1186
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Page 155 of the DS Almanac Millennium Edition features a still of Gerard at the stable -
- leading out Tracy's horse - ...
did you enjoy New York? I saw Maggie there, she says. Quentin turns away. She rises from her chair, going after him--you must listen, she insists. I'm not interested in what she has to say about me, he says. She's not bitter, she's hurt, says Liz. I don't want to hear about it! says Quentin, avoiding her. Don't be a fool, she says. And don't you be a meddler, he retorts. Maggie wants you to come to New York, she says. And how does she expect me to get there? he asks--does she want me to come on my knees? If you love her, Quentin, go, advises Liz. Does Maggie have a list of demands I'm to give in to? he asks. She wants nothing but the assurance of your love, Liz responds. Isn't she interested enough to find out? he asks nastily. Quentin, says Liz... She left me, he reminds her. You forced her to, says Liz. How? he asks--by not forcing Alexis to leave this house? She thought Alexis was Angelique, Liz reminds him, you know that. A hysterical idea that had no basis in reality, argues Quentin--does she know that Alexis is still here?.Angelique listens in, a smile on her face. She assumed that, says Liz, knowing how stubborn you are.. Stubbornness has nothing to do with it, insists Quentin. Yes it does, says Liz--it's making both of you desperately unhappy. You let me decide about my state of happiness, says Quentin testily, I don't need you to decide for me--I don't expect you to understand me and Maggie. Because you don't understand yourself, says Liz pointedly. Quentin turns and says I understand one thing--I don't want a child for a wife, and only a child runs away and sulks--if you are in touch with her, you should tell her that. He leaves the room.
I still feel the same as I did back then:...
...
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"?!
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?
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.
Before we move on from graphics made using the still that I shared in Reply #330, I want to mention that after I posted it I noticed that the wound on the right side of Gerard's mouth is different from the way it looks in the still I'd posted in Reply #327:
For the color still the top of the wound -
- sticks straight up and away from the corner of Gerard's lip, whereas in the B&W still the top of wound -
- curves down onto the top of the corner of Gerard's lip. Perhaps this is because the stills weren't taken on the same day, or perhaps the makeup had to be reapplied for some reason and it wasn't done exactly the same. Sadly, we'll never know which way, if even either, it looked in the film...
And something I've never really thought about before is just how many days are supposed to pass between the time Quentin attacks Gerard and we see him again in Scene 190. Quite obviously a wound like that would not heal completely in just a few days. Though as the film currently stands, the passage of time for the wound to heal isn't even a consideration because the audience never sees the wound in the 94 minute version of the film, nor did we see it in the 97 minute version. And actually, it's not on view in the 129 minute version either because this sequence doesn't appear in any version of the film...
when I went to the hospital to get Grant, he said he didn't want me to treat him anymore, refused to come with me. Why, asks Chris, if he has amnesia, would he turn you down? He left with Olivia, reveals Julia. i don't get it, says Chris--why is she so interested in him? She either knows or suspects he's really Quentin, says Julia--let me see the x-ray. She holds it up to the lamp and says, now I know why she's so interested in the painting--there's another painting under it--a portrait!