Author Topic: And Now The Return of Another New Slideshow (Sort of) [Now featuring alternate versions of scenes - see replies #60,#82,#116,#138,#157,#180,#224,#240,#280,#372,#526] (Read 117224 times)

Gothick · « **Reply #105 on:** March 16, 2016, 06:23:33 PM »

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.

Mysterious Benefactor · « **Reply #106 on:** March 16, 2016, 08:20:05 PM »

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...

Mysterious Benefactor · « **Reply #107 on:** March 16, 2016, 10:52:00 PM »

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...

Mysterious Benefactor · « **Reply #108 on:** March 17, 2016, 08:04:01 PM »

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...

Gothick · « **Reply #109 on:** March 17, 2016, 09:57:57 PM »

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.

Mysterious Benefactor · « **Reply #110 on:** March 21, 2016, 08:20:34 PM »

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...

Mysterious Benefactor · « **Reply #111 on:** March 21, 2016, 08:42:00 PM »

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.

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...

Gothick · « **Reply #112 on:** March 21, 2016, 09:59:32 PM »

A great scene. Ange's line to Laura is really quite a put-down.

G.

Mysterious Benefactor · « **Reply #113 on:** March 22, 2016, 09:08:49 PM »

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.

Mysterious Benefactor · « **Reply #114 on:** March 22, 2016, 09:24:08 PM »

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.

Mysterious Benefactor · « **Reply #115 on:** March 23, 2016, 06:42:01 PM »

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...

Mysterious Benefactor · « **Reply #116 on:** March 23, 2016, 10:36:04 PM »

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...

Uncle Roger · « **Reply #117 on:** March 23, 2016, 11:09:05 PM »

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.

KMR · « **Reply #118 on:** March 24, 2016, 07:26:09 PM »

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?

Mysterious Benefactor · « **Reply #119 on:** March 24, 2016, 11:04:00 PM »

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 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))

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