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**]

Going to New York from Maine tonight? How late is the gallery open?

I think Sam and DC kept forgetting that the movie was set in Maine, not Tarrytown NY.

G.

Wrapping up Scene 138 and moving beyond with scripted as well as completely unscripted material, beginning with today's first quote -

Page 68/Scene 138 - Alex: 'Tell you when we get back. You're sure you'll be OK?'

- coming up, followed in the script by:

139    INT - COLLINWOOD - LIMBO TELEPHONE AREA - NIGHT   139

And that's when today's second quote -

Page 68/Scene 139 - Tracy (on telephone): 'Go, Alex...go. Nothing bad will happen to us now.'

(Famous last words, as they say...)

- comes up.

End of things as scripted.

Switching things up a bit and leading with any differences in the scripted directions and descriptions, as we can easily tell from today's first capture -

- today's first quote takes place back at the cottage, as it was scripted to, rather than over the phone at Collinwood as had been happening earlier in the scene - and for some reason "LIMBO - TELEPHONE AREA" is presented a bit differently for Scene 139 than it was for Scene 137, and here DC doesn't cross out/replace it in his script with "CARD ROOM".

And now as far as any difference in the dialogue goes, Alex actually delivers today's first quote as "Tell you when I get back. You sure you're gonna be OK?" - but today's second quote is delivered exactly as scripted - however, unlike how things are scripted, they don't actually end there in the film. For one, as can be seen in today's second capture -

- Quentin is seen approaching the Card Room as Tracy tells Alex nothing bad will happen to her and Quentin - and then, as can seen in the following capture, things shift back to the cottage where Alex, as part of quite a bit of unscripted material, tells Tracy -

"OK, honey. I'll see ya later."

- after which, as can be seen in the next capture, Claire reaches over -

- and strokes Alex' arm - and that's the end of things at the cottage, but things then shift back to Collinwood with Tracy hanging up the phone and Quentin asking -

"Who was that?"

- to which Tracy replies (making it seem as if Alex called her and not the other way around) -

"Just Alex. He and Claire have to go to New York for a few
days."

- as she walks over to him - and then she mentions -

"It's late. Let's go to bed."

- (though apparently not too late to call Alex or too late for the Jenkins to take off for NY ) - but to that suggestion Quentin replies -

"You go ahead, I want to finish this first."

- as he indicates the book he's holding and walks away - but seeing the concerned look on Tracy's face, he soon adds -

"Now go on. I'll be up soon enough."

- as he walks back to her and kisses -

- her cheek - and to all that Tracy leaves as she warns -

"Don't read all night."

- and that's the actual end of Scene 139 (or perhaps a Scene 139A) - and it's also the last bit of happiness between Quentin and Tracy because things are about to go downhill sooner rather than later...

Which leads us to tomorrow when we'll be getting into a whole load of scripted material, much of which is actually handled very differently in the film. But more on that then...

Going to New York from Maine tonight? How late is the gallery open?

 

I think Sam and DC kept forgetting that the movie was set in Maine, not Tarrytown NY.

And I'd tend to agree with that. In fact, I even seriously wondered about it back when we were dealing with Claire and Tracy's shopping excursion, the unshot Scenes 81, 82 & 83, where the settings for Scenes 81 and 82 even say "EXT - TARRYTOWN STREET - DAY".    But in this case, the unscripted additional dialogue that we hadn't gotten into yet yesterday helps to make it clear that Alex and Claire's trip to NY will take "a few days", so chances are they weren't going to Burton's Gallery that night. 

Moving on to the next sequence (using Grayson's script because once again DC didn't change the names):

