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]

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...

[Mysterious Benefactor]

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 -

- 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:

NoDS: Scene #101A - Gabriel: 'For eternity, brother.
For eternity!'

[Mysterious Benefactor]

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( ) 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...

[Mysterious Benefactor]

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...

[Mysterious Benefactor]

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.

[Mysterious Benefactor]

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...

[Mysterious Benefactor]

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.

[Mysterious Benefactor]

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.

[Mysterious Benefactor]

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.

[Mysterious Benefactor]

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.

[Mysterious Benefactor]

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...

[Mysterious Benefactor]

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 -

- 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 -

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...

[Mysterious Benefactor]

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.

[Mysterious Benefactor]

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.

[Mysterious Benefactor]

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"...