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50 years ago today Night of Dark Shadows opened in 130 New England theaters and drive-ins.
(http://www.dsboards.com/NoDSquoteimages/NoDS-1.jpg)
(http://www.dsboards.com/NoDSquoteimages/NoDS-2.jpg)
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In my area NoDS only opened that first week in a drive-in in RI and it didn't begin showing until 10 pm (which is why I've waited until now to post this topic):
(http://www.dsboards.com/NoDSquoteimages/Ponta1.jpg)
That was too late during the week for my mom to take me and my best friend at the time because she had to go to work. So I had to wait until Friday night (August 6th). (And you might wonder if that was a burden for my mom to take two 15-year-olds to see horror movies at the drive-in - but it actually wasn't because, as I've mentioned before, my mom was also a DS fan, so she was looking forward to seeing the film.)
I didn't get to see NoDS at an indoor theater until the week of August 25-31 when it came directly to my city in MA. And you'd better believe I saw it multiple times that week. [easter_wink]
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I've decided to share the montages' original versions before I downsized them for posting:
Click NoDS-1.jpg (http://www.dsboards.com/NoDSquoteimages/NoDS-1.jpg) for a 1296X2430 version.
Click NoDS-2.jpg (http://www.dsboards.com/NoDSquoteimages/NoDS-2.jpg) for a 1296X2187 version.
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As you may have noticed, I've returned the NoDS slideshow to the top of the "Current Talk '21 I" board. (Fear not fans of the '04 pilot, that slideshow is still on the second page of the "Current Talk '21 I" board and all subsequent pages, so you can still follow along.) It took a bit of doing to get the slideshow back because I was quite surprised that I'd never saved a backup of the database file that stores all the NoDS quotes, plus it originally began on January 1st and I want this rendition of the slideshow to begin on August 4th. So, the database file had to be completely recreated, new routines had to be written for the system, and the screen captures have to be renamed. But so far as the database file and renaming goes, that can be done as needed.
We missed the August 4th entry and that would have been:
(http://www.dsboards.com/NoDSAnniQuoteImages/0804NoDS_0.jpg)
Page 1/Scene 3 - Hippy: 'Hey, you dirty ... I'm lost, man!
I'm lost!'
And as you can see, the quotes are taken from the NoDS script, not simply the film. And if you want to learn about or refresh your memory concerning the background of that entry, check out -
Setting up the first few scenes, none of which were actually shot:
- this post. And if you want to do the same with today's quote -
Page 2/Scene 10 - Hippy (in affected manner of speech): 'Poole! We'll have brandy in the drawing room and do prepare bedrooms for the week end's guests.'
- check out -
And the next several scenes in the unshot sequence:
- this post.
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If you want to learn about or refresh your memory concerning the background of today's quote -
Page 4/Scene 16 - Hippy (again calling): 'Hey, who's there? Where's that light coming from?'
- check out -
And yet more scenes in the unshot sequence:
- this post.
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When I saw in the newspaper ads for NoDS that they would be giving out free DS souvenirs, I was definitely intrigued. Many know one of the things given out were Angelique figures - but it's mentioned far less frequently that what was also given out was "Beware of The Night Of Dark Shadows" bumper stickers. The figure has definitely become a rare collectors item among NoDS fans. The bumper sticker probably not so much because it's barely related to the film. Though on rare occasions I have seen both for sale online - and sometimes even together.
(http://www.dsboards.com/NoDSAnniQuoteImages/Figure_Banner.jpg)
Now, the advantage of going to see the film with your mom is she's likely to hand you the better souvenir. And that was the case when after my mom paid for us to get into the drive-in, she handed me the Angelique figure and my friend the bumper sticker. To say he was less than thrilled to get the bumper sticker might be putting it mildly, but when we asked if there was any way he could also get a figure, we were told that there was no way, it was one figure and one sticker per car. Oh well... And I didn't find out until more than 20 years later that my friend actually cut out the part that said "Night Of Dark Shadows" and threw the rest of the sticker away. Probably not the smartest of things to have done because, well, who knows because I've honestly not paid attention what they go for, but they may actually be worth something nowadays. I don't know...
One thing I do know, though, is I'm still thrilled that I have the Angelique figure. And despite being offered a whole lot of money for it on more than one occasion, I'll never part with it. In fact, I have it displayed in one of the bookcases in my home office, behind glass on a shelf with some of my other NoDS possessions (no pun intended).
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_Shelf.jpg)
And now it's been in my possession for 50 years because I must have gotten it right around this time of night on August 6, 1971...
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Here's a link to my novelization of the script for NODS. The second link is a general one to the rest of my archive.
I was living in Newport but had no idea that NODS existed until I saw it listed in TV Guide in June '77 on the CBS Late Night Movie. I don't remember my friends mentioning the film either. Several of them watched DS, but I was not allowed to. I was 8 when NODS came out.
I was not allowed to stay up for the late showing of NODS, but a friend told me all about it and managed to record the last hour or so. He thought the first part was recording but the machine wasn't running. He turned it on when he thought he needed to change tapes. We wondered for years if there was a third film.
I looked for the novelization for years also. We wrote to Warner Paperback Library about it. We were told it, along with several of the Ross novels we were seeking was "out of print."
https://archive.org/details/NightOfDarkShadowsByJoeEscobar
https://archive.org/details/@the_doctor_and_k9
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I love what you did with your novelization, The Doctor and K9. And not just NoDS fans should check out that link to your archive because all DS fans are likely to find more than a few surprises if they've never checked the archive out before...
As for the CBS showing of NoDS, count yourself lucky that you didn't see it because worse than how DC was forced to trim the film was what CBS cut from it! (And they made similarly terrible cuts when they ran hoDS!) At this point I forget what all the cuts they made were, but they were ridiculous! I actually have an audio cassette recording of CBS' showing but I no longer have a cassette player, so I'm unable to refresh my memory as to what was cut... (Although, at the time I blamed CBS for trimming a lot of stuff that they didn't actually cut because back in 1977 I had yet to realize that in 1971 I'd actually seen the R-rated version of NoDS - it wasn't until 1990 after NoDS came out on VHS that I realized most other parts of the country had seen a different version.)
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If you want to learn about or refresh your memory concerning the background of today's quote -
Page 4/Scene 17 - Hippy (muttering to himself): 'There it is again! What the hell is going on?'
- check out -
And continuing with yet more of the unshot sequence:
- this post.
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Thanks for the compliment, Mysterious Benefactor.
If you listened to Carolyn Fox on 94 WHJY you might enjoy hearing some of her shows on the archive. When I moved to Texas, we lost our rock station there. So when I came home to Portsmouth, I rigged up a VHS recorder to tape off of the radio. At SLP, I got up to 6 hours and change of rock radio. It's mostly Carolyn Fox and her cohort Rudy Cheeks (memorable for his writings in The New Paper, The Phoenix and other local papers. I also have some parts of Amy Hagen's shows. She tended to be on vacation when I was home, so there are a lot of appearances by her substitute .
Carolyn Fox was infamous for an April Fool's prank in the 80's. She announced that the City of Providence was shut down for the day. She told people to call a number if they had questions. The number was to rival station 92 PRO-FM.
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Thanks for the compliment, Mysterious Benefactor.
They are well deserved. [easter_smiley]
Like you, I kept hoping there would be a NoDS novelization from Paperback Library - and when there never was I was very disappointed. As with the hoDS novelization, it would have been great to have learned about the scenes in the script that never made it into the film - not to mention we would have learned about them long before something like Grayson Hall's script began circulating in fandom. And one can only imagine whether the Paperback Library version would have been based on that script or DC's latter version, which has some major revisions, like the piano scene.
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Considering that the newspaper ad didn't exactly scan perfectly (but then newspaper print/photos are hardly perfect to begin with), I decided to put together a composite of the NoDS ad and the hoDS ad, each taken from their respective PressBooks:
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_Ad.jpg)
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Last night I attempted to recreate my first viewing of NoDS as closely as I could. Though, of course, it wasn't particularly closely because not only wasn't I in a car, I was sitting on a couch in my living room with my feet up on a cushy ottoman, my mom and friend weren't with me, and I wasn't surrounded by a bunch of other people in cars. But I microwaved a bag of popcorn and put together a hot dog in a toasted bun, both of which were my snack of choice that night. And precisely at 10pm I popped my Blu-ray copy of NoDS into the Blu-ray player and pressed "play." And those weren't even all the things that couldn't be duplicated because I didn't have a copy of the R-rated version of the film. But hey, I did my best. [easter_wink]
I hadn't actually watched the film in years, so it was definitely fun to watch it, especially so because it was the first time I'd watched it on a 60in TV. And one would think that having seen the film so many times there couldn't possibly be anything that I would notice that I'm not sure if I ever noticed before - but one would be wrong in that assumption. For quite possibly the first time I noticed that rain is running down the tower room windows in the scene in which Angelique and Charles make out and Gabriel and Strack come to get her.
Of course, timewise it should have been raining because the scene takes place soon after the scene in the Gallery in which Sarah watches Strack, Laura and Gabriel plot and Carlotta's voiceover specifically points out how it's raining. But, well, this is DS, which isn't well known for its continuity, especially considering that in the timeline of events of that day the tower scene takes place after the Gallery scene but it shows up in the film before the Gallery scene. Quite obviously whoever they hired to handle continuity for the film was much better than anyone who might have worked on the daytime show!
And we may never know for sure, but I might have honestly noticed the rain because it was the first time I'd watched the film on a 4K TV and not on a dinky old-fashioned TV with a typical screen size...
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If you want to learn about or refresh your memory concerning the background of today's quote -
Page 5/Scene 20 - Hippy (screaming): 'Help me, man! Help me! Help me!'
- check out -
And continuing with even more of the unshot sequence, picking up with the Hippy's next reaction to the glow:
- this post.
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Last night I attempted to recreate my first viewing of NoDS as closely as I could....things that couldn't be duplicated because I didn't have a copy of the R-rated version of the film. But hey, I did my best. [easter_wink]
The current version of the film has an interesting variation from the previous versions. In the scene where Quentin is flashing back to the tryst with Angelique and Gabriel confronting them, you have dialogue from the R version culminating with Angelique laughing. It's awkward because the film is not synced with the dialogue and in places the characters are speaking but their lips aren't moving. Still it's an interesting change.
I will never understand or forgive them for not including deleted scenes in the special features. I don't agree with the refusal to restore the film, but I understand it. They were unwilling to risk the money and went with the safe bet, putting out the theatrical cut. OK, but why not at least include the scenes from the original master that already have dialogue as well as the ones that Darren Gross restored? That made absolutely no sense to me.
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The interesting thing when it comes to theaters'/drive-ins' newspaper ads for NoDS is that the vast majority of them, at least in New England, all used variations of the B Poster (Angelique's rotting face/hanging woman with man kneeling before her) rather than the A Poster (various images of Angelique/pallbearers carry coffin/Collinwood). I've really wondered why that was. What was it about the B Poster that they thought would attract more people to come to see the film?
However not all ads were the B Poster because in its Sunday edition to announce the opening of NoDS on the upcoming Wednesday, the Boston Herald Advertiser (which has been out of business for decades but used to be a hugely popular newspaper in Boston) used the A Poster. And rather than scan the ad and then share the same version from the NoDS PressBook, I just going to share the Pressbook version (and you're not missing any sort of text because there wasn't any added to the ad):
(http://www.dsboards.com/NoDSAnniQuoteImages/Boston.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Theaters_Drive-ins.jpg)
And given that seemingly no specific theater was promoting the film's upcoming opening, I've often wondered who made the decision to go with the A Poster? And because there was no specific theater in mind with the ad, instead there was a listing of most of the theaters/drive-ins where NoDS was to open, and I've included that at the bottom just as it was in the actual ad. Not all 130 are there, but I know there were to be 130 because the newspaper also published this:
(http://www.dsboards.com/NoDSAnniQuoteImages/Quentin.jpg)
Who knows why most are listed but not all? But it could have possibly been that the listed theaters/drive-ins joined forces to pay for the cost of the ad and the missing ones didn't.
Also, because the quality of the newpaper version is terrible, here's a somewhat cropped but much better version of that photo of Quentin:
(http://www.dsboards.com/NoDSquoteimages/Que_Can2.jpg)
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Oh wow, I've been away from the board for a while, and can't believe I missed the 50th anniversary of the first day of the NODS release! I sat through it twice on the first night, and got to see the "more explicit" version--this was in north central Michigan. The promotion for the film seems to have been incredibly rushed and haphazard, because they had given the theater the HODS trailer to show the week before, as well as the HODS one-sheets, and the marquee had HOUSE OF DARK SHADOWS on it. I don't think I saw a NODS poster image until seeing it in the Detroit papers on Sunday, if even then. When I was leaving the theater, the marquee was dark (I think), and they were replacing "HOUSE" with "NIGHT"! 🙂
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I didn't get to see NODS until it appeared on the CBS late movie several years later. I don't remember why I didn't see it during the original run. It may not have come to a local theater. The advertising, as KMR points out, was spotty at best. I didn't see the familiar poster art until years later. What appeared in the local papers were small ads, with the catchphrase Just another night of terror. I know that MGM sent Grayson and Sam on a promotional tour but coverage seemed to be largely in newspaper articles. Unlike HODS, where Frid and other cast members appeared on local talk shows and showed film clips. Perhaps MGM was counting on the series to act as cross promotion.
This seems to be around the time that Warner Brothers purchased Paperback Library. Paperback Library had previously been publishing mostly gothic/romance titles. Once Warner Brothers took over, they seemed to move in a different direction. Also, after the series was canceled, they may well have decided that it was no longer worth the licensing fee
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There are two things I'd wanted to mention yesterday but forgot.
The first is something that might only interest me, but hey, I'm constantly surprised by how many like-minded fans there are out there. So I'm going to forge ahead and say that I wonder how many people noticed that the ad in the Boston Herald Advertiser is actually the same layout as the one sheet A Poster?
(http://www.dsboards.com/NoDSAnniQuoteImages/Ad_Poster.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ad_Poster.jpg) for a 1480X1212 version)
The NoDS Pressbook actually features four main ads based on the A Poster and they vary from minor differences to major differences.
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_A_Ads.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_A_Ads.jpg) for a 1096X2030 version)
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On the other hand, the second thing may be of broader interest and I can't believe it took me 50 years to actually notice it. As I was going through the various newspaper ads for NoDS for a post I plan to make later in the month, I noticed something quite interesting: only the ads for drive-ins showing NoDS mentioned that they were giving away free DS souvenirs - not one ad for an indoor theater said they were.
Here's another drive-in ad that mentions it -
(http://www.dsboards.com/NoDSAnniQuoteImages/Drive-in.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Drive-in.jpg) for a 720X562 version)
Every time I see something regarding Rosemary's Baby the first thing that always comes to mind is Mad Magazine's take on it that was called Rosemia's Boo-boo LOL!)
-and here a group of indoor ads -
(http://www.dsboards.com/NoDSAnniQuoteImages/Theaters.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Theaters.jpg) for a 720X1500 version)
Now, I'll readily admit that it's anecdotal evidence from only one part of the country, but now I'm wondering if the Angelique figures and the bumper stickers were only handed out at drive-ins? I know they didn't do so when I saw NoDS at an indoor theater - but that was in late August and I figured it was because all the allotted souvenirs for New England had been handed out by then and there were none still in supply. And actually, I was told that by the owner of the theater where I saw it because my friend had hoped to get an Angelique figure when we went to the indoor theater...
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Given that I've done it for the A Poster, I figured I might all well gather the different ads based on the B Poster - and just as with the A Poster, they vary from minor differences to major differences.
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_B_Ads.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_B_Ads.jpg) for a 1099X2524 version)
Though unlike the A Poster, none of them are the same layout as the one sheet B Poster.
(http://www.dsboards.com/NoDSAnniQuoteImages/Poster_B.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Poster_B.jpg) for a 740X1100 version)
Maybe if there's a B&W version of the B Poster, one of the ads might be the same layout, but I've never come across a B&W version of the B Poster. But, of course, that doesn't mean one doesn't exist. And there are both color and B&W versions of the hoDS B poster. Though even that doesn't necessarily mean anything regarding NoDS...
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If you want to learn about or refresh your memory concerning the background of Monday's quote -
Page 6/Scene 21 - Tracy (snuggling up to him): 'It's incredible to think you were around for all those years and I didn't even know you.'
- and/or today's quote -
Page 6/Scene 21 - Quentin: 'You wouldn't have liked me poor. I was mean and surly.'
- check out -
Kicking off the next sequence:
- this post.
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I have some (hopefully) interesting posts planned for when August 25th rolls around and I can begin to get into some things related to seeing NoDS at an indoor theater. But between now and then I'd like to share some stuff from my NoDS collection, mostly magazine blurbs (some of which are interesting and others that are quite stupidly inaccurate (and when I say that I mean REALLY QUITE STUPIDLY INACCURATE - enough to make you wonder what sort of idiots composed them, and what sort of idiots didn't catch the errors in editing!! - but then, as we always lament, what would anything related to any sort of DS be without big blunders?!), but also photos and reviews.
First up, another newspaper photo published on the Sunday before NoDS premiered. This one is from the other major newspaper in Boston at the time, and one that still exists, The Boston Globe.
(http://www.dsboards.com/NoDSAnniQuoteImages/vaults-1.jpg)
Interesting that Sudden Terror (and not hoDS) also played with NoDS in Boston
And what's interesting about this photo is that it appears in the NoDS PressBook, which wasn't the case with the Quentin photo. And what's also interesting is the caption in the PressBook is extremely similer to the caption that appeared in The Boston Globe.
(http://www.dsboards.com/NoDSAnniQuoteImages/vaults-2.jpg)
And considering that neither of those versions really scanned all that well, here's a much better version and one where the dimensions are almost exactly those of the version in the PressBook (though with a caption with a somewhat different twist).
(http://www.dsboards.com/NoDSAnniQuoteImages/vaults-3.jpg)
One thing I've always found interesting about this particular publicity still is that David Selby is wearing a coat. I've presumed that's because it was most probably taken during a rehearsal because, as we know, Quentin is not wearing a coat in the scene as it takes place in the film.
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Today I want to share this for two reasons -
(http://www.dsboards.com/NoDSAnniQuoteImages/KJ_DS.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/finished.jpg)
- one is that it mentions that "Curse of Dark Shadows" (Only NoDS' working title even from the outset because it was even referred to as such when 16 Magazine announced the film) might be coming out in August - I didn't remember that we had even been informed it might come up that early - and that Michael Stroka is part of the cast.
Now, this wasn't the first time Michael Stroka was associated with the film because in the 16 Magazine announcement article it actually said "Mike Stroka is almost definitely in the movie." Though bolding the word "almost" certainly left it open that he wouldn't be. It would seem that even back that early there was a real chance that whatever role Stroka might play, either the Hippie or Gregory, wouldn't end up being a part of the film (and frankly I think Gregory should have been a part of the film because without him much of the discussion in the Dining Room scene between Alex, Claire, Tracy and Quentin has no foundation to explain or understand it). As it turned out, neither the Hippie's nor Gregory's part of the script were even shot. So one has to wonder why Stroka's name was listed in the cast in that blurb. Though for all we know, right before or soon after production on the film began perhaps a press release came out that included Stroka's name and possibly not having been told otherwise, that's why they included Stroka's name. We'll probably never know...
And as usual, here's a much better version of the photo -
(http://www.dsboards.com/NoDSAnniQuoteImages/KJ_DS-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/KJ_DS-2.jpg) for a 700X546 version)
- a photo that I've lost track of just how many magazines went with to initially publicize the film. It was most probably more than a dozen. Though what's interesting is it wasn't a part of the first article on the film after production had begun. That article appeared in Flip magazine soon after the daytime DS went off the air and it features stills from some of the 1810 flashback scenes as well as the seance:
Click here (http://www.dsboards.com/NoDSquoteimages/CoDS-1.jpg) for a 1200X1609 version of Page 1.
Click here (http://www.dsboards.com/NoDSquoteimages/CoDS-2.jpg) for a 1200X1609 version of Page 2.
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If you want to learn about or refresh your memory concerning the background of Wednesday's quotes -
Page 7/Scene 23 - Tracy: 'What do you bet I turn into one of those women you see in House & Garden.'
Page 7/Scene 23 - Quentin (still busily unpacking): 'I can see it now, Mrs. Quentin Collins in her fashionable jeans at her 18th-century rosewood desk making out the menus for the week.'
- and/or Thursday's quotes -
Page 7/Scene 23 - Quentin: 'Oh, there is a housekeeper, you know.'
Page 7/Scene 23 - Tracy: 'Oh, great! I bet she looks just like Mrs. Danvers.'
- and/or Friday's quotes -
Page 7/Scene 23 - Tracy: 'Well, at least it solves one problem. She can probably do everything and I'll just simply lounge around arranging flowers.'
Page 7/Scene 23 - Quentin: 'And loving me.'
- check out -
Picking up with Scene 23:
- this post.
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Today I want to share two more magazine blurbs that still refer to the film as Curse of Dark Shadows - and the real reason I'm sharing both is that apparently it seems as if some magazines had absolutely no qualms or misgivings about what appears to be taking press releases, copying them word for word, and presenting them as their own.
(http://www.dsboards.com/NoDSAnniQuoteImages/best_1.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/best_2.jpg)
What's also interesting about these - or should it be this, considering that the wording is identical - is that unlike the previous blurb I shared in Reply #23 which indicates release in "August or September," which just so happened to prove to be accurate, here release is indicated as "late fall - hopefully before or around Thanksgiving." And the truth is many magazines indicated that later time as the most likely release frame, which is one reason I was actually quite shocked when it became obvious the film would initially open on August 4th. But more on that later in the month.
Also, something else worth mentioning while we're on the subject of release is that back in the day when films opened regionally instead of across the entire country on the same day, as they do today, the official release date often coincided with when a film opened in New York City or Los Angeles. So even though NoDS played in New England throughout most of August and it played in other parts of the country, including Los Angeles, in September, its official release is often considered to be October because it opened in NYC that month. But still, it had already played in a whole lot of areas of the country before Thanksgiving...
From John Willis' Screen World:
(http://www.dsboards.com/NoDSAnniQuoteImages/screenworld1.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/screenworld2.jpg)
And a better version of the still:
(http://www.dsboards.com/NoDSAnniQuoteImages/screenworld_a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/screenworld_a.jpg) for a 700X540 version)
(I probably should have posted something different today because if I'd waited a few days, the Drawing Room scene depicted in the still would have been in full swing in the slideshow. But hey, instead it's a preview. [easter_wink])
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Jonathan Frid's decision not to appear in the second film has been well documented but what about Joan Bennett? She's certainly not right for any of the existing female characters but could there have been an appearance in an earlier draft? Maybe Angelique decided to dispose of Elizabeth in a pre titles sequence?
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Jonathan Frid's decision not to appear in the second film has been well documented but what about Joan Bennett? She's certainly not right for any of the existing female characters but could there have been an appearance in an earlier draft? Maybe Angelique decided to dispose of Elizabeth in a pre titles sequence?
I suspect the movie was written after they knew if Joan Bennett and Jonathan Frid would be in it. Had Joan consented to be in the movie, think they would have written a decent role in terms of screen time. Again that's complete speculation on my part.
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what about Joan Bennett? She's certainly not right for any of the existing female characters but could there have been an appearance in an earlier draft?
What an appropriate question for today, given that Carlotta's line about Mrs. Stoddard's death is featured in the slideshow.
As for could Joan Bennett have been considered for a character in an earlier draft, whether it might have been Mrs. Stoddard or some other character, the really interesting thing is that the 16 Magazine announcement article that I mentioned earlier in connection to Michael Stroka says that we should have also looked for Joan Bennett, Jerry Lacy and John Karlen in the movie. Obviously John Karlen is in it. We know Jerry Lacy was supposed to be in it but he couldn't get away from doing As The World Turns and was replaced by Thayer David. But we really know nothing about whether or not Joan Bennett was ever seriously considered or even if she would have considered doing it. All we know is she obviously isn't in the movie and, like you say, there isn't a character in the final script that she could have played. But all that being said, if Mrs. Stoddard had been in an early draft of the script and not simply a passing mention in one line of dialogue, it could have helped to tie hoDS and NoDS together. As it stands now, it's more like NoDS takes place in a parallel time band where the events of hoDS never took place...
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Given the way that things turned out, any Joan Bennett footage would have probably ended up on the cutting room floor.
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Given the way that things turned out, any Joan Bennett footage would have probably ended up on the cutting room floor.
You've probably got that right - and it may not have been just because DC was forced to cut so much of NoDS. I mean, just look at how DC cut much of what, based on the script, would have been Joan's/Liz' best material in hoDS. But as I've lamented before, almost anything that was purely character oriented and not soaked in blood and gore was ripe for DC to cut from hoDS...
Is there any wonder why cast members like Joan were not happy with the finished version of hoDS?
Sigh...
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If you want to learn about or refresh your memory concerning the background of Saturday's quote -
Page 8/Scene 28 - Carlotta (O.S.): 'Mr. & Mrs. Collins? Carlotta: 'I'm Carlotta Drake, Welcome to Collinwood.'
- check out -
Moving on, beginning with Scene 24:
- this post.
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Since the restoration of NODS is still grinding its wheels, maybe Big Finish could do an audio drama of the complete script?
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[pointing-up] That's certainly an intriguing notion.
the restoration of NODS is still grinding its wheels
Ansel Faraj said back in June that NoDS fans shouldn't give up because there is still hope of a restoration. We should only be so lucky...
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Given the way that things turned out, any Joan Bennett footage would have probably ended up on the cutting room floor.
You're probably right. Maybe her scenes would have been enough incentive to restore the film.
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Since the restoration of NODS is still grinding its wheels, maybe Big Finish could do an audio drama of the complete script?
I suggested this to Big Finish years ago and was told the script is "too visual."
I was also told that NODS is a separate license. If you notice, the Ross contain a copyright notice indicating Dan Curtis, while HODS lists MGM.
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More Curse of Dark Shadows, this time from 16 Magazine:
(http://www.dsboards.com/NoDSAnniQuoteImages/Charles_16Mag.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/fantastic_DS.jpg)
And yet another that indicates a fall release date.
As for the photo, I've never seen it published in any other magazines, which leads me to wonder if perhaps it was taken by one of 16 Magazine's own photographers, just like so many other DS photos were that were published in the magazine through the years the daytime DS was on.
However, there is an official still that is somewhat similar -
(http://www.dsboards.com/NoDSAnniQuoteImages/Charles_official.jpg)
- although, the location just might be different - and this official still is sort of a preview of coming attractions for what I'll be sharing next, probably tomorrow...
-
Quentin was the f**kin' bomb.
I bought the Quentin postcards. Didn't one have a spot for you to put your picture on it? Like a blank space for a face cutout? I started watching during Petofi and Quentin was already there so he was the man. And of course the sideburns, lol.
