The Artist Page #2

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audience goes wild, Constance gets even madder, and while George carries on clowning about, the producer too breaks

into a beaming smile. He's probably realized that George has the audience on his side... Constance, furious, storms off. She is followed by the producer who is trying to placate her, although it looks like he's got his work cut out for him.

11 EXT. MOVIE THEATER LOS ANGELES - NIGHT 11

Outside, we are in front of a typically American movie theater decked out with all the accessories of a grand première. The entrance is lit up, there are crowds gathered on the sidewalk, cops are guarding the red carpet with a cordon of bodies, etc.

George comes out, causing the crowds, mainly young women, to press forwards - and the photographers' flashes to spark into life. The cops are struggling to maintain control of the situation as George poses for the photographers and waves at his many fans.

6.

In the crowd, a young woman right at the front is staring at him in rapture. She drops her bag and, as she bends to pick it up, a swell in the crowd pushes her underneath the arms of the policeman in front of her, out of the crowd and into George. She stares at him, more in love than ever, delighted to be there. The police wait for someone to give orders. George doesn't quite know what to do. Nobody moves. The young woman finally bursts out laughing, which, after a moment of shock, causes George to laugh too, thus placating the cops and tacitly signaling to the photographers that they can take pictures of the scene. The flashes seem to lend the woman self-confidence who, in a very carefree manner, begins to clown about in front of them. George is delighted at the sight, by the whole scene and, realizing this, the young woman steals a kiss. Flash. The image becomes static, then dissolves into the printed picture on the front page of "The Hollywood Reporter" newspaper, along

with three other pictures of the

THAT GIRL?

12 INT. GEORGE & DORIS' HOUSE - DAY

scene and the headline WHO'S

12

The very same newspaper is being

sitting at a sumptuous breakfast

dining room of an ultra-luxurious Hollywood villa. All around her are magnificent furniture, superb paintings and objets d'art, including a beautiful trio of monkeys, one hiding its eyes, one with hands clasped to its ears and the third obscuring its mouth. George comes into the room and kisses

read by an elegant woman

table. We are in the large

his wife. She responds with cold indifference. You could cut the atmosphere with a knife. The woman hands George the newspaper. He knows what's up but tries to laugh it off. She doesn't find it funny, is as cold as stone and barely looks at him. She is obviously extremely annoyed with him. George picks up his dog and puts it on the table. Jack drops his head to one side and his big eyes implore seem to implore her forgiveness. It's the exact expression of someone asking to be loved, but Doris is implacable. She gets up, walks away and does not turn back. Left on his own, George has a closed expression on his face. He seems unhappy to have hurt his wife's feelings. Then he realizes that Jack is on the table in a ridiculous pose, and signals to him to get down. The dog obeys. George looks at the paper, the cause of his problems.

13 EXT. HOLLYWOOD STREET BUS - DAY 13

Thirteen white letters placed on a hillside.

HOLLYWOODLAND.

Below, in town, a bus.

14 INT. BUS (DRIVING)/HOLLYWOOD - DAY

7.

Inside the full bus is the young woman from the day before. Her name is Peppy Miller. She is proudly holding "The Hollywood Reporter" with her face on the front page, and is more or less discreetly making suggestive glances, hoping that someone recognizes her. But the people around her - from working and middle class backgrounds - are visibly on their way to work and remain impervious to her game.

She - carefully - puts the paper away in her bag, in which four or five copies of the newspaper are already carefully tucked away, then gets off the bus at the next stop.

15 EXT. KINOGRAPH STUDIOS - DAY 15

She goes through the main gates of Kinograph Studios, and heads towards where they hire extras.

In a courtyard, fifty-odd people are waiting, some sitting on wooden crates, others standing. There are mums with kids, guys with animals, men dressed as cowboys, etc. Peppy is among them, sitting next to a man of about sixty who is dressed in a highly stylized fashion. His job is obviously that of a butler. Peppy proudly shows him the picture in the

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newspaper. The man leans to take a closer look, unfolds the newspaper, sees the headline, smiles and then folds it back up again and returns it to Peppy text-side-up, highlighting the headline: Who's that girl ?

Peppy is a bit annoyed to have been put in her place, but deep down she knows he's right. Nobody knows who she is. She puts the newspaper away.

A man who visibly works for the studio, some assistant or other, comes into the courtyard, climbs on a crate and makes an announcement.

Title card:
Contemporary film! Five girls who can dance!

All the men who had pressed forwards turn on their heels, leaving the assistant surrounded only by women. The man says something to one girl, who begins to dance. He motions to her that it's ok and she heads off towards the wardrobe section. He does the same with a second girl and she gets hired too. Then it's Peppy's turn. She puts a lot of energy into a few top class tap steps, impressing the guy to such an extent that he smiles admiringly then signals that she's hired.

Full of self-assurance that her lucky day has come, Peppy heads off towards wardrobe too; swinging, her hips as she pauses in front of the butler.

Title card:
The name is Miller. Peppy Miller!

8.

16A INT. GEORGE & DORIS' HOUSE - DAY 16A

In the lobby, George is preparing to leave the house. He waves at the huge, full-length portrait of himself waving and smiling whilst wearing a tuxedo. He looks great in the painting, and George is delighted to see and to wave to himself.

16 EXT. KINOGRAPH STUDIOS - DAY 16

Later, George, in a luxurious car driven by his chauffeur, arrives at the Kinograph studios with his dog. The guard at the entrance smiles broadly at them and waves.

She finishes with an exaggerated wink, before walking on, leaving behind the impassive butler.

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