text / (French) Michel Hazanavicius
translation / Cao Yi
"The Artist", the soundtrack silent film, the dialogue is prompted by subtitles, the actor speaks without moving his mouth. The images are in 1.33 format black and white.
1. Title The
typical style of opening credits in the 1920s. The text is surrounded by beautiful patterns, and the geometric figures in the background are reminiscent of the lights at the film's premiere. Behind is a stylized borough. Subtitles fade out. In the dark, the era "1927" appeared on the screen.
2. LAB, DAY
In a "futuristic" laboratory in the 1920s, a man in a tuxedo and bow tie is being tortured. Ultrasound was pumped into his ears. It's unbelievably painful! He screamed loudly.
Subtitle: I don't say it! Absolutely not! ! !
He was tortured by a stern man in a white coat, and he was gradually turning up the volume. The volume reached level ten (the highest level), and the tortured victim passed out!
3. PRISON AND CORROSION - Jailers
in long leather jackets push men into a cell!
The man was lying on the ground, and a dog wriggled in through the window fence. It was a Jack Russell terrier, and it jumped up to the head of the man, who was supposed to be its owner, and licked his face. Man open one eye! When he saw his dog, he smiled unconsciously... The
man stood up, still looking in pain. Still, he gestured to reassure the puppy who had begun to bark.
The jailer outside the cell sensed the movement. He came to the door, opened the peeping trapdoor, and saw the man's face, face to face, inches apart. The man rolled his eyes and hypnotized the jailer! Overprint on screen: a whirling black and white swirl. Until the bewildered jailer took out the key, opened the door and released the man and his dog.
The man (and thus the protagonist) imprisoned the jailer without hurting him, and ran to the jailer's desk. His ears still hurt. He opened a drawer and pulled out his things: a top hat and a mask. He shook off his top hat and put on a mask over his eyes.
We watched as men in masks walked down the hallway. Suddenly he stopped, and so did the puppy that followed him like a shadow. The man was alert to find that there was a jailer at the fork of the two corridors.
With his eyes, he motioned the puppy forward into the guard's line of sight. The jailer saw the dog. The male protagonist makes a gun gesture with his fingers and pretends to shoot the dog. The dog fell down and played dead. The inexplicable jailer stood up and walked slowly towards the motionless puppy. As he approached, the male protagonist attacked him from the side, knocking him out with a punch!
The masked male protagonist hurried to another cell and released a female prisoner. She is also wearing an evening dress. She thanked the male lead while the man scratched his aching ears. The woman expresses concern.
Caption: Can I help?
He refused.
Subtitle: No, I don't need help. I'm here to help.
The man calms down. The woman cast an admiring look at him. Then, realizing the emergency, they fled.
4. EXT, HOUSE/LAB, DAY
They run out of a house hidden in the mountains and jump into a Bugatti off-road vehicle, the man picks up two wires and rubs against each other, then drives away.
5. EXTERIOR, HIGHWAY, DAY CAR DRIVES ON THE HIGHWAY
. The man in the car turned to see if anyone was following.
6. HOUSE/LAB -
DAY The fainted jailer wakes up, realizes something is wrong, and rushes to the office immediately. He picked up a transmitter to send a message.
7. EXTERIOR, AIRPORT,
A Bugatti with the Japanese male protagonist, young woman and dog stops next to a utility pole at the airport connected to...a watchtower.
A radio receiver in the watchtower is vibrating. A soldier came over, heard the content of the message, and immediately understood! He picked up the gun and came to the airport to search for the jailbreaker! He looks for an opportunity to shoot as he approaches them, but the male protagonist throws an airplane propeller at him and boards a plane where women and dogs wait for him.
The plane took off.
Soldiers shoot.
The plane came to the runway. Soldiers keep shooting!
The plane began to accelerate.
The soldier is still shooting, but it's too late, the hero pulls the joystick and the plane flies into the sky... The
soldier jumps in a frenzy, but the hero keeps smiling, he looks back at the ground and shouts out ---
Subtitle: Free Long live Georgia! ! !
The plane flew into the night sky.
8. Exterior scene, airplane,
later at night, the male protagonist who is still sitting in front of the bridge is struggling with drowsiness. The woman behind him was sleeping soundly with the puppy in her arms. Suddenly, she was awakened by a nearby explosion! a mess! The man didn't know what was going on either. He wanted to pull up the plane, but soon discovered that the explosion was actually beautiful and not lethal. He glanced at the calendar on the bridge, which showed that it was July 14, and he understood immediately and laughed.
Caption: Here we are. Welcome to France! ! !
The music of "Marseilles" sounded, and the plane flew through the fireworks...
The word "End" appeared on the screen.
9. INT. LA TWO WINGS CINEMA, NIGHT
From the moment they parked, we started to pay attention to what was going on around the screen.
Behind the screen, the leading actor—George Valentine—is paying careful attention to the audience's reaction. He motioned to the dog standing beside him to keep quiet. The dog is called Jack.
In the same place, we also saw the female lead. Her name is Constance Grey. She also looked nervous, and clung to the arm of a kindly-looking man who was smoking a cigar anxiously, who looked rich but not strong enough. He is undoubtedly the producer.
10. LA CINEMA, L.A. Cinema,
Many of the audience in the night theater are motionless, their mouths open in excitement, and most of them have their eyes wide open.
A symphony orchestra in the orchestra pit is composing the film.
(9) The film ends, the last note falls, and the cast and crew anxiously wait for the audience's reaction. After two or three seconds of silence, thunderous applause broke out, and the male lead and the people around him were overjoyed, especially the female lead and the producer, who kissed.
Two hands pull the curtain up.
(10) LIGHT ON. George Valentine took to the stage to thank the audience, who cheered him. He was so happy that he tap danced to express his joy, then thanked the band and finally greeted someone on the side to come to him. The puppy Jack trotted all the way. The audience laughed and cheered, George waved at the puppy, Jack responded by wagging his tail, and then at the audience, and the audience loved it!
Constance was furious from the side of the stage. On the stage, George made a gesture of shooting at the puppy with his hand, and the puppy fell down and pretended to be dead. The thunderous applause sounded again.
The producer behind the actress couldn't help laughing, which undoubtedly added fuel to the actress' fire.
Suddenly, George, who was performing ecstatically, seemed to remember something, and he greeted the people on the other side of the stage to come on stage. This time it was Constance. She came over with a smile, smiled at the audience, then smiled and said something to George.
Subtitle: I'll make you look good.
She waved and we saw her smiling insincerely, she wasn't happy. George gestured and fired, but she didn't fall, just glanced at him, saying "very funny". George looked at his hand with an expression he didn't understand why it didn't work, then gestured and threw it behind him, as if throwing out garbage. Constance backed away angrily to the side of the stage, but the audience was still ecstatic. Standing back to the side, Constance gave George her middle finger. George grinned, clapped his hands in response, and walked down the stage, doing another short tap dance as he went. The audience was overjoyed.
