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10:00PM | FX |
ET | American Horror Story |
Part 2 premiere: A glimpse into Anna’s past reveals her motivations for motherhood; Dex’s concerning family life is dragged into the spotlight. |
Aristede describes how he saw Blackwood strangle Evan with the chain. Why would he would kill Evan? Asks Trask. The man will kill anyone, everyone, insists Aristede--you must hide me! Put my plan into operation, orders Trask, then you will get away. He'll come after me! protests Aristede. Did he follow you? asks Trask, frightened. No, says Aristede. Then you're safe for the moment, says Trask. No, says Aristede, never, he always knows where I am--he's a monster from hell! That is often said, but seldom true, says Trask I'll hide you where you'll be safe until you are needed. They exit the drawing room.
Here's a rare still associated with Scene 132 -
(Click here for a 700X488 version)
- and not surprisingly it's taken from a different angle from the way the moment is shot in the film. But then, shooting from behind Quentin works for great dramatic effect in a film - taking a photo that doesn't show a face at all, not so much.
Collinwood - Barnabas paces the drawing room. Julia returns, medical bag in hand. I came from the cottage where I examined a very weak Sabrina, reveals Julia. Barnabas apologizes. "Why did you do it?" demands Julia--you gave Quentin your word that you wouldn't go to her again. I stayed at the Old House and fought the urge to leave, says Barnabas--Sabrina came to me. And you couldn't help yourself, accuses Julia. Ashamed, defensive, Barnabas asks, do you think I do this by choice? No, she assures him, I am aware of that--I know what you're going through, and that the injections are responsible. Don't blame yourself, he urges. Until the effects wear off, you're in danger of exposure, warns Julia--people in the town are worried about the attacks now. And you're afraid I'll kill Sabrina before the effects wear off, says Barnabas, I'm quite aware of that. There must be something we can do, says Julia desperately--some way to control your urge for blood.
Picking up now with the film's actual start of Scene 132 with Quentin's reaction to Carlotta's story (and using DC's script):
He looks at her.
QUENTIN
Then her spirit is still alive in
this house.
CARLOTTA
For certain of us, yes, Mr. Collins
-- for me...for you.
He walks away, stares out the window.Finally he
turns to her.
And that's when today's first quote -Page 65/Scene 132 - Quentin: 'But I am not Charles Collins.'
- comes up, followed by today's second quote -Page 65/Scene 132 - Carlotta: 'You may not accept it now, but soon you will. And it is then that you will come to realize something else...that there is no longer a place in this house for Mrs. Collins.'
- coming up.
And when it comes to differences in the dialogue, while Quentin's lines are delivered nearly exactly as scripted (the only change is from "I am" to "I'm"), in Carlotta's unquoted line she drops addressing Quentin with "Mr. Collins" - and what Carlotta actually says in her quoted lines is "You will come to accept it...after a time. And then you will realize something else...there is no longer any place in this house for Mrs. Collins."
And when it comes to the differences in the directions and the descriptions, as can be seen in the following capture, when we first see Quentin -
- he is indeed looking at Carlotta, with almost the same forlorn expression on his face that we saw back in Scene 117, but soon he moves his eyes away and then, after walking over to his painting, he turns back to her, and it is then that he says how Angelique's spirit is still alive in the house - and I absolutely love the expression on Carlotta's face when she says -
- that it's true for both of them (though let's not forget Gerard, who, uh, "satisfied" Angelique's "needs" () before Quentin showed up - but then, Gerard obviously is forgotten in that department now that Quentin is on the scene) - and as we can see from 1) DC crossing out that after Quentin goes to stare out the window, he turns back to Carlotta, and from 2) today's first capture in the slideshow -
- that doesn't happen and Quentin states that he's not Charles with his back still to Carlotta - and there's no mention in the script that after Carlotta says Quentin will accept that he's Charles with time, she walks over to him to tell him that after he accepts it he will realize there's no longer a place for Tracy - but can I just say that some of the expressions on Carlotta's face -
- as she leads up to that are simply priceless!!
And last but certainly not least, let's deal with the notations in both DC's and Grayson's scripts:
When it comes to DC, first up he has a note that the camera will pan with Quentin and lose Carlotta as Quentin gears up and delivers the line that Angelique's spirit is still alive in the house, but while the camera does indeed pan with Quentin, losing Carlotta in the process would be sort of hard to do when, as we can certainly tell from the first capture above, Carlotta isn't even in the shot - she doesn't appear in the shot until Quentin just about reaches his painting, so in reality, Carlotta is gained in the pan, not lost. And DC's second note says that Carlotta will cross into the shot after Quentin says that Angelique's spirit is still alive in the house - but, again, that would be sort of hard to do when she's already in the shot before Quentin says that. And DC's third note is that Quentin will turn back to us before he says he's not Charles - but obviously that doesn't happen either. The one note that does actually take place in the film is DC's fourth, where he says that Carlotta will cross to Quentin before she reveals that he'll realize that there's no place in the house for Tracy.
