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 116895 times)

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Offline Mysterious Benefactor

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Wrapping up Scene 174, beginning with yesterday's quote, Alex' reply to Claire -

Page 81/Scene 174 - Alex: 'I've got to break through to him. If I can only get him to admit that it has to be at least more than a coincidence...we've got a shot.'

- coming up, followed in the script by:

       TRUCK IN to the portrait.



174    CONTD                                      CONTD   174

And that's when today's quote -

Page 82/Scene 174 - Claire (O.S.): 'Well, it'll have to wait until morning.'

- comes up.

End of scene.

And as far as the dialogue goes, Alex actually says "Honey, I gotta break through to him some way. If I can just get him to admit that it's at least more than a coincidence, we got a shot" - however, the first part of Alex' actual dialogue ("Honey, I gotta break through to him some way.") is delivered off screen as the camera continues to truck in -


- on Charles Collins' portrait and then holds on it - and as can be seen in today's capture -


- Claire doesn't actually deliver her line off screen.

And when it comes to the descriptions and the directions, the camera doesn't truck in on the portrait after Alex' lines because, as we've already discussed, it did so before yesterday's quote and into the first part of it - and the scene actually ends with -


- Alex taking a sip of his drink as things soon begin to dissolve into upcoming Scene 175...

Offline Mysterious Benefactor

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Moving through the next three scenes as scripted:

                                             DISSOLVE TO:

175    EXT - COTTAGE - NIGHT - WIDE ANGLE                 175

       It is later now.  The house is in darkness.  The
       jeep is no longer there.  HOLD FOR A MOMENT, then
       start a VERY SLOW ZOOM IN.

                                              DISSOLVE TO:

176    INT - COTTAGE LIVING ROOM - NIGHT                  176

       The room is in darkness except for the glowing embers
       in the fireplace.  CAMERA SLOWLY PANS THE ROOM, then
       starts to TRUCK DOWN THE HALLWAY.  Through the open
       bedroom door at the end of the hall, Claire and Alex
       can be seen sleeping in their twin beds.  CAMERA
       CONTINUES TO TRUCK, ENTERING THE ROOM.

177    EXT - COTTAGE BEDROOM - NIGHT                      177

       as the CAMERA TRUCKS IN ON the sleeping Alex, all
       of the SOUND SLOWLY DISAPPEARS until it seems as if
       the sound track itself has been removed.  The feel-
       ing this creates is one of oppressive dead air.
       When we are on ALEX' EXTREME CLOSE-UP, HOLD as he
       begins to writhe and thrash about.  All the following
       ACTION WILL BE IN SLOW MOTION.  Finally, clutching
       his throat, his eyes open wide as he tries to scream.
       Although his mouth opens again and again, there is
       no sound.

       WIDE ANGLE - SLOW MOTION

       With Claire asleep in the F.G., and totally oblivious
       to what's happening, we watch Alex struggle with the
       invisible horror.  Suddenly, the horror seems to
       take on a visible entity, as a whole mist-like vapor
       starts to envelope his body.  Slowly Alex' movements
       begin to subside as the life is being drawn from him.

       CLAIRE - CLOSE-UP - SLOW MOTION

       Although still asleep, it seems as though she has
       suddenly become aware of the danger,  As she opens
       her eyes and tries to sit up, she is barely able to
       move.  Through a tremendous effort, she is finally




177    CONTD                                      CONTD   177

       able to turn her head to Alex.  WIDEN at reveal Alex,
       now completely enveloped in the mist and barely
       moving.  Claire tries to scream.  No sound can be
       heard.  She is finally able to reach the bed table
       between them and knocks over a glass.

       GLASS - CLOSE-UP - SLOW MOTION

       as it falls to the floor and shatters soundlessly.
       PAN UP in time to see Claire finally reach a lamp,
       turning it on.

       WIDE ANGLE - NORMAL SPEED

       as the lamp illuminates the room, ALL SOUND RETURNS.
       The white mist disappears and Claire is quickly at
       Alex' side.


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

Page 83/Scene 177 - Claire: 'Alex! Oh, my God, Alex!'

