2446
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Lab - Yaeger returns. He opens the safe and takes out the antidote. I don't relish being Cyrus again, he says to himself, but that lawyer must be brought into line, and soon! He reluctantly drinks the antidote and feels the pain of transformation.
It certainly sounds that way to me.
I'm sure you're right, MB. It all leads up to the very ending of the movie.
...
But getting back to DC's version of Scene 85, I almost wish the rewrite had been the way things played out on screen. It certainly would have been far more sinister than the way things do play out, which is much more ambiguous (though there may really be a reason for that - one that we'll get into after dealing with the whole script). And the way things were originally written in Grayson's script is positively dull by comparison to both the film and the rewrite.
When it comes to DC's script, Scene 84 and the setting and first descriptions of Scene 85 are exactly the same as they are in Grayson's script, so I won't repeat them. Things get very different once DC's script reaches its Page 35:
(Revised 3/31/71)
85 CONTD CONTD 85
ANGELIQUE (O.S.)
We can't stay like this forever.
You must finish the picture.
CHARLES (O.S.)
Why?We have all the time in
the world.
RACK FOCUS to the B.G. where Angelique and Charles
are embracing.
ANGELIQUE
We haven't.You must finish it
because when you do, you will give
me the most marvelous gift of all -
Charles looks at her, not understanding.
this time life will imitate art.
I know you merely planned to paint
it to torture her, but that's not
enough. My darling, you must do it.
CHARLES
No.
ANGELIQUE
Don't you want us to be like this
always. Must we constantly be
leaving each other? How can you
hold Laura? How can you touch her?
CHARLES
When I do, it's you I hold, it's
you I caress.
ANGELIQUE
We are in each other's souls, Charles.
We can't escape it.
They kiss.
You willmake the picture come true.
CHARLES
Yes.
ANGELIQUE
Then you must paint, my darling.
Tonight. It must be done.
There is a POUNDING ON THE DOOR.
And when it comes to the dialogue, as I'd mentioned previously, none of it is in the film as scripted - and it's not really even in the film exactly as the changes that were made to some of the crossed out parts. Speaking of which, notations in DC's script make the following replacements in the dialogue:And as for what the actual differences in the dialogue, the descriptions, and the directions are when it comes to Scene 85, that will still wait until an upcoming post... But one thing I will say now, or rather ask is if I'm the only one who comes away from reading DC's version of Scene 85 with the impression that Angelique is actually encouraging Charles to kill Laura?
- Angelique's "you must do it" is replaced with "you must bring the painting to life"
- Charles' "No" is replaced with "But why - we have each other - that's all that counts - she doesn't even exist for me"
- The entire section of dialogue beginning with Angelique's "Don't you want us to be like this always? ..." right through to Charles' ending with "... it's you I caress" is not only crossed out but X'd out and it's all replaced with Angelique saying "As long as she's here, we could never really have each other"
- And Angelique's "You will" is replaced with "I want you to"
- And after Angelique's "make the picture come true", "Please - promise me" is added.
We're going to handle things a bit differently for this next sequence because when it comes to the beginning of Scene 85, it's different in the film from the way it appears in both Grayson's and DC's scripts - especially DC's. And the fascinating thing is that DC's script contains a major rewrite, yet none of the rewritten part made it into the film. But to kick things off, ... the beginning of Scene 85 appear in Grayson's script:
DISSLOVE TO:
85 INT - TOWER ROOM - 1800 - DAY 85
SUBCONSCIOUS MEMORY CUT
Transistion is made HOLDING on the portrait and
changing the color quality to that of the previous
segments. HOLD ON THIS as the first part of the
dialogue is played O.S.
85 CONTD CONTD 85
ANGELIQUE (O.S.)
You're never going to finish it.
CHARLES (O.S.)
Is that a prophecy?
RACK FOCUS to the B.G. where Angelique and Charles
are embracing.
ANGELIQUE
No - I just won't let you go.
They laugh and kiss again. There is a POUNDING
ON THE DOOR.
And so far as the differences in the dialogue go, ... everything is different in Scene 85.
...
And as for what the actual differences in the dialogue, the descriptions, and the directions are when it comes to Scene 85, that will wait until an upcoming post... But yes, "Transistion" is misspelled that way - and in both Grayson's and DC's versions of the script...
Paul runs downstairs. Julia is standing in the foyer. Did you see the little girl who just came downstairs? He asks. I saw no one, answers Julia. She had long, blond hair, insists Paul--you must have seen her! The only child I saw was David, she says. Did you see Alexander? Paul asks. I don't know who that is, she says--however, I know David was playing hide and seek with someone. Paul brushes past her and looks into the drawing room--she isn't here, he mumbles, you saw no little girl--who is she, where did she go, how did she get here in the first place? Julia asks, why is she so important? He starts to say something, then stops.