-
More Curse of Dark Shadows from 16 Magazine:
(http://www.dsboards.com/NoDSAnniQuoteImages/Charles_16.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Charles_16.jpg) for a 792X1076 version) | (http://www.dsboards.com/NoDSAnniQuoteImages/Gabriel_16.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gabriel_16.jpg) for a 792X1076 version) |
(http://www.dsboards.com/NoDSAnniQuoteImages/exciting_C_G.jpg)
Interesting that this one indicates a Halloween release date because that was close to when the film opened in NYC on October 13th.
And if you'd like to see a non-colorized version of the Charles still, here's a copy -
(http://www.dsboards.com/NoDSAnniQuoteImages/Charles_16_a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Charles_16_a.jpg) for a 708X563 version)
- which actually leads to another still from the same photo shoot (that also includes the still posted at the end of Reply #36, which is why it was a preview of coming attractions for today). First up, the version in the NoDS Pressbook -
(http://www.dsboards.com/NoDSAnniQuoteImages/Charles_tree_a.jpg)
- and a scan of the full still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Charles_tree.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Charles_tree.jpg) for a 700X540 version)
Also, I'd always suspected that the Gabriel still was from the Gallery scene but never could be sure because the background had been blotted out and replace by a solid color. But when I finally saw the actual still, my suspicions were confirmed -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gabriel_Strack.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gabriel_Strack.jpg) for a 540X700 version)
- though I never suspected Strack/Thayer David had also been blotted out...
-
Oops - I forgot to share this when I posted the identically worded blurbs in Reply #25:
(http://www.dsboards.com/NoDSAnniQuoteImages/D_in_m.jpg)
It should have been paired with the top one. But maybe I subconsciously wanted to wait to post it until after I'd shared the other Charles photos. Who knows? [easter_wink] But the interesting thing is that I don't believe I've ever seen it published anywhere else...
-
And I've decided to close out Curse of Dark Shadows by sharing 16 Magazine's announcement article. Initially I wasn't going to share it - mostly because at first I was too lazy to dig it out because it's stored with my daytime DS collection - but curiosity got the better of me, and there are definitely a few long forgotten parts of the article worth commenting on. So, without further ado, here it is:
(http://www.dsboards.com/NoDSAnniQuoteImages/CoDS-1.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/CoDS-2.jpg)
It's just very possible David Henesy will be doing a featured role? Roger Davis is almost definitely in the movie?!
Thank heavens the latter never panned out! Though I wonder if like Michael Stroka, he was under consideration for the Hippie? I also wonder if David Henesy might have also been under consideration for that role. We do know a few actors were under consideration - but the only one who was mentioned by name was Stroka. Henesy might have been a bit young - but certainly 15-year-olds had run away to Haight-Ashbury in the '60s, so it wouldn't have been an impossibility to see Henesy in the role. Though I do have to say there would have been some perverted pleasure in seeing RD play a character who gets bludgeoned to death. And if we can judge by KLS' hoDS diary, I suspect even a few DS actors would have appreciated it. [easter_wink] [easter_cheesy] But alas...
Look for Kathy Cody in the movie?
I wonder if at some point they were thinking of going with a somewhat older Sarah? Considering that DC ended up being less than pleased with Monica Rich's work - to the point that a fair amount of material with Sarah ended up on the cutting room floor - things might have actually worked out better with Cody in the role. But I supposed we'll never know. And for all we know, Cody may have simply been under consideration as an extra as someone on the Collinsport street and/or in Gregory's shop. Who knows?
(And unconnected to CoDS but it's interesting that this article is also one that claims that Frid said Bramwell was his very favorite character. Many Frid fans refuse to believe he ever said that. But he also said so in a 1972 article he wrote himself for a daytime magazine. So, it's kind of hard to deny that at least in the time frame of the few years after DS went off, that is indeed how he felt. Whether he changed his mind in ensuing years is another story...)
So, this article certainly poses some interesting possibilities that never panned out. But we also have to remember that it seems as if it was written before the second film even went into production, so casting could have still been in flux at that time. And obviously different decisions were ultimately made. And in the case of one, we dodged a bullet! [whew][lghy]
-
Maybe Kathy Cody was under consideration for the ghost of a servant girl. That was mentioned briefly early on and just dropped. Roger Davis was on a hot streak in Hollywood so he might just not have been available for the second film. Much to DC's disappointment, I'm sure. As for David Henesy, he didn't really seem interested in acting all that much anymore and might just have used his job schedule at the camera store as an out. What about Louis Edmonds? He was available and probably would have made a very good Gregory.
I seem to remember Frid saying that Bramwell was his favorite character at my first Shadowcon, way back in 1983. So it was not just an isolated remark.
-
If you want to learn about or refresh your memory concerning the background of Sunday's quote -
Page 9/Scene 29 - Carlotta: 'Mrs. Stoddard, before her death, served tea here every afternoon.'
- and/or Monday's quote -
Page 9/Scene 29 - Quentin: 'I'm afraid that's one tradition we won't keep.'
- and/or Tuesday's quote -
Page 9/Scene 29 - Tracy (trying out one of the sofas): 'Oh, no! We can't let the house down. Why don't we call Claire and Alex. Tea in the drawing room with the lord of the manor.'
- and/or Wednesday's quote -
Page 9/Scene 29 - Quentin (to Carlotta): 'Oh, did you tell the Jenkins' we'd be here today?'
- and/or today's quote -
Page 10/Scene 29 - Carlotta: 'I didn't know you would wish it.'
- check out -
Moving on to Scene 29:
- this post. Things are definitely different in the film...
-
Now that I've shared just about everything I have that refers to Curse of Dark Shadows, I have to confess that I'm nowhere near certain just when the decision was made to rename the film Night of Dark Shadows. And that's mostly because, even though the film would open in New England as NoDS in August and it was being promoted in newspapers as such right from August 1st, right through July it was still being talked about in national magazines as CoDS. Though, of course, most of those magazines were at least a month behind the time they came out, if not more than a month. For example, the article I just shared from 16 came out in April (as the June issue of 16) but it certainly appears as if the article itself was written in March or maybe even a bit earlier.
All I do know for certain is how I found out about the title change. And that was thanks to a friend's sister who in the second half of July had gone with her friends to see a film at the same indoor theater in my city where NoDS would open on August 25th. While there the theater showed a trailer for NoDS and indicated it was "coming soon." As soon as she got home, knowing what a huge DS fan her brother was, she told him about seeing the trailer for NoDS. Of course his reaction was, "What do you mean Night of Dark Shadows, the film is titled Curse of Dark Shadows. And her natural reaction was she knew what she had seen and the film was definitely called Night of Dark Shadows. Though even in the face of such direct evidence, he was still a bit dubious about her info, as only a brother can be. But he had to admit the truth once we started to see TV spots promoting the opening of Night of Dark Shadows in the area on August 4th.
And speaking of those TV spots, my favorite of the two I saw is definitely the one that appears on MPI's DS Behind The Scenes VHS/DVD:
I was thrilled to death to see it again in '91 when that VHS came out. And one of the reasons I like it even more now than I did originally is because it jams in so much deleted stuff into only 30 seconds.
(http://www.dsboards.com/NoDSAnniQuoteImages/Carlotta_seance.jpg)
Carlotta during the seance
(http://www.dsboards.com/NoDSAnniQuoteImages/Quentin_seance.jpg)
Quentin during the seance
(http://www.dsboards.com/NoDSAnniQuoteImages/Strack_trample.jpg)
Strack being graphically trampled (though this was in the R-rated version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Light_tower.jpg)
A light moving in the tower
And when this spot played leading up to the opening, a local announcer added at the end, "Night of Dark Shadows starts Wednesday at a theater near you. Check your local paper. Rated GP."
Nowadays no one could check their local paper because most newspapers don't even have amusements sections, much less a section that advertises/lists current films and times!
And the other TV spot that played in this area was the 10 second version. It simply consisted of the footage of Angelique moving in to attack Tracy and its voiceover simply said, "From the makers of house of Dark Shadows, Night of Dark Shadows. Ho, ha, ha, ha, ha, ha! A night of...terror!"
And when that one played while NoDS was already open, a local announcer added, "See Night of Dark Shadows in a theater or drive-in near your home."
I understand that there's also a 20 second TV spot, but I've never seen it...
-
Before I start to share things that came along after the change of title to Night of Dark Shadows, I want to mention that I came across a much better version of the non-colorized Charles still in Reply #38. This is what happens when one (foolishly) has NoDS stuff stored in more than one place rather than all together (but that would be too easy and so not me [easter_wink] - though to be fair on myself, I have so much NoDS stuff that I don't think I have a place where I could store it all in one place unless I was to rearrange half of my house's storage - and that would be way too much of a pain). So I scanned and uploaded it in place of what had been there.
You may have to clear your browser's cache to access the new version...
-
When did the title change from Curse to Night happen? Was that DC's idea or something that MGM inflicted upon him? My memories are somewhat vague at this point but I seem to recall that some of the pre release publicity used the earlier title.
-
No idea when it happened, but as I said, even just a few weeks before the film opened it was still being referred to as Curse of Dark Shadows in national magazines. And as to who decided on the change, well, from the outset CoDS was often reported as only a working title, but who decided on the change to Night of Dark Shadows is anyone's guess. It could have been DC - but just as easily it could have been someone at MGM. (It was MGM who decided Dark Shadows wasn't clear enough a title for the first film so it was renamed to house of Dark Shadows.)
All that being said, though, I've often wondered if Night of Dark Shadows was chosen as a play on words of Quentin's Theme (Shadows of the Night) - but who knows?
-
For a variety of reasons, first up from after the Night of Dark Shadows change is this:
(http://www.dsboards.com/NoDSAnniQuoteImages/Gerard.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Gerard-2.jpg)
As far as the photo of Gerard goes, I don't believe it has ever been published elsewhere. However, a different version from the same shoot appears on page 156 of the Millennium Edition of the DS Almanac. It's an almost full body shot that also shows "Collinwood" in the background.
But the real reason I'm sharing this first is because of what the blurb says. Once again Michael Stroka is listed in the cast, and given the blurb was definitely published if not actually composed after NoDS had already opened, one might suspect word would have gotten out that he is not in the film - but apparently not to whoever wrote the blurb up. And with regard to that writer, I absolutely hate that they give away Gerard's entire story ark! Was it really necessary to do that?! Thankfully I had already seen NoDS before I read the blurb, but I'm sure there were many others who had not. (But then the entire plot of hoDS, save for the very end, had been spoiled by dozens of hoDS articles, too many of which came out before the film even opened, so a fear of spoiling things was not on any of those writers' minds either.)
And the second thing I want to share is this (mostly because of recently posting the 16 Magazine announcement article):
(http://www.dsboards.com/NoDSAnniQuoteImages/Lacy.jpg)
Apparently that was part of a Jerry Lacy piece of some sort. (The rest of that is stored in an even totally different place than all of my daytime DS and movies stuff. [easter_wink])
-
Super stupendous? That is fairly typical of the 16 way of phrasing things.
I did watch ATWT a bit, just to see what Jerry would be like in another role. Simon Gilbey was a millionaire/control freak with a somewhat obsessive interest in his niece/ward Meredith Harcourt. The storyline ended rather quickly and the characters were written off. Probably some sort of behind the scenes issue.
The thing that I remember most is that Simon's efficient executive assistant Marge Peterson, who Simon always called Pete, was played by the fantastic Margaret Hamilton. Reverend Trask and the Wicked Witch of The West working side by side!
-
I haven't forgotten that I promised to share some magazine blurbs that are quite stupidly inaccurate. Saying Michael Stroka was in NoDS is one thing because at least he was considered for the film - but this one really takes the cake:
(http://www.dsboards.com/NoDSAnniQuoteImages/KLS.jpg)
I bet that would have surprised KLS (especially considering she'd been living/working in England for nearly an entire year!) and anyone who saw the film, but it would have really surprised Kate Jackson who was the one who actually gave one of those two smashing performances!!
[easter_rolleyes] And this one isn't even half of it...
-
Merely smashing? Not super stupendous? Hmm, must be the hair!! [easter_grin] [easter_rolleyes] [easter_grin]
-
[pointing-up] Apparently magazines other than 16 don't know how to write for the greatest effect. [ghost_nowink]
-
Hmm, must be the hair!! [easter_grin] [easter_rolleyes] [easter_grin]
The more I think about that, the more I suspect you may be right. [b003]
-
And I didn't forget about reviews so here's one, along with some extras:
(http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-1.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-2.jpg)
And they confuse Charles with Quentin - but then, what do I always say about any version of DS and blunders? [easter_wink]
And as with the still of Tracy and Quentin in the vaults, the still accompanying this review also appears in the NoDS Pressbook -
(http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-3.jpg)
- which also leads to a much better version -
(http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-4.jpg) for a 1088X838 version)
- and like the Charles still, there's an alternate (and rare) version -
(http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-5.jpg)
- but unlike anything I've shared so far, there's also an alternate (and rarer still) color version -
(http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-6.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-6.jpg) for a 700X476 version)
There's also a color version as part of the NoDS Lobby Cards set - but the subject of those won't be discussed until after we get to the point when I'm discussing seeing NoDS at the indoor theater...
-
Today I'm going to share a few miscellaneous things:
This time, instead of Michael Stroka, it's Jerry Lacy mistakenly listed in the cast -
(http://www.dsboards.com/NoDSAnniQuoteImages/Lacy-2.jpg)
- and it was accompanied by the still of Tracy and Quentin in the vaults. I'm not going to share that again, but I will share the caption -
(http://www.dsboards.com/NoDSAnniQuoteImages/Lacy-2a.jpg)
- and I'm thinking these were published in Daytime TV, a magazine that probably should have known Lacy wasn't in the film and had been replaced by Thayer David. But I suppose even back then it was too much for some writers to check their facts - it's not just a fault today's writers all too often exhibit...
Next, I want to share again an interview John Karlen mostly did to promote Daughters of Darkness but also NoDS because they were in Boston at the same time. But as I've warned before, he doesn't say the most flattering things about working on the daytime DS (back at the time of the interview DS fans were quite upset by his remarks):
Click here (http://www.dsboards.com/images/JK_Fights_Vamps.jpg) for a 556X1266 version.
And while I was digging out more NoDS newspaper ads for the August 25-31 showing, I came across some others that I thought were worth sharing (though for completely opposite reasons):
First up is the only ad for the Ponta Drive-in not to feature some full variation of NoDS' B poster (though it is a part variation) as well as featuring a barely-there variation of the hoDS B poster -
(http://www.dsboards.com/NoDSAnniQuoteImages/Ponta2.jpg)
- and lest you think the Ponta might have made those up on their own, au contraire, those are both in each film's respective pressbook -
(http://www.dsboards.com/NoDSAnniQuoteImages/Ponta2a.jpg)
And as for why I'm sharing the second ad, it's only because it just might be the most boring ad for the NoDS/hoDS double bill -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&Q.jpg)
- and lest you think those aren't also in each film's respective pressbook, they are - though I haven't bothered to scan them and put them together to prove it. [ghost_nowink]
(And just as an aside regarding the Boro and Quonset Drive-ins, I've always assumed that they must have been owned by the same person or company because they always advertised as one entity despite the fact that the Boro Drive-in was located in Attleboro, MA and the Quonset Drive-in was located in North Kingstown, RI, cities not just in two different states but more than 35 miles apart...)
-
Well, Karlen was certainly outspoken, wasn't he? But I didn't find his comments any more abrasive than a lot of the remarks that I'd heard coming from Frid, especially when the show was still on the air. They both tempered their opinions somewhat on the convention circuit but who can say how they actually felt?
-
Now that I've shared just about everything I have that refers to Curse of Dark Shadows, ...
Oops, that wasn't quite right because I have the following that I also want to share -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hazards.jpg)
- which offers the perfect opportunity to reshare this article from the NoDS Pressbook about the drowning sequence (and the dream sequence) -
Click A Swimming Pool, Without Glamour (http://www.dsboards.com/NoDSquoteimages/Swimming.jpg)
- and something that's not referred to in that blurb, this article, also from the NoDS Pressbook, about the danger faced while shooting a hanging sequence up in a tree -
Click Too Much Realism...Almost (http://www.dsboards.com/NoDSquoteimages/Too_Much.jpg)
But the thing I've always found most interesting about the blurb is that, while there are several instances that talk about the drowning, the hanging and the bike riding dangers the actors faced while shooting the film, this blurb is the only place I'm aware of that mentions Selby's problems with horseback riding. And I'm not a bit surprised that Grayson Hall helped him with it because they were close friends during the time they worked on DS together...
-
If you want to learn about or refresh your memory concerning the background of Friday's quote -
Page 10/Scene 31 - Carlotta: 'As a child I used to hide here. They had so many parties then. All the guests...were so elegantly dressed and the candles were always burning.'
- and/or Saturday's quote -
Page 10/Scene 31 - Tracy: 'You lived here as a child?'
- and/or Sunday's quote -
Page 10/Scene 31 - Carlotta: 'My mother was the housekeeper.'
- and/or Monday's quote -
Page 10/Scene 32 - Quentin: 'Is that the tower I saw from the outside?'
- and/or today's quote -
Page 10/Scene 32 - Carlotta: 'Yes. It's used for storage now.'
- check out -
Picking up with Scenes 31 and 32:
- this post. Again, some things are different...
-
I know absolutely that I have a magazine blurb for NoDS that identifies Kate Jackson as Kate Harrington, but for the life of me I can't find it.
Now, it was bad enough when Jackson and KLS were confused in the blurb I shared in Reply #49, but at least KLS had been on DS and she and Jackson are within a few years of each other in age. But while Kate Harrington did do soaps in the early '70s, she's something like 30 years older than Jackson. How they could be confused is beyond reasonable understanding - well, unless perhaps the writer was on drugs - after all, it was 1971. [easter_wink] [easter_cheesy]
But as bad as some of what I've shared has been, I've saved the worst for last. I mean, what can one say about the following REALLY QUITE STUPIDLY INACCURATE blurb?!
(http://www.dsboards.com/NoDSAnniQuoteImages/Stupid.jpg)
Words almost completely fail on too many levels! But I will say that I seriously doubt that Jackson actually said what she's quoted as saying, especially considering Quentin does not become a vampire, therefore he isn't a ghoul in the film...
-
You know, MB, I did see the vampire reference in one other place. It was in one of the columns from The New York Daily News, quite possibly Earl Wilson, though I can't be positive after so many years. Anyway, the item ran like this: Kate Jackson marries a vampire in Curse/Night of Dark Shadows. Another female after eek-qual rights. [smile_groan]
There was another item where he referred to Lara as his type of Parker House Roll. [smile_groan]
Humor is such a subtle concept. [easter_evil]
-
You know, MB, I did see the vampire reference in one other place. It was in one of the columns from The New York Daily News, quite possibly Earl Wilson, though I can't be positive after so many years.
Well, there's also been a reference to vampires in something else I posted in this topic, though I suppose it's possible that it's somewhat debatable as to whether or not it qualifies as inaccurate. In Reply #15 the caption for the Boston Herald Advertiser's photo of Quentin with the candles says that Quentin is "one of a family of vampires." Of course, Quentin isn't a vampire in NoDS, but Quentin is a Collins and the Collinses certainly turned into a family of vampires in hoDS, with both Carolyn and Roger becoming one over the course of events, and then there's head-vampire Barnabas. So, even though there are no vampires in NoDS, the caption isn't completely inaccurate - though it certainly gives the wrong impression that there might be vampires in NoDS. And who knows where the caption came from because, unlike the photo The Boston Globe published, the photo of Quentin with the candles is not part of the NoDS Pressbook. If someone at the Boston Herald Advertiser wrote it, shame on them for giving a wrong impression. And even deeper shame on MGM if someone there wrote it...
-
Ad that appeared in the local newspaper 50 years ago today for the opening on the 25th:
(http://www.dsboards.com/NoDSAnniQuoteImages/Durfee_8-24.jpg)
And the version I put together from the NoDS/hoDS Pressbooks:
(http://www.dsboards.com/NoDSAnniQuoteImages/Durfee_8-24_a.jpg)
This is the first theater in my area since the Boston ad on August 1st that used a version of the NoDS A poster for its newspaper ad. Why? Like I said, who knows why most theaters and drive-ins preferred some version of the B poster...
-
I know absolutely that I have a magazine blurb for NoDS that identifies Kate Jackson as Kate Harrington, .....But while Kate Harrington did do soaps in the early '70s, she's something like 30 years older than Jackson. How they could be confused is beyond reasonable understanding
I wonder if the confusion had to do with Kate Jackson playing Daphne Harridge, which is at least somewhat close to Harrington.
-
[pointing-up] You know, I also thought about giving the writer that excuse as a possibility. But then I ruled it out because the writer thought Jackson wasn't even on DS, so he/she wouldn't have had her DS character in mind when he/she wrote the blurb...
-
[pointing-up] You know, I also thought about giving the writer that excuse as a possibility. But then I ruled it out because the writer thought Jackson wasn't even on DS, so he/she wouldn't have had her DS character in mind when he/she wrote the blurb...
That's true, I didn't think of that.
-
The whole blurb is just a disaster from start to finish. I can think of a few administrations the writer would have been perfect to write for. [easter_rolleyes]
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 11/Scene 33 - Quentin: 'I have a terrible feeling my ancestors would never have bought my work.'
- check out -
Setting up Scene 33:
- this post. And yet again, some things are different. But then it's probably best to just presume things are different because 99.9% of the time at least one thing is going to be...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 11/Scene 33 - Tracy (at the window): 'His paintings are very abstract.'
- check out -
Continuing with Scene 33 with today's quote:
- this post. And once again some things are different. But then I should probably stop saying that because everyone should just come to expect that things are different 99.9% of the time...
-
This is the first theater in my area since the Boston ad on August 1st that used a version of the NoDS A poster for its newspaper ad.
However, for the opening day ad even they went with a version of the B poster:
(http://www.dsboards.com/NoDSAnniQuoteImages/Durfee_8-25.jpg)
And the version I put together from the NoDS/hoDS Pressbooks:
(http://www.dsboards.com/NoDSAnniQuoteImages/Durfee_8-25_a.jpg)
And as it turns out there was probably a good reason why they went with versions of both the A and B posters for their first two newspaper ads, as I discovered when I went to the theater on the 25th to see NoDS/hoDS. But more on that down the road because I have other things about that day that I want to get into before getting into that...
-
Before we move on from the subject of the B poster, there's a rather unique version in the NoDS Pressbook that I never saw used in any newspaper. But then the type of ad that it is would most likely only have been published in something like the New York Times or the Los Angeles Times. And I'm sharing it running down the left side of this post.
| (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_long.jpg) | As for the main purpose of this post, it's to give a sort of tutorial about the sizes of the various NoDS posters for those who may not be familiar with the terms for them.
(http://www.dsboards.com/NoDSAnniQuoteImages/Posters.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Posters.jpg) for a 940X1490 version)
| 3 SHEET | - 41" x 81"
Larger lobby displays.
No longer used today.
| | 1 SHEET | - 27" x 40"
Theatre lobbies, theatre marquees and glass display
cases.
Still in use today.
| | INSERT CARD | - 14" x 36"
Theatre lobbies and glass display cases.
Still in use today.
| 28 X 22
LOBBY CARD | - Self-explanatory.
Still in use today.
| | 6 SHEET | - 81' X 81"
Huge lobby displays and theatre marquees.
No longer used today.
|
As you may have noticed, only the 3 Sheet and Insert Card versions of the NoDS A poster feature the full artwork. Back in the day copies of the 3 Sheet poster were available to fans for purchase through companies like Cinema Attic (where I bought most of my hoDS/NoDS promotional materials) but I've never seen a copy available online for purchase. (Though, of course, that's not to say it never has been available.) On the other hand, I've seen multiple copies of the Insert Card available online for purchase. I own a copy (a rather special copy as far as I'm concerned - but more on that down the line). I also own a copy of both the A and B 1 Sheets, and the 28 X 22 Lobby Card.
|
I've already posted copies of the A and B 1 Sheets. A copy of the Insert Card will be forthcoming (though not my version just yet). And here's a copy of the 28 X 22 Lobby Card:
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_card.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_card.jpg) for a 1897X1486 version)
That 71/285 code appears on most of my NoDS theater memorabilia. I've always presumed it's the internal MGM code for the film. Though one thing that's interesting about my copies is that most are missing the GP rating...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 11/Scene 33 - Carlotta: 'How interesting.'
- check out -
And continuing with Scene 33 with today's quote:
- this post. And if you're presuming things are different in the film, you are correct...
-
Something I forgot to mention is that I do find it somewhat odd that the NoDS Pressbook doesn't feature any version of the B poster on that page that I shared in the previous post. While it mainly focuses on the A posters, the hoDS Pressbook does indeed feature an image of the B poster. Though, as I said with regard to there being both a color and a B&W B poster for hoDS and there apparently only being a color NoDS B poster, I suppose what was done for hoDS has no bearing on what was done for NoDS...
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It's funny the things you remember like they happened yesterday but actually happened dozens of years ago. Such is the case with all the circumstances surrounding the three different days I went to see NoDS. The most exciting was certainly August 6th, most probably because I was going to see new DS for the first time in almost 4 months and the cancellation of the daytime show had been so devastating. But I have no less clearer memories of August 25th. In fact, my memories of the 25th actually start on the 24th because that was the day the ad announcing NoDS was finally going to open at the Durfee Theatre appeared in the newspaper. Given my friend's sister had seen the trailer there back in July and the film had opened in so many other places on the 4th, as August went on, we couldn't help but wonder if NoDS wasn't even going to open at the Durfee! But at last it was going to. And it was funny that my friend and I saw the ad at the same time because we were together when we checked the newspaper that day. Immediately we began making plans to see NoDS the next day. Being a Wednesday, though, our parents were all going to be working, so we were going to have to take the bus downtown because the theater was four miles from both our houses. But taking the bus downtown wasn't anything new to us because we took the bus downtown nearly every Saturday, checked out the stores, then took another bus to a nearby mall to check out those stores and meet other friends. Needless to say, we planned to be at the theater for the very first showing at 1pm and to remain at the theater to see NoDS multiple times, which is something that was possible to do back then (we'd done the same when hoDS had originally opened at the Durfee).
We always met up downtown at the local record store where we always bought our favorite 45s of the day. And as I arrived at the store first and needed to kill time, I picked up Paul and Linda McCartney's Uncle Albert/Admiral Halsey. (And I'm sure I must have driven my mother insane whenever she was around when I played it because I loved it so much that I played it OFTEN. Although I also often played the only other 45 I'd bought that summer, The Raiders' Indian Reservation - and I like to think both records went to #1 on Billboard magazine's Top 100 Singles Chart because I bought them during the week they peaked - though obviously it really took a lot more than my copies to reach #1 - but I digress...)
Now, even though we'd already seen NoDS, it was no less exciting that we were going to see it again - and not just simply for the film itself but especially because, unlike some other drive-ins in the area, the Ponta Drive-in's snack bar didn't display promotional materials for the films they showed. On the other hand, the Durfee Theatre showcased just about everything you could think of for the films they showed. This post is going to focus only on the outside of the theater.
