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**]

[Uncle Roger]

It sort of worked. I saw a message that said videos need permission. I pushed the play button and I got sound (Mrs. Collins) but a black screen.

(ADMIN: Ignore this post because subsequently a different video was updated and posted in Reply #430)

[Mysterious Benefactor]

OK - your phone must support the audio codec but not the video.

There may be one other thing to try...

(ADMIN: Ignore this post because subsequently a different video was updated and posted in Reply #430)

[Mysterious Benefactor]

I've added a second link under the first. It's Windows Media Video, which isn't exactly my favorite format, but it seems to be the only other one that will convert the Blu-Ray's video into a manageable filesize...

(ADMIN: Ignore this post because subsequently a different video was updated and posted in Reply #430)

[Uncle Roger]

Same thing. Crisp audio but no video.

(ADMIN: Ignore this post because subsequently a different video was updated and posted in Reply #430)

[Mysterious Benefactor]

And moving on to the next five scenes as scripted:

166    INT - MASTER BEDROOM - DAY                         166        as Tracy ENTERS, she crosses to the window and looks        down at Quentin's car still parked in the drive.        Below, Quentin ENTERS THE SHOT.  The SOUND OF THE        MOTOR STARTING can be heard. 167    Suddenly Carlotta appears and crosses to the       167        driver's side of the car, where she begins to tell 167    CONTD                                       CONTD  167        him something.  After a moment, Quentin nods his        head, looks angrily up at the bedroom window as        Tracy shrinks back against the wall.  TRUCK IN ON        HER and HOLD until the SOUND OF QUENTIN'S CAR can        be heard driving off. 168    INT - MASTER BEDROOM - NIGHT                       168        Tracy lies on her side in bed, her back to the        CAMERA, as she stares out the window at the light in        the Tower Room.  Finally, unable to stand it any        longer, she turns TOWARD CAMERA and pulls the blanket        up around her neck.  her eyes are filled with tears.        HOLD FOR A MOMENT as the light in the Tower Room        goes out. 169    INT - TOWER ROOM STAIRS - NIGHT                    169        The Tower door opens as Quentin ENTERS THE SHOT,        closing and locking it behind him.  Pocketing the keys,        he comes TOWARD THE CAMERA and EXITS THE SHOT. 170    INT - MASTER BEDROOM - NIGHT                       170        Tracy still lies huddled, her eyes wide, staring into        the CAMERA.  In the B.G. OF THE SHOT, the door quietly        opens as Quentin ENTERS and stands silhouetted in the        rectangle of light.  Tracy, now aware that he is        there, is afraid to move a muscle for fear of letting        him know she is awake.  The tension mounts as Quentin        stands just staring at the bed for what seems an        eternity.   Then very slowly he crosses to her side        of the bed and stares down at her.  Finally, she        can stand it no longer and raises her eyes to his.        The tears stream down her face as he kneels down        and very gently touches her hair.

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

Page 77/Scene 170 - Quentin: 'I know you went to the tower ...'

- comes up, followed by the script continuing with:

She begins to sob softly.

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

Page 77/Scene 170 - Quentin: 'It's all right, Trace...It's all right.'

- comes up, followed in the script by:

He takes her in his arms.

And that's when the third part of Monday's quote -

Page 77/Scene 170 - Quentin: 'Now, come on. Stop crying. It doesn't matter.'

- comes up.

And when it comes to what's different with the dialogue, rather than the first part of the quote, Quentin actually says "Now, it's all right", after which, rather than the second part of the quote, he actually says "I know you went to the tower room. It doesn't matter", and, rather than the third part of the quote, he actually says "Aw, don't cry. You're gonna flood the place" - and then he adds an unscripted "Come here."

