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Moving on to the next four scenes as scripted:
154 INT - MASTER BEDROOM - DAY 154
Through the open door, Tracy can be seen still at the
gallery windows. Finally, she turns and walks toward
the bedroom. She walks up the three steps, crosses
into the room and sits on the edge of the bed. TRUCK
IN ON HER CLOSE-UP as she looks up at something O.S.
155 TOWER - THROUGH THE WINDOW - TRACY'S P.O.V. 155
TRACY - CLOSE-UP
as she stares at the tower. Finally, averting her
gaze, she looks through the open bedroom door. Some-
thing catches her eye O.S.
156 QUENTIN'S JACKET - TRACY'S P.O.V. - WIDE ANGLE 156
Trough the bedroom doorway, Quentin's jacket is
seen draped over the back of a chair in the gallery.
ZOOM IN.
157 INT - GALLERY - DAY 157
as Tracy enters from the bedroom, she looks down the
hall, making sure Carlotta is not there, and then
crosses to the jacket, where she reaches into his
pocket, comes out with Quentin's keys.
And so the interesting thing here is that nearly everything that's scripted to happen in these four scenes does indeed take place in the film, except it's all set in the Gallery and not the Master Bedroom and the Gallery:
After Tracy's unscripted action of looking at Angelique's portrait, she gets up, crosses to the side window, and looks out -
- and up to the Tower Room -
- after which she turns back to look at Angelique's portrait -
- (though we don't see it this time) and then her attention is captured by -
- something off screen in the room, after which the camera pans down to reveal Quentin's jacket-
- draped over a chair - and after quickly looking back at the tower room -
- (though we don't see it this time), Tracy crosses over to the jacket (with no need to make sure Carlotta isn't around), picks it up, and begins to go through the pockets -
- and once she finds Quentin's keys -
- she soon sees that the tower room's key -
- is on the ring, whereupon she puts the jacket back in place and moves to exit the room.
What a great scene. Fab image for today's line.
That Spanish poster is without a doubt the weirdest thing for this or any movie. I'm not sure how that image was going to entice people into seeing the film. Maybe they just do things differently in Spain.
She exits the secret room, terror on her face, and rushes to the front door. Matthew is there, and he comes toward her, his face awash in confusion, but doesn't attack her. You look scared, he says, you got no reason to be scared of me What? asks Vicki. I musta startled you when I came in, says Matthew, sorry, Mz. Stoddard, I just come to say good night. I see, says Vicki, hope on her face. I just finished chopping the wood, says Matthew, smiling, is there anythin' else you'd like me to do before I go back to my cottage? No, says Vicki, nothing. It starts to rain. It's a bad night, says Matthew, if I go back to my cottage now, I'll get soaking wet--would ya mind if I wait here a while?--the rain'll probably stop soon. No, says Vicki, you wait here--but I think I'll go to my room. Good night, Mz. Stoddard, he says, and she says it back to him, walking toward the door. Wait a minute! He says. What is it? she asks. This isn't the main house, he says, it's the Old House--what are we doin' here? Don't you remember? she asks, we're looking for something. I don't remember, says Matthew, what are we lookin' for? David, she answers, we thought that he was here, but he wasn't. I don't know what's the matter with me, he says, I can't think right. You're probably very tired, she say, you should lie down--you need a good rest. No, he says, I don't wanna rest, I don't wanna sleep, I just woke up from a terrible dream--I dreamt I saw the ghost of Mr. Malloy. I'm sorry you had a bad dream, Vicki tells him. Was it a dream? he asks, it seemed so real. Of course it was a dream, she assures him. It happened in the woods, he says, what was I doin' in the woods? That was just another part of your dream, she says. No, he says, it wasn't a dream, it was real, I was runnin' from the police! I've got to go to my room now, she says. I came here to hide, he continues, that's it--it's comin' back to me. Good night, says Vicki, and moves toward the door. Wait a minute! orders Matthew, wait! He closes the door she has just opened. He looks at her. You're not Mz. Stoddard, he says, you're Miss Winters, tryin' to get away from me again!She screams no in protest, but they struggle violently as he propels her toward the secret room, warning her that she'll never get away with it this time, never get away from him again. He pushes her into the secret room and follows her in.
...
... whereas most releases of NoDS on VHS used quite different graphics and copy from the US release, I was surprise to notice today that the VHS release in Spain is extremely similar, right down to using those same Quentin/Tracy and Angelique stills -
...
Spain:
(Click here for a 750X533 version)
- and interesting how they made the Quentin/Tracy still narrower but the Angelique still wider. And while the copy for Spain's release is virtually identical when translated, I don't know what to think about the title of the film being changed to A Light in the Dark or them using the tag line "200 years later...She came back to knock on his door" on the front cover...
I can suddenly picture the scene of Angelique's spirit knocking on the door to Collinwood and Carlotta welcoming her with open arms as the NoDS equivalent of Mrs. Johnson greeting Barnabas in hoDS...
...
... Here's a photo provided for an online auction of them:
(Click here for a 1000X770 version)
| #24, #16 | | | #24, #16 | | | #24, #16 | |
| & #36 | | | & #14 | | | & #32 | |
|==========| | |==========| | |==========| |
| #24, #16 | | | #24, #16 | | | #24, #16 | |
| & #33 | | | & #1 | | | & #7 | |
|==========| | |==========| | |==========| |
| #24, #16 | | | #24, #16 | | | | |
| & #23 | | | & #42 | | | | |