And so to better picture what I'm going to be talking about, here's a photo of the outside of the Durfee Theatre (a photo that was taken slightly more than a week after the 25th and which I've scanned from a book about the losses of magnificent structures due to the addled '70s notion that progress is worth the loss of anything, but maybe more on that some other day):
(http://www.dsboards.com/NoDSAnniQuoteImages/Durfee_front.jpg)
As you can see on either side facing the street were glass cases in which the Durfee displayed the main attraction's Insert Cards. Adjacent to those cases but at an angle toward the entrance were glass cases in which the main attraction's 1 Sheet was displayed. And above the entrance was normally where banners for the associate attraction were displayed. All that meant that what was displayed outside the theater for NoDS was two copies of these -
(http://www.dsboards.com/NoDSAnniQuoteImages/Durfee_street.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Durfee_street.jpg) for a 1092X1000 version)
- and I'm pretty sure that the hoDS banner was the same design as the ad the Ponta had used for hoDS in the newspaper ad I'd shared back in Reply #1 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Durfee_hoDS.jpg)
And as I was preparing the materials for this post I couldn't help but think that if our 15-year-old selves had been experiencing all this in this day and age and not in '71, my friend and I would have surely had our cell phones in hand taking all sorts of selfies outside the theater to share on social media. But back in '71 the idea of having even an instamatic camera with us and snapping photos outside the theater was completely a foreign concept. I can only imagine what the other patrons that day would have thought of us if we had done that. Though part of me almost wishes that we had. [b003]
Next up in the saga: what was to be discovered after entering the theater and while ascending the slope of the outer lobby...
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As you may have noticed, only the 3 Sheet and Insert Card versions of the NoDS A poster feature the full artwork. Back in the day copies of the 3 Sheet poster were available to fans for purchase through companies like Cinema Attic (where I bought most of my hoDS/NoDS promotional materials) but I've never seen a copy available online for purchase. (Though, of course, that's not to say it never has been available.) On the other hand, I've seen multiple copies of the Insert Card available online for purchase. I own a copy (a rather special copy as far as I'm concerned - but more on that down the line). I also own a copy of both the A and B 1 Sheets, and the 28 X 22 Lobby Card.
I own a copy of the 3-sheet for HODS that I won at auction at the 1991 DS fest in LA. What's interesting is that it actually consists of *two* sheets, one of which is the size of a one-sheet, and the other double that size. It's the size of three one-sheets, thus the name.
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What's interesting is that it actually consists of *two* sheets, one of which is the size of a one-sheet, and the other double that size.
Yes, that's standard practice. And usually the top of the poster is the large piece and the bottom is the small piece.
As nice as it might be, I can't even imagine owning a 6 Sheet poster because what would you do with it other than know you own it but have to keep it packed away? I mean, 6 Sheets measure 81 inches by 81 inches - that's 6 feet, 9 inches by 6 feet, 9 inches. You would need a wall with an awfully large free space to display it. Plus, if you want to frame it, you'd have to have a custom frame built - 81 X 81 frames aren't just sitting around in stock in the poster section at the local craft store. (And a custom frame of that size could easily cost way more than what you paid for the poster, particularly because plexiglass isn't routinely made in that size, and to have custom sized plexiglass made can cost hundreds if not over $2000 for something that size! Don't believe me, check out: TIPS FOR FRAMING: OVERSIZE POSTERS (http://www.learnaboutmovieposters.com/NewSite/INDEX/ARTICLES/framing-oversize.asp)) Not to mention you'd need to have a really understanding significant other to tolerate something that huge on display on a wall in the house...
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If you want to learn about or refresh your memory concerning the background of Saturday's quote -
Page 11/Scene 33 - Quentin: 'Is this one of the family?'
- and/or today's quote -
Page 11/Scene 33 - Carlotta: 'That's Angelique Collins. She died in 1810.'
- check out -
And more of Scene 33:
- this post...
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Before continuing with the 25th, I want to jump ahead briefly to today because 50 years ago today was the last time I saw NoDS is a theater.
It's a bit odd that we chose a Sunday to go because, as you may have noticed, there was no discount at the Durfee Theatre on Sundays, tickets were $2. And while $2 would be a pittance to see a film today, it was a bit pricey back in the '70s - especially for kids who still only had an allowance. (For example, I saw literally hundreds of films at the local mall back in the '70s and I never paid more than $1.25 a showing.) Not to mention we'd only paid $2 a car when we went to the Ponta Drive-in.
But price was actually the smaller part of the oddness of the decision because buses didn't run on Sundays where I lived, and our parents all had commitments that Sunday and couldn't give us a ride, so we had to walk. And the funny thing is I remember that walk as if it was just yesterday - but then I've already said that I remember all the circumstances surrounding the three different days I went to see NoDS. [wink2]
Though the good thing is we weren't going to have to walk home because my mother said she would pick us up at the theater around 9pm on her way home from the party she was going to, and that timing was perfectly fine with us because it meant we'd be able to see NoDS three more times that day.
And it probably won't surprise anyone that I still have the ticket stubs from all three trips to see NoDS:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tickets.jpg)
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And now, what awaited discovery in the outer lobby of the Durfee Theatre:
(http://www.dsboards.com/NoDSAnniQuoteImages/Durfee_outer.jpg)
You may wonder why the outer lobby was so big or why there even was an outer lobby. Well, that was because the Durfee Theatre wasn't just a movie theater, it was also a stage theater. In between films, traveling stock plays and musicals sometimes played the theater, more often than not featuring big name stars. (Though sadly none of the plays Joan Bennett did on tour during her times away from DS ever played there. It would have been a huge hoot if one had.) And it wasn't just plays/musicals because in 1969 Lillian Gish hosted a retrospective of her silent films at the Durfee. The outer lobby was so big because that's where audiences gathered to wait before being allowed into the box office lobby to present their tickets for plays/musicals or to purchase tickets for plays/musicals/films.
But we're more interested in what the outer lobby's purpose was with regard to films, and that use was as a place to display lobby cards for the current film and to advertise posters for upcoming attractions. And something that dawned on me as I was preparing material for this post but foolishly never dawned on me back in '71 was that rather than sitting around wondering when NoDS was going to open, we could have simply checked out the outer lobby to see if NoDS was being advertised. [6184] During business hours the outer lobby was always opened to the public regardless of whether or not you intended to see a film or you didn't. And if you check out the photo, you'll notice a glass case in the middle of the wall on the left side. that's where the coming attractions posters were displayed.
But for the purposes of this post, we're more concerned with the case on the far right of the photo because that's where a film's lobby cards were displayed. And that's where I first saw the eight NoDS lobby cards. Most of you have probably also seen them. But I'm going to share them for those who may not have. But I'm going to post them in the order the scenes they feature come up in the film rather than in the order they're numbered. Here are the first four:
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_6.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_6.jpg) for a 930X738 version)
(Ever since reading Grayson Hall's NoDS script, I've often wondered if, rather than a photo that oddly seems to have been taken in the foyer when Carlotta actually greets Quentin and Tracy in the entry, this lobby card is actually fromthis line of dropped dialogue
and DC decided they would move into the foyer before Carlotta delivered it?)
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_1.jpg) for a 930X738 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_5.jpg) for a 930X738 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_3.jpg) for a 930X738 version)
(The other color version I referred to in Reply #53.)
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The last four:
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_2.jpg) for a 930X738 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_8.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_8.jpg) for a 930X738 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_7.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_7.jpg) for a 930X738 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_4.jpg) for a 930X738 version)
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And in their numbered ordered they were displayed in the glass case in Durfee's outer lobby very similarly to like this (along with the 28 X 22 lobby card poster):
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_Cards.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_Cards.jpg) for a 1972X1189 version)
And from the minute I saw them I wanted to own my own copies, though I had no idea how that was going to happen. But lo and behold soon after I got an after school job I discovered Cinema Attic. They were a Philadelphia-based business that specialized in movie memorabilia and they advertised in the backs of '70s' TV and movie magazines (I'm sure most of you remember all those ads [wink2]). You sent away for their catalogue and before long you knew if they carried merchandise from your favorite films. Their inventory was hugely extensive, so chances are they did - and they definitely carried loads of material from both DS films. But the very first thing I ordered was the NoDS Lobby Card set. And in September of '73 my hope of owning my own copies of the set became a reality! [happy2]
(BTW, though, the copies I'm sharing here are not scans of my cards. Mine are in mint condition. These came from scans provided by the Heritage Auctions Web site, and I shared their scans because, despite a few imperfections, they're the best I've seen on the Internet when it comes to size and quality. I couldn't even scan my copies if I wanted to because, considering each card is 14 X 11, my scanner wouldn't scan the whole card...)
And just what is it that awaits in the box office lobby...
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If you want to learn about or refresh your memory concerning the background of today's quote -
Page 11/Scene 33 - Tracy: 'Every room I've been in, I've kept thinking - oh, this is where I'll spend most of my time. But this is it! The view's incredible.'
- check out -
And yet more of Scene 33, picking up where we left Quentin staring at Angelique's portrait:
- this post...
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Briefly switching back to newspaper ads, this version of the A poster is the ad the Durfee Theatre ran throughout most of NoDS' run:
(http://www.dsboards.com/NoDSAnniQuoteImages/Durfee_8-week.jpg)
And the version I put together from the NoDS/hoDS Pressbooks:
(http://www.dsboards.com/NoDSAnniQuoteImages/Durfee_8-week_a.jpg)
And considering we've already seen the Durfee display three different versions of the A poster in various places, it's probably not a surprise they went with the A poster most days - and that bucked the trend that most other theaters in the area had set for their newspaper ads during the premiere run. But what might we see in the box office lobby? Only time will tell...
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If you want to learn about or refresh your memory concerning the background of today's quote -
Page 12/Scene 33 - Quentin: 'You know...I have a felling that I'll do better work here than I've ever done before...look at the color of that sunset!'
- check out -
And concluding Scene 33 and moving beyond within the sequence:
- this post...
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And on this 50th anniversary of the last day NoDS played at the Durfee Theatre, we finally reach the box office lobby and what happened other and I discovered on the 25th. Here's a photo of that inner lobby:
(http://www.dsboards.com/NoDSAnniQuoteImages/Durfee_box-office.jpg)
The counter on the far right is where you purchased your tickets for the show. It's also where my friend asked if they had any of the souvenirs that had been handed out earlier in the month. I'm pretty sure the manager's wording was that the distributor no longer had any left for our area as they had all already been handed out. He didn't say only drive-ins and not indoor theaters had handed them out - but there was also no mention of indoor theaters having handed them out. And as I've said, none of the indoor theaters' newspaper ads in this area had advertised anything about handing out the souvenirs, so I suppose we can derive from all that what we will.
Another thing about this lobby that's worthy of note is also on the right side of the photo. You may have noticed the arch on the wall with a wooden structure that might look like it's a bench. Well, it was of sorts, but what it really was might surprise you because it was the frame to a fish pond. Yup, actual living fish swam around in their own little pond. It was a feature I suspect very few theaters ever had.
But what we're most interested in is the display case under the stairs to the balcony because that's where the next and final NoDS materials were displayed. On the right and left sections of the case some things that we'd already seen displayed out on the street were again displayed, the 14 X 36 A poster Insert Cards. However, the poster that was displayed in the center section was not the A poster but the B poster. The Durfee actually went with both, and it was very interesting to see color images of what we'd so often seen in the B&W newspaper ads, especially how really red the blood running from Collinwood was. It also struck as interesting that there seemed to be more blood in the NoDS B poster than there was in the hoDS B poster even though one might think it would have been the opposite given that hoDS was about vampires. But then, who were we to question the poster artists' visions? [b003]
And here's a close interpretation of what the display looked like:
(http://www.dsboards.com/NoDSAnniQuoteImages/Durfee_box-office_a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Durfee_box-office_a.jpg) for a 1806X1202 version)
So, after taking in that display case, it was time to go inside the theater, pick out our seats, and look forward to seeing NoDS multiple more times...
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If you want to learn about or refresh your memory concerning the background of today's quote -
Page 12/Scene 35 - Tracy (O.S.): 'It's almost like living in a museum, isn't it?'
- check out -
Oops - I just realized I jumped the gun and already discussed tomorrow's quote! [snow_strange]
- this post...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 13/Scene 38 - Tracy: 'Darling, what's wrong? What are you thinking about?'
- check out -
Moving on to Scene 36 and beyond within the sequence:
- this post...
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And BTW, lest anyone think that there won't be any more things posted in this topic except for quotes from the slideshow, I can assure there's plenty more to come. It's just that this week I've been busy with other things and haven't had the time to prepare anything more for posting. But definitely look for things next week...
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And BTW, lest anyone think that there won't be any more things posted in this topic except for quotes from the slideshow, I can assure there's plenty more to come. It's just that this week I've been busy with other things and haven't had the time to prepare anything more for posting. But definitely look for things next week...
Fantastic! Thank you!
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If you want to learn about or refresh your memory concerning the background of Friday's quote -
Page 13/Scene 38 - Quentin: 'What? (turns to her) Oh, I don't know. Just ... daydreaming I guess.'
- and/or today's quote -
Page 13/Scene 39 - Tracy (O.S.): 'Come on, darling ... it looks delicious.'
- check out -
Continuing with Scene 38 and up to the end of the sequence:
- this post...
I can certainly understand Darren's point that the things that aren't in the film shouldn't be on the DVD/Blu-ray. But a part of me wishes the start of Carlotta's line when she comes back with the salad was still a part of it like is is a part of the version that's on Amazon Video.
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If you want to learn about or refresh your memory concerning the background of today's quote -
Page 13/Scene 40 - Tracy: 'We're very naughty. We should have at least called the Jenkins'.'
- check out -
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:
- this post...
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Before moving on to new things, I'd like to point out that NoDS played in several different areas of the country throughout August of '71. Obviously it played in my area both the weeks of August 4-10 and August 25-31. But thanks to our very own KMR we know that it also played in MI the week pf August 4-10. And thanks to a sample of newspapers once auctioned off on the Heritage Auctions Web site, it's known that NoDS played in Memphis, TN and surrounding areas the week of August 11-17. And thanks to a posting of a NoDS newspaper ad on Pinterest (https://www.pinterest.com/pin/148337381466784509/), it's known that it played in and around Philadelphia, PA as well as parts of NJ the week of August 18-24. And thanks to an interview with Grayson and Sam Hall that appeared in the San Francisco Examiner that was also posted to Pinterest (in two parts: part 1 (https://www.pinterest.com/pin/388224430378579133/), part 2 (https://www.pinterest.com/pin/388224430378579119/)) it's known that NoDS played in the San Francisco, CA area the week of August 25-31. (And it does seem a bit odd that their interview was published two weeks before NoDS opened - but one presumes there was method to the madness.)
And the following photo may or may not have been published along with that article -
(http://www.dsboards.com/NoDSAnniQuoteImages/Sam_Grayson-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Sam_Grayson-2.jpg) for a 960X788 version)
- but it does seem as if it was taken the same day as the photo featured with the article because Grayson and Sam appear to be -
(http://www.dsboards.com/NoDSAnniQuoteImages/Sam_Grayson-1.jpg)
- wearing the same clothes...
And it probably won't surprise anyone that all the newspaper ads I've seen from the various areas mentioned above all used some version of the B poster. Theaters did love those B poster ads in the NoDS Pressbook! [ghost_wink] [ghost_grin]
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I'm thinking that NODS got to the St. Louis area somewhat later. Mark Messina, who was the president of Grayson Hall's fan club at the time, wrote about visit with Sam and Grayson when they came through St. Louis as part of the publicity tour for the movie. Mark was also interviewed by the local paper. The interview is dated January 24, 1972. It's unlikely that MGM would have sent anyone out on a publicly tour for a movie that was no longer playing
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[pointing-up] I wonder why it took so long to get to St. Louis? Very interesting - especially when the reported profit NoDS brought in only covered its first three months in release...
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If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 14/Scene 40 - Quentin: 'Are you going to be happy here?'
- and/or today's second quote -
Page 14/Scene 40 - Tracy: 'Yes, if you are ...'
- check out -
Continuing with Scene 40 with Quentin's reply to Tracy:
- this post...
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Had I remembered this existed, I would have posted it yesterday as part of Reply #90 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tour.jpg)
- but I didn't find it again until today while I was looking for something else. It's an excerpt from an interview Sam Hall did with Ed Gross back in 1983 and which appeared in one of the DS Files books.
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another review:
(http://www.dsboards.com/NoDSAnniQuoteImages/dead-serious.jpg)
I've often wondered if they were disappointed there wasn't any grisly humor in NoDS. Personally, while I definitely enjoy that in some horror films, I think it would have definitely been out of place in NoDS.
But anyway, this review was accompanied by this small triangle of Charles (the same as the second featured in Reply #38) -
(http://www.dsboards.com/NoDSAnniQuoteImages/dead-serious_cover.jpg)
- that appeared on the bottom-right corner of the cover of the magazine (and for the life of me I can't remember what magazine it was, but it was a small magazine, similar in size to Video Watchdog, but obviously that wasn't the magazine because there wasn't a home video industry in '71) and the magazine focused on current films in release - and it was accompanied inside by a closely cropped version of the still of Tracy and Quentin in the vaults, the one which is featured in Reply #22. I won't share that here, however, after posting the versions in Reply #22, I came across the actual still of that photo, which I'd completely forgotten I owned, so here's a scan of that because it's the best version of the still:
(http://www.dsboards.com/NoDSAnniQuoteImages/dead-serious_a.jpg)
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If you want to learn about or refresh your memory concerning the background of 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.'
- check out -
Concluding Scene 40 and moving through the sequence as it was scripted, shot, and how it originally played:
- this post...
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If you want to learn about or refresh your memory concerning the background of today's quote -
Page 15/Scene 46 - Quentin: 'Hi...wake me in two hours. I'm beat.'
- check out -
Setting up the new scene:
- this post...
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If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 15/Scene 46 - Tracy: 'Serves you right for wandering around last night without me.'
- and/or today's quote -
Page 16/Scene 46 - Tracy: 'We haven't been married that long. I know when you're not in my bed.'
- check out -
Picking up where we left off with Scene 46:
- this post...
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Considering Grayson and Sam didn't comment about NoDS in their San Francisco Examiner interview, I figured I'd share some comments they'd made elsewhere. First up, what Sam had to say in a 1983 interview he did with Ed Gross for the DS Files books (the same interview the excerpt in Reply #94 came from):
(http://www.dsboards.com/NoDSAnniQuoteImages/Sam1.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Sam2.jpg)
And Grayson is quoted in The DS Companion as saying "If you could find the original script, it really was something quite wonderful."
Unfortunately, I've never come across whatever interview Grayson did where the quote was taken from. Obviously it's a remark that was made in hindsight so it could have even been said at one of the Grayson Gatherings of her fan club and possibly published in an account of that particular gathering in a Grayson or other fanzine.
As for Sam's remarks, well, we know the length of the version of NoDS that they showed MGM was 129 minutes and not 165. However, at one point there may have been a 165 minute version because it's common practice for a director to assemble a fairly long "rough cut" of a film and then to whittle it down to something much more manageable. And it is true that there is still at least one sequence in the film in which characters are seen while another character goes walking by them without any dialogue being spoken and that would be after Quentin tells Alex to leave the house and on his way to do so Alex is seen walking past Carlotta and Gerard on the stairs, and after we hear the front door close when Alex leaves, we then see Quentin descend the stairs past Carlotta and Gerard. However, that sequence is actually written in the script to take place that way so it's not simply due to any directorial style choices DC might have made. And speaking of Gerard, the subplot that made its way to the cutting room floor was many of the scenes involving Gerard and Tracy and his obsession with her (after he's replaced by Quentin in Angelique's, uh, affections). And the fact that MGM had so little time to come up with a final print for NoDS goes a long way in understanding how the R-rated print managed to slip out to theaters. And it's definitely true and confirmed elsewhere that MGM wanted to make a third film but DC didn't - but then, given the way he'd been treated by MGM with NoDS, can anyone blame him for not wanting to work with them again?
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The "monster" was, of course, James Aubrey. He wasn't known as The Smiling Cobra for nothing. There was a lot of miscommunication going on here, to say the least. MGM was no longer the major studio that it once was. HODS was one of the few successful movies that MGM released in the early 1970's and they probably hoped that the follow-up would do the same. I expect that they probably wanted a Hammer/AIP/Vincent Price hybrid that could play drive in theaters for an extended period. Though I recall NODS as the third or fourth attraction on some drive in bills into the early 1980's, it really didn't have the necessary PG gore to make it a drive in staple.
Aubrey was not known for tact or diplomacy. DC probably wasn't either. But, as the head of the studio, Aubrey was going to get his way no matter what.
I don't remember where I first saw that quote from Grayson about the movie. Possibly in Soap Opera Digest, around the time that she joined OLTL.
I've heard rumors about a third DS movie for years. I don't know if there was ever anything that went past the talking stage. I am a bit surprised that Curtis turned the idea down. Ego aside, he seemed to fancy himself as a film director but his next vehicle didn't come along until Burnt Offerings, a good five years later. The rest of his work was strictly in television.
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I remember that Burnt Offerings was released through United Artists. But I was a bit fuzzy on just when UA merged with MGM? It was either a few years before or a few years after. And I wondered if James Aubrey was still at MGM? But BO came out in '76, and after looking things up I see that the merger didn't take place until '81 and Aubrey left MGM in '73, so DC didn't have any association with Aubrey for BO...
One thing I found amusing but for all the wrong reasons is that one of the Web sites about Aubrey says "directors often charged him with philistine meddling, and he alienated many of them" - why do I suspect DC would have had much worse things to say than referring to what Aubrey did with regard to NoDS as "philistine meddling" and "alienating" DC?! [ghost_wink] [ghost_grin] [ghost_rolleyes]
(Something else that's interesting is that apparently Aubrey worked as a consultant for Brandon Tartikoff during the '80s and early '90s. I wonder what Aubrey thought when Tartikoff vigorously pursued DC to revive DS for NBC? Though by that time DC was a powerhouse in the industry thanks to The Winds of War and War and Rembrance and Aubrey was pretty much an afterthought. How circumstances can change...)
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Aubrey was quite a character. In more ways than one. Robin Stone, the main character in Jacqueline Susann's The Love Machine, is modeled after him.
Prior to MGM, he was president of CBS. He was responsible for some of the network's biggest successes such as Gilligan's Island and The Beverly Hillbillies, but also locked horns with virtually everyone at CBS from talent to other executives. His downfall may have come when he greenlighted three series from his friend, a minor show business figure named Keefe Brasselle. The three series, The Baileys of Balboa, The Reporter and a Cara Williams sitcom were poorly received by critics and audiences and went way over budget. Brasselle was also alleged to have ties to organized crime. Details are vague about what happened next but Aubrey was soon gone from the network.
He landed at MGM about two years later. Where he basically repeated the pattern. Aubrey canceled two Julie Andrews projects because he felt that musicals were no longer box office material. He also tried to cancel Ryan's Daughter but the film was just about completed, though still over budget.
Aubrey also edited many of the completed films, including films from Blake Edwards and Sam Peckinpah. Wikipedia states that Aubrey made a point to cut scenes in Pat Garrett and Billy The Kid that Sam specifically did not want cut. If Aubrey was able to do this with directors with a proven track record like Edwards and Peckinpah, it's not surprising that he would have pulled the same stunt with a neophyte director like Dan Curtis.
But Aubrey must have done something right somewhere because at one point he dated Raquel Welch.
-
Aubrey was quite a character. In more ways than one. Robin Stone, the main character in Jacqueline Susann's The Love Machine, is modeled after him.
I had no idea about that. But with that in mind, one thing that's an interesting twist is that the film version of The Love Machine also came out the same week as NoDS in August of '71. Unlike NoDS, though, TLM was a box office disaster...
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 16/Scene 46 - Quentin: 'Well, I was and all night, dreaming very strange dreams.'
- and/or today's quote -
Page 16/Scene 46 - Tracy: 'I won't fight with you. Ever. Now get up.'
- check out -
Wrapping up Scene 46, beginning with yesterday's quote, Quentin's reply to Tracy:
- this post...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 17/Scene 50 - Carlotta: 'Is anything wrong, Mrs. Collins?'
- check out -
Setting up the current scene:
- this post...
-
The review from Parents Magazine:
(http://www.dsboards.com/NoDSAnniQuoteImages/Parents.jpg)
And while it may not seem particularly flattering, it is when compared to their review of hoDS. One thing the two have in common is the magazine accuses both films of bad direction and acting - but then they also betray themselves as being prejudiced against DS because the hoDS review says the mystery to them is the daytime show's great popularity. And while they rated NoDS "Fair" for adults, that's actually a step up because hoDS was rated "Mediocre".
Quite honestly, whenever I read almost any of the reviews in Parents I picture the critic as someone like Dana Carvey's Church Lady because it's like very little pleases him/her because he/she finds fault in almost everything (though they did at least say that NoDS has an interesting and unusual plot - well, before they say how it gets ruined). But in the case of this particular review I definitely picture a Church Lady type because of how the review accuses NoDS of containing nudity. What?! About the most the film gets in the nudity department (even when it comes to the more explicit/graphic version) is this shot of Angelique:
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_tower.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_tower.jpg) for a 1160X640 version)
But, please, there's more cleavage on display in the majority of period dramas! Heck, there's more nudity on display in hoDS thanks to how Carolyn's shroud sometimes leaves little to the imagination (and there's no mention of nudity at all in Parents' hoDS review). But neither the DS films nor the period dramas would be considered showcasing nudity by the majority of individuals. But then, if you have a Church Lady mentality, well...
Although, perhaps the Church Lady reviewer felt the need to bring up nudity because of the sketch hanging on the wall in Charles' studio:
(http://www.dsboards.com/SMF/index.php?action=dlattach;topic=42411.0;attach=73397)
If so, thank heavens the version of NoDS shown in theaters was 1.85:1 and not the 4:3 version of the VHS in which the sketch is seen like this:
(http://www.dsboards.com/images/no_00319.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/no_00317.jpg)
The reviewer's head might have exploded!! [ghost_rolleyes]
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 17/Scene 50 - Tracy: 'There's someone down there just staring up at me. Who is it, Carlotta?'
- check out -
Picking up where we left off, beginning with:
- this post...
-
Just to show that there were writers who actually reported the facts accurately, I'm sharing this magazine blurb:
(http://www.dsboards.com/NoDSAnniQuoteImages/nothing-wrong.jpg)
Given most of the other blurbs I've shared, it would be easy to understand if anyone wondered if mostly every magazine got anything from minor things to major things wrong - but most didn't...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 17/Scene 50 - Carlotta: 'There's no one there.'
- and/or today's second quote -
Page 17/Scene 50 - Tracy: 'There was a man. With two black dogs.'
- check out -
Picking up where we left off, beginning with:
- this post...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 17/Scene 50 - Carlotta: 'Oh, Gerard. Gerard Stiles. My nephew. He's the caretaker-handyman. He keeps the horses, too. I don't know what I'd do without him.'
- check out -
Picking up with today's quote, Carlotta's explanation:
- this post...
-
Oops - I just realized that I'd only done this slideshow up through the 16th. That's why things are incorrect today. But I will fix that right now...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 17/Scene 50 - Carlotta: 'Those dogs are very important to the security of the estate, madam ... now, is there anything I can get you?'
