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Complete This Phrase / Fill In The Blank(s) - Vicki's Arrival-Burke's Revenge-Matthew Morgan-Introducing Josette / Re: Episode #0063
« on: May 06, 2024, 07:52:52 PM »
Good Ones, Uncle Roger and McTrooper!!
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And even though the slideshow indicates Scene 172A as being a "Cut/Trimmed sequence," it and presumably Scene 172 are among:QuoteA selection of scenes cut from the 129-minute version that have been recovered:
...
Seeing Angelique's silhouette in the tower window, Tracy pledges that she will save Quentin.
It's funny how some scenes from Darren's various Fest presentations of the recovered NoDS footage stick in your mind more than others. I say "presumably" Scene 172 was recovered because even though I recall seeing Scene 172A back in 2004 at the Tarrytown Weekend as if it had just happened yesterday, I don't recall if Scene 172 was shown with it. And the events of Scene 172 are not included on Darren's list of recovered scenes, only what transpires in Scene 172A...
...
The music starts playing. Madame Findlay calls to the spirits--"I'm here to help!"The music suddenly stops, but she continues to speak to the spirits, assuring them, "I'm here to bring you peace, but if you won't help me, I'd like to leave." She tries the door, but it won't budge. Scared, she tells them she isn't afraid. The medium suddenly realizes someone died in this room. The air around her grows frigid. "You exist in darkness!" she accuses--"and you want me to exist in darkness!--APPEAR TO ME! APPEAR TO ME!"
...
... moving on to the next two scenes:
172 INT - MASTER BEDROOM - NIGHT 172
Tracy lies on the bed, her face wet with tears, as
she stares blankly up at the ceiling. Then slowly
she rises and crosses to the window where she looks
up at the Tower.
172A TOWER - THROUGH THE WINDOW - TRACY'S P.O.V. 172A
Although the windows are dark, it is almost possible
to see the luminous outline of a woman looking down
at her.
And that's when today's quote -Page 80/Scene 172A - Tracy (softly, almost to herself): 'I know you're up there. But I won't let you have him. I'll never leave! Never!'
- comes up.
End of scenes.
And when it comes to the dialogue, the descriptions, and the directions, because these scenes don't appear in the film as it currently stands, we have no way of knowing what might have been different. However, they do appear in the 129 minute version of the film...
Coming up next time, we'll deal with more material that isn't in any version of the film - material that will explain what Carlotta's nod to Gerard in Scene 171C was all about...).
to learn about notes DC made about Scenes 171-171C but erased
I don't know why it didn't occur to me to do it before today, but today I examined what's discernible from the erased notes and it seems like DC wanted to shoot at least some portions of the scenes from a height so he was going to shoot from atop a ladder. Though given much of what he wrote is now unreadable, who knows if he actually shot things that way? And particularly given that nothing from the scenes is in any version of the film, we'll never know...
Sadly, when it comes to Scenes 171, 171A, 171B & 171C:QuoteThe following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
INT.2ND FLOOR CORRIDOR. Quentin runs from the bedroom. INT.FIRST FLOOR STAIRWAY. Carlotta comes upstairs, notices Quentin.
INT.FIRST FLOOR CORRIDOR. Carlotta nods to Gerard who exits.
Though I may be misinterpreting that Scene 171B is lost because the first two scenes listed above are Scenes 171 & 171A, but the third listed is Scene 171C. Did Darren simply forget to include Scene 171B on the lost list? Possibly. Though one thing that is known is that Scene 171B is not on the recovered list. So who knows?
...
And moving on to the next four scenes:
171 INT - SECOND FLOOR CORRIDOR - NIGHT - WIDE ANGLE 171
as Quentin walks very fast from CAMERA, almost as
if he were trying to run from what he has done. He
passes the stairway to the Tower, looking up for
a second. Then he continues on much slower now,
to the far bedroom. He leans against the wall, his
back still to CAMERA, obviously going through great
mental anguish.
171A INT - FIRST FLOOR STAIRWAY - NIGHT 171A
as Carlotta comes up the stairs TOWARD CAMERA and
starts for the Gallery, she suddenly stops as she
notices Quentin through the open bedroom door.
171B INT - BACK STAIRS - NIGHT - LOW ANGLE 171B
TIGHT on Quentin as he goes through his inner tur-
moil. HOLD for a moment, then we HEAR the SOUND of
CARLOTTA'S VOICE.
CARLOTTA (O.S.)
Mr. Collins?
Quentin does not respond. SLOWLY WIDEN to reveal
Carlotta, still in the hallway, but coming toward
him.
CARLOTTA
The Jenkins' will be returning
soon. If Mrs. Collins is going
to leave, she should go before
they come back. Otherwise she
will simply run to them. Don't
you agree?
He does not move or look at her.
CARLOTTA
Don't you agree, Mr. Collins?
171B CONTD CONTD 171B
With great violence, he turns on her.
QUENTIN
(blazing)
Yes, I agree, Carlotta! But
I don't need you to tell me
what I have to do!
As Quentin EXITS THE SHOT down the stairs.
171C INT - FIRST FLOOR CORRIDOR - NIGHT 171C
as Carlotta turns and comes TOWARD CAMERA, PAN with
her to the top of the stairs, revealing Gerard,
who stands on the lower landing. She nods to him
as Gerard then goes down the stairs, EXITING THE
SHOT.
And when it comes to the dialogue, the descriptions, and the directions, because these scenes don't appear in any version of the film, we have no way of knowing what might have been different.
Although, when it comes to Carlotta's second section of dialogue in Scene 171B, Grayson's script has several words crossed out: "If," "going," "should" (which is replaced with "must"), "Otherwise," and "simply," which would seem to indicate that she was intending Carlotta to actually say something like "The Jenkins' will be returning soon. Mrs. Collins is to leave. She must go before they come back. She will run to them. Don't you agree?"
And Grayson's script also contains several notes. She writes that Carlotta conspires with Quentin but she's in charge, and what she's saying is a demand, not simply urging Quentin (which may explain why she changes Carlotta's dialogue in the way that she did), and the takeover of Quentin is becoming more here.
And somehow I'm sure these scenes were played perfectly. With talents like David Selby and Grayson Hall, how could they not have been? I can just imagine how wonderful Grayson must have been, doing her best passive/aggressive manipulation - and, as we saw on the series numerous times, few actors can play mental anguish better than David can. So it's an absolute shame that none of this is in any version of the film. But then, we all know that when it came to character scenes, they were the first things that DC was only too willing to sacrifice, no matter how great they might have been...