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Caption This! - Vicki's Arrival-Burke's Revenge-Matthew Morgan-Introducing Josette / Re: Episode #0054
« on: August 04, 2023, 10:15:05 PM »
The idea of Roger in footie pjs has me
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Cassandra covers her face in the hood and Carolyn asks if one of them isn't going to say something in his/her own defense. Tony assures her this isn't what she thinks. She says he doesn't sound convincing--what's going on? asks Carolyn. Tony says Cassandra needed help in a legal matter. To be discussed in a tender, romantic atmosphere? asks Carolyn--she happened to wander out here because she saw his car pull in the driveway--she thought he was coming to see her! She saw him get out of his car and go to the garden, so the followed him, and didn't expect to find anything so tacky as this. Tony turns to Cassandra. Please tell her she's wrong, he insists. Speak up, Carolyn urges Cassandra. Cassandra says it wouldn't do any good--Carolyn has already passed judgment on them. No, I've only had to come to a conclusion, says Carolyn--the one who will have to pass judgment is Uncle Roger. This upsets Cassandra, who has far more pressing matters to contend with. You remember him--your husband, says Carolyn. That would be a mistake, says Cass
...
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
...
eating fish flavored gourmet marshmallows from the shop by the docks
making grunting noises at his desk to simulate hard work
a roll in the sardines with...well, anybody!!"
Quentin is ready to leave, but Barnabas thinks they can help each other for once--I'll answer your questions if you answer mine--unless you're afraid to tell me about Laura Collins.Quentin isn't afraid--but I would like to know why you are so interested--and what were you doing when I came in? Barn counters with his own question--why did you lie to me about being in Alexandria, when you know darn well you and Laura spent lots of time there? All right, it's true, so what? says Q. I want to know what happened there that made you permanent enemies, says Barn, and so anxious to get rid of her? Quentin sits. I'm not afraid to talk about it, he assures his cousin, but more afraid you won't believe me. It must have been very strange, says Barn, sitting across from him.
...
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:
There is no answer.
...
...
In his script DC added:
246A FROM AREA OF GALLERY WINDOWS
But if that was ever shot, it isn't currently in the film.
...
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 -
- and pan to Tracy, but soon after we see Tracy, she once again calls out, this time while looking up the stairs, and then she ascends the stairs to the first landing and moves beyond, but there is no shot from the vantage point of the third floor landing.
...