On Trust and Moments of Grace

Remembering actress Margaret Whitton on what would have been her 72nd birthday.

Remembering actor Geoffrey Lewis on what would have been his 86th birthday.

“The moment of truth”

SPOILERS

1993 Mel Gibson interview with Bobbie Wygant on The Man Without a Face.

14 INT. THE COTTAGE (KITCHEN) -- DAY

Chuck comes down for lunch. Gloria and Meg are at the table. Mother is at the stove cooking canned ravioli.

MOTHER: So the long and short of it is I haven’t got a date.

GLORIA: Barry must be seeing a new bimbo.

MOTHER: Oh probably, course he’d never tell me. I’m the Platonic girlfriend.

GLORIA: Morning Charles. How’s the studying going?

CHUCK: Fine.

GLORIA: Tres bien. Qu’est-ce que tu etudies aujourd’hui?

Chuck looks over blankly.

GLORIA (CONT.): Lis-tu Virgil deja?

CHUCK: Spanish isn’t on the exam.

Mother and Gloria have a chuckle, Meg tries to suppress a grin.

MOTHER: Oh, Charles.

Mother serves the ravioli. Chuck looks glum.

MEG: What about Mr. Patton, Mother? Wouldn’t he take you to the party?

GLORIA: Megan! He’s practically bald!

MOTHER: Oh, I don’t mind a bare spot. As long as they don’t try to hide it with a ridiculous flop of hair...

CHUCK (to Gloria): Like your sometime boyfriend.

GLORIA: Don’t be ridiculous, slime.

CHUCK: It’s true. His hair’s retreating so fast you can see the Neanderthal ski slope on his forehead.

Mother and Meg giggle. But Gloria is the master of the putdown.

GLORIA: Charles, having you criticize someone else’s intelligence is like sending a retard to Harvard. That’s an analogy. Do you know what an analogy is Charles? I’ll give you a hint: It’s not Spanish.

Mother and Meg laugh. Chuck wants to come back with a witticism but all that comes out is:

CHUCK: Shut the fuck up.

MOTHER: Charles!

GLORIA: Aren’t we witty today?

CHUCK: I said shut up.

MOTHER: Charles be quiet... Everyone just think happy thoughts.

ON: Chuck munching his food, sullenly.

15. INT BEDROOM -- NIGHT

Chuck snaps awake in his bed. Gets up and runs over to Gloria’s bedroom. He shakes her awake and yells:

CHUCK: Analogy! Gloria is to sisterhood what the Boston Strangler is to brotherhood!

He leaves her startled and heads back to bed.

------------------------------------------------------------------------------

This deleted scene (well, two deleted scenes, technically) was transcribed from an early draft of The Man Without a Face (1993) (screenplay by Malcolm MacRury, based on the book by Isabelle Holland).

It would have occurred directly after the scene where Chuck is reading a comic in bed with his cat and his Mother calls him down to lunch and before an alternate version of the scene where Charles is told by his Mother to stop letting the cat in the house.

McLeod’s house is an historical home known as Felsted in Deer Isle, Maine. Built in 1897, it was intended to be the summer home of landscape architect Frederick Law Olmsted. The shingle style house was designed by William Ralph Emerson. 

This property was also heavily featured in the 2003 indie film Finding Home (which starred a young Mischa Collins for all you Castiel fans). Many new rooms and outside locations (including a friggin’ tidal dock) can be seen in that movie. 

Five time academy award winner Greg Cannom was the special makeup creator responsible for designing the prosthetics that would transform Mel Gibson into the disfigured Justin McLeod. 

Cannom’s work can also be seen in (amongst many other films) Bram Stoker’s Dracula, Mrs. Doubtfire, Titanic, Hannibal, Forever Young, and The Passion of the Christ. 

In 2016 the original make-up test torso sporting McLeod’s latex burn appliances sold at auction. 

65. INT. THE COTTAGE (WASHROOM) -- NIGHT

Chuck is in the bathroom dressed for bed. He is examining his face in the mirror, looking for any facial hair to shave. He has his Mother’s pink razor in hand, ready to cut off any offending stubble, when Meg comes in and closes the door behind her. 

CHUCK: Hey! Get out!

MEG: It’s alright. We’re related.

Chuck is not amused. He puts the razor aside trying to hide it.

MEG (CONT.): You’re supposed to use cream, you know?

CHUCK: (mimicking) You’re supposed to use cream, you know?

He starts to brush his teeth. Meg looks at him. She’s got something she wants to confess to him.

MEG: Chuck?

CHUCK: What?

MEG: Promise not to get mad?

CHUCK: No.

MEG: OK forget it then... How’s it going with the Freak?

Chuck winces at the sound of the old nickname.

CHUCK: Fine.

MEG: Do you like him yet?

CHUCK: What kind of a stupid question’s that?

MEG: Well? Does he like you?

CHUCK: How should I know what he likes?!

MEG: Alright. Keep you hair on... You’re getting so protective of him.

CHUCK: I am not... I’m just tired.

Chuck yawns, to get rid of Meg. She takes the hint, unhappily.

MEG: Have it your way.

She turns to go. Chuck can see she is hurt.

CHUCK: Meg...

MEG: I don’t know why I bother with you. I’m your sister and you don’t even like me.

CHUCK: I do so.

MEG: No you don’t. I guess you’re his friend now. But why you can’t have more than one friend, I don’t know.

CHUCK: You’re the best sister I’ve got Meg.

Chuck grins. Megan sticks her tongue out. And then has a thought. 

