3061
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34 EXT - COLLINWOOD GROUNDS - QUENTIN'S P.O.V. - 34
EVENING
The sky is a magnificent canvas of colors, in
the F.G. is a large tree with huge spreading
limbs. HOLD on this for a moment and then
CUT TO:
35 EXT - COLLINWOOD GROUNDS - 1810 - QUENTIN'S 35
P.O.V.
SUBCONSCIOUS MEMORY CUT
For an instant the view from the window suddenly
takes on a completely different look. The picture
is now almost devoid of color with a kind of milky
look that makes it seem unreal. It is almost dark
and a heavy ground fog swirls and eddies about.
Suddenly, we notice that a figure of some kind
seems to be hanging from a branch high up in a
tree. FAST ZOOM IN. It is the figure of a woman
in a long dress, a rope around her neck, The
figure is no more that a bleak silhouette so
that it is impossible to tell what she looks like.
TRACY (O.S.)
It's almost like living in a
museum. Isn't it?
End of scene. Though there's more to the sequence...
... it's still the case that there aren't any differences between the way DC's and Grayson Hall's scripts are written up to this point ...
...
...and while it could possibly be late enough in the day to be close to sunset, the sunset as described in the script is not what Quentin sees when he looks out the window because what he actually sees, as can be seen in the next capture -
- is an overcast view (remember, it was raining when they arrived) with some spring-flowing trees in bloom and other trees getting their green leaves - and when things change over to the 1810 memory, things may not be in as sharp a contrast as they would be had Quentin seen the sunset as described, but as can be seen in this next capture -
- the 1810 memory is certainly of a decidedly bleak scene and as the script indicates, "almost devoid of color" - and it's interesting that after the camera does zoom in on the figure in the tree -
- one can tell that it's a woman (thanks mostly to the hair and style of shoes), but what's more interesting is that there are a few publicity stills for the film that depict a much more discernible figure of a woman hanging in the tree (one of which was obviously used as a basis for the A version of the NoDS poster ... - and a final point is that the dialogue that is scripted for Tracy at the end of Scene 35 is actually delivered off screen over a shot of Quentin at the end of Scene 34 just before the cut to the 1810 memory.
Quentin drunkenly sits by the fireplace and tells Angelique she made him a promise, and she owes it to him to keep it. He helped her, now she must help him! He sways around, pissed off. Laura comes in, asking if he's taken to talking to himself--a very bad habit. What are you doing Here? he demands. I'm going to be staying in the cottage, didn't Edward tell you? she asks.
I want to get into something regarding the Blu-ray/DVD and VHS/Laser versions of the film that may only be an issue that I not only find interesting but also puzzling. Specifically, it's something about the transfers. Over the course of working to get screen captures and videos of the film I've noticed that whereas, unless there's an actual crossfade transition from one scene to another, as there is from Scene 28 to Scene 29, that's supposed to be apparent because it's seen by the audience, when it comes to the Blu-ray/DVD transfers most scenes lead directly from one scene to the next without any sort of transition effect, but that's not quite the case with the VHS/Laser transfers. When it comes to the VHS/Laser, regardless of whether there's a transition effect between scenes, there's seemingly always at least one frame that contains aspects of each scene.
And one final thing while we're still on the subject of Scene 85 and before I get back to posting about Scene 185, I've often lamented about how I can barely stand to look at the VHS now that I've seen the color corrected Blu-ray version of the film, but perhaps no scene shows how off the VHS is than Scene 85. I mean, just look:VHS:
Blu-ray: