《艺术家》英文剧本

THEARTISTWrittenbyMichelHazanaviciusSilentfilm,illustratedmusically,withsometitlecardstoindicatethedialogues,withactorswhoselipsmovewhentheyspeakalthoughweneverheartheirvoices.Theimagesareinblackandwhite,informat1.33.1TITLES1Thelettersofthetitlescomeuponatitlecardtypicalofthe1920s.Elegantmotifsaroundtheedgeoftheframe,and,inthebackground,therearegeometricalshapesreminiscentofthelightbeamsofafilmpremière.Behindisastylizedtown.Thetitlesendinafadetoblack.Onblack,thedateappearsonthescreen:19272INT.LABORATORY-DAY2Ina"futuristic"1920slaboratory,amanintailcoatandbowtieisbeingtortured.Ultrasoundisbeingpipedintohisears.It'sincrediblypainful!He'sscreaming.Titlecard:I'mnottelling!Iwon'ttalk!!!Historturers,coldmenofscienceinwhitecoats,graduallyincreasethevolume.Thepainseemsunbearable,thevolumereacheslevel10(maximum),themanpassesout!3INT.CELLS&CORRIDORS-DAY3Guardswearinglongleatherovercoatsthrowthemanintoacell!Asthemanislyingthereontheground,adogwigglesthroughthebarsatthewindow.Thedog,aJackRussell,jumpsontopoftheman-visiblyhismaster-andbeginstolickhisface.Themanopensoneeye!Whenheseeshisdog,hecan'thelpcrackingasmile...Theman,nowonhisfeet,looksinpain.Despitethepain,hemotionstohisdogwhobeginstobarkinlivelyfashion.Outsidethecell,theguardlookscuriousaboutthenoise.Hegoestothedoor,opensthespyflapandfindshimselffacetofacewiththeman,eyetoeyejustacoupleofinchesapart!Themanmoveshiseyesinsuchawaythathehypnotizestheguard!Superimposedonthescreen:aspinningblackandwhitespiral,untilthedazedguardtakehiskeys,opensthedoorandreleasesthemanandhisdog.2.Theman(thehero,thus)imprisonstheguardwithoutharminghim,thenrunsovertotheguard'sdesk.Hisearsarestillcausinghimpain,butheopensadrawerandtakesouthisbelongings:atophatwhichhesnapsopen,andamask,whichheputsoverhisheadtoconcealhiseyes.Wecatchupwiththemaskedmanwalkingdowncorridors.Hesuddenlystops,copiedbyhisdogwhofollowshimlikehisshadow.Theman,onhisguard,hasspottedanotherguardwheretwocorridorsmeet.Withalook,heordershisdogtomoveforwardsintotheguard'slineofsight.Theguardlooksoverattheanimal.Usinghisfingers,theheropretendstoshoothisdog.Thedogcollapses,playsdead.Theguard,increasinglycurious,getstohisfeet.Heslowlyapproachesthemotionlessdog.Whenhecomescloseheisattackedfromthesidebythehero,whoquicklyputshimoutofactionwithamerepunch!Themaskedmanthenrushestoanothercell,andreleasesayoungfemaleprisoner.Shetooiswearingeveningdress.Assheisthankinghimhestaggersandclutcheshisearsinpain.She'sconcerned.Titlecard:CanIhelpyouinsomeway?Herefuses.Titlecard:No.Idon'tgethelped.Igivethehelparoundhere.Hecomposeshimself.Shecastshimanadmiringglance.Then,inviewoftheurgencyoftheirsituation,theyescapeatarun.4EXT.HOUSE/LABORATORY-DAY4Theycomeoutofahousethatislostinthehills,climbintoaBugattisportscarthatthemanstartsbyrubbingtwowirestogether,andspeedoff.5EXT.ROAD-DAY5Thecarspeedsalongtheroad.Itsoccupantsturnroundtochecktheyaren'tbeingfollowed.3.6INT.HOUSE/LAB-DAY6Theguardwhogotknockedoutpickshimselfup,realizeswhat'shappenedanddashesovertohisoffice.Hegrabsaradioemitterandbeginssendingamessage.7EXT.AIRFIELD-DAY7Thehero,theyoungwomanandthedogcometoahaltintheBugattiontheairfield,byatelegraphpolewhosewireslead...toawatchtower.Inthewatchtower,aradioreceptorisvibrating.Asoldierapproaches,listensandsuddenlyunderstands!Hegrabsholdofhisgunandgoesoutontotheairfield,onlytofindthefugitives!Hetriestoshootatthemashedrawscloser,buttheheromanagestothrowanairplanepropellerathim,beforeclimbinginsidewherethewomananddogarewaitingforhim.Theairplanebeginstomove.Thesoldiershoots.Theairplaneispositioningitselfontherunway,whilethesoldiercontinuestofire!Theaircraftgainsspeed.Thesoldierisstillshooting,buttoolate,astheheroopullsbackthejoystick,andtheairplanetakestothesky...Thesoldierisfurious,buttheheroisallsmilesashelooksbacktowardsthegroundandshoutssomething.Titlecard:FreeGeorgiaforever!!!Theairplanefliesawayintotheeveningsky.8EXT.AIRPLANE-NIGHT8Alittlelaterinthenight,stillatthecontrols,themanisfightingnottofallasleep.Behindhim,thewomenissleeping,thedogislyinginherarms.Suddenlysheisawokenbyexplosionshappeningcloseby!Pandemonium!Themandoesn'tunderstanditeither,hetriestopickupaltitude,butquicklynoticesthattheexplosionsareinfactprettyandinoffensive.HeconsultsacalendardialonthecontrolpanelthatshowsitisJuly14th,immediatelyunderstands,andburstsintolaughter.Titlecard:We'vearrived,welcometoFrance!!!4.AsthemusicpicksupthetuneofTheMarseillaise,theairplanefliesawaythroughtheexplodingfireworks...Thewords"TheEnd"appearonthescreen.9INT.WINGSMOVIETHEATERLOSANGELES-NIGHT9Fromthemomenttheyparkedthecaronwards,webecomeabsorbedbywhat'shappeningaroundthescreeningofendofthisfilm.Behindthescreen,we'veseentheactorwhoplaysthehero-hisnameisGeorgeValentin-closelystudyingthereactionsoftheaudience.Hewasstandingclosetohisdog,motioningtoitnottomakeanoise.Thedog'snameisJack.Inthesamearea,we'vealsoseentheleadactress.HernameisConstanceGray.Shetoolookstenseandislatchedontothearmofapleasant-lookingmanwhoischewinganxiouslyonacigar.Themanlooksrich,butalittleweak.He'ssurelytheproducer.10INT.MOVIETHEATERLOSANGELES-NIGHT10Inthehouse,muchoftheaudienceisopen-mouthed,excited,immobileandoftenwide-eyed.Inthepit,asymphonyorchestraplaystoaccompanythefilm.(9)Nowthatthefilmisending,andthelastnoteissounding,thecastanxiouslyawaitstheaudience'sverdict,which,aftertwoorthreesecondsofsilence,burstsintothunderousapplause,tothegreatjoyoftheactorandthepeoplearoundhim,especiallytheactressandtheproducer,whokisseachotheronthelips.Twotheaterhandsbringdownthecurtain.(10)Thelightscomeon.GeorgeValentincomesontothestageandacknowledgestheaudience,theyarecheeringforhim.Heissohappyhedancesafewtapstepstoexpresshisjoythenheacknowledgestheorchestrabeforefinallymotioningtosomeoneinthewingstojoinhim.Jackthedogtrotsoverinresponse.Thecrowdlaughsandcheers,Georgewavestothedog,Jackwavesbackthenwavesattheaudience,thepeoplearelovingit!Inthewings,Constanceisfumingwithrage,butonstage,Georgeispretendingwithhisfingerstopullatthedog,whofakesdeath.Thunderousapplauseagain.5.Behindtheactress,theproducercan'tholdbackasmile,andthisenragestheactressstillmore.Suddenly,George,hammingitup,rememberssomethinghe'dforgotten,andaskssomeonefromtheothersideofthewingstojoinhim.It'sConstance.Shecomesover,smilingtotheaudience,andsayssomethingtoGeorgewithasmile.Titlecard:I'llgetyouforthat.Shewaves,butwecantellthathersmileissetbetweenherteeth.Sheisn'tfeelingcomfortable.Georgemotionsfiringagunwithhisfingers,butshedoesnotfalldown,merelycastshima"veryfunny"glance.Georgelooksathisfingers,notunderstandingwhytheydon'tworkanymorethenmimesthrowingthemawaybehindhim,asthoughthey'vebecomeuseless.Constancestalksbackoffintothewingsinannoyance,buttheaudienceisecstatic.Onceinthewings,theactresssticksuphermiddlefingeratGeorge,andexaggeratedlymouthssohecanreadherlips:"Putthisupyourass."George,grinningbroadly,respondsbyclappinghishandsinapplause,thenleavesthestage,executingafewmoredancestepsashedoesso.Theaudienceisdelighted.Ashecomesoffstage,GeorgegetssoundlytoldoffbyConstance,but,stillgrinning,hemotionstowardstheaudiencewhoarestillaskingformore.Theproducer,althoughdelightedbythesuccessfulreception,makesaweakattempttocalmtheactressdown.AsforGeorge,hereturnstothestage,theaudienceroars.Hepretendstowanttoleavethestage,andmimesbumpingintoaninvisiblewalljustashe'sleavingthestage.Georgeholdshisnose,theaudiencegoeswild,Constancegetsevenmadder,andwhileGeorgecarriesonclowningabout,theproducertoobreaksintoabeamingsmile.He'sprobablyrealizedthatGeorgehastheaudienceonhisside...Constance,furious,stormsoff.Sheisfollowedbytheproducerwhoistryingtoplacateher,althoughitlookslikehe'sgothisworkcutoutforhim.11EXT.MOVIETHEATERLOSANGELES-NIGHT11Outside,weareinfrontofatypicallyAmericanmovietheaterdeckedoutwithalltheaccessoriesofagrandpremière.Theentranceislitup,therearecrowdsgatheredonthesidewalk,copsareguardingtheredcarpetwithacordonofbodies,etc.Georgecomesout,causingthecrowds,mainlyyoungwomen,topressforwards-andthephotographers'flashestosparkintolife.ThecopsarestrugglingtomaintaincontrolofthesituationasGeorgeposesforthephotographersandwavesathismanyfans.6.Inthecrowd,ayoungwomanrightatthefrontisstaringathiminrapture.Shedropsherbagand,asshebendstopickitup,aswellinthecrowdpushesherunderneaththearmsofthepolicemaninfrontofher,outofthecrowdandintoGeorge.Shestaresathim,moreinlovethanever,delightedtobethere.Thepolicewaitforsomeonetogiveorders.Georgedoesn'tquiteknowwhattodo.Nobodymoves.Theyoungwomanfinallyburstsoutlaughing,which,afteramomentofshock,causesGeorgetolaughtoo,thusplacatingthecopsandtacitlysignalingtothephotographersthattheycantakepicturesofthescene.Theflashesseemtolendthewomanself-confidencewho,inaverycarefreemanner,beginstoclownaboutinfrontofthem.Georgeisdelightedatthesight,bythewholesceneand,realizingthis,theyoungwomanstealsakiss.Flash.Theimagebecomesstatic,thendissolvesintotheprintedpictureonthefrontpageof"TheHollywoodReporter"newspaper,alongwiththreeotherpicturesofthesceneandtheheadlineWHO'STHATGIRL?12INT.GEORGE&DORIS'HOUSE-DAY12Theverysamenewspaperisbeingreadbyanelegantwomansittingatasumptuousbreakfasttable.Weareinthelargediningroomofanultra-luxuriousHollywoodvilla.Allaroundheraremagnificentfurniture,superbpaintingsandobjetsd'art,includingabeautifultrioofmonkeys,onehidingitseyes,onewithhandsclaspedtoitsearsandthethirdobscuringitsmouth.Georgecomesintotheroomandkisseshiswife.Sherespondswithcoldindifference.Youcouldcuttheatmospherewithaknife.ThewomanhandsGeorgethenewspaper.Heknowswhat'supbuttriestolaughitoff.Shedoesn'tfinditfunny,isascoldasstoneandbarelylooksathim.Sheisobviouslyextremelyannoyedwithhim.Georgepicksuphisdogandputsitonthetable.Jackdropshisheadtoonesideandhisbigeyesimploreseemtoimploreherforgiveness.It'stheexactexpressionofsomeoneaskingtobeloved,butDorisisimplacable.Shegetsup,walksawayanddoesnotturnback.Leftonhisown,Georgehasaclosedexpressiononhisface.Heseemsunhappytohavehurthiswife'sfeelings.ThenherealizesthatJackisonthetableinaridiculouspose,andsignalstohimtogetdown.Thedogobeys.Georgelooksatthepaper,thecauseofhisproblems.13EXT.HOLLYWOODSTREETBUS-DAY13Thirteenwhitelettersplacedonahillside.HOLLYWOODLAND.Below,intown,abus.7.14INT.BUS(DRIVING)/HOLLYWOOD-DAY14Insidethefullbusistheyoungwomanfromthedaybefore.HernameisPeppyMiller.Sheisproudlyholding"TheHollywoodReporter"withherfaceonthefrontpage,andismoreorlessdiscreetlymakingsuggestiveglances,hopingthatsomeonerecognizesher.Butthepeoplearoundher-fromworkingandmiddleclassbackgrounds-arevisiblyontheirwaytoworkandremainimpervioustohergame.She-carefully-putsthepaperawayinherbag,inwhichfourorfivecopiesofthenewspaperarealreadycarefullytuckedaway,thengetsoffthebusatthenextstop.15EXT.KINOGRAPHSTUDIOS-DAY15ShegoesthroughthemaingatesofKinographStudios,andheadstowardswheretheyhireextras.Inacourtyard,fifty-oddpeoplearewaiting,somesittingonwoodencrates,othersstanding.Therearemumswithkids,guyswithanimals,mendressedascowboys,etc.Peppyisamongthem,sittingnexttoamanofaboutsixtywhoisdressedinahighlystylizedfashion.Hisjobisobviouslythatofabutler.Peppyproudlyshowshimthepictureinthenewspaper.Themanleanstotakeacloserlook,unfoldsthenewspaper,seestheheadline,smilesandthenfoldsitbackupagainandreturnsittoPeppytext-side-up,highlightingtheheadline:Who'sthatgirl?Peppyisabitannoyedtohavebeenputinherplace,butdeepdownsheknowshe'sright.Nobodyknowswhosheis.Sheputsthenewspaperaway.Amanwhovisiblyworksforthestudio,someassistantorother,comesintothecourtyard,climbsonacrateandmakesanannouncement.Titlecard:Contemporaryfilm!Fivegirlswhocandance!Allthemenwhohadpressedforwardsturnontheirheels,leavingtheassistantsurroundedonlybywomen.Themansayssomethingtoonegirl,whobeginstodance.Hemotionstoherthatit'sokandsheheadsofftowardsthewardrobesection.Hedoesthesamewithasecondgirlandshegetshiredtoo.Thenit'sPeppy'sturn.Sheputsalotofenergyintoafewtopclasstapsteps,impressingtheguytosuchanextentthathesmilesadmiringlythensignalsthatshe'shired.Fullofself-assurancethatherluckydayhascome,Peppyheadsofftowardswardrobetoo;swinging,herhipsasshepausesinfrontofthebutler.8.Titlecard:ThenameisMiller.PeppyMiller!Shefinisheswithanexaggeratedwink,beforewalkingon,leavingbehindtheimpassivebutler.16AINT.GEORGE&DORIS'HOUSE-DAY16AInthelobby,Georgeispreparingtoleavethehouse.Hewavesatthehuge,full-lengthportraitofhimselfwavingandsmilingwhilstwearingatuxedo.Helooksgreatinthepainting,andGeorgeisdelightedtoseeandtowavetohimself.16EXT.KINOGRAPHSTUDIOS-DAY16Later,George,inaluxuriouscardrivenbyhischauffeur,arrivesattheKinographstudioswithhisdog.Theguardattheentrancesmilesbroadlyatthemandwaves.17INT.KINOGRAPHSTUDIOS-DRESSINGROOMCORRIDORS-DAY17Ashewalkstowardshisdressingroom,everyonesmilesathim.He'snotalwaysfooledbythesesignsofrespect,andapesafewsmileshimself.18INT.KINOGRAPHSTUDIOS-GEORGE'SDRESSINGROOM-DAY18Inhisdressingroom,wearingatailcoatandtophat,Georgeisfinishingputtinghismakeupon.Hehasawhitefaceanddarklipsandeyes.Hischauffeurissigningautographsforhimonfulllengthphotographsofhimself(George)withhisdog.Georgesaystohim:Titlecard:Goandbuyapieceofjewelryformywife.Anicepiece,tomakeituptoher.Thechauffeurnods.Havingfinishedhismaskup,George,picksupaphoto,looksatitcloselyandthenwritesonit.Asheleavesthedressingroom,weseethephotograph.He'swrittenWoofWoofonit,andsigneditwiththepawprintofadog.19INT.KINOGRAPHSTUDIOS-RESTAURANTDECORSET-DAY19We'reonafilmset,thecrewissettingupashot.Thedirectorisunhappywithascreenpositionedbehindabaywindowandhesendsitoff.9.Titlecard:Removethatscreenandbringmeanotherone!Onthedouble!Twohandspickupthescreenandcarryitaway.Georgearrivesonset,everyonesmilesathim.Hesitsdownonthechairwhichbearshisname.Theproducerwhomwesawthepreviousdayatthepremièrearrives.HisnameisZimmer,andhe'sflankedby-andfollowedaroundateverymomentby-twosecretariesandtwoassistants.OneofthemhandshimTheHollywoodReporter,andZimmer,beforehe'sevencometoahalt,talkstoGeorgeasheshowshimthefrontpage.Heisvisiblyupset.Georgelooksalotmorerelaxed,hesayshelloandvaguelytriestoreassurehim.ButZimmerpersists,stillpointingatthenewspaper.Titlecard:Becauseofthischildishnonsense,there'snothingaboutthefilmbeforepage5!BehindGeorge,thetwosethandscomebackwithanewscreenofskyscenery,andwait,standingjustnexttoGeorge.Astheyareholdingit,thereisathreefootgapunderneath.Whiletheproduceristalkingtohim,George'sattentionisdrawnbyalovelypairofwomen'slegsthathavecometostandbehindthescreen,thetophalfofthebodybeinghiddenbyit.Georgeacknowledgesthesightwithasmileandisabouttobringhisattentionbacktotheon-goingdiscussion,whenhisattentionisdrawnawayagainbyanoise,thatofthetapstepsthefemalelegsaremaking,presumablyasawarmup.Georgesmilesinrecognitionandrespondswithafewtapstepsofhisown.Thewomen'slegsinstantlystop,seemtothinkamomentandthenanswerback,butwithajumpinthecomplexityofthesteps.Atapdialogueensuesbetweenthetwopairsoflegs,untilthesethands-thepathbeforethemnowcleared-pickuptheirscreenofsceneryandwalkoffwithit.Thescreenmovesawayandasitdisappearsrevealsthattheupperbodybelongstoayoungwoman.Shepullsafacemeaning'HereIam!!'Andofcourseit'sPeppy,exceptthatsheimmediatelyrealizeswhosheisdealingwith-visiblyshewasn'texpectingthisatall-andfeelscompletelyridiculousanduncomfortable.Herjoyfulexpressiongraduallybecomesoneofabjectapology,butGeorgeisroaringwithlaughter.Afterashortpause,Zimmermakestheconnection.Hechecksthefrontpageofthepaper,andrecognizesher!Thenhebeginsshoutingatherandallshecandoislowerherhead,unabletoreply.Hegesturesthatshe'sfiredandforhertogetout,andshestartstogo,completelydistraught.She'sjustmadeacoupleofstepswhenGeorgestopsherandtellshertocomeback.Everyoneissurprised,mostofallhim.Zimmercan'tbelieveit,andsodoesn'trespondatfirst.10.There'sbadfeelingbetweenthem,asthoughneitherwantedthissuddenconflict,butlikeithadalwaysbeenthere,tangible.EveryoneonthesetseemstobewaitingforZimmertoreact,buttotheirsurprise,afteralongmomentofhesitation,hewalksawaywithoutsayingathing.PeppylooksatGeorgegratefully,smiling,butseemsalittlepreoccupiedasthoughshemighthavemadeamistake.Everyoneonsetgetsbacktowork.20INT.KINOGRAPHSTUDIOS-RESTAURANTDECORSET-DAY20They'reabouttostartshooting.ThedirectorisshowingGeorgewhathehastodo.Thesceneishappeninginacabaretrestaurant.Georgehastocrossadancefloor,buteachtimeheisstoppedbyaguyringingabelltosignalitistimetochangedancingpartner.GeorgefindshimselfdancingwithPeppyonemoment,andinthearmsofaveryfatmanthenext,thedirectorfindsthegaghysterical.Thesceneisshotseveraltimesfromthreedifferentangles.Eachtime,GeorgedanceswithPeppy,and,eachtime,thenatureoftheirrapportchanges.Tobeginwith,theyarehappyandlaughing,butthen,withtime,lessso.Thentheybecomeembarrassed,andthenthingsgetworse.Westartthesequenceagainandagain,tothesoundoftheclapperboardcountingthenumberoftakes,buttheeroticismbetweenthemistheonlythingthatstandsoutfromthescene,everythingelsegoesunnoticed.Ultimately,noflirtingorsuggestivenesshasgoneon,justtheveryobviousbeginningoffeelingsbetweenthemthattheyfinddisturbing.It'sprobablylove.21INT.KINOGRAPHSTUDIOS-DRESSINGROOMCORRIDORS-DAY21Lateron,inthedressingroomcorridor,Peppy,holdinganenvelope,goesuptoGeorge'sdoor.Sheknocks,waitsforareply,thenenters.There'snobodythere.Shehesitates,notsurewhethertoleaveorstay...22INT.KINOGRAPHSTUDIOS-GEORGE'SDRESSINGROOM-DAY22Finally,shegoesintotheroomandplacestheenvelopeaddressedtoGeorgeValentinonthedresser.Thensheattentivelylooksaroundthedressingroom.Shelooksattheobjectsandphotosandnotices,hangingfromacoatstand,George'sjacketonahanger,andhishatwhichsitsonahookaboveit.ThewaytheclothesaredisposedlookslikeGeorge'ssilhouette,exceptthattheclothesareempty.Shegoesover,strokesthejacketandlittlebylittlebringsGeorgetolifethroughhisclothes.11.Sheputsherrighthandintothesleeveandtouchesherownwaist.Asit'sGeorge'ssleeve,shemakesitlooklikehisarmhascometolife,asthoughGeorgehascometolife.EvenmoresosinceherlefthandisstrokingthejacketasthoughGeorgewereinside.Shetakespleasurefromtheembraceand,whenGeorgecomesintotheroom,sheslowlyremovesherhandwithoutanyrush.Georgeseesher,theylookateachother.Heclosesthedoorbutdoesn'tgoovertoher,insteadgoingovertothemirror.Helooksather,sheathim...Hemotionstohertoapproach.Shedoes.Hestaresatherfaceforawhilebeforehespeaks.Titlecard:Ifyouwanttobeanactress,youneedtohavesomethingnooneelsehas.Hetakesamake-uppencilanddrawsabeautyspotaboveherupperlip.Shelooksatherselfinthemirrorandsmiles.Shelikesit.Sheturnstowardshimand,quitenaturally,foldsintohisarms.Thedogwatchesthemcuriouslywithitsheadleaningtooneside.TheyareprobablyabouttokisswhenGeorge'schauffeurcomesintotheroomandcatchesthem.Georgeswiftlymovesasideandthereisamomentofdiscomfort.Thechauffeurunwrapsaparcelandtakesoutalargeandbeautifulpearlnecklace.Georgeisintriguedbythenecklace,andturnsawayfromPeppy.SheunderstandsthatGeorgehashisownlife,thattheirembracewasjustastolenmomentandslowlyleaves,lookingbackatGeorgeasshedoesso.Hedoesnotlookather.Sheleavestheroom.Oncehehasstudiedandnecklaceandissatisfied,GeorgeturnsbacktowardsPeppybutsheisnolongerthere.Thechauffeurexitstheroom.Whenheisalone,Georgelooksathimselfinthemirror.Hisexpressionshowsthathethingsheisthestupidestmanintheworld.Hemimesshootinghimselfinthetemplewithhisfingers,butit'sthedogwhichcollapsesintoitsplay-deadpose.23INT.GEORGE&DORIS'HOUSE-DAY23Thenextmorning,he'shavingbreakfastwithhiswife.Theatmosphereisstilldreadfulbutthistimehe'snotmakinganyefforteither.HedisdainfullywatchesDoriseat.Sheiscuttingupstrawberriesusingaknifeandfork.Georgewatchesher,smilesandcontinuestowatch.Exceptit'snotDorishe'swatching.Insteadit'sPeppywho'stuckingintoherfoodandtalkingandlaughingvivaciously.Georgeiswithherwithanexpressionofloveonhisface.He'slaughingwithherwhen,suddenly,realitybites.He'sstillsittingoppositeDoris,andshe'sstaringathimbecauseshedoesn'tunderstandwhyheislaughing.Shevisiblyfindshimridiculous.Hestopslaughingandbreakfastcarriesonasnormal.12.24INT.