[Quick Summary: After two modern academics stumble across two Victorian poets' "racy" letters, they track down the truth of the poets' secret relationship.]
How does one adapt the 1990 Booker Prize winner* that is 576 pages long (paperback edition)?
What should the screenwriter leave out? Leave in?
In this well crafted script, I was surprised that one of the best visual moments had nothing to do with the plot, but was emotionally correct for the film.
Roland, a post-grad student, is at a crossroads. He has stumbled across two rather daring letters from a Victorian poet that he's studied.
Should he publish them? It would make his career, but also would destroy the poet's reputation as a faithful husband.
The scene below externalizes Roland's internal dilemma. It does not push the plot forward, but IS very effective in conveying "what should I do?"
INT. ROLAND'S FLAT (HOLLAND PARK) - BEDROOM - SAME TIME
Roland, shirtless, lies in his sagging bed and stares at the two sheets. He studies them, reading them through again. Suddenly, he holds one in front of his mouth and blows...the thing page rises slowly, then hovers overhead. He catches it with a free hand then does it again. The letter floats magically above Roland in the darkness.
WHAT I'VE LEARNED: This would be a scene I'd cut in favor of more plot, and I'd be wrong. I also like that it could be read with different meanings.
ex. The floating letters could be a metaphor about how fragile this situation is for the poet's legacy, but also how the upcoming journey will be dicey for Roland.
Possession (2002)(3/17/00 draft)
by Laura Jones and Neil LaBute
Based on the novel by A.S. Byatt
*FYI: The Booker Prize is a prestigious literary award for the best literary work in the UK and Ireland.
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