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]

Picking up with Scene 23:

23     EXT - COLLINWOOD PORTICO                          23        as the car ENTERS THE SHOT and pulls up in front        of the house.  Quentin and Tracy both get out and        starts to unpack the back seat.

And that's when Friday's first quote -

Page 7/Scene 23 - Tracy: 'What do you bet I turn into one of those women you see in House & Garden.'

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

Page 7/Scene 23 - Quentin (still busily unpacking): 'I can see it now, Mrs. Quentin Collins in her fashionable jeans at her 18th-century rosewood desk making out the menus for the week.'

- coming up, followed by the script continuing with:

She starts laughing.

And that's when Saturday's first quote -

Page 7/Scene 23 - Quentin: 'Oh, there is a housekeeper, you know.'

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

Page 7/Scene 23 - Tracy: 'Oh, great! I bet she looks just like Mrs. Danvers.

- coming up, followed by the script continuing with:

QUENTIN I'm sure she does.

And that's when Sunday's first quote -

Page 7/Scene 23 - Tracy: 'Well, at least it solves one problem. She can probably do everything and I'll just simply lounge around arranging flowers.'

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

Page 7/Scene 23 - Quentin: 'And loving me.'

- coming up, followed by the script continuing with:

23     CONTD                                    CONTD    23                              TRACY                  And loving you.        Quentin starts for the rear of the car to open        the trunk.

End of scene.

And so far there are still no differences between the way DC's and Grayson Hall's scripts are written. However, in DC's script he has added a notation that the opening of Scene 23 where the car pulls up to the house will be shot from the interior of the car and through the window.

And so far as any differences in the dialogue go, in the delivered lines there are a few words dropped or added, but nothing significant. However, Tracy's "And loving you" was completely dropped.

And so far as the directions and descriptions go, as already indicated above, the start of Scene 23 is shot from inside the car, though because it was raining on the day that bit was shot -

- the windshield wipers are also on - and after Quentin and Tracy get out of the car, they do not unpack the backseat because at first they simply look up at the house in amazement with Tracy remaining standing on the passenger side of the car and Quentin going to open the trunk, as could be seen in -

- Friday's first capture - and after removing all the luggage and slamming the trunk closed is when Quentin says that he's sure the housekeeper looks like Mrs. Danvers as he makes his way to the passenger side of the car to reach into the backseat for more things as Tracy makes he remark about the housekeeper doing everything while she arranges flowers, as can be seen in -

- Sunday's first capture - and obviously, the end of Scene 23 doesn't have Quentin going to the rear of the car to open the trunk because he's already been there, done that, so, as can be seen in -

- Sunday's second capture, they're still standing on the passenger side of the car as the scene concludes.

[Mysterious Benefactor]

Moving on, beginning with Scene 24:

CUT TO: 24     EXT - QUENTIN - TRACY - HIGH ANGLE                24        CAMERA THROUGH SECOND FLOOR STAIRWELL WINDOW as        if someone is watching.  From this angle, Quentin,        back is to the CAMERA so that his face is not re-        vealed.  As he turns to say something to Tracy,        revealing his face, ZOOM IN TO CLOSE-UP. 25     EXT - SECOND FLOOR STAIRWELL WINDOW - DAY         25        Angle from below reveals Carlotta observing the        scene.  ZOOM IN TO HER CLOSE-UP as she reacts. 26     EXT - COLLINWOOD - DAY - MEDIUM ANGLE             26        as Quentin closes the trunk and in one quick        motion sweeps Tracy off her feet, intending to        carry his bride across the threshold. 27     INT - SECOND FLOOR STAIRWELL - CARLOTTA - DAY     27        TRUCK IN TO HER CLOSE-UP as she watches them. 28     INT - FOYER - DAY                                 28        as Quentin carries Tracy in he gives her a big        kiss.  HOLD FOR A MOMENT and then Carlotta        interrupts them from O.S.

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

Page 8/Scene 28 - Carlotta (O.S.): 'Mr. & Mrs. Collins?'

