-
You may have already noticed and have been asking yourself why the Movies Quotes Slideshow has returned to the BoardIndex page. Well, a bit like this past year's slideshow for the pilot for the '91 DS, it's not quite the slideshow for the movies because this year we're only going to be focusing on the entire script for NoDS because 2016 is the 45th anniversary of that film. And because there are actually two somewhat different versions of the script in circulation, not only will we be referencing DC's copy of the script, but also Grayson Hall's (from which we'll be sharing her own notes).
And considering the Internet as we know it was only but a dream in someone's head back in '71, we'll also be sharing press releases and articles detailing with the production and release of the film.
So, hopefully everyone will enjoy this because it's definitely going to be fun for us...
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Setting up the first few scenes, none of which were actually shot:
FADE IN:
1 EXT - RIVER ROAD - NIGHT - WIDE ANGLE 1
A desolate, forbidding scene. A heavy driving
rain. Trees bending against a HOWLING WIND. There
is no living thing abroad. HOLD on this until
faintly above the SOUND of the STORM the DISTANT
SOUND OF A CAR can be heard. FINALLY, headlights
appear at RIGHT FRAME and move slowly TOWARD CAMERA.
2 EXT - ROAD - MEDIUM ANGLE 2
Standing at the side of the road, drenched by the
storm, stands a young man, dressed in hippy apparel.
As the approaching car gets closer, he steps out
into its lights and tries to flag a ride. All
the car does is accelerate and ROAR by him.
3 HIPPY - CLOSE UP 3
as he tries to leap out of the way, only to be
engulfed in a wave of water as the car leaves him
in its wake.
|
And that's when today's quote -
Page 1/Scene 3 - Hippy: 'Hey, you dirty ... I'm lost, man! I'm lost!'
- comes up.
And since none of this was shot, there's obviously nothing to get into so far as possible differences in the dialogue, directions and descriptions go.
And so far there are no differences between DC's and Grayson Hall's scripts...
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And the next several scenes in the unshot sequence:
Hold on the Hippy as the SOUND OF THE TRUCK SLOWLY
FADES TO NOTHING and once again all that can be
heard is the RAGING STORM. Suddenly, there is a
flash of lightning and for a moment the country-
side comes to life. It is then that the Hippy
sees it.
4 OMITTED OMMITTED 4
5 EXT - COLLINWOOD MANSION - HIPPY'S P.O.V. 5
High above the river road, situated atop a hill
surrounded by towering trees, the weird-looking,
forbidding Collinwood dominates the scene. Then
all is darkness again.
6 HIPPY - MEDIUM ANGLE 6
As he makes his decision and starts up the hill
toward the house. PAN WITH HIM AND HOLD HIM WIDE
as he starts his climb.
UP MAIN TITLES.
6 CONTD CONTD 6
Credits will continue over the following:
7 EXT - COLLINWOOD GROUNDS - NIGHT - HIGH ANGLE 7
From one of the parapets the Hippy can be seen
approaching the house. The storm is still raging.
HOLD ON HIM until he climbs on the veranda, EXITING
THE SHOT.
8 EXT - COLLINWOOD VERANDA - HIPPY 8
as he comes toward CAMERA, going from window to
window trying to peer inside.
EXT - ANOTHER PART OF THE VERANDA - LOW ANGLE
Hippy comes toward CAMERA and stops to examine a
pair of French doors. He jiggles the handles
and then tries to force them. One of them opens
inward.
9 INT - COLLINWOOD DRAWING ROOM - NIGHT 9
as the hippy ENTERS. The house is in total dark-
ness. Most of the furniture is covered with dust
sheets. The Hippy, obviously impressed, moves
around the Drawing Room, lifting a dust sheet
here, touching a piece of statuary there, and
then walking to the center of the room, he throws
back his head and starts laughing hysterically.
10 HIPPY - LONG SHOT 10
Shooting from the Dining Room at the far end of
the main corridor, the Hippy is a small figure
dancing with joy. Suddenly, with a whoop, he runs
along the marble-floored corridor and, taking one
leap, slides along the slippery surface, smashing
to pieces an expensive vase as he falls into
CAMERA. Giddy, he gets to his feet and starts
sauntering back down the hall, making believe he
is the lord of the manor.
|
And that's when today's quote -
Page 2/Scene 10 - Hippy (in affected manner of speech): 'Poole! We'll have brandy in the drawing room and do prepare bedrooms for the week end's guests.'
- comes up.
And, yes, weekend is spelled as two words in the script.
And so far there are still no differences between DC's and Grayson Hall's scripts...
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I remember reading somewhere once either a speculation or rumor about who was going to play the hippie, but I can't recall the name now.
Awesome idea MB!
G.
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I don't remember where I read this but I thought that it was Michael Stroka who was rumored to be cast as the hippie. [hippy2] [hippy2] [hippy2]
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Uncle Roger, I have read that Stroka was going to play the flamboyant boutique owner in the village.
Since nobody was maimed or killed in that scene, OF COURSE Curtis cut it.
G.
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I would have preferred to see Louis Edmonds as the very mod Gregory. [santa_wink] [santa_wink]
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And yet more scenes in the unshot sequence:
11 HIPPY - HIGH ANGLE 11
CAMERA set on third floor shooting down stairwell.
Hippy is a small figure as his voice takes on the
CAVERNOUS ECHOES of the huge house. HOLD until he
EXITS FRAME.
SUPER FINAL CREDIT
DISSOLVE TO:
12 OMITTED OMMITTED 12
13 EXT - FRONT OF COLLINWOOD - NIGHT - WIDE ANGLE 13
It is later now. The storm has dissipated. There
is only a LOW MOANING OF THE WIND. HOLD ON THIS
for a moment as a faint glow appears in the windows
of the Tower Room. Then disappearing, it reappears
in the windows below, as it descends toward the
main floor.
CUT TO:
14 INT - TOWER STAIRS - NIGHT - WIDE ANGLE 14
HAND-HELD TRUCKING CAMERA descends the stairs
as if it were the eerie light.
INT - SECOND FLOOR - NIGHT
Continue TRUCKING to the stairs and start down.
15 INT - DRAWING ROOM - NIGHT - LOW ANGLE 15
Shooting through the doors down the corridor, a
faint glow of light begins to appear near the base
of the stairs. Now the CAMERA SLOWLY PANS LEFT to
reveal the Hippy sound asleep on the sofa. The
fire has burned low, an empty bottle of brandy
lies on the floor. SLOWLY TRUCK IN TO HIS CLOSE-UP
as he suddenly opens his eyes. Sensing a presence,
he sits up and looks toward the corridor. Then
rising, he crosses to the doors. TRUCK IN TO
EXTREME CLOSE-UP as he reacts.
16 INT - CORRIDOR - HIPPY'S P.O.V. 16
There is a strange iridescent glow at the foot of
the stairs. It has no particular form but has
that same pulsating quality that we saw in the tower.
16 CONTD CONTD 16
HIPPY (O.S.)
(calling)
Hey! Who's there? I got
company?
HIPPY - REVERSE ANGLE - LONG LENS
Shooting from the Dining Room at the opposite end
of the hall through the pulsating glow. The Hippy
starts drunkenly toward CAMERA.
|
And that's when yesterday's quote -
Page 4/Scene 16 - Hippy (again calling): 'Hey, who's there? Where's that light coming from?'
- comes up.
And, yes, the second omitted is spelled as "OMMITTED" on both pages 1 and 3 of the script. I have no idea why.
And so far there are still no differences between the way DC's and Grayson Hall's scripts are written - however, in DC's script Scene 14 has a box drawn around it and a big X in the box, which, given similar notations in DC's copy of the hoDS script where he didn't shoot individual scenes within sequences that were shot, means that even if DC had shot this current NoDS sequence, Scene 14 still wouldn't have been shot...
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I don't remember where I read this but I thought that it was Michael Stroka who was rumored to be cast as the hippie. [hippy2] [hippy2] [hippy2]
The DS Movie Book is definitely one of the sources that says Micheal Stroka was "a candidate" to play the Hippy, which I suppose means there may have been others under consideration - but, unfortunately, if there were, it doesn't say who they were.
We had a discussion on the forum once where it was mentioned that Tom Happer (1840/41's Jeremy Grimes) or Ray Carlson (1970PT's Aldon Wicks) might have made good candidates. (And an interesting aside about Carlson is that both versions of the DS Almanac say he played a Blue Whale customer in a '67 ep. I've never tracked down which one and I don't think anyone on the forum has ever spotted him either.)
I would have preferred to see Louis Edmonds as the very mod Gregory. [santa_wink] [santa_wink]
That could have been a hoot and a half! [santa_cool] Though the DS Movie Book mentions Michael Stroka or Keith Prentice as likely to have played Gregory. And we can get more into that once Gregory's scene pops up in the script/slideshow...
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Jeff Thompson played Gregory in a Collinsport Players extravaganza in 1989. [santa_evil] [santa_evil] [8_2_76]
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And continuing with yet more of the unshot sequence:
As he gets closer to the foot of the stairs, the
glow begins to diminish, disappearing completely
as he reaches the foot of the stairs.
17 HIPPY - HIGH ANGLE 17
as he looks up toward CAMERA.
HIPPY
(calling)
Where did you go? Who's up
there?
He starts up the stairs. When he reaches the
landing, PAN WITH HIM, revealing the glow now at
the far end of the upstairs corridor silhouetting
the Hippy in its light.
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And that's when yesterday's quote -
Page 4/Scene 17 - Hippy (muttering to himself): 'There it is again! What the hell is going on?'
- comes up.
And so far there are still no differences between the way DC's and Grayson Hall's scripts are written...
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And continuing with even more of the unshot sequence, picking up with the Hippy's next reaction to the glow:
He starts toward it.
18 INT - UPSTAIRS CORRIDOR - HIPPY - REVERSE ANGLE 18
Through the glow the Hippy comes toward CAMERA as
once again it begins to diminish.
19 INT - MASTER BEDROOM - NIGHT 19
Through the doorway of the Master Bedroom the glow
has disappeared as the Hippy ENTERS THE SHOT.
Then looking TOWARD CAMERA, he mounts the three
stairs that lead into the room. TRUCK INTO AN
19 CONTD CONTD 19
EXTREME CLOSE-UP as he suddenly reacts to some-
thing in back of CAMERA. Whatever it is, it is
terrifying. Ha starts to inch backward when in a
lightning-like movement, something blurs IN FRONT
OF THE CAMERA, striking him in the face. His hands
go to his face as he SHRIEKS WITH PAIN. Again and
again, whatever it is strikes as he staggers back-
ward, tripping and falling down the three stairs
to the main corridor.
20 INT - SECOND FLOOR CORRIDOR - NIGHT 20
HIPPY - CLOSE-UP
as he stares back in terror, his face is a mass
of bloody claw marks. Staggering to his feet, he
lurches crazily AWAY FROM CAMERA as suddenly the
silhouette of a man carrying a blinding flashlight
appears at the far end of the hall. The figure
approaches CAMERA, flaring out at the LENS with
his light.
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And that's when yesterday's quote -
Page 5/Scene 20 - Hippy (screaming): 'Help me, man! Help me! Help me!'
- comes up, followed by the script continuing with:
HIPPY - TRUCKING SHOT
With the light shining directly into the LENS, the
figure looms over him. In his raised arm is a
vicious-looking club, and in one violent movement
he brings it down directly into the Hippy's face,
crushing the life out of him. HOLD FOR A MOMENT
and then SLOWLY PAN to the figure of a WOMAN who
stands near him. As the man raises his flashlight,
we see the rain-soaked figure of the HOUSEKEEPER,
CARLOTTA DRAKE. He is GERARD STILES.
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End of sequence.
And so far there are still no differences between the way DC's and Grayson Hall's scripts are written...
And there has been much debate as to whether or not it was a good thing that this prologue was never shot. Some fans feel it was a good thing because it didn't give away right at the very outset of the film and in such graphic detail that Gerard and, especially Carlotta, are homicidal. Without the prologue, their psychotic ways become apparent over time. However, others, while not arguing against the fact that it would have given a lot away, have said that the prologue would have made for a great set piece - and it's hard to argue with that. But as interesting as the prologue might have been to see, I'm in the camp who thinks it would have given away too much too soon, which may indeed be why DC didn't shoot it. Plus I love how the film actually opens with what could easily be considered a tribute to the opening of Hitchcock's Rebecca. And we begin that opening of the film with today's installment of the slideshow. But more on that next time...
(And you might also note that the slideshow is using screen captures from the NoDS Blu-ray.)
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Kicking off the next sequence:
21 EXT - RIVER ROAD - DAY - HIGH WIDE ANGLE 21
as a convertible with the top down ENTERS THE
SHOT. Driving the car is QUENTIN COLLINS and
seated next to him is his pretty bride, TRACY.
This is the same section of road where we first
saw the Hippy. CAMERA STARTS A LONG SLOW ZOOM IN
as the dialogue begins to play over the shot.
21 CONTD CONTD 21
QUENTIN
(indicating the house)
Look!
TRACY
Wow! What a garret.
QUENTIN
I keep telling you, no one can
afford to paint unless he is
an heir.
TRACY - QUENTIN - HOOD-MOUNT SHOT
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And that's when yesterday's quote -
Page 6/Scene 21 - Tracy (snuggling up to him): 'It's incredible to think you were around for all those years and I didn't even know you.'
- comes up, followed by today's quote -
Page 6/Scene 21 - Quentin: 'You wouldn't have liked me poor. I was mean and surly.'
- coming up, followed by the script continuing with:
She laughs, shaking her head.
EXT - TREE-SHROUDED ROAD
as the car ENTERS THE SHOT and comes TOWARD CAMERA.
TRACY
(clearly impressed)
I still can't believe it's
Collinwood.
QUENTIN
Well, if I got the directions
right, it is.
TRACY - QUENTIN - HOOD-MOUNT SHOT
Tracy gets to her feet, holding onto the windshield,
and tries to look through the trees.
TRACY
You know, you can't even see it
now. How much land is there?
22 EXT - COLLINWOOD FRONT DRIVE - DAY - WIDE ANGLE 22
as the car APPROACHES CAMERA.
22 CONTD CONTD 22
QUENTIN
Oh...only about 200 acres. There...
look at it now.
As the car passes by CAMERA, we PAN WITH IT,
revealing the impressive front view of the huge
mansion.
TRACY
Oh...Quentin!
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End of scene.
And so far there are still no differences between the way DC's and Grayson Hall's scripts are written. However, in DC's script he has added additional material to both hood-mount shots. The first says:
TRACY - QUENTIN - HOOD-MOUNT SHOT - PROFILE - 2 SHOT
And the second says:
TRACY - QUENTIN - HOOD-MOUNT SHOT - BACKSEAT
And so far as any differences in the dialogue go, there are many in the film. First off, the first lines of the film are actually taken from the end of Scene 21 and the beginning of Scene 22 and delivered off screen - as all we see is a high angled shot of the tree shrouded road that slowly begins to pan down to the road, Tracy asks "How much land is there" and Quentin responds "Oh, only about 200 acres" - and Quentin actually says "Hey, look up there" in Scene 21, but more on that below - and Tracy's dialogue about the garret and Quentin's about being an heir are dropped in the film, though Quentin's was featured in the Nods section of the Movies Slideshow because it's the first NoDS quote featured in the Fest's 1999 Movie Calendar, on which the Movies Slideshow is based - and what Tracy actually says is "You know, it's really incredible that you were around for all those years and I didn't even know you' - and what Quentin actually replies is "You wouldn't have liked me then. I was mean and surly", with no reference to him being poor - and after that Tracy delivers an unscripted "It's gonna rain" to cover the fact that it began to rain on the day that parts of this sequence were shot - and while Tracy actually says "I still can't believe it's really Collinwood", Quentin's line about getting the directions right is dropped - and Tracy's last line for Scene 21 is actually delivered simply as "You can't even see the house from here" with the rest, as already pointed out, delivered earlier - and as sort of a replacement for the moving of Quentin's reference to the estate being 200 acres, Quentin stops the car and delivers an unscripted "Here it comes. I'm gonna put the top up" when it actually does begin to rain - and Tracy's reaction "Oh...Quentin!" at first seeing the front of Collinwood is also dropped in the film.
And so far as the directions and descriptions go, as already indicated above, what we actually see at the start of the film is -
(http://www.dsboards.com/NoDSquoteimages/0106ds91_a.jpg)
- a high angled shot of the tree shrouded road that slowly begins to pan down to the road - and from the outset we see Tracy and Quentin shot using a hood-mount shot - and in the film when Quentin points out something to Tracy, he's not actually indicating Collinwood in the distance but -
(http://www.dsboards.com/NoDSquoteimages/0106ds91_b.jpg)
- a totally different building on the estate (and as an aside to that, there are some publicity (http://www.dsboards.com/NoDSquoteimages/Ang_Urn.jpg) shots of Lara Parker as Angelique that are taken with the urn in the above capture) - and even though DC added the notation that the first hood-mounted shot would be a 2 shot in profile, as can bee seen in yesterday's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0809NoDS_0.jpg)
- (and even today's) it was not shot in profile - and as can also be seen in that capture, Tracy doesn't so much snuggle up to Quentin as slightly caress his arm - and Tracy delivers her unscripted line about the approaching rain as well as her line about not really believing it's Collinwood as the car enters the shot and comes toward camera, but also, as can be seen in this entry from the original NoDS section of the Movies Slideshow -
(http://www.dsboards.com/moviesquoteimages/0704NoDS_0.jpg)
NoDS: Scene #21 - Tracy: 'I still can't believe it's really
Collinwood.
-as the car moves away from camera - and Tracy does not get to her feet, holding onto the windshield, as she tries to look through the trees to see Collinwood because, as can be seen in this capture -
(http://www.dsboards.com/NoDSquoteimages/0107ds91_a.jpg)
- she simply leans up a bit.
-
Those are wonderful captures. I still haven't seen the "new" home video releases of the films.
G.
-
Believe it or not - and you probably will - even though I bought both original films on Blu-ray back in October of 2012, I haven't found the time to watch all of either one. But what I have seen looks spectacular!
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Picking up with Scene 23:
23 EXT - COLLINWOOD PORTICO 23
as the car ENTERS THE SHOT and pulls up in front
of the house. Quentin and Tracy both get out and
starts to unpack the back seat.
|
And that's when Friday's first quote -
Page 7/Scene 23 - Tracy: 'What do you bet I turn into one of those women you see in House & Garden.'
- comes up, followed by Friday's second quote -
Page 7/Scene 23 - Quentin (still busily unpacking): 'I can see it now, Mrs. Quentin Collins in her fashionable jeans at her 18th-century rosewood desk making out the menus for the week.'
- coming up, followed by the script continuing with:
And that's when Saturday's first quote -
Page 7/Scene 23 - Quentin: 'Oh, there is a housekeeper, you know.'
- comes up, followed by Saturday's second quote -
Page 7/Scene 23 - Tracy: 'Oh, great! I bet she looks just like Mrs. Danvers.
- coming up, followed by the script continuing with:
QUENTIN
I'm sure she does.
|
And that's when Sunday's first quote -
Page 7/Scene 23 - Tracy: 'Well, at least it solves one problem. She can probably do everything and I'll just simply lounge around arranging flowers.'
- comes up, followed by Sunday's second quote -
Page 7/Scene 23 - Quentin: 'And loving me.'
- coming up, followed by the script continuing with:
23 CONTD CONTD 23
TRACY
And loving you.
Quentin starts for the rear of the car to open
the trunk.
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End of scene.
And so far there are still no differences between the way DC's and Grayson Hall's scripts are written. However, in DC's script he has added a notation that the opening of Scene 23 where the car pulls up to the house will be shot from the interior of the car and through the window.
And so far as any differences in the dialogue go, in the delivered lines there are a few words dropped or added, but nothing significant. However, Tracy's "And loving you" was completely dropped.
And so far as the directions and descriptions go, as already indicated above, the start of Scene 23 is shot from inside the car, though because it was raining on the day that bit was shot -
(http://www.dsboards.com/NoDSquoteimages/0108ds91_a.jpg)
- the windshield wipers are also on - and after Quentin and Tracy get out of the car, they do not unpack the backseat because at first they simply look up at the house in amazement with Tracy remaining standing on the passenger side of the car and Quentin going to open the trunk, as could be seen in -
(http://www.dsboards.com/NoDSAnniQuoteImages/0811NoDS_0.jpg)
- Friday's first capture - and after removing all the luggage and slamming the trunk closed is when Quentin says that he's sure the housekeeper looks like Mrs. Danvers as he makes his way to the passenger side of the car to reach into the backseat for more things as Tracy makes he remark about the housekeeper doing everything while she arranges flowers, as can be seen in -
(http://www.dsboards.com/NoDSAnniQuoteImages/0813NoDS_0.jpg)
- Sunday's first capture - and obviously, the end of Scene 23 doesn't have Quentin going to the rear of the car to open the trunk because he's already been there, done that, so, as can be seen in -
(http://www.dsboards.com/NoDSAnniQuoteImages/0813NoDS_1.jpg)
- Sunday's second capture, they're still standing on the passenger side of the car as the scene concludes.
-
Moving on, beginning with Scene 24:
CUT TO:
24 EXT - QUENTIN - TRACY - HIGH ANGLE 24
CAMERA THROUGH SECOND FLOOR STAIRWELL WINDOW as
if someone is watching. From this angle, Quentin,
back is to the CAMERA so that his face is not re-
vealed. As he turns to say something to Tracy,
revealing his face, ZOOM IN TO CLOSE-UP.
25 EXT - SECOND FLOOR STAIRWELL WINDOW - DAY 25
Angle from below reveals Carlotta observing the
scene. ZOOM IN TO HER CLOSE-UP as she reacts.
26 EXT - COLLINWOOD - DAY - MEDIUM ANGLE 26
as Quentin closes the trunk and in one quick
motion sweeps Tracy off her feet, intending to
carry his bride across the threshold.
27 INT - SECOND FLOOR STAIRWELL - CARLOTTA - DAY 27
TRUCK IN TO HER CLOSE-UP as she watches them.
28 INT - FOYER - DAY 28
as Quentin carries Tracy in he gives her a big
kiss. HOLD FOR A MOMENT and then Carlotta
interrupts them from O.S.
|
And that's when the first part of Monday's quote -
Page 8/Scene 28 - Carlotta (O.S.): 'Mr. & Mrs. Collins?'
- comes up, followed by the script continuing with:
Quentin and Tracy are momentarily embarrassed,
caught unawares.
CARLOTTA - CLOSE-UP
She is smiling and friendly.
|
And that's when the second part of Monday's quote -
Page 8/Scene 28 - Carlotta: 'I'm Carlotta Drake, Welcome to Collinwood.'
- comes up, followed by the script continuing with:
28 CONTD CONTD 28
BACK TO SCENE
as Quentin puts Tracy down.
QUENTIN
Thank you, Miss Drake.
CARLOTTA
Carlotta, please.
She is looking them over carefully, in female
fashion. Tracy offers her hand.
TRACY
Hello, Carlotta.
CARLOTTA
(taking her hand)
It's so good to have you here --
I do hope you'll find everything
to your liking, Mrs. Collins.
|
End of scene.
And so far there are still no differences between the way DC's and Grayson Hall's scripts are written - however, in DC's script Scenes 25 -27 have a box drawn around them and a big X in the box, which means that DC didn't intend to shoot them. But despite that, or more likely before she was aware that those scenes weren't going to be shot, Grayson Hall added a note in her script that reads "See that it's him at last the answer to the dream".
And when it comes to anything different in the dialogue, again, there's quite a bit. After Tracy and Quentin come up to the entryway of Collinwood and Tracy peers through the glass doors, in an unscripted bit of dialogue she says "Oh no, I don't think I'm going in there", but in another bit of unscripted dialogue, Quentin says "Yes, you are" - and after they enter, Quentin says in yet another bit of unscripted dialogue "Can you believe it? It's all ours", and then they both laugh lightly - and after Carlotta greets them from off screen, once she comes on screen, she switches things up by actually saying "Welcome to Collinwood. I'm Carlotta Drake" (and Grayson made some notations in her script to be "pleasant and straight" and "almost preoccupied with looking at him + her) - and while Quentin responds to Carlotta as scripted, Carlotta's line to address her by her first name is dropped - and rather than "Hello, Carlotta", Tracy says "How do you do" - and Carlotta's greeting to Tracy and her hope that everything will be to Tracy's liking is also dropped. (And I'm surprised that Grayson didn't make a notation about Carlotta saying it's so good to have Tracy at Collinwood because as we'll definitely find out along the way, clearly that's not how she feels because she has a definite agenda in mind, so chances are the line would have been delivered with that subtext in Carlotta's mind.)
And so far as the directions and descriptions go, as can be seen in this capture -
(http://www.dsboards.com/NoDSquoteimages/0111ds91_a.jpg)
- Scene 24 was not shot through the second floor stairwell window but through a third floor window of the tower - and because it's shot from so high up, Quentin's face is nowhere near recognizable and there is no zoom in to a close-up of him because he simply closes the door to the car and he and Tracy move toward the portico, each carrying a piece of luggage and leaving the rest of their luggage behind the car - and as already mentioned above, Scenes 25 -27 are dropped - and when it comes to Scene 28, as already somewhat alluded to, Quentin doesn't carry Tracy into the foyer because, as can be seen in this next capture -
(http://www.dsboards.com/NoDSquoteimages/0111ds91_b.jpg)
- both of them simply carry their piece of luggage into the entryway, though as Quentin remarks that all of Collinwood is theirs, they do hug before Carlotta exits the foyer to greet them - and after Carlotta welcomes them and introduces herself, she shakes Quentin's hand as he thanks her, and then she shakes Tracy's hand as Tracy greets her - and it's interesting to note that DC's script has an added notation that the camera was supposed to pan to a 2 shot of Carlotta and Tracy when Tracy greats her and Carlotta is so nice to her, but given the way the scene actually plays in the film, apparently that idea was also dropped because what actually happens is, in camerawork that's unscripted, Scene 28 dissolves into the start of the upcoming Scene 29...
-
Oops - I forgot to mention that the original slideshow featured this line of dropped dialogue:
(http://www.dsboards.com/moviesquoteimages/0709NoDS_0.jpg)
NoDS: Scene #28 - Carlotta: 'It's so good to have you here. I
do hope you'll find everything to your liking, Mrs. Collins.'
-
Moving on to Scene 29:
29 INT - DRAWING ROOM - DAY 29
A Carlotta-led tour is in progress. Tracy stands
at the piano, toying with the keyboard, as Quentin
examines a piece of sculpture with a professionally-
amused eye. Carlotta is holding forth.
|
And that's when Tuesday's quote -
Page 9/Scene 29 - Carlotta: 'Mrs. Stoddard, before her death, served tea here every afternoon.'
- comes up, followed by Wednesday's quote -
Page 9/Scene 29 - Quentin: 'I'm afraid that's one tradition we won't keep.'
- coming up, followed by Thursday's quote -
Page 9/Scene 29 - Tracy (trying out one of the sofas): 'Oh, no! We can't let the house down. Why don't we call Claire and Alex. Tea in the drawing room with the lord of the manor.'
- coming up, followed by Friday's quote -
Page 9/Scene 29 - Quentin (to Carlotta): 'Oh, did you tell the Jenkins' we'd be here today?'
- coming up, followed by the script continuing with:
And that's when yesterday's quote -
Page 10/Scene 29 - Carlotta: 'I didn't know you would wish it.'
- comes up.
End of scene.
And so far there are still no differences between the way DC's and Grayson Hall's scripts are written - and while there are no notations worthy of mention in DC's script, Grayson's has something that will be mentioned below.
And when it comes to anything different with the dialogue, as far as the first three quotes, the only thing that's different is a few words are rearranged or dropped here and there, but nothing that changes the point of anything - however, when it comes to Quentin's scripted line asking Carlotta if she'd told the Jenkins they would be arriving, that line is actually given to Tracy in the film - and when Carlotta doesn't reply because her attention is deeply fixated elsewhere (and we'll get into that below), Tracy delivers an unscripted "Carlotta, did you tell the Jenkins we'd be here?" - and after Carlotta shakes her fixation, what she actually replies is "No, I'm sorry. I didn't know that's what you wanted" - and then with a smile she follows that with an unscripted "Come, let me show you the rest of the house" - and Tracy replies with an unscripted "All right."
And so far as the directions and descriptions go, as can be seen in this capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0816NoDS_0.jpg)
- Scene 29 doesn't start off with Tracy standing at the piano, toying with the keyboard, or with Quentin examining a piece of sculpture because it's actually Quentin who sits at the piano and toys with the keyboard - and as alluded to above, at the point that Quentin begins to play the piano Grayson writes in her script "Q is playing chords on the piano. Moment of my recognition" (which certainly seems to point out that Grayson was aware when she made the notation that the sequence of Carlotta watching Quentin and Tracy's arrival and reacting to seeing Quentin's face was not going to be shot) - and as can be seen in the following capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0817NoDS_0.jpg)
- rather than trying out one of the sofas, Tracy actually comes over to the piano when she suggests they call Claire and Alex and invite them for tea - and after Carlotta suggests she show them the rest of the house, she moves to leave the room with Tracy following and Quentin gets up from the piano to also follow.
-
Moving on the Scene 30:
30 INT - FIRST FLOOR CORRIDOR - DAY - WIDE ANGLE 30
Shooting through Dining Room doors with the table
and center piece in F.G., the three of them walk
TOWARD CAMERA.
|
End of scene.
And as can be seen in this capture -
(http://www.dsboards.com/NoDSquoteimages/0117ds91_a.jpg)
- the scene is shot exactly as scripted. But what is interesting is that it includes unscripted dialogue as Carlotta explains "Collinwood was built by Joshua Collins in the late 1600s. Of course, there have been many changes and additions since then." And given that Sam Hall once remarked that due to DC's "newfound directorial style," the original cut of NoDS (the cut before the 130 minutes long recovered cut) was supposedly 165 minutes long and that length was at least partly because the cut supposedly included several instances of shots of characters simply walking down long halls before they get to the points of scenes, I've often wondered if that bit of dialogue from Carlotta was added in post production so as not to have Carlotta, Tracy and Quentin be seen to be simply walking down the corridor from the drawing room to the stairwell? But who knows? But what's also interesting is that in this instance it was SH himself who wrote Scene 30 to simply be them walking down the corridor, so he certainly couldn't blame DC's directorial style for it in that instance.
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point.
-
Joshua built Collinwood in the late 1600's?
-
That's what Carlotta says. Perhaps in the universe of the films it was Joshua and not Isaac Collins who founded Collinsport in the late 1600s. And considering the backstory of hoDS' Barnabas took place in 1797, it could call into question just who fathered Barnabas? Well, if hoDS and NoDS take place in the same universe? And though the possible paternity of hoDS' Barnabas is a topic best suited for a hoDS topic, whether or not hoDS and NoDS take place in the same universe could certainly be a topic of discussion here...
-
That would be a cool line in that it would more firmly define the story of NoDS as being set in a parallel universe with its own history.
Given the storylines of the final year of the show, maybe that's what Sam Hall intended.
G.
-
Possibly. We know that in PT on the show Collinwood was already in existence in 1680 when everything transpired between Brutus Collins, Constance Collins, Amanda Collins, and James Forsythe...
-
Picking up with Scenes 31 and 32:
31 INT - FIRST FLOOR STAIRWAY - DAY 31
ANGLE from second floor landing as they climb the
stairs TOWARD CAMERA.
|
And that's when Sunday's quote -
Page 10/Scene 31 - Carlotta: 'As a child I used to hide here. They had so many parties then. All the guests...were so elegantly dressed and the candles were always burning.'
- comes up, followed by Monday's quote -
Page 10/Scene 31 - Tracy: 'You lived here as a child?'
- coming up, followed by Tuesday's quote -
Page 10/Scene 31 - Carlotta: 'My mother was the housekeeper.'
- coming up, followed by the script shifting to Scene 32:
32 PAN WITH THEM as they reach the second floor and 32
walk by CAMERA heading for the Gallery. As they
pass the steps leading to the third floor, Quentin
stops.
GROUP - HIGH ANGLE
QUENTIN
What's up there?
CARLOTTA
Nothing you would want to see now.
|
And that's when Wednesday's quote -
Page 10/Scene 32 - Quentin: 'Is that the tower I saw from the outside?'
- comes up, followed by today's quote -
Page 10/Scene 32 - Carlotta: 'Yes. It's used for storage now.'
- coming up, followed by the script continuing with:
They start walking again as Quentin hesitates for
a moment longer, still looking up the stairs
TOWARD CAMERA.
32 CONTD CONTD 32
Finally, he turns away and EXITS THE SHOT.
HOLD on empty corridor as their VOICES and
FOOTSTEPS TRAIL OFF.
CARLOTTA (O.S.)
The master bedroom is this way.
It affords a beautiful view of
the front grounds.
|
End of scene.
And so far there are still no differences between the way DC's and Grayson Hall's scripts are written. However, in DC's script he has notations for Scene 31: "Hand Held," "also HIGH FROM 2nd FLOOR hold all the way," and "Try a side track all in profile CU as they go up stairs" - and for Scene 32 he has the notation: "Cut Too: HIG ANG" (no doubt meaning a high angle). Though the interesting thing is almost none of that is how things were shot in what was used in the film. And Grayson's script also has a notation for Scene 32, but more on that when we get to the differences in the dialogue.
And when it comes to any differences in the dialogue, Carlotta actually says "As a child I used to hide here. So many parties in those days. And the guests were so" over the end of Scene 30 as she, Tracy and Quentin disappear up the stairs and mostly off screen - the only part that's delivered during Scene 31 and on screen is "elegantly dressed. And the candles were always burning" - and when Tracy questions if Carlotta lived at Collinwood as a child, it's actually said at the end of Scene 31 and into the beginning of Scene 32 and mostly off camera - and Carlotta's actual reply is "Yes. My mother was the housekeeper" (and it's interesting how Carlotta isn't actually speaking of her own childhood - but of course, no viewers would actually pick up on that this early in the film) - and when Quentin looks up and inquires what's up higher than where they are, Caroltta actually replies with "Oh, nothing you'd be interested in now" - and after Quentin asks if it's the tower, Carlotta simply replies with "Yes", with the "It's used for storage now" dropped - and after disappearing off screen, what Carlotta then actually says is "The master bedroom is this way. It has an excellent view of the front grounds" (and that's where in Grayson's script she's made a notation crossing out "affords" and substituting "has" - though there isn't any notation crossing out "a beautiful" and substituting "an excellent").
And so far as the directions and descriptions go, as can be seen in this capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0820NoDS_0.jpg)
- Scene 31 isn't actually shot from the second floor landing as they climb the stairs toward the camera because it's actually shot almost completely the opposite, from the library doorway on the first floor as they climb the stairs away from the camera - and at no point is Scene 32 shot on the second floor because, as can be seen in this next capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0823NoDS_0.jpg)
- it's shot from the third floor landing of the stairwell (and hand held), which means we don't see them walking by the camera as they're heading for the Gallery, or passing the steps leading to the third floor - and while they do start walking again as Quentin hesitates for a moment longer, but on the second set of stairs leading to the second floor landing while still looking up TOWARD CAMERA toward the tower, he's not actually looking up the stairs - and things don't hold on the empty second floor corridor as their voices and footsteps trail off because things actually hold on that second set of stairs leading to the second floor landing as Carlotta explains about the view from the master bedroom.
-
Interesting that Tracy picks up on the idea that Carlotta lived at Collinwood as a child but neither she nor Quentin make any kind of remark about the candles always burning.
-
I suppose they wouldn't think it was odd for there to be candles at parties - but it's really the inclusion of the word "always" that could certainly make what Carlotta says seem odd. But then, maybe they thought she simply meant candles were always burning at the parties and not necessarily when there also weren't any parties taking place. Honestly, I probably would have taken it that way because I would have presumed that Carlotta was reminiscing about a childhood that took place somewhere around the late-1920s/early-1930s when electricity was certainly available to a grand house like Collinwood. (Although, believe it or not, the house I live in is close to 120 years old and it originally had gas lighting. The gas pipes, though disconnected from the gas, are even still in the walls and ceilings - and according to my research, the house wasn't converted to electricity until after the original owners passed away and new owners bought the house in 1930.)
-
Setting up Scene 33:
33 INT - GALLERY - DAY 33
QUENTIN - TRACY - CARLOTTA
as Quentin examines the various portraits.
|
and that's when today's quote -
Page 11/Scene 33 - Quentin: 'I have a terrible feeling my ancestors would never have bought my work.'
comes up.
And as for any differences in Quentin's dialogue, upon entering the Gallery he delivers an unscripted "It's quite a collection" - and what he actually does rather than say what's quoted is he lightly chuckles and then says "I've got a feeling my ancestors wouldn't have bought my work."
And as can be seen in this capture -
(http://www.dsboards.com/NoDSquoteimages/0122ds91_a.jpg)
- when we first see them in the Gallery and Quentin remarks that the paintings are quite a collection, things are shot from the opposite angle that the entire rest of the scene is. But then, as we'll see, there are no angles specified in the script for Scene 33...
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point.
-
Continuing with Scene 33 with today's quote:
Page 11/Scene 33 - Tracy (at the window): 'His paintings are very abstract.'
And as for any differences there, Tracy actually says "Quentin's paintings are very abstract."
And as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0826NoDS_0.jpg)
- Tracy isn't standing near any of the windows in the Gallery.
And it's still the case that there aren't any differences between the way DC's and Grayson Hall's scripts are written up to this point.
-
And continuing with Scene 33 with today's quote:
Page 11/Scene 33 - Carlotta: 'How interesting.'
And as for any differences in the dialogue, at first Carlotta actually delivers her response by adding an unscripted "You're a painter" before she says "How interesting." And obviously to anyone who's already seen the film, there's all sorts of subtext there, helped along by the sly hint of a smile on Carlotta's face as she says it -
(http://www.dsboards.com/NoDSquoteimages/0124ds91_a.jpg)
- but, again, no viewer seeing the film for the first time would really pick up on it to the point of understanding what's really going on with Carlotta.
And it's still the case that there aren't any differences between the way DC's and Grayson Hall's scripts are written up to this point. Though it's interesting that rather than add, "You're a painter," to her script, Grayson added Carlotta's remark as "Oh you paint?". Even more interesting is that DC hasn't added any of the unscripted lines to his script, but he will add some of them when it comes to some future scenes...
-
And more of Scene 33:
He is at the portrait of Angelique.
|
And that's when yesterday's quote -
Page 11/Scene 33 - Quentin: 'Is this one of the family?'
- comes up, followed by today's quote -
Page 11/Scene 33 - Carlotta: 'That's Angelique Collins. She died in 1810.'
- coming up, followed by the script continuing with:
TRACY
She's beautiful.
Quentin stares at it. ...
|
And it's still the case that there aren't any differences between the way DC's and Grayson Hall's scripts are written up to this point. However, both DC's and Grayson's scripts have some notations that we'll get into below.
And as for any differences in the dialogue, the first notation in DC's script has the word "this" crossed out in Quentin's dialogue and replaces it with "that", but neither word is used in the film because what Quentin actually asks is "Is she one of the family?" - and another dialogue notation in DC's as well as in Grayson's script is adding "Yes, it is" to Carlotta's dialogue, though what Carlotta actually says is "Yes, she is. She's Angelique Collins", and I love how she spells the year out completely by saying "She died in Eighteen Hundred and Ten" - and what Tracy actually says is "Well, she's beautiful, isn't she?"
And so far as any differences in the directions and descriptions go, Quentin isn't actually at the portrait of Angelique before he asks if she's one of the family because he smiles, nods toward it, and begins walking toward it just before he asks - and DC's script has a notation that Quentin is next to it when he asks, but in the film we don't actually see Quentin when he asks because he's off screen with, as can be seen in yesterday's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0828NoDS_0.jpg)
- a shot of only the portrait on screen - and similarly, even though DC has a notation that Carlotta will be shot in close-up while she explains about the portrait, as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0829NoDS_0.jpg)
- what's on screen is a tight shot of Angelique's face in the portrait - and DC's script also has a notation that after Carlotta indicates the woman in the portrait is a member of the family, Carlotta will hold the rest of her lines until Quentin gets to the portrait - but while there is a slight pause in the way Carlotta delivers her lines, given that it's only the portrait that's seen on screen, we obviously have no idea if Quentin is at the portrait or not - and Grayson's script has a notation about the locket Carlotta is wearing, and as can be seen in the following capture (which is cropped and enlarged from the actual moment on screen) -
(http://www.dsboards.com/NoDSquoteimages/0126ds91_a.jpg)
- Carlotta is indeed toying with it (though no one has yet to know the significance of that act) - and Grayson's script also has a notation that Carlotta is "enjoying" Quentin and Tracy's reactions to the portrait, and as can also be seen in the above capture, that's certainly the case (but again, with no one yet knowing the significance of that (nor the significance of the vase of yellow daffodils under the portrait)) - and DC's last notation on this bit of the script says that Tracy crosses to the portrait, however, she doesn't actually because, as can also be seen in the above capture, she's simply turned to look at it while standing in the same spot in the room that she's been in since Scene 33 started.
-
Tracy is speaking for me in today's screen capture, when she says that the gallery is where she'll be spending most of her time. That room is my very favorite room in the entire universe, and I often daydream of sitting on the window seat, reading a book. It would be especially wonderful on sunny winter days.
-
Yes, KMR, that is a great room! [thumb] And considering you want to read there, I'm pretty sure that the room used to be the Library at Lyndhurst before they added the addition in 1865, so your inclination is perfect!! [nodassent]
-
And yet more of Scene 33, picking up where we left Quentin staring at Angelique's portrait:
Quentin stares at it. Tracy moves to the window.
|
And that's when today's quote -
Page 11/Scene 33 - Tracy: 'Every room I've been in, I've kept thinking - oh, this is where I'll spend most of my time. But this is it! The view's incredible.'
- comes up, followed by the script continuing with:
CARLOTTA
I've prepared a salad for supper.
Shall I serve it here?
33 CONTD CONTD 33
TRACY
Oh, yes - would you?
Quentin stares at it. ...
|
And yes, while it's still the case that there aren't any differences between the way DC's and Grayson Hall's scripts are written up to this point, both DC's and Grayson's scripts have some notations that we'll get into below.
And as for any differences in the dialogue, rather than today's quote, what Tracy actually says is "Carlotta, I think this is my favorite room. The view is really incredible" - and the notation in Grayson's script is that she crosses out the word "supper" in Carlotta's dialogue and replaces it with "dinner," as in "I've prepared a salad for dinner" - and after Carlotta asks if Tracy would like the salad served there, Tracy actually replies with "Uh...well, yes - would you?" However, unlike the way they're scripted, part of Tracy's remark about the Gallery being her favorite room and all of Carlotta's references to the salad and Tracy's response about it are all delivered off screen - but more on that below...
And so far as any differences in the directions and descriptions go, DC's script has a notation that Tracy's lines about the Gallery being her favorite room begin "on the cross," and while that's technically true, in the film she doesn't actually cross to any window because what she does do, as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0830NoDS_0.jpg)
- is cross to a nearby table, pick up a book (perhaps she's on a similar wavelength to what KMR wants to do in the room [snow_wink]), and delivers her lines - however, the "The view is really incredible" part of it is delivered off screen because, as we can see in the following capture, what we actually see on screen is that the camera trucks in on -
(http://www.dsboards.com/NoDSquoteimages/0127ds91_a.jpg)
(http://www.dsboards.com/NoDSquoteimages/0127ds91_b.jpg)
(http://www.dsboards.com/NoDSquoteimages/0127ds91_c.jpg)
- an extreme close-up of Quentin as he stares at Angelique's portrait as if mesmerized by it (the view that's captured him is obviously not the one outside [snow_wink]) - and what's interesting about the shot of Quentin remaining on screen for the duration of everything else that follows in the parts of the Scene 33 that are covered in this post, DC's script actually contains a notation that Tracy is supposed to turn from the window to Carlotta and then cross to the table as she answers Carlotta regarding serving the salad, but obviously none of that is seen on screen, plus the last we see Tracy before Quentin's close-up, she's already standing at the table (and as we'll see from a capture for the next post, she'll still be standing there).
-
And concluding Scene 33 and moving beyond within the sequence:
Carlotta smiles and nods. She EXITS as Quentin
crosses to the window where he stands for a moment
looking out at the sunset.
|
And that's when today's quote -
Page 12/Scene 33 - Quentin: 'You know...I have a felling that I'll do better work here than I've ever done before...look at the color of that sunset!'
- comes up, followed by the script continuing with:
34 EXT - COLLINWOOD GROUNDS - QUENTIN'S P.O.V. - 34
EVENING
The sky is a magnificent canvas of colors, in
the F.G. is a large tree with huge spreading
limbs. HOLD on this for a moment and then
CUT TO:
35 EXT - COLLINWOOD GROUNDS - 1810 - QUENTIN'S 35
P.O.V.
SUBCONSCIOUS MEMORY CUT
For an instant the view from the window suddenly
takes on a completely different look. The picture
is now almost devoid of color with a kind of milky
look that makes it seem unreal. It is almost dark
and a heavy ground fog swirls and eddies about.
Suddenly, we notice that a figure of some kind
seems to be hanging from a branch high up in a
tree. FAST ZOOM IN. It is the figure of a woman
in a long dress, a rope around her neck, The
figure is no more that a bleak silhouette so
that it is impossible to tell what she looks like.
TRACY (O.S.)
It's almost like living in a
museum. Isn't it?
|
End of scene. Though there's more to the sequence...
And yes, while it's still the case that there aren't any differences between the way DC's and Grayson Hall's scripts are written up to this point, once again DC's script has a notation that we'll get into below.
But so far any differences in the dialogue go, after Carlotta leaves and the camera is back to being on Quentin as he walks to look out the window, in a bit of off screen unscripted dialogue Tracy muses "That's our housekeeper. She makes me feel like she invited us here" (she's obviously already picking up vibes from Carlotta) - and then she adds "It's beautiful, isn't it", which may have been scripted for later in the sequence, but more on that after we get to that section of the script - and what Quentin actually says is "I got a feeling I'm gonna do better work here than I've ever done before in my life", with no reference to a sunset, but why that is will become obvious below.
And so far as any differences in the directions and descriptions go, we don't see Carlotta smile or nod at Tracy before she leaves the room to get the salad, but as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0128ds91_a.jpg)
- Carlotta does give a look in Quentin's direction before she leaves (because, after all, for Carlotta the scene is all about Quentin) and she gives a little smile to herself as she turns to leave, no doubt because as she leaves the camera pans back to Quentin to show that he's still looking at Angelique's portrait - and even though DC's script has a notation that indicates that as Quentin is starting to look out the window at the sunset, Tracy is supposed to reach the table and to start to leaf through a book, that is never seen here because 1) the camera remains on Quentin throughout that portion of Scene 33, and 2) and more importantly, last time we got into that she already did much of that as she told Carlotta how much she liked the Gallery - and while it could possibly be late enough in the day to be close to sunset, the sunset as described in the script is not what Quentin sees when he looks out the window because what he actually sees, as can be seen in the next capture -
(http://www.dsboards.com/NoDSquoteimages/0128ds91_b.jpg)
- is an overcast view (remember, it was raining when they arrived) with some spring-flowing trees in bloom and other trees getting their green leaves - and when things change over to the 1810 memory, things may not be in as sharp a contrast as they would be had Quentin seen the sunset as described, but as can be seen in this next capture -
(http://www.dsboards.com/NoDSquoteimages/0128ds91_c.jpg)
- the 1810 memory is certainly of a decidedly bleak scene and as the script indicates, "almost devoid of color" - and it's interesting that after the camera does zoom in on the figure in the tree -
(http://www.dsboards.com/NoDSquoteimages/0128ds91_d.jpg)
- one can tell that it's a woman (thanks mostly to the hair and style of shoes), but what's more interesting is that there are a few publicity stills for the film that depict a much more discernible figure of a woman hanging in the tree (http://www.dsboards.com/NoDSquoteimages/Ang_Hang.jpg) (one of which was obviously used as a basis for the A version of the NoDS poster (http://www.dsboards.com/NoDSquoteimages/A_Poster.jpg), and at least one that actually depicts a skeleton with just the tattered shreds of clothes remaining (http://www.dsboards.com/NoDSquoteimages/Skel_Hang.jpg), but in its case no such shot is actually ever seen in the film - and a final point is that the dialogue that is scripted for Tracy at the end of Scene 35 is actually delivered off screen over a shot of Quentin at the end of Scene 34 just before the cut to the 1810 memory.
-
Oops - I just realized I jumped the gun and already discussed tomorrow's quote! [snow_strange]
Well, I'm certainly not going to remove what I posted about it today (not that it was much) and what I posted is best gotten into in a context with Scenes 33, 34 and 35, anyway. And it'll save me from having to post about it tomorrow. [snow_wink]
But tomorrow's quote is:
Page 12/Scene 35 - Tracy (O.S.): 'It's almost like living in a museum, isn't it?'
-
Something that I've never thought of before just dawned on me (thanks to dom bringing a capture to the forefront in the "Caption This! - 1970PT" game) - considering that NoDS is loosely based on the 1970PT storyline, I wonder if these parts of the script:
26 EXT - COLLINWOOD - DAY - MEDIUM ANGLE 26
as Quentin closes the trunk and in one quick
motion sweeps Tracy off her feet, intending to
carry his bride across the threshold.
|
and
28 INT - FOYER - DAY 28
as Quentin carries Tracy in he gives her a big
kiss. ...
|
were inspired by this 1970PT scene in Ep #981, which Sam Hall also wrote:
(http://www.dsboards.com/91quoteimages/ds981-1.jpg)(http://www.dsboards.com/91quoteimages/ds981-2.jpg)
Or perhaps Sam Hall just loved wives carried over the threshold scenes. [snow_cheesy]
-
Moving on to Scene 36 and beyond within the sequence:
36 QUENTIN - CLOSE-UP (NORMAL COLOR) - 1971 36
Oblivious to Tracy, he stares out the window.
TRACY (O.S.)
Quentin?
37 EXT - GROUNDS - 1971 - QUENTIN'S P.O.V. - 37
NORMAL COLOR
It is back to normal again - no fog, no body in
the tree.
38 TRACY - MEDIUM ANGLE 38
PAN WITH HER as she crosses to Quentin.
|
And that's when today's quote -
Page 13/Scene 38 - Tracy: 'Darling, what's wrong? What are you thinking about?'
- comes up.
And it's still the case that there aren't any differences between the way DC's and Grayson Hall's scripts are written up to this point - and there also aren't any notations in either script for what's covered in this post.
But so far any differences in the dialogue go, Tracy's off screen dialogue in Scene 36 is moved to Scene 37 - and at the outset of Scene 38 she asks an unscripted "Darling, what's the matter?" on screen before actually crossing over from behind Quentin to deliver the quoted dialogue exactly as written.
And so far as the directions and descriptions go, the only things that are different in the film is that Quentin actually does some unscripted blinking of his eyes in Scene 36 before we see in Scene 37 that things are back to normal - and as sort of alluded to above, we don't pan with Tracy after she asks Quentin what's the matter because after that we immediately see Quentin and Tracy actually comes to him from behind him.
-
Continuing with Scene 38 and up to the end of the sequence:
Suddenly, Quentin realizes she is next to him.
|
And that's when yesterday's quote -
Page 13/Scene 38 - Quentin: 'What? (turns to her) Oh, I don't know. Just ... daydreaming I guess.'
- comes up, followed by the script continuing with:
He frowns as they both look out the window.
TRACY
It's so beautiful.
39 HIGH ANGLE 39
as Carlotta ENTERS with the tray. Tracy crosses
to the table, Quentin still stands at the window.
QUENTIN - CLOSE-UP
He is still trying to understand what it was he
saw.
|
And that's when today's quote -
Page 13/Scene 39 - Tracy (O.S.): 'Come on, darling ... it looks delicious.'
- comes up.
End of scene and sequence.
And it's still the case that there aren't any differences between the way DC's and Grayson Hall's scripts are written up to this point, however, there are notations in both scripts that we'll get into below...
And so far any differences in the dialogue go, Quentin really only mouths the "What?" part of his lines and what he actually does say is "Nothing ... I was just daydreaming I guess" - and while Tracy sighs at his remark, her line that it's so beautiful is not delivered (though, as I mentioned in reply #34, that could be because she makes a similar remark off screen in Scene 33) - and while Carlotta's return to the room doesn't actually take place in the film as it currently stands, Grayson Hall has a notation in her script that when Carlotta returns she says "I brought some white wine. I hope you like it", and what's very interesting about that is that unlike in any other version of NoDS, in the one that's available on Amazon, during Quentin's final close-up we actually do hear Carlotta say "I brought some" before she gets cut off by the effect of the film moving to Scene 40 - and as is obvious given today's graphic for today's quote, Tracy's quoted off screen line also does not appear in the film as it currently stands (however, all of this missing stuff is part of the recovered footage).
And so far as the directions and descriptions go, as I've already pretty much noted, we don't see Carlotta enter with the tray or Tracy cross to the table because all that remains in the film from Scene 39 is Quentin's close-up. And speaking of that close-up, DC has a notation in his script that Quentin's close-up is "full face", which I suppose is the way it appears to be. And getting back to Grayson's script, she has a notation that Carlotta should start to serve, and the notation does go on a bit from there, but, unfortunately, it's hard to decipher all of her handwriting, so we'll leave it at that.
-
Setting up the new scene, which is part of a sequence in the script that is very different from the way it appears in the current version of the film:
DISSOLVE TO:
40 INT - MASTER BEDROOM - NIGHT 40
Tracy is already in bed as Quentin is still
getting ready.
|
And that's when today's quote -
Page 13/Scene 40 - Tracy: 'We're very naughty. We should have at least called the Jenkins'.'
- comes up.
And it's still the case that there aren't any differences between the way DC's and Grayson Hall's scripts are written up to this point - though there is a notation in DC's script that we'll get into below...
And when it comes to any differences in the dialogue, what Tracy actually says is "Well, I think we're very naughty. We should have at least tried to call the Jenkins." And I have no idea why the quoted line uses the possessive form of Jenkins (Jenkins') because most would take Tracy's intent to mean phone the Jenkins as people and not, say, phone their house, so that's why I didn't use the possessive form. But the possessive form is the way it appears in the script, so that's the way it's quoted.
And so far as the directions and descriptions go, while DC's script has a notation that seems to indicate that he'd planned for Scene 40 to begin with a shot of Tracy in bed, as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0905NoDS_0.jpg)
- the scene actually begins with Tracy in the background and Quentin in the foreground. And I absolutely love how Quentin's face is in shadow and silhouetted.
-
Continuing with Scene 40 with Quentin's reply to Tracy:
QUENTIN
They'll understand.
40 CONTD CONTD 40
He crosses to the bed and gets in.
|
And that's when today's first quote -
Page 14/Scene 40 - Quentin: 'Are you going to be happy here?'
- comes up, followed by today's second quote -
Page 14/Scene 40 - Tracy: 'Yes, if you are ...'
- coming up.
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point - and there are also no notations in DC's script for this part of the scene.
And when it comes to any differences in the dialogue, what Quentin actually asks is "Are you gonna be happy here?" - and what Tracy actually replies is "Well, I think I am if you are..."
And so far as the directions and descriptions go, Quentin actually shuts off a table lamp, crosses to a window and closes it, moves closer to the bed to flick the switch to shut off both wall lights, and then removes his slippers and robe before getting into bed.
And can I just say that, as can be seen in the either of today's captures -
(http://www.dsboards.com/NoDSAnniQuoteImages/0906NoDS_0.jpg)
- the shot of Quentin and Tracy in bed from this part of the scene must be one of the darkest things ever shot for any version of DS. But then, this isn't called Dark Shadows for nothing...
-
Concluding Scene 40 and moving through the sequence as it was scripted, shot, and how it originally played:
First up, today's quote -
Page 14/Scene 40 - Quentin: 'I am. I don't know why ... or how ... I don't really understand it ... but I almost feel as if I had come home at last.'
- which is then followed in the script by:
They are in each other's arms as we slowly
DISSOLVE TO:
41 EXT - FRONT OF COLLINWOOD - NIGHT - WIDE ANGLE 41
It is much later. The house is completely dark.
The only sound is the GENTLE MOANING OF THE WIND.
Suddenly the strange light we saw in the opening
sequence begins to emanate from the Tower Room.
CAMERA starts a SLOW ZOOM IN
42 INT - MASTER BEDROOM - NIGHT 42
Quentin and Tracy are asleep. The curtains billow
gently at the windows. CAMERA STARTS A SLOW TRUCK
IN on Quentin as he begins to stir restlessly in
his sleep. Finally he rolls over on his back. His
eyes are wide open and he seems to be listening
intently to some unheard sound. Slowly he starts
to rise from the bed as CAMERA TRUCKS back revealing
Tracy still sound asleep. Quentin, now out of the
bed and moving as if in a trance, puts on his robe
and quietly EXITS the room.
43 INT - CORRIDOR - OUTSIDE MASTER BEDROOM - LOW 43
ANGLE
as Quentin ENTERS the shot PAN with him as he
starts toward the stairway to the third floor.
44 EXT - COLLINWOOD - NIGHT 44
SHOT favors the windows of the Tower Room, they
still glow faintly from the light within.
HOLD on this for a moment as Quentin suddenly
appears near the windows and then moves out of
44 CONTD CONTD 44
sight toward another part of the room. RACK
FOCUS to EXTREME CLOSE-UP of Gerard, who has
been standing there watching, his eyes blazing
with hatred.
DISSOLVE TO:
45 INT - MASTER BEDROOM - NIGHT 45
Tracy, alone in the bed, stirs, half awake. She
reaches out for Quentin, awakens a little more,
sees he is gone. Then she falls back to sleep.
|
End of scene - though not end of sequence as it will pick up in tomorrow's post with the morning after...
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point - but there is a notations in DC's script that we'll get into below...
And when it comes to any differences in the dialogue, the way Quentin's dialogue for Scene 40 works is that he actually says "I guess I will be", and then after they snuggle closer and Quentin kisses Tracy's forehead, he adjusts his head back on his pillow, puts his right arm behind his head, and actually says "I don't know why" - to which Tracy replies with an unscripted questioning grunt - and then Quentin actually continues with "I almost feel like I've come home again" - and Tracy actually replies to that with an unscripted "Well, that's good."
And so far as the directions and descriptions go, I've already explained what happens in Scene 40, but unlike how the script indicates that the end of Scene 40 dissolves into the beginning of Scene 41, in the film it's actually a simple cut to a shot -
(http://www.dsboards.com/NoDSquoteimages/0204ds91_a.jpg)
- of the front of Collinwood - and the shot does not show any light in the tower room, nor does the shot zoom in - however, in one of the trailers for the film there is a shot of the back Collinwood that zooms in to a light moving in the tower room -
- so it's quite possible that is the shot that was originally intended to be Scene 41 - and DC has a notation on his script that he wanted Scene 45 to come before the section of Scene 44 that deals with Gerard.
And as we know, Scenes 42 through 45 do not appear in the film as it stands. Due to MGM's demanded cuts, they are replaced by a dream sequence that's made up of Scene 126 (though audio only from some of the dialogue from that scene), Scene 145 & 146, and Scenes 101 through 103 (though in Grayson's script part of Scene 101 was originally Scene 67 before a 3/31 rewrite - but more on that when we get to that part of the script).
(ADMIN: Edited to add video and remove screen captures)
-
Setting up the new scene:
CUT TO:
46 INT - MASTER BEDROOM - DAY 46
It is the following morning. Quentin is still
asleep. Tracy has just finished dressing and
now stands looking down at him. She smiles,
leans over, kisses him lightly.
TRACY
Quentin ...
He barely stirs.
Come on. It's your first day
here. Are you going to sleep
it away?
Still no response. She shakes him, still smiling.
Finally, he turns on his back, opens his eyes.
He stares at her, unsmiling, almost as if he didn't
remember her.
TRACY
Good morning!
At last Quentin smiles, reaches over and touches
her.
|
And that's when today's quote -
Page 15/Scene 46 - Quentin: 'Hi...wake me in two hours. I'm beat.'
- comes up.
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point - but there is a notations in DC's script that we'll get into below...
And when it comes to any differences in the dialogue, we have no way of knowing at this point because the scene is not in the film as it currently stands.
And so far as any differences in the directions and descriptions go, again, we have no way of knowing at this point. However, there is a notation in DC's script that the scene would open on Tracy's face and then pan down with her.
And as a side note, the following line -
(http://www.dsboards.com/moviesquoteimages/0720NoDS_0.jpg)
NoDS: Scene #46 - Tracy: 'It's your first day here. Are you
going to sleep it away?'
- was included in the NoDS section of the Movies Quotes Slideshow because it's the entry for July 20th on the Fest's 1999 Movie Calendar of quotes.
-
Picking up where we left off with Scene 46:
He yawns, starts to turn over again. She stops
him with a kiss.
|
And that's when yesterday's quote -
Page 15/Scene 46 - Tracy: 'Serves you right for wandering around last night without me.'
- comes up, followed by the script continuing with:
46 CONTD CONTD 46
QUENTIN
For doing what?
TRACY
I woke up and you weren't here.
QUENTIN
You imagined it.
|
And that's when today's quote -
Page 16/Scene 46 - Tracy: 'We haven't been married that long. I know when you're not in my bed.'
- comes up.
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point.
And as for anything different in the dialogue, we have no way of knowing at this point because the scene is not in the film as it currently stands.
And as for what might be different when it comes to the directions and descriptions, again, we have no way of knowing at this point.
-
Wrapping up Scene 46, beginning with yesterday's quote, Quentin's reply to Tracy:
Page 16/Scene 46 - Quentin: 'Well, I was and all night, dreaming very strange dreams.'
- which is followed by the script continuing with:
He struggles into a half-sitting position.
|
And that's when today's quote -
Page 16/Scene 46 - Tracy: 'I won't fight with you. Ever. Now get up.'
- comes up, followed in the script by:
She EXITS as the CAMERA TRUCKS IN TO HIS CLOSE-UP.
His eyes are very far away as he tries to remember
the "Dream".
|
End of scene.
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point.
And as for anything different in the dialogue, we have no way of knowing at this point because the scene is not in the film as it currently stands.
And as for what might be different when it comes to the directions and descriptions, again, we have no way of knowing at this point.
-
A batch of scenes before we get to the scene containing tomorrow's quote - and ones which help to explain it:
47 INT - GALLERY - DAY - LOW WIDE ANGLE 47
Tracy stands near the window sipping a cup of
coffee as she leafs through an old book. CAMERA
starts a SLOW TRUCK IN ON HER. As we get closer,
we see that she senses something. She turns and
looks out the window.
48 EXT - GROUNDS - DAY - HER P.O.V. 48
Standing amongst the trees, staring up at her,
is Gerard. With him are two vicious-looking black
dogs, both straining at their leashes. ZOOM IN TO
HIS CLOSE-UP.
49 TRACY - CLOSE-UP 49
as she reacts and turns away from his gaze. It
is obvious that he has upset her.
|
End of scene.
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point.
And as for what might be different when it comes to the directions and descriptions, again, we have no way of knowing at this point because those scenes do not appear in the film as it currently stands.
-
Setting up the current scene:
50 CARLOTTA - MEDIUM ANGLE 50
as she ENTERS the room carrying a tray with fresh
coffee she sees Tracy by the window.
50 CONTD CONTD 50
|
And that's when today's quote -
Page 17/Scene 50 - Carlotta: 'Is anything wrong, Mrs. Collins?'
- comes up.
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point, however, Grayson's script has extensive notes for this scene, and we'll get into all of them as the scene unfolds. But for now, the first notation is that Carlotta is happy because things are going so well.
And as for anything that might be different with the dialogue, we have no way of knowing at this point because the scene is not in the film as it currently stands.
And as for what might be different when it comes to the directions and descriptions, again, we have no way of knowing at this point because this scene does not appear in the film as it currently stands.
-
Picking up where we left off, beginning with:
And that's when yesterday's quote -
Page 17/Scene 50 - Tracy: 'There's someone down there just staring up at me. Who is it, Carlotta?'
- comes up, followed by the script continuing with:
Carlotta puts down the tray and comes to Tracy.
TRUCK with her so that the two of them are framed
in the window. In the B.G. we can see that
Gerard is no longer there, but Tracy does not
know this since her back is to the window.
|
And that's when today's first quote -
Page 17/Scene 50 - Carlotta: 'There's no one there.'
- comes up, followed by the script continuing with:
And that's when today's second quote -
Page 17/Scene 50 - Tracy: 'There was a man. With two black dogs.'
- comes up.
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point. Though, as previously mentioned, Grayson's script has extensive notes for this scene. However, it's best to wait until tomorrow's quote to get into a batch of them...
And as for anything that might be different with the dialogue, we have no way of knowing at this point because the scene isn't in the film as it currently stands.
And as for what might be different when it comes to the directions and descriptions, again, we have no way of knowing at this point because this scene doesn't appear in the film as it currently stands.
-
Picking up with today's quote, Carlotta's explanation:
Page 17/Scene 50 - Carlotta: 'Oh, Gerard. Gerard Stiles. My nephew. He's the caretaker-handyman. He keeps the horses, too. I don't know what I'd do without him.'
And while there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point, Grayson's script has extensive notes for this portion of the scene. She writes that Carlotta should intimidate Tracy even though she's also wondering what Gerard has done and whether or not he will screw things up - Carlotta must also stop Tracy's curiosity and be short with Tracy - plus she should lead Tracy from the window, sit her down, and serve her her coffee.
And as for anything that might be different with the dialogue, we have no way of knowing at this point because the scene isn't in the film as it currently stands.
And as for what might be different when it comes to the directions and descriptions, again, we have no way of knowing at this point because this scene doesn't appear in the film as it currently stands. But if Grayson's notes are an indication, if Carlotta actually sits Tracy down and serves her coffee, that would be different from what's in the script.
Also, I believe Carlotta's lines here are the only place in the script that we learn that Gerard is her nephew so, as the film stands now, that relationship is unknown. (Though many DS fans were probably aware of it before even seeing the film because it was mentioned in some of the publicity leading up to the release and possibly even after, as we'll see once some of that stuff gets posted...)
-
Wrapping up the current scene:
They look at each other for a moment.
TRACY
Oh - I see -- Well, it was just
that those dogs ...
|
And that's when today's quote -
Page 17/Scene 50 - Carlotta: 'Those dogs are very important to the security of the estate, madam ... now, is there anything I can get you?'
- comes up, followed by the script continuing with:
TRACY
(embarrassed)
Oh - no. Nothing. Everything
...Everything's just fine.
|
End of scene.
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point, however, there are notations in both DC's and Grayson's script for this portion of the scene. First, in Grayson's script she writes that Carlotta has the subtext that she manages the estate so why does Tracy ask when she should leave it to Carlotta and Carlotta will take care of it. And with DC's script, he notes that when it comes to Tracy's last bits of dialogue, the camera is to pan to her as she looks away.
And as for anything different in the dialogue, we have no way of knowing at this point because the scene is not in the film as it currently stands.
And as for what might be different when it comes to the directions and descriptions, again, we have no way of knowing at this point.
And with tomorrow's quote things will be getting back, albeit briefly, to material that is actually in the film...
-
Setting up the new scene:
51 INT - PANTRY - DAY 51
Gerard is filling a thermos of coffee from the
electric urn. Carlotta enters.
51 CONTD CONTD 51
|
And that's when today's quote -
Page 18/Scene 51 - Gerard: 'Do you know what happened last night? [She does not answer.] Do you?'
- comes up.
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point. However, once again Grayson's script has extensive notes for this scene, and once again we'll get into all of them as the scene unfolds. But for now, the first notations are that with this scene there's a big transition from the previous scene - here for Carlotta it's all about power and intent and desperation - and Carlotta's not answering Gerard's question at first is her way of angrily giving it to him.
And as for anything that's different with the dialogue, the only thing is that Gerard asks "Do you?" much more forcefully than the script might indicate.
And as for what's different when it comes to the directions and descriptions, Gerard fills his thermos from a pot of coffee, not from an electric urn - and Grayson adds the notation to her script that Carlotta enters "with tray + coffee".
And finally I do have to say that I love the expression on Carlotta's face in today's capture, and here's a closer look:
(http://www.dsboards.com/NoDSquoteimages/0215ds91_a.jpg)
-
Continuing with Scene 51, beginning with today's first quote -
Page 18/Scene 51 - Carlotta: 'Everything has changed now. You must accept-'
- coming up, followed by today's second quote -
Page 18/Scene 51 - Gerard (interrupting): 'I was good enough before he came, now...'
- coming up.
And while there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point, for this section the next notations in Grayson's script say "other side" (and I'm not quite sure what that means), "no pretense", and "authoritative".
And as for what's different with the dialogue, Carlotta actually says "Everything has changed now. You must accept that" - and Gerard, with a pronounced and unscripted stutter, actually replies with "I was good enough until he came around. Now..." And what's unfortunate about all this is that as the film currently stands, the audience doesn't have the vaguest clue as to what they're talking about. Not that everything would be clear with Scenes 41 through 44 in the film because there would still be quite a bit of mystery - but at least the audience would know that Quentin was drawn to the tower room, Gerard is aware of that because while he was outside the night before he saw Quentin pass by the tower room windows, and for some reason as yet unknown, Gerard reacted to that sight with blazing hatred.
And as for what's different with the directions and descriptions, Gerard doesn't actually cut Carlotta off.
-
And wrapping up Scene 51, beginning with today's quote -
Page 18/Scene 51 - Carlotta (snapping at him): 'Go to the stables. He will be down to ride soon. [Gerard is about to object.] I've told you things are different now.'
- coming up, followed by the script explaining:
She just looks at him. Finally, he turns and
slams his way out of the room.
|
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point. However, Grayson's script notation for this part says "On the edge of violence. Losing temper."
And as for anything that's different with the dialogue, Carlotta actually says "Now listen! I want you to go to the stables. He'll be there soon to ride. I've told you that everything was different now."
And as for what's different when it comes to the directions and descriptions, Gerard doesn't attempt to object in the middle of Carlotta's lines - and Gerard doesn't so much slam his way out of the room as he grabs his thermos and the cover and leaves - however, in an unscripted action, Carlotta carries the tray over to the counter and slams it down in anger and frustration. And I love her body language -
(http://www.dsboards.com/NoDSquoteimages/0217ds91_a.jpg)
- because there's no doubt as to who's in charge.
-
The Carlotta/Gerard interaction really makes me feel that the relationship between Mrs. Johnson and Willie in the NBC incarnation of DS is modelled after Carlotta and Gerard.
-
Yes, I've had the same suspicion, at least when it comes to the facts that Gerard is Carlotta's nephew and Willie is Mrs. Johnson's nephew. Willie is nowhere near as homicidal as Gerard - then again, who knows what Willie was completely like before Barnabas showed up because we see so little of that. But pre-Barn Willie definitely had a tendency toward violence...
-
Carlotta was the real Mistress of Collinwood. That becomes crystal clear in a much later scene with Tracy.
G.
-
I love all the scenes in the film between Carlotta and Tracy, particularly the one to which I believe you're referring! [nodassent]
And as for today's quote, because Scene 52 is so different in the film from the way it's written in the script, I'm going to hold off getting into things until tomorrow...
-
Here's Scene 52 as scripted:
52 EXT - STABLES - DAY 52
The two dogs are playing in the stable yard as
Quentin ENTERS under the archway. Suddenly the
dogs become hostile. Quentin stops, frowns,
then keeps walking. The dogs wait for a moment
and then start slowly for him. They are snarling
viciously as Gerard appears in the doorway.
|
And that's when yesterday's quote -
Page 18/Scene 52 - Gerard: 'Inside, boys! Inside!'
- comes up, followed by the script explaining:
The dogs hesitate for a moment but then turn
and run inside. Quentin crosses to the door.
|
And that's when today's quote -
Page 18/Scene 52 - Quentin: 'I'd keep them chained if I were you.'
- comes up, followed by the script continuing with:
Gerard does not agree or disagree but just starts
inside.
You're Gerard Stiles.
52 CONTD CONTD 52
GERARD
That's right.
Quentin starts into the stable.
QUENTIN
I'm Mr. Collins.
|
End of scene. However, as I said yesterday, everything is so different in the film - and it's probably easiest to deal with the differences with the dialogue, the directions, and the descriptions all at once.
So, unlike how the script says that we see the dogs playing and when Quentin arrives, they become vicious and slowly make a move toward Quentin before Gerard stops them, as can be seen in the following capture, in the film Scene 52 starts off with shots of Gerard repairing brickwork -
(http://www.dsboards.com/NoDSquoteimages/0218ds91_a.jpg)
- and as Gerard does this, off camera we hear Quentin call out "Stiles" and then introduce himself with "I'm Mr. Collins - and it isn't until the next camera shot that we see that Gerard is up on some scaffolding repairing brickwork near the roof of a part of the stable building, the dogs are quietly standing near the base of the ladder, and Quentin has just entered the stable yard, as can all be seen in the next capture -
(http://www.dsboards.com/NoDSquoteimages/0218ds91_b.jpg)
- and after that point Gerard actually replies with "Yeah. Yeah, I know. I, uh...", and then with a nod of his head toward the stable itself, Gerard adds "I got your horse ready for ya" before he moves to the ladder, he begins to climb down, and Quentin walks over to the bottom of the ladder as the dogs simply look over at him as he approaches, turn their attention to Gerard coming down the ladder and reaching the bottom by jumping down the last few steps, and then growl just the slightest bit as Gerard turns to Quentin and then turns to lead Quentin to the stable. And that's it - nothing really happening with the dogs at all. And there's probably a really good reason for that, as well as why Gerard is actually seen doing brickwork rather than simply appearing at the doorway to the stable. But I'm going to hold off getting into all that until after we reach Scenes 105 & 106 in the script...
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point.
-
Similarly to Thursday's quote, I'm going to hold off getting into Scene 53 until tomorrow. However, this time it's not because Scene 53 is so different in the film vs. the script, but because the first half of it isn't in the film as it currently stands...
-
And here's Scene 53 as scripted:
53 INT - STABLE - DAY 53
There are four horses in their stalls. Gerard
stands looking at them as Quentin crosses to him.
|
And that's when yesterday's first quote -
Page 19/Scene 53 - Gerard: 'You ride well?'
- comes up, followed by yesterday's second quote -
Page 19/Scene 53 - Quentin: 'I used to. When I was a kid. But it's been a long time. You better give me an easy one.'
- coming up, followed by the script continuing with:
Gerard takes a saddle from the rack and crosses to
a large black stallion. He begins to saddle him
up. Suddenly, he is friendly.
GERARD
You ought to be able to handle
this one.
Quentin crosses to the horse and looks him over.
QUENTIN
Good-looking.
|
And that's when today's quote -
Page 19/Scene 53 - Gerard: 'His name's Ulysses. Just give him his head and you'll think you're in a rocking chair.'
- comes up, followed by the script continuing with:
QUENTIN
I'll do my best.
He puts his foot in the stirrup and swings up
into the saddle. He adjusts the reins and is
about to start forward.
GERARD
I saw your wife today.
Quentin looks down at him.
53 CONTD CONTD 53
QUENTIN
Yes.
A long pause.
GERARD
She rides, doesn't she?
QUENTIN
She does. But she won't today.
I'll be back in a few hours.
He spurs the horse forward. HOLD ON Gerard as
Quentin EXITS THE SHOT.
|
End of scene. Though, as I said yesterday, the first half of the scene doesn't appear in the film as it stands now. However, if I understand things correctly, some version of the first half does appear in DC's original cut. But what's in the film at this point begins with Quentin putting his foot in the stirrup.
And obviously in the first half of the scene we don't know what the differences, if any, might be in the dialogue. However, as Quentin mounts the horse, he actually appears to say an unscripted "Good-looking, Phillips", which would seem to indicate that the horse's name has been changed in the film (quite possibly to the horse's real name), and after he's mounted, he actually tells the horse "Come on" as he's about to start off before Gerard speaks - and after Gerard asks if Quentin's wife rides, Quentin asks an unscripted "What did you say?" - to which Gerard asks with a stutter "I said she, she rides, doesn't she?" - to which Quentin actually responds with "Yes, she does", and then after telling the horse "Come on", he tells Gerard, "But not today", with nothing about being back in a few hours.
And as with the dialogue, we have no way of knowing what differences there might be when it comes to the directions and descriptions in the first half of the scene. However, so far as what is in the film, everything plays basically as scripted, although, it all takes place outside in the stable yard, not inside the stable - and when Gerard hears that Quentin's wife rides, he gets a smile on his face and then a look as if he'll be up to something.
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point. However, in DC's script he has a notation in the first half of the scene that indicates that when Gerard is saddling the horse the saddle would be seen in the foreground as the camera shot then moves to Gerard in close-up.
-
Setting up the current sequence/scene - and we've reached the first instance where Grayson's and DC's scripts differ. But first up we'll deal with the way things play in DC's script, which, probably not surprisingly, is the way they mostly appear in the film:
54 EXT - MEADOW - DAY - LONG LENS 54
Quentin is not having an easy time of it.
Ulysses is far from a rocking chair.
DISSOLVE TO:
55 EXT - FIELD - NEAR A PATCH OF TREES - DAY 55
Quentin and the horse have finally come to terms and he is
now enjoying himself. Suddenly, as if it were being
carried he hears the DISTANT SOUND OF CHURCH BELLS
TOLLING. The horse begins to react badly as Quentin,
totally confused, rides closer to the trees looking for
the source of the sound. It is then that we realize that
the old family cemetery is on the other side of the trees.
QUENTIN - CLOSE-UP
He has stopped the horse, and, although it is a cool
sunny day, his face is bathed with perspiration. It is
obvious he is experiencing something. TRUCK IN TO HIS
EXTREME CLOSE-UP and then
CUT TO:
56 QUENTIN'S P.O.V. - EXT CEMETERY - 1810 - DAY 56
SUBCONSCIOUS MEMORY CUT
The wind blows the empty branches, the rain pours down
on the assembly standing in front of the mausoleum.
Silhouetted below the cemetery is the black hearse. The
six pallbearers carry the coffin up the hill toward the
mausoleum.
56 CONTD CONTD 56
ANOTHER ANGLE
The Reverend Strack stands at the head of the coffin outside
the mausoleum. Gabriel, Laura, Mrs. Castle, and her small
daughter, Sarah, stand with other family and friends watching.
Sarah is the only one crying as she fingers a locket.
|
And that's when today's quote -
Page 20A/Scene 56 - Strack: 'Dust...to dust...ashes to ashes. Oh Lord, we beseech you to have pity on this sinner...for we all sin, knowing the mercy of our heavenly Father. So we commend to Him the flesh and spirit of Angelique Collins, beloved wife of Gabriel, loyal and loving sister-in-law to Laura.'
- comes up.
And though there are differences between the way DC's and Grayson Hall's scripts are written, there aren't any notations in either for this sequence.
And as for any differences in the dialogue, Strack actually says "Oh Lord, we beseech Thee to have mercy on this sinner" and later "And so we commend to Thee the flesh and spirit of Angelique Collins".
And as for what is different when it comes to the directions and descriptions, Scene 54 does not appear in the film as it currently stands - the horse doesn't have any reaction to the bells in Scene 55, so perhaps it's only Quentin who hears them - and Quentin's face is not bathed in perspiration, but his face does take on an extremely shocked expression as the camera trucks in on his extreme close-up - and there are only four pallbearers in Scene 56 - and while Sarah is crying, we do not see her fingering the locket (which is too bad because it would have definitely added to the scene.
And the next post will deal with the way everything up to where we left off in the sequence originally played out in Grayson's earlier version of the script...
-
Grayson's script's version:
54 EXT - MEADOW - DAY - LONG LENS 54
Quentin is not having an easy time of it.
Ulysses is far from a rocking chair.
DISSOLVE TO:
55 EXT - FIELD - NEAR A PATCH OF TREES - DAY 55
Quentin and the horse have finally come to terms
and he is now enjoying himself. Suddenly, as if
it were being carried on the wind, he hears
the DISTANT SOUND OF A DRONING VOICE.
STRACK'S
TRASK'S VOICE
Dust to dust ... ashes to ashes
... Oh Lord, have pity on this
sinner ... for we all sin,
knowing the mercy of our
heavenly Father ...
The horse begins to react badly as Quentin,
totally confused, rides closer to the trees
looking for the source of the voice. - It is then
that we realize that the old family cemetery
is on the other side of the trees.
QUENTIN - CLOSE-UP
He has stopped the horse, and, although it is a
cool sunny day, his face is bathed with perspir-
ation. It is obvious he is experiencing some-
thing. TRUCK IN TO HIS EXTREME CLOSE-UP and then
CUT TO:
56 EXT - CEMETERY - 1810 - DAY 56
SUBCONSCIOUS MEMORY CUT
Strack
It is raining hard. The Reverend Trask leads a
procession of FOUR MEN and GABRIEL as they carry
the coffin toward the family mausoleum. SAMANTHA,LAURA
MRS. CASTLE, and her small daughter, SARAH, all
carrying umbrellas, stand with other family
friends watching. Sarah is the only one crying.
Gabriel opens the mausoleum.
STRACK
TRASK
So we commend to Thee the flesh
and spirit of Angelique Collins,
beloved wife of Gabriel.
CAMERA PANS to Gabriel.
Laura
Loyal sister-in-law to Samantha...
|
And that's it for now.
Notice how:
- Grayson script actually says "Suddenly, as if it were being carried on the wind, he hears", as opposed to DC's script which is oddly missing the part about the wind and simply says "Suddenly, as if it were being carried he hears".
- The sound of the bell was originally
Trask's/Strack's voice. Trask/Strack was originally supposed to lead the funeral procession of four pallbearers (the same number as in the film, as opposed to the six in DC's script) and GABRIEL as they carry the coffin toward the mausoleum.- Originally
Trask/Strack's "Oh Lord, we beseech you to have pity on this sinner" didn't include the "we beseech you to" part (though, as I mentioned in the previous post, there are even further changes in the film). - There's no mention of Sarah fingering the locket.
- Gabriel was originally supposed to open the mausoleum before
Trask/Strack was even finished with his prayer. Trask/Strack was originally supposed to say "we commend to Thee the flesh and spirit of Angelique Collins", as he does in the film.- The part about Angelique being a "loving" sister-in-law to
Samantha/Laura wasn't originally there - but thankfully they added it because that makes Laura's subsequent reaction (which we'll get into tomorrow) all the better!
-
I neglected to mention yesterday that when it came time for the Fest's 1999 Movie Calendar to pick something from Scene 56 for its July 28th quote, it picked one from the original version of the script and not DC's updated version:
(http://www.dsboards.com/moviesquoteimages/0728NoDS_0.jpg)
NoDS: Scene #56 - Strack: 'So we commend to Thee the flesh
and spirit of Angelique Collins, beloved wife of Gabriel.