CUT TO: 140    INT - GALLERY - NIGHT                             140        It is later.  Quentin stands at the window, his        back to the room.  Turning, he walks to the mantel.        The clock reads one-thirty.  he pours himself a        brandy, crosses to his chair, picks up the book        again.  Throughout all of this, the portrait of        Angelique is in the SHOT.  Finally, finishing the        brandy, he puts the book down and crosses to the        Master Bedroom. 141    INT - MASTER BEDROOM - NIGHT                      141        With Tracy asleep in the F.G., Quentin ENTERS THE        SHOT.  TRUCK IN ON HIS CLOSE-UP as he stands in        the doorway, obviously not wanting to go to bed.        He turns, leaves the room, closes the door softly        behind him. 142    INT - SECOND FLOOR CORRIDOR - NIGHT               142        As Quentin walks TOWARD CAMERA.  He approaches the        stairs leading to the tower.  Stopping at the foot        of the stairs, he looks up. 143    QUENTIN - HIGH ANGLE                                143        SEEN from third floor as he looks TOWARD CAMERA.  HOLD        FOR A LONG MOMENT until it seems he is about to start        up the stairs.  Instead, he turns and practically runs        down the stairs to the first floor and EXITS THE SHOT.        HOLD ON EMPTY CORRIDOR until the SOUND OF THE FRONT        DOOR can be heard OPENING AND CLOSING O.S. 144    EXT - COUNTRYSIDE - NIGHT                           144        as Quentin walks through the night in an effort to        purge himself of the horrible temptations that are        gnawing at his soul.  He comes to a fallen tree, where        he stops for a moment and sits.  SLOWLY TRUCK IN ON        HIM as the SOUND OF THUNDERING HOOF BEATS can be        HEARD O.S.  As we end up on a TIGHT SHOT OF HIS EYES.                                               CUT TO: 145    EXT - COUNTRYSIDE - 1800 - NIGHT                    145        SUBCONSCIOUS MEMORY CUT        Suddenly, out of a heavy bank of fog gallops a man        on horseback.  Seen in silhouette only, his cape flies        in the wind as he charges TOWARD CAMERA.  The horse        rears on its hind legs and we recognize the rider as        Charles Collins.  He slashes his riding crop INTO        CAMERA as he SCREAMS:

And that's when today's quote -

Page 69/Scene 145 - Charles: 'You killed her, Strack! You killed her!'

- comes up, followed in the script by:

STRACK        TRASK - CHARLES' P.O.V. - HAND HELD           Strack        As Trask struggles to avoid the slashing crop.  He        trips and falls to the ground as the horse rears again        and again, stomping to death the screaming Trask.                                                   Strack        WIDE ANGLE        Strack        Trask lies dead as Charles sits on his horse staring        down at him.  Finally, he looks up and turns TOWARD        CAMERA. 146    FOG-SHROUDED - COUNTRYSIDE - CHARLES' P.O.V.        146        HOLD ON empty countryside, then TRUCK IN as the ghost-        like figure of Angelique walks out of the fog TOWARD        CAMERA.  Charles ENTERS THE SHOT and goes into her        arms.                                               CUT TO: 147    EXT - COUNTRYSIDE - 1971 - NIGHT - NORMAL COLOR    147        QUENTIN - EXTREME CLOSE-UP        as his eyes fill the screen, he stares blankly INTO        CAMERA.  SLOWLY WIDEN as he rises and PAN WITH HIM,        revealing the massive silhouette of Collinwood in        the distance.

And next time we'll get into how differently things actually play in the film...

Thanks for including those notes, MB.  Very interesting.

G.

Things are back on track with the slideshow. Late Monday afternoon my ISP experienced a massive DSL failure that knocked me offline until earlier today. I've fixed the slideshow and everything is working fine with the captures/quotes again - though unless you clear your browser's cache, you're probably still going to see  the '91 DS graphic with today's NoDS quote. And fear not about yesterday's installment that was completely missed out on because I'll include it in my post once I catch up to the 13th's installment. But before that I need to explain everything that was different about the 12th - plus I have a still and some animated GIFS that I also want to post regarding what was covered on the 12th (not to mention I need to catch up on commenting/posting new setups on the Games boards)...

But then, as we've often said, our mantra around here is "we don't need no stinkin' sleep!" 

OK, now we'll get back to any differences in the film in the dialogue, the descriptions, and the directions for Scenes 140 through 147:

First off, Scene 140 does not initially take place in the Gallery, it takes place in the Library, and then a sort of Scene 140A takes place in the Gallery (originally DC had some notes about the scene but for some reason he erased them). After Tracy leaves in Scene 139(A) to go up to bed, things start off with Quentin leaving the Card Room and going into the Library. Similar to the script, he walks to the window and looks out -

- but after sitting down, rather than opening his book, he looks over at the clock -

- also similar to the script, though the time (which is hard to decipher) is definitely much earlier than one-thirty - then he simply sits staring into space as the camera -

- moves in to a close-up - but through all of this Quentin does not pour himself a brandy and obviously doesn't drink it. However, from there things do indeed move to the Gallery with an opening shot of Angelique's portrait -

- as the camera pulls away from it, panning over to where Quentin stands looking at it -

- for several moments before turning to move toward the Master Bedroom, similiar to what's scripted, but again, there's no brandy involved, nor is there any sign of the book.

