3976
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... a bit of a cheat. Because the script says -
232 INT - SECOND FLOOR - NIGHT 232
as CAMERA CONTINUES TO TRUCK DOWN THE CORRIDOR
toward the gallery, the SOUND OF QUENTIN'S VOICE
can be heard.
- I wanted to find at least a shot at night of the Gallery entrance from the corridor. Unfortunately, there aren't any such shots in NoDS as the film currently stands. However, there is one in hoDS (when Todd comes out of his room to make his escape to go to Carolyn), so I used it -
- rather than repeating the graphic I normally use when -
- I don't have a still or can't finagle something from a part of the scene that actually is in the film. That graphic had already popped up for the seance as the second one on Saturday and it's going to show up again tomorrow, so I wanted to see if I could figure out something else so that it wouldn't show up three times in this same sequence...
...
a more complete, day by day chart. Yes, I'd like that, says Liz. It will be an honor to do one for you, says Shaw. An honor? she asks. Yes, you're very troubled, he says, and if the stars can help you in any way, I will feel a sense of personal gratification, and that is all-now, I must find out the exact time of your birth. I haven't the faintest idea, says Liz. The entire chart is based on the position of the planets, says Shaw, pointing skyward-isn't there any way you can find out? I don't know, says Liz-actually, there is-Carolyn found some letters just last week, one from my mother to my father-he was in New York when I was born-I believe she did mention the time. Call me this evening, says Shaw, smiling, and tell me.
...
DISSOLVE TO:
231 INT - TOWER ROOM - NIGHT 231
as CAMERA begins a LONG, CONTINUOUS TRUCK through the
doorway to:
231 CONTD CONTD 231
INT - TOWER STAIRS - NIGHT - CONTINUE TRUCKING
INT - THIRD FLOOR STAIRS - NIGHT - CONTINUE TRUCKING
End of scene 231 - but much more to come in the sequence...
Picking up the seance sequence where we left off:
232 INT - SECOND FLOOR - NIGHT 232
as CAMERA CONTINUES TO TRUCK DOWN THE CORRIDOR
toward the gallery, the SOUND OF QUENTIN'S VOICE
can be heard.
And that's when today's quote -Page 107/Scene 232 - Quentin (O.S.): 'We want to help whoever is in this house. That is all...we know you are troubled...'
comes up.
End of scene 232 - but still much more to come in the sequence...
1966: Ep #12 - Roger: 'The ghosts of the past are always
frightening.'
(Not to mention flapping threads. ;-))
That experiment, it's always that experiment, rants Sabrina, what is so fascinating about it? It IS, that's all, responds Cyrus. She turns away and asks, listen just one minute--you expect me to marry you? Sabrina, I have told you I have my work and it must come first! But when it affects you in this way, she protests. How? he asks. You're different, that's all, she says,I can't explain it--ever since you came back, I just feel it, and I know you don't put any faith in feelings. Yes, says Cyrus, but perhaps I'm beginning to. Well if you are, it's because of THAT, not because of me, she says. She puts her hands on his shoulders and faces him squarely--I'm worried about you, she says--I used to think I knew everything about you, but now, I don't feel secure about that anymore-
Liz enters. Julia asks, do you have any family portraits that might have been stored, forgotten in a closed wing of the house? Probably, says Liz--many. I want to search through them, says Julia. Do you have a particular one in mind? asks Liz. A painter named Tate lived in Collinsport around the turn of the century, says Julia--I bought a painting of his recently at the antique shop. Antique shop? asks Liz. Yes, why? asks Julia. Nothing, says Liz. I thought there might be others around, perhaps stored right at Collinwood, says Julia. Look as much as you like, says Liz, but I'm really not in the mood to discuss specific places for you to start looking--we'll talk about it tomorrow. She goes upstairs.
... I'd cropped a still that is actually associated with Scene 220 because I wasn't sure of that fact and used it simply because there's a candle in it -
- but this time around I made this new graphic -
- with this pretty rare still -
(Click here for a 700X1042 version)
- which I've gotten a copy of in only the last year, and which appears on the back cover of the movies soundtrack CD -
- along with other cropped to head shots versions of some other stills that will look familiar because I've shared the original versions...
...