As George walked off stage, Constance scolded him harshly, but he still grinned and waved to the crowd calling for his return. The producer was pleased with the success, though he had to reassure the actress a little. George returned to the stage, and the audience shouted. He pretended to step down again, but bumped into an invisible wall. George covered his nose, the audience went crazy, Constance was even more annoyed, George was still making everyone laugh, and the producer couldn't help laughing. He was clearly aware that the audience was being wooed by George... Constance left angrily. The producer followed, trying to soothe her.
11. EXTERIOR, L.A. Cinema, NIGHT
This is the main entrance of a typical American movie theater, which is full of battle for a grand premiere. The entrance is brightly lit, crowds gather on the sidewalk, police line up on the side of the red carpet, and so on.
George stepped out, causing a commotion among the crowd, mostly young women, who crowded forward—the photographer kept firing his flashes. Police struggled to maintain the situation, with George posing for photographers and waving to his many fans.
In the crowd, a woman standing at the front looked at him obsessively. Her bag fell on the ground, so she bent down to pick it up, and a wave of people rushed towards her, pushing her out of the crowd under the outstretched arms of the policeman in front of her, and crashing into George. She looked at George admiringly, very satisfied with her situation. The police waited for someone to order. George wasn't quite sure what to do. No one has acted. The young woman finally laughed, and George, who was a little surprised, couldn't help laughing, and the police relaxed their guard. This is also a hint that photographers can take pictures. The flash seemed to give the woman a lot of confidence, and she casually posed in front of them. George was also amused by the people in front of him and the scene at the scene, and the woman secretly kissed him on the face. After a flash, the scene became a photo, and it was featured on the front page of The Hollywood Reporter, along with three other photos and the caption "Who is this girl?"
12. INT. George and Doris' residence, The
same newspaper was being held in the hands of an elegant woman with a sumptuous breakfast on the table in front of her. This is in the grand dining room of an extravagant Hollywood villa. She was surrounded by high-end furniture, precious paintings and works of art, including three beautiful monkeys, one covering their eyes with their hands, the other covering their ears with their hands, and the other covering their mouths with their hands. George entered the room and kissed his wife. She acted indifferent. The atmosphere was stiff. The woman handed the newspaper to George. He knew what was going on, and smiled deliberately. The woman didn't think it was interesting, and she still didn't want to look at him with a straight face. Obviously she was very annoyed. George carried the dog to the table. Jack bowed his head to one side, his big eyes pleading, as if begging her forgiveness. It was the look of a courtship, but Doris was unmoved. She stood up and walked away without looking back. George himself was left with a depressed look on his face. He was sullen because he had hurt his wife. Then he realized that Jack was still funny on the table and let it go. Jack jumped off the table. George looked at the culprit's newspaper.
13. EXT. HOLLYWOOD BUS, DAY
Thirteen white letters are lined up on the hillside: There is a town under
HOLLYWOODLAND
, and a bus is running.
14. INTERNATIONAL VIEW, (MOVING) BUS / HOLLYWOOD, DAY
The young woman from the day before showed up in a full bus. Her name is Pepy Miller. She proudly held the front page of The Hollywood Reporter with her picture on the front page, glancing from time to time, hoping someone might recognize her. But the people around her — middle-class office workers — were on their way to work, unmoved by her game.
She carefully put the newspaper in her bag, which had carefully stacked four or five papers, and got off at the next stop.
15. EXTERNAL, Kino Films, DAY
She walks through the gates of Kino Films and goes straight to where the extras are being recruited.
In a courtyard, more than fifty people were waiting, some sitting on wooden benches, some standing. There are mothers with small children, men with animals, men dressed like cowboys, and so on. Pepi came among them and sat down beside a man in a distinctive sixtieth year. It was obvious that he was a housekeeper. Pepi proudly showed him the photo in the newspaper. The man looked closer. He opened the newspaper, saw the headline, folded the newspaper again with a smile, and returned it to Pepi with the text side up, reminding her that the headline was: Who is this girl?
Pepy was a little unhappy, but she knew in her heart that he was right. Nobody knew who she was. She put away the newspaper.
A man who appeared to be a studio employee—mostly an assistant—entered the yard. He stood on a stool and announced—
Subtitles: Modern Films! Five girls who can dance!
All the men who had squeezed in front turned and backed away, leaving only the women surrounding the assistant. He said something to a woman, and the woman started dancing. He motioned for her to pass, and the woman went to the clothing department. He hired a second girl in the same way. When it was Pepi's turn, she danced a difficult tap dance with passion, which was really amazing, so the person showed an admiring smile and signaled her to pass.
Pepi, convinced that her lucky day had come, went to the clothing department; she stopped when she passed the butler.
Subtitle: My name is Miller. Pepy Miller!
She blinked exaggeratedly, then continued walking, leaving the housekeeper stunned.
16. GEORGE AND DORRIS' HOUSE - DAY
George in the hallway ready to go out. He waved goodbye to his large full-length portrait in a tuxedo, smiling and beckoning. He is in good spirits in the portrait, and George likes to look at his portrait and say goodbye to it.
17. KENO FILM, DAY
Moments later, George and his puppy arrive at Keno Film in a limousine driven by his chauffeur. The doorman stood at the door and greeted them with a smile.
18. KINO FILM COMPANY - CHANNEL OUTSIDE THE DRESSING ROOM - JANUARY'S WALKING TO THE DRESSING ROOM
, EVERYONE SMILES AT HIM. For these expressions of respect, he did not buy them all, but only responded to some people.
19. KINO MOVIES -
GEORGE'S DRESSING ROOM - DAY George is sitting in his dressing room in a tuxedo and top hat, about to get dressed. He painted a white face with dark lips and eyes. His driver was signing a full body photo of George with the puppy. GEORGE
TO HIM - SUBTITLE: Go and buy a piece of jewelry for my wife. To be beautiful, as compensation for her.
The driver nodded. George finished dressing up, picked up a photo, looked at it very carefully, and wrote quickly on it. When he left the dressing room, we saw the picture. He wrote "Wow" on it and drew a dog paw print.
20. INT. Kino Films, Restaurant Set, Day
This is a set scene where crew members are preparing for a shoot. Dissatisfied with the background screen placed behind a bay window, the director had it removed.
Subtitles: Remove that screen and put it on the other side! Hurry up!
Two set workers lifted the screen and moved it away. When George came to the scene, everyone greeted him with a smile. He sat on a chair with his name on it. Here comes the producer we met at the premiere the day before. His name was Zimmer, and his left and right followed—and kept following—two secretaries and two assistants. One of them handed him his copy of The Hollywood Reporter, and Zimmer pointed to the front page and spoke to George before he could stand still. He was clearly unhappy. George looked much more relaxed than he was, greeted him, and tried to reassure him. But Zimmer insisted, always pointing to the paper.
Subtitle: Because of your scandal, the movie wasn't mentioned until page 5!