Scene 141 is very close to what's scripted except for the fact that the camera doesn't truck in on a close-up of Quentin. The entire scene is shot with Tracy asleep in the foreground -

- and Quentin coming in no further than the doorway.

Scene 142 is not in the film - or at least not in the film as it currently stands because it isn't on the list of scenes that weren't recovered. And DC's script has a notation that it would be shot using a low angle taken from the stairs.

We do see the opening of Scene 143, up to and including that long moment while Quentin -

- stares up - however, everything beyond that point in Scene 143 is missing from the film, and is indeed on the list of unrecovered footage - and one thing that's interesting is how abruptly the background music ends before the film switches to the next scene that is in the film - but more on that in a later post.

Then just as with the latter part of Scene 143, Scene 144 is not in the film and is on the list of unrecovered footage.

But Scene 145 was actually used in the film, as the first part of Quentin's dream on his first night at Collinwood. However, the scene doesn't begin as scripted because there are no shots of the silhouette of a man on horseback galloping out of a heavy bank of fog - and neither do we see the horse rear on its hind legs as we recognize the rider as Charles Collins - nor does he slash his riding crop into camera as he screams Monday's quote. In fact, what we do see, as can be seen in Monday's capture -

- is Strack running down the hill from the cemetery as Charles pursues him on horseback and actually screams "You killed her! You killed Angelique, Strack!" Also, there is no struggling by Strack to avoid the slashing crop because almost immediately he trips, falls and rolls down the hill - and when Strack sees that the horse is almost on top of him, he cries out "No!" - and in the 94 minute film's version of the scene, all we see from then on is a few brief glimpses of Charles atop his horse as he appears to be having the horse trample Strack as Strack cries out and Charles orders his horse with "Kill! Kill!" until finally Charles simply looks down to the ground and Strack makes his last movement until he lays dead. But in the 97 and 129 minute versions of the film, much more is seen and heard. For example, we see much more of Strack trying to protect himself with his hands as the horse's hooves come down on him again and again, causing his hands and face to become increasingly bloody - and Charles also cries out "Die! Die!" as he has the horse trample Strack. But the nice thing, if "nice" is the right word for it, is much of the footage missing from the 94 minute version of the film is seen in the various trailers, and I've decided to share three versions varying from less explicit to most explicit:

The less explicit video, taken from a 30 second TV spot:

And each of the three video files has been deliberately put is slow motion so as to better see what's happening.

A more explicit video, taken from a 1 minute trailer:

And the most explicit and the best of the three, taken from a 2 minute trailer:

The trampling hooves are much more explicit in this one. And I have to say that I love the story about how a crew member actually knelt down by Thayer David and placed the horse hooves by hand!

And when it comes to Scene 146, in the 94 minute version of the film, it begins with Angelique already standing with outstretched arms and Charles walks up a hill to her -

- but in the 97 minute version of the film, after Strack is dead, Charles turns to look up the hill and then turns his horse around and gallops up - things then switch to Angelique standing outside the cemetery gate, similar to this -

- publicity still, whereupon Charles stops the horse as he nears her, he dismounts, and it isn't until after all that that Angelique holds her arms out to him. Apparently all of that was simply cut for time rather than sexuality or gore...

And finally, Scene 147 is also not in any version of the film because it's also on the list of unrecovered footage.

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

And picking things up with the next scene in the script:

148    INT - MASTER BEDROOM - NIGHT                        148        CLOSE ON TRACY as she lies in bed sound asleep.  HOLD        until she stirs, then WIDEN to reveal she is alone.        Through the window in the B.G. the tower can be seen.        A light glows there.  Tracy opens her eyes and,        noticing the light, she gets out of bed and crosses        to the window.  TRUCK IN ON HER as she tries to decide        what to do. 149    INT - STAIRWAY TO THIRD FLOOR - NIGHT              149        as Tracy comes TOWARD CAMERA PAN WITH HER as she        crosses to the tower stairs.  HOLD ON HER BACK as        she climbs to the door.  Hesitant, timid, she knocks.        THE SOUNDS OF MOVEMENT can be heard inside.                              TRACY                  Quentin!        There is no answer.  She raps harder.

