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, this is the way Scene 84 and the beginning of Scene 85 appear in Grayson's script:
CUT TO:
84 INT - TOWER - EVENING 84
Quentin is at work on his abstraction. He stops, looks at the light - fading. He sighs, begins to cap his paints. He starts to look for something and, moving a trunk to a better position, discovers that it was concealing a built-in wall cupboard. Obviously, it hasn't been opened in years. Opening it, he sees a stack of canvases. He takes one out. It is a portrait of Angelique and is signed: "Charles Collins, 1800." Quentin is amazed. He takes out others. They are all of Angelique. Then he comes to an unfinished one. It is the most interesting. A lascivious Angelique lies on a bed of rose petals, surrounded by nymphs and satyrs. In the F.G., there is space left for several figures. He stares at it, absolutely fascinated.
QUENTIN Charles Collins...1810.
TRUCK IN on the portrait as we
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.
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And so far as the differences in the dialogue go, in Scene 84 Quentin doesn't speak the signature on the painting out loud (the painting doesn't even appear to be signed) - and everything is different in Scene 85.
And so far as the descriptions and directions go, as can be seen in the following capture -
- Scene 84 does not take place during the evening, and Quentin is not seen at work on his abstraction (though we do see sketches on a pad on his easel behind him), and so, therefore, nor does he stop, look at the fading light, sigh, begin to cap his paints, or while looking for something does he move a trunk to a better position because what he does do, as can also be seen in the capture, is check some things in his supplies case. And after Quentin notices the paintings leaning against the wall, neither of which is a portrait of Angelique signed by Charles Collins because as can be seen in the following two captures -
- one is a landscape and the other is a still life, and neither appears to be signed, or at least Quentin doesn't acknowledge that they are. And when he discovers the cupboard and opens it, he doesn't take out any paintings other than the unfinished one, which he carries over to his easel, as can be seen in the following capture -
- to get a better look (though given there's an obvious cut in the background music, it would definitely seem as if something was cut from the scene that took place between the time Quentin discovers the hidden paintings and the time he takes out the unfinished one) - and sadly, as can also be seen in that capture, there aren't any rose petals, nymphs or satyrs in the painting - though one could say that Angelique has a lascivious expression on her face...
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...