Behind George, the two set workers moved another screen with a view of the sky, and they stood beside George and waited. The two raised the screen, and the bottom of the screen was three feet away from the ground. The producer was still talking to George, but George's attention was drawn to a pair of lovely jade legs standing behind the screen, the woman's upper body being covered by the screen. George smiled, showing admiration. He was about to turn his head to continue the conversation just now, but was once again distracted by a voice. It was the sound of the woman's legs tap dancing, presumably preparing for a warm-up. George smiled appreciatively and responded by jumping a few steps. The woman's dance steps stopped immediately, she seemed to think for a moment, and then jumped up again, this time with complex tap dance steps. There was a tap-dance exchange between the legs, until the two setmen—the way in front of them made way—removed the background screen. The upper body of the young woman was exposed. She turned her face briskly, as if to say: Here I am! ! ! She was Pepi, no doubt, but she immediately recognized the person she was dancing with—apparently it was a surprise to her—and felt embarrassed and disturbed.
Her cheerful expression faded to cowardly apologetic, but George burst out laughing.
After a brief silence, Zimmer came to his senses. He looked at the front page of the newspaper and recognized her!
So he growled at her, and Pepy could only bow her head. He gestured to fire her and let her go, Pepi was very upset, she turned and left, just two steps away, George stopped her and told her to come back. Everyone was surprised. Zimmer couldn't believe it, and was stunned for a moment.
The atmosphere between them was cold. No one wanted this sudden, yet seemingly long-simmering conflict. Everyone at the scene was waiting for Zimmer to speak, but surprisingly, Zimmer hesitated for a long time and left without saying a word. Pepi looked at George gratefully, and though she smiled, she could see that she was a little uneasy, as if she thought she was in trouble.
Everyone went back to their previous jobs.
21. INTERIOR, KINO FILM, DINING ROOM, DAY FILMING TO
START. The director is telling George what to do. This scene takes place in a cabaret restaurant. George was about to cross a dance floor, but every time someone rang a bell to remind people to change partners, so George had to stop. George danced with Pepi for a while, and was hugged by a very fat man for a while. The director liked this scene very much. This scene was shot several times from three different angles. Every time George dances with Pepi, every time their communication changes. At first they laughed happily, but gradually they stopped laughing. Then they got embarrassed and things got worse. This shot was taken one after another, and the slate rang again and again, but the look of admiration between them became more and more obvious. In the end, although there is no hint of flirting, the mere fact that the two are clearly in love makes each other deeply uneasy. This is most likely love.
22. KINO FILM
, DRESS OUT ROOM - DAY In the dressing room walkway, Pepi walks towards George's dressing room with an envelope in hand. She knocked on the door, waited a moment, and entered. There's no one inside, she hesitates, not sure if she should stay...
23. INT, Kino Films, George's
Dressing Room, at the end of the day , she goes into the room and puts George Valentine's letter in the dressing room on stage. Then, she began to take a closer look at the dressing room. She looked at the furnishings and photos, and noticed George's coat on the hanger, and the hat on the hook above it. The shape of the clothes is very similar to that of George, except that the clothes are empty. Pepi walked over, stroking the coat little by little, as if it were the real George.
She slipped her right hand into her right sleeve and stroked her waist. Since this is George's sleeve, it looks like George's arm is moving. Her left hand caressed the coat as if it were George. She enjoyed the hug very much. When George entered the room, she slowly lowered her hand. George and her looked at each other. George closed the door, but instead of walking towards her, he walked towards the mirror. He looked her in the mirror...George called her over, and she did. George stared at Pepi's face for a while, then said --
SUBTITLE: If you want to be an actor, you have to be different.
He picked up a makeup pen and drew a beauty mole above her lips. Pepi looked in the mirror and smiled. She likes the mole. She turned to look at him, then snuggled into his arms naturally. The puppy looked at them curiously. As they were about to kiss each other, George's driver entered the room and saw this. George stepped aside immediately, embarrassed for a while. The driver opened a package and pulled out a large, beautiful pearl necklace. George, attracted by the necklace, walked away from Pepi. She understood that George had a wife and that their embrace was just a passing passion, she looked back at George and left quietly. George didn't pay attention to her. She walked out of the room. George was satisfied after admiring the necklace, but he couldn't find Pepi when he looked back. The driver also left the room.
George looked in the mirror alone. His expression showed that he was blaming himself for being stupid. He made a shot in the temple, and his dog fell down and pretended to be dead.
24. GEORGE AND DORRIS' HOUSE - THE NEXT MORNING
DAY, HE AND WIFE EATING BREAKFAST. The atmosphere was still stiff, but this time he made no attempt to reconcile. He looked condescendingly at Doris who was dining. She is chopping a strawberry with a knife and fork. George looked at her with a smile. It's just that what he saw was not Doris. Pepi floated in Doris' food, talking and laughing lively. There was love on George's face. He smiled at her, but was suddenly pulled back to reality. He was still sitting across from Doris, who stared at him, puzzled by his smile. She obviously thought George was ridiculous. George put away his smile, and breakfast went on normally.
25. INT - GEORGE AND DORIS' HOUSE - DAY
We see several fast-forward shots showing the passage of time:
George and Doris' breakfast was even more dire. Doris doodles George's newspaper photos, painting him beards, big glasses, and more.
26. Interior scenes, studio/stage, pirates/cowboys/others,
the scenes of George Day in many films, he is either playing pirates, or cowboys, or William Tell, etc. We also saw him dancing with Pepi and the fat man in "Someday in July."
27. INTERIOR, CINEMA AUDIENCE, JAPANESE spectators
reacted enthusiastically to the film, and the way the footage was edited—intersecting with the breakfast scene—as if they saw the breakfast scene too.
Pepy Miller also sat in the audience. She watched the movie intently, pushing a handsome guy next to her who wanted to kiss her away. Later, when she watched the movie again, she was alone.
28. Interior, film company/stage, Pepi plays the maid/dancer/other,
we saw her play some dragon roles, maids, dancers, etc. Her role seems to be gradually becoming more important. We noticed that she had that beauty mole painted on her face all the time.
Her name kept climbing up the credits, and she later came out on her own.
29. INT, OFFICE, PEPI/CONTRACT, JOURNAL
We see her signing a contract in a small office and she looks happy.
30. INT, OFFICE, GEORGE/ZIMER/CONTRACT,
DAY George and Zimmer sign a large contract while the photographer takes pictures. George smiled heartily, Zimmer smiled reluctantly.
Date of appearance on subtitles: 1929
31. Interior scene, Keno Films, hotel set, Japan
George, disguised as a swordsman, is fighting with three middle-aged thugs with swords in the hotel. He killed two of them, but was unfortunately knocked off the sword by the third. But when the third person attacked, he deftly dodged, and then a right hook knocked the enemy out! When everything was done, George smiled and waved friendly to a mysterious man in a long cloak. The man stood up and tossed the cloak aside, making it obvious that he was... Napoleon! He put on his bicorne again and thanked the surprised George. Napoleon said something to him, and George bowed respectfully, then bowed back, then turned and ran away. As soon as the camera came out, he ran into the restless Zimmer, who was still surrounded by those loyal assistants. George giggles, Zimmer says to him—
subtitle: I'm going to show you something. Come soon.