And while for years I was thrilled to have the VHS copy of NoDS, these days I can barely look at it after now having the Blu-ray version of the film:
(http://www.dsboards.com/NoDSquoteimages/0222ds91_a.jpg)
-
Continuing with DC's script's version of Scene 56, as well as Scenes 57 & 58:
TRUCK IN ON LAURA
She begins to laugh, lowly at first. Gabriel grabs
her hand but her laughter grows as Strack continues.
|
And that's when today's first quote -
Page 20A/Scene 56 - Strack: 'Angelique Collins has departed this life for a far better one - a world without tears or pain.'
- comes up, followed in the script by:
Laura's laughter builds. Gabriel, tight-lipped, holds
her in a vise-like grip. Sarah tries to run to stop her.
Mrs. Castle restrains her. Strack looks hard at Laura.
She stops laughter.
ANOTHER ANGLE
Strack nods to Pallbearers, who pick up the coffin. They
all watch as the Old Caretaker opens the gate.
|
And that's when today's second quote -
Page 20A/Scene 56 - Strack: (loudly, trying to top the laughter) 'And so we commend her spirit to a just and forgiving God. Amen.'
- comes up, followed by script continuing with:
They carry the coffin into the mausoleum.
57 EXT - CEMETERY - 1971 - DAY - NORMAL COLOR 57
The sun is shining again and all is quiet. The CAMERA is
shooting from the other side of the deserted cemetery and
Quentin can be seen still sitting on his horse on the other
side of the trees. START A SLOW ZOOM IN AS HE SHAKES HIS
HEAD IN BEWILDERMENT. Finally, he decides to take a closer
look. He tries to spur his horse forward but he won't
move. All of a sudden, it rears on its hind legs and with
a whinny of fear wildly gallops off in the opposite direc-
tion as Quentin tried futilely to control him.
58 EXT - ROAD - DAY 58
as the horse and Quentin charge into view The
horse moving sideways and out of control, is
thundering toward the road. Suddenly, a car
58 CONTD CONTD 58
driven by CLAIRE JENKINS ENTERS THE SHOT just as
the horse runs into the road. She slams on her
brakes. The horse rears and as they almost
collide, Quentin finally regains control.
CLAIRE
Quentin!
|
End of scene and end of sequence.
And again, though there are differences between the way DC's and Grayson Hall's scripts are written, there aren't any notations in either for this sequence.
And as for any differences in the dialogue, Strack actually says "Angelique Collins has departed this life for a far better world - a world without sorrow ... or pain" - and he directs the "or pain" part at Laura, which stops her laughter, so he doesn't need to say his next lines loudly to try to top her laughter.
And as for the differences when it comes to the directions and descriptions, we don't actually see Gabriel grab Laura's hand to stop her from laughing, but he does shake her - and we don't see Sarah attempt to run to stop Laura from laughing, so we also don't see Mrs. Castle restrain her, however, briefly, as the following capture shows -
(http://www.dsboards.com/NoDSquoteimages/0223ds91_a.jpg)
- we do see both Mrs. Castle and Sarah look over at Laura as she laughs - and rather than nodding to the pallbearers, Strack simply steps out of the way as the caretaker opens the gate to the mausoleum and enters as the pallbearers begin to follow him - and from that point almost nothing plays as scripted because with Scene 57 we simply Quentin looking over in shock, then he rides the still quite tame horse over to the opening in the fence to the cemetery, dismounts, ties off the horse, and goes inside and begins to walk toward the mausoleum - and with Scene 58 we simply see Claire driving her car along the road, coming to a stop when she apparently sees Quentin, and then waving and calling out to him - after which Quentin turns in her direction as he stands at the gate to the mausoleum and then waves back - to which Claire motions him over - and after a look back at the gate, Quentin backs away and then turns to leave the cemetery.
And my next post will pick up where we left off yesterday and will deal with the remainder of the ways the sequence differs in Grayson's earlier version of the script...
-
Continuing with Grayson's script's version of the rest of Scene 56 and beyond:
Laura
CAMERA PANS to Samantha. She begins to laugh,
lowly at first, Gabriel grabs her hand, but her
laughter grows. She is hysterical. Trask Strack
stares at her, in panic, as the child tries to
run and stop her, but Mrs. Castle restrains her.
Finally, her laughter fades as Trask continues.
Strack Strack
TRASK
And so we commend her spirit
to a just and forgiving God.
Amen.
They carry the coffin into the mausoleum.
57 EXT - CEMETERY - 1971 - DAY - NORMAL COLOR 57
The sun is shining again and all is quiet. The
CAMERA is shooting from the other side of the
deserted cemetery and Quentin can be seen still
sitting on his horse on the other side of the
trees. START A SLOW ZOOM IN AS HE SHAKES HIS
HEAD IN BEWILDERMENT. Finally, he decides to
take a closer look. He tries to spur his horse
forward but he won't move. All of a sudden, it
rears on its hind legs and with a whinny of fear
wildly gallops off in the opposite direction as
Quentin tried futilely to control him.
58 EXT - ROAD - DAY 58
as the horse and Quentin charge into view The
horse moving sideways and out of control, is
thundering toward the road. Suddenly, a car
58 CONTD CONTD 58
driven by CLAIRE JENKINS ENTERS THE SHOT just as
the horse runs into the road. She slams on her
brakes. The horse rears and as they almost
collide, Quentin finally regains control.
CLAIRE
Quentin!
|
Notice that:
- Missing from Grayson's script is Strack's "Angelique Collins has departed this life for a far better one - a world without tears or pain."
- Her script refers to Laura as becoming "hysterical," which DC's does not.
- Her script, unlike DC's, also refers to
Trask/Strack staring at Samantha/Laura in a panic as Sarah tries to run and stop Samantha/Laura from laughing. - And in her script there's no reference to
Trask/Strack nodding to the pallbearers, who then pick up the coffin. - And, of course, there's no need in her script for the caretaker to open the gate to the mausoleum because Gabriel has already opened it.
So that's all for now. However, part of Scene 59 also differs in Grayson's and DC's scripts - but more on that once we get to it...
-
If you've never seen/read the NoDS Pressbook, you might find this blurb interesting because it relates to Scene 56:
(http://www.dsboards.com/91quoteimages/Funeral.gif)
(Though not one of those actors was in the funeral scene.)
And does anyone know what the bit of trivia is that relates the first day of shooting on NoDS to the first day of shooting on hoDS?
-
Wasn't the first day of location filming for HODS also for a funeral? Carolyn's?
-
Yes, that's a big part of it - but there's a tiny bit more...
-
Was the rainfall man-made on both films?
-
I believe the Fire Dept. was called in to make rain for the funeral scenes. (Which is not at all uncommon--it has to rain pretty hard for it to register well on film.)
-
Setting up the current scene:
59 INT - JENKINS'S COTTAGE - DAY
Alex, Claire and Quentin are having a drink.
|
And that's when yesterday's quote -
Page 22/Scene 59 - Alex: 'Imagine! Running down the Master of Collinwood.'
comes up, followed by today's quote -
Page 22/Scene 59 - Quentin: 'On his first day, too...before he's even put out the rules of the manor.'
coming up.
And as far as differences in the dialogue go, because Scene 58 was completely reworked in the film, Scene 59 begins differently. For one, those two quoted lines were completely dropped. For two, two lines from a bit later in the scene become the first two lines delivered. And for three, the dropped lines are then replaced by two completely new lines. But I'm not going to get into any of that just yet because the actual first line of the scene in the film is tomorrow's quote in the slideshow...
And so far as any differences in the descriptions and directions go, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0224ds91_a.jpg)
- in the film there's actually an exterior scene establishing the Jenkins' cottage before Scene 59 begins - and when Scene 59 begins, before anyone says anything, Alex, Quentin and Claire are seen having a good laugh, as can be seen -
(http://www.dsboards.com/NoDSquoteimages/0224ds91_b.jpg)
- in the above capture.
And while there are no differences at this point between the ways Scene 59 appears in DC's and Grayson Hall's scripts, DC's script does have two notations at the outset of the scene. He writes that a typewriter, etc. should be there in the cottage (and as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0224ds91_c.jpg)
- there is indeed one located under the painting and on a desk behind where Quentin is sitting), and then he mentions something that will come into play later in the rewoked section of Scene 59, so I'll hold off mentioning it until then...
-
Continuing with Scene 59 as scripted:
Quentin is looking at a painting over the mantel.
It is one he gave them for a wedding present.
|
And that's when today's quote -
Page 22/Scene 59 - Quentin: 'I see you still have that.'
comes up.
And as far as what's different with that bit of dialogue, Quentin actually says "I see you've still got that crazy eye of mine" - and as mentioned yesterday, it's actually the first line of dialogue in the scene.
And so far as any differences in the descriptions and directions go, as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0929NoDS_0.jpg)
- (as well as several others that have been posted recently), the painting is not over the mantel but is actually on the wall behind Quentin so, in actuality, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0226ds91_a.jpg)
- Quentin has to turn around to look at it before he can comment about it to Alex.
And it's an interesting bit of trivia that Quentin gave them the painting as a wedding present. Too bad that's not actually brought in any of the dialogue.
And speaking of trivia, I'm still wondering if anyone knows what tiny bit more there is when it comes to the shooting of the hoDS/NoDS funeral scenes? [snow_smiley]
-
And continuing with more of Scene 59 as scripted we have today's quote -
Page 22/Scene 59 - Alex: 'A place of honor, old buddy -- wherever we go -- so how's life in the castle? Have you seen Miss Drake smile yet?'
- however, it doesn't play at all like that in the film.
So, as far as the differences with that bit of dialogue go, at first Alex actually says "Yes sir, buddy -- wherever we go, that goes" - to which Quentin replies with an unscripted "Oh" - and then the first scripted line of dialogue for the scene is reworked for Claire when she says "Imagine finding the Master of Collinwood roaming around a cemetery" - and then Quentin's dropped dialogue is reworked when he says "Hey, Alex - they've got tombstones in that place that are over 300 years old" - and it's not until after that that Alex actually asks "Tell me, how's life at the old castle? Uh - have you seen Miss Drake smile yet?" - to which Quentin replies with an unscripted "Once."
And considering there aren't any descriptions or directions in Alex' quote, nothing could possibly be different from the script with regard to descriptions and directions. However, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0227ds91_a.jpg)
- Claire puts her hand on Quentin's knee when she remarks about finding him in the cemetery - but then, considering it's an unscripted remark, that action couldn't have been scripted, now could it? [snow_wink]
-
And catching up with more of Scene 59 we have Sunday's quote -
Page 22/Scene 59 - Claire: 'She had no reason to smile at you, Alex. (turning to Quentin) The first time he meets her he asks if the place is haunted.'
- followed by yesterday's first quote -
Page 22/Scene 59 - Quentin (smiling): 'Is it?'
- followed by yesterday's second quote -
Page 22/Scene 59 - Claire: 'Not according to her.'
- followed by the first part of today's quote -
Pages 22/Scene 59 - Alex: (having fun with it) 'We'll go to the Blue Whale Bar some night. There's a Cap'n Russel that will tell you a (MORE)'
- followed by the second part of today's quote -
Pages 23/Scene 59 - Alex (Contd): 'different story. Seems there's a beautiful young servant girl who roams the halls of Collinwood.'
And as far as the differences with the dialogue go, Claire gives an unscripted laugh before she tells Alex that Carlotta had no reason to smile at him - and when it comes to today's quote, Alex actually says "Yeah, well, one these nights, uh, we're gonna to go to the Blue Whale and I'm gonna introduce you to a Captain Russel who'll tell you a different story. Seems there's a young beautiful servant girl who roams the halls of Collinwood."
And considering that once again there aren't any descriptions or directions, nothing could possibly be different from the script with regard to descriptions and directions.
But before we close this post, two points about what's said. Quentin is quite serious when he asks if Collinwood is haunted. And, of course, the audience knows why that is even if Alex and Claire don't. And more interestingly, is it that the young beautiful servant girl seen roaming Collinwood is Sarah Castle? It seems unlikely anyone would refer to Angelique as a 'servant girl, beautiful or otherwise. So, if it is Sarah, in what capacity is she seen?[spoiler]One would presume it can't be Sarah's ghost because she has been reincarnated as Carlotta. And while Quentin will soon have a memory of seeing Sarah in the window of her 1810 bedroom when it was also Carlotta who was in the window at the same time, Quentin, as the reincarnation of Charles, was also a part of the events that Sarah lived through. But presumably the people who might have seen Sarah at Collinwood would have no such connection to Sarah or Carlotta, so how would they come to see Sarah?[/spoiler]Some interesting points to ponder...
-
Interesting. Maybe I'm wrong but I don't think that the ghost of the servant girl was meant to be Sarah. We aren't given a lot of information about Sarah but, while it is made clear that her mother was a servant, nothing indicates that Sarah was one also. Also, it seems to me that the Castles would have been residing in the servants' quarters, not in a room that would be occupied by young Elizabeth Stoddard.
-
Who knows who the "young beautiful servant girl is supposed to be"? One might suspect the mention of her was supposed to be one of the first clues as to part of what's actually going on at Collinwood. Then again it could have just as easily have been a red herring. Perhaps only Sam Hall and DC would have known for sure, but neither can tell us now...
But as for the room we see Carlotta in having been Sarah's, it was. That's why we see her screaming from its window in both Quentin's memory and in the actual sequence of Angelique's hanging. And that would have been made clearer had the film included the scene in which Mrs. Castle takes Sarah to her room, tells her there's nothing they can do for Angelique, and also tells her to stay away from the window. But, of course, as we do actually see later, Sarah doesn't stay away from the window and she witnesses Angelique's hanging.
-
The other day I happened to catch this moment while I was getting the capture for that day's quote:
(http://www.dsboards.com/NoDSquoteimages/0227ds91_b.jpg)
And I knew I had to not only share it here, but to post it on the "Complete This Phrase / Fill In The Blank(s) - Night of Dark Shadows" and "Caption This! - Night of Dark Shadows" boards for cousins to have fun with.
Enjoy! [easter_grin]
-
But as for the room we see Carlotta in having been Sarah's, it was. That's why we see her screaming from its window in both Quentin's memory and in the actual sequence of Angelique's hanging. And that would have been made clearer had the film included the scene in which Mrs. Castle takes Sarah to her room, tells her there's nothing they can do for Angelique, and also tells her to stay away from the window. But, of course, as we do actually see later, Sarah doesn't stay away from the window and she witnesses Angelique's hanging.
It does seem very odd for such a significant second floor room to be Sarah's. Surely she would have had a third floor room. I can't recall exactly what room the scene takes place in, but if it's the one I'm thinking of, it's Anna Gould's bedroom (and the same room that Elizabeth is shown in a near-catatonic state in HODS). But I might be mistaken. Either way, second floor would be quite inappropriate for a servant.
-
Either way, second floor would be quite inappropriate for a servant.
Well, we all know DC - he never did operate by accepted convention - and he's the one who staged the scenes in that second floor room:
(http://www.dsboards.com/NoDSquoteimages/Sarah-window.jpg)
Perhaps the actual servants rooms were all too small to accommodate a film crew...
-
Thanks for posting the picture, MB! I guess I was wrong about which room we're talking about. The room I had been thinking of is north of there, just above the dining room. But still, a second floor room with a significant bay window facing the river seems a bit extravagant for a servant's daughter. Then again, as you said, it's quite possible the third floor rooms are just too cramped; it's been a very long time since I've looked at the floor plans (and I have no idea what they look like in real life, since they won't let visitors up there...) . Also, the bay window makes for a much more interesting image in the film than those tiny little third floor windows!
-
I guess I was wrong about which room we're talking about. The room I had been thinking of is north of there, just above the dining room.
But you were right about the room that Liz was seen in in hoDS because that room above the dining room was used as Carolyn's bedroom. [snow_smiley]
-
Picking up Scene 59 where we left off in reply #73 and with yesterday's quote, which was Quentin's reply to Alex' remark about Collinwood supposedly being haunted by "a young beautiful servant girl":
Page 23/Scene 59 - Quentin: 'If she cleans well, we'll hire her.'
And that's followed by the script continuing with:
CLAIRE
It's time for lunch.
She gets up and starts for the kitchen.
What do you want - ham or tuna-
fish?
ALEX
Both.
QUENTIN
The same.
|
And that's when today's quote -
Page 23/Scene 59 - Claire (kissing Quentin): 'Lovely having you here ... despite my welcome.'
- comes up, followed by the script explaining:
She EXITS into the kitchen.
|
And as far as the differences in the dialogue go, before bringing up lunch, Claire laughs at Quentin's remark about hiring the girl if she cleans well - and Claire's quoted line from today is dropped from the scene - and obviously it was dropped for the same reason that the beginning of Scene 59 was reworked: because Scene 58 was reworked - and in DC's version of the script, Claire's dropped line actually has a box drawn around it and a big X drawn in the box - however, DC's script does not replace it with what Claire actually does do and say before she leaves the room, and that's to sigh and say "Right" as if she should have known they'd want both.
And when it comes to the differences in the descriptions and directions, Claire just simply stands up before she asks if they want ham or tuna - and we might presume she's going to the kitchen when she exits, but we don't actually see her go there because she simply leaves the room.
And after tomorrow's quote comes up, we'll get into the section of Scene 59 that's different in DC's script from the way it's written in Grayson's script. But more on that tomorrow...
-
And now the next section of Scene 59 as it appears in DC's script, starting off with today's quote:
Page 23/Scene 59 - Alex: 'My rich landlord who doesn't charge rent, how do you like the estate?'
And that's followed by the script continuing with:
Quentin looks at him.
QUENTIN
When did you and Claire get here?
ALEX
About two weeks ago. I thought you'd
never get here.
Quentin looks a little concerned.
ALEX
(noticing it)
Hey -- what's the matter?
Is something wrong?
|
And that's it for now.
And as far as the differences in the dialogue go, when it comes to today's quote, Alex actually says "So my rich landlord who, uh, doesn't charge rent, how's, uh, life in the old estate?" which sort of takes an element from what Alex was originally scripted to say, but that will come up once we get into the version of this section in Grayson's script - and then, as the second part of his dialogue from the second bit dealt with here, Alex actually says "Man, I thought you were never gonna show up" - and then for his third bit of dialogue dealt with here, Alex actually asks "Hey, Pal, what's wrong?"
And when it comes to the differences in the descriptions and directions, Alex actually gets up from the chair across the room that he's been sitting in and moves to sit next to Quentin on the couch as he asks Quentin how life is in the old estate - and in response to Alex, Quentin simply gives a little nod and smile rather than just looking at him.
And getting back to a notation that I'd mentioned that DC made in his script but I was holding off on getting into, that was because the notation says that Alex should have a "line about him being here for 2 weeks", which is no doubt why that was added later in this reworked section that we've just gotten into. But who knows why DC felt it was needed because, unless I'm forgetting something down the road, I don't think it ever pays off in any way in the script/film...
And in my next post we'll see how this section was written in Grayson's script...
-
This section of Scene 59 as it appears in Grayson's script:
ALEX
So how do you feel, my rich
landlord who doesn't charge rent?
QUENTIN
I don't know.
Alex looks at him.
ALEX
(serious)
Why? Is something wrong?
Then kidding again, he pulls down Quentin's eyelid,
goes into his doctor bit.
|
And there you have it. And I've gone just a little bit further in the script than I did with DC's so that next time you can see how that last bit is written somewhat differently in DC's script...
-
Picking up where we left off in DC's script:
Quentin shakes his head trying to laugh it off. Then Alex
kiddingly pulls down Quentin's eyelid, goes into his doctor bit.
|
And that when today's quote -
Page 23/Scene 59 - Alex: 'Blood-shot eyes. Unsuitable pallor.'
- comes up.
And when it comes to what's different in the dialogue, Alex actually says "Hey... Blood-shot eyes. Unsuitable pallor."
And as far as the differences in the descriptions and directions go, Quentin doesn't shake his head trying to laugh it off or otherwise - and Alex doesn't kiddingly pull down Quentin's eyelid because he simply leans closer sounding a bit like a doctor, and about all he does to Quentin is partly, as can just barely be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1006NoDS_0.jpg)
- is touch Quentin's shoulder, and then he briefly touches Quentin's face when comments on its "pallor".
And the differences between DC's and Grayson's scripts have already been dealt with.
-
God, as the years go by, I'm finding John Karlen to be sexier and sexier in this movie...
-
[pointing-up] Must be the hair. [easter_cheesy]
-
And wrapping up Scene 59:
59 CONTD (2) (2) CONTD 59
|
Page 24/Scene 59 - Quentin: 'I didn't sleep well last night. It's a funny thing about this place. I keep imagining things...'
comes up, followed in the script by:
ALEX
What do you mean imagining things?
QUENTIN
(hesitates for a moment)
Oh, it's nothing. Forget it.
ALEX
(laughing)
No -- man.
(joking)
Maybe I can use it. You know,
we're starting a new gothic ...
QUENTIN
Oh, yeah. That reminds me ...
we've got a library over there
that's got to be loaded with
material. Be my guest.
As Claire ENTERS with a tray of sandwiches.
|
End of scene.
And as far as the differences in the dialogue go, as the first part of his first line here Quentin actually says "Well, Doc, I didn't sleep well last night" - and as his second bit of dialogue, Quentin actually says "Nothing. Forget it" - and Alex actually replies to that with "No -- man. Maybe I can use it. Claire and I are starting a new gothic novel", with no laughing and not actually joking - and the "Oh, yeah" is dropped from Quentin's third bit of dialogue, and he actually says "That reminds me ... I've got a library over there that's got to be full of material. Be my guest" - and to that Alex replies with an unscripted "I'd appreciate that" - and after Quentin makes room on the coffee table for the returning Claire's tray of sandwiches, she replies with an unscripted "Thank you.".
And when it comes to the differences in the descriptions and directions, Quentin actually laughs after Alex comments on his bloodshot eyes and unsuitable pallor and before he delivers his version of today's quote - and though Quentin does indeed hesitate before he tells Alex to forget his comment about imaging things, he also smiles to further discourage Alex - and after Alex says he appreciates access to the library, he slaps Quentin on the arm - and as I already mentioned, Quentin clears room on the coffee table when Claire returns.
And when we get to the next scene, there are all sorts of notations in Grayson's script that we'll deal with next time...
-
[pointing-up] Must be the hair. [easter_cheesy]
HA! I wasn't even noticing his hair! Yeah, that needs a little attention with a comb...
-
his hair! Yeah, that needs a little attention with a comb...
It's the tousled bedhead hair look. [naughty]
-
Today's photo makes me inclined to think that Quentin is hoping Carlotta will "help" him with more than just "finding a good room." LOL!
Selby and Grayson always had such great chem together. I was going through some old files last week and found some notes about how much he adored her IRL.
G.
-
Today's photo makes me inclined to think that Quentin is hoping Carlotta will "help" him with more than just "finding a good room." LOL!
Yes, today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1008NoDS_0.jpg)
is very different from the one I used back in '09 -
(http://www.dsboards.com/moviesquoteimages/0805NoDS_0.jpg)
- for the original Movies Quote Slideshow. [easter_cheesy]
-
Setting up and wrapping the current scene as it appears in DC's script - but just beginning the current sequence, which doesn't play in the script the way it is in the film:
OFFICE
60 INT - FOYER - DAY 60
As Quentin ENTERS he sees Carlotta coming from the
direction of the kitchen.
|
And that's when yesterday's quote -
Page 24/Scene 60 - Quentin: 'Oh, Carlotta, I'm going to start work today. Could you suggest a good room?'
- comes up, followed by today's quote -
Page 24/Scene 60 - Carlotta: 'Oh, yes, sir. I know just the place.'
- coming up, followed in the script by:
They start down the hall.
|
End of scene.
And as far as the differences in the dialogue go, the "Oh" in Quentin's "Oh, Carlotta" is dropped in favor of him simply saying "Carlotta" - and the "Oh, yes, sir" from Carlotta is dropped in favor of her smiling and simply saying "Yes."
And when it comes to the differences in the descriptions and directions, as we can see above, DC crossed out FOYER as the setting for Scene 60 and decided it would take place in the office (Grayson's script still has it set in the foyer) - however, even though the setting was changed, DC's script, like Grayson's unchanged script, has the original directions, which are not at all how things play in the film because, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0308ds91_a.jpg)
- the scene begins with Carlotta doing work at the desk in the office, whereupon she in interrupted by a knock, and when she turns around to see who it is, as can be seen in yesterday's capture posted in the above post, it's Quentin. But from there things play out pretty much as scripted because the dialogue is similar, and after Carlotta tells Quentin she has a place in mind, she gets up, joins Quentin, and they head off down the hall.
And as for the notations in Grayson's script, some (like how she planned to have Carlotta carrying a fresh vase full of flowers for Angelique) no longer apply because of how the setting for the scene was changed, but things like how Quentin would soon be entering Carlotta's world and how he would be making one more step toward recognition do still apply.
And when it comes to the open folder on the desk -
(http://www.dsboards.com/NoDSquoteimages/0308ds91_b.jpg)
- it almost looks like it could be Grayson's script. And it would be funny if they used it as a prop in Carlotta's work. But who knows?
And when it comes to the next scene in the sequence, the setting will again be changed in DC's script and things will be dropped. But more on that as that scene unfolds...
-
And setting up and wrapping the current scene as it appears in DC's script:
LOWER
61 INT - STAIRWAY TO TOWER ROOM - DAY 61
Through the door
Carlotta leads Quentin up the stairs. He is
carrying his equipment. Pan enter the room and
start toward the other stairs
CARLOTTA
I'm sure you'll find it perfect.
61 CONTD CONTD 61
They are at the door. She takes out her keys.
QUENTIN
Wait ...
Carlotta looks at him.
|
And that's when today's first quote -
Page 25/Scene 61 - Quentin: 'I have the strangest feeling I've been here before.'
- comes up, followed by today's second quote -
Page 25/Scene 61 - Carlotta: 'How could you have been, Mr. Collins?'
- coming up, followed by today's third quote -
Page 25/Scene 61 - Quentin: 'I couldn't have.'
- coming up, followed in the script by:
She looks at him, then opens the door.
|
End of scene.
And as far as the differences in the dialogue go, Carlotta's "I'm sure you'll find it perfect" is dropped from the scene and, in fact, Grayson's script has a line drawn through that section - and Quentin actually says "Wait a minute ..." instead of simply Wait ..." - and then he actually follows that by saying "I've got the strangest feeling I've been here before" - to which Carlotta actually replies with "How could you have been?", dropping the "Mr. Collins".
And when it comes to the differences in the descriptions and directions, as we can see above, DC crossed out STAIRWAY TO as the setting for Scene 61 and decided it would take place in the LOWER TOWER ROOM (Grayson's script still has it set in the stairway) - and along with the setting change, as can also be seen above, DC added some more directions to the opening of the scene (though Carlotta doesn't lead Quentin through any door, nor is anything shot through a doorway, so when it comes to that, who knows?), but like Grayson's unchanged script, it still has the original directions, which are not quite how things play in the film because, as can be seen in today's first capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1010NoDS_0.jpg)
- Carlotta starts up the stairs but Quentin does not because he stops short of them when he has the feeling he's been there before - and as can be seen in today's second capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1010NoDS_1.jpg)
- (I love how) Carlotta fondles the key to the tower room as with but a small smile she asks how Quentin could have been there - and as can be seen in today's third capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1010NoDS_2.jpg)
- Quentin replies with a big grin that he couldn't have - and we don't see Carlotta open the door to the tower room.
And it probably won't come as a surprise that when it comes to the next scene in the sequence, once again Grayson's script has some notations that we'll get into at the appropriate time...
And two last points: backing up to the beginning of the scene as scripted, Carlotta's dropped line -
(http://www.dsboards.com/moviesquoteimages/0806NoDS_0.jpg)
NoDS: Scene #61 - Carlotta: 'I'm sure you'll find it perfect.
- from this scene was the August 6th's installment in the original Movies Slideshow - and I can't go without saying that I absolutely love the look of delight on Carlotta's face -
(http://www.dsboards.com/NoDSquoteimages/0309ds91_a.jpg)
- as she starts to ascend the stairs to the tower room - though, of course, first time viewers of the film have absolutely no idea why that is - but back in '71 I do honestly remember asking myself why. Little did I know what was about to come up (especially in the R rated 97 minute version of the film, which I was lucky enough to see several times) that would throw some hints, yet bring up even more questions. However, that tower room scene with Charles, Angelique, etc. doesn't come until much later in the script...
-
God, Grayson was fab. And Carlotta was one of her best performances. I'm sure anyone following along at home will be absolutely FLOORED to learn that for this viewer, Carlotta WAS the star of the picture. Though Selby made for some delicious eye candy.
And what a hoot about Grayson's script showing up as a prop! That happened on the series a few times.
G.
-
And setting up Scene 62:
62 INT - TOWER ROOM - DAY
as they ENTER RUCK IN ON Quentin. As he looks
around, Carlotta watches him carefully.
CARLOTTA
Well, does it still seem familiar?
QUENTIN - CLOSE-UP
His feeling is still the same, but now he doesn't
want to admit it.
QUENTIN
(hesitant)
No ...
She continues to watch him carefully. He looks
very concerned.
|
And that's when today's quote -
Page 25/Scene 62 - Carlotta: 'I wouldn't worry about it, Mr. Collins. There is always a logical explanation for feelings like this. Will the room do?'
- comes up.
And as far as what's different with the dialogue, Carlotta actually asks "Does it still seem so familiar?" - and after Quentin apparently lies and says that it doesn't, Carlotta actually says "I wouldn't worry about it if I were you, Mr. Collins. There's usually some logical explanation for these feelings." (And when it comes to that second bit of dialogue from Carlotta, Grayson's script actually has a notation for the word "these" to be inserted between the words "for" and "feelings", and she also crossed out the words "like this" - but as we can see she also made further changes when it came time to shoot the scene.)
And when it comes to the differences in the descriptions and directions, the camera doesn't actually move in on Quentin when he enters the tower room, though, as can be seen in the following portion of a capture -
(http://www.dsboards.com/NoDSquoteimages/0310ds91_a.jpg)
- Carlotta certainly watches him intently (and I love how she does so) - and there is no close-up of Quentin as he's taking in his surroundings, though he does move more prominently to the foreground of the frame - but while Carlotta does continue to watch him carefully and at first he does appear concerned, he actually smiles as he moves closer to some things in the room to check them out.
-
God, Grayson was fab. And Carlotta was one of her best performances.
You won't get an argument from me! [ghost_nowink] And I honestly think everyone in the film is quite good. It's just too bad that some (particularly like James Storm) had quite a bit of their stuff end up on the cutting room floor...
-
I agree, MB. I think this was an exceptionally well-acted film.
-
Wrapping up the current scene and dealing with the next. Let's pick things up in Scene 62 with yesterday's quote -
Page 25/Scene 62 - Quentin: 'Yes ... yes ... it's fine ... has it ever been used as a studio before?'
- coming up, followed in the script by:
And that's where today's quote -
Page 26/Scene 62 - Carlotta: 'Not in my time. If there's anything you want, I'll be downstairs.'
- comes up, followed in the script by:
He puts his paints down, starts to set up his easel.
63 INT - TOWER STAIRS 63
as Carlotta descends TOWARD CAMERA, she is happy.
|
End of scene/sequence.
And as far as the differences in the dialogue go, first Quentin actually says "Oh, yes ... yes ... it's fine ...", and then, rather than asking, Quentin actually states "It's been used as a studio before, hasn't it", and no doubt that's because, given the frames and sculptures and all the other art paraphernalia all around the room, it seems pretty obvious the room has been used as a studio before - and Carlotta actually responds with "Yes, I believe it has. ... Not in my time", with the whole "If there's anything you want, I'll be downstairs" dropped.
And when it comes to the differences in the descriptions and directions, as can be seen when comparing the 10th's and the 11th's captures -
(http://www.dsboards.com/NoDSAnniQuoteImages/1011NoDS_0.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/1012NoDS_0.jpg)
- Quentin turns to face Carlotta when he tells her the room is fine - and, as he states that the room has been used as a studio before, Quentin moves toward the middle of the room and out of frame, as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1013NoDS_0.jpg)
- which only features Carlotta - and we don't see Quentin put his paints down or start to set up his easel (he actually put his stuff down near the doorway when he first entered the room) - and Scene 63 doesn't appear in the film as it currently stands or, sadly enough, even in the recovered 129 minute version. [easter_sad]
And as for the notations in Grayson's script, with regard to Scene 62, even though in the film Carlotta actually says "Yes, I believe it has", there's a notation in Grayson script adding "Yes, I think so" in answer to the room having been used as a studio, but obviously it was changed when the time came to shoot the scene, and, for me anyway, "Yes, I believe it has" is far more preferable - and in reference to adding the line, there's a notation that Carlotta is trying to tell Quentin something - and there's also a notation that Carlotta believes Quentin has gotten a glimpse of the past - and when it comes to Scene 63, there's a notation that once again Carlotta has the vase of flowers (recall Grayson wanted Carlotta to be carrying the vase in the original version of Scene 60) - and with regard to Carlotta's happiness, there's a notation that Carlotta is feeling that she knew Quentin would come around and all is going according to plan.
And before we leave this section of the film, observant people might notice in a few of the captures that there might be something in the tower studio that plays a part in the daytime show's 1995 and Summer of 1970 storylines. I'm not sure if it's exactly the same prop (and I'm too lazy to check). But it looks an awful lot like it, and soon the forum's Watching Project will be getting to 1995, so soon enough we'll see if it's the same...
And when it comes to the next scene in the film as it currently stands, things jump all the way up to a slightly reworked version of Scene 84 - though that doesn't mean that all the scenes between Scene 62 and Scene 84 aren't in the currently available version of the film or the 129 minute version. But more on that as those scenes come up in the script...
-
Setting up the current scene:
64 INT - MASTER BEDROOM - NIGHT 64
Tracy and Quentin are getting ready for bed.
|
And that's when today's quote -
Page 26/Scene 64 - Quentin: 'I can't tell you how happy I am with that tower room. It's absolutely perfect.'
- comes up.
And as far as any differences in the dialogue, in the descriptions, or in the directions go, there's no way of knowing because Scene 64 doesn't appear in the film as it stands...
-
Those are fab captures! You're really making me want to see the movie again.
I was looking at the candles and reflecting that if this scene had been shot for the TV show, they would have come into a room like that, supposedly unused for many years, and found those candles lit and merrily burning.
It's implied of course that Gerard has been meeting Angelique's spirit and may have been doing so in the Tower room. You have to pay really close attention to figure that out in the film as we have it now.
G.
-
Wrapping up Scene 64 and picking up after Quentin's comments about how perfect the tower room is for his studio:
And that's when today's quote -
Page 26/Scene 64 - Tracy: 'I know it. We're going to have a long happy life here.'
- comes up, followed in the script by:
And as far as any differences in the dialogue, in the descriptions, or in the directions go, there's no way of knowing because Scene 64 doesn't appear in the film as it stands. And given that in DC's script he has what could actually be an X drawn through the scene (it's drawn strangely), it could even be that the scene was never shot. And if that is the case, I can sort of see why because back in Scene 62 Quentin has already made it clear that he loves the tower room, and back in Scene 40 Tracy has already said that she thinks they'll be happy at Collinwood, so Scene 64 could appear to be redundant. However, there are fans who've often remarked that they would have liked to have seen more happy moments between Quentin and Tracy before everything begins to fall apart. In fact, the DS Companion book references an upcoming scene in that regard (and at least that scene is in the 129 minute version of the film) - but more on that once we come to it...
All that being said, though - and potentially contrary to my notation at the bottom of the graphic for yesterday and today - I do have a publicity still that *might* be from Scene 64. To me, it's often looked more like Quentin is attacking Tracy (and I could never quite figure out where it could fit into the film because in the script there's no scene in their bedroom where he attacks her when they're dressed for bed) - but I do suppose that it could also be interpreted as a somewhat odd pose of the two of them in mid-embrace. Judge for yourself:
(http://www.dsboards.com/NoDSquoteimages/IsThisScene64.jpg)
-
That still could definitely be interpreted either way. The expression on Selby's face is somewhat ambiguous and we really can't get an accurate read on Kate.
-
And setting up the next two scenes:
DISSOLVE TO:
65 INT - BEDROOM - NIGHT 65
It is later. They are sound asleep. Through the
window the light in the tower starts to glow.
TRUCK IN ON Quentin. He finally opens his eyes,
quietly rises, and EXITS the room. Cut before he exits
66 INT - BEDROOM - MORNING 66
They are both in bed. Quentin is sound asleep.
She is wide awake. The alarm clock says 10:30.
Finally, she can't stand it anymore and quietly
starts to get out of bed.
QUENTIN (O.S.)
Hey! Where you going?
TRACY
I couldn't stay in bed any longer.
He stretches and yawns.
Why are yo so tired?.
(Revised 3/31/71)
66 CONTD CONTD 66
|
And that's when today's first quote -
Page 27/Scene 66 - Quentin: 'I didn't sleep too well.'
- comes up, followed by today's second quote -
Page 27/Scene 66 - Tracy: 'I've never slept like this before. Now get up.'
- coming up, followed by the script explaining:
She hugs him and starts getting dressed. TRUCK IN
ON his face. He tries to remember what happened last
night.
|
And as far as what's different with the dialogue, the descriptions, and the directions beyond what has already been indicated above, DC's script also has a notation crossing out Tracy's "Why are you so tired?" and replacing it with "I thought you'd never wake", however, because Scene 66 doesn't appear in any version of the film, we have no way of knowing how things may have actually played. On the other hand, while Scene 65 doesn't appear in the film as it stands, it does appear in the 129 minute version...
And as a final note, the final descriptions and directions for Scene 66 are as they appear in DC's script - Grayson's script has an additional line because, as I alluded to before, Scene 67 is a completely different scene in Grayson's script than it is in DC's script and in the film, as is Scene 68 - but we'll get into all that after we've dealt with Scene 68 as it appears in DC's script...
-
Two scenes that come up in DC's script before the scene that features tomorrow's quote:
CUT TO:
66A INT. FIRST FLOOR CORRIDOR - DAY 66A
Quentin, carrying a picnic hamper, moves down the
corridor. When he reaches the foyer, he hears the
SOUND OF QUENTIN'S THEME, played on a piano, seemingly
from the drawing room. Puzzled, he opens the door.
The music stops.
67 INT. DRAWING ROOM - DAY 67
Quentin enters the room, staring at the empty piano.
He walks towards it, mystified, but positive he heard
it's sound. Then he hears the theme again - this time
from the other side of the room. He turns.
|
And as far as what's different with the descriptions and directions, we have no way of knowing at this point because these two scenes don't appear in the film as it stands - though they do appear in the 129 minute version...
(And, yes, "it's" is spelled incorrectly in the script.)
-
Oh wow, the piano scene starts today. Fab. "Laura my darling, you need to SIT THE F&&& DOWN, beey*tch." LOL
I've given up hope of ever seeing this and the séance scene restored. I am glad Darren was able to salvage the lost elements even if the rights owners don't allow the rest of us to enjoy the material.
G.
-
Yes, as we'll see during the coming days, the dialogue is amazingly catty - it's the best thing about the scene. Charles and especially Angelique pull no punches when it comes to showing their disdain for Laura. I love it - and it's a terrible shame that the scene had to be sacrificed to the mandated cuts...
-
And now Scene 67A (the piano scene, which we'll be featuring up though the 22nd):
67A. INT. DRAWING ROOM - 1810 - DAY - QUENTIN'S P.O.V. 67A
The piano is now on the other side of the room.
Angelique sits at the piano PLAYING QUENTIN'S THEME.
CAMERA BEGINS A SLOW TRUCK IN as a man enters the shot
right. PAN UP to CHARLES COLLINS, who, except for a
scar on his face and a limp when he walks, looks amazingly
like Quentin.
|
And that's when today's quote -
Page 27/Scene 67A - Angelique: 'When I'm not with you...this is my way of feeling you near...I sit alone...and play this song...I see your smile.'
- comes up.
And as far as what's different with the dialogue, the descriptions, and the directions, we have no way of knowing at this point because this scene also doesn't appear in the film as it stands - though it does appear in the 129 minute version...
-
Continuing with Scene 67A:
They kiss. Her playing falters, then stops, as the kiss
grows in intensity. Suddenly, the door opens, Laura stands
there. She looks as if she has finally seen something
she has tried not to think of before...but something that
has been in some part of her mind. Quentin sees her, ends
the embrace with a smile. He nods, turns toward Laura.
Angelique sees her.
|
And that's when today's first quote -
Page 27/Scene 67A - Charles: 'Did you enjoy watching us, my dearest wife?'
- comes up, followed by the script continuing with:
(Revised 3/31/71)
67A CONTD CONTD 67A
|
And that's when today's second quote -
Page 28/Scene 67A - Angelique: 'She must have...she didn't leave...'
- comes up.
And as far as what's different with the dialogue, the descriptions, and the directions, we have no way of knowing at this point because this scene doesn't appear in the film as it stands - however, DC's script has a notation added to Charles' line that indicates he would turn toward Laura after he says "Did you enjoy watching us" and before he says "my dearest wife?"
It's also worth noting that so far as the script goes, this would have been the first time the audience sees Charles because the horse trampling of Strack and Charles' embracing of Angelique outside the cemetery, which, as far as the film stands, are parts of Quentin's dream on his first night at Collinwood, don't actually come up in the script until Scenes 145 & 146...
-
and since this scene was cut in its entirety, one thing the audience as it stands never comprehends is why the sound of fragmentary piano music keeps happening whenever Quentin starts to experience one of his mysterious flashback episodes.
G.
-
Yes, way too many of the scenes that explained so many things got cut so that, as the film stands, several things just go right over viewers' heads or possibly even causes some to draw wrong conclusions...
-
Wrapping up Scene 67A, beginning with Friday's quote -
Scene 67A - Laura: 'How...how incredible you are...the two of you...what you do...in this house...'
- coming up, followed by Saturday's first quote -
Page 28/Scene 67A - Charles: 'In front of the family.'
- coming up, followed by Saturday's second quote -
Page 28/Scene 67A - Angelique: (laughing) 'Who knows who sees us...think of the servants...'
- coming up, followed by Sunday's quote -
Page 28/Scene 67A - Laura: 'You are a witch! Charles, can't you see? Are you so mesmerized that you don't even know what's happening to you?'
- coming up, followed by today's quote -
Page 28/Scene 67A - Angelique: 'Oh, he knows what's happening, Laura my darling, and for the first time in his life he's really enjoying it.'
- coming up.
End of scene.
And as far as what's different with the dialogue, the descriptions, and the directions, we have no way of knowing at this point because this scene also doesn't appear in the film as it stands - though it surely has to be one of the highlights of the 129 minute version. However, in DC's script it looks like he added a notation that before Charles throws back in Laura's face that he and Angelique do things in front of the family, Charles would cross to the front of the piano - but then it also looks like DC may have changed his mind about that because it almost looks like he started to erase the notation. Or maybe he just had a dull pencil. [easter_wink]
And as I mentioned the other day, I'm going to hold off getting into how things are very different in Grayson's script until after we deal with Scene 68 in DC's script...
-
A great scene. Ange's line to Laura is really quite a put-down.
G.
-
Besides illuminating why Quentin's Theme pops up in the film, it definitely explains why Laura finds it so hysterically funny when Strack describes Angelique as Laura's "loyal and loving sister-in-law, and it gives Laura the motivation to want to see Angelique condemned as a witch, which, as the film stands, we simply accept on face value.
-
And setting up DC's script's version of Scene 68:
FLASH CUT TO:
68 INT. DRAWING ROOM - DAY - 1971 68
Tracy stands in the doorway She looks at Quentin.
|
And that's when today's quote -
Page 28/Scene 68 - Tracy (O.S.): 'Darling, are you all right?'
- comes up.
And as far as what's different with the dialogue, the descriptions, and the directions, we have no way of knowing for sure at this point because this scene also doesn't appear in the film as it stands - though it does appear in the 129 minute version - but DC's script has a notation that the scene would actually start on a close-up of Quentin and we would hear Tracy's voice off screen. And DC is actually the one who added the "(O.S.)" next to Tracy's name when it comes to today's quote.
-
And wrapping up DC's script's version of Scene 68, beginning with today's quote -
Page 28/Scene 68 - Quentin: 'Yes. Of course. Why wouldn't I be? I was just waiting for you.'
- coming up, followed by the script continuing with:
TRACY
I'm ready. Come on. It's a beautiful
day.
|
End of scene.
And as far as what's different with the dialogue, the descriptions, and the directions, as has already been said, we have no way of knowing for sure at this point - but DC's script has more notations. He indicates that Quentin would turn to Tracy after she asks if he's all right, and the camera would pan Quentin to a two shot.
And now that we've finished with Scene 68, shortly I'll be explaining how things play in Grayson's version of the script...
-
As I mentioned back in reply #103, DC's script drops the last directions/descriptions line from Scene 66 (which as one will recall deals with Tracy and Quentin waking up), so we're going to pick up things in Grayson's script with that entire last paragraph:
She hugs him and starts getting dressed. TRUCK IN
ON his face. As he tries to remember what happened
last night, his eyes get that faraway look.
CUT TO:
67 INT - MASTER BEDROOM - 1800 - NIGHT 67
SUBCONSCIOUS MEMORY CUT
A gray-haired man, CHARLES COLLINS, stands at the
window, his back to CAMERA. He is dressed in
period costume. If we see him walking, he limps.
Suddenly, the door flies open as GABRIEL, Charles'
brother storms in.
CHARLES
Have I no privacy, brother?
GABRIEL
It's for the last time, Charles.
Charles turns to him and we see his face. He has
a strong resemblance to Quentin, except for the
gray hair and a long scar on his cheek.
CHARLES
Would that it were. I'm sick
of your weak face.
GABRIEL
You've been with her, haven't
you? In that damn tower. You
still see her.
CHARLES
What's wrong with you, brother?
Don't you remember? Your wife
is dead.
GABRIEL
She still comes to you -- I
know it.
(then with deadly calm)
All right, if you want her so
much, you will have her...
67 CONTD CONTD 67
He starts toward CAMERA.
CUT TO:
68 INT - MASTER BEDROOM - 1971 - DAY - NORMAL COLOR 68
QUENTIN - CLOSE-UP
His face introspective, bewildered.
TRACY (O.S.)
Why are you just sitting there
staring at nothing?
WIDEN to include her.
QUENTIN
Oh...just remembering a dream, I
guess. A nightmare I never even
knew I had.
TRACY
Imagine not having to run to the
kitchen and make my own coffee.
Now get up.
She EXITS as CAMERA TRUCKS IN to his CLOSE-UP.
|
And as I alluded to back in reply #41, what's interesting about Grayson's script's version of Scene 67 is that in DC's script it's been reworked as Scene 101. And, of course, in the film as it currently stands, Scene 101 doesn't even appear where it's scripted because, when the cuts were mandated, Scene 101, along with several other scenes following it, were moved to be parts of Quentin's dream on his first night at Collinwood and its aftermath. But more on that once we reach that part of the script.
And, yes, for Scene 67 Grayson's script does say "1800" rather than "1810", but no doubt it's just a typo...
And how interesting is it that the original idea was for Charles to be gray-haired...
-
That's a rather odd choice for Charles. Selby looks fine with grey hair now but I don't know if it would have worked as well in 1971.
-
Yes, the gray hair was a surprise to me, too. (Although I guess it shouldn't have been--I've read the script twice before, albeit many years ago...) So apparently Charles was intended to be rather older than Quentin during the time frames in the story?
-
Today's scene:
CUT TO:
(Revised 3/31/71)
69 EXT - GREENHOUSE - DAY 69
Quentin and Tracy are sitting on a blanket. Their
two horses graze nearby. Picnic things are in
evidence. Quentin is busily sketching Tracy when
she finally gets up.
|
And that's when today's quote -
Page 28A/Scene 69 - Tracy: 'Come on. I don't care if it is dangerous. I want to look inside.'
- comes up, followed by the script continuing with:
Quentin AD LIBS OK and, getting up, takes her hand
as they cross to the greenhouse.
|
And as far as what's different with the dialogue, the descriptions, and the directions, we have no way of knowing at this point because this scene doesn't appear in the film as it stands - though it does appear in the 129 minute version. And this time around there are no notations in DC's script.
It's also worth noting that even though the page says this is part of the 3/31 rewrite, it isn't. Scene 69 as well as Scene 70 appear exactly as they were written in Grayson's earlier version of the script. It's just that because so much new material was added to DC's script that Scenes 69 & 70 extended onto page 28A, whereas in Grayson's script they're on page 28.
(And as an aside, here's a rarely seen still (http://www.dsboards.com/NoDSquoteimages/KJ_DS_DC.jpg) of DC directing Scene 69. Love Selby just lying there eating an apple! :) (And on page 34 of the 30th Anniversary Tribute version of the DS Almanac there's also another still of DC directing this scene))
-
And today's scene:
70 INT - GREENHOUSE - DAY 70
as they walk around looking it over. TRUCK WITH
THEM and then let them EXIT SHOT. HOLD FOR a
moment until in the distance, seen through the
distortion of the greenhouse glass, the figure of
a girl in a long period dress stands watching them.
70 CONTD CONTD 70
|
And that's when today's quote -
Page 29/Scene 70 - Quentin (O.S.): (putting on airs, kidding) 'I'm getting bored. Shall we have drinks on the veranda?'
- comes up.
And as far as what's different with the dialogue, the descriptions, and the directions, you know the story already, so no need to repeat it again - though Scene 70 does appear in the 129 minute version. And there are no notations in DC's script for this scene.
It's also worth noting that this picnic sequence is what's referred to in the DS Companion as something they wished had been in the film as it was released so as to show scenes of Quentin and Tracy being happy. But alas...
(And as an aside, I'll be sharing another candid shot from the day Scenes 69 & 70 were shot - but because it also relates to upcoming stuff that begins with Scene 107, I'm going to hold off until after that scene comes up in the script...)
-
Wrapping up Scene 70 and moving beyond it, beginning with today's quote -
Page 29/Scene 70 - Tracy (O.S.): (joyfully laughing) 'Oh! I can't stand it! What a way to live!'
- coming up, followed by the script continuing with:
DISSOLVE TO:
71 EXT - FIELD - DAY 71
It's another day and Quentin and Tracy ride their
horses joyously through the beautiful countryside.
DISSOLVE TO:
71A EXT - RAILROAD FOOTBRIDGE - DAY 71A
as they stroll hand-in-hand with the river in the B.G.
72 EXT - FRONT OF COLLINWOOD - NIGHT 72
It is very late. The house is in darkness.
Slowly the light in the Tower Room begins to
shine.
|
End of scene.
And as far as what's different with the dialogue, the descriptions, and the directions, again, you know the story already, so no need to repeat it again - though apparently Scenes 71, 71A and 72 do appear in the 129 minute version. And while there are no notations in DC's script for those scene, it could be the case that a line of dialogue that was scripted for Scene 135 was moved to Scene 71A - but I'll hold off on why that may be once we reach Scene 135 in the script...
And I've often wondered what the significance of Scene 72 is meant to be - though one could certainly presume that it's there to signify that even though Quentin and Tracy are spending a great deal of quality time together by day, Quentin is still unknowingly being drawn to the Tower Room by night. Though at this point it's still a mystery as to what may actually be going on in the Tower Room when Quentin is drawn there...
-
Is there any indication as to who the young girl in the period gown is? Is it Angelique? Sarah? Or someone else?
-
Unfortunately, no. But using some deduction from other scenes, I've presumed it has to be Angelique. Sarah was pretty much eliminated because[spoiler]her spirit is in Carlotta, and the only time we know for sure that Sarah and Carlotta are confused in the film is when Quentin is involved, as he, being Charles' reincarnation, is connected to both time periods. If Quentin had seen her, then there might have been a chance that it's actually Carlotta who's spying on them but Quentin perceives her as Sarah. But in Scene 70 Quentin doesn't actually see the person watching him and Tracy because it's only the audience who does. And add to that that there are numerous stills of Angelique posing around the greenhouse. Sure, Angelique does show up there in a future scene involving Alex - but to my knowledge there aren't any types of stills of Sarah or Monica Rich at that location. But the biggest clue in the script comes from that upcoming scene with Alex because we know for sure it's Angelique who appears in it, and in the scene in question the script also describes her as "a girl in a long period dress".[/spoiler]
Of course, when we actually get to see the completed 129 minute version (I haven't given up hope), we'll know for sure who it is. But given what can be deduced, I'm pretty certain it's Angelique in Scene 70. And that's why I created the graphic that I did for yesterday and today...
-
Curiouser and curiouser.
Over the years, I've heard stories that DC cut a lot of the Sarah Castle scenes because he wasn't happy with Monica Rich's performance. The script that Pomegranate Press published didn't have any extra Sarah bits that I recall. Are there some coming up? Or am I jumping the gun? Or the shark?
-
When it comes to Sarah/Monica Rich, apparently there was stuff cut from Angelique's funeral, and there are other moments and entire scenes coming up...
I've read the same things concerning DC's opinion of her acting, so perhaps it's not a surprise that NoDS is her only film credit (though I've always thought she was fine in what we've seen of her performance in the film - and it's not likely that we'll ever see what was cut because I'm pretty sure none of it is even in the 129 minute version). But then, she hasn't exactly been languishing in obscurity since then, now has she? She obviously found her true calling.
-
Starting off Scene 73:
DISSOLVE TO:
73 EXT - FRONT OF COLLINWOOD - DAY 73
Tracy and Claire are in Claire's car. They are
about to pull away as Quentin comes out of the house
and crosses to them.
QUENTIN
Hey -- where you going?
|
And that's when today's quote -
Page 29/Scene 73 - Claire: 'We're going to town. It's about time I showed her the shops.'
- comes up.
And as far as what's different with the dialogue, the descriptions, and the directions, again, you know the story already, so no need to repeat it. And no notations or crossing out in DC's script to indicate Scene 73 wouldn't be shot. And to be truthful, I'm not 100% certain the scene wasn't shot. I'm mostly basing that on the fact that none of the upcoming scenes involving Tracy and Claire's shopping spree were shot, and none of those scenes are crossed out either, yet we know for certain that they weren't shot. So, if all those scenes were never shot, why shoot the scene setting them up? Unfortunately though, and in an effort of full disclosure, unlike those upcoming scenes, I've never come across anything that specifically says Scene 73 was never shot. But while we know it's not in the 94 and 97 minute versions of the film, it's also not on Darren Gross' list of the "lost" scenes that were shot but not included in the 129 minute version. (And sadly, the next one of those will be coming up as Scene 87, which might seem like it should be a really long way off in the slideshow, but as we'll soon see, Tuesday's quote will already be jumping up to Scene 79 because there are so many soon to come up scenes without dialogue...)
-
Wrapping up Scene 73:
And that's when today's quote -
Page 29/Scene 73 - Quentin: 'I've got to start doing some work. Do you realize we've been here over a week now?'
- comes up, followed by the script continuing with:
73 CONTD CONTD 73
TRACY
Can I help it if you sleep away
the day? OK. Do good work --
I'll see you later.
She pecks him on the cheek as they drive off.
|
And as far as what's different with the dialogue, the descriptions, and the directions, again, you know the story already, so no need to repeat it. Though the reference to Quentin sleeping away the day would seem to confirm that he's still being drawn to the Tower Room and that was indeed the significance of Scene 72. And it's interesting that Scene 73 would have let us know that over a week has passed since Quentin and Tracy arrived at Collinwood.
-
Dealing with the scenes leading up to and starting off with DC's script's version of Scene 79 (yes, Scenes 79 & 80 are more instances where scenes are somewhat different in DC's and Grayson's scripts):
74 EXT - BACK OF COLLINWOOD - DAY 74
Quentin ENTERS THE SHOT and stands under the tree where
he saw the hanging figure. Still unable to understand
what is happening, he shakes his head and turns toward
the house. All of a sudden he notices something O.S.
75 EXT - SECOND FLOOR WINDOW - SARAH'S ROOM - 1800 - HIS 75
P.O.V. -
SUBCONSCIOUS MEMORY CUT
FAST ZOOM to the face of Sarah, a little girl of about
ten. She is staring out the window, down at him. Then
looking away from him, she stares over his head as if
at something in the tree. Suddenly she SCREAMS with
horror.
76 EXT - COLLINWOOD - 1971 - DAY - NORMAL COLOR 76
Quentin, as he quickly looks at the tree.
77 TREE - QUENTIN'S P.O.V. - 1800 77
SUBCONSCIOUS MEMORY CUT
The hanging figure is there again.
78 EXT - COLLINWOOD - 1971 - DAY - NORMAL COLOR 78
Quentin quickly looks back at the window. WHIP PAN
with his look. It is empty.
79 INT - UPSTAIRS CORRIDOR - DAY 79
as Quentin runs TOWARD CAMERA and pulls open a door to
one of the bedrooms.
|
And that's when today's quote -
Page 30/Scene 79 - Carlotta (O.S.): 'Did you wish something, Mr Collins?'
- comes up - however, in DC's script it's seen as:
Oh Mr Collins you startled me
CARLOTTA (O.S.)
Did you wish something, Mr Collins?
I was just straightening up the room
|
And when it comes to what's different with the dialogue, DC's changes are indeed what Carlotta actually says in Scene 79. Though what's interesting is that the changes aren't written in when it comes to Grayson's script. She simply has two notations: one that says "Busy in the room" and another that says "He's not ready yet -"
And when it comes to what's different with the descriptions and directions, in Scene 74 Quentin doesn't actually shake his head because he's unable to understand what is happening because something actually comes over him as the sound of wind begins to be heard and Quentin immediately turns to look at the window - and in Scene 75 there is no zoom to the face of Sarah in the window, nor is she seen staring down at Quentin, nor does she look away from him to something over his head as if at something in the tree because we immediately see a shot of Sarah screaming in the window as she stands there holding a doll (which, when we get to Scene 80, we'll learn that the doll was originally supposed to be something else) - and in Scene 78 there is no whip pan with Quentin's look back at the window because he simply looks back and then we see that the window is empty - and when it comes to Scene 79, Quentin doesn't run toward the camera or pull open a door to one of the bedrooms because as we can see in the following captures -
(http://www.dsboards.com/NoDSquoteimages/0329ds91_a.jpg)
- Quentin is actually seen running up the stairs -
(http://www.dsboards.com/NoDSquoteimages/0329ds91_b.jpg)
- as the camera pans with him as he makes his way to the bedroom -
(http://www.dsboards.com/NoDSquoteimages/0329ds91_c.jpg)
- and once inside the bedroom he picks up a doll that has somehow fallen to the floor, the same doll that Sarah was holding.
And, yes, once again 1810 is wrongly written as "1800" in the script.
And it's also worth noting that this is the only sequence in the script that isn't actually passed over when the film as it stands now jumps from Scene 62 to Scene 84 - it (including Scene 80) simply appears right after the sequence that begins with Scene 84 and runs through Scene 86...
-
And the start of Scene 80 as it appears in DC's script:
80 INT - SARAH'S ROOM 80
It is obviously a child's room. Carlotta stands on
the other side of the four poster bed. She is
straightening the stuffed animals that are propped
there.
80 CONTD CONTD 80
|
And that's when today's quote -
Page 30A/Scene 80 - Quentin: 'I saw a little girl in that window.'
- comes up.
And when it comes to the difference in the dialogue, Quentin actually says "I saw a little girl standing here by the window."
And when it comes to what's different with the descriptions and directions, we don't see Carlotta straightening any stuffed animals because what actually happens is that after he's picked up the doll, Quentin walks over to Carlotta, who's on the other side of the fourposter bed, as described in the script, and she takes the doll from him before he tells her about seeing the little girl. Also, as we saw in the last capture in yesterday's post, the bed has several dolls strewn across it.
And as we saw with the description of Scene 75 and now with Scene 80, the script leaves little doubt that this second floor room was indeed Sarah's. Perhaps she enjoyed special status because she was so close to Angelique.
And there's already quite a bit that's different in DC's script from the way things are in Grayson's, but there's going to be so much more, so I'll get into all the differences after we deal with all of Scene 80 as it appears in DC's script...
-
A bit more of Scene 80, beginning with Carlotta's reply to Quentin's claim to having seen a little girl in the window:
CARLOTTA
Little girl?
Quentin crosses to the window and looks out.
QUENTIN
I was outside --
CARLOTTA
I know.
|
And that's when today's quote -
Page 30A/Scene 80 - Carlotta: 'I saw you from the window.'
- comes up.
And when it comes to what's different with the dialogue, Carlotta actually questions with "A little girl?" - and Quentin actually replies with "Yes, I was outside --" - to which Carlotta begins to respond by saying "Yes, I know."
And when it comes to what's different with the descriptions and directions, while Quentin crosses out of frame toward the window, we don't actually see Quentin look out it because the camera remains on Carlotta and, as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1101NoDS_0.jpg)
- actually pushes in on a close-up of her as she looks at Quentin very closely.
And there are notations in both DC's and Grayson's scripts for this section:
DC writes that the camera will stay on Carlotta, which is obviously how it was shot - but he also writes that we will see Quentin's P.O.V. outside when he looks out the window, which is not how it was shot. The two notes would seem to contradict each other, so who knows?
And Grayson writes a notation along the top of the page of her script that Quentin is still something, but the rest gets cut off in the copy of the script that I have ([sad1]) - but she also writes that Carlotta will react with great tolerance to what Quentin is telling her.
-
That is a very cool shot of Grayson in that scene.
My theory about this scene, for what it is worth, is that Carlotta had actually been recalling her past life as Sarah Castle when Quentin saw Sarah's apparition briefly. And that the dolls were a kind of psychometric focus for this. Just as the locket Carlotta wore was another kind of focal point, though not one that was ever explained properly in the final cut of the film. (There's one scene, of course, that does explain it, but you have to pay really close attention and connect some dots to get this.)
G.
-
I have the same take on it as you do. And while I've held that opinion all along, the interesting thing is that as many times as I've watched NoDS, I've never noticed that there is actually some evidence, even in the film as it currently stands, that may indeed point to it. But I'll hold off getting into it all until later in the script. (And in my defense, what I'm referring to is something that could be easily missed. I only noticed it this time around because, with the slideshow, I'm repeatedly seeing scenes to pick out the captures. But as I often say with the regard to the original series, no matter how many times I watch it, I always somehow manage to catch something new with every viewing...)
-
What an interesting theory, Gothick!
This slideshow is so amazing--thank you, MB! It's making me want to watch the movie yet again. (And I am so glad that I have it on Blu-ray, which is really quite stunning. The photography and performances in this film are exceptional, and the Blu-ray really brings that out even more. Now, c'mon Warner Bros., greenlight the director's cut restoration ASAP!!!)
-
This slideshow is so amazing--thank you, MB!
Thank you, KMR. [ghost_smiley] But I can't take full credit for it because Midnite was very closely involved in the decision to do it, and every other month she picks out the quotes. In fact, April is her month, so everything you'll see this month will be inspired by her. [ghost_wink]
-
It's interesting that the quote from the script for today is:
Page 30A/Scene 80 - Quentin: 'But I didn't see you. I saw a child...holding a teddy bear...'
Though as we know, what Quentin actually says in the film is "But I didn't see you. I saw a child...holding a doll...", and that's exactly what we saw him see. Apparently at some point after the script was written, it was changed to a doll. And honestly I think that works out better for what I'm holding off on getting into until later on. But what's also interesting is that in Grayson's version of the script, originally there was no dialogue referencing Sarah as holding anything - and as we'll see when I post Grayson's version of Scene 80, the holding of a teddy bear is something that was added by hand. So, apparently, first Sarah wasn't necessarily holding anything, then it was a teddy bear, then finally it became a doll.
And as far as DC's script goes, he has a notation that Quentin would turn to Carlotta before he delivers today's quote, and that's exactly what he does before he delivers the reworked version of the quote. However, DC also had some other notation - but he erased it so well that it's hard to decipher what he'd originally written - but if one really does look closely, it seems to be an intent to have panned to a close-up of Carlotta after Quentin turned to her and then to have panned to his close-up. And with the exception of panning to Carlotta's close-up (which will be dealt with when we discuss tomorrow's quote), that's pretty close to how things play out, so who knows why DC erased it?
-
Wrapping up DC's script's version of Scene 80, beginning with Quentin's followup action to claiming to have seen girl holding a "teddy bear":
He looks around the room.
|
And that's when yesterday's quote -
Page 30A/Scene 80 - Carlotta: Yes, this is a little girl's room. It was Mrs. Stoddard's when she was a child. It must have been a trick of light.'
- comes up, followed by the script continuing with:
FLASH CUT - LITTLE GIRL IN THE WINDOW
as he remember's what he saw.
QUENTIN - CLOSE-UP
QUENTIN
Yes , it must have been.
Then not knowing what else to do
QUENTIN
Well I'd better get to work.
He EXITS toward the tower as she stands there watching
him go.
|
End of scene.
And when it comes to what's different with the dialogue, after mentioning the girl, Quentin actually asks "This was a child's room, wasn't it?" - to which Carlotta actually replies "Yes, it was. It was Mrs. Stoddard's when she was a little girl," and then there's a pause before she adds "It must have been a trick of the light."
And yes, there is an extra space in the script between "Yes" and the comma - and yes, there's no comma or period after "Well".
And when it comes to what's different with the descriptions and directions, Quentin doesn't actually look around the room - and interestingly enough, it's Carlotta who's in close-up when Quentin asks if the room was a child's room - but things return to a two shot when Carlotta answers that the room was once Mrs. Stoddard's - and as Carlotta finishes with that remark and as she offers that it must have been a trick of the light, the camera does indeed pan to Quentin as DC's erased notation once indicated that it would - and does Quentin really remember what he saw? - and DC also has a few other notations, like how Carlotta will be in close-up after Quentin recalls what he saw (and the way she looks at him, with a tilt of the head, seems to speak volumes), how Quentin will then be in close-up as he agrees it must have been a trick of the light (though in reality he's in more of a medium shot), and how as he exits the room, the camera would pan to Carlotta - however, we don't actually see Quentin exit the room in the direction of the tower because the camera doesn't actually pan from Quentin because it goes right to a close-up of Carlotta and we simply see Quentin's chest and left arm pass briefly in front of her face as she closely watches him leave.
And Grayson's script also has notations for this section of the scene, but I'll hold off getting into them until I post her script's version of Scene 80...
-
Does Carlotta's statement that the room belonged to Mrs. Stoddard years ago explain what Quentin saw in the window? I thought that it wasn't much of an explanation. I don't know if Quentin accepted the story. Maybe he just wanted out of the room at that point.
-
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?
-
Does Carlotta's statement that the room belonged to Mrs. Stoddard years ago explain what Quentin saw in the window? I thought that it wasn't much of an explanation. I don't know if Quentin accepted the story. Maybe he just wanted out of the room at that point.
Carlotta's explanation doesn't in any way explain away anything. I believe you're exactly right that Quentin doesn't question it and also goes with the trick of the light theory simply because he just wants out of the room without appearing more foolish - plus he certainly isn't going to admit to Carlotta that he thinks the things he's been seeing could somehow be real. [ghost_nowink] He has his good friend Alex for that - and as we know, he'll[spoiler]bring up the subject of his "crazy daydreams" when he's with Alex in an upcoming scene.[/spoiler]
-
Starting off the new sequence with Scene 81 and moving into Scene 82:
CUT TO:
81 EXT - TARRYTOWN STREET - DAY 81
Claire, driving along the street.
|
And that's when yesterday's first quote -
Page 30A/Scene 81 - Claire: 'So everything is perfect?'
- comes up, followed by the script continuing with:
And that's when yesterday's second quote -
Page 31/Scene 81 - Tracy: (tentatively) 'Yes.'
- comes up, followed by the script explaining:
And that's when yesterday's third quote -
Page 31/Scene 81 - Claire: 'It isn't perfect?'
- comes up, followed by the script continuing with:
81 CONTD CONTD 81
TRACY
Well, it is but I'm a little
concerned about Quentin. I don't
think he's getting a lot of work
done.
CLAIRE
What's he doing?
CUT TO:
82 EXT - TARRYTOWN STREET - DAY 82
as they walk along looking in the windows.
|
And that's when today's quote -
Page 32/Scene 82 - Tracy: 'It's not that he doesn't try. He goes to his tower every day but not much really happens.'
comes up.
And there's absolutely nothing to get into when it comes to differences with the dialogue, the descriptions, or the directions because nothing here was ever shot.
-
It's interesting that the quote from the script for today is:
Page 30A/Scene 80 - Quentin: 'But I didn't see you. I saw a child...holding a teddy bear...'
Though as we know, what Quentin actually says in the film is "But I didn't see you. I saw a child...holding a doll...", and that's exactly what we saw him see. Apparently at some point after the script was written, it was changed to a doll.
I'm supposing (hoping) that the teddy bear was changed to a doll because otherwise it would have been rather anachronistic. What Quentin saw in his vision was something that happened around hundred years before the development of teddy bears. (And commercially produced stuffed toys didn't appear until just a couple decades or so before the teddy bear.)
-
I didn't even think of that, KMR - in 1810 Teddy Roosevelt wouldn't even be born for something close to 40 years! Having Sarah holding a teddy bear would have been very wrong!! Plus, like I said, I think a doll just works so much better (and for a variety or reasons that we'll be getting into later).
-
Wrapping up Scene 82 as Claire and Tracy window shop and talk about Quentin's lack of getting work done:
CLAIRE
Is he worried about it.
TRACY
No ... I don't think so. But
sometimes he seems so far away,
it's hard to know what he's
thinking.
|
And that's when the 5th's quote -
Page 32/Scene 82 - Claire: 'You know, that's what I felt when I first met him in Paris. He was so ... so super moody. He and Alex always connected. But I spent the first month just trying to figure him out.'
comes up, followed by the 6th's quote -
Page 32/Scene 82 - Claire: (contd) 'Those eyes always seem to see so much. And then everything becomes a kind of private thing. But that's what's so great about him. Don't you like dark brooding men of mystery?
- coming up, followed by the script continuing with:
TRACY
Yes.
They both laugh.
|
End of scene - though not of sequence (the infamous Gregory comes up in Scene 83).
And there's absolutely nothing to get into when it comes to differences with the dialogue, the descriptions, or the directions because nothing here was ever shot. And that's a shame because it not only showcases the Claire/Tracy friendship, it gives background on the Jenkins/Collins friendship and some insight into Quentin. But then we all know that DC rarely met a character oriented scene that he didn't want to drop...
But just to help try to picture what these scenes might have been like, here's a candid still of Kate Jackson and Nancy Barrett relaxing with each other between scenes:
(http://www.dsboards.com/NoDSquoteimages/Kate_Nancy.jpg)
And one last thing: I do find it interesting that the script refers to Tracy and Claire being on the streets of Tarrytown and not Collinsport. Sure, Tarrytown is more than likely where the scenes would have been shot - but it's certainly not the location within the story...
-
Setting up the Gregory scene:
83 INT - BOUTIQUE - DAY 83
A very New York shop, with the very mod GREGORY in
charge.
|
And that's where yesterday's quote -
Page 33/Scene 83 - Claire: (entering) 'Hi, Gregory, I'm back.'
- comes up, followed by today's quote -
Page 33/Scene 83 - Gregory: 'And I have a mattress ticking jumper you'll live in the rest of your life --'
- coming up.
And again there's absolutely nothing to get into when it comes to differences with the dialogue, the descriptions, or the directions because Scene 83 was never shot. Though I do have to say that it never struck me until today to wonder what the hell "mattress ticking" means?! And after googling it, I'm quite surprised that when it comes to shirts, it's something I've often worn throughout my life but I'm certain it was never described as such (not even by my mother who worked in the fashion industry). So once again DS proves how educational it is!! [ghost_smiley]
Also, revisiting a comment I made in the previous post, it's interesting how the boutique is described as "a very New York shop" and not "a very New York-like shop". Could it really be that the reason Scenes 81 & 82 are described as being set on a Tarrytown street is because in this film Collinwood is really located in Tarrytown, NY and not in Collinsport, ME?! I don't believe there are actually any references in the script to Collinsport or Maine. Or are the references to Tarrytown and New York simply oversights that crept into the script because they knew they would be shooting at Lyndhurst?
-
I remember thinking that it was supposed to a mattress tickling jumper, which sounded like a lot more fun to me. [Witch_Potion_Animated] [Witch_Potion_Animated] [Witch_Potion_Animated]
Btw, the scene with "the very mod Gregory" was one of the missing scenes that the Collinsport Players staged in the 1989 skit entitled The Night Before.
-
I remember thinking that it was supposed to a mattress tickling jumper, which sounded like a lot more fun to me. [Witch_Potion_Animated] [Witch_Potion_Animated] [Witch_Potion_Animated]
Decidedly more fun!! [lghy] [naughty]
Btw, the scene with "the very mod Gregory" was one of the missing scenes that the Collinsport Players staged in the 1989 skit entitled The Night Before.
Yes, I remember that skit. [nodassent]
-
I wish the Gregory scene had been included. But it was entirely about character development so of course, it had to go.
G.
-
Continuing with Scene 83, beginning with the 9th's quote, which is Claire's reply to Gregory's claim he has a jumper that she'll really like:
Page 33/Scene 83 - Claire: 'Alex won't let me wear those knickers. He said if he had wanted to live with an 1890 newsboy he'd have found one.'
- and that's followed by the 10th's quote -
Page 33/Scene 83 - Gregory: 'God knows where. Obviously he has no sense of style ... Chic. Come to my house next week for a drink and wear them. He'll adore them --'
- coming up, followed by the 11th's quote -
Page 33/Scene 83 - Claire: 'He'll adore the drinks. This is Tracy Collins.'
- coming up, followed by today's quote -
Page 33/Scene 83 - Gregory: 'The lady of the manor? (he bows) Welcome.'
- coming up.
And there's still absolutely nothing to get into when it comes to differences with the dialogue, the descriptions, or the directions because Scene 83 was never shot. Though today I do have to say that even though I think this scene would have been quite amusing no matter who might have played Gregory, of the candidates that have been mentioned, whenever I read the scene for some reason I tend to picture Keith Prentice in the part over Michael Stroka...
-
I would definitely prefer Keith Prentice to Michael Stroka but my ideal choice for Gregory would have been Louis Edmonds.
-
I would definitely prefer Keith Prentice to Michael Stroka but my ideal choice for Gregory would have been Louis Edmonds.
Oh, Louis would have been a hoot in that role!
I also agree that Keith be preferable to Michael.
-
Also, revisiting a comment I made in the previous post, it's interesting how the boutique is described as "a very New York shop" and not "a very New York-like shop". Could it really be that the reason Scenes 81 & 82 are described as being set on a Tarrytown street is because in this film Collinwood is really located in Tarrytown, NY and not in Collinsport, ME?! I don't believe there are actually any references in the script to Collinsport or Maine. Or are the references to Tarrytown and New York simply oversights that crept into the script because they knew they would be shooting at Lyndhurst?
Okay, MB, I was all ready to go with this idea of NODS being set in a parallel universe with Collinwood in Tarrytown instead of Collinsport. (Mainly because it just feels like it's in a parallel universe anyway.) But then today's quote threw that idea out the window, at least for me. Tracy saying that being in the shop makes her feel like she's "back in New York" would be a weird thing to say if she's only 30 miles up the Hudson.
-
The script definitely sends mixed messages. But like I also said, most likely the references to Tarrytown and New York are simply oversights that crept into the script because they knew they would be shooting at Lyndhurst (which is something they didn't know when hoDS was first written).
-
Oh, Louis would have been a hoot in that role!
I agree. Though at least from what's been written, it doesn't seem like he was ever in contention.
One thing that was interesting was that when 'Curse' of Dark Shadows was first announced, there was a bit of misinformation as to who would be in it. An article in 16 magazine, which normally had their facts correct when it came to DS, said:
"...the next MGM full length, color Dark Shadows movie. It's called Curse of Dark Shadows (working title) and it stars and features nearly every one of your DS favorites!
Jonathan Frid: It is highly unlikely that you will see Jonathan in the Dark Shadows movie. ... he feels that continuing with the "Barnabas Collins" role in Curse of Dark Shadows will actually stymie him in the quest to resume his serious acting career.
David Henesy: Acting-wise you can be quite sure you'll be seeing David in regular and guest roles on many top TV shows and its just very possible that he will be doing a featured role in Curse of Dark Shadows.
David Selby: At press time, David Selby was trying to make the agonizing decision of whether or not to star in a Sam Shepard play at the American Place Theatre in New York City or to accept a starring role in Curse of Dark Shadows. Both opportunities are equally inviting to David, but since he feels that his future is primarily on the Broadway stage, it's not unlikely that David will ultimately choose to do the Sam Shepard play. However, keep your fingers crossed and wish real hard--and it may be that he will change his mind and we'll soon be seeing him in the Dark Shadows movie!
Dark Shadows regulars you'll be seeing and hearing about are: Jim Storm, who is co-starring in the off off-Broadway play Mad Dog Blue (St. Mark's church Theatre in New York City) and who may be in the movie...Roger Davis, whom you've seen gangs of in such googies as The Movie of The Week The River Of Gold and in guest roles on other top TV shows, is almost definitely in the movie...Grayson Hall (whose husband Sam is writing Curse of Dark Shadows) is a definite for the movie...Christopher Pennock will definitely be in the movie...Lara Parker, will be co-starring in Curse of Dark Shadows...Mike Stroka, is almost definitely in the movie...Also look for Joan Bennett, Jerry Lacy, John Karlen, Kathy Cody and a number of other DS regulars in the movie...Denise Nickerson has gotten a powerful head start in a brand new segment of her acting career--movies and TV starring roles. If you missed her in the Movie of The Week The Neon Ceiling. keep your eyes peeled for her forthcoming motion picture Willie Wonka & The Chocolate Factory...Tom Happer, who was a brief but beautiful DS regular, is still "at large" and hopes you'll soon be seeing him not only back on the tube, but on the big silver screen too!"
Obviously Joan Bennett, David Henesy, Kathy Cody, and Roger Davis were not in the film (and thank heavens for that when it comes to RD). And given the script, one has to wonder who they might have played - but then, perhaps the script wasn't complete at the time the article was published...
I'd completely forgotten that David Selby was choosing between the play and the movie...
And it's interesting that the article doesn't mention Nancy Barrett or Kate Jackson at all...
-
I wonder if the movie would have happened at all if David Selby had decided to do the Sam Shepard play. They did turn out to be almost right about Jerry Lacy being in the movie, as the script proves later on. Could Cody have been a possibility for Sarah Castle? She was rather old for the part but she was a bit old for Hallie as well.
I don't remember Nancy Barrett or Kate Jackson getting a lot of coverage in 16.
-
I've a hunch the basic story for the movie was not settled on until they got firm commitments from the "A-list" actors, so they'd know which actors to create characters for. The "B-list" actors could be plugged into miscellaneous parts.
-
Wrapping up Scene 83, beginning with Tracy's comments about Gregory's shop:
Page 33/Scene 83 - Tracy: 'Hi. This makes me feel like I'm back in New York.'
- and that's followed by the 14th's quote -
Page 33/Scene 83 - Gregory: 'Oh, do I have something for you ... it's madness it's so perfect. [He whips out an insane dress.] Could it be more you?'
- coming up, followed by the 15th's quote -
Page 33/Scene 83 - Tracy: 'It's very me ... but it's completely un-Quentin.
- coming up, followed by the 16th's quote -
Page 33/Scene 83 - Gregory: 'The husband, darling?'
- coming up, followed by the script continuing with:
83 CONTD CONTD 83
CLAIRE
(seeing riding clothes
on the mannequin)
That's Quentin!
TRACY
Oh, he'd never wear that.
GREGORY
I'm sure he'd look marvelous in it.
|
And that's when today's first quote -
Page 34/Scene 83 - Claire: 'Gregory, wrap it up. We'll take it.'
- comes up, followed by the script explaining:
And that's when today's second quote -
Page 34/Scene 83 - Tracy: 'Alright, but only if we can return it.'
- comes up.
End of scene.
And there's still absolutely nothing to get into when it comes to differences with the dialogue, the descriptions, or the directions because Scene 83 was never shot. But beginning tomorrow the slideshow will be getting into scenes that are in the film - though there are differences between what's in the film and what's in the script, as well as differences between Grayson's and DC's scripts. But more on that beginning tomorrow...
-
We're going to handle things a bit differently for this next sequence because when it comes to the beginning of Scene 85, it's different in the film from the way it appears in both Grayson's and DC's scripts - especially DC's. And the fascinating thing is that DC's script contains a major rewrite, yet none of the rewritten part made it into the film. But to kick things off, this is the way Scene 84 and the beginning of Scene 85 appear in Grayson's script:
CUT TO:
84 INT - TOWER - EVENING 84
Quentin is at work on his abstraction. He stops,
looks at the light - fading. He sighs, begins to
cap his paints. He starts to look for something
and, moving a trunk to a better position, discovers
that it was concealing a built-in wall cupboard.
Obviously, it hasn't been opened in years. Opening
it, he sees a stack of canvases. He takes one out.
It is a portrait of Angelique and is signed: "Charles
Collins, 1800." Quentin is amazed. He takes out
others. They are all of Angelique. Then he comes
to an unfinished one. It is the most interesting.
A lascivious Angelique lies on a bed of rose petals,
surrounded by nymphs and satyrs. In the F.G., there
is space left for several figures. He stares at it,
absolutely fascinated.
QUENTIN
Charles Collins...1810.
TRUCK IN on the portrait as we
DISSLOVE TO:
85 INT - TOWER ROOM - 1800 - DAY 85
SUBCONSCIOUS MEMORY CUT
Transistion is made HOLDING on the portrait and
changing the color quality to that of the previous
segments. HOLD ON THIS as the first part of the
dialogue is played O.S.
85 CONTD CONTD 85
ANGELIQUE (O.S.)
You're never going to finish it.
CHARLES (O.S.)
Is that a prophecy?
RACK FOCUS to the B.G. where Angelique and Charles
are embracing.
ANGELIQUE
No - I just won't let you go.
They laugh and kiss again. There is a POUNDING
ON THE DOOR.
|
And so far as the differences in the dialogue go, in Scene 84 Quentin doesn't speak the signature on the painting out loud (the painting doesn't even appear to be signed) - and everything is different in Scene 85.
And so far as the descriptions and directions go, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0418ds91_a.jpg)
- Scene 84 does not take place during the evening, and Quentin is not seen at work on his abstraction (though we do see sketches on a pad on his easel behind him), and so, therefore, nor does he stop, look at the fading light, sigh, begin to cap his paints, or while looking for something does he move a trunk to a better position because what he does do, as can also be seen in the capture, is check some things in his supplies case. And after Quentin notices the paintings leaning against the wall, neither of which is a portrait of Angelique signed by Charles Collins because as can be seen in the following two captures -
(http://www.dsboards.com/NoDSquoteimages/0418ds91_b.jpg)(http://www.dsboards.com/NoDSquoteimages/0418ds91_c.jpg)
- one is a landscape and the other is a still life, and neither appears to be signed, or at least Quentin doesn't acknowledge that they are. And when he discovers the cupboard and opens it, he doesn't take out any paintings other than the unfinished one, which he carries over to his easel, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0418ds91_d.jpg)
- to get a better look (though given there's an obvious cut in the background music, it would definitely seem as if something was cut from the scene that took place between the time Quentin discovers the hidden paintings and the time he takes out the unfinished one) - and sadly, as can also be seen in that capture, there aren't any rose petals, nymphs or satyrs in the painting - though one could say that Angelique has a lascivious expression on her face...
