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ANITA RÁKÓCZY
be ignored. However, in Beckett’s case there are no accidents of such kind: in
the copy of the original shooting script of Film in the University of Reading’s
Samuel Beckett Collection, after the destruction of God’s image, Beckett
deliberately returns to the “wall where print was and nail”*® three times,
in three close-ups (no. 159, 169, and 199). In the remaining part of Film,
O is compelled to face the embodied absence of the divine, an indestructible
presence even in its absence. At the end, when Object can no longer avoid
Eye, their encounter is not a pleasant one. O’s features are filled with horror,
when he sees his own one-eyed face and the black patch. However, at the
devastating moment, the two selves of the same person become one and unite
again, and the absent image of God, the clear white spot with the nail, appears
on the wall once more, signalling not annihilation but a new beginning.
MANUSCRIPTS CONSULTED
BECKETT, Samuel, untitled, unpublished, undated typescript, Abandoned
Theatre in French, Beckett Manuscript Collection, University of Reading,
MS 1227/7/16/2.
BECKETT, Samuel, Avant Fin de partie, undated, unpublished typescript.
Beckett Manuscript Collection, University of Reading, MS 1227/7/16/7.
BECKETT, Samuel, stencilled typescript shooting scenario for Film, dated
20 July 1964, Beckett Manuscript Collection, University of Reading, MS
1227/7/6/2.
BIBLIOGRAPHY
ASTRO, Alan, Understanding Samuel Beckett, Columbia, University of South
Carolina Press, 1992.
BECKETT, Samuel, The Complete Dramatic Works, London, Faber and Faber,
1990.
BRYDEN, Mary, Samuel Beckett and the Idea of God, London, Macmillan
Press Ltd, 1998.
CAVELL, Stanley, Must We Mean What We Say? A Book of Essays, Cambridge,
Cambridge University Press, 2002.
Coun, Ruby, A Beckett Canon, Michigan, The University of Michigan Press,
2005.
50 Samuel Beckett, Stencilled typescript shooting scenario for Film, dated 20 July 1964, Beckett
Manuscript Collection, University of Reading, MS 1227/7/6/2, 30.
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