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And now Scene 67A (the piano scene, ...):
67A. INT. DRAWING ROOM - 1810 - DAY - QUENTIN'S P.O.V. 67A
The piano is now on the other side of the room.
Angelique sits at the piano PLAYING QUENTIN'S THEME.
CAMERA BEGINS A SLOW TRUCK IN as a man enters the shot
right. PAN UP to CHARLES COLLINS, who, except for a
scar on his face and a limp when he walks, looks amazingly
like Quentin.
And that's when today's quote -Page 27/Scene 67A - Angelique: 'When I'm not with you...this is my way of feeling you near...I sit alone...and play this song...I see your smile.'
- comes up.
And as far as what's different with the dialogue, the descriptions, and the directions, we have no way of knowing at this point because this scene also doesn't appear in the film as it stands - though it does appear in the 129 minute version...
Continuing with Scene 67A:
They kiss. Her playing falters, then stops, as the kiss
grows in intensity. Suddenly, the door opens, Laura stands
there. She looks as if she has finally seen something
she has tried not to think of before...but something that
has been in some part of her mind. Quentin sees her, ends
the embrace with a smile. He nods, turns toward Laura.
Angelique sees her.
And that's when today's first quote -Page 27/Scene 67A - Charles: 'Did you enjoy watching us, my dearest wife?'
- comes up, followed by the script continuing with:
(Revised 3/31/71)
67A CONTD CONTD 67A
And that's when today's second quote -Page 28/Scene 67A - Angelique: 'She must have...she didn't leave...'
- comes up.
... DC's script has a notation added to Charles' line that indicates he would turn toward Laura after he says "Did you enjoy watching us" and before he says "my dearest wife?"
It's also worth noting that so far as the script goes, this would have been the first time the audience sees Charles because the horse trampling of Strack and Charles' embracing of Angelique outside the cemetery, which, as far as the film stands, are parts of Quentin's dream on his first night at Collinwood, don't actually come up in the script until Scenes 145 & 146...
Carolyn decides to get Stokes, bring him here, assures Adam he isn't angry--stay-and don't leave before I get back, she says. "Stay with Adam," he begs, grabbing her in his arms. I only want to get you help, she says. He gazes into her face, sure she won't come back, but she promises she will, and he must believe it and let her go. He trustingly opens the door to allow her to leave, a touching moment indeed.
With regard to Scene 67A, Darren Gross posted on his Restoration Web site -QuoteA selection of scenes cut from the 129-minute version that have been recovered:
...
Quentin has a flashback to 1810 where he sees Charles and Angelique sharing an intimate scene at the piano. They are interrupted by Laura who accuses Angelique of bewitching her husband.
- and I presume that also means that Scenes 66A & 67 -
CUT TO:
66A INT. FIRST FLOOR CORRIDOR - DAY 66A
Quentin, carrying a picnic hamper, moves down the
corridor. When he reaches the foyer, he hears the
SOUND OF QUENTIN'S THEME, played on a piano, seemingly
from the drawing room. Puzzled, he opens the door.
The music stops.
67 INT. DRAWING ROOM - DAY 67
Quentin enters the room, staring at the empty piano.
He walks towards it, mystified, but positive he heard
it's sound. Then he hears the theme again - this time
from the other side of the room. He turns.
- were also recovered. Darren definitely showed Scene 67A at the 2004 Tarrytown Fest, but I don't recall if he also showed Scenes 66A & 67 with it...
...
...
And as far as what's different with the descriptions and directions, we have no way of knowing at this point because these two scenes don't appear in the film as it stands - though they do appear in the 129 minute version...
(And, yes, "it's" is spelled incorrectly in the script.)