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]

And today's scene:

70     INT - GREENHOUSE - DAY                                     70        as they walk around looking it over.  TRUCK WITH        THEM and then let them EXIT SHOT.  HOLD FOR a        moment until in the distance, seen through the        distortion of the greenhouse glass, the figure of        a girl in a long period dress stands watching them. 70     CONTD                                     CONTD    70

And that's when today's quote -

Page 29/Scene 70 - Quentin (O.S.): (putting on airs, kidding) 'I'm getting bored. Shall we have drinks on the veranda?'

- comes up.

And as far as what's different with the dialogue, the descriptions, and the directions, you know the story already, so no need to repeat it again - though Scene 70 does appear in the 129 minute version. And there are no notations in DC's script for this scene.

It's also worth noting that this picnic sequence is what's referred to in the DS Companion as something they wished had been in the film as it was released so as to show scenes of Quentin and Tracy being happy. But alas...

(And as an aside, I'll be sharing another candid shot from the day Scenes 69 & 70 were shot - but because it also relates to upcoming stuff that begins with Scene 107, I'm going to hold off until after that scene comes up in the script...)

[Mysterious Benefactor]

Wrapping up Scene 70 and moving beyond it, beginning with today's quote -

Page 29/Scene 70 - Tracy (O.S.): (joyfully laughing) 'Oh! I can't stand it! What a way to live!'

- coming up, followed by the script continuing with:

DISSOLVE TO: 71     EXT - FIELD - DAY                                 71        It's another day and Quentin and Tracy ride their        horses joyously through the beautiful countryside.                                              DISSOLVE TO: 71A    EXT - RAILROAD FOOTBRIDGE - DAY                   71A        as they stroll hand-in-hand with the river in the B.G. 72     EXT - FRONT OF COLLINWOOD - NIGHT                 72        It is very late.  The house is in darkness.        Slowly the light in the Tower Room begins to        shine.

End of scene.

And as far as what's different with the dialogue, the descriptions, and the directions, again, you know the story already, so no need to repeat it again - though apparently Scenes 71, 71A and 72 do appear in the 129 minute version. And while there are no notations in DC's script for those scene, it could be the case that a line of dialogue that was scripted for Scene 135 was moved to Scene 71A - but I'll hold off on why that may be once we reach Scene 135 in the script...

And I've often wondered what the significance of Scene 72 is meant to be - though one could certainly presume that it's there to signify that even though Quentin and Tracy are spending a great deal of quality time together by day, Quentin is still unknowingly being drawn to the Tower Room by night. Though at this point it's still a mystery as to what may actually be going on in the Tower Room when Quentin is drawn there...

[Uncle Roger]

Is there any indication as to who the young girl in the period gown is? Is it Angelique? Sarah? Or someone else?

[Mysterious Benefactor]

Unfortunately, no. But using some deduction from other scenes, I've presumed it has to be Angelique. Sarah was pretty much eliminated because[spoiler]her spirit is in Carlotta, and the only time we know for sure that Sarah and Carlotta are confused in the film is when Quentin is involved, as he, being Charles' reincarnation, is connected to both time periods. If Quentin had seen her, then there might have been a chance that it's actually Carlotta who's spying on them but Quentin perceives her as Sarah. But in Scene 70 Quentin doesn't actually see the person watching him and Tracy because it's only the audience who does. And add to that that there are numerous stills of Angelique posing around the greenhouse. Sure, Angelique does show up there in a future scene involving Alex - but to my knowledge there aren't any types of stills of Sarah or Monica Rich at that location. But the biggest clue in the script comes from that upcoming scene with Alex because we know for sure it's Angelique who appears in it, and in the scene in question the script also describes her as "a girl in a long period dress".[/spoiler]

Of course, when we actually get to see the completed 129 minute version (I haven't given up hope), we'll know for sure who it is. But given what can be deduced, I'm pretty certain it's Angelique in Scene 70. And that's why I created the graphic that I did for yesterday and today...

[Uncle Roger]

Curiouser and curiouser.

Over the years, I've heard stories that DC cut a lot of the Sarah Castle scenes because he wasn't happy with Monica Rich's performance. The script that Pomegranate Press published didn't have any extra Sarah bits that I recall. Are there some coming up? Or am I jumping the gun? Or the shark?

[Mysterious Benefactor]

When it comes to Sarah/Monica Rich, apparently there was stuff cut from Angelique's funeral, and there are other moments and entire scenes coming up...

I've read the same things concerning DC's opinion of her acting, so perhaps it's not a surprise that NoDS is her only film credit (though I've always thought she was fine in what we've seen of her performance in the film - and it's not likely that we'll ever see what was cut because I'm pretty sure none of it is even in the 129 minute version). But then, she hasn't exactly been languishing in obscurity since then, now has she? She obviously found her true calling.

