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]

WickedNick posted this fab publicity photo of Carlotta on his site today:

Yes, that is a fantastic photo. And there are several promotional stills of Carlotta wearing that dress, including two great color ones (one in the 35th Anniversary DS Memories PomPress book, and one in the Return To Collinwood book.) If you've never seen them, I can post them.    But the funny thing is that I don't believe she ever wears it in the film as it currently stands. I wonder if she might wear it in any of her scenes in the recovered footage, though given the places those scene fit into the film, that seems as though it's unlikely. With our luck, she might have worn it in the unrecovered Scenes 171A-171C sequence[spoiler]in which Carlotta points out to Quentin he should get Tracy to leave Collinwood before the Jenkins return from their trip to NY.[/spoiler]Though even with those scenes I have doubts...

[Mysterious Benefactor]

Beginning the next scene:

116    INT - GALLERY - DAY                               116        It's the following morning.  Quentin is at easel,        relaxing, sipping a cup of coffee, as Tracy ENTERS.        Quentin stops, holds out his arms.  Tracy runs to        them.                              QUENTIN                  Good morning!                       (pointing outside)                  The world is ours, the gentleman                  said.                              TRACY                  Ours.  We'll celebrate.  I'll drive                  into Collinsport and get the biggest                  steak anyone has ever bought.  We'll                  charcoal it ourselves.                              QUENTIN                  And eat it ourselves.                              TRACY                  I'll make my famed Caesar salad...                  which is the only one I can make --                              QUENTIN                  And we shall open the best wine.        She turns, sees that Angelique's portrait is gone. 116    CONTD                                     CONTD    116

And that's when today's quote -

Page 56/Scene 116 - Tracy: 'What happened to her?'

- comes up.

And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because this scene only appears in the 129 minute version of the film.

And DC's script doesn't have any notations for this scene.

[Mysterious Benefactor]

Wrapping up Scene 116, beginning with yesterday's quote, Quentin's response to Tracy's question:

Page 56/Scene 116 - Quentin: 'Angelique? She's been retired. After years of honorable service.'

- coming up, followed in the script by:

TRACY  Why?

And that's when today's first quote -

Page 56/Scene 116 - Quentin: 'Mostly so Alex will forget our non-existent ghost. Hey, let me paint --'

- comes up, followed by today's second quote -

Page 56/Scene 116 - Tracy: 'Paint on...paint on...I love you...'

- coming up, followed by the script concluding the scene with:

She EXITS.  He smiles and begins painting.

And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because this scene only appears in the 129 minute version of the film.

However, I forgot to mention in the last post that the original slideshow for NoDS included -

NoDS: Scene #116 - Tracy: 'I'll drive into Collinsport and
get the biggest steak anyone has ever bought.'


NoDS: Scene #116 - Quentin: 'And eat it ourselves.'


NoDS: Scene #116 - Tracy: 'I'll make my famed Caesar
salad...which is the only one I can make --'

- because those lines were quoted in the Fest's 1999 Movie Calendar, upon which the original slideshow is based.

And tomorrow the slideshow will return to scenes that appear in all versions of the film, though not necessarily lines that appear in the film...

[Mysterious Benefactor]

Beginning the next sequence:

117    INT - GALLERY - DAY                               117        It is later as Carlotta ENTERS.  She carries the        picture of Angelique.  He stops painting when he        sees her.

And that's when today's quote -

Page 56/Scene 117 - Quentin: 'I told you I didn't want to see that again.'

- comes up.

And as far as the differences in the dialogue go, Quentin actually says "I said I didn't want to see that again."

And as far as the differences in the directions and the descriptions go, Carlotta actually pauses for a second as she comes into the room and before Quentin notices her - and Quentin doesn't stop painting after he notices she's come in with Angelique's portrait.

And DC's script has notations that the opening of the scene is shot from a high, wide angle, and as we can see from today's capture -

- it certainly is shot wide, though not high - and DC also has a notation that Quentin delivers his line in close-up, but as we can also see from today's capture, he doesn't.