And that's when Tuesday's first quote -

Page 70/Scene 149 - Tracy: 'Quentin!'

- comes up, followed in the script by:

The door suddenly opens, revealing a seemingly drunken Quentin staring down at her.  Past him she can see the rumpled cot.

And that's when Tuesday's second quote -

Page 70/Scene 149 - Tracy: 'I...I thought you weren't
coming back here...'

- comes up.

And when it comes to what's different with the dialogue, Tracy actually says "I...I thought you said you weren't gonna come here anymore..."

And when it comes to what's different with the descriptions and directions, in DC's script he's added to the setting on Scene 148:

INT - MASTER BEDROOM - NIGHT - FROM WINDOW SIDE

And right below that he's also added:

148A   P.O.V - TOWER

However, he doesn't make any changes to the descriptions, so it's interesting that his Scene 148A doesn't begin close on Tracy as she lies in bed sound asleep - nor does it hold until she stirs, then widen to reveal she's alone - and neither is it the case that through the window in the background the tower can be seen - and all that is because the scene actually begins with a shot through the window with the tower being seen with a light coming from it - and after that we do not see Tracy opening her eyes because when we see her her eyes are already wide open. And considering that so much of how the scene is scripted to open is not actually in the film, it begs the question of whether or not the background music in what is seen of Scene 143 is cut so short because at one time Scene 148 did open as scripted but, as a part of the enforced editing, what is missing was cut for time? But whatever the reason for the abrupt ending of the music is, from the point we see Tracy with her eyes open, Scene 148 plays as Tracy gets out of bed and crosses a few steps to the window - however, the camera doesn't truck in on her as she tries to decide what to do because Scene 149 begins immediately after that - however DC made changes to that setting, too:

3RD FLOOR LANDING INT - STAIRWAY TO THIRD FLOOR - NIGHT

And right below that he's also added:

149A   INT - LOWER TOWER

So, it will probably come as no surprise that things here don't exactly begin the way it's scripted. How things actually play is that in Scene 149 and shot from the 3rd floor landing we see Tracy coming up each section of the stairs -

and then she hesitates a few moments as she looks at the third floor ahead of her -

- and then after having moved closer to them, Tracy hesitates for just a fraction of a second -

- before making her way to the tower stairs. And then when it comes to DC's Scene 149A, Tracy isn't seen ascending the stairs from behind but rather -

- from her front - and after Tracy knocks on the tower door for the first time, we don't actually hear the sounds of movement from inside - in fact, when there's no respons from her second knock, she actually turns away from the door -

- and is about to start down the stairs before Quentin opens the door -

- and stares down at her - however, Quentin doesn't seem as if he's drunk - and after she brings up that Quentin had said he wasn't going to come to the tower anymore (and I do love the nervous little smile Tracy shows before -

- she mentions that), it doesn't appear that Tracy somehow sees a rumpled cot. We certainly don't see it.

Continuing with Scene 149:

He does not answer.

And that's when Wednesday's quote -

Page 70/Scene 149 - Tracy: 'Quentin, what's happened to you? What's wrong? There's...there's someone in that room with you, isn't there?'
(Along with the graphic for anyone who might have missed it.)

- comes up, followed by today's quote -

Page 70/Scene 149 - Quentin: 'Tracy, why don't you go back to bed.'

- coming up.

And when it comes to what's different with the dialogue, Tracy actually says "Quentin, what's happened to you? ... What's wrong? ... There's someone else in that room, isn't there?" - and Quentin drops the "Tracy" in his quote, and it's chilling how emotionlessly he delivers it.

And when it comes to what's different with the descriptions and directions, what's scripted is exactly how that plays out, but there are some things that aren't scripted. For instance, the camera slowly trucks in on Tracy as she delivers her lines - and she reaches out to Quentin before -

- she asks him what's wrong - and she looks up into the tower room before she states that someone else-

- is in there. (Though we still have mo idea if Tracy can see a rumpled cot. To me things play as if she can tell intuitively that someone is in the tower besides Quentin.)

Moving on with Scene 149:

149    CONTD                                      CONTD   149

And that's when today's first quote -

Page 71/Scene 149 - Tracy: 'I know someone's in there!'