And as for what the actual differences in the dialogue, the descriptions, and the directions are when it comes to Scene 85, that will wait until an upcoming post... But yes, "Transistion" is misspelled that way - and in both Grayson's and DC's versions of the script...
-
When it comes to DC's script, Scene 84 and the setting and first descriptions of Scene 85 are exactly the same as they are in Grayson's script, so I won't repeat them. Things get very different once DC's script reaches its Page 35:
(Revised 3/31/71)
85 CONTD CONTD 85
ANGELIQUE (O.S.)
We can't stay like this forever.
You must finish the picture.
CHARLES (O.S.)
Why? We have all the time in
the world.
RACK FOCUS to the B.G. where Angelique and Charles
are embracing.
ANGELIQUE
We haven't. You must finish it
because when you do, you will give
me the most marvelous gift of all -
Charles looks at her, not understanding.
this time life will imitate art.
I know you merely planned to paint
it to torture her, but that's not
enough. My darling, you must do it.
CHARLES
No.
ANGELIQUE
Don't you want us to be like this
always. Must we constantly be
leaving each other? How can you
hold Laura? How can you touch her?
CHARLES
When I do, it's you I hold, it's
you I caress.
ANGELIQUE
We are in each other's souls, Charles.
We can't escape it.
They kiss.
You will make the picture come true.
CHARLES
Yes.
ANGELIQUE
Then you must paint, my darling.
Tonight. It must be done.
There is a POUNDING ON THE DOOR.
|
And when it comes to the dialogue, as I'd mentioned previously, none of it is in the film as scripted - and it's not really even in the film exactly as the changes that were made to some of the crossed out parts. Speaking of which, notations in DC's script make the following replacements in the dialogue:
- Angelique's "you must do it" is replaced with "you must bring the painting to life"
- Charles' "No" is replaced with "But why - we have each other - that's all that counts - she doesn't even exist for me"
- The entire section of dialogue beginning with Angelique's "Don't you want us to be like this always? ..." right through to Charles' ending with "... it's you I caress" is not only crossed out but X'd out and it's all replaced with Angelique saying "As long as she's here, we could never really have each other"
- And Angelique's "You will" is replaced with "I want you to"
- And after Angelique's "make the picture come true", "Please - promise me" is added.
And as for what the actual differences in the dialogue, the descriptions, and the directions are when it comes to Scene 85, that will still wait until an upcoming post... But one thing I will say now, or rather ask is if I'm the only one who comes away from reading DC's version of Scene 85 with the impression that Angelique is actually encouraging Charles to kill Laura?
-
It certainly sounds that way to me.
-
I'm sure you're right, MB. It all leads up to the very ending of the movie.
-
I personally have felt every time I've watched the film that Angelique was a Witch--or certainly had magical powers. Nothing in the movie makes any sense unless this was so.
I think sometimes people think the narrative points to her having been wrongly accused of witchcraft and I'm not sure where they're getting that.
Of course if the seance scene had been included in the theatre edit, it might have helped clarify the plot.
G.
-
Even if one reads the full script it could still be up for debate whether or not Angelique really had powers because there are definitely mixed messages that I've often suspected were deliberately put in the script to spark debate/discussion. And Angelique's potential powers aren't the only instances of mixed messages. But most of the instances are probably best left until after we get through the whole script so that everything will be available to reference.
But getting back to DC's version of Scene 85, I almost wish the rewrite had been the way things played out on screen. It certainly would have been far more sinister than the way things do play out, which is much more ambiguous (though there may really be a reason for that - one that we'll get into after dealing with the whole script). And the way things were originally written in Grayson's script is positively dull by comparison to both the film and the rewrite.
-
The way Scene 85 actually begins in the film isn't with the transition in Scene 84 from Quentin's view of the unfinished painting to a view of it in 1810 because, like several other instances of the subconscious memory scenes, things actually cut to a close-up of Quentin -
(http://www.dsboards.com/NoDSquoteimages/0420ds91_a.jpg)
- staring and blinking his eyes, and from there they go to the subconscious memory of the painting in 1810 -
(http://www.dsboards.com/NoDSquoteimages/0420ds91_b.jpg)
- and from there the camera doesn't rack focus to the background where Angelique and Charles are embracing because the camera actually slowly pans from the painting to them, by first showing their reflections in a mirror as they make out, all kisses and moans -
(http://www.dsboards.com/NoDSquoteimages/0420ds91_c.jpg)
- and then the couple themselves as they become -
(http://www.dsboards.com/NoDSquoteimages/0420ds91_d.jpg)(http://www.dsboards.com/NoDSquoteimages/0420ds91_e.jpg)
- a mass of entwined body parts.
And whereas the 18th's slideshow's quote -
Page 35/Scene 85 - Angelique: 'You must finish it because when you do, you will give me the most marvelous gift of all -'
- comes from DC's version of the script, what actually happens in the film is Angelique declares (with regard to Laura) -
(http://www.dsboards.com/NoDSAnniQuoteImages/1119NoDS_0.jpg)
Angelique: 'As long as she's here in this house, I can't be
happy.'
- which is most certainly strongly implied in the rewrite in DC's script, but isn't said outright as such. And rather than the 19th's slideshow's quote -
Page 35/Scene 85 - Angelique: 'We are in each other's souls, Charles. We can't escape it.'
- which also comes from DC's version of the script, though from a much later point in the scene, what actually happens in the film right after Angelique's remark (with regard to Laura) is that Angelique then asks Charles -
(http://www.dsboards.com/NoDSAnniQuoteImages/1120NoDS_0.jpg)
Angelique: 'Bring the painting to life, Charles. Please -
promise me.'
- which is a reworked version of something that was added by DC to his script near the end of the rewrite - though without being within the context of everything that was dropped from the rewrite, neither of Angelique's lines in the film take on the sinister tone they would have otherwise had had the majority of the rewrite been included in the film.
But after the rewritten section, things in Scene 85 return to basically what is written in both Grayson's and DC's scripts, and that's that after the pounding on the door is heard, it's followed in the script by:
(Revised 3/31/71)
85 CONTD CONTD 85
|
And that's when today's quote -
Page 35A/Scene 85 - Gabriel (O.S.): 'Charles, I want to talk to my wife.'
- comes up and is delivered exactly that way in the film.
-
I like today's photo. I know you can't see "anything" but as you know, I have a vivid imagination.
winking,
G.
-
I like today's photo. I know you can't see "anything" but as you know, I have a vivid imagination.
winking,
G.
I just knew someone was going to remark on today's capture. [ghost_grin]
(http://www.dsboards.com/NoDSAnniQuoteImages/1122NoDS_0.jpg)
But at least one good thing about the VHS/Laser version of the film is that Charles' head doesn't get cut off:
DVD/Blu-ray:
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Blu-ray_frame_02054.jpg)
VHS/Laser:
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Laser_frame_02053.jpg)
(ADMIN: Edited for better comparison and to add a Laser capture)
-
Gawd, MB. It looks as if the "restoration" is way too dark. Hope that's just a fluke of this particular shot.
I saw the "restored" Horror of Dracula in the Brattle Theatre last year, or was it 2014... The "Blu Ray" was used for the screening, and the thing was so dark, you couldn't see what was going on for at least one third of the film. A lot of it also looked bluish. Somebody online said this was because audiences now expect a "horror film" to be dark and vaguely blue.
We live in a degraded age.
G.
-
I can't say that the Blu-ray of NoDS is vaguely blue compared to the VHS, but it is definitely somewhat darker. But then, to me the VHS transfer has too much of a yellowish tint to it, so for me the Blu-ray transfer is a definite improvement. And let's not get into how blurry the VHS is compared to the Blu-ray!
-
Before we move on to the next section of Scene 85, I want to remind everyone of something I said back in March:
And before we leave this section of the film, observant people might notice in a few of the captures that there might be something in the tower studio that plays a part in the daytime show's 1995 and Summer of 1970 storylines. I'm not sure if it's exactly the same prop (and I'm too lazy to check). But it looks an awful lot like it, and soon the forum's Watching Project will be getting to 1995, so soon enough we'll see if it's the same...
And now that the WP is in the middle of 1995, those same observant people might have noticed that the prop in NoDS that I was referring to is indeed the same prop used in the 1995 and Summer of 1970 storylines. Can anyone pick it out from this capture of Scene 85's panning from Angelique's unfinished portrait to the extremely amorous Charles and Angelique -
(http://www.dsboards.com/NoDSquoteimages/0420ds91_f.jpg)
- and mention how it's used on the daytime show? [ghost_wink]
-
Picking up Scene 85 where we left off, after Gabriel pounds on the door and asks to see Angelique:
They smile at each other but don't answer.
GABRIEL (O.S.)
I know she's in there. Now open
the door.
Finally, Charles decides to answer.
CHARLES
For more of your dreary moralizing?
You try my patience, brother.
GABRIEL (O.S.)
For the last time! Open the door!
|
And that's when today's quote -
Page 35A/Scene 85 - Angelique: 'Let him in.'
- comes up and is also delivered exactly that way in the film.
And as far as any differences in the dialogue go, well, that all depends on which version of NoDS one is watching. If it's the 129 recovered version or the 97 minute R-rated version that was mistakenly released in August of 1971, all of it is delivered exactly as written. If it's the version available online via Amazon and iTunes and possibly other places, or on DVD and Blu-ray, it's all but Gabriel's "For the last time! Open the door!" (though even though much of the dialogue is there, the accompanying correct footage that coincides with it is not). And if it's the 94 minute version available on VHS and which played in most areas of the country in 1971, then Charles' "For more of your dreary moralizing? You try my patience, brother" and Gabriel's "For the last time! Open the door!" are missing.
And as far as the differences in the descriptions and directions go, Charles and Angelique do a lot more than smile at each other while they don't answer. Actually quite a bit more, depending on the version of the film one sees. [naughty] But here we're working with the 94 minute version, so all we see in it is Charles and Angelique kiss before he gets up and Angelique tells him to let Gabriel in. And I do have to say that that chaste version of what goes on between Charles and Angelique always strikes me as funny because all it looks like Charles does is pick a piece of lint from Angelique's cleavage - but if you've never seen what actually takes place in the longer versions, you might be quite surprised when you do see it! [b003] Though keep in mind that it's '70s' R-rated, not X-rated. [ghost_nowink]
-
Holy Hell, MB. And to think that THING nearly killed Dr. Julia Hoffman! All is explained that now that we know that it was residing in Charles Collins' studio. Clearly, the thing had had a spell put on it by that relentlessly vicious Witch, Angelique!
EEEE-vil...
G.
-
Yes, the bust that appears on the table in Charles studio in 1810 and also in several of the captures from Scene 62, like these two -
(http://www.dsboards.com/NoDSquoteimages/0310ds91_a.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/1013NoDS_0.jpg)
- was also the bust that fell from the railing of the landing and almost killed Julia in 1995's Ep #1063 -
(http://www.dsboards.com/images/Bust_1995.jpg)
- as well as the bust Elizabeth put on display in the Summer of 1970's Ep #1089 -
(http://www.dsboards.com/images/Bust_1970.jpg)
-
Continuing with Scene 85:
They look at each other and as Gabriel continues to
POUND, Charles crosses to the door and opens it,
but just a crack, revealing a very nervous Gabriel.
|
And that's when today's quote -
Page 35A/Scene 85 - Gabriel: 'I have come for her, brother.'
- comes up.
And as for what's different about the dialogue, Gabriel says something completely different because what he actually says is "That's my wife, Charles", which I think is a much better line.
And as for what's different from the descriptions and directions, Charles does cross to the door, but after he goes down the stairs and unlocks it, he actually kicks it completely open and then steps back to reveal Gabriel. And Gabriel doesn't look particularly nervous - a better description is that he looks angry. (There's no hint of the nervousness Gabriel will display in a sequence which chronologically takes place before the tower room scene but is a sequence we have yet to see in the film because it doesn't come up until Scenes 119 & 121.)
And before we leave these moments in the film, I do have to say that even more than three years after first posting about it, I still can't believe that it took me so long to really pay attention to that sketch:
I never really ever paid much notice to the sketch that's hanging on the wall near the door when Charles answers the door to Gabriel. And I have no idea how I actually could have paid little attention to it, particularly in the VHS version of the film where it seems to show up more prominently for a longer period of time:
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Blu-ray_frame_02449.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Laser_frame_02447.jpg)
Apparently one can easily presume that Angelique wasn't always as, uh, overly dressed as she was when she was posing for Charles' unfinished portrait. [santa_grin] And apparently this is yet further proof that no matter how often one watches something (and I've watched NoDS so many time that I lost count long ago) one can still pick up things on even more repeated viewings. [santa_wink]
(ADMIN: Edited to add better images, including a Laser Disc capture)
-
Today's capture is further proof that -
(http://www.dsboards.com/NoDSAnniQuoteImages/1124NoDS_0.jpg)
- David Selby was the anointed successor to Joel Crothers in our DS Universe. [naughty]
And I'm sure we all recall that almost exactly 11 years after DS went off, in a DS-related interview Crothers said that when he was on DS he would have loved to have played a character like Quentin. Of course, he wasn't offered the role. But who knows - maybe in some alternate universe Crothers actually did play Quentin on the daytime DS. And quite possibly that might also mean that he played Quentin and Charles in that universe's version of NoDS... [wink2]
-
Picking up where we left off with Scene 85, with yesterday's quote, Charles' reply to Gabriel -
Page 35A/Scene 85 - Charles: 'What's happened? You've suddenly become a man. (turning to Angelique) Will you take the credit, my dear?'
- coming up, followed by the script explaining:
She laughs as Gabriel takes the opportunity to force
his way in. Before Charles knows what's happening,
Strack and FOUR OTHER MEN are coming through the door.
85 CONTD CONTD 85
Angelique rises in alarm as Charles tries to force
them back. Two of the men subdue him.
|
And that's when today's quote -
Page 36/Scene 85 - Charles: 'Leave her alone, Trask! I'm warning you! Gabriel, have you lost your mind?'
- comes up.
And as for what's different about the dialogue, what Charles actually first says to Gabriel is "Well, little brother's suddenly become a man. (turning to Angelique) Will you take the credit for that, my dear?" - and the reason I selected two captures for today's quote and repeated the entire quote for both is because 1) I couldn't decide which capture I liked best to represent it, but more importantly because 2) in the film what Charles is scripted to say is actually flipped around with him first saying (to Gabriel) -
(http://www.dsboards.com/NoDSAnniQuoteImages/1125NoDS_0.jpg)
Charles: 'Have you lost your mind?'
- and then (to Strack) -
(http://www.dsboards.com/NoDSAnniQuoteImages/1125NoDS_1.jpg)
Charles: 'You touch her and I'll kill you!'
- rather than substituting Strack for Trask and saying "Leave her alone, Strack! I'm warning you!"
And the only reason DC's script's Page 35A is indicated as being a part of the 3/31 rewrite is because, as you may have noticed, his script says "Before Charles knows what's happening, Strack and FOUR OTHER MEN are coming through the door", whereas Grayson's script's Page 35 says "Before Charles knows what's happening, Trask and FOUR OTHER MEN are coming through the door."
And once again, one good thing about the VHS version of the film is that it doesn't cut off a character's head, in this case, Strack's:
(http://www.dsboards.com/NoDSquoteimages/Charles_Strack.jpg)
And as for what's different from the descriptions and directions, Angelique doesn't laugh at Charles' remark about Gabriel suddenly becoming a man - and it's only two other men that enter with Strack, not four - and we don't actually see Angelique rise because when we see her she's already standing in alarm - and before we even see Strack and the second man, as can be seen in today's first capture, it's actually one of the men and Gabriel who subdue Charles.
-
I wish I could somehow see a capture of the VHS version of the scene where Charles is shot from below as he's haranguing his dear brother who is about to invade the sanctity of his bower.
Awesome sketch of Charles's favorite model. Good catch, MB!
Love the blurred glimpse of Rev Strack's insidious pout. The Pout of Doom!
Very much enjoying this thread!!
G.
-
I wish I could somehow see a capture of the VHS version of the scene where Charles is shot from below as he's haranguing his dear brother who is about to invade the sanctity of his bower.
Here's one -
(http://www.dsboards.com/NoDSquoteimages/Charles_Gabriel.jpg)
- but it's not much different so far as an, uh, certain area goes. [ghost_nowink]
Love the blurred glimpse of Rev Strack's insidious pout. The Pout of Doom!
Yes, Thayer is so good as Strack.
-
Continuing Scene 85 with the script explaining:
Gabriel just stares at him. Charles then looks at
the men holding him.
CHARLES
Tom...Ward...
They avoid his eyes. As Trask steps toward
Angelique, her eyes blazing defiantly and he
suddenly thinks twice about touching her.
|
And that's when today's quote -
Page 36/Scene 85 - Trask (to the other two men): 'Take her!'
- comes up in the script.
But when it comes to what's different about the dialogue in the film, both Charles' "Tom...Ward..." and Strack's "Take her!" are dropped, with Charles line being dropped because, as we got into yesterday, the subduing of Charles is handled very differently in the film than it is in the script.
And when it comes to references to Trask in the script, Page 36 in Grayson's script has all instances of Trask's name crossed out and replaced with Strack (though that's not the case with her Page 35), but Page 36 in DC's script does not - and since we're using DC's script here, that's why the quote is attributed to Trask and Trask's name still appears in the descriptions and directions.
And speaking of what's different from the descriptions and directions, Gabriel doesn't just stare at Charles after Charles asks him if he's lost his mind because in the film Charles' attention is immediately turned to Strack once he enters the room and Gabriel's attention is soon focused on what's about to go on with regard to Angelique - and Charles doesn't look at the two men holding him because, again, Charles' circumstances are different in the film, so it will come as no surprise that it's also a case that the two men referred to in the script do not avoid Charles' eyes - and in the film Strack makes no attempt to step toward Angelique, nor do we even see her eyes blazing defiantly at him because as we can see in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1126NoDS_0.jpg)
- Strack merely looks to his bald henchmen (and have you ever wondered why it is that so often henchmen are bald?) and motions for him to take Angelique.
-
And wrapping up Scene 85, beginning with the script explaining:
As one of the men moves toward Angelique, Charles
tries to pull away, but can't. As the man touches
her, she suddenly goes wild and in one lightning
move viciously claws his face. He jerks away as
the others hang back in fear.
ANGELIQUE - CLOSE-UP
|
And that's when today's quote -
Page 36/Scene 85 - Angelique: (deadly calm) 'I'll go with you. But don't any of you touch me.'
- comes up.
Scripted end of the subconscious memory - but not the end as it appears in the film - nor is it the end of the sequence.
And when it comes to what's different about the dialogue in the film, Angelique actually adds a "Don't any of you touch me!" before the scripted lines, which are delivered as "I'll come with you. But don't any of you touch me", and I wouldn't say her lines are delivered in a deadly calm manner because, to me, it looks like she's seething with anger, speaking through gritted teeth, and even trembling because she's so angry - and after Angelique delivers her lines, Strack orders an unscripted "Come with us, Angelique Collins!" from off screen.
And so far as what's different with the descriptions and directions, Charles doesn't try to pull away as Strack's henchman moves toward Angelique - and we actually get a shot of a wild-looking Angelique -
(http://www.dsboards.com/NoDSquoteimages/0426ds91_a.jpg)
- before she claws -
(http://www.dsboards.com/NoDSquoteimages/0426ds91_b.jpg)
- Strack's henchmen - but while we do see her clawing-hand and the results of its handiwork -
(http://www.dsboards.com/NoDSquoteimages/0426ds91_c.jpg)
- we never do actually see her hand on the henchman's face - and after Strack orders her to come with them, Angelique moves directly toward the camera as her image gets more and more out of focus the closer she gets to the camera.
-
Here's Scene 86 as scripted:
86 INT - TOWER - 1971 - EVENING - NORMAL COLOR 86
Quentin is still staring at the picture. He
remembers it all.
|
And that's when today's quote -
Page 36/Scene 86 - Quentin: 'Gabriel...Angelique...? That was her funeral I saw. What happened here? What?'
- is scripted to come up.
But when it comes to various versions of the film, there is either no dialogue at all or a completely different bit of dialogue. In the 94 minute and 97 minute versions, the correct sound mix is that there is no dialogue in Scene 86. But in the 129 minute version, slightly reworked versions of two of the things Angelique says at the outset of Scene 85 are combined and repeated: "As long as she's in this house, I can't be happy. Bring the painting to life. Please." But just as is the case with the earlier additional dialogue that can be heard in Scene 85 even though it doesn't belong in the 94 minute version of the film, that bit from Angelique is mistakenly heard in the versions of the 94 minute NoDS available online via Amazon and iTunes and possibly other places, and on DVD and Blu-ray.
And beyond the facts that like Scene 84, Scene 86 is not actually shot in the evening and the transition between the subconscious memory and the present is made via an extreme close-up of Quentin blinking, when it comes to what's different from the descriptions and directions, there isn't so much anything different from the actual script as there is from a notation DC made in his script which says that Quentin would be shot in profile and silhouetted against the water and sky - but as we can see in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0427ds91_a.jpg)
- that is definitely not the case in the film.
Also I have to say that the music used for this sequence (titled The Taking Of Angelique on the soundtrack CD) is one of my favorite pieces that Bob Cobert wrote for the film.
-
Setting up Scene 87, which DC has broken up into Scenes 87A and 87B in his script:
87 INT - GALLERY - NIGHT 87A
Tracy, Claire, Alex are looking at the half-finished
portrait as Quentin stares at the portrait of
Angelique on the wall.
87 CONTD CONTD 87
|
And that's when today's quote -
Page 37/Scene 87A - Quentin (O.S.): 'It looks like he was going to add some other people.'
- comes up.
And there's absolutely nothing to get into when it comes to differences with the dialogue, the descriptions, or the directions because, sadly, even though this scene was shot, it doesn't appear in any version of the film. But one thing that is interesting is that even though the scene isn't indicated as a rewrite in DC's script, his version begins with dialogue for Quentin (the above quote) and Alex (coming up tomorrow) that does not appear in Grayson's script's version of the scene.
-
Picking up from yesterday with today's quote -
Page 37/Scene 87A - Alex: 'I wonder why he never finished it... yeah, it's amazing, isn't it? So evil here...so prim over there. The double life of Angelique Collins. I wonder what Charles Collins knew that the others didn't.'
-coming up in DC's script. However, as I'd mentioned yesterday, the dialogue for Scene 87 begins differently in Grayson's version of the script. The first lines are given to Alex and his lines appear like this:
ALEX
Fascinating. So evil here ...
so prim over there. The double
life of Angelique Collins.
|
So, along with Quentin being given the lines to open the scene, Alex' original lines are expanded upon in DC's script to bring up more questions. Unfortunately though, when it comes to whether or not there may have been even more differences with what Alex actually says, we'll never know because, as I also said yesterday, even though Scene 87 was shot, as evidenced by the still used in today's graphic -
(http://www.dsboards.com/NoDSAnniQuoteImages/1130NoDS_0.jpg)
- it doesn't appear in any version of the film.
And it's also worth pointing out that the end of Scene 87 is different in DC's script in more ways than one. But we'll get into that once we reach that point in the scene...
-
Continuing with Scene 87, we pick up with yesterday's quote, made in response to Alex' musing about Angelique -
Page 37/Scene 87A - Claire: 'Here he goes. Another plot for another book --'
- and then today's quote -
Page 37/Scene 87A - Alex: 'I've been doing some research.'
- comes up, followed in the script by:
QUENTIN
What did you find out?
|
But we'll have to wait until the next installment in the slideshow to find out what Alex has found out - but one interesting thing about what he learned is that it does answer a question posed earlier with regard to something Alex said in Scene 59.
And when it comes to DC's script, he added a couple of notations to this section. One indicates that after Claire's lines the camera would pan to include Quentin (recall that his line, which opens the scene, is designated as being delivered off screen). And the other indicates that after Alex' line Scene 87B is to start, even though DC doesn't break things up into 87B until later in the scene, so who knows? But other than those things there's absolutely no way to know if other changes might have been made because, as has already been mentioned, Scene 87 doesn't appear in any version of the film.
-
Another scene I wish had been retained. I love the whole "Scooby gang" flavor of the dialogue here.
G.
-
[pointing-up] Indeed! But we're all too familiar with DC's belief that when editing a film, the character oriented stuff is the first to go. [ghost_rolleyes]
-
Moving on with Scene 87, today's first quote -
Page 37/Scene 87A - Alex: 'The servant-girl legend is just that. And after seeing this, my vote goes to her. She'd make some ghost.'
- comes up, followed in DC's script by:
QUENTIN - CLOSE-UP |----------------------------------- 87B
|
And that's when today's second quote -
Scene 87B - Claire (O.S.): 'Poor Angelique Collins. He's going to start and she'll have no more secrets.'
- comes up.
So, as I said yesterday, who knows where DC really intended 87B to begin because his script has notations for it beginning in two different places. [scratch]
But so far as Alex' dialogue goes, it answers the question of who the "young beautiful servant girl who roams the halls of Collinwood" is: she's apparently no one because the story is simply a legend. Unfortunately that means that Quentin won't be able to hire her after all. [b003]
And blah blah blah, no way to know if other changes, blah blah blah, doesn't appear in any version of the film...
-
Continuing with Scene 87, with Tracy asking in yesterday's quote -
Page 37/Scene 87B - Tracy: 'Do we have to have a ghost, Alex?'
- coming up, followed by the script indicating:
And that's when today's quote -
Page 37/Scene 87B - Quentin: 'Alex makes up his own legends, anyway. I'm not half as curious about Angelique Collins as I am about Charles. He is quite good, you know.'
- comes up.
And again, blah blah blah, no way to know if other changes, blah blah blah, doesn't appear in any version of the film. Though what will be interesting when it comes to tomorrow's installments in the slideshow, which are taken from DC's script, is that they're very different from how Grayson's script concludes Scene 87. But more on that tomorrow...
-
Before we get into the way Scene 87 concludes in DC's script, here's how it concludes in Grayson's script, picking up after Quentin's remark that Charles Collins "is quite good":
He looks at the portrait again.
ALEX
Is?
They all laugh.
|
End of scene.
However, picking up at the same point in DC's script we have:
takes from Alex
He looks at the portrait again.
|
And following that, DC has handwritten in today's first quote -
Page 37/Scene 87B - Alex: 'He is good?'
- followed by handwriting in today's second quote -
Page 37/Scene 87B - Quentin: 'He was good.'
- followed by handwriting in today's third quote -
Page 37/Scene 87B - Alex: 'He was good.'
End of scene.
And again, blah blah blah, no way to know if other changes, blah blah blah, doesn't appear in any version of the film. Though if anyone is wondering what portrait is referred to in Grayson's version, recall that back in the initial description of the scene it's explained that "Quentin stares at the portrait of Angelique on the wall." Who knows which portrait is being referred to when Quentin takes it from Alex in DC's version? And who knew Alex is even holding a portrait because that fact is never introduced in DC's version of the scene. And there's no indication of any laughing at the end in DC's version.
-
There are two slightly different ways that Scene 88 is setup, depending on whose script one is reading. Grayson's sets things up thusly, beginning at the bottom of page 37:
CUT TO:
88 INT - DINING ROOM - NIGHT - GROUP SHOT 88
Seen from the corridor as the CAMERA TRUCKS TOWARD
THEM. They have finished dinner and are on their
coffee.
88 CONTD CONTD 88
|
Whereas in DC's script he has handwritten at the top of page 38:
INT. CORRIDOR NIGHT - TRUCKING
Camera truck toward dining
room - they have finished dinner
88 CONTD CONTD 88
|
And in both cases that's when today's quote -
Page 38/Scene 88 - Alex (gesturing to Claire): 'Will you look at that dress? Gregory strikes again! He must think we're the manor folk -- honey, remember, we're broke.'
- comes up in the script.
And so far as anything being different with the dialogue, the descriptions, and the directions, as can be seen in this first capture -
(http://www.dsboards.com/NoDSquoteimages/0506ds91_a.jpg)
- at first we simply see Claire, and this is where quite a bit of possibly improvised dialogue begins with Claire stating "I'm glad I'm not driving" - and as the camera pans to show Tracy and Alex, the next capture shows that as Tracy takes a sip of her wine -
(http://www.dsboards.com/NoDSquoteimages/0506ds91_b.jpg)
- Alex makes his way toward Claire while he asks "All right, sweetheart, some wine?" - to which Claire responds "Just a touch", Alex repeats "Just a touch", and Tracy laughs as the camera, as can be seen in this next capture -
(http://www.dsboards.com/NoDSquoteimages/0506ds91_c.jpg)
- has been moving in to reveal all four of them - and after Alex asks "Now who would have thought we would have been here two years ago?", Claire replies "I would have" as -
(http://www.dsboards.com/NoDSquoteimages/0506ds91_d.jpg)
she raises her hand in the air and looks to the heavens and then toward Tracy with a smile - to which Alex replies "You would, huh?" - and then Quentin remarks "Makes life interesting" - and after that what Alex actually says as -
(http://www.dsboards.com/NoDSAnniQuoteImages/1207NoDS_0.jpg)
- he takes Claire's dress in hand, as can be seen in today's capture, is "Will you take a look at this thing? Gregory strikes again!" - and as Claire basically ignores him, I love how she simply reaches for her wine glass -
(http://www.dsboards.com/NoDSquoteimages/0506ds91_e.jpg)
-which is apparently more important to her, as Alex continues with "He must think we're the manor folk -- honey, remember, we are broke" - and after he says that he bends down to kiss the top of Claire's head -
(http://www.dsboards.com/NoDSquoteimages/0506ds91_f.jpg)
- and then he follows that off screen with "A little more wine for the gentleman", meaning Quentin - to which Quentin mouths "Thank you" and audibly replies "A little wine" - and then when Carlotta enters the room, Alex says "Well, hello, Carlotta - how are you?" - to which at first she barely registers a reaction other than -
(http://www.dsboards.com/NoDSquoteimages/0506ds91_g.jpg)
- looking none too pleased with him - but then I love how she manages to -
(http://www.dsboards.com/NoDSquoteimages/0506ds91_h.jpg)
- come up with a slight smile.
End of improvising, but the scene certainly goes on...
And the handwritten opening description in DC's script makes no mention of the group being on their coffee - though, of course, they're actually drinking wine in the film. But apparently DC didn't care what they were drinking, only that they'd finished dinner. [wink2]
-
Ooh, Alex got the Carlotta death glare! But only for a brief moment. So he failed to turn to stone.
I suddenly want a TV show called "Cooking with Carlotta." "Resist adding more old bay seasoning at this point... IF you can."
G.
-
I suddenly want a TV show called "Cooking with Carlotta." "Resist adding more old bay seasoning at this point... IF you can."
[rofl10] Love it!!
-
Continuing with Scene 88:
Quentin looks TOWARD CAMERA as if it were Carlotta,
who just entered the room.
|
And that's when today's quote -
Page 38/Scene 88 - Quentin: 'What's that?'
- comes up, followed by the script continuing with:
CARLOTTA
Having just ENTERED the room, she holds a gift-
wrapped package.
TRACY O.S.
It's our surprise.
WIDEN as Carlotta crosses to Quentin and gives him
the package.
QUENTIN
What is it?
He starts to rip the paper.
|
And as far as anything different in the dialogue goes, both of Quentin's lines are delivered exactly as written, but Tracy actually says "That's your surprise", which would seem to make more sense.
And as far as anything different with the descriptions and directions go, we don't actually see Quentin look toward camera as if it were Carlotta who entered the room because, as was already obvious with the last two captures in reply #188, we see Carlotta enter the room, and the camera shot remains at that angle - and before Quentin notices the package, he actually reaches for something on the table and begins to chew it before he asks what it is that Carlotta has - and after Tracy answers off screen that it's a surprise, without the indicated widening of the frame, Carlotta then moves from where she's been standing on screen all along and hands the package to Quentin as Alex sits and pours himself some wine - and Quentin doesn't so much as rip the paper as he lifts the top off the box.
And when it comes to DC's script, he has a notation between Quentin asking "What's that?" and Carlotta's scripted entrance -
QUENTIN
What's that?
INT. DINING ROOM - NIGHT
CARLOTTA
|
- but as can be seen, he doesn't consider it a new scene - and in the film things are no longer shot through the dining room doorway but in the actual dining room beginning with Alex saying "A little more wine for the gentleman", as could be seen in reply #188's captures of Carlotta's entrance into the room.
And when it comes to Grayson's script, she has a notation for the point in the script where Carlotta enters (which just so happens to be in the same place that DC has his notation), but for the life of me I can't really decipher all of her handwriting. See if you can:
(http://www.dsboards.com/NoDSquoteimages/Note_P38.jpg)
-
Let's see. I read it as Specific change around others. Taut tense unbending.
How does that sound to you, MB?
-
Actually, that sounds perfect and makes me wonder why I didn't see it myself? [ghost_embarrassed] It was mostly the "specific" that was giving me trouble.
Thanks! [ghost_smiley]
-
My years of having to decipher extremely creative penmanship from my OTB career sometimes pays off in unexpected ways. [ghost_cheesy] [ghost_grin]
-
My years of having to decipher extremely creative penmanship from my OTB career sometimes pays off in unexpected ways. [ghost_cheesy] [ghost_grin]
I see. Good to know! And if I have any other deciphering problems, you'll be the first I'll ask!! [nodassent] [wink2]
-
Just another part of my reasonably checkered past that has come in handy. [ghost_wink] [ghost_rolleyes] [ghost_wink]
-
And continuing with more of Scene 88, starting off with today's quote -
Page 38/Scene 88 - Tracy: 'Something you can't be without?'
- coming up in response to Quentin asking what his surprise is, followed by the script continuing with:
He draws out a riding habit.
QUENTIN
You've got to be kidding.
Alex ROARS with laughter.
TRACY
Gregory said I can return it.
Quentin starts to laugh and gets up crossing to
Tracy.
|
And when it comes to what is different in the dialogue, what Tracy actually says is "Well, it's something that you can't be without", and until it comes to the second syllable of the word "something", it's delivered off screen - and in the film it isn't Quentin who says "You've got to be kidding" but Alex, who actually says "You gotta be kidding" after he bursts out laughing - and in a bit more of unscripted dialogue, Claire replies with "Why, I think he'll look marvelous in them" (and I love the look she gives -
(http://www.dsboards.com/NoDSquoteimages/0508ds91_a.jpg)
- Alex after she says it, as well as her dismissive hand gesture) - and then Tracy actually says "Gregory said I could take them back if..." before she gets cut off by Quentin, but more on that tomorrow...
And when it comes to what is different with the descriptions and directions, Quentin doesn't take out a full riding habit but simply a pair of riding breeches, and he stands after he does so - and he has a big smile on his face as he moves toward Tracy -
(http://www.dsboards.com/NoDSquoteimages/0508ds91_b.jpg)
- as she says she can take them back, which means that he doesn't laugh nor get up after she's said it - and in the middle of Tracy saying she can take them back there's a notation in DC's script indicating that there was supposed to be a 2 shot of Alex and Claire, but obviously it's not in the film if it was shot.
And poor Gregory: he gets mentioned twice in this scene, yet as the film stands, no one in the audience has the vaguest idea who he is because his scene was never shot...
-
And more of Scene 88, picking up with today's quote -
Page 38/Scene 88 - Quentin: 'No...NO... [He kisses Tracy lightly] I'll get around to wearing it sooner or later --'
- coming up.
And so far as what's different in the dialogue, Quentin cuts Tracy off by actually saying "Promise you I'll wear 'em" (the riding breeches, not the full riding habit, as scripted) - and then after he kisses her, he adds "Someday" - and in another bit of unscripted dialogue, Tracy repeats "Someday" with a laugh.
And so far as what's different with the descriptions and directions, there's nothing to get into here.
-
And yet more of Scene 88, picking up with today's first quote -
Page 39/Scene 88 - Quentin: 'Oh, Carlotta, Charles Collins --'
- coming up, followed in the script by:
She turns and looks at him.
|
And that's where today's second quote -
Page 39/Scene 88 - Carlotta: 'Yes, sir?'
- comes up, followed by today's third quote -
Page 39/Scene 88 - Quentin: 'I found some of his work in the tower room.'
-coming up, followed by today's fourth quote -
Page 39/Scene 88 - Carlotta: 'Oh?'
- coming up - followed by today's fifth quote -
Page 39/Scene 88 - Quentin: 'Do you know anything about his history?'
- coming up.
And as for what's different in the dialogue, rather than the first quote, Quentin actually and simply says "Carlotta" - and Carlotta actually and simply responds "Yes" - after which Quentin actually says "I found some old painting of Charles Collins in the tower room" - to which Carlotta does indeed respond with "Oh?", like it's a surprise to her (but we know she was just waiting for that to happen) - and then Quentin does indeed ask about Charles' history as written.
And when it comes to what is different with the descriptions and directions, there's nothing to get into so far as what's scripted, but I do have to say that as often as I've watched the film, I'd never really noticed until I was picking the captures for today that after Quentin puts the riding breeches down on the dining table, just like the typical wife, Tracy picks them up and neatly folds them into her lap so that they don't get wrinkled. I suppose in all the other viewing I was too focused on Quentin and Carlotta's exchange. [ghost_wink]
And oddly again DC's script has a notation for a 2 shot of Alex and Claire (after Carlotta turns to look at Quentin) that isn't in the film.
-
Today's shot might be my favorite image of Grayson in the movie. I used a version of the shot in a collage I did of Grayson in various roles a few years ago.
G.
-
And continuing with more of Scene 88, picking up with Carlotta's answer as today's quote:
Page 39/Scene 88 - Carlotta: 'He was a marvelous man, a brilliant artist.'
And so far as what's different in the dialogue in the film, Carlotta actually says "Yes, I do. He was a marvelous man, a brilliant artist."
And so far as what's different with the descriptions and directions, there's nothing to get into because there aren't any descriptions or directions in this portion of the script. However, DC has a notation for this line in his script that says it would be shot over Carlotta's shoulder and showing Alex, Quentin and Tracy. But being shot over her shoulder is obviously not the way it was done because in the film Carlotta is seen in close-up, which is much more effective. There really isn't a true over the shoulder shot in the entire scene.
-
Today's shot might be my favorite image of Grayson in the movie.
Yes, I love the shot too.
(http://www.dsboards.com/NoDSAnniQuoteImages/1212NoDS_0.jpg)
Thank heavens DC changed his mind and didn't shoot those moments from over Carlotta's shoulder!!
-
The interesting thing about the notation in DC's script about doing a shot of Alex, Quentin and Tracy over Carlotta's shoulder is that after Carlotta says Charles was marvelous and brilliant, the next shot in Scene 88 is one of those three, though as can be seen in this capture -
(http://www.dsboards.com/NoDSquoteimages/0512ds91_a.jpg)
- it isn't shot over Carlotta's shoulder. And as soon as Alex begins to deliver today's quote -
Page 39/Scene 88 - Alex: 'You sound as if you know him.'
- (though he actually says "You almost sound like you know him, Carlotta" in the film), the camera pans to show Carlotta, as can be seen in -
(http://www.dsboards.com/NoDSAnniQuoteImages/1213NoDS_0.jpg)
- today's capture.
-
And Carlotta has her cat that copped the cream look.
As if she's thinking, "oh if you only knew... you poor fool!"
G.
-
And picking up Scene 88 with today's first quote -
Page 39/Scene 88 - Carlotta: 'I've read a lot about him, Mr. Jenkins. Will you be having brandy in the gallery?'
- coming up in response to Alex's remark about her knowledge of Charles Collins, and followed by today's second quote -
Page 39/Scene 88 - Alex: 'Never. We're up with the sun these days.'
coming up, followed in the script by:
The girls rise, start out. Carlotta starts to
clear the table as Quentin and Alex start down the
hall.
|
End of scene - though not quite the end of the sequence...
And when it comes to what is different in the dialogue, the descriptions, and the directions, Carlotta drops the "I've read a lot about him, Mr. Jenkins" in favor of a sly smile, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0513ds91_a.jpg)
- and that smile actually says volumes more than any dialogue could possibly (especially if one already knows the subtext) - and in the script it could seem as if Carlotta is asking Alex if he will be having brandy, but in the film it's clear that Carlotta asks the question of Quentin because she turns to him - and as Tracy takes a sip of her wine, in another bit of unscripted dialogue, Quentin asks "Alex?", after which Alex delivers a version of today's second quote by actually replying "Uh, not me, pal. I'm up with the sun these days", in the middle of which Tracy laughs as she puts down her wine glass - and that's followed by an unscripted exchange of Quentin asking "Sure?", Alex replying "Positive" and then asking Claire "Ready, baby?", to which Claire replies "Hmm, ready", and Alex repeats "Ready" - and after Tracy takes the riding breeches from her lap and throws her napkin on the table as Claire comes to her side, the two women leave the room with unintelligible conversation between them, while behind them, after having a couple more sips of wine before getting up, Alex raises his glass as if in a toast and delivers another unscripted "A little more wine", to which Quentin mouths "A little more wine" under his breath as he walks to Alex - and after getting up Alex slaps his right hand on Quentin's back as they leave the room and Carlotta does indeed start to clear the table.
Also, Grayson has notations in her script about how Carlotta is "Always in control" and simply the word "Locket" - and in her script something like the later always seems to refer to Grayson's intention that Carlotta be seen foundling the locket while she's also doing something else - but in this case Carlotta doesn't actually touch the locket at all, or at least not in the take that was used as she reacts to Alex's remark about her almost sounding like she knows Charles Collins. And Grayson also has "I've read a lot about him, Mr. Jenkins" crossed out in her script.
-
Carlotta's evil smiles... my role model... wonderful capture!
G.
-
[pointing-up] It's definitely one of Carlotta's best moments! Though you don't realize it is until after the first viewing of the film...
-
Setting up Scene 89:
89 INT - CORRIDOR - NIGHT 89
About half-way down, Quentin stops Alex, obviously
not wanting the girls to hear him. The girls
continue on.
|
And that's when today's quote -
Page 39/Scene 89 - Quentin: 'Listen, I've had more of those crazy daydreams.'
- comes up.
And so far as anything being different with the dialogue, what Quentin actually says is "I'm having more of those crazy daydreams."
And so far as anything being different with the descriptions and directions, Quentin and Alex get barely past the dining room doorway when Quentin actually stops Alex - and we don't actually see Tracy and Claire continue down the corridor.
-
Wrapping up Scene 89, beginning with Alex's response to Quentin bringing up his "daydreams":
ALEX
Want to talk about them?
89 CONTD CONTD 89
QUENTIN
as he looks in the direction of Tracy.
|
And that's when today's quote -
Page 40/Scene 89 - Quentin: 'Not now. Why don't you come over tomorrow.'
- comes up.
End of scene and sequence.
And so far as anything being different with the dialogue, the descriptions, and the directions, Alex slaps Quentin on the back before he asks if Quentin wants to talk about his "daydreams" - and after Quentin presumably looks in the direction of Tracy (we don't see her), he turns to Alex, the "Not now" is dropped, and what Quentin actually asks him is "Can you come over tomorrow?" - and then, in yet more unscripted dialogue, Alex answers "Sure", and after Quentin smiles, Alex says "Okay" and slaps Quentin on the back again before the two start down the corridor.
-
The next quote in the slideshow will be from Scene 97, so there are a lot of scenes to deal with before we get there:
90 INT - MASTER BEDROOM - NIGHT 90
Tracy and Quentin are asleep in the B.G. Through
the window, the Tower Room is visible. As we watch,
a faint glow begins to appear. Quentin begins to
stir. Finally, he opens his eyes and looks up at
the tower. Then getting out of bed, he puts on his
robe and EXITS the room.
91 INT - SECOND FLOOR - CORRIDOR 91
as Quentin comes TOWARD CAMERA and goes up the
stairs toward the third floor.
92 INT - TOWER ROOM - NIGHT 92
The room glows with a strange iridescent light.
Slowly, the door begins to open by itself revealing
Quentin coming up the stairs, As he ENTERS the
room he stops at the doorway - a look of great
anticipation on his face. TRUCK IN ON HIS CLOSE-UP.
ANGELIQUE - QUENTIN'S P.O.V.
A strangely opalescent Angelique lies there holding
her arms out to him. HOLD ON THIS as he goes to
her ghostly embrace.
93 INT - FOYER - NIGHT
The foyer is dark as the door opens and an angry
Gerard quietly ENTERS. He carries a vicious-
looking club.
94 INT - FIRST FLOOR CORRIDOR - NIGHT 94
CAMERA TRUCKS IN FRONT OF HIM as he comes toward
the stairs.
95 INT - TOWER ROOM STAIRS - NIGHT 95
as Gerard moving noiselessly slowly climbs to the
closed door. He pauses to listen. The SOFT
SOUNDS OF LOVEMAKING can be heard. TRUCK IN ON HIS
FACE. It is now insane with jealous rage. Now
95 CONTD CONTD 95
there is the SOUND OF ANGELIQUE'S LAUGHTER and
finally he explodes. Throwing the door open, he
sees Angelique and Quentin locked in a passionate
embrace.
96 INT - TOWER ROOM - NIGHT - HAND-HELD 96
In one cat-like move Gerard attacks. He and Quentin
are on the floor with Gerard about to beat his
brains out. All of a sudden he SHRIEKS IN PAIN
as the ghostly figure of Angelique claws him again
and again. Blood shows on his face as he drops his
club and tries to protect himself, In an instant
Quentin is all over him and there is no doubt about
his intentions. He is trying to kill him.
Throughout the fight INTERCUT QUICK SHOTS of Gabriel
in the place of Gerard, These will look like all
the other memory cuts and will always be from
Quentin's P.O.V. so that it looks like he thinks
he is fighting Gabriel.
97 INT - TOWER STAIRWAY 97
as the two of them come crashing down the stairs
INTO CAMERA, Quentin ends up on top, choking the
life out of Gerard.
QUENTIN
She's mine, brother!...She's mine!
|
And as for what's different when it comes to the dialogue, Quentin's line as he chokes Gerard is dropped in the film. However, it was a part of the original Movies Quotes Slideshow:
(http://www.dsboards.com/moviesquoteimages/0902NoDS_0.jpg)
NoDS: Scene #97 - Quentin (to Gerard): 'She's mine brother!
...She's mine!'
And as for what's different in the descriptions and directions, at the outset of Scene 90, we do not see Tracy and Quentin asleep in the background because the scene begins immediately with a shot of the Tower Room visible through the window, and it isn't until after we see the glow appear in the Tower Room windows that we see Quentin and Tracy asleep - and almost immediately upon seeing them we see Quentin open his eyes, but he doesn't look at the Tower Room immediately because he simply stares into space for several beats before he begins to sit up in bed and then turn toward the direction of the window - and we do not see Quentin actually get out of bed, or put on his robe, or exit the room. And when it comes to Scene 91, a dressed Quentin is seen walking away from the camera before he turns to begin to go up a set of stairs - and then we see his P.O.V. as he makes his way -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_a.jpg)
- through a corridor. And when it comes to Scene 92, at first we actually see the unfinished portrait of Angelique and the empty couch as both -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_b.jpg)
- are bathed in the glow of candles before the camera pans over to show the door to the Tower Room open, and before we see Quentin, we actually see his shadow as -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_c.jpg)
- he gets closer and closer to the open door - and Quentin does not stop at the doorway or have a look of great anticipation on his face, nor is there a close-up on his face because he simply enters the room and moves toward Angelique -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_d.jpg)
- whose ghost has suddenly appeared on the couch. And when it comes to Scene 93, DC's script actually crosses out the establishment of the scene taking place in the foyer and draws an arrow up from Scene 94 to indicate that both the events of Scenes 93 & 94 take place in the first floor corridor - also we don't actually see Gerard's face come through the doors on the first floor corridor -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_e.jpg)
- only his legs - it isn't until he reaches the stairs -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_f.jpg)
- that we see his face. And we actually see more of Quentin and Angelique -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_g.jpg)
- making out before Scene 95 comes up and we see Gerard making his way up the Tower Room stairs - and while we once again see Quentin and Angelique making out, we do not hear the sounds of lovemaking as Gerard pauses to listen or the sound of Angelique laughing as Gerard finally explodes - though we also don't see Gerard throw open the door or see Quentin and Angelique locked in a passionate embrace. What actually takes place is that at the outset of Scene 96 we see Quentin and Angelique making out when suddenly Quentin pulls away from Angelique to turn -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_h.jpg)
- and look behind him to see the irate Gerard -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_i.jpg)
- brandishing the club - but when Gerard attacks him, Quentin doesn't fall onto the floor, he falls backward onto the couch -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_j.jpg)
- and he already sees -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_k.jpg)
- Gerard as Gabriel - and we see Angelique rush to scratch both the faces of Gabriel -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_l.jpg)
- and Gerard -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_m.jpg)
- but we don't hear Gerard shriek in pain - and after Gerard has become disoriented by Angelique's attack is when Quentin gets up from the couch and begins to fight Gerard, often seeing him as Gabriel. And when it comes to Scene 97, after Gerard tumbles down the tower stairway, Quentin violently kicks him down even further, and Gerard desperately tries to get away only to be tackled by Quentin, it is Gabriel -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_n.jpg)
- that Quentin continues to see as he chokes Gerard.
-
Picking up with Scene 97:
Suddenly Tracy ENTERS THE SHOT as she runs up the
stairs and tries to pull Quentin off.
|
And that's when today's quote -
Page 41/Scene 97 - Tracy: 'Quentin!...stop it! You'll kill him! Stop it!'
- comes up, followed by the script continuing with:
She is beating and pulling at him but he won't let
go as Gerard has just about had it. Then suddenly,
with a ROAR OF ANGER, Quentin turns on Tracy.
98 INTERCUT - SAMANTHA - QUENTIN'S P.O.V. 98
SUBCONSCIOUS MEMORY CUT.
as he starts to strangle her.
|
And when it comes to what's different with the dialogue, Tracy actually says "Quentin!...stop it! Stop it! You'll kill him!"
And when it comes to what's different with the descriptions and directions, as part of Scene 97 Tracy does desperately pull at Quentin to try to get him off of Gerard but she doesn't beat him - and there's no audible roar of anger when Quentin turns on Tracy - and as we all know, Scene 98 involves Laura -
(http://www.dsboards.com/NoDSquoteimages/0516ds91_a.jpg)
- and not Samantha. In fact, it's interesting that in the scenes in DC's script where Samantha's name still appears (it was changed to Laura in the rewrites involving her), it's never crossed out and replaced with Laura, whereas in Grayson's script Samantha's name is nearly always crossed out and replaced with Laura even if Carlotta doesn't appear in any way in the sequence.
-
I forgot to ask yesterday if I'm the only one who finds it a little odd that the makeup they used in Scene 85 to show the scratch wounds on the cheek of Strack's henchmen -
(http://www.dsboards.com/NoDSquoteimages/0426ds91_c.jpg)
- makeup that was barely seen as it quickly flashed by in the scene, is much more effective than what they did with the scratch wounds on Gabriel's cheek -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_n.jpg)
- when that wound is seen on camera for several seconds. [hdscrt] I mean, the henchman's wounds actually do look like Angelique's nails dug in his skin, whereas Gabriel's wounds look like they simply painted his cheek with red paint. But who knows? Maybe with Gabriel they were attempting to suggest that his wounds were bleeding so much that the actual scratches were hidden under all the blood. [idontknow]
-
MB, I'm wondering if maybe it's the angle on the henchman's face and the way the light hits the blood that makes it more effective. It looks like it could possibly be the same makeup technique as on Gabriel, but the angle and lighting on Gabriel make it much less effective.
Is there anyone active here who has seen the 129-minute cut? (Have you, MB?) I wonder if some shots originally were intended to last a bit longer. There are certainly some very rough edits in the version we have currently. And they definitely shortened/eliminated some shots to de-emphasize gore and sex between the (97-minute?) "pre-rated" or "R-rated" version and the 95-minute official release version. (I saw the 97-minute version twice on the very first day of release. Quentin and Angelique's kisses, and Gerard's moves on Tracy, were certainly eyebrow-raising, at least for an impressionable 14-year-old. When I saw the movie again a fews years later on TV, it seemed quite a bit tamer--but that could well have been due to CBS' standards and practices department. But then the VHS also seemed tamer than my memory of the initial release, and later on I learned about the apparent mistaken release of a non-PG version in Aug. 1971--which I had been lucky enough to catch!!)
-
Continuing with the current sequence:
99 QUENTIN - CLOSE-UP - NORMAL COLOR 99
as he finally realizes what he's doing and lets go.
99 CONTD CONTD 99
|
And that's when today's quote -
Page 42/Scene 99 - Quentin: 'Tracy! Tracy!'
- comes up.
And when it comes to what's different with the dialogue, Quentin simply says "Tracy" quietly as the shock of what he's been doing to her hits him.
And when it comes to what's different with the descriptions and directions, for the first and probably only time posting about this sequence, nothing is different. [ghost_wink]
-
Wrapping up Scene 99, first by picking up after Quentin realizes what he was doing to Tracy:
Tracy is in shock as Carlotta ENTERS THE SHOT.
|
And that's when today's quote -
Page 42/Scene 99 - Carlotta: 'Mr. Collins! What happened?'
- comes up, followed in the script by:
Then she sees Gerard - the blood from the claw
marks on his face. She rushes to help him as
Quentin shakes his head wordlessly, unable to
explain.
|
End of scene.
And when it comes to what's different with the dialogue, the descriptions, and the directions, we don't actually see Tracy in shock after Quentin realizes he was strangling her because the scene immediately shifts to Carlotta arriving and almost immediately kneeling to examine her nephew, which means that she doesn't speak to Quentin before seeing Gerard - and what Carlotta actually says is "Mr. Collins!", first with shock, and then "Mr. Collins!" with a great deal of incredulity - and so, considering that Carlotta is already at Gerard's side, she doesn't rush to help him when scripted - and nor does Quentin shake his head wordlessly, unable to explain because what Quentin actually does, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0518ds91_a.jpg)
- is wordlessly cling to Tracy in shock.
And Grayson has some notations in her script for this section. And as you can read below, they start off with "Animal excitement", which perhaps harkens back to Carlotta and Gerard's murdering of the hippy, which was never shot, but perhaps Grayson didn't know that at the time she wrote that notation in her script. And then she writes "Touches blood", which Carlotta doesn't actually do in the take used in the film, but she does do in this publicity shot for the scene (http://www.dsboards.com/NoDSquoteimages/Carlotta_blood.jpg) (and I've always thought that it's interesting that Carlotta is pointing in the photo used for the lobby card for this scene (http://www.dsboards.com/NoDSquoteimages/Lobby.jpg) but she doesn't actually do that in the film either - but then, some of the lobby cards for NoDS are quite different from what happens in the film - one isn't even shot is the same room that the actual scene takes place, but I digress...). And finally she writes something in reference to Angelique. But once again for the life of me I can't decipher the whole thing -
(http://www.dsboards.com/NoDSquoteimages/Note_P42.jpg)
- so perhaps someone else (and you know who you are [ghost_wink]) can...
-
I keep forgetting to mention that I was able to scan much better versions of the publicity shots I linked to/provided in replies #12:
Kicking off the next sequence:
& #34:And concluding Scene 33
If you haven't already come across them on your own, you might want to check them out...
And speaking of the rescan for reply #34, until I was recently searching for some entirely different NoDS publicity shots, I'd completely forgotten that on page 141 of the 30 Anniversary version of the DS Almanac there's a publicity shot of David Selby posing outside with the skeleton dressed in tatters. Unfortunately, though, nothing ever explains how that skeleton might have been planned to be used - either in a version of a scene in the film that was rejected, or simply for publicity shots...
-
Let's see. It appears to be: Animal excitement. Touches blood. Fingers (or possibly lingers) on as Angelique. Does that seem like it to you, MB?
-
I think "lingers" may very well be it. That's the word I couldnt figure out, so thanks again! [ghost_smiley]
And KMR, I promise that I haven't been ignoring your post. [ghost_nowink] It's just that there's something I want to check out before I reply but I haven't had the chance to do it yet...
-
Setting up the next scene:
100 INT - CARD ROOM - NIGHT 100
It is about 3 a.m. Quentin sits staring at his
coffee. Tracy watches him nervously. He now knows
what those other dreams were about - Angelique -
however he still considers her part of a dream.
He does not remember what happened during the fight.
QUENTIN
There isn't any explanation.
None at all.
TRACY
(to him)
Darling, we don't need talk
about it anymore.
|
And that's when today's first quote -
Page 42/Scene 100 - Quentin: 'I don't remember anything until I saw Gerard. I didn't recognize him. He shouldn't have been in the house.'
- comes up, followed by today's second quote -
Page 42/Scene 100 - Tracy: 'He simply thought he saw a light.'
-coming up.
And when it comes to what's different with the dialogue, Quentin's "There isn't any explanation. None at all" is dropped in the film - what Tracy actually says to begin the scene is "Darling, we don't need to talk about it anymore" (and I find it odd that the script would specify "to him" because who else would Tracy be saying that to?) - but then Quentin actually says "The first thing I remember is Gerard but I didn't recognize him. What was he doing in the house, anyway?"
And whereas they're not a part of this slideshow, Quentin's and Tracy's first lines were a part of the original Movies Quotes Slideshow:
(http://www.dsboards.com/moviesquoteimages/0904NoDS_0.jpg)
NoDS: Scene #100 - Quentin: 'There isn't any explanation.
None at all.'
(http://www.dsboards.com/moviesquoteimages/0905NoDS_0.jpg)
NoDS: Scene #100 - Tracy: 'Darling, we don't need to talk
about it anymore.'
And when it comes to what's different with the descriptions and directions, while Quentin is apparently staring at his coffee (the scene is shot so far away - from two rooms away and through three doorways - that it's hard to discern what he's looking down at), we do see/hear Tracy take a sip of her coffee and put the cup down on its saucer before she tells Quentin they don't have to continue to talk about what happened - and Tracy reaches over to touch Quentin's arm before she tells him that Gerard's explanation is that he simply thought he saw a light (yeah, right!).
-
Continuing Scene 100, or rather Scene 100B because DC's script has a notation that Scene 100B begins after Tracy tells Quentin that Gerard simply thought he saw a light. And the first thing to come up after that is today's first quote -
Page 42/Scene 100B - Quentin: 'And what was I about to do to you?'
- followed in DC's script by:
And that's when today's second quote -
Page 42/Scene 100B - Tracy: 'You stopped when you realized what you were doing.'
- comes up.
And as for what's different with the dialogue, for a change, nothing is different because both Quentin's and Tracy's lines are delivered exactly as written.
But as for what's different with the descriptions and directions, no doubt DC considered this next part of the scene to be 100B because the camera switches from the long shot of yesterday's portion of the scene to a 2 shot, as can be seen -
(http://www.dsboards.com/NoDSAnniQuoteImages/1221NoDS_0.jpg)
- in today's first capture - and Quentin actually reaches out to hold Tracy's hand which, as we may recall from the previous post, is on his arm - and, unlike what the script says and DC's notation to it, Quentin doesn't actually get up and cross to the window after he delivers his line, and that can be easily seen in today's second capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1221NoDS_1.jpg)
- because he's obviously still sitting at the table with Tracy while she reassures him. And speaking of Tracy, there another notation in DC's script that indicates that the camera was supposed to stay on her as Quentin crosses out of frame and she delivers her line, but the above capture also shows that obviously things don't play that way either.
-
Continuing on with DC's B portion of Scene 100:
1001 CONTD CONTD 100
QUENTIN CLOSE-UP
QUENTIN
But still -
|
And that's when today's quote -
Page 43/Scene 100B - Tracy (gets up, crosses to him): 'Don't worry about me...the important thing now is to figure out why it happened.'
- comes up.
And when it comes to what's different with the dialogue, Quentin's "But still -" is dropped in the film - and what Tracy actually says "Don't worry about me...the important thing is to try to figure out why it happened" - and strangely enough when it comes to that line, while DC's script indicates "(gets up, crosses to him)", Grayson's script simply indicates the odd "(to him)".
And when it comes to what's different with the descriptions and directions, Quentin actually gets up after yesterday's second quote where Tracy reassures him that he stopped what he was doing to her once he realized what you were doing, but he doesn't actually cross to the window - and more than likely that's because his "But still -" was dropped, so there's also no close-up of Quentin - what we actually see of Quentin, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0521ds91_a.jpg)
- is a medium shot - and when Tracy joins him, as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1222NoDS_0.jpg)
- it remains that way - we don't actually see Tracy get up because she simply comes from behind him to join him. But what's interesting is that DC's script has a notation that Quentin would indeed be shot in close-up for the "But still -" line and then the camera would pan to a 2 shot as Tracy crosses to him - but obviously, if the close-up was shot, it wasn't used in the edit of the film that we're familiar with.
-
MB, I'm wondering if maybe it's the angle on the henchman's face and the way the light hits the blood that makes it more effective. It looks like it could possibly be the same makeup technique as on Gabriel, but the angle and lighting on Gabriel make it much less effective.
I finally found the time to do what I wanted to do, which was to examine the henchman's sequence using some Linux software that can break down video files into their individual frames. And having done that now it would seem as if the makeup for the henchman is different from the makeup for Gabriel. When it comes to the henchman, in addition to the blood, his makeup has little bits applied to his skin, apparently put there to approximate the skin that was torn by Angelique's nails (and interestingly enough, the same sort of makeup technique seems to have been used for Gerard's cheek wounds). But Gabriel's cheek wounds don't seem to have those bits - or if they do, they're covered up by so much "blood" as to be indiscernible. Unfortunately, we don't get to see a side view of Gabriel's wounded cheek either before or after we see it full on, so if there are bits applied, we can't check to see if they stick up from his skin.
Is there anyone active here who has seen the 129-minute cut? (Have you, MB?)
I've only seen the presentations that Darren Gross has done at the Fests. Though during the presentation that he did in '04, he showed practically all of the recovered footage, and that was a real thrill to see.
I wonder if some shots originally were intended to last a bit longer. There are certainly some very rough edits in the version we have currently. And they definitely shortened/eliminated some shots to de-emphasize gore and sex between the (97-minute?) "pre-rated" or "R-rated" version and the 95-minute official release version. (I saw the 97-minute version twice on the very first day of release. Quentin and Angelique's kisses, and Gerard's moves on Tracy, were certainly eyebrow-raising, at least for an impressionable 14-year-old.
Yes, the 97 minute version is much more graphic than the version we currently have. The Charles/Angelique tower make out scene, the Quentin/Tracy bedroom molestation scene, and the Gerard/Tracy truck molestation scene are more sexually graphic - and the horse trampling of Trask and the aftermath of Gerard's shooting are much more bloody. But honestly at this point I don't recall if Darren showed the longer versions of those scenes or if he simply showed the scenes that were completely cut.
When I saw the movie again a fews years later on TV, it seemed quite a bit tamer--but that could well have been due to CBS' standards and practices department. But then the VHS also seemed tamer than my memory of the initial release, and later on I learned about the apparent mistaken release of a non-PG version in Aug. 1971--which I had been lucky enough to catch!!)
Because of its graphic, bloody, and violent nature, I wasn't surprised that a lot of the stuff that I'd remembered from seeing the 97 minute version wasn't shown on TV, not even on TBS - but I was shocked when it didn't show up in the VHS and the VHS appeared to be exactly like the TBS edit. I was even more shocked when I wrote Marcy Robin to ask if she knew why they didn't use the version of the film that I remembered for the VHS but appeared to use the TBS version and she had no idea what I was talking about. And after I explained to her about the stuff that was missing, she was even more confused because she'd never seen what I was claiming had been in the film. It wasn't until a while later that it was uncovered that the 97 minute version had been mistakenly released in some areas of the country.
-
Wrapping up DC's B portion of Scene 100, beginning with Sunday's first quote, Quentin's response to Tracy saying the important thing is to figure out why what happened with Gerard actually happened -
Page 43/Scene 100B - Quentin: 'I know...and how are we going to do that?'
- coming up, followed by Sunday's second quote -
Page 43/Scene 100B - Tracy: 'Let's go to bed. I'm sure it'll seem easier tomorrow.'
-coming up, followed by Monday's quote -
Page 43/Scene 100B - Quentin: 'Aren't you...afraid to sleep in the same room with me?'
- coming up, followed by today's quote -
Page 43/Scene 100B - Tracy (hugging him): 'No...darling...no...'
- coming up.
And as for what's different with the dialogue, Quentin actually says "I know...how we gonna do that?" - and to that Tracy actually replies "Well, let's go to sleep. I'm sure it'll seem easier in the morning" - and after Quentin actually asks more directly "You're not afraid of me?", Tracy actually reassures him with "No...no...", with the "darling..." part dropped.
And as for what's different with the descriptions and directions, Tracy doesn't so much hug Quentin as she nuzzles up against his neck - and interestingly DC's script has a notation that when it comes to Tracy's last line in the scene, the camera would tighten in on Tracy and Quentin's 2 heads - but as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1225NoDS_0.jpg)
- there isn't any tightening of the camera at all - things are shot from exactly the same distance as the two captures posted in reply #221.
And tomorrow the slideshow will begin yet another sequence that's different in Grayson's script from the way it is in DC's. But more on that tomorrow...
-
Before we get into DC's script's version of Scenes 101 & 102, this is what Grayson's script's version is like:
CUT TO:
101 INT - MASTER BEDROOM - NIGHT 101
Quentin and Tracy are in bed. They are asleep.
The CAMERA MOVES IN ON HIS FACE FOR A TIGHT CLOSE-UP.
He moans, tosses, turns. He is dreaming and the
VOICES AND SOUNDS WILL ALL BE DISTORTED WITH ECHO.
GABRIEL'S VOICE
Grab him...grab him...
CHARLES' VOICE
No!...no!
SOUND: HEAVY IRON DOOR BEING OPENED.
DISSOLVE TO:
102 INT - CELLAR ROOM - NIGHT - NOT THE SAME LOOK AS 102
THE MEMORY CUTS - SLOW MOTION DREAM EFFECT.
Gabriel is at the open iron door. Two men hold
the struggling Charles.
GABRIEL
You want her...
102 CONTD CONTD 102
He nods to the two men.
GABRIEL
You will have her ... for eternity.
They throw Charles onto the floor in front of
what seems to be a coffin. He scrambles to his
feet as Gabriel slams the door. Charles runs to
it and begins POUNDING.
CHARLES
Let me out! Let me out!
SOUNDS: BRICKS BEING LAYED AS THEY SEAL THE DOOR.
TRUCK IN ON HIS FACE as we SLOWLY FADE TO BLACK.
|
End of scenes. And, yes, in the script "laid" is spelled incorrectly as "layed".
Next up, DC's script's version of Scenes 101 & 102...
-
Also before we get into DC's script's version of Scenes 101 & 102, we should reacquaint ourselves with Scene 67 in Grayson's script:
CUT TO:
67 INT - MASTER BEDROOM - 1800 - NIGHT 67
SUBCONSCIOUS MEMORY CUT
A gray-haired man, CHARLES COLLINS, stands at the
window, his back to CAMERA. He is dressed in
period costume. If we see him walking, he limps.
Suddenly, the door flies open as GABRIEL, Charles'
brother storms in.
CHARLES
Have I no privacy, brother?
GABRIEL
It's for the last time, Charles.
Charles turns to him and we see his face. He has
a strong resemblance to Quentin, except for the
gray hair and a long scar on his cheek.
CHARLES
Would that it were. I'm sick
of your weak face.
GABRIEL
You've been with her, haven't
you? In that damn tower. You
still see her.
CHARLES
What's wrong with you, brother?
Don't you remember? Your wife
is dead.
GABRIEL
She still comes to you -- I
know it.
(then with deadly calm)
All right, if you want her so
much, you will have her...
____________________________________________________________
67 CONTD CONTD 67
He starts toward CAMERA.
|
Why is that? Well, as we'll soon see, and you might have already picked up on your own, when the original versions of Scenes 67 & 68 were replaced with Scenes 66A, 67, 67A(the "Piano Scene" Flashback), & 68 in DC's script, bits of dialogue from original Scene 67 were incorporated into DC's script's rewritten version of Scene 101 - and an entirely new Scene 101A was added:
CUT TO:
101 INT - MASTER BEDROOM - NIGHT 101
Quentin and Tracy are in bed. They are asleep. The
CAMERA MOVES IN ON HIS FACE FOR A TIGHT CLOSE-UP. He
moans, tosses, turns. He is dreaming and the VOICES
AND SOUNDS WILL ALL BE DISTORTED WITH ECHO.
SOUND - DOOR FLIES OPEN.
GABRIEL'S VOICE
Charles! Wake up, Charles!
CHARLES' VOICE
What is it, brother? Must you even
disturb my sleep?
GABRIEL'S VOICE
You've been with her again, haven't
you?
CHARLES' VOICE
What's wrong with you, brother?
Don't you remember, your wife's
dead.
101 CONTD CONTD 101
GABRIEL'S VOICE
She still comes to you! I know it!
Charles starts to laugh.
All right, if you want her so
much -- you will have her!
101A DISSOLVE TO SLOW MOTION DREAM EFFECT. 101A
CHARLES P.O.V. - HAND-HELD IN THE BED
See Gabriel looming over him as two men appear in back
of him. They come to CAMERA as Charles' hands appear
in shot trying to fend them off (WIDE ANGLE DISTORTED
SHOT TILTED)
GABRIEL'S VOICE
(distorted voice - echo)
For eternity, brother.... For eternity
CUT TO:
102 INT - CELLAR ROOM - NIGHT - NOT THE SAME LOOK AS 102
THE MEMORY CUTS - SLOW MOTION DREAM EFFECT.
ALL BLACK - THE SOUND OF BIG IRON DOOR OPENING
Gabriel is at the open iron door. Two men hold
the struggling Charles.
102 CONTD CONTD 102
He nods to the two men.
GABRIEL
You will have her ... for eternity.
They throw Charles onto the floor in front of
what seems to be a coffin. He scrambles to his
feet as Gabriel slams the door. Charles runs to
it and begins POUNDING.
CHARLES
Let me out! Let me out!
SOUNDS: BRICKS BEING LAYED AS THEY SEAL THE DOOR.
TRUCK IN ON HIS FACE as we SLOWLY FADE TO BLACK.
|
End of scenes. And, yes, in the script "laid" is still spelled incorrectly as "layed".
Next up, what's different in the film...
-
With the exception of also being set in the Master Bedroom and its opening set up, Scene 101 is totally different in DC's script from the way it originally appeared in Grayson's. And furthermore, as we know only too well, in the film as it stands DC's versions of Scenes 101 & 102 (& the upcoming 103) are all incorporated into the unscripted dream Quentin has on his first night at Collinwood rather than standing alone as they do in the script.
But be that as it may, when it comes to the rewritten Scene 101, even though DC crossed out Charles' "What is it, brother? Must you even disturb my sleep?", Gabriel's preceding lines "Charles! Wake up, Charles!" are also dropped in the film - and what Gabriel actually says that opens the sequence in the dream is "Charles, you've been with her again" - and to that Charles actually says "What's wrong with you, brother? Don't you remember? Your wife is dead", which is the way it was scripted for the original Scene 67 - to which Gabriel actually replies "Though she still comes to you. I know it!" - and what Gabriel actually further says is "All right -- you will have her!" - and when it comes to Scene 101A, DC wrote in an added "... For eternity" - and when it comes to Scene 102, what Gabriel actually says is an unscripted "She's yours, brother" before delivering today's quote -
Page 44/Scene 102 - Gabriel: 'You will have her ... for eternity.'
- after which Gabriel goes into a hysterical fit of unscripted laughter - and Charles' "Let me out! Let me out!" is also dropped.
And when it comes to what's different with the descriptions and directions, probably because Gabriel and Charles each had their first two lines dropped, in Scene 101 we don't hear the sound of the door to Charles' bedroom fly open - and Charles doesn't actually laugh after Gabriel claims Charles still sees Angelique even though she's dead - and in Scene 101A we don't actually see Charles' hands appear to try to fend off Gabriel's two henchmen, though what we do see is Gabriel reaching out to Charles (as can be seen in the screen capture at the end of this post) - and Scene 102 is shot so darkly that we barely see Charles being held outside the door to the cellar room before he's thrown inside (and there's certainly no view of Gabriel, Charles, and the henchman holding Charles like the still that's published on page 233 of the DS Movie Book) - and after he's thrown into the room, as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1226NoDS_0.jpg)
- Charles is hardly discernible, and neither is the coffin.
And even though Gabriel's dialogue from Scene 101A is not a part of this slideshow, it was part of the original Movies Quotes Slideshow:
(http://www.dsboards.com/moviesquoteimages/0908NoDS_0.jpg)
NoDS: Scene #101A - Gabriel: 'For eternity, brother.
For eternity!'
-
Moving on to today's scene:
DISSOLVE TO:
103 INT - MASTER BEDROOM - NIGHT 103
Quentin is clutching his throat, moaning, gasping
for breath.
|
And that's when today's quote -
Page 44/Scene 103 - Quentin (mumbling in his sleep): 'I can't breathe...I can't...breathe...'
- comes up.
And when it comes to the dialogue, interestingly enough the subtitles on the Blu-ray don't even indicate what Quentin mumbles. It could be what's scripted. But to me it seems more like he mumbles "Help me. ... Help me." See what you think...
And when it comes to the descriptions and directions, while Quentin does moan and sort of gasp for breath, he doesn't clutch his throat - but he does perspire quite a bit. Also, the sounds of the brick being laid that are referenced at the end of Scene 102 can be heard at the end of that scene, but they really begin to be heard more clearly after the transition to Scene 103.
And if we might go back to Scene 102, yesterday I forgot to mention that the subtitles on the Blu-ray indicate that after having sealed Charles in the cellar room, Gabriel orders an unscripted "Kill Dubloon!" - and it does indeed sound like that's what he says. But unless someone has read some version of the NoDS script, they would have no idea that Dubloon is the name of Charles' horse because all the scenes referencing the name of his horse were cut from the film as it stands now (and even from the 97 minute version). And I have to say that, yes, of course a human's life is more valuable than that of a horse - but, whoa, killing one's brother and his horse really shows how insanely vindictive Gabriel is. And one has to wonder just how Gabriel got away without the ghosts of Angelique, Charles, and even Dubloon( [ghost_wink]) taking revenge on Gabriel. But hey, maybe Angelique and Charles were just so happy to be reunited that they didn't care. And obviously the film didn't want to go down that road. But one can only hope that Gabriel's subsequent life is a completely miserable one...
-
Wrapping up Scene 103:
Tracy wakes, stares down at him as he struggles
for his breath. She shakes him.
|
And that's when today's quote -
Page 44/Scene 103 - Tracy: 'Quentin...Quentin? What's wrong?'
- comes up, followed by the script continuing with:
He doesn't really wake up but just opens his eyes
for a moment, not really seeing, and then turns
over and goes back to sleep. She watches him and
when he starts breathing evenly, she lies back as
we TRUCK IN ON HER. Her eyes are wide open.
|
And when it comes to what's different with the dialogue, Tracy actually just says "Quentin...sweetheart?" without asking what's wrong.
And when it comes to what's different with the descriptions and directions, Quentin doesn't open his eyes at all - what actually happens is that after Tracy is unable to wake him, he simply turns over onto his stomach - and Tracy rubs his back as apparently his breathing becomes more even - and after that we do see Tracy lie back with her eyes remaining wide open, but the camera doesn't truck in on her - and the scene ends with Tracy looking back over at Quentin.
The interesting thing about Tracy's part of this scene is that in its proper placement in the script, there's far more subtext to Tracy's reactions than is ever realized in the film as it currently stands. On their first night at Collinwood nothing has really been happening with Quentin, so Tracy needn't be all that upset - but quite obviously in the script a great deal has happened with Quentin, including him nearly killing Gerard and trying to strangle Tracy, so she has a great deal to concern her about his behavior. And that will come out in Scene 104, which begins a period of several scenes in the slideshow that don't appear in the film as it currently stands, and in the case of some, not even in the 129 minute version...
-
Setting up the new scene:
104 INT - DINING ROOM - DAY 104
Tracy is sitting having coffee. She is in deep
thought as Quentin ENTERS and stands by the door.
He is wearing the riding clothes she bought him.
She looks up.
TRACY
How early did you get up?
104 CONTD CONTD 104
Then she notices his outfit.
|
And that's when today's quote -
Page 45/Scene 104 - Tracy: 'Oh, you're wearing them.'
- comes up.
And there's absolutely nothing to get into when it comes to differences with the dialogue, the descriptions, or the directions because this scene only appears in the 129 minute version of the film. However, DC's script has all sorts of notations regarding camera angles, and for this section of the scene it indicates that the scene opens with a long shot, switches to a close-up of Tracy when she looks up, and then to a 2 shot after she asks Quentin when he got up. Though we can't necessarily expect that any of that is the way the scene actually plays because, as we know from past scenes, the camera shots in the film don't always follow DC's notes. And there was also a notation that Tracy would deliver today's quoted line off screen, but that is erased.
-
Continuing with Scene 104, beginning with Quentin's reaction to Tracy noticing that he's wearing the riding breeches:
Quentin just looks down and nods. As he crosses
to her we notice he is limping slightly. She is
looking down so she doesn't notice.
|
And that's when today's quote -
Page 45/Scene 104 - Quentin: 'I just came from the stable. I apologized to Gerard.'
- comes up.
And there's absolutely nothing to get into when it comes to differences with the dialogue, the descriptions, or the directions because this scene only appears in the 129 minute version of the film. However, for this section of the scene DC's script notations indicate that there is a medium shot which pans as Quentin crosses to Tracy. Though, as with yesterday's notations, we can't necessarily expect that what DC wrote is the way this portion of the scene actually plays because, as we know from past scenes, the camera shots in the film don't always follow DC's notes.
It's also interesting that this scene is the first indication that Charles is beginning to take hold of Quentin during Quentin's waking hours - and not just with his limping, as we'll see as the scene progresses...
-
Continuing with Scene 104, beginning with yesterday's quote -
Page 45/Scene 104 - Tracy: 'Quentin...I think we should see a...doctor.'
- coming up, followed by the script explaining:
He thinks about it for a minute.
|
And that's when today's quote -
Page 45/Scene 104 - Quentin: 'I don't know. Let me think about it.'
- comes up.
And there's still absolutely nothing to get into when it comes to differences with the dialogue, the descriptions, or the directions because this scene only appears in the 129 minute version of the film. However, for this section of the scene DC's script notations indicate that there's a close-up of Tracy when she delivers her lines, and there's a shot over Tracy's shoulder of Quentin when he delivers his. But again, we can't necessarily expect that's actually the way things play because the camera shots in the film don't always follow DC's notes.
-
Moving on with Scene 104, beginning with Tracy's reply to Quentin:
TRACY
Why think about it? After what
happened last night we don't
have a choice. Let me ask Car-
lotta about a doctor.
He gets up and starts to pace. She notices the limp.
|
And that's when today's quote -
Page 45/Scene 104 - Tracy: 'What's wrong with your leg.'
- comes up.
And there's still absolutely nothing to get into when it comes to the differences with the dialogue, the descriptions, or the directions because this scene only appears in the 129 minute version of the film. Though it is the case that in the script Tracy's quoted line does indeed end with a period rather than a question mark. And for this section of the scene DC's script notations indicate that there's a 2 shot of Tracy and Quentin while she points out that they don't have a choice and she wants to ask Carlotta about a doctor, and then when Quentin paces/limps he moves toward the camera. But again, we can't necessarily expect that's actually the way things play because the camera shots in the film don't always follow DC's notes.
-
Moving on with Scene 104, beginning with Quentin's reaction/reply to Tracy:
For a moment he doesn't hear her.
|
And that's when yesterday's quote -
Page 45/Scene 104 - Quentin: 'What?...oh...I took a ride over to the Mill this morning and that stupid horse...threw me. It'll be OK. Don't worry.'
- comes up, followed by today's first quote -
Page 45/Scene 104 - Tracy: 'I asked you not to ride Ulysses.'
- coming up, followed by today's second quote -
Page 45/Scene 104 - Quentin: 'I wasn't. It was Dubloon.'
- coming up.
And there's still absolutely nothing to get into blah, blah, blah. And for this section of the scene DC's script notations indicate that before Quentin delivers yesterday's quote, the camera pans up to a close-up of him, which then changes to a medium shot when Tracy brings up Ulysses, and then after Quentin says it wasn't (Ulysses), he turns to Tracy before he says it was Dubloon (and as we will recall, Dubloon was Charles' horse - boom Boom BOOOOM!). But again, we can't necessarily expect that's actually the way things play because the camera shots in the film don't always follow DC's notes.
-
Moving on with Scene 104, beginning with Tracy attempting to bring the subject of a doctor back:
TRACY
What about the doctor?
He comes to her, ignoring the question.
104 CONTD (2) (2) CONTD 104
QUENTIN
Do you still love me?
TRACY
I still love you, yes.
They look at each other.
|
And that's when today's quote -
Page 46/Scene 104 - Tracy: 'Quentin, maybe it's this house. Maybe we don't belong here. You know, we don't have to stay.'
- comes up.
And there's still absolutely nothing to get into when it comes to the differences with the dialogue, the descriptions, or the directions because this scene only appears in the 129 minute version of the film.
-
And wrapping up Scene 104, beginning with today's first quote -
Page 46/Scene 104 - Quentin: 'Look, in the light of day the whole thing seems completely ridiculous. [He sits next to her.] Why don't we at least give it the day and we'll talk about it this afternoon.'
- coming up, followed by the script explaining:
She thinks for a moment and then sees the sense
in what he is saying. She nods.
|
And that's when today's second quote -
Page 46/Scene 104 - Quentin: 'And -- I'll think about that doctor.'
- comes up.
And there's still absolutely nothing to get into when it comes to the differences with the dialogue, the descriptions, or the directions because this scene only appears in the 129 minute version of the film. And as far as the notations in DC's script go, the camera starts with a medium shot of Quentin and then trucks to a close-up of Tracy. But of course, we can't necessarily expect that's the way things actually play because the camera shots in the film don't always follow DC's notes.
And tomorrow's slideshow begins a sequence that doesn't appear in any version of the film...
-
Setting up the next sequence:
105 EXT - STABLES - DAY 105
Gerard is up on a scaffold fixing the roof as Tracy
crosses the courtyard, walks under the scaffolding
and ENTERS the stable without seeing him.