And I do find it interesting that a lot of the publicity stills for the film don't exactly reflect the way scenes were shot for the film. For example, this one from this scene -

- is taken almost exactly from the reverse angle. And I've always been a bit upset that that published version is the only one that I've ever come across because it would be nice to see at least a bit more of Quentin. But then, maybe a wider version of it doesn't even exist, so perhaps I should just be grateful for what I have...

And something else that's interesting on the DVD/Blu-ray discs is the end of the background music for Scene 116 (the harmonica/guitar version of "Love Theme From Night of Dark Shadows") is heard to play over the opening of Scene 117 because that's the way things are in the 129 minute version of the film. Things also play that way in the version of the film on Amazon and iTunes...

[Mysterious Benefactor]

Continuing Scene 117, with today's quote, Carlotta's answer as to why she's brought Angelique's portrait back to the Gallery:

Page 56/Scene 117 - Carlotta: 'But it belongs here, Mr. Collins.'

And as far as the differences in the dialogue go, what Carlotta actually says "It belongs in this room."

And as far as the differences in the directions and the descriptions go, there aren't any at the point. However, DC's script has a notation that the camera switches to a 2 shot for Carlotta line, but it doesn't actually have to do that because, as I mentioned yesterday, it never switches to a close-up for Quentin.

But what's most interesting at this point are Grayson's notes for this section of the scene. She writes that Carlotta comes into the room to restore Angelique, to put her in her proper place, not to have a scene with Quentin - and that Carlotta will relate to the painting and her love for Angelique.

[Mysterious Benefactor]

Continuing Scene 117, beginning with yesterday's quote, Quentin's response to the portrait belonging in the room -

Page 56/Scene 117 - Quentin: 'I find it distracting. I don't want it around.'

- coming up, followed by today's quote -

Page 56/Scene 117 - Carlotta: 'There would be fewer distractions if you went back to the tower.'

- coming up.

And as far as any differences in the dialogue, there aren't any because both Quentin's and Carlotta's lines are delivered exactly as scripted.

And as far as any differences in the directions and the descriptions, there aren't any at this point. Nor are there any notations in DC's script for this section. And what's interesting about DC's script is that there's no indication that beginning with Quentin's quote from yesterday, the camera switches to a 2 shot from a different angle, as can be seen in -

- yesterday's capture.

However, Grayson's notes for this section of the scene reiterate that Carlotta will relate to the painting, by touching and caressing it (although, all Carlotta really does is arrange the painting so that it stands on its side on its own). And also that Carlotta must be clear that what she's saying is important.

[Mysterious Benefactor]

And when it comes to today's quote from Scene 117 -

Page 56/Scene 117 - Quentin: 'All right, Carlotta. What's it all about? What's going on here? Why is my working in the tower so important to you?'

- the difference in the dialogue is that what Quentin actually asks is "All right, Carlotta. What's going on around here? Why is my working in the tower room so important to you?", with the "What's it all about" part being dropped and the "What's going on here?" slightly changed even though both lines are crossed out in both DC's and Grayson's scripts. And speaking of Grayson's script, she has underlined words in Quentin's last question: "Why is my working in the tower so important to you?"

And when it comes to any differences in the directions and the descriptions, there aren't any of either in the script for this section, but Quentin actually throws his paint brush at the easel (though it bounces off and falls to the floor) before he angrily asks his questiions.

And when it comes to the notations in DC's script for this section, he indicates that Quentin would be shot in closeup, but again we can see -

- that's not the case.

And as an aside, it must have been an awfully cloudy/foggy day on the day they shot this scene!    I mean, you can barely even see the horizon from the window!!

[Mysterious Benefactor]

And when it comes to today's quote from Scene 117, Carlotta's response to Quentin's belief that it's important to her that he work in the tower room -

Page 56/Scene 117 - Carlotta: 'It isn't. It just seemed so ideal --'

- there is no difference in the film because it's delivered exactly as scripted.