[Mysterious Benefactor]

Starting off Scene 73:

DISSOLVE TO: 73     EXT - FRONT OF COLLINWOOD - DAY                   73        Tracy and Claire are in Claire's car.  They are        about to pull away as Quentin comes out of the house        and crosses to them.                              QUENTIN                  Hey -- where you going?

And that's when today's quote -

Page 29/Scene 73 - Claire: 'We're going to town. It's about time I showed her the shops.'

- comes up.

And as far as what's different with the dialogue, the descriptions, and the directions, again, you know the story already, so no need to repeat it. And no notations or crossing out in DC's script to indicate Scene 73 wouldn't be shot. And to be truthful, I'm not 100% certain the scene wasn't shot. I'm mostly basing that on the fact that none of the upcoming scenes involving Tracy and Claire's shopping spree were shot, and none of those scenes are crossed out either, yet we know for certain that they weren't shot. So, if all those scenes were never shot, why shoot the scene setting them up? Unfortunately though, and in an effort of full disclosure, unlike those upcoming scenes, I've never come across anything that specifically says Scene 73 was never shot. But while we know it's not in the 94 and 97 minute versions of the film, it's also not on Darren Gross' list of the "lost" scenes that were shot but not included in the 129 minute version. (And sadly, the next one of those will be coming up as Scene 87, which might seem like it should be a really long way off in the slideshow, but as we'll soon see, Tuesday's quote will already be jumping up to Scene 79 because there are so many soon to come up scenes without dialogue...)

[Mysterious Benefactor]

Wrapping up Scene 73:

TRACY Want to come?

And that's when today's quote -

Page 29/Scene 73 - Quentin: 'I've got to start doing some work. Do you realize we've been here over a week now?'

- comes up, followed by the script continuing with:

73     CONTD                                     CONTD    73                              TRACY                  Can I help it if you sleep away                  the day?  OK.  Do good work --                  I'll see you later.        She pecks him on the cheek as they drive off.

And as far as what's different with the dialogue, the descriptions, and the directions, again, you know the story already, so no need to repeat it. Though the reference to Quentin sleeping away the day would seem to confirm that he's still being drawn to the Tower Room and that was indeed the significance of Scene 72. And it's interesting that Scene 73 would have let us know that over a week has passed since Quentin and Tracy arrived at Collinwood.

[Mysterious Benefactor]

Dealing with the scenes leading up to and starting off with DC's script's version of Scene 79 (yes, Scenes 79 & 80 are more instances where scenes are somewhat different in DC's and Grayson's scripts):

74     EXT - BACK OF COLLINWOOD - DAY                              74        Quentin ENTERS THE SHOT and stands under the tree where        he saw the hanging figure.  Still unable to understand        what is happening, he shakes his head and turns toward        the house.  All of a sudden he notices something O.S. 75     EXT - SECOND FLOOR WINDOW - SARAH'S ROOM - 1800 - HIS       75        P.O.V. -        SUBCONSCIOUS MEMORY CUT        FAST ZOOM to the face of Sarah, a little girl of about        ten.  She is staring out the window, down at him.  Then        looking away from him, she stares over his head as if        at something in the tree.  Suddenly she SCREAMS with        horror. 76     EXT - COLLINWOOD - 1971 - DAY - NORMAL COLOR                76        Quentin, as he quickly looks at the tree. 77     TREE - QUENTIN'S P.O.V. - 1800                              77        SUBCONSCIOUS MEMORY CUT        The hanging figure is there again. 78     EXT - COLLINWOOD - 1971 - DAY - NORMAL COLOR                78        Quentin quickly looks back at the window.  WHIP PAN        with his look.  It is empty. 79     INT - UPSTAIRS CORRIDOR - DAY                               79        as Quentin runs TOWARD CAMERA and pulls open a door to        one of the bedrooms.

And that's when today's quote -

Page 30/Scene 79 - Carlotta (O.S.): 'Did you wish something, Mr Collins?'

- comes up - however, in DC's script it's seen as:

Oh Mr Collins you startled me             CARLOTTA (O.S.) Did you wish something, Mr Collins?  I was just straightening up the room

And when it comes to what's different with the dialogue, DC's changes are indeed what Carlotta actually says in Scene 79. Though what's interesting is that the changes aren't written in when it comes to Grayson's script. She simply has two notations: one that says "Busy in the room" and another that says "He's not ready yet -"

And when it comes to what's different with the descriptions and directions, in Scene 74 Quentin doesn't actually shake his head because he's unable to understand what is happening because something actually comes over him as the sound of wind begins to be heard and Quentin immediately turns to look at the window - and in Scene 75 there is no zoom to the face of Sarah in the window, nor is she seen staring down at Quentin, nor does she look away from him to something over his head as if at something in the tree because we immediately see a shot of Sarah screaming in the window as she stands there holding a doll (which, when we get to Scene 80, we'll learn that the doll was originally supposed to be something else) - and in Scene 78 there is no whip pan with Quentin's look back at the window because he simply looks back and then we see that the window is empty - and when it comes to Scene 79, Quentin doesn't run toward the camera or pull open a door to one of the bedrooms because as we can see in the following captures -

- Quentin is actually seen running up the stairs -

- as the camera pans with him as he makes his way to the bedroom -

- and once inside the bedroom he picks up a doll that has somehow fallen to the floor, the same doll that Sarah was holding.

