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Here we have the Laser version:
And here we have the Blu-ray to represent every other version:
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(ADMIN: Edited to replace VHS video with Laser video)
I hadn't played those two videos back-to-back until today and didn't notice that each sound of the door slamming shut is slightly different. I wonder if that's because the copy of the film used for the Blu-ray/DVD (and all the other versions) was remastered and the copy for the VHS/Laser wasn't? Presumably the sound is the actual sound of the real door slamming and not an effect that was added. But who knows? If it was added, perhaps when the music cue was removed for the 94 minute version a slightly different effect replaced the one originally used? Though the sound of the door slamming near the end of Scene 149 occurs a short while before Scene 153 comes up so one would think removing the music cue at the beginning of Scene 153 wouldn't affect the door's sound in Scene 149 at all. But again, who knows? It's just yet another interesting thing about the different versions...
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... each sound of the door slamming shut is slightly different. ...
This got me wondering about Scene 169, and sure enough:
Here we have the VHS version:
And here we have the Blu-ray to represent every other version:
A still that I'm pretty sure is behind the scenes of shooting Scene 167 -
(Click here for a 556X700 version)
- and the reasons I say that are because 1) Grayson Hall and David Selby are outside the front of the house and that's where the scene is shot, and 2) they're both wearing the same clothes that Carlotta and Quentin wear in that scene (right down to DS having Quentin's jacket slung over his shoulder).
(And speaking of what Carlotta is wearing, it definitely follows the continuity of what she wears in Scene 164, so that is good - but has anyone ever wondered why, probably less than 30 minutes after what transpires between Carlotta and Tracy in the Gallery in Scene 153, Carlotta goes from wearing the orange dress in Scene 153 (seen in Reply #525 above) to the dress she wears in Scenes 164 & 167 (seen the video posted in Reply #535 and in the still in this post)? Maybe after exiting in Scene 153 Carlotta had a celebratory snack to mark her victory over Tracy and in the process managed to spill something on her dress, thus requiring a change? One can only wonder. But just think of the possibilities for a Why Did Carlotta Change Her Dress? fanfic! They might be endless!! )
And moving on to the next five scenes as scripted:
166 INT - MASTER BEDROOM - DAY 166
as Tracy ENTERS, she crosses to the window and looks
down at Quentin's car still parked in the drive.
Below, Quentin ENTERS THE SHOT. The SOUND OF THE
MOTOR STARTING can be heard.
167 Suddenly Carlotta appears and crosses to the 167
driver's side of the car, where she begins to tell
167 CONTD CONTD 167
him something. After a moment, Quentin nods his
head, looks angrily up at the bedroom window as
Tracy shrinks back against the wall. TRUCK IN ON
HER and HOLD until the SOUND OF QUENTIN'S CAR can
be heard driving off.
168 INT - MASTER BEDROOM - NIGHT 168
Tracy lies on her side in bed, her back to the
CAMERA, as she stares out the window at the light in
the Tower Room. Finally, unable to stand it any
longer, she turns TOWARD CAMERA and pulls the blanket
up around her neck. her eyes are filled with tears.
HOLD FOR A MOMENT as the light in the Tower Room
goes out.
169 INT - TOWER ROOM STAIRS - NIGHT 169
The Tower door opens as Quentin ENTERS THE SHOT,
closing and locking it behind him. Pocketing the keys,
he comes TOWARD THE CAMERA and EXITS THE SHOT.
...
