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And when it comes to today's quote from Scene 117, Quentin's reaction to Carlotta's claim that she doesn't know what he's referring to -Page 57/Scene 117 - Quentin: 'You know damn well what I'm referring to. [He points at the portrait --] Her. [Carlotta just stands there.] Am I dreaming it, Carlotta? Or is she real?'
- the one difference in what's quoted is that Quentin doesn't use Carlotta's name, as in he actually says "Am I dreaming it? Or is she real?" - but after delivering that in the film Quentin also pleads an unscripted "Now tell me" and then repeats for a second time "Is she real?" - though interestingly enough, in DC's script "it, Carlotta" is crosses out and replaced with "her", but obviously that's not what Quentin says.
And when it comes to any differences in the directions and the descriptions, for one, and as can be seen in today's capture -
- Quentin grabs Carlotta's upper arms while he pleads with her - for two, when he refers to "Her" he doesn't point at the portrait - and for three, Carlotta doesn't simply stand there because she's uncomfortable being in Quentin's grasp, or as DC's script notes put it, being "nose to nose" with Quentin. And speaking of DC's notes, it's interesting that he indicates that when Quentin refers to "Her", the camera was supposed to pan to the portrait and then up to a close-up of Carlotta. That doesn't happen. Nor do we see Carlotta smile when Quentin refers to "Her", which is a note that Grayson made in her script. However, Carlotta does indeed get a great close-up -
- after Quentin first asks if Angelique is real - and then David Selby gets to do his always amazing anguished plea -
- when he asks a second time if Angelique is real - and then the look on Carlotta's face after that -
- is absolutely priceless because she knows that everything that she's been dying to see come out is finally going to come out.
And as an aside, as can also be seen in today's capture, the sun was out when that bit was shot - though observant viewers will notice that the sunlight and position change a few times in the scene. But more on that as things progress...
Carolyn shakes her head--it wasn't a shutter. She says--I know the sound every single shutter in this house makes. There's a banging sound. There it is again, says Carolyn. Sounded like it came from the drawing room, says Vicki--has your uncle come upstairs yet? I heard them come up not long after we did, says Carolyn. Then it must have been David, says Vicki, unlocking the door. Don't unlock the door! says Carolyn; however, Vicki says she's going to catch a live little ghost.
09:00PM | ABC |
ET | The Rookie |
The team comes together to celebrate John and Bailey’s wedding; Lucy and Tim’s relationship is put to the test. |
We could have been married by now, says Morgan. I know, says Catherine--what Bramwell did was unforgivable. Did you give him any reason to do it? asks Morgan. She doesn't answer. I'm sorry, he says, I didn't mean it--I know you didn't (going to bed with him doesn't count, does it?)--he's a very persuasive man, I know that--I must make him leave Collinwood--after tonight, he must go. You can't just force Bramwell to leave, points out Catherine--please forget about Bramwell. How can I do that? he asks.
Jello Sardine Salad
And when it comes to today's quote from Scene 117, Carlotta's response to Quentin's belief that she knows about his dreams -Page 57/Scene 117 - Carlotta: 'I don't know what you're referring to --'
- there is no difference in the film because it's delivered exactly as scripted.
And when it comes to any differences in the directions and the descriptions, there aren't any of either in the script for this section. However, next to today's quote in Grayson's script she has what seems to me to be a somewhat odd note that reads "to painting". But another note on the other side of the quote makes perfect sense because Grayson has that Carlotta is thinking "Shall I tell him? Shall I tell him?"
And things really start getting good with tomorrow's quote and actions...
He tells her there's too much he doesn't understand, but she says she can't wait another night. She forces him to look at her, and, feeling her marks on his throat, he does. They must go ahead with it, and he must do as she says, she tells him. Mesmerized, he agrees. Begin, she orders. He warns her they are taking an insane risk, he doesn't know what he's doing