Sunday, February 26, 2023

Don't Make a Scene: The Conversation

The Story:
We're eavesdropping on an eavesdropper in today's scene from Francis Ford Coppola's The Conversation
.
 
This is one of those scenes that appeared in Premiere magazine's "Classic Scenes" feature, but for the text version, I went to Coppola's script (dated Nov. 22, 1972) in what was dubbed "THE FILM SCHEDULING/FILM BUDGETING WORKBOOK" which is a good insight into Coppola's writing and directing methods by comparing what's here to what's on the screen.

There's quite a bit of dialog missing (it's crossed out) and any changes to the words post-script are marked as green. Additions may be due to actors saying essentially the same thing their own way and there are little tweaks here and there. But, there was obviously an awful lot of work done "blocking" the actors—telling them where to be on-set for the shot—and bits of business that aren't even alluded to in the script—the "kissing" scene, Harry removing his arm from behind Amy's head and it "clunks" on the bed's headboard.

The excisions are interesting. Some of it may be that Coppola was just repeating information and subjects and rather than emphasize it, just leaving it there once. For example, that provides a nice link in the "secrets" section—editor Walter Murch may have just cut out that one section for clarity. 
 
If the script was followed as written, it might have cast Terri Garr's Amy in a different light. In the film, she asks her questions once. In the script, she asks them twice, which could be too much. Gene Hackman's Harry Caul is a suspicious, paranoid man and her asking just the one time would already make him wary; twice would make him think she's part of some possible conspiracy to "get the goods" on Harry. Asking once could just be genuine curiosity about the man who pays her bed and board. Harry's mind is already made up, but the audience's isn't.

But, her singing the song ("When the Red, Red, Robin Goes Bob, Bob, Bobbin' Along") that he heard his surveillance target earlier singing really lights up his antennae. It couldn't be a magical coincidence, could it? (But, why would she drop so blatant a hint that she knows what he's doing?) It's just another question...and Harry doesn't like those.
 
Whatever Amy's past, she decides her future isn't with Harry. And that's the final, definitive answer to whether she's working for one of Harry's enemies, or competitors. She quits. And good for her.
 
The Set-Up: Surveillance expert Harry Caul (Gene Hackman) has spent the noon-time of his 50th birthday recording the conversation between two young executives (Frederic Forrest, Cindy Williams) for their company's CEO (Robert Duvall). A solitary man, Caul is constantly looking over his shoulder to see if he's being watched or surveilled. Some would think he's protective, cautious, but Harry just might be paranoid, as when he visits a woman he keeps (Teri Garr).
 
Action...roll tape.
 
46 INT. THE BUILDING - NIGHT 46 
Harry stands at the base of the staircase, looking up. 
He waits there a moment, almost hiding, 
and then continues up the stairs. 
He approaches the apartment door very, very quietly. 
He takes a key out, not making a sound, then opens the door quickly and looks into the room. 
VOICE
Harry.
HARRY Hello, Amy. 
CUT TO: 47 INT. THE ROOM - NIGHT 47 We can see through the open door. The room is semi lit, and small. There are a few personal things around in it; a small stereo on the floor, some photographs on the walls, but there is a feeling of impermanence about the room. A girl half-rises from a bed in the corner of the room; she has pale skin, perhaps 24 or 25 with curly hair, sort of pretty. She has fallen asleep in a faded silk Oriental robe. Her name is AMY.
AMY
I didn't think you were coming. 
Harry closes the door behind him. 
HARRY
Just for a while. 
AMY Oh. 
HARRY
I brought this wine. Someone gave me as a birthday present.
AMY
I didn't know it was your birthday. 
She seems half-asleep, but genuinely happy that he has come.
HARRY
D'you want some?
AMY Yeah.
HARRY I should have called
Amy slips back under the covers.
There is something frightened and very vulnerable about her. 
AMY
(not reproachfully) You never do
HARRY You should go out more
AMY You don't like me to
HARRY I don't mind
AMY Then I wouldn't be here if you came over
HARRY Want some wine? 
Amy nods. Then she smiles.
 