- check out -
Wrapping up the current scene:
- this post...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 18/Scene 51 - Gerard: 'Do you know what happened last night? [She does not answer.] Do you?'
- check out -
Setting up the new scene:
- this post...
-
As I was going through things and planning out future things to share, two thoughts struck me: it's unfortunate that some magazines used a quality of paper that doesn't seem to scan particularly clearly, and more often than I would have liked magazines chose to use a still from the NoDS Editor's Portfolio (which MGM provided with stills and background articles) that, if it was me making the choice, would have been the least likely one I would have chosen. Case in points, this:
(http://www.dsboards.com/NoDSAnniQuoteImages/1-fun.jpg)
It's really quite surprising how often that cemetery shot showed up in prerelease publicity in the various entertainment magazines rather than stills that featured actual stars from the film. Yes, as I've said, it's definitely true that the still of Tracy and Quentin entering the vestibule with their luggage was published more than a dozen times - but the cemetery photo had to come in as a close second. And one has to wonder why? Did the magazines think people might say to themselves, "Oh look, it's a photo of people in a cemetery, let me run to see that film!"? I tend to suspect few people would have. But then there is no getting around that MGM did include the photo in the set, so they had to believe it had some sort of selling point. And it's not even like it's the only cemetery still they used to promote the film because one of the Lobby Cards is a cemetery shot:
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_5.jpg)
But anyway, for what it's worth, here's a much better version of what turned out to be one of the magazines favorite NoDS stills:
(http://www.dsboards.com/NoDSAnniQuoteImages/1-fun-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/1-fun-2.jpg) for a 672X543 version)
And if you think about it, the ones who really lucked out were the extras in the still because they got their photo in a lot of national magazines. [ghost_wink]
-
Posts often look different on a phone than they do on a monitor, and when I got the chance to check out the above post on my phone I saw that the scan I'd posted of the magazine version of the cemetery still doesn't look nearly as bad as it does on my monitor. Interesting.
Something else also struck me. I'd forgotten this:
(http://www.dsboards.com/NoDSquoteimages/Funeral.gif)
So chances are that cemetery still was probably one of the first official stills released to promote the film. And that probably explains why it appeared in so many magazines during the prerelease publicity. Though of course they could have also released stills from the funeral sequence featuring Thayer David, Diana Millay, Christopher Pennock, Clarice Blackburn and Monica Rich because stills of them in various combinations most certainly do exist. But apparently the extras portraying pallbearers and mourners was the mood MGM wanted to go with...
-
And speaking of those TV spots, my favorite of the two I saw is definitely the one that appears on MPI's DS Behind The Scenes VHS/DVD:
I keep forgetting to mention that's it's interesting that TV spot (and at least one of the trailers) includes the shot that is actually the end of NoDS (nothing like finally getting back to it a month after having posted the video):
(http://www.dsboards.com/NoDSAnniQuoteImages/End.jpg)
But the good thing in this case is that, unless you've already seen NoDS, you have absolutely no idea 1) that's the last shot, or 2) what its significance is. On the other hand, I hate some of the hoDS TV spots/trailers because they clearly give away too much of the plot. I mean, one hoDS trailer gives away seemingly every twist and turn save for the final one - and who knows how they ever controlled themselves not to give away that one too?! [ghost_rolleyes]
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 18/Scene 51 - Carlotta: 'Everything has changed now. You must accept-'
- and/or today's second quote -
Page 18/Scene 51 - Gerard (interrupting): 'I was good enough before he came, now...'
- check out -
Continuing with Scene 51, beginning with today's first quote -
- this post...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 18/Scene 51 - Carlotta (snapping at him): 'Go to the stables. He will be down to ride soon. [Gerard is about to object.] I've told you things are different now.'
- check out -
And wrapping up Scene 51, beginning with today's quote -
- this post...
-
Here's another still/review pairing:
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs-2.jpg)
I'm not so sure what was wrong with "soap opera gothic," especially considering that is exactly what most of us liked about the daytime DS. But then the early '70s were still a time when people looked down their noses at soaps and they were practically considered by too many as the bottom of the barrel. How times would change. But at least, unlike Parents Magazine's' review, this one credits the cast's talents. (But then, Parents definitely falls into the category of places where soaps were considered the bottom of the barrel. [ghost_rolleyes])
And as for the photo that accompanied the review, it's another that appears in the NoDS Pressbook -
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_a1.jpg)
- and here's a scan of the actual still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_a.jpg) for a 471X700 version)
- though, oddly, the top is a bit cropped.
And as an aside, most fans are probably already well aware of this, but just for the sake of documenting it, the above still was colorized and the image of Charles Collins' skeleton from this still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Quentin_Charles.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Quentin_Charles.jpg) for a 548X700 version)
- was combined with it as the image for the front cover of the NoDS VHS box:
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_VHS.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_VHS.jpg) for a 383X700 version)
I'm not usually a fan of colorizing B&W photos, but whoever was responsible for doing the colorizing in this instance did an exceptional job. They could have definitely taught their counterparts at MPI a thing or two!
[ghost_wink] [ghost_cheesy] [ghost_rolleyes]
-
Continuing with Angelique on the stairs shots, here's a rare version:
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_b.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_b.jpg) for a 532X700 version)
- though, oddly, the top is a bit cropped.
While I looked for more versions of Angelique on the stairs for yet another post, I discovered I do have an uncropped version of the still - but because the fully uncropped Angelique shows up in the other copies I've posted, I'm not going to bother to scan it and replace the version I posted.
Also, I forgot to mention that the still appears in the NoDS Pressbook twice, once as part of the TOO MUCH REALISM...ALMOST article (which I shared a link to in Reply #56 and that's the version I shared in Reply #119) and on its own (but that version doesn't scan as well).
And finally for this post I've often wondered why whoever put the cover together for the hoDS/NoDS laserdisc left the title for hoDS yellow, as it is on the VHS box, but felt the need to change the title for NoDS to red -
(http://www.dsboards.com/NoDSAnniQuoteImages/Laser.jpg)
- though I'm sure they had some reason...
-
That is a phenomenal shot of Lara. I don't think that I've ever seen that one before.
-
Continuing with Angelique on the stairs shots, here's a rare version:
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_b.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_b.jpg) for a 532X700 version)
- though, oddly, the top is a bit cropped.
While I looked for more versions of Angelique on the stairs for yet another post, I discovered I do have an uncropped version of the still - but because the fully uncropped Angelique shows up in the other copies I've posted, I'm not going to bother to scan it and replace the version I posted.
Are you planning to share the Cinefantastique review? I have it, but don't want to steal your thunder as they say. Please let me know if you want me to post it.
-
While we're on the subject of covers, I thought I'd share these two pieces of exceptional fan-created artwork for fantasy NoDS DVD/Blu-ray releases:
(http://www.dsboards.com/NoDSAnniQuoteImages/DS_movies_double.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/DS_movies_double.jpg) for a 872X586 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_blu-ray.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_blu-ray.jpg) for a 940X522 version)
I believe both were created by someone who goes by the name imacmaniac on DeviantArt.com. And I suspect the error in the NoDS summary confusing the Quentin and Charles characters is a sly wink to how that confusion pops up not only in some reviews, but actually on the NoDS VHS. Though I'm not quite sure why an image of Seaview rather than Lyndhurst is used on the "back cover" of the double-feature DVD but Lyndhurst is used for the NoDS Blu-ray - or why Donald Briscoe, David Henesy and Dennis Patrick are included in the credits on the "back cover" of the NoDS Blu-ray yet Diana Millay should probably be there given that she's the only actor billed in the opening credits who isn't.
It's also good that the double-feature DVD isn't real because if it was, chances are, because the format is listed as "STANDARD VERSION," it would have simply been transfers of the VHS versions of the films...
-
Two more Angelique on the stairs shots:
The first time I saw this one was on the cover of the 1992 LA Fest Program:
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_c.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_c.jpg) for a 634X759 version)
A somewhat cropped version also appears in 35th Anniversary DS Memories on page 168.
And I know for certain that I have a still of the following rare version, but for the life of me I couldn't find it today even though I had in in my hand just last week when I was searching through things. But for now I'll post this magazine version -
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_d.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_d.jpg) for a 1037X826 version)
- and then replace it after I actually do come across the still again...
-
Are you planning to share the Cinefantastique review? I have it, but don't want to steal your thunder as they say. Please let me know if you want me to post it.
Certainly feel free to post anything you might like, The Doctor and K9. [ghost_smiley] I do have several more things in line to post, but with the exception of one, I have no set plans how or when to post them. And given some of the gems you've already shared elsewhere on the forum, it's quite possible you may have something I don't have. [ghost_wink]
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 18/Scene 52 - Gerard: 'Inside, boys! Inside!'
- and/or today's second quote -
Page 18/Scene 52 - Quentin: 'I'd keep them chained if I were you.'
- check out -
Here's Scene 52 as scripted:
- this post...
-
Are you planning to share the Cinefantastique review? I have it, but don't want to steal your thunder as they say. Please let me know if you want me to post it.
Certainly feel free to post anything you might like, The Doctor and K9. [ghost_smiley] I do have several more things in line to post, but with the exception of one, I have no set plans how or when to post them. And given some of the gems you've already shared elsewhere on the forum, it's quite possible you may have something I don't have. [ghost_wink]
Thanks MB. I tried to post a PDF of the pages, but I'm told that the file is too big. How are you posting your files?
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[pointing-up] If you tell me the file size of the PDF you'd like to post, I can adjust the forum's size limit. [ghost_smiley]
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[pointing-up] If you tell me the file size of the PDF you'd like to post, I can adjust the forum's size limit. [ghost_smiley]
The Cinefantastique article is 1091 KB. I have the article from Famous Monsters of Filmland 88 which is 425 KB.
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[pointing-up] I increased the size to 1100KB. That will be fine for what you have now. But if you find you want to post anything else and the file size is bigger, I can definitely increase it more. [ghost_wink]
And thanks so much for being willing to share. [ghost_smiley]
-
Here's the Cinefantastique review. As one would expect, being a genre magazine, they take the film more seriously. Thanks for increasing the file size MB!
-
Here's the review from Famous Monsters of Filmland '88.
-
If you want to learn about or refresh your memory concerning the background of yesterday's first quote -
Page 19/Scene 53 - Gerard: 'You ride well?'
- and/or yesterday's second quote -
Page 19/Scene 53 - Quentin: 'I used to. When I was a kid. But it's been a long time. You better give me an easy one.'
- and/or today's quote -
Page 19/Scene 53 - Gerard: 'His name's Ulysses. Just give him his head and you'll think you're in a rocking chair.'
- check out -
And here's Scene 53 as scripted:
- this post...
-
Before we move on to the next sequence in the slideshow, I have three things I'd like to share from the stable sequence:
A rare Quentin head shot:
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable_b.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Stable_b.jpg) for a 558X700 version)
A rare candid still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable_a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Stable_a.jpg) for a 698X924 version)
And a very rare color shot of Gerard and the horse:
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable_c_color.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Stable_c_color.jpg) for a 700X1028 version)
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 20A/Scene 56 - Strack: 'Dust...to dust...ashes to ashes. Oh Lord, we beseech you to have pity on this sinner...for we all sin, knowing the mercy of our heavenly Father. So we commend to Him the flesh and spirit of Angelique Collins, beloved wife of Gabriel, loyal and loving sister-in-law to Laura.'
- check out -
Setting up the current sequence/scene - and we've reached the first instance where Grayson's and DC's scripts differ. But first up we'll deal with the way things play in DC's script, which, probably not surprisingly, is the way they mostly appear in the film:
- this post - and be sure to also read the two posts after it...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 20A/Scene 56 - Strack: 'Angelique Collins has departed this life for a far better one - a world without tears or pain.'
- and/or today's second quote -
Page 20A/Scene 56 - Strack: (loudly, trying to top the laughter) 'And so we commend her spirit to a just and forgiving God. Amen..'
- check out -
Continuing with DC's script's version of Scene 56, as well as Scenes 57 & 58:
- this post...
-
Before we move on from Quentin's ride and the funeral vision, I have a batch of rare stills to share - first up, two of Quentin:
(http://www.dsboards.com/NoDSAnniQuoteImages/Quentin_tree_a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Quentin_tree_a.jpg) for a 700X684 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Quentin_trees_a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Quentin_trees_a.jpg) for a 700X473 version)
-
The first of the funeral:
(http://www.dsboards.com/NoDSAnniQuoteImages/Funeral_a.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Funeral_b.jpg)
And the last for this post is a photo that used to appear on Craig Hamrick's darkshadowsonline.com site, but when I went there yesterday intending to get the URL to link to the page rather than post the photo itself, I discovered the photo is no longer being used there. I guess it fell by the wayside after the site was redesigned. But thankfully I'd saved a copy:
(http://www.dsboards.com/NoDSAnniQuoteImages/ad-rare.jpg)
-
And the last three:
(http://www.dsboards.com/NoDSAnniQuoteImages/Funeral_c.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Funeral_c.jpg) for a 530X700 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Funeral_d.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Funeral_d.jpg) for a 700X560 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Funeral_e.jpg)
This final one appears on page 108 of the The DS Companion.
-
While I was looking again to see if I could locate the misplaced Angelique still from Reply #124 (still no luck), I actually came across something far more interesting: a stash of color NoDS stills that I'd completely forgotten I had. And one of them was the color version of the photo I'd posted of Gerard with the horse in Reply #134. So, if you go back to that post you'll see that I've replaced the B&W version with the color one...
I know I've said that I would have been much smarter if I'd stored all my NoDS things in the same place, and perhaps that's true. But if I had, I wouldn't have had the thrill today of finding the stash of color stills. And I enjoyed that much more than I would have if I'd remembered they were there. So... [ghost_wink] [ghost_grin]
-
I guess that the rights to darkshadowsonline have expired. I went to check on a few things and was greeted by ads for cialis and other assorted products.
-
As for Sam's remarks, well, we know the length of the version of NoDS that they showed MGM was 129 minutes and not 165. However, at one point there may have been a 165 minute version because it's common practice for a director to assemble a fairly long "rough cut" of a film and then to whittle it down to something much more manageable.
While looking for something else entirely different (which is usually when I come across these things) I suspect I came across an explanation. Back in the days when Darren Gross had his NoDS Restoration Web site, he wrote this in the "NIGHT OF DARK SHADOWS: LOST SCENES NOT INCLUDED IN THE RESTORED 129 MIN VERSION" section:
"the fine cut of the film which included virtually every scene shot for the film had a running time of around 150 minutes. This was screened for production personnel but obviously deemed too long and ambitious for a commercial horror film. Though very happy with the 150 minute version, Dan Curtis trimmed around 20 minutes from it to produce the more commercial 129 min version which he presented to MGM. That version had 35 more minutes hacked from it before theatrical release."
I also came across this in the "FREQUENTLY ASKED QUESTIONS (FAQ)" section:
"97 MINUTE (R-Rated) PRINT OF NIGHT OF DARK SHADOWS FOUND! . We are delighted to report that after an extensive search, one of the original 97 minute theatrical prints of NIGHT OF DARK SHADOWS has been located. As discussed elsewhere on this page, both 97 and 93.5 minute versions were released back in 1971. Unfortunately MGM did not hold onto any of the longer, more explicit theatrical prints and cut the intermediate materials so they have been without this longer version for 29 years. (The video, laserdisc and television broadcasts have been of the 93.5 minute version.) During a worldwide search of international film archives, restoration producer Darren Gross located an original English-language print of the 97 minute version. While the 129 minute version contains all the scenes in the 97 minute version, the restoration is an extremely costly project. In case the restoration of the 129 minute version doesn't happen, fans can at least look forward to a 2.5 minute longer version being eventually released. (Although referred to in references as 97 minutes, this version actually runs 96 mins 01 second.)"
I'd completely forgotten that a copy of the 97 minute (R-Rated) version had been found. And if only the 2012 DVD/Blu-ray release of NoDS had been that version. Given WB wasn't willing to pay for the full restoration, one might think releasing the 97 minute version wouldn't have cost them anywhere near as much. But alas, WB had other and even cheaper ideas in mind...
-
If you haven't already, be sure to read -
Continuing with Grayson's script's version of the rest of Scene 56 and beyond:
- to see the differences between DC's and Grayson's scripts when it comes to the end of the Quentin riding/funeral vision sequence.
And if you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 22/Scene 59 - Alex: 'Imagine! Running down the Master of Collinwood.'
- and/or today's quote -
Page 22/Scene 59 - Quentin: 'On his first day, too...before he's even put out the rules of the manor.'
- check out -
Setting up the current scene:
- this post...
(There's a raging thunderstorm going on as I post this. Fun, fun! [ghost_wink] [ghost_cheesy])
-
(There's a raging thunderstorm going on as I post this. Fun, fun! [ghost_wink] [ghost_cheesy])
(It's so dark here it's like it should be 8pm instead of only 2:10 - and the thunder is still raging...)
-
Before we move on to today's quote, I want to share this still that relates to how Scene 59 actually opens:
(http://www.dsboards.com/NoDSAnniQuoteImages/trio.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/trio.jpg) for a 700X514 version)
In fact, it looks practically exactly like how the scene opens -
... and when Scene 59 begins, before anyone says anything, Alex, Quentin and Claire are seen having a good laugh, as can be seen -
(http://www.dsboards.com/NoDSquoteimages/0224ds91_b.jpg)
- in the above capture.
- except from a different angle...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 22/Scene 59 - Quentin: 'I see you still have that.'
- check out -
Continuing with Scene 59 as scripted:
- this post...
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 22/Scene 59 - Alex: 'A place of honor, old buddy -- wherever we go -- so how's life in the castle? Have you seen Miss Drake smile yet?'
- check out -
And continuing with more of Scene 59 as scripted we have today's quote -
- this post...
-
Before we move on with more quotes from the scene at the Jenkins cottage, I thought I'd share a page from the '87 LA Fest Program Guide which features candids of most of the ladies of NoDS:
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_ladies.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_ladies.jpg) for a 762X1076 version)
Most of them were never shared elsewhere - or as is the case with the bottom left Angelique candid, it was cropped when later shared.
It's interesting that the shot of Laura was taken in the Gallery because she wears that outfit in Quentin's subconscious memory cut during the pool scene:
(http://www.dsboards.com/NoDSAnniQuoteImages/Laura_pool_dress.jpg)
-
And speaking of Fest programs, I forgot to mention that I first saw the still of Alex, Quentin and Claire that I posted in Reply #145 when it appeared as part of the '95 NYC Fest Program (in its announcement of the 30th Anniversary Celebration in LA in '96). Though that version was a bit cropped - what I shared was the actual still, which I came across a few years later...
-
If you want to learn about or refresh your memory concerning the background of Friday's quote -
Page 22/Scene 59 - Claire: 'She had no reason to smile at you, Alex. (turning to Quentin) The first time he meets her he asks if the place is haunted.'
- and/or yesterday's first quote -
Page 22/Scene 59 - Quentin (smiling): 'Is it?'
- and/or yesterday's second quote -
Page 22/Scene 59 - Claire: 'Not according to her.'
- and/or the first part of today's quote -
Pages 22/Scene 59 - Alex: (having fun with it) 'We'll go to the Blue Whale Bar some night. There's a Cap'n Russel that will tell you a (MORE)'
- and/or the second part of today's quote -
Pages 23/Scene 59 - Alex (Contd): 'different story. Seems there's a beautiful young servant girl who roams the halls of Collinwood.'
- check out -
And catching up with more of Scene 59 we have Sunday's quote -
- this post...
-
If you want to learn about or refresh your memory concerning the background of yesterday's first quote -
Page 23/Scene 59 - Quentin: 'If she cleans well, we'll hire her.'
- and/or yesterday's second quote -
Page 23/Scene 59 - Claire (kissing Quentin): 'Lovely having you here ... despite my welcome.'
- check out -
Picking up Scene 59 where we left off in reply #73 and with yesterday's quote, which was Quentin's reply to Alex' remark about Collinwood supposedly being haunted by "a young beautiful servant girl":
- this post...
And the reason that post refers to yesterday's two quotes as appearing on separate days is because originally they did. If one pays attention one will notice that when the slideshow originally ran it was a Leap Year, meaning there was a February 29th. But 2021 isn't a Leap Year, so I needed to combine two of the quotes in order to still be able to feature them all. But rather than having this 2021 version of the slideshow feature the original February 29th's quote on the same day as March 1st's quote, I decided to wait a few days because it made a bit more sense to place the skipped dialogue from the scene after dialogue that does actually appear in the scene, especially considering both of those quotes were originally dealt with in the same post.
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 23/Scene 59 - Alex: 'My rich landlord who doesn't charge rent, how do you like the estate?'
- check out -
And now the next section of Scene 59 as it appears in DC's script, starting off with today's quote:
This section of Scene 59 as it appears in Grayson's script:
- these posts...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 23/Scene 59 - Alex: 'Blood-shot eyes. Unsuitable pallor.'
- check out -
Picking up where we left off in DC's script:
- this post...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 24/Scene 59 - Quentin: 'I didn't sleep well last night. It's a funny thing about this place. I keep imagining things...'
- check out -
And wrapping up Scene 59:
- this post...
-
Check out these posts regarding today's screen capture in the slideshow:
Today's photo makes me inclined to think that Quentin is...
Yes, today's capture -
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 24/Scene 60 - Quentin: 'Oh, Carlotta, I'm going to start work today. Could you suggest a good room?'
- and/or today's quote -
Page 24/Scene 60 - Carlotta: 'Oh, yes, sir. I know just the place.'
- check out -
Setting up and wrapping the current scene as it appears in DC's script - but just beginning the current sequence, which doesn't play in the script the way it is in the film:
- this post...
Carlotta's outfit in today's screen capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1009NoDS_0.jpg)
- goes so well with the forum's Halloween color scheme. Who knew things would work out that way, especially considering when the slideshow first ran in 2016 the current batch of captures/quotes ran in March, not in October.
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 25/Scene 61 - Quentin: 'I have the strangest feeling I've been here before.'
- and/or today's second quote -
Page 25/Scene 61 - Carlotta: 'How could you have been, Mr. Collins?'
- and/or today's third quote -
Page 25/Scene 61 - Quentin: 'I couldn't have.'
- check out -
And setting up and wrapping the current scene as it appears in DC's script:
- this post...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 25/Scene 62 - Carlotta: 'I wouldn't worry about it, Mr. Collins. There is always a logical explanation for feelings like this. Will the room do?'
- check out -
And setting up Scene 62:
- this post...
-
In honor of today's screen capture in the slideshow showing off the back and side of Carlotta's hair -
(http://www.dsboards.com/NoDSAnniQuoteImages/1012NoDS_0.jpg)
- I'm sharing what appear to be some of Edith Tilles' test shots for Carlotta's hairstyle and some photos immortalizing Tilles' work during production of NoDS:
(http://www.dsboards.com/NoDSAnniQuoteImages/Carlotta_hair-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Carlotta_hair-1.jpg) for a 804X1038 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Carlotta_hair-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Carlotta_hair-2.jpg) for a 680X664 version)
All of these photos were shared in the "A Gift of Memory": The Grayson Hall Memorial Collection, put together by Melody Clark and published back in 1987, and they may have also been shared prior in Grayson Hall fanzines...
And you'll no doubt note that the top right photo above was also a part of the page I shared in Reply #148 from the '87 LA Fest Program. But I figured it was a part of the page so why not share it again...
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 25/Scene 62 - Quentin: 'Yes ... yes ... it's fine ... has it ever been used as a studio before?'
- and/or today's quote -
Page 26/Scene 62 - Carlotta: 'Not in my time. If there's anything you want, I'll be downstairs.'
- check out -
Wrapping up the current scene and dealing with the next. Let's pick things up in Scene 62 with yesterday's quote -
- this post...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 26/Scene 64 - Quentin: 'I can't tell you how happy I am with that tower room. It's absolutely perfect.'
- check out -
Setting up the current scene:
- this post...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 26/Scene 64 - Tracy: 'I know it. We're going to have a long happy life here.'
- check out -
Wrapping up Scene 64 and picking up after Quentin's comments about how perfect the tower room is for his studio:
- this post...
-
If you want to learn about or refresh your memory concerning the background of yesterday's first quote -
Page 27/Scene 66 - Quentin: 'I didn't sleep too well.'
- and/or yesterday's second quote -
Page 27/Scene 66 - Tracy: 'I've never slept like this before. Now get up.'
- check out -
And setting up the next two scenes:
- this post...
-
Prior to getting into the quote, be sure to read -
Two scenes that come up in DC's script before the scene that features tomorrow's quote:
- beforehand.
And if you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 27/Scene 67A - Angelique: 'When I'm not with you...this is my way of feeling you near...I sit alone...and play this song...I see your smile.'
- check out -
And now Scene 67A (the piano scene, which we'll be featuring up though the 21st):
- this post...
(Though, because the quotes are appearing on slightly different dates due to the switch from March to October, Scene 67A will actually be lasting through the 22nd this time around.)
-
If you want to learn about or refresh your memory concerning the background of Monday's first quote -
Page 27/Scene 67A - Charles: 'Did you enjoy watching us, my dearest wife?'
- and/or Monday's second quote -
Page 28/Scene 67A - Angelique: 'She must have...she didn't leave...'
- check out -
Continuing with Scene 67A:
- this post...
-
If you had a feeling that something about the photo used in yesterday's graphics for the slideshow looked -
(http://www.dsboards.com/NoDSAnniQuoteImages/1020NoDS_0.jpg)
- different from the cover of the DS Music Book (aside from a somewhat different tint in some of the colors) -
(http://www.dsboards.com/91book4quoteimages/DSMusicBook.jpg)
- when seeing them together the difference is obviously that candles in the candelabra were airbrushed out for the cover. Why? I suppose whoever did it felt the book's title would look better. A style choice to be sure (but more on that to come). And an interesting thing is that after the DS Music Book became available, the airbrushed version of the photo, minus the title/text, -
(http://www.dsboards.com/NoDSAnniQuoteImages/Piano_airbrushed.jpg)
- became circulated, leading some, including myself, to believe that was the way the still from NoDS' piano scene should have appeared, and you'll also note that without the text it becomes clear that between the two frames in the background the wallpaper that's actually on the wall in that room was replaced during the airbrushing with, well, replaced with I don't know what to call it - it wasn't until after the DS Movies Book was published in 1998 and this appeared on page 215 to help to illustrate a portion of the script featuring part of Scene 67A -
(http://www.dsboards.com/NoDSAnniQuoteImages/Piano_book.jpg)
- that I realized the candles had been airbrushed out (though I should have had I remembered something that I'll get into shortly) - and since that time various versions of the original still have appeared online - unfortunately, though, like this one -
(http://www.dsboards.com/NoDSAnniQuoteImages/Piano.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Piano.jpg) for a 1280X1560 version)
- they've been cropped versions of the still...
But what is really fascinating is that back in May of 1996 when ShadowGram #76 shared an advance look at the cover of the DS Music Book, the candles -
(http://www.dsboards.com/91book4quoteimages/SG_76_1_2.jpg)
- weren't airbrushed out, the wallpaper hadn't been altered, and, to me anyway, even given the title/text were placed in slightly different spots, it looks like the title was perfectly readable without the alterations to the still - but quite obviously someone thought otherwise at some point before the book was actually published...
