The Artist Page #12

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118 EXT. PEPPY'S HOUSE - DAY 118

She runs out of the house and over to the car, but the chauffeur isn't there. She honks the horn to call him but there's no response. She honks the horn again, then, not wanting to wait any longer, and seeing the keys on the dashboard, she gets behind the wheel, starts the engine and pulls off in a series of kangaroo hops. It's obvious that she doesn't know how to drive all that well, but still goes at full speed - more or less successfully. Just as she passes through the gate, the chauffeur turns up. Too late. He sees her drive away.

119 EXT. PEPPY'S CAR (DRIVING) - DAY 119

Peppy is driving as fast as she can through town, but she's pretty reckless and almost causes an accident.

120 INT. GEORGE'S BURNT HOUSE - DAY 120

Outside George's house, the wind is slamming one of the shutters with the regularity of a metronome. George takes a gulp of liquor, then puts down the glass, opens a cardboard box and takes out a pistol that he places on the table in front of him. He picks up the glass for another gulp. Jack doesn't like what he sees. He barks.

(119) As for Peppy, she's speeding along, totally ignoring even the most basic of road safety requirements.

(120) George puts down his glass and picks up the pistol. Jack isn't happy at all. He barks and bites George's trouser leg, pulling on it.

(119) Peppy speeding along.

(120) George puts the pistol into his mouth. Jack is barking like mad. George, still in the same position, closes his eyes.

40.

Title card:
"BANG!"

George is in the same position. He still has the pistol in his mouth. Visibly, he's heard a BANG from outside, because he takes the pistol out of his mouth and looks out the window.

121 EXT. GEORGE'S BURNT HOUSE - DAY 121

Outside, we see Peppy's car has rammed into the gate and is still shuddering. Peppy didn't brake in time, but she doesn't care. She jumps out the car and runs into the house.

122 INT. GEORGE'S BURNT HOUSE - DAY 122

She rushes into the living room and stops for a moment to look at George. George awkwardly tries to hide the pistol behind him. She bursts into tears.

Title card:
I feel so awful. I only wanted to help you. To

take care of you...

He seems to reply that no, it's not her fault, she's got nothing to feel bad about. He opens his arms towards her, still holding the pistol and the gun fires itself. Fortunately no one is hurt, but the incident makes Peppy laugh and, between sobs and gasps of laughter she throws herself into George's arms. They hug for a long time. Peppy says into his ear,

Title card:
You've got so much that no one else has...

And into her ear, George replies:

Title card:
No, I'm nothing but a shadow. No good for

anything but silence.

Peppy doesn't reply. She just holds him tighter still and closes her eyes. Jack is sitting close by, watching them and wagging his tail.

Outside, the shutter is still slamming and the car is still shuddering. Peppy opens her eyes. Visibly, she's had an idea.

Jack wags his tail and thumps it on the ground. The shutter slams. The car shudders. Peppy smiles at George.

Title card:
I know what you have that no one else does.

Peppy moves away from George and motions to him to listen.

The shutter slams. Jacks tail thumps. The car shudders... Peppy does a few tap steps. George doesn't understand.

41.

Peppy starts again, with a beaming smile, waiting for his

response. George does a few tap steps himself, basic ones, without any great enthusiasm. She smiles at him and does a few more complex steps that are a lot livelier. He smiles back finally understanding the golden gift that he has in his

feet. He looks at Peppy lovingly with a beaming smile

face.

123 INT. KINOGRAPH STUDIOS (1931) - ZIMMER'S OFFICE - DAY

on his

123

Music suddenly begins to play and we see feet dancing

another decor. Except that from now on we actually hear the sound of the tap steps. We pull back to find Peppy and George in Zimmer's office. They're dancing for him. Little by little, Zimmer is convinced by them, and, when they finish their demonstration, he has a broad smile on his face.

124 INT. STUDIO - PEPPY & GEORGE - DAY 124

We find Peppy and George on a film set, still dancing. The piece of jazz they are dancing to has gone so crazy that now everyone wants to get up and dance! They are dancing a tap number facing the camera, in a décor representing a stylized New York. The choreography is incredible, in the grand style of the old Hollywood musicals and they finish with a knee slide that brings them right up to us with big smiles on their faces. The music stops on a powerful blast from the brass instruments that leaves everyone bursting with energy. In the ensuing silence, Peppy and George stay exactly where they were, facing the camera, with the smile stuck on their faces. It goes on for a little too long, they are out of breath.

Then they look at someone off-shot. They are facing a film crew (from their era of course). The director smiles. Zimmer, sitting next to him, seems ecstatic. The director speaks and we hear what he says.

DIRECTOR:

Cut! Excellent!

Zimmer has both his thumbs up. The director says to Peppy and George.

DIRECTOR (CONT'D)

Once more? Please?

George laughs and replies, and we hear him too.

GEORGE:

With pleasure!

in

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