- comes up, followed by the script continuing with:

Quentin and Tracy are momentarily embarrassed,        caught unawares.        CARLOTTA - CLOSE-UP        She is smiling and friendly.

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

Page 8/Scene 28 - Carlotta: 'I'm Carlotta Drake, Welcome to Collinwood.'

- comes up, followed by the script continuing with:

28     CONTD                                    CONTD    28        BACK TO SCENE        as Quentin puts Tracy down.                              QUENTIN                  Thank you, Miss Drake.                              CARLOTTA                  Carlotta, please.        She is looking them over carefully, in female        fashion.  Tracy offers her hand.                              TRACY                  Hello, Carlotta.                              CARLOTTA                       (taking her hand)                  It's so good to have you here --                  I do hope you'll find everything                  to your liking, Mrs. Collins.

End of scene.

And so far there are still no differences between the way DC's and Grayson Hall's scripts are written - however, in DC's script Scenes 25 -27 have a box drawn around them and a big X in the box, which means that DC didn't intend to shoot them. But despite that, or more likely before she was aware that those scenes weren't going to be shot, Grayson Hall added a note in her script that reads "See that it's him at last the answer to the dream".

And when it comes to anything different in the dialogue, again, there's quite a bit. After Tracy and Quentin come up to the entryway of Collinwood and Tracy peers through the glass doors, in an unscripted bit of dialogue she says "Oh no, I don't think I'm going in there", but in another bit of unscripted dialogue, Quentin says "Yes, you are" - and after they enter, Quentin says in yet another bit of unscripted dialogue "Can you believe it? It's all ours", and then they both laugh lightly - and after Carlotta greets them from off screen, once she comes on screen, she switches things up by actually saying "Welcome to Collinwood. I'm Carlotta Drake" (and Grayson made some notations in her script to be "pleasant and straight" and "almost preoccupied with looking at him + her) - and while Quentin responds to Carlotta as scripted, Carlotta's line to address her by her first name is dropped - and rather than "Hello, Carlotta", Tracy says "How do you do" - and Carlotta's greeting to Tracy and her hope that everything will be to Tracy's liking is also dropped. (And I'm surprised that Grayson didn't make a notation about Carlotta saying it's so good to have Tracy at Collinwood because as we'll definitely find out along the way, clearly that's not how she feels because she has a definite agenda in mind, so chances are the line would have been delivered with that subtext in Carlotta's mind.)

And so far as the directions and descriptions go, as can be seen in this capture -

- Scene 24 was not shot through the second floor stairwell window but through a third floor window of the tower - and because it's shot from so high up, Quentin's face is nowhere near recognizable and there is no zoom in to a close-up of him because he simply closes the door to the car and he and Tracy move toward the portico, each carrying a piece of luggage and leaving the rest of their luggage behind the car - and as already mentioned above, Scenes 25 -27 are dropped - and when it comes to Scene 28, as already somewhat alluded to, Quentin doesn't carry Tracy into the foyer because, as can be seen in this next capture -

- both of them simply carry their piece of luggage into the entryway, though as Quentin remarks that all of Collinwood is theirs, they do hug before Carlotta exits the foyer to greet them - and after Carlotta welcomes them and introduces herself, she shakes Quentin's hand as he thanks her, and then she shakes Tracy's hand as Tracy greets her - and it's interesting to note that DC's script has an added notation that the camera was supposed to pan to a 2 shot of Carlotta and Tracy when Tracy greats her and Carlotta is so nice to her, but given the way the scene actually plays in the film, apparently that idea was also dropped because what actually happens is, in camerawork that's unscripted, Scene 28 dissolves into the start of the upcoming Scene 29...

[Mysterious Benefactor]

Oops - I forgot to mention that the original slideshow featured this line of dropped dialogue:

NoDS: Scene #28 - Carlotta: 'It's so good to have you here. I
do hope you'll find everything to your liking, Mrs. Collins.'

[Mysterious Benefactor]

Moving on to Scene 29:

29     INT - DRAWING ROOM - DAY                          29        A Carlotta-led tour is in progress.  Tracy stands        at the piano, toying with the keyboard, as Quentin        examines a piece of sculpture with a professionally-        amused eye.  Carlotta is holding forth.

