【誰にともなしに、独り言レス―その3393】
And then, a strange thing happens. We’re on a CLOSE SHOT OF ALAN SHEPARD, sitting next to Louise, his wife, and they have bemused smiles that tell us they are being cordial enough... but right then, THE MUSIC FADES. It's still there, of course, because Sally Rand is bumping and grinding away; but now we're in another dimension, as it were, and SHEPARD LOOKS ACROSS THE CROWD AT GLENN. And Glenn feels his gaze and there's the slightest of nods.
AND GLENN LOOKS AT GUS. AND GUS AT WALLY, and so on. And the WIVES, TOO, are part of this perception that takes place in the silence that occurs amidst this cacaphony of sound. They all feel it as they look across this place filled with car salesmen and roasting cows, with hunkered down photographers and swarming pressmen... and they know something no one else there knows. （その3031参照）
カウフマンはシェパード → グレンに始まるアイコンタクト（perception）の輪が奥方同士も（And the WIVES, TOO）その一環であり、それは喧噪（「シュガー・ブルース」）の只中の静寂（in the silence that occurs amidst this cacaphony of sound）の裡に起きるとしている。
原作に律儀に耳障りな「シュガー・ブルース」（Oh-owwwwwwwww wahwahwah… その3032参照）を前提とする限りは、せめても THE MUSIC FADES して in the silence という態にしなければ、腰をくねらすサリー・ランド（Sally Rand is bumping and grinding away）が目障りで in another dimension になりようがない―と言うか、そんな（ありきたりの）小細工（脚色）に何か意味（印象的効果）があるとカウフマンが本気で考えて（「シュガー・ブルース」に拘って）いたなんて思えないんですけど。