And when it comes to what's different with the descriptions and directions, for Scene 166 we don't actually see Tracy enter the Master Bedroom and cross to the window to look down at Quentin's car, nor do we see Quentin enter the shot because the scene begins with Quentin already in his car and starting the motor -
- and as Carlotta speaks to Quentin, we don't see him nod his head, but he does look up at the bedroom window, as does Carlotta -
- and it isn't until after that has occurred that we see Tracy in the Master Bedroom at the window and -
- her pull away (and unless someone actually recognizes the blue curtains as the ones in the Master Bedroom, they wouldn't even realize which window Tracy is looking from) - but after the camera does indeed truck in closer on Tracy, we don't actually hear Quentin's car driving off because what actually happens is that the shot of Tracy dissolves into Scene 168 - however, the scene doesn't quite begin as scripted, with Tracy lying on her side in bed with her back to the camera as she stares out the window at the light in the Tower Room, but rather it begins with the camera panning across the Master Bedroom until it comes upon Tracy -
- sitting on the edge of the bed with her back to the camera - and it isn't until after we see Tracy rub -
- her forehead and then look up -
- at the Tower Room -
- (and what an extremely talented person she is to be able to see the Tower Room from an angle that's impossible to see from any window in the Master Bedroom ), that Tracy actually lies down on the bed -
- but facing the camera, not with her back to it, and she doesn't pull the blanket up around her neck, and we don't see the light in the Tower Room go out - but believe it or not, Scene 169 actually plays exactly as scripted ...
...
...
(Click here for a 700X476 version)
- and the only places I'm aware that it's ever been shared is that a cropped to just a head shot version appears on the back cover of the movies soundtrack case, but a better version (though still somewhat cropped) appears on the back covers of the NoDS DVD and Blu-ray packaging:
(Click here for a 1000X1411 version)
(Click here for a 1000X1163 version)
Judith asks if any of them have anything to say. Edward stands and says whatever will be said by him will be said in court. This surprises Judith, who calls it melodramatic. I'm going to contest it, insists Edward--it's inconceivable to me that Edith would leave Carl and me nothing! Contest it to your heart's content, advises Judith, you'll get no where. I thought you above treachery, Edward spits. Judith asks, who am I betraying? "ME"! he shouts--you know I was in line to receive the bulk of the estate, but while I was away, you worked on her, didn't you? Judith denies it. Edward says, you poisoned Edith's mind, suggesting she leave everything to you. Not true, says Judith, I merely spent all my time caring for the old woman--I'm the only one who did it. And out of the goodness of your heart, prods Quentin? hand over his heart. Because I loved her, says Judith. I think I'm going to cry, Quentin tells Edward. Shut up, barks Edward. I DID love her, rants Judith, more than any of you can claim! You didn't love her, says Edward--you catered to her, what do you know about love anyway--"You're a narrow-minded, selfish old maid!" (Oooh, nasty diss, Edward!) Now that the power has shifted to me, warns Judith, you'd better be careful what you say to me. Carl and Quentin, one morose, the other amused, listen as Edward promises Judith, I'm going to fight you! You'll lose, she assures him, and go on losing--I'm mistress of the house, I inherited the Collins fortune and you are ALL dependent on me. She's trying to tell us something Quentin says teasingly to Edward. "Can't you ever be serious about anything?" shouts Edward. No, says Quentin, sipping a drink--I congratulate you, Judith--I haven't seen you get this worked up in a long time! If he's going to do nothing but make snide remarks, get out of the house at once, says Edward. You have a short memory, Quentin reminds his brother, and asks Judith to re-read the paragraph that says he has a permanent home at Collinwood--even if she did give him the back of her hand financially. That's true, says Judith, Quentin can live here as long as he wishes, even I can't put him out. That must sadden you, opines Quentin. She retorts, I inherited the money and the estate--I'll find a way of tolerating you. I'm sure you will, he says. Judith begins to head off to have a word with the staff, a move which pisses off Edward. Quentin drinks some more. Judith reminds Edward he isn't dictating anything to anyone anymore--I am, and there will be many changes you should be prepared to accept. Quentin suggests that when she's done with the staff, perhaps they can all go upstairs and watch her write a check (LOL!) She walks up to him. "Keep it up, Quentin," she says coldly, "and in the end you'll end up with less than nothing." She sails off.
