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 117235 times)

Mysterious Benefactor · « **Reply #45 on:** February 09, 2016, 09:16:46 PM »

A batch of scenes before we get to the scene containing tomorrow's quote - and ones which help to explain it:

47 INT - GALLERY - DAY - LOW WIDE ANGLE 47 Tracy stands near the window sipping a cup of coffee as she leafs through an old book. CAMERA starts a SLOW TRUCK IN ON HER. As we get closer, we see that she senses something. She turns and looks out the window. 48 EXT - GROUNDS - DAY - HER P.O.V. 48 Standing amongst the trees, staring up at her, is Gerard. With him are two vicious-looking black dogs, both straining at their leashes. ZOOM IN TO HIS CLOSE-UP. 49 TRACY - CLOSE-UP 49 as she reacts and turns away from his gaze. It is obvious that he has upset her.

End of scene.

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

And as for what might be different when it comes to the directions and descriptions, again, we have no way of knowing at this point because those scenes do not appear in the film as it currently stands.

Mysterious Benefactor · « **Reply #46 on:** February 10, 2016, 08:44:06 PM »

Setting up the current scene:

50 CARLOTTA - MEDIUM ANGLE 50 as she ENTERS the room carrying a tray with fresh coffee she sees Tracy by the window.

50 CONTD CONTD 50

And that's when today's quote -

Page 17/Scene 50 - Carlotta: 'Is anything wrong, Mrs. Collins?'

- comes up.

And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point, however, Grayson's script has extensive notes for this scene, and we'll get into all of them as the scene unfolds. But for now, the first notation is that Carlotta is happy because things are going so well.

And as for anything that might be different with the dialogue, we have no way of knowing at this point because the scene is not in the film as it currently stands.

And as for what might be different when it comes to the directions and descriptions, again, we have no way of knowing at this point because this scene does not appear in the film as it currently stands.

Mysterious Benefactor · « **Reply #47 on:** February 12, 2016, 08:50:54 PM »

Picking up where we left off, beginning with:

TRACY - CARLOTTA

And that's when yesterday's quote -

Page 17/Scene 50 - Tracy: 'There's someone down there just staring up at me. Who is it, Carlotta?'

- comes up, followed by the script continuing with:

Carlotta puts down the tray and comes to Tracy. TRUCK with her so that the two of them are framed in the window. In the B.G. we can see that Gerard is no longer there, but Tracy does not know this since her back is to the window.

And that's when today's first quote -

Page 17/Scene 50 - Carlotta: 'There's no one there.'

- comes up, followed by the script continuing with:

Tracy turns to look out.

And that's when today's second quote -

Page 17/Scene 50 - Tracy: 'There was a man. With two black dogs.'

- comes up.

And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point. Though, as previously mentioned, Grayson's script has extensive notes for this scene. However, it's best to wait until tomorrow's quote to get into a batch of them...

And as for anything that might be different with the dialogue, we have no way of knowing at this point because the scene isn't in the film as it currently stands.

And as for what might be different when it comes to the directions and descriptions, again, we have no way of knowing at this point because this scene doesn't appear in the film as it currently stands.

Mysterious Benefactor · « **Reply #48 on:** February 13, 2016, 07:40:53 PM »

Picking up with today's quote, Carlotta's explanation:

Page 17/Scene 50 - Carlotta: 'Oh, Gerard. Gerard Stiles. My nephew. He's the caretaker-handyman. He keeps the horses, too. I don't know what I'd do without him.'

And while there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point, Grayson's script has extensive notes for this portion of the scene. She writes that Carlotta should intimidate Tracy even though she's also wondering what Gerard has done and whether or not he will screw things up - Carlotta must also stop Tracy's curiosity and be short with Tracy - plus she should lead Tracy from the window, sit her down, and serve her her coffee.

And as for anything that might be different with the dialogue, we have no way of knowing at this point because the scene isn't in the film as it currently stands.

And as for what might be different when it comes to the directions and descriptions, again, we have no way of knowing at this point because this scene doesn't appear in the film as it currently stands. But if Grayson's notes are an indication, if Carlotta actually sits Tracy down and serves her coffee, that would be different from what's in the script.

Also, I believe Carlotta's lines here are the only place in the script that we learn that Gerard is her nephew so, as the film stands now, that relationship is unknown. (Though many DS fans were probably aware of it before even seeing the film because it was mentioned in some of the publicity leading up to the release and possibly even after, as we'll see once some of that stuff gets posted...)

Mysterious Benefactor · « **Reply #49 on:** February 14, 2016, 10:24:02 PM »

Wrapping up the current scene:

They look at each other for a moment. TRACY Oh - I see -- Well, it was just that those dogs ...

And that's when today's quote -

Page 17/Scene 50 - Carlotta: 'Those dogs are very important to the security of the estate, madam ... now, is there anything I can get you?'

- comes up, followed by the script continuing with:

TRACY (embarrassed) Oh - no. Nothing. Everything ...Everything's just fine.

End of scene.

