Histoires Extraordinaires - Welles' screenplay for Amontillado nixed

[Harvey Chartrand]

Visit http://www.horror-wood.com/histories_extraordinaires.htm or
https://web.archive.org/web/20091223080 ... naires.htm
and read all about yet another cancelled Welles project: an especially tragic loss to filmgoers, in that Welles would have put his own stamp of genius on the dark universe of Edgar Allan Poe in a magnificent production entitled HISTOIRES EXTRAORDINAIRES (1968). Welles crafted a screenplay that fused the plots of THE CASK OF AMONTILLADO and THE MASQUE OF THE RED DEATH. Sadly, Welles dropped out (or was pushed out) of this international coproduction.
Instead Federico Fellini put his own unique "stamp" on Poe, using Terence Stamp to portray a Poe-like actor at the end of his tether, let loose in an eerie Rome of the future (very much like the Rome of today, in fact).
Was that last remark in Poe taste?
The source material for this article is a chapter from THE UNKNOWN ORSON WELLES. Jeff Wilson was kind enough to send me a copy of this "histoire extraordinaire."

[Le Chiffre]

Nice article Harvey, thanks. Welles's CASK sounds quite a bit different from the original Poe story, but then he said he didn't like literal adaptations of classic stories. I have THE UNKNOWN ORSON WELLES booklet, but have never gotten around to trying to translate Berthome's article. It would be a worthy enterprise, though.

[Wellesnet]

Wellesnet write-up from 2009.
Orson Welles’s screenplay for Edgar Allan Poe’s “The Masque of the Red Death”:
http://www.wellesnet.com/orson-welless- ... red-death/

[Wellesnet]

THE COURTYARD (right)

A drum roll...enlivened with a sparkling, circus-type march. This is drawing the guests into the courtyard. The MASTER OF CEREMONIES raises his hands for attention, and the music dips down slightly to permit his voice to be heard.

MASTER OF CEREMONIES
"Our host is no less prodigal than the prince in the fable we have just enacted for your pleasure, who, you'll remember, brought several troupes of entertainers to his house party...

My lords, ladies and gentlemen! On the great terrace: Excello, the knife juggler. In the Blue Chamber, a most entrancing troupe of Berber dancing boys...

And, finally, on the high rope above you, the celebrated Fortunata!"

This last announcement is greeted with a burst of warm applause.

M.C.S. FORTUNATA:

The young star of the circus steps into the light to acknowledge, with an air of royal calm, her little ovation. She is dressed as a harlequin. Tiny bells jingle at her wrists and ankles She carries a slapstick.

MASTER OF CEREMONIES (cont.)
"And for those of our guests whose tastes are more inclined towards the piquant, there will commence momentarily, a rather special exhibition in the lady chapel...

***

MAJOR-DOMO (very definitely not taking "no" for an answer)
"He is just here..."

He indicates a shadowy corner of the courtyard.
FORTUNATA utters a quick, sharp sigh of exasperation, then turns and follows the MAJOR-DOMO.

CLOSE SHOT: THE PRINCE

He stands apart from his guests, in a dark place under the columns, waiting...There is a strange, rather ambiguous glitter of expectancy in his eye, as he watches the approaching figure of the rope dancer.

M.S.: FORTUNATA

CAMERA PANS with her as she moves towards THE PRINCE.

THE PRINCE
"You were surprised, I should imagine, to discover who it was that brought you here."

FORTUNATA
"I haven't thought about it much."

THE PRINCE
"I think you have. A whole circus bought and paid for, for a week; transported here from Trieste in a chartered steamer, and your own fee rather more than-- well, shall we say, more than you might normally expect. Yes, I think you thought about it, child. I think you were surprised, but not too pleased when you discovered I was your host...

***

FORTUNATA
"But you're not, your Highness. You're not my host at all. I'm not your guest. You said yourself, I came here as a paid performer..."

THE PRINCE
"You could have been a guest, dear child-- as well you know, (trying to capture her eyes in his own) how often I've invited you..."