(I wonder what the original cover markup with candles and correct wallpaper would go for if it ever surfaced?!)
-
Before we get back into the slideshow's quotes from Scene 67A and actually wrap up that scene, I want to get into something else members and long-time visitors to the forum may have noticed and that's that back in 2009 when we were doing a slideshow of the quotes from the Fest's 1999 Movies Calendar and then again in 2016 when we did a slideshow devoted exclusively to NoDS, I'd used these graphics -
(http://www.dsboards.com/moviesquoteimages/0810NoDS_0.jpg)
(http://www.dsboards.com/NoDSquoteimages/0318ds91_0.jpg)
- for 2009 and 2016, respectively, to illustrate what was used of Laura's lines from Scene 67A. However, this time around I replaced the version of the still that I'd originally used with a much better version -
(http://www.dsboards.com/NoDSAnniQuoteImages/1019NoDS_0.jpg)
Interestingly enough, the version of the still that I originally used was published in the DS Movie Book but, oddly, its coloring was not correct. In the ensuing years since 2016 I've come across two different versions of varying quality that were shared online that feature the correct coloring, and after correcting for the angle in which the photo of the still was taken -
(http://www.dsboards.com/NoDSAnniQuoteImages/diana-millay-dark-shadows-signed_1_b239921ba621d6dd22530b33a0283424.jpg)
- when it was used so long ago on worthpoint.com (https://www.worthpoint.com/worthopedia/diana-millay-dark-shadows-signed-129770252) to sell an autographed photo of Diana Millay that the details of the sale are no longer indicated, I went with that one...
-
If you want to learn about or refresh your memory concerning the background of Tuesday's quote -
Scene 67A - Laura: 'How...how incredible you are...the two of you...what you do...in this house...'
- and/or Wednesday's first quote -
Page 28/Scene 67A - Charles: 'In front of the family.'
- and/or Wednesday's second quote -
Page 28/Scene 67A - Angelique: (laughing) 'Who knows who sees us...think of the servants...'
- and/or yesterday's quote -
Page 28/Scene 67A - Laura: 'You are a witch! Charles, can't you see? Are you so mesmerized that you don't even know what's happening to you?'
- and/or today's quote -
Page 28/Scene 67A - Angelique: 'Oh, he knows what's happening, Laura my darling, and for the first time in his life he's really enjoying it...'
- check out -
Wrapping up Scene 67A, beginning with Friday's quote -
- this post...
-
Just a reminder:
...
And as I mentioned the other day, I'm going to hold off getting into how things are very different in Grayson's script until after we deal with Scene 68 in DC's script...
And if you want to learn about or refresh your memory concerning the background of today's quote -
Page 28/Scene 68 - Tracy (O.S.): 'Darling, are you all right?'
- check out -
And setting up DC's script's version of Scene 68:
- this post...
-
If you want to learn about or refresh your memory concerning the background of Sunday's quote -
Page 28/Scene 68 - Quentin: 'Yes. Of course. Why wouldn't I be? I was just waiting for you.'
- check out -
And wrapping up DC's script's version of Scene 68, beginning with today's quote -
- this post...
And be sure to read -
As I mentioned back in reply #103, DC's script drops the last directions/descriptions line from Scene 66 (which as one will recall deals with Tracy and Quentin waking up), so we're going to pick up things in Grayson's script with that entire last paragraph:
- which deals with the original versions of Scenes 67 and 68...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 28A/Scene 69 - Tracy: 'Come on. I don't care if it is dangerous. I want to look inside.'
- check out -
Today's scene:
- this post...
-
Before we move on to today's quote in the slideshow, I'd like to share the full still that I used for yesterday's graphic:
(http://www.dsboards.com/NoDSAnniQuoteImages/1025NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Picnic_1.jpg)
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 29/Scene 70 - Quentin (O.S.): (putting on airs, kidding) 'I'm getting bored. Shall we have drinks on the veranda?'
- check out -
And today's scene:
- this post...
-
And before we move on to today's quote in the slideshow, I'd like to share the full and unretouched still that I used for yesterday's and today's graphic:
(http://www.dsboards.com/NoDSAnniQuoteImages/1026NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_greenhouse-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_greenhouse-1.jpg) for a 478X700 version)
As you've probably guessed, the reason I'd retouched it was because the script describes:
HOLD FOR a
moment until in the distance, seen through the
distortion of the greenhouse glass, the figure of
a girl in a long period dress stands watching them.
|
The real effect probably isn't like the one I used - but without the actual footage to work with, it's an approximation...
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 29/Scene 70 - Tracy (O.S.): (joyfully laughing) 'Oh! I can't stand it! What a way to live!'
- check out -
Wrapping up Scene 70 and moving beyond it, beginning with today's quote -
- this post...
-
Because today and tomorrow's graphics in the slideshow are for a scene that was most likely never shot and, therefore, has no still/screen capture featured in them, I'm going to be sharing some stills associated with Scene 69. So, before we move on to today's quote in the slideshow, here are two:
First up, a not exactly rare still, but definitely a very nice one:
(http://www.dsboards.com/NoDSAnniQuoteImages/Picnic_2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Picnic_2.jpg) for a 1630X1157 version)
But then, here's a fairly rare one:
(http://www.dsboards.com/NoDSAnniQuoteImages/Picnic_3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Picnic_3.jpg) for a 700X548 version)
I have to confess that ever since seeing that book entitled Mayfair being used as a prop, I've wonder why it was used? Was it being implied that Quentin was simply interested in the Mayfair section of London, or was there an artist named Mayfair whose work the prop department or even Selby himself felt Quentin might be interested in and/or influenced by? However, if the latter was the case, I've never been able to come across an artist named Mayfair, one who painted abstract art or otherwise. I suppose it may forever remain a mystery...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 29/Scene 73 - Claire: 'We're going to town. It's about time I showed her the shops.'
- check out -
Starting off Scene 73:
- this post...
-
Before we move on to today's quote in the slideshow, here are some more stills related to Scene #69:
First up, from page 34 of the 30th Anniversary Tribute version of the DS Almanac, here's a still of DC directing the scene:
(http://www.dsboards.com/NoDSAnniQuoteImages/DS_KJ_DS_DC.jpg)
The lady wearing the kerchief is DC's assistant Debbie Smith.
And here's a rarely seen still of DC directing:
(http://www.dsboards.com/NoDSquoteimages/KJ_DS_DC.jpg)
As I've mentioned before, I love Selby just lying there eating an apple! [hall_wink]
And finally here's a very rare still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Picnic_4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Picnic_4.jpg) for a 700X476 version)
It's interesting that the script says Quentin is seen "busily sketching Tracy" yet he's not seen doing so in any of the stills I've ever come across. Though we do see his sketch pad in the second still I shared yesterday - and we do see Tracy fiddling with one of his paint brushes in the still above...
And there are some more stills related to shooting at the greenhouse, but I'm going to hold off sharing those until we reach Scenes 107-110...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 29/Scene 73 - Quentin: 'I've got to start doing some work. Do you realize we've been here over a week now?'
- check out -
Wrapping up Scene 73:
- this post...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 30/Scene 79 - Carlotta (O.S.): 'Did you wish something, Mr Collins?'
- check out -
Dealing with the scenes leading up to and starting off with DC's script's version of Scene 79 (yes, Scenes 79 & 80 are more instances where scenes are somewhat different in DC's and Grayson's scripts):
- because, as you may have noticed, the slideshow has jumped from Scene #73 to Scene #79 (because Scenes 74-78 have no dialogue), so in order to remain filled in on what's going on, it's important to check out the post...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 30A/Scene 80 - Quentin: 'I saw a little girl in that window.'
- check out -
And the start of Scene 80 as it appears in DC's script:
- this post...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 30A/Scene 80 - Carlotta: 'I saw you from the window.'
- check out -
A bit more of Scene 80, beginning with Carlotta's reply to Quentin's claim to having seen a little girl in the window:
- this post...
-
Is Carlotta's statement that the room was Mrs. Stoddard's when she was a little girl supposed to reassure Quentin? Elizabeth might have a perfectly good reason for haunting the house but would she have appeared as an eight year old?
-
I want to share the following still because, like several others for NoDS, it depicts a moment that's not really associated with the actual scene in the film -
(http://www.dsboards.com/NoDSAnniQuoteImages/Carlotta_Sarah's room.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Carlotta_Sarah's room.jpg) for a 700X476 version)
- because nowhere during Scene 80 is Carlotta seen lying across the bed and looking to be in anguish. In fact, Carlotta remains calm and cool throughout. But hey, perhaps Grayson wanted to do an alternative take on things just for a photograph. Or perhaps the photographer simply wanted to showcase one of Selby's assets from just the right angle and pretended Grayson was the desired subject. We'll probably never know... [hall2_wink]
(Plus this version shows slightly more than the version shared in the Fest's 1999 Movie Calendar. Very slightly more, but still more...)
-
I was hoping that was Selby's asset.
-
[pointing-up] Yes, as one can tell from today's screen capture in the slideshow -
(http://www.dsboards.com/NoDSAnniQuoteImages/1102NoDS_0.jpg)
- Selby wore the same clothes in the scene and at a point in the scene is in the window.
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 30A/Scene 80 - Quentin: 'But I didn't see you. I saw a child...holding a teddy bear...'
- check out -
It's interesting that the quote from the script for today is:
- this post, as well as this post -
It's interesting that the quote from the script for today is:
- and the one after it because clearly Quentin didn't see a child holding a teddy bear...
-
If you want to learn about or refresh your memory concerning the background of today'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.'
- check out -
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":
- this post...
And given that beginning tomorrow and lasting all the way through the 18th the slideshow will be featuring material that was never even shot and, therefore, there won't be any sort of use of screen captures/stills in any of the graphics, I'm going to be previewing the next sequence from the script that does indeed appear in the film/slideshow: Scene 85, Quentin's tower flashback. I've set aside 18 stills, some of which are quite rare, and I'll be sharing them over the course of the next upcoming 15 days...
-
Is Carlotta's statement that the room was Mrs. Stoddard's when she was a little girl supposed to reassure Quentin? Elizabeth might have a perfectly good reason for haunting the house but would she have appeared as an eight year old?
Well, unlike the script, the film does add Quentin asking, "This was a child's room, wasn't it?" That makes the transition from Quentin's remark about seeing a child to Carlotta's seemingly pulling out of thin air the fact that the room had belonged to Mrs. Stoddard when she was a little girl seem much more seemless. Plus, Grayson made a notation in her script that she felt that while Carlotta watches Quentin exit the room the subtext is that she's thinking Quentin will understand later but he isn't ready to understand. So, she isn't about to tell him the truth yet. The remark about the room having been Mrs. Stoddard's childhood room doesn't in any way explain away anything or even reassure Quentin. In the script it comes across as something one says when one has nothing else to say. Like, well, this was a child's room, not that that really explains what you saw. But note that when Carlotta does feel that Quentin is ready for the truth (well, he demands it, so how can she avoid it any longer) she starts off by bringing up how Quentin had seen the little girl at the window...
-
Before we get into today's three quotes I need to mention that yesterday I forgot to point out that people should be sure to read -
Grayson's script's versions of Scenes 79 & 80:
- this post because Grayson's script's version of the sequence comprising Scenes 79 & 80 has differences from how the sequence appears in DC's script...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 30A/Scene 81 - Claire: 'So everything is perfect?'
- and/or today's second quote -
Page 31/Scene 81 - Tracy: (tentatively) 'Yes.'
- and/or today's third quote -
Page 31/Scene 81 - Claire: 'It isn't perfect?'
- check out -
Starting off the new sequence with Scene 81 ...
- the first part (about Pages 30A & 31) of this post...
-
Here's the first as well as one of the rare stills to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-1.jpg) for a 700X476 version)
-
If you want to learn about or refresh your memory concerning the background of 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.'
- check out -
... and moving into Scene 82:
- the last part (about Page 32) of this post...
-
Here's the second as well as one of the rare stills to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-2.jpg) for a 700X476 version)
-
If you want to learn about or refresh your memory concerning the background of today'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.'
- check out -
Wrapping up Scene 82 as Claire and Tracy window shop and talk about Quentin's lack of getting work done:
- the first part (up to Claire's first quote) of this post...
-
And here's the third as well as another one of the rare stills to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-3.jpg) for a 700X476 version)
You may have been sensing a theme with the first three. [9341] But even though today's is the last of that set, we'll certainly continue to see stills of Charles and Angelique making out because the majority of the stills from Scene 85 focus on that. But when it comes to tomorrow's, it has a significance that the ones I've shared so far do not...
-
If you want to learn about or refresh your memory concerning the background of today'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?'
- check out -
Wrapping up Scene 82 as Claire and Tracy window shop and talk about Quentin's lack of getting work done:
- the second part (including and past Claire's second quote) of this post...
And as I said back then:
... 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:
(http://www.dsboards.com/NoDSquoteimages/Kate_Nancy.jpg)
-
Did Claire ever figure out Quentin? There's a genuine connection between Claire and Tracy that doesn't seem to be there between her and Quentin.
-
[pointing-up] You know, that's a very good question. Outside of the scene in which Claire waves to Quentin when she finds him outside the cemetery and then the scene at the Jenkins cottage, Claire and Quentin never really interact. You're right that their relationship doesn't come close to the genuine connection between Claire and Tracy.
Now, there is a bit in the script during the cottage scene where Claire kisses Quentin and says, "Lovely having you here," but that was dropped in favor of Claire simply saying something completely innocuous about lunch, so as the film stands in the cottage they don't interact at anything but a surface level. I wonder if that was a decision made to reinforce that Claire still hadn't bonded with Quentin in a way what was dropped could have indicated? I suppose only Nancy Barrett herself or her NoDS script could answer that if she indicated why the change was made, but I've never seen a copy of her script.
-
Claire seems to be one of the least developed characters in NODS. I do recall her saying in an interview that because Claire didn't have a lot to do, that made the work harder.
-
[pointing-up] The shopping excursion certainly seems like it would have been some of Claire's best stuff in the film had it actually been shot. But alas...
-
And if this fourth still looks familiar -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-4.jpg) for a 1400X1098 version)
- that might be because it was used as inspiration for both versions of NoDS' A poster:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-4_Poster_A_color.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-4_Poster_A_B&W.jpg)
It's interesting, though, that Angelique's arm is on the outside of Charles' arm in the poster's artwork, yet it's on the inside of his arm in the actual still. It's also interesting that Angelique is semi-transparent for the color version of the poster, implying she's a ghost, yet she's human in the actual still and doesn't appear transparent in the B&W version of the poster...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 33/Scene 83 - Claire: 'Hi, Gregory, I'm back.'
- check out -
Setting up the Gregory scene::
- up to the first quote in this post...
-
Here's the fifth as well as one of the rare stills to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-5.jpg) for a 1400X1124 version)
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 33/Scene 83 - Gregory: 'And I have a mattress ticking jumper you'll live in the rest of your life --'
- check out -
Setting up the Gregory scene::
- after the first quote in this post...
You'll also learn a bit about mattress ticking...
-
This sixth still to preview Scene 85 has taught me a lesson I never really knew.
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-6a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-6a.jpg) for a 898X593 version)
Perhaps naively, I assumed that a still shot in color was printed in color and obviously those shot in B&W were printed in B&W. However, apparently the above still was shot in color but that version of it was simply printed in B&W because a cropped color version was published on page 69 of the DS Companion -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-6b.jpg)
- and a different cropped color version was used as part of the NoDS section of the gatefold of the hoDS/NoDS laserdisk -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-6c.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-6c.jpg) for a 1000X572 version)
(And how interesting is it that 3 of the 7 NoDS stills used are from scenes that aren't even in the film?!)
(ADMIN: Edited to add a better version of the gatefold stills)
-
If you want to learn about or refresh your memory concerning the background of today's quote -
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.'
- check out -
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:
- up to the first quote in this post...
-
And just so you'll be able to put a face to who might have been Gregory had his scenes actually been shot, here are the two actors of whom it's been reported were considered (Keith Prentice and Michael Stroka) and one that some fans have said they would have liked to have seen in the role (Louis Edmonds):
(http://www.dsboards.com/NoDSAnniQuoteImages/Gregory.jpg)
-
Louis would have been magnificent as Gregory!!!!
-
Apparently Charles Collins was a man who believed in equal opportunity manhandling [9341] -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-7.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-7.jpg) for a 1000X781 version)
- as this seventh as well as rare still to preview Scene 85 shows...
-
If you want to learn about or refresh your memory concerning the background of today's quote (the first part of which relates to Alex' claim that if he had wanted to live with an 1890 newsboy, he'd have found one, and the second part of which relates to the knickers Gregory wants to sell Claire) -
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 --''
- check out -
Continuing with Scene 83, ...
- up to the second quote in this post...
-
It's a fun scene. It really shows a genuine friendship between Tracy and Claire. And Gregory, well, is like no other character in the DS pantheon. Unfortunately, it doesn't add all that much to the film as a whole. It might have worked better if it had been intercut with bits of Carlotta or Gerard doing something nefarious back at Collinwood. I can see why DC chose not to shoot the scene. Which leads me to wonder if Gregory had even been cast. It wouldn't be like DC to cast an actor then have to pay him for doing nothing
-
[pointing-up] From the way the sequence has been talked about, I doubt things ever got to the point where Gregory was actually cast. It seems like before production began some actors' names were bandied about, but before any might have been cast, DC decided to scrap the whole sequence. As far as even the 129 minute version of the finished film goes, the audience would be left forever wondering who Gregory was when Tracy told Quentin that "Gregory said I could take them back" after Quentin discovered she'd bought him a pair of riding breeches...
-
More join the fray in the eighth still to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-8.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-8.jpg) for a 1203X925 version)
And so far as I can recall this still has only been published twice: a very small version is on page 224 of the DS Movie Book and a much better version was shared by Cinefantastique with its review, which The Doctor and K9 generously shared back in Reply #131.
(And speaking of the Cinefantastique review, I keep meaning to get back to make some comments on it - but I just haven't gotten around to it yet. But one day - perhaps when some of what I have to say relates to what we're covering in the slideshow...)
-
If you want to learn about or refresh your memory concerning the background of today's quote (the first part of which relates to Gregory inviting Claire and Alex for drinks at his house where she could wear the knickers Gregory wants to sell Claire) -
Page 33/Scene 83 - Claire: 'He'll adore the drinks. This is Tracy Collins.'
- check out -
Continuing with Scene 83, ...
- up to the third quote in this post...
-
And now we move from stills depicting the scene to stills from behind the scenes to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-9.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-9.jpg) for a 1000X779 version)
(Keep the fruit bowl in mind...)
This still first showed up in a Nov. '71 16 Magazine article and a Daytime TV article to promote the movie. And then in later years it showed up on page 111 of the DS Companion. Though all of those versions range from greatly cropped to slightly cropped...
-
Here's a still of DC directing to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-10.jpg)
This still first showed up on page 34 of the DS Almanac 30th Anniversary Tribute. But something that's really weird is there's a scan of it that shows up in a few places on the Internet and it's backwards. And even if people didn't realize which side the fabric should be on and which side the window should be on, one might think that in the backward version they'd noticed that the unfinished Angelique painting is oriented wrong...
-
[pointing-up] From the way the sequence has been talked about, I doubt things ever got to the point where Gregory was actually cast. It seems like before production began some actors' names were bandied about, but before any might have been cast, DC decided to scrap the whole sequence. As far as even the 129 minute version of the finished film goes, the audience would be left forever wondering who Gregory was when Tracy told Quentin that "Gregory said I could take them back" after Quentin discovered she'd bought him a pair of riding breeches...
I have a feeling the shopping sequence was dropped primarily for budgetary reasons. Since they apparently decided to shoot the entire film on the Lyndhurst estate, it may have been difficult to find somewhere on site that didn't need a lot of set design/dressing work to make it convincing. Going into Tarrytown or Irvington would have probably added a lot of extra expense they didn't feel was warranted for a sequence that doesn't really advance the plot (even if it does enrich the characterizations).
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote (Gregory's reaction to being introduced to Tracy) -
Page 33/Scene 83 - Gregory: 'The lady of the manor? (he bows) Welcome.'
- check out -
Continuing with Scene 83, ...
- through the end in this post...
-
Another thought regarding the shopping sequence. As much as I'd like to be able to see it on screen, I think it would feel quite out of place in the film that we have. It would be the ONLY interjection of a bit of the outside world, in what is otherwise a very weird, creepy, other-worldly bubble (which is one of the things I really love about the film).
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 33/Scene 83 - Tracy: 'Hi. This makes me feel like I'm back in New York.'
- check out -
Wrapping up Scene 83, beginning with Tracy's comments about Gregory's shop:
- up to the first quote in this post...
-
And another behind the scenes still featuring David Selby and Lara Parker to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-11.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-11.jpg) for a 700X476 version)
This one is fairly rare - and it is something to keep in mind along with the still shared in Reply #216 because they will relate to something coming up in a couple days...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 33/Scene 83 - Gregory: 'Oh, do I have something for you ... it's madness it's so perfect. [He whips out an insane dress.] Could it be more you?'
- check out -
Wrapping up Scene 83, ...
- up to the second quote in this post...
-
Now, this next rare still is definitely behind the scenes - and it could very easily be behind the scenes preparing for Scene 85. But it could also be behind the scenes preparing for Scenes 102 or 124 because Charles and Gabriel are wearing the same clothes.
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-12.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-12.jpg) for a 1400X1557 version)
And, although Charles is also wearing a black vest in Scene 102, Selby could have easily put that on after getting his sideburns attended to. But I chose to go with Scene 85 because it's the longest. And who knows, all those scenes might have been shot on the same day...
Also, it's amusing that in the still there's a copy of Bram Stoker's Dracula on the table near Selby -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-12a.jpg)
- though, of course, that doesn't necessarily mean it was his or he was reading it. It could have been left on the table by anyone...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 33/Scene 83 - Tracy: 'It's very me ... but it's completely un-Quentin.'
- check out -
Wrapping up Scene 83, ...
- up to the third quote in this post...
And I wonder if that "insane dress" Gregory "whips out" and is "so perfect" for and "very" Tracy but "completely un-Quentin" would have been the same dress that Tracy wears in upcoming Scene 88 (as well as the deleted upcoming Scene 87)?
(http://www.dsboards.com/NoDSAnniQuoteImages/dress.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/dress.jpg) for a 452X700 version)
True, the script doesn't reference Tracy actually buying it. But then the script doesn't reference Claire buying the dress she wears in Scene 88 (and Scene 87), but Alex reacts to it as if it is new. So...
But if it is the dress, even though it doesn't seem outlandish, it is formal. And yes, formal would definitely seem to be "un-Quentin" because, if we can judge by much of what he wears throughout most of the film, the man has never come across a denim shirt he hasn't fallen in love with and bought. [hall2_grin]
-
I guess that it could be considered outlandish, compared to some of the off the rack stuff from Ohrbach's. Maybe it's just me but I felt that Claire and Alex seemed a lot more hip than Tracy and Quentin.
-
And for these final three days things are switching to Angelique publicity stills that were taken in the tower room. First up:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-13.jpg)
And to my memory the only place that still has appeared is in the NoDS Pressbook as part of the following article -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-13a.jpg)
- and that article might explain the body language Lara Parker exhibits in the stills in Reply #222 and especially Reply #216.
And fair warning to pay close attention to the publicity stills because they may come in handy because there may be a quiz down the line... [hall2_wink]
-
That shot of Lara is one of the first things that I purchased for my collection back in 1971. I don't know how I discovered it but MGM had a still department that you could buy stuff from. They were very nice to deal with. If you asked for an image from a particular scene, they would do their best to accommodate you. I bought about eight or nine pictures from them before the NYC office shut down in 1972 or so, probably due to MGM's financial problems. I might have bought more, except that the price was high for the time. A huge $1.25 apiece!
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I guess that it could be considered outlandish, compared to some of the off the rack stuff from Ohrbach's.
So true. Although there is that yellow dress (http://www.dsboards.com/hoDSquoteimages/0130hoDS_a.jpg) that Liz even wears in hoDS...
Maybe it's just me but I felt that Claire and Alex seemed a lot more hip than Tracy and Quentin.
You have a point. As the film stands, because Scene 82 was never shot, we have no idea that the Jenkins, or at least Claire, met Quentin in Paris, and because Scene 83 was never shot, we have no idea that Tracy seemingly lived in New York City. For all we know as far as Quentin goes, all of his life he remained "around" and "mean and surly" wherever he was born until some point before he met and married Tracy. But at least with Tracy we do learn that she presumably has some exceptional knowledge about Early American artists to the point that Alex seeks her advice about seeing a gallery owner in New York who's an expert on the subject.
-
If you want to learn about or refresh your memory concerning the background of today's quote (Gregory's response to Tracy mentioning Quentin) -
Page 33/Scene 83 - Gregory: 'The husband, darling?'
- check out -
Wrapping up Scene 83, ...
- up to the fourth quote in this post...
-
Two Angelique publicity stills that were taken in the tower room:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-14_1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-14_1.jpg) for a 807X1000 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-14_2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-14_2.jpg) for a 700X487 version)
-
That shot of Lara is one of the first things that I purchased for my collection back in 1971.
I can certainly understand why you would want it because I love it too. I also love the top still in Reply #231 above. In fact, I had Lara autograph an 8X10 of it at the 1989 DS Fest and ever since it's been proudly displayed on a shelf in the bookcase in my home office. [hall2_wink]
I don't know how I discovered it but MGM had a still department that you could buy stuff from. They were very nice to deal with. If you asked for an image from a particular scene, they would do their best to accommodate you. I bought about eight or nine pictures from them before the NYC office shut down in 1972 or so, probably due to MGM's financial problems.
That sounds similar to how Cinema Attic operated. As I've mentioned, I bought a lot of NoDS stuff from them back in the '70s. And as far as stills were concerned, you could write to ask how many stills they had featuring certain actors from a certain film and they would not only provide a number but a mimeo page or mimeo pages of thumbnails of the actual stills so that you'd know exactly what you'd be purchasing.
I might have bought more, except that the price was high for the time. A huge $1.25 apiece!
LOL!
Though what's really funny is that I don't even remember how much I paid Cinema Attic for any of the stuff I bought from them. It was almost 50 years ago, so I'm sure that has something to do with it, however, back in the '90s I also bought quite a bit of stuff from Jerry Ohlinger's Movie Material Store in NYC and I couldn't tell you how much I paid for that stuff either. [hall2_grin] In both cases I was just happy that I could afford the things I bought. And in the case of Ohlinger's the things I bought were nice souvenirs from my trips to NYC...
-
My BFF Helen and I used to make regular trips into NYC just to Jerry Ohlinger's. They had, as I remember, five separate books of DS stills. Original series color. Original series black and white. House. Night. And the NBC show. There were photos of virtually every actor connected with DS. I think that the 8x10's were $5.00 each. I know that I usually dropped at least $100 each time I went, with the DS stuff and a fair amount of Nancy Sinatra and Deborah Harry pictures as well.