And when it comes to what's different with the descriptions and directions, for Scene 166 we don't actually see Tracy enter the Master Bedroom and cross to the window to look down at Quentin's car, nor do we see Quentin enter the shot because the scene begins with Quentin already in his car and starting the motor -

- and as Carlotta speaks to Quentin, we don't see him nod his head, but he does look up at the bedroom window, as does Carlotta -

- and it isn't until after that has occurred that we see Tracy in the Master Bedroom at the window and -

- her pull away (and unless someone actually recognizes the blue curtains as the ones in the Master Bedroom, they wouldn't even realize which window Tracy is looking from) - but after the camera does indeed truck in closer on Tracy, we don't actually hear Quentin's car driving off because what actually happens is that the shot of Tracy dissolves into Scene 168 - however, the scene doesn't quite begin as scripted, with Tracy lying on her side in bed with her back to the camera as she stares out the window at the light in the Tower Room, but rather it begins with the camera panning across the Master Bedroom until it comes upon Tracy -

- sitting on the edge of the bed with her back to the camera - and it isn't until after we see Tracy rub -

- her forehead and then look up -

- at the Tower Room -

- (and what an extremely talented person she is to be able to see the Tower Room from an angle that's impossible to see from any window in the Master Bedroom  ), that Tracy actually lies down on the bed -

 - but facing the camera, not with her back to it, and she doesn't pull the blanket up around her neck, and we don't see the light in the Tower Room go out - but believe it or not, Scene 169 actually plays exactly as scripted - and Scene 170 also pretty much begins as scripted (though we don't see Quentin open the door - he's just suddenly standing in the doorway) until the point after Quentin gets in bed with Tracy and before he tells her not to cry because he doesn't take her in his arms because what he actually does is wipe the tears -

- from her face and her eyes, and then after he says the unscripted "Come here" is when -

- Quentin takes Tracy in his arms.

[Mysterious Benefactor]

And picking where we left off:

170    CONTD                                       CONTD  170

And that's when Tuesday's quote -

Page 78/Scene 170 - Tracy: 'Oh, Quentin -- I've been so afraid. I don't understand any of this. What's happening to us? The things you said to me last night --'

- comes up, followed by Wednesday's first quote -

Page 78/Scene 170 - Quentin: 'I didn't mean any of them...'

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

Page 78/Scene 170 - Tracy: 'I know you didn't. I know...and that's why I'll never leave you...no matter what you say.'

- coming up.

And when it comes to what's different with the dialogue, what Tracy actually says rather than Tuesday's quote is "I've been so afraid. I didn't understand any of it. And then the things you said to me last night --", with the "Oh, Quentin --" and the "What's happening to us?" completely dropped - and rather than Wednesday's second quote, what Tracy actually says is "No, I know you didn't", with the "I know...and that's why I'll never leave you...no matter what you say" completely dropped. However in that case the dropped dialogue is soon replaced by unscripted dialogue, but I'm going to wait until next time to get into that because it plays into what we'll cover next...

And when it comes to what's different with the descriptions and directions, there aren't any of either in this section of the script - and there aren't even any notes to get into. Basically, the three captures featured in the slideshow on Tuesday and Wednesday displayed everything that is needed to know.

[Mysterious Benefactor]

And now picking from last time with the changed and a bit of additional dialogue from Scene 170, beginning with Tracy's changed dialogue:

"Quentin, look at me."


"Do you love me?"

To which Quentin, unscripted, first replies by mouthing:

"Yes."

And then mouthing an unscripted:

"God, yes."

And now picking up with the script:

Pulling Tracy to him, he kisses her gently.  As the        passion of the moment begins to grow, Quentin's        kisses become more violent.  It suddenly becomes        obvious that she is becoming frightened as he con-        tinues to press himself upon her, now almost savagely.        Tracy now fights to escape his embrace.                              TRACY                  Quentin, please!  You're                  hurting me.        With a desperate effort, she pulls away, cringing        from him against the massive headboard.  Her eyes        filled with fright, she stares at him as Quentin,        smiling evilly, cruelly, stares back.

And that's when Thursday's quote -

Page 78/Scene 170 - Tracy: 'Quentin, please...please don't touch me like that.'

- comes up, followed in the script by:

QUENTIN                  What's wrong, Tracy?  Don't                  you like it anymore?  You do                  have such a lovely body.        Then, reaching out to her, he roughly cradles her        face in her hands.

