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]

Setting up the current scene:

242    EXT - COTTAGE - DAY                               242        Claire and Tracy are at their car as Quentin drives        up.

And that's when today's quote -

Page 110/Scene 242 - Quentin: 'O.K. Everything's taken care of. As of now, all this grandeur is for sale.'

comes up.

And as far as the dialogue goes, what Quentin actually says is "O.K. Everything's taken care of. As of this very moment, all this grandeur's for sale."

And as far as the descriptions and directions go, Quentin actually delivers his lines as he gets out of his car and walks over to Claire and Tracy, who are not at a car but, as can be seen from this advanced look at tomorrow's first capture -

- are sitting at the top of the walk to the cottage.

[Mysterious Benefactor]

Not too much to say about today's quotes, the first one being -

Page 111/Scene 242 - Claire: 'Don't look so sad. Look at all the money you'll have.'

- followed by today's second quote-

Page 111/Scene 242 - Quentin: 'I'm not going to count on it.'

- coming up.

Obviously the script has moved to page 111 - there are no descriptions and directions to get into - but as far as the dialogue goes, what Claire actually says is "Don't look so sad, Quentin. Think of all the money you'll have", and Quentin actually says "I'm not gonna count on it.'"

[Mysterious Benefactor]

Moving along with Scene 242:

Alex ENTERS THE SHOT from the house, crossing to them.

And that's when today's quote -

Page 111/Scene 242 - Alex: 'The reservations at the Cape are all set. I told them we'd be there at seven.'

- comes up.

And as far as any difference in the dialogue goes, what Alex actually says as the first part of his lines is "All right now, the reservations at the Cape are all set."

And there's nothing to get into with the descriptions and directions.

[Mysterious Benefactor]

And moving along with more of Scene 242, beginning with today's first quote -

Page 111/Scene 242 - Quentin: 'Come on, Alex, it's going to take more than three hours.'

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

Page 111/Scene 242 - Alex: 'Not with me leading the way --'

- coming up, followed in the script by:

TRACY                (laughing)           You're right -- not with you.           We'll meet you there -- I           don't need anymore excitement --

And as far as any difference in the dialogue goes, Quentin actually responds to Alex with ""Hey, that's only three hours from now" - to which Alex replies "Not with me driving, buddy" - and Tracy actually says "You may be right, I'll tell you that. I've had enough excitement. We'll meet you there" - after which Claire replies with something undecipherable.

And there aren't any descriptions and directions to get into from the script, but Alex picks up his suitcase and says not with him driving -

- as he rushes toward his car - and Tracy and Claire soon follow behind him as Tracy delivers her lines -

- which Alex laughs at - and Quentin brings up the rear -

- as Tracy and Claire disappear toward Quentin and Tracy's car and Alex puts his suitcase in his car.

[Mysterious Benefactor]

And moving along with yet more of Scene 242, as scripted, or not:

As Claire talks to Tracy, Alex gets into the car and        Quentin walks over to him.  They look at each other,        both knowing how lucky they are.

And that's when today's first quote -

Page 111/Scene 242 - Alex: 'You know, I didn't tell you how really worried I was.'

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

Page 111/Scene 242 -  Quentin: 'You didn't have to.'

- coming up.

And as far as any differences in the dialogue, the descriptions and the directions go, Alex doesn't get into his car and Quentin has already been walking toward and even going a bit past him - and in an unscripted exchange before today's first quote even comes up in the film, Alex slaps Quentin on the back -

"Hey."

- to get his attention, whereupon Quentin turns to him and Alex points to Quentin's face and then to his own while asking -

"How many stitches?"

- to which Quentin answers as the camera begins a slow truck in on them -

"Six."

 - then Alex asks -

"Could there be a scar?"

 - and Quentin answers -

"Doctor said if I'd of waited any longer, there would have been."

- and after that is when today's first quote comes up, but Alex actually says "You know, I never told you how worried I really was" - and today's second quote is completely dropped in the film as it currently stands, though it does appear in the 129 minute version of the film. And we'll get into why that is when we deal with tomorrow's first quote...