- comes up, followed in the script by:

Finally he blows.

And that's when today's second quote -

Page 71/Scene 149 - Quentin (mimicking her): '"I know someone's in there"...You make me sick! I can't even stand the sight of you anymore.'

- comes up, followed in the script by:

TRACY - QUENTIN'S P.O.V.        She can hardly talk as the tears well from her eyes.

And that's when today's third quote -

Page 71/Scene 149 - Quentin (O.S.): 'Now get out of here!'

- comes up.

And when it comes to what's different with the dialogue, Tracy actually says "Is there's someone else in that room" - and to that Quentin actually replies"'Is there someone else in that room'...You make me sick! I can't stand the sight of you anymore! Now get out!", with  the second and third quotes combined.

And when it comes to what's different with the descriptions and directions, the editing is a bit different than indicated - but before we get into that I have to say that I love the smile Quentin displays before he mimics Tracy's question -

- and before he "blows" - and when it comes to his angry outburst, as can be seen in today's second capture, the shot actually features Tracy at first -

- and that lasts as long as Quentin is angrily declaring "You make me sick!" - and then the shot shifts to Quentin -

- as he declares "I can't stand the sight of you anymore!" - and contrary to what the third quote indicates, Quentin is still on screen -

- as he orders "Now, get out!" - and it's after that that the shot returns again -

- to one of Tracy.

Wrapping up Scene 149:

QUENTIN - TRACY        As she turns and runs down the stairs TOWARD CAMERA.        He calls after her.

And that's when today's quote -

Page 71/Scene 149 - Quentin: 'And don't ever let me catch you up here again!'

- comes up, followed in the script by:

As she runs by CAMERA, he SLAMS AND BOLTS the door.

End of scene - but not the end of the sequence as scripted. But that will wait until next time...

And when it comes to what's different with the dialogue, in a bit of unscripted dialogue Quentin once again orders "I said get out" - and then what he actually warns is "Don't you ever let me catch you up here again!"

And when it comes to what's different with the descriptions and directions,  things do not switch to a 2 shot of Quentin and Tracy as the script indicates - instead, the close-up of Tracy continues as she looks back up at Quentin -

- in hurt and shock - and then becoming quite calm again, Quentin orders Tracy -

- to get out a second time -  and it isn't until after that that in a 2 shot we see -

- Tracy turn and start down the stairs, but she doesn't run down them - and when Quentin warns Tracy not to ever let him catch her there again, as can be seen in today's capture, the shot simply features Quentin -

- so we do not see Tracy run by camera - and afterward, while he does slam the door shut, we don't hear him bolt it.

And tomorrow we'll feature more material that is not in the 94 or 97 minute versions of the film but some of which may be in the 129 minute version. But more on that next time...

Moving on to the next three scenes:

150    INT - TOWER ROOM - NIGHT                           150        Quentin stands leaning with his back against the        door.  PAN WITH HIM as he crosses to Charles' un-        finished painting which is now on his easel.  It is        obvious that he has progressed the painting himself        in the original style.  He picks up his brush, does        something, then looks O.S.; he smiles.  SLOWLY PAN        in the direction of his gaze to reveal the strangely        opalescent Angelique, who lies on the cot, holding        out her arms to him.        QUENTIN - MEDIUM ANGLE        PAN WITH HIM as he crosses to her.

And that's when today's quote -

Page 71/Scene 150 - Quentin: 'How could I have ever thought you were a dream?'

- comes up, followed in the script by:

CUT TO: 151    INT - CARD ROOM - NIGHT                            151        Through the door of the Card Room, Tracy can be seen        coming down the stairs.  Large in the F.G. of the SHOT        is the telephone.  When she reaches the bottom of        the stairs, she tries to decide what to do.  Looking        in the direction of the telephone, she crosses to it,        picks it up and starts to dial a number.  HOLD ON HER        as she listens to a ring. 152    INT - COTTAGE - NIGHT                              152        The room is in darkness as the SOUND OF THE TELEPHONE        can be HEARD ringing...ringing...ringing.

And so far as differences with the dialogue, the descriptions, and the directions go, none of these three scene are in the film as it currently stands, so there's no way of telling what might be different. In fact, Scenes 151 and 152 are on the list of material that wasn't recovered when the 129 minute version of the film was found. However, Scene 150 is not on the list, so there's a chance that it may be in the 129 minute version.