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

Page 78/Scene 170 - Quentin: 'I'll touch you whenever -- and however -- I want.'

- comes up, followed in the script by:

Then rising, he crosses to the door and turns to her.

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

Page 78/Scene 170 - Quentin - 'If you don't like it, Tracy, you can always leave.'

- comes up, followed in the script by:

170    CONTD                                       CONTD  170        Tracy is hysterical now.  She screams at him.

And that's when today's quote -

Page 79/Scene 170 - Tracy: 'She's doing this to you! It's her! It's Angelique!'

- comes up, followed in the script by:

He just turns and EXITS THE SHOT.  Tracy runs to the        door and locks it.  TRUCK IN on her anguished face.

End of scene.

And as far as what's different with the dialogue, Tracy actually says "Quentin, stop it! Stop it, you're", which gets cut off there in the 94 minute version but concludes with "hurting me!" in all other versions of the film - And after Tracy actually says "Quentin, please don't touch me like that" she soon adds another "Stop it!" - and Quentin simply says "You do have such a lovely body", with the "What's wrong, Tracy?  Don't you like it anymore?" completely dropped - and Quentin drops addressing Tracy by name when it tells her she can always leave - and Tracy's entire "She's doing this to you! It's her! It's Angelique!" is dropped in the film.

And as far as what's different with the descriptions and directions, after Quentin and Tracy share their gentle kissing, I love how Quentin pulls back and an evil smile comes across his face -

- before he moves in for the violent kissing - however, unlike what's scripted, in the film Tracy isn't able to pull away from Quentin to cringe against the headboard because it's Quentin who actually pulls back a bit while he continues to molest Tracy (which is far more graphic in the 97 and 129 minute versions) - and then as Quentin roughly cradles Tracy's face in her hands, he actually delivers both parts of Friday's quote without rising from the bed in the middle of them - and after he does rise, we simply see Quentin move away from the bed -

- and toward the direction of the door - and then things shift to a still deeply shaken Tracy still in bed -

- and breathing heavy as we also hear the bedroom door close off screen, so we do not see Quentin turn to Tracy from the door, or Tracy scream at him hysterically, or Quentin leave, or Tracy run to the door and lock it as the camera trucks in on her anguished face.

And coming up next time, more material that doesn't appear in any version of the film...

[Mysterious Benefactor]

Oops - I forgot to mention that the original slideshow for NoDS included this line -

NoDS: Scene #170 - Quentin: 'You do have such a
lovely body.'

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

[Mysterious Benefactor]

And moving on to the next four scenes:

171    INT - SECOND FLOOR CORRIDOR - NIGHT - WIDE ANGLE   171        as Quentin walks very fast from CAMERA, almost as        if he were trying to run from what he has done.  He        passes the stairway to the Tower, looking up for        a second.  Then he continues on much slower now,        to the far bedroom.  He leans against the wall, his        back still to CAMERA, obviously going through great        mental anguish. 171A   INT - FIRST FLOOR STAIRWAY - NIGHT                 171A        as Carlotta comes up the stairs TOWARD CAMERA and        starts for the Gallery, she suddenly stops as she        notices Quentin through the open bedroom door. 171B   INT - BACK STAIRS - NIGHT - LOW ANGLE              171B        TIGHT on Quentin as he goes through his inner tur-        moil.  HOLD for a moment, then we HEAR the SOUND of        CARLOTTA'S VOICE.                              CARLOTTA (O.S.)                  Mr. Collins?        Quentin does not respond.  SLOWLY WIDEN to reveal        Carlotta, still in the hallway, but coming toward        him.                              CARLOTTA                  The Jenkins' will be returning                  soon.  If Mrs. Collins is going                  to leave, she should go before                  they come back.  Otherwise she                  will simply run to them.  Don't                  you agree?        He does not move or look at her.                              CARLOTTA                  Don't you agree, Mr. Collins? 171B   CONTD                                       CONTD  171B        With great violence, he turns on her.                              QUENTIN                       (blazing)                  Yes, I agree, Carlotta!  But                  I don't need you to tell me                  what I have to do!        As Quentin EXITS THE SHOT down the stairs. 171C   INT - FIRST FLOOR CORRIDOR - NIGHT                 171C        as Carlotta turns and comes TOWARD CAMERA, PAN with        her to the top of the stairs, revealing Gerard,        who stands on the lower landing.  She nods to him        as Gerard then goes down the stairs, EXITING THE        SHOT.