CUT TO:
106 INT - STABLES - DAY 106
as she ENTERS there is a sudden snarling as the two
black dogs appear and start menacingly toward her.
|
And that's when today's quote -
Page 46/Scene 106 - Tracy: 'Stay away now...stay away...'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions, there's nothing to comment about because none of this sequence appears in any version of the film (and in a later post we'll get into the reason that's most likely). And while there are some notations in DC's script for Scene 106, they don't come up until later in the scene. But what is interesting is that you may recall that when it came to Scene 52, what's scripted is:
52 EXT - STABLES - DAY 52
The two dogs are playing in the stable yard as
Quentin ENTERS under the archway. Suddenly the
dogs become hostile. Quentin stops, frowns,
then keeps walking. The dogs wait for a moment
and then start slowly for him. They are snarling
viciously as Gerard appears in the doorway.
|
But what actually happens in the film is that:
unlike how the script says that we see the dogs playing and when Quentin arrives, they become vicious and slowly make a move toward Quentin before Gerard stops them, as can be seen in the following capture, in the film Scene 52 starts off with shots of Gerard repairing brickwork -
(http://www.dsboards.com/NoDSquoteimages/0218ds91_a.jpg)
- and as Gerard does this, off camera we hear Quentin call out "Stiles" and then introduce himself with "I'm Mr. Collins - and it isn't until the next camera shot that we see that Gerard is up on some scaffolding repairing brickwork near the roof of a part of the stable building, the dogs are quietly standing near the base of the ladder, and Quentin has just entered the stable yard, as can all be seen in the next capture -
(http://www.dsboards.com/NoDSquoteimages/0218ds91_b.jpg)
So, it would seem as though the altered opening to Scene 52 was done so as to play off the scripted opening to Scene 105. But then, we're never going to know if that's really true because, apart from a few publicity stills and behind the scenes photos, nothing from Scenes 105, 106 & 106A appears to exist, so most likely we'll never know how Scene 105 was actually shot...
-
Continuing with Scene 106:
The dogs are slowly backing her into a corner when
Gerard ENTERS THE SHOT.
|
And that's when the first part of today's quote -
Page 46/Scene 106 - Gerard: 'Don't move.'
- comes up, followed by the script continuing with:
He crosses to her. She can see the raw scratches
still on his face.
106 CONTD CONTD 106
|
And that's when the second part of today's quote -
Page 47/Scene 106 - Gerard: 'Now, Brutus...now, Tar...'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions, there's nothing to comment about because none of this sequence appears in any version of the film.
-
Continuing along with Scene 106:
The dogs keep up their snarling.
|
And that's when today's first quote -
Page 47/Scene 106 - Gerard: 'She won't hurt you...no...she's just come down to ride...that's all. She likes Gerard.'
- comes up, followed by the script continuing with:
He moves close to her and reaches out, caressing her
face. She pulls away but stops as the dogs snarl
and he rubs her again.
|
And that's when today's second quote -
Page 47/Scene 106 - Gerard: 'She is a friend. A friend. See?'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions, there's nothing to comment about because none of this sequence appears in any version of the film.
-
And concluding Scene 106 (in DC's script):
Finally, the dogs turn and walk away.
|
And that's when today's quote -
Page 47/Scene 106 - Tracy (lowly): 'Don't you ever touch me again!'
- comes up, followed by the script continuing with:
Gerard stares at her, then quite cooly turns away.
|
And that's where the scene ends in DC's script. However, it's not where Scene 106 ends in Grayson's script - and we'll get into that continuation in the next post. And what will be interesting is that as the slideshow progresses for the next few days you'll see how that continuation was reworked for DC's script and turned into Scene 106A, even though it's not indicated as a rewrite in his script...
And of course, when it comes to the dialogue, the descriptions, and the directions, blah, blah, blah because blag, blah, blah. And yes, the script uses the "cooly" spelling variation of the word "coolly"...
-
As you'll see as Scene 106A unfolds in the slideshow and the posts following this one, some of it is very much the same as Grayson's script's continuation of Scene 106 - but things will change radically before too long. But here's how things were originally supposed to play:
GERARD
I'll saddle your horse.
He walks to the saddle rack, takes one and throws it
over a tall gray.
TRACY
This isn't Dubloon, is it? The
horse my husband rode this morning --
GERARD
We don't have a Dubloon. He rode
Ulysses.
Tracy thinks about this.
TRACY
Where's the Mill on the property?
GERARD
There's no mill.
TRACY
Are you sure?
GERARD
Yes -- I'm sure.
Tracy mounts her horse as Gerard makes no move to help
her but just stands staring at her. Then, unable to
bear his presence any longer, she rides off.
|
Gee, I wonder why Tracy could no longer bear Gerard's presence? [ghost_wink]
-
With the exception of one written addition to the descriptions and directions, DC's script's version of Scene 106A begins exactly like Grayson's script's continuation of Scene 106:
106A INT - HORSE PART OF STABLE 106A
GERARD
I'll saddle your horse.
Takes horse out
He walks to the saddle rack, takes one and throws it
over a tall gray.
|
And just as in Grayson's script, that's when today's quote -
Page 47/Scene 106A - Tracy: 'That isn't Dubloon, is it? The horse my husband rode this morning --'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions, there's nothing to comment about because none of this sequence appears in any version of the film. But this is the only part of Scene 106A where the dialogue is exactly the same as Grayson's continuation of Scene 106. And this part of DC's script is where his notations finally begin for the sequence as he indicates that Scene 106A begins with a wide shot and then trucks tighter as Tracy walks to Gerard.
-
After today's quote -
Page 47/Scene 106A - Gerard: 'We don't have a Dubloon. He rode Ulysses, like he always does.'
- comes up, Scene 106A continues in the script with:
Tracy thinks about this.
TRACY
Where's the Mill?
GERARD
What?
|
And when it comes to the dialogue, the descriptions, and the directions, there's nothing to comment about with comparison to the film because none of this sequence appears in any version of the film. But as we can see with today's quote, "like he always does" was added to Gerard's original line in Grayson's continuation of Scene 106 - and then when it comes to Scene 106A in DC's script "on the property" was dropped from Tracy's initial question. And while those are minor changes, soon their conversation will not only lengthen, it will be going in a totally different direction than it does in Grayson's continuation of Scene 106. And when it comes to this part of DC's script, his notations indicate that the camera changes to a 2 shot when Tracy asks about the Mill.
-
Today I thought I'd share a rare production still of DC directing Scene 106A:
(http://www.dsboards.com/NoDSquoteimages/DC_directs_106A.jpg)
-
I'll bet that horse didn't take direction well.
-
Continuing Scene 106A with yesterday's quote -
Page 47/Scene 106A - Tracy: 'The Mill...is it on the property?'
- coming up, followed in the script by:
And that's when the first part of today's quote -
Page 47A/Scene 106A - Gerard: 'Oh, yeah...the Mill. It's over by that ravine down near the river road.'
- comes up, followed by the script explaining:
Tracy nods, gets on her horse and starts out.
|
And that's when the second part of today's quote -
Page 47A/Scene 106A - Gerard: 'I wouldn't bother going over there if I were you.'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions, there's nothing to comment about with comparison to the film because none of this sequence appears in any version of the film. But it's very interesting that in this new version of Tracy and Gerard's discussion about the Mill he's done a 180 and not only acknowledges there is a Mill, but he knows exactly where it is.
-
Wrapping up Scene 106A and moving beyond, first by picking up the script from where we left off:
And that's when today's first quote -
Page 47A/Scene 106A - Tracy: 'Why not?'
- comes up, followed by today's second quote -
Page 47A/Scene 106A - Gerard: 'You won't see very much...it burned down -- over one hundred years ago.'
- coming up, followed by the scene concluding in DC's script with:
She looks at him then rides out.
|
However, it was DC's intent that Tracy not listen to Gerard and to ride out to the location of the former mill because at the top of page 48 in his script he's handwritten:
106A EXT - RAVINE - BURNED MILL
As Tracy rides in and looks
it over
|
And chances are the reason it's also indicted to be Scene 106A is most probably because DC added it to his script before Scene 106 was split into two scenes with the rewrite being Scene 106A.
And when it comes to the dialogue, the descriptions, and the directions, there's nothing to comment about with comparison to the film because none of this sequence appears in any version of the film. What is a shame, though, even though ultimately we were never going to see it, is that they dropped how Tracy was going to be unable to bear Gerard's presence any longer...
And supposedly the reason why Scenes 105 through the second 106A don't appear in the film is because DC was quite unhappy with the performances of the two dogs playing Brutus and Tar. According to Richard Shore, who was the Director of Photography on the film, the dogs looked "absolutely savage" and "everybody was terrified of them" - however, when it came time to shoot them terrorizing Tracy, "the dogs turned out to be extremely friendly and would not growl or bark menacingly." And Shore goes on to say that "It took forever for the trainer to goad them into looking mean." But apparently DC still wasn't satisfied with the result and decided to cut the entire sequence. And that's quite unfortunate because the 106A scenes definitely show that Tracy has good reason to be worried about Quentin because at least half of what he told her earlier in Scene 104 was a delusion, not to mention it clued in the audience to the fact that Charles' personality was somehow encroaching in on Quentin's personality.
An interesting aside is that the dog trainer was given an extras role in the film. And IF I'm remembering things correctly, I believe it was as one of the men who was involved in the hanging of Angelique. It's funny how he made it into the released film in a significant way but his dogs didn't. (However, they do appear more significantly in the 129 minute version of the film in Scene 48 -
(http://www.dsboards.com/NoDSquoteimages/Gerard_dogs.jpg)
- and they're talked about in Scene 50.)
And tomorrow we will begin a new sequence that is actually in the film - however, it's also the only sequence from this month's slideshow that actually does appear in the film...
-
I'll bet that horse didn't take direction well.
Look at that face:
(http://www.dsboards.com/NoDSAnniQuoteImages/0111NoDS_0.jpg)
How could he not take direction well - or at least a lot better than the supposedly vicious dogs did?! [ghost_grin]
And am I the only one who thinks it's a shame that none of the horses received a credit in the film? I mean, quite often when it comes to dogs in TV and films you see things like "And Trixie as Scruffy". So why no something like "Featuring Max as Ulysses and Fred as Dubloon"?! [ghost_nowink] [ghost_sad] [ghost_wink]
-
I think that you're referring to the bald henchman, played by Captain Arthur Haggerry; he was billed by both names. Haggerry had a very eclectic list of credits, including Fatty Arbuckle and a couple of nasty zombies. One of the most memorable (for me anyway) was his appearance as yet another bald henchman, teamed with Al Lewis (!) in Deborah Harry's music video for Liar Liar. [ghost_cool]
-
That sounds about right. I read about him only a few weeks back, but today I couldn't locate where I'd read it. [ghost_embarrassed] That's the problem when there are so many separate sources around...
[edit: I just remembered it's in the Return to Collinwood book from PomPress. [ghost_smiley])
-
A scene that appears in the script before the one that contains tomorrow's quote:
107 EXT - GROUNDS - COLLINWOOD - DAY - WIDE ANGLE 107
It is a beautiful sunny afternoon. Alex is riding
a bicycle TOWARD CAMERA. There are a number of
books in the front basket. In the B.G. the ram-
bling greenhouse can be seen.
ALEX - TRUCKING SHOT
CAMERA TRUCKS IN FRONT OF ALEX HOLDING HIM IN
CLOSE-UP. Suddenly he catches something out of
the corner of his eye, O.S. He stops.
|
End of scene - but just the beginning of the next sequence...
And so far as any differences in the dialogue go, well, there obviously aren't any differences because there isn't any dialogue.
And so far as any differences in the directions and descriptions go, the greenhouse isn't actually seen in the background as Alex rides his bicycle - and Alex is never actually seen in close-up, only medium or wide shots such as these:
(http://www.dsboards.com/NoDSquoteimages/0614NoDS_a.jpg)
(http://www.dsboards.com/NoDSquoteimages/0614NoDS_b.jpg)
-
I think that you're referring to the bald henchman, played by Captain Arthur Haggerry; he was billed by both names.
A link to his 2006 obituary from the LA Times: Re: Passing -- Captain Haggerty from "Night of Dark Shadows"
-
Thanks for that, Midnite - I'd completely forgotten about it...
What a surprise NoDS isn't listed as one of his credits. [ghost_grin]
-
Moving through the next two scenes in the sequence:
108 THE GREENHOUSE - WIDE ANGLE - ALEX' P.O.V. 108
The greenhouse is at least a thousand yards away.
However, there is unmistakenly a girl in a long
period dress strolling leisurely toward its
entrance. She is too far away to identify. She
moves so smoothly, it almost looks like she is
floating.
ALEX - CLOSE-UP
as he calls to her.
|
And that's when today's first quote -
Page 48/Scene 108 - Alex: 'Hey! You!'
- comes up, followed by the script continuing with:
THE FIGURE - ALEX' P.O.V.
as it disappears into the structure.
109 ALEX FROM INSIDE THE GREENHOUSE 109
as he peddles his bike TOWARD CAMERA. He dismounts
at the door and looks inside.
|
And that's when today's second quote -
Page 48/Scene 109 - Alex: 'Hello!'
- comes up, followed by the script continuing with:
He gets no answer so he crosses in, coming to
CAMERA and a LOW ANGLE CLOSE-UP. He looks around
-- sees no one.
|
And that's when today's third quote -
Page 48/Scene 109 - Alex: 'Is anybody here?'
- comes up, followed by the script continuing with:
When he still gets no answer, he finally turns and
starts toward the door, as the wind, which had been
nothing but a gentle breeze, suddenly increases in
volume. Then there is the SOUND OF SPLINTERING
WOOD directly above his head. He looks up.
109 CONTD CONTD 109
THE ROOF - ALEX' P.O.V.
An entire section of the glass roof suddenly gives
way and comes crashing down.
ALEX - HIGH ANGLE
as falling backward, he is just able to avoid
disaster.
|
And so far as any differences in the dialogue go, in Scene 108 Alex actually calls out an unscripted "Hello there!" as the figure disappears into the greenhouse - and in Scene 109 as he is seen from inside the greenhouse as he peddles his bike, Alex calls out another "Hello there!" rather than the simply scripted "Hello!" - and Alex calling out "Is anybody here?" after he looks around inside the greenhouse is dropped in the film.
And so far as any differences in the directions and descriptions go, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0615NoDS_b.jpg)
- Scene 109 actually begins with a wide high angle long shot of Alex peddling his bike toward the greenhouse before he's seen shot from inside the greenhouse -
(http://www.dsboards.com/NoDSAnniQuoteImages/0116NoDS_1.jpg)
- as can be seen in today's second capture in the slideshow - and when Alex enters the greenhouse to look around, he isn't seen in a low angle close-up but rather a normal medium shot as well as a wide angle long shot, as can be seen in the following two captures -
(http://www.dsboards.com/NoDSquoteimages/0615NoDS_c.jpg)(http://www.dsboards.com/NoDSquoteimages/0615NoDS_d.jpg)
- and it isn't until the point where he might have asked if anybody is there, as can be seen in today's Cut/trimmed sequence graphic -
(http://www.dsboards.com/NoDSAnniQuoteImages/0116NoDS_2.jpg)
- that Alex is seen in close-up, though it's not shot from a low angle - and we don't see Alex shot from a high angle and he actually runs from -
(http://www.dsboards.com/NoDSquoteimages/0615NoDS_e.jpg)
- rather than falls backward to escape the falling glass of the roof.
-
I wonder if this was supposed to be the ghost of the servant girl that was mentioned earlier in the slideshow. I don't think that it could be Angelique, as I think that she would have been identified as such in the script, if not on film.
-
I wonder if this was supposed to be the ghost of the servant girl that was mentioned earlier in the slideshow. I don't think that it could be Angelique, as I think that she would have been identified as such in the script, if not on film.
Very shortly an answer to that will be coming in a scene in the script that only appears in the 129 minute version of the film. [ghost_smiley]
And before we get back to the script, I want to share the following candid production still that I made reference to back when we were dealing with Scene 69(the picnic). It's of David Selby, Kate Jackson and John Karlen taking a break from shooting the scenes at the greenhouse:
(http://www.dsboards.com/NoDSquoteimages/Break.jpg)
And one of the interesting things about what Karlen is doing is that he had never ridden a bicycle before he did so for the scenes for NoDS, so he practiced a lot before shooting so he wouldn't look ridiculous. Of course, if the film had been shot today, they could have just put training wheels on the bike and then taken them out in post. [ghost_wink] But that sort of technology wasn't available back in 1971. [ghost_nowink]
-
I am very much looking forward to that scene, MB.
-
Continuing with Scene 109 and moving beyond to wrap up the sequence:
ALEX - CLOSE-UP
as he gets to his feet, brushing himself off, he
knows he was a lucky man. In the B.G., Tracy has
seen it happen and now rides her horse toward him,
dismounting by the door.
|
And that's when the first part of yesterday's first quote -
Page 49/Scene 109 - Tracy: 'Alex! Are you all right?'
- comes up, followed by the script indicating:
He nods and crosses to her.
|
And that's when the second part of yesterday's first quote -
Page 49/Scene 109 - Tracy: 'What happened?'
- comes up, followed by yesterday's second quote -
Page 49/Scene 109 - Alex: (taking a beat) 'I was exploring and I guess I shouldn't have been. The whole place fell down.'
- comes up, followed by the script continuing with:
CUT TO:
110 EXT - GREENHOUSE - DAY 110
as Alex wheels his bike. They walk toward her
horse.
|
And that's when today's first quote -
Page 49/Scene 110 - Alex: 'What's new, Trace?'
- comes up, followed by the script explaining:
She hesitates, then decides to tell him.
|
And that's when today's second quote -
Page 49/Scene 110 - Tracy: 'Something...very strange happened last night and I'm worried about it.'
- comes up, followed by the script continuing with:
He looks at her as she begins to tell him
|
And so far as any differences in the dialogue go, in Scene 109 Tracy's "Alex! Are you all right?" is actually delivered off camera - and to that Alex responds with an unscripted "Stay out of here, honey" - and Scene 110 actually begins with Tracy asking "What happened" - and to that Alex actually responds with an unscripted "What happened?" before he actually adds "I was exploring. I guess I shouldn't have been. Then the whole place fell down" - and after Alex asks her what's new, Tracy actually replies with "Something sort of funny happened last night, Alex. I'm a little worried about it" - to which Alex responds with an unscripted "Come on, tell me about it" - and Tracy begins an unscripted explanation with "Well, I don't know exactly. I woke up late and I looked for Quentin. He wasn't there. So I, I went to the tower room..."
And so far as any differences in the directions and descriptions go, we don't actually get a close-up of Alex after he gets to the ground so much as we get -
(http://www.dsboards.com/NoDSquoteimages/0616NoDS_a.jpg)
- a low angle shot of him on the ground - and we don't actually see Tracy riding her horse in the background because there's a full on shot of Tracy riding across the field toward the greenhouse -
(http://www.dsboards.com/NoDSquoteimages/0616NoDS_b.jpg)
- and after dismounting running toward the direction of the greenhouse -
(http://www.dsboards.com/NoDSquoteimages/0616NoDS_c.jpg)
- and apparently Ulysses is one smart horse because even though Tracy left him just past the field when she ran toward the greenhouse, he knew enough to follow her to the entrance to the greenhouse where he's waiting -
(http://www.dsboards.com/NoDSquoteimages/0616NoDS_d.jpg)
- when Tracy and Alex come out - so, as can be seen in today's first capture, Tracy, Alex and Ulysses don't actually have to go far -
(http://www.dsboards.com/NoDSAnniQuoteImages/0118NoDS_0.jpg)
- to retrieve Alex' bike, as opposed to the script having Alex wheel his bike as they walk toward the horse - and it isn't so much that Alex simply looks at Tracy because Tracy takes Ulysses reins and pulls him behind her as she and Alex walk away from the greenhouse as she -
(http://www.dsboards.com/NoDSquoteimages/0616NoDS_e.jpg)
- begins to explain what happened with Quentin.
-
I am very much looking forward to that scene, MB.
Circle June 21st on your calendar. [ghost_wink]
-
Tuesday it is! [ghost_smiley]
-
Setting up the new scene (and once again the version in Grayson's script is different from the one in DC's (for one, in Grayson's version the scene takes place in Collinwood's library) - but we're going to wait until all of DC's version has been presented before we go back to Grayson's version):
CUT TO:
111 EXT - RAILROAD BRIDGE - DAY 111
As Quentin leans over the guard rail, Alex
hovers over him, telling him what happened at
the Greenhouse. Quentin looks quickly at him,
disbelief on his face.
|
And that's when today's quote -
Page 50/Scene 111 - Quentin: 'You were a fool ever to go in there...'
- comes up.
And so far as any differences in the dialogue, the directions, and the descriptions go, at this point we can't compare the script to the film because this scene only appears in the 129 minute version of the film. However, we can get into DC's notations for the scene, and they indicate that at the beginning of the scene Alex and Quentin are being shot in a 2 shot. Though, as we've learned from scenes that are in the shorter versions of the film, we can't necessarily expect that all of DC's notations are the ways in which the scene actually plays.
-
Continuing Scene 111, beginning with Sunday's quote -
Page 50/Scene 111 - Alex: 'I told you. I saw someone in a long white dress.'
- coming up, followed by Monday's quote -
Page 50/Scene 111 - Quentin: 'Your imagination is getting the best of you.'
- coming up, followed by today's quote -
Page 50/Scene 111 - Alex: 'No it didn't. I saw Angelique and she tried to kill me.'
- coming up.
And so far as any differences in the dialogue, the directions, and the descriptions go, at this point we can't compare the script to the film because this scene only appears in the 129 minute version of the film. However, DC's script has changes to Alex' quote for today. In the script "No it didn't" is crossed out and Alex' lines are indicated as "All right, Quentin - I'll tell you what. I really saw Angelique and she tried to kill me." And we can also get into DC's notations for the scene, which first indicate that when Alex starts those lines the camera cuts to his close-up (from the previous 2 shot) - and then after Alex says Angelique's name, the camera cuts to a close-up of Quentin. Though, as we've learned from scenes in the shorter versions of the film, we can't necessarily expect that all of DC's notations are the ways in which the scenes in the film actually play.
And when it comes to how Alex saw Angelique, if one blows up the scene of the figure walking toward the greenhouse, one can sort of deduce that the figure is Angelique -
(http://www.dsboards.com/NoDSquoteimages/0615NoDS_a.jpg)
- and it is somewhat odd that the script doesn't identify her specifically - but Sam Hall and DC are quite possibly the only ones who know why. But be that as it may, I have to say that one of my favorite candid stills of Parker as Angelique is the one that appears on the back of the VHS box:
(http://www.dsboards.com/NoDSquoteimages/Ang_greenhouse_2.jpg)
And that box may be the only place it's ever been published. Or if there has been another place, I don't honestly remember where...
-
Very interesting, MB, and certainly worth waiting for. Is this one of the few appearances that Angelique makes in the daylight [spoiler]prior to the twist at the end[/spoiler]?
-
Continuing Scene 111, beginning with yesterday's quote, Quentin's reaction to Alex insisting Angelique tried to kill him -
Page 50/Scene 111 - Quentin: 'God damn it! That's impossible.'
- coming up, followed by today's quote -
Page 50/Scene 111 - Alex: 'Quentin, she had a reason to stop me. I found out alot about your family. You already know about Charles Collins. But do the name's Gabriel and Laura mean anything to you?'
- coming up.
And so far as any differences in the dialogue, the directions, and the descriptions go, at this point we can't compare the script to the film because this scene only appears in the 129 minute version of the film. However, we can get into DC's notations, and in this section of the scene they indicate that after Quentin says it's impossible and before Alex begins to explain how Angelique had reason to stop him, the camera switches from a close-up of Quentin to a 2 shot. Though, as we've learned from scenes in the shorter versions of the film, we can't necessarily blah, blah, blah, blah.
And yes, both "alot" and "name's" are misspelled that way in the script...
-
Very interesting, MB, and certainly worth waiting for. Is this one of the few appearances that Angelique makes in the daylight [spoiler]prior to the twist at the end[/spoiler]?
I believe it is. Though there's some controversy about[spoiler]the ending on the film and the way a certain aspect of the ending is described in the script.[/spoiler]But we'll get into that after the ending of the script comes up...
-
That's a beautiful photo of Angelique from this scene. Thanks, MB!
G.
-
Continuing Scene 111, beginning with yesterday's first quote, Quentin's reaction to Alex asking if the names Gabriel and Laura mean anything to him -
Page 50/Scene 111 - Quentin: 'Why should they?'
- coming up, followed by yesterday's second quote -
Page 50/Scene 111 - Alex: 'Because of those little...day dreams of yours.'
- coming up, followed by today's first quote -
Page 50/Scene 111 - Quentin: 'Those daydreams don't mean a thing.'
- coming up, followed by today's second quote -
Page 50/Scene 111 - Alex: 'Yesterday, you said you wanted to talk about them.'
- coming up.
And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because this scene only appears in the 129 minute version of the film. And DC didn't make any notations for this section of the scene, so supposedly the camera continues with a 2 shot. Though, as we've learned from scenes in the shorter versions of the film, we can't necessarily blah, blah, blah, blah.
And yes, in the script daydreams is incorrectly spelled as "day dreams" in Alex' line...
-
I wish I could remember if the surviving footage of this sequence was among the bits screened by Darren Gross at a DS Festival I attended sometime around 2005. (I think that was the same occasion when I saw the existing cut of the rejected WB pilot.) I remember a scene where Carlotta brings a breakfast tray to Quentin and Tracy's bedroom (which obviously follows on a scene that's in the regular release cut), the piano scene, and the seance scene. Don't recall this one.
Holding onto the ever more unlikely hope that someday we'll all get to see the restored cut.
G.
-
[pointing-up] You're not the only one who couldn't remember exactly what Darren showed in 2004 in Tarrytown. But the funny thing is that just the other day I came across this topic:
Darren's NoDS Presentation
And thanks to you I now remember. [ghost_cool]
(And BTW, only a few clips of the '04 pilot were shown in Tarrytown. The entire pilot debuted in LA in '05. [ghost_smiley])
-
Doing a bit more digging through older '04 topics, thanks to a post from ProfStokes, I think I may have discovered an answer to this:
A portion of Scene 84 in the script:
He starts to look for something
and, moving a trunk to a better position, discovers
that it was concealing a built-in wall cupboard.
Obviously, it hasn't been opened in years. Opening
it, he sees a stack of canvases. He takes one out.
It is a portrait of Angelique and is signed: "Charles
Collins, 1800." Quentin is amazed. He takes out
others. They are all of Angelique. Then he comes
to an unfinished one.
|
And my comments:
... And when he discovers the cupboard and opens it, he doesn't take out any paintings other than the unfinished one, which he carries over to his easel so as, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0418ds91_d.jpg)
- to get a better look (though given there's an obvious cut in the background music, it would definitely seem as if something was cut from the scene that took place between the time Quentin discovers the hidden paintings and the time he takes out the unfinished one) ...
And ProfStokes' post relates because here's a portion of her listing of the recovered footage that was shown:
..., Quentin discovering a sketch that Charles had made of Angelique, ...
-
That's very cool. I don't remembering whispering to the person I was sitting next to. I had forgotten the thing about some stupid exec's vendetta against Grayson. Expletive deleted!
Oddly I read the same thing a few months ago about Majel Barrett. I was watching the first season of Original Series Star Trek and I was reading some stuff fans had compiled online. A couple of the suits really took a personal dislike to Majel and loathed the fact that she played the first mate character in the original pilot. When she returned in the role of Nurse Chapel in the reboot, the same execs loudly complained that they didn't want to see her in there at all. Somehow or other, these imbeciles were overruled.
It's way off topic at this point, but an energetic young man at a gathering I attend in Ontario a couple of times each year always calls me "Majel Barrett" whenever he sees me. He is an art historian and an authority on Egyptology and 19th-20th century British art. I take this as a high compliment.
G.
-
I don't remembering whispering to the person I was sitting next to.
I whispered about the scenes, too. I was sitting with Midnite and she mentioned what a shame it was that the presentation was being so rushed that Darren wasn't being allowed to explain about each recovered scene, so, given the fact that I'd reread the script before the Fest so that I'd know what sort of stuff to expect in Darren's presentation, I started explaining each recovered scene as it came up. More than a few people around Midnite and I appreciated it.
I had forgotten the thing about some stupid exec's vendetta against Grayson. Expletive deleted!
Darren mentions that in quite a few of his pieces about NoDS, and I feel the same about it as you do. Carlotta is one of the best things about the film and I can't even begin to imagine it without her. Not to mention it would be very hard to piece together the entire 1810 backstory if all her stuff was cut. But then, having the film make complete sense was hardly any sort of a priority for James Aubrey! (And it seems like history repeated itself a bit considering that to a lesser degree there was a somewhat similar situation with the WB execs who oversaw the Depp/DS film! [ghost_sad] But that's a whole other discussion that we've had in that film's topics...)
-
Picking up Scene 111 after Alex' remark that the day before Quentin wanted to talk about his daydreams:
CONT'D CONT'D 111
QUENTIN
Now I don't.
ALEX
Because of last night?
QUENTIN
Alex...last night, I thought
Gerard a burglar.
|
And that's when the first part of today's quote -
Page 51/Scene 111 - Alex: 'That's all, huh? Then why were you screaming, "She's mine, brother, she's mine."'
- comes up, followed in the script by:
Quentin just stares at him.
|
And that's when the second part of today's quote -
Page 51/Scene 111 - Alex: 'I think you were living out one of those day dreams...You were Charles, and Gerard was brother Gabriel...and you were fighting over...Angelique.'
- comes up.
And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because this scene only appears in the 129 minute version of the film. However, DC has a notation that the camera switches from a 2 shot to a close-up of Quentin after Alex brings up how Quentin was screaming, "She's mine, brother, she's mine." Though, as we've learned from scenes in the shorter versions of the film, we can't necessarily blah, blah, blah, blah.
And when it comes to Quentin screaming, "She's mine, brother, she's mine", interestingly enough we don't hear him scream that in the version of the film as it stands, so it will be interesting if it is in the 129 minute version. One would presume it is, or else Alex' remark from this scene, if it is a part of the scene in the 129 minute version, would make no sense.
And yes, once again in the script daydreams is incorrectly spelled as "day dreams" in one of Alex' lines. How weird is it that it's only misspelled in his lines?
-
Picking up Scene 111 after Alex states his belief that the night before Quentin was Charles, Gerard was Gabriel, and they were fighting over Angelique:
Quentin shakes his head over Alex's fantasy.
|
And that's when today's first quote -
Page 51/Scene 111 - Alex: 'Quentin, what were you doing in the tower at two in the morning?'
- comes up, followed by today's second quote -
Page 51/Scene 111 - Quentin: 'Working.'
- coming up, followed by the script continuing with:
ALEX
At night?
QUENTIN
Don't you ever write at night?
|
And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because this scene only appears in the 129 minute version of the film. However, DC has a notations that after Quentin shakes his head, the camera switches to a 2 shot. Though, as we've learned from scenes in the shorter versions of the film, we can't necessarily blah, blah, blah, blah.
-
Continuing with Scene 111, first with yesterday's quote -
Page 51/Scene 111 - Alex: 'Quentin, you're going to laugh at this. I think you're drawn to that room. I think you're being taken over by Angelique.'
- coming up, followed by today's quote -
Page 51/Scene 111 - Quentin: 'You're right. I'm laughing.'
- coming up.
And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because blah, blah, blah. However, DC has a notations that after the camera switches to a close-up of Alex at the beginning of his lines, it then switches to a close-up of Quentin after Alex says he thinks Quentin is drawn to the tower room. Though, as we've learned from scenes in the shorter versions of the film, we can't necessarily blah, blah, blah, blah.
-
Special thanks for today's quote. I have no memory of these lines at all (which is hardly surprising given other lapsus memoriae I have mentioned). Interesting to learn what Laura's fate was. "Laura my darling" paid a bitter price for that funeral laughter.
G.
-
Special thanks for today's quote.
Thank Midnite - she picked June's quotes. [ghost_smiley]
Interesting to learn what Laura's fate was. "Laura my darling" paid a bitter price for that funeral laughter.
Not to mention being a voyeur! [ghost_wink]
However, even before reading the script, given the way the scene with Tracy in the poolhouse plays, I'd always presumed Charles had drowned Laura. But it is nice to see that confirmed in the script. And as much as I hate it that Scene 111 wasn't in the shorter versions of the films, in some ways it's almost better because then the scene with Tracy in the poolhouse comes as more of a shock because we're not anticipating it due to the parts of Scene 111 about Tracy possibly being in danger, which have yet to come up, but will begin shortly...
Although, maybe it really could be a tossup because perhaps the audience would have worried more about Tracy due to their fear that she could be drowned. Who knows? We can never be sure because only having originally seen versions of the film without Scene 111, we can never really know how we might have felt had it been included originally...
-
Picking up Scene 111 after Quentin says he's laughing at Alex' theory about the possibility of him being taken over by Angelique:
And that's when yesterday's quote -
Page 52/Scene 111 - Alex: 'Well don't. Look. The same year Angelique died, Laura drowned and Charles disappeared. The drowning was recorded as an accident. But suppose Charles killed Laura?'
- comes up, followed by the script continuing with:
Quentin looks at him.
QUENTIN
So?
|
And that's when today's quote -
Page 52/Scene 111 - Alex: 'Quentin, I think Tracy's in danger.'
- comes up.
And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because blah, blah, blah. However, DC's notations indicate that the camera would switch to a 2 shot when Alex tells Quentin not to laugh, switch to a close-up of Quentin when he looks at Alex, and switches to a close-up of Alex after Quentin asks "So?" Though, as we've learned from scenes in the shorter versions of the film, we can't necessarily blah, blah, blah, blah.
-
After Alex warns Quentin that he thinks Tracy is in danger, Scene 111 continues with today's quote -
Page 52/Scene 111 - Quentin: 'Are you trying to tell me I could drown Tracy? I'm not going to listen to anymore of this. I am in complete control of myself. Have you mentioned any of this to Tracy?'
- coming up, followed by the script continuing with:
And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because blah, blah, blah. However, DC's notations indicate that the camera switches to a close-up of Quentin after Alex tells him his theory that Tracy is in danger and then things shift to a 2 shot after Quentin asks if Alex has mentioned anything to Tracy. Though, as we've learned from scenes in the shorter versions of the film, we can't necessarily blah, blah, blah, blah.
-
Wrapping up Scene 111, beginning with today's quote -
Page 52/Scene 111 - Quentin: 'All right. I'll make a deal with you. You keep your crazy theories to yourself and I'll think about it.'
- coming up, followed by the script concluding the scene with:
ALEX
Okay.
QUENTIN
Let's go back to the house.
|
And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because blah, blah, blah. However, DC's final notations for the scene are all related to the dialogue. Rather than Quentin saying "All right" at the outset of today's quote, DC's script has that crossed out and replaced with "Wait a minute" - and the end of today's quote is changed to "I'll think about what you said" - and rather than Alex simply saying "Okay", that's crossed out and expanded to "As long as you stay out of the tower."
And coming up in the next post will be Grayson's script's version of Scene 111...
-
It's interesting how Grayson's script's version of Scene 111 is at times very similar to DC's script's version but also different. And in certain instances I actually like bits of the dialogue in the original better than the rewrite. But I'm sure they had their reasons. For one thing, the sections about Tracy being in danger are more heavy handed in the original and, to me, telegraph too much of what's to come, so it was good that those aspects were softened.
So, without further ado, the original version of Scene 111:
111 INT - LIBRARY - DAY 111
as Quentin listens to Alex, a look of disbelief on
his face.
ALEX
Yes, she disappeared. Now don't
look at me that way. I got there
only seconds after. And she was
gone. Then the whole place fell
on my head.
QUENTIN
What are you trying to tell me?
ALEX
I think it was Angelique.
QUENTIN
OK, come on. So you saw a girl --
ALEX
No, man, it's true. That's why I
was coming here -- to tell you what
I found out. Now, obviously, I've
become a threat to her.
Quentin looks at him, just shaking his head. Alex
looks at his reference books, puts his hand on them.
ALEX
Right from your own library --
According to these, Angelique
Collins was married to a man named
Gabriel -- but was really in love
with his brother, your favorite
painter, Charles. It broke the
family apart. Any of this familiar
to you?
QUENTIN
Why should it be?
ALEX
Because of those little scenes of
yours.
QUENTIN
Oh, Alex -- they don't mean a thing.
ALEX
Yesterday you said you wanted to
talk about them.
111 CONTD CONTD 111
QUENTIN
Well, now I don't.
ALEX
Why? Because of last night?
QUENTIN
Alex -- I told you I just thought
Gerard was a burglar.
ALEX
Then why were you screaming, "She's
mine, brother. She's mine"?
Quentin just stares at him. He has no answer.
I think you were acting out one
of those daydreams. You were
Charles and you thought Gerard
was Brother Gabriel. You were
fighting over...
QUENTIN
Angelique, of course.
ALEX
Quentin, what were you doing in
the tower at two in the morning?
TRUCK IN ON CLOSE-UP OF QUENTIN. He hesitates.
He is not going to tell him about the "dream".
QUENTIN
I was working.
ALEX
By candlelight? You spend a lot
of time in that room.
QUENTIN
What in God's name are you trying
to get at?
ALEX
You're going to laugh at it...but
I think you're drawn to that room.
I'm afraid you're being taken over
by Angelique.
QUENTIN
You're right. I am laughing.
111 CONTD CONTD 111
ALEX
Well, don't.
TRUCK IN on Quentin.
There is no doubt that Charles
despised his wife Samantha. The
book says she died of drowning
and then he disappeared forever.
But suppose he killed her?
Quentin looks at him as if he is crazy.
QUENTIN
I guess according to that logic
then I'll try to kill Tracy --
right?
ALEX
It's possible.
QUENTIN
Well -- but I don't despise Tracy.
ALEX
I think you will -- if you can't
keep from going to that room.
QUENTIN
Alex, have you gone all the way.
Now you're telling me I can't stay
out of a room. I have never known
you to be so wrong before. No
matter what happened last night,
I am in complete control of myself --
ALEX
Well, if you are, then humor your
old buddy and stay away from there.
QUENTIN
All right, Alex! Enough!...I'll
think about it. But you do some-
thing for me --
Alex looks at him.
Don't give Tracy any of your crazy
theories.
ALEX
You've got a deal.
|
It's also interesting how "daydreams" is spelled correctly in Alex' dialogue in this version...
-
Earlier I forgot to mention that on page 98 of the DS Companion there's a really nice behind the scenes still from the shooting of Scene 111. It's David Selby, John Karlen, and DC posing on the bridge.
I presume most people own a copy of the book, so that's why I'm not including it in this post. But if anyone has never seen the still, I'd be more than willing to scan/post it. [ghost_smiley]
-
And now Scene 112 in its entirety:
CUT TO:
112 INT - FOYER - DAY 112
A worried Tracy is at the door with Alex.
|
And that's when today's first quote -
Page 53/Scene 112 - Alex: 'You're right. I'm worried about him. He is changing.'
- comes up, followed by today's second quote -
Page 53/Scene 112 - Tracy: 'But why?'
- coming up, followed in the script by:
End of scene.
And so far as any possible differences in the dialogue, the directions, and the descriptions go, we'll probably never know because this scene doesn't appear in any version of the film. And there aren't any notations in DC's script for this scene.
-
Beginning Scene 113, picking up from Scene 112:
113 EXT - COLLINWOOD - DAY 113
They walk TOWARD THE CAMERA.
|
And that's when the first part of today's first quote -
Page 53/Scene 113 - Alex: 'That's what I'm going to try to find out.'
- comes up, followed by the script continuing with:
He picks up his bike and then, looking up at the
Tower Room,
|
And that's when the second part of today's first quote -
Page 53/Scene 113 - Alex: 'Tracy...have you ever been in that room?'
- comes up, followed by today's second quote -
Page 53/Scene 113 - Tracy: 'No. Why?'
- coming up.
And so far as any possible differences in the dialogue, the directions, and the descriptions go, we'll probably never know because this scene doesn't appear in any version of the film. And there aren't any notations in DC's script for this scene.
-
Continuing with Scene 113, beginning with today's first quote -
Page 53/Scene 113 - Alex: 'Because I think some of our answers are there.'
- coming up, followed by today's second quote -
Page 53/Scene 113 - Tracy: 'How could that be?'
- coming up.
And so far as any possible differences in the dialogue, the directions, and the descriptions go, we'll probably never know because this scene doesn't appear in any version of the film.
-
Continuing with Scene 113, beginning with today's first quote: Alex' reply to Tracy asking how can some of the answers they're looking for be in the Tower Room -
Page 53/Scene 113 - Alex: 'I don't know...think you could get in there?'
- coming up, followed by today's second quote -
Page 53/Scene 113 - Tracy: 'He keeps it locked and I'd rather not try.'
- coming up.
And so far as any possible differences in the dialogue, the directions, and the descriptions go, we'll probably never know because blah, blah, blah.
-
Wrapping up Scene 113 and moving beyond, first with Alex' scripted reaction to Tracy saying she'd rather not try to get into the Tower room:
He thinks for a moment longer.
|
And that's when the first part of today's quote -
Page 53/Scene 113 - Alex: 'OK...forget it.'
- comes up, followed by the script continuing with:
He climbs onto his bike and gives her a kiss on the
cheek and as he is about to peddle away:
|
And that's when the second part of today's quote -
Page 53/Scene 113 - Alex: 'Tracy, I want you to be careful.'
- comes up, followed in the script by:
113 CONTD CONTD 113
She looks at him questioningly.
|
And that's when the third part of today's quote -
Page 54/Scene 113 - Alex (Contd): 'Just be careful...keep an eye on him and if anything else happens, call me.'
- comes up, followed in the script by:
114 He EXITS THE SHOT. CAMERA TRUCKS IN ON TRACY. Then
as she crosses out toward the house, RACK FOCUS TO
CARLOTTA at the stairwell window.
|
End of sequence.
And so far as any possible differences in the dialogue, the directions, and the descriptions go, we'll probably never know because these scenes don't appear blah, blah, blah. And that's really too bad because I can just imagine the expression on Carlotta's face.
However, beginning with tomorrow's quote, the slideshow will be getting back into material that actually does appear in the film...
-
Moving on to today's new scene:
CUT TO:
115 INT - GALLERY - DAY 115
Quentin is in the room when she ENTERS.
|
And that's when today's quote -
Page 54/Scene 115 - Quentin: 'You didn't tell Alex about...my attacking you last night.'
- comes up.
And when it comes to differences in the dialogue, the changes are written into DC's script because he has notations that when Tracy enters the room she says "Hello" to Quentin - and today's quote is completely crossed out in the script and replaced with Quentin replying "Hi. I want to thank you for not telling Alex everything."
And when it comes to differences in the directions and descriptions, even though DC has a notation that Tracy doesn't cross to Quentin until after he thanks her, what actually happens in that Tracy silently enters the room, smiles, crosses to where Quentin is sitting, kneels beside him, and then says hello - and as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0209NoDS_0.jpg)
- Quentin takes Tracy's hand in his when he thanks her.
-
Continuing Scene 115 with today's quote, Tracy's response to Quentin remark -
Page 54/Scene 115 - Tracy: 'No...I couldn't...I just couldn't. You weren't yourself.'
- coming up.
And when it comes to differences in the dialogue, what Tracy actually says is "Well, I couldn't do that. You weren't yourself", and all but the addition of the "Well" is indicated in DC's script. So now, not only is Quentin keeping secrets, but so is Tracy - but more on that below...
And when it comes to differences in the directions and descriptions, DC's script has a notation that Tracy and Quentin kiss before she delivers today's line, but that doesn't actually happen in the film, quite possibly because they decided that a kiss there would only be compounding the lie more. However, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0710NoDS_a.jpg)
- Tracy does kiss Quentin on the hand after she says he wasn't himself.
And the change in Quentin's line to saying he's thankful that Tracy didn' tell Alex everything got me to speculating as to whether or not Tracy did tell Alex everything. When I first saw NoDS I presumed she'd told him everything - but at that point I knew nothing about Scene 111 and Alex' fears that Tracy could be in danger. But if Tracy had told him about Quentin attacking her, wouldn't Alex' fears about her being in danger have played more forcefully in Scene 111 than they do, in either version of that scene? Now I suspect that perhaps Tracy did hold back at least on that account and Alex' fears for her were solely based on what he'd learned from his research.
When it comes to Quentin and Tracy, neither of them seem to be telling the entire truth to anyone, and that's the start of sending them down a road that will not end well...
-
It seems a bit odd to me that Tracy chooses to confide in Alex instead of Claire. I get the impression that she and Quentin haven't been married all that long and that Alex and Claire were Quentin's friends first. Not to be sexist but it would balance the movie a bit better if there was a corresponding scene with Quentin and Claire. As it is, Claire is the least defined of the four "good" characters and the film would not suffer if the character had been omitted. (Tough for me to write since I adore Nancy Barrett.)
Also, given Quentin's volatile nature during this part of the movie, it is sonewhat surprising that he doesn't become as aggressively jealous towards Alex as he had been with Gerard
-
I agree with you that having Claire more involved would have been much nicer. Just like you, I love Nancy's work. Though the sad thing is that when the script gave Claire material in which Tracy confides in her about Quentin (Scenes 81 & 82), DC decided that he wasn't even going to shoot them, much less include them in the film. Plus DC also left the scene of Quentin, Alex, Tracy and Claire discussing Angelique in the gallery (Scene 87) on the cutting room floor. So, sad to say, I have a strong impression that even if the script had had Claire more involved, DC wouldn't have used it, either by not shooting it or leaving it on the cutting room floor.
And as for Alex, it's established in the never shot Scene 82 that Alex and Quentin have always been really close, something Charles and Gabriel apparently never were, so that may be why Quentin never sees Alex as a rival. And as far as Alex vs. Gerard goes, all but one oblique reference to Gerard having been Angelique's ghost's lover before Quentin shows up never made it into the film. It would have been much clearer why Quentin singles out Gerard as Gabriel's counterpart if they had - not to mention it would have also been much clearer as to why Gerard goes after Tracy (as revenge for Quentin replacing him in Angelique's, uh, affections) - but no! Character stuff is not where DC's priorities lied.
-
Character stuff is not where DC's priorities lied.
That speaks volumes.
As ill defined as Claire is in the final film, I still find her and Alex to be more interesting and engaging characters than Quentin and Tracy, which harms the film for me.
If Quentin had erupted in jealousy over Alex (When did you suddenly become such good friends with my wife), it would have established Quentin's problems earlier and perhaps led Tracy to be more proactive. As it is, she is somewhat unfocused as a "final girl".
-
Though the way the script and even the film plays, Quentin is unaware that Alex and Tracy are acting behind his back so he would have no reason to confront/question Alex. He thinks Tracy didn't tell Alex everything and that most of Alex' info came from his research. Apparently all Quentin knows is that while she was out riding Tracy witnessed Alex' near miss with the falling greenhouse roof and she told him about Quentin attacking Gerard.
And as for Quentin and Tracy themselves, I do enjoy them, but a large part of that could be that I find both actors engaging. But I can see why others may not engaged with them to the same degree that I do because, as the DS Companion laments, there could be more scenes in the film of them being seen as a happy couple. But sadly, nearly all of those scenes were sacrificed because of the enforced cuts. But surprisingly enough, DC had originally left only one of them on the cutting room floor (Scene 46). If one day we ever do get to see a restored NoDS, it will be great to see all the happy couple stuff that was sacrificed...
-
There was no discussion of the NODS restoration in Tarrytown, at least when I was around. Does it seem that the project is dormant?
-
Continuing Scene 115 with the script continuing with:
He looks at her.
QUENTIN
I'm glad you didn't. Thanks.
Carlotta ENTERS with the ice tray.
|
And that's when today's quote -
Page 54/Scene 115 - Quentin: 'Carlotta. Good. I've decided not to use the tower as a studio anymore.'
- comes up.
And when it comes to differences in the dialogue, as is obvious, Quentin's lines about being glad and thanking Tracy, as well as saying "Good" after Carlotta enters were all dropped - and DC has a notation in his script that Quentin's line addressing Carlotta would begin with an "Oh..." before he says her name, but Quentin doesn't say that either.
And when it comes to differences in the directions and descriptions, Carlotta doesn't enter with an ice tray because what she actually does after she comes in is open the ice bucket, take out some ice cubes, and put them in a glass before Quentin addresses her. Getting a cocktail for herself after having witnessed Alex interfering? [wink2]
And speaking of Carlotta's attitude after she sees Tracy and Alex together and when she enters the Gallery, Grayson's script has a notation that Carlotta doesn't like how much they know and she wonders what they're conspiring? But so far as the film goes the audience was never likely to pick up on that subtext because Scene 114 isn't even in any version of the film. And also, given that Scene 111 isn't in the film as it currently stands, the audience comes away thinking that Quentin made the decision to abandon working in the Tower Room all on his own.
-
Grayson looks divine in her green lacy dress in today's montage!
Patti
-
Grayson made notes in her script where she explains that when Carlotta touches the locket like that, it means something to do with Angelique's spirit--it might even be called an act of communion between Carlotta and the spirit. The notes implied that this was the original base of Angelique's enhanced awareness of, and activity in the physical world. This is what it means towards the end when John Karlen's character has a line implying that Carlotta was "keeping Angelique's spirit alive." It's too bad that that line makes no sense at all in the film as chopped up for the final edit, unless you have really extraordinary powers of connecting seemingly random dots.
Great screen capture of this moment!
G.
-
Grayson made notes in her script where she explains that when Carlotta touches the locket like that, it means something to do with Angelique's spirit--it might even be called an act of communion between Carlotta and the spirit.
Yes, a lot of those notes are fascinating - though in the scenes so far I don't recall getting into much of it (there was a brief reference to the locket back in Scene 33 when Carlotta explains Angelique's portrait:and Grayson's script has a notation about the locket Carlotta is wearing, and as can be seen in the following capture (which is cropped and enlarged from the actual moment on screen) -
(http://www.dsboards.com/NoDSquoteimages/0126ds91_a.jpg)
- Carlotta is indeed toying with it (though no one has yet to know the significance of that act)
). But if I recall correctly, some of those notes are actually on the cover page of Grayson's script rather than associated with specific scenes.
Great screen capture of this moment!
Grayson looks divine in her green lacy dress in today's montage!
(http://www.dsboards.com/NoDSAnniQuoteImages/0212NoDS_0.jpg)
Thanks. [ghost_smiley] I try to get the best moment for each quote.
-
Scene 115 continues in the script, beginning with Tracy's reaction to Quentin's decision not to use the tower:
TRACY
(delighted)
Quentin!
|
And that's when today's quote -
Page 54/Scene 115 - Carlotta: 'You said you were painting so well there.'
- comes up.
And when it comes to differences in the dialogue, in the film Tracy doesn't actually say Quentin's name with delight because, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0712NoDS_a.jpg)
- she simply makes a happy sound and turns to him with delight - and what Carlotta actually says is "But you said you were working so well there" - and what really interesting is that Grayson has a note that Carlotta is aiming that at Tracy more so than Quentin.
And when it comes to differences in the directions and descriptions, there aren't any in this section of the scene.
However, in Grayson's script she has notations that Carlotta wonders why Quentin has made the decision not to work in the Tower Room, she feels as if the world may break apart, she shows a trace of that reaction but then covers it up, and in that moment she decides to get rid of Tracy.
-
I do love the scene where Carlotta tells Tracy that it would perhaps be best for her to leave HER OWN HOME... "... IF you can!" LOL.
Maybe it's time to finally order the DVD...
G.
-
One further comment that I personally find it very unlikely that an artist--professional or otherwise--would allow anyone else to haul around his own easel and materials, etc. I would have expected Quentin to simply do this himself rather than asking Carlotta to do it, particularly since in all likelihood she would just pass the order along to Gerard.
For someone who was interested in antiques and the arts, Sam Hall sometimes seems to have been strangely uninformed (and at times, just plain dense) about the specifics of art conservation and related art logistics. Remember the storyline where we were told that a painting was going to be "transferred to another canvas" so that what was painted under it could be seen? It wasn't until I watched that story again as an adult that I realized just how absurd those lines sounded.
G.
-
[pointing-up] Quite often a version of DS comes up with situations that require they be taken with a giant grain of salt (hello, someone being able to be hanged 1) for a crime they didn't commit, 2) where there isn't a shred of real evidence to connect them to the crime, and 3) and the real kicker, in a state without the death penalty!). But we go with the flow as much as we can. [nodassent]
I do love the scene where Carlotta tells Tracy that it would perhaps be best for her to leave HER OWN HOME...
Yes! That is one of my all-time favorite scenes in any version of DS. Grayson and Kate play it to perfection and I can't even imagine NoDS without it. And to think that fool James Aubrey thought all of Grayson's scenes should have been cut!! "Fool" isn't even a strong enough word for him!! [nodno]
-
Wasn't he known as The Smiling Cobra? 😈😈😈😈
-
Maybe it's time to finally order the DVD...
Oh, heavens, are you kidding me? Get thee to the dealer NOW! [ghost_grin]
-
One further comment that I personally find it very unlikely that an artist--professional or otherwise--would allow anyone else to haul around his own easel and materials, etc. I would have expected Quentin to simply do this himself rather than asking Carlotta to do it, particularly since in all likelihood she would just pass the order along to Gerard.
Yeah, I always thought that was odd, too.
Also, I'm not sure why, but for some reason watching the scene where Grayson is hauling the giant framed portrait of Angelique around just always gave me a sad feeling...
-
Another fab Carlotta capture today!
Anyone paying attention AT ALL should have realized that that tightly pursed pout means ALL HELL is gonna break loose!
G.
-
[pointing-up] Yes, the patented Grayson Hall pout!
(http://www.dsboards.com/NoDSAnniQuoteImages/0214NoDS_0.jpg)
Anytime one of her characters sports that pout, it's best for everyone to run for the hills as fast as they can!! [ghost_grin]
-
Wasn't he known as The Smiling Cobra? 😈😈😈😈
I don't think I'd ever heard that before, but sure enough when I looked up his Wikipedia page it says:
Despite his successes in television, Aubrey's abrasive personality and oversized ego – "Picture Machiavelli and Karl Rove at a University of Colorado football recruiting party" wrote Variety in 2004 – led to his firing from CBS amid charges of improprieties. "The circumstances rivaled the best of CBS adventure or mystery shows," declared The New York Times in its front-page story on his firing, which came on "the sunniest Sunday in February" 1965. He earned the nickname "Smiling Cobra" for his brutal decision-making ways. Aubrey governed CBS with a firm grip, and it did not go unnoticed. He was suddenly dismissed in February 1965. Aubrey offered no explanation following his dismissal, nor did CBS President Frank Stanton or Board Chairman William Paley. After four years as an independent producer, Aubrey was hired by financier Kirk Kerkorian in 1969 to preside over Metro-Goldwyn-Mayer's near-total shutdown, during which he slashed the budget and alienated producers and directors but brought profits to a company that had suffered huge losses. In 1973, Aubrey resigned from MGM, declaring his job was done, and then vanished into almost total obscurity for the last two decades of his life.
He sounds even worse than we've been led to believe. Who knew that the way he acted with DC was apparently the way he acted with practically everyone (by comparison, the details of how Aubrey operated as laid out on his Wikipedia page (https://en.wikipedia.org/wiki/James_T._Aubrey) make DC seem positively like the gentlest of kittens!!). It's awful to say, but after reading all about his antics, I have little sympathy for the supposed fact that at the time of his death he had been largely forgotten. But NoDS fans will never forget what he did to the film, largely because we're still dealing with the consequences to this day. If only he'd resigned from MGM before he'd ever heard of NoDS. But alas... Well, unless one of us can figure out how to go back to '71 to change history. [ghost_wink] Where are those I Ching wands...
-
I remember Grayson made very effective use of The Pout in a memorable scene in 1897. Angelique is berating Julia, telling her that she's wasting her time with Barnabas because he is a COLD, UNRESPONSIVE man.
Julia offers her The Pout, The Freeze, and DEMANDS to know, with an icily arched eyebrow: "WHO made him that way?"
It's one of the few times I've ever seen Angelique look taken aback...
G.
-
Continuing Scene 115 with yesterday's quote, Quentin's reason for not using the tower -
Page 54/Scene 115 - Quentin: 'This room seems better to me. Would you mind moving down my easel and paints tonight?'
- coming up, followed by today's quote -
Page 54/Scene 115 - Carlotta: 'If you're sure, I'll start now.'
- coming up.
And when it comes to differences in the dialogue, what Quentin actually says is "This room seems better to me. Would you mind having my easel and paints moved down tonight?" - and what Carlotta actually replies is "If you're sure, I'll start right now" - and again there's a note in Grayson's script that Carlotta is aiming that at Tracy more so than Quentin - and while that can be detected during Carlotta's delivery, immediately afterward at the outset of the long shot -
(http://www.dsboards.com/NoDSquoteimages/0714NoDS_a.jpg)
- Carlotta's expression and direct gaze really brings it home. It's a wonder that Tracy doesn't burst into flames from the fire Carlotta's eyes aim at her.
And when it comes to any differences in the directions and descriptions, there aren't any in this section of the scene.
-
I don't think I'd ever heard that before, but sure enough when I looked up his Wikipedia page it says:
<snip>After four years as an independent producer, Aubrey was hired by financier Kirk Kerkorian in 1969 to preside over Metro-Goldwyn-Mayer's near-total shutdown, during which he slashed the budget and alienated producers and directors but brought profits to a company that had suffered huge losses. <snip>
<snip> But NoDS fans will never forget what he did to the film, largely because we're still dealing with the consequences to this day. If only he'd resigned from MGM before he'd ever heard of NoDS. <snip>
And we're left to wonder: If Aubrey hadn't ordered the mutilation of NODS, would what turned out to be a moderately successful film have perhaps become much more of a success for the studio?
-
Grayson Hall, GODDESS.
No wonder Danny Horn once proclaimed Grayson Hall the Greatest Actress who Ever Walked the Earth!
G.
-
Moving on with the scene, beginning with Quentin's response to Carlotta asking if he's sure that he wants his painting materials moved from the tower:
115 CONTD CONTD 115
He nods. Frowning, Carlotta leaves the room, as
Tracy is in Quentin's arms.
|
And that's when today's quote -
Page 55/Scene 115 - Tracy: 'Oh, darling, I won't bother you here. I swear I won't. When you were in the tower, I always felt you were so far away.'
- comes up.
And when it comes to differences in the dialogue, what Tracy actually says is "Oh, Quentin, I won't bother you down here. I swear I won't. I always felt you were so far away when you were in the tower."
And when it comes to differences in the directions and descriptions, as Carlotta leaves the room, Quentin sighs and lowers his head like he can't believe the way Carlotta reacted - and Tracy isn't in Quentin's arms because, as can be seen in today's capture -
(http://www.dsboards.com/NoDSquoteimages/0715ds91_0.jpg)
- she leans in closer to him, but they're still simply holding hands.
And both Grayson's and DC's scripts have notations for this section: Grayson's script reiterates that Carlotta has decided to get rid of Tracy - and DC's script has that the camera is supposed to pan with Tracy as she goes into Quentin's arms, which doesn't actually happen.
-
Wrapping up Scene 115, beginning with today's first quote -
Page 55/Scene 115 - Quentin: 'Well, I won't be anymore. So I want you to stop worrying. Everything's going to be all right.'
- coming up, followed by today's second quote -
Page 55/Scene 115 - Tracy (with great hope): 'Now I know it will.'
- coming up, followed by the scene ending in the script with:
And so far as any differences in the dialogue, what Quentin actually says is "Well, I won't be anymore. So I want you to stop worrying about it. Everything's gonna be all right." - and what Tracy actually replies is "I know. Now it will."
And so far as any differences in the directions and descriptions, Quentin and Tracy don't actually kiss at the end because the scene ends right after Tracy's lines. Whether they do kiss in the 129 minute version remains to be seen...
And speaking of the 129 minute version, tomorrow's slideshow begins yet another scene that only appears in that longer version of the film...
-
WickedNick posted this fab publicity photo of Carlotta on his site today:
http://shadowsonthewallzine.blogspot.com/2016/07/night-of-dark-shadows-carlotta-with.html
G.
-
WickedNick posted this fab publicity photo of Carlotta on his site today:
Yes, that is a fantastic photo. And there are several promotional stills of Carlotta wearing that dress, including two great color ones (one in the 35th Anniversary DS Memories PomPress book, and one in the Return To Collinwood book.) If you've never seen them, I can post them. [ghost_smiley] But the funny thing is that I don't believe she ever wears it in the film as it currently stands. I wonder if she might wear it in any of her scenes in the recovered footage, though given the places those scene fit into the film, that seems as though it's unlikely. With our luck, she might have worn it in the unrecovered Scenes 171A-171C sequence[spoiler]in which Carlotta points out to Quentin he should get Tracy to leave Collinwood before the Jenkins return from their trip to NY.[/spoiler]Though even with those scenes I have doubts...
-
Beginning the next scene:
116 INT - GALLERY - DAY 116
It's the following morning. Quentin is at easel,
relaxing, sipping a cup of coffee, as Tracy ENTERS.
Quentin stops, holds out his arms. Tracy runs to
them.
QUENTIN
Good morning!
(pointing outside)
The world is ours, the gentleman
said.
TRACY
Ours. We'll celebrate. I'll drive
into Collinsport and get the biggest
steak anyone has ever bought. We'll
charcoal it ourselves.
QUENTIN
And eat it ourselves.
TRACY
I'll make my famed Caesar salad...
which is the only one I can make --
QUENTIN
And we shall open the best wine.
She turns, sees that Angelique's portrait is gone.
116 CONTD CONTD 116
|
And that's when today's quote -
Page 56/Scene 116 - Tracy: 'What happened to her?'
- comes up.
And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because this scene only appears in the 129 minute version of the film.
And DC's script doesn't have any notations for this scene.
-
Wrapping up Scene 116, beginning with yesterday's quote, Quentin's response to Tracy's question:
Page 56/Scene 116 - Quentin: 'Angelique? She's been retired. After years of honorable service.'
- coming up, followed in the script by:
And that's when today's first quote -
Page 56/Scene 116 - Quentin: 'Mostly so Alex will forget our non-existent ghost. Hey, let me paint --'
- comes up, followed by today's second quote -
Page 56/Scene 116 - Tracy: 'Paint on...paint on...I love you...'
- coming up, followed by the script concluding the scene with:
She EXITS. He smiles and begins painting.
|
And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because this scene only appears in the 129 minute version of the film.
However, I forgot to mention in the last post that the original slideshow for NoDS included -
(http://www.dsboards.com/moviesquoteimages/1003NoDS_0.jpg)
NoDS: Scene #116 - Tracy: 'I'll drive into Collinsport and
get the biggest steak anyone has ever bought.'
(http://www.dsboards.com/moviesquoteimages/1004NoDS_0.jpg)
NoDS: Scene #116 - Quentin: 'And eat it ourselves.'
(http://www.dsboards.com/moviesquoteimages/1005NoDS_0.jpg)
NoDS: Scene #116 - Tracy: 'I'll make my famed Caesar
salad...which is the only one I can make --'
- because those lines were quoted in the Fest's 1999 Movie Calendar, upon which the original slideshow is based.
And tomorrow the slideshow will return to scenes that appear in all versions of the film, though not necessarily lines that appear in the film...
-
Beginning the next sequence:
117 INT - GALLERY - DAY 117
It is later as Carlotta ENTERS. She carries the
picture of Angelique. He stops painting when he
sees her.
|
And that's when today's quote -
Page 56/Scene 117 - Quentin: 'I told you I didn't want to see that again.'
- comes up.
And as far as the differences in the dialogue go, Quentin actually says "I said I didn't want to see that again."
And as far as the differences in the directions and the descriptions go, Carlotta actually pauses for a second as she comes into the room and before Quentin notices her - and Quentin doesn't stop painting after he notices she's come in with Angelique's portrait.
And DC's script has notations that the opening of the scene is shot from a high, wide angle, and as we can see from today's capture -
(http://www.dsboards.com/NoDSquoteimages/0720ds91_0.jpg)
- it certainly is shot wide, though not high - and DC also has a notation that Quentin delivers his line in close-up, but as we can also see from today's capture, he doesn't.
And I do find it interesting that a lot of the publicity stills for the film don't exactly reflect the way scenes were shot for the film. For example, this one from this scene -
(http://www.dsboards.com/NoDSquoteimages/Q_C.jpg)
- is taken almost exactly from the reverse angle. And I've always been a bit upset that that published version is the only one that I've ever come across because it would be nice to see at least a bit more of Quentin. But then, maybe a wider version of it doesn't even exist, so perhaps I should just be grateful for what I have...
And something else that's interesting on the DVD/Blu-ray discs is the end of the background music for Scene 116 (the harmonica/guitar version of "Love Theme From Night of Dark Shadows") is heard to play over the opening of Scene 117 because that's the way things are in the 129 minute version of the film. Things also play that way in the version of the film on Amazon and iTunes...
-
Continuing Scene 117, with today's quote, Carlotta's answer as to why she's brought Angelique's portrait back to the Gallery:
Page 56/Scene 117 - Carlotta: 'But it belongs here, Mr. Collins.'
And as far as the differences in the dialogue go, what Carlotta actually says "It belongs in this room."
And as far as the differences in the directions and the descriptions go, there aren't any at the point. However, DC's script has a notation that the camera switches to a 2 shot for Carlotta line, but it doesn't actually have to do that because, as I mentioned yesterday, it never switches to a close-up for Quentin.
But what's most interesting at this point are Grayson's notes for this section of the scene. She writes that Carlotta comes into the room to restore Angelique, to put her in her proper place, not to have a scene with Quentin - and that Carlotta will relate to the painting and her love for Angelique.
-
Continuing Scene 117, beginning with yesterday's quote, Quentin's response to the portrait belonging in the room -
Page 56/Scene 117 - Quentin: 'I find it distracting. I don't want it around.'
- coming up, followed by today's quote -
Page 56/Scene 117 - Carlotta: 'There would be fewer distractions if you went back to the tower.'
- coming up.
And as far as any differences in the dialogue, there aren't any because both Quentin's and Carlotta's lines are delivered exactly as scripted.
And as far as any differences in the directions and the descriptions, there aren't any at this point. Nor are there any notations in DC's script for this section. And what's interesting about DC's script is that there's no indication that beginning with Quentin's quote from yesterday, the camera switches to a 2 shot from a different angle, as can be seen in -
(http://www.dsboards.com/NoDSquoteimages/0722ds91_0.jpg)
- yesterday's capture.
However, Grayson's notes for this section of the scene reiterate that Carlotta will relate to the painting, by touching and caressing it (although, all Carlotta really does is arrange the painting so that it stands on its side on its own). And also that Carlotta must be clear that what she's saying is important.
-
And when it comes to today's quote from Scene 117 -
Page 56/Scene 117 - Quentin: 'All right, Carlotta. What's it all about? What's going on here? Why is my working in the tower so important to you?'
- the difference in the dialogue is that what Quentin actually asks is "All right, Carlotta. What's going on around here? Why is my working in the tower room so important to you?", with the "What's it all about" part being dropped and the "What's going on here?" slightly changed even though both lines are crossed out in both DC's and Grayson's scripts. And speaking of Grayson's script, she has underlined words in Quentin's last question: "Why is my working in the tower so important to you?"
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, but Quentin actually throws his paint brush at the easel (though it bounces off and falls to the floor) before he angrily asks his questiions.
And when it comes to the notations in DC's script for this section, he indicates that Quentin would be shot in closeup, but again we can see -
(http://www.dsboards.com/NoDSquoteimages/0724ds91_0.jpg)
- that's not the case.
And as an aside, it must have been an awfully cloudy/foggy day on the day they shot this scene! [nodassent] I mean, you can barely even see the horizon from the window!!
-
And when it comes to today's quote from Scene 117, Carlotta's response to Quentin's belief that it's important to her that he work in the tower room -
Page 56/Scene 117 - Carlotta: 'It isn't. It just seemed so ideal --'
- 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, one thing that is interesting with both today's and yesterday's captures is that obviously Carlotta has turned to look at Quentin. There's no indication of that in the script or in DC's notes, but there is in Grayson's script, at least when it comes to today's quote, because Grayson has a note that Carlotta would look at him. Her notes also reiterate that it must be clear that what Carlotta is saying is important (and in this case it must mean the part about how working in the tower seems ideal because saying that Quentin working in the tower isn't important to her is quite obviously a big fat lie! [wink2]). Though something that is in DC's script is a note saying that the camera would truck back in front of Quentin till it's in back of Carlotta for a 2 shot. And while we don't actually see that camera move, we do see the 2 shot from behind Carlotta. Well, if seeing a shot that includes Carlotta's lower arm and hand can be considered a 2 shot.
-
Continuing Scene 117, first with the first part of today's quote -
Page 56/Scene 117 - Quentin: 'That's not the reason. (MORE)'
- coming up, followed in the script by:
117 CONTD CONTD 117
QUENTIN (Contd)
He crosses to her, looking down at her.
|
And that's when the second part of today's quote -
Page 57/Scene 117 - Quentin: 'You know about these dreams, don't you?'
- comes up.
And when it comes to the differences in the dialogue, for the second part of today's quote, Quentin actually says "You know about the dreams I've been having, don't you?", and that change is made in DC's script, with "these" crossed out and replaced with "the" and "I've been having" added.
And when it comes to the differences in the directions and the descriptions, Quentin puts down his paint palette as he moves toward Carlotta - and as Quentin accuses her of knowing about his dreams, I love the look Carlotta gives him -
(http://www.dsboards.com/NoDSquoteimages/0726NoDS_a.jpg)
- and with the slight cock to her head.
And when it comes to DC's notes, he strangely indicates that Quentin rises before he tells Carlotta that her saying his working in the tower just seemed ideal is not the reason his working in the tower is important to her. Well, unless he means Quentin's voice and anger rise, which they do.
-
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". [ghost_huh] 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...
-
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 -
(http://www.dsboards.com/NoDSquoteimages/0728ds91_0.jpg)
- 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 -
(http://www.dsboards.com/NoDSquoteimages/0728NoDS_a.jpg)
- after Quentin first asks if Angelique is real - and then David Selby gets to do his always amazing anguished plea -
(http://www.dsboards.com/NoDSquoteimages/0728NoDS_b.jpg)
- when he asks a second time if Angelique is real - and then the look on Carlotta's face after that -
(http://www.dsboards.com/NoDSquoteimages/0728NoDS_c.jpg)
- is absolutely priceless because she knows that everything that she's been dying to see come out is finally going to come out. [nodassent]
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...
-
The script continues Scene 117 with reference to Carlotta:
TRUCK IN ON HER as she finally makes her decision.
|
And that's when today's quote -
Page 57/Scene 117 - Carlotta: 'Do you remember the little girl you saw at the window the other day?'
- comes up, followed in the script by:
CARLOTTA - QUENTIN
QUENTIN
Yes, of course I do.
|
And when it comes to the differences in the dialogue, what Carlotta actually asks is "Do you remember that little girl you thought you saw at the window the other day?", and the addition of "thought you" is indicated in both DC's and Grayson's scripts - and to Carlotta's question, Quentin actually responds with a simple "Yes."
And when it comes to any differences in the directions and the descriptions, and as can be seen in today's capture -
(http://www.dsboards.com/NoDSquoteimages/0729ds91_0.jpg)
- the camera does indeed truck in on Carlotta as Quentin leans back up and out of frame. However, unlike what the script itself indicates and how DC's notes indicate that after Carlotta asks her question and before Quentin responds, the camera switches to a 2 shot of Carlotta and Quentin in profile, the shot actually continues to slowly truck in closer and closer on Carlotta (as we'll see in the two upcoming captures for tomorrow's and Sunday's quotes).
And when it comes to Grayson's notes for this section of the scene, she writes that before Carlotta asks her question she will again look to the painting and then to Quentin, but, again, that doesn't happen because Carlotta actually keeps her gaze completely on Quentin throughout. And it does seem odd that there are all these references in the script and in personal notes to looking at the portrait when the portrait is simply leaning on its side on the floor, so looking at it would be awkward at best. But perhaps at some point the intent was for the portrait to be hung on the wall again, even though no such indication appears in the script or in DC's or Grayson's notes...
-
And Scene 117 begins Carlotta's explanation about the little girl Quentin saw as today's quote -
Page 57/Scene 117 - Carlotta: 'Well, it wasn't your imagination, Mr. Collins.'
- comes up, followed in the script by:
QUENTIN
But you implied it was.
|
And as far as differences in the dialogue go, Carlotta actually drops the "Mr. Collins" in the film and it's also crossed out in Grayson's script - and Quentin's line is completely dropped in the film and is crossed out in both Grayson's and DC's scripts.
And as far as differences in the directions and the descriptions go, there aren't any of either in the script for this section so obviously there can't be any differences in them in the film. However, next to today's quote in Grayson's script she has a notation that reads "Spell it out carefully, clearly, as to a child".
-
My personal take on all this has always been that most, if not ALL, of those notes in Grayson's script represented her own thoughts on how she was going to play this out.
Grayson was a great believer in something called sub-text. In a theatrical context, this means information that an actor brings to a given scenario or action. Ordinarily, this would be augmented or perhaps changed outright by the director's notes. DC was still fairly green at this time, though, so I don't know how much he contributed to all of this. I know he was into things such as tracking shots and whip-pans. LOL.
I do remember the story of him yelling at Thayer David to hit the stake HARDER in a certain scene in hoDS. Frankly, that seems about DC's speed during this period of his life as a director.
Of course he went on to win an Emmy... which was invariably prominently displayed in every video interview he did, in later life. I always had the feeling he worked his butt off getting that thing.
Wonderful captures, MB! And wonderful job of annotating all this for us.
G.
-
I do remember the story of him yelling at Thayer David to hit the stake HARDER in a certain scene in hoDS. Frankly, that seems about DC's speed during this period of his life as a director.
Entirely likely!! As we've often lamented, early director DC was far more concerned with blood and gore than he was with character elements. I don't believe there's even one notation in DC's entire NoDS script (or hoDS script) that could even remotely be considered character oriented or particularly subtextural. [nodno] ::)
-
After today's quote from Scene 117 -
Page 57/Scene 117 - Carlotta: 'No...you saw Sarah Castle. She lived in this house over one hundred and fifty years ago.'
- comes up, it's followed in the script by:
QUENTIN
But that's impossible!
CARLOTTA
You've heard of reincarnation,
haven't you?
117 CONTD (2) (2) CONTD 117
QUENTIN
Of course I have. But that doesn't
mean I believe it.
|
And as far as differences in the dialogue go, what Carlotta actually says in the film at the start of today's quote is "That little girl was Sarah Castle", with the rest being delivered exactly as scripted - but Quentin's "But that's impossible!" is dropped in the film and it's also crossed out in both DC's and Grayson's scripts - and while Carlotta's question about reincarnation isn't crossed out in either script, it is dropped in the film -and Quentin's scripted reply to that question is also crossed out, and what's interesting is that in Grayson's script it's replaced with a simple "Yes" and in DC's script it's replaced with "What about it?", but no doubt because Carlotta's question was dropped, so was Quentin's various replies. And those aren't the only lines from this scene that were dropped in the film. But more on that when tomorrow's quotes come up...
And as far as differences in the directions and the descriptions go, once again there aren't any of either in the script for this section so obviously there can't be any differences in them in the film. However, when it comes to Grayson's script, she has a notation that reads "Just hear me out" next to her question about reincarnation. And in DC's script he has a notation that after Carlotta mentions Sarah, the camera moves in to a close up of Quentin, but as can be seen in today's capture -
(http://www.dsboards.com/NoDSquoteimages/0731ds91_0.jpg)
- the camera actually remains on a close-up of Carlotta for her entire lines. And when it comes to the dropped portions dealt with in this post, DC has notations that once Quentin's close-up had been reached as Carlotta reveals how Sarah lived at Collinwood over 150 years ago, the camera switches to a close-up of Carlotta when she asks him about reincarnation, but obviously we don't see any of that.
And finally, the original slideshow for NoDS included this dropped line -
(http://www.dsboards.com/moviesquoteimages/1013NoDS_0.jpg)
NoDS: Scene #117 - Quentin: 'But that's impossible!'
- because it was quoted in the Fest's 1999 Movie Calendar, upon which the original slideshow is based.
-
With respect to having heard about reincarnation, picking up Scene 117 after Quentin's scripted "Of course I have. But that doesn't mean I believe it", or Grayson's script's replacement for Quentin, "Yes", or DC's script's replacement for him, "What about it?", today's first quote -
Page 58/Scene 117 - Carlotta: 'Then what is your explanation?'
- comes up in the script, followed in the script by today's second quote -
Page 58/Scene 117 - Quentin: 'I don't have any. But there has to be a better one than that.'
- coming up.
But as far as differences in that dialogue might go, there's not likely to have been any in the film because each quote is crossed out in both Grayson's and DC's scripts and there's nothing written in either script to replace them. And as we'll see as the scene progresses, there's yet more dialogue that was completely crossed out/dropped...
And as far as differences in the directions and the descriptions go, once again there aren't any of either in the script for this section so obviously there can't be any differences in them in the film. And there also aren't any notations in either Grayson's or DC's scripts.
-
Picking up where we last left Scene 117, Carlotta continues her explanation with yesterday's quote -
Page 58/Scene 117 - Carlotta: 'What you've been seeing are actually memories of a previous life.'
- coming up, followed in the script by:
QUENTIN
How can you be so positive about
all of this?
|
And that's when the first part of today's quote -
Page 58/Scene 117 - Carlotta: 'Because I'm the living proof of it. That little girl was me -- I am the reincarnation of Sarah Castle. I was part of everything you are now remembering.'
- comes up, followed in the script by:
And that's when the second part of today's quote -
Page 58/Scene 117 - Carlotta: 'We are rare people, you and I -- for not only have we lived before, but we are fortunate enough to remember.'
- comes up.
And as far as any differences in the dialogue go, aside from switching things up by actually saying "I am the living proof of it. I am the reincarnation of Sarah Castle. That little girl was me. I was part of everything you're now remembering", Carlotta's other dialogue, except for turning some words into contractions, breaking apart contractions, and dropping a preposition here and there, is basically delivered as scripted - but Quentin's line is completely dropped in the film and crossed out in both Grayson's and DC's scripts. And speaking of their scripts, the word "Because" is also crossed out at the beginning of today's first quote and it's replaced with "Yes...", but that's also dropped in the film.
And as far as any differences in the directions and the descriptions go, Quentin is definitely speechless in this section of the scene, particularly because so much of his dialogue was dropped. [wink2]
And as far the notations in DC's script go, even though one indicates that from the point that Carlotta mentions that Sarah lived at Collinwood over 150 years ago, the camera has been tightening on Quentin, that doesn't actually begin until after Carlotta mentions that what he's been seeing are actually memories of a previous life - and while the tightening of the camera is supposed to reach the point of being an extreme close-up of Quentin, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0803NoDS_a.jpg)
- things never get that close - and while the camera is supposed to remain extremely tight on Quentin as Carlotta mentions what rare people they are, as today's capture clearly shows -
(http://www.dsboards.com/NoDSquoteimages/0803ds91_0.jpg)
- the camera actually switches back to a tight close-up of Carlotta for those lines.
And as far as notations about Carlotta's actions and performance go, DC's script indicates that Carlotta is supposed to be holding her locket as she explains that she's Sarah's reincarnation, but if that is happening, we don't actually see it in the film because the camera is so close on Carlotta - and for that same section of dialogue, Grayson has a notation that reads "Don't lose eye contact", which she certainly doesn't - but Grayson has another notation that says "Get book from somewhere", which she doesn't do (though what would have been the importance of the book will be revealed in a notation we'll deal with next time...).
-
Wrapping up Scene 117, beginning with today's first quote -
Page 58/Scene 117 - Quentin: 'But I didn't remember anything 'til I came here. Why is it happening now?'
coming up, followed by today's second quote -
Page 58/Scene 117 - Carlotta: 'Because she loves us, Mr. Collins. She always has -- she always will. I still remember that last day --'
- coming up.
End of scene - but certainly not the end of the sequence...
And as far as any differences in the dialogue go, we have no way of knowing if there might have been any differences in Quentin's scripted dialogue because it was dropped in the film as well as crossed out in both DC's and Grayson's scripts. However, DC's script has the words "But" and "this", as in "But why is this happening now?", substituted in the last part of Quentin's lines, so apparently it wasn't always the intent that it would be dropped. And what Carlotta actually says is "Angelique loves us. She always has and she always will. I'll always remember that last day --", and "Because she" is crossed out in both DC's and Grayson's scripts with "Angelique" substituted for it in both, and "Mr. Collins" is also crossed out in both.
And as far as any differences in the directions and the descriptions go, once again there aren't any of either in the script for this section so obviously there can't be any differences in them in the film. However, when it comes to notations, both DC's and Grayson's scripts have notes that Carlotta would open her locket as she mentions about remembering the last day, but while Carlotta does clutch the locket, she doesn't actually open it in the film - and Grayson's script also has a notation that further references the book that was brought up as part of yesterday's notes and indicates that Carlotta would open the book and take out a lock of hair, but quite obviously that doesn't actually happen either.
And before I wrap up this post, I do have to say that I absolutely love the expressions on Carlotta's and Quentin's faces as the scene draws to a close. Carlotta is radiant -
(http://www.dsboards.com/NoDSquoteimages/0804NoDS_a.jpg)
- as she tells Quentin that Angelique loves them, whereas, with so much hard to accept information being thrown at him, Quentin looks like -
(http://www.dsboards.com/NoDSquoteimages/0804NoDS_b.jpg)
- his entire world is being shaken to its foundation - and the final shot of the two of them, as can be seen in today's second capture -
(http://www.dsboards.com/NoDSquoteimages/0804ds91_1.jpg)
- is nothing if not a study in contrasts...
-
Kicking off the next scenes in the sequence:
DISSOLVE TO:
118 INT - CORRIDOR - DAY - 1800 118
Although the following sequences will have their own
distinctive style. They will be different from the
MEMORY CUTS. Carlotta's voice will continue over the
scene.
118 CONTD CONTD 118
|
And that's where the first of today's three quotes comes up opposite its direction and description:
It is a rainy afternoon.
The ten-year-old Sarah,
having nothing to do,
skips TOWARD THE CAMERA
playing one of her
little private games. | Page 59/Scene 118 -
Carlotta's Voice: 'It was
a dark, rainy afternoon.
All week long strange
tensions had been
building in the house...' |
119 INT - GALLERY - DAY 119
|
And that's where the second of today's three quotes comes up opposite its direction and description:
as Sarah walks into the
room PAN WITH HER as
she crosses to the
windows. | Page 59/Scene 119 -
Carlotta's Voice (Contd):
'tensions I did not
understand...but feared.
Everyone did not love my
Angelique as I did.' |
SARAH - CLOSE-UP
| |
And that's where the third of today's three quotes comes up opposite its direction and description:
as she stares out at
the steady downpour. | Page 59/Scene 119 -
Carlotta's Voice (Contd):
'I knew that something
terrible was about to
happen.' |
And as far as the differences in the dialogue go, with the exception of adding the word "and", as in "a dark and rainy", all Carlotta's first two quotes are delivered as scripted - however, as has no doubt been figured out already given its graphic, her third quote is dropped in the film.
And as far as the differences in the directions and the descriptions go, the camera doesn't actually pan with Sarah as she makes her way to the windows - and while she does look out the side window, when she reaches the large window, she basically just looks down at the doll she's been carrying and, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0805NoDS_a.jpg)
- then she seems to stare in a world all her own.
And as far as notations go, neither DC nor Grayson made any for this section of the script.