George was surprised that Zimmer left the set just like that, but still heeded his words. Napoleon approached arrogantly and arrogantly asked the technician to bring him a stool. The technician reminded him that he was just an extra, not Napoleon.
32. SCREENING
ROOM - Zizimmer, his entourage and George -- still in swordsman clothes -- enter a screening room where a dozen serious-looking people are waiting. After they sat down, Zimmer proudly and confidently motioned to his assistant to let the projectionist play the film. The screening room went dark and the screening began.
33. Interior
scene , audition room, on the day we saw a line of subtitles on the screen, indicating that this was an audition shot of a sound scene. Constance from the spy movie earlier appeared. She stood in front of a microphone auditioning, looking happy. The picture is cut, it's still her, the microphone is gone, and she starts to perform. This is a monologue. Her performance was terrifying and exaggerated, but the audience could hear her. Regardless, it's still annoying.
(32) The audience in the screening room were amazed by what they saw. They were deeply fascinated. Then they congratulate each other and pat Zimmer on the back. Zimmer swelled up at once.
George, surprised at first, then snickers, turning into a belly laugh when the actress ends her monologue earnestly.
When the lights came on, George still couldn't help laughing. This was no longer a simple mockery, but a heartfelt laughter. Everyone present was embarrassed, and Zimmer was at a loss. George walked out of the room laughing, gesturing sorry and pointing to the screen to show why he was laughing. Zimmer was deeply humiliated. The camera cuts from his face to a black screen.
34. KINO FILM, GEORGE'S DRESSING ROOM, DAY
We're back in George's dressing room. He is unloading. He moved an ordinary object away, and it made a noise. We heard this sound. I really heard it. This is the first time we hear sound in this film. A second later, George realized the thing was making a sound. George became worried. He tried something else and heard a sound too. His puppy barked twice and we heard it too! He stood up (the chair rattled) and said something to the puppy, but he opened his mouth and made no sound. He found this... Panic hit, he turned to face the mirror, tried to speak again, still no sound. At a loss, he panicked to the extreme and ran out of the dressing room!
35. KINO FILM COMPANY, THE CHANNEL
OUTSIDE OF THE MAKEUP , THE DANCER TALKING AND LAUGHING PASSING BY THE ROAD, AND SOME PEOPLE TALK OUT, THOUGH WE CAN'T HEAR THE CONTENT, THE VOICE IS VERY REAL. George tried to speak to them, but still couldn't make a sound. A dancer saw his horror and laughed loudly. George runs through the increasingly loud crowd...
36. LOOK, Kino Films, Courtyard, Sun
...runs into the studio's courtyard, which has suddenly become quiet and empty. A feather in front of him was blown by the wind and slowly whirled to the ground. It finally fell to the ground with a deafening noise that was extremely abnormal, like a building collapsing. George screamed, but still no sound.
37. INT - GEORGE AND DORIS' HOUSE, BEDROOM - NIGHT
GEORGE WAS AWAKENING FROM A DREAM! He was lying on the bed, unable to get rid of the nightmare just now.
The movie is back to normal: that is, silent.
His wife slept next to him. He sat up, trying not to make any movement.
38. INT. GEORGE AND DORIS' HOUSE, LIVING ROOM, NIGHT
George calmed down and sat alone in the dark living room. A sleepy Jack came to him, curled up into a ball, and continued to sleep soundly. George smiled and patted it.
39. INT. GEORGE'S CAR (DURING) THE STREETS OF LOS ANGELES, THE
DAY DRIVER DRIVES GEORGE across town to the studio.
40. EXTERIOR, KINO FILM COMPANY,
JAPANESE CAR drives into the main entrance of the studio. There is no one here. George got out of the car and walked to the yard, but there was no one there.
41. INT. Kino Films, Hotel Set, Sun
He walked into the studio and walked towards the set. There was still no one here, he was a little confused and walked out again.
42. EXT, Kino Films,
in an empty yard, a feather is blown up by the breeze and swivels to the ground. George watched it fall to the ground. Suddenly, a gust of wind came and lifted it back into the sky. George followed Feather and saw a man walking between the two sets. The figure was a set worker or an assistant or something; a staff member anyway. George stopped him, the two came together, and George asked him what happened. The man took the day's newspaper from his pocket, handed it to George, and walked away. George sees --
"Keno Films has stopped all silent film productions, specializing in sound films."
43. INT, Kino Films, Secretary's Office,
Angry George walks into Zimmer's office despite the secretary's obstruction.
44. INTERIOR, Keno Films, Zimmer's Office, Day
Zimmer is in a meeting with some people. These people's attention is on the drawings on the table, most likely engineers. George's sudden intrusion surprised everyone. The engineers looked embarrassed, but Zimmer smiled and asked them out politely, as if pleading for their understanding. They walked towards the door, some bowing their heads to avoid George's gaze, others meeting his gaze, showing no affection. The eye contact made him feel strange and uncomfortable. He looked embarrassed. Maybe it's because of the rashness of his intrusion into the office, but it's more because of the way people look at him. For the first time in a long time, others looked at him not like a star—with respect, yearning, and admiration—but like an ordinary person, or even worse, like a superfluous person.
George sensed that his identity had changed, and Zimmer asked him to sit down and talk politely.
Subtitle: We belong to another era, you and me, George. Now, the world speaks.
Zimmer was a little embarrassed when he spoke to him, and George looked pained and didn't know how to answer.
Subtitles: People want to see new faces, talking faces.
George controlled himself and forced a smile.
Subtitle: Paramount will be happy. They still need me.
Zimmer pursed his lips, a move more striking than any rebuttal, as if to tell George that it wasn't...George understood what was going on. Zimmer is sorry.
Subtitle: Sorry. Audiences need fresh blood. The audience is always right.
George stood up.
Subtitles: What audiences want is me, and what they want is my movies. I will let them see.
Zimmer pursed his lips and nodded again, like he couldn't wait to see the movie. George looked confident.
Subtitle: I don't need you. Go make your "talking movie". I will make a beautiful movie!
George leaves in disgust, noticing a promotional poster showing "The New Face of Keno Films." Among the figures in medallion-shaped frames, George recognized Pepy Miller. He looked up.
Zimmer
Caption: Fresh blood... The
two men gave each other one last look, and George walked out.
45. KINO FILM, SECRETARY'S OFFICE, HI FOR SOMETHING FRUIT
AFTER RISING OUT OF THE OFFICE, BUT WHEN he sees the engineers waiting in the secretary's reception room watching him, he walks out with his head held high .