And, yes, once again 1810 is wrongly written as "1800" in the script.

And it's also worth noting that this is the only sequence in the script that isn't actually passed over when the film as it stands now jumps from Scene 62 to Scene 84 - it (including Scene 80) simply appears right after the sequence that begins with Scene 84 and runs through Scene 86...

[Mysterious Benefactor]

And the start of Scene 80 as it appears in DC's script:

80     INT - SARAH'S ROOM                                          80        It is obviously a child's room.  Carlotta stands on        the other side of the four poster bed.  She is        straightening the stuffed animals that are propped        there. 80     CONTD                                             CONTD     80

And that's when today's quote -

Page 30A/Scene 80 - Quentin: 'I saw a little girl in that window.'

- comes up.

And when it comes to the difference in the dialogue, Quentin actually says "I saw a little girl standing here by the window."

And when it comes to what's different with the descriptions and directions, we don't see Carlotta straightening any stuffed animals because what actually happens is that after he's picked up the doll, Quentin walks over to Carlotta, who's on the other side of the fourposter bed, as described in the script, and she takes the doll from him before he tells her about seeing the little girl. Also, as we saw in the last capture in yesterday's post, the bed has several dolls strewn across it.

And as we saw with the description of Scene 75 and now with Scene 80, the script leaves little doubt that this second floor room was indeed Sarah's. Perhaps she enjoyed special status because she was so close to Angelique.

And there's already quite a bit that's different in DC's script from the way things are in Grayson's, but there's going to be so much more, so I'll get into all the differences after we deal with all of Scene 80 as it appears in DC's script...

[Mysterious Benefactor]

A bit more of Scene 80, beginning with Carlotta's reply to Quentin's claim to having seen a little girl in the window:

CARLOTTA                  Little girl?        Quentin crosses to the window and looks out.                            QUENTIN                  I was outside --                            CARLOTTA                  I know.

And that's when today's quote -

Page 30A/Scene 80 - Carlotta: 'I saw you from the window.'

- comes up.

And when it comes to what's different with the dialogue, Carlotta actually questions with "A little girl?" - and Quentin actually replies with "Yes, I was outside --" - to which Carlotta begins to respond by saying "Yes, I know."

And when it comes to what's different with the descriptions and directions, while Quentin crosses out of frame toward the window, we don't actually see Quentin look out it because the camera remains on Carlotta and, as can be seen in today's capture -

- actually pushes in on a close-up of her as she looks at Quentin very closely.

And there are notations in both DC's and Grayson's scripts for this section:

DC writes that the camera will stay on Carlotta, which is obviously how it was shot - but he also writes that we will see Quentin's P.O.V. outside when he looks out the window, which is not how it was shot. The two notes would seem to contradict each other, so who knows?

And Grayson writes a notation along the top of the page of her script that Quentin is still something, but the rest gets cut off in the copy of the script that I have () - but she also writes that Carlotta will react with great tolerance to what Quentin is telling her.

[Gothick]

That is a very cool shot of Grayson in that scene.

My theory about this scene, for what it is worth, is that Carlotta had actually been recalling her past life as Sarah Castle when Quentin saw Sarah's apparition briefly.  And that the dolls were a kind of psychometric focus for this.  Just as the locket Carlotta wore was another kind of focal point, though not one that was ever explained properly in the final cut of the film.  (There's one scene, of course, that does explain it, but you have to pay really close attention and connect some dots to get this.)

G.

[Mysterious Benefactor]

I have the same take on it as you do. And while I've held that opinion all along, the interesting thing is that as many times as I've watched NoDS, I've never noticed that there is actually some evidence, even in the film as it currently stands, that may indeed point to it. But I'll hold off getting into it all until later in the script. (And in my defense, what I'm referring to is something that could be easily missed. I only noticed it this time around because, with the slideshow, I'm repeatedly seeing scenes to pick out the captures. But as I often say with the regard to the original series, no matter how many times I watch it, I always somehow manage to catch something new with every viewing...)

[KMR]

What an interesting theory, Gothick!

This slideshow is so amazing--thank you, MB!  It's making me want to watch the movie yet again.  (And I am so glad that I have it on Blu-ray, which is really quite stunning.  The photography and performances in this film are exceptional, and the Blu-ray really brings that out even more.  Now, c'mon Warner Bros., greenlight the director's cut restoration ASAP!!!)

[Mysterious Benefactor]

This slideshow is so amazing--thank you, MB!

Thank you, KMR.    But I can't take full credit for it because Midnite was very closely involved in the decision to do it, and every other month she picks out the quotes. In fact, April is her month, so everything you'll see this month will be inspired by her.