And when it comes to Grayson, it's too bad that Scene 132 doesn't begin with her finishing Sarah's speech because Grayson's first three notes deal with 1) Carlotta holding the open locket (recall that back in Scene 117 Grayson had a note that just before she begins relating the events of "that last day" Carlotta is on the verge of opening the locket) as, as Sarah, Carlotta says she will help Angelique come back, 2) taking out the lock of hair (though for Scene 117 Carlotta had supposedly taken the lock of hair from a book, so who knows?) while Quentin and she discuss how Angelique's spirit is still alive in the house, and 3) looking at the hair and then putting it away. Though, of course, it's clear from the captures above that in the film Carlotta hasn't taken the locket out of her hand for even one instant, so those notes do at least partly relate to how Grayson actually plays Scene 132. But when it comes to Grayson's fourth note that is not the case because she indicates that Carlotta will hang Angelique's picture back up while she tells Quentin that he will come to accept that he is Charles, but obviously that doesn't happen. Though Grayson goes on to note that Carlotta feels that she's won, and that is certainly the case, at least when it comes to cluing Quentin in to what's really happening to him. And finally, just as DC does, Grayson also notes where Carlotta will cross to Quentin to tell him that he'll realize that there's no place in the house for Tracy.
...
- and the closed captioning -
- acknowledge that...
...
(ADMIN: Edited to replace TV video screen captures)
...
And when it comes to differences in the dialogue, right off the bat none of what's been quoted here appears in the film, so there's no way to know if it might have been different - and for one when it comes to Mrs. Castle's dialogue, she adds a third "Sarah" as she comes out to get her, and none of it is delivered off screen - and for two, her telling Sarah that she mustn't be unhappy and she must try to forget is also dropped in the film - but the interesting thing there is that in the film it looks like she may be telling Sarah all that after she reaches and embraces Sarah but it's just that the sound for it isn't in the film, so chances are if it was in the film, it wouldn't have been delivered off screen - and chances are the same holds true for Sarah's response that she's not unhappy because she knows Angelique will be back - and the interesting thing about that line from Sarah is that it's replaced with a new iteration of Angelique's vow: "But I will have him again...you will help me, Sarah... You will know when the time comes...for it is your love that will keep me alive..."
...
And that iteration of Angelique's vow is fully acknowledged in both the subtitles -
...
And now after what seems like ages, let's get back to the script and continue with what's left of what's listed in the script as Scene 131 and also move past that scene:
DISSOLVE TO:
EXT - COLLINWOOD GROUNDS - EVENING - HIGH ANGLE
as the small figure of Sarah ENTERS from the veranda.
She walks to a spot below where the body hangs. As
she looks up at it, start a SLOW ZOOM IN TO HER
CLOSE-UP. Her eyes are filled with tears.
And that's when yesterday's quote -Page 64/Scene 131 - Sarah: 'I will always remember...always...always...'
- comes up, followed in the script by:
MRS. CASTLE (O.S.)
Sarah...Sarah...please come inside.
131 CONTD CONTD 131
HIGH ANGLE FROM THE TREE. With Angelique in F.G.,
we see Mrs. Castle cross from the veranda to Sarah.
Taking her gently by the hand, she leads her back
to the house. HOLD ON THE SCENE, as the rain begins
to fall. THE SOUND OF MRS. CASTLE and SARAH'S VOICE
is heard O.S.
MRS. CASTLE (O.S.)
You mustn't be unhappy, Sarah. You
must try to forget.
And that's when today's first quote -Page 65/Scene 131 - Sarah (O.S.): 'I'm not unhappy, mama, because she'll be back...some day Angelique will be back...'
- comes up, followed in the script by:
DISSOLVE TO:
132 INT - GALLERY - DAY - 1971 132
CARLOTTA - CLOSE-UP
She is staring blankly as she finishes Sarah's speech.
And that's when today's second quote -Page 65/Scene 132 - Carlotta: '...and I will help her.'
- comes up.
And when it comes to differences in the dialogue, right off the bat none of what's been quoted here appears in the film, so there's no way to know if it might have been different - and for one when it comes to Mrs. Castle's dialogue, she adds a third "Sarah" as she comes out to get her, and none of it is delivered off screen - and for two, her telling Sarah that she mustn't be unhappy and she must try to forget is also dropped in the film - but the interesting thing there is that in the film it looks like she may be telling Sarah all that after she reaches and embraces Sarah but it's just that the sound for it isn't in the film, so chances are if it was in the film, it wouldn't have been delivered off screen - and chances are the same holds true for Sarah's response that she's not unhappy because she knows Angelique will be back - and the interesting thing about that line from Sarah is that it's replaced with a new iteration of Angelique's vow: "But I will have him again...you will help me, Sarah... You will know when the time comes...for it is your love that will keep me alive..."
And when it comes to the differences in the directions and the descriptions, as I said earlier I have a suspicion that what's marked in the script as the beginning of Scene 131 should actually be Scene 130 and where the switch to the evening scene takes place, that should actually be the start of Scene 131 - but no matter, at the outset of the evening scene we do not see Sarah enter from the veranda, walk to a spot below where Angelique hangs, or look up at her body - nor is there a slow zoom in to her close-up where we see her eyes are filled with tears because things begin with Sarah already standing under Angelique and then Mrs. Castle comes to get her - and after telling her to come inside, she wraps her arms around Sarah's shoulders, and after Sarah takes one more look at Angelique's hanging figure, Mrs. Castle, with her arms still around Sarah's shoulders, leads Sarah away - there's no taking of Sarah by the hand - and there is no rain that begins to fall - and considering that Carlotta's line from Scene 132 is dropped, that Scene begins differently in the film, but more on that next time...
And Scene 131 marks the end of Sarah's material in the script. And as we've seen, a great deal of her stuff was possibly never shot, worked around, or simply left on the cutting room floor. And apparently it's all because DC didn't think Monica Rich brought enough to her performances. But who knows...
I still remember what it looked like.
The time - where does it go?