And when it comes to the dialogue, the descriptions, and the directions, because these scenes don't appear in any version of the film, we have no way of knowing what might have been different.

Although, when it comes to Carlotta's second section of dialogue in Scene 171B, Grayson's script has several words crossed out: "If," "going," "should" (which is replaced with "must"), "Otherwise," and "simply," which would seem to indicate that she was intending Carlotta to actually say something like "The Jenkins' will be returning soon. Mrs. Collins is to leave. She must go before they come back. She will run to them. Don't you agree?"

And Grayson's script also contains several notes. She writes that Carlotta conspires with Quentin but she's in charge, and what she's saying is a demand, not simply urging Quentin (which may explain why she changes Carlotta's dialogue in the way that she did), and the takeover of Quentin is becoming more here.

And somehow I'm sure these scenes were played perfectly. With talents like David Selby and Grayson Hall, how could they not have been? I can just imagine how wonderful Grayson must have been, doing her best passive/aggressive manipulation -  and, as we saw on the series numerous times, few actors can play mental anguish better than David can. So it's an absolute shame that none of this is in any version of the film. But then, we all know that when it came to character scenes, they were the first things that DC was only too willing to sacrifice, no matter how great they might have been...

[Mysterious Benefactor]

Before we get into today's scenes, I forgot to mention yesterday that in DC's script he had all sorts of notes for Scenes 171 though 171C, but for some reason he partially erased them all so it's next to impossible to decipher what he'd originally written.


And with that out of the way, moving on to the next two scenes:

172    INT - MASTER BEDROOM - NIGHT                       172        Tracy lies on the bed, her face wet with tears, as        she stares blankly up at the ceiling.  Then slowly        she rises and crosses to the window where she looks        up at the Tower. 172A   TOWER - THROUGH THE WINDOW - TRACY'S P.O.V.        172A        Although the windows are dark, it is almost possible        to see the luminous outline of a woman looking down        at her.

And that's when today's quote -

Page 80/Scene 172A - Tracy (softly, almost to herself): 'I know you're up there. But I won't let you have him. I'll never leave! Never!'

- comes up.

End of scenes.

And when it comes to the dialogue, the descriptions, and the directions, because these scenes don't appear in the film as it currently stands, we have no way of knowing what might have been different. However, they do appear in the 129 minute version of the film...

Coming up next time, we'll deal with more material that isn't in any version of the film - material that will explain what Carlotta's nod to Gerard in Scene 171C was all about...).

[Gothick]

MB, thanks so much for posting that fab video clip from the film!  I had completely forgotten about that moment. 

When I clicked on the wmv link, it downloaded to my computer.  It eventually opened using the VLC player, which was something I had to add a few years ago to cope with certain files. 

I imagine you'd need an "app" that mirrored the abilities of the VLC player on your phone to play something like that. Of course I have no idea what the requirements of the "app" would be.  For the sake of my sanity, I've been hanging on to not doing anything web related on my phone, although I currently have an "android" which I think could do it all.  The screen is so tiny though...

G.

[Mysterious Benefactor]

And now moving on to the next scene in the script:

173    EXT - JENKINS COTTAGE - NIGHT                      173        A car ENTERS THE SHOT, stopping at the house, as        Claire and Alex get out.  Alex takes a valise and the        wrapped portrait from the back seat as they start to        the door.

And that's when today's first quote -

Page 80/Scene 173 - Alex: 'Is it too late to see how they are? --'

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

Page 80/Scene 173 - Claire: 'Alex, it's two in the morning!'