And when it comes to any differences in the directions and the descriptions, there aren't any of either in the script for this section. However, one thing that is interesting with both today's and yesterday's captures is that obviously Carlotta has turned to look at Quentin. There's no indication of that in the script or in DC's notes, but there is in Grayson's script, at least when it comes to today's quote, because Grayson has a note that Carlotta would look at him. Her notes also reiterate that it must be clear that what Carlotta is saying is important (and in this case it must mean the part about how working in the tower seems ideal because saying that Quentin working in the tower isn't important to her is quite obviously a big fat lie! ). Though something that is in DC's script is a note saying that the camera would truck back in front of Quentin till it's in back of Carlotta for a 2 shot. And while we don't actually see that camera move, we do see the 2 shot from behind Carlotta. Well, if seeing a shot that includes Carlotta's lower arm and hand can be considered a 2 shot.

[Mysterious Benefactor]

Continuing Scene 117, first with the first part of today's quote -

Page 56/Scene 117 - Quentin: 'That's not the reason. (MORE)'

- coming up, followed in the script by:

117    CONTD                                     CONTD    117                              QUENTIN (Contd)        He crosses to her, looking down at her.

And that's when the second part of today's quote -

Page 57/Scene 117 - Quentin: 'You know about these dreams, don't you?'

- comes up.

And when it comes to the differences in the dialogue, for the second part of today's quote, Quentin actually says "You know about the dreams I've been having, don't you?", and that change is made in DC's script, with "these" crossed out and replaced with "the" and "I've been having" added.

And when it comes to the differences in the directions and the descriptions, Quentin puts down his paint palette as he moves toward Carlotta - and as Quentin accuses her of knowing about his dreams, I love the look Carlotta gives him -

- and with the slight cock to her head.

And when it comes to DC's notes, he strangely indicates that Quentin rises before he tells Carlotta that her saying his working in the tower just seemed ideal is not the reason his working in the tower is important to her. Well, unless he means Quentin's voice and anger rise, which they do.

[Mysterious Benefactor]

And when it comes to today's quote from Scene 117, Carlotta's response to Quentin's belief that she knows about his dreams -

Page 57/Scene 117 - Carlotta: 'I don't know what you're referring to --'

- there is no difference in the film because it's delivered exactly as scripted.

And when it comes to any differences in the directions and the descriptions, there aren't any of either in the script for this section. However, next to today's quote in Grayson's script she has what seems to me to be a somewhat odd note that reads "to painting".    But another note on the other side of the quote makes perfect sense because Grayson has that Carlotta is thinking "Shall I tell him? Shall I tell him?"

And things really start getting good with tomorrow's quote and actions...

[Mysterious Benefactor]

And when it comes to today's quote from Scene 117, Quentin's reaction to Carlotta's claim that she doesn't know what he's referring to -

Page 57/Scene 117 - Quentin: 'You know damn well what I'm referring to. [He points at the portrait --] Her. [Carlotta just stands there.] Am I dreaming it, Carlotta? Or is she real?'

- the one difference in what's quoted is that Quentin doesn't use Carlotta's name, as in he actually says "Am I dreaming it? Or is she real?" - but after delivering that in the film Quentin also pleads an unscripted "Now tell me" and then repeats for a second time "Is she real?" - though interestingly enough, in DC's script "it, Carlotta" is crosses out and replaced with "her", but obviously that's not what Quentin says.

And when it comes to any differences in the directions and the descriptions, for one, and as can be seen in today's capture -

- Quentin grabs Carlotta's upper arms while he pleads with her - for two, when he refers to "Her" he doesn't point at the portrait - and for three, Carlotta doesn't simply stand there because she's uncomfortable being in Quentin's grasp, or as DC's script notes put it, being "nose to nose" with Quentin. And speaking of DC's notes, it's interesting that he indicates that when Quentin refers to "Her", the camera was supposed to pan to the portrait and then up to a close-up of Carlotta. That doesn't happen. Nor do we see Carlotta smile when Quentin refers to "Her", which is a note that Grayson made in her script. However, Carlotta does indeed get a great close-up -

- after Quentin first asks if Angelique is real - and then David Selby gets to do his always amazing anguished plea -

- when he asks a second time if Angelique is real - and then the look on Carlotta's face after that -

- is absolutely priceless because she knows that everything that she's been dying to see come out is finally going to come out. 