My favorite memory involves a vintage shot of TLATKLS. I didn't think that it was that bad a photo but she apparently didn't care for it. There was a Post It note next to the picture with this written in bold: WILL NOT SIGN THIS. [hall2_rolleyes] [hall2_grin] [hall2_rolleyes]
-
My BFF Helen and I used to make regular trips into NYC just to Jerry Ohlinger's.
I can certainly understand why because they had some great stuff! [hall2_wink]
I think that the 8x10's were $5.00 each.
That sounds about right.
I know that I usually dropped at least $100 each time I went
I definitely had to limit myself to $100 because otherwise I could have spent insanely. Some people might think $100 was insane - but most times I was in NY for a DS Fest, so I'd budgeted just how much I could spend on DS memorabilia for the entire trip and no more than $100 would be Ohlinger's share.
My favorite memory involves a vintage shot of TLATKLS. I didn't think that it was that bad a photo but she apparently didn't care for it. There was a Post It note next to the picture with this written in bold: WILL NOT SIGN THIS. [hall2_rolleyes] [hall2_grin] [hall2_rolleyes]
Why doesn't that surprise me? [hall2_grin] But to be fair I think sometimes we all wish certain photos of us didn't exist but no one else seems to see anything wrong with them...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 34/Scene 83 - Claire: 'Gregory, wrap it up. We'll take it.'
- and/or today's second quote -
Page 34/Scene 83 - Tracy: 'Alright, but only if we can return it.'
- check out -
Wrapping up Scene 83 ...
- everything after the fourth quote in this post. And that's the end of Scene 83...
However, for reasons that will become obvious in the links to follow, be sure to read these two posts -
We're going to handle things a bit differently for this next sequence because when it comes to the beginning of Scene 85, it's different in the film from the way it appears in both Grayson's and DC's scripts - especially DC's. And the fascinating thing is that DC's script contains a major rewrite, yet none of the rewritten part made it into the film. But to kick things off, this is the way Scene 84 and the beginning of Scene 85 appear in Grayson's script:
...
When it comes to DC's script, Scene 84 and the setting and first descriptions of Scene 85 are exactly the same as they are in Grayson's script, so I won't repeat them. Things get very different once DC's script reaches its Page 35:
...
- before getting into tomorrow's first quote from Scene 85...
-
And the last of the stills to preview Scene 85, two more Angelique publicity stills that were taken in the tower room:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-15_1.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-15_2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-15_2.jpg) for a 1481X1000 version)
I forgot to mention yesterday that the bottom still in Reply #231 was published on page 188 of DS: Return to Collinwood. And the bottom still in this post was published as October's photo in the Fest's 1999 Movie Calendar. However, so far as I know, the other two photos haven't been officially published anywhere...
-
The Ohlinger's store always seemed to be in a state of disorganization and chaos. But if any of the staff needed to locate some arcane piece of memorabilia, Jerry invariably knew where to find it. He passed away in 2018. But I was very pleasantly surprised to see that the store is still in business. Probably one of the last of its kind.
-
If you've already read the two posts linked to at the end of Reply #235 and you want to learn about or refresh your memory concerning the background of today's quote -
Page 35/Scene 85 - Angelique: 'You must finish it because when you do, you will give me the most marvelous gift of all -'
- check out -
The way Scene 85 actually begins in the film isn't with the transition in Scene 84 from Quentin's view of the unfinished painting to a view of it in 1810 because, like several other instances of the subconscious memory scenes, things actually cut to a close-up of Quentin -
- up to the point in this post where I share what Angelique actually says in the film rather than the above quote from DC's script...
Also, if you'd like to watch the opening 29 seconds of Scene 85, here's a link to video of it which I posted back in Reply #12:
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 35/Scene 85 - Angelique: 'We are in each other's souls, Charles. We can't escape it.'
- check out -
The way Scene 85 actually begins in the film ...
- up to the point in this post where I share the second instance of what Angelique actually says in the film rather than the above quote from DC's script...
-
At the time I posted this -
And here's the third as well as another one of the rare stills to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-3.jpg) for a 700X476 version)
- I didn't realize the still had been used on the back cover of the NoDS DVD/Blu-ray packaging -
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_DVD_back.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_DVD_back.jpg) for a 1000X1411 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_Blu-ray_back.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_Blu-ray_back.jpg) for a 1000X1163 version)
- though neither shows as much as the actual still, with the Blu-ray version showing the least.
(Also, I never realized Lara Parker's billing isn't what it should be based on the opening credits. She should be third after Grayson Hall and before John Karlen, yet she's after Nancy Barrett, which, probably not coincidentally, is how she's billed on the posters. But everyone else is billed in the exact order they are in the opening credits. Odd. But I'm sure there was some reason...)
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 35A/Scene 85 - Gabriel (O.S.): 'Charles, I want to talk to my wife.'
- check out -
The way Scene 85 actually begins in the film ...
- from the point in this post after I share the second instance of what Angelique actually says in the film to the end of the post...
-
Before we get into today's quote, I'd like to share this as a reminder:
I like today's photo. I know you can't see "anything" but as you know, I have a vivid imagination.
winking,
G.
I just knew someone was going to remark on today's capture. [ghost_grin]
(http://www.dsboards.com/NoDSAnniQuoteImages/1122NoDS_0.jpg)
But at least one good thing about the VHS/Laser version of the film is that Charles' head doesn't get cut off:
DVD/Blu-ray:
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Blu-ray_frame_02054.jpg)
VHS/Laser:
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Laser_frame_02053.jpg)
(ADMIN: Edited for better comparison and to add a Laser capture)
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 35A/Scene 85 - Angelique: 'Let him in.'
- check out -
Picking up Scene 85 where we left off, after Gabriel pounds on the door and asks to see Angelique:
- this post...
-
I just learned something quite by accident about the VHS version of NoDS that for over 30 years I never knew. But it relates to tomorrow's quote in the slideshow, so I want to hold off specifically getting into it until I post about tomorrow's quote. However, does anyone else know what I'm getting at? If you do know, you don't really even need to know what tomorrow's quote will be. And it doesn't really require you getting into the quote specifically, so if you do know, how did you learn about it?
-
Before we get into today's quote, my discovery, etc., I'm going to revisit Scene 84 because while I was preparing to format things for the posts about today's quote I noticed something in Scene 84 that I'd never noticed before - yet more proof that no matter how many times one watches something (and I've watched NoDS so many times that I've lost count), one can still notice something new. And to be somewhat fair to myself, when I saw NoDS in theaters and when I've watched it on Blu-ray, what I noticed today is not as noticeable as it is in the VHS version of the film. But considering the vast majority of times I'd watched NoDS, I'd watched it on VHS by virtue of the fact the VHS has been available for over 30 years, there may not be a good excuse that I didn't notice what I did today until today - well, except for the fact that my attention is normally completely on Quentin in the brief period what I noticed today comes and goes on screen.
But none of that is telling you what I did notice. And what I did notice would certainly seem to answer a question fans of the film have wondered though presumed they knew the answer to. And that question is did Charles paint the portrait of Angelique that hangs in Collinwood's Gallery? We've often said the answer is obvious that he did, but we didn't have real proof. But real proof would indeed seem to be in the film, albeit briefly, in Scene 84.
So, without further teasing, here's a screen cap from the Blu-ray that shows the proof -
(http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_16X9.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_16X9.jpg) for a 1000X532 version)
- and don't feel bad if you don't immediately see it - but here's a frame taken from a the Laser Disc version of the film that shows the proof much better -
(http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_4X3_Laser_frame_01098.jpg)
- so as you can see it's a sketch of Angelique wearing the same dress and necklace that she wears in the portrait -
(http://www.dsboards.com/NoDSAnniQuoteImages/Portrait.jpg)
- and even though it's not the same pose, it would certainly seem to be ample proof that Charles painted her portrait...
(ADMIN: Edited to replace TV video screen capture)
-
Just a quick follow-up to the previous post:
(http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_4X3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_4X3.jpg) for a 900X661 version)
It's quite interesting how shooting video from a TV screen can cause things like unwanted glare and color changes because this is what an actual screen cap from the VHS looks like -
(http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_4X3-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_4X3-2.jpg) for a 900X661 version)
- (though not the same moment from the scene, but then, if I'd already had a screen cap of the same moment from the scene, I wouldn't have needed to shoot video of the scene, now would I? [hall2_wink])
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 35A/Scene 85 - Gabriel: 'I have come for her, brother.'
- check out -
Continuing with Scene 85:
- this post...
-
In order to show how really odd what I discovered about the VHS of NoDS is, we need to backtrack Scene 85.
We've seen that Angelique's first line in the script is:
Page 35/Scene 85 - Angelique: 'You must finish it because when you do, you will give me the most marvelous gift of all -'
And what she actually said is:
(http://www.dsboards.com/NoDSAnniQuoteImages/1119NoDS_0.jpg)
Angelique: 'As long as she's here in this house, I can't be
happy.'
So it should come as no surprise that the closed captioning on the VHS has:
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_00988.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_01039.jpg)
(ADMIN: Edited to replace TV video screen captures)
-
And we've seen that Angelique's second line in the script is:
Page 35/Scene 85 - Angelique: 'We are in each other's souls, Charles. We can't escape it.'
And what she actually said is:
(http://www.dsboards.com/NoDSAnniQuoteImages/1120NoDS_0.jpg)
Angelique: 'Bring the painting to life, Charles. Please -
promise me.'
So it should come as no surprise that the closed captioning on the VHS has:
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_01231.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_01326.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_01386.jpg)
(ADMIN: Edited to replace TV video screen captures)
-
And we've seen that Gabriel's first line in the script is:
Page 35A/Scene 85 - Gabriel (O.S.): 'Charles, I want to talk to my wife.'
And what he actually said is the same:
(http://www.dsboards.com/NoDSAnniQuoteImages/1121NoDS_0.jpg)
Gabriel: 'Charles, I want to talk to my wife.'
So it should come as no surprise that the closed captioning on the VHS has:
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_01588.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_01653.jpg)
However...
(ADMIN: Edited to replace TV video screen captures)
-
...things get a bit wonky after that. We've seen that Gabriel's next line is:
GABRIEL (O.S.)
I know she's in there. Now open
the door.
|
And that is indeed what he says in the film.
However, all that comes up with the closed captioning is:
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_01720.jpg)
But that's not what I found odd because, as aggravating as it might be, I've noticed before when I've been with people who've had the closed captioning on that sometimes words or even entire lines of dialogue are missing. [hall2_rolleyes]
And we've seen that Charles' lines in the script followed by Gabriel's next lines do not come up in the 94 minute version of the film and that version moves right on to Angelique's next line:
Page 35A/Scene 85 - Angelique: 'Let him in.'
And it plays in the film the exact same way:
(http://www.dsboards.com/NoDSAnniQuoteImages/1122NoDS_0.jpg)
Angelique: 'Let him in.
And it shows up in the closed captioning in the exact same way:
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_02059.jpg)
However, it's after that where the oddness occurs...
(ADMIN: Edited to replace TV video screen captures)
-
...because we've seen today that whereas Gabriel's next scripted line is:
Page 35A/Scene 85 - Gabriel: 'I have come for her, brother.'
But what he actually says in the film is:
(http://www.dsboards.com/NoDSAnniQuoteImages/1123NoDS_0.jpg)
Gabriel: 'That's my wife, Charles.'
What comes up with the closed captioning is:
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_02445.jpg)
That's seemingly a mix of what was scripted and what was actually said, but really neither. Who knows where/how whoever did the closed captioning came up with it?! And I wonder if similarly odd closed captioning happens anywhere else in the film? One of these days it might be interesting to watch the film with closed captioning on, which is something I've never done. Honestly, I don't even know why it was active on the TV I used yesterday to check something in the VHS' version of Scene 85. The TV is the only one I have that still has a connection for my VCR, so it's the only reason I still have it. Perhaps close captioning is automatically set to active when the TV is plugged in after not being in use for months. Who knows? But if it wasn't for the fact that it was active, it's quite possible I would have never noticed how odd that bit of closed captioning is...
(ADMIN: Edited to replace a TV video capture)
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 35A/Scene 85 - Charles: 'What's happened? You've suddenly become a man. (turning to Angelique) Will you take the credit, my dear?'
- and/or today's quote -
Page 36/Scene 85 - Charles: (tentatively) 'Leave her alone, Trask! I'm warning you! Gabriel, have you lost your mind?'
- check out -
Picking up where we left off with Scene 85, with yesterday's quote, Charles' reply to Gabriel -
- this post, which will also explain why the same quote is listed twice in today's slideshow, as well as why "Trask" isn't corrected to "Strack", and to see Strack's head not get cut off in a screen cap from the VHS version of the film...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 36/Scene 85 - Trask (to the other two men): 'Take her!'
- check out -
Continuing Scene 85 with the script explaining:
- this post, which will also explain why the quote is attributed to Trask and not Strack...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 36/Scene 85 - Angelique: (deadly calm) 'I'll go with you. But don't any of you touch me.'
- check out -
And wrapping up Scene 85, beginning with the script explaining:
- this post, which will also explain differences as well as additions...
-
Before we move on the today's Scene 86, I want to go back to how I teased there may be a quiz about Scene 85 that the stills I shared may help with. I'm somewhat ashamed to admit that there are continuity errors in Scene 85 that I never noticed until I watched it this time around. Yet another example of no matter how many times one watches something, there can still be things to notice for the first time. (Though again, I use the excuse that most times I watch something, much of my attention is focused on faces and not other things.) And so much for the remark I made:
Quite obviously whoever they hired to handle continuity for the film was much better than anyone who might have worked on the daytime show!
They were better but, obviously, not perfect because they really screwed up when it came to Scene 85!
So, has anyone else noticed the continuity errors? The screw up is a really big problem when it comes to a subsequent scene...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 36/Scene 86 - Quentin: 'Gabriel...Angelique...? That was her funeral I saw. What happened here? What?'
- check out -
Here's Scene 86 as scripted:
- this post, which will also explain differences with Scene 86 between the script, the 94 and 97 minute versions of the film, and the 129 minute version...
-
Once you learn what the problem is, you're going to feel foolish that you didn't notice what's wrong with Scene 85. I certainly do. And it would be one thing if it was simply something in Scene 85 and had no bearing on anything else, but as I said, it's a really big problem when it comes to a subsequent scene...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 37/Scene 87A - Quentin (O.S.): 'It looks like he was going to add some other people.'
- check out -
Setting up Scene 87, which DC has broken up into Scenes 87A and 87B in his script:
- this post, which will start to explain differences between DC's script and Grayson's script...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 37/Scene 87A - Alex: 'I wonder why he never finished it... yeah, it's amazing, isn't it? So evil here...so prim over there. The double life of Angelique Collins. I wonder what Charles Collins knew that the others didn't.'
- check out -
Picking up from yesterday with today's quote -
- this post, which will explain how the scene originally opened...
-
Before we get into today's quote, I want to share the photo -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery-1.jpg)
- I used for yesterday's graphic -
(http://www.dsboards.com/NoDSAnniQuoteImages/1130NoDS_0.jpg)
As far as I'm aware, the only place it was ever published was as part of a NoDS article in the Dec. '71 issue of 16 Magazine. And in fact, back in the '90s Darren Gross couldn't locate a copy among the NoDS stills available to him. But he may have located a copy since...
In upcoming days I'll be sharing what I used to create other Scene 87 graphics (including one that's brand new to this version of the slideshow) and one that I didn't use...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 37/Scene 87A - Claire: 'Here he goes. Another plot for another book --'
- check out -
Continuing with Scene 87, we pick up with yesterday's quote, made in response to Alex' musing about Angelique -
- this post, although, it's actually today's quote this time around, and only read up to that point...
And even though today's graphic introduces part of something new, I'm going to hold off sharing the still it comes from for a few days for reasons that will become obvious with time...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 37/Scene 87A - Alex: 'I've been doing some research.'
- check out -
...
- and then today's quote -
- this post until it's end...
One thing that's very unfortunate about both the 94 and 97 minute versions of the film is the audience never has any idea that Alex has been doing research and never learns about anything he uncovers because this scene as well as upcoming Scene 111 were cut. At least Scene 111 is included in the 129 minute version, but considering that version isn't available and may never be ([hall2_cry]), that's little consolation...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 37/Scene 87A - Alex: 'The servant-girl legend is just that. And after seeing this, my vote goes to her. She'd make some ghost.'
- and/or today's second quote -
Page 37/Scene 87B - Claire (O.S.): 'Poor Angelique Collins. He's going to start and she'll have no more secrets.'
- check out -
Moving on with Scene 87, today's first quote -
- this post...
What a shame Quentin wouldn't have been able to hire that servant girl's ghost to clean... [santa_wink]
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 37/Scene 87B - Tracy: 'Do we have to have a ghost, Alex?'
- check out -
Continuing with Scene 87, with Tracy asking in yesterday's quote -
- this post, although, again, it's actually today's quote this time around, and only read up to that point...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 37/Scene 87B - Quentin: 'Alex makes up his own legends, anyway. I'm not half as curious about Angelique Collins as I am about Charles. He is quite good, you know.'
- check out -
Continuing...
- this post to the end...
-
When it comes to yesterday's and today's graphics in the slideshow -
(http://www.dsboards.com/NoDSAnniQuoteImages/1204NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/1205NoDS_0.jpg)
- I made them using this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery-2.jpg)
- which, as far as I know, has only been published on page 111 of the DS Companion. However, since creating those graphics I've come into possession of the actual still, which shows a bit more than its DS Companion version:
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery-3.jpg) for a 700X484 version)
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 37/Scene 87B - Alex: 'He is good?'
- and/or today's second quote -
Page 37/Scene 87B - Quentin: 'He was good.'
- and/or today's third quote -
Page 37/Scene 87B - Alex: 'He was good.'
- check out -
Before we get into the way Scene 87 concludes in DC's script, here's how it concludes in Grayson's script, picking up after Quentin's remark that Charles Collins "is quite good":
- this post to see, as indicated, the differences between Grayson's and DC's scripts...
-
And when it comes to today's second graphic in the slideshow -
(http://www.dsboards.com/NoDSAnniQuoteImages/1206NoDS_1.jpg)
- I made it this time around using this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery-4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery-4.jpg) for a 533X700 version)
- which I probably would have done back in 2009 or 2016 for those slideshows if I had remembered that it had been shared as part of the 2004 Fest Program, but I didn't. Thankfully this time around I did remember it was there...
-
And before we move on beyond Scene 87, here's a still not used for the slideshow. It was shared by the 2012 Fest Program and it's also a second solo still of Quentin for Scene 87:
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery-5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery-5.jpg) for a 693X700 version)
One would presume solo stills of Alex, Claire and Tracy from Scene 87 might also exist - however, if they do exist, it seems as if those solo stills have yet to surface...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 38/Scene 88 - Alex (gesturing to Claire): 'Will you look at that dress? Gregory strikes again! He must think we're the manor folk -- honey, remember, we're broke.'
- check out -
There are two slightly different ways that Scene 88 is setup, depending on whose script one is reading. Grayson's sets things up thusly, beginning at the bottom of page 37:
- this post to learn about the different setups along with a great deal of improvised dialogue before the scripted dialogue even comes up in the scene as well as after - and of course there's Carlotta's reaction to Alex after she enters the room...
And as I said earlier, it's a shame that as the film stands, regardless of the version, the audience has no idea who Gregory even is...
-
I haven't forgotten about this:
Before we move on the today's Scene 86, I want to go back to how I teased there may be a quiz about Scene 85 that the stills I shared may help with. I'm somewhat ashamed to admit that there are continuity errors in Scene 85 that I never noticed until I watched it this time around. Yet another example of no matter how many times one watches something, there can still be things to notice for the first time. (Though again, I use the excuse that most times I watch something, much of my attention is focused on faces and not other things.) And so much for the remark I made:Quite obviously whoever they hired to handle continuity for the film was much better than anyone who might have worked on the daytime show!
They were better but, obviously, not perfect because they really screwed up when it came to Scene 85!
So, has anyone else noticed the continuity errors? The screw up is a really big problem when it comes to a subsequent scene...
Once you learn what the problem is, you're going to feel foolish that you didn't notice what's wrong with Scene 85. I certainly do. And it would be one thing if it was simply something in Scene 85 and had no bearing on anything else, but as I said, it's a really big problem when it comes to a subsequent scene...
And to further provide clues, I'm reposting this -
And fair warning to pay close attention to the publicity stills because they may come in handy because there may be a quiz down the line... [hall2_wink]
- and this particularly -
And another behind the scenes still featuring David Selby and Lara Parker to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-11.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-11.jpg) for a 700X476 version)
- because it provides one of the biggest clues among the publicity stills...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 38/Scene 88 - Quentin: 'What's that?'
- check out -
Continuing with Scene 88:
- this post...
And while your at it, be sure to check out -
Let's see. I read it as...
- to read Uncle Roger's expert deciphering of Grayson Hall's writing down her intended subtext for the scene...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 38/Scene 88 - Tracy: 'Something you can't be without?'
- check out -
And continuing with more of Scene 88, starting off with today's quote -
- this post for, among other things, seemingly more improvised dialogue...
A second reference to the never seen Gregory. [santa_sad]
And something that's interesting about Scene 88 (and 89) for me is that I have never (and perhaps no one has ever) seen one still from the scene/sequence. Not that I've seen stills from every scene. Off the top of my head, I've never seen any stills from Scenes 30 through 32 (Carlotta leads Tracy and Quentin to the stairs and up to the second floor), but at least those scenes are part of the whole sequence of Carlotta introducing Quentin and Tracy to Collinwood and those scenes are probably the least important in the sequence. But other than those scenes I would be hard pressed to come up with a scene/sequence, particularly a mostly stand alone scene like Scene 88's dining room scene, where there isn't at least one still of it that's been circulated. Just an observation.
And speaking of observations, does it strike anyone else as odd that Alex claims that he and Claire "are broke"? Apparently they've written at least a few successful novels, one of which we learn at the end of the film is being made into a "major motion picture." Either they must have a terrible agent who negotiates terrible contracts for them or they must spend money like water. Or both. Who knows? [santa_undecided] But if they are broke, no wonder they need to live rent free. [santa_wink]
-
The most obvious answer, at least to me, is that, Alex probably feels that, compared to Quentin, who has just inherited an estate, they are broke. They do seem to be doing a lot better than Will and Carolyn Loomis, the closest to counterparts they have on the series. Alex claims that they're broke but at least they're not having to take in boarders, vampires or otherwise. And it's only Alex who makes that statement. Claire doesn't put up an argument. She just remains quiet. Claire may be making enough trips to Gregory's boutique to be recognized as a regular customer but, outside of that, what expenses do she and Alex actually have at Collinwood? Rent is apparently not one of them. Food seems to be minimal. From what I can see, Alex seems to be the more impulsive of the two.
And, while I'm thinking about it, why did he and Quentin hit it off so well when they first met? By his own definition, starving artist Quentin was mean and surly. Claire couldn't figure him out. So what made the two of them bond?
Or perhaps The Jenkins are simply bad with money. Or maybe they just had the same literary agent as Lara Parker.
-
The most obvious answer, at least to me, is that, Alex probably feels that, compared to Quentin, who has just inherited an estate, they are broke.
You do have a point because part of Alex' line is, "Gregory strikes again! He must think we're the manor folk --"
And it's only Alex who makes that statement. Claire doesn't put up an argument. She just remains quiet.
True, Claire doesn't put up an argument - but she doesn't remain completely silent either - she replies with a sigh which might seem to put her in agreement that they're broke. Plus, while in the script the line is "we're broke" and in the film John Karlen delivers it as "we are broke" the "we're" in the script is underlined for emphasis:
Page 38/Scene 88 - Alex (gesturing to Claire): 'Will you look at that dress? Gregory strikes again! He must think we're the manor folk -- honey, remember, we're broke.'
And I think changing it to "we are" gives it even more emphasis. So -
Or perhaps The Jenkins are simply bad with money. Or maybe they just had the same literary agent as Lara Parker.
- you may have some good points there, too. [santa_wink]
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 38/Scene 88 - Quentin: 'No...NO... [He kisses Tracy lightly] I'll get around to wearing it sooner or later --'
- check out -
And more of Scene 88, picking up with today's quote -
- this post for more differences with the dialogue...
-
And this installment of this slideshow sets a record for the most quotes on one day of a slideshow. And if you want to learn about or refresh your memory concerning the background of today's first quote -
Page 39/Scene 88 - Quentin: 'Oh, Carlotta, Charles Collins --'
- and/or today's second quote -
Page 39/Scene 88 - Carlotta: 'Yes, sir?'
- and/or today's third quote -
Page 39/Scene 88 - Quentin: 'I found some of his work in the tower room.'
-and/or today's fourth quote -
Page 39/Scene 88 - Carlotta: 'Oh?'
- and/or today's fifth quote -
Page 39/Scene 88 - Quentin: 'Do you know anything about his history?'
- check out -
And yet more of Scene 88, picking up with today's first quote -
- this post for a few more differences with the dialogue...
And we reach the real point of the scene...
-
And something that's interesting about Scene 88 (and 89) for me is that I have never (and perhaps no one has ever) seen one still from the scene/sequence.
OMG - How could I have said such foolishness?! I (and apparently everyone else reading this topic, because no one corrected me [santa_sad]) completely forgot about this still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Dining.jpg)
And as if it wasn't bad enough that I forgot about my own copy of the still (which I just came across while looking for stills for upcoming Scenes 96 & 97), but it also appears on page 24 of the booklet for the movies' soundtrack CD (though that version is somewhat cropped).
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 39/Scene 88 - Carlotta: 'He was a marvelous man, a brilliant artist.'
- check out -
And continuing with more of Scene 88, picking up with Carlotta's answer as today's quote:
- this post...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 39/Scene 88 - Alex: 'You sound as if you know him.'
- check out -
The interesting thing about the notation in DC's script about doing a shot of Alex, Quentin and Tracy over Carlotta's shoulder is that after Carlotta says Charles was marvelous and brilliant, the next shot in Scene 88 is one of those three, though as can be seen in this capture -
- this post...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 39/Scene 88 - Carlotta: 'I've read a lot about him, Mr. Jenkins. Will you be having brandy in the gallery?'
- and/or today's second quote -
Page 39/Scene 88 - Alex: 'Never. We're up with the sun these days.'
- check out -
And picking up Scene 88 with today's first quote -
- this post for more differences from what's scripted, more improvising, plus a great screen capture of Carlotta...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 39/Scene 89 - Quentin: 'Listen, I've had more of those crazy daydreams.'
- check out -
Setting up Scene 89:
- this post for the differences in the dialogue and the descriptions and directions...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 40/Scene 89 - Quentin: 'Not now. Why don't you come over tomorrow.'
- check out -
Wrapping up Scene 89, beginning with Alex's response to Quentin bringing up his "daydreams":
- this post for yet more differences in the dialogue and the descriptions and directions...
-
Be sure to read -
The next quote in the slideshow will be from Scene 97, so there are a lot of scenes to deal with before we get there:
- as soon as possible because stills from Scene 96 will be forthcoming, plus there are many screen caps in the post from the scenes leading up to Scene 96 and beyond...
