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10:00PM | FX |
ET | What We Do in the Shadows |
Dark secrets come to light during a roast honoring Lazlo. |
Setting up the new scene, which is part of a sequence in the script that is very different from the way it appears in the current version of the film:
DISSOLVE TO:
40 INT - MASTER BEDROOM - NIGHT 40
Tracy is already in bed as Quentin is still
getting ready.
And that's when today's quote -Page 13/Scene 40 - Tracy: 'We're very naughty. We should have at least called the Jenkins'.'
- comes up.
And it's still the case that there aren't any differences between the way DC's and Grayson Hall's scripts are written up to this point - though there is a notation in DC's script that we'll get into below...
And when it comes to any differences in the dialogue, what Tracy actually says is "Well, I think we're very naughty. We should have at least tried to call the Jenkins." And I have no idea why the quoted line uses the possessive form of Jenkins (Jenkins') because most would take Tracy's intent to mean phone the Jenkins as people and not, say, phone their house, so that's why I didn't use the possessive form. But the possessive form is the way it appears in the script, so that's the way it's quoted.
And so far as the directions and descriptions go, while DC's script has a notation that seems to indicate that he'd planned for Scene 40 to begin with a shot of Tracy in bed, as can be seen in today's capture -
- the scene actually begins with Tracy in the background and Quentin in the foreground. And I absolutely love how Quentin's face is in shadow and silhouetted.
Continuing with Scene 40 with Quentin's reply to Tracy:
QUENTIN
They'll understand.
40 CONTD CONTD 40
He crosses to the bed and gets in.
And that's when today's first quote -Page 14/Scene 40 - Quentin: 'Are you going to be happy here?'
- comes up, followed by today's second quote -Page 14/Scene 40 - Tracy: 'Yes, if you are ...'
- coming up.
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point - and there are also no notations in DC's script for this part of the scene.
...
And so far as the directions and descriptions go, Quentin actually shuts off a table lamp, crosses to a window and closes it, moves closer to the bed to flick the switch to shut off both wall lights, and then removes his slippers and robe before getting into bed.
And can I just say that, as can be seen in the either of today's captures -
- the shot of Quentin and Tracy in bed from this part of the scene must be one of the darkest things ever shot for any version of DS. But then, this isn't called Dark Shadows for nothing...
Concluding Scene 40 ...
First up, today's quote -Page 14/Scene 40 - Quentin: 'I am. I don't know why ... or how ... I don't really understand it ... but I almost feel as if I had come home at last.'
- which is then followed in the script by:
They are in each other's arms as we slowly
DISSOLVE TO:
...
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point - but there is a notations in DC's script that we'll get into below...
...
Roger gazes at the painting. I should be angry with you, he tells her, for giving this painting to David--you must have known it would upset him, with that imagination he's got. I knew it would disturb him, agrees Vicki, I don't know why I gave it to him.
Before things move on to today's Scene 40 in the slideshow, I want to share one last thing associated with the Gallery sequence, and that's this still -
(Click here for a 700X1028 version)
- which I'd forgotten I have - though a somewhat cropped version appears on page 184 of The DS Movie Book and a greatly cropped version is the inside back cover image for the Movie Soundtracks' CD case -
- and for some reason the details of the window are blown out of both print versions, which is unfortunate because the details of that Gallery window are stunning.
And it's interesting that in this still, unlike in the one I shared in Reply #779, Quentin isn't wearing his jacket and instead has it thrown over his shoulder similarly to how he has it in the film.
And additionally, seeing this still makes me question just where does Carlotta serve that salad? I suppose it's on that round table behind Quentin and Tracy (the same table on which the seance is held). But with that lamp on it, it doesn't seem like there would be all that much room for food and wine - though I suppose the angle from which the still is taken could be deceiving...
...
when I came downstairs at 10:30, Mr. Malloy was gone and you were talking on the phone. 10:30? Asks Roger--I was on the phone at 10:30? Yes, we talked about Sam Evans' dinner invitation, do you remember? I remember our conversation, says Roger, but I don't remember any phone conversation--who was I talking to, do you remember? I wasn't paying attention, says Vicki. Do you remember what the conversation was about? asks Roger. Something about a meeting, I think, says Vicki--what difference does it make? None, says Roger, I was just curious. Bill Malloy was gone, says Vicki, and you and I talked about Sam Evans, and then I went upstairs and you left. That's nonsense, says Roger, I didn't leave this house until 10 of 11. Oh no, it was much earlier than that, says Vicki. What time do you think I left? asks Roger. Let's see, says Vicki, I was in the upstairs hallway and I heard the front door slam--it must have been about 10:35, not much later--why? (Time discrepancy!) I simply feel that if you're going to report my movements to Burke Devlin, says Roger, that you should at least be accurate. I wasn't reporting your movements, says Vicki. As you wish, he says, be that as it may, I did not leave this house until 10 of 11. If you say so, says Vicki doubtfully. Good, then we're agreed, says Roger--it's not important, of course, it's just that I have rather a personal fetish for accurateness.