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]

After today's quote from Scene 117 -

Page 57/Scene 117 - Carlotta: 'No...you saw Sarah Castle. She lived in this house over one hundred and fifty years ago.'

- comes up, it's followed in the script by:

QUENTIN                  But that's impossible!                              CARLOTTA                  You've heard of reincarnation,                  haven't you? 117    CONTD (2)                             (2) CONTD    117                              QUENTIN                  Of course I have.  But that doesn't                  mean I believe it.

And as far as differences in the dialogue go, what Carlotta actually says in the film at the start of today's quote is "That little girl was Sarah Castle", with the rest being delivered exactly as scripted - but Quentin's "But that's impossible!" is dropped in the film and it's also crossed out in both DC's and Grayson's scripts - and while Carlotta's question about reincarnation isn't crossed out in either script, it is dropped in the film -and Quentin's scripted reply to that question is also crossed out, and what's interesting is that in Grayson's script it's replaced with a simple "Yes" and in DC's script it's replaced with "What about it?", but no doubt because Carlotta's question was dropped, so was Quentin's various replies. And those aren't the only lines from this scene that were dropped in the film. But more on that when tomorrow's quotes come up...

And as far as differences in the directions and the descriptions go, once again there aren't any of either in the script for this section so obviously there can't be any differences in them in the film. However, when it comes to Grayson's script, she has a notation that reads "Just hear me out" next to her question about reincarnation. And in DC's script he has a notation that after Carlotta mentions Sarah, the camera moves in to a close up of Quentin, but as can be seen in today's capture -

- the camera actually remains on a close-up of Carlotta for her entire lines. And when it comes to the dropped portions dealt with in this post, DC has notations that once Quentin's close-up had been reached as Carlotta reveals how Sarah lived at Collinwood over 150 years ago, the camera switches to a close-up of Carlotta when she asks him about reincarnation, but obviously we don't see any of that.

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

NoDS: Scene #117 - Quentin: 'But that's impossible!'

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

[Mysterious Benefactor]

With respect to having heard about reincarnation, picking up Scene 117 after Quentin's scripted "Of course I have. But that doesn't mean I believe it", or Grayson's script's replacement for Quentin, "Yes", or DC's script's replacement for him, "What about it?", today's first quote -

Page 58/Scene 117 - Carlotta: 'Then what is your explanation?'

- comes up in the script, followed in the script by today's second quote -

Page 58/Scene 117 - Quentin: 'I don't have any. But there has to be a better one than that.'

- coming up.

But as far as differences in that dialogue might go, there's not likely to have been any in the film because each quote is crossed out in both Grayson's and DC's scripts and there's nothing written in either script to replace them. And as we'll see as the scene progresses, there's yet more dialogue that was completely crossed out/dropped...

And as far as differences in the directions and the descriptions go, once again there aren't any of either in the script for this section so obviously there can't be any differences in them in the film. And there also aren't any notations in either Grayson's or DC's scripts.

[Mysterious Benefactor]

Picking up where we last left Scene 117, Carlotta continues her explanation with yesterday's quote -

Page 58/Scene 117 - Carlotta: 'What you've been seeing are actually memories of a previous life.'

- coming up, followed in the script by:

QUENTIN                  How can you be so positive about                  all of this?

And that's when the first part of today's quote -

Page 58/Scene 117 - Carlotta: 'Because I'm the living proof of it. That little girl was me -- I am the reincarnation of Sarah Castle. I was part of everything you are now remembering.'

- comes up, followed in the script by:

Quentin is speechless.

And that's when the second part of today's quote -

Page 58/Scene 117 - Carlotta: 'We are rare people, you and I -- for not only have we lived before, but we are fortunate enough to remember.'

- comes up.

And as far as any differences in the dialogue go, aside from switching things up by actually saying "I am the living proof of it. I am the reincarnation of Sarah Castle. That little girl was me. I was part of everything you're now remembering", Carlotta's other dialogue, except for turning some words into contractions, breaking apart contractions, and dropping a preposition here and there, is basically delivered as scripted - but Quentin's line is completely dropped in the film and crossed out in both Grayson's and DC's scripts. And speaking of their scripts, the word "Because" is also crossed out at the beginning of today's first quote and it's replaced with "Yes...", but that's also dropped in the film.