And as an aside that has nothing to do with the scenes covered here, but earlier today I happened to notice in the forum's Who's Online feature that a member was checking out an old NoDS topic, and feeling curious about what it was about, I came across this post while I was perusing it:
You can see the missing footage either at a festival panel that I might do next year or perhaps sometime in the next 10 years or so it will be restored and released on a DVD. ::)
As you can see, Darren made that post back in 2003, and obviously 2013 came and went with no restored NoDS to be seen. [ghost_sad] But in 2016 we still try to remain optimistic that one day... So until then I suppose we just have to settle for Darren's occasional Fest presentations.
-
I'll be interested to see how much Sarah Castle has to do in the original script. From what I understand, most of her footage was cut by DC before the film was submitted to MGM. I don't suppose there's much way of knowing how many scenes were actually filmed.
-
I can't understand DC's problems with Monica Rich. I thought she was very effective in what we do see. Her closeups were incredibly intense and poignant.
G.
-
Considering some of the adult performers that he put up with (and in some cases, embraced), DC's issues with Monica seem very perplexing.
-
I'll be interested to see how much Sarah Castle has to do in the original script. From what I understand, most of her footage was cut by DC before the film was submitted to MGM. I don't suppose there's much way of knowing how many scenes were actually filmed.
We'll be dealing with all of Sarah's scripted scenes. But beginning with the following post, so far we've only seen that practically all of her stuff was dropped from Scene 56 (Angelique's funeral):But there doesn't seem to be any info about whether or not the dropped material was ever shot or DC simply cut around it. However, I believe there is such info when it comes to some of Sarah's upcoming scenes, so I'll try to track it down...
-
I can't understand DC's problems with Monica Rich. I thought she was very effective in what we do see. Her closeups were incredibly intense and poignant.
Considering some of the adult performers that he put up with (and in some cases, embraced), DC's issues with Monica seem very perplexing.
I agree with you both. But perhaps it was as simple as michael c related in another topic: DC and Monica simply didn't get along...
-
Continuing with Scene 119 (and I'm going to use the way the scene appears in Grayson's script because DC didn't change the character names - and I have changed the names in all the quotes because it was just easier that way):
WIDEN as the SOUND OF FOOTSTEPS can be heard coming
down the hall. Sarah, not wanting to be seen, runs
and hides in back of a chair.
LAURA
SAMANTHA (O.S.)
We can talk in here.
LAURA STRACK
Samantha, Gabriel and the Rev. Trask ENTER THE HOST
and cross to the windows.
|
And that's when today's first quote -
Page 59/Scene 119 - Laura: 'You must make a decision, Gabriel.'
- comes up, followed by today's second quote -
Page 59/Scene 119 - Gabriel: 'You've already made it for me. Why else would the good Reverend Strack be here?'
- coming up.
And when it comes to any differences in the dialogue, Laura switches things up a bit by actually saying "Gabriel, you must make a decision" - and Gabriel actually delivers his first sentence as "I think you've already made that for me." - and Laura actually sighs after Gabriel says that and before he surmises what other reason would Rev. Strack have for being there.
And when it comes to any differences in the directions and the descriptions, Sarah doesn't hide behind a chair because she actually hides under the table before the adults enter the Gallery - and the adults don't cross to the windows because they actually gather around the table, though, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0806NoDS_a.jpg)
- at first we only see their legs as evidence of that because Sarah is the one who's on screen.
And still no notes in DC's script for this scene.
-
As you've probably already figured from today's graphic, today's quote -
Page 59/Scene 119 - Laura: 'Gabriel, don't you realize how I've dreaded this moment? But we've both known it had to come...'
- was dropped from the scene in the film.
And when it comes to any differences in the dialogue, even if it today's quote was a part of the scene at some point, we'll never know if anything was different about it because it doesn't appear in any version of the film.
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.
And still no notes in DC's script for this scene. But there will be some for the quotes coming up tomorrow...
-
Picking up Scene 119 where we left off, with today's first quote -
Page 59/Scene 119 - Strack: 'Where is the witch now?'
- coming up, followed by today's second quote -
Page 59/Scene 119 - Laura: 'Where she always is -- in the tower, "posing" for my husband.'
- coming up.
And when it comes to any differences in the dialogue, both quotes are actually 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, DC has a note in his script that before Strack asks where the witch is, Gabriel crosses to the other side of Laura and Strack, and that does indeed happen even though we're still only seeing the adults' legs on screen because the camera -
(http://www.dsboards.com/NoDSquoteimages/0808ds91_1.jpg)
- is still focusing on Sarah listening.
-
Continuing with Scene 119 (and with Grayson's script because DC didn't change the character names):
119 CONTD CONTD 119
STRACK
TRASK
Well, Mr. Collins?
|
And that's when today's first quote -
Page 60/Scene 119 - Gabriel: 'Why do you want my permission?'
- comes up, followed by today's second quote -
Page 60/Scene 119 - Strack: 'Angelique Collins is your wife.'
- coming up.
And when it comes to any differences in the dialogue, everything here is delivered in the film exactly as scripted.
And when it comes to any differences in the directions and the descriptions, as Strack delivers the unquoted line from this section of the scene and before Gabriel asks why Strack wants his permission, as can be seen in the following capture and today's first capture -
(http://www.dsboards.com/NoDSquoteimages/0809NoDS_a.jpg)(http://www.dsboards.com/NoDSquoteimages/0809ds91_0.jpg)
- Strack actually crosses to the other side of Gabriel - though interestingly in DC's script there's a note indicating that Strack isn't supposed to do that until he points out that Angelique is Gabriel's wife. (And can I just say that I love the expressions on the faces of Gabriel, Strack and Laura in the first capture above!) - and as can be seen in today's second capture -
(http://www.dsboards.com/NoDSquoteimages/0809ds91_1.jpg)
- Laura actually moves closer to the two men as Strack points out that Angelique is Gabriel's wife, even though there's no indication in the script or in a notation from DC that says she does so.
-
Moving along with Scene 119:
And that's when today's quote -
Page 60/Scene 119 - Laura: 'Do you want a mob outside this house? A mob with firebrands?'
- comes up.
And when it comes to any differences in the dialogue, the quoted lines are actually combined into one in the film, as in "Do you want a mob with firebrands outside this house?"
And while the script does indicate that Sarah is listening, it doesn't indicate that Laura delivers her line off screen - but as can be seen in today's capture -
(http://www.dsboards.com/NoDSquoteimages/0810ds91_0.jpg)
- that's exactly how it happens in the film.
And interestingly in DC's script there's a note indicating that Laura will cross to Gabriel when she says today's quote - and even though we don't see that, it could have possibly happened off screen - but that's not even the case because, as can be seen in this sneak peek of tomorrow's capture -
(http://www.dsboards.com/NoDSquoteimages/0811ds91_0.jpg)
- Laura is pretty much in the same spot as we last saw her.
-
The dialogue in the scene at hand now is interesting because, to me at least, it strongly implies that Angelique Collins (in NoDS) really was a Witch. I've seen stuff written about the movie that describes the story as being about "the ghost of a wronged woman unjustly accused of Witchcraft" and I don't think that's the story the movie actually tells.
It also implies that there's an element of sorcery involved in the hauntings, which is certainly borne out in how certain sequences are shot.
G.
-
I was saving this discussion until after we finish the script. [ghost_smiley] But what I will say now is the odd thing is that the script seems to present evidence that Angelique was a witch AND that she wasn't (though the evidence that she wasn't is only in the 129 minute version of the film). But like you, I lean more in the direction of thinking that she was. [ghost_wink] And I'll advance that theory after we finish the script...
-
Picking up Scene 119 where we left off, with yesterday's quote, Strack's response to the possibility of mobs with firebrands gathering outside Collinwwod -
Page 60/Scene 119 - Strack: 'I promise you it will come to that. And soon. The strange death of Reverend Herridge. After his sermon denouncing her --'
- coming up, followed in the script by today's quote -
Page 60/Scene 119 - Laura: 'You yourself heard her say she would settle with him for that --'
- coming up.
And when it comes to any differences in the dialogue, the only difference in Strack's quote is that he says "So soon after his sermon denouncing her --" But as is probably obvious given today's graphic, Laura's quote is dropped in the film, so we have no idea if anything about it might have been different or if it was even filmed. Though unlike the quotes that were definitely dropped before filming, Laura's quote is not crossed out in DC's script, so infer from that what you will... However, I do wonder if Laura's line was dropped so as to make it more ambiguous as to whether or not Angelique was a witch? I guess we'll never know...
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. Though I do love how Laura is actually breathing heavily while Strack warns Gabriel - it's almost like she's sexually turned on plotting Angelique's demise! [b003] And Sarah is once again seen listening under the table -
(http://www.dsboards.com/NoDSquoteimages/0811NoDS_a.jpg)
- at the tail end of Strack's warning, after he mentions the strange death of Reverend Herridge.
And we'll deal with DC's next notes after tomorrow's quote comes up...
-
I think that if Angelique had turned out not to be a witch, the audience would have felt terribly cheated. Unfortunately, we don't see enough of the 1810 setting to see what her relationship with Gabriel, Laura and Sarah actually was.
-
It will be interesting after we get through the whole script. One scene comes right out and says Angelique wasn't a witch - but at the same time that seems to contradict so many other things that are said and implied...
-
Continuing Scene 119 with today's first quote -
Page 60/Scene 119 - Gabriel: 'But the scandal...'
- coming up, followed by today's second quote -
Page 60/Scene 119 - Laura: 'There will be no scandal.'
- coming up.
And when it comes to any differences in the dialogue, what Gabriel actually says is "Yes, yes, but...but the scandal..."
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, DC has a note in his script that indicates that Gabriel crosses to the window as he expresses his fear of scandal, and Gabriel does indeed do that - but something that neither the script nor DC's notes mention in that Laura's line is once again delivered off screen, this time, as can be seen in today's second capture -
(http://www.dsboards.com/NoDSquoteimages/0813ds91_1.jpg)
- because Gabriel remains on screen.
-
Continuing Scene 119 with today's quote -
Page 60/Scene 119 - Strack: 'We have selected four men from the estate, all of whom have seen proof of her witchcraft...they have sworn to remain silent forever.'
- coming up.
And when it comes to any differences in the dialogue, what Strack actually says is "We've chosen four men from the estate, each of whom has seen proof of her witchcraft...they've sworn to keep silent forever."
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, DC has a note in his script that indicates that after there's a close-up of Gabriel (which we saw did take place in the capture showcased in reply #350), the camera would move back to go in on Strack (though the note says "Trask") and Laura (though the note says "Samantha"), and as can be seen in today's capture -
(http://www.dsboards.com/NoDSquoteimages/0814ds91_0.jpg)
- that's exactly what happens as today's quote takes place.
And as for the content of Strack's quote, it would certainly seem to provide proof that Angelique is a witch. Well, that is IF the four men are really telling the truth and aren't lying, or being coerced, or being paid to say what Strack claims. And while the script gives absolutely no indication of any of those three, it will contradict the men down the line...
-
Continuing Scene 119 with today's quote -
Page 60/Scene 119 - Laura: 'Gabriel -- if we must, we'll do it without you.'
- coming up.
And when it comes to any differences in the dialogue, there aren't any because today's quote is 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. There also aren't any notes in DC's script concerning today's quote. But I do have to say that I just love how Diana Millay gives a tilt to her head just as she tells Gabriel that they'll do it without him:
(http://www.dsboards.com/NoDSquoteimages/0815NoDS_a.jpg)
And the interesting thing about today's quote is that it reveals just how determined Laura is to side with Strack and to seal Angelique's fate even if Gabriel isn't on board. Would it be such a hard thing to then imagine that Laura might not coerce or pay the men to give evidence against Angelique? And Scene 67A (the piano scene) would certainly seem to show that Laura is disgusted by Charles and Angelique's affair and she holds Angelique responsible. Though, as I said yesterday, there's no indisputable evidence in the script that Laura or anyone else actually conspired against Angelique and falsely accused her of witchcraft (although Scene 67A clearly shows that Laura really does believe Angelique is a witch and that she's bewitched Charles). But subtleties could be construed...
-
Beautiful shot of Diana there. It's intriguing to imagine a version of the story where Laura framed Angelique for witchcraft to get her revenge on both her rival and Charles. But if you accept that, it doesn't really explain certain things that happen in the 1971 narrative that imply that sorcery is at work.
Unless LAURA was the Witch...
G.
-
It's intriguing to imagine a version of the story where Laura framed Angelique for witchcraft to get her revenge on both her rival and Charles. But if you accept that, it doesn't really explain certain things that happen in the 1971 narrative that imply that sorcery is at work.
And there's a chief problem when it comes to Angelique not being a witch. [b003]
Unless LAURA was the Witch...
Wouldn't that be fascinating?! But it's probably not likely - especially when events after Angelique's death don't exactly benefit Laura. Quite the opposite...
-
True about Laura's fate. However, some element of a frame-up would help explain her derisive, hysterical laughter at Angelique's funeral--a wonderful moment...
G.
-
When I first saw NoDS I had no idea why Laura was laughing at the funeral. But informed with the knowledge that Charles and Angelique had an affair, the second time I saw it I figured she was laughing at Strack's description of Angelique as the "Loyal and loving sister-in-law to Laura." However, years later when a very generous friend shared a copy of Grayson's script with me, I discovered that the script actually has a scene in which Quentin offers his own theory as to why Laura was laughing - one that I never would have guessed because, as the film stands, there isn't enough info in it to even come close to drawing Quentin's conclusion. And the interesting thing is that the scene that offers his conclusion isn't even in the 129 minute version of the film. Darren Gross has often wondered why in the world DC cut the scene because Darren considers it an important scene - and I agree. But apparently only DC knew why he cut it...
And speaking of scenes that aren't even in the 129 minute version, one such scene will be coming up very soon in the script, with another to follow not all that long after it. But more on that once they come up...
-
Wrapping up Scene 119 and moving beyond (using Grayson's script), beginning with today's quote -
Page 60/Scene 119 - Strack: 'The evil must be driven from the land -- before it destroys us all.'
- coming up, followed in the script by:
GABRIEL
(a sigh)
You are right. There is no other
way.
Strack
Sarah reacts, as Trask moves to the window, looks
down and nods.
120 EXT - COLLINWOOD - DAY 120
STRACK'S
THROUGH THE WINDOW - TRASK'S P.O.V.
Four strong men stand staring up at the window. At
Strack'sTrask's nod, they move off in the direction of the
house.
|
And as far as differences in the dialogue go, Strack actually says "This evil" - and Gabriel actually says "You're right."
And as far as differences in the directions and the descriptions go, there aren't any of either in the script that pertain to the dialogue, however, DC's script has a note that indicates that Strack (though it's still Trask in his script) crosses to Gabriel as he warns that the evil must be driven from the land, and as can be seen in today's capture -
(http://www.dsboards.com/NoDSquoteimages/0816ds91_0.jpg)
- that is what happens - but what neither the script nor DC indicates is that while Strack is saying "before it destroys us all", as can be seen in this next capture -
(http://www.dsboards.com/NoDSquoteimages/0816NoDS_a.jpg)
the camera is actually on a close-up of Sarah - and while DC's script also has a notation that Gabriel isn't suppose to appear in the shot until after Strack is finished with his warning, obviously, as can also be seen in today's capture, that is not the case - and as can be seen in this next capture -
(http://www.dsboards.com/NoDSquoteimages/0816NoDS_b.jpg)
- Gabriel remains in the shot after Sarah's reaction to Strack's warning and before Sarah's reaction to Gabriel coming around that there is no other way - but DC's notation also indicates that the camera would whip to Sarah and truck in on her reaction to Gabriel's decision, however, the shot of Sarah's reaction is not whipped to, and as can be seen in this next capture -
(http://www.dsboards.com/NoDSquoteimages/0816NoDS_c.jpg)
- the framing of the shot remains the same as the previous shot of her and there is no trucking in - and after Sarah's final reaction shot, not only don't we see Strack go anywhere near the window, Scene 120 is actually dropped in all versions of the film.
And one thing that's interesting about Scene 119 is that there's much more of Sarah in it than is indicated in the script. But as we'll soon see, adding more of Sarah is a situation that will be quite dramatically reversed because all sorts of her stuff will be dropped left and right before too long...
And finally, the original slideshow for NoDS included this line -
(http://www.dsboards.com/moviesquoteimages/1021NoDS_0.jpg)
NoDS: Scene #119 - Gabriel: 'You're right. There is no
other way.'
- because it was quoted in the Fest's 1999 Movie Calendar, upon which the original slideshow is based.
-
Great shot of Strack today. Thayer was so perfect in that role. Of course, I know Jerry would have nailed it, too, but the nuances would have been quite different.
G.
-
Dealing with the next two scenes in the sequence (using Grayson's script):
121 INT - GALLERY - DAY 121
|
And that's when today's first quote -
Page 61/Scene 121 - Gabriel: 'What of my brother Charles?'
- comes up, followed by today's second quote -
Page 61/Scene 121 - Strack: 'He must learn the lesson of the damned. He shall watch her die.'
- coming up, followed in the script by:
Strack
They look at each other. Trask turns, leads them
from the room. Sarah is panicked. She leaves her
hiding place and tiptoes to the corridor.
122 INT - CORRIDOR - DAY 122
SARAH'S P.O.V.
Strack Laura
Trask, Gabriel and Samantha stand at the head of the
Strack
stairs. As the four men appear, Trask and Gabriel
lead them up to the tower leaving Samantha stand-
ing alone. Laura
|
And as far as differences in the dialogue go, there aren't any because the dialogue is delivered exactly as scripted.
And as far as differences in the directions and the descriptions go, it's interesting how DC covers having dropped Scene 120 because following Sarah's final reaction in Scene 119, instead of seeing Strack move to the window, we see Sarah's POV of Strack walking away from Gabriel, but as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0817NoDS_a.jpg)
- Strack actually moves in the opposite direction away from the window ([hdscrt]), but from that we then see, as can be seen in this next capture -
(http://www.dsboards.com/NoDSquoteimages/0817NoDS_b.jpg)
- Strack is moving away from apparently having been at the window, and he moves toward Gabriel, who, as we can see in the next capture -
(http://www.dsboards.com/NoDSquoteimages/0817NoDS_c.jpg)
- is on Strack's opposite side from where we last saw them in Scene 119 (apparently it must have been quite the dance that Strack did to first walk in the opposite direction from the window but then to walk from the direction of the window - and all in the space of under three seconds of screen time [lghy] - but if we're feeling generous, maybe we'll just chalk it all up to the marathon editing session imposed by James Aubrey [wink2]) - and also, I love the wide-eyed expressions on Laura's face as she looks at Strack after Angelique's fate has been sealed -
(http://www.dsboards.com/NoDSquoteimages/0817NoDS_d.jpg)
- and then to Gabriel -
(http://www.dsboards.com/NoDSquoteimages/0817ds91_0.jpg)
-and then to Strack again -
(http://www.dsboards.com/NoDSquoteimages/0817NoDS_e.jpg)
- as Charles' punishment is decided - and while we do see Sarah's panicked reaction to hearing Angelique is going to die, we don't actually see Stack turn and lead Gabriel and Laura from the room nor do we see Sarah leave her hiding place and tiptoe to the corridor - and Scene 122 is another that is dropped from all versions of the film - though if it had appeared in any version of the film, like Scene 85 (Angelique is taken from the tower), not four, but only two of Strack's henchmen would have shown up.
Also, DC has a note that before he asks about Charles, Gabriel walks to the table and then turns to them, though that's pretty obvious given the captures I've already shared. ;)
-
Great shot of Strack today.
Yes, I love that capture as well:
(http://www.dsboards.com/NoDSquoteimages/0817ds91_1.jpg)
Page 61/Scene 121 - Strack: 'He must learn the lesson of
the damned. He shall watch her die.'
Thayer was so perfect in that role. Of course, I know Jerry would have nailed it, too, but the nuances would have been quite different.
As undoubtedly interesting as it would have been to have seen Jerry Lacy as Trask, I can't even begin to imagine NoDS without Thayer David's Strack. [ghost_nowink]
-
Well, MB, I'm sure you can guess how I feel about Thayer's presence in the movie. Given what a huge fan I am of every moment he was ever onscreen...
That's a wonderful two-shot of Laura and Mrs. Castle in today's presentation. One I don't recall at all. I'm so glad they did include Clarice in this film.
G.
-
Moving to the next two scenes in the current sequence (using Grayson's script):
123 SARAH - CLOSE-UP 123
Her eyes are wide with fright.
|
And that's when today's first quote -
Page 61/Scene 123 - Carlotta's Voice: 'I don't know how long I stood there. It seemed like hours...'
- comes up, followed in the script by:
DISSOLVE TO:
124 EXT - CORRIDOR - SARAH'S P.O.V. 124
Laura
as Mrs. Castle joins Samantha.
|
And that's when today's second quote -
Page 61/Scene 124 - Carlotta's Voice (Contd): 'Finally, my mother joined Laura and the two of them waited...suddenly the silence was shattered by the terrifying sounds from above and it was then that I saw her.'
- comes up.
And as far as differences in the dialogue go, as has probably already been surmised from the graphics for today's slideshow, neither Scene 123 nor the beginning of Scene 124 appear in the film as it currently stands, so there's no way of knowing if there might be differences in the dialogue. The scenes may not even appear in the 129 minute version. I don't recall seeing them during Darren's presentations - but with so much recovered footage being covered, it's hard to remember exactly everything, especially when Darren has to pick and choose what he shows and some recovered bits have only been shown once. For what it's worth, Scenes 123 and 124 are not included on Darren's list of the scenes/trims that weren't recovered. But then, it could also be that they aren't on that list because they were never shot. One thing that is known, though, is that, as per usual, Grayson crossed out Samantha's name in her dialogue for the start of Scene 124 and wrote in Laura's name.
And as far as differences in the directions and the descriptions go, again, with nothing that's covered here being in the film as it currently stands, there's no way of knowing if anything might be different.
And yes - Scene 124 is listed as an exterior in the script even though it should be listed as an interior...
-
I remember reading a piece in TWODS or Inside the Old House years ago where the author (no idea who it was anymore) theorized that there were no supernatural elements in NODS at all. His idea was that it was an elaborate scheme by Quentin and Angelique to drive Tracy insane and help themselves to her money. Interesting theory, I suppose, but nothing more. I don't see any indication that Tracy is an heiress or otherwise wealthy. The theory also would require every single character to be in on the scheme. Carlotta? Sure. Gerard? Probably? Alex and Claire? No. And, lastly, the theory renders the 1810 sequence as pointless.
-
That theory only works if you ignore about 90 percent of what actually happens in the movie. Such as--if that were the case, why would Carlotta kill herself? Did the writer think her death had been faked?
The theory sounds a lot like a couple of Boris Karloff THRILLER episodes I vaguely recall. I always enjoy revisiting those.
G.
-
I certainly agree, Gothick. There is precious little in any incarnation of the movie to back up the guy's theory. I think that it may be the same guy who felt that there was a demand for DS fan fiction with a martial arts theme. Kung Fu Grip Barnabas?
-
I think that it may be the same guy who felt that there was a demand for DS fan fiction with a martial arts theme. Kung Fu Grip Barnabas?
Heaven help us! But to each his/her own, I suppose...
And as for the theory, in the first few scenes of NoDS it's pretty much established that Tracy is anything but an heiress and that Quentin and Tracy's lives are going to change radically because of how he's the heir to Collinwood. Talk about making up a theory out of what someone wants to see and not what's actually there!
-
Continuing Scene 124 (using Grayson's script):
Strack
Trask and then the others file down the stairs.
Angelique stares coldly ahead, holding herself aloof
124 CONTD CONTD 124
from her persecutors. One of the men holds a
blood-soaked kerchief to his face. Charles is the
last to appear. He has already resigned himself
to her fate. As they are about to go down the
next flight, Sarah suddenly runs in, throwing her
arms around Angelique's waist.
|
And that's when today's quote -
Page 62/Scene 124 - Sarah: 'No! No! I won't let you take her! She is good! She is good!'
- comes up.
And as far as differences in the dialogue go, playing over the outset of this section of the scene is actually unscripted voiceover by Carlotta: "She walked down the stairs so proudly. They were all afraid to touch her. I suddenly knew I would never see her again. I ran to her. I couldn't let her go" - though whether or not that was always planned as a continuation of the scripted voiceover from earlier in the scene or as a replacement for it when the earlier part of the scene wasn't included in the film, who knows? (It has been mentioned that after the marathon editing session David Selby and John Karlen were called in to dub new stuff to help to make what remained make more sense, but I've never seen it mentioned that Grayson also was.) - and the end of the unscripted voiceover actually plays over Sarah's lines, which are actually "No! No! I won't let you take her!" with the "She is good! She is good!" part completely dropped. (Though it may have been shot but was simply cut because right after Sarah says that she won't let them take Angelique, the camera switches from shooting like today's capture -
(http://www.dsboards.com/NoDSquoteimages/0819ds91_0.jpg)
- and focuses on a close-up of Charles that we will see as part of tomorrow's slideshow.
And as far as differences in the directions and the descriptions go, there is actually a clasp of thunder as the film makes the switch from Scene 122's proclamation by Strack that Charles shall watch Angelique die to Scene 124 and Carlotta's unscripted voiceover regarding how Angelique descended the stairs - and the interesting thing is that Angelique seems to stare at Laura almost the entire time she walks down the stairs, and the smug look on Laura's face, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0819NoDS_a.jpg)
- is absolutely priceless as Angelique reaches Laura in the second floor corridor! And if looks could kill, Laura might have been dead there and then given the way -
(http://www.dsboards.com/NoDSquoteimages/0819NoDS_b.jpg)
- Angelique looks at her. And what's also interesting is that as Angelique moves away from Laura, she has a slight smile on her face -
(http://www.dsboards.com/NoDSquoteimages/0819NoDS_c.jpg)
- as if she already knows her impending hanging will be far from the end. Though one other thing is that we don't see one of Strack's henchman, presumably the one Angelique scratched in Scene 85, holding a blood-soaked kerchief. In fact, we haven't even seen him in the scene at all yet - and the explanation for why that is will be coming in a future post...
And there are no notes in either DC's or Grayson's script for any of this section. In fact, there are no notes for any of Scene 124. Though one thing I haven't mentioned yet is that the end of Scene 124 is different/longer in DC's script from the way it is in Grayson's - and we'll deal with that once we've reached the 22nd's installment of the slideshow...
And to give you something else to look forward to, on the 23rd I'll be sharing the very first article published for the film that features photos taken of some of the first scenes shot for the film. It you've never seen the article, you might be surprised which scenes were soon to be shot after shooting began with Angelique's funeral...
-
Continuing Scene 124:
Mrs. Castle tries to disengage the child.
|
And that's when today's first quote -
Page 62/Scene 124 - Mrs. Castle: 'Please, Sarah.'
- comes up, followed by today's second quote -
Page 62/Scene 124 - Sarah: 'Don't let them do it, mama! I love her so.'
- coming up.
And as far as differences in the dialogue go, Mrs. Castle actually says "Sarah, please" - and Sarah's quote is dropped from the scene, and again, who knows if it was shot or not, though as we'll see below, given the editing, it may have been shot but simply cut.
And as far as differences in the directions and the descriptions go, even though neither the script nor any notes from DC indicate it, Mrs. Castle's line is delivered off screen while, as can be seen in today's first capture -
(http://www.dsboards.com/NoDSquoteimages/0820ds91_0.jpg)
- there's a close-up of a very forlorn Charles on screen, so who knows if the switch to Charles was because DC didn't like Monica Rich's work in those moments or DC simply wanted to insert a Charles close-up rather than just have him in the background, as he'll be seen in tomorrow's capture (and here's -
(http://www.dsboards.com/NoDSquoteimages/0821ds91_0.jpg)
- a sneak peak). But Sarah's quote from today is not the first bit of Sarah's stuff to not appear in the film as part of Scene 124, and as we'll see when I post about tomorrow's quote, it won't be the last. Though one thing we do know for sure is that DC did express his dissatisfaction with Monica Rich's work, so take from that what you will...
-
Is Mrs. Castle the only time during any incarnation of DS that we get to see Clarice without a wig?
-
I'm pretty sure it is.
-
Continuing Scene 124:
Still clutching Angelique, Sarah cries bitterly as
Angelique bends to her.
|
And that's when today's quote -
Page 62/Scene 124 - Angelique: 'My darling, don't cry. Sarah, dear, don't cry, please. It will be just as if I'm away for a little while.'
- comes up, followed in the script by:
SARAH
But they said...they were going to...
She looks at Charles.
Charles...don't let them --
She cannot finish, her sobs break out again.
|
And as far as differences in the dialogue go, what Angelique actually says is "Darling, don't cry. Sarah, dear, please don't cry. It'll be just as if I've gone away for a little while" - but all of Sarah's dialogue and everything that surrounds it is dropped from the scene once again, and once again, who knows if it was shot or not, though as we'll see below in this post too, given the editing, it may have been shot but simply cut.
And as far as differences in the directions and the descriptions go, we don't actually see Sarah crying bitterly because she seems to be sobbing - and even though neither the script nor any notes from DC indicate it, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0821NoDS_a.jpg)
- a close-up of a disgusted looking Strack is actually seen while Angelique reassures Sarah that it will be just as if Angelique has gone away for a little while, and like Charles' earlier close-up, who knows if Strack's closeup was inserted because DC didn't like what he got from Monica Rich or simply because DC wanted to insert a Strack close-up.
-
Before we conclude Scene 124 as it appears in DC's script, here's how it concludes in Grayson's:
ANGELIQUE
You'll remember all the time we've
spent together...all the love we've
shared. You'll remember me.
She kisses the child goodbye.
As Mrs. Castle takes the weeping Sarah toward her
room, the others EXIT down the stairs.
|
End of scene - but this is how things play out in DC's script, beginning with the first part of today's quote -
Page 62/Scene 124 - Angelique: 'You'll remember all the time we spent together. All the love we've shared...'
- coming up, followed in the script by:
She suddenly takes off her locket.
|
And that's when the second part of today's quote -
Page 62/Scene 124 - Angelique: 'Here. You've always thought this so pretty.'
- comes up, followed in the script by:
She slips it around the child's neck.
|
And that's when the third part of today's quote -
Page 62/Scene 124 - Angelique: 'As long as you wear this, you'll remember me.'
- comes up, followed in the script by:
124 CONTD CONTD 124
She kisses the child goodbye.
As Mrs. Castle takes the weeping Sarah toward her
room, the others EXIT down the stairs.
|
And as far as differences in the dialogue go, the first part of Angelique's quote is completely dropped in the film - and when it comes to the second part, she actually says "You always thought" rather than "You've always thought" - and when it comes to the third part, she actually says "As long as you wear this, you will remember me."
And as far as differences in the directions and the descriptions go, it isn't until after Angelique says "Here" that she pulls rather than takes off her locket - and as Angelique says "You always thought this so pretty" and for a bit beyond another clasp of thunder is heard - and rather than slip the locket around Sarah's neck, what actually happens, as can be seen in today's capture -
(http://www.dsboards.com/NoDSquoteimages/0822ds91_0.jpg)
- is that in a close-up Angelique holds the locket up as she makes her pronouncement about it - however, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0822NoDS_b.jpg)
- the "you will remember me" part of the pronouncement plays as a double exposure of Angelique's close-up and the start of Scene 126 as Angelique lowers the locket as Scene 124 slowly fades out and Scene 126 slowly fades in. And that probably begs the question: What happened to Scene 125? Well, it's not in any version of the film and there are questions as to whether or not it was even shot. But we'll deal with Scene 125 in a post later today...
And finally, as I mentioned in reply #367, we had yet to see Strack's henchman. Well, that's because, as can be seen in the following capture, he doesn't actually appear on screen until the camera angle changes and -
(http://www.dsboards.com/NoDSquoteimages/0822NoDS_a.jpg)
- he's seen standing on stairs higher than the ones Charles is on and behind Angelique and Sarah - and notice that unlike what the script indicates, he is not holding a blood-soaked kerchief to his face. (And get your minds out of the gutter because Sarah and Angelique are not looking at Angelique's ample bosom but down at the locket after Angelique says "Here" and before she pulls the locket off.)
-
Oops - how quickly I forget [embb] -
...
(http://www.dsboards.com/NoDSquoteimages/Q_C.jpg)
... And I've always been a bit upset that that published version is the only one that I've ever come across because it would be nice to see at least a bit more of Quentin. But then, maybe a wider version of it doesn't even exist, so perhaps I should just be grateful for what I have...
- that photo is published on page 254 of the DS Movies book (page 62A of the script, which features the conclusion of Scene 124 and the beginning of Scene 125):
(http://www.dsboards.com/NoDSquoteimages/Q_C-2.jpg)
And it's interesting that the book's version shows more of Quentin, which is a definite plus, and more of the room, but it crops part of the top and bottom off. Will we ever see the entire photo? [ghost_smiley]
-
And here's Scene 125:
125 INT - SARAH'S BEDROOM - DAY 125
as the door opens, Mrs. Castle and Sarah ENTER.
Sarah is still crying.
125 CONTD CONTD 125
MRS. CASTLE
Lie down on your bed, angel. Please
stay here. There's nothing we can do.
She turns to leave. Sarah runs to her.
Sweetheart, get into your bed and
pull the covers over your head.
Whatever you do, please stay away
from that window.
As she EXITS, TRUCK IN on and anguished Sarah.
|
End of scene.
And as far as the dialogue, the directions, and the descriptions go, there's no way to know if anything is different because, as I said, this scene doesn't appear in any version of the film. And obviously it's yet more Sarah material that DC decided not to include in the film, either by never shooting it or leaving it all on the cutting room floor...
-
And to give you something else to look forward to, on the 23rd I'll be sharing the very first article published for the film that features photos taken of some of the first scenes shot for the film. It you've never seen the article, you might be surprised which scenes were soon to be shot after shooting began with Angelique's funeral...
And here is the first page of the article:
(http://www.dsboards.com/NoDSquoteimages/CoDS-1.jpg)
(Click here (http://www.dsboards.com/NoDSquoteimages/CoDS-1.jpg) for a clearer 1200X1609 version of the page.)
And here's the second page of the article:
(http://www.dsboards.com/NoDSquoteimages/CoDS-2.jpg)
(Click here (http://www.dsboards.com/NoDSquoteimages/CoDS-2.jpg) for a clearer 1200X1609 version of the page.)
Most of the photos were never published anywhere else (only the photo of Angelique's hanging showed up again, which makes me suspect that the others *may* have been taken by Flip's own photographer, whereas the hanging is an 'official' still).
It was quite thrilling to find this article because up to that point we didn't really have much idea what "Curse of Dark Shadows" was about. Although, I do think the photo captions give away way too much plot info, especially for a first look at the film. (But then the magazines did the same thing with hoDS and with every other film that they ever publicized.) And given that we were provided with prior knowledge of it, after we saw the film my friends and I were like "What happened to the seance?!" Of course, we soon figured it was left on the cutting room floor just like some of the scenes from hoDS that we'd been provided photos/descriptions (can you say Julia's walk with Barnabas, David hanging, among others) prior to the release of that film - but little did we know then the real behind-the-scenes circumstances of what had happened with this film...
And it's quite interesting to see that they say Angelique was executed for "adultery" rather than for witchcraft. And adultery is given as the reason in other articles as well, which further complicates the question of 'Was she or wasn't she a witch?' Not to mention it flies in the face of the stated reason given in the film...
-
These are outstanding pictures, MB! I don't think that I ever saw them before. I never read Flip. I was strictly a 16 reader. It is kind of interesting that the adultery issue was brought up in a teen magazine.
-
Those are very cool, MB! I have never seen this article before.
Many thanks!
G.
-
Moving to the next scene in the current sequence (using Grayson's script again because DC didn't changed the names):
CUT TO:
126 EXT - BACK OF COLLINWOOD - DAY - HIGH ANGLE 126
The rain has finally stopped. A heavy ground mist
now swirls about the great hanging tree. Angelique
stands on a branch high up in the tree, a noose
about her neck. She is held by two of the men.
Strack
Gabriel, Quentin, Trask and the other two men stand
below. Samantha and Mrs. Castle watch from the
veranda. Laura
|
And that's when today's quote -
Page 63/Scene 126 - Strack: 'Angelique Collins, you have been condemned as a witch and you must die as a witch. Let your soul be returned to the pits of darkness forever more.'
- comes up.
And when it comes to differences in the dialogue, Scene 126 actually begins with another unscripted voiceover from Carlotta and it says "Finally the rain stopped and a cold wind swept the grounds. It was then I saw her, high in the tree, a rope around her neck. Reverend Strack stared up at her, his face a mask of hatred" - and it isn't until the voiceover concludes that Strack delivers his lines, which are actually "Angelique Collins, you have been condemned as a witch and you must die. But your spirit will not live after you. For your earthly remains will hang here until your spirit returns to the pits of darkness forever more" - and one of the interesting things about that is that during Quentin's created dream due to the enforced cuts, Strack actually does say "Angelique Collins, you have been condemned as a witch and you must die as a witch", so for some reason or other DC decided to drop the "as a witch" part in this scene. And shouldn't "forever more" actually be spelled as one word: "forevermore"?
And when it comes to differences in the directions and the descriptions, the scene doesn't quite begin with a high angle shot because, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0823NoDS_a.jpg)
- it would seem to be a ground level long shot that lasts as long as the voiceover speaks about the rain and the wind - and there is no visible ground mist - and if one looks closely there are actually five of Strack's henchmen present in the shot: two atop the platform in the tree, one standing by at the bottom of each of the two ladders, and another (though he can barely be seen due to the size of the capture) standing off to the right of the henchman that Angelique scratched - and as can be seen in this next capture, it's much clearer that Angelique and the two men are standing on a platform -
(http://www.dsboards.com/NoDSquoteimages/0823NoDS_b.jpg)
- rather than on a branch in the tree (think of how dangerous that would have been for the actors, especially with them being so high up in the tree - and Lara Parker actually commented on how dangerous it was to shoot as it is, but more on that at a later time), and that shot lasts as long as the voiceover takes to mostly describe Angelique in the tree - and as can be seen in this third capture, it's then that a high angle crane shot is used -
(http://www.dsboards.com/NoDSquoteimages/0823NoDS_c.jpg)
- to show the vantage point from higher in the tree - and it's quite clear in that capture that Mrs. Castle and Laura are not watching from the veranda - and the fifth man is also able to be seen a bit better if one spots the rope around Angelique's neck and traces it down from the tree to her. The three of them may actually be seen better in today's capture -
(http://www.dsboards.com/NoDSquoteimages/0823ds91_0.jpg)
- what with the fifth man in the foreground and Mrs. Castle and Laura in the background.
-
Given today's graphic, it's probably obvious that today's quote -
Page 63/Scene 126 - Angelique: 'As I die, so shall all of you. For that will be my legacy --'
- is dropped in the film. And ever since reading the script I've found that bit of dialogue to be very interesting for two reason:- In a bit of upcoming dialogue in this scene Strack refers to Angelique's "threats," yet we never hear her make any.
- And seemingly cursing everyone would certainly appear to add more evidence that Angelique really is a witch.
So why keep Strack's reference to the threats but drop the actual threat? I suppose only DC knows. But again, it might have been because DC wanted the "Is she or isn't she a witch?" question to be rather ambiguous. Who knows? [idontknow]
And of course, there's no way to know if anything about the quote might have been different in the film when it doesn't appear in the film.
But changing the subject entirely, I want to share an article from the NoDS Pressbook that relates to what we're covering in the script now. If you've never seen the article or read Lara Parker's comments elsewhere (they've been quoted in a few places), you'll probably enjoy them:
(http://www.dsboards.com/NoDSquoteimages/Too_Much.jpg)
(And unfortunately none of the photos in the pressbook scan very well. [ghost_sad] But that's probably related to the fact that they were designed to be printed in a newspaper or magazine and apparently the process for formatting photos that way doesn't play nicely with the way scanners work.)
And finally, one thing that I just realized while I was posting all this is that in the photo of Angelique's hanging in the Flip article Angelique's hands are not tied behind her like they are in the film. Not that that's an important realization, it's just interesting. Or at least to me it is. [ghost_wink] Normally we see people with their hands tied before the noose is put around their necks and not afterward because tying their hands first prevents them from interfering with the placing of the noose. But then, who knows if that photo is from the preparation to shoot the scene or even a possible rehearsal...
-
A reworked version of today's quote from the script -
Page 63/Scene 126 - Strack: 'I ask the good Lord to forgive your blasphemy. Prepare yourself for eternity, witch.'
- is actually delivered later in the film, in Scene 129, after tomorrow's two quotes, which we'll see are from Scenes 127 and 128. So we'll deal with what Strack's actual lines are once the slideshow reaches Scene 129 on the 27th...
-
And since there wasn't much to say about today's quote, I want to revisit these posts from almost four years ago because they related to the current scene:
There seems to be more picture information on all four sides of the 4x3. Was NoDS shot open-matte?
Yes, NODS was shot open matte, but the frames MB posted with the drawing are not identical frames. On the Blu-ray, I went to the same frame that MB posted from the VHS. The Blu-ray has very slightly more picture information on both the left and right sides as compared to the VHS. (And since this seems to confirm that the old video transfer was essentially "open frame", that explains why the DVD that I made from my laserdisc ended up looking pleasantly framed when I would watch it in zoom mode on my widescreen TV. It's essentially what the original intended to look like in the theaters.)
The old VHS/LD transfer was nearly open matte. It's a 1.33 extraction from the frame, but it's not quite edge to edge. As a result, it doesn't show quite as much on the left and right as is possible, but does show more top and bottom than is meant to be seen. In an overhead shot of Angelique hanging, you can see at the very bottom of the frame the edge of the cherry picker that the camera is on, and in the piano scene at the beginning, you can briefly spot the floor mic poking into frame on the left.
...
I have to say, though, that even though I had noticed while watching the VHS version on my computer (while getting screen caps) that occasionally the edge of something that looked like it might be metal of some sort sneaked into frame at the very bottom of some of the overheard shots during the hanging scene -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Laser_frame_11626.jpg)
- I never would have guessed it was the edge of the cherry picker - and quite honestly more often than not I don't even pay attention to that sort of stuff because I'm too caught up in the story and paying attention to the characters. [santa_wink]
Whoa - the hanging of Angelique is far less moody on the NoDS VHS without the color correction! But then, I've mentioned elsewhere in this topic that for a few different reasons I can barely even stand to look at the NoDS VHS now that I have the Blu-ray...
(ADMIN: Edited to replace VHS capture with a Laser Disc capture)
-
Whoa - the hanging of Angelique is far less moody on the NoDS VHS without the color correction! But then, I've mentioned elsewhere in this topic that for a few different reasons I can barely even stand to look at the NoDS VHS now that I have the Blu-ray...
Yes, the Blu-ray of NoDS is really something quite gorgeous. Gosh, I'm going to have to pop it into the player again sometime soon!
-
Moving along with Scene 126 and beyond (this time using DC's script):
Angelique looks down at Charles.
THE GROUP - ANGELIQUE'S P.OV.
ZOOM IN TO CLOSE-UP OF CHARLES as he looks up at her.
WIDE ANGLE
With the house in the B.G., ZOOM IN TO THE UPSTAIRS
WINDOW OF SARAH'S ROOM, her face is pressed against
the glass, her eyes wide with fear.
127 INT - SARAH'S ROOM - DAY 127
THROUGH THE WINDOW - SARAH'S P.O.V.
SLOW ZOOM IN ON ANGELIQUE. Although her lips are not
moving, we hear her voice.
|
And that's when today's first quote -
Page 64/Scene 127 - Angelique's Voice: 'I have lost him, but I will have him again...you will help me, Sarah...'
- is scripted to come up, followed in the script by:
128 SARAH - EXTREME CLOSE-UP 128
|
And that's when today's second quote -
Page 64/Scene 128 - Angelique's Voice: 'You will know when the time comes...for it is your love that will keep me alive...'
- is scripted to come up.
And when it comes to differences in the dialogue, there aren't any because the quotes are delivered in the film exactly as scripted. But when it comes to where those quoted lines are actually delivered, as well as the differences in the directions and the descriptions, so, so much is different in the film than it is in the script. To begin with, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0823NoDS_d.jpg)
- the only time we see Charles look up at Angelique during what's been covered recently is after the camera pans Gabriel, Strack and reaches Charles in Scene 126 as Strack wraps up saying "until your spirit returns to the pits of darkness forevermore" - and considering that Angelique's quote for the 24th was dropped and Strack's reworked quote for the 25th was moved to Scene 129, right after we see Charles look up at Angelique in Scene 126, as can be seen in today's first capture -
(http://www.dsboards.com/NoDSquoteimages/0826ds91_0.jpg)
- things cut immediately to Angelique looking down at Charles - however, after that, we don't see the group from her P.O.V. (and yes, in the script it's written as "P.OV."), we don't see a zoom in to a close-up of Charles as he looks up at her, and we don't see all that DC has crossed out in his script - and the reason behind all that is that, while DC has a note in his script that says there's a long lens shot of Angelique as she looks down, and that can definitely be seen in today's first capture above, the note then goes on to say that Angelique "looks up to heaven", but that doesn't happen because, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0826NoDS_a.jpg)
- immediately after looking down, Angelique actually looks over toward Sarah's window - and while DC also has a note that the wide angle shot and zoom in on Collinwood that he crossed out in his script would be replaced buy an Angelique's P.O.V. shot of the house without any zoom, that note is also crossed out in his script and the shot doesn't take place because what we actually see immediately after Angelique looks over is simply a shot of Sarah in her room, holding her doll -
(http://www.dsboards.com/NoDSquoteimages/0826NoDS_b.jpg)
- and looking out the window. However, what's interesting about all that is that Angelique's quote from Scene 127 actually plays over what we see of Charles looking up at Angelique and her looking down at him ("I have lost him"), looking over toward Sarah's window ("but I will have him again..."), and Sarah looking out the window ("you will help me, Sarah..."). Then, when things move to Scene 127, we do indeed see the slow zoom in on Angelique through the window and from Sarah's P.O.V. -
(http://www.dsboards.com/NoDSquoteimages/0826NoDS_c.jpg)
(http://www.dsboards.com/NoDSquoteimages/0826NoDS_d.jpg)
(http://www.dsboards.com/NoDSquoteimages/0826NoDS_e.jpg)
- but the beginning of the quote from Scene 128 plays over that part of Scene 127 ("You will know when the time comes...for it is your love"), while only the last part ("that will keep me alive") plays over the close-up of Sarah -
(http://www.dsboards.com/NoDSquoteimages/0826ds91_1.jpg)
- from Scene 128 as she nods her understanding of what Angelique is somehow telling her.
-
Moving on to the next two scenes in the sequence:
129 EXT - COLLINWOOD - DAY - HIGH ANGLE 129
Looking directly down on Angelique.
|
And that's when today's quote -
Page 64/Scene 129 - Strack: 'May the devil take his own!'
- is scripted to come up, followed in the script by:
Suddenly Angelique drops from the branch. As the
rope goes taut, her body jerks to a sudden stop.
WHIP PAN up to Sarah's window and ZOOM IN TO HER
HORRIFIED FACE as she SCREAMS and runs from the
sight. NOTE: THIS IS THE SAME SCENE QUENTIN SAW
IN ONE OF THE EARLIER MEMORY CUTS.
131 EXT - GROUNDS - DAY - HIGH ANGLE 131
The body hangs from the tree as the men descend
the ladder to the ground. Then everyone SLOWLY
EXITS THE SHOT.
|
And when it comes to differences in the dialogue, what Strack actually prefaces today's quote with is "Oh Lord, Thou hast heard her threats. Protect us from her evils. Guard us with Thy invincible strength. For Thou knowest that we do what we must for Thy sake, in Thy name. Amen. Prepare yourself for eternity, witch" - and after all that is when Strack actually says "Let the devil take his own!"
And when it comes to the differences in the directions and the descriptions, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0827NoDS_a.jpg)
- Scene 129 would certainly seem to actually open with the exact same ground level long shot that Scene 126 opens with, though it lasts longer (for the duration of Strack invoking "Oh Lord, Thou hast heard her threats. Protect us from her evils. Guard us with Thy invincible strength" - and it isn't until after that that things switch to being shot from the high angle looking down on Angelique -
(http://www.dsboards.com/NoDSquoteimages/0827NoDS_b.jpg)
- and it is different footage from what we've seen before because we can actually see Strak's lips move exactly with his continued invocation as he says "For Thou knowest that we do what we must for Thy sake, in Thy name. Amen. Prepare yourself for eternity, witch" - and after that things switch to a shot of Angelique and the two men holding her -
(http://www.dsboards.com/NoDSquoteimages/0827NoDS_c.jpg)
- with her quite understandably looking quite upset and the man on her right turning to look at her - and it's after that that we then see Charles, Strack and Gabriel shot from below, as they are in today's capture -
(http://www.dsboards.com/NoDSquoteimages/0827ds91_0.jpg)
- and Strack orders "Let the devil take his own!" and Angelique, also shot from below, falls from the platform -
(http://www.dsboards.com/NoDSquoteimages/0827NoDS_d.jpg)
- though in the 94 minute version of the film we do not see Angelique's body jerk to a sudden stop because that is only seen in the 97 minute and 129 minute versions of the film (and more on that in a future post) - and while we do see Sarah scream and run from her window (and also more on that in the future post), we don't see a whip pan or a zoom in to her, but what we do see afterward is a shot Charles having been looking back at her -
(http://www.dsboards.com/NoDSquoteimages/0827NoDS_e.jpg)
- to tie things into Quentin's memory back in Scene 75, and Charles then turn to look back -
(http://www.dsboards.com/NoDSquoteimages/0827NoDS_f.jpg)
- to watch things that only happen in the 97 minute and 129 minute versions of the film (and also more on that in the future post) - and when it comes to Scene 131 (which I honestly believe should be numbered 130 - but more on that in another future post), while Angelique's body is hanging up in the tree, and while we do see the main characters exit the shot, the men do not descend the ladder to the ground because in fact the two men atop the platform remain and as the main characters move toward Collinwood, one of men moves to one of the ladders -
(http://www.dsboards.com/NoDSquoteimages/0827NoDS_g.jpg)
- and then -
(http://www.dsboards.com/NoDSquoteimages/0827NoDS_h.jpg)
- climbs up it.
-
Here are two of the three things that I said would be coming in a future post. Thanks to the fact that several of the NoDS trailers/TV spots contain material missing from the 94 minute version of the film (and also from the 97 minute version - but we won't be dealing with that stuff for a while yet) I've been able to make two videos of material that was cut from Angelique's hanging. However, first up here's how Angelique's hanging appears in the 94 minute version of the film:
Now how Angelique was intended to be seen dropping from the platform, as the rope goes taut her body jerks around, and as one of Strack's henchmen reaches to grab the rope:
And here's how Angelique was intended to be see as the henchmen pull her body up (which is what Charles sees when he turns back):
Enjoy! Especially when who knows when we might actually see either sequence in a restored 129 minute version...
(ADMIN: Edited to add videos and remove animated GIFs)
-
And speaking of henchmen, is the guy on Angelique's right in the following capture from one of the NoDS trailers (of footage that doesn't actually even appear in the film during the zoom to Angelique in Scene 127) -
(http://www.dsboards.com/NoDSquoteimages/Hang_henchman.jpg)
- the same guy that is actually seen in the film up on the platform with Angelique?
(http://www.dsboards.com/NoDSquoteimages/0826ds91_0.jpg)(http://www.dsboards.com/NoDSquoteimages/0827NoDS_c.jpg)
Not to mention Angelique hair doesn't even look the same!
-
MB, it looks like those scenes were filmed on separate days, and the continuity people apparently weren't doing their job very well... My guess is that the scenes involving Angelique communicating with Sarah were one day, and the scenes involving the actual hanging were done another day.
-
the continuity people apparently weren't doing their job very well...
Continuity in DS - now there's a concept!! [ghost_grin]
Truthfully though, the only slip up I'd ever noticed in NoDS was Carlotta's hair in Scene 80. In the two shot of her with Quentin, it's fine:
(http://www.dsboards.com/NoDSquoteimages/C_hair2.jpg)
But in Carlotta's close-ups there's a curl that shouldn't be there:
(http://www.dsboards.com/NoDSquoteimages/C_hair1.jpg)
But to get back to the zooms, now that we've discovered that there's some difference between the film's zoom and the zoom in the trailers, it's even more interesting to see how much of the footage that appears in the trailers isn't in the film because during the film's zoom there's a jump cut and a dissolve that renders the guy standing to Angelique's right practically invisible. Check out the following two videos that I've done of each:
(ADMIN: Edited to add videos and remove animated GIFs)
-
And finally getting back to the third thing I said in Reply #384 would be coming in a future post. And that is that I never realized until getting captures for this project that the three versions that we see in the film of Sarah screaming at the window:
- Quentin's "memory" in Scene 75
- In Scene 80 when Quentin recalls back what he saw
- And when Charles sees Sarah in Scene 129
are not only all different in some way or other, but they're actually three completely different takes of Sarah screaming. Check them out:
And in case anyone besides me was wondering, I checked two of the trailers and both of those feature the version of Sarah screaming that appears in Scene 75. Though who knows if there's any other footage used in any of the trailers that most of us has assumed is the same as in the film, but it's actually not...
(ADMIN: Edited to add videos and remove animated GIFs)
-
And now after what seems like ages, let's get back to the script and continue with what's left of what's listed in the script as Scene 131 and also move past that scene:
DISSOLVE TO:
EXT - COLLINWOOD GROUNDS - EVENING - HIGH ANGLE
as the small figure of Sarah ENTERS from the veranda.
She walks to a spot below where the body hangs. As
she looks up at it, start a SLOW ZOOM IN TO HER
CLOSE-UP. Her eyes are filled with tears.
|
And that's when yesterday's quote -
Page 64/Scene 131 - Sarah: 'I will always remember...always...always...'
- comes up, followed in the script by:
MRS. CASTLE (O.S.)
Sarah...Sarah...please come inside.
131 CONTD CONTD 131
HIGH ANGLE FROM THE TREE. With Angelique in F.G.,
we see Mrs. Castle cross from the veranda to Sarah.
Taking her gently by the hand, she leads her back
to the house. HOLD ON THE SCENE, as the rain begins
to fall. THE SOUND OF MRS. CASTLE and SARAH'S VOICE
is heard O.S.
MRS. CASTLE (O.S.)
You mustn't be unhappy, Sarah. You
must try to forget.
|
And that's when today's first quote -
Page 65/Scene 131 - Sarah (O.S.): 'I'm not unhappy, mama, because she'll be back...some day Angelique will be back...'
- comes up, followed in the script by:
DISSOLVE TO:
132 INT - GALLERY - DAY - 1971 132
CARLOTTA - CLOSE-UP
She is staring blankly as she finishes Sarah's speech.
|
And that's when today's second quote -
Page 65/Scene 132 - Carlotta: '...and I will help her.'
- comes up.
And when it comes to differences in the dialogue, right off the bat none of what's been quoted here appears in the film, so there's no way to know if it might have been different - and for one when it comes to Mrs. Castle's dialogue, she adds a third "Sarah" as she comes out to get her, and none of it is delivered off screen - and for two, her telling Sarah that she mustn't be unhappy and she must try to forget is also dropped in the film - but the interesting thing there is that in the film it looks like she may be telling Sarah all that after she reaches and embraces Sarah but it's just that the sound for it isn't in the film, so chances are if it was in the film, it wouldn't have been delivered off screen - and chances are the same holds true for Sarah's response that she's not unhappy because she knows Angelique will be back - and the interesting thing about that line from Sarah is that it's replaced with a new iteration of Angelique's vow: "But I will have him again...you will help me, Sarah... You will know when the time comes...for it is your love that will keep me alive..."
And when it comes to the differences in the directions and the descriptions, as I said earlier I have a suspicion that what's marked in the script as the beginning of Scene 131 should actually be Scene 130 and where the switch to the evening scene takes place, that should actually be the start of Scene 131 - but no matter, at the outset of the evening scene we do not see Sarah enter from the veranda, walk to a spot below where Angelique hangs, or look up at her body - nor is there a slow zoom in to her close-up where we see her eyes are filled with tears because things begin with Sarah already standing under Angelique and then Mrs. Castle comes to get her - and after telling her to come inside, she wraps her arms around Sarah's shoulders, and after Sarah takes one more look at Angelique's hanging figure, Mrs. Castle, with her arms still around Sarah's shoulders, leads Sarah away - there's no taking of Sarah by the hand - and there is no rain that begins to fall - and considering that Carlotta's line from Scene 132 is dropped, that Scene begins differently in the film, but more on that next time...
And Scene 131 marks the end of Sarah's material in the script. And as we've seen, a great deal of her stuff was possibly never shot, worked around, or simply left on the cutting room floor. And apparently it's all because DC didn't think Monica Rich brought enough to her performances. But who knows...
-
Picking up now with the film's actual start of Scene 132 with Quentin's reaction to Carlotta's story (and using DC's script):
He looks at her.
QUENTIN
Then her spirit is still alive in
this house.
CARLOTTA
For certain of us, yes, Mr. Collins
-- for me...for you.
He walks away, stares out the window. Finally he
turns to her.
|
And that's when today's first quote -
Page 65/Scene 132 - Quentin: 'But I am not Charles Collins.'
- comes up, followed by today's second quote -
Page 65/Scene 132 - Carlotta: 'You may not accept it now, but soon you will. And it is then that you will come to realize something else...that there is no longer a place in this house for Mrs. Collins.'
- coming up.
And when it comes to differences in the dialogue, while Quentin's lines are delivered nearly exactly as scripted (the only change is from "I am" to "I'm"), in Carlotta's unquoted line she drops addressing Quentin with "Mr. Collins" - and what Carlotta actually says in her quoted lines is "You will come to accept it...after a time. And then you will realize something else...there is no longer any place in this house for Mrs. Collins."
And when it comes to the differences in the directions and the descriptions, as can be seen in the following capture, when we first see Quentin -
(http://www.dsboards.com/NoDSquoteimages/0830NoDS_a.jpg)
- he is indeed looking at Carlotta, with almost the same forlorn expression on his face that we saw back in Scene 117, but soon he moves his eyes away and then, after walking over to his painting, he turns back to her, and it is then that he says how Angelique's spirit is still alive in the house - and I absolutely love the expression on Carlotta's face when she says -
(http://www.dsboards.com/NoDSquoteimages/0830NoDS_b.jpg)
- that it's true for both of them (though let's not forget Gerard, who, uh, "satisfied" Angelique's "needs" ([naughty]) before Quentin showed up - but then, Gerard obviously is forgotten in that department now that Quentin is on the scene) - and as we can see from 1) DC crossing out that after Quentin goes to stare out the window, he turns back to Carlotta, and from 2) today's first capture in the slideshow -
(http://www.dsboards.com/NoDSquoteimages/0830ds91_0.jpg)
- that doesn't happen and Quentin states that he's not Charles with his back still to Carlotta - and there's no mention in the script that after Carlotta says Quentin will accept that he's Charles with time, she walks over to him to tell him that after he accepts it he will realize there's no longer a place for Tracy - but can I just say that some of the expressions on Carlotta's face -
(http://www.dsboards.com/NoDSquoteimages/0830ds91_1.jpg)
- as she leads up to that are simply priceless!!
And last but certainly not least, let's deal with the notations in both DC's and Grayson's scripts:
When it comes to DC, first up he has a note that the camera will pan with Quentin and lose Carlotta as Quentin gears up and delivers the line that Angelique's spirit is still alive in the house, but while the camera does indeed pan with Quentin, losing Carlotta in the process would be sort of hard to do when, as we can certainly tell from the first capture above, Carlotta isn't even in the shot - she doesn't appear in the shot until Quentin just about reaches his painting, so in reality, Carlotta is gained in the pan, not lost. And DC's second note says that Carlotta will cross into the shot after Quentin says that Angelique's spirit is still alive in the house - but, again, that would be sort of hard to do when she's already in the shot before Quentin says that. And DC's third note is that Quentin will turn back to us before he says he's not Charles - but obviously that doesn't happen either. The one note that does actually take place in the film is DC's fourth, where he says that Carlotta will cross to Quentin before she reveals that he'll realize that there's no place in the house for Tracy.
And when it comes to Grayson, it's too bad that Scene 132 doesn't begin with her finishing Sarah's speech because Grayson's first three notes deal with 1) Carlotta holding the open locket (recall that back in Scene 117 Grayson had a note that just before she begins relating the events of "that last day" Carlotta is on the verge of opening the locket) as, as Sarah, Carlotta says she will help Angelique come back, 2) taking out the lock of hair (though for Scene 117 Carlotta had supposedly taken the lock of hair from a book, so who knows?) while Quentin and she discuss how Angelique's spirit is still alive in the house, and 3) looking at the hair and then putting it away. Though, of course, it's clear from the captures above that in the film Carlotta hasn't taken the locket out of her hand for even one instant, so those notes do at least partly relate to how Grayson actually plays Scene 132. But when it comes to Grayson's fourth note that is not the case because she indicates that Carlotta will hang Angelique's picture back up while she tells Quentin that he will come to accept that he is Charles, but obviously that doesn't happen. Though Grayson goes on to note that Carlotta feels that she's won, and that is certainly the case, at least when it comes to cluing Quentin in to what's really happening to him. And finally, just as DC does, Grayson also notes where Carlotta will cross to Quentin to tell him that he'll realize that there's no place in the house for Tracy.
-
While I was just starting to work on picking quotes for next month I realized something about the above post: I bring up something that didn't happen - but somehow it did happen - even though we never saw it happen - and there was no way it could have happened in what we see happen. Though somehow I'm sure that in reality it's just a blooper -but it's one that I wonder if anyone ever really noticed when all that was available was the NoDS VHS?
Check out the post above and see if you realize what it is...
-
And Grayson Hall and David Selby continue to be so fantastic in this scene. As today's quote -
Page 66/Scene 132 - Quentin (flaring): 'I love Tracy! I always will love Tracy! Nothing can change that.'
- comes up, just look at those faces and their body language:
(http://www.dsboards.com/NoDSquoteimages/0831ds91_0.jpg)
Though what Quentin actually says is "I love Tracy! I'll always love Tracy! And nothing can change that."
And as we can see in today's capture, just as a note in DC's script indicates that Quentin turns to Carlotta as he delivers today's quote, that is exactly what happens in the film.
-
I bring up something that didn't happen - but somehow it did happen - even though we never saw it happen - and there was no way it could have happened in what we see happen.
Yes, I was cryptic - but only so as not to give everything away. But it seems as if no one might have any idea what I was trying to get at, so here's a clue:
(http://www.dsboards.com/NoDSquoteimages/0830ds91_1.jpg)
Focus on the capture above while thinking about what I'd previously said in Reply #391 and Reply #392...
-
Wrapping up Scene 132, picking up with today's quote, as Carlotta's response to Quentin's insistence that he will always love Tracy -
Page 66/Scene 132 - Carlotta: 'If you truly believe that, Mr. Collins, then I suggest you leave Collinwood as soon as possible. ... If you can.'
- comes up. However, it's actually in DC's script as:
CARLOTTA
If you truly believe that, Mr.
Collins, then I suggest you leave
Collinwood as soon as possible.
Quentin turns away from her, unable to answer.
Carlotta crosses to the door, where she stops and
then looks back at him. There is a long moment as
Quentin finally turns to face her.
CARLOTTA
If you can.
She turns and EXITS THE SHOT.
|
But considering parts of what was scripted to happen between Carlotta's two lines is crossed out in DC's script, plus what wasn't crossed out never actually takes place, either, because Carlotta stays standing exactly where she is the entire time, I simply combined the two lines into one for today's quote because that's the way it occurs in the film.
And when it comes to differences in the dialogue, once again Carlotta drops addressing Quentin with "Mr. Collins" - and what Carlotta actually says "If you truly believe that, then I suggest you leave Collinwood...immediately. ... If you can."
And when it comes to the differences in the directions and the descriptions, I've already explain that as scripted, everything between Carlotta's two lines is dropped in the film - and as can already be seen in the way I wrote her combined lines, there is still a pause between Carlotta telling Quentin he should leave and then adding, if he can, but the pause wouldn't be considered a long moment - and I just love the way she delivers the combined quote because, as can be seen in today's capture -
(http://www.dsboards.com/NoDSquoteimages/0901ds91_0.jpg)
- the expression on her face is priceless - though it's not quite as priceless as the expression on her face as -
(http://www.dsboards.com/NoDSquoteimages/0901NoDS_a.jpg)
- after zinging Quentin, Carlotta does indeed turn to exit the shot, leaving Quentin -
(http://www.dsboards.com/NoDSquoteimages/0901NoDS_b.jpg)
- standing there with his thoughts...
-
As you've probably already discerned from today's graphic, we're getting into more material that doesn't appear in the film as it currently stands (or in the 97 minute version). However, the scenes we'll be dealing with today are not on Darren Gross' list of scenes that weren't recovered, so chances are they do appear in the 129 minute version:
133 EXT - BACK OF COLLINWOOD - DAY 133
SHOT favors Quentin, who stands moodily looking out
of gallery windows. RACK FOCUS to Tracy, who ENTERS
THE SHOT F.G. She is carrying the groceries. She
waves at Quentin, who suddenly notices her and as
he waves back, she crosses toward the veranda.
134 INT - GALLERY - DAY - HIGH ANGLE 134
Quentin is back at his easel as Tracy ENTERS the
room.
|
And that's when today's quote -
Page 66/Scene 134 - Tracy: 'I'm a genius with butchers. Of course, he thinks me quite mad...and very rich. The steaks are a masterpiece.'
- comes up.
And as far as the differences in the dialogue, the directions, and the descriptions go, because Scenes 133 and 134 aren't currently in the film, we have no way of knowing what might be different.
And there aren't any notes in DC's script for either of these scenes. (In fact, he won't have any notes until we reach Scene 139).
And you might have realized that I'm using the same still for Scene 134 as I did for Scene 116. Obviously the still can't be from both scenes, but I suspect it's actually from neither but is simply a candid shot of David Selby and Kate Jackson, even though the caption for it when in was published in 16 Magazine says otherwise. But no matter, the real reason I've chosen it is that both actors are wearing the same clothes that they wear in Scenes 116 and 134 (how we can know this will become obvious once we get to Scene 135, which is in all versions of the film), so the still can be used as a substitute in each scene until hopefully one day we actually get the restored 129 minute version of the film.
-
Continuing Scene 134 with Tracy's reaction to the fact that:
She notices the portrait of Angelique hanging in its
former position.
|
And that's when yesterday's quote -
Page 66/Scene 134 - Tracy: 'She's back!'
- comes up, followed by the first part of today's quote -
Page 66/Scene 134 - Quentin: 'I offended Carlotta's sense of family tradition.'
- coming up, followed in the script by:
He laughs.
134 CONTD CONTD 134
|
And that's where the second part of today's quote -
Page 67/Scene 134 - Quentin (Contd): 'What was good enough for my forefathers should be good enough for me.'
And as far as the differences in the dialogue, the directions, and the descriptions go, because Scene 134 isn't currently in the film, we have no way of knowing what might be different.
-
Wrapping up Scene 134:
And that's when today's first quote -
Page 67/Scene 134 - Quentin: 'How about you and I getting out of this house? We'll take a walk.'
- comes up, followed by today's second quote -
Page 67/Scene 134 - Tracy: 'Perfect.'
End of scene.
And as far as the differences in the dialogue, the directions, and the descriptions go, because Scene 134 isn't currently in the film, we have no way of knowing what might be different.
And coming up tomorrow we'll revisit something that I brought up back in March with regard to Scene 71A but said we wouldn't deal with until we reached Scene 135...
-
That's such a fab shot of Grayson delivering what may be my favorite line in the entire film. (Too bad Lara's "Laura my darling" got cut--it was such a bitchy line.)
I don't remember ever seeing the shot featured today of David and Kate.
I am struggling to make myself order the two film DVDs in time for Horrorween.
G.
-
Moving on to the next scene, this is how it's scripted:
135 EXT - MEADOWS - DAY - LONG LENS 135
Holding hands, they stroll through the meadows.
She stops to pick a flower. He watches her.
|
And that's when today's quote is scripted -
Page 67/Scene 135 - Quentin: 'Do you have any idea how much I need you?'
- to come up, followed in the script by:
She looks up into his face as he draws her to him.
|
End of scene as scripted.
And as far as any difference in the dialogue goes, Quentin actually says "Do you know how much I need you?", plus it's delivered under completely different circumstances.
Which brings us to the myriad of differences in the directions and descriptions. Scene 135 does indeed begin with Tracy and Quentin holding hands as they stroll through a meadow - but she doesn't stop to pick a flower, nor does he watch her while she does so or deliver today's quote or draw her to him after she looks up into his face. They simply stroll up to and underneath a cherry blossom tree, pushing branches of flowers -
(http://www.dsboards.com/NoDSquoteimages/0906NoDS_a.jpg)
- out of their way as they go - and then things switch to a completely different location - which brings us to revisit Scene 71A as scripted:
DISSOLVE TO:
71A EXT - RAILROAD FOOTBRIDGE - DAY 71A
as they stroll hand-in-hand with the river in the B.G.
|
Scene 71A does not take place in the film as it currently stands. It seems to have been moved to play along with and after Scene 135 comes up because, as can be seen in the following capture, after Scene 135 things switch to Quentin and Tracy under the railroad footbridge -
(http://www.dsboards.com/NoDSquoteimages/0906NoDS_b.jpg)
- with Tracy throwing a rock into the river, and then after she sits down, Quentin strokes her cheek, delivers today's quote from Scene 135 -
(http://www.dsboards.com/NoDSquoteimages/0906ds91_0.jpg)
Page 67/Scene 135 - Quentin: 'Do you have any idea how
much I need you?'
- and then she kisses him, nuzzles his cheek, and -
(http://www.dsboards.com/NoDSquoteimages/0906NoDS_c.jpg)
- rests her head on his chest, none which is scripted for Scene 71A or Scene 135 or, more likely, a nonexistent Scene 135A. So who knows why things are done that way in the film? DC may have simply thought Scene 71A wasn't needed where it was placed in the script (possibly because it's part of a montage or romantic moments between Quentin and Tracy) and it worked better following Scene 135 with Scene 135's bit of dialogue. I suppose we'll never know. But things do indeed work well the way they are.
And finally, after I posted about it the other day, I figured that I should have posted the photo I've used for the graphics for Scenes 116 and 134 so that people could also read the caption that 16 Magazine gave it. So, here it is:
(http://www.dsboards.com/NoDSquoteimages/Quiet.jpg)
And as I said, you will note that David Selby and Kate Jackson are both wearing the same clothes that they wear in the strolling in the meadow portion of Scene 135.
-
Moving on to the next scene:
CUT TO:
136 INT - COTTAGE - NIGHT 136
Claire and Alex sit by the fire. The telephone
rings. Alex gets up. Claire watches him from the
B.G.
|
And that's when today's quote -
Page 67/Scene 136 - Alex: 'Hello? Tracy? What's wrong?'
- comes up, followed in the script by:
In the B.G. Claire rises.
|
End of scene.
And as far as any difference in the dialogue goes, Alex actually says "Hello? Tracy, honey, what's wrong?"
And as far as any differences in the directions and descriptions go, as can be seen in the following capture, Claire is indeed sitting by the fire and reading a book, but an already standing Alex -
(http://www.dsboards.com/NoDSquoteimages/0907NoDS_a.jpg)
- actually comes from the direction of the desk behind the couch to answer the already ringing phone, and as he makes his way to the phone, Claire does not watch him because her attention is only on the book in her lap - but as can be seen in today's capture, Alex' words certainly capture Claire's attention, though -
(http://www.dsboards.com/NoDSquoteimages/0907ds91_0.jpg)
- we don't see her rise. (However, when next we see Alex in upcoming Scene 138, Claire will be standing at the table with him, so it's quite possible that Claire rising was shot but it didn't make it into the film - well, at least not as it currently stands...)
-
And jumping to the next scene:
CARD ROOM
137 INT - COLLINWOOD - LIMBO - TELEPHONE AREA - 137
NIGHT
|
And that's when today's quote -
Page 67/Scene 137 - Tracy (on telephone): 'Oh, Alex, how gloomy you are. I called to say everything's perfect.'
- comes up.
And as far as any difference in the dialogue goes, what's scripted is delivered exactly as written, but there's an addition because Tracy actually says "Oh, Alex, how gloomy you are. There's nothing's wrong. I called to say everything's perfect."
And as far as any differences in the directions and descriptions go, as can be deduced from the crossing out in DC's script as well as today's capture -
(http://www.dsboards.com/NoDSquoteimages/0908ds91_0.jpg)
- the only thing is that Scene 137 takes place in the Card Room rather than some Limbo Telephone Area.
And tomorrow the slideshow will be dealing with material from this sequence that was dropped - or at least dropped from the film as it currently stands...
-
Continuing and wrapping up Scene 137, beginning with today's first quote -
Page 67/Scene 137 - Alex: 'Are you sure?...Did you get into the tower?'
- coming up, followed by today's second quote -
Page 67/Scene 137 - Tracy: 'He's not even painting there anymore. He's his old self again.'
- coming up.
End of scene - but certainly not end of sequence.
And when it comes to any differences in the dialogue, the directions, or the descriptions, there obviously aren't any directions or descriptions, and there's no way to know what might have been different about the dialogue because neither of today's quotes appear in the film as it currently stands. And considering that both quotes harken back to Scene 113, a scene that doesn't appear in any version of the film, chances are quite likely that even if today's quotes were shot, they're also not in the 129 minute version of the film...
-
Moving to the next parts of the sequence, and they actually deviate a bit from the way they're scripted, but here's how today's quotes are scripted to appear:
138 INT - COTTAGE - NIGHT 138
|
And that's when today's first quote -
Page 68/Scene 138 - Alex (on telephone): 'That's great. Listen, Trace, Claire and I should go to New York tonight. I thought we'd stop in Burton's Gallery. He's an authority on Early American artists, isn't he?'
- comes up, followed by today's second quote -
Page 68/Scene 138 - Tracy: 'The best. Why?'
- coming up.
And as far as any difference in the dialogue goes, the "That's great" part of Alex' quote is dropped because it refers to Tracy's dropped line about Quentin not painting in the tower anymore - and the remainder of his quote is actually delivered as "Uh, listen, Trace, uh, Claire and I should go to New York tonight. And we thought we'd stop in at, uh, Burton's Gallery. He's an authority on Early American artists, isn't he?" - and Tracy's actual reply is "Well, I think he's the best. Why?", which gives a background to Tracy that is too bad the script didn't explore further.
And as far as any differences in the directions and descriptions go, there's nothing to get into there. However, the quotes don't all play at the cottage. Only up to Alex telling Tracy that he and Claire are going to NY -
(http://www.dsboards.com/NoDSquoteimages/0910ds91_0.jpg)
- plays at the cottage (and as I'd mentioned earlier, Claire is seen as having moved to the table). After that, things shift back to the Card Room at Collinwood as Tracy listens to Alex telling her about -
(http://www.dsboards.com/NoDSquoteimages/0910NoDS_a.jpg)
- how he and Claire are going to go to Burton's Gallery and he asks if he's an authority on Early American artists - plus, as can obviously be seen in today's second capture -
(http://www.dsboards.com/NoDSquoteimages/0910ds91_1.jpg)
- Tracy offering her opinion that Burton is the best and wondering why Alex asks also plays at Collinwood.
-
Going to New York from Maine tonight? How late is the gallery open?
-
I think Sam and DC kept forgetting that the movie was set in Maine, not Tarrytown NY.
G.
-
Wrapping up Scene 138 and moving beyond with scripted as well as completely unscripted material, beginning with today's first quote -
Page 68/Scene 138 - Alex: 'Tell you when we get back. You're sure you'll be OK?'
- coming up, followed in the script by:
139 INT - COLLINWOOD - LIMBO TELEPHONE AREA - NIGHT 139
|
And that's when today's second quote -
Page 68/Scene 139 - Tracy (on telephone): 'Go, Alex...go. Nothing bad will happen to us now.'
(Famous last words, as they say...)
- comes up.
End of things as scripted.
Switching things up a bit and leading with any differences in the scripted directions and descriptions, as we can easily tell from today's first capture -
(http://www.dsboards.com/NoDSquoteimages/0911ds91_0.jpg)
- today's first quote takes place back at the cottage, as it was scripted to, rather than over the phone at Collinwood as had been happening earlier in the scene - and for some reason "LIMBO - TELEPHONE AREA" is presented a bit differently for Scene 139 than it was for Scene 137, and here DC doesn't cross out/replace it in his script with "CARD ROOM".
And now as far as any difference in the dialogue goes, Alex actually delivers today's first quote as "Tell you when I get back. You sure you're gonna be OK?" - but today's second quote is delivered exactly as scripted - however, unlike how things are scripted, they don't actually end there in the film. For one, as can be seen in today's second capture -
(http://www.dsboards.com/NoDSquoteimages/0911ds91_1.jpg)
- Quentin is seen approaching the Card Room as Tracy tells Alex nothing bad will happen to her and Quentin - and then, as can seen in the following capture, things shift back to the cottage where Alex, as part of quite a bit of unscripted material, tells Tracy -
(http://www.dsboards.com/NoDSquoteimages/0911NoDS_a.jpg)
"OK, honey. I'll see ya later."
- after which, as can be seen in the next capture, Claire reaches over -
(http://www.dsboards.com/NoDSquoteimages/0911NoDS_b.jpg)
- and strokes Alex' arm - and that's the end of things at the cottage, but things then shift back to Collinwood with Tracy hanging up the phone and Quentin asking -
(http://www.dsboards.com/NoDSquoteimages/0911NoDS_c.jpg)
"Who was that?"
- to which Tracy replies (making it seem as if Alex called her and not the other way around) -
(http://www.dsboards.com/NoDSquoteimages/0911NoDS_d.jpg)
"Just Alex. He and Claire have to go to New York for a few
days."
- as she walks over to him - and then she mentions -
(http://www.dsboards.com/NoDSquoteimages/0911NoDS_e.jpg)
"It's late. Let's go to bed."
- (though apparently not too late to call Alex or too late for the Jenkins to take off for NY [wink2]) - but to that suggestion Quentin replies -
(http://www.dsboards.com/NoDSquoteimages/0911NoDS_f.jpg)
"You go ahead, I want to finish this first."
- as he indicates the book he's holding and walks away - but seeing the concerned look on Tracy's face, he soon adds -
(http://www.dsboards.com/NoDSquoteimages/0911NoDS_g.jpg)
"Now go on. I'll be up soon enough."
- as he walks back to her and kisses -
(http://www.dsboards.com/NoDSquoteimages/0911NoDS_h.jpg)
- her cheek - and to all that Tracy leaves as she warns -
(http://www.dsboards.com/NoDSquoteimages/0911NoDS_i.jpg)
"Don't read all night."
- and that's the actual end of Scene 139 (or perhaps a Scene 139A) - and it's also the last bit of happiness between Quentin and Tracy because things are about to go downhill sooner rather than later...
Which leads us to tomorrow when we'll be getting into a whole load of scripted material, much of which is actually handled very differently in the film. But more on that then...
-
Going to New York from Maine tonight? How late is the gallery open?
[ghost_grin]
I think Sam and DC kept forgetting that the movie was set in Maine, not Tarrytown NY.
And I'd tend to agree with that. In fact, I even seriously wondered about it back when we were dealing with Claire and Tracy's shopping excursion, the unshot Scenes 81, 82 & 83, where the settings for Scenes 81 and 82 even say "EXT - TARRYTOWN STREET - DAY". [ghost_huh] But in this case, the unscripted additional dialogue that we hadn't gotten into yet yesterday helps to make it clear that Alex and Claire's trip to NY will take "a few days", so chances are they weren't going to Burton's Gallery that night. [ghost_nowink]
-
Moving on to the next sequence (using Grayson's script because once again DC didn't change the names):
CUT TO:
140 INT - GALLERY - NIGHT 140
It is later. Quentin stands at the window, his
back to the room. Turning, he walks to the mantel.
The clock reads one-thirty. he pours himself a
brandy, crosses to his chair, picks up the book
again. Throughout all of this, the portrait of
Angelique is in the SHOT. Finally, finishing the
brandy, he puts the book down and crosses to the
Master Bedroom.
141 INT - MASTER BEDROOM - NIGHT 141
With Tracy asleep in the F.G., Quentin ENTERS THE
SHOT. TRUCK IN ON HIS CLOSE-UP as he stands in
the doorway, obviously not wanting to go to bed.
He turns, leaves the room, closes the door softly
behind him.
142 INT - SECOND FLOOR CORRIDOR - NIGHT 142
As Quentin walks TOWARD CAMERA. He approaches the
stairs leading to the tower. Stopping at the foot
of the stairs, he looks up.
143 QUENTIN - HIGH ANGLE 143
SEEN from third floor as he looks TOWARD CAMERA. HOLD
FOR A LONG MOMENT until it seems he is about to start
up the stairs. Instead, he turns and practically runs
down the stairs to the first floor and EXITS THE SHOT.
HOLD ON EMPTY CORRIDOR until the SOUND OF THE FRONT
DOOR can be heard OPENING AND CLOSING O.S.
144 EXT - COUNTRYSIDE - NIGHT 144
as Quentin walks through the night in an effort to
purge himself of the horrible temptations that are
gnawing at his soul. He comes to a fallen tree, where
he stops for a moment and sits. SLOWLY TRUCK IN ON
HIM as the SOUND OF THUNDERING HOOF BEATS can be
HEARD O.S. As we end up on a TIGHT SHOT OF HIS EYES.
CUT TO:
145 EXT - COUNTRYSIDE - 1800 - NIGHT 145
SUBCONSCIOUS MEMORY CUT
Suddenly, out of a heavy bank of fog gallops a man
on horseback. Seen in silhouette only, his cape flies
in the wind as he charges TOWARD CAMERA. The horse
rears on its hind legs and we recognize the rider as
Charles Collins. He slashes his riding crop INTO
CAMERA as he SCREAMS:
|
And that's when today's quote -
Page 69/Scene 145 - Charles: 'You killed her, Strack! You killed her!'
- comes up, followed in the script by:
STRACK
TRASK - CHARLES' P.O.V. - HAND HELD
Strack
As Trask struggles to avoid the slashing crop. He
trips and falls to the ground as the horse rears again
and again, stomping to death the screaming Trask.
Strack
WIDE ANGLE
Strack
Trask lies dead as Charles sits on his horse staring
down at him. Finally, he looks up and turns TOWARD
CAMERA.
146 FOG-SHROUDED - COUNTRYSIDE - CHARLES' P.O.V. 146
HOLD ON empty countryside, then TRUCK IN as the ghost-
like figure of Angelique walks out of the fog TOWARD
CAMERA. Charles ENTERS THE SHOT and goes into her
arms.
CUT TO:
147 EXT - COUNTRYSIDE - 1971 - NIGHT - NORMAL COLOR 147
QUENTIN - EXTREME CLOSE-UP
as his eyes fill the screen, he stares blankly INTO
CAMERA. SLOWLY WIDEN as he rises and PAN WITH HIM,
revealing the massive silhouette of Collinwood in
the distance.
|
And next time we'll get into how differently things actually play in the film...
-
Thanks for including those notes, MB. Very interesting.