And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point, however, there are notations in both DC's and Grayson's script for this portion of the scene. First, in Grayson's script she writes that Carlotta has the subtext that she manages the estate so why does Tracy ask when she should leave it to Carlotta and Carlotta will take care of it. And with DC's script, he notes that when it comes to Tracy's last bits of dialogue, the camera is to pan to her as she looks away.

And as for anything different in the dialogue, we have no way of knowing at this point because the scene is not in the film as it currently stands.

And as for what might be different when it comes to the directions and descriptions, again, we have no way of knowing at this point.

And with tomorrow's quote things will be getting back, albeit briefly, to material that is actually in the film...

Mysterious Benefactor · « **Reply #50 on:** February 15, 2016, 11:30:00 PM »

Setting up the new scene:

51 INT - PANTRY - DAY 51 Gerard is filling a thermos of coffee from the electric urn. Carlotta enters.

51 CONTD CONTD 51

And that's when today's quote -

Page 18/Scene 51 - Gerard: 'Do you know what happened last night? [She does not answer.] Do you?'

- comes up.

And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point. However, once again Grayson's script has extensive notes for this scene, and once again we'll get into all of them as the scene unfolds. But for now, the first notations are that with this scene there's a big transition from the previous scene - here for Carlotta it's all about power and intent and desperation - and Carlotta's not answering Gerard's question at first is her way of angrily giving it to him.

And as for anything that's different with the dialogue, the only thing is that Gerard asks "Do you?" much more forcefully than the script might indicate.

And as for what's different when it comes to the directions and descriptions, Gerard fills his thermos from a pot of coffee, not from an electric urn - and Grayson adds the notation to her script that Carlotta enters "with tray + coffee".

And finally I do have to say that I love the expression on Carlotta's face in today's capture, and here's a closer look:

Mysterious Benefactor · « **Reply #51 on:** February 16, 2016, 11:36:00 PM »

Continuing with Scene 51, beginning with today's first quote -

Page 18/Scene 51 - Carlotta: 'Everything has changed now. You must accept-'

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

Page 18/Scene 51 - Gerard (interrupting): 'I was good enough before he came, now...'

- coming up.

And while there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point, for this section the next notations in Grayson's script say "other side" (and I'm not quite sure what that means), "no pretense", and "authoritative".

And as for what's different with the dialogue, Carlotta actually says "Everything has changed now. You must accept that" - and Gerard, with a pronounced and unscripted stutter, actually replies with "I was good enough until he came around. Now..." And what's unfortunate about all this is that as the film currently stands, the audience doesn't have the vaguest clue as to what they're talking about. Not that everything would be clear with Scenes 41 through 44 in the film because there would still be quite a bit of mystery - but at least the audience would know that Quentin was drawn to the tower room, Gerard is aware of that because while he was outside the night before he saw Quentin pass by the tower room windows, and for some reason as yet unknown, Gerard reacted to that sight with blazing hatred.

And as for what's different with the directions and descriptions, Gerard doesn't actually cut Carlotta off.

Mysterious Benefactor · « **Reply #52 on:** February 17, 2016, 08:46:20 PM »

And wrapping up Scene 51, beginning with today's quote -

Page 18/Scene 51 - Carlotta (snapping at him): 'Go to the stables. He will be down to ride soon. [Gerard is about to object.] I've told you things are different now.'

- coming up, followed by the script explaining:

She just looks at him. Finally, he turns and slams his way out of the room.

And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point. However, Grayson's script notation for this part says "On the edge of violence. Losing temper."

And as for anything that's different with the dialogue, Carlotta actually says "Now listen! I want you to go to the stables. He'll be there soon to ride. I've told you that everything was different now."

And as for what's different when it comes to the directions and descriptions, Gerard doesn't attempt to object in the middle of Carlotta's lines - and Gerard doesn't so much slam his way out of the room as he grabs his thermos and the cover and leaves - however, in an unscripted action, Carlotta carries the tray over to the counter and slams it down in anger and frustration. And I love her body language -

- because there's no doubt as to who's in charge.

Uncle Roger · « **Reply #53 on:** February 17, 2016, 10:16:42 PM »

The Carlotta/Gerard interaction really makes me feel that the relationship between Mrs. Johnson and Willie in the NBC incarnation of DS is modelled after Carlotta and Gerard.

Mysterious Benefactor · « **Reply #54 on:** February 17, 2016, 11:07:50 PM »

Yes, I've had the same suspicion, at least when it comes to the facts that Gerard is Carlotta's nephew and Willie is Mrs. Johnson's nephew. Willie is nowhere near as homicidal as Gerard - then again, who knows what Willie was completely like before Barnabas showed up because we see so little of that. But pre-Barn Willie definitely had a tendency toward violence...

Gothick · « **Reply #55 on:** February 17, 2016, 11:22:07 PM »

Carlotta was the real Mistress of Collinwood. That becomes crystal clear in a much later scene with Tracy.

G.

Mysterious Benefactor · « **Reply #56 on:** February 18, 2016, 09:20:01 PM »

I love all the scenes in the film between Carlotta and Tracy, particularly the one to which I believe you're referring!

