this angle, the defined musculature of her calves is accentuated by the Italian stockings, their seams perfectly straight despite the hours she's spent on her feet.

ETHAN enters quietly. For a moment, he simply watches, struck by the contrast between her mature elegance and the dewy youth of the painted dancer. She senses his presence without turning.

ETHAN

He captured the moment right before everything changes.

CLÉMENCE

Those are always the most interesting moments, aren't they?

She turns to face him finally, dark glasses now tucked into her blouse, the silk scarf loosened slightly at her throat.

ETHAN

You knew I would come.

CLÉMENCE

(with surprising candor)

*J'espérais et je redoutais à la fois. Quelle folie à mon âge.*

(I both hoped and dreaded it at once. What madness at my age.)

ETHAN

(catching only fragments)

Something about hope and dread?

CLÉMENCE

(in English)

I hoped. And then told myself I was being ridiculous. At my age, chasing after a boy barely out of his teens.

ETHAN

I'm not a boy.

CLÉMENCE

(with a knowing look)

In many ways, you are. That's part of what makes this so...

ETHAN

Exciting?

CLÉMENCE

(evading directly)

Unwise. The gallery closes in forty minutes. The late afternoon is when most visitors leave for dinner.

ETHAN

That's not what I asked.

She moves closer, her eyes meeting his with disarming directness. She shifts her weight, one leg slightly extended, the seam of her stocking creating a mesmerizing line up her calf.

CLÉMENCE

*C'est indécent, ce que j'imagine. Ce qu'on imagine tous les deux. Les gens seraient choqués.*

(It's indecent, what I'm imagining. What we're both imagining. People would be shocked.)

ETHAN

(confused)

I didn't catch all that.

CLÉMENCE

(in English)

This is obscene, you know. What I'm thinking. What you're thinking. People would be scandalized.

ETHAN

I don't care about people.

CLÉMENCE

At twenty, you never do.

The air between them seems charged now, the pretense of casual conversation wearing thin.

CLÉMENCE

My life is... complicated. A husband. Children. A reputation.

ETHAN

I didn't ask for simple.

She studies him with an intensity that seems to peel away layers.

CLÉMENCE

My body isn't twenty anymore. Not even close.

ETHAN

I've seen enough twenty-year-old bodies to last a lifetime. They're... unfinished.

That disarms her. Her lips part slightly, genuine surprise in her eyes.

CLÉMENCE

(with unexpected vulnerability)

What is this, then? Some kind of sexual tourism? An experience to tell your fraternity brothers?

ETHAN

(with unexpected intensity)

Don't. Don't reduce this to something cheap.

She walks a slow circle around him, her boots marking each deliberate step, the seams of her stockings creating twin lines of symmetry that draw his eye despite himself. When she completes the circle, something has shifted in her expression--resolve replacing uncertainty.

CLÉMENCE

(with sudden directness)

There's a staff door two rooms back. Green trim. It leads to a cleaning cupboard.

The abrupt shift to something so mundane, so sordid in this temple of high art, hangs between them like a challenge. She offers no explanation of what would happen there, but her eyes hold a promise of something deliciously inappropriate for a woman her age, with a man his age, in a place meant for mops and brooms.

ETHAN

(after a weighted pause)

And you're telling me this because...?

CLÉMENCE

(simply)

Three minutes. I'll go first.

She steps closer, close enough that he can sense her perfume, the warmth of her skin.

CLÉMENCE

*Je ne fais jamais de folies comme ça, Ethan. Ça fait vingt ans.*

(I never do crazy things like this, Ethan. It's been twenty years.)

ETHAN

(understanding more than he lets on)

Then let me be your exception.

She hesitates, then speaks low, in French:

CLÉMENCE

*Trois minutes. Si tu viens...*

(Three minutes. If you come...)

She leaves the sentence unfinished, its implications hovering between them. Then she walks away, her pixie boots carrying her between marble columns with quiet purpose, the seams of her stockings drawing perfect parallel lines up the backs of her legs. No looking back. No hesitation.

Ethan stands motionless, processing the stark reality of what just happened--the sudden transformation from artistic flirtation to the unspoken promise of something scandalous and forbidden. A woman old enough to be his mother has just invited him to a cleaning cupboard for purposes that would make even his most libertine friends blush. Then he exhales slowly and follows, drawn to the forbidden possibility and the woman who walks with such certainty toward something so deliciously wrong.