G.
-
Things are back on track with the slideshow. Late Monday afternoon my ISP experienced a massive DSL failure that knocked me offline until earlier today. I've fixed the slideshow and everything is working fine with the captures/quotes again - though unless you clear your browser's cache, you're probably still going to see the '91 DS graphic with today's NoDS quote. And fear not about yesterday's installment that was completely missed out on because I'll include it in my post once I catch up to the 13th's installment. But before that I need to explain everything that was different about the 12th - plus I have a still and some animated GIFS that I also want to post regarding what was covered on the 12th (not to mention I need to catch up on commenting/posting new setups on the Games boards)...
But then, as we've often said, our mantra around here is "we don't need no stinkin' sleep!" [ghost_wink]
-
OK, now we'll get back to any differences in the film in the dialogue, the descriptions, and the directions for Scenes 140 through 147:
First off, Scene 140 does not initially take place in the Gallery, it takes place in the Library, and then a sort of Scene 140A takes place in the Gallery (originally DC had some notes about the scene but for some reason he erased them). After Tracy leaves in Scene 139(A) to go up to bed, things start off with Quentin leaving the Card Room and going into the Library. Similar to the script, he walks to the window and looks out -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_a.jpg)
- but after sitting down, rather than opening his book, he looks over at the clock -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_b.jpg)
- also similar to the script, though the time (which is hard to decipher) is definitely much earlier than one-thirty - then he simply sits staring into space as the camera -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_c.jpg)
- moves in to a close-up - but through all of this Quentin does not pour himself a brandy and obviously doesn't drink it. However, from there things do indeed move to the Gallery with an opening shot of Angelique's portrait -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_d.jpg)
- as the camera pulls away from it, panning over to where Quentin stands looking at it -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_e.jpg)
- for several moments before turning to move toward the Master Bedroom, similiar to what's scripted, but again, there's no brandy involved, nor is there any sign of the book.
Scene 141 is very close to what's scripted except for the fact that the camera doesn't truck in on a close-up of Quentin. The entire scene is shot with Tracy asleep in the foreground -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_f.jpg)
- and Quentin coming in no further than the doorway.
Scene 142 is not in the film - or at least not in the film as it currently stands because it isn't on the list of scenes that weren't recovered. And DC's script has a notation that it would be shot using a low angle taken from the stairs.
We do see the opening of Scene 143, up to and including that long moment while Quentin -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_g.jpg)
- stares up - however, everything beyond that point in Scene 143 is missing from the film, and is indeed on the list of unrecovered footage - and one thing that's interesting is how abruptly the background music ends before the film switches to the next scene that is in the film - but more on that in a later post.
Then just as with the latter part of Scene 143, Scene 144 is not in the film and is on the list of unrecovered footage.
But Scene 145 was actually used in the film, as the first part of Quentin's dream on his first night at Collinwood. However, the scene doesn't begin as scripted because there are no shots of the silhouette of a man on horseback galloping out of a heavy bank of fog - and neither do we see the horse rear on its hind legs as we recognize the rider as Charles Collins - nor does he slash his riding crop into camera as he screams Monday's quote. In fact, what we do see, as can be seen in Monday's capture -
(http://www.dsboards.com/NoDSquoteimages/0912ds91_0.jpg)
- is Strack running down the hill from the cemetery as Charles pursues him on horseback and actually screams "You killed her! You killed Angelique, Strack!" Also, there is no struggling by Strack to avoid the slashing crop because almost immediately he trips, falls and rolls down the hill - and when Strack sees that the horse is almost on top of him, he cries out "No!" - and in the 94 minute film's version of the scene, all we see from then on is a few brief glimpses of Charles atop his horse as he appears to be having the horse trample Strack as Strack cries out and Charles orders his horse with "Kill! Kill!" until finally Charles simply looks down to the ground and Strack makes his last movement until he lays dead. But in the 97 and 129 minute versions of the film, much more is seen and heard. For example, we see much more of Strack trying to protect himself with his hands as the horse's hooves come down on him again and again, causing his hands and face to become increasingly bloody - and Charles also cries out "Die! Die!" as he has the horse trample Strack. But the nice thing, if "nice" is the right word for it, is much of the footage missing from the 94 minute version of the film is seen in the various trailers, and I've decided to share three versions varying from less explicit to most explicit:
The less explicit video, taken from a 30 second TV spot:
And each of the three video files has been deliberately put is slow motion so as to better see what's happening.
A more explicit video, taken from a 1 minute trailer:
And the most explicit and the best of the three, taken from a 2 minute trailer:
The trampling hooves are much more explicit in this one. And I have to say that I love the story about how a crew member actually knelt down by Thayer David and placed the horse hooves by hand!
And when it comes to Scene 146, in the 94 minute version of the film, it begins with Angelique already standing with outstretched arms and Charles walks up a hill to her -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_h.jpg)
- but in the 97 minute version of the film, after Strack is dead, Charles turns to look up the hill and then turns his horse around and gallops up - things then switch to Angelique standing outside the cemetery gate, similar to this -
(http://www.dsboards.com/NoDSquoteimages/Ang_cem.jpg)
- publicity still, whereupon Charles stops the horse as he nears her, he dismounts, and it isn't until after all that that Angelique holds her arms out to him. Apparently all of that was simply cut for time rather than sexuality or gore...
And finally, Scene 147 is also not in any version of the film because it's also on the list of unrecovered footage.
(ADMIN: Edited to add videos and remove animated GIFs)
-
And picking things up with the next scene in the script:
148 INT - MASTER BEDROOM - NIGHT 148
CLOSE ON TRACY as she lies in bed sound asleep. HOLD
until she stirs, then WIDEN to reveal she is alone.
Through the window in the B.G. the tower can be seen.
A light glows there. Tracy opens her eyes and,
noticing the light, she gets out of bed and crosses
to the window. TRUCK IN ON HER as she tries to decide
what to do.
149 INT - STAIRWAY TO THIRD FLOOR - NIGHT 149
as Tracy comes TOWARD CAMERA PAN WITH HER as she
crosses to the tower stairs. HOLD ON HER BACK as
she climbs to the door. Hesitant, timid, she knocks.
THE SOUNDS OF MOVEMENT can be heard inside.
TRACY
Quentin!
There is no answer. She raps harder.
|
And that's when Tuesday's first quote -
(http://www.dsboards.com/NoDSquoteimages/0913ds91_0.jpg)
Page 70/Scene 149 - Tracy: 'Quentin!'
- comes up, followed in the script by:
The door suddenly opens, revealing a seemingly
drunken Quentin staring down at her. Past him she
can see the rumpled cot.
|
And that's when Tuesday's second quote -
(http://www.dsboards.com/NoDSquoteimages/0913ds91_1.jpg)
Page 70/Scene 149 - Tracy: 'I...I thought you weren't
coming back here...'
- comes up.
And when it comes to what's different with the dialogue, Tracy actually says "I...I thought you said you weren't gonna come here anymore..."
And when it comes to what's different with the descriptions and directions, in DC's script he's added to the setting on Scene 148:
| INT - MASTER BEDROOM - NIGHT - FROM WINDOW SIDE |
And right below that he's also added:
However, he doesn't make any changes to the descriptions, so it's interesting that his Scene 148A doesn't begin close on Tracy as she lies in bed sound asleep - nor does it hold until she stirs, then widen to reveal she's alone - and neither is it the case that through the window in the background the tower can be seen - and all that is because the scene actually begins with a shot through the window with the tower being seen with a light coming from it - and after that we do not see Tracy opening her eyes because when we see her her eyes are already wide open. And considering that so much of how the scene is scripted to open is not actually in the film, it begs the question of whether or not the background music in what is seen of Scene 143 is cut so short because at one time Scene 148 did open as scripted but, as a part of the enforced editing, what is missing was cut for time? But whatever the reason for the abrupt ending of the music is, from the point we see Tracy with her eyes open, Scene 148 plays as Tracy gets out of bed and crosses a few steps to the window - however, the camera doesn't truck in on her as she tries to decide what to do because Scene 149 begins immediately after that - however DC made changes to that setting, too:
3RD FLOOR LANDING
INT - STAIRWAY TO THIRD FLOOR - NIGHT |
And right below that he's also added:
So, it will probably come as no surprise that things here don't exactly begin the way it's scripted. How things actually play is that in Scene 149 and shot from the 3rd floor landing we see Tracy coming up each section of the stairs -
(http://www.dsboards.com/NoDSquoteimages/0913NoDS_a.jpg)
(http://www.dsboards.com/NoDSquoteimages/0913NoDS_b.jpg)
and then she hesitates a few moments as she looks at the third floor ahead of her -
(http://www.dsboards.com/NoDSquoteimages/0913NoDS_c.jpg)
(http://www.dsboards.com/NoDSquoteimages/0913NoDS_d.jpg)
- and then after having moved closer to them, Tracy hesitates for just a fraction of a second -
(http://www.dsboards.com/NoDSquoteimages/0913NoDS_e.jpg)
- before making her way to the tower stairs. And then when it comes to DC's Scene 149A, Tracy isn't seen ascending the stairs from behind but rather -
(http://www.dsboards.com/NoDSquoteimages/0913NoDS_f.jpg)
- from her front - and after Tracy knocks on the tower door for the first time, we don't actually hear the sounds of movement from inside - in fact, when there's no respons from her second knock, she actually turns away from the door -
(http://www.dsboards.com/NoDSquoteimages/0913NoDS_g.jpg)
- and is about to start down the stairs before Quentin opens the door -
(http://www.dsboards.com/NoDSquoteimages/0913NoDS_h.jpg)
- and stares down at her - however, Quentin doesn't seem as if he's drunk - and after she brings up that Quentin had said he wasn't going to come to the tower anymore (and I do love the nervous little smile Tracy shows before -
(http://www.dsboards.com/NoDSquoteimages/0913NoDS_i.jpg)
- she mentions that), it doesn't appear that Tracy somehow sees a rumpled cot. We certainly don't see it.
-
Continuing with Scene 149:
And that's when Wednesday's quote -
(http://www.dsboards.com/NoDSquoteimages/0914ds91_0.jpg)
Page 70/Scene 149 - Tracy: 'Quentin, what's happened to you? What's wrong? There's...there's someone in that room with you, isn't there?'
(Along with the graphic for anyone who might have missed it.)
- comes up, followed by today's quote -
Page 70/Scene 149 - Quentin: 'Tracy, why don't you go back to bed.'
- coming up.
And when it comes to what's different with the dialogue, Tracy actually says "Quentin, what's happened to you? ... What's wrong? ... There's someone else in that room, isn't there?" - and Quentin drops the "Tracy" in his quote, and it's chilling how emotionlessly he delivers it.
And when it comes to what's different with the descriptions and directions, what's scripted is exactly how that plays out, but there are some things that aren't scripted. For instance, the camera slowly trucks in on Tracy as she delivers her lines - and she reaches out to Quentin before -
(http://www.dsboards.com/NoDSquoteimages/0914NoDS_a.jpg)
- she asks him what's wrong - and she looks up into the tower room before she states that someone else-
(http://www.dsboards.com/NoDSquoteimages/0914NoDS_b.jpg)
- is in there. (Though we still have mo idea if Tracy can see a rumpled cot. To me things play as if she can tell intuitively that someone is in the tower besides Quentin.)
-
Moving on with Scene 149:
And that's when today's first quote -
Page 71/Scene 149 - Tracy: 'I know someone's in there!'
- comes up, followed in the script by:
And that's when today's second quote -
Page 71/Scene 149 - Quentin (mimicking her): '"I know someone's in there"...You make me sick! I can't even stand the sight of you anymore.'
- comes up, followed in the script by:
TRACY - QUENTIN'S P.O.V.
She can hardly talk as the tears well from her eyes.
|
And that's when today's third quote -
Page 71/Scene 149 - Quentin (O.S.): 'Now get out of here!'
- comes up.
And when it comes to what's different with the dialogue, Tracy actually says "Is there's someone else in that room" - and to that Quentin actually replies"'Is there someone else in that room'...You make me sick! I can't stand the sight of you anymore! Now get out!", with the second and third quotes combined.
And when it comes to what's different with the descriptions and directions, the editing is a bit different than indicated - but before we get into that I have to say that I love the smile Quentin displays before he mimics Tracy's question -
(http://www.dsboards.com/NoDSquoteimages/0916NoDS_a.jpg)
- and before he "blows" - and when it comes to his angry outburst, as can be seen in today's second capture, the shot actually features Tracy at first -
(http://www.dsboards.com/NoDSquoteimages/0916ds91_1.jpg)
- and that lasts as long as Quentin is angrily declaring "You make me sick!" - and then the shot shifts to Quentin -
(http://www.dsboards.com/NoDSquoteimages/0916NoDS_b.jpg)
- as he declares "I can't stand the sight of you anymore!" - and contrary to what the third quote indicates, Quentin is still on screen -
(http://www.dsboards.com/NoDSquoteimages/0916NoDS_c.jpg)
- as he orders "Now, get out!" - and it's after that that the shot returns again -
(http://www.dsboards.com/NoDSquoteimages/0916NoDS_d.jpg)
- to one of Tracy.
-
Wrapping up Scene 149:
QUENTIN - TRACY
As she turns and runs down the stairs TOWARD CAMERA.
He calls after her.
|
And that's when today's quote -
Page 71/Scene 149 - Quentin: 'And don't ever let me catch you up here again!'
- comes up, followed in the script by:
As she runs by CAMERA, he SLAMS AND BOLTS the door.
|
End of scene - but not the end of the sequence as scripted. But that will wait until next time...
And when it comes to what's different with the dialogue, in a bit of unscripted dialogue Quentin once again orders "I said get out" - and then what he actually warns is "Don't you ever let me catch you up here again!"
And when it comes to what's different with the descriptions and directions, things do not switch to a 2 shot of Quentin and Tracy as the script indicates - instead, the close-up of Tracy continues as she looks back up at Quentin -
(http://www.dsboards.com/NoDSquoteimages/0917NoDS_a.jpg)
- in hurt and shock - and then becoming quite calm again, Quentin orders Tracy -
(http://www.dsboards.com/NoDSquoteimages/0917NoDS_b.jpg)
- to get out a second time - and it isn't until after that that in a 2 shot we see -
(http://www.dsboards.com/NoDSquoteimages/0917NoDS_c.jpg)
- Tracy turn and start down the stairs, but she doesn't run down them - and when Quentin warns Tracy not to ever let him catch her there again, as can be seen in today's capture, the shot simply features Quentin -
(http://www.dsboards.com/NoDSquoteimages/0917ds91_0.jpg)
- so we do not see Tracy run by camera - and afterward, while he does slam the door shut, we don't hear him bolt it.
And tomorrow we'll feature more material that is not in the 94 or 97 minute versions of the film but some of which may be in the 129 minute version. But more on that next time...
-
Moving on to the next three scenes:
150 INT - TOWER ROOM - NIGHT 150
Quentin stands leaning with his back against the
door. PAN WITH HIM as he crosses to Charles' un-
finished painting which is now on his easel. It is
obvious that he has progressed the painting himself
in the original style. He picks up his brush, does
something, then looks O.S.; he smiles. SLOWLY PAN
in the direction of his gaze to reveal the strangely
opalescent Angelique, who lies on the cot, holding
out her arms to him.
QUENTIN - MEDIUM ANGLE
PAN WITH HIM as he crosses to her.
|
And that's when today's quote -
Page 71/Scene 150 - Quentin: 'How could I have ever thought you were a dream?'
- comes up, followed in the script by:
CUT TO:
151 INT - CARD ROOM - NIGHT 151
Through the door of the Card Room, Tracy can be seen
coming down the stairs. Large in the F.G. of the SHOT
is the telephone. When she reaches the bottom of
the stairs, she tries to decide what to do. Looking
in the direction of the telephone, she crosses to it,
picks it up and starts to dial a number. HOLD ON HER
as she listens to a ring.
152 INT - COTTAGE - NIGHT 152
The room is in darkness as the SOUND OF THE TELEPHONE
can be HEARD ringing...ringing...ringing.
|
And so far as differences with the dialogue, the descriptions, and the directions go, none of these three scene are in the film as it currently stands, so there's no way of telling what might be different. In fact, Scenes 151 and 152 are on the list of material that wasn't recovered when the 129 minute version of the film was found. However, Scene 150 is not on the list, so there's a chance that it may be in the 129 minute version.
And speaking of Scene 150, in Grayson's script there's quite the interesting note that reads: "Intercut Q in sexual ecstasy caressing A. Allow stroking kissing" Sounds like it could be quite the scene, reminiscent of what was cut out of Scene 85 (the tower makeout scene) in the 94 minute version. [9341]
-
Moving on to the next scene (which is one of my favorite scenes in the entire film):
DISSOLVE TO:
153 INT - GALLERY - DAY 153
as Tracy, in deep thought, sits staring at Angelique's
portrait, Carlotta ENTERS, carrying a vase of freshly
cut flowers.
CARLOTTA
Oh, Mrs. Collins, I thought
these might brighten the room.
She puts them on the mantel before Angelique's portrait.
CARLOTTA
Aren't they lovely?
TRACY
(ignoring the question)
|
And that's when today's first quote -
Page 72/Scene 153 - Tracy: 'Carlotta, where is Mr. Collins?'
- comes up, followed by today's second quote -
Page 72/Scene 153 - Carlotta: 'Oh, didn't he tell you? He's just left for town. He needs some supplies. You do know he's painting in the tower, don't you?'
- coming up.
And so far as differences with the dialogue go, Carlotta's first line is actually delivered as "Oh, Mrs. Collins ... I thought these might brighten the room" - and Tracy actually asks "Carlotta, where's Mr. Collins?" - and the first part of Carlotta's reply is actually delivered as "Oh...didn't he tell you?"
And so far as the differences with the descriptions and the directions go, Scene 153 does not begin with Tracy staring at Angelique's portrait because it actually begins with a vase of daffodils -
(http://www.dsboards.com/NoDSquoteimages/0919NoDS_a.jpg)
- being carried into the Gallery - and because Angelique's portrait is not hung above a mantel, Carlotta actually carries the vase over toward the table that's below where the portrait actually hangs - and after Tracy asks where Quentin is, I do love how Carlotta barely covers a series of facial expressions -
(http://www.dsboards.com/NoDSquoteimages/0919NoDS_b.jpg)
(http://www.dsboards.com/NoDSquoteimages/0919NoDS_1a.jpg)(http://www.dsboards.com/NoDSquoteimages/0919NoDS_c.jpg)
- as she's hardly able to cover her glee that Tracy doesn't know where Quentin is - and a shot of Tracy is actually on screen as -
(http://www.dsboards.com/NoDSquoteimages/0919NoDS_d.jpg)
- Carlotta says "You do know he's painting in the tower, don't you?".
And Grayson's script has several notes for this section of the scene. She writes that Carlotta is feeling well loved and happy - and that Carlotta will remove the dead flowers from the vase and handle one flower lovingly - and while she does handle one flower lovingly, there's no need for her to remove the dead flowers from the vase because the fresh flowers are already in a new vase, so she simply switches vases.
Also, an interesting thing is that on the DVD/Blu-ray release the remnants of the background music from a previous scene plays over the very beginning of the flowers being carried into the Gallery. And given that the music is Quentin's Theme, or rather for purposes of this film, the music we learned in Scene 67A is the tune Angelique plays on the piano whenever Charles isn't around so that she can feel him near and see his smile, chances are very good that it's a remnant of Scene 150...
-
Continuing Scene 153, with Tracy's response to Carlotta questioning whether or not she knows Quentin is working in the tower:
And that's when today's first quote -
Page 72/Scene 153 - Carlotta: 'Is something wrong, Mrs. Collins?'
- comes up, followed by today's second quote -
Page 72/Scene 153 - Tracy: 'Yes, something is wrong, Carlotta.'
- coming up.
And so far as differences with the dialogue go, Tracy actually delivers her quoted line as "Yes, Carlotta, something is wrong."
And so far as the differences with the descriptions and the directions go, there aren't any in this section of the scene so there's nothing to be different - though Tracy does move up in her chair and she leans forward to help emphasize the point when she says that something is wrong. And beyond that I also have a few other observations because 1) I love how Tracy nervously -
(http://www.dsboards.com/NoDSquoteimages/0920NoDS_a.jpg)
- plays with her hands before she answers that she knows Quentin is back to painting in the tower - and 2) I also love how Carlotta smiles down and continues to handle one of the dying flowers lovingly because -
(http://www.dsboards.com/NoDSquoteimages/0920NoDS_b.jpg)
- it's a fascinating gesture given that the flowers are, well, dying and are no longer fresh (so given that she specifically wrote in her script about it, what might Grayson have thought the gesture signifies in Carlotta's mind?) - and 3) I also love how Carlotta first tilts her head to the right -
(http://www.dsboards.com/NoDSquoteimages/0920NoDS_c.jpg)
- and then to the left -
(http://www.dsboards.com/NoDSquoteimages/0920NoDS_0a.jpg)
- as she asks Tracy if anything is wrong.
And finally, the original slideshow for NoDS included this line -
(http://www.dsboards.com/moviesquoteimages/1110NoDS_0.jpg)
NoDS: Scene #153 - Tracy: 'Yes, I know.'
- because it was quoted in the Fest's 1999 Movie Calendar, upon which the original slideshow is based.
-
I really love Kate Jackson in these sequences (well, in the whole film, actually). She was so good at playing the heartbroken wife, both here and in Making Love. It's a shame she didn't get more lead roles in theatrical films. Such a fine actor, who made every scene believable; the audience couldn't help but empathize with her. Seems she has retired from acting.
-
Those head tilts, and the muted sarcasm disguised as concern, are VERY Grayson.
Excellent screen shots here! Thank you!
G.
-
Oops - I was so focused on catching up with Scene 149 that I forgot to share this rare behind the scenes still from the shooting of it:
(http://www.dsboards.com/NoDSquoteimages/tower.jpg)
A decidedly different mood between David and Kate than in the actual scene, wouldn't you say. [ghost_wink]
-
Those head tilts, and the muted sarcasm disguised as concern, are VERY Grayson.
And very much fun to watch. [nodassent] [thumb]
-
Continuing on, with Carlotta's response to Tracy saying something is wrong:
CARLOTTA
Anything I've done?
153 CONTD CONTD 153
TRACY
No...no...never mind.
Carlotta looks at her.
|
And that's when today's first quote -
Page 73/Scene 153 - Carlotta: 'What is it, Mrs. Collins? You don't seem very happy here. Whereas Mr. Collins seems --'
- comes up, followed by today's second quote -
Page 73/Scene 153 - Tracy (flaring): 'I don't think that's any of you business.'
- coming up.
And so far as differences with the dialogue go, it's odd that Carlotta's "Anything I've done?" is crossed out in DC's script and replaced with "Is there anything I can do?", but not only does Carlotta say the original line in the film, the line isn't crossed out/replaced in Grayson's script - and when it comes to today's first quote, Carlotta only gets as far as "Whereas Mr. Collins --" before Tracy angrily cuts her off with today's second quote.
And so far as the differences with the descriptions and the directions go, there's nothing different - though something that isn't covered in the script is how Tracy settles back down in the chair as she waves away Carlotta's supposed concern that she may have done something wrong - and I do have to say that when it comes to Carlotta looking at Tracy, I love how Carlotta uses a turn of her head to emphasize that -
(http://www.dsboards.com/NoDSquoteimages/0921NoDS_0a.jpg)
- Tracy doesn't seem very happy.
-
What a great scene. Fab image for today's line.
G.
-
Wrapping up Scene 153, beginning with Carlotta's response to Tracy telling her to mind her own business, which was also yesterday's first quote -
Page 73/Scene 153 - Carlotta: 'Certainly. If that's the way you feel -- what time will dinner be this evening? --'
- followed by yesterday's second quote -
Page 73/Scene 153 - Tracy (ready to explode): 'I don't know what time
--'
- coming up, followed in the script by:
Carlotta crosses to the door, stops, turns and looks
at her.
|
And that's when today's quote -
Page 73/Scene 153 - Carlotta: 'Did you ever stop to think that perhaps you don't belong here?'
- comes up, followed in the script by:
She turns and leaves.
TRUCK IN ON Tracy as she rises, crossing to the
window, where she stands, fighting back the tears.
|
End of scene as scripted. However, once we get to the next scenes in the script we'll see that once again things play differently in the film. But that's not until when we next pick things up in the script.
For now, so far as differences with the dialogue go, Tracy actually delivers her quoted line more like "I don't know what...time --" - and Carlotta's second quote is actually delivered as "Mrs. Collins, did you ever stop to think that perhaps you don't belong here?", making it an all the more personal remark by addressing Tracy with her name.
And so far as the differences with the descriptions and the directions go, DC's script has a note that before Carlotta asks what time dinner will be, she crosses the room as the camera pans with her, and that's exactly what happens - and as we can see in yesterday's second capture, as Tracy is telling Carlotta that she doesn't know what time dinner will be, she jumps out of the chair (as she says "I don't know what"), turns her back on Carlotta -
(http://www.dsboards.com/NoDSquoteimages/0922ds91_1.jpg)
- and stands beside the chair (as she finishes with "time") - but afterward Carlotta doesn't cross to the door to then stop, turn and look at Tracy because she continues to stand in the exact same spot as she asks if Tracy has ever thought that perhaps she doesn't belong at Collinwood - at which point Tracy turns around to look at Carlotta -
(http://www.dsboards.com/NoDSquoteimages/0923NoDS_a.jpg)
- in complete disbelief that Carlotta would have the audacity to ask such a question - and it's not until after they stare at each other for a bit that Carlotta turns and makes her way out of the room, and I do love the slightest touch of a smile on Carlotta's face -
(http://www.dsboards.com/NoDSquoteimages/0923NoDS_b.jpg)
(http://www.dsboards.com/NoDSquoteimages/0923NoDS_ba.jpg)
- as she exits, having said exactly what she's been dying to say to Tracy as she leaves Tracy standing in shock - but after Carlotta has exited, the camera doesn't truck in on Tracy as she rises because she's already standing - however, Tracy does cross to the window, but she doesn't stand, fighting back the tears, because, as can be seen in the following capture, she actually -
(http://www.dsboards.com/NoDSquoteimages/0923NoDS_c.jpg)
- sits on the window seat as she fights back the tears - and DC has another note in his script that says that Tracy turns to look at Angelique's portrait, and that's exactly -
(http://www.dsboards.com/NoDSquoteimages/0923NoDS_d.jpg)
(http://www.dsboards.com/NoDSquoteimages/0923NoDS_e.jpg)
- what happens. It's interesting that Angelique's portrait is almost as much of a character in the film as the real Angelique is because it frequently stands in for her...
-
Moving on to the next four scenes as scripted:
154 INT - MASTER BEDROOM - DAY 154
Through the open door, Tracy can be seen still at the
gallery windows. Finally, she turns and walks toward
the bedroom. She walks up the three steps, crosses
into the room and sits on the edge of the bed. TRUCK
IN ON HER CLOSE-UP as she looks up at something O.S.
155 TOWER - THROUGH THE WINDOW - TRACY'S P.O.V. 155
TRACY - CLOSE-UP
as she stares at the tower. Finally, averting her
gaze, she looks through the open bedroom door. Some-
thing catches her eye O.S.
156 QUENTIN'S JACKET - TRACY'S P.O.V. - WIDE ANGLE 156
Trough the bedroom doorway, Quentin's jacket is
seen draped over the back of a chair in the gallery.
ZOOM IN.
157 INT - GALLERY - DAY 157
as Tracy enters from the bedroom, she looks down the
hall, making sure Carlotta is not there, and then
crosses to the jacket, where she reaches into his
pocket, comes out with Quentin's keys.
|
And so the interesting thing here is that nearly everything that's scripted to happen in these four scenes does indeed take place in the film, except it's all set in the Gallery and not the Master Bedroom and the Gallery:
After Tracy's unscripted action of looking at Angelique's portrait, she gets up, crosses to the side window, and looks out -
(http://www.dsboards.com/NoDSquoteimages/0923NoDS_a1.jpg)
- and up to the Tower Room -
(http://www.dsboards.com/NoDSquoteimages/0923NoDS_b1.jpg)
- after which she turns back to look at Angelique's portrait -
(http://www.dsboards.com/NoDSquoteimages/0923NoDS_c1.jpg)
- (though we don't see it this time) and then her attention is captured by -
(http://www.dsboards.com/NoDSquoteimages/0923NoDS_d1.jpg)
- something off screen in the room, after which the camera pans down to reveal Quentin's jacket-
(http://www.dsboards.com/NoDSquoteimages/0923NoDS_e1.jpg)
- draped over a chair - and after quickly looking back at the tower room -
(http://www.dsboards.com/NoDSquoteimages/0923NoDS_f1.jpg)
- (though we don't see it this time), Tracy crosses over to the jacket (with no need to make sure Carlotta isn't around), picks it up, and begins to go through the pockets -
(http://www.dsboards.com/NoDSquoteimages/0923NoDS_g1.jpg)
- and once she finds Quentin's keys -
(http://www.dsboards.com/NoDSquoteimages/0923NoDS_h1.jpg)
- she soon sees that the tower room's key -
(http://www.dsboards.com/NoDSquoteimages/0923NoDS_i1.jpg)
- is on the ring, whereupon she puts the jacket back in place and moves to exit the room.
-
And moving on to the next four scenes as scripted:
158 INT - STAIRS TO TOWER - DAY 158
A frightened Tracy stands at the door, key in hand.
Finally unlocking the door, she opens it and ENTERS
THE ROOM
159 INT - TOWER ROOM - DAY - TRACY'S P.O.V. 159
The painting on the easel is covered. The room is a
mess. The cot looks as if it had been slept in.
Tracy ENTERS THE SHOT, leaving the door open. She
crosses to the easel. She lifts off the cover and
is shocked by what she sees. The picture is now
completed. The reality of the situation shocks her.
It is obvious Quentin has been completing Charles'
unfinished portrait. The picture now includes a man
who looks very much like Quentin and who stands in
front of the half-clad Angelique. In his arms he
carries the limp figure of a girl. The girl's face
is Tracy's. It seems she is an offering to Angelique.
160 EXT - COLLINWOOD DRIVE - DAY - HIGH ANGLE 160
Quentin's car drives into the portico and stops. In
a moment the door opens, and Quentin gets out. As
he crosses to the house, PAN TO THE TOWER where Tracy
can be seen through the windows, still looking at the
picture. She crosses to the windows where she stands
trying to puzzle it out. Suddenly, she looks down and
reacts to the sight of Quentin's car.
161 INT - TOWER ROOM - DAY 161
as Tracy moves quickly to the door and is about to
EXIT. She hears the SOUND OF QUENTIN'S VOICE O.S.
|
And that's when today's first quote -
Page 74/Scene 161 - Quentin (O.S.): 'Carlotta -- have you seen my jacket? I can't buy a damn thing without my wallet.'
- comes up, followed by the script continuing with:
161 CONTD CONTD 161
Quickly Tracy jumps back and closes the door from
inside. She fumbles with the keys. Before she can
put the key in the lock, the SOUND OF QUENTIN'S
VOICE can be heard -- this time at the base of the
Tower stairs.
|
And that's when today's second quote -
Page 75/Scene 161 - Quentin (O.S.): 'Never mind, Carlotta. I'll check the tower.'
- comes up, followed by the script continuing with:
She hears him coming up the steps. Quickly, she
moves to the other side of the room, holding her
breath, staring at the door.
|
And when it comes to what's different with the dialogue, the interesting thing is that the words are pretty much as scripted but the order of the lines is changed because first Quentin says "Carlotta, have you seen my jacket?" and then he says "Never mind. I'll check the tower. Can't buy a damn thing without my wallet." And not all of it is delivered off screen, but more on that below...
And when it comes to what's different with the descriptions and directions, DC actually added additional info for the setting of Scene 158 -
158 INT - STAIRS TO TOWER - DAY - LOWER TOWER 158
|
- so no doubt that's why we actually see Tracy come up the tower stairs, after which she comes to a stop at the door, hesitates, looks down at the key in her hand, but then reaches to unlock the door, though she doesn't enter the room - and Scene 159 is not shot from Tracy's P.O.V. because, as can be seen in the following capture, it starts off -
(http://www.dsboards.com/NoDSquoteimages/0924NoDS_a.jpg)
- with a shot of the door from the inside (as we hear the key turn in the lock), and then after the door opens, we actually see Tracy -
(http://www.dsboards.com/NoDSquoteimages/0924NoDS_b.jpg)
- peer inside - and after she enters she looks about the room, but we don't see that the cot looks as if it had been slept in because we don't see the cot at all because almost immediately Tracy crosses to the easel and uncovers the canvas - and from there things progress as scripted - but when it comes to Scene 160, Quentin's car doesn't drive into the portico because it actually stops quite a bit -
(http://www.dsboards.com/NoDSquoteimages/0924NoDS_c.jpg)
- short of it, after which we do see Quentin get out and run toward the front door - and after the camera has panned to the tower, we actually see Tracy through the windows as she still stands at the easel trying to puzzle the painting out, and that's the only stuff that's shot from outside - when Tracy turns from the painting, things are back to being shot from inside the tower - and she doesn't cross to the windows to stand and puzzle things out because her intent is to leave as she moves by the window and toward the door, but she stops in her tracks when she sees (we don't) Quentin's car - and at the start of Scene 161, Tracy is still looking out the window when all of a sudden she hears Quentin's voice as he says "Carlotta, have you seen my jacket?" off screen, and she quickly turns -
(http://www.dsboards.com/NoDSquoteimages/0924NoDS_d.jpg)
- and moves down to close the door -
(http://www.dsboards.com/NoDSquoteimages/0924ds91_0.jpg)
- as we hear Quentin say "Never mind. I'll check the tower" - however, we don't see Tracy fumble with the keys to try to put the key in the lock because immediately after Tracy closes the door the camera pans to the lower tower where we actually see Quentin approaching as -
(http://www.dsboards.com/NoDSquoteimages/0924ds91_1.jpg)
- he says "Can't buy a damn thing without my wallet" - and when things switch back to inside the tower, we don't see Tracy quickly move to the other side of the room because what she actually does is -
(http://www.dsboards.com/NoDSquoteimages/0924NoDS_e.jpg)
- plaster herself against the wall by the door, holding her breath as she hears Quentin's footsteps coming up the stairs.
-
I forgot to mention the other day that in addition to what's noted in the above post, DC also added:
But considering that he didn't write in any descriptions or directions for what might have happened there and that no scene takes place there in the film, I didn't bother to include it when I was typing up the script.
Also, I'd been holding off getting into the next section of the script/slideshow because I'm going to include a video clip and I wanted to see if SMF has come up with any modifications for including video of a better quality than SWF (Macromedia Flash) files, but when I experimented with installing a few different mods (which is why the forum wasn't working correctly for a time yesterday), they only seemed to work with video file formats that create large files or require external players. But I want to keep the filesize of the video to a minimum so that it will download quickly - and I want the video to play in the post. So it seems that for the time being, anyway, we're stuck with SWF files, which aren't the greatest quality, but we'll live with it for now...
(ADMIN: Ignore the second part of this post because subsequently a different video was updated and posted in Reply #430)
-
And once again moving on to the next four scenes as scripted:
162 INT - TOWER STAIRS - DAY 162
Quentin is at the door. He reaches in his pocket for
his keys, suddenly remembers his keys are in his
jacket. He turns and leaves.
163 INT - TOWER ROOM - DAY 163
Tracy breathes a sigh of relief as the SOUND OF
QUENTIN'S FOOTSTEPS disappear. PAN WITH HER as she
crosses to the door, and opening it, leaves the
tower, closing the door, The SOUND of her LOCKING
IT can be heard.
164 INT - SECOND FLOOR LANDING - DAY 164
as Carlotta comes TOWARD CAMERA. She suddenly stops,
seeing Tracy descending the steps O.S.
TRACY - CARLOTTA'S P.O.V.
as she comes downstairs, the keys in her hand, and
is about to turn toward the gallery. She suddenly
catches Carlotta out of the corner of her eye. She
stops and looks at her.
CARLOTTA - TRACY'S P.O.V.
Carlotta stares back at her, then crosses to the
stairs and descends to the first floor without saying
a word.
INT - SECOND FLOOR CORRIDOR - DAY
Ignoring the brief moment with Carlotta, Tracy quickly
moves to the gallery.
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, unlike how Scene 164 is scripted without dialogue, it does contain a bit of dialogue in the film, but I'm going to hold off on getting into that until later in this post - for now 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, in Scene 162 we only see Quentin pat his pockets, he doesn't reach into either one for his keys - and in Scene 163 Tracy does indeed breath a sigh of relief as the sounds of Quentin's footsteps disappear, but the camera has no need to pan with her as she crosses to the door because, as we got into last time, she never moved to the other side of the room - in fact, after Tracy breathes a sigh of relief as the sounds of Quentin's footsteps disappear, the scene ends in the film, so we never see Tracy open the door, or leave the tower, or close the door, and nor do we hear the sound of her locking the door - 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, 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! [b003] - and when it comes to Scene 164, Grayson made some notes in her script that certainly still apply even though things were changed because she writes that Carlotta's attitude toward Tracy is "whatever you're doing, how dare you do it" and "your day is coming soon" - and 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 -
(http://www.dsboards.com/NoDSquoteimages/0925NoDS_a.jpg)
- but as she's trying to put the keys back in the pocket, they fall to the floor -
(http://www.dsboards.com/NoDSquoteimages/0925NoDS_b.jpg)
- after which Tracy and Quentin share an intense look -
(http://www.dsboards.com/NoDSquoteimages/0925NoDS_c.jpg)
(http://www.dsboards.com/NoDSquoteimages/0925NoDS_d.jpg)
- before Quentin picks up the keys -
(http://www.dsboards.com/NoDSquoteimages/0925NoDS_e.jpg)
- and they exchange another intense look -
(http://www.dsboards.com/NoDSquoteimages/0925NoDS_f.jpg)
(http://www.dsboards.com/NoDSquoteimages/0925NoDS_g.jpg)
- before Quentin proceeds to exit the room -
(http://www.dsboards.com/NoDSquoteimages/0925NoDS_h.jpg)
- leaving Tracy standing there -
(http://www.dsboards.com/NoDSquoteimages/0925NoDS_i.jpg)
-
I wasn't able to watch the clip. I got a message saying that the plug-in was not supported. Whatever that is supposed to mean.
I know that the plot hinges on it but I am somewhat surprised that Tracy doesn't assert herself more with Carlotta. Maybe she couldn't come right out and fire her for insubordination but at the very least, she should have said that she would be discussing her behavior with Mr. Collins. Even Maggie Collins did that!
(ADMIN: Ignore the first part of this post because subsequently a different video was updated and posted in Reply #430)
-
I wasn't able to watch the clip. I got a message saying that the plug-in was not supported. Whatever that is supposed to mean.
Sorry about that. [ghost_sad] One of the other problems I was having trying to come up with some new easy way to display better quality video was that a lot of the methods said that cell phones and even certain browsers didn't support them. I thought the forums native method was supported by cell phones and all browsers, but perhaps not - or maybe it's just that something wacky is happening here in this topic. Try checking out this post to see if you can play the Depp/DS video in it:... And just for you, Nicky:
(ADMIN: Ignore this post because subsequently a different video was updated and posted in Reply #430)
-
Same issue. I think it's probably a cell phone issue. I get that from another sites as well.
(ADMIN: Ignore this post because subsequently a different video was updated and posted in Reply #430)
-
Try going back to the spoiler and downloading the link I've just added...
(ADMIN: Ignore this post because subsequently a different video was updated and posted in Reply #430)
-
It sort of worked. I saw a message that said videos need permission. I pushed the play button and I got sound (Mrs. Collins) but a black screen.
(ADMIN: Ignore this post because subsequently a different video was updated and posted in Reply #430)
-
OK - your phone must support the audio codec but not the video.
There may be one other thing to try...
(ADMIN: Ignore this post because subsequently a different video was updated and posted in Reply #430)
-
I've added a second link under the first. It's Windows Media Video, which isn't exactly my favorite format, but it seems to be the only other one that will convert the Blu-Ray's video into a manageable filesize...
(ADMIN: Ignore this post because subsequently a different video was updated and posted in Reply #430)
-
Same thing. Crisp audio but no video.
(ADMIN: Ignore this post because subsequently a different video was updated and posted in Reply #430)
-
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.
170 INT - MASTER BEDROOM - NIGHT 170
Tracy still lies huddled, her eyes wide, staring into
the CAMERA. In the B.G. OF THE SHOT, the door quietly
opens as Quentin ENTERS and stands silhouetted in the
rectangle of light. Tracy, now aware that he is
there, is afraid to move a muscle for fear of letting
him know she is awake. The tension mounts as Quentin
stands just staring at the bed for what seems an
eternity. Then very slowly he crosses to her side
of the bed and stares down at her. Finally, she
can stand it no longer and raises her eyes to his.
The tears stream down her face as he kneels down
and very gently touches her hair.
|
And that's when the first part of Monday's quote -
Page 77/Scene 170 - Quentin: 'I know you went to the tower ...'
- comes up, followed by the script continuing with:
She begins to sob softly.
|
And that's when the second part of Monday's quote -
Page 77/Scene 170 - Quentin: 'It's all right, Trace...It's all right.'
- comes up, followed in the script by:
He takes her in his arms.
|
And that's when the third part of Monday's quote -
Page 77/Scene 170 - Quentin: 'Now, come on. Stop crying. It doesn't matter.'
- comes up.
And when it comes to what's different with the dialogue, rather than the first part of the quote, Quentin actually says "Now, it's all right", after which, rather than the second part of the quote, he actually says "I know you went to the tower room. It doesn't matter", and, rather than the third part of the quote, he actually says "Aw, don't cry. You're gonna flood the place" - and then he adds an unscripted "Come here."
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 -
(http://www.dsboards.com/NoDSquoteimages/0926NoDS_a.jpg)
- 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 -
(http://www.dsboards.com/NoDSquoteimages/0926NoDS_b.jpg)
- and it isn't until after that has occurred that we see Tracy in the Master Bedroom at the window and -
(http://www.dsboards.com/NoDSquoteimages/0926NoDS_c.jpg)
(http://www.dsboards.com/NoDSquoteimages/0926NoDS_d.jpg)
- 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 -
(http://www.dsboards.com/NoDSquoteimages/0926NoDS_e.jpg)
- sitting on the edge of the bed with her back to the camera - and it isn't until after we see Tracy rub -
(http://www.dsboards.com/NoDSquoteimages/0926NoDS_f.jpg)
- her forehead and then look up -
(http://www.dsboards.com/NoDSquoteimages/0926NoDS_g.jpg)
- at the Tower Room -
(http://www.dsboards.com/NoDSquoteimages/0926NoDS_h.jpg)
- (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 [b003]), that Tracy actually lies down on the bed -
(http://www.dsboards.com/NoDSquoteimages/0926NoDS_i.jpg)
- 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 - and Scene 170 also pretty much begins as scripted (though we don't see Quentin open the door - he's just suddenly standing in the doorway) until the point after Quentin gets in bed with Tracy and before he tells her not to cry because he doesn't take her in his arms because what he actually does is wipe the tears -
(http://www.dsboards.com/NoDSquoteimages/0926NoDS_j.jpg)
- from her face and her eyes, and then after he says the unscripted "Come here" is when -
(http://www.dsboards.com/NoDSquoteimages/0926NoDS_k.jpg)
- Quentin takes Tracy in his arms.
-
And picking where we left off:
And that's when Tuesday's quote -
Page 78/Scene 170 - Tracy: 'Oh, Quentin -- I've been so afraid. I don't understand any of this. What's happening to us? The things you said to me last night --'
- comes up, followed by Wednesday's first quote -
Page 78/Scene 170 - Quentin: 'I didn't mean any of them...'
- coming up, followed by Wednesday's second quote -
Page 78/Scene 170 - Tracy: 'I know you didn't. I know...and that's why I'll never leave you...no matter what you say.'
- coming up.
And when it comes to what's different with the dialogue, what Tracy actually says rather than Tuesday's quote is "I've been so afraid. I didn't understand any of it. And then the things you said to me last night --", with the "Oh, Quentin --" and the "What's happening to us?" completely dropped - and rather than Wednesday's second quote, what Tracy actually says is "No, I know you didn't", with the "I know...and that's why I'll never leave you...no matter what you say" completely dropped. However in that case the dropped dialogue is soon replaced by unscripted dialogue, but I'm going to wait until next time to get into that because it plays into what we'll cover next...
And when it comes to what's different with the descriptions and directions, there aren't any of either in this section of the script - and there aren't even any notes to get into. Basically, the three captures featured in the slideshow on Tuesday and Wednesday displayed everything that is needed to know.
-
And now picking from last time with the changed and a bit of additional dialogue from Scene 170, beginning with Tracy's changed dialogue:
(http://www.dsboards.com/NoDSquoteimages/0928NoDS_a.jpg)
"Quentin, look at me."
(http://www.dsboards.com/NoDSquoteimages/0928NoDS_b.jpg)
"Do you love me?"
To which Quentin, unscripted, first replies by mouthing:
(http://www.dsboards.com/NoDSquoteimages/0928NoDS_c.jpg)
"Yes."
And then mouthing an unscripted:
(http://www.dsboards.com/NoDSquoteimages/0928NoDS_d.jpg)
"God, yes."
And now picking up with the script:
Pulling Tracy to him, he kisses her gently. As the
passion of the moment begins to grow, Quentin's
kisses become more violent. It suddenly becomes
obvious that she is becoming frightened as he con-
tinues to press himself upon her, now almost savagely.
Tracy now fights to escape his embrace.
TRACY
Quentin, please! You're
hurting me.
With a desperate effort, she pulls away, cringing
from him against the massive headboard. Her eyes
filled with fright, she stares at him as Quentin,
smiling evilly, cruelly, stares back.
|
And that's when Thursday's quote -
Page 78/Scene 170 - Tracy: 'Quentin, please...please don't touch me like that.'
- comes up, followed in the script by:
QUENTIN
What's wrong, Tracy? Don't
you like it anymore? You do
have such a lovely body.
Then, reaching out to her, he roughly cradles her
face in her hands.
|
And that's when the first part of Friday's quote -
Page 78/Scene 170 - Quentin: 'I'll touch you whenever -- and however -- I want.'
- comes up, followed in the script by:
Then rising, he crosses to the door and turns to her.
|
And that's when the second part of Friday's quote -
Page 78/Scene 170 - Quentin - 'If you don't like it, Tracy, you can always leave.'
- comes up, followed in the script by:
170 CONTD CONTD 170
Tracy is hysterical now. She screams at him.
|
And that's when today's quote -
Page 79/Scene 170 - Tracy: 'She's doing this to you! It's her! It's Angelique!'
- comes up, followed in the script by:
He just turns and EXITS THE SHOT. Tracy runs to the
door and locks it. TRUCK IN on her anguished face.
|
End of scene.
And as far as what's different with the dialogue, Tracy actually says "Quentin, stop it! Stop it, you're", which gets cut off there in the 94 minute version but concludes with "hurting me!" in all other versions of the film - And after Tracy actually says "Quentin, please don't touch me like that" she soon adds another "Stop it!" - and Quentin simply says "You do have such a lovely body", with the "What's wrong, Tracy? Don't you like it anymore?" completely dropped - and Quentin drops addressing Tracy by name when it tells her she can always leave - and Tracy's entire "She's doing this to you! It's her! It's Angelique!" is dropped in the film.
And as far as what's different with the descriptions and directions, after Quentin and Tracy share their gentle kissing, I love how Quentin pulls back and an evil smile comes across his face -
(http://www.dsboards.com/NoDSquoteimages/0929NoDS_a.jpg)
- before he moves in for the violent kissing - however, unlike what's scripted, in the film Tracy isn't able to pull away from Quentin to cringe against the headboard because it's Quentin who actually pulls back a bit while he continues to molest Tracy (which is far more graphic in the 97 and 129 minute versions) - and then as Quentin roughly cradles Tracy's face in her hands, he actually delivers both parts of Friday's quote without rising from the bed in the middle of them - and after he does rise, we simply see Quentin move away from the bed -
(http://www.dsboards.com/NoDSquoteimages/0930NoDS_a.jpg)
- and toward the direction of the door - and then things shift to a still deeply shaken Tracy still in bed -
(http://www.dsboards.com/NoDSquoteimages/1001NoDS_a.jpg)
- and breathing heavy as we also hear the bedroom door close off screen, so we do not see Quentin turn to Tracy from the door, or Tracy scream at him hysterically, or Quentin leave, or Tracy run to the door and lock it as the camera trucks in on her anguished face.
And coming up next time, more material that doesn't appear in any version of the film...
-
Oops - I forgot to mention that the original slideshow for NoDS included this line -
(http://www.dsboards.com/moviesquoteimages/1115NoDS_0.jpg)
NoDS: Scene #170 - Quentin: 'You do have such a
lovely body.'
- because it was quoted in the Fest's 1999 Movie Calendar, upon which the original slideshow is based.
-
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...
-
Before we get into today's scenes, I forgot to mention yesterday that in DC's script he had all sorts of notes for Scenes 171 though 171C, but for some reason he partially erased them all so it's next to impossible to decipher what he'd originally written.
And with that out of the way, 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...).
-
MB, thanks so much for posting that fab video clip from the film! I had completely forgotten about that moment.
When I clicked on the wmv link, it downloaded to my computer. It eventually opened using the VLC player, which was something I had to add a few years ago to cope with certain files.
I imagine you'd need an "app" that mirrored the abilities of the VLC player on your phone to play something like that. Of course I have no idea what the requirements of the "app" would be. For the sake of my sanity, I've been hanging on to not doing anything web related on my phone, although I currently have an "android" which I think could do it all. The screen is so tiny though...
G.
-
And now moving on to the next scene in the script:
173 EXT - JENKINS COTTAGE - NIGHT 173
A car ENTERS THE SHOT, stopping at the house, as
Claire and Alex get out. Alex takes a valise and the
wrapped portrait from the back seat as they start to
the door.
|
And that's when today's first quote -
Page 80/Scene 173 - Alex: 'Is it too late to see how they are? --'
- comes up, followed by today's second quote -
Page 80/Scene 173 - Claire: 'Alex, it's two in the morning!'
- coming up, followed in the script by:
173 CONTD CONTD 173
Claire opens the door. As the two of them ENTER and
the door closes behind them, a light appears in the
living room. HOLD ON THIS as the SOUND OF THEIR
VOICES can be heard from inside.
CLAIRE (O.S.)
I'm making coffee. You want
something to eat?
ALEX (O.S.)
Yeah. What's in the Frig?
|
End of scene - or is it?
And when it comes to the dialogue, the descriptions, and the directions, because this scene doesn't appear in any version of the film, we have no way of knowing what might have been different. However, in DC's script he's added something to the end of the scene:
Pan to see Gerard in car.
|
Though more than likely it would have been Gerard in his truck...
-
And moving on to today's new scene:
174 EXT - COTTAGE LIVING ROOM - NIGHT 174
as Alex ENTERS THE SHOT from the bedroom, he crosses
to the bar and pours himself a drink. He sips, sits
and begins to unwrap the package. Claire ENTERS THE
SHOT from the kitchen, carrying a tray of sandwiches.
|
And that's when today's first quote -
Page 81/Scene 174 - Claire: 'Coffee's coming --'
- comes up, followed by today's second quote -
Page 81/Scene 174 - Alex: 'I need this more --'
- coming up.
And when it comes to the dialogue, Alex actually says "Need this more --"
And when it comes to the descriptions and the directions, we don't actually see Alex enter from the bedroom, or cross to the bar to pour a drink, nor sipping the drink to then sit and unwrap the portrait - and as we can see from today's second capture, Alex actually delivers today's quoted line -
(http://www.dsboards.com/NoDSquoteimages/1004ds91_1.jpg)
- off screen.
Also, it's interesting that the scripted opening of Scene 174 isn't on the list of unrecovered footage, so there's at least a possibility that if it was shot, it does appear in the 129 minute version. Or it may simply be that because it was only a trim, and a pretty insignificant one at that, it simply just wasn't put on the unrecovered list...
-
Continuing with Scene 174 with Alex' scripted actions:
He raises the drink and then finishes unwrapping the
package, revealing a portrait of Charles Collins.
Now the incredible likeness to Quentin is very
obvious.
|
And that's when today's first quote -
Page 81/Scene 174 - Claire: 'I don't like being back here --'
- comes up, followed by today's second quote -
Page 81/Scene 174 - Alex: 'I know...'
- coming up.
And when it comes to the dialogue, Alex actually says "Yeah, I know..." - but in addition to that, DC's script has more dialogue written into it -
Page 81/Scene 174 - 'I still can't get over it. If Quentin had that scar on his cheek, they could be twins.'
- and though it isn't specifically assigned to either character, in the film it's slightly reworked and presented as:
(http://www.dsboards.com/NoDSquoteimages/1005NoDS_a.jpg)
Claire: 'I still can't get over the likeness. Charles Collins could
be his twin.'
(http://www.dsboards.com/NoDSquoteimages/1005NoDS_b.jpg)
Alex: 'All that Quentin needs is that scar on his cheek...and you
wouldn't be able to tell the difference.'
And when it comes to the descriptions and the directions, we don't actually see Alex raise his drink because, as was mentioned before, he's off screen when he refers to it - and we also don't see him finish unwrapping the portrait because as can be seen it both of today's captures -
(http://www.dsboards.com/NoDSquoteimages/1005ds91_0.jpg)
- is already fully unwrapped and leaning up against the couch - and considering that the portrait's back is to the camera, we have yet to see that it's a portrait of Charles Collins or the incredible likeness to Quentin - and when it comes to the additional dialogue, the camera does a slow truck in on Claire as she delivers her portion and also a slow truck in on the portrait as we first get to see it as Alex delivers his portion, ending this close -
(http://www.dsboards.com/NoDSquoteimages/1005NoDS_c.jpg)
- as Alex finishes his additional lines.
-
Continuing with more of Scene 174 with regard to Claire's actions:
She looks at the portrait.
|
And that's when today's quote -
Page 81/Scene 174 - Claire: 'I still don't see how showing Quentin that is going to make him leave here.'
- comes up.
And when it comes to the dialogue, Claire actually says "I still don't see how showing him that is gonna make him leave here" - and as can be seen in today's capture -
(http://www.dsboards.com/NoDSquoteimages/1006ds91_0.jpg)
- Claire actually delivers the line off screen.
And when it comes to the descriptions and the directions, there's nothing that's different.
-
Wrapping up Scene 174, beginning with yesterday's quote, Alex' reply to Claire -
Page 81/Scene 174 - Alex: 'I've got to break through to him. If I can only get him to admit that it has to be at least more than a coincidence...we've got a shot.'
- coming up, followed in the script by:
TRUCK IN to the portrait.
174 CONTD CONTD 174
|
And that's when today's quote -
Page 82/Scene 174 - Claire (O.S.): 'Well, it'll have to wait until morning.'
- comes up.
End of scene.
And as far as the dialogue goes, Alex actually says "Honey, I gotta break through to him some way. If I can just get him to admit that it's at least more than a coincidence, we got a shot" - however, the first part of Alex' actual dialogue ("Honey, I gotta break through to him some way.") is delivered off screen as the camera continues to truck in -
(http://www.dsboards.com/NoDSquoteimages/1007NoDS_a.jpg)
- on Charles Collins' portrait and then holds on it - and as can be seen in today's capture -
(http://www.dsboards.com/NoDSquoteimages/1008ds91_0.jpg)
- Claire doesn't actually deliver her line off screen.
And when it comes to the descriptions and the directions, the camera doesn't truck in on the portrait after Alex' lines because, as we've already discussed, it did so before yesterday's quote and into the first part of it - and the scene actually ends with -
(http://www.dsboards.com/NoDSquoteimages/1008NoDS_a.jpg)
- Alex taking a sip of his drink as things soon begin to dissolve into upcoming Scene 175...
-
Moving through the next three scenes as scripted:
DISSOLVE TO:
175 EXT - COTTAGE - NIGHT - WIDE ANGLE 175
It is later now. The house is in darkness. The
jeep is no longer there. HOLD FOR A MOMENT, then
start a VERY SLOW ZOOM IN.
DISSOLVE TO:
176 INT - COTTAGE LIVING ROOM - NIGHT 176
The room is in darkness except for the glowing embers
in the fireplace. CAMERA SLOWLY PANS THE ROOM, then
starts to TRUCK DOWN THE HALLWAY. Through the open
bedroom door at the end of the hall, Claire and Alex
can be seen sleeping in their twin beds. CAMERA
CONTINUES TO TRUCK, ENTERING THE ROOM.
177 EXT - COTTAGE BEDROOM - NIGHT 177
as the CAMERA TRUCKS IN ON the sleeping Alex, all
of the SOUND SLOWLY DISAPPEARS until it seems as if
the sound track itself has been removed. The feel-
ing this creates is one of oppressive dead air.
When we are on ALEX' EXTREME CLOSE-UP, HOLD as he
begins to writhe and thrash about. All the following
ACTION WILL BE IN SLOW MOTION. Finally, clutching
his throat, his eyes open wide as he tries to scream.
Although his mouth opens again and again, there is
no sound.
WIDE ANGLE - SLOW MOTION
With Claire asleep in the F.G., and totally oblivious
to what's happening, we watch Alex struggle with the
invisible horror. Suddenly, the horror seems to
take on a visible entity, as a whole mist-like vapor
starts to envelope his body. Slowly Alex' movements
begin to subside as the life is being drawn from him.
CLAIRE - CLOSE-UP - SLOW MOTION
Although still asleep, it seems as though she has
suddenly become aware of the danger, As she opens
her eyes and tries to sit up, she is barely able to
move. Through a tremendous effort, she is finally
177 CONTD CONTD 177
able to turn her head to Alex. WIDEN at reveal Alex,
now completely enveloped in the mist and barely
moving. Claire tries to scream. No sound can be
heard. She is finally able to reach the bed table
between them and knocks over a glass.
GLASS - CLOSE-UP - SLOW MOTION
as it falls to the floor and shatters soundlessly.
PAN UP in time to see Claire finally reach a lamp,
turning it on.
WIDE ANGLE - NORMAL SPEED
as the lamp illuminates the room, ALL SOUND RETURNS.
The white mist disappears and Claire is quickly at
Alex' side.
|
And that's when the first part of today's quote -
Page 83/Scene 177 - Claire: 'Alex! Oh, my God, Alex!'
- is scripted to come up, followed in the script by:
Alex opens his eyes, gulping in all the air he can
handle, as he frantically gasps for breath.
|
And that's when the second part of today's quote -
Page 83/Scene 177 - Claire (sobbing hysterically): 'Alex! -- oh, Alex! ... Please be all right!...oh, Alex...'
- is scripted to come up.
End of sequence.
And as far as all the difference go, of which there are many, they'll wait until my next post (mostly because I haven't had lunch yet and I'm starving! [hall2_wink])
-
As far as the differences in the dialogue go, Claire actually wakes up in what I suppose we could say is a Scene 176A in the film and, unscripted, she calls out -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_a.jpg)
"Alex, come to bed."
- followed by asking -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_b.jpg)
"What time is it?"
- and then calling to -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_c.jpg)
"Alex."
- him again - and then afterward, instead of saying "Alex! Oh, my God, Alex!", Claire actually screams "Alex!" and then literally screams - and then she actually follows up with "Oh, my God. ... Alex! -- oh, Alex! ... Alex, please be all right!...Alex...oh, Alex...Alex!...Darling!..."
And as far as the differences in the descriptions and directions go:
It's interesting that for Scene 175 there's a reference to a jeep (presumably actually Gerard's truck) no longer being there when DC actually had to add to his script that Gerard was watching Claire and Alex in Scene 173. Apparently Gerard watching must have been a part of the script but was accidentally left out somewhere along the way.
And when we first see the cottage living room in Scene 176, the room isn't in darkness except for the glowing embers in the fireplace because the light is on -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_d.jpg)
- however, soon the light slowlys dims until the room actually is in darkness -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_e.jpg)
- and Alex begins to toss and turn -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_f.jpg)
- until we actually see Angelique's spirit -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_g.jpg)
- come down the corridor - approach -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_h.jpg)
- Alex - and then turn into -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_i.jpg)
- the mist-like vapor that envelopes Alex' body. So, the camera doesn't actually do a slow pan of the living room because, as we could see in the above captures, the camera actually remains stationary and focused on Alex asleep on the couch - and the camera also doesn't do a truck down the hallway, and we never actually see Claire and Alex through the bedroom door and asleep in their twin(!) beds (especially considering we've already seen Alex asleep on the couch in the living room) - and the camera doesn't continue to truck in as it enters the room.
What actually happens is that there's more like a Scene 176A in which we immediately see Claire waking up alone in bed -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_j.jpg)
- and as was already discussed above, she calls out Alex a few times - but then she suddenly realizes that something is wrong and she gets up - and once she's in the corridor, she sees what's happening to Alex - and after momentarily stopping dead in her tracks -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_k.jpg)
- and screaming, she reaches for the floor lamp but knocks -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_l.jpg)
- it over in her frenzy - but once she does turn -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_m.jpg)
- it on, the other light also comes back and the mist-like vapor that envelopes Alex' body -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_n.jpg)
- disappears - and as we can see in today's capture -
(http://www.dsboards.com/NoDSquoteimages/1009ds91_0.jpg)
- she rushes to Alex side, desperately trying to revive him, until -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_o.jpg)
- he does indeed revive. So, all that means that a lot of what's scripted to happen in Scene 177 doesn't actually happen in the film. And in some ways that's too bad because much of what was scripted would have been quite interesting to see. But who knows if things were changed because it would have been too costly or too complicated to shoot, or perhaps for some other reason? Though at least some of the planned effects were reworked and used. And actually, I think having Angelique's spirit arrive and transform into the mist-like vapor was actually better than how it was introduced in the script.
One thing that's very interesting, though, it that one can easily tell that there are three distinct cuts in the background music for Scene 177, so apparently it's quite likely that footage was removed for time during the marathon James Aubrey imposed editing. And that sort of ruins how things were to play in slow motion. But perhaps they still do in the 129 minute version...
-
Was Hans Holzer supposed to consult on this scene or was he just supposed to provide input on the seance sequence?
-
I'm pretty sure Gerard's truck was a Willys. I wonder if they knew that when they wrote the script or got it to match the script?
-
Was Hans Holzer supposed to consult on this scene or was he just supposed to provide input on the seance sequence?
That's an excellent question. I only remember reading that he consulted on the seance sequence - but I don't believe there's anything one way or the other regarding Scene 177. It would be very interesting to know, though...
-
I'm pretty sure Gerard's truck was a Willys. I wonder if they knew that when they wrote the script or got it to match the script?
Another interesting question - but another that I don't think I've ever read anything about...
-
And now the next three scenes:
178 INT - MASTER BEDROOM - NIGHT - HIGH ANGLE 178
Tracy lies asleep, fitfully tossing and turning in
her bed. SLOWLY CRANE DOWN AND TRUCK INTO HER
CLOSE-UP. HOLD ON HER FACE as she is obviously ex-
periencing a dream. Over this, slowly bring in the
SOUND OF ANGELIQUE'S LAUGHTER. TIGHTEN TO AN
EXTREME CLOSE-UP as the SOUND ECHOES IN HER EARS.
DISSOLVE TO:
179 INT - RUINED SWIMMING POOL - NIGHT 179
SLOW MOTION DREAM EFFECT
Series of DISSOLVES depicting Quentin and Angelique
making love -- GP RATING STYLE. Their AD LIB love
dialogue will be HEARD OVER THE SCENE.
DISSOLVE TO:
180 INT - MASTER BEDROOM - NIGHT 180
With the SOUNDS OF THE DREAM STILL ECHOING OVER HER
FACE, she opens her eyes. HOLD HER IN CLOSE-UP as
she slowly sits up.
|
And that's when yesterday's quote -
Page 84/Scene 180 - Tracy (trance-like): 'I won't let you have him... I won't.'
- comes up, followed in the script by:
WIDEN as she stands, crosses to the door and EXITS
THE SHOT.
|
End of sequence.
And as far as any differences may go, it's pretty much impossible to know because so little of this sequence is in any version of the film. Basically all that we see in the film is the opening of Scene 178, which actually begins with a shot of the wind blowing the curtains in the Master Bedroom and then the camera pans to Tracy as she -
(http://www.dsboards.com/NoDSquoteimages/1011NoDS_a.jpg)
- tosses and turns in bed in a rather twisty shot, and then Angelique's eyes superimpose over Tracy -
(http://www.dsboards.com/NoDSquoteimages/1011NoDS_b.jpg)
- which leads me to mention that in DC's script he's added:
178A SHOTS OF A IN THE TOWER LOOKING DOWN
SUPER EYE SHOTS
|
Sadly, nothing of Scene 179 or Scene 180 appears in the film. Though in some of the trailers we are lucky enough to get glimpses of some brief moments of the dream sequence, and I'm sharing video of them below:
First up, the shortest glimpse:
And secondly, the longest glimpse (though one that also has the NoDS logo over parts of it - but it also shows much more of Quentin and Angelique "making love" - and the color quality is much better):
Enjoy!
Plus, we're also very lucky to have stills from the dream:
(http://www.dsboards.com/NoDSquoteimages/Dream_Color1.jpg)
(http://www.dsboards.com/NoDSquoteimages/Dream_Color2.jpg)
(http://www.dsboards.com/NoDSquoteimages/Dream_B&W1.jpg)
(http://www.dsboards.com/NoDSquoteimages/Dream_B&W2.jpg)
(There are also other color stills of the dream, two of which feature Angelique and Quentin, on page 183 of the PomPress book Return to Collinwood, and I'd be happy to also scan those for anyone who hasn't seen them.)
(ADMIN: Edited to add videos and remove animated GIFs)
-
Thanks for posting these again, MB. Really lovely to see.
What with this sequence and the seance, I keep asking myself why DC and Sam chose to cut some of the most atmospheric, effective moments of the movie. Of course they had to do the work of editing out nearly half an hour, as mandated by the evil suits of MGM, in the space of a few hours...
G.
-
By request:
(http://www.dsboards.com/NoDSquoteimages/Dream_Color3.jpg)
Enjoy!
-
Oops - I forgot that I also wanted to post this photo:
(http://www.dsboards.com/NoDSquoteimages/dream-4.jpg)
Not that it's from the dream (Darren believes it's a behind the scenes still from Scene 85), but to me it seems very odd. Am I the only one who thinks it looks like Angelique doesn't have any ankles/feet?!
-
Finally the beginning of the current scene:
CUT TO:
181 INT - COTTAGE - NIGHT 181
It is later now as Alex, still numb from his experi-
ence, sits staring into his drink. An agitated Claire
stands watching him.
|
And that's when yesterday's quote -
Page 84/Scene 181 - Claire: 'It was the most frightening thing I've ever seen.'
- comes up, followed by today's first quote -
Page 84/Scene 181 - Alex: 'Claire...I want you to take the car and get out of here now.'
- coming up, followed by today's second quote -
Page 84/Scene 181 - Claire: 'No -- I won't leave you!'
- coming up.
And as far as any differences go, apparently we'll never know what they might have been or even if there were any because this scene doesn't appear in any version of the film...
-
Continuing Scene 181, beginning with Alex' reaction to Claire saying she won't leave:
He looks up, about to object.
|
And that's when today's first quote -
Page 84/Scene 181 - Claire: 'No -- I don't care what you say, I won't leave you here alone.'
- comes up, followed in the script by:
She goes into his arms and he kisses her.
|
And that's when today's second quote -
Page 84/Scene 181 - Alex (resigned to it): 'O.K....'
- comes up.
And as far as any differences go, there's nothing to get into because this scene doesn't appear in any version of the film. And DC's script doesn't even have any notes about it. But given there's at least one still from it, obviously we know it was shot.
-
Wrapping up Scene 181, beginning with today's first quote -
Page 84/Scene 181 - Claire: 'What are we going to do? We can't fight her -- She has so much power -- Alex, maybe we should go to Quentin now.'
- coming up, followed in the script by:
And that's when today's second quote -
Page 85/Scene 181 - Alex: 'I don't know. Let me think.'
- comes up.
End of scene.
And when it comes to possible differences, we can't get into anything because this scene doesn't appear in any version of the film...
-
And now working up to today's scene:
CUT TO:
182 EXT - WOODS - NIGHT 182
as Tracy walks, trance-like, TOWARD CAMERA.
DISSOLVE TO:
183 EXT - SWIMMING POOL - NIGHT 183
as Tracy ENTERS the building.
184 INT - SWIMMING POOL - NIGHT - HIGH ANGLE 184
Tracy is a small figure as she ENTERS the darkened
building. Then, still trance-like, she walks along
the edge of the murky water toward the back of the
pool.
TRACY - LOW ANGLE
as she walks TO CAMERA, then stops. SLOWLY TRUCK
IN ON HER as she begins to realize where she is.
Then shaking her head as if to clear her mind, she
begins to look around.
|
And that's when today's quote -
Page 85/Scene 184 - Tracy (frightened): 'What am I doing here?... What?...'
- comes up.
And when it comes to possible differences, so little of what's scripted above is seen in the film as it currently stands, so it's hard to know what might have been different. And an interesting thing is that what's missing from the film isn't on the list of unrecovered scenes - but given the way things play in the film, it's hard to imagine that much of what's missing could be in the 129 minute version. For example, after we see Tracy tossing and turning in bed with Angelique's eyes superimposed over her in Scene 178A, in the film things immediately cut to -
(http://www.dsboards.com/NoDSquoteimages/1015NoDS_a.jpg)
- the outside of the swimming pool with Angelique's eye superimposed over it - and soon a trance-like Tracy is seen -
(http://www.dsboards.com/NoDSquoteimages/1015NoDS_b.jpg)
-approaching - and as she begins -
(http://www.dsboards.com/NoDSquoteimages/1015NoDS_c.jpg)
- to ascend the stairs, she suddenly stops -
(http://www.dsboards.com/NoDSquoteimages/1015NoDS_d.jpg)
- and appears to regain her senses - after which she moves to go -
(http://www.dsboards.com/NoDSquoteimages/1015NoDS_e.jpg)
- inside - whereupon things cut to the inside -
(http://www.dsboards.com/NoDSquoteimages/1015NoDS_f.jpg)
- but shot from a low angle - and soon Tracy -
(http://www.dsboards.com/NoDSquoteimages/1015NoDS_g.jpg)
- appears, shot from that same angle. There's no Scene 182 of Tracy walking trance-like in the woods and moving toward camera (however, there's a definite cut in the background music and a noticeable shift in Angelique's image when things transition from Tracy in bed to the outside of the swimming pool building, so Scene 182 may exist in the 129 minute version and it could be another case where it's possible that something was simply cut for time during the marathon editing) - and at no time is the interior of the swimming pool or Tracy shot from a high angle - nor is Tracy seen, still trance-like or otherwise, as she walks along the edge of the murky water toward the back of the pool - nor is there a slow truck in on her as she begins to realize where she is (especially considering that in the film she appears to have already realized where she is before she enters) - nor does she shake her head as if to clear her mind - nor does she ever deliver today's quote. In fact, tomorrow we'll begin to get into exactly what Tracy does actually do upon entering the building...
-
And continuing with Scene 184 but using Grayson's version of the script because 1) DC's script doesn't change Samantha to Laura, and 2) for some very odd reason, his script is missing the last two lines on page 85 (The Curse Of PomPress strikes again!!):
Then suddenly remembering her dream, she calls out.
|
And that's when today's first quote -
Page 85/Scene 184 - Tracy: 'Quentin!...Quentin!...are you here?'
- comes up, followed in the script by:
As the ECHO OF HER VOICE DIES OUT, she stands there,
terrified, not knowing what to do. There is a long
moment of silence and then from O.S., the SOUND OF
QUENTIN'S VOICE.
|
And that's when today's second quote -
Page 85/Scene 184 - Quentin: 'So you came to spy on us, Laura.'
- comes up - and that's where page 85 ends in DC's script - but in Grayson's script it continues with:
THE OTHER SIDE OF THE POOL - TRACY'S P.O.V.
In complete darkness, it is impossible to see where
|
And then both scripts pick up on page 86 with:
184 CONTD CONTD 184
he is. Then the SOUND OF HIS FOOTSTEPS can be heard.
Finally, Quentin emerges from the blackness into a
shaft of moonlight, his limp more marked than ever.
He moves toward her, his eyes burning with hatred.
|
End of scene - but certainly not end of sequence.
And when it comes to differences in the dialogue, after Tracy delivers today's first quote, which she actually says as "Quentin!...are you here?" with the second "Quentin!..." dropped, before too long she continues with an unscripted -
(http://www.dsboards.com/NoDSquoteimages/1016NoDS_a.jpg)
"Quentin!..."
- and another -
(http://www.dsboards.com/NoDSquoteimages/1016NoDS_b.jpg)
"Quentin!..."
- and we actually hear Quentin's voice ask "Did you come to spy on us, Laura?" - and after that, in more unscripted dialogue, Tracy calls out -
(http://www.dsboards.com/NoDSquoteimages/1016NoDS_c.jpg)
"Where are you?"
- as we see Quentin through the mists - followed by Tracy calling out -
(http://www.dsboards.com/NoDSquoteimages/1016NoDS_d.jpg)
"Quentin..."
- and then -
(http://www.dsboards.com/NoDSquoteimages/1016NoDS_e.jpg)
"Where are you?"
- again.
And when it comes to the differences in the descriptions and directions, after Tracy calls out asking if Quentin is there, unlike how the script indicates that she simply stands there, terrified, not knowing what to do, it's when she actually walks along the edge of the murky water, though, as mentioned in the previous post, she's herself and not at all trance-like - and then when she stops walking, she calls out to Quentin again (and I love how, as can be seen above, DC uses her reflection in the pool) - and when Quentin calls out, as can be seen in today's second capture, the camera shows Tracy and her reflection and some of the building -
(http://www.dsboards.com/NoDSquoteimages/1016ds91_1.jpg)
- but then the camera zooms back to show -
(http://www.dsboards.com/NoDSquoteimages/1016NoDS_f.jpg)
- how huge and empty Tracy's surroundings are - and because we initially see Quentin through the mists when Tracy initially asks where Quentin is, we don't actually see her P.O.V. of the other side of the pool until after we hear the sound of his footsteps -
(http://www.dsboards.com/NoDSquoteimages/1016NoDS_g.jpg)
-
Beginning the next scene as scripted (using Grayson's script):
LAURA
185 SAMANTHA - QUENTIN'S P.O.V. 185
SUBCONSCIOUS MEMORY CUT
Laura
It is no longer Tracy but Samantha who stands there,
as he begins to re-enact the moment of her death.
INTERCUT these MEMORY SHOTS throughout the rest of
the scene.
QUENTIN - TRACY
As Quentin slowly moves toward her, Tracy begins to
back away.
|
And that's when yesterday's quote -
Page 86/Scene 185 - Quentin: 'Isn't it enough that you killed her?...Won't you ever leave us alone?...ever?'
- comes up.
And when it comes to differences in the dialogue, after Quentin asks the first part of his quote ("Isn't it enough that you killed her?"), in more unscripted dialogue, Tracy asks -
(http://www.dsboards.com/NoDSquoteimages/1017NoDS_a.jpg)
"What are you talking about?...What's wrong with you?..."
- after which Quentin asks the second part of his quote ("Won't you ever leave us alone?...ever?") - and then in more unscripted dialogue, a somewhat anxious and confused Tracy says -
(http://www.dsboards.com/NoDSquoteimages/1017NoDS_b.jpg)
"Quentin, it's me."
And when it comes to the differences in the descriptions and directions, Quentin doesn't actually see Laura until after Tracy asks what's wrong with him -
(http://www.dsboards.com/NoDSquoteimages/1017NoDS_c.jpg)
- and before she makes a gesture of nodding her head no and tries to tell him that it's her.
-
Wrapping up Scene 185 as scripted (using Grayson's script):
QUENTIN - CLOSE-UP - TRACY'S P.O.V.
Now only a few feet from her, the look of incredible
hate in his eyes burns into the CAMERA.
|
And that's when yesterday's quote -
Page 86/Scene 185 - Tracy (O.S.) (hysterical): 'Quentin!...Quentin! It's me...It's me...please!...'
- comes up in the script, followed in the script by:
Reaching TOWARD CAMERA, with his face almost in the
lens.
|
And that's when today's quote -
Page 86/Scene 185 - Quentin: 'No, Laura. I'm going to make sure you'll never interfere again.'
- comes up in the script, followed in the script by:
TRACY - QUENTIN - HAND HELD
As he grabs her and drags her, screaming and kicking,
to the edge of the pool and plunges her into the
filthy dark water. Holding her head under, she
futilely claws and scratches at his hands and arms.
HOLD ON THIS as her movements become weaker and
weaker, and, finally she starts to sink to the bottom
of the pool. Quentin then slowly rises and moves
AWAY FROM CAMERA.
|
End of scene.
And when it comes to differences in the dialogue, yesterday's and today's quotes are actually flipped in the film with Quentin's coming first -
(http://www.dsboards.com/NoDSquoteimages/1019ds91_0.jpg)
"No, Laura. I'm going to make sure you'll never interfere again."
- and Quentin seems to deliver his lines exactly as scripted but Tracy's hysterical delivery is so loud that it appears to cut off the word "again" - and when it comes to Tracy's quote -
(http://www.dsboards.com/NoDSquoteimages/1018ds91_0.jpg)
"Quentin!...Quentin! It's me...It's me...please!..."
- what she actually says is "No, look, it, it's me!...Stop it, Quentin, it's me!..." and she cries out as she's about to hit the water, and she continues to cry out as Quentin repeatedly dunks her under the water.
And when it comes to the differences in the descriptions and directions, Quentin doesn't actually reach toward camera because as we saw in yesterday's capture above, he reaches around Tracy's throat, but his face is -
(http://www.dsboards.com/NoDSquoteimages/1018NoDS_a.jpg)
- almost in the lens - and as Tracy screams "me!...Stop it", it's actually Laura -
(http://www.dsboards.com/NoDSquoteimages/1018NoDS_b.jpg)
- who Quentin sees before he angrily throws Tracy -
(http://www.dsboards.com/NoDSquoteimages/1018NoDS_c.jpg)
- into the water - though one thing I find very interesting is that Quentin's face shifts to almost expressionless as -
(http://www.dsboards.com/NoDSquoteimages/1019NoDS_a.jpg)
- Tracy is about to fall into the water - but I absolutely love how David Selby inadvertently splashes himself in the face while he's dunking Kate Jackson -
(http://www.dsboards.com/NoDSquoteimages/1019NoDS_b.jpg)
- and especially Quentin's crazed expression as he pulls back after Tracy stops -
(http://www.dsboards.com/NoDSquoteimages/1019NoDS_c.jpg)
- fighting him.
And interestingly enough, even though Carlotta doesn't appear in Scene 185, Grayson has several notes in her script. In part she writes that Carlotta has done what she promised, that Quentin is Angelique's forever, and that she and Angelique are smiling at each other. It can also be made out that Carlotta is kissing the lock of hair (though we never do actually see that lock of hair in the film) and somehow she offers it as a symbol of victory. Also, she writes that they have won because (she believes, anyway, that) Tracy is dead...
-
Moving on to the next three scenes:
186 EXT - ROAD NEAR SWIMMING POOL - NIGHT 186
as the lights of a car come TOWARD CAMERA.
187 INT - CAR - NIGHT 187
Alex drives as Claire stares out the window. Suddenly
she reacts.
CLAIRE
It's Quentin!
QUENTIN - THEIR P.O.V.
Through the window, Quentin can be seen as he comes
out of the pool building.
INT - CAR - NIGHT
as Alex stops the car, Claire is about to call out.
Alex grabs her arm.
ALEX
Don't!
Through the window Quentin can be seen disappearing
into the darkness. Alex grabs a flashlight, they get
out of the car and run toward the pool house.
188 INT - POOL HOUSE - NIGHT - HIGH ANGLE 188
As Alex and Claire ENTER, the SOUND OF THEIR FOOTSTEPS
ECHO LOUDLY. Stopping at the edge of the pool, Alex
flashes the light about.
CLAIRE
What was he doing here?
ALEX
I don't know.
As he starts toward the back of the pool, still
panning his light, he suddenly sees something in the
water.
THE WATER - THEIR P.O.V.
The light has picked up the shadowy form of Tracy at
the bottom of the pool.
|
And that's when today's quote -
Page 87/Scene 188 - Claire (O.S.) (screaming): 'It's Tracy!'
- comes up.
And when it comes to differences in the dialogue, in more unscripted dialogue, Claire asks -
(http://www.dsboards.com/NoDSquoteimages/1020NoDS_a.jpg)
"Suppose he won't leave?"
- at the start of Scene 187 - and to that Alex replies -
(http://www.dsboards.com/NoDSquoteimages/1020NoDS_b.jpg)
"He'll leave if I have to drag him out of there."
- and right after that, rather than saying "It's Quentin!", Claire actually says -
(http://www.dsboards.com/NoDSquoteimages/1020NoDS_c.jpg)
"Alex, there he is!"
- when she spots Quentin - and rather than a simple "Don't!", Alex actually says -
(http://www.dsboards.com/NoDSquoteimages/1020NoDS_d.jpg)
"No, no, wait!"
- but the dialogue for what's covered so far of Scene 188 is delivered exactly as scripted, with the exception that, as can be seen in today's capture -
(http://www.dsboards.com/NoDSquoteimages/1020ds91_0.jpg)
Page 87/Scene 188 - Claire (O.S.) (screaming): 'It's Tracy!'
- today's quote is not delivered off screen.
And when it comes to the differences in the descriptions and directions, there is no Scene 186 as the film currently stands, though it's not on the unrecovered footage list, so it may be in the 129 minute version - and when it comes to Scene 187, after Claire spots Quentin, we don't actually see him shot through the car's window as he -
(http://www.dsboards.com/NoDSquoteimages/1020NoDS_e.jpg)
- walks away from the pool house - and we also see the Jenkins' car in the background as -
(http://www.dsboards.com/NoDSquoteimages/1020NoDS_f.jpg)
- Quentin soon disappears off camera - and unlike what's scripted, Alex doesn't grab a flashlight before he and Claire get out of the car and run toward the pool house - and when it comes to what's covered so far of Scene 188, we don't actually hear the sound of the Jenkins' footsteps echo loudly as they enter the pool house - and considering that Alex doesn't carry a flashlight, obviously he doesn't flash its the light about or pan it as he and Claire make their way through the building - and the way Tracy is actually spotted by Claire is that she sees Tracy's body -
(http://www.dsboards.com/NoDSquoteimages/1020NoDS_g.jpg)
- bobbing in the water, meaning Tracy has not sunk to the bottom of the pool.
-
Before we get to today's new scene, we need to wrap up Scene 188, starting with the end as scripted:
188 CONTD CONTD 188
Suddenly, Alex ENTERS THE SHOT, diving into the pool.