- is scripted to come up, followed in the script by:

    Alex opens his eyes, gulping in all the air he can
    handle, as he frantically gasps for breath.


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

Page 83/Scene 177 - Claire (sobbing hysterically): 'Alex! -- oh, Alex! ... Please be all right!...oh, Alex...'

- is scripted to come up.

End of sequence.

And as far as all the difference go, of which there are many, they'll wait until my next post (mostly because I haven't had lunch yet and I'm starving!  [hall2_wink])

Offline Mysterious Benefactor

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As far as the differences in the dialogue go, Claire actually wakes up in what I suppose we could say is a Scene 176A in the film and, unscripted, she calls out -


"Alex, come to bed."

- followed by asking -


"What time is it?"

- and then calling to -


"Alex."

- him again - and then afterward, instead of saying "Alex! Oh, my God, Alex!", Claire actually screams "Alex!" and then literally screams - and then she actually follows up with "Oh, my God. ... Alex! -- oh, Alex! ... Alex, please be all right!...Alex...oh, Alex...Alex!...Darling!..."

And as far as the differences in the descriptions and directions go:

It's interesting that for Scene 175 there's a reference to a jeep (presumably actually Gerard's truck) no longer being there when DC actually had to add to his script that Gerard was watching Claire and Alex in Scene 173. Apparently Gerard watching must have been a part of the script but was accidentally left out somewhere along the way.

And when we first see the cottage living room in Scene 176, the room isn't in darkness except for the glowing embers in the fireplace because the light is on -


 - however, soon the light slowlys dims until the room actually is in darkness -


- and Alex begins to toss and turn -


- until we actually see Angelique's spirit -


- come down the corridor - approach -


- Alex - and then turn into -


- the mist-like vapor that envelopes Alex' body. So, the camera doesn't actually do a slow pan of the living room because, as we could see in the above captures, the camera actually remains stationary and focused on Alex asleep on the couch - and the camera also doesn't do a truck down the hallway, and we never actually see Claire and Alex through the bedroom door and asleep in their twin(!) beds (especially considering we've already seen Alex asleep on the couch in the living room) - and the camera doesn't continue to truck in as it enters the room.

What actually happens is that there's more like a Scene 176A in which we immediately see Claire waking up alone in bed -


- and as was already discussed above, she calls out Alex a few times - but then she suddenly realizes that something is wrong and she gets up - and once she's in the corridor, she sees what's happening to Alex - and after momentarily stopping dead in her tracks -


- and screaming, she reaches for the floor lamp but knocks -


- it over in her frenzy - but once she does turn -


- it on, the other light also comes back and the mist-like vapor that envelopes Alex' body -


- disappears - and as we can see in today's capture -


- she rushes to Alex side, desperately trying to revive him, until -


 - he does indeed revive. So, all that means that a lot of what's scripted to happen in Scene 177 doesn't actually happen in the film. And in some ways that's too bad because much of what was scripted would have been quite interesting to see. But who knows if things were changed because it would have been too costly or too complicated to shoot, or perhaps for some other reason? Though at least some of the planned effects were reworked and used. And actually, I think having Angelique's spirit arrive and transform into the mist-like vapor was actually better than how it was introduced in the script.

One thing that's very interesting, though, it that one can easily tell that there are three distinct cuts in the background music for Scene 177, so apparently it's quite likely that footage was removed for time during the marathon James Aubrey imposed editing. And that sort of ruins how things were to play in slow motion. But perhaps they still do in the 129 minute version...

Offline Uncle Roger

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Was Hans Holzer supposed to consult on this scene or was he just supposed to provide input on the seance sequence?
Fade Away and Radiate

Offline alwaysdavid

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I'm pretty sure Gerard's truck was a Willys. I wonder if they knew that when they wrote the script or got it to match the script?
you know there's a whole wing that's closed off all the time; the west wing, I go there lots of times

Offline Mysterious Benefactor

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Was Hans Holzer supposed to consult on this scene or was he just supposed to provide input on the seance sequence?

That's an excellent question. I only remember reading that he consulted on the seance sequence - but I don't believe there's anything one way or the other regarding Scene 177. It would be very interesting to know, though...

Offline Mysterious Benefactor

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I'm pretty sure Gerard's truck was a Willys. I wonder if they knew that when they wrote the script or got it to match the script?

Another interesting question - but another that I don't think I've ever read anything about...

Offline Mysterious Benefactor

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And now the next three scenes:

178    INT - MASTER BEDROOM - NIGHT - HIGH ANGLE          178

       Tracy lies asleep, fitfully tossing and turning in
       her bed.  SLOWLY CRANE DOWN AND TRUCK INTO HER
       CLOSE-UP.  HOLD ON HER FACE as she is obviously ex-
       periencing a dream.  Over this, slowly bring in the
       SOUND OF ANGELIQUE'S LAUGHTER.  TIGHTEN TO AN
       EXTREME CLOSE-UP as the SOUND ECHOES IN HER EARS.

                                              DISSOLVE TO:

179    INT - RUINED SWIMMING POOL - NIGHT                 179

       SLOW MOTION DREAM EFFECT

       Series of DISSOLVES depicting Quentin and Angelique
       making love -- GP RATING STYLE.  Their AD LIB love
       dialogue will be HEARD OVER THE SCENE.

                                              DISSOLVE TO:




180    INT - MASTER BEDROOM - NIGHT                       180

       With the SOUNDS OF THE DREAM STILL ECHOING OVER HER
       FACE, she opens her eyes.  HOLD HER IN CLOSE-UP as
       she slowly sits up.


And that's when yesterday's quote -

Page 84/Scene 180 - Tracy (trance-like): 'I won't let you have him... I won't.'

- comes up, followed in the script by:

    WIDEN as she stands, crosses to the door and EXITS
    THE SHOT.


End of sequence.

And as far as any differences may go, it's pretty much impossible to know because so little of this sequence is in any version of the film. Basically all that we see in the film is the opening of Scene 178, which actually begins with a shot of the wind blowing the curtains in the Master Bedroom and then the camera pans to Tracy as she -


- tosses and turns in bed in a rather twisty shot, and then Angelique's eyes superimpose over Tracy -


- which leads me to mention that in DC's script he's added:

178A   SHOTS OF A IN THE TOWER LOOKING DOWN
       SUPER EYE SHOTS


Sadly, nothing of Scene 179 or Scene 180 appears in the film. Though in some of the trailers we are lucky enough to get glimpses of some brief moments of the dream sequence, and I'm sharing video of them below:

First up, the shortest glimpse:


And secondly, the longest glimpse (though one that also has the NoDS logo over parts of it - but it also shows much more of Quentin and Angelique "making love" - and the color quality is much better):


Enjoy!

Plus, we're also very lucky to have stills from the dream:




(There are also other color stills of the dream, two of which feature Angelique and Quentin, on page 183 of the PomPress book Return to Collinwood, and I'd be happy to also scan those for anyone who hasn't seen them.)

(ADMIN: Edited to add videos and remove animated GIFs)

Offline Gothick

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Thanks for posting these again, MB.  Really lovely to see.

What with this sequence and the seance, I keep asking myself why DC and Sam chose to cut some of the most atmospheric, effective moments of the movie.  Of course they had to do the work of editing out nearly half an hour, as mandated by the evil suits of MGM, in the space of a few hours...

G.

Offline Mysterious Benefactor

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By request:


Enjoy!

Offline Mysterious Benefactor

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Oops - I forgot that I also wanted to post this photo:


Not that it's from the dream (Darren believes it's a behind the scenes still from Scene 85), but to me it seems very odd. Am I the only one who thinks it looks like Angelique doesn't have any ankles/feet?!

Offline Mysterious Benefactor

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Finally the beginning of the current scene:

                                              CUT TO:

181    INT - COTTAGE - NIGHT                              181

       It is later now as Alex, still numb   from his experi-
       ence, sits staring into his drink.  An agitated Claire
       stands watching him.


And that's when yesterday's quote -

Page 84/Scene 181 - Claire: 'It was the most frightening thing I've ever seen.'

