Excerpt from Production Script
page 2 of the Painter:
CRASHING AND CRUNCHING OF EQUIPMENT APPROACHES
ANNABEL: Now, what's that man with the
beret doing with that easel?
don't know but I'm not gonna give up my seat for all that stuff.
KATHY: Somebody oughta ask
him what he's doing.
ANNABEL: Not me.
OLD MAN: I don't think it's my place
to get involved, you know.
KATHY: Why don't you ask
KATHY: I don't know.
I just thought maybe you wouldn't mind doing me
a little. It's no big deal.
WIMPY: I'll be glad to ask
for you, ma'am.
all right, all right. I'll ask him. Hey, you, with the beret?
What's with the easel?
ARTIST: I am Henri Formage.
I am a painter.
ANNABEL: Well, that explains the
ARTIST: I will paint the scene
at this bus stop. I want to capture real
life on the canvas.
OLD MAN: Hey! We're going to get
(GENERAL OOHS AND AHHS IN BACKGROUND)
ANNABEL: I'd better turn around so
he'll catch my good side.
ARTIST: No, no, no. I want
to capture real life on the canvas. I
want everyone to look natural.
ANNABEL: Are you implying that my good
side doesn't look natural?
Well, what are we supposed to do?
ARTIST: Oh, please, just go
about your everyday business. Just
pretend that I am not here.
ANNABEL: Well, what if you don't have
any everyday business?
(BEAT) Maybe I oughta go over and have a peek just to see
how he's doing.
KATHY: Oh, don't, Ed.
Artist's are very sensitive. You might
ruin his concentration.
no I won't.
KATHY: Well, if you move,
you might ruin his composition. You
might be standing right
where he wants you.
I doubt it.
KATHY: Well, you'd better
ask permission before you step out of
ok. (SHOUTS) Hey artist, are you painting me right now?
(CROSS OVER TO ARTIST SIDE) Great. I'll just step over
here and see.
KATHY: What, Ed?
What? How is it?
ANNABEL: Am I in it?
WIMPY: How do I look?
OLD MAN: Is that smudge me?
ANNABEL: Don't look over his shoulder.
It's not polite.
OLD MAN: I've got a right to know if
I'm a smudge or not.
ARTIST: Please. Please,
just act natural.
KATHY: I wonder if he
means natural as in "everyday, ho hum" or
natural as in 19th-century romanticism.
know, this bus stop is kind of a cruddy backdrop for a
ARTIST: That's the whole
concept. I want to capture real life on
Yeah, but does it have to be such a cruddy life?
KATHY: Perhaps a little
Well, I don't know about that, but let's get those trash
cans out of the way. You guys, give me a hand.
ANNABEL: Where do you want to go with
KATHY: Let's see.
Why don't you try over by the curb.
TRASH CANS MOVE LOUDLY - DROPPED
ARTIST: No, no, no. Now
they are blocking the bus stop sign. That
is an integral element in
my work's composition.
ok. Hey, you guys. Just push them over there.
CANS MOVED, GRUNTS FROM MOVERS
OLD MAN: I never knew getting painted
could be such hard work. I
think I strained something.
KATHY: Oh, there's
something wrong. I think what we need is a
little symetry. If
we have some trash cans over there, then we
should have some garbage over here to balance the
Brilliant, Kathy. Simply, brilliant. Let's do it, guys.
MORE CANS MOVING - SOME FALLING OVER
ANNABEL: I don't know. This
doesn't look like much of a painting to
That's because we don't have everybody posed yet.
WIMPY: I thought I was
you were just loitering.
ARTIST: But all I want to do is
capture real life on the canvas.
(WITH ARTIST) ...on the canvas. Yeah, right. Hey. You.
OLD MAN: Me?
ANNABEL: Oh, this is exciting.
stand here. Now hold this pitchfork. And, ma'am, you
stand right there beside him. And stop smiling!!!!