-
Here are the first batch of stills for Scene 96. First up, a rare still I've never seen shared anywhere:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-1.jpg) for a 700X908 version)
Next, another rare one, though it was published as part of an article in Daytime TV (along with several other rare ones that have only been published as part of that article):
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-2.jpg)
The caption for it reads: "Jealous that Angelique is spending too much time with Quentin, Gerard goes after Quentin."
And another rare one that I find a bit funny because to me it looks more like David Selby wearing a wig and pretending to be James Storm as Gerard -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-3.jpg)
- but then, it could be James. Who knows? But it was published in the Dec. '71 issue of 16 Magazine, hence the drawing of scratches on the face where there shouldn't even be any yet...
-
Here are a second batch of stills for Scene 96. First up, a rare still that was also published as part of the article that appeared in the Dec. '71 issue of 16 Magazine:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-4.jpg)
The caption for it reads: "Even in the present day, Quentin fights to defend himself
from one of Angelique's lovers. This time it is Gerard (James
Storm), who, madly in love with the ghost of Angelique, succeeds
in his attack against Quentin -- alias Charles."
(It's interesting that the caption explicitly states Gerard's relationship to Angelique prior to Quentin's arrival when, as the film stands, the audience has to piece things together for themselves, and that's made harder by the fact that even in the 129 minute version Scenes 41 through 44 in which Quentin goes to the tower room on his first night at Collinwood and a Gerard who reacts with "eyes blazing with hatred" sees that Quentin goes there are not included. The only things in any version of the film that give any idea Gerard is somehow angered by Quentin's arrival is when he asks Carlotta in Scene 51, "Do you know what happened last night? Do you?!" - Carlotta explains, "Everything has changed now. You must accept that" - he replies, "I was good enough until he came around. Now..." - and she insists, "Now listen! I want you to go to the stables. He'll be there soon to ride. I've told you that everything was different now." The audience doesn't really have any clue to be able to piece things together to understand what Gerard meant until Scenes 92 through 97 take place - and only if they remember that exchange with Carlotta.)
Next, a still that pops up seemingly all over the place (including that same 16 Magazine article, which is why -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-5.jpg) for a 700X564 version)
The 16 Magazine caption for it reads: "In one of his grotesque visions of a time long gone, Quentin
"sees" Angelique (Lara Parker) trying to stop her husband
Gabriel (Christopher Pennock) as he's about to attack Charles
Collins (who Quentin realizes is himself) in a fit of jealous rage!"
- the caption for the first still says "Even in the present day, Quentin fights to defend himself
from one of Angelique's lovers."
But here's a rare version of Angelique's attack on Gabriel -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-6.jpg)
The caption for it reads: "A busy spirit, Angelique scratches the face
of Christopher Pennock (Gabriel) as he pre-
pares to launch an assault of his own."
Though shouldn't that have been "Lara Parker scratches the face
of Christopher Pennock (Gabriel)" or "Angelique scratches the face
of Gabriel (Christopher Pennock)" - not what it is because it
associates a character with an actor...
- something that was also published as part of that same Daytime TV article the second Gerard still came from...
-
Before we get to today's quote, I want to mention that after I reread Reply #210 in "And Now The Return of Another New Slideshow (Sort of) [**Now featuring alternate versions...", which I linked to back in Reply #285 of this topic, I realized that back in May of 2016 I should have not only pointed out that Quentin didn't fall onto the floor after Gerard's attack, but that he fell backward onto the couch. So, I've added a screen capture of that and altered the text:
...
- but when Gerard attacks him, Quentin doesn't fall onto the floor, he falls backward onto the couch -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_j.jpg)
- and he already sees -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_k.jpg)
- Gerard as Gabriel - and we see Angelique rush to scratch both the faces of Gabriel -
...
(You'll probably need to clear your browser's cache in order to see the correct screen captures. [santa_smiley])
And interestingly enough, you may not have noticed because it goes by so fast, but the shot of Quentin falling backward onto the couch appears in the 30 second TV spot that I shared back in Reply #43. It appears after we see Charles' horse trampling (while killing Strack) and before Tracy screams (when Angelique moves in to attack her). It also appears in both the 1 minute and 2 minute trailers.
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 41/Scene 97 - Tracy: 'Quentin!...stop it! You'll kill him! Stop it!'
- check out -
Picking up with Scene 97:
- this post for differences as well as to conclude Scene 97 and move to Scene 98...
-
Here's a rare still from Scene 97 (before Scene 99 begins in the slideshow tomorrow):
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-7.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-7.jpg) for a 700X544 version)
It's funny that Gerard is the only one whose face you can't see in the screen capture for Tracy's quote -
(http://www.dsboards.com/NoDSAnniQuoteImages/1217NoDS_0.jpg)
- yet his is the only face you can see in the still...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 42/Scene 99 - Quentin: 'Tracy! Tracy!'
- check out -
Continuing with the current sequence:
- this post as things move to Scene 99...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 42/Scene 99 - Carlotta: 'Mr. Collins! What happened?'
- check out -
Wrapping up Scene 99, first by picking up after Quentin realizes what he was doing to Tracy:
- this post, which also features Carlotta's reaction to what Quentin has done, along with the many differences between the way things are scripted and how they actually play in the film...
-
As you may recall, I posted publicity stills for Scene 99 back in August in Reply #53:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-4.jpg) for a 1088X838 version)
- and like the Charles still, there's an alternate (and rare) version -
(http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-5.jpg)
- but unlike anything I've shared so far, there's also an alternate (and rarer still) color version -
(http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-6.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-6.jpg) for a 700X476 version)
...
Although, in the time since I first made that post, I discovered I had a better version of the color still (the one I'd originally shared ended at Gerard's chin but the better one goes down further), so I replaced the original version with its better version. However, depending on how long it's been since you've cleared your browser's cache, you may need to do so the see the newer version. [santa_smiley]
-
... There's also a color version as part of the NoDS Lobby Cards set ...
And here that is from back when I posted it in Reply #77:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_3.jpg) for a 930X738 version)
...
Although, I have to say that I honestly prefer the still version:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-8.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-8.jpg) for a 700X476 version)
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 42/Scene 100 - Quentin: 'I don't remember anything until I saw Gerard. I didn't recognize him. He shouldn't have been in the house.'
- and/or today's second quote -
Page 42/Scene 100 - Tracy: 'He simply thought he saw a light.'
- check out -
Setting up the next scene:
- this post for the differences from the script...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 42/Scene 100B - Quentin: 'And what was I about to do to you?'
- and/or today's second quote -
Page 42/Scene 100B - Tracy: 'You stopped when you realized what you were doing.'
- check out -
Continuing Scene 100, or rather Scene 100B because DC's script has a notation that Scene 100B begins after Tracy tells Quentin that Gerard simply thought he saw a light. And the first thing to come up after that is today's first quote -
- this post to also learn about some notations that didn't pan out...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 43/Scene 100B - Tracy (gets up, crosses to him): 'Don't worry about me...the important thing now is to figure out why it happened.'
- check out -
Continuing on with DC's B portion of Scene 100:
- this post for the many differences between the script and the actual scene...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 43/Scene 100B - Quentin: 'I know...and how are we going to do that?'
- and/or today's second quote -
Page 43/Scene 100B - Tracy: 'Let's go to bed. I'm sure it'll seem easier tomorrow.'
- check out -
Wrapping up DC's B portion of Scene 100, beginning with Sunday's first quote, Quentin's response to Tracy saying the important thing is to figure out why what happened with Gerard actually happened -
- this post - and though today is not a Sunday, it was back in 2016 when the two quotes first ran - and please only read up to those first two quotes even though comments about them will be coming up later in the post...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 43/Scene 100B - Quentin: 'Aren't you...afraid to sleep in the same room with me?'
- check out -
... followed by Monday's quote -
- this post - and though today is not a Monday, it was back in 2016 when that quote first ran - and please only read up to the first three quotes even though comments about them will be coming up later in the post...
-
The decaying skull of Angelique wishes you a Merry Ghostly Christmas!!
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_xmas.jpg)
(And if you're wondering what the tree casting its glow on the poster really looks like, here it is (http://www.dsboards.com/NoDSAnniQuoteImages/xmastree.jpg), my home office tree, decorated with red [hence the red glow] and white lights and red and silver ornaments.)
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 43/Scene 100B - Tracy (hugging him): 'No...darling...no...'
- check out -
... followed by today's quote -
- this post to learn all the things that are different between the script and how things actually play in the film...
-
Before we move beyond Scene 100 I have a rare still to share. I've often wondered if it should be associated with the end of Scene 99 -
(http://www.dsboards.com/NoDSquoteimages/0518ds91_a.jpg)
- or Scene 100 -
(http://www.dsboards.com/NoDSAnniQuoteImages/1225NoDS_a.jpg)
- and while I've leaned more toward Scene 100, as can be seen in today's screen capture, Tracy actually comes across as being more lighthearted -
(http://www.dsboards.com/NoDSAnniQuoteImages/1225NoDS_0.jpg)
- or at least being that way to console Quentin, than she is in the still because in it she seems quite concerned -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-aftermath.jpg)
- and Quentin seems to be consoling her - but still, it does seem closer to what we get at the end of Scene 100 - and I strongly suspect that most of the stills were taken before the actual footage of the scenes was shot, perhaps even during rehearsals when they were trying out things that didn't actually make it into the film, which would explain why some stills are quite different from what we get in the film - though there's also the possibility that footage more similar to those stills was shot, but it just wasn't used in the film - and in the case of the still here, perhaps after Tracy put on a good front for Quentin, she did take on a more concerned demeanor but that footage, if it was shot, wasn't used - something that might even point to that concern could be upcoming Scene 104 - but more on that once we reach that scene...
-
Before we deal with tomorrow's quote, it would probably be a good idea to read this post -
Before we get into DC's script's version of Scenes 101 & 102, this is what Grayson's script's version is like:
- as well as this post -
Also before we get into DC's script's version of Scenes 101 & 102, we should reacquaint ourselves with Scene 67 in Grayson's script:
...
Why is that? Well, as we'll soon see, and you might have already picked up on your own, when the original versions of Scenes 67 & 68 were replaced with Scenes 66A, 67, 67A(the "Piano Scene" Flashback), & 68 in DC's script, bits of dialogue from original Scene 67 were incorporated into DC's script's rewritten version of Scene 101 - and an entirely new Scene 101A was added:
- to familiarize yourself with what's mentioned in the two links...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 44/Scene 102 - Gabriel: 'You will have her ... for eternity.'
- check out -
With the exception of also being set in the Master Bedroom and its opening set up, Scene 101 is totally different in DC's script from the way it originally appeared in Grayson's. And furthermore, as we know only too well, in the film as it stands DC's versions of Scenes 101 & 102 (& the upcoming 103) are all incorporated into the unscripted dream Quentin has on his first night at Collinwood rather than standing alone as they do in the script.
- this post to learn all the things that are very different in the film from how they appear in Grayson's and DC's scripts...
-
A still for Scene 102:
(http://www.dsboards.com/NoDSAnniQuoteImages/Cellar_room.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Cellar_room.jpg) for a 700X542 version)
And an interesting thing about it is that Gabriel's henchman on the right in the still doesn't seem to be either of the two men who play his henchmen in the film in Scene 101A:
Actually, the mustached henchmen in the film certainly seems to be wearing the shirt that the henchman in the still is wearing - the second henchman in the film is wearing a completely different type of shirt with a collar. Also, unlike the film, nowhere in the still is a flaming torch seen. (Though if you look really closely at the still, you'll notice that the mustached henchmen does actually but just barely make an appearance in the still behind Charles and to his front side...)
And when it comes to this still, the only place I'm aware that it's been shared is on page 233 of the DS Movie Book - though this still is a much better version...
-
I may have mentioned this before but the henchman on the right really reminds me of Micky Dolenz.
[8_2_76] [8_2_76] [8_2_76]
-
[pointing-up] Yes, now that you mention it, the henchman in the still does look like Mickey Dolenz.
Here's a theory: maybe MD was passing through Tarrytown, he was a big DS fan, he heard they were shooting another DS film at Lyndhurst, he dropped by, and they decided to stick him and not the real extra in the still they were shooting that day. Well, not really. But it would have been a real hoot if it did happen. [santa_cheesy]
The interesting thing is that different henchmen extras appearing in different things related to the film is something that definitely happened when it comes to an upcoming sequence. But we'll get into that once we reach that part of the script...
-
Speaking of henchmen, Captain Haggerty/Arthur Haggerty, who played the bald henchman and was also the dog handler, popped up as another henchman in the music video for Deborah Harry's Liar Liar. He is accompanied by none other than Al Lewis, the once and forever Grandpa Munster!!
[banana-santa] [banana-santa] [banana-santa]
-
Before we get into today's quote from Scene 103, I want to revisit something I wrote back in 2016 about the end of Scene 102:
And if we might go back to Scene 102, yesterday I forgot to mention that the subtitles on the Blu-ray indicate that after having sealed Charles in the cellar room, Gabriel orders an unscripted "Kill Dubloon!" - and it does indeed sound like that's what he says. But unless someone has read some version of the NoDS script, they would have no idea that Dubloon is the name of Charles' horse because all the scenes referencing the name of his horse were cut from the film as it stands now (and even from the 97 minute version). And I have to say that, yes, of course a human's life is more valuable than that of a horse - but, whoa, killing one's brother and his horse really shows how insanely vindictive Gabriel is. And one has to wonder just how Gabriel got away without the ghosts of Angelique, Charles, and even Dubloon( [ghost_wink]) taking revenge on Gabriel. But hey, maybe Angelique and Charles were just so happy to be reunited that they didn't care. And obviously the film didn't want to go down that road. But one can only hope that Gabriel's subsequent life is a completely miserable one...
Even over five years later I haven't gotten over how insanely vindictive NoDS Gabriel is, far worse than his TV show counterparts. Sure, Dubloon played a major part in the killing of Strack - but it was Charles who was behind that killing and he was the one who steered and led Dubloon to trample Strack. It wasn't like Dubloon went off and did it on his own to avenge his master's mistress. I joked that it was a wonder that Dubloon's ghost didn't come back to seek revenge against Gabriel, but really, someone should actually do a fanfic like that to give Dubloon some satisfaction against Gabriel's viciousness...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 44/Scene 103 - Quentin (mumbling in his sleep): 'I can't breathe...I can't...breathe...'
- check out -
Moving on to today's scene:
- this post to once again learn all the things that are very different in the film from how they appear in Grayson's and DC's scripts - and when it comes to what Quentin actually does mumble, watch the opening section of Scene 103 at the end of the video posted in Reply #305 to see what you think he's saying...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 44/Scene 103 - Tracy: 'Quentin...Quentin? What's wrong?'
- check out -
Wrapping up Scene 103:
- this post to yet again learn all the things that are very different in the film from how they appear in the scripts - plus how in its proper place in the script Scene 103 takes on far more significance for Tracy's character than it does as the aftermath of Quentin's dream, as it's used in the 94 and 97 minute versions of the film...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 45/Scene 104 - Tracy: 'Oh, you're wearing them.'
- check out -
Setting up the new scene:
- this post to learn how the beginning section of Scene 104 may have been shot (Darren probably did show the recovered footage during his 2004 presentation, but even if he did, having only seen it that one time, I have no memory of how it might have played)...
-
Given that this slideshow originally played over five years ago, you may not realize that today's graphic -
(http://www.dsboards.com/NoDSAnniQuoteImages/1229NoDS_0.jpg)
- is a new and improved version from the one that appeared in 2016 -
(http://www.dsboards.com/moviesquoteimages/0910NoDS_0.jpg)
- and that's because in the ensuing time I came across the actual still and didn't have to rely on the version that was shared in the DS Movie Book on page 177. It's odd how the color photos in that book tend to scan with a yellowish tint, plus they don't scan completely clearly. And the actual still shows more (though all of its appearances in the slideshow's graphics are cropped)...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 45/Scene 104 - Quentin: 'I just came from the stable. I apologized to Gerard.'
- check out -
Continuing with Scene 104, beginning with Quentin's reaction to Tracy noticing that he's wearing the riding breeches:
- this post to learn how this section of Scene 104 may have been shot, as well as the start of Charles making an incursion into Quentin's waking hours...
-
The slideshow will show 8 graphics (over a period of 7 days) using the color still for Scene 104, but as I pointed out, they will all be cropped versions of the still (some more cropped than others), so the graphics will never show the full still. So, with that in mind, here's the full still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Breakfast-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Breakfast-1.jpg) for a 700X1028 version)
But just because there are 8 graphics using the color still, that doesn't mean that Scene 104 will end when they do because after the color still, the graphics will switch over to using a B&W still from the scene. But more on that in January...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 45/Scene 104 - Tracy: 'Quentin...I think we should see a...doctor.'
- check out -
Continuing with Scene 104, beginning with yesterday's quote -
- this post, though this time around it's today's quote, and only read down that far - and today's quote definitely starts to bring out the concern I referred to earlier when it comes to Tracy's worry about Quentin's recent behavior...
-
If you want to learn about or refresh your memory concerning the background of today's quote, Quentin's response to Tracy's suggestion that they see a doctor -
Page 45/Scene 104 - Quentin: 'I don't know. Let me think about it.'
- check out -
Continuing with Scene 104 ...
- this post to learn how this section of Scene 104 may have been shot...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 45/Scene 104 - Tracy: 'What's wrong with your leg.'
- check out -
Moving on with Scene 104, beginning with Tracy's reply to Quentin:
- this post to learn how this section of Scene 104 may have been shot - also, and so it begins - but it only begins in the 129 minute version of the film...
-
When it comes to today's graphic -
(http://www.dsboards.com/NoDSAnniQuoteImages/0102NoDS_0.jpg)
- I not only replaced the scan from the DS Movie Book, I used an entirely different crop of the since discovered still from what I'd used in 2016 -
(http://www.dsboards.com/NoDSquoteimages/0601ds91_0.jpg)
- because a close-up works much better with the quote - I would have used a close-up back in 2016 but the scan from the DS Movie Book was too grainy to do so...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 45/Scene 104 - Quentin: 'What?...oh...I took a ride over to the Mill this morning and that stupid horse...threw me. It'll be OK. Don't worry.'
- check out -
Moving on with Scene 104, beginning with Quentin's reaction/reply to Tracy:
- this post - and only read as far as this quote...
-
When it comes to today's graphic -
(http://www.dsboards.com/NoDSAnniQuoteImages/0103NoDS_0.jpg)
- once again not only did I replace the scan from the DS Movie Book, I used an entirely different crop of the since discovered still from what I'd used in 2016 -
(http://www.dsboards.com/NoDSquoteimages/0602ds91_0.jpg)
- because a close-up (or as close as can be gotten to a close-up of Quentin with that still) works much better with the quote - and again I would have used a close-up back in 2016 but the scan from the DS Movie Book was too grainy to do so...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 45/Scene 104 - Tracy: 'I asked you not to ride Ulysses.'
- and/or today's second quote -
Page 45/Scene 104 - Quentin: 'I wasn't. It was Dubloon.'
- check out -
Moving on with Scene 104, ...
- this post to learn how this section of Scene 104 may have been shot - also, and so a second indication of Charles' growing incursion into Quentin's waking life comes with his belief that he rode Charles' horse Dubloon - but it only comes in the 129 minute version of the film...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 46/Scene 104 - Tracy: 'Quentin, maybe it's this house. Maybe we don't belong here. You know, we don't have to stay.'
- check out -
Moving on with Scene 104, beginning with Tracy attempting to bring the subject of a doctor back:
- this post - and it's quite interesting how Tracy's remarks here fit with something Carlotta will say in upcoming Scene 153, though as the film currently stands the audience never gets to make that connection because, as we know, Scene 104 only appears in the 129 minute version of the film...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 46/Scene 104 - Quentin: 'Look, in the light of day the whole thing seems completely ridiculous. [He sits next to her.] Why don't we at least give it the day and we'll talk about it this afternoon.'
- and/or today's second quote -
Page 46/Scene 104 - Quentin: 'And -- I'll think about that doctor.'
- check out -
And wrapping up Scene 104, beginning with today's first quote -
- this post to learn how this section of Scene 104 may have been shot...
-
When it comes to yesterday's and today's graphics -
(http://www.dsboards.com/NoDSAnniQuoteImages/0105NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0106NoDS_0.jpg)
- they were made using crops from this still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Breakfast-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Breakfast-2.jpg) for a 532X700 version)
- which, so far as I can remember, has never been officially published anywhere.
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 46/Scene 106 - Tracy: 'Stay away now...stay away...'
- check out -
Setting up the next sequence:
- this post to learn how the script lays out Scene 105 and then the beginning of Scene 106...
-
This next still I'm sharing is an extremely rare one. Not only have I never seen it published anywhere, I've rarely seen it for sale anywhere. And because it would certainly seem to be associated with Scenes 105, 106 & 106A, all of which don't appear in any version of the film, it's hard to know if it's depicting a moment from the sequence or if it's a candid. And if it's a moment from the sequence, if it appears at the beginning or the end of it. There's nothing in the scripted versions (yes, there are more than one, and we'll eventually get into that) to indicate the still depicts a moment from the sequence. But as we well know, how the script might indicate the scenes were shot and how they were actually shot can be very different.
Because it might seem to depict Gerard in a melancholy mood, which would be a departure from his normal angry or lecherous moods, both of which he most often exhibits in the film, I'd like to think the still does indeed depict a moment from the sequence, either from its beginning or end. And because it might be from the beginning rather than the end, I'm sharing the still now instead of later on:
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Stable-1.jpg) for a 700X1028 version)
-
If you want to learn about or refresh your memory concerning the background of the first part of today's quote -
Page 46/Scene 106 - Gerard: 'Don't move.'
- and/or the second part of today's quote -
Page 47/Scene 106 - Gerard: 'Now, Brutus...now, Tar...'
- check out -
Continuing with Scene 106:
- this post - and I've often wondered what kind of a name is "Tar" for a dog? - maybe he/she brought to mind the color of tar? - both dogs are black - but would Sam Hall have known that when he wrote the script? - I suppose he could have pictured them as black dobermans - who knows...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 47/Scene 106 - Gerard: 'She won't hurt you...no...she's just come down to ride...that's all. She likes Gerard.'
- and/or today's second quote -
Page 47/Scene 106 - Gerard: 'She is a friend. A friend. See?'
- check out -
Continuing along with Scene 106:
- this post - and what was I saying about Gerard being lecherous?...
-
The latest four graphics -
(http://www.dsboards.com/NoDSAnniQuoteImages/0107NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0108NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0109NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0109NoDS_1.jpg)
- have all been made using various portions of this still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Stable-2.jpg) for a 700X885 version)
- which to my memory has only been officially published on page 238 of the DS Movie Book - and an interesting thing is that whenever NoDS stills come up for sale on places like Heritage Auctions, it's very rarely ever included in the batches being auctioned off - I was lucky enough to buy my copy in 1996 at Jerry Ohlinger's Movie Materials Store in NYC.
Various portions of a more widely available still will be showing up in the slideshow soon - though you may not recognize it at first...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 47/Scene 106 - Tracy (lowly): 'Don't you ever touch me again!'
- check out -
And concluding Scene 106 (in DC's script):
- this post to learn the how scene ends in DC's script, but it's not where Scene 106 ends in Grayson's script - to discover how things originally played out check out -
As you'll see as Scene 106A unfolds in the slideshow and the posts following this one, some of it is very much the same as Grayson's script's continuation of Scene 106 - but things will change radically before too long. But here's how things were originally supposed to play:
- this post...
-
Before we move on from graphics made using the still that I shared in Reply #330, I want to mention that after I posted it I noticed that the wound on the right side of Gerard's mouth is different from the way it looks in the still I'd posted in Reply #327:
For the color still the top of the wound -
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable-1a.jpg)
- sticks straight up and away from the corner of Gerard's lip, whereas in the B&W still the top of wound -
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable-2a.jpg)
- curves down onto the top of the corner of Gerard's lip. Perhaps this is because the stills weren't taken on the same day, or perhaps the makeup had to be reapplied for some reason and it wasn't done exactly the same. Sadly, we'll never know which way, if even either, it looked in the film...
And something I've never really thought about before is just how many days are supposed to pass between the time Quentin attacks Gerard and we see him again in Scene 190. Quite obviously a wound like that would not heal completely in just a few days. Though as the film currently stands, the passage of time for the wound to heal isn't even a consideration because the audience never sees the wound in the 94 minute version of the film, nor did we see it in the 97 minute version. And actually, it's not on view in the 129 minute version either because this sequence doesn't appear in any version of the film...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 47/Scene 106A - Tracy: 'That isn't Dubloon, is it? The horse my husband rode this morning --'
- check out -
With the exception of one written addition to the descriptions and directions, DC's script's version of Scene 106A begins exactly like Grayson's script's continuation of Scene 106:
- this post to learn how this part of the scene might have been shot...
-
I still feel the same as I did back then:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/0111NoDS_0.jpg)
...
And am I the only one who thinks it's a shame that none of the horses received a credit in the film? I mean, quite often when it comes to dogs in TV and films you see things like "And Trixie as Scruffy". So why no something like "Featuring Max as Ulysses and Fred as Dubloon"?! [ghost_nowink] [ghost_sad] [ghost_wink]
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 47/Scene 106A - Gerard: 'We don't have a Dubloon. He rode Ulysses, like he always does.'
(Cue the Twilight Zone music...)
- check out -
After today's quote -
- this post to learn about the changes in dialogue from Grayson's script and how this part of the scene might have been shot...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 47/Scene 106A - Tracy: 'The Mill...is it on the property?'
- check out -
Continuing Scene 106A with yesterday's quote -
- this post.
And even though the link refers to the quote as "yesterday's," while it was in 2016, it's today's quote this time around - and only read as far as it...
-
If you want to learn about or refresh your memory concerning the background of the first part of today's quote -
Page 47A/Scene 106A - Gerard: 'Oh, yeah...the Mill. It's over by that ravine down near the river road.'
- and/or the second part of today's quote -
Page 47A/Scene 106A - Gerard: 'I wouldn't bother going over there if I were you.'
- check out -
Continuing Scene 106A ...
- this post for the major changes from Grayson's script's version of the scene...
-
And this time the latest four graphics -
(http://www.dsboards.com/NoDSAnniQuoteImages/0111NoDS_0.jpg)
(No need to share the second because the image and the logo simply switch sides.)
(http://www.dsboards.com/NoDSAnniQuoteImages/0113NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0114NoDS_0.jpg)
- have all been made using various portions of this still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Stable-3.jpg) for a 700X900 version)
- which I also bought on the same day in 1996 that I bought the still I've shared in Reply #330. But unlike how I had no idea that that still even existed, I did know that this one did because it had been shared in the NoDS Pressbook -
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable-3a.jpg)
- as well as on the cover and inside the NoDS Editor's Portfolio (though I don't own that) -
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable-3b.jpg)
- and a somewhat cropped version on page 141 of the 30 Anniversary Tribute version of the DS Almanac.
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 47A/Scene 106A - Tracy: 'Why not?'
- and/or today's second quote -
Page 47A/Scene 106A - Gerard: 'You won't see very much...it burned down -- over one hundred years ago.'
(Cue the Twilight Zone music again...)