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

Page 84/Scene 181 - Alex: 'Claire...I want you to take the car and get out of here now.'

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

Page 84/Scene 181 - Claire: 'No -- I won't leave you!'

- coming up.

And as far as any differences go, apparently we'll never know what they might have been or even if there were any because this scene doesn't appear in any version of the film...

Offline Mysterious Benefactor

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Continuing Scene 181, beginning with Alex' reaction to Claire saying she won't leave:

He looks up, about to object.

And that's when today's first quote -

Page 84/Scene 181 - Claire: 'No -- I don't care what you say, I won't leave you here alone.'

 - comes up, followed in the script by:

She goes into his arms and he kisses her.

And that's when today's second quote -

Page 84/Scene 181 - Alex (resigned to it): 'O.K....'

- comes up.

And as far as any differences go, there's nothing to get into because this scene doesn't appear in any version of the film. And DC's script doesn't even have any notes about it. But given there's at least one still from it, obviously we know it was shot.

Offline Mysterious Benefactor

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Wrapping up Scene 181, beginning with today's first quote -

Page 84/Scene 181 - Claire: 'What are we going to do? We can't fight her -- She has so much power -- Alex, maybe we should go to Quentin now.'

 - coming up, followed in the script by:



181    CONTD                                      CONTD   181

And that's when today's second quote -

Page 85/Scene 181 - Alex: 'I don't know. Let me think.'

- comes up.

End of scene.

And when it comes to possible differences, we can't get into anything because this scene doesn't appear in any version of the film...

Offline Mysterious Benefactor

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And now working up to today's scene:

                                              CUT TO:

182    EXT - WOODS - NIGHT                                182

       as Tracy walks, trance-like, TOWARD CAMERA.

                                              DISSOLVE TO:

183    EXT - SWIMMING POOL - NIGHT                        183

       as Tracy ENTERS the building.

184    INT - SWIMMING POOL - NIGHT - HIGH ANGLE           184

       Tracy is a small figure as she ENTERS the darkened
       building.  Then, still trance-like, she walks along
       the edge of the murky water toward the back of the
       pool.

       TRACY - LOW ANGLE

       as she walks TO CAMERA, then stops.  SLOWLY TRUCK
       IN ON HER as she begins to realize where she is.
       Then shaking her head as if to clear her mind, she
       begins to look around.


And that's when today's quote -

Page 85/Scene 184 - Tracy (frightened): 'What am I doing here?... What?...'

- comes up.

And when it comes to possible differences, so little of what's scripted above is seen in the film as it currently stands, so it's hard to know what might have been different. And an interesting thing is that what's missing from the film isn't on the list of unrecovered scenes - but given the way things play in the film, it's hard to imagine that much of what's missing could be in the 129 minute version. For example, after we see Tracy tossing and turning in bed with Angelique's eyes superimposed over her in Scene 178A, in the film things immediately cut to -


- the outside of the swimming pool with Angelique's eye superimposed over it - and soon a trance-like Tracy is seen -


-approaching - and as she begins -


- to ascend the stairs, she suddenly stops -


- and appears to regain her senses - after which she moves to go -


 - inside - whereupon things cut to the inside -


- but shot from a low angle - and soon Tracy -


- appears, shot from that same angle. There's no Scene 182 of Tracy walking trance-like in the woods and moving toward camera (however, there's a definite cut in the background music and a noticeable shift in Angelique's image when things transition from Tracy in bed to the outside of the swimming pool building, so Scene 182 may exist in the 129 minute version and it could be another case where it's possible that something was simply cut for time during the marathon editing) - and at no time is the interior of the swimming pool or Tracy shot from a high angle - nor is Tracy seen, still trance-like or otherwise, as she walks along the edge of the murky water toward the back of the pool - nor is there a slow truck in on her as she begins to realize where she is (especially considering that in the film she appears to have already realized where she is before she enters) - nor does she shake her head as if to clear her mind - nor does she ever deliver today's quote. In fact, tomorrow we'll begin to get into exactly what Tracy does actually do upon entering the building...