And as far as any differences in the directions and the descriptions go, Quentin is definitely speechless in this section of the scene, particularly because so much of his dialogue was dropped. 

And as far the notations in DC's script go, even though one indicates that from the point that Carlotta mentions that Sarah lived at Collinwood over 150 years ago, the camera has been tightening on Quentin, that doesn't actually begin until after Carlotta mentions that what he's been seeing are actually memories of a previous life - and while the tightening of the camera is supposed to reach the point of being an extreme close-up of Quentin, as can be seen in the following capture -

- things never get that close - and while the camera is supposed to remain extremely tight on Quentin as Carlotta mentions what rare people they are, as today's capture clearly shows -

- the camera actually switches back to a tight close-up of Carlotta for those lines.

And as far as notations about Carlotta's actions and performance go, DC's script indicates that Carlotta is supposed to be holding her locket as she explains that she's Sarah's reincarnation, but if that is happening, we don't actually see it in the film because the camera is so close on Carlotta - and for that same section of dialogue, Grayson has a notation that reads "Don't lose eye contact", which she certainly doesn't - but Grayson has another notation that says "Get book from somewhere", which she doesn't do (though what would have been the importance of the book will be revealed in a notation we'll deal with next time...).

[Mysterious Benefactor]

Wrapping up Scene 117, beginning with today's first quote -

Page 58/Scene 117 - Quentin: 'But I didn't remember anything 'til I came here. Why is it happening now?'

coming up, followed by today's second quote -

Page 58/Scene 117 - Carlotta: 'Because she loves us, Mr. Collins. She always has -- she always will. I still remember that last day --'

- coming up.

End of scene - but certainly not the end of the sequence...

And as far as any differences in the dialogue go, we have no way of knowing if there might have been any differences in Quentin's scripted dialogue because it was dropped in the film as well as crossed out in both DC's and Grayson's scripts. However, DC's script has the words "But" and "this", as in "But why is this happening now?", substituted in the last part of Quentin's lines, so apparently it wasn't always the intent that it would be dropped. And what Carlotta actually says is "Angelique loves us. She always has and she always will. I'll always remember that last day --", and "Because she" is crossed out in both DC's and Grayson's scripts with "Angelique" substituted for it in both, and "Mr. Collins" is also crossed out in both.

And as far as any differences in the directions and the descriptions go, once again there aren't any of either in the script for this section so obviously there can't be any differences in them in the film. However, when it comes to notations, both DC's and Grayson's scripts have notes that Carlotta would open her locket as she mentions about remembering the last day, but while Carlotta does clutch the locket, she doesn't actually open it in the film - and Grayson's script also has a notation that further references the book that was brought up as part of yesterday's notes and indicates that Carlotta would open the book and take out a lock of hair, but quite obviously that doesn't actually happen either.

And before I wrap up this post, I do have to say that I absolutely love the expressions on Carlotta's and Quentin's faces as the scene draws to a close. Carlotta is radiant -

- as she tells Quentin that Angelique loves them, whereas, with so much hard to accept information being thrown at him, Quentin looks like -

- his entire world is being shaken to its foundation - and the final shot of the two of them, as can be seen in today's second capture -

- is nothing if not a study in contrasts...

[Mysterious Benefactor]

Kicking off the next scenes in the sequence:

DISSOLVE TO: 118    INT - CORRIDOR - DAY - 1800                        118        Although the following sequences will have their own        distinctive style.  They will be different from the        MEMORY CUTS.  Carlotta's voice will continue over the        scene. 118    CONTD                                      CONTD   118

And that's where the first of today's three quotes comes up opposite its direction and description:

It is a rainy afternoon. The ten-year-old Sarah, having nothing to do, skips TOWARD THE CAMERA playing one of her little private games.

