The Artist Page #5

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snigger which gradually has become a belly laugh when the actress earnestly ends her monologue.

14.

When the lights come up, George is laughing uncontrollably way beyond the bounds of mere mockery as his sincerity is obvious. The people present are embarrassed, and Zimmer is deeply put out. George, still laughing, leaves the room, waving an apology with his hands as he goes, but also pointing to the screen to explain why he's laughing. Zimmer feels even more humiliated. Fade to black on his face.

33 INT. KINOGRAPH STUDIOS - GEORGE'S DRESSING ROOM - DAY 33

We're back with George in his dressing room. He's removing his make up. He moves some ordinary object and the object, as he moves it, makes a noise. We hear the noise it makes. Really hear it. It's the first time we've heard a sound that comes from within the film itself. One second later, George realizes that the object made a noise. He moves it again, the object makes a noise again. George is worried. He tries another object and obtains noise again. His dog barks and we hear it! He gets up (chair makes a noise) and says something to his dog, but no sound comes out of his mouth when he speaks. He realizes this... Panic sets in, he turns to the mirror and tries talking again, but still no sound comes out. Not understanding what's happening, the feeling of panic fully blossoms and he flees his dressing room!

34 INT. KINOGRAPH STUDIOS - DRESSING ROOM CORRIDORS - DAY 34

Noisy, laughing dancers pass in the corridor, others are talking or shouting and even if we can't make out what they are saying, they are all making sound. George tries to talk to them but his voice remains silent. One dancer, seeing his fright, bursts into throaty laughter. George rushes through the milling crowd the sound of which is becoming increasingly loud...

35 EXT. KINOGRAPH STUDIOS - COURTYARD - DAY 35

...and bursts out into the courtyard of the studio that is now suddenly deserted and silent. In front of him a feather eddies slowly to the ground, carried by the breeze. It finally lands, making a completely abnormal and disproportionate noise like that of a building crashing to the ground in slow motion. George screams, but again his cry is silent.

36 INT. GEORGE & DORIS' HOUSE - BEDROOM - NIGHT 36

George awakes with a start! He's in bed and is having trouble shaking off his nightmare.

The film continues as normal: in other words, silent.

15.

His wife is sleeping by his side. He gets up, taking care not to make a sound.

37 INT. GEORGE & DORIS' HOUSE - LIVING ROOM - NIGHT 37

George calms down as he sits in the living room, alone in the darkness. Jack, still sleepy, has just curled into a ball next to him to fall back to sleep. George smiles and gives him a pat.

38 INT. GEORGE'S CAR (DRIVING) - LOS ANGELES STREETS - DAY 38

Driven by his chauffeur, George crosses town heading for the studios.

39 39 EXT. KINOGRAPH STUDIOS - DAY

The car goes through the studio gates. There's nobody there. George gets out. He goes into the courtyard. There's nobody there either.

40 INT. KINOGRAPH STUDIOS - TAVERN DECOR SET - DAY 40

He goes into the studio and heads for the set. There is still no one about. He doesn't understand and goes back outside.

41 EXT. KINOGRAPH STUDIOS - DAY 41

Outside in the deserted courtyard, a feather eddies towards the ground, carried by the breeze. George is watching it drift to the ground when suddenly a gust of wind sends it soaring back into the sky. George follows it with his eyes and notices a man crossing between two sets. He looks like some kind of set hand or assistant; a working man in any case. George calls to him. The two men draw close and George asks him what's happening. The man takes the day's newspaper out of his pocket

and hands it to George before walking off. George reads: Kinograph Studios stop all silent productions to work exclusively on talkies.

42 INT. KINOGRAPH STUDIOS - SECRETARY'S OFFICE - DAY 42

Despite the secretary's attempts to stop him, a furious George storms into Zimmer's office.

16.

43 INT. KINOGRAPH STUDIOS - ZIMMER'S OFFICE - DAY 43

Zimmer is in a meeting with some men. They are probably engineers in view of the attention being given to the plans lying on the desk. Everyone is surprised by George's rude entry. The engineers seem embarrassed, but Zimmer smiles and politely asks them to leave, as though asking for their understanding. As they head for the door, some of them drop their heads so as not to meet George's eyes, whereas others look him right between the eyes but without any love lost. This exchange causes a strange, unpleasant feeling within him. He seems embarrassed. It's perhaps due to the rudeness of his eruption into the office, but it's more likely due to the looks he's been given. For the first time for ages, he has not been looked at how a star is normally looked at - with respect, desire and admiration - but like any ordinary man is looked at or, worse still, how a superfluous man is looked at.

As George realizes that his status has just changed, Zimmer invites him to sit down. Then speaks to him, in a friendly manner.

Title card:
We belong to another age, you and I, George.

Nowadays, the world talks.

He talks to him, looks a little embarrassed, while George takes it on the chin, not knowing how to respond.

Title card:
People want to see new faces. Talking faces.

George reaches deep down into himself and makes an effort to bring up a smile.

Title card:
Paramount will be delighted. They still want me.

Zimmer responds with a pursing of the lips that is more damning than any counter argument could be. As though he's telling George he can always give it a go... George understands what's happening. Zimmer is sorry.

Title card:
I'm sorry. The public wants fresh blood. And the public is never wrong.

George gets to his feet.

Title card:
It's me the people want and it's my films they want to see. And I'm going to give them to them.

Zimmer nods with another pursing of the lips, as though he can't wait to see that. George seems very sure of himself.

Title card:
I don't need you. Go make your talking movies. I'm going to make them a beautiful film!

17.

As George leaves in disgust, his eyes are drawn to an advertising feature representing the "new faces of Kinograph Studios". Among the medallion framed young portraits, George recognizes that of Peppy Miller. He glances up at Zimmer.

Title card:
Fresh blood...

The two men exchange a last glance, then George exits.

44 INT. KINOGRAPH STUDIOS, SECRETARY'S OFFICE - DAY 44

Outside he feels a few seconds of discouragement but, as he meets the gaze of the engineers waiting in the secretary's antechamber, he puffs up his chest and walks tall out of the office.

45 INT. KINOGRAPH STUDIOS - STAIRS - DAY 45

Going down the stairs from the offices, he passes a laughing Peppy who is accompanied by two young and charming men, perfect specimens of America's golden youth. She is coming up, he is going down. When she notices him, she stops, already one step above of him. She has a beaming smile and is truly delighted to see him. He is delighted too, although his mood is very different.

Title card (him): How are you?

Title card (her): Fantastic! I've been given a lead role! Isn't it wonderful?!

He nods, we see in his eyes that he's terribly happy for her. They look at each other, she laughs.

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