And as an aside, as can also be seen in today's capture, the sun was out when that bit was shot - though observant viewers will notice that the sunlight and position change a few times in the scene. But more on that as things progress...

[Mysterious Benefactor]

The script continues Scene 117 with reference to Carlotta:

TRUCK IN ON HER as she finally makes her decision.

And that's when today's quote -

Page 57/Scene 117 - Carlotta: 'Do you remember the little girl you saw at the window the other day?'

- comes up, followed in the script by:

CARLOTTA - QUENTIN                       QUENTIN           Yes, of course I do.

And when it comes to the differences in the dialogue, what Carlotta actually asks is "Do you remember that little girl you thought you saw at the window the other day?", and the addition of "thought you" is indicated in both DC's and Grayson's scripts - and to Carlotta's question, Quentin actually responds with a simple "Yes."

And when it comes to any differences in the directions and the descriptions, and as can be seen in today's capture -

- the camera does indeed truck in on Carlotta as Quentin leans back up and out of frame. However, unlike what the script itself indicates and how DC's notes indicate that after Carlotta asks her question and before Quentin responds, the camera switches to a 2 shot of Carlotta and Quentin in profile, the shot actually continues to slowly truck in closer and closer on Carlotta (as we'll see in the two upcoming captures for tomorrow's and Sunday's quotes).

And when it comes to Grayson's notes for this section of the scene, she writes that before Carlotta asks her question she will again look to the painting and then to Quentin, but, again, that doesn't happen because Carlotta actually keeps her gaze completely on Quentin throughout. And it does seem odd that there are all these references in the script and in personal notes to looking at the portrait when the portrait is simply leaning on its side on the floor, so looking at it would be awkward at best. But perhaps at some point the intent was for the portrait to be hung on the wall again, even though no such indication appears in the script or in DC's or Grayson's notes...

[Mysterious Benefactor]

And Scene 117 begins Carlotta's explanation about the little girl Quentin saw as today's quote -

Page 57/Scene 117 - Carlotta: 'Well, it wasn't your imagination, Mr. Collins.'

- comes up, followed in the script by:

QUENTIN           But you implied it was.

And as far as differences in the dialogue go, Carlotta actually drops the "Mr. Collins" in the film and it's also crossed out in Grayson's script - and Quentin's line is completely dropped in the film and is crossed out in both Grayson's and DC's scripts.

And as far as differences in the directions and the descriptions go, there aren't any of either in the script for this section so obviously there can't be any differences in them in the film. However, next to today's quote in Grayson's script she has a notation that reads "Spell it out carefully, clearly, as to a child".

[Gothick]

My personal take on all this has always been that most, if not ALL, of those notes in Grayson's script represented her own thoughts on how she was going to play this out.

Grayson was a great believer in something called sub-text.  In a theatrical context, this means information that an actor brings to a given scenario or action.  Ordinarily, this would be augmented or perhaps changed outright by the director's notes.  DC was still fairly green at this time, though, so I don't know how much he contributed to all of this.  I know he was into things such as tracking shots and whip-pans.  LOL.

I do remember the story of him yelling at Thayer David to hit the stake HARDER in a certain scene in hoDS.  Frankly, that seems about DC's speed during this period of his life as a director.

Of course he went on to win an Emmy... which was invariably prominently displayed in every video interview he did, in later life.  I always had the feeling he worked his butt off getting that thing.

Wonderful captures, MB!  And wonderful job of annotating all this for us.

G.

[Mysterious Benefactor]

I do remember the story of him yelling at Thayer David to hit the stake HARDER in a certain scene in hoDS.  Frankly, that seems about DC's speed during this period of his life as a director.

Entirely likely!! As we've often lamented, early director DC was far more concerned with blood and gore than he was with character elements. I don't believe there's even one notation in DC's entire NoDS script (or hoDS script) that could even remotely be considered character oriented or particularly subtextural.