46. KINO FILM COMPANY, STAIRS, STAIRGY JAYS As he walks
down the stairs of the office floor, he passes the chatty Pepi, who is accompanied by two handsome guys, the perfect example of young people in America's golden age. When Pepi saw George, he stopped and stood just one step above him. She had a good laugh and was really happy to see him. He is also very happy to see her, although in a very different mood than she is now.
Subtitle (him): How are you?
Subtitle (her): Very good! I'm about to be the protagonist! Isn't it great? !
He nodded, and we could see from his eyes that he was really happy for her. Their eyes met, and Pepi smiled.
Then Pepi took a pen and paper from her bag and wrote him her phone number. Pepi was sorry for keeping him waiting, but he was clearly willing to look at Pepi that way. Pepi finally wrote down the number and handed it to him to call himself--be sure to. He glanced at the two young men who were waiting for her upstairs, and Pepi smiled and leaned over to him and said—
subtitle: gadgets!
She looked at him affectionately. Then she gestured for him to call, and George nodded, even though he thought he probably wouldn't. Pepi left, and George watched her leave, then continued downstairs. Pepi, who had reached the highest point, turned and stopped George, who also turned around. Pepi smiled at him, took a few steps to the tap dance they had danced together, and blew him a kiss.
He smiled and accepted the kiss, pretending like a magician to let the kiss disappear on his other hand, then showing her the inner pocket of his shirt that he was keeping the kiss here. She laughed and walked on. George watched her go away with admiration, and when Pepi disappeared, George's smile turned sad, and he left.
47. INT. GEORGE AND DORIS' HOUSE, DAY
George came home. Doris doodles in a magazine, but George doesn't look at her. The puppy jumped into his arms and he hugged it affectionately. Doris was very annoyed.
48. GEORGE AND DORIS' HOUSE, LIVING ROOM -
After a while, George is playing a game with Jack when Doris approaches.
Subtitle: We have to talk, George.
George smiles.
Subtitles: Not necessarily.
Doris was firm, but George didn't want to hear it. George was still playing with the dog, Doris was angry, George turned a blind eye, and Doris threw Jack out in a fit of anger. George couldn't forgive her for doing it, looking at her with disgust. she cried.
Subtitle: I'm not happy, George.
He didn't even look at her, he just said—
subtitle: Many people are unhappy, like me.
49. INT, George's filming location, jungle set, DAY
Through a set of clips showing the shooting process, photographs and press, we see George's film going into the shooting. For the first time, the slate was fired, showing George as both producer and director. The film is called Tears of Love, and it tells the story of an English explorer—played by himself—who is accompanied by a young woman and an old man who looks like a professor, who is extremely Possibly the father of the young woman, and the seemingly savage, but ultimately human, indigenous African tribe.
We see George at various stages of work: writing, revising, directing, acting, signing checks, coming to the scene early in the morning to set up the set, etc. Although tired, he looked motivated, as if confident in everything he was doing. His dog also has a role in the movie, still playing those tricks. George looked happy and determined. He threaded a soft branch into the sleeve of a blouse, held the ends of the branch, and danced face-to-face with the imaginary woman. Everyone around him was happy and laughing. However, what he did was not a comedy. From the stage setting and the way the actors performed, it could be seen at a glance that this was a serious drama.
What followed on the screen were mockups of the movie posters, which were taken to George on set.
He picked the one in which he stood out the most, a poster introducing a melodrama that appealed to audiences, with a release date: Oct. 25.
50. EXTERIOR, LOS ANGELES STREETS (POSTER),
Jorge J was walking on the street and came to the door of a movie theater. He saw a huge poster of the movie "Beauty Mole". The poster features a close-up of Pepi, who is playfully slanted in a gorgeous leather hat. She's very fashionable without being frivolous in the slightest, just like the image of a young actor just debuting...George looks at her and Pepy is smiling at him. He also smiled at her. The smile became forced. He noticed something. Two theater employees are putting a banner on a poster that tells the premiere date of "Beautiful Mole" -- also on October 25.
51. INSIDE, ANIMATION EDITING DESK, JANUARY
We see inserted commercial shots and one full-page newspaper article after another in a 1920s-era montage. "Feel the energy of Pepi!" and a close-up of her mischievous smile. "The girl next door", "The girl you like to love", "Young and beautiful", etc. There are pictures of Pepi and movie posters every time, and every time it's a movie with sound! Talk, talk, talk!
As for George, his image becomes serious, as does every photo. And the headlines are mostly: "I'm no longer a puppet, I'm an artist!" or something like that.
52. INTERNATIONAL INTERNATIONAL INTERVIEW WITH REPORTERS AT THE RESTAURANT, J.
This is a beautiful restaurant. George is dining with the driver with his back to the camera. Pepi entered the dining room and sat right behind George. The two of them were back to back. Pepi was surrounded by several young men, two of whom were journalists interviewing her.
Subtitle: Your first film won't be released until tomorrow, but you're already the new Hollywood darling! How do you explain this?
She laughed, and the laugh caught George's attention. He turned away to hear what Pepi had to say.
Subtitle: I don't know, maybe the audience can hear me because I speak.
She continued, clearly elated to be loved by everyone. She didn't see George smiling behind her.
Subtitle: Audiences are sick and tired of old actors who show off their expressions.
She continued to speak in this youthful and frivolous tone. George's smile disappeared behind her.
Subtitle: Anyway, it's normal for young people to take the class of the older generation, that's life. Make way for young people!
George was deeply hurt. He stood up and gestured to Pepi before leaving to make way for her. Pepi watched him leave, and immediately regretted what he had just said.
53. INT. GEORGE AND DORIS' RESIDENCE, DAY
This is the release date of the movie, October 25.
In the morning, George opened his door. The driver waited outside, his expression announcing bad news. He was holding a copy of the day's newspaper. Striking headlines proclaimed a stock market crash, a Black Thursday, a cataclysm.
George was on the phone in the living room in his nightgown. He nodded, the atmosphere was very dull. He hung up the phone and the driver looked at him inquiringly. George said to him absentmindedly --
SUBTITLE: Looks like we're screwed.
The driver tried his best to suppress his sadness, but George continued—
subtitles: It would be better if the movie could...
he seemed to be laughing—but the driver couldn't.
54. GEORGE AND DORRIS' HOUSE - DAY
George is now sitting at the table in his suit. Before him lay the front pages of several newspapers covering the stock market crash. He flipped through the pages of one of the newspapers. Next to a huge picture of Pepi is a review of his film that begins: "Tears of Love, outdated and boring." He closed the newspaper and looked in the drawer of his desk, Take out a piece of paper. This is the piece of paper Pepy wrote his phone number on. George looked at the number, walked to the phone, hesitated for a moment, looked at the piece of paper again, put it back in the drawer, and didn't call.
55. PEPI'S APARTMENT, BEDROOM,
JAPANESE SITTING UP FROM THE BED. She didn't know why she woke up suddenly. She looked around, looked at the phone, a little confused. Then a man's arm pulled her and she lay down again.
