2266
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I want to share the following still because, like several others for NoDS, it depicts a moment that's not really associated with the actual scene in the film -
(Click here for a 700X476 version)
- because nowhere during Scene 80 is Carlotta seen lying across the bed and looking to be in anguish. In fact, Carlotta remains calm and cool throughout. But hey, perhaps Grayson wanted to do an alternative take on things just for a photograph. Or perhaps the photographer simply wanted to showcase one of Selby's assets from just the right angle and pretended Grayson was the desired subject. We'll probably never know...
(Plus this version shows slightly more than the version shared in the Fest's 1999 Movie Calendar. Very slightly more, but still more...)
Grayson's script's versions of Scenes 79 & 80:
79 INT - UPSTAIRS CORRIDOR - DAY 79
as Quentin RUNS TOWARD CAMERA and pulls open a
door to one of the bedrooms.
CARLOTTA
Did you wish something, Mr.
Collins?
80 Carlotta ENTERS THE SHOT from the room. 80
QUENTIN
I saw a little girl - in that
window.
80 CONTD CONTD 80
CARLOTTA
Little girl?
QUENTIN
I was outside --
CARLOTTA
I know. I saw you from the window.
QUENTIN
But I didn't see you. I saw a
child -- holding a teddy bear --
CARLOTTA
There's been no one here but me.Yes, this is
It must have been a trick of a little girl's
the light. room It was
FLASH CUT - LITTLE GIRL IN THE WINDOW Mrs. Stoddards when
she was a child
as he remember's what he saw.
QUENTIN - CLOSE-UP
QUENTIN
Yes, it must have been.
Then not knowing what else to do
Well, I'd better get to work.
He EXITS toward the Tower as she stands there watching
him go. You'll understand later
youre
almost
ready
End of scene.
Notice that:
- As I alluded to in an earlier post, in Grayson's script there's no indication that Carlotta's line in Scene 79 was changed.
- Missing from her script in Scene 80 is the identification of the room as Sarah's - Carlotta simply enters the shot.
- Also missing from her script is the whole explanation of where Carlotta is in the room and what she's doing - as I also mentioned in an earlier post, Grayson simply added a notation to her script that she would be busy in the room, but in later copies of the script the directions and descriptions specifically say she's straightening the room, even though it was supposedly stuffed animals.
- And also missing from her script is the indication that Quentin crosses to the window and looks out (the second half of which isn't seen, anyway).
- And as I also mentioned in an earlier post, the idea that Sarah was holding a teddy bear is written into her script but is actually incorporated into Quentin's dialogue in later copies of the script.
- And also missing from her script is the indication that Quentin would look around the room after bringing up the teddy bear (though he doesn't actually look around the room in the film, anyway).
- And it's very interesting that they dropped Carlotta's explanation that there hadn't been anyone in the room but her. Perhaps they felt that might have given away too much too soon, so that's why it was replaced by the Mrs. Stoddard's childhood room excuse?
And speaking of the subjects of the little girl and the room, the close captioning leaves out another bit of dialogue - after Quentin asks, "This was a child's room, wasn't it?" in the film, Carlotta replies, "Yes, it was," and then follows that with, "It was Mrs. Stoddard's when she was a little girl" - but when it comes to the closed captioning the "Yes, it was" is dropped and only that latter part is presented -
- (though also in this case the subtitles get everything correct).
Have you seen His Excellency? asks Aristede--he must be angry about the way I ran away, isn't he? You're wasting your time, says Tate--you can go grovel at the feet of your master--maybe he'll take you back--then again, maybe he won't! Afraid, Aristede asks--you go see Petofi and tell him I'm back, explain why I ran away--once you explain why, I'm sure he'll understand. Then why not explain yourself? asks Tate. I can't face him, protests Aristede--please do me this favor, you won't regret it. I have my own problems, says Tate--I'll see to it you're fed and get some nice clothes--and you do need all that--but as far as getting you together with Petofi and making things up, I draw the line. Tate opens his door--good night, Aristede.