HOLD as we see him swim to the bottom and grab the
inert Tracy. He brings her to the surface as Claire
helps him pull her out of the pool. Again and again,
he pumps at her back as Claire stands watching. And
then finally, with one huge gasp, Tracy begins to
breathe.
|
End of scene - though that's not quite how things play in the film - for example, Alex doesn't dive into the pool so much as -
(http://www.dsboards.com/NoDSquoteimages/1020NoDS_h.jpg)
- jump, and he doesn't retrieve Tracy from the bottom of the pool because he actually grabs -
(http://www.dsboards.com/NoDSquoteimages/1020NoDS_i.jpg)
- her partially floating body - and once he's brought Tracy to the edge of the pool, several bits of unscripted dialogue come up, beginning with Alex telling Claire -
(http://www.dsboards.com/NoDSquoteimages/1020NoDS_j.jpg)
"Get her, baby."
- and while he's pumping Tracy back, barely audibly he says -
(http://www.dsboards.com/NoDSquoteimages/1020NoDS_k.jpg)
"Come on, honey."
- and then Claire, who's not simply standing and watching but kneeling right beside Tracy, crys -
(http://www.dsboards.com/NoDSquoteimages/1020NoDS_l.jpg)
"Tracy."
- and after water finally spills out of Tracy mouth without a huge gasp or otherwise, Claire leans down to embrace Tracy and once again she crys -
(http://www.dsboards.com/NoDSquoteimages/1020NoDS_m.jpg)
"Oh, Tracy."
- and she begins to sob. And that's how the scene actually ends.
-
Also before we get to the new scene, if you've never seen/read the NoDS Pressbook, you might find this article interesting because it relates to scenes that we've recently covered:
(http://www.dsboards.com/NoDSquoteimages/Swimming.jpg)
(Though unlike the shooting of the funeral, all the main stars save Grayson Hall were invloved.)
-
That's a very cool article, MB. Thanks! I don't recall having read that before.
G.
-
Glad to be of service! [hall2_wink]
A couple of extra tidbits, though ones that are probably more well known:- Kate Jackson couldn't swim, so she was terrified to film her sequences in the pool.
- But she credits Selby and Karlen with helping her get through it and making sure she was safe.
-
Moving on to the next two scenes as scripted:
189 EXT - FRONT OF COLLINWOOD - NIGHT 189
as Alex' car ROARS INTO SHOT. Leaping out, he quickly
crosses to the house where he begins to hammer on the
door. Carlotta finally ENTERS THE SHOT.
190 As she reluctantly opens the door, he quickly 190
pushes by her and starts on down the hall.
|
And that's when yesterday's first quote -
Page 88/Scene 190 - Alex: 'I'm going to see him!'
- comes up in the script, followed in the script by:
Carlotta follows, calling after him.
|
And that's when yesterday's second quote -
Page 88/Scene 190 - Carlotta: 'Mr. Jenkins! They're all asleep!'
- comes up in the script, followed in the script by:
As Alex nears the stairs he begins calling out.
ALEX
Quentin! Quentin!
CARLOTTA
(shouting at him)
Mr. Jenkins! You must stop
that!
As Alex is about to start up the stairs, Gerard
suddenly appears from below and grabs him. The two
men begin to grapple as Gerard jams Alex against the
wall. It is then that Quentin appears at the top of
the stairs.
|
And that's when today's quote -
Page 88/Scene 190 - Quentin: 'Leave him alone!'
- comes up.
And when it comes to the differences in the dialogue, the descriptions, and the directions, there are quite a few things different - for example, in what's scripted to be Scene 189, in unscripted dialogue, Alex actually screams -
(http://www.dsboards.com/NoDSquoteimages/1021NoDS_a.jpg)
"Open the door! OPEN THE DOOR!!"
- once Carlotta comes to the door - then in Scene 190, once she opens the door, Alex actually demands -
(http://www.dsboards.com/NoDSquoteimages/1021ds91_0.jpg)
"Where is he?"
- as he barges in - and Carlotta actually says -
(http://www.dsboards.com/NoDSquoteimages/1021ds91_1.jpg)
"I told you..."
- which gets cut off by Alex shouting -
(http://www.dsboards.com/NoDSquoteimages/1021NoDS_b.jpg)
"Quentin!"
- as he rushes through the foyer with Carlotta running after him (and I absolutly love how -
- she does so) - and we actually see Gerard 's shadow coming up the stairs as Alex shouts a second -
(http://www.dsboards.com/NoDSquoteimages/1021NoDS_c.jpg)
"Quentin."
- and Gerard running up the stairs as Carlotta actually says -
(http://www.dsboards.com/NoDSquoteimages/1021NoDS_d.jpg)
"No. Mr., Mr. Jenkins, please."
- which is followed by Gerard rushing to intercept Alex as Alex shouts an unscripted third -
(http://www.dsboards.com/NoDSquoteimages/1021NoDS_e.jpg)
"Quentin."
- and when Alex and Gerard do grapple, Alex -
(http://www.dsboards.com/NoDSquoteimages/1021NoDS_f.jpg)
- isn't actually pinned up against the wall - and, as can be clearly seen in today's capture, when Quentin appears on the stairs, he isn't actually at the top of them -
(http://www.dsboards.com/NoDSquoteimages/1022ds91_0.jpg)
(ADMIN: Edited to add video and remove animated GIF)
-
The promised animated GIF has been added. Enjoy!
(ADMIN: The animated GIF is now a video)
-
One of the few times when someone should have just barged in but Alex knocks! [8_1_1] [8_1_1] [8_1_1]
-
I forgot to mention that Alex actually rings the doorbell several times when no one responds to his hammering on the door. But all of that is only after he finds the door locked. Though you're right, in the state he's in, it's surprising that he didn't just break the door down!! [nodassent]
And I also forgot to mention that Grayson's script has a couple notes. She writes that Carlotta should be slow and quiet and try to close the door in Alex' face (Alex wasn't about to let that happen! [ghost_nowink]). And it also seems as if in her script she replaced the scripted "Mr. Jenkins! You must stop that!" (referring to Alex' shouting for Quentin) with "Gerard, Gerard, stop him!", but as we know and has already been gotten into in reply #473, what Carlotta actually says in the film is "No. Mr., Mr. Jenkins, please", which doesn't appear in her script or DC's.
-
Continuing with Scene 190 as scripted, beginning with Gerard's response to Quentin's order with regard to Alex:
And that's when today's quote -
Page 88/Scene 190 - Carlotta: 'He forced his way in here. We told him you were sleeping.'
- comes up in the script.
And when it comes to any differences in the dialogue, Carlotta actually says an unscripted -
(http://www.dsboards.com/NoDSquoteimages/1023ds91_0.jpg)
"We tried to stop him."
- which isn't added to Grayson's or DC's scripts.
And when it comes to any differences in the descriptions and directions, Gerard doesn't actually let go of Alex until after Carlotta delivers her line.
-
Continuing Scene 190 with Grayson's script:
And that's when today's quote -
Page 89/Scene 190 - Alex: 'You didn't succeed, Quentin. She's still alive.'
- comes up, followed in the script by:
CARLOTTA
Please, Mr. Jenkins.
(to Quentin) who's
Shall I -- what's
QUENTIN
(interrupting)
Wait a minute! What are you
talking about, Alex?
|
And as far as the dialogue goes, while Alex' quoted line is delivered exactly as scripted, as we can see from Grayson's script, what Carlotta was scripted to say afterward is dropped (and who knows what exactly Grayson was referring to when she wrote "who's" and "what's" into her script?) - and just as in Grayson's script, Quentin's scripted "Wait a minute!" is dropped and in the film he simply asks "What are you talking about, Alex?"
And considering there are no descriptions or directions in this section of the scene, there's nothing to get into just yet when it comes to what's happening in the scene...
-
Though you're right, in the state he's in, it's surprising that he didn't just break the door down!! [nodassent]
Ha!! But I figure the Lyndhurst staff wouldn't have been too keen on having the film crew break the door! (I remember when I first toured the house in 1990, the tour guide pointed out the broken floor tile in front of the foyer where Mrs. Johnson dropped the silver tray in the previous movie.)
-
(I remember when I first toured the house in 1990, the tour guide pointed out the broken floor tile in front of the foyer where Mrs. Johnson dropped the silver tray in the previous movie.)
I don't think I've ever heard that the tile floor was broken while shooting that hoDS scene. I bet the Lyndhurst staff were furious. Though DC got permission to use the house again for NoDS. I guess the National Trust for Historic Preservation figured the money MGM would pay to use it again was more than worth it. [wink2]
-
Has it been repaired?
-
Continuing Scene 190, beginning with yesterday's quote -
Page 89/Scene 190 - Alex: 'Are you going to try and tell me that you don't know what you did tonight?'
- coming up, followed in the script by:
Quentin starts down the stairs toward him.
|
And that's when today's quote -
Page 89/Scene 190 - Quentin: 'I didn't do a damn thing. I've been painting all evening. Now, for the last time, what are you so hysterical about?'
- comes up.
And as far as any differences in the dialogue go, Alex actually says "Are you gonna try and tell me you don't know what you did tonight?" - and Quentin's actual reply is "I didn't do a damn thing. I've been painting all night. Now, what are you so upset about?", with the "for the last time" part dropped, "evening" changed to "night", and "hysterical" changed to "upset".
And as far as any any differences in the descriptions and directions go, ever since Alex tells Quentin that he didn't succeed, Quentin has actually been seen coming down the stairs -
(http://www.dsboards.com/NoDSquoteimages/1024ds91_0.jpg)
- while also buttoning his shirt - and I absolutely love the look of fascination and, dare we say, excitement on Carlotta's face as Alex asks Quentin if he's going to try -
(http://www.dsboards.com/NoDSquoteimages/1025ds91_0.jpg)
- to say that he doesn't know what he did - and when it comes to Quentin's claim that he was "painting" all night, would the fact that he's buttoning his shirt betray the possibility that he might have been doing more than simply painting? [naughty]
-
Has it been repaired?
I really don't know. I never thought to look at it the other two times I was there. But as I recall, it wasn't serious damage. Anybody just casually looking around wouldn't even notice it. Just a cracked or chipped tile or two, I believe.
I think the Lockwood-Mathews staff were more upset with DC's crew, from what I heard from the tour guide there. They painted the basement, which apparently wasn't in the agreement, and they broke a marble vanity in an upstairs bathroom. I wonder if they felt they didn't need to be as careful at Lockwood-Mathews, since (IIRC) the house wasn't giving tours then and wasn't as far along in its restoration.
-
Continuing Scene 190, beginning with yesterday's quote -
Page 89/Scene 190 - Alex: 'You tried to drown Tracy!'
- coming up, followed in the script by:
Quentin stares incredulously at him as Alex continues.
|
And that's when today's quote -
Page 89/Scene 190 - Alex: 'It wasn't you, Quentin. It was Charles Collins drowning his wife all over again.'
- comes up, followed in the script by:
CARLOTTA
Mr. Collins, you're not going
to listen to this, are you?
|
And as far as any differences in the dialogue go, Alex actually says "Quentin it wasn't you. It was Charles Collins drowning his --" - and Carlotta's line is completely dropped in favor of Quentin cutting off Alex with an unscripted -
(http://www.dsboards.com/NoDSquoteimages/1028NoDS_a.jpg)
"Alex, you don't --"
And as far as any any differences in the descriptions and directions go, there nothing to get into so far as what's written in the script, but what's obvious from the capture above is that Quentin turns away from Alex after Alex brings up Charles.
And what's interesting about Grayson script is that she made notations for her dropped line. She wrote that when Alex accuses Quentin of trying to drown Tracy, Carlotta would laugh as if it's the most absurd thing she's ever heard - and quite possibly in addition to the dropped line, Carlotta would actually say "That's absurd" - and speaking of the actual dropped line, Grayson changed "listen" to "listening", which doesn't work with the way the line is written in the script, so apparently she also planned at least one other change but didn't write it down.
-
Continuing Scene 190, beginning with today's first quote -
Page 89/Scene 190 - Alex: 'For God's sake, Quentin! Will you listen to me! She's at my place with Claire right now. Now you've got to get out of this house!'
- coming up, followed in the script by:
Quentin looks from Alex to Carlotta and then turns
away as if trying to clear his mind. TRUCK IN ON HIS
CLOSE-UP as we see his total confusion. HOLD FOR A
190 CONTD CONTD 190
MOMENT as Alex ENTERS THE SHOT, putting his hand on
Quentin's shoulder.
|
And that's when today's second quote -
Page 90/Scene 190 - Alex (softly): 'All you have to do is come with me -- Tracy understands.'
- comes up.
And as far as any differences in the dialogue go, Alex actually says "For Christ sakes, would you listen to me! Now she's at my place right now. Now you've got to get out of this house!" - and then he adds a "Quentin" before delivering the second quote as scripted.
And as far as any differences in the descriptions and directions go, nothing happens as it's scripted - Quentin doesn't look from Alex to Carlotta nor turn away as if trying to clear his mind, mostly because he's already turned away and he doesn't turn back - and as is obvious in today's first capture, the camera doesn't truck in on a close-up of Quentin -
(http://www.dsboards.com/NoDSquoteimages/1029ds91_0.jpg)
- because things remain in a 2 shot of Quentin and Alex, though we do see Quentin's total confusion - and the camera doesn't hold for a moment as Alex enters the shot because he never leaves it - and as we can see in today's second capture, Ales doesn't -
(http://www.dsboards.com/NoDSquoteimages/1029ds91_1.jpg)
- put his hand on Quentin's shoulder, though he does move in closer to Quentin before he delivers his version of today's second quote.
Also, it's interesting that in a GP rated film they got away with John Karlen changing "For God's sake" to "For Christ sakes" - though not as interesting as an unscripted ad lib that he'll make in an upcoming scene...
-
Holy Hell, today's shot of Carlotta and Gerard is totally awesome! Excellent work, MB!
cheers, G.
-
Thanks, I thought you might like it. [hall2_wink]
And actually, there are two quotes for today's slideshow, so if you haven't already, be sure to click on the "Get quote" button to see the second capture. [hall2_smiley]
-
Thanks! Love them both! For some reason, the first photo was displaying with Carlotta's line for the second capture.
Best, G.
-
In certain browsers that sometimes happens the first time someone clicks the "Get quote" button - but it usually fixes itself if you click the button again...
-
And continuing with more of Scene 190, beginning with Quentin's reaction to Alex telling him that Tracy understands:
Quentin turns and looks at him hard. Then he turns to
Carlotta.
|
And that's when today's first quote -
Page 90/Scene 190 - Quentin: 'Where is Mrs. Collins?'
- comes up, followed by today's second quote -
Page 90/Scene 190 - Carlotta: 'I'm sure she's in her room, sir.'
- comes up.
And when it comes to any differences in the dialogue, Quentin actually asks "Where's Mrs. Collins?" - and Carlotta's response is simply "Well, I'm sure she's in her room", with addressing Quentin as "sir" dropped once again.
And when it comes to any differences in the descriptions and directions go, Quentin doesn't actually turn to look hard at Alex - he does, however, turn toward Carlotta, which then prompts Alex to turn to her as well - and can I just say that I absolutely love the butter wouldn't melt in her mouth look of innocence on Carlotta's face -
(http://www.dsboards.com/NoDSquoteimages/1030NoDS_a.jpg)
before she tells Quentin that she's sure Tracy is in her room!! And Grayson has a notation in her script that Carlotta should deliver that line with a where else would she be demeanor, which is exactly how it comes across.
-
Holy Hell, today's shot of Carlotta and Gerard is totally awesome!
For those who may have missed the 30th's installment, here they are so you'll know what was being talked about:
(http://www.dsboards.com/NoDSquoteimages/1030ds91_0.jpg)
Page 90/Scene 190 - Quentin: 'Where is Mrs. Collins?
(http://www.dsboards.com/NoDSquoteimages/1030ds91_1.jpg)
Page 90/Scene 190 - Carlotta: 'I'm sure she's in her room, sir.
-
Wrapping up Scene 190 and moving on:
Quentin looks at Alex, then suddenly turns and starts
up the stairs, three at a time.
QUENTIN
(screaming)
Tracy! Tracy!
Alex starts up after him.
190A INT - SECOND FLOOR CORRIDOR - NIGHT - 190A
REVERSE ANGLE
as Quentin comes charging TOWARD CAMERA and bounds up
the stairs to the Master Bedroom.
191 INT - MASTER BEDROOM - NIGHT 191
With an empty bed in the F.G., Quentin explodes into
the room. TRUCK IN TO HIS CLOSE-UP as he looks.
Quickly, he turns, runs down the stairs.
191A INT - SECOND FLOOR CORRIDOR - NIGHT 191A
In the F.G. of the SHOT, Quentin stands, his back to
CAMERA, staring at Alex, who stands at the far end
of the corridor at the top of the stairs.
QUENTIN - TRUCKING SHOT
as he starts toward Alex, CAMERA TRUCKS BACKWARD in
front of him, HOLDING HIM IN CLOSE-UP.
191A CONTD CONTD 191A
ALEX - QUENTIN
as Quentin stops directly in front of Alex and looks
down at him.
|
And that's when today's first quote -
Page 91/Scene 191A - Quentin (quietly): 'You're right. She's gone. So she's left me. If that's the way she wants it, fine.'
- comes up, followed in the script by:
Alex puts his hand on Quentin's elbow.
|
And that's when today's second quote -
Page 91/Scene 191A - Alex: 'Quentin, that's not...'
- comes up.
And when it comes to differences in the dialogue, what Quentin actually says to Alex is "You're right. She's gone. If that's the way she wants it, it's fine with me", with the "So she's left me" part dropped - and Alex nods his head no before he actually says "Quentin, that's not you...".
And when it comes to the differences in the descriptions and directions, with the close of Scene 190, after Carlotta says she's sure Tracy is in her room, Quentin doesn't actually look at Alex and then suddenly turn to start up the stairs because, rather, he immediately whirls around to -
(http://www.dsboards.com/NoDSquoteimages/1031NoDS_a.jpg)
- look up the stairs (and I love the expression on Carlotta's face as she studies him as he does so) - and then in close-up -
(http://www.dsboards.com/NoDSquoteimages/1031NoDS_b.jpg)
- that instantly zooms back to a long shot of the foursome -
(http://www.dsboards.com/NoDSquoteimages/1031NoDS_c.jpg)
- Quentin screams out the first scripted "Tracy!", which echoes - and it's only after that that Quentin runs up the stairs, though not three at a time, and screams out the second "Tracy!" - however, we do not see Alex start up after Quentin - and with Scene 191, there is no truck in to a close-up of Quentin because things simply remain with the empty bed in the foreground -
(http://www.dsboards.com/NoDSquoteimages/1031NoDS_d.jpg)
- and Quentin in the doorway before he turns to leave, upon which we do not see him run down the stairs from the bedroom - and with Scene 191A, rather than seeing Quentin's back to the camera as he stares at Alex standing at the far end of the corridor at the top of the stairs, at first we see a gratuitous shot of Quentin's butt -
(http://www.dsboards.com/NoDSquoteimages/1031NoDS_e.jpg)
- (though I'm sure there were many in the audience who enjoyed that [wink2]), which soon switches to a shot of Quentin's hand which he then -
(http://www.dsboards.com/NoDSquoteimages/1031NoDS_f.jpg)
(http://www.dsboards.com/NoDSquoteimages/1031NoDS_g.jpg)
- clenches before he begins to make his way to Alex, which is indeed shot as the camera trucks backward in front of him as it holds him in close-up, but the camera also switches to a hand-held shot of Alex as Quentin moves closer and closer -
(http://www.dsboards.com/NoDSquoteimages/1031NoDS_h.jpg)
(http://www.dsboards.com/NoDSquoteimages/1031NoDS_i.jpg)
- to him, until Quentin finally reaches him and we see the 2 shot of them as in today's captures - and as we can easily see from today's second capture, Alex is not seen to -
(http://www.dsboards.com/NoDSquoteimages/1031ds91_1.jpg)
- put his hand on Quentin's elbow, nor does it appear that he even does so.
-
Wrapping up Scene 191A and moving on to the next scene:
Quentin pulls his arm away.
|
And that's when the first part of today's quote -
Page 91/Scene 191A - Quentin: 'Alex, I've known you for a long time. But listen to me. I'm sick of your insane writer's mind. Don't ask me anymore questions. Don't bug me anymore. Just get out of here.'
- comes up, followed in the script by:
And that's when the second part of today's quote -
Page 91/Scene 191A - Quentin: 'And take her with you --'
- comes up, followed in the script by:
WIDEN as Alex turns, knowing there is nothing else
he can say. HOLD ON THIS as Quentin stands there.
Alex starts down the stairs, passing Carlotta, who
stands on the middle landing watching him. As Alex
continues down to the first floor, Gerard comes to
him, trying to hurry him along. Alex shakes him
off, and EXITS THE SHOT.
ALEX
Take your bloody hands off me --
191B HOLD ON the three of them as the SOUND of the 191B
front door can be heard. There is a moment when no
one moves. Then finally, Quentin starts down the
stairs. As he reaches the middle landing, he looks
at Carlotta with hatred in his eyes. Carlotta knows
not to speak to him. He continues down to the first
floor and stops, looking down the hall where Alex
exited. He then crosses into the Card Room where
he picks up a bottle of brandy and pours himself a
drink. Carlotta follows him in as Gerard remains in
the hall.
|
End of scene though not end of sequence...
And when it comes to differences in the dialogue, what Quentin actually says to Alex is "Alex. Now listen to me. I've known you for a long time. I'm sick of your insane writer's mind. I don't wanna talk about it anymore. I just want you to get out of here and take her with you --", with the "Don't ask me anymore questions. Don't bug me anymore" part reworked and the "And take her with you --" part incorporated without any separation - and after that Alex simply nods his head - however, for reasons that will become clear in the next section, Alex' "Take your bloody hands off me --" is completely dropped in the film.
And when it comes to the differences in the descriptions and directions, in Scene 191A, Quentin doesn't pull his arm away from Alex before he tells Alex he's sick of him, he wants him to get out, and he wants Alex to take Tracy with him, and that's because, as we got into yesterday, in the film Alex never touches Quentin in the first place - and there's no point where Alex' reaction to what Quentin says to him is to simply look at him because in the film there's no pause between Quentin's first and second quoted dialogue - and the camera shot doesn't widen as Alex turns away from Quentin - nor does the camera hold on Quentin because as soon as Alex turns away he immediately starts down the stairs - and as Alex approaches Carlotta on the middle landing, I love the momentary and slight smile -
(http://www.dsboards.com/NoDSquoteimages/1101NoDS_a.jpg)
- that Carlotta flashes - and as Alex rounds the railing to the next set of stairs, he -
(http://www.dsboards.com/NoDSquoteimages/1101NoDS_b.jpg)
- looks up in Quentin's direction - and as Alex continues down to the first floor, Gerard doesn't actually come to him to try to hurry him along, so, obviously, nor does Alex shake him off - we simply see Alex pass by Gerard, who isn't actually still down on the first floor -
(http://www.dsboards.com/NoDSquoteimages/1101NoDS_c.jpg)
- but standing up about midway on the first set of stairs, and then Alex exits the shot - and the camera holds on Carlotta and Gerard as he puts a smile on his face -
(http://www.dsboards.com/NoDSquoteimages/1101NoDS_d.jpg)
- and with Scene 191B, we do see a shot of Quentin, Carlotta, and Gerard as the sound of Alex' footsteps and the front door closing can be heard, however we only see Quentin-
(http://www.dsboards.com/NoDSquoteimages/1101NoDS_e.jpg)
- from the back - and as Quentin begins to descend the stairs, similar to the way things were shot while Quentin approached Alex, we actaully see a hand-held shot of Carlotta as Quentin moves closer and closer -
(http://www.dsboards.com/NoDSquoteimages/1101NoDS_f.jpg)
(http://www.dsboards.com/NoDSquoteimages/1101NoDS_g.jpg)
- before he reaches the middle landing and looks at Carlotta with hatred - and just after Carlotta enters the Card Room while Quentin gets his drink, she turns to look back out into the corridor -
(http://www.dsboards.com/NoDSquoteimages/1101NoDS_h.jpg)
- in the direction of Gerard.
-
LOVE Grayson's dress!
-
Thank you, thank you, thank you MB for those gorgeous shots of Carlotta from that scene!
G.
-
Oops, I forgot to mention yesterday that both DC and Grayson made notes in their scripts, although, as is sometimes the case, not all of them were followed through on in the film. For example DC writes at length about how he's going to shoot Quentin in profile as Alex exits - didn't happen, or at least it wasn't used in the final edit - and he's going to use a zoom and a whip pan while shooting Alex' exit - also didn't happen, and considering how the exit plays in the film, it's hard to imagine that it was shot that way but not used. And when it comes to Grayson, she writes once again that Carlotta has won, and also adds that Gerard takes all his order from Carlotta.
-
LOVE Grayson's dress!
Yes, that's one of my favorites, too. [hall2_smiley]
[spoiler]And just think, if Carlotta's ghost ever appeared at Collinwood, and considering that for some reason ghosts seem to appear in the last thing they were wearing in life, Carlotta could wear it for all eternity. [hall2_grin][/spoiler]
Thank you, thank you, thank you MB for those gorgeous shots of Carlotta from that scene!
Glad you liked them - I thought you might. [hall2_wink]
-
Beginning the next scene:
192 INT - CARD ROOM - NIGHT 192
as Carlotta crosses to Quentin. Gerard, unnoticed in
the B.G., can be seen moving off down the hall. As
Quentin lifts his glass to drink, he suddenly reacts
to the sight of his hand.
QUENTIN'S HAND - HIS P.O.V.
Raw scratch marks can be seen on his wrist and the
back of his hand. WIDEN as he quickly puts down the
glass and pulls his sleeve up, revealing the same
kind of scratches on the other arm.
QUENTIN - CLOSE-UP
as he stares at the raw marks.
QUENTIN
He was telling the truth, wasn't
he?
|
And that's when today's first quote -
Page 92/Scene 192 - Carlotta: 'You did it for her -- for Angelique.'
- comes up, followed by today's second quote -
Page 92/Scene 192 - Quentin (as it sinks in): 'I tried to kill my wife --'
- coming up.
And when it comes to the dialogue, believe it or not, everything covered is delivered as scripted.
However, when it comes to the descriptions and directions, of course there are differences. Apparently the script means that Gerard goes unnoticed by Quentin as he can be seen moving off down the hall because Carlotta -
(http://www.dsboards.com/NoDSquoteimages/1102NoDS_a.jpg)
- certainly notices him (but you know what's funny - despite the fact that Carlotta looks right at him, I don't know if I ever noticed that Gerard can be seen at the outset of Scene 192, and it could be because my attention is normally fixed on Quentin) - and Quentin actually reacts to the sight of scratches on his wrist, and only one -
(http://www.dsboards.com/NoDSquoteimages/1102NoDS_b.jpg)
(http://www.dsboards.com/NoDSquoteimages/1102NoDS_c.jpg)
- at that because, as can be seen in the top capture directly above, there are no scratches on the back of Quentin's hand, and unlike what's scripted, Quentin doesn't quickly put down his glass, nor does he pull his sleeve up to reveal the same kind of scratches on the other arm - and after he notices the scratches on his right wrist, he turns to Carlotta -
(http://www.dsboards.com/NoDSquoteimages/1102NoDS_d.jpg)
- before he actually puts his glass down and then declares to Carlotta that Alex was telling the truth - and Carlotta nods in the affirmative before she tells Quentin that he did it for Angelique.
Also, there's one note in Grayson's script in which she writes that Quentin shouldn't be upset because he did a good thing for Angelique. And there's another in which she says Carlotta will touch the scratches and stroke them, but as we know, she doesn't actually do that...
-
Continuing Scene 192:
He turns away and then slowly crosses to the other
end of the room. Suddenly, he realizes that some-
thing is happening.
|
And that's when the first part of today's first quote -
Page 92/Scene 192 - Quentin: 'Where's Gerard?'
- comes up, followed in the script by:
And that's when the second part of today's first quote -
Page 92/Scene 192 - Quentin: 'Where is he?'
- comes up, followed by today's second quote -
Page 92/Scene 192 - Carlotta: 'Doing what you know must be done.'
- coming up, followed in the script by:
And when it comes to what's different with the dialogue, Carlotta actually says "Doing what you know has to be done" - to which Quentin only reacts with "No!".
And when it comes to the differences in the descriptions and directions, rather than Quentin turning away from Carlotta, Carlotta actually turns away from Quentin -
(http://www.dsboards.com/NoDSquoteimages/1103NoDS_a.jpg)
- and looks down before Quentin moves past her to the other end of the room. And I do love how David Selby plays Quentin's anguish after realizing he tried to kill Tracy -
(http://www.dsboards.com/NoDSquoteimages/1103NoDS_b.jpg)
- and before Quentin notices Gerard is gone.
And once again there are notes in Grayson's script. This time she writes that Carlotta does so with pride when she tells Quentin that Gerard is doing what has to be done - and that Carlotta can be strong enough for the both of them
-
Concluding the current scene, beginning with Quentin's next reaction to Carlotta telling him that Gerard is doing what has to be done:
Quickly, he starts toward the hall, where he suddenly
stops, looking up at the first floor landing. WHIP
PAN to reveal Angelique, now more real than ever, as
she stares down at him.
192 CONTD CONTD 192
|
And that's when today's quote -
Page 93/Scene 192 - Quentin: 'I am not Charles Collins. I will not allow them to be hurt.'
- comes up, followed in the script by:
They stare at each other for a minute and then Quentin
turns and runs out.
|
And when it comes to differences in the dialogue, Quentin actually says "I am not Charles Collins. And I'm not going to allow them to be hurt."
And when it comes to differences in the descriptions and directions, there is no whip pan to reveal Angelique because the camera simply cuts to her on the landing (and it's very interesting that the script makes a point of saying that Angelique is now more real than ever) - and after Quentin tells Angelique that he's not going to allow Tracy, Alex, and Claire to be hurt, he and Angelique are not seen staring at each other for a minute, nor does Quentin turn and run out, though it does seem as if Quentin might have been about to run out after he warns Angelique, but things actually cut to Scene 193...
Also, as an aside, for the original slideshow for NoDS, I actually used the following shot of Angelique -
(http://www.dsboards.com/moviesquoteimages/1203NoDS_0.jpg)
NoDS: Scene #192 - Quentin: 'I am not Charles Collins. And
I'm not going to allow them to be hurt.'
- for today's lines because she is actually on screen during the "I am not Charles" portion of Quentin's lines.
-
Before we get into today's quote, we have several other scenes to deal with:
193 EXT - ROAD - COLLINWOOD GROUNDS - NIGHT 193
As Alex' car comes ROARING TOWARD CAMERA.
194 INT - ALEX' CAR - NIGHT 194
The anxiety shows in his face as he recklessly pushes
the car in an effort to get home as quickly as possible.
Suddenly he hits the brake and swerves out of control
as he is blinded by enormous lights on the road ahead.
195 EXT - ROAD - NIGHT 195
Gerard sits in his jeep, parked in the middle of the
road. Alex' car can be seen in the B.G. careening
through the underbrush by the side of the road.
INT - GERARD'S JEEP - NIGHT
as Gerard, throwing the jeep into gear, ROARS OFF
after him.
196 SERIES OF SHOTS 196
As Gerard proceeds to constantly harass Alex by ramming
the rear of his car and sideswiping him.
EXT - RAVINE - NIGHT
as the two cars come careening TOWARD CAMERA, Gerard's
jeep finally pulls alongside Alex' car. Then, with
one quick move, viciously side-swiping him, sending
Alex' car off the road through the trees, down the
rocky ravine.
|
End of sequence.
And even though there is no scripted dialogue, during what's presumably Scene 195, Alex ad libs -
(http://www.dsboards.com/NoDSquoteimages/1105NoDS_a.jpg)
"Son of a bitch."
And as far as differences in the descriptions and directions go, in the film we actually see Gerard earlier than in the script because after we see Alex in his car, in what could presumably be a Scene 194A, we see that, unlike how Scene 195 describes his first appearance in the sequence, Gerard has hidden his truck -
(http://www.dsboards.com/NoDSquoteimages/1105NoDS_b.jpg)
- by the side of a building and is lying in wait for Alex -
(http://www.dsboards.com/NoDSquoteimages/1105NoDS_c.jpg)
- with a devilish smile on his face - and when it comes to Scene 195, Alex' car doesn't actually go off into the underbrush at the side of the road because Alex is able to swerve out of Gerard's way and remain -
(http://www.dsboards.com/NoDSquoteimages/1105NoDS_d.jpg)
- on the road - however, after that, Gerard does manage to pull out in front of Alex (which is what prompts Alex to call Gerard a son of a bitch) and -
(http://www.dsboards.com/NoDSquoteimages/1105NoDS_e.jpg)
(http://www.dsboards.com/NoDSquoteimages/1105NoDS_f.jpg)
- force Alex' car off of the road - but Alex does manage to get back on the road, and after that is when, in Scene 196, Gerard pulls up behind him to ram the rear of Alex car, to sideswipe (and, yes, the script does indeed misspell sideswipe once by making it hyphenated) him, and then eventually to force him off the road, though not into a rocky ravine -
(http://www.dsboards.com/NoDSquoteimages/1105NoDS_g.jpg)
(http://www.dsboards.com/NoDSquoteimages/1105NoDS_h.jpg)
- but to crash into a tree.
And finally, I wonder if we should read anything into the fact that Gerard couldn't seem to keep his hand off his gearshift during these scenes? [cheesyb]
-
Moving on to the current scene:
CUT TO:
197 INT - COTTAGE LIVING ROOM - NIGHT 197
Tracy sits nearest the fire, still somewhat wet from
her pool experience. Claire is nervously pacing about.
CLAIRE
Oh, God, when is he coming back?
197 CONTD CONTD 197
She suddenly stops and listens. Tracy looks up, is
about to say something. Claire raises her hand.
CLAIRE
Sh --
Tracy gets up, crosses to her.
|
And that's when yesterday's quote -
Page 94/Scene 197 - Claire: 'I heard something outside.'
- comes up, followed in the script by:
Claire crosses to the desk, quietly opens the drawer,
removes a pistol, as Tracy looks at her.
TRACY
What are you going to do?
|
And that's when today's quote -
Page 94/Scene 197 - Claire: 'Alex told me to shoot anyone who came through that door.'
- comes up.
And as far as the differences in the dialogue go, Claire drops the "Oh" from the "Oh, God" part of her first line - and then in some bits of unscripted dialogue, Claire asks Tracy -
(http://www.dsboards.com/NoDSquoteimages/1106NoDS_b.jpg)
"How are you feeling?"
- to which Tracy replies -
(http://www.dsboards.com/NoDSquoteimages/1106NoDS_c.jpg)
"Well, I'm better... Still a little cold."
- and when Tracy begins to say -
(http://www.dsboards.com/NoDSquoteimages/1106NoDS_d.jpg)
"Claire, do--?"
-but Claire shushes her, Tracy whispers -
(http://www.dsboards.com/NoDSquoteimages/1106NoDS_e.jpg)
"What's the matter?"
- and rather than delivering the second quote, Claire actually says "Alex told me to shoot anyone that tries to come in here."
And as far as differences in the descriptions and directions go, rather than seeing Claire pacing the cottage's Living Room, we see her enter the Living Room -
(http://www.dsboards.com/NoDSquoteimages/1106NoDS_a.jpg)
- from the direction of the Bedroom - and we don't see that Tracy is sitting near the fire until after Claire gets further into the Living Room - and after Claire shushes Tracy, as we can see in the captures above, Tracy remains sitting on the arm of the chair - it isn't until after Claire says that she heard something and begins to move closer to the front of the cottage that Tracy stands -
(http://www.dsboards.com/NoDSquoteimages/1106NoDS_f.jpg)
- and follows somewhat behind Claire until Claire goes to retrieve the pistol from the desk and then returns, whereupon, as we can see in today's second capture -
(http://www.dsboards.com/NoDSquoteimages/1106ds91_0.jpg)
- Tracy comes over to her.
-
I forgot to mention that in DC's script he's written in an establishing shot of the exterior of the cottage with Claire able to be seen at the window. But as we know, there's no such scene in the film as it currently stands. And considering that the way things play in the film, Claire is first seen entering the Living Room from the direction of the Bedroom and she's not seen pacing the Living Room as scripted, chances might be good that the establishing scene was never shot, or at least was never in the film because it wouldn't have made much sense...
-
Picking up Scene 197 where we left off:
They both stand stock-still and listen.
|
And that's when yesterday's quote -
Page 94/Scene 197 - Tracy: 'What did you hear?'
- comes up, followed by today's quote -
Page 94/Scene 197 - Claire: 'I know someone's out there.'
- coming up, followed in the script by:
They tiptoe toward the window where the curtains are
drawn against the night. TRUCK WITH THEM. As they
reach the window, they stop. Then working up her
nerve, Tracy gingerly reaches for the drapes and
very slowly pulls them apart. FAST ZOOM TO EXTREME
CLOSE-UP OF GERARD STILES, who leers evilly through
the window.
|
End of scene - though certainly not the end of sequence...
And as far as the differences in the dialogue go, Tracy actually says "Wait a minute. Claire, what did you hear?"
And as far as differences in the descriptions and directions go, the camera doesn't actually truck with Claire and Tracy as they move toward the window because we see them from the front as they begin to move toward it and then we see them from the back practically there - and Tracy and Claire exchange a look right after they -
(http://www.dsboards.com/NoDSquoteimages/1108NoDS_a.jpg)
- reach the window - and it's Claire, not Tracy, who reaches out slowly to grab the drapes, but she actually quickly pulls only one side back -
(http://www.dsboards.com/NoDSquoteimages/1108NoDS_b.jpg)
- to reveal Gerard - and there's no zoom in on Gerard, nor does he have any sort of evil look on his face because he actually -
(http://www.dsboards.com/NoDSquoteimages/1108NoDS_c.jpg)
- looks shocked and surprised.
-
Scene 198 plays differently in the film from they way it's scripted, so first we're going to deal with it completely as scripted:
198 CLAIRE - TRACY 198
As they scream with shock, Claire suddenly raises the
pistol, fires point blank into Gerard's face.
GERARD - CLOSE-UP
Screaming with pain, he grabs his face and falls from
sight.
CLAIRE
Oh, God, I've killed him.
198 CONTD CONTD 198
TRACY
We've...we've got to make sure.
They look at each other, both knowing that they don't
want to leave the comparative safety of the cottage.
CLAIRE
We can't...we can't.
TRACY
If he's just wounded...
CLAIRE
(pulling herself
together)
I know...all right...let's go.
|
End of scene. But as we'll see when we deal with today's quote/capture in the slideshow, and as is already apparent given today's slideshow, some of the lines were actually used in upcoming Scene 199. And as we'll also see, other's were dropped entirely...
-
When it comes to the dialogue as scripted for Scene 198, Claire's "Oh, God, I've killed him", "We can't...we can't", and "I know...all right...let's go" were all dropped and were not moved to upcoming Scene 199, mostly because, as we'll see, two out three of the lines wouldn't have made sense there. On the other hand, Tracy's "We've...we've got to make sure" and "If he's just wounded..." were moved to Scene 199, and we'll get into how they play there when we get into Scene 199.
But first up we're going to deal with how Scene 198 actually concludes, and much of it is basically similar to how it was scripted to start:
While the camera doesn't switch to a shot of Claire and Tracy because it remains on Gerard in the same way as reply #504's last capture, showing Gerard's look of shock and surprise, we do hear Claire scream at the sight of Gerard, we do see Claire's hand reach up with the pistol and shoot -
(http://www.dsboards.com/NoDSquoteimages/1109NoDS_a.jpg)
- but we also see an unscripted shot of Claire quickly begin to move away from the window and Tracy in shock -
(http://www.dsboards.com/NoDSquoteimages/1109NoDS_b.jpg)
- and while we do see Gerard grab his bloody face -
(http://www.dsboards.com/NoDSquoteimages/1109NoDS_c.jpg)
- we don't hear him scream, and we don't see him fall because the drapes close as soon as Claire lets go of them - and the scene actually closes with an unscripted shot of Tracy comforting Claire -
(http://www.dsboards.com/NoDSquoteimages/1109NoDS_d.jpg)
-
Moving on to how the portion of Scene 199 is scripted before we reach today's quote:
199 EXT - GROUNDS OUTSIDE COTTAGE - NIGHT 199
|
Yup, that's all we can get into because the beginning of the scene is so different from the way it's scripted to begin.
So, when it comes to the differences in the dialogue, the description and the directions, in the film Scene 199 actually begins with what we saw in yesterday's installment of the slideshow, with Claire and Tracy exiting the cottage and Tracy saying -
(http://www.dsboards.com/NoDSquoteimages/1109ds91_0.jpg)
"If he's just wounded..."
- which we've already pointed out came from Scene 198 - and then in more dialogue taken from Scene 198, as Claire and Tracy make their way across the bridge from the cottage to the grounds, Tracy then actually says -
(http://www.dsboards.com/NoDSquoteimages/1110NoDS_a.jpg)
"We've gotta be sure."
- and then they make their way to the side of the cottage where Gerard should be -
(http://www.dsboards.com/NoDSquoteimages/1110NoDS_b.jpg)
(http://www.dsboards.com/NoDSquoteimages/1110NoDS_c.jpg)
-
Wrapping up Scene 199, starting with how it was scripted to begin:
They are at the spot where Gerard should have been if
Claire killed him. He is not there.
|
And that's when yesterday's quote -
Page 95/Scene 199 - Tracy: 'But I know we hit him.'
- comes up, followed in the script by:
They look around, knowing he has to be nearby.
|
And that's when today's quote -
Page 95/Scene 199 - Claire: 'Quick. We've got to get back inside.'
- comes up, followed in the script by:
They quickly move to the front of the house.
EXT - FRONT OF COTTAGE - NIGHT
as the two girls run into the SHOT and come toward the
front door. It is open and the security of the well-
lit interior awaits them.
|
And when it comes to any differences in the dialogue, Claire actually says "Quick. We'd better get back inside."
And when it comes to any differences in the directions and descriptions, Tracy actually looks around before -
(http://www.dsboards.com/NoDSquoteimages/1111NoDS_a.jpg)
- she delivers her line - and they basically stand in place after that - though as we can see in today's capture, Tracy does give a look behind her -
(http://www.dsboards.com/NoDSquoteimages/1111ds91_0.jpg)
- as she begins to move with Claire to get back to the house - however, when they reach the house, the door is not open -
(http://www.dsboards.com/NoDSquoteimages/1111NoDS_b.jpg)
- as Tracy has to reach for it.
-
Before we get to the scene that's come up in today's slideshow, we have one other scene to deal with first:
200 INT - COTTAGE - NIGHT 200
as the two girls ENTER, Claire SLAMS and BOLTS the
door. Suddenly, the CAMERA is BLOCKED OUT by someone
stepping between the girls and the LENS.
GERARD - EXTREME CLOSE-UP
Blood running down his face, he leers evilly at them.
They SCREAM as we
CUT TO:
|
End of scene as scripted - though it doesn't quite play out entirely that way.
There is no scripted dialogue, but dialogue is featured in the film. After Claire is heard bolting the door and they begin to come into the cottage, Tracy asks -
(http://www.dsboards.com/NoDSquoteimages/1112NoDS_b.jpg)
"What do you think we should do?"
- to which Claire replies -
(http://www.dsboards.com/NoDSquoteimages/1112NoDS_c.jpg)
"I don't know. I know we hit him."
And when it comes to the differences in the descriptions and directions, I love how the first shot of the inside of the cottage makes it appear as if the clothes hanging on the coat rack are actually a person -
(http://www.dsboards.com/NoDSquoteimages/1112NoDS_a.jpg)
- when I saw NoDS at an indoor theater (I first saw it at an outdoor) some people in the audience visibly jumped at the shot, which is what I'm sure DC hoped - and unlike how the script says that the camera would be blocked out by someone stepping between the girls and the camera's lens, Gerard is actually first glimpsed as Claire walks by him -
(http://www.dsboards.com/NoDSquoteimages/1112NoDS_d.jpg)
-without seeing him at first - and once Claire has completely passed by is when we hear Tracy and Claire scream and the camera moves in on -
(http://www.dsboards.com/NoDSquoteimages/1112NoDS_e.jpg)
- Gerard's bloody face - and it's worth noting that in the 97 and 129 minute versions on the film, the screams and the shot of Gerard last longer...
One thing I don't remember exactly, though, is if in the missing footage Gerard actually lunges at them, as in the following publicity still:
(http://www.dsboards.com/NoDSquoteimages/Lunge.jpg)
I'm 99% percent sure he doesn't - but...
-
Interesting that at no point neither Tracy nor Claire ever thinks about calling the police.
-
[pointing-up] Well, maybe they would have thought of that if Gerard hadn't shown up. After Tracy asked what they should do, Claire might have said "I don't know. I know we hit him. Maybe we should call the police." But then, maybe they wanted to keep the police out of it because of how Quentin had tried to kill Tracy... [idontknow]
-
People in movies, especially horror movies, don't always behave rationally, so I guess that I shouldn't be surprised at how Tracy and Claire handle the situation.
-
Before we leave the previous sequence, I want to share a bit of trivia about how the shooting of Gerard was done. According to Director of Photography, Richard Shore, the production had to go to unusual means to accomplish it. Claire's gun was loaded with blanks (obviously - James Storm might have had just a slight problem with real bullets [hall2_grin]) but they had to make it look like the bullet went through the window when Claire shot Gerard. So, believe it or not, just off-camera they had a crew member armed with a sling-shot and a b.b., they then placed a sheet of plexiglass in front of the window to protect Nancy Barrett from both the b.b. and the shattering glass, and then when the time came to shoot the gun, Nancy fired it, the crew member fired the b.b., thus shattering the glass, and finally James Storm took a rag soaked in stage blood and slapped it to his face. Voila!
-
Moving on to yesterday's scene - and as the graphic I put up for the slideshow indicated, it plays very differently in the film from the way it's scripted. First up, the scripted version:
201 EXT - RAVINE - NIGHT 201
as Quentin runs along the road toward CAMERA. He
suddenly reacts at the sight of broken trees and ripped-
up turf.
RAVINE - QUENTIN'S P.O.V.
There, in the ravine, Alex' car, almost demolished,
lies on its side as Quentin ENTERS THE SHOT, climbing
down the ravine toward it.
EXT - CAR - NIGHT
as Quentin approaches the car, Alex can be seen in
fairly good shape, but trapped in the car.
ALEX
Quentin!
as Quentin grasps the door
CUT TO: |
-
And now the way Scene 201 actually plays in the film:
The scene starts off similarly to what's scripted, with Quentin running through the grounds (not along the road) -
(http://www.dsboards.com/NoDSquoteimages/1113NoDS_a.jpg)
- and coming toward camera - then when he spots something (though not broken trees and ripped-up turf), he runs across the road in its direction and calls out -
(http://www.dsboards.com/NoDSquoteimages/1113NoDS_b.jpg)
"Alex!"
- and the camera pulls back to show Alex sitting on the ground (not trapped inside his car on its side) and propped up against his car (which has crashed into a tree earlier - not fallen down a ravine) -
(http://www.dsboards.com/NoDSquoteimages/1113NoDS_c.jpg)
- and smoking a cigarette - and when Quentin reaches him, obviously he doesn't have to grasp the car door to get Alex out, Quentin simply kneels beside Alex, who tells him -
(http://www.dsboards.com/NoDSquoteimages/1113NoDS_d.jpg)
"That crazy son of a bitch - he almost killed me."
- to which Quentin asks -
(http://www.dsboards.com/NoDSquoteimages/1113NoDS_e.jpg)
"Gerard?"
- and Alex answers -
(http://www.dsboards.com/NoDSquoteimages/1113NoDS_f.jpg)
"Yeah, Gerard."
-
Moving on to yesterday's scene. And as the graphic I put up for the slideshow indicated, it's a scene that does not appear in the film as it currently stands - however, it's not on the list of unrecovered footage - so, it, or some variation thereof, may very well be in the 129 minute version:
202 INT - COTTAGE - NIGHT 202
as Claire, lies sobbing on the floor. Her face is
bruised, her hair disheveled. The room shows signs
of a struggle. Suddenly O.S., the SOUND of the
front door opens. As Claire looks up in fear,
Quentin and Alex, a little worse for wear, ENTER.
Alex quickly crosses to her as Quentin looks for
Tracy.
QUENTIN
Where's Tracy?
|
And that's when yesterday's quote -
Page 96/Scene 202 - Claire: 'It's Gerard...he's got her. He tried to kill us...he tried to kill us...'
- comes up, followed in the script by:
203- 203-
205 OMIT OMIT 205
|
And as per usual, right now there's no way of knowing what might actually be different in the scene as it might appear in the 129 minute version of film...
And I do wonder what Scenes 203 through 205 might have been at one time. But I guess we'll never know...
-
Moving through the next several scenes before today's scene comes up:
206 EXT - RIVER ROAD - NIGHT 206
as the jeep APPROACHES CAMERA, it turns off its lights
and parks in the cover of some trees.
INT - JEEP - NIGHT
as Gerard looks over at a terrified Tracy, she cringes
206 CONTD CONTD 206
from him against the door, her eyes luminous with
fear. Then slowly moving toward her, he places his
hand on her leg and starts running it up her thigh.
Suddenly, she claws at him as he, growling like an
animal, pulls her to him. Viciously he crushes his
face to hers. During the ensuing struggle, he in-
advertently hits the horn.
207 EXT - COUNTRYSIDE - NIGHT - QUENTIN 207
In their search they have split up. As Quentin, now
alone, reacts to the DISTANT HORN, he looks about,
then moves off in the direction of the SOUND.
208 INT - JEEP - NIGHT 208
as Tracy puts up a valiant struggle, Gerard suddenly
reaches for the door. Opening it, he throws her out
of the car and onto the ground. As she tries to
scramble to her feet, he jumps on top of her. Then
clutching her face with both his hands, he brutally
forces his lips on hers.
209 EXT - COUNTRYSIDE - NIGHT 209
as Quentin runs through the night TOWARD CAMERA, he
suddenly hears the SOUND OF TRACY'S SCREAMS O.S. He
stops for an instant, looks around.
210 EXT - GROUND NEAR JEEP - NIGHT 210
Tracy is clawing at Gerard's face, as she screams.
TRACY
Help! Help!
Gerard, grabbing one of her hands, viciously slaps
her face. Then he suddenly reacts to the DISTANT
SOUND OF QUENTIN'S VOICE.
QUENTIN (O.S.)
Where are you?
Before she can answer, he clamps his hand over her
mouth.
|
And as far as any difference in the dialogue goes, Tracy's "Help! Help!" is dropped because she simply screams - and rather than the scripted "Where are you?", Quentin actually calls out "Tracy! Tracy!"
And as far as any difference in the descriptions and directions goes, there's quite a bit different in the film. In scene 206, after Gerard pulls into the trees, shuts off the truck (again, not a jeep) and turns to her, Tracy tries to get out -
(http://www.dsboards.com/NoDSquoteimages/1114NoDS_a.jpg)
- of Gerard's truck but he pulls he back inside as she screams -
(http://www.dsboards.com/NoDSquoteimages/1114NoDS_b.jpg)
- prompting him to put his hand -
(http://www.dsboards.com/NoDSquoteimages/1114NoDS_c.jpg)
- over her mouth as he shushes her and growls, and then she -
(http://www.dsboards.com/NoDSquoteimages/1114NoDS_d.jpg)
- calms down (and at this point is when in the 97 and 129 minute versions of the film Gerard moves his hand down Tracy's thigh and toward her crotch) - and in Scene 207, we simply see Quentin come running down a path -
(http://www.dsboards.com/NoDSquoteimages/1114NoDS_e.jpg)
- after which he just stops -
(http://www.dsboards.com/NoDSquoteimages/1114NoDS_f.jpg)
- and looks around - and Scene 208 is nothing like scripted because it opens with Tracy and Gerard kissing (although, if I'm remembering correctly, in the longer versions we actually see Gerard remove his hand from her mouth, and as she quivers, he moves in to kiss her) -
(http://www.dsboards.com/NoDSquoteimages/1114NoDS_g.jpg)
- until Tracy can reach for and -
(http://www.dsboards.com/NoDSquoteimages/1114NoDS_h.jpg)
- push the horn - and then in Scene 209, Quentin actually reacts to hearing the horn in the distance and then he moves off -
(http://www.dsboards.com/NoDSquoteimages/1114NoDS_i.jpg)
- in its direction - and then Scene 210 is nothing like scripted because it begins with Gerard stopping Tracy from -
(http://www.dsboards.com/NoDSquoteimages/1114NoDS_j.jpg)
pushing the horn - after which Gerard grabs a screaming Tracy and once again puts -
(http://www.dsboards.com/NoDSquoteimages/1114NoDS_k.jpg)
- his hands over her mouth - and as Quentin runs through the countryside -
(http://www.dsboards.com/NoDSquoteimages/1114NoDS_l.jpg)
- calling out to Tracy, that gets the attention -
(http://www.dsboards.com/NoDSquoteimages/1114NoDS_m.jpg)
- of Gerard - and after Tracy makes a low moaning sound -
(http://www.dsboards.com/NoDSquoteimages/1114NoDS_n.jpg)
- Gerard shushes her again.
And unfortunately, because much of Gerard's part ended up on the cutting room floor, it remains mostly unclear in the film that the reason Gerard sets his sights on Tracy is because Quentin replaces him in Angelique's, uh, affections from the very first night that Quentin arrives at Collinwood.
-
Picking up the action with the next scene in the sequence:
211 QUENTIN - GERARD'S P.O.V. 211
As he runs TOWARD CAMERA, Quentin is a dark figure in
the distance. He still does not see the car.
211 CONTD CONTD 211
|
And that's when yesterday's first quote -
Page 98/Scene 211 - Quentin (calling): 'Tracy!...Tracy...where are you?'
- comes up, followed in the script by:
GERARD - TRACY
as Gerard still stifles the struggling Tracy, an evil
smile spreads over his face. HOLD ON HIM as he
watches Quentin. Suddenly, he lets Tracy go. Before
she can utter a sound, he viciously slaps her face
and leaps into the car.
|
And that's when yesterday's second quote -
Page 98/Scene 211 - Tracy (screaming): 'Quentin!'
- comes up, followed in the script by:
Simultaneously with this, Gerard throws on the lights,
traping Quentin in their beam. Then, to the SOUND
OF GRINDING GEARS, the car ROARS to life. Quickly,
Quentin turns and runs as the car careens after him.
Just as it is almost on him, he dives into a ditch as
the car hurtles over him, plowing headlong into a
stand of trees. As Quentin scrambles to his feet, he
sees Gerard running toward the river.
EXT - COUNTRYSIDE - TRACY
as she runs in the direction of the action.
|
And as far as any difference in the dialogue goes, Quentin actually calls out "Tracy! Where are you?" - and rather than the scripted "Quentin!", Tracy actually shouts "Quentin, look out!" (and more on that below).
And as far as any difference in the descriptions and directions goes, because Tracy and Gerard are still in the jeep and not on the ground, Quentin is watched by Gerard through the jeep's -
(http://www.dsboards.com/NoDSquoteimages/1115NoDS_a.jpg)
- windshield - and Quentin actually comes to a stop and -
(http://www.dsboards.com/NoDSquoteimages/1115NoDS_b.jpg)
- desperately looks around - and the camera doesn't move to hold on Gerard as watches Quentin because it stays on a 2 shot -
(http://www.dsboards.com/NoDSquoteimages/1115NoDS_c.jpg)
- of both Tracy and Gerard - and unlike how the script indicates that suddenly Gerard lets Tracy go and before she can utter a sound, he viciously slaps her face and leaps into the car, what actually happens is that Gerard opens -
(http://www.dsboards.com/NoDSquoteimages/1115NoDS_d.jpg)
- the door of the jeep and shoves -
(http://www.dsboards.com/NoDSquoteimages/1115NoDS_e.jpg)
- a screaming Tracy out (which is better seen in this -
(http://www.dsboards.com/NoDSquoteimages/Shove_out.jpg)
- rarely seen publicity shot) - and after that is when, as seen in yesterday's second capture, Quentin hears her -
(http://www.dsboards.com/NoDSquoteimages/1114ds91_1.jpg)
- shout out the warning to him - and while we don't hear the sound of grinding gears as the jeep roars to life (even though DC has a note that Gerard would first hit the motor and then the lights), we do see the jeep's headlights, Gerard driving like -
(http://www.dsboards.com/NoDSquoteimages/1115NoDS_f.jpg)
- a maniac, Quentin's reaction to the jeep's lights coming at him (and yes, "trapping" is misspelled as "traping" in the script), Quentin running from the jeep and diving out of the way, the jeep plowing into a tree, a now terrified Gerard getting out of the jeep -
(http://www.dsboards.com/NoDSquoteimages/1115NoDS_g.jpg)
- and starting to run away, Quentin getting up and then running after Gerard, and Tracy running after them both.
-
And once again picking up the action with the next scene in the sequence:
212 EXT - RAILROAD FOOTBRIDGE - NIGHT 212
as Gerard runs TOWARD CAMERA, Quentin is in hot
pursuit. When he reaches the middle of the bridge,
Gerard stops and turns. Here is where he will make
his stand. Quentin, now at the foot of the bridge,
starts slowly toward him.
GERARD - QUENTIN'S P.O.V. - HAND HELD
TRUCK IN ON Gerard as suddenly we see he holds a
vicious-looking knife.
WIDE ANGLE
With Gerard in the F.G., Quentin moves carefully
toward him. Tracy appears in the B.G. near the foot
of the bridge.
213 SERIES OF SHOTS - HAND-HELD 213
The two are only feet apart when Gerard lashes out.
213 CONTD CONTD 213
Quentin grabs his knife arm and the two begin their
life or death struggle.
THEIR FEET - CLOSE-UP
Both sets of legs are grappling for a firm grip.
Quentin steps backward. His foot collapses a rotten
board. As his leg goes through, WIDEN to see Gerard
gain the advantage. As he presses the knife downward
at Quentin's chest, he is suddenly distracted by the
SOUND OF TRACY'S VOICE.
|
And that's when yesterday's quote -
Page 99/Scene 213 - Tracy (O.S.) (screaming): 'Gerard!'
- comes up, followed in the script by:
As Gerard looks up, reacting, he starts to spring
TOWARD CAMERA. It is too late.
TRACY - CLOSE-UP
as she swings a short piece of heavy wood directly
into the LENS.
GERARD - CLOSE-UP
as he takes the blow full in the face, the force of
it drives him backward. He hits the rickety bridge
railing, falling through it toward the tracks below.
214 LOW ANGLE - UP AT THE BRIDGE 214
From the tracks, Gerard's body can be seen hurtling
TOWARD CAMERA. Suddenly, it stops short, as if
caught in mid-air by an invisible net. There is a
huge flash of light and sparks fly everywhere --
silhouetting the spread-eagle body of Gerard as he
burns to ashes on the high tension wires.
215 EXT - FOOTBRIDGE - NIGHT 215
as Quentin holds Tracy, Alex and Claire ENTER THE
SHOT and cross to them. As Alex looks over the side
at the smoldering remains of Gerard.
|
And that's when today's quote -
Page 99/Scene 215 - Alex: 'Well, it looks like the old BMT will be running late tonight.'
- comes up.
End of sequence.
And as far as any difference in the dialogue goes, Alex' remark about the train running late is dropped in current version of the film. I *think*it does appear in the 97 minute version. So, chances are it's also in the 129 minute version. However, DC's script has a note that Alex would actually say "Well, it looks like the old B and M will be running late tonight." ("B and M" stands for Boston and Maine.)
And as far as any difference in the descriptions and directions goes, unlike how Scene 212 is scripted to begin, Gerard only reaches the footbridge a very short time before Quentin and Tracy do, and as Gerard mounts the bridge Tracy actually tries to prevent -
(http://www.dsboards.com/NoDSquoteimages/1116NoDS_a.jpg)
(http://www.dsboards.com/NoDSquoteimages/1116NoDS_aa.jpg)
- Quentin from pursuing Gerard onto the bridge, but Quentin soon pulls away from her - and the camera doesn't truck in on Gerard to show the knife because adter Geard pulls it out of the front waistband of his jeans (a dangerous place to hide a knife, if you ask me [wink2]), there's a close-up -
(http://www.dsboards.com/NoDSquoteimages/1116NoDS_b.jpg)
- of the knife - and obviously after that isn't when Tracy appears in the background near the foot of the bridge because she's already arrived - and in Scene 213 there are no close-ups of Gerard's and Quentin's feet as they struggle - and after Gerard gains the advantage because Quentin has broken a rotten board in the floor, Gerard doesn't actually press the knife downward at Quentin's chest because he presses it at -
(http://www.dsboards.com/NoDSquoteimages/1116NoDS_c.jpg)
- Quentin's face, and he actually cuts Quentin deep enough -
(http://www.dsboards.com/NoDSquoteimages/1116NoDS_d.jpg)
- for Quentin to bleed (shades of Charles' scar - and it's quite interesting how that wasn't scripted) - and it's after that the Gerard raises the knife to finish Quentin off -
(http://www.dsboards.com/NoDSquoteimages/1116NoDS_e.jpg)
- but of course Tracy thwarts that by wacking him with the heavy board - and while in Scene 214 we do see Gerard hurtling toward camera, we don't see Gerard suddenly stop short because his body doesn't get caught in any high tensions wires so, therefore, there is no huge flash of light and sparks and no silhouetting of Gerard's spread-eagle body as he burns to ashes - what we do see is Gerard simply plummet
(http://www.dsboards.com/NoDSquoteimages/1116NoDS_f.jpg)
- from the bridge - after which Quentin stands up and he and Tracy -
(http://www.dsboards.com/NoDSquoteimages/1116NoDS_g.jpg)
- stare down at Gerard's body on -
(http://www.dsboards.com/NoDSquoteimages/1116NoDS_h.jpg)
- the train tracks below - and in Scene 215 I don't know if what Quentin does next strictly qualifies as holding -
(http://www.dsboards.com/NoDSquoteimages/1116NoDS_i.jpg)
- Tracy - and after Claire and Alex arrive on the bridge and look down, it's more like Claire comforts Tracy as the two -
(http://www.dsboards.com/NoDSquoteimages/1116NoDS_j.jpg)
- women walk away, leaving Alex -
(http://www.dsboards.com/NoDSquoteimages/1116NoDS_k.jpg)
- with Quentin - and that's how the sequence currently ends - though if I remember correctly, in the 97 minute version, Alex does deliver his remark about the train and we see Gerard's body again, as in this shot from one of the NoDS trailers:
(http://www.dsboards.com/images/NoDS-3.jpg)
-
As a final word on Scene 213, I want to share two rare publicity stills:
(http://www.dsboards.com/NoDSquoteimages/Fight-1.jpg)
(http://www.dsboards.com/NoDSquoteimages/Fight-2.jpg)
Also, given some things that are written in the script and how Alex and Claire simply show up on the railroad bridge from out of nowhere, one might surmise that the omitted Scenes 203 through 205 could have dealt with Quentin and Alex and Claire deciding to split up to search for Tracy and/or perhaps even a bit of Gerard and Tracy before he pulls his truck into the trees. But if so, obviously at some point the scenes were deemed to be unimportant and/or to be slowing down the action. But as I said, I guess we'll never know...
-
Moving on to the current scene, and it's not on the list of unrecovered footage - so it may be in the 129 minute version:
216 EXT - RIVER ROAD - NIGHT 216
Quentin and Tracy are alone together for the first
time since the drowning. Alex and Claire can be seen
in the B.G. waiting for them. Tracy still sobs as
he holds her, comforting her.
|
And that's when yesterday's quote -
Page 100/Scene 216 - Quentin: 'I'm sorry Trace. I'm sorry for everything that's happened.'
- comes up, followed in the script by:
Holding her, he kisses her eyes, her lips as they try
to comfort each other.
|
And that's when today's quote -
Page 100/Scene 216 - Tracy: 'Oh, please, Quentin...please don't go back in that house.'
- comes up.
And as per usual, right now there's no way of knowing what might actually be different in the scene as it might appear in the 129 minute version of film...
-
Continuing with Scene 216:
He looks at her, trying to find a way to explain it.
|
And that's when yesterday's quote -
Page 100/Scene 216 - Quentin (softly): 'Tracy, try to understand the way I feel. I have such a tenuous hold on myself that --'
- comes up, followed by today's quote -
Page 100/Scene 216 - Tracy (interrupting): 'But you're all right now. You're all right.'
- coming up.
And as per usual, right now there's no way of knowing what might actually be different in the scene as it might appear in the 129 minute version of film...
-
Wrapping up Scene 216, beginning with yesterday's quote, Quentin's response to Tracy's latest lines -
Page 100/Scene 216 - Quentin: 'But I don't know how long I'll stay this way. There's only one way to end it. We've got to go back in there and face it down --'
- coming up, followed in the script by:
She nods. HOLD ON THIS as the two of them cross toward
Alex and Claire.
|
And that's when today's first quote -
Page 100/Scene 216 - Tracy: 'What about Carlotta?'
- comes up, followed in the script by:
As Alex and Claire cross to meet them.
|
And that's when today's second quote -
Page 100/Scene 216 - Alex: 'I don't think we'll find her.'
- comes up, followed in the script by:
They all start up toward the house.
|
And as per usual, right now there's no way of knowing what might actually be different in the scene as it might appear in the 129 minute version of film. However, given the voiceover that is added to the next scene in the current version of the film, something *may* have changed with this scene, or the voiceover *may* have been added because Scene 216 was dropped. But one thing is certain, the closing dialogue in Scene 216 and the added voiceover in Scene 217 can't both exist in the 129 minute version of the film because they contradict. But more on that when we deal with Scene 217...
-
Moving on to the next scene, which is something of a rarity in this section of the script because it does actually appear in the current version of the film, though not entirely as scripted:
217 INT - TOWER ROOM - NIGHT 217
The room is in darkness and through the window, as if
someone is watching, the four of them can be seen
approaching the house. Then RACK FOCUS to Carlotta
in the EXTREME F.G. as she stands there looking down
at them. As they EXIT THE SHOT below, Carlotta turns
away in thought. TIGHTEN TO CARLOTTA'S EXTREME CLOSE-
UP.
|
And obviously, when it comes to the scene as scripted, there's no sort of dialogue whatsoever. However, in the film as it currently stands, a Quentin voiceover was added after the marathon editing session, and it plays as follows:
(http://www.dsboards.com/NoDSquoteimages/1122NoDS_a.jpg)
"Alex..."
(http://www.dsboards.com/NoDSquoteimages/1122NoDS_aa.jpg)
(http://www.dsboards.com/NoDSquoteimages/1122NoDS_b.jpg)
"...you know there's only one way we're going to end
all of this..."
(http://www.dsboards.com/NoDSquoteimages/1122NoDS_ba.jpg)
(http://www.dsboards.com/NoDSquoteimages/1122NoDS_c.jpg)
"...We've got to go back in there and find Carlotta..."
(http://www.dsboards.com/NoDSquoteimages/1122NoDS_d.jpg)
"...because she's the one who's keeping the spirit alive --"
(http://www.dsboards.com/NoDSquoteimages/1122NoDS_da.jpg)
Which would seem to be a reworking of Quentin's "There's only one way to end it. We've got to go back in there and face it down --" from Scene 216. But because the reworking puts finding Carlotta front and center, it obviously flies in the face of the part of Scene 216 in which Tracy asks about Carlotta and Alex says he doesn't think they'll find her.
And speaking of Carlotta, Grayson's script has notes for Scene 217. She writes that Carlotta feels TRAPPED and PANIC - that she and Angelique have fought - that Carlotta is a little wild looking - and that there's desperate fear. She also wrote one other thing, but sadly the words go off the edge of the page, so it's impossible to figure out.
-
I forgot to mention that when Quentin's "There's only one way to end it. We've got to go back in there and face it down --" from Scene 216 came up on the 1999 Movie Calendar for December 8th, rather than use it for that day's installment of the original NoDS slideshow, I featured part of the unscripted voiceover that currently plays over Scene 217 because, as I mentioned, the voiceover would appear to be a reworked version of Quentin's lines:
(http://www.dsboards.com/moviesquoteimages/1208NoDS_0.jpg)
NoDS: Scene #217 - Quentin: 'There's only one way we're
going to end this. We've got to go back in there and find
Carlotta because she's the one who's keeping the spirit
alive --'
-
And just when you thought we've seen all the alternate versions of scenes that appear in Grayson's script, up pops Scene 218. And we're going to deal with her script's version before DC's script's version begins with tomorrow's slideshow:
218 EXT - COLLINWOOD PORTICO - NIGHT 218
as Quentin, Tracy, Alex and Claire stand near the
front door, getting ready to go in. Alex is about
to open the front door, when Quentin stops him.
QUENTIN
Alex, all the way up here I've
been thinking --
ALEX
About what?
QUENTIN
One of those dreams that I had...
I think it's important...
Alex looks at him.
QUENTIN
Gabriel and two men locked
Charles Collins in a small dark
room. The thing that was so
terrifying about it was that
when I woke up I felt I was
choking to death...I couldn't
breathe.
TRACY
I remember that!
QUENTIN
There was something else about
that room, too. Because when
they threw me in,my head hit
some kind of a wooden object.
Before I could see what it was,
they slammed the door and bolted
it. Then I heard that sound.
ALEX
What sound?
218 CONTD CONTD 218
QUENTIN
That's it, I don't know.
I can't even describe it.
But I do know I've heard it
before.
ALEX
O.K. What do we look for?
QUENTIN
The door was a heavy iron door --
|
End of scene as it appears in Grayson's script...
-
What's up with today's weird graphics?
(http://www.dsboards.com/NoDSquoteimages/1123ds91_0.jpg)
(http://www.dsboards.com/NoDSquoteimages/1123ds91_1.jpg)
All will be revealed once we get into Scene 218...
-
And now we begin DC's script's version of Scene 218, which begins with the same opening, but quickly changes:
218 EXT - COLLINWOOD PORTICO - NIGHT 218
as Quentin, Tracy, Alex and Claire stand near the
front door, getting ready to go in. Alex is about
to open the front door, when Quentin stops him.
|
And that's when today's first quote -
Page 101/Scene 218 - Quentin: 'Alex, there's something in there we've got to find.'
- comes up, followed by today's second quote -
Page 101/Scene 218 - Alex: 'What are you talking about?'
- coming up.
And when it comes to this scene - actually, when it comes to the next entire sequence of Scenes 218 though 220, it's apparently a mystery as to whether or not they were ever shot. Darren Gross wrote on his NoDS Restoration Web site that not only wasn't the sequence part of the recovered footage, but even though the scenes were "blocked in the director's notes, it is unknown whether this sequence was actually shot. Not a single still photo from this sequence has yet turned up." And that's the reason for the weird graphics - they cover both bases of either the scenes were never shot or it's simply a fact that I don't have any stills from them...
-
Picking up where we left off with DC's script's version of Scene 218, starting off with yesterday's first quote -
Page 101/Scene 218 - Quentin: 'In a dream I had, Gabriel threw Charles into a small dark room. I remember that when he hit the floor, he fell over something wooden. Before I could see what it was, Gabriel bolted the door.'
- coming up, followed by yesterday's second quote -
Page 101/Scene 218 - Alex: 'Do you remember anything else?'
- coming up, followed by today's first quote -
Page 101/Scene 218 - Quentin: 'No - only a sound, and I can't even describe it, but I know I've heard it before.'
- coming up, followed by today's second quote -
Page 101/Scene 218 - Alex: 'Well, where do we start?'
- coming up.
-
Wrapping up DC's script's version of Scene 218 and moving beyond a bit, starting off with today's quote -
Page 101/Scene 218 - Quentin: 'The room had a heavy iron door --'
- coming up, followed in the script by:
ORGAN ROOM
219 INT - FOYER - NIGHT 219
as they ENTER, the house is in darkness. Quentin
crosses to switch on a lamp. It doesn't work. Alex
tries another. It doesn't work either.
ALEX
Perfect. No lights.
TRACY
There are candles in there.
|
And that's the end of Scene 219.
And, even though the dialogue was reworked, it's interesting that in the rewrite of Scene 218, the only things that were dropped were the references to Quentin choking. Who knows why - especially given the film makes a point of that with Quentin mumbling in his sleep that he can't breath and Tracy trying to wake him but being unable to? But, considering Quentin doesn't consider himself to be Charles, it does make sense that in the rewrite Quentin no longer refers to things in his dream as happening to him but happening to Charles.
And as for the sound Quentin can't identify, we'll hold off on discussing that until we get to Scene 228.
On to Scene 220 tomorrow...
-
Moving on to Scene 220:
220 INT - CORRIDOR - NIGHT 220
as the four of them proceed down the hall toward the
stairway, each holds a candelabra. They stop at the
foot of the stairs. As Quentin looks up:
|
And that's when today's quote -
Page 102/Scene 220 - Quentin: 'I have a terrible feeling that if I relax my will for just one second, it'll be all over...'
- comes up.
-
I wanted to ask about the Wording, but didn't exactly know what to say. [hall2_wink]
-
Just catching up with this thread... that's a very cool capture of Carlotta hiding in the Tower, several entries back now. I wish they had styled her hair to look really "wild" but for whatever reason she looks as composed as if she had just gotten up from her escritoire to check the day's menu.
Of course it takes A LOT to rile the hair of someone as hardcore as Miss Carlotta Drake...
G.
-
Of course it takes A LOT to rile the hair of someone as hardcore as Miss Carlotta Drake...
That's for sure!! [b003]
-
And wrapping up Scene 220:
And that's when today's quote -
Page 102/Scene 220 - Alex: 'We'll go up there, Quentin. You and Tracy stay as far away from that tower room as possible.'
- comes up, followed in the script by:
Quentin nods. As Alex and Claire start up the stairs,
Quentin and Tracy EXIT THE SHOT toward the basement.
|
End of scene and (mystery) sequence. Tomorrow we'll get back to material that's actually in the film. Well, sort off to begin with. But more on that tomorrow...
-
Moving on to start the next sequence as scripted:
221 INT - BASEMENT - NIGHT 221
as Quentin and Tracy come TOWARD CAMERA, Quentin stops
and looks around, sensing something.
221 CONTD CONTD 221
TRACY
What?
QUENTIN
Something familiar about this --
Quentin opens a door which leads to a storage room,
as Tracy opens a small, heavy wooden door further
down the corridor.
222 INT - SMALL - BASEMENT ROOM - NIGHT 222
as the door opens, Tracy ENTERS with her candelabra.
|
And that's when today's quote -
Page 103/Scene 222 - Tracy: 'There's nothing in here.'
- comes up, followed in the script by:
Suddenly there is an unexplainable gust of wind. As
the candleabra is blown out, the small heavy door
slams shut. Tracy screams.
|
End of scenes as scripted - though not the end of the sequence - nor is it the way everything plays in the film. But more on that in my next post...
-
Scene 221 does indeed begin with Quentin and Tracy descending into the basement and coming toward camera. But before we actually see them, we see their shadows -
(http://www.dsboards.com/NoDSquoteimages/1129NoDS_a.jpg)
- on the wall - and both Tracy and Quentin stop and look around, but there's no hint that Quentin stops because he senses something - in fact, the dialogue in Scene 221 is completely different from what's scripted because after they look around a few seconds, Tracy actually remarks -
(http://www.dsboards.com/NoDSquoteimages/1129NoDS_b.jpg)
"Oh, it's cold down here."
- to which Quentin replies -
(http://www.dsboards.com/NoDSquoteimages/1129NoDS_c.jpg)
"Yeah. We've got to be 50 feet below the house."
- to which Tracy then nods in agreement - and after they move on and begin to make their way -
(http://www.dsboards.com/NoDSquoteimages/1129NoDS_d.jpg)
- under some boards, they looks around a bit more -
(http://www.dsboards.com/NoDSquoteimages/1129NoDS_e.jpg)
- until Quentin nods to his left and says -
(http://www.dsboards.com/NoDSquoteimages/1129NoDS_f.jpg)
"I'm going to look in there."
- and after Quentin moves off to his left, Tracy begins to proceed forward until -
(http://www.dsboards.com/NoDSquoteimages/1129NoDS_g.jpg)
- she comes to a room -
(http://www.dsboards.com/NoDSquoteimages/1129NoDS_h.jpg)
- (however, there's no need for her to open the door because it's already open) - and then in Scene 222, after we see Tracy completely -
(http://www.dsboards.com/NoDSquoteimages/1129NoDS_i.jpg)
- enter the room (and I love how she's shot from below), things switch to Quentin as he reaches the room he wants to look in and he -
(http://www.dsboards.com/NoDSquoteimages/1129NoDS_j.jpg)
- opens the door - and then after Tracy looks around her room and then delivers today's
(http://www.dsboards.com/NoDSquoteimages/1129ds91_0.jpg)
"There's nothing in here."
- quote, the flames of the candles are indeed blown -
(http://www.dsboards.com/NoDSquoteimages/1129NoDS_k.jpg)
- out, she drops the candelabra -
(http://www.dsboards.com/NoDSquoteimages/1129NoDS_l.jpg)
- and she mutters -
(http://www.dsboards.com/NoDSquoteimages/1129NoDS_m.jpg)
"Shi..."
- as she soon sees the door -
(http://www.dsboards.com/NoDSquoteimages/1129NoDS_n.jpg)
- slam shut - however, unlike what's scripted, she doesn't scream. And more on her actual reaction when we deal with Scene 223...
And before I wrap up this post, I want to share a rarely seen still of Tracy from this sequence:
(http://www.dsboards.com/NoDSquoteimages/Tracy.jpg)
-
[pointing-up]
shadows on the wall
-
(I have always wanted to use that emoticon, but never had opportunity, thanks MB.)
Patti
-
I'm probably misremembering, but I recall that the FAMOUS MONSTERS OF FILMLAND "filmbook" of this movie which had nearly the entire story set out in text and photos (so why bother to go see it, some may have asked) ended with the scene of Tracy screaming in the basement room.
I assume those captures are from the "blu ray." I have to admit they look awesome.
G.
-
I honestly don't remember how the FM NoDS article ended, and I'm too lazy right now to check. But I'll definitely look the next time I have my NoDS stuff out to post something (which will be quite soon).
As for the captures, yes, they're from the Blue-ray. I'm constantly astounded at what a great transfer of the film it is (missing music cue and stray music cues that shouldn't be there, notwithstanding). As I said, after going through the Blu-ray this year for the slideshow, I can't even stand to look at the VHS anymore, and at one time it was one of my prized DS possessions...
-
Moving on to start Scene 223 as scripted:
223 INT - BASEMENT CORRIDOR - NIGHT 223
As Quentin reacts to the SCREAM, he runs to the door.
|
And that's when today's quote -
Page 103/Scene 223 - Quentin: 'Tracy!'
comes up, followed in the script by:
And as for the dialogue, in the film it's switched around. First we see Quentin and hear Tracy scream for him -
(http://www.dsboards.com/NoDSquoteimages/1130NoDS_a.jpg)
"Quentin!"
- (not simply scream) - and then, as in today's capture/quote, we see/hear Quentin call to her -
(http://www.dsboards.com/NoDSquoteimages/1130ds91_0.jpg)
"Tracy!"
And as an aside, once again I never noticed something until I was getting captures for the slideshow. Can you spot it in this post? If not here's a capture from an upcoming moment from Scene 223 that should help:
(http://www.dsboards.com/NoDSquoteimages/1130NoDS_b.jpg)
-
Does anybody know where these basement scenes were filmed? Main house, stables, bowling alley, swimming pool, ...?
-
And as an aside, once again I never noticed something until I was getting captures for the slideshow. Can you spot it in this post? If not here's a capture from an upcoming moment from Scene 223 that should help:
(http://www.dsboards.com/NoDSquoteimages/1130NoDS_b.jpg)
The only thing that seems noteworthy to me is a continuity problem with candle flames. Or, possibly, the candelabra switching hands. (But I'd have to watch the scenes play out to determine if that's what it is.)
-
Was Quentin supposed to have a scar already in this scene? It's so long since I last watched the film I can't recall.
cheers, G.
-
Yes, Quentin should have the wound (not a scar yet--it's a scar in the past... wait, this is really weird...) This scene comes some time after the incident on the bridge, where Gerard had the knife.
-
Picking up Scene 223 as scripted, dealing with Scene 224 as scripted, and moving into the start of Scene 225:
QUENTIN
Yes, I'm here. Are you O.K.?
TRACY (O.S.)
Yes!
QUENTIN
The damn thing's stuck. Push
on the inside --
As he starts to pull on the handle.
224 INT - SMALL ROOM - NIGHT 224
It is almost in total darkness as Tracy pushes hard
against the door.
224 CONTD CONTD 224
QUENTIN (O.S.)
Come on, Trace. Harder --
HOLD on Tracy as suddenly ALL THE SOUND IN THE ROOM
BEGINS TO DIMINISH. The SOUND OS QUENTIN'S STRUGGLING
AND AD LIB URGING at the door gets SOFTER AND SOFTER
as Tracy begins to react to the oppressive dead air.
TRUCK IN TO HER CLOSE-UP as she senses another pre-
sence in the room. She turns to look TOWARD CAMERA
and, as in the cottage, the SOUND TRACK COMPLETELY
DROPS OUT.
ANGELIQUE - TRACY'S P.O.V.
On the other side of the room, materializing before
Tracy's eyes, is the mist-like ghostly figure of
Angelique.
TRACY - CLOSE-UP - SLOW MOTION
as she opens her mouth to scream, not a sound comes
out.
225 INT - BASEMENT AT DOOR - NIGHT 225
Here the SOUND IS NORMAL, so thatQuentin, who is
pulling at the door, reacts in horror to the SOUND
OF TRACY'S SCREAM. Wildly, he pulls at the door,
SCREAMING.
QUENTIN
For God's sake, Tracy! What
is it, Tracy! Answer me!
Suddenly Tracy's SCREAM stops abruptly as Alex and
Claire ENTER THE SHOT, running toward Quentin.
CLAIRE
Where's Tracy?
QUENTIN
Help me with this door!
As Alex grabs the handle with Quentin, they both start
pulling.
|
And that's when yesterday's quote -
Page 104/Scene 225 - Quentin: 'She's in there! We've got to get her out!'
comes up.
And as for the dialogue, the descriptions, and the directions, we'll deal with them in an upcoming post.
But before I end this post, I keep forgetting to mention that "candelabra" is indeed misspelled in the script for Scene 222's "As the candleabra is blown out". And somewhat similarly, in the Scene 225 portion of the script in this post, there is no space in "thatQuentin" like there should be.
-
Does anybody know where these basement scenes were filmed? Main house, stables, bowling alley, swimming pool, ...?
That's a very good question that doesn't seem to have an answer. Back in 2001 Darren Gross searched the basement of Lyndhurst and some other places on the estate and couldn't find the location...
-
The only thing that seems noteworthy to me is a continuity problem with candle flames.
That's pretty much it. As we can see in the following capture, when Quentin calls out -
(http://www.dsboards.com/NoDSquoteimages/1130ds91_0.jpg)
"Tracy!"
in Scene 223, his breath blows out the candle nearest to him - but in the same scene when he shows up after having rushed to the door to the room where Tracy is trapped, all the candles on his candelabra are once again lit -
(http://www.dsboards.com/NoDSquoteimages/1130NoDS_b.jpg)
- so I guess we're supposed to believe that as Quentin was rushing to the door, he was also relighting the candle!! [b003]
It's amazing how much one can miss when one is really into a scene and not paying attention to the little details...
