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After realizing she's been deserted by Sarah, Julia finds herself locked in the Collins mausoleum (although she could have probably crawled underneath that gate, it looks like enough space).
Continuing Scene 134 with Tracy's reaction to the fact that:
She notices the portrait of Angelique hanging in its
former position.
And that's when yesterday's quote -Page 66/Scene 134 - Tracy: 'She's back!'
- comes up, followed by the first part of today's quote -Page 66/Scene 134 - Quentin: 'I offended Carlotta's sense of family tradition.'
- coming up, followed in the script by:
He laughs.
134 CONTD CONTD 134
And that's where the second part of today's quote -Page 67/Scene 134 - Quentin (Contd): 'What was good enough for my forefathers should be good enough for me.'
And as far as the differences in the dialogue, the directions, and the descriptions go, because Scene 134 isn't currently in the film, we have no way of knowing what might be different.
... been made using different crops of this -
- which was published as part of a NoDS Movie Preview article in 16 SPEC Magazine and as far as I can recall has never been officially published anywhere else...
... because I had yet to come across the actual still:
moved the couch a quarter inch to the left
Ed Wood
He is planning on using us in Plan 10 From Outer Space
A well built redhead is out there - and she is wandering around in a nightie!
A reminder:As you've probably already discerned from today's graphic, we're getting into more material that doesn't appear in the film as it currently stands (or in the 97 minute version). However, the scenes we'll be dealing with today are not on Darren Gross' list of scenes that weren't recovered, so chances are they do appear in the 129 minute version:
And yes, neither Scene 133 (From the Gallery window Quentin sees Tracy outside as she returns with groceries - she waves) nor Scene 134 (In the Gallery Tracy jokes about the steaks she's bought and notices Angelique's portrait is back) are a part of Darren's list of scenes that weren't recovered. However, after I rediscovered his list of scenes that were recovered, I noticed that they're also not on that list. So, who knows? And I don't honestly remember if they were ever shown during one of Darren's presentations of the recovered footage...
...
Barnabas observes his father is trembling. He asks if Joshua has the gun and silver bullets, and when he nods, tells him to use it. Joshua can't, not here or now, but Barnabas says he must, or he'll go on destroying.
As you've probably already discerned from today's graphic, we're getting into more material that doesn't appear in the film as it currently stands (or in the 97 minute version). However, the scenes we'll be dealing with today are not on Darren Gross' list of scenes that weren't recovered, so chances are they do appear in the 129 minute version:
133 EXT - BACK OF COLLINWOOD - DAY 133
SHOT favors Quentin, who stands moodily looking out
of gallery windows. RACK FOCUS to Tracy, who ENTERS
THE SHOT F.G. She is carrying the groceries. She
waves at Quentin, who suddenly notices her and as
he waves back, she crosses toward the veranda.
134 INT - GALLERY - DAY - HIGH ANGLE 134
Quentin is back at his easel as Tracy ENTERS the
room.
And that's when today's quote -Page 66/Scene 134 - Tracy: 'I'm a genius with butchers. Of course, he thinks me quite mad...and very rich. The steaks are a masterpiece.'
- comes up.
And as far as the differences in the dialogue, the directions, and the descriptions go, because Scenes 133 and 134 aren't currently in the film, we have no way of knowing what might be different.
And there aren't any notes in DC's script for either of these scenes. (In fact, he won't have any notes until we reach Scene 139).
And you might have realized that I'm using the same still for Scene 134 as I did for Scene 116. Obviously the still can't be from both scenes, but I suspect it's actually from neither but is simply a candid shot of David Selby and Kate Jackson, even though the caption for it when in was published in 16 Magazine says otherwise. But no matter, the real reason I've chosen it is that both actors are wearing the same clothes that they wear in Scenes 116 and 134 (how we can know this will become obvious once we get to Scene 135, which is in all versions of the film), so the still can be used as a substitute in each scene until hopefully one day we actually get the restored 129 minute version of the film.
He crosses to a portrait on the other side of the room. BARNABAS Naomi Collins, isn't it? LIZ Yes. The first Barnabas's mother. From his pocket, he takes a small velvet box. BARNABAS I so hoped there would be someone like you to wear this. He hands it to Liz. LIZ Why, thank you. CAROLYN What is it, Mother? She opens it, is astonished. LIZ Look at this. Isn't it beautiful? She holds up the necklace. It is the same one that Naomi wears in the portrait. CAROLYN I've never seen anything like it. CONTINUED Rev. 4/14 Rve. 4/14/70 86 CONTD ROGER PAN TO The missing jewels. Naomi's necklace. CU Rog Barnabas, where did you find them. SLOW PAN PAST JULIA LIZ TO CU It's absolutely magnificent. PROFILE BARN ROGER Legend had it they were buried in the revolutionary War and never found again. BARNABAS Legend is so much more romantic than reality. Naomi gave them to my ancestor when he left Collinwood. They were his share of the estate. CAROLYN Mother, you must wear them . ROGER I remember reading she gave him the Old House too. BARNABAS I'm so looking forward to seeing it. The first Barnabas wrote a fascinating memoir about his life there. I've always dreamed of living in that house. |