MEG: What about McLeod for Mother?

Chuck laughs.

MEG (CONT.): He could save us from the Hairball.

She exits. We can see that Chuck is thinking about her idea.

______________________________________________________________

This deleted scene was transcribed from an early draft of The Man Without a Face (1993) (screenplay by Malcolm MacRury, based on the book by Isabelle Holland).

It would have taken place directly after the scene in McLeod’s art studio, where he tells Chuck about how he got burned, and directly before the scene where Chuck attempts to give McLeod sympathy over it and McLeod storms off.

Scene 59. INT. CHUCK’S ROOM -- NIGHT

Chuck is already getting down to studying when his Mother appears at his door. She waits at the door watching.

MOTHER: We hardly ever see you these days?

CHUCK: I’m down at the library.

She moves behind him to look at what he’s studying. He looks back at her. We see her disbelief. And so...

MOTHER: If you’re smoking “mary jane” I can handle it. You can tell me.

CHUCK: I’m just studying.

His Mother nods, accepting it, but not really accepting it.

MOTHER: I used to be pretty good at Latin, you know? (picks up a piece of paper) Futue te... Which verb’s that?

Chuck is embarrassed, but he recovers.

CHUCK: It means... “to twist.”

Mother nods. She picks up some more papers. Detailed Latin homework and geometry. She is surprised at his diligence.

MOTHER: You did all this?

Chuck nods. Afraid to hope that she might praise him. But wanting her to. But finally she says...

MOTHER: Don’t you think you’re taking this exam a bit too seriously? It’s the summer, Charles... You should be enjoying yourself.

It’s absolutely the wrong thing to say. Charles responds coldly.

CHUCK: I got the red hair. It’s nothing to be ashamed of.

He stares flatly at her. She can see he’s tuning her out.

MOTHER: You can be a real cold one.

Chuck can’t respond. She exits. Chuck looking after.

______________________________________________________________

The above deleted scene was transcribed from a draft of the the script to The Man Without a Face (1993) (screenplay by Malcolm MacRury, based on Isabelle Holland’s 1972 YA novella of the same name).

The scene would have occurred directly after the “waxing poetic” scene from the film where Charles comes home and happily questions his Mother about her knowledge of Shakespeare but before the scene where McLeod acts out Portia’s “quality of mercy” monologue from The Merchant of Venice.

The actors involved would have been Nick Stahl and Margaret Whitton.

Contextual note 1: The Latin phrase Chuck’s Mother finds is a reference to a dropped extended scene from the script. Charles believes he has found the closest Latin equivalent to “fuck you” -- he uses it to insult his older sister, Gloria.

Scene 36. INT. THE COTTAGE (CHUCK’S ROOM) -- NIGHT

Chuck is on the floor of his room doing vigorous sit-ups. Trying to make himself “astronaut tough.” There’s a rap on the door and the boozy Hairball sticks his head in. Chuck moves to study.

CARL: What’s shaking in the men’s room?

CHUCK: I’m studying.

CARL: Ahh. Well, I know all about that.

The Hairball enters. He looks around at the room and then over Chuck’s shoulder at his geometry.

CARL (CONT.): You know Chuck, if you ever want any help. Just ask. OK?

CHUCK: OK.

CARL: It’s no shame to ask for help.

CHUCK: I said OK.

CARL: Right. You did... Say that’s a beauty isn’t it? Who’s the lifeguard type?

The Hairball picks up the photo of Chuck’s Dad on the beach. Chuck takes it away from him.

CHUCK: That’s my father. I don’t know what you mean by ‘lifeguard type.’

CARL: Hey, I’m sorry. That was not cool. Just the booze talking. OK?

But Chuck freezes him out -- studying. He takes the hint to leave.

CARL (CONT.): Well, I’ll leave you to it... You know Chuck, it looks like your Mother and I are going to see a lot of each other this summer. And I’d like to spend some time with you too. See if you can get your head around that. OK man?

He puts his hand on Chuck’s shoulder. Then exits. Chuck throws himself down on his bed. Arms crossed. He looks like he could cry. But he fights it with a fierce mantra and more vigorous sit-ups.

CHUCK: The hammer of Thor. By the hammer of Thor. By the hammer of Thor. By the hammer of Thor! The hammer of Thor!

______________________________________________________________

This deleted scene was transcribed from a draft of the script for The Man Without a Face (1993) written by Malcolm MacRury who adapted his screenplay from Isabelle Holland’s 1972 novella of the same name. 

The scene would have happened directly after the “party chatter” scene from the film where the guests at Catherine’s party gossip about McLeod and directly before the kitchen scene where Charles and his mother discuss the possibility of her marrying Carl. 

The actors involved would have been Nick Stahl and Richard Masur.

I’m sad to hear that composer and orchestrator James Horner died yesterday morning in a plane crash, he was 61.

"Strange fits of passion have I known: And I will dare to tell, But in the Lover's ear alone, What once to me befell.

When she I loved looked every day Fresh as a rose in June, I to her cottage bent my way, Beneath an evening-moon.

Upon the moon I fixed my eye, All over the wide lea;                                       With quickening pace my horse drew nigh Those paths so dear to me.

And now we reached the orchard-plot; And, as we climbed the hill, The sinking moon to Lucy's cot Came near, and nearer still.

In one of those sweet dreams I slept, Kind Nature's gentlest boon! And all the while my eyes I kept On the descending moon.                                    

My horse moved on; hoof after hoof He raised, and never stopped: When down behind the cottage roof, At once, the bright moon dropped.