(54) While George was still at the table, he got up and walked to the window. He seemed lost in thought.
56. INT, GEORGE'S FILM, JUNGLE SECOND, DAY
This is a clip from "Tears of Love" where George is holding his arms around the young woman, around whom the Africans are dancing a typical African dance, holding shields and The spear, wearing African clothes in the eyes of Westerners of that period. George and the woman watch them dance with pride, and George says to the woman—
subtitle: Let's go back, Norma. They've never seen white people, and I don't want to risk it.
57. INTERIOR, CINEMA, "Tears of Love" is showing
, the audience in the Japanese cinema is sparse. They also had only boring words written on their faces. George smoked in the back, savoring the pain of defeat.
A couple stood up and left the theater. One of the men recognized George as he walked past, and the man threw a look at him, as if to say, "Oh my God, this old guy is so mad..." George didn't know how to respond.
58. The location, Los Angeles movie theater, day
shadow hall, George was still smoking. People on the sidewalk were lining up excitedly. George walked along the line to a movie hall where the sound film "Beautiful Mole" was being played. There's a huge Pepi poster here, and the people in line all look elated and can't wait to see the film. Obviously the film has been a huge success. George was hit hard.
59. INT. GEORGE'S CAR (MOVING), LOS ANGELES STREETS,
DAY CAR, GEORGE sitting behind a sad-looking driver and talking to himself, as if he was going through the whole story to see where he could improve .
60. GEORGE AND DORIS' HOUSE - DAY comes
home when he sees a picture of him on the ground. In the photo, he is depicted with a moustache, a pair of glasses and a big nose. There was a message for him on the back of the photo, and we read it with him:
"It's over, George. You have two weeks to pack up your souvenirs and get out of here.
Doris
also: you should go see The Beauty Spot. "It's incredible."
George left in pain, and when he went out, he saw a portrait of him smiling and waving in a tuxedo behind him.
61. INT. CINEMA, "Tears of Love" showing, Ri
Pepi watching "Tears of Love" in the cinema. The young man accompanying her looked bored.
62. EXT. JUNGLE - DAY
George in shorts and explorer hat, caught in quicksand. The young woman screamed and the puppy barked.
The Africans panicked, but they were all helpless. George stopped struggling. He looked the woman in the eyes and said softly—
Subtitles: Goodbye, Norma. I never loved you...
Apparently he said this to make her forget herself and live a good life, but it didn't help, the young woman was so moved by his last act of sacrifice before her death that she cried even more.
(61) Pepi, who was sitting in the box, didn't speak, and he didn't show any expression.
(62) On the screen, George's head gradually sinks into the quicksand, and he makes a final look at the young woman.
(63) The young man beside Pepi looked at her, and she was a little sad.
(64) GEORGE ON SCREEN DISAPPEARS IN QUICKSAND. Only one hand stayed outside in a twisted position for a few seconds, as if a dying man was trying to grab something.
(65) Pepi's companions thought the movie was too long and he didn't understand why they didn't leave.
(66) THAT HAND IS GONE. The young woman was still in shock, with a horrified expression on her face. She will no doubt die here in one way or another. The puppy turned and walked away, head and tail drooping...
"Finished" appeared on the screen.
(61) PEPI IS MOVED. She shook her head slightly.
63. EXT. LOS ANGELES STREETS, PHOTOS OF GEORGE, EVENING
TO THE TOWN. The sky is raining. On the ground lay an old newspaper with a picture of George. A man's foot stepped over that photo.
64. INT. GEORGE AND DORIS' HOUSE, NIGHT
George came home. The two wine bottles were placed in a prominent position, and George, who was obviously drunk, looked out the window. Raindrops slid from the window glass, like tears on his face. Jack was indeed crying. A sound came, making George come back to his senses.
65. GEORGE AND DORIS' HOUSE,
ON THE STEPS , NIGHT When he opens the door, it's Pepi. She soon realized that George was drunk. Her smile seemed a little nervous.
SUBTITLE: I want to talk to you, I...
George looked at her, she continued -
SUBTITLE: I watched Tears of Love.
George nodded, then responded -
Subtitle: Are you here to get your money back?
She smiled stiffly, not knowing how to answer. George goes on—
Subtitles: Is it too boring?
Pepi stopped smiling, because it wasn't funny at all, it was even bitter. There was an awkward silence. She slowly tried to explain.
Caption: About last night...
she stopped because George stopped looking at her, but at a young, handsome, fit man who came smiling. George squeezed out a sad smile.
Subtitle: You are right. Make way for the
young man ... The young man shook George's hand. He looked like a nice lad and was very polite.
Caption: Nice to meet you. My father likes you very much.
When he spoke, he was very sincere, not with ulterior motives, but he poked at George's sore spot. The words hurt him, and Pepi sensed it. She hurriedly ended the conversation with a smile, pretending to be cheerful, trying to make George think that she hadn't noticed any embarrassment in the conversation, or something that might have hit or hurt him.
Subtitle: Alright! Then here we go. I will call you soon. goodbye!
George smiled politely. She left, and the handsome man followed her. George watched them leave. His dog was also watching, his head and ears drooping in disappointment. After watching Pepi go, George took a few steps forward and sat on the front steps.
When Pepi got into the car, her face was gloomy, even angry, this was the first time she had done this. She said to her male partner coldly---
Subtitle: Take me home. I want to be alone.
George watched the car drive away, then walked to a bench by the door and sat down. But the stool collapsed and George fell to the ground next to the puppy. George said quietly to Jack ---
subtitles: Look, maybe today was my bad day ......
(fade)
66. location, movie theater, "Love Tears" day
in the rain, a worker is the name of the theater front piece The card is taken off. "Tears of Love" only has the words "tears" left.
67. KINO FILM, PEPI'S DRESSING ROOM,
RIPEPI is putting on tops in front of the mirror. She paused, looking a little sad. Someone (the assistant) opened her dressing room door and said some urging words to her. She nodded and went back to work.
68. Locations, movie posters, Los Angeles, Japan
Three or four movie posters and movie pictures appear alternately, showing the process of Pepi's increasing popularity. Her name became more prominent on the poster, with bigger letters. The films are called "The Newbie," "The Girl Next Door," and "The Roof."
69. KINO FILM, PEPI'S DRESSING ROOM, JANUARY CLOSE-UP OF HER DRESSING
. Pulling back the camera, we see that not only is she not wearing the makeup—it’s a makeup artist—but four hands are busy beside her; two makeup assistants, a hair stylist, and a costume styling assistant. Luckily Pepi just needs to sit comfortably and don't have to worry about a single thing. When it was all over, Pepi stood up and turned around.
At her feet lay a dozen pairs of shoes, each of them gorgeous, lying in their own stylish shoe boxes. Pepi put on a pair. Close-up of her feet.
70. INT. GEORGE'S RESIDENCE (1931) DAY CLOSED TO
MAN'S SHOES, HOLTS AND VAMPS ARE RUGGED. George's puppy came and sat at his feet. The years are superimposed on the screen: 1931.