- coming up, followed in the script by:

173    CONTD                                      CONTD   173        Claire opens the door.  As the two of them ENTER and        the door closes behind them, a light appears in the        living room.  HOLD ON THIS as the SOUND OF THEIR        VOICES can be heard from inside.                              CLAIRE (O.S.)                  I'm making coffee.  You want                  something to eat?                              ALEX (O.S.)                  Yeah.  What's in the Frig?

End of scene - or is it?

And when it comes to the dialogue, the descriptions, and the directions, because this scene doesn't appear in any version of the film, we have no way of knowing what might have been different. However, in DC's script he's added something to the end of the scene:

Pan to see Gerard in car.

Though more than likely it would have been Gerard in his truck...

[Mysterious Benefactor]

And moving on to today's new scene:

174    EXT - COTTAGE LIVING ROOM - NIGHT                  174        as Alex ENTERS THE SHOT from the bedroom, he crosses        to the bar and pours himself a drink.  He sips, sits        and begins to unwrap the package.  Claire ENTERS THE        SHOT from the kitchen, carrying a tray of sandwiches.

And that's when today's first quote -

Page 81/Scene 174 - Claire: 'Coffee's coming --'

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

Page 81/Scene 174 - Alex: 'I need this more --'

- coming up.

And when it comes to the dialogue, Alex actually says "Need this more --"

And when it comes to the descriptions and the directions, we don't actually see Alex enter from the bedroom, or cross to the bar to pour a drink, nor sipping the drink to then sit and unwrap the portrait - and as we can see from today's second capture, Alex actually delivers today's quoted line -

- off screen.

Also, it's interesting that the scripted opening of Scene 174 isn't on the list of unrecovered footage, so there's at least a possibility that if it was shot, it does appear in the 129 minute version. Or it may simply be that because it was only a trim, and a pretty insignificant one at that, it simply just wasn't put on the unrecovered list...

[Mysterious Benefactor]

Continuing with Scene 174 with Alex' scripted actions:

He raises the drink and then finishes unwrapping the        package, revealing a portrait of Charles Collins.        Now the incredible likeness to Quentin is very        obvious.

And that's when today's first quote -

Page 81/Scene 174 - Claire: 'I don't like being back here --'

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

Page 81/Scene 174 - Alex: 'I know...'

- coming up.

And when it comes to the dialogue, Alex actually says "Yeah, I know..." - but in addition to that, DC's script has more dialogue written into it -

Page 81/Scene 174 - 'I still can't get over it. If Quentin had that scar on his cheek, they could be twins.'

- and though it isn't specifically assigned to either character, in the film it's slightly reworked and presented as:

Claire: 'I still can't get over the likeness. Charles Collins could
be his twin.'

Alex: 'All that Quentin needs is that scar on his cheek...and you
wouldn't be able to tell the difference.'

And when it comes to the descriptions and the directions, we don't actually see Alex raise his drink because, as was mentioned before, he's off screen when he refers to it - and we also don't see him finish unwrapping the portrait because as can be seen it both of today's captures -

- is already fully unwrapped and leaning up against the couch - and considering that the portrait's back is to the camera, we have yet to see that it's a portrait of Charles Collins or the incredible likeness to Quentin - and when it comes to the additional dialogue, the camera does a slow truck in on Claire as she delivers her portion and also a slow truck in on the portrait as we first get to see it as Alex delivers his portion, ending this close -

- as Alex finishes his additional lines.

[Mysterious Benefactor]

Continuing with more of Scene 174 with regard to Claire's actions:

She looks at the portrait.

And that's when today's quote -

Page 81/Scene 174 - Claire: 'I still don't see how showing Quentin that is going to make him leave here.'

- comes up.

And when it comes to the dialogue, Claire actually says "I still don't see how showing him that is gonna make him leave here" - and as can be seen in today's capture -

- Claire actually delivers the line off screen.

And when it comes to the descriptions and the directions, there's nothing that's different.