FORTUNATA (with cold formality as though reading a set speech)
"The people in my circus depend on me. I can't leave them-- even for a day. Your Highness understands that I was never at liberty to accept..."

THE PRINCE
"You are excessively polite, senorita. You have not always been polite. (With a change of tone) And you will not always be so difficult. Shall I tell you why?"

FORTUNATA
"If it pleases you."

[Wellesnet]

***

But it does not please him. For a moment he finds himself unable to speak. Then:

THE PRINCE (after a moment)
"I have a friend-- the Count Von Grata... Not a friend so much as an acquaintance...

FORTUNATA:
"Well?"

THE PRINCE
"He has not been so rudely treated."

FORTUNATA
"You've just said I was polite."

THE PRINCE (just a bit sharply)
"Most certainly I don't expect that you'll deny that he has been your lover."

FORTUNATA (picking him up on it)
"Is there any reason why I should?"

THE PRINCE (with a sigh)
"At least I can console myself that it's not rejected in the dreary name of virtue or innocence."

***

FORTUNATA
"Oh, I'm not innocent-- only particular."

For a moment he is breathless with anger. Then, turning away, he manages to speak lightly:

THE PRINCE
"You have ceased attempting politeness, I see. That's good. That suits you better."

The teasing twinkle is still in her eye but she speaks now almost with compassion.

FORTUNATA
"Really, you know, I'm afraid you'll have to write me off as one of your failures."

THE PRINCE
"I have no failures."

FORTUNATA
"Prince, you have a high opinion of yourself."

THE PRINCE
"Child, it's not a question of opinion, only of price."

FORTUNATA (sharply)
"Price?"

THE PRINCE (he is now more in command of himself)
"I'm going to tell you a little story--"

***

[Wellesnet]

FORTUNATA (cutting him short)
What price? Whose price? What are you talking about?

THE PRINCE (with a change of tone)
And as for your opnion of yourself-- it's so excessively-- so ridiculously high that you've chosen to... to... decline my invitation.

FORTUNATA (relaxing)
Well, now, that's not very much of a story, is it?

THE PRINCE
Our story is not over.

FORTUNATA (in a tone of ironic, teasing gentleness)
Oh, I think it is, your Highness

A dangerous look comes into her eyes. She speaks with a sudden delicate, but very definite menace.

FORTUNATA
I think that it had better be.

THE PRINCE (lightly)
Am I being threatened? (pauses) I'm not accustomed to being threatened.


***

FORTUNATA
They've often told me that you're interested in strange new experiences.

THE PRINCE
You have provided me with one-- repeatedly

FORTUNATA
Oh?

THE PRINCE
You have refused me your favor, Madam. That experience is no longer a novelty. It's becoming a bore.

FORTUNATA (making an ironic Harlequin bow)
Then I will relieve you serene Highness of the burden of my company.

THE PRINCE (heading her off)
Dear child, indeed you are a burden. A burden of flame and fire.
(moving toward her) The flame must be quenched.

She stops him with a look...

***

FORTUNATA
An operation your serene Highness will have to perform for himself.

A brief silence while he looks at her. Then...

THE PRINCE (with another change of tone)
He is a fine dashing figure of a man, that's very true...

FORTUNATA
Who?

THE PRINCE
Your friend, the Count Von Gerta... (she does not reply) ...and younger-- quite a bit younger--- then I am. (sharply) Is he not?

FORTUNATA
Yes, sir.

THE PRINCE
But not as rich. (a pause) I am the richest man you've ever met. The richest you ever will meet.

***

[Wich2]

he said he didn't like literal adaptations of classic stories

Ah, our Orson - like many smart folks, a bundle of contradictions...

That denouncement sure doesn't seem to apply to the bulk of FIRST PERSON SINGULAR/MERCURY THEATRE ON THE AIR/THE CAMPBELL PLAYHOUSE. And at its best, that is some of his most solid work.

AMBERSONS stays pretty close to its source, too, on both Air and Screen; and but for the year it is set in, the stage CAESAR as well.

- Craig