The camera goes up along his legs, and we see George lying neatly on the bed, clearly at home from his slack. he's changed. Although his suit was still as beautiful, he looked much more "ordinary" and less elevated. He had lost that preeminent aura. Mainly because he was slightly drunk and seemed in a trance. George stood up and closed his foldaway bed, which folded up into a wall cabinet, like a closet. Then he walked across the living room area. His home has also changed, it is no longer as high-end as before, and the decoration is much simpler. But some items are still familiar: furniture and paintings from his old home, especially his large, smiling portrait. He went to the open kitchen on the other side of the room and opened the refrigerator, only to find it was empty. He wanted to find some drinks, but there was only one bottle on the shelf. He picked up the bottle and found it was empty.
He opened a closet. Inside hangs a tuxedo and many empty hangers.
71.
Pawnshop - HI IN a pawnshop with George, still dizzy, pawning his tuxedo. The pawnshop owner and he apparently disagreed on the price, and in the end, of course, George compromised and handed over the tuxedo. The pawnbroker counted the money and handed it to George, who left a tip out of self-respect when he left—his dignity was undiminished even in the face of adversity.
72. GEORGE'S RESIDENCE - DAY George is
drinking at home while watching his driver cook. He looked anxious.
Subtitle: How long has it been since I paid you, Clifton?
The driver replied as he continued his work—
Subtitles: One year, sir.
George stood up, clearly he didn't think he should have done so. He went to get a set of keys and a jacket, walked over and handed it to the driver.
Subtitle: You are fired. Keep the car and find another job.
The driver wanted to refuse, but George insisted. They argued, and in the end George pushed him out the door, and we know he was doing it for Clifton's sake and that he didn't mean anything.
73. EXT. GEORGE'S RESIDENCE - The Japanese
driver didn't leave after being kicked out, he stayed beside the car. George looked at him from the window. The driver insisted not to leave. George drew the curtains.
74. EXT. GEORGE'S RESIDENCE - TURNING UP, GEORGE IS LOOKING THROUGH THE CUT OF THE CURTAINS, THE DRIVERS
ARE STILL. George turned back to his rollaway bed.
75. INT. GEORGE'S HOUSE, BEDROOM, LATE NIGHT
. George lay on the bed with his eyes open.
76. EXT. GEORGE'S RESIDENCE, THE NIGHT DRIVE IS STILL OUTSIDE THE ORIGINAL
POSITION.
77. GEORGE'S HOUSE - DAY The
next morning, George gets up and goes to the window to check. The driver has left. George was a little sad, but also understood that it could only be this way... He looked around his house.
After a moment, George looked at himself in the mirror. The camera pans from himself to his reflection, but is blocked by the cup he places in front of the mirror.
78. INT. AUCTION HALL - On
September 14, George Valentine's belongings, including furniture, clothing, artwork and paintings, are being auctioned. There were only five or six people in the auction hall. George stood in the back smoking a cigarette.
His position and posture are exactly the same as when he watched "Tears of Love", at the back of the hall, and the bitterness of failure filled the air...
He looked a little unsteady, most likely because he was violently Fill that bottle of spirits. Items are sent to the auction block one by one. We saw those three monkeys who didn't listen, didn't speak, didn't see. Two buyers raised their hands to bid each other, one was a noble and indifferent man, and the other was a middle-aged lady who looked a little stern and even paranoid. They didn't seem happy, but there were only these two buyers.
A few cross-fade shots (empty booth faces, raised hands, falling hammers, "sold" labels) show that a lot has disappeared -- every single item has been sold.
79. Auction Hall, Hallway - Day
George is with the auctioneer, he is looking at the auction listing, and the auctioneer is busy moving and packing the properties that are sold by his side. The auctioneer congratulated George as he put on his coat.
Subtitle: Congratulations! All sold, nothing left!
George nodded, but his smile was bitter. He left the auction room.
On the stairs, he met the noble-looking man. The man put on his coat and walked out.
80. EXTERIOR, THE STREET OUTSIDE THE AUCTION HOUSE, THEY LEAVE AT THE SAME TIME
. The man crossed the street and we followed.
He got into a car. Pepi sat in the back seat, and she was alone. She watched George stagger away. Pepi is sad. The man glanced at her, intending to ask what to do next.
Pepi forced a smile, indicating they could go. The man started the car, and George had walked some distance. The car started, and soon overtook George. Pepi didn't look back, she cried.
81. SPEAKER - NIGHT
GEORGE has changed and is drinking in a speakeasy with some hastily decorated Christmas decorations. George was obviously destitute.
82. INT. A miniature version of George on the jungle set.
A miniature version of George wearing an explorer costume appears on the bar at night , and he sees the real version of himself. Big George watched Little George reload his rifle. Little George then shot Big George, but Big George just smiled.
Little George ran away, fired his gun for help, and brought back a tribe of African warriors, all armed with spears. They attack.
Big George wanted to dodge, he staggered to his feet, and just wanted to signal to the bartender, but fell straight back because of the drunkenness. The African warriors jumped for joy.
(fading out)
(81) GEORGE'S DRIVER COMES INTO THE BAR. He greeted the bartender, who tilted his head and pointed to George, who was lying on the ground, completely unconscious. The driver slapped George lightly on the face, but couldn't wake him up at all, so he had to pick him up, pay the bill and leave.
83. GEORGE'S APARTMENT - NIGHT
George's driver puts him on the bed, carefully hangs up his suit, and leaves the room. The driver saw the puppy and walked over to pet it. He and the dog looked at each other and could tell that the driver was worried about George.
84. EXT, GUARDIAN ANGEL
CINEMA , RIPPE MILLER IS THE GUARDIAN ANGEL. This is a large poster posted at the main entrance of the cinema. George walked in and Jack followed him.
85. INT. "Guardian Angel" cinema,
full day . George sat in the first row. He had to watch the movie with his neck up and he saw a big, beautiful Pepi appear above him. Joining her in this scene was a young actor we knew, Humphrey Bogar. George becomes an audience: he laughs, fascinates, and shouts along with the others.
86. GUARDIAN ANGELS CINEMA, CORROSION AND FOOTBALL -
Several young men rush to George as he walks out of the cinema. They didn't recognize him. It was crowded and crowded, so he picked up Jack. A woman exclaimed "Oh!" with affection, as if recognizing George. George smiled humbly, but soon realized she just thought Jack was cute. She came over and stroked Jack like any other dog. She was totally attracted to Jack, and said to George—
Subtitles: If only he could talk!
George still kept a smile, but it was already a helpless smile.
The woman was still petting the dog, and George looked away.
87. EXTERIOR, MEXICO VILLAGE,
JORGE JORRO WILL PLAY ZORRO. He's doing stunt after stunt, and the camera closes up in the best way possible with his invincible smile.
