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**]

[Mysterious Benefactor]

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:

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 -

- 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 -

- 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 -

- 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 -

- 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 -

- only his legs - it isn't until he reaches the stairs -

- that we see his face. And we actually see more of Quentin and Angelique -

- 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 -

- and look behind him to see the irate Gerard -

- brandishing the club - but when Gerard attacks him, Quentin doesn't fall onto the floor, he falls backward onto the couch -

- and he already sees -

- Gerard as Gabriel - and we see Angelique rush to scratch both the faces of Gabriel -

- and Gerard -

- 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 -

- that Quentin continues to see as he chokes Gerard.

[Mysterious Benefactor]

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 -

- 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.

[Mysterious Benefactor]

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 -

- 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 -

 - when that wound is seen on camera for several seconds.    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. 

[KMR]

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!!)

[Mysterious Benefactor]

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. 

[Mysterious Benefactor]

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 -

- 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 (and I've always thought that it's interesting that Carlotta is pointing in the photo used for the lobby card for this scene 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 -

- so perhaps someone else (and you know who you are  ) can...

[Mysterious Benefactor]

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...

[Uncle Roger]

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?

[Mysterious Benefactor]

I think "lingers" may very well be it. That's the word I couldnt figure out, so thanks again! 


And KMR, I promise that I haven't been ignoring your post.    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...

[Mysterious Benefactor]

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:

NoDS: Scene #100 - Quentin: 'There isn't any explanation.
None at all.'


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!).

[Mysterious Benefactor]

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:

He gets up. x to window

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 -

- 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 -

- 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.

[Mysterious Benefactor]

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 -

- is a medium shot - and when Tracy joins him, as can be seen in today's capture -

- 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.

[Mysterious Benefactor]

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.

[Mysterious Benefactor]

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 -

- 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...

[Mysterious Benefactor]

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...