And speaking of Scene 150, in Grayson's script there's quite the interesting note that reads: "Intercut Q in sexual ecstasy caressing A. Allow stroking kissing" Sounds like it could be quite the scene, reminiscent of what was cut out of Scene 85 (the tower makeout scene) in the 94 minute version. 

Moving on to the next scene (which is one of my favorite scenes in the entire film):

DISSOLVE TO: 153    INT - GALLERY - DAY                                153        as Tracy, in deep thought, sits staring at Angelique's        portrait, Carlotta ENTERS, carrying a vase of freshly        cut flowers.                              CARLOTTA                  Oh, Mrs. Collins, I thought                  these might brighten the room.        She puts them on the mantel before Angelique's portrait.                              CARLOTTA                  Aren't they lovely?                              TRACY                       (ignoring the question)

And that's when today's first quote -

Page 72/Scene 153 - Tracy: 'Carlotta, where is Mr. Collins?'

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

Page 72/Scene 153 - Carlotta: 'Oh, didn't he tell you? He's just left for town. He needs some supplies. You do know he's painting in the tower, don't you?'

- coming up.

And so far as differences with the dialogue go, Carlotta's first line is actually delivered as "Oh, Mrs. Collins ... I thought these might brighten the room" - and Tracy actually asks "Carlotta, where's Mr. Collins?" - and the first part of Carlotta's reply is actually delivered as "Oh...didn't he tell you?"

And so far as the differences with the descriptions and the directions go, Scene 153 does not begin with Tracy staring at Angelique's portrait because it actually begins with a vase of daffodils -

- being carried into the Gallery - and because Angelique's portrait is not hung above a mantel, Carlotta actually carries the vase over toward the table that's below where the portrait actually hangs - and after Tracy asks where Quentin is, I do love how Carlotta barely covers a series of facial expressions -

- as she's hardly able to cover her glee that Tracy doesn't know where Quentin is - and a shot of Tracy is actually on screen as -

- Carlotta says "You do know he's painting in the tower, don't you?".

And Grayson's script has several notes for this section of the scene. She writes that Carlotta is feeling well loved and happy - and that Carlotta will remove the dead flowers from the vase and handle one flower lovingly - and while she does handle one flower lovingly, there's no need for her to remove the dead flowers from the vase because the fresh flowers are already in a new vase, so she simply switches vases.

Also, an interesting thing is that on the DVD/Blu-ray release the remnants of the background music from a previous scene plays over the very beginning of the flowers being carried into the Gallery. And given that the music is Quentin's Theme, or rather for purposes of this film, the music we learned in Scene 67A is the tune Angelique plays on the piano whenever Charles isn't around so that she can feel him near and see his smile, chances are very good that it's a remnant of Scene 150...

Continuing Scene 153, with Tracy's response to Carlotta questioning whether or not she knows Quentin is working in the tower:

TRACY Yes, I know.

And that's when today's first quote -

Page 72/Scene 153 - Carlotta: 'Is something wrong, Mrs. Collins?'

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

Page 72/Scene 153 - Tracy: 'Yes, something is wrong, Carlotta.'

- coming up.

And so far as differences with the dialogue go, Tracy actually delivers her quoted line as "Yes, Carlotta, something is wrong."

And so far as the differences with the descriptions and the directions go, there aren't any in this section of the scene so there's nothing to be different - though Tracy does move up in her chair and she leans forward to help emphasize the point when she says that something is wrong. And beyond that I also have a few other observations because 1) I love how Tracy nervously -

- plays with her hands before she answers that she knows Quentin is back to painting in the tower - and 2) I also love how Carlotta smiles down and continues to handle one of the dying flowers lovingly because -

- it's a fascinating gesture given that the flowers are, well, dying and are no longer fresh (so given that she specifically wrote in her script about it, what might Grayson have thought the gesture signifies in Carlotta's mind?) - and 3) I also love how Carlotta first tilts her head to the right -

- and then to the left -

- as she asks Tracy if anything is wrong.

And finally, the original slideshow for NoDS included this line -

NoDS: Scene #153 - Tracy: 'Yes, I know.'

- because it was quoted in the Fest's 1999 Movie Calendar, upon which the original slideshow is based.