Page 59/Scene 118 - Carlotta's Voice: 'It was a dark, rainy afternoon. All week long strange tensions had been building in the house...'

119    INT - GALLERY - DAY                                119

And that's where the second of today's three quotes comes up opposite its direction and description:

as Sarah walks into the room PAN WITH HER as she crosses to the windows.	Page 59/Scene 119 - Carlotta's Voice (Contd): 'tensions I did not understand...but feared. Everyone did not love my Angelique as I did.'
SARAH - CLOSE-UP

And that's where the third of today's three quotes comes up opposite its direction and description:

as she stares out at    the steady downpour.

Page 59/Scene 119 - Carlotta's Voice (Contd): 'I knew that something terrible was about to happen.'

And as far as the differences in the dialogue go, with the exception of adding the word "and", as in "a dark and rainy", all Carlotta's first two quotes are delivered as scripted - however, as has no doubt been figured out already given its graphic, her third quote is dropped in the film.

And as far as the differences in the directions and the descriptions go, the camera doesn't actually pan with Sarah as she makes her way to the windows - and while she does look out the side window, when she reaches the large window, she basically just looks down at the doll she's been carrying and, as can be seen in the following capture -

- then she seems to stare in a world all her own.

And as far as notations go, neither DC nor Grayson made any for this section of the script.

And as an aside that has nothing to do with the scenes covered here, but earlier today I happened to notice in the forum's Who's Online feature that a member was checking out an old NoDS topic, and feeling curious about what it was about, I came across this post while I was perusing it:

You can see the missing footage either at a festival panel that I might do next year or perhaps sometime in the next 10 years or so it will be restored and  released on a DVD.

As you can see, Darren made that post back in 2003, and obviously 2013 came and went with no restored NoDS to be seen.    But in 2016 we still try to remain optimistic that one day... So until then I suppose we just have to settle for Darren's occasional Fest presentations.

[Uncle Roger]

I'll be interested to see how much Sarah Castle has to do in the original script. From what I understand, most of her footage was cut by DC before the film was submitted to MGM. I don't suppose there's much way of knowing how many scenes were actually filmed.

[Gothick]

I can't understand DC's problems with Monica Rich.  I thought she was very effective in what we do see.  Her closeups were incredibly intense and poignant. 

G.

[Uncle Roger]

Considering some of the adult performers that he put up with (and in some cases, embraced), DC's issues with Monica seem very perplexing.

[Mysterious Benefactor]

I'll be interested to see how much Sarah Castle has to do in the original script. From what I understand, most of her footage was cut by DC before the film was submitted to MGM. I don't suppose there's much way of knowing how many scenes were actually filmed.

We'll be dealing with all of Sarah's scripted scenes. But beginning with the following post, so far we've only seen that practically all of her stuff was dropped from Scene 56 (Angelique's funeral):

But there doesn't seem to be any info about whether or not the dropped material was ever shot or DC simply cut around it. However, I believe there is such info when it comes to some of Sarah's upcoming scenes, so I'll try to track it down...

[Mysterious Benefactor]

I can't understand DC's problems with Monica Rich.  I thought she was very effective in what we do see.  Her closeups were incredibly intense and poignant.

Considering some of the adult performers that he put up with (and in some cases, embraced), DC's issues with Monica seem very perplexing.

I agree with you both. But perhaps it was as simple as michael c related in another topic: DC and Monica simply didn't get along...

[Mysterious Benefactor]

Continuing with Scene 119 (and I'm going to use the way the scene appears in Grayson's script because DC didn't change the character names - and I have changed the names in all the quotes because it was just easier that way):

WIDEN as the SOUND OF FOOTSTEPS can be heard coming        down the hall.  Sarah, not wanting to be seen, runs        and hides in back of a chair.                               LAURA                              SAMANTHA (O.S.)                  We can talk in here.          LAURA                        STRACK        Samantha, Gabriel and the Rev. Trask ENTER THE HOST        and cross to the windows.

And that's when today's first quote -

Page 59/Scene 119 - Laura: 'You must make a decision, Gabriel.'