[Mysterious Benefactor]

And wrapping up Scene 242, with both scripted and unscripted material, beginning with yesterday's first quote:

Page 111/Scene 242 - Alex: 'No, no. That's not what I mean. I was afraid the exorcism didn't work.'

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

Page 111/Scene 242 -  Quentin: 'Why?'

- coming up, followed by today's quote -

Page 111/Scene 242 - Alex: 'Because I had a funny feeling that it was really you who was keeping her spirit alive.'

- coming up, followed in the script by:

242    CONTD                                      CONTD  242                              QUENTIN                  Well, thank God you were wrong.                  Listen, have the lobsters ready --        Quentin crosses to his car as Alex pulls out.        Quentin follows.

End of scene as scripted.

And as far as any differences in the dialogue, the descriptions and directions go, just as how Quentin's quote from the 25th was dropped in the film, Alex' quote from yesterday was also dropped, and that was because they refer to the seance that doesn't currently appear in the film, but those quotes do appear in the 129 minute version of the film. As things currently stand, Alex says he was worried and the dialogue moves immediately to Quentin asking why when he's really asking about the seance, not simply about Alex' worries. And as for Quentin's final lines in the scene, what he actually says is "Well, I'm glad you were wrong" just before he turns away -

- from Alex and then adds "Have the lobsters ready --" - to which Alex answers with an unscripted -

"Females."

- and as Quentin makes his way to his car, we hear Claire say an unscripted -

"All right, bye bye."

- and then we hear Alex shout out an unscripted -

"Let's go, honey!"

 - and Claire answers with an unscripted -

"Right."

 - and then Quentin gets in his car -

 - and Alex gets in his car from the passenger side as Claire comes -

 - and Claire gets in the car -

 - and then Quentin and Claire exchange waves as Alex pulls his car away -

[Mysterious Benefactor]

One thing to keep in mind in many of the scenes, is that the dialogue in many of the scenes was all adjusted, tweaked, revised slightly on-set, which makes things play a little more naturally, but has been sheer hell from a dialogue re-looping standpoint because there's no document that exists which accounts for all the on-set changes.

I would think something like this section of Scene 242 -

and as Quentin makes his way to his car, we hear Claire say an unscripted -

"All right, bye bye."

- and then we hear Alex shout out an unscripted -

"Let's go, honey!"

 - and Claire answers with an unscripted -

"Right."

- which is not only unscripted but you can't even see the faces of the actors/characters would be impossible to recreate if the sound was missing. It would simply no longer be in the film...

[Mysterious Benefactor]

Setting up the current scene:

243    INT - QUENTIN'S CAR - DAY                         243        Through the windshield, Alex can be seen gunning his        car onto the main drive.  Quentin follows.  Finally        Alex, driving faster, EXITS THE SHOT as Quentin        slows down and starts to turn in a different direction.

And that's when today's first quote -

Page 112/Scene 243 - Tracy: 'What are you doing?'

comes up, followed by today's second quote -

Page 112/Scene 243 - Quentin: 'I have to pick up my canvases --'

coming up.

And as far as the dialogue goes, believe it or not, both quotes are delivered as scripted. (Though that won't last long.)

And as far as the descriptions and directions go, everything is basically as scripted.

[Mysterious Benefactor]

Wrapping up Scene 243 as scripted and not:

For a moment Tracy looks upset.                              QUENTIN                  Hey, come on, Trace, it'll                  only take a minute.        Suddenly, through the windshield Collinwood looms        ahead.  Quentin pulls up to the portico and gets out.

And that's when today's first quote -

Page 112/Scene 243 - Quentin: 'I'll only be a minute.'

comes up, followed by today's second quote -

Page 112/Scene 243 - Tracy: 'Hurry.'

coming up, followed in the script by:

HOLD ON THIS as he crosses to the door and ENTERS     the house.

End of scene as scripted. But as far as the dialogue, the descriptions, and the directions go in the film, while Tracy does look momentarily upset, Quentin's line about going back for his canvases only taking a moment is dropped in favor of an unscripted exchange that begins with Tracy commenting -

"Wow, it'll be nice at the Cape."

- as she reaches to stroke the hair at the nape of Quentin's neck - to which Quentin smiles and replies with -

"Hmmm. Yeah."

- and then he says -

"I'll be happy to get out of this place."