And that's when Tuesday's quote -

Page 9/Scene 29 - Carlotta: 'Mrs. Stoddard, before her death, served tea here every afternoon.'

- comes up, followed by Wednesday's quote -

Page 9/Scene 29 - Quentin: 'I'm afraid that's one tradition we won't keep.'

- coming up, followed by Thursday's quote -

Page 9/Scene 29 - Tracy (trying out one of the sofas): 'Oh, no! We can't let the house down. Why don't we call Claire and Alex. Tea in the drawing room with the lord of the manor.'

- coming up, followed by Friday's quote -

Page 9/Scene 29 - Quentin (to Carlotta): 'Oh, did you tell the Jenkins' we'd be here today?'

- coming up, followed by the script continuing with:

29     CONTD                                    CONTD    29

And that's when yesterday's quote -

Page 10/Scene 29 - Carlotta: 'I didn't know you would wish it.'

 - comes up.

End of scene.

And so far there are still no differences between the way DC's and Grayson Hall's scripts are written - and while there are no notations worthy of mention in DC's script, Grayson's has something that will be mentioned below.

And when it comes to anything different with the dialogue, as far as the first three quotes, the only thing that's different is a few words are rearranged or dropped here and there, but nothing that changes the point of anything - however, when it comes to Quentin's scripted line asking Carlotta if she'd told the Jenkins they would be arriving, that line is actually given to Tracy in the film - and when Carlotta doesn't reply because her attention is deeply fixated elsewhere (and we'll get into that below), Tracy delivers an unscripted "Carlotta, did you tell the Jenkins we'd be here?" - and after Carlotta shakes her fixation, what she actually replies is "No, I'm sorry. I didn't know that's what you wanted" - and then with a smile she follows that with an unscripted "Come, let me show you the rest of the house" - and Tracy replies with an unscripted "All right."

And so far as the directions and descriptions go, as can be seen in this capture -

- Scene 29 doesn't start off with Tracy standing at the piano, toying with the keyboard, or with Quentin examining a piece of sculpture because it's actually Quentin who sits at the piano and toys with the keyboard - and as alluded to above, at the point that Quentin begins to play the piano Grayson writes in her script "Q is playing chords on the piano. Moment of my recognition" (which certainly seems to point out that Grayson was aware when she made the notation that the sequence of Carlotta watching Quentin and Tracy's arrival and reacting to seeing Quentin's face was not going to be shot) - and as can be seen in the following capture -

- rather than trying out one of the sofas, Tracy actually comes over to the piano when she suggests they call Claire and Alex and invite them for tea - and after Carlotta suggests she show them the rest of the house, she moves to leave the room with Tracy following and Quentin gets up from the piano to also follow.

[Mysterious Benefactor]

Moving on the Scene 30:

30     INT - FIRST FLOOR CORRIDOR - DAY - WIDE ANGLE     30        Shooting through Dining Room doors with the table        and center piece in F.G., the three of them walk        TOWARD CAMERA.

End of scene.

And as can be seen in this capture -

- the scene is shot exactly as scripted. But what is interesting is that it includes unscripted dialogue as Carlotta explains "Collinwood was built by Joshua Collins in the late 1600s. Of course, there have been many changes and additions since then." And given that Sam Hall once remarked that due to DC's "newfound directorial style," the original cut of NoDS (the cut before the 130 minutes long recovered cut) was supposedly 165 minutes long and that length was at least partly because the cut supposedly included several instances of shots of characters simply walking down long halls before they get to the points of scenes, I've often wondered if that bit of dialogue from Carlotta was added in post production so as not to have Carlotta, Tracy and Quentin be seen to be simply walking down the corridor from the drawing room to the stairwell? But who knows? But what's also interesting is that in this instance it was SH himself who wrote Scene 30 to simply be them walking down the corridor, so he certainly couldn't blame DC's directorial style for it in that instance.

And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point.

[Uncle Roger]

Joshua built Collinwood in the late 1600's?