Judith takes a drink in the drawing room, surveying all that is hers. Edward, in night clothes, comes downstairs. He asks if this is to be a feature of the new regime--being roused by a servant in the middle of the night. I've made a decision and wants to inform you of it, she says. What was so earth shattering it couldn't wait until morning? Asks Edward. I've decided to move into Grandmother's room, it's only fitting and proper, says Judith. And you woke me to tell me about it? demands Edward. I thought you'd want to know about it, she says. How very considerate, he says sarcastically. Do you approve? She asks, a twinkle in her eye. It's such a weighty matter, he says sarcastically, I'd like to go up and sleep on it--"May I?" By all means, she says--don't be too upset with me--this is all so new to me, I want to make the most of it." "You're doing splendidly, sister, just splendidly!" he says sourly, and goes back upstairs.
...
165 INT - GALLERY - DAY 165
As Tracy ENTERS, she quickly realizes that the jacket
is no longer there. Panicked, she looks around, not
knowing what to do.
And that's when Sunday's first quote -Page 76/Scene 165 - Quentin (O.S.): 'Tracy!'
- comes up, followed by the script continuing with:
He ENTERS from the bedroom. Quickly, she hides the
keys behind her back. Without saying a word, he
crosses directly to her. His eyes are dark with
anger. She stands there holding her breath.
And that's when Sunday's second quote -Page 76/Scene 165 - Quentin: 'Have you...seen my jacket?'
- comes up, followed by Sunday's third quote -Page 76/Scene 165 - Tracy (almost crying with relief): 'No -- I haven't. (quickly moving away from him as she looks toward the chair) I'll help you look for it.'
- coming up, followed by the script continuing with:
THE CHAIR - TRACY'S P.O.V.
On the floor, in back of the chair, the sleeve of
Quentin's jacket can be seen.
QUENTIN - TRACY
With the chair in the F.G., Tracy casually walks
toward it as Quentin crosses toward another part
of the room. Tracy reaches for the jacket and
quickly slips the keys into the pocket.
TRACY
Oh, here it is, Quentin.
As she picks it up, Quentin crosses to her. With a
curt nod, he takes it and EXITS down the hall.
TRUCK IN ON a much-relieved Tracy.
And when it comes to what's different with the dialogue, ... the only differences are that in Scene 165 Quentin doesn't pause when he asks "Have you seen my jacket?" - and Tracy's initial response is actually "No!", but after a pause she adds more calmly "No, I haven't", without the addition of "I'll help you look for it", which is dropped in the film - and "Oh, here it is, Quentin" is also dropped because in the film the second half of Scene 165 plays very differently from the way it's scripted.
And when it comes to what's different with the descriptions and directions, ... when it comes to Scene 165, things play out as scripted up to the point that Tracy is supposed to see the sleeve of Quentin's jacket on the floor in back of the chair - instead Quentin spot's that the jacket has somehow fallen down on the couch and as he begins to move toward, Tracy quickly moves to get to it first -
- but as she's trying to put the keys back in the pocket, they fall to the floor -
- after which Tracy and Quentin share an intense look -
- before Quentin picks up the keys -
- and they exchange another intense look -
- before Quentin proceeds to exit the room -
- leaving Tracy standing there -
...
...and Scene 164 plays altogether differently in the film because it's practically nothing like what's scripted, but I honestly believe it might just be the better for that fact ... and I can't resist sharing the scene on video rather than simply provide captures and descriptions of how it differs -
(NOTE: Whenever I tried making the video back when this post was made, I was never satisfied with how it came out - plus, no matter what I tried, some members still had trouble trying to play it. But we've subsequently finally hit on both a MOD for the system and a video format that plays well:)
- Mrs. Collins, indeed! ...
...
...
...and Scene 164 plays altogether differently in the film because it's practically nothing like what's scripted, but I honestly believe it might just be the better for that fact because what does happen is quite simply one of the best scenes in the film ...
...
...
... but as we know Carlotta does not simply stare at Tracy and then descend the stairs with saying a word - she does indeed speak - and what she says is acknowledged by the subtitles -
- and the closed captioning -
...
(ADMIN: Edited to replace a TV video screen capture)