The Artist Page #5

(31) In the screening room, the audience seems stunned by

what they see/hear. They are fascinated. They then begin to

congratulate each other and slap Zimmer on the back. Zimmer's

pride seems to grow by the second.

George, who at first seemed very surprised, slowly begins a

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 EXT. KINOGRAPH STUDIOS - DAY 39

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.

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