[Mysterious Benefactor]

That's what Carlotta says. Perhaps in the universe of the films it was Joshua and not Isaac Collins who founded Collinsport in the late 1600s. And considering the backstory of hoDS' Barnabas took place in 1797, it could call into question just who fathered Barnabas? Well, if hoDS and NoDS take place in the same universe? And though the possible paternity of hoDS' Barnabas is a topic best suited for a hoDS topic, whether or not hoDS and NoDS take place in the same universe could certainly be a topic of discussion here...

[Gothick]

That would be a cool line in that it would more firmly define the story of NoDS as being set in a parallel universe with its own history.

Given the storylines of the final year of the show, maybe that's what Sam Hall intended.

G.

[Mysterious Benefactor]

Possibly. We know that in PT on the show Collinwood was already in existence in 1680 when everything transpired between Brutus Collins, Constance Collins, Amanda Collins, and James Forsythe...

[Mysterious Benefactor]

Picking up with Scenes 31 and 32:

31     INT - FIRST FLOOR STAIRWAY - DAY                  31        ANGLE from second floor landing as they climb the        stairs TOWARD CAMERA.

And that's when Sunday's quote -

Page 10/Scene 31 - Carlotta: 'As a child I used to hide here. They had so many parties then. All the guests...were so elegantly dressed and the candles were always burning.'

- comes up, followed by Monday's quote -

Page 10/Scene 31 - Tracy: 'You lived here as a child?'

- coming up, followed by Tuesday's quote -

Page 10/Scene 31 - Carlotta: 'My mother was the housekeeper.'

- coming up, followed by the script shifting to Scene 32:

32     PAN WITH THEM as they reach the second floor and  32        walk by CAMERA heading for the Gallery.  As they        pass the steps leading to the third floor, Quentin        stops.        GROUP - HIGH ANGLE                              QUENTIN                  What's up there?                              CARLOTTA                  Nothing you would want to see now.

And that's when Wednesday's quote -

Page 10/Scene 32 - Quentin: 'Is that the tower I saw from the outside?'

- comes up, followed by today's quote -

Page 10/Scene 32 - Carlotta: 'Yes. It's used for storage now.'

- coming up, followed by the script continuing with:

They start walking again as Quentin hesitates for        a moment longer, still looking up the stairs        TOWARD CAMERA. 32     CONTD                                     CONTD   32        Finally, he turns away and EXITS THE SHOT.        HOLD on empty corridor as their VOICES and        FOOTSTEPS TRAIL OFF.                              CARLOTTA (O.S.)                  The master bedroom is this way.                  It affords a beautiful view of                  the front grounds.

End of scene.

And so far there are still no differences between the way DC's and Grayson Hall's scripts are written. However, in DC's script he has notations for Scene 31: "Hand Held," "also HIGH FROM 2nd FLOOR hold all the way," and "Try a side track all in profile CU as they go up stairs" - and for Scene 32 he has the notation: "Cut Too: HIG ANG" (no doubt meaning a high angle). Though the interesting thing is almost none of that is how things were shot in what was used in the film. And Grayson's script also has a notation for Scene 32, but more on that when we get to the differences in the dialogue.

And when it comes to any differences in the dialogue, Carlotta actually says "As a child I used to hide here. So many parties in those days. And the guests were so" over the end of Scene 30 as she, Tracy and Quentin disappear up the stairs and mostly off screen - the only part that's delivered during Scene 31 and on screen is "elegantly dressed. And the candles were always burning" - and when Tracy questions if Carlotta lived at Collinwood as a child, it's actually said at the end of Scene 31 and into the beginning of Scene 32 and mostly off camera - and Carlotta's actual reply is "Yes. My mother was the housekeeper" (and it's interesting how Carlotta isn't actually speaking of her own childhood - but of course, no viewers would actually pick up on that this early in the film) - and when Quentin looks up and inquires what's up higher than where they are, Caroltta actually replies with "Oh, nothing you'd be interested in now" - and after Quentin asks if it's the tower, Carlotta simply replies with "Yes", with the "It's used for storage now" dropped - and after disappearing off screen, what Carlotta then actually says is "The master bedroom is this way. It has an excellent view of the front grounds" (and that's where in Grayson's script she's made a notation crossing out "affords" and substituting "has" - though there isn't any notation crossing out "a beautiful" and substituting "an excellent").

