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Current Talk '24 I / Re: And Now The Return of Another New Slideshow (Sort of), Part 2 [**Now featuring alternate versions of scenes - see replies #18,#21,#23,#49,#64,#69,#76,#88,#90,#100,#105,#107,#115**]
« on: August 19, 2017, 07:22:08 PM »
And I finally reach Thursday's scene and two leading up to it:
And that's when Thursday's quote -
- comes up, followed in the script by:
End of scene - though not end of sequence.
And when it comes to the dialogue, the descriptions, and the directions, not much of what's scripted plays the same way in the film:
Though it was supposedly shot, Scene 167 is completely dropped in the film, and with it Carolyn's dialogue.
Therefore, the end of Scene 166 flows right into the opening of Scene 168 with Todd following Scene 166's breathy "Carolyn" with a breathy -
"Oh, Carolyn."
- as he appears at the bottom of the stairs and then makes his way up them, though not into -
- a close-up - and there is no cut Scene 169 because things continue to flow from Scene 168 as Todd stops at the top of the stairs and he removes -
- the bandage from his neck - and then Todd begins to move -
- into the room until he comes to a stop with his back to the camera -
- though he doesn't deliver Thursday's quote because that's dropped from the scene - but soon, through some sort of screen on the other side of the room - not silhouetted against a window, Carolyn reveals herself -
- and shortly she begins to reach her arms -
- up to him - and (miracle of miracles, all of the shots of Carolyn with fully outstretched arms are not cut off because) then we see Carolyn closer with her arms fully outstretching (how quickly I forget ) -
- and beckoning to him - and while we don't see Todd in close-up, nor does the camera truck in front of him, Todd does start to move toward Carolyn, who is not seen in extreme close-up at any point, until -
- he makes a brief -
- stop before nearly reaching -
- Carolyn, though the camera doesn't truck in on her as she stands beckoning with outstretched arms (at which point it's possible that a line on the Fest's 1999 Movie Calendar may have been delivered in a previous version of the script) - and upon reaching Carolyn and beginning to -
- embrace her (another point when the line from the calendar may have been delivered), Carolyn soon moves in to -
- "zap" Todd, as the script puts it.
167 INT: GROUND FLOOR, STABLE - NIGHT 167 With carriages and old sleighs in F.G., Todd ENTERS SHOT and comes toward CAMERA INTO CLOSE UP. He looks 167 CONTD CONTD 167 around glassy-eyed. CAMERA SLOWLY TRUCKS back to a MEDIUM SHOT and we SUPER OVER THE PICTURE AN EXTREME CLOSE UP of Carolyn's eyes. Slowly the SOUND OF CAROLYN'S VOICE, ON ECHO, starts to filter in. CAROLYN'S VOICE Come to me, Todd -- come to me -- 168 INT: STABLE STAIRS - NIGHT 168 SHOOTING DOWN STAIRCASE from the second floor. Todd can be seen ENTERING SHOT at the bottom of the stairs. He comes up toward the CAMERA. As he rises into CLOSE UP, we CUT TO: 169 INT: STABLE, SECOND FLOOR - NIGHT 169 CAMERA IS FRAMED ON WIDE ANGLE of massive dark room. Todd appears and rises from the stairs into EXTREME F.G. of SHOT. His back is to CAMERA. |
And that's when Thursday's quote -
Page 71/Scene 169 - Todd: 'Carolyn -- Carolyn -- where are you?'
- comes up, followed in the script by:
In EXTREME B.G. of the SHOT some movement can be seen in the shadows as a figure slowly moves into a shaft of moonlight and is silhouetted against a window on the far side of the room. TODD - CLOSE UP He starts moving toward Carolyn. CAMERA HOLDS HIM IN CLOSE UP and TRUCKS IN FRONT OF HIM. CAROLYN - EXTREME CLOSE UP as she continues to draw him to her. SHOT SLOWLY WIDENS as she raises her arms to him. As he ENTERS THE SHOT, CUT TO: CAROLYN - TODD Carolyn in f.g. with Todd advancing toward her. 169 CONTD CONTD 169 CAROLYN - TODD'S POV - HAND HELD CAMERA TRUCKS IN ON HER as she stands there with her arms beckoning until we reach an EXTREME CLOSE UP. Her mouth opens and her fangs can be seen. She zaps him. |
End of scene - though not end of sequence.
And when it comes to the dialogue, the descriptions, and the directions, not much of what's scripted plays the same way in the film:
Though it was supposedly shot, Scene 167 is completely dropped in the film, and with it Carolyn's dialogue.
Therefore, the end of Scene 166 flows right into the opening of Scene 168 with Todd following Scene 166's breathy "Carolyn" with a breathy -
"Oh, Carolyn."
- as he appears at the bottom of the stairs and then makes his way up them, though not into -
- a close-up - and there is no cut Scene 169 because things continue to flow from Scene 168 as Todd stops at the top of the stairs and he removes -
- the bandage from his neck - and then Todd begins to move -
- into the room until he comes to a stop with his back to the camera -
- though he doesn't deliver Thursday's quote because that's dropped from the scene - but soon, through some sort of screen on the other side of the room - not silhouetted against a window, Carolyn reveals herself -
- and shortly she begins to reach her arms -
- up to him - and (miracle of miracles, all of the shots of Carolyn with fully outstretched arms are not cut off because) then we see Carolyn closer with her arms fully outstretching (how quickly I forget ) -
- and beckoning to him - and while we don't see Todd in close-up, nor does the camera truck in front of him, Todd does start to move toward Carolyn, who is not seen in extreme close-up at any point, until -
- he makes a brief -
- stop before nearly reaching -
- Carolyn, though the camera doesn't truck in on her as she stands beckoning with outstretched arms (at which point it's possible that a line on the Fest's 1999 Movie Calendar may have been delivered in a previous version of the script) - and upon reaching Carolyn and beginning to -
- embrace her (another point when the line from the calendar may have been delivered), Carolyn soon moves in to -
- "zap" Todd, as the script puts it.