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]

It's interesting that the quote from the script for today is:

Page 30A/Scene 80 - Quentin: 'But I didn't see you. I saw a child...holding a teddy bear...'

Though as we know, what Quentin actually says in the film is "But I didn't see you. I saw a child...holding a doll...", and that's exactly what we saw him see. Apparently at some point after the script was written, it was changed to a doll. And honestly I think that works out better for what I'm holding off on getting into until later on. But what's also interesting is that in Grayson's version of the script, originally there was no dialogue referencing Sarah as holding anything - and as we'll see when I post Grayson's version of Scene 80, the holding of a teddy bear is something that was added by hand. So, apparently, first Sarah wasn't necessarily holding anything, then it was a teddy bear, then finally it became a doll.

And as far as DC's script goes, he has a notation that Quentin would turn to Carlotta before he delivers today's quote, and that's exactly what he does before he delivers the reworked version of the quote. However, DC also had some other notation - but he erased it so well that it's hard to decipher what he'd originally written - but if one really does look closely, it seems to be an intent to have panned to a close-up of Carlotta after Quentin turned to her and then to have panned to his close-up. And with the exception of panning to Carlotta's close-up (which will be dealt with when we discuss tomorrow's quote), that's pretty close to how things play out, so who knows why DC erased it?

[Mysterious Benefactor]

Wrapping up DC's script's version of Scene 80, beginning with Quentin's followup action to claiming to have seen girl holding a "teddy bear":

He looks around the room.

And that's when yesterday's quote -

Page 30A/Scene 80 - Carlotta: Yes, this is a little girl's room. It was Mrs. Stoddard's when she was a child. It must have been a trick of light.'

- comes up, followed by the script continuing with:

FLASH CUT - LITTLE GIRL IN THE WINDOW        as he remember's what he saw.        QUENTIN - CLOSE-UP                            QUENTIN                  Yes , it must have been.        Then not knowing what else to do                            QUENTIN                  Well  I'd better get to work.        He EXITS toward the tower as she stands there watching        him go.

End of scene.

And when it comes to what's different with the dialogue, after mentioning the girl, Quentin actually asks "This was a child's room, wasn't it?" - to which Carlotta actually replies "Yes, it was. It was Mrs. Stoddard's when she was a little girl," and then there's a pause before she adds "It must have been a trick of the light."

And yes, there is an extra space in the script between "Yes" and the comma - and yes, there's no comma or period after "Well".

And when it comes to what's different with the descriptions and directions, Quentin doesn't actually look around the room - and interestingly enough, it's Carlotta who's in close-up when Quentin asks if the room was a child's room - but things return to a two shot when Carlotta answers that the room was once Mrs. Stoddard's - and as Carlotta finishes with that remark and as she offers that it must have been a trick of the light, the camera does indeed pan to Quentin as DC's erased notation once indicated that it would - and does Quentin really remember what he saw? - and DC also has a few other notations, like how Carlotta will be in close-up after Quentin recalls what he saw (and the way she looks at him, with a tilt of the head, seems to speak volumes), how Quentin will then be in close-up as he agrees it must have been a trick of the light (though in reality he's in more of a medium shot), and how as he exits the room, the camera would pan to Carlotta - however, we don't actually see Quentin exit the room in the direction of the tower because the camera doesn't actually pan from Quentin because it goes right to a close-up of Carlotta and we simply see Quentin's chest and left arm pass briefly in front of her face as she closely watches him leave.

And Grayson's script also has notations for this section of the scene, but I'll hold off getting into them until I post her script's version of Scene 80...

[Uncle Roger]

Does Carlotta's statement that the room belonged to Mrs. Stoddard years ago explain what Quentin saw in the window? I thought that it wasn't much of an explanation. I don't know if Quentin accepted the story. Maybe he just wanted out of the room at that point.

[Mysterious Benefactor]

Grayson's script's versions of Scenes 79 & 80:

79     INT - UPSTAIRS CORRIDOR - DAY                      79        as Quentin RUNS TOWARD CAMERA and pulls open a        door to one of the bedrooms.                              CARLOTTA                  Did you wish something, Mr.                  Collins? 80     Carlotta ENTERS THE SHOT from the room.            80                              QUENTIN                  I saw a little girl - in that                  window. 80     CONTD                                     CONTD    80                              CARLOTTA                  Little girl?                              QUENTIN                  I was outside --                              CARLOTTA                  I know.  I saw you from the window.                              QUENTIN                  But I didn't see you.  I saw a                  child -- holding a teddy bear --                              CARLOTTA                  There's been no one here but me.    Yes, this is                  It must have been a trick of   a little girl's                  the light.                 room  It   was        FLASH CUT - LITTLE GIRL IN THE WINDOW Mrs. Stoddards when                                                she was   a child        as he remember's what he saw.        QUENTIN - CLOSE-UP                              QUENTIN                  Yes, it must have been.        Then not knowing what else to do                  Well, I'd better get to work.        He EXITS toward the Tower as she stands there watching        him go.                You'll understand later                                                youre                                                  almost                                                    ready

End of scene.