- during which Tracy simultaneously -

::Sighs::

 - and then after a couple seconds, he asks -

"Won't you?"

 - but Tracy simply says -

"Don't be long in there, all right."

 - and then unlike what's scripted we do not see Collinwood looming ahead through the windshield because things go right to Quentin pulling up to the portico - and as can be seen in today's first capture, Quentin actually delivers today's first quote while he's still in the car, however, he delivers it as -

"Just take a minute."

 - with the "I'll" dropped - and rather than responding with today's second quote, Tracy actually replies with -

"Okay."

 - and then Quentin gets out of the car and walks around the front of it toward the door, but we do not see him enter the house.

End of scene in film.

[Mysterious Benefactor]

I just remembered that Quentin's dropped line was featured in the original NoDS slideshow -

NoDS: Scene #243 - Quentin: 'Hey, come on, Trace, it'll only take a minute.'

- and the reason it was originally included in that slideshow is because it's featured in the Fest's 1999 Movie Calendar.

[Mysterious Benefactor]

Moving through several scenes without any or with little scripted dialogue until we reach the current scene:

244    INT - FOYER - DAY                                 244        as Quentin ENTERS, the house is quiet and still.  The        sun filters through the vaulted windows giving the        house that look of late afternoon. 245    INT - FIRST FLOOR CORRIDOR - DAY                  245        From the far end of the hall, Quentin ENTERS THE SHOT        and walks TOWARD CAMERA.  The SOUND of his FOOTSTEPS        ECHO on the marble floor. 246    INT - FIRST STAIRWAY - DAY - HIGH ANGLE           246        From the second floor, Quentin climbs the stairs        TOWARD CAMERA.  PAN WITH HIM as he reaches the second        floor corridor and starts toward the gallery and the        Master Bedroom. 247    INT - MASTER BEDROOM - DAY                        247        as he comes up the stairs TOWARD CAMERA, PAN WITH HIM        as he picks up his canvases.  Then SLOWLY TRUCK IN TO        HIS CLOSE-UP.  He looks around, as if sensing a pre-        sence in the house.  HOLD HIM as he crosses to the        doorway and than, carrying his paintings, EXITS into        the gallery. 248    INT - GALLERY - DAY                               248        QUENTIN - CLOSE-UP        as he looks down the long corridor toward the far end        of the house.        FAR END OF CORRIDOR - QUENTIN'S P.O.V.        HOLD FOR A MOMENT on the empty scene, then, almost        imperceptibly, a half open door begins to move.                                           SHARP CUT TO: 249    EXT - COLLINWOOD - DAY                            249        Tracy gets out of the car and nervously begins to        pace about.  Then crossing back, she reaches in and        honks the horn.  Trying to decide what to do, she        waits a few moments, then crosses to the front door. 250    INT - FOYER - DAY                                 250        as Tracy ENTERS, the house is completely silent.        Crossing to where she can look down the main corridor,        she calls out.                              TRACY                  Quentin!        Her only response in the ECHO of her own voice as        she starts down the hall toward the stairs. 251    INT - FIRST FLOOR STAIRS - DAY - HIGH ANGLE       251        as Tracy comes up TOWARD CAMERA. 252    INT - GALLERY - DAY                               252        From the gallery, Tracy can be seen coming along        the corridor TOWARD CAMERA.  Suddenly she stops,        noticing Quentin's canvases stacked against the wall        near the wall to the bedroom.  she starts toward the        steps.

And that's when today's quote -

Page 114/Scene 252 - Tracy: 'Quentin? What's taking so long?'

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

There is no answer.

And as far as what might be different in all that, we'll get into it all next time...

[Gothick]

My heartfelt congratulations to you, MB, on a fantastic accomplishment with this massive undertaking!  Maybe in 2017 I'll finally get that Warners disc and have a look at the movie again.

Lovely to see Darren come in for the final weeks with some fab new material, too!

Happy New Year to all!

Best, G.

[Mysterious Benefactor]

Now, as for what is different with the dialogue, the descriptions and the directions:

In Scene 244 we see Quentin enter the entryway -

- before he enters the foyer, but the rest of the scene plays pretty much as scripted. (But isn't it a shame that the flowers in the vase seem to be dying without Carlotta to tend them.  )

Scene 245 actually concludes with Quentin turning and beginning up the stairs -

- as his footsteps on the stairs can also be heard.