AMY
Harry, how old are you? 
He moves to the kitchenette, starts to open the wine bottle. 
HARRY
Forty-four. Forty...two.
AMY
You're almost twice as old as me
AMY
That's sweet, when you were my age, I was being born. Sweet. 
Harry gives her a glass of wine. She clinks it to his and they each take a sip. 
AMY
Does something special happen between us on your birthday? 
HARRY
Like what? 
AMY
Something personal? 
HARRY Like what? 
AMY Like....um
AMY
...telling me about yourself. Your secrets. 
Harry smiles. 
HARRY I don't have any secrets. 
AMY (looks at him knowingly) I'm your secret, Harry
AMY
(brightly) Where do you live? Why can't I call you there
HARRY (lying) I don't...have a telephone
AMY
But you DO have secrets, Harry, I know you do. 
AMY
(giggles) Sometimes you come here: but you don't let me know. 
AMY
Once I saw you down by the staircase, hiding. And watching. 
AMY
For a whole hour. 
This embarrasses Harry: but she keeps on teasing him. 
AMY
I think you're jealous. You think you're going to catch me at something. Sweet
AMY
(she sips) The only thing you'll ever catch me at is waiting for you.  You know I know when you're coming over...I can always tell (she laughs) 
AMY
You have a certain way of opening the door when you come here.
AMY
First the key goes in real quiet. You sneak up, very quiet, like a mouse
AMY
Then the door opens real fast, 
AMY
just like you think you're going to catch me at something. At first I used to think that it was a fireman coming to warn me that the building was on fire
AMY(sincerely) Oh, Harry, how could you ever be jealous of me
HARRY I'm not jealous.
AMY Sometimes I even think that you're listening to me. When I'm talking on the telephone. I just feel that you're listening to me.
HARRY(uncomfortable) What are you talking about?
AMY
I dunno. 
AMY
I can just feel it. 
AMY
Really, I do.

AMY
What do you do all day, Harry
HARRY I work.
AMY Where?   
HARRY I have my own business. 
AMY What kind of business?
HARRY I don't like people to ask me a lot of questions
He's irritated. 
He gets up...
...and disappears into the bathroom. 
We HOLD on the closed door for a moment. 
AMY
(o.s.) "Wake up, wake up you sleepy head, 
AMY
(o.s.)
Get up, 
AMY
(o.s.)
...get up, get out of bed...
The door opens. Harry steps out, staring at her. 
HARRY Why are you singing that? 
AMY
It's pretty.
HARRY
Why that song? 
AMY What's the matter, Harry? 
HARRY
Nothing. Just that...
HARRY
Someone else was singing that song today.
AMY
A girl?
HARRY
Yes
AMY
(playfully) Who is she?
HARRY Nobody.
AMY
(playfully) Now,. I'M jealous.

HARRY
I don't know her...I...it's something else. It's...it's just somebody at work.
HARRY
She reminds me of you.
AMY
Hmmm.
AMY You never told me where Where do you work , Harry. 
HARRY
Oh..Different places. Different jobs, 
HARRY
I'm a musician.
AMY
Hmm.
HARRY
A free lance musician. 
AMY Do you live alone, Harry Where do you live? 
AMY
I mean, why can't I call you over there?
HARRY
Because I...because I don't have a telephone
AMY Do you live alone?
HARRY
Why are you asking me all these questions all of a sudden?
AMY
It's your birthday 
HARRY
I don't want people to ask me a lot of questions.
 
AMY ...I want to know about you.
HARRY
Yes, I live alone,
AMY
...Oh...
HARRY
but I don't want to answer I don't feel like answering any more questions! 
He moves to to the kitchenette
we can feel that he doesn't want to stay here anymore.
HARRY
Your rent is due this week.
She doesn't answer. 
HARRY Here's the money for it.
He takes out some cash and puts it on a saucer on the shelf. 
HARRY Food money, too.
She doesn't answer.
HARRY
I have to go now.
He starts to go, then stops and looks at her. She seems very pale, very vulnerable, very delicate.
HARRY
You never used to ask me a lot of questions.
AMY
Harry...
AMY
I was happy you came tonight, Harry.
AMY
When I heard you open up the door My toes were dancing under the covers.
AMY
But I don't think I'm going to wait for you anymore.
Harry looks at her; 
and then leaves. 

 
Words by Francis Ford Coppola
 
 
The Conversation is available on DVD and Blu-Ray from Paramount Home Video.

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