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

Page 59/Scene 119 - Gabriel: 'You've already made it for me. Why else would the good Reverend Strack be here?'

- coming up.

And when it comes to any differences in the dialogue, Laura switches things up a bit by actually saying "Gabriel, you must make a decision" - and Gabriel actually delivers his first sentence as "I think you've already made that for me." - and Laura actually sighs after Gabriel says that and before he surmises what other reason would Rev. Strack have for being there.

And when it comes to any differences in the directions and the descriptions, Sarah doesn't hide behind a chair because she actually hides under the table before the adults enter the Gallery - and the adults don't cross to the windows because they actually gather around the table, though, as can be seen in the following capture -

- at first we only see their legs as evidence of that because Sarah is the one who's on screen.

And still no notes in DC's script for this scene.

[Mysterious Benefactor]

As you've probably already figured from today's graphic, today's quote -

Page 59/Scene 119 - Laura: 'Gabriel, don't you realize how I've dreaded this moment? But we've both known it had to come...'

- was dropped from the scene in the film.

And when it comes to any differences in the dialogue, even if it today's quote was a part of the scene at some point, we'll never know if anything was different about it because it doesn't appear in any version of the film.

And when it comes to any differences in the directions and the descriptions, there aren't any of either in the script for this section.

And still no notes in DC's script for this scene. But there will be some for the quotes coming up tomorrow...

[Mysterious Benefactor]

Picking up Scene 119 where we left off, with today's first quote -

Page 59/Scene 119 - Strack: 'Where is the witch now?'

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

Page 59/Scene 119 - Laura: 'Where she always is -- in the tower, "posing" for my husband.'

- coming up.

And when it comes to any differences in the dialogue, both quotes are actually delivered exactly as scripted.

And when it comes to any differences in the directions and the descriptions, there aren't any of either in the script for this section. However, DC has a note in his script that before Strack asks where the witch is, Gabriel crosses to the other side of Laura and Strack, and that does indeed happen even though we're still only seeing the adults' legs on screen because the camera -

- is still focusing on Sarah listening.

[Mysterious Benefactor]

Continuing with Scene 119 (and with Grayson's script because DC didn't change the character names):

119    CONTD                                      CONTD   119                              STRACK                              TRASK                  Well, Mr. Collins?

And that's when today's first quote -

Page 60/Scene 119 - Gabriel: 'Why do you want my permission?'

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

Page 60/Scene 119 - Strack: 'Angelique Collins is your wife.'

- coming up.

And when it comes to any differences in the dialogue, everything here is delivered in the film exactly as scripted.

And when it comes to any differences in the directions and the descriptions, as Strack delivers the unquoted line from this section of the scene and before Gabriel asks why Strack wants his permission, as can be seen in the following capture and today's first capture -

- Strack actually crosses to the other side of Gabriel - though interestingly in DC's script there's a note indicating that Strack isn't supposed to do that until he points out that Angelique is Gabriel's wife. (And can I just say that I love the expressions on the faces of Gabriel, Strack and Laura in the first capture above!) - and as can be seen in today's second capture -

- Laura actually moves closer to the two men as Strack points out that Angelique is Gabriel's wife, even though there's no indication in the script or in a notation from DC that says she does so.

[Mysterious Benefactor]

Moving along with Scene 119:

Sarah listens.

And that's when today's quote -

Page 60/Scene 119 - Laura: 'Do you want a mob outside this house? A mob with firebrands?'

- comes up.

And when it comes to any differences in the dialogue, the quoted lines are actually combined into one in the film, as in "Do you want a mob with firebrands outside this house?"

And while the script does indicate that Sarah is listening, it doesn't indicate that Laura delivers her line off screen - but as can be seen in today's capture -

- that's exactly how it happens in the film.

And interestingly in DC's script there's a note indicating that Laura will cross to Gabriel when she says today's quote - and even though we don't see that, it could have possibly happened off screen - but that's not even the case because, as can be seen in this sneak peek of tomorrow's capture -

- Laura is pretty much in the same spot as we last saw her.