In Scene 246 we do not see Quentin climb the stairs, but we do see him start toward the gallery and the Master Bedroom.

In his script DC added:

246A   FROM AREA OF GALLERY WINDOWS

But if that was ever shot, it isn't currently in the film.

In Scene 247 we do indeed see Quentin come up the stairs toward camera and pick up his canvases, but he immediately turns to exit the room, so we do not see a slow truck to his close-up, or him looking around, as if sensing a presence in the house.

In Scene 248 we actually see Quentin descend the few stairs from the Master Bedroom -

- to the gallery before the camera moves in on his closeup and then his view of the far end of the corridor.

In Scene 249, after Tracy gets out of the car, she looks up at the house -

- (seemingly to the tower, though we don't see her P.O.V.) before she honks the horn, whereupon we see a shot of the foyer as the sound -

- of the horn echos throughout, and then Tracy looks to the house again and quickly moves in the direction of the front door.

Scene 250 plays exactly as scripted.

As part of Scene 251, after the script indicates that Tracy comes toward camera, DC adds:

In his script DC added:

MIRROR SHOT + PAN TO HER THEN FROM THIRD FL. LANDING

But that's not quite how things play. We do see the mirror shot -

- and pan to Tracy, but soon after we see Tracy, she once again calls out -

Quentin!

- this time while looking up the stairs, and then she ascends the stairs -

- to the first landing and moves beyond, but there is no shot from the vantage point of the third floor landing.

And then at the outset of Scene 252, as Tracy can be seen from the gallery, she calls out again -


Quentin!

- as she reaches the second floor corridor - but, as can be seen in yesterday's capture, she calls out to Quentin again and -

- asks him what's taking so long before she suddenly stops, noticing Quentin's canvases stacked against the wall near the wall to the bedroom and starting toward the steps to the Master Bedroom.

(And I never noticed before that as Tracy makes her way down the corridor, we can see that the door at the far end that swung open is now closed.)

[Mysterious Benefactor]

My heartfelt congratulations to you, MB, on a fantastic accomplishment with this massive undertaking!

Thanks.    It has been a labor of love for both me and Midnite. And be on the lookout tomorrow for what the 2017 slideshow will be...

Maybe in 2017 I'll finally get that Warners disc and have a look at the movie again.

You really should because the transfer is terrific, even with the gaffes here and there of dialogue that shouldn't be in 94 minute version, as well as music cues that shouldn't be there and one that is missing.

Lovely to see Darren come in for the final weeks with some fab new material, too!

Indeed!

[Mysterious Benefactor]

And wrapping up the script:

253    INT - MASTER BEDROOM - DAY                        253        as Tracy ENTERS, she looks around the room -- it is        empty.  She is getting a little worried as she crosses        back to the gallery. 254    THE GALLERY - TRACY'S P.O.V.                      254        Near the window there is a large armchair with its        back to CAMERA.  HOLD ON THIS for a moment as we        suddenly see a hand appear on the arm of the chair.        INT - GALLERY - DAY        TRACY - CLOSE UP        There is a very confused look on her face as she        tentatively calls out.                              TRACY                  Quentin?        THE ARMCHAIR - TRACY'S P.O.V.        as suddenly the figure in the chair rises to face        her.  It is Quentin, but his hair is now completely        gray and on his cheek is the long ugly scar.  The        transition is now complete.        TRACY - QUENTIN'S P.O.V.

And that's when today's quote -

Page 114/Scene 254 - Tracy: 'Oh, no...oh, God, no!'

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

As she backs toward the entrance of the Master Bed-        room, WIDEN to reveal the hauntingly beautiful        Angelique, who now stands in the doorway, evilly        smiling at her triumph. 254    CONTD                                      CONTD  254        QUENTIN - CLOSE-UP - TRACY'S P.O.V.        as he limps menacingly TOWARD CAMERA his face fills        the frame -- FREEZE.                                                FADE OUT                            THE END

And as far as what might be different in all that, we'll get into it all next time...