Notice that:

• As I alluded to in an earlier post, in Grayson's script there's no indication that Carlotta's line in Scene 79 was changed.
• Missing from her script in Scene 80 is the identification of the room as Sarah's - Carlotta simply enters the shot.
• Also missing from her script is the whole explanation of where Carlotta is in the room and what she's doing - as I also mentioned in an earlier post, Grayson simply added a notation to her script that she would be busy in the room, but in later copies of the script the directions and descriptions specifically say she's straightening the room, even though it was supposedly stuffed animals.
• And also missing from her script is the indication that Quentin crosses to the window and looks out (the second half of which isn't seen, anyway).
• And as I also mentioned in an earlier post, the idea that Sarah was holding a teddy bear is written into her script but is actually incorporated into Quentin's dialogue in later copies of the script.
• And also missing from her script is the indication that Quentin would look around the room after bringing up the teddy bear (though he doesn't actually look around the room in the film, anyway).
• And it's very interesting that they dropped Carlotta's explanation that there hadn't been anyone in the room but her. Perhaps they felt that might have given away too much too soon, so that's why it was replaced by the Mrs. Stoddard's childhood room excuse?

[Mysterious Benefactor]

Does Carlotta's statement that the room belonged to Mrs. Stoddard years ago explain what Quentin saw in the window? I thought that it wasn't much of an explanation. I don't know if Quentin accepted the story. Maybe he just wanted out of the room at that point.

Carlotta's explanation doesn't in any way explain away anything. I believe you're exactly right that Quentin doesn't question it and also goes with the trick of the light theory simply because he just wants out of the room without appearing more foolish - plus he certainly isn't going to admit to Carlotta that he thinks the things he's been seeing could somehow be real.    He has his good friend Alex for that - and as we know, he'll[spoiler]bring up the subject of his "crazy daydreams" when he's with Alex in an upcoming scene.[/spoiler]

[Mysterious Benefactor]

Starting off the new sequence with Scene 81 and moving into Scene 82:

CUT TO: 81     EXT - TARRYTOWN STREET - DAY                                81        Claire, driving along the street.

And that's when yesterday's first quote -

Page 30A/Scene 81 - Claire: 'So everything is perfect?'

- comes up, followed by the script continuing with:

81     CONTD                                             CONTD     81

And that's when yesterday's second quote -

Page 31/Scene 81 - Tracy: (tentatively) 'Yes.'

- comes up, followed by the script explaining:

Claire picks it up.

And that's when yesterday's third quote -

Page 31/Scene 81 - Claire: 'It isn't perfect?'

- comes up, followed by the script continuing with:

81     CONTD                                     CONTD    81                              TRACY                  Well, it is but I'm a little                  concerned about Quentin.  I don't                  think he's getting a lot of work                  done.                              CLAIRE                  What's he doing?                                              CUT TO: 82     EXT - TARRYTOWN STREET - DAY                       82        as they walk along looking in the windows.

And that's when today's quote -

Page 32/Scene 82 - Tracy: 'It's not that he doesn't try. He goes to his tower every day but not much really happens.'

comes up.

And there's absolutely nothing to get into when it comes to differences with the dialogue, the descriptions, or the directions because nothing here was ever shot.

[KMR]

It's interesting that the quote from the script for today is:

Page 30A/Scene 80 - Quentin: 'But I didn't see you. I saw a child...holding a teddy bear...'

Though as we know, what Quentin actually says in the film is "But I didn't see you. I saw a child...holding a doll...", and that's exactly what we saw him see. Apparently at some point after the script was written, it was changed to a doll.

I'm supposing (hoping) that the teddy bear was changed to a doll because otherwise it would have been rather anachronistic.  What Quentin saw in his vision was something that happened around hundred years before the development of teddy bears.  (And commercially produced stuffed toys didn't appear until just a couple decades or so before the teddy bear.)

[Mysterious Benefactor]

I didn't even think of that, KMR - in 1810 Teddy Roosevelt wouldn't even be born for something close to 40 years! Having Sarah holding a teddy bear would have been very wrong!! Plus, like I said, I think a doll just works so much better (and for a variety or reasons that we'll be getting into later).

[Mysterious Benefactor]

Wrapping up Scene 82 as Claire and Tracy window shop and talk about Quentin's lack of getting work done:

CLAIRE                  Is he worried about it.                              TRACY                  No ... I don't think so.  But                  sometimes he seems so far away,                  it's hard to know what he's                  thinking.