-
Getting back to the parts of the script that were dealt with in reply #547, when Quentin reaches the door, he actually says -
(http://www.dsboards.com/NoDSquoteimages/1201NoDS_a.jpg)
"Trace? Are you all right?"
- and to that, as scripted, Tracy replies off screen -
(http://www.dsboards.com/NoDSquoteimages/1201NoDS_b.jpg)
"Yes."
- after which Quentin puts his candelabra down - and after we see Tracy -
(http://www.dsboards.com/NoDSquoteimages/1201NoDS_c.jpg)
- inside the room, things shift to Quentin frantically trying to pull the door open and he actually says -
(http://www.dsboards.com/NoDSquoteimages/1201NoDS_d.jpg)
"But the damn door's stuck. Push on the inside."
- and Tracy tells him an unscripted -
(http://www.dsboards.com/NoDSquoteimages/1201NoDS_e.jpg)
"I'm pushing."
- to which Quentin, who's actually on screen, tells her -
(http://www.dsboards.com/NoDSquoteimages/1201NoDS_f.jpg)
"Come on. Try harder --"
- but, again unscripted, she tells him -
(http://www.dsboards.com/NoDSquoteimages/1201NoDS_g.jpg)
"I can't."
- and then, unlike how the script says Quentin's struggling and ad lib urging at the door will get softer and softer as Tracy begins to react to oppressive dead air in the room, what actually happens in the film is that slowly a strange luminescence starts to appear in the room and Tracy begins to -
(http://www.dsboards.com/NoDSquoteimages/1201NoDS_h.jpg)
- react to it - and after she turn to look in the direction it's coming from, we actually see Tracy -
(http://www.dsboards.com/NoDSquoteimages/1201NoDS_i.jpg)
- scream in terror - and it isn't until after that that we see Angelique has -
(http://www.dsboards.com/NoDSquoteimages/1201NoDS_j.jpg)
- materialized in the room - and after Tracy slides along the wall -
(http://www.dsboards.com/NoDSquoteimages/1201NoDS_k.jpg)
- but there is no escape, Angelique moves closer and closer and closer -
(http://www.dsboards.com/NoDSquoteimages/1201NoDS_l.jpg)
(http://www.dsboards.com/NoDSquoteimages/1201NoDS_m.jpg)
(http://www.dsboards.com/NoDSquoteimages/1201NoDS_n.jpg)
- while outside the door a distraught Quentin begs -
(http://www.dsboards.com/NoDSquoteimages/1201NoDS_o.jpg)
"Tracy, for God's sake, what is it? Answer me!"
And that's how thing's end in the current version of the film - but as we can see from the script, a great deal more goes on - and there's more to come when we deal with yesterday's and today's quotes from the slideshow...
-
And that's how thing's end in the current version of the film
Was that the original ending of NoDS?
Lara Parker sure looks nice in those shots.
Patti
-
Does anybody know where these basement scenes were filmed? Main house, stables, bowling alley, swimming pool, ...?
That's a very good question that doesn't seem to have an answer. Back in 2001 Darren Gross searched the basement of Lyndhurst and some other places on the estate and couldn't find the location...
Howdy! The location for all the NODS basement scenes is actually the basement underneath the greenhouse.
-
As you'll see as Scene 106A unfolds in the slideshow and the posts following this one, some of it is very much the same as Grayson's script's continuation of Scene 106 - but things will change radically before too long. But here's how things were originally supposed to play:
GERARD
I'll saddle your horse.
He walks to the saddle rack, takes one and throws it
over a tall gray.
TRACY
This isn't Dubloon, is it? The
horse my husband rode this morning --
GERARD
We don't have a Dubloon. He rode
Ulysses.
Tracy thinks about this.
TRACY
Where's the Mill on the property?
GERARD
There's no mill.
TRACY
Are you sure?
GERARD
Yes -- I'm sure.
Tracy mounts her horse as Gerard makes no move to help
her but just stands staring at her. Then, unable to
|
And that's how the version I have ends - unfortunately, the last line on the page was never copied. But I suspect we might surmise that Tracy was unable to get on the horse by herself so Gerard helped her in some manner that, uh, overstepped his place...
There's only one line of text missing from your script copy, as follows, from "Then, unable to" "bear his presence any longer, she rides off." End of scene/end of page.
One note on scene 105, 106, 106A that may be of interest here.
Based on the director's notes (on the reverse pages of the director's script, not included in the movie book), scene 105 was filmed almost exactly like the scene of Vicki visiting the stables from the 91 pilot (a scene from the expanded version, if memory serves), ie: shot from inside the stables almost as a Gerard POV shot, panning to follow Tracy as she walks past the stable windows towards the door. Mr. Curtis had a penchant for repeating blocking/framing, etc. and the extra fun thing here is that in the DS 91 pilot scene, Vicki is wearing a white sweater that is almost identical to one Tracy wears in several scenes in NODS.
For scene 106, there is one still from the official set of bloody scratched Gerard leering at a cornered Tracy in a medium/2-shot, inside the stable near the stable door. There are also several images recovered of Tracy on the horse inside and outside the stable, Gerard leading it, clearly having the dialogue about the mill. A couple of color shots of Gerard only exist for this scene as well, though they're mostly portraiture, not continuity stills, but nice to see the costuming and make-up in color.
I was told from the animal trainer Captain Haggerty (the bald gentleman in the tower invasion sequence) that the dogs had just passed training and were relatively inexperienced on movie sets, and that trying to get them to growl, snarl, etc. and look threatening was a big problem- all they wanted to do was play. It's also hard to get pairs of dogs to growl, so I was told, because the more you stimulate and antagonize them to growl and snarl, the more riled up they become and they can end up snapping or biting each other, since they're leashed together. If I was a betting man, I'd say that the first stable scene was re-staged when they couldn't get the dogs to menace Quentin in a time-efficient manner, then tried again with Scene 106 and got something that didn't quite come off, so rather than keep part of the scene (Tracy leaving on the horse) it was left on the cutting room floor. If the rough cut had included close-ups of snarling dogs, you can bet your hat that it would have ended up in the trailer.
-
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_f.jpg)
- until we actually see Angelique's spirit -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_g.jpg)
- come down the corridor - approach -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_h.jpg)
- Alex - and then turn into -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_i.jpg)
- the mist-like vapor that envelopes Alex' body. So, the camera doesn't actually do a slow pan of the living room because, as we could see in the above captures, the camera actually remains stationary and focused on Alex asleep on the couch - and the camera also doesn't do a truck down the hallway, and we never actually see Claire and Alex through the bedroom door and asleep in their twin(!) beds (especially considering we've already seen Alex asleep on the couch in the living room) - and the camera doesn't continue to truck in as it enters the room.
What actually happens is that there's more like a Scene 176A in which we immediately see Claire waking up alone in bed -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_j.jpg)
- and as was already discussed above, she calls out Alex a few times - but then she suddenly realizes that something is wrong and she gets up - and once she's in the corridor, she sees what's happening to Alex - and after momentarily stopping dead in her tracks -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_k.jpg)
- and screaming, she reaches for the floor lamp but knocks -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_l.jpg)
- it over in her frenzy - but once she does turn -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_m.jpg)
- it on, the other light also comes back and the mist-like vapor that envelopes Alex' body -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_n.jpg)
- disappears - and as we can see in today's capture -
(http://www.dsboards.com/NoDSquoteimages/1009ds91_0.jpg)
- she rushes to Alex side, desperately trying to revive him, until -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_o.jpg)
- he does indeed revive. So, all that means that a lot of what's scripted to happen in Scene 177 doesn't actually happen in the film. And in some ways that's too bad because much of what was scripted would have been quite interesting to see. But who knows if things were changed because it would have been too costly or too complicated to shoot, or perhaps for some other reason? Though at least some of the planned effects were reworked and used. And actually, I think having Angelique's spirit arrive and transform into the mist-like vapor was actually better than how it was introduced in the script.
One thing that's very interesting, though, it that one can easily tell that there are three distinct cuts in the background music for Scene 177, so apparently it's quite likely that footage was removed for time during the marathon James Aubrey imposed editing. And that sort of ruins how things were to play in slow motion. But perhaps they still do in the 129 minute version...
The blunt cuts in the music do indeed point to last minute cuts in the scene that were made during the Aubrey-imposed re-edit. In the short version of the film, it cuts right from Alex to Angelique's ghost moving down the hallway. That shot has a longer beginning- it cuts to the camera panning down the empty hallway and as it does, Angelique slowly dissolves in until, walking/floating left to right as in what remains of the shot.
Also, when Claire knocks the lamp over the entire scene/shot switches to slow motion as Claire kneels down and reaches for the lamp to turn it on, looking toward Alex in helpless fear, then boom the cut to the shot of her turning on the lamp, back to normal motion.
A new shot of Alex coughing, recovering as Claire holds onto him at end of scene also included.
-
Thanks so much for the info, Darren. [hall2_smiley]
And [occasion13] [occasion15]
-
And that's how thing's end in the current version of the film
Was that the original ending of NoDS?
No, no - as the film currently stands, it still has about 8 minutes to go. I meant that's where Scene 225 currently ends. [hall2_smiley]
-
Thanks so much for the info, Darren. [hall2_smiley]
And [occasion13] [occasion15]
Thanks and you're welcome!
I haven't been able to get onto the board in awhile, and was unware of this huge thread, otherwise I would have commented as it rolled along. I'l trawl through it over the next month or so and if I see any mysteries or questions I can answer, I'll do my best to chime in...
-
Picking up Scene 225 where reply #550 left off and repeating a bit:
Suddenly Tracy's SCREAM stops abruptly as Alex and
Claire ENTER THE SHOT, running toward Quentin.
CLAIRE
Where's Tracy?
QUENTIN
Help me with this door!
As Alex grabs the handle with Quentin, they both start
pulling.
|
And that's when Thursday's quote -
Page 104/Scene 225 - Quentin: 'She's in there! We've got to get her out!'
comes up, followed in the script by:
226 INT - ROOM - NIGHT - SLOW MOTION 226
Tracy lies on the floor, barely moving, completely
enveloped in the white mist. THERE IS NO SOUND.
227 INT - BASEMENT AT DOOR - NIGHT - NORMAL SOUND 227
as Quentin and Alex, in a last desperate effort
finally yank the door open. The light pours into
the room as they run in. The white mist which
envelopes Tracy disappears. She lies there, her
eyes vacant with shock. They bend to her as Quentin
cradles her in his arms.
|
And that's when Friday's quote -
Page 105/Scene 227 - Claire: 'Oh, my God, it was the same thing!'
comes up, followed in the script by:
As Tracy begins to come out of it, she begins to sob.
|
And that's when yesterday's quote -
Page 105/Scene 227 - Tracy: 'It was so horrible...she was here!...she was here!'
comes up, followed in the script by:
Quentin looks around the room.
|
And as for the dialogue, the descriptions, and the directions, there's no way of knowing if anything is different in the 129 minute version. The only part of the above excerpt from the script that currently appears in the film is Tracy on the floor after the white mist has disappeared and an obvious cut to Quentin kneeling down to revive Tracy and cradle her as she sobs. (But unlike as scripted, those two bits of Scene 227 appear after Scenes 237 and 238, which are currently cut to right after Quentin begs Tracy to answer him in Scene 225. But more on that once we've reached Scenes 237 and 238 in the script...)
And just in case you might have said to yourself that you didn't recognize the shot of Claire that I used in Friday's graphic, that's because I cropped it from the following rare still -
(http://www.dsboards.com/NoDSquoteimages/Claire.jpg)
- that, like this more familiar one from Scene 221 -
(http://www.dsboards.com/NoDSquoteimages/Tra_Que.jpg)
- was most likely taken during rehearsal or blocking given that they're wearing coats but they don't in the film.
And once again Grayson has notes in her script even though Carlotta doesn't even appear in Scenes 226 and 227, and once again they deal with Carlotta's reactions to what's happening to Tracy (though how she knows is anyone's guess - well, unless she has more of a psychic connection to Angelique than we're completely made aware). And the notes deal with how excited Carlotta is that Tracy is about to be gotten rid of, but then with the disappointment of Angelique being defeated.
-
Happily all the above mentioned material (not the Grayson notes) is in the director's cut, ie: Alex and Claire running to help, Claire's line, Alex and Quentin interaction, etc.
-
Howdy! The location for all the NODS basement scenes is actually the basement underneath the greenhouse.
Thanks, Darren! I was wondering if the greenhouse would be a possibility, but I had no idea how much, if any, basement there would be. The brick part of the building in the back is rather shallow, but of course I imagine they could have much more extensive basement running underneath the greenhouse proper...
-
Happily all the above mentioned material (not the Grayson notes) is in the director's cut, ie: Alex and Claire running to help, Claire's line, Alex and Quentin interaction, etc.
Oh, I do hope we'll get to see this one day! I see that WB is opening up a bit more to licensing films to other parties for home media release, and my big dream is to see Criterion Collection put out a Blu-ray with all three known versions of NODS: the official theatrical release, the slightly longer version that some theaters got by mistake (and which I got to see in Aug. 1971!), and the original director's cut. Along with commentaries, of course! And a feature-length documentary on the whole thing.
-
Moving on to the next two scenes:
228 THE BRICK WALL - QUENTIN'S P.O.V. 228
BACK TO SCENE
as they help the still-crying Tracy to her feet,
Quentin crosses to the brick wall and stands looking
at it. He thinks for a moment, then turns to them.
QUENTIN
That's it!
Alex looks at him.
|
And that's when yesterday's quote -
Page 105/Scene 228 - Quentin: 'The brick! That was the sound! The sound of brick being laid.'
comes up, followed in the script by:
CUT TO:
229 INT - SMALL ROOM - NIGHT 229
as Alex and Quentin have just about finished ripping
out the brick wall, the large iron door is revealed.
Quentin grabs the rusted bolt and unlocks it.
INT - ROUND BURIAL ROOM - NIGHT
as the door opens and light streams in, Quentin and
Alex stand in silhouette in the doorway.
THE ROOM - THEIR P.O.V.
The light of their candelabras reveal an aged pine
coffin covered with cobwebs and dust. As they ENTER
THE SHOT and cross to it, they suddenly see the
skeletal remains of Charles Collins. In the B.G.,
the girls appear at the doorway.
|
And that's when today's quote -
Page 106/Scene 229 - Quentin: 'So this is why Laura was laughing at the funeral. They were burying an empty coffin.'
comes up.
End of scene and end of sequence. And the sad thing is, even though Scene 228 was recovered with the 129 minute version of the film, Scene 229 was not. And again, sort of similar to how the rewrite of Scene 218 drops all reference to Quentin having trouble breathing on the night of his dream even though a big thing is made of that in Scene 103, it's odd that Scene 52 makes a point of having Gerard do brickwork so that Quentin will have the sound of it in the back of his memory, yet because all future references seemingly save for Quentin suddenly putting 2 and 2 together (even though we have no idea that he's been trying to place a sound because Scene 218 is not in the film and may not have even been shot) it makes Quentin's eureka moment come from out of nowhere. Not to mention that Scene 229's revelation of the discovery of Angelique's and Charles' remains would certainly seem like a major plot payoff. But apparently not to DC. And as we know only too well, ours is not to fathom DC's thinking. Instead of how things were scripted to build up, we simply get Quentin delivering the scripted "The brick! That was the sound! The sound of brick being laid", presumably along with "Charles Collins is in there!", which DC added to his script.
And similar to cropping Claire out of a still to use in Friday's graphic, I cropped the coffin/skeleton out of the following frequently seen still -
(http://www.dsboards.com/NoDSquoteimages/Que_Cha.jpg)
- (though for some strange reason I can't seem to locate the actual version of it that I used that shows more of the skeleton). And I also want to share this rare still of David Selby posing with Quentin's former self (or is it Angelique, as we got into in reply #34 - who knows?)
(http://www.dsboards.com/NoDSquoteimages/Cha_Dav.jpg)
- an alternate version of which appears in the 30th Anniversary Tribute version of the DS Almanac on page 141.
-
Oh, I do hope we'll get to see this one day! I see that WB is opening up a bit more to licensing films to other parties for home media release, and my big dream is to see Criterion Collection put out a Blu-ray with all three known versions of NODS: the official theatrical release, the slightly longer version that some theaters got by mistake (and which I got to see in Aug. 1971!), and the original director's cut. Along with commentaries, of course! And a feature-length documentary on the whole thing.
When you dream, you definitely dream BIG, KMR - and I love it!!
[santa_thumb]
-
Moving on to the next two scenes:
228 THE BRICK WALL - QUENTIN'S P.O.V. 228
BACK TO SCENE
as they help the still-crying Tracy to her feet,
Quentin crosses to the brick wall and stands looking
at it. He thinks for a moment, then turns to them.
QUENTIN
That's it!
Alex looks at him.
|
And that's when yesterday's quote -
Page 105/Scene 228 - Quentin: 'The brick! That was the sound! The sound of brick being laid.'
That line was quoted in the 1989 Collinsport Players skit, The Night Before. It's followed by an interjection from Claire: "Really? Who's Brick?" That wacky Mrs. Jenkins!
-
I'm probably misremembering, but I recall that the FAMOUS MONSTERS OF FILMLAND "filmbook" of this movie which had nearly the entire story set out in text and photos (so why bother to go see it, some may have asked) ended with the scene of Tracy screaming in the basement room.
I checked the article today (while I was searching with no luck for the longer Quentin/Charles' skeleton still) and the plot summary ends at the point that Quentin goes back to Collinwood for his paintings. But it does tease:
He should not have.
See the picture and find out why.
And actually, I'd forgotten how nice an article it is so more than likely I'll scan/share it after we finish with the script...
-
That line was quoted in the 1989 Collinsport Players skit, The Night Before. It's followed by an interjection from Claire: "Really? Who's Brick?" That wacky Mrs. Jenkins!
[stfl][stfl][stfl][stfl] That's too hysterically funny!! [santa_thumb] [santa_thumb] [santa_thumb] [santa_thumb]
And you know, I was at the '89 Fest, so I may have actually seen that skit. One of these days I'm going to have to dig out my fanzines and read up on it to remind myself...
(But right now I promised myself I was going to start decorating for Christmas today, so I'm off to do that... [ChristmaS0] [8_2_74])
-
The skit would be a perfect fit for this thread, as it was set on the making of NODS and recreated some of the missing scenes, including the infamous Gregory sequence. It segued to the Academy Awards where DC is furious that Fiddler on the Roof got nominated instead of NODS. (Can you imagine? Yeah, I can too!)
"Fiddler on the Roof!?! My movie had Carlotta on the roof!"
-
In the B.G., the girls appear at the doorway.
What's the 'B. G.'?
[8_2_59] [8_2_59]
Patti
-
BG usually means background.
Love that candid shot of Selby with the skeleton. I do not recall having seen that one before.
Also, excellent notes from Darren! I'm in awe of the degree to which you and MB have studied this film!
cheers, G.
-
I forgot to mention yesterday that, as I'd mentioned several months back when we were dealing with Angelique's funeral, after I'd seen NoDS for a second time, I was certain that Laura was laughing at the funeral because Rev. Strack characterized Angelique as Laura's "loyal and loving sister-in-law" and Angelique had been anything but. And as I'd also mentioned back then, when I finally got my hands on a copy of the script back in the early '90s (through the generosity of a good friend), I was honestly quite surprised that the script has its own explanation, and that explanation just came up at the end of Scene 229:
Page 106/Scene 229 - Quentin: 'So this is why Laura was laughing at the funeral. They were burying an empty coffin.'
And while I can see the humor in that explanation, I don't know, I still like my interpretation because it's humorous in an Oh-My-God-You've-Got-To-Be-Kidding sort of way. And considering that Scene 229 doesn't appear in any version of the film, the reason for Laura's laughter is still left up to interpretation. In fact, in the current version of the film, many things are left up to interpretation, with another example coming up fairly soon...
-
And now we begin to set up the seance sequence:
230 INT - GALLERY - NIGHT - HIGH ANGLE 230
The four sit around a table set near the windows.
The room is lit by a single candelabra on the table.
Quentin sits in the most comfortable chair. Tracy
is at his left, Claire at his right. Alex is across
from him.
|
And that's when today's first quote -
Page 106/Scene 230 - Quentin: 'I'm not sure I know what to do.'
comes up, followed by today's second quote -
Page 106/Scene 230 - Alex: 'Just do as we told you. If Angelique appears for anyone, it'll be you.'
coming up, followed in the script by:
Quentin looks around the room.
They all begin to concentrate.
|
-
"Fiddler on the Roof!?! My movie had Carlotta on the roof!"
[a1f5] [lol2] [a1f5]
-
Speaking of roofs, I've never understood this still:
(http://www.dsboards.com/NoDSquoteimages/Str_Gab.jpg)
What the hell are Strack and Gabriel doing up on the roof?! And why would Thayer David and Chris Pennock even agree to pose there?!
-
MB--I've seen several publicity stills from the NoDS shoot that had no relationship to any version of the script of which I am aware.
Darren would be able to speak to this more definitively, but it may be that DC was just exploring options in working on the staging and blocking of some sequence or other. Or it may be that whoever was the stills photographer just thought it might be "different" to have some of the actors up there posing.
Another possibility is that the shots were done when they were working on material for the various one-sheets that were ultimately produced to promote the movie.
Best, G.
-
I could understand posing atop the tower, or even atop the stairwell tower, if there's access to the outside, because those are flat surfaces - but that photo was taken on the steeply slanted portion of the roof that's over the Master Bedroom/Gallery. Not having been up there myself, maybe somehow in reality it's not as dangerous as it would appear to be, but it sure as hell would seem to be dangerous...
As for some of the stills that are completely unrelated to the script, I do like the ones of Nancy Barrett and Chris Pennock goofing around at the real Rose Cottage and elsewhere on the Lyndhurst estate:
(http://www.dsboards.com/NoDSquoteimages/NB-CP.jpg)
But those aren't in character...
-
And what is that thing Nancy Barrett is wearing? Something Gregory picked out especially for her?
MB, I too am surprised by the location of that still shot on the roof above the transept. (I don't have my HABS drawings handy, so I took a look at google Earth, but couldn't get in close enough to see where the access for that part of the roof would be.) Just glad that Thayer didn't lean too heavily on that window and go crashing down through it. If he were lucky, it would have been above the bed...
-
And what is that thing Nancy Barrett is wearing? Something Gregory picked out especially for her?
That's a very good question! And anyone who owns the Millennium Edition of the DS Almanac should check out page 274 to really see what that dress looks like full length. Whoa! [yikes] Though in some era I'm sure it was the height of style...
-
Is this where they are on the roof?-- http://architecture.about.com/od/periodsstyles/ss/gothicrevival.htm#step4 (http://architecture.about.com/od/periodsstyles/ss/gothicrevival.htm#step4)-- because if so, oh my god!
-
Yup!! Though they may be on the other side. But still...
-
Picking up Scene 230 where we left off and dealing with the next scene:
GROUP - TRUCKING SHOT
During the following, CAMERA TRUCKS AROUND THE TABLE.
|
And that's when today's quote -
Page 106/Scene 230 - Quentin: 'Is there anyone in this house who wishes to speak with us?...who has anything to say to us? We are here to listen to you...the psychic door is open for you to enter.'
comes up, followed in the script by:
DISSOLVE TO:
231 INT - TOWER ROOM - NIGHT 231
as CAMERA begins a LONG, CONTINUOUS TRUCK through the
doorway to:
231 CONTD CONTD 231
INT - TOWER STAIRS - NIGHT - CONTINUE TRUCKING
INT - THIRD FLOOR STAIRS - NIGHT - CONTINUE TRUCKING
|
End of scene 231 - but much more to come in the sequence...
-
Picking up the seance sequence where we left off:
232 INT - SECOND FLOOR - NIGHT 232
as CAMERA CONTINUES TO TRUCK DOWN THE CORRIDOR
toward the gallery, the SOUND OF QUENTIN'S VOICE
can be heard.
|
And that's when today's quote -
Page 107/Scene 232 - Quentin (O.S.): 'We want to help whoever is in this house. That is all...we know you are troubled...'
comes up.
End of scene 232 - but still much more to come in the sequence...
-
Moving on to the next scene in the seance sequence:
233 INT - GALLERY - NIGHT 233
as CAMERA TRUCKS, revealing them, it begins to CRANE
UP, ending with a HIGH WIDE ANGLE.
QUENTIN
Let us try to help you.
He suddenly stops and looks TOWARD CAMERA. They
all look at him. HOLD FOR A MOMENT.
ALEX
(softly)
Is she here?--
As Quentin casts his eyes around the room, he nods
his head, "yes."
|
And that's when today's quote -
Page 107/Scene 233 - Quentin: 'I know you're here, Angelique. I know you're with us. Now you must listen. You must leave us alone. We know you were not a witch, that your death was unjust. We have found your bodies...yours and Charles'. We have buried them in holy ground.'
comes up.
And so we come to what's quite possibly the most confusing bit of dialogue in the film. If Angelique wasn't a witch, how does one explain so many things in the film? But that's a discussion best left until after we deal with the whole script because we've yet to get to something that's more than a bit confusing if Ang lacks supernatural powers...
-
I had never heard of NoDS before here.
I bought it about 5 years ago, have watched it twice; none of the shots/dialogue seem even remotely familiar.
Time to watch again, but, I'll probably wait until MB is completed with this.
(Love the pic of skeleton & DS.)
Patti
-
Picking up Scene 233 where we left off:
TRUCK IN ON Quentin as he REACTS to something near
the top of the room, directly above the table. They
follow his gaze as ever so faintly a mist begins to
form and take shape. HOLD until we see the faint
outline of the face of Angelique.
|
And that's when today's quote -
Page 107/Scene 233 - Angelique's voice: 'Come with me.'
comes up.
And in DC's script, right after the descriptions and directions and before Angelique's line, DC added:
QUENTIN'S P.O.V. - CLOUD OF ANGELIQUE
|
-
Popping in NoDS now.
Hopefully, I'll see stuff I've read.
Patti
-
Continuing along with Scene 233 after Angelique speaks to Quentin (with some of DC's additions added):
233A
233 CONTD CONTD 233
THEIR P.O.V. - NOTHING
They all look at him as he REACTS. They do not hear
or see it.
ALEX
What do you hear?
|
And that's when today's quote -
Page 108/Scene 233 - Quentin (ignoring him): 'I am not Charles Collins. You do not love me. Let go of me. Your spirit is free to leave this house, never to return here where you have had such unhappiness. You and Charles must go...'
comes up.
DC also added a notation between the words "house" and "never" that the camera would begin a slow zoom to Quentin's close-up.
-
I wish I had a stronger visual memory of seeing the footage of this scene (in black and white, due to some kind of technical situation I didn't understand--if fully restored, it would have been seen in full color) and without any soundtrack, at a DS Festival many years ago. The main thing I recall was the extraordinarily fluid camerawork and atmospheric use of lighting.
My impression at the time was that it might well have been the best piece of film Dan Curtis ever produced.
Thanks to Darren for making it available briefly for us.
I'm thinking now of Sandor's words from the 1897 story on the original series: "What might have been... can never be."
cheers, G.
-
I'm confused about 'alternate ending'.
Was this something Dan Curtis was 'toying around' with?
Or, is it just fantasy?
(BTW, before I read this, I would not have noticed the 'bricks' noise.)
Patti
-
Patti, there isn't really an alternate ending. But there are earlier versions of scenes that appear in some of the actors' scripts, We've shared a lot of those in this topic. But the updated versions that appear in DC's script are the versions that appear in the film...
-
Continuing along with Scene 233:
Finally, the face starts to fade.
|
And that's when today's quote -
Page 108/Scene 233 - Quentin: 'Join each other in a world where there is no death or hatred. Go with my love. Go forever -- go -- go -- go.'
comes up.
But things are far from over. In fact, they're really just about to begin when the next quote/capture comes up...
-
Continuing Scene 233:
Just as the mist is about to vanish completely, the
moment is shattered by the SOUND of the Music Room
shutters flying open and the SHRIEK OF CARLOTTA'S
ANGUISHED VOICE.
|
And that's when today's quote -
Page 108/Scene 233 - Carlotta (O.S.): 'No! You must not send her away!'
comes up.
But if the clips we've seen from the seance are any indication, more than likely Carlotta isn't simply heard off screen because the clip of Carlotta screaming "No!" is in at least two of the NoDS trailers.
And Grayson has a note in her script that at this point Carlotta is wild and crazed with the fear of losing Angelique.
-
Moving on the next scene in the seance sequence:
234 WHIP PAN to Carlotta, who stands in the Music 234
Balcony high on the back wall of the gallery.
|
And that's when today's quote -
Page 108/Scene 234 - Carlotta: 'I will not let you!'
comes up.
But if the clips we've seen from the seance are any indication, more than likely in the film the camera whip pans to Carlotta before the script indicates.
And Grayson has a note in her script that at this point Carlotta is feeling rage.
-
A few notes I can share... scenes 218-220 were indeed shot- they're included in a daily shooting report I have. I have one photo of Quentin close-up with the candelabra, and you can tell from the background that they are at the bottom of the staircase, about to separate.
It was cut out of even Dan Curtis's director's cut, though, most likely just to tighten things up a bit. The dialogue from this scene between Alex and Quentin was edited down and plays over the shot of Carlotta in the tower in the director's cut, and yes it exists. It was replaced with the solo Selby "find Carlotta" voice over to help make sense of the chopped up ending in the short version.
One thing to keep in mind in many of the scenes, is that the dialogue in many of the scenes was all adjusted, tweaked, revised slightly on-set, which makes things play a little more naturally, but has been sheer hell from a dialogue re-looping standpoint because there's no document that exists which accounts for all the on-set changes. Lots of trial and error and frustrations in the booth, I can tell you! The basement/skeleton scene loss is a huge disappointment to me, and I believe that dialogue would have been significantly revised in filming, probably dropping the Laura laughing line and having some minimal lines of explanation to clarify that the skeleton is Charles, and he's lying atop Angelique's coffin, with her inside it.
The shot of the skeleton hanging from the tree was just on-set goofing around. I have the contact sheets from this shoot, and it's not supposed to be Angelique- it's Charles's skeleton and is dressed in his rotted shirt- that's why there's that shot of Selby standing next to it, as it's his character. They were shooting publicity shots of Selby, and the crew just ties a rope to the skeleton and pulls it up off the ground to get the shots with Selby, then afterwards a few shots of it by itself in the tree. I was thrilled to find that contact sheet, as it always appeared to be some shot of Angelique's body rotted to nothing and hanging there, and intriguing, but impossible scene to match to any of the scripts.
In the final filmed version of the Gerard fall to his death, Alex says, "Looks like the old Bangor local is gonna be running late tonight." Thankfully we have that audio as well. His face is off-screen for the tail part, and if we didn't have the original recording, we would have looped it as "B&M" which would have been unfortunate.
-
The staging of the Carlotta seance appearance is also handled slightly differently. The final version opts to show the gallery balcony windows slowly open and she is visible listening to the last few lines of the seance. When she begins to shout though, it cuts to the fast-zoom in to her face. Interesting that they chose to go that way.
-
The rooftop shot of Strack and Gabriel is a strange one, and it is a very precarious part of the roof. Again, just shot for publicity. There are shots in the film that are taken from the rooftop, so at some point a scaffold and some support boards must have been laid across it for access & safety, so that's probably how and why they got up there. As there are some angles from the roof looking down at the hanging, these two must have popped up to take a look between shots.
-
A few notes I can share... scenes 218-220 were indeed shot- they're included in a daily shooting report I have. I have one photo of Quentin close-up with the candelabra, and you can tell from the background that they are at the bottom of the staircase, about to separate.
Good to know. There are so many stills of Quentin with candles that sometimes it's hard to know which are simply publicity poses and which are for actual scenes. For example, back in '09 I used this for the seance -
(http://www.dsboards.com/moviesquoteimages/1218NoDS_0.jpg)
- in the original slideshow for NoDS even though I was pretty sure it wasn't from the seance, but I cropped and enlarged it so it would look like it could be. (And the really funny thing is that at this point I have no idea where I've stored the original.)
One thing to keep in mind in many of the scenes, is that the dialogue in many of the scenes was all adjusted, tweaked, revised slightly on-set, which makes things play a little more naturally
We've certainly noticed that. There aren't many scenes where everything is delivered as scripted. [ghost_nowink]
but has been sheer hell from a dialogue re-looping standpoint because there's no document that exists which accounts for all the on-set changes. Lots of trial and error and frustrations in the booth, I can tell you!
I can just imagine!
The basement/skeleton scene loss is a huge disappointment to me, and I believe that dialogue would have been significantly revised in filming, probably dropping the Laura laughing line and having some minimal lines of explanation to clarify that the skeleton is Charles, and he's lying atop Angelique's coffin, with her inside it.
IMO, dropping the Laura laughing line would have been a good move.
I was thrilled to find that contact sheet, as it always appeared to be some shot of Angelique's body rotted to nothing and hanging there, and intriguing, but impossible scene to match to any of the scripts.
Exactly!
-
The staging of the Carlotta seance appearance is also handled slightly differently. The final version opts to show the gallery balcony windows slowly open and she is visible listening to the last few lines of the seance. When she begins to shout though, it cuts to the fast-zoom in to her face. Interesting that they chose to go that way.
Very. I saw the footage of the seance when you showed it at one of the Fests, but sadly, like Gothick, I wish I had a stronger visual memory of it. But also like Gothick, I remember thinking it was some of DC's best work and it was a beyond terrible shame that it was cut!
-
The rooftop shot of Strack and Gabriel is a strange one, and it is a very precarious part of the roof. Again, just shot for publicity. There are shots in the film that are taken from the rooftop, so at some point a scaffold and some support boards must have been laid across it for access & safety, so that's probably how and why they got up there. As there are some angles from the roof looking down at the hanging, these two must have popped up to take a look between shots.
Definitely not something I would have done because I hate heights - but your explanation makes a lot of sense.
And again, thanks for all the info. [santa_smiley]
-
Darren, those notes are fascinating. Thanks so much for sharing all that.
My heart aches for you whenever I think about this movie.
Wishing you a happy holiday and a Happy New Year!
Best, Steve
-
Continuing Scene 234:
QUENTIN - CLOSE-UP
as his eyes roll back and he topples from the chair.
|
And that's when today's first quote -
Page 108/Scene 234 - Tracy (O.S.): 'Quentin!'
comes up, followed in the script by:
WIDEN as the three of them jump to his side.
|
And that's when today's second quote -
Page 108/Scene 234 - Carlotta (still hysterical): 'Get out of this house! Take him with you if you must, but get out!'
comes up.
And along with Grayson having another note in her script saying that at this point Carlotta is feeling rage, she crosses "must" out of Carlotta's dialogue and replaces it with "have to". Sacrilege in the DS universe to ever drop an instance of saying "must" - but if it does play that way in the 129 minute version of the film, I suppose we'll just have to learn to live with it. [santa_wink]
And if Alex does indeed jump to Quentin's side in the 129 minute version, it will be interesting because for some reason I've only seen stills of Claire and Tracy at Quentin's side.
-
And if Alex does indeed jump to Quentin's side in the 129 minute version, it will be interesting because for some reason I've only seen stills of Claire and Tracy at Quentin's side.
You are correct. As filmed, Claire and Tracy jump to Quentin's aide, while Alex stand up to confront Carlotta then chases after her when she runs off.
...and Yes, that photo you posted of the Quentin with candles on the previous page IS the shot I was talking about- when you can see it full frame, you can see the mason-work on the ceiling near the staircase. It's from the scene where the group separates. Wish we had more!
-
Oops - I forgot that I also wanted to post this photo:
(http://www.dsboards.com/NoDSquoteimages/dream-4.jpg)
Not that it's from the dream (Darren believes it's a behind the scenes still from Scene 85), but to me it seems very odd. Am I the only one who thinks it looks like Angelique doesn't have any ankles/feet?!
I must have misspoke or malapropped- this image is definitely a behind the scenes shot from this poolhouse dream sequence...
-
...and Yes, that photo you posted of the Quentin with candles on the previous page IS the shot I was talking about- when you can see it full frame, you can see the mason-work on the ceiling near the staircase. It's from the scene where the group separates.
Now I really want to know what in the world I did with it!!
Or maybe it ran off with the version of Quentin and the skeleton that shows more of the skeleton, and they're very happy together somewhere... [santa_cheesy]
-
Picking up Scene 234 where we left off:
234 CONTD CONTD 234
Quentin is out cold, as the girls work on him.
Alex stands to face Carlotta.
|
And that's when today's first quote -
Page 109/Scene 234 - Alex (calling to her): 'Let go of her, Carlotta! You have no right to hold her back.'
comes up, followed by today's second quote -
Page 109/Scene 234 - Carlotta: 'No! -- no!'
coming up.
And Grayson has yet more notes for this and upcoming moments in the scene, but I'm going to wait until tomorrow's quotes to get into them.
And interestingly enough, the only way I could get something from the seance to use of Alex for today's first graphic -
(http://www.dsboards.com/NoDSquoteimages/1216ds91_0.jpg)
- was to pull a frame from one of the trailers and crop it for the graphic (and unfortunately it's from a camera zoom - and to make things worse, he's turning his head - so that's why his face isn't completely clear). I'm not saying they don't exist, but I've never seen even one still of Alex from the seance sequence, whereas I have several featuring Quentin, Tracy, Carlotta, and/or Claire...
-
"The girls work on" Quentin...
I'm just imagining the stampede here if somehow Dan Curtis were to appear and bark, "OK, ladies, I need a coupla girls to WORK ON Quentin Collins. Anyone up for that?"
Curtis might not even have time to put his cigarillo down before the mob trampled him...
I just love this thread!!
G.
-
"The girls work on" Quentin...
I'm just imagining the stampede here if somehow Dan Curtis were to appear and bark, "OK, ladies, I need a coupla girls to WORK ON Quentin Collins. Anyone up for that?"
Curtis might not even have time to put his cigarillo down before the mob trampled him...
I just love this thread!!
It's almost on a par with Barnabas telling Angelique to make Quentin rise! [santa_evil]
-
"The girls work on" Quentin...
I'm just imagining the stampede here if somehow Dan Curtis were to appear and bark, "OK, ladies, I need a coupla girls to WORK ON Quentin Collins. Anyone up for that?"
Curtis might not even have time to put his cigarillo down before the mob trampled him...
I just love this thread!!
G.
Ha!
-
Wrapping up Scene 234, beginning with today's first quote -
Page 109/Scene 234 - Alex: 'You must let her go!'
coming up, followed by today's second quote -
Page 109/Scene 234 - Carlotta: 'Never! I will never let her go!'
coming up, followed in the script by:
Suddenly Carlotta runs from the balcony as Alex,
looking at the girls, makes his decision and runs
after Carlotta.
|
End of scene.
And when it comes to Grayson's notes, I'm not sure exactly what she was thinking, but encapsulating the dialogue from Alex telling Carlotta to let Angelique go because she has no right to hold her back through Carlotta saying she never will, Grayson writes "Proof it's got to be both ways" - and she also writes that Carlotta is looking for Angelique and must find her because she can't lose her - and it's not clear, but it could easily be interpreted that Grayson adds calling out to Angelique twice to the end of Carlotta's dialogue as she runs from the balcony.
-
I haven't looked at my own photocopy of Grayson's script in a long time, but my memory of her notation for this sequence is that she interpreted Carlotta's action as "proving" that only if both Quentin AND Carlotta released, or let go of the spirit of Angelique, would the latter truly fade away into eternal rest (or whatever awaits a soul after death).
I thought she wrote "Proof that it's got to be both ways," but again, I haven't pulled out my photocopy to check--maybe Darren will have something to contribute. If I find it, I will update here.
Best, G.
-
I thought she wrote "Proof that it's got to be both ways,"
She did - but I accidentally left out the word. It's there now, though. And the word "both" within the simple context of what Grayson highlighted is what I found the slightest bit confusing. But your explanation makes a good deal of sense within the whole context of what's happening...
I also forgot to mention that for the original NoDS slideshow, I used a different graphic for the following lines:
(http://www.dsboards.com/moviesquoteimages/1224NoDS_0.jpg)
NoDS: Scene #234 - Alex: 'Let go of her, Carlotta! You have no right
to hold her back.'
I figured it was just as valid to show Claire and Tracy reacting to Alex and Carlotta as it was showing Alex because at least in part it's that way in the film as well. Plus, as I said, I don't have any stills of Alex...
It's also worth noting that unlike how the script says Quentin "topples" from his chair, it appears that he simply passes out in his chair...
-
And before we move on to the next installment in the slideshow, we need to deal with a few scenes in the script:
235 INT - SECOND FLOOR - CORRIDOR - NIGHT 235
as Alex EXITS the gallery and runs TOWARD CAMERA.
PAN WITH HIM as he takes the stairs three at a time.
236 INT - THIRD FLOOR CORRIDOR - NIGHT 236
as Alex bounds up the stairs and looks about, he
notices the tower door open. PAN WITH HIM as he
runs up the stairs.
237 INT - TOWER ROOM - NIGHT 237
as Alex ENTERS, he sees the room is empty. But
looking up, he notices that the door to the parapet
is wide open. He starts for the roof.
|
And DC has a note in his script that Scene 235 would be shot from a high angle.
And with Scene 237 we finally return to material that's actually in the film as it currently stands. Though as I alluded to earlier, not exactly where it was supposed to appear. But more on that in a future post...
-
Moving on to the current scene:
238 EXT - TOWER PARAPET - NIGHT 238
as Alex emerges from the door, he sees Carlotta
standing there. The fear and hatred in Carlotta's
eyes are now one and the same. As Alex moves toward
her, Carlotta backs up to where she now stands on
the low wall that rims the parapet.
|
And that's when today's first quote -
Page 109/Scene 238 - Carlotta: 'Stay away from me! Don't touch me!'
comes up, followed in the script by:
And that's when today's second quote -
Page 110/Scene 238 - Alex: 'We don't want to hurt you, Carlotta.'
comes up.
And as far as the descriptions and directions go, upon first seeing Alex, Carlotta doesn't actually back up to get up to stand on the wall that rims the parapet because in fact she backs in the opposite direction to stand against the corner of the wall -
(http://www.dsboards.com/NoDSquoteimages/1218NoDS_a.jpg)
- and then just before Alex is about to say he doesn't want to hurt her is when Carlotta backs up to -
(http://www.dsboards.com/NoDSquoteimages/1218NoDS_b.jpg)
(http://www.dsboards.com/NoDSquoteimages/1218NoDS_c.jpg)
- stand up on the wall. (And there's a behind the scenes still of DC and John Karlen from the filming of Scene 238 on page 141 of the 30th Anniversary Almanac.)
And as far as the dialogue goes, Carlotta's quote doesn't appear in the film as it currently stands - and Alex actually says "Carlotta, I don't want to hurt you."
-
The production still where it shows that Grayson was standing on a box for that scene is a fun one.
I can just hear her saying when she got home, "Sam! I worked MY ASS OFF today! Gimme a g & t and make it snappy!"
G.
-
The production still where it shows that Grayson was standing on a box for that scene is a fun one.
Yes - and what makes it even a bit more fun is that still is one of the lobby cards, so the box is something that almost anyone who saw NoDS in a theater (as opposed to a drive-in) probably saw even though the box doesn't show in the film. [santa_cheesy]
-
The production still where it shows that Grayson was standing on a box for that scene is a fun one.
Yes - and what makes it even a bit more fun is that still is one of the lobby cards
Until I was just going through some NoDS stuff, I'd completely forgotten that in addition to the lobby card, there's a B&W still that's slightly different:
(http://www.dsboards.com/NoDSquoteimages/tower_box.jpg)
Of course, what's also interesting is that in the film Alex and Carlotta are never seen in the same shot from that angle (only in the angle seen in reply 612), yet they are in the above still and the lobby card version.
And I'm happy to report that, yes, the two stills that I suspected had run off together had actually almost done that because I discovered them packed away where they really shouldn't have been. But I found them, and that's all that's important:
(http://www.dsboards.com/NoDSquoteimages/Que_Can.jpg)(http://www.dsboards.com/NoDSquoteimages/Que_Ske_long.jpg)
Plus, I also discovered a better version of the DC/Kalen behind the scenes still:
(http://www.dsboards.com/NoDSquoteimages/DC_Kar.jpg)
-
That's a fabulous shot of Dan shooting the Carlotta jump sequence. Johnny is right in character even though the camera isn't on him. Now, that's training!
I'd forgotten about those heels Grayson wore as part of the Carlotta costume. Fabulous... and no doubt excruciating by the end of each day.
That shot of her on that box really is a hoot! Can't believe that was used for one of the lobbies. Somebody was really asleep at the wheel the day they did that layout!!
Best, G.
-
Wrapping up Scene 238 and moving beyond, beginning with today's quote -
Page 110/Scene 238 - Carlotta (as she looks over the side): 'She needs me.'
coming up, followed in the script by:
239 THE GROUND BELOW - CARLOTTA'S P.O.V. 239
On the ground far below stands the ghost-like figure
of Angelique. her arms outstretched as she beckons
Carlotta to her death.
240 EXT - PARAPET - NIGHT 240
as Alex takes another step toward Carlotta, she turns
and plummets from the tower. The only SOUND is that
of the MOANING WIND.
FAST ZOOM to Angelique on the ground below.
|
End of scripted tower sequence - though in the film that isn't the last we see of Carlotta. But more on that in an upcoming post.
And as far as the descriptions and directions go, everything plays pretty much exactly as scripted with the only difference being that there's a zoom to Angelique both times we see her.
And as far as the dialogue goes, Carlotta's quote doesn't appear in the film as it currently stands.
And Grayson has a note in her script that as Cartlotta decides to jump, she trusts in her love for Angelique.
And as an aside, for some reason I've always loved this still:
(http://www.dsboards.com/NoDSquoteimages/tower_jump.jpg)
And being the trouper that she was, I'm sure Grayson did her own stunt and dived off the tower to an inflatable bag below, right? ... No ... Well, you believe what you believe and I'll believe what I believe!! [santa_wink]
-
I wonder... Given that the candles on the candelabra seem similar, could this still -
(http://www.dsboards.com/NoDSquoteimages/Que_Can2.jpg)
- also be from Scene 220, or at least from the same photo shoot?
-
That's a beautiful shot of Selby as Quentin. Would make an awesome poster or DVD cover.
G.
-
And being the trouper that she was, I'm sure Grayson did her own stunt and dived off the tower to an inflatable bag below, right? ... No ... Well, you believe what you believe and I'll believe what I believe!! [santa_wink]
Oh wow, I don't remember ever seeing that still before! And as many times as I've seen the movie, I also don't recall seeing Carlotta fall from the tower. (Of course, as I get older, my memory is less and less what it used to be...) Gotta give those stunt people credit for what they do. I'd certainly hate to have to jump off that tower, even if they had the most trustworthy inflatable bags, snug up against the house and reaching out at least a hundred feet away! Well, maybe if the bag was deep enough that my jump only ended up being one story...
-
The only place I've ever seen that still is as part of the NoDS Herald that was offered to theaters in the NoDS Pressbook. The sad thing, though, is the pressbook doesn't scan very well, so this is about as good as the page gets:
(http://www.dsboards.com/NoDSquoteimages/Herald.jpg)
And if you're wondering what all the captions say, starting top left: "Condemned as a witch and adulteress, Angelique hangs from a rotting tree branch, mute testimony of man's treachery", top center: "Quentin seeks his own answers to the ghostly horror that festers in the dank atmosphere of Collinwood", top right: "Shrill cries of terror racket from Tracy's very soul as she encounters the ghostly Angelique", center right: "Carlotta seeks a terrifying ultimate release from the charnel life that has bound her", bottom right: "Ferocious adversaries spill one another's blood as Gerard and Quentin tangle in vicious confrontation", bottom center: "The restless ghost of Angelique emerges from shadows determinedly seeking her earthling lover Quentin", and bottom left: "Reverend Strack, who has persisted with his scheming that Angelique should be hanged as a witch, and Charles Collins, her lover, look upon her limp body swaying from the gibbet" - and the caption for the bottom card: "Zombie-like mourners tramp the sad loneliness of the Collinwood cemetery as Angelique's coffin is delivered to a final resting place."
And as you can see, whoever wrote all that copy was really showing off...
-
I may have mentioned this before but back in the day (approximately 1971/72), I purchased several stills from both movies directly from MGM. There was nothing especially unique about them but they were are close to mint condition as you could get. The still department was extremely cooperative and would send you whatever they had that matched your request. They were expensive for the time--$1.25!! [santa_shocked] I bought about five or six before MGM closed down their NYC still department. I don't recall if I ever inquired about ordering from MGM in California.
-
Dealing with the current scene:
241 INT - GALLERY - NIGHT - HIGH WIDE ANGLE 241
Quentin lies on the floor cradled in Tracy's arms.
Claire kneels next to him. HOLD FOR ONE BEAT and
then FAST ZOOM IN TO QUENTIN'S CLOSE-UP as, taking
a deep breath, he opens his eyes. SLOWLY WIDEN TO
INCLUDE Claire and Tracy, as Quentin and Tracy
embrace.
|
And that's when today's first quote -
Page 110/Scene 241 - Tracy: 'Thank God, Quentin, thank God.'
comes up, followed in the script by:
Claire rises as we continue to PULL BACK as dawn
can be seen through the gallery windows.
|
And that's when today's second quote -
Page 110/Scene 241 - Quentin: 'It's over, Tracy. It's over!'
comes up.
End of the seance sequence.
And as far as the descriptions and directions go, we do know that there's a zoom in to Quentin as he wakes because that is in one of the TV spots, but beyond that who knows because Scene 241 doesn't appear in the film as it currently stands...
And as far as the dialogue goes, presumably in the 129 minute version of the film Tracy still delivers some version of her line, but interestingly enough, in a document that I just recently rediscovered and had forgotten all about, Darren indicates that Quentin's quote was given to Claire (minus the reference to Tracy). So, if I had done graphics closer to what the scene is apparently actually like, these would have probably been more appropriate:
(http://www.dsboards.com/NoDSquoteimages/1220ds91_0a.jpg)
Tracy: 'Thank God, Quentin, thank God.'
(http://www.dsboards.com/NoDSquoteimages/1220ds91_1a.jpg)
Claire: 'It's over. It's over!'
And as we're only too well aware, so much of what we've recently been dealing with in the script doesn't play the same way in the film as it currently stands. And I will be getting into those differences very soon. But for now I want to share two videos that I created with the footage that is available in the film and in the trailers and TV spots to put the clips from the trailers in perspective and to give some idea of how certain things were intended to play and how they do play in the 129 minute version.And for the existing footage in the film I used the VHS so that it would be the same aspect ratio as the clips in the trailers/TV spots.
Part 1:
Part 2:
(ADMIN: Edited to add videos and remove animated GIFs)
-
I love the shot of Tracy, Quentin and Claire. Very atmospheric and moody.
And the GIFs are absolutely first rate. You did an excellent job, MB! Bravo!
-
I may have mentioned this before but back in the day (approximately 1971/72), I purchased several stills from both movies directly from MGM.
I don't recall you mentioning it before, but regardless of whether or not I just missed it, that's very interesting. It's an idea I never had, so how clever of you. [santa_thumb]
I didn't actually start to buy memorabilia from the films until about '73/'74. I began by getting stuff from a place called Cinema Attic (which, believe it or not, was an actual reputable company that advertised in the back of '70s magazines like Modern Screen, TV Picture Life, TV Radio Show, and the like, among the ads for things like Eva Gabor Wigs and Miracle Breast Enlargement creams!! [santa_cheesy]). If I remember correctly, one could send for a free catalogue of what they offered and then place orders from the catalogue. They had all sorts of stuff from both films - though not being the biggest hoDS fan, I never ordered anything from it - but being a HUGE NoDS fan, I ordered all sorts of things from it. Unfortunately, they're long since out of business. But my NoDS (and some hoDS) collecting didn't end with them because in the '90s I discovered a place in NYC called Ohlinger's, and every time I visited NYC, I bought tons of more stuff. [santa_wink]
-
I did quite a lot of shopping at Ohlinger's myself back in the day. As I recall, they had 5 huge books of DS stills to choose from, one for HODS, one for NODS, the other three for the TV show, with the NBC series and festivals also represented. One of the funniest things I saw there was in a section for KLS: she will not sign these.
Ohlinger's closed their physical store a few years ago. There is supposed to be an online store, though I have never ordered from them.
There was another photo dealer that I had purchased stuff from by mail in the early days called Stephen Sally. They had some good stuff but you ordered by name. Which meant that you ended up with duplicates and exchanging got to be a pain. I believe that they are still in business.
The first place that I bought stuff from was Preview or Premiere Photos out of Hollywood. They advertised photos of many actors at a very cheap price. I bought my first pictures of Nancy Barrett, Jonathan Frid, Lara Parker, Alexandra Moltke, David Selby and KLS from them. The photos appeared to be autographed but they all had the same handwriting. Except for the KLS one which was signed Katherine Reigh Scott! And Alexandra had somehow signed her name Alexander. Well, since I only paid 10 cents for each picture, I don't think that I got ripped off too badly!
-
I've been dancing around the subject for days, but thanks to James Aubrey's insanity, much of what we've been dealing with lately is either jumbled around in the film as it currently stands, or it's completely missing.
Case in point, the only part of Scene 227 that currently appears in the film is Tracy on the floor after the white mist has disappeared, which is then followed by an obvious cut to Quentin kneeling down to revive Tracy and cradle her as she sobs. And what's worse is those two bits of Scene 227 appear after Scenes 237 through 240, which are currently cut to right after Quentin begs Tracy to answer him in Scene 225. And all that means that in the timeline of the current version of the film:
- Scene 225: Quentin begs Tracy to answer him because he can hear her screams as Angelique attacks her in the basement room that Angelique has trapped her.
- Scene 237: Alex searches the tower, sees the parapet door is open.
- Scenes 238-240: Alex finds Carlotta, but she jumps to her death at Angelique's urging.
- Scene 227: Quentin reaches Tracy.
And the problems with that rearrangement is that:
-
Only Grayson could manage to look as if she's voguing in a shot where she's playing a dead body.
What a GREAT artist she was!
G.
-
[pointing-up] [santa_grin] But I agree!
-
Setting up the current scene:
242 EXT - COTTAGE - DAY 242
Claire and Tracy are at their car as Quentin drives
up.
|
And that's when today's quote -
Page 110/Scene 242 - Quentin: 'O.K. Everything's taken care of. As of now, all this grandeur is for sale.'
comes up.
And as far as the dialogue goes, what Quentin actually says is "O.K. Everything's taken care of. As of this very moment, all this grandeur's for sale."
And as far as the descriptions and directions go, Quentin actually delivers his lines as he gets out of his car and walks over to Claire and Tracy, who are not at a car but, as can be seen from this advanced look at tomorrow's first capture -
(http://www.dsboards.com/NoDSquoteimages/1222ds91_0.jpg)
- are sitting at the top of the walk to the cottage.
-
Not too much to say about today's quotes, the first one being -
Page 111/Scene 242 - Claire: 'Don't look so sad. Look at all the money you'll have.'
- followed by today's second quote-
Page 111/Scene 242 - Quentin: 'I'm not going to count on it.'
- coming up.
Obviously the script has moved to page 111 - there are no descriptions and directions to get into - but as far as the dialogue goes, what Claire actually says is "Don't look so sad, Quentin. Think of all the money you'll have", and Quentin actually says "I'm not gonna count on it.'"
-
Moving along with Scene 242:
Alex ENTERS THE SHOT from the house, crossing to them.
|
And that's when today's quote -
Page 111/Scene 242 - Alex: 'The reservations at the Cape are all set. I told them we'd be there at seven.'
- comes up.
And as far as any difference in the dialogue goes, what Alex actually says as the first part of his lines is "All right now, the reservations at the Cape are all set."
And there's nothing to get into with the descriptions and directions.
-
And moving along with more of Scene 242, beginning with today's first quote -
Page 111/Scene 242 - Quentin: 'Come on, Alex, it's going to take more than three hours.'
- coming up, followed by today's second quote -
Page 111/Scene 242 - Alex: 'Not with me leading the way --'
- coming up, followed in the script by:
TRACY
(laughing)
You're right -- not with you.
We'll meet you there -- I
don't need anymore excitement --
|
And as far as any difference in the dialogue goes, Quentin actually responds to Alex with ""Hey, that's only three hours from now" - to which Alex replies "Not with me driving, buddy" - and Tracy actually says "You may be right, I'll tell you that. I've had enough excitement. We'll meet you there" - after which Claire replies with something undecipherable.
And there aren't any descriptions and directions to get into from the script, but Alex picks up his suitcase and says not with him driving -
(http://www.dsboards.com/NoDSquoteimages/1224ds91_1.jpg)
- as he rushes toward his car - and Tracy and Claire soon follow behind him as Tracy delivers her lines -
(http://www.dsboards.com/NoDSquoteimages/1224NoDS_a.jpg)
- which Alex laughs at - and Quentin brings up the rear -
(http://www.dsboards.com/NoDSquoteimages/1224NoDS_b.jpg)
- as Tracy and Claire disappear toward Quentin and Tracy's car and Alex puts his suitcase in his car.
-
And moving along with yet more of Scene 242, as scripted, or not:
As Claire talks to Tracy, Alex gets into the car and
Quentin walks over to him. They look at each other,
both knowing how lucky they are.
|
And that's when today's first quote -
Page 111/Scene 242 - Alex: 'You know, I didn't tell you how really worried I was.'
- comes up, followed by today's second quote -
Page 111/Scene 242 - Quentin: 'You didn't have to.'
- coming up.
And as far as any differences in the dialogue, the descriptions and the directions go, Alex doesn't get into his car and Quentin has already been walking toward and even going a bit past him - and in an unscripted exchange before today's first quote even comes up in the film, Alex slaps Quentin on the back -
(http://www.dsboards.com/NoDSquoteimages/1225NoDS_a.jpg)
"Hey."
- to get his attention, whereupon Quentin turns to him and Alex points to Quentin's face and then to his own while asking -
(http://www.dsboards.com/NoDSquoteimages/1225NoDS_b.jpg)
"How many stitches?"
- to which Quentin answers as the camera begins a slow truck in on them -
(http://www.dsboards.com/NoDSquoteimages/1225NoDS_c.jpg)
"Six."
- then Alex asks -
(http://www.dsboards.com/NoDSquoteimages/1225NoDS_d.jpg)
"Could there be a scar?"
- and Quentin answers -
(http://www.dsboards.com/NoDSquoteimages/1225NoDS_e.jpg)
"Doctor said if I'd of waited any longer, there would have been."
- and after that is when today's first quote comes up, but Alex actually says "You know, I never told you how worried I really was" - and today's second quote is completely dropped in the film as it currently stands, though it does appear in the 129 minute version of the film. And we'll get into why that is when we deal with tomorrow's first quote...
-
And wrapping up Scene 242, with both scripted and unscripted material, beginning with yesterday's first quote:
Page 111/Scene 242 - Alex: 'No, no. That's not what I mean. I was afraid the exorcism didn't work.'
- comes up, followed by yesterday's second quote -
Page 111/Scene 242 - Quentin: 'Why?'
- coming up, followed by today's quote -
Page 111/Scene 242 - Alex: 'Because I had a funny feeling that it was really you who was keeping her spirit alive.'
- coming up, followed in the script by:
242 CONTD CONTD 242
QUENTIN
Well, thank God you were wrong.
Listen, have the lobsters ready --
Quentin crosses to his car as Alex pulls out.
Quentin follows.
|
End of scene as scripted.
And as far as any differences in the dialogue, the descriptions and directions go, just as how Quentin's quote from the 25th was dropped in the film, Alex' quote from yesterday was also dropped, and that was because they refer to the seance that doesn't currently appear in the film, but those quotes do appear in the 129 minute version of the film. As things currently stand, Alex says he was worried and the dialogue moves immediately to Quentin asking why when he's really asking about the seance, not simply about Alex' worries. And as for Quentin's final lines in the scene, what he actually says is "Well, I'm glad you were wrong" just before he turns away -
(http://www.dsboards.com/NoDSquoteimages/1227NoDS_a.jpg)
- from Alex and then adds "Have the lobsters ready --" - to which Alex answers with an unscripted -
(http://www.dsboards.com/NoDSquoteimages/1227NoDS_b.jpg)
"Females."
- and as Quentin makes his way to his car, we hear Claire say an unscripted -
(http://www.dsboards.com/NoDSquoteimages/1227NoDS_c.jpg)
"All right, bye bye."
- and then we hear Alex shout out an unscripted -
(http://www.dsboards.com/NoDSquoteimages/1227NoDS_d.jpg)
"Let's go, honey!"
- and Claire answers with an unscripted -
(http://www.dsboards.com/NoDSquoteimages/1227NoDS_e.jpg)
"Right."
- and then Quentin gets in his car -
(http://www.dsboards.com/NoDSquoteimages/1227NoDS_f.jpg)
- and Alex gets in his car from the passenger side as Claire comes -
(http://www.dsboards.com/NoDSquoteimages/1227NoDS_g.jpg)
- and Claire gets in the car -
(http://www.dsboards.com/NoDSquoteimages/1227NoDS_h.jpg)
- and then Quentin and Claire exchange waves as Alex pulls his car away -
(http://www.dsboards.com/NoDSquoteimages/1227NoDS_i.jpg)
-
One thing to keep in mind in many of the scenes, is that the dialogue in many of the scenes was all adjusted, tweaked, revised slightly on-set, which makes things play a little more naturally, but has been sheer hell from a dialogue re-looping standpoint because there's no document that exists which accounts for all the on-set changes.
I would think something like this section of Scene 242 -
and as Quentin makes his way to his car, we hear Claire say an unscripted -
(http://www.dsboards.com/NoDSquoteimages/1227NoDS_c.jpg)
"All right, bye bye."
- and then we hear Alex shout out an unscripted -
(http://www.dsboards.com/NoDSquoteimages/1227NoDS_d.jpg)
"Let's go, honey!"
- and Claire answers with an unscripted -
(http://www.dsboards.com/NoDSquoteimages/1227NoDS_e.jpg)
"Right."
- which is not only unscripted but you can't even see the faces of the actors/characters would be impossible to recreate if the sound was missing. It would simply no longer be in the film...
-
Setting up the current scene:
243 INT - QUENTIN'S CAR - DAY 243
Through the windshield, Alex can be seen gunning his
car onto the main drive. Quentin follows. Finally
Alex, driving faster, EXITS THE SHOT as Quentin
slows down and starts to turn in a different direction.
|
And that's when today's first quote -
Page 112/Scene 243 - Tracy: 'What are you doing?'
comes up, followed by today's second quote -
Page 112/Scene 243 - Quentin: 'I have to pick up my canvases --'
coming up.
And as far as the dialogue goes, believe it or not, both quotes are delivered as scripted. (Though that won't last long.)
And as far as the descriptions and directions go, everything is basically as scripted.
-
Wrapping up Scene 243 as scripted and not:
For a moment Tracy looks upset.
QUENTIN
Hey, come on, Trace, it'll
only take a minute.
Suddenly, through the windshield Collinwood looms
ahead. Quentin pulls up to the portico and gets out.
|
And that's when today's first quote -
Page 112/Scene 243 - Quentin: 'I'll only be a minute.'
comes up, followed by today's second quote -
Page 112/Scene 243 - Tracy: 'Hurry.'
coming up, followed in the script by:
HOLD ON THIS as he crosses to the door and ENTERS
the house.
|
End of scene as scripted. But as far as the dialogue, the descriptions, and the directions go in the film, while Tracy does look momentarily upset, Quentin's line about going back for his canvases only taking a moment is dropped in favor of an unscripted exchange that begins with Tracy commenting -
(http://www.dsboards.com/NoDSquoteimages/1229NoDS_a.jpg)
"Wow, it'll be nice at the Cape."
- as she reaches to stroke the hair at the nape of Quentin's neck - to which Quentin smiles and replies with -
(http://www.dsboards.com/NoDSquoteimages/1229NoDS_b.jpg)
"Hmmm. Yeah."
- and then he says -
(http://www.dsboards.com/NoDSquoteimages/1229NoDS_c.jpg)
"I'll be happy to get out of this place."
- during which Tracy simultaneously -
(http://www.dsboards.com/NoDSquoteimages/1229NoDS_d.jpg)
::Sighs::
- and then after a couple seconds, he asks -
(http://www.dsboards.com/NoDSquoteimages/1229NoDS_e.jpg)
"Won't you?"
- but Tracy simply says -
(http://www.dsboards.com/NoDSquoteimages/1229NoDS_f.jpg)
"Don't be long in there, all right."
- and then unlike what's scripted we do not see Collinwood looming ahead through the windshield because things go right to Quentin pulling up to the portico - and as can be seen in today's first capture, Quentin actually delivers today's first quote while he's still in the car, however, he delivers it as -
(http://www.dsboards.com/NoDSquoteimages/1229ds91_0.jpg)
"Just take a minute."
- with the "I'll" dropped - and rather than responding with today's second quote, Tracy actually replies with -
(http://www.dsboards.com/NoDSquoteimages/1229ds91_1.jpg)
"Okay."
- and then Quentin gets out of the car and walks around the front of it toward the door, but we do not see him enter the house.
End of scene in film.
-
I just remembered that Quentin's dropped line was featured in the original NoDS slideshow -
(http://www.dsboards.com/moviesquoteimages/1228NoDS_0.jpg)
NoDS: Scene #243 - Quentin: 'Hey, come on, Trace, it'll only take a minute.'
- and the reason it was originally included in that slideshow is because it's featured in the Fest's 1999 Movie Calendar.
-
Moving through several scenes without any or with little scripted dialogue until we reach the current scene:
244 INT - FOYER - DAY 244
as Quentin ENTERS, the house is quiet and still. The
sun filters through the vaulted windows giving the
house that look of late afternoon.
245 INT - FIRST FLOOR CORRIDOR - DAY 245
From the far end of the hall, Quentin ENTERS THE SHOT
and walks TOWARD CAMERA. The SOUND of his FOOTSTEPS
ECHO on the marble floor.
246 INT - FIRST STAIRWAY - DAY - HIGH ANGLE 246
From the second floor, Quentin climbs the stairs
TOWARD CAMERA. PAN WITH HIM as he reaches the second
floor corridor and starts toward the gallery and the
Master Bedroom.
247 INT - MASTER BEDROOM - DAY 247
as he comes up the stairs TOWARD CAMERA, PAN WITH HIM
as he picks up his canvases. Then SLOWLY TRUCK IN TO
HIS CLOSE-UP. He looks around, as if sensing a pre-
sence in the house. HOLD HIM as he crosses to the
doorway and than, carrying his paintings, EXITS into
the gallery.
248 INT - GALLERY - DAY 248
QUENTIN - CLOSE-UP
as he looks down the long corridor toward the far end
of the house.
FAR END OF CORRIDOR - QUENTIN'S P.O.V.
HOLD FOR A MOMENT on the empty scene, then, almost
imperceptibly, a half open door begins to move.
SHARP CUT TO:
249 EXT - COLLINWOOD - DAY 249
Tracy gets out of the car and nervously begins to
pace about. Then crossing back, she reaches in and
honks the horn. Trying to decide what to do, she
waits a few moments, then crosses to the front door.
250 INT - FOYER - DAY 250
as Tracy ENTERS, the house is completely silent.
Crossing to where she can look down the main corridor,
she calls out.
TRACY
Quentin!
Her only response in the ECHO of her own voice as
she starts down the hall toward the stairs.
251 INT - FIRST FLOOR STAIRS - DAY - HIGH ANGLE 251
as Tracy comes up TOWARD CAMERA.
252 INT - GALLERY - DAY 252
From the gallery, Tracy can be seen coming along
the corridor TOWARD CAMERA. Suddenly she stops,
noticing Quentin's canvases stacked against the wall
near the wall to the bedroom. she starts toward the
steps.
|
And that's when today's quote -
Page 114/Scene 252 - Tracy: 'Quentin? What's taking so long?'
is scripted to come up, followed in the script by:
And as far as what might be different in all that, we'll get into it all next time...
-
My heartfelt congratulations to you, MB, on a fantastic accomplishment with this massive undertaking! Maybe in 2017 I'll finally get that Warners disc and have a look at the movie again.
Lovely to see Darren come in for the final weeks with some fab new material, too!
Happy New Year to all!
Best, G.
-
Now, as for what is different with the dialogue, the descriptions and the directions:
In Scene 244 we see Quentin enter the entryway -
(http://www.dsboards.com/NoDSquoteimages/1230NoDS_a.jpg)
- before he enters the foyer, but the rest of the scene plays pretty much as scripted. (But isn't it a shame that the flowers in the vase seem to be dying without Carlotta to tend them. [santa_wink])
Scene 245 actually concludes with Quentin turning and beginning up the stairs -
(http://www.dsboards.com/NoDSquoteimages/1230NoDS_b.jpg)
(http://www.dsboards.com/NoDSquoteimages/1230NoDS_ba.jpg)
- as his footsteps on the stairs can also be heard.
In Scene 246 we do not see Quentin climb the stairs, but we do see him start toward the gallery and the Master Bedroom.
In his script DC added:
246A FROM AREA OF GALLERY WINDOWS
|
But if that was ever shot, it isn't currently in the film.
In Scene 247 we do indeed see Quentin come up the stairs toward camera and pick up his canvases, but he immediately turns to exit the room, so we do not see a slow truck to his close-up, or him looking around, as if sensing a presence in the house.
In Scene 248 we actually see Quentin descend the few stairs from the Master Bedroom -
(http://www.dsboards.com/NoDSquoteimages/1230NoDS_c.jpg)
- to the gallery before the camera moves in on his closeup and then his view of the far end of the corridor.
In Scene 249, after Tracy gets out of the car, she looks up at the house -
(http://www.dsboards.com/NoDSquoteimages/1230NoDS_d.jpg)
- (seemingly to the tower, though we don't see her P.O.V.) before she honks the horn, whereupon we see a shot of the foyer as the sound -
(http://www.dsboards.com/NoDSquoteimages/1230NoDS_e.jpg)
- of the horn echos throughout, and then Tracy looks to the house again and quickly moves in the direction of the front door.
Scene 250 plays exactly as scripted.
As part of Scene 251, after the script indicates that Tracy comes toward camera, DC adds:
In his script DC added:
MIRROR SHOT + PAN TO HER
THEN FROM THIRD FL. LANDING
|
But that's not quite how things play. We do see the mirror shot -
(http://www.dsboards.com/NoDSquoteimages/1230NoDS_f.jpg)
- and pan to Tracy, but soon after we see Tracy, she once again calls out -
(http://www.dsboards.com/NoDSquoteimages/1230NoDS_g.jpg)
Quentin!
- this time while looking up the stairs, and then she ascends the stairs -
(http://www.dsboards.com/NoDSquoteimages/1230NoDS_h.jpg)
- to the first landing and moves beyond, but there is no shot from the vantage point of the third floor landing.
And then at the outset of Scene 252, as Tracy can be seen from the gallery, she calls out again -
(http://www.dsboards.com/NoDSquoteimages/1230NoDS_i.jpg)
Quentin!
(http://www.dsboards.com/NoDSquoteimages/1230NoDS_ia.jpg)
- as she reaches the second floor corridor - but, as can be seen in yesterday's capture, she calls out to Quentin again and -
(http://www.dsboards.com/NoDSquoteimages/1230ds91_0.jpg)
- asks him what's taking so long before she suddenly stops, noticing Quentin's canvases stacked against the wall near the wall to the bedroom and starting toward the steps to the Master Bedroom.
(And I never noticed before that as Tracy makes her way down the corridor, we can see that the door at the far end that swung open is now closed.)
-
My heartfelt congratulations to you, MB, on a fantastic accomplishment with this massive undertaking!
Thanks. [santa_smiley] It has been a labor of love for both me and Midnite. And be on the lookout tomorrow for what the 2017 slideshow will be...
Maybe in 2017 I'll finally get that Warners disc and have a look at the movie again.
You really should because the transfer is terrific, even with the gaffes here and there of dialogue that shouldn't be in 94 minute version, as well as music cues that shouldn't be there and one that is missing.
Lovely to see Darren come in for the final weeks with some fab new material, too!
Indeed!
-
And wrapping up the script:
253 INT - MASTER BEDROOM - DAY 253
as Tracy ENTERS, she looks around the room -- it is
empty. She is getting a little worried as she crosses
back to the gallery.
254 THE GALLERY - TRACY'S P.O.V. 254
Near the window there is a large armchair with its
back to CAMERA. HOLD ON THIS for a moment as we
suddenly see a hand appear on the arm of the chair.
INT - GALLERY - DAY
TRACY - CLOSE UP
There is a very confused look on her face as she
tentatively calls out.
TRACY
Quentin?
THE ARMCHAIR - TRACY'S P.O.V.
as suddenly the figure in the chair rises to face
her. It is Quentin, but his hair is now completely
gray and on his cheek is the long ugly scar. The
transition is now complete.
TRACY - QUENTIN'S P.O.V.
|
And that's when today's quote -
Page 114/Scene 254 - Tracy: 'Oh, no...oh, God, no!'
is scripted to come up, followed in the script by:
As she backs toward the entrance of the Master Bed-
room, WIDEN to reveal the hauntingly beautiful
Angelique, who now stands in the doorway, evilly
smiling at her triumph.
254 CONTD CONTD 254
QUENTIN - CLOSE-UP - TRACY'S P.O.V.
as he limps menacingly TOWARD CAMERA his face fills
the frame -- FREEZE.
FADE OUT
THE END
|
And as far as what might be different in all that, we'll get into it all next time...
-
And just because we've started a new slideshow for hoDS, don't be fooled into thinking this topic's days are numbered. Not by a long shot - as you'll see as the days progress...
-
The intrigue continues!
G.
-
And now what's different about Scenes 253 and 254 and beyond:
For Scene 253 things are not shot in the Master Bedroom but we simply see Tracy go up the stairs to the doorway of the room -
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_a.jpg)
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_aa.jpg)
- to look around for a few seconds and then she turns back to the gallery, and coming down the stairs she apparently notices something because she says an unscripted -
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_b.jpg)
"Hey, what are you doing?"
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_ba.jpg)
And then at the start of Scene 254, unlike how it's scripted to begin, we don't simply see a large armchair with its back to the camera and then a hand suddenly appear on the arm of the chair because we actually see Quentin sitting in the chair and in another unscripted bit, we hear Tracy say to him -
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_c.jpg)
"Quentin, will you come on. I've been waiting for you."
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_ca.jpg)
- and while that is followed by a close-up of Tracy with a very confused look on her face -
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_d.jpg)
- she doesn't actually call out to Quentin - but when the shot returns to Quentin in the chair, we hear her ask an unscripted -
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_e.jpg)
"Now, why were you just sitting there when you knew...?"
- but she doesn't finish the question because Quentin starts to get up, but afterward he simply stands -
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_f.jpg)
- in front of the window - at which point Tracy asks an unscripted -
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_g.jpg)
"Quentin, what's the matter?"
- and after we see Quentin come limping toward her, we hear Tracy say an unscripted -
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_h.jpg)
"Quentin..."
- and then we see an extremely confused Tracy complete her thought by asking an unscripted -
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_i.jpg)
"Quentin, why are you limping?"
- and then after the camera has begun to move in close on her face as she shows an expression of -
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_j.jpg)
- shock and concern, Tracy asks an unscripted -
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_k.jpg)
"What happened?"
- and then as the camera moves up Quentin's body as he moves closer to Tracy, she begins to ask -
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_l.jpg)
"Your face..."
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_m.jpg)
"What did you do to...?"
- (though, obviously, we've only seen his face in silhouette) - and then Tracy senses another presence as she turns -
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_n.jpg)
- to see -
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_o.jpg)
- Angelique entering - and after Tracy gasps then crys the first part of yesterday's quote -
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_p.jpg)
"Oh no..."
- with a look of sheer terror on her face, Tracy begins to back up against the wall -
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_q.jpg)
- and then she screams out the remainder of yesterday's quote -
(http://www.dsboards.com/NoDSquoteimages/1231ds91_0.jpg)
"...oh, God, no!"
- and follows with unscripted screams of -
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_r.jpg)
"No! No! No!"
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_s.jpg)
"No, no."
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_t.jpg)
"No, no!"
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_u.jpg)
"No! No, no..."
- and then on a frozen image of Quentin, an unscripted UPI news bulletin prints out -
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_v.jpg)
- the full text of which as -
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_w.jpg)
- as it fades off the screen for the closing credits.
And coming up in a future post, some questions about that ending...
And, of course, while Quentin does indeed have the scar, his hair is not completely gray. But then, Charles having gray hair had already been dropped in the film. And obviously Tracy doesn't back away to the entrance of the Master Bedroom because she backs away against a wall in the gallery next to entrance to the bedroom.
But other than all these things that we've just gone through [whew], there's nothing different about how the end of the film actually plays. [wink2]
And before we close out this post, I want to share a rarely published still of Angelique from this scene -
(http://www.dsboards.com/NoDSquoteimages/Ang_Stairs.jpg)
- as well as mention that coming up in a future post will be some questions about how the film ends and how it relates to a few things we learned along the way in the script. So, until then...
-
Great look on Lara's face in that still. I don't recall having seen that one before.
That ending leaves a lot of questions unanswered, which of course is part of the fun. Looking at these beautiful captures, I wonder if Angelique had become fully embodied again at this point. She looks fully alive, not just a ghost, in these shots.
One possibility for what would happen next is that Tracy would either have been killed by Charles/Quentin, or her body would have been taken over by the spirit of Angelique. Which would have been the same result, for her.
It all begs the question of whether Angelique in NoDS was actually a Witch, or not. I personally feel that the story makes no sense unless she was actually a Mistress of the Dark Arts, but it's left open for each viewer to decide for themselves.
G.
-
I don't know what's going on with my mind when it comes to remembering to post about the graphics from the original NoDS slideshow, but once again I forgot to mention that a line we didn't quote this time around was included in the original slideshow -
(http://www.dsboards.com/moviesquoteimages/1230NoDS_0.jpg)
NoDS: Scene #254 - Tracy: 'Quentin, what's the matter?'
I guess some of these posts have so much content to them - and reply #647 certainly does - that by the time I deal with all of it, I can barely remember my own name, let alone the original slideshow's entries. [santa_wink] But I'll try to do better with hoDS...
-
That ending leaves a lot of questions unanswered, which of course is part of the fun.
Exactly, which is why I hope for us to have a conversation about what we all think.
Looking at these beautiful captures, I wonder if Angelique had become fully embodied again at this point. She looks fully alive, not just a ghost, in these shots.
That's definitely one of the big questions I've been wanting to bring up. Recall that back in Scene #192 the script indicated:
... reveal Angelique, now more real than ever, as
she stares down at him.
|
Though in subsequent Scene 224 Angelique is described as -
... the mist-like ghostly figure of
Angelique.
|
- when she's moving in to attack Tracy. And that, along with Strack's reference in Scene 119 to the "strange death of Reverend Herridge" and the UPI reference to the eyewitness account that before the Jenkins' car crashed it "filled with thick white smoke" got me to thinking.
It all begs the question of whether Angelique in NoDS was actually a Witch, or not. I personally feel that the story makes no sense unless she was actually a Mistress of the Dark Arts, but it's left open for each viewer to decide for themselves.
What if Angelique really was a witch in life - and what if one of her witchly powers was the ability for her astral self to turn mist-like to dispose of her enemies. What if it had nothing to do with Angelique's later existence as a ghost? That *might* explain how, *IF* Angelique has indeed become fully embodied again at the end of the film, she could still use her smoke/mist-like astral self to dispense with Alex and Claire...
-
I was just on youtube looking for the Robert Cobert composition "Joanna," subsequently used as the title theme (and lovers' theme) for NoDS, and I found this video:
https://www.youtube.com/watch?v=qRkVySyOXA0
There are some photos here I've either never seen, or maybe only seen once. Cool!
The shot of Clarice Blackburn and Monica Rich I'd particularly love to get a closer look at. There is also at least one of the funny publicity shots that Chris Pennock did with Nancy. Of course they didn't have any scenes together in the movie.
G.
-
Cool stuff indeed! I have a picture of Clarice Blackburn and Monica Rich that i got from one of the Friends of the 1991 DS events but i like the shot in this video a lot better.
-
Yes, that is a great shot of Mrs. Castle and Sarah from the funeral. I had also never seen it until it popped up in that video. And there's one of Nancy Barrett posing on a log that I'd never seen. All the others seem to be a combination of stills mixed with screen caps. If something looks too close to the way it actually appears on screen, then it's definitely a screen cap because none of the stills are exactly the same as the way things appear in the film. In some cases, stills are often really way off, as is the case with the still of Carlotta welcoming Quentin and Tracy. That still is taken in the foyer - but in the film we never see the three of them in the foyer because the action moves from the vestibule right to the drawing room. However, what is interesting is that Carlotta welcoming Quentin and Tracy is indeed scripted to take place in the foyer but DC shot it in the vestibule. The only thing I can think is that still was taken before DC decided to switch the location...
-
While looking for some clips to add to my new Grayson Hall playlist on Youtube (inspired by yesterday's discovery of all that wonderful OLTL footage), I found this promo clip from one of my favorite NoDS scenes featuring Grayson and Selby:
https://www.youtube.com/watch?v=gYEZmEqDako&list=PLA2BTDLOSc-WIpyUMiX9s9R8RXk3emQYK&index=12
Posted by WB's official Youtube channel to promote the "Blu Ray" issue a few years ago.
G.
-
What a great clip for a promo! It's also one of my favorite scenes in the film - everything has been building up to Carlotta's big revelation!!
-
"Theme from Night of Dark Shadows," music which also bears the title "Joanna," is one of my favorite of Bob Cobert's compositions for the DS projects. I found this charming piano arrangement recorded by a fan on Youtube and I thought others might enjoy hearing it.
https://www.youtube.com/watch?v=mnDAMZMCBsM
Best, G.
-
Very nice, Gothick - thanks so much for sharing the link. [snow_smiley]
-
Apparently those of us here who've believed for a long time that NoDS is superior to hoDS aren't alone. While doing research in Shadowgram for something entirely different, I came across these excerpts that SG 69 (July 1994) shared from a Video Watchdog review of the hoDS/NoDS laser disc:
'Video Watchdog 4-94 felt the laser disc is "prestigious, eminently collectible." It gave background on the films and observed, "Despite their individual shortcomings, the films have never lost their place in history." HODS "has points of interest, but they are heavily outweighed by various technical flaws.... There are some lovely images but it's all in the lighting and art direction.... The disc transfer is colorful and lovely in the film's most brightly-lit moments."
NODS "compares favorably in all respects. The transfer is superb.... Though not as well-known, it's a significantly better film, an appropriately anachronistic Gothic melodrama with a seductive premise, moody photography, and roles that provide nearly every actor with a chance to shine." Overall, "it is consistently well-handled by Curtis, and the downbeat finale is stimulating."'