And so far as the directions and descriptions go, as can be seen in this capture -

- Scene 31 isn't actually shot from the second floor landing as they climb the stairs toward the camera because it's actually shot almost completely the opposite, from the library doorway on the first floor as they climb the stairs away from the camera - and at no point is Scene 32 shot on the second floor because, as can be seen in this next capture -

- it's shot from the third floor landing of the stairwell (and hand held), which means we don't see them walking by the camera as they're heading for the Gallery, or passing the steps leading to the third floor - and while they do start walking again as Quentin hesitates for a moment longer, but on the second set of stairs leading to the second floor landing while still looking up TOWARD CAMERA toward the tower, he's not actually looking up the stairs - and things don't hold on the empty second floor corridor as their voices and footsteps trail off because things actually hold on that second set of stairs leading to the second floor landing as Carlotta explains about the view from the master bedroom.

[Uncle Roger]

Interesting that Tracy picks up on the idea that Carlotta lived at Collinwood as a child but neither she nor Quentin make any kind of remark about the candles always burning.

[Mysterious Benefactor]

I suppose they wouldn't think it was odd for there to be candles at parties - but it's really the inclusion of the word "always" that could certainly make what Carlotta says seem odd. But then, maybe they thought she simply meant candles were always burning at the parties and not necessarily when there also weren't any parties taking place. Honestly, I probably would have taken it that way because I would have presumed that Carlotta was reminiscing about a childhood that took place somewhere around the late-1920s/early-1930s when electricity was certainly available to a grand house like Collinwood. (Although, believe it or not, the house I live in is close to 120 years old and it originally had gas lighting. The gas pipes, though disconnected from the gas, are even still in the walls and ceilings - and according to my research, the house wasn't converted to electricity until after the original owners passed away and new owners bought the house in 1930.)

[Mysterious Benefactor]

Setting up Scene 33:

33     INT - GALLERY - DAY                               33        QUENTIN - TRACY - CARLOTTA        as Quentin examines the various portraits.

and that's when today's quote -

Page 11/Scene 33 - Quentin: 'I have a terrible feeling my ancestors would never have bought my work.'

comes up.

And as for any differences in Quentin's dialogue, upon entering the Gallery he delivers an unscripted "It's quite a collection" - and what he actually does rather than say what's quoted is he lightly chuckles and then says "I've got a feeling my ancestors wouldn't have bought my work."

And as can be seen in this capture -

- when we first see them in the Gallery and Quentin remarks that the paintings are quite a collection, things are shot from the opposite angle that the entire rest of the scene is. But then, as we'll see, there are no angles specified in the script for Scene 33...

And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point.

[Mysterious Benefactor]

Continuing with Scene 33 with today's quote:

Page 11/Scene 33 - Tracy (at the window): 'His paintings are very abstract.'

And as for any differences there, Tracy actually says "Quentin's paintings are very abstract."

And as can be seen in today's capture -

- Tracy isn't standing near any of the windows in the Gallery.

And it's still the case that there aren't any differences between the way DC's and Grayson Hall's scripts are written up to this point.

[Mysterious Benefactor]

And continuing with Scene 33 with today's quote:

Page 11/Scene 33 - Carlotta: 'How interesting.'

And as for any differences in the dialogue, at first Carlotta actually delivers her response by adding an unscripted "You're a painter" before she says "How interesting." And obviously to anyone who's already seen the film, there's all sorts of subtext there, helped along by the sly hint of a smile on Carlotta's face as she says it -

- but, again, no viewer seeing the film for the first time would really pick up on it to the point of understanding what's really going on with Carlotta.

And it's still the case that there aren't any differences between the way DC's and Grayson Hall's scripts are written up to this point. Though it's interesting that rather than add, "You're a painter," to her script, Grayson added Carlotta's remark as "Oh you paint?". Even more interesting is that DC hasn't added any of the unscripted lines to his script, but he will add some of them when it comes to some future scenes...