And that's when the 5th's quote -

Page 32/Scene 82 - Claire: 'You know, that's what I felt when I first met him in Paris. He was so ... so super moody. He and Alex always connected. But I spent the first month just trying to figure him out.'

comes up, followed by the 6th's quote -

Page 32/Scene 82 - Claire: (contd) 'Those eyes always seem to see so much. And then everything becomes a kind of private thing. But that's what's so great about him. Don't you like dark brooding men of mystery?

- coming up, followed by the script continuing with:

TRACY           Yes. They both laugh.

End of scene - though not of sequence (the infamous Gregory comes up in Scene 83).

And there's absolutely nothing to get into when it comes to differences with the dialogue, the descriptions, or the directions because nothing here was ever shot. And that's a shame because it not only showcases the Claire/Tracy friendship, it gives background on the Jenkins/Collins friendship and some insight into Quentin. But then we all know that DC rarely met a character oriented scene that he didn't want to drop...

But just to help try to picture what these scenes might have been like, here's a candid still of Kate Jackson and Nancy Barrett relaxing with each other between scenes:

And one last thing: I do find it interesting that the script refers to Tracy and Claire being on the streets of Tarrytown and not Collinsport. Sure, Tarrytown is more than likely where the scenes would have been shot - but it's certainly not the location within the story...

[Mysterious Benefactor]

Setting up the Gregory scene:

83     INT - BOUTIQUE - DAY                              83        A very New York shop, with the very mod GREGORY in        charge.

And that's where yesterday's quote -

Page 33/Scene 83 - Claire: (entering) 'Hi, Gregory, I'm back.'

- comes up, followed by today's quote -

Page 33/Scene 83 - Gregory: 'And I have a mattress ticking jumper you'll live in the rest of your life --'

- coming up.

And again there's absolutely nothing to get into when it comes to differences with the dialogue, the descriptions, or the directions because Scene 83 was never shot. Though I do have to say that it never struck me until today to wonder what the hell "mattress ticking" means?! And after googling it, I'm quite surprised that when it comes to shirts, it's something I've often worn throughout my life but I'm certain it was never described as such (not even by my mother who worked in the fashion industry). So once again DS proves how educational it is!! 

Also, revisiting a comment I made in the previous post, it's interesting how the boutique is described as "a very New York shop" and not "a very New York-like shop". Could it really be that the reason Scenes 81 & 82 are described as being set on a Tarrytown street is because in this film Collinwood is really located in Tarrytown, NY and not in Collinsport, ME?! I don't believe there are actually any references in the script to Collinsport or Maine. Or are the references to Tarrytown and New York simply oversights that crept into the script because they knew they would be shooting at Lyndhurst?

[Uncle Roger]

I remember thinking that it was supposed to a mattress tickling jumper, which sounded like a lot more fun to me.

Btw, the scene with "the very mod Gregory" was one of the missing scenes that the Collinsport Players staged in the 1989 skit entitled The Night Before.

[Mysterious Benefactor]

I remember thinking that it was supposed to a mattress tickling jumper, which sounded like a lot more fun to me.

Decidedly more fun!!   

Btw, the scene with "the very mod Gregory" was one of the missing scenes that the Collinsport Players staged in the 1989 skit entitled The Night Before.

Yes, I remember that skit. 

[Gothick]

I wish the Gregory scene had been included.  But it was entirely about character development so of course, it had to go.

G.

[Mysterious Benefactor]

Continuing with Scene 83, beginning with the 9th's quote, which is Claire's reply to Gregory's claim he has a jumper that she'll really like:

Page 33/Scene 83 - Claire: 'Alex won't let me wear those knickers. He said if he had wanted to live with an 1890 newsboy he'd have found one.'

- and that's followed by the 10th's quote -

Page 33/Scene 83 - Gregory: 'God knows where. Obviously he has no sense of style ... Chic. Come to my house next week for a drink and wear them. He'll adore them --'

- coming up, followed by the 11th's quote -

Page 33/Scene 83 - Claire: 'He'll adore the drinks. This is Tracy Collins.'

- coming up, followed by today's quote -

Page 33/Scene 83 - Gregory: 'The lady of the manor? (he bows) Welcome.'

- coming up.

And there's still absolutely nothing to get into when it comes to differences with the dialogue, the descriptions, or the directions because Scene 83 was never shot. Though today I do have to say that even though I think this scene would have been quite amusing no matter who might have played Gregory, of the candidates that have been mentioned, whenever I read the scene for some reason I tend to picture Keith Prentice in the part over Michael Stroka...

[Uncle Roger]

I would definitely prefer Keith Prentice to Michael Stroka but my ideal choice for Gregory would have been Louis Edmonds.