And as for today's quote, because Scene 52 is so different in the film from the way it's written in the script, I'm going to hold off getting into things until tomorrow...

Mysterious Benefactor · « **Reply #57 on:** February 20, 2016, 12:10:01 AM »

Here's Scene 52 as scripted:

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.

And that's when yesterday's quote -

Page 18/Scene 52 - Gerard: 'Inside, boys! Inside!'

- comes up, followed by the script explaining:

The dogs hesitate for a moment but then turn and run inside. Quentin crosses to the door.

And that's when today's quote -

Page 18/Scene 52 - Quentin: 'I'd keep them chained if I were you.'

- comes up, followed by the script continuing with:

Gerard does not agree or disagree but just starts inside. You're Gerard Stiles.

52 CONTD CONTD 52 GERARD That's right. Quentin starts into the stable. QUENTIN I'm Mr. Collins.

End of scene. However, as I said yesterday, everything is so different in the film - and it's probably easiest to deal with the differences with the dialogue, the directions, and the descriptions all at once.

So, 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 -

- and after that point Gerard actually replies with "Yeah. Yeah, I know. I, uh...", and then with a nod of his head toward the stable itself, Gerard adds "I got your horse ready for ya" before he moves to the ladder, he begins to climb down, and Quentin walks over to the bottom of the ladder as the dogs simply look over at him as he approaches, turn their attention to Gerard coming down the ladder and reaching the bottom by jumping down the last few steps, and then growl just the slightest bit as Gerard turns to Quentin and then turns to lead Quentin to the stable. And that's it - nothing really happening with the dogs at all. And there's probably a really good reason for that, as well as why Gerard is actually seen doing brickwork rather than simply appearing at the doorway to the stable. But I'm going to hold off getting into all that until after we reach Scenes 105 & 106 in the script...

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

Mysterious Benefactor · « **Reply #58 on:** February 21, 2016, 12:54:03 AM »

Similarly to Thursday's quote, I'm going to hold off getting into Scene 53 until tomorrow. However, this time it's not because Scene 53 is so different in the film vs. the script, but because the first half of it isn't in the film as it currently stands...

Mysterious Benefactor · « **Reply #59 on:** February 21, 2016, 11:16:00 PM »

And here's Scene 53 as scripted:

53 INT - STABLE - DAY 53 There are four horses in their stalls. Gerard stands looking at them as Quentin crosses to him.

And that's when yesterday's first quote -

Page 19/Scene 53 - Gerard: 'You ride well?'

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

Page 19/Scene 53 - Quentin: 'I used to. When I was a kid. But it's been a long time. You better give me an easy one.'

- coming up, followed by the script continuing with:

Gerard takes a saddle from the rack and crosses to a large black stallion. He begins to saddle him up. Suddenly, he is friendly. GERARD You ought to be able to handle this one. Quentin crosses to the horse and looks him over. QUENTIN Good-looking.

And that's when today's quote -

Page 19/Scene 53 - Gerard: 'His name's Ulysses. Just give him his head and you'll think you're in a rocking chair.'

- comes up, followed by the script continuing with:

QUENTIN I'll do my best. He puts his foot in the stirrup and swings up into the saddle. He adjusts the reins and is about to start forward. GERARD I saw your wife today. Quentin looks down at him.

53 CONTD CONTD 53 QUENTIN Yes. A long pause. GERARD She rides, doesn't she? QUENTIN She does. But she won't today. I'll be back in a few hours. He spurs the horse forward. HOLD ON Gerard as Quentin EXITS THE SHOT.

End of scene. Though, as I said yesterday, the first half of the scene doesn't appear in the film as it stands now. However, if I understand things correctly, some version of the first half does appear in DC's original cut. But what's in the film at this point begins with Quentin putting his foot in the stirrup.

And obviously in the first half of the scene we don't know what the differences, if any, might be in the dialogue. However, as Quentin mounts the horse, he actually appears to say an unscripted "Good-looking, Phillips", which would seem to indicate that the horse's name has been changed in the film (quite possibly to the horse's real name), and after he's mounted, he actually tells the horse "Come on" as he's about to start off before Gerard speaks - and after Gerard asks if Quentin's wife rides, Quentin asks an unscripted "What did you say?" - to which Gerard asks with a stutter "I said she, she rides, doesn't she?" - to which Quentin actually responds with "Yes, she does", and then after telling the horse "Come on", he tells Gerard, "But not today", with nothing about being back in a few hours.

And as with the dialogue, we have no way of knowing what differences there might be when it comes to the directions and descriptions in the first half of the scene. However, so far as what is in the film, everything plays basically as scripted, although, it all takes place outside in the stable yard, not inside the stable - and when Gerard hears that Quentin's wife rides, he gets a smile on his face and then a look as if he'll be up to something.

And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point. However, in DC's script he has a notation in the first half of the scene that indicates that when Gerard is saddling the horse the saddle would be seen in the foreground as the camera shot then moves to Gerard in close-up.

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