88. INT. GEORGE'S RESIDENCE, DAY
Zorro's footage was projected onto a wall in George's house. George was sitting in a chair looking at himself. His down-and-out look and languid look are worlds apart from the ones in the film.
When the image ends, it turns back to a white wall. George stood up, drunk again. His shadow was clearly cast on the white wall. He saw the shadow, looked it up and down, then turned sideways again.
Caption: Look what you've become...
He continues to yell at it, clearly furious.
Subtitle: You are so disgusting! madness! opinionated!
He doesn't want to see it anymore. His expression was filled with disgust. Suddenly, his shadow separated from him and walked aside alone. George was still yelling at it, Shadow bowed his head.
Subtitle: You act so badly! You have no brain at all!
He continued cursing like he didn't notice anything wrong, until his shadow bowed his head and walked away. He watched the shadow go away, he didn't understand what was going on, he was still there, but the shadow was gone. He shouted—
subtitle: Come back! Come back here! ! !
Completely devastated, he began shouting and slamming the reels of film against the wall. The box with the film was opened, and the film all fell out. George is getting crazy. Film boxes and films were strewn on the ground. He stopped sweating. He looked around anxiously, lit a match, hesitated for a moment, and threw the match into the middle of the film.
He watched the fire spread with madness in his eyes. The soaring flames brought him pleasure. But he soon lost control of the situation. The film instantly burst into flames, billowing thick smoke. Jack was so panicked that he kept coughing. Suddenly, George came to his senses. The flames were flying beautifully around him, but he was starting to panic, and George jumped at the unopened film cases, throwing them away one by one, as if looking for a certain one. But more and more smoke kept him from going on. As the choking George tossed through the reels, Jack ran out of the house under the smoke.
89. GEORGE'S RESIDENCE - JJ
Jack escapes from the house and runs desperately on the sidewalk.
(88) In the room, George, who was surrounded by flames and smoke - was dying - picked up a plate of film and tried to turn around. He fell, still holding the film in his arms.
90. EXTERIOR, POLICE POST, JJ
JACK SEEING THE POLICE AT THE junction. It grabbed the policeman's trouser legs and dragged him in the direction of George's residence. The police did not know what was going on and pushed Jack away with their feet. Jack didn't give up, yelled at him, but the police just wanted to get rid of it.
(89) George falls to the ground asphyxiated. The smoke was getting lower and lower, slowly covering his face.
(90) Jake growled louder and louder. The police felt uncomfortable. A woman watched this scene curiously. The bewildered policeman gestured to silence Jack, and threatened him with two fingers, like George gestured with a pistol. Jack fell to the ground and pretended to be dead. Inexplicable, the policeman squatted down and touched Jack to see how it was. Jack woke up to go, but stopped immediately and motioned for the police to follow him. Still puzzled by the police, the woman told him to follow. The police understood, hesitated for a while, and followed the puppy. Jack wanted to run with him, but the police were a little reluctant. But gradually, he seemed to realize the seriousness of the matter and gradually accelerated his pace.
91. GEORGE'S
APARTMENT - JAY The police finally arrive at George's apartment. He saw thick smoke coming out of the house. He rushed into the thick smoke.
92. GEORGE'S RESIDENCE - DAY George
falls into a coma, smoke covers him, and police drag him from the fire.
93. EXT. GEORGE'S RESIDENCE,
DAY THEY Escape from the House. George was still clutching the film case. The crowd gathered to watch, and people recognized him. A woman feels sorry for him, a man runs to call for help. George remained unconscious.
(Fade)
94. INT. Kino Films, Pepi's Shooting Set, Day
We see Pepi on set, sitting on a chair with her name written on it, smoking a cigarette. People around her are nervously preparing for the shoot. Suddenly, an assistant brought the phone over. She smiled and picked up the phone. Her expression became tense. She hung up the phone and thought for a moment. The director signaled to his assistant on the set that he was ready and started shooting immediately. The assistant walked over to inform Pepi, but Pepi's chair was empty. He looked for her everywhere, but couldn't find her.
95. INT. Pepi's car (in motion),
Pepi sitting in the car is still wearing a filming costume, she urges the driver to drive as fast as possible.
96. EXT. HOSPITAL YARD - DAY The
car is parked in the hospital yard.
97. HOSPITAL FOOTBALL AND
STAIRS - RIPEPI rushes into the foyer, she asks the woman at the front desk, the woman points her in the direction, and Pepi immediately walks there.
She strode up the stairs and down a corridor.
98. HOSPITAL CORRIDOR AND GEORGE'S ward -
DAY Pepi sees George lying inside through a window in the door. His dog slept at the foot of the bed. George was bandaged and unconscious, receiving an IV drip. There is a doctor and a nurse in the ward.
Pepi entered the room. She looked anxious, but the doctor reassured her.
Subtitle: He is out of danger. He needs to rest.
Pepi walked towards George. She noticed that his burnt hand seemed to be still holding something. She felt strange. In order to clear her confusion, the doctor pointed her to the film box in the corner.
Caption: He was holding that. It wasn't easy to get this thing out of his hands.
Pepi picked up the film case. The label that marked the movie's name was charred. She opened the box, unwrapped a piece of film and faced the window. We see a scene moving. This is the only shot they have collaborated on a few years ago. Pepi was moved. She didn't turn around and asked the doctor --
subtitle: Do you think he can go to my house to recuperate?
The doctor's eyes lit up with kindness and nodded.
Subtitle: This must be what he wants most.
99. PEPI'S HOUSE - DAY
An ambulance takes George, who is still in a coma, to Pepi's house. Jack followed him.
It's a tall, beautiful building, luxurious, Hollywood-inspired, and comfortable at the same time.
100. interior, Pepi residence, George's bedroom and hallway, night
night, George was lying in bed, he opened one eye, then sat up and looked around, not knowing where I was.
Jack woke up, wagging his tail and yelping a few times. The nurse, who was dozing in the armchair by the bed, woke up and walked towards George. The nurse reassured George, telling him not to worry, and left the room gently, running down the corridor to the door of the other room. She knocked on the door and went back to George's room. Pepi soon followed. She entered the room in her pajamas. George saw her and smiled. Pepi rushed to the bed and hugged him tightly. She was so excited that when she let go of her hand to talk to him, she found that he passed out again and failed to share this special moment with her. She pouted, worried that she had done something wrong, looked up at the nurse, and put George's head back on the pillow.
101. PEPI'S APARTMENT, GEORGE'S BEDROOM -
DAY The next morning, Pepi brings breakfast to George's room and they eat together. She was talking and laughing while eating and drinking, just like the lively her he had remembered over the years. He smiled at her. Then Pepi looked at her watch and realized she had to hurry.
Subtitle: I have to go. I have to be on set at 9 o'clock.
George gave her a gentle smile. Pepi smiled back, but we could feel reality reminding them that Pepi had a job and George didn't. They looked at each other one last time, and Pepi walked out of the room.
George was alone, and he got up with difficulty and picked up the pile of clo
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