- check out -
Wrapping up Scene 106A and moving beyond, first by picking up the script from where we left off:
- this post - and also to learn why Scenes 105 through 106A aren't in any version of the film, as well as a bit of behind the scenes trivia...
-
Before we wave a fond farewell to Scenes 105 through 106A I'd like to reshare the following:
Today I thought I'd share a rare production still of DC directing Scene 106A:
(http://www.dsboards.com/NoDSquoteimages/DC_directs_106A.jpg)
-
Before moving on to tomorrow's quote, you'll want to check out -
A scene that appears in the script before the one that contains tomorrow's quote:
- this post to read about Scene 107 and to see screen captures from it that show differences between the script and the film...
-
Before we move on to today's quotes I'd like to reshare something else - it has bearing on Scene 107 as well as today's Scene 108 and especially Scene 109:
...
And before we get back to the script, I want to share the following candid production still that I made reference to back when we were dealing with Scene 69(the picnic). It's of David Selby, Kate Jackson and John Karlen taking a break from shooting the scenes at the greenhouse:
(http://www.dsboards.com/NoDSquoteimages/Break.jpg)
And one of the interesting things about what Karlen is doing is that he had never ridden a bicycle before he did so for the scenes for NoDS, so he practiced a lot before shooting so he wouldn't look ridiculous. Of course, if the film had been shot today, they could have just put training wheels on the bike and then taken them out in post. [ghost_wink] But that sort of technology wasn't available back in 1971. [ghost_nowink]
That still appears on page 211 of the DS Memories.
-
Two things I forgot:
Page 155 of the DS Almanac Millennium Edition features a still of Gerard at the stable -
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable-4.jpg)
- leading out Tracy's horse - and page 154 of the same book features a still of Alex at the greenhouse -
(http://www.dsboards.com/NoDSAnniQuoteImages/Alex_bike.jpg)
- riding his bicycle - and I'm actually surprised they scanned as well as they did because each one is only about 2 inches by 1 3/8 inches on the page...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 48/Scene 108 - Alex: 'Hey! You!'
- and/or today's second quote -
Page 48/Scene 109 - Alex: 'Hello!'
- and/or today's third quote -
Page 48/Scene 109 - Alex: 'Is anybody here?'
- check out -
Moving through the next two scenes in the sequence:
- this post to learn the differences between the script and the film...
-
Before we move on to tomorrow's quote I'd like to share a still of Angelique outside the greenhouse. But first here's something I posted last time around -
...
...I have to say that one of my favorite candid stills of Parker as Angelique is the one that appears on the back of the VHS box:
(http://www.dsboards.com/NoDSquoteimages/Ang_greenhouse_2.jpg)
And that box may be the only place it's ever been published. Or if there has been another place, I don't honestly remember where...
- however, I've since come across the actual still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-1.jpg) for a 700X476 version)
- which is much better quality...
-
If you want to learn about or refresh your memory concerning the background of the first part of today's quote -
Page 49/Scene 109 - Tracy: 'Alex! Are you all right?'
- and/or the second part of today's quote -
Page 49/Scene 109 - Tracy: 'What happened?'
- and/or today's second quote -
Page 49/Scene 109 - Alex: (taking a beat) 'I was exploring and I guess I shouldn't have been. The whole place fell down.'
- check out -
Continuing with Scene 109 and moving beyond to wrap up the sequence:
- this post but don't read beyond the script's end of Scene 109 and into its beginning of Scene 110...
-
Today I'm going to share four stills that are related in various degrees to Scene 109:
Here's the first -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-2.jpg) for a 700X466 version)
- a version of which (that shows more on the left and less on the right) has been shared as November's photo in the Fest's 1999 Movie Calendar - and here's the second -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-3_1.jpg)
- which I don't believe has been officially published anywhere...
-
And here are the final two for today:
Here's an alternate print of the second one above -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-3_2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-3_2.jpg) for a 700X844 version)
- quite possibly printed because the other barely showed Tracy - and here's the last -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-4.jpg) for a 1333X1000 version)
- which as far as I'm aware has only been shared as part of the Fest's 2012 NY Weekend Program.
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 49/Scene 110 - Alex: 'What's new, Trace?'
- and/or today's second quote -
Page 49/Scene 110 - Tracy: 'Something...very strange happened last night and I'm worried about it.'
- check out -
... to wrap up the sequence:
- this post to learn about the differences in the dialogue as well as its shifted placement in the scenes, and to also learn differences in the way things were shot...
-
Today I'm going to share six stills. Three that are related in various degrees to Scene 109. Three that aren't really, but are connected to what I've been recently sharing in another way.
Here's the first -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-5.jpg) for a 700X1028 version)
- a copy of which was shared on page 177 of the DS Movie Book (that horse seemed to love to have his photo taken) - and the second was first shared in the NoDS Pressbook as part of the following article -
(http://www.dsboards.com/NoDSAnniQuoteImages/Australia.jpg)
- obviously she never did emigrate there - and here's the actual still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-6.jpg)
- which I suspect may have been taken during the same photo session as the still I reshared in Reply #342 - and here's the last one -
(http://www.dsboards.com/NoDSAnniQuoteImages/boots.jpg)
- which was shared on page 131 of the Millennium Edition of the DS Almanac and was obviously taken outside the Lyndhurst mansion and not the greenhouse...
-
And I'm sharing the next three stills simply because they were shot at the greenhouse. On the same day as the others? Who knows? But perhaps...
Here's the first -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-7.jpg)
- and the second has been shared as September's photo in the Fest's 1999 Movie Calendar -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-8.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-8.jpg) for a 915X620 version)
- and here's an alternate version with just Nancy and Chris -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-9.jpg)
- was the greenhouse simply cropped out? Who knows? However, a version that shows Nancy's entire hand appears on page 179 of the DS Movies Book...
And as an aside, a still of Nancy reclining in the grass in front of Lyndhurst and wearing the same outfit (my copy of the still (http://www.dsboards.com/NoDSAnniQuoteImages/Hot pants_boots.jpg)) appears on page 181 of the DS Movies Book - can you even imagine if she had worn the outfit as Claire when she and Tracy go to Gregory's store?!
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 50/Scene 111 - Quentin: 'You were a fool ever to go in there...'
- check out -
Setting up the new scene (and once again the version in Grayson's script is different from the one in DC's (for one, in Grayson's version the scene takes place in Collinwood's library) - but we're going to wait until all of DC's version has been presented before we go back to Grayson's version):
- this post to learn not only the setup for this new scene, but also how the beginning of it may have been shot...
-
And I still haven't forgotten about this -
I haven't forgotten about this:
Before we move on the today's Scene 86, I want to go back to how I teased there may be a quiz about Scene 85 that the stills I shared may help with. I'm somewhat ashamed to admit that there are continuity errors in Scene 85 that I never noticed until I watched it this time around. Yet another example of no matter how many times one watches something, there can still be things to notice for the first time. (Though again, I use the excuse that most times I watch something, much of my attention is focused on faces and not other things.) And so much for the remark I made:Quite obviously whoever they hired to handle continuity for the film was much better than anyone who might have worked on the daytime show!
They were better but, obviously, not perfect because they really screwed up when it came to Scene 85!
So, has anyone else noticed the continuity errors? The screw up is a really big problem when it comes to a subsequent scene...
Once you learn what the problem is, you're going to feel foolish that you didn't notice what's wrong with Scene 85. I certainly do. And it would be one thing if it was simply something in Scene 85 and had no bearing on anything else, but as I said, it's a really big problem when it comes to a subsequent scene...
And I still can't believe no one has picked up on the problem. But I'm reposting this to provide one last clue -
And the last of the stills to preview Scene 85, two more Angelique publicity stills that were taken in the tower room:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-15_1.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-15_2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-15_2.jpg) for a 1481X1000 version)
...
-
If you want to learn about or refresh your memory concerning the background of Thursday's quote -
Page 50/Scene 111 - Alex: 'I told you. I saw someone in a long white dress.'
- and/or Friday's quote -
Page 50/Scene 111 - Quentin: 'Your imagination is getting the best of you.'
- and/or today's quote -
Page 50/Scene 111 - Alex: 'No it didn't. I saw Angelique and she tried to kill me.'
- check out -
Continuing Scene 111...
- this post to learn about DC's intended differences in the dialogue and how he planned to shoot this section...
-
If you want to learn about or refresh your memory concerning the background of Sunday's quote -
Page 50/Scene 111 - Quentin: 'God damn it! That's impossible.'
- and/or today's quote -
Page 50/Scene 111 - Alex: 'Quentin, she had a reason to stop me. I found out alot about your family. You already know about Charles Collins. But do the name's Gabriel and Laura mean anything to you?'
- check out -
Continuing Scene 111, beginning with yesterday's quote, Quentin's reaction to Alex insisting Angelique tried to kill him -
- this post to learn about how DC planned to shoot this section, as well as misspellings in the script...
-
The latest different graphics -
(http://www.dsboards.com/NoDSAnniQuoteImages/0119NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0120NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0121NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0124NoDS_0.jpg)
- have all been made using various portions of this still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Bridge-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Bridge-1.jpg) for a 700X599 version)
- which to my memory hasn't been officially published anywhere - rarely, though, it does pop up for sale on places like Heritage Auctions...
A couple other different graphics using the still will be showing up in the next 10 days (yes Scene 111 is a long scene)...
-
If you want to learn about or refresh your memory concerning the background of yesterday's first quote -
Page 50/Scene 111 - Quentin: 'Why should they?'
- and/or yesterday's second quote -
Page 50/Scene 111 - Alex: 'Because of those little...day dreams of yours.'
- and/or today's first quote -
Page 50/Scene 111 - Quentin: 'Those daydreams don't mean a thing.'
- and/or today's second quote -
Page 50/Scene 111 - Alex: 'Yesterday, you said you wanted to talk about them.'
- check out -
Continuing Scene 111, beginning with yesterday's first quote, Quentin's reaction to Alex asking if the names Gabriel and Laura mean anything to him -
- this post - and to also learn that, yes, in the script daydreams is incorrectly spelled as "day dreams" in Alex' line...
-
Before we move on to today's quote I want to revisit somethings that came up in regards to Scene 84:
From Reply #245:
...
So, without further teasing, here's a screen cap from the Blu-ray that shows the proof -
(http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_16X9.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_16X9.jpg) for a 1000X532 version)
- and don't feel bad if you don't immediately see it - but here's a frame taken from a video I just shot of the VHS with my phone off of a TV (remember, I currently have no way to play the VHS on my computer) that shows the proof much better -
(http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_4X3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_4X3.jpg) for a 900X661 version)
- so as you can see it's a sketch of Angelique wearing the same dress and necklace that she wears in the portrait -
(http://www.dsboards.com/NoDSAnniQuoteImages/Portrait.jpg)
- and even though it's not the same pose, it would certainly seem to be ample proof that Charles painted her portrait...
And from Reply 157 in the "And Now The Return of Another New Slideshow (Sort of) [**Now featuring alternate versions of scenes - see replies..." topic:
...
...(though given there's an obvious cut in the background music, it would definitely seem as if something was cut from the scene that took place between the time Quentin discovers the hidden paintings and the time he takes out the unfinished one)...
Well, once again I've been reminded of something I'd also completely forgotten back in 2016:
Reply #269 in the "And Now The Return of Another New Slideshow (Sort of) [**Now featuring alternate versions of scenes - see replies..." topic:
Doing a bit more digging through older '04 topics, thanks to a post from ProfStokes, I think I may have discovered an answer to this:
A portion of Scene 84 in the script:
He starts to look for something
and, moving a trunk to a better position, discovers
that it was concealing a built-in wall cupboard.
Obviously, it hasn't been opened in years. Opening
it, he sees a stack of canvases. He takes one out.
It is a portrait of Angelique and is signed: "Charles
Collins, 1800." Quentin is amazed. He takes out
others. They are all of Angelique. Then he comes
to an unfinished one.
|
And my comments:
... And when he discovers the cupboard and opens it, he doesn't take out any paintings other than the unfinished one, which he carries over to his easel so as, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0418ds91_d.jpg)
- to get a better look (though given there's an obvious cut in the background music, it would definitely seem as if something was cut from the scene that took place between the time Quentin discovers the hidden paintings and the time he takes out the unfinished one) ...
And ProfStokes' post relates because here's a portion of her listing of the recovered footage that was shown:
..., Quentin discovering a sketch that Charles had made of Angelique, ...
Maybe now that I've been reminded twice I'll actually remember that during that obvious cut in Scene 84 one thing Quentin definitely discovers is the drawing of Angelique that only very briefly makes an appearance in the film as it currently stands...
-
If you want to learn about or refresh your memory concerning the background of the first part of today's quote -
Page 51/Scene 111 - Alex: 'That's all, huh? Then why were you screaming, "She's mine, brother, she's mine."'
- and/or the second part of today's quote -
Page 51/Scene 111 - Alex: 'I think you were living out one of those day dreams...You were Charles, and Gerard was brother Gabriel...and you were fighting over...Angelique.'
- check out -
Picking up Scene 111 after Alex' remark that the day before Quentin wanted to talk about his daydreams:
- this post to learn about the way things in this section may be shot - and to learn about more misspelling, all of which in this scene seem to only occur in Alex' lines...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 51/Scene 111 - Alex: 'Quentin, what were you doing in the tower at two in the morning?'
- and/or today's second quote -
Page 51/Scene 111 - Quentin: 'Working.'
- check out -
Picking up Scene 111 after Alex states his belief that the night before Quentin was Charles, Gerard was Gabriel, and they were fighting over Angelique:
- this post to also learn about how this section of the scene may have been shot...
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 51/Scene 111 - Alex: 'Quentin, you're going to laugh at this. I think you're drawn to that room. I think you're being taken over by Angelique.'
- and/or today's quote -
Page 51/Scene 111 - Quentin: 'You're right. I'm laughing.'
- check out -
Continuing with Scene 111, first with yesterday's quote -
- this post to also learn how DC may have shot this part of the scene...
Though wouldn't Quentin be being taken over by Charles? Presumably it's Quentin's memories of his life as Charles that are influencing him. But who knows what Sam and DC intended...
-
Today I decided to share a candid still from behind the scenes of the shooting of Scene 111:
(http://www.dsboards.com/NoDSAnniQuoteImages/Bridge-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Bridge-2.jpg) for a 868X600 version)
This still is shared on page 100 of the DS Companion.
And thanks to that '04 post by ProfStokes I was recently reminded again that Scene 111 doesn't just take place on the railroad bridge, as the script indicates, but features -
..., Quentin and Alex walking and talking about the recent bizarre events, ...
- though I have no memory of that. It's funny that some of the recovered footage is burned into my memory (like the seance sequence), whereas I have really little memory of some of the other stuff...
-
Also, even though they have no relationship to Scene 111, here are two candid stills taken on the railroad bridge of Lara Parker as Angelique:
(http://www.dsboards.com/NoDSAnniQuoteImages/Bridge-a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Bridge-a.jpg) for a 700X1050 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Bridge-b.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Bridge-b.jpg) for a 700X1486 version)
Though it certainly seems as if there are very few spots on the Lyndhurst estate where she didn't take stills. [snow_wink]
The second still above was shared on page 23 of the movies soundtrack's booklet...
(ADMIN: Edited to replace the second still with a better quality scan)
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 52/Scene 111 - Alex: 'Well don't. Look. The same year Angelique died, Laura drowned and Charles disappeared. The drowning was recorded as an accident. But suppose Charles killed Laura?'
- and/or today's quote -
Page 52/Scene 111 - Alex: 'Quentin, I think Tracy's in danger.'
- check out -
Picking up Scene 111 after Quentin says he's laughing at Alex' theory about the possibility of him being taken over by Angelique:
- this post to also learn how DC may have shot this part of the scene - though as we were reminded in Reply #362, Quentin and Alex are walking and talking during Scene 111, so who remembers if they're even still on the railroad bridge...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 52/Scene 111 - Quentin: 'Are you trying to tell me I could drown Tracy? I'm not going to listen to anymore of this. I am in complete control of myself. Have you mentioned any of this to Tracy?'
- check out -
After Alex warns Quentin that he thinks Tracy is in danger, Scene 111 continues with today's quote -
- this post to learn how the quote may have been shot and to continue a bit beyond it...
"I am in complete control of myself." Talk about being in denial. But then, even though they're dead on true, who would believe the things Alex is theorizing?
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 52/Scene 111 - Quentin: 'All right. I'll make a deal with you. You keep your crazy theories to yourself and I'll think about it.'
- check out -
Wrapping up Scene 111, beginning with today's quote -
- this post to also learn how parts of the quote are changed in DC's script as well as the change to Alex' reply...
-
Before moving on to Scene 112, be sure to read -
It's interesting how Grayson's script's version of Scene 111 is at times very similar to DC's script's version but also different. And in certain instances I actually like bits of the dialogue in the original better than the rewrite. But I'm sure they had their reasons. For one thing, the sections about Tracy being in danger are more heavy handed in the original and, to me, telegraph too much of what's to come, so it was good that those aspects were softened.
So, without further ado, the original version of Scene 111:
- for the reasons stated in the link.
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 53/Scene 112 - Alex: 'You're right. I'm worried about him. He is changing.'
- and/or today's second quote -
Page 53/Scene 112 - Tracy: 'But why?'
- check out -
And now Scene 112 in its entirety:
- this post...
-
Given that obviously I don't have any stills to share/discuss with regard to Scene 112, I've decided to provide the answer to this:
And I still haven't forgotten about this -
I haven't forgotten about this:
... I'm somewhat ashamed to admit that there are continuity errors in Scene 85 that I never noticed until I watched it this time around. ...
So, has anyone else noticed the continuity errors? The screw up is a really big problem when it comes to a subsequent scene...
Once you learn what the problem is, you're going to feel foolish that you didn't notice what's wrong with Scene 85. I certainly do. And it would be one thing if it was simply something in Scene 85 and had no bearing on anything else, but as I said, it's a really big problem when it comes to a subsequent scene...
I'm sharing screen captures from both the Blu-Ray and the VHS. See if you can discern the answer without me having to provide an explanation because the answer is going to be staring you in the face:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower3c-10291.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Laser_frame_01412.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower3c-10305.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Laser_frame_03225.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower3a-00313.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Laser_frame_03490.jpg)
And from upcoming Scene 124:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower3a-00570.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Don't_Cry_Laser_frame_01040.jpg)
(ADMIN: Edited to replace VHS captures with Laser captures)
-
See if you can discern the answer
A word of advise for those viewing the screen caps on a phone: you may want to enlarge the caps to see things more closely. When I checked the post this morning I noticed that details may not be as visible on a phone as they are for those of us viewing them on a PC monitor. On a phone, if you know what to look for, you'll definitely see it (or not see it, as the case may be) - but if you don't know what to look for, you may not...
-
I got somewhat distracted by Angelique's big hair but she seems to be missing her pendant in the first few captures. Oops!
-
[pointing-up] YES!! You've hit on it!! [thumb] Or at least a big part of it...
In the opening of Scene 85, Angelique isn't wearing anything around her neck:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower3c-10291.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Laser_frame_01412.jpg)
Hence why I shared as clues stills taken in the tower in which she was also missing any sort of necklace:
And the last of the stills to preview Scene 85, two more Angelique publicity stills that were taken in the tower room:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-15_1.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-15_2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-15_2.jpg) for a 1481X1000 version)
...
Though...
-
...mysteriously the heart pendant shows up halfway through the scene:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower3c-10305.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Laser_frame_03225.jpg)
Hence why I referred back to this:
And to further provide clues, I'm reposting this -
And fair warning to pay close attention to the publicity stills because they may come in handy because there may be a quiz down the line... [hall2_wink]
But the more odd thing is that the pendant appears only to...
-
...then disappear at the end of the scene to be replaced by a simple chain necklace:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower3a-00313.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Laser_frame_03490.jpg)
Hence why I shared as a clue the following still taken in the tower in which she was also simply wearing the chain necklace:
- and this particularly -
And another behind the scenes still featuring David Selby and Lara Parker to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-11.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-11.jpg) for a 700X476 version)
- because it provides one of the biggest clues among the publicity stills...
It's all enough to make one wonder if parts of Scene 85 were shot on different days? If not, why all the continuity goofs regarding the pendant? (And I can't believe it took me so many decades to finally even notice. But as I've often said, no matter how many times one watches something, there can still be things to notice for the first time, even continuity goofs. And I guessing not many others have noticed it either because, not only has no one ever posted about it here, but no one has ever added it to the film's goofs on IMDb.)
And like I said, it would all be bad enough on its own, but it's a really big problem when it comes to Scene 124 when, in a hugely important plot point, Angelique gives the pendant to Sarah to "remember" her by...
-
I got somewhat distracted by Angelique's big hair
[stfl] [stfl] [stfl]
One really has to wonder how Angelique's somewhat flattened hair (due to Charles running his hands through it) -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower3c-10291.jpg)
- suddenly becomes as big as it is, especially at the end of Scene 85 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower3a-00313.jpg)
- but perhaps that's even more evidence that Scene 85 was shot over the course of a few days... (Or is it evidence that Angelique really was a witch and had cast a spell so that her hair would go back to being perfectly coiffed no matter what Charles did to it during their, uh, amorous interludes? [snow_wink] [snow_cheesy])
-
One final comment that just occurred to me regarding the heart pendant continuity goofs:
It's hard to imagine that DC and editor Charles Goldsmith didn't notice those goofs when they were assembling the footage for Scene 85, so could it have really been the case that, as with the daytime show, DC thought the DS audience was too stupid/unobservant to ever notice? After all, on the daytime show we were never suppose to be smart/observant enough to notice things like when actors wore different clothes during the end of one ep and the restaging of the same scene for the teaser of the next. Though at least in that case, we would be seeing things on different days (and the thinking was that supposedly we were only going to watch the eps once and never again). But in the film the pendant goofs take place in the same scene - and as is the case with most of us, we've watched the original DS films MANY times. Though in my defense, as I've said before, more often than not I tend to strongly focus on faces and not other things (which is why I've rarely been one to notice the occasional stagehand at the outer fringes of the frames of some of the daytime eps unless someone else has pointed them out). But again, even I'm shocked that after all these decades no one else seems to have mentioned the goofs in Scene 85 with the pendant. It pains me to say it, but maybe there really was some point, even if it was only a small one, to DC's belief. But at least it's not like the pendant goofs never went noticed...
-
If you want to learn about or refresh your memory concerning the background of the first part of today's first quote -
Page 53/Scene 113 - Alex: 'That's what I'm going to try to find out.'
- and/or the second part of today's first quote -
Page 53/Scene 113 - Alex: 'Tracy...have you ever been in that room?'
- and/or today's second quote -
Page 53/Scene 113 - Tracy: 'No. Why?'
- check out -
Beginning Scene 113, picking up from Scene 112:
- this post...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 53/Scene 113 - Alex: 'Because I think some of our answers are there.'
- and/or today's second quote -
Page 53/Scene 113 - Tracy: 'How could that be?'
- check out -
Continuing with Scene 113, beginning with today's first quote -
- this post...
-
Yesterday's and today's graphics -
(http://www.dsboards.com/NoDSAnniQuoteImages/0205NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0206NoDS_1.jpg)
- have been made using different crops of this still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Entrance-1.jpg)
- which has been published on page 181 of DS Return To Collinwood...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 53/Scene 113 - Alex: 'I don't know...think you could get in there?'
- and/or today's second quote -
Page 53/Scene 113 - Tracy: 'He keeps it locked and I'd rather not try.'
- check out -
Continuing with Scene 113, beginning with today's first quote: Alex' reply to Tracy asking how can some of the answers they're looking for be in the Tower Room -
- this post...
-
...this still - which has been published on page 181 of DS Return To Collinwood
But that's not the only place it's been shared because it appeared as August's photo in the Fest's 1999 Movie Calendar -
(http://www.dsboards.com/NoDSAnniQuoteImages/Entrance-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Entrance-2.jpg) for a 916X620 version)
- a version that shows more than the DSRTC version...
-
If you want to learn about or refresh your memory concerning the background of the first part of today's quote -
Page 53/Scene 113 - Alex: 'OK...forget it.'
- and/or the second part of today's quote -
Page 53/Scene 113 - Alex: 'Tracy, I want you to be careful.'
- and/or the third part of today's quote -
Page 54/Scene 113 - Alex (Contd): 'Just be careful...keep an eye on him and if anything else happens, call me.'
- check out -
Wrapping up Scene 113 and moving beyond, first with Alex' scripted reaction to Tracy saying she'd rather not try to get into the Tower room:
- this post, and also to learn about Scene 114 and who has witnessed what has transpired between Alex and Tracy...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 54/Scene 115 - Quentin: 'You didn't tell Alex about...my attacking you last night.'
- check out -
Moving on to today's new scene:
- this post to also learn how the quote is changed in DC's script as well as changes to the directions and descriptions...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 54/Scene 115 - Tracy: 'No...I couldn't...I just couldn't. You weren't yourself.'
- check out -
Continuing Scene 115 with today's quote, Tracy's response to Quentin remark -
- this post to also learn how the quote is changed in DC's script, changes to the directions and descriptions, as well as some musings about Quentin and Tracy holding back truths...
-
Here's the first of three stills I'm sharing that are associated with Scene 115:
(http://www.dsboards.com/NoDSAnniQuoteImages/Hand-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hand-3.jpg) for a 700X476 version)
This one was first shared on the back cover of the NoDS VHS' box, though this actual still shows much more...
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 54/Scene 115 - Quentin: 'Carlotta. Good. I've decided not to use the tower as a studio anymore.'
- check out -
Continuing Scene 115 with the script continuing with:
- this post to also learn how the quote is changed in DC's script, changes to the directions and descriptions, as well as a bit of subtext that Grayson explains in her script...
-
Here's the second of three stills I'm sharing that are associated with Scene 115:
(http://www.dsboards.com/NoDSAnniQuoteImages/Hand-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hand-2.jpg) for a 700X476 version)
This one was first shared on page 182 of the DS Movie Book - and interestingly, while it and that version are the same on the left side, that version shows more at the top and this version shows more on the bottom and the right...
-
If you want to learn about or refresh your memory concerning the background of Saturday's quote -
Page 54/Scene 115 - Carlotta: 'You said you were painting so well there.'
- check out -
Scene 115 continues in the script, beginning with Tracy's reaction to Quentin's decision not to use the tower:
- this post to also learn about the differences in the dialogue and notes Grayson made in her script concerning Carlotta's reaction and a decision she makes...
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 54/Scene 115 - Quentin: 'This room seems better to me. Would you mind moving down my easel and paints tonight?'
- and/or today's quote -
Page 54/Scene 115 - Carlotta: 'If you're sure, I'll start now.'
- check out -
Continuing Scene 115 with yesterday's quote, Quentin's reason for not using the tower -
- this post to also learn about differences in the dialogue and to see a screen capture of how Carlotta throws daggers with her eyes at Tracy...
-
Before moving on to tomorrow's quote, if you're only following the posts I'm linking to in the "And Now The Return of Another New Slideshow (Sort of) [**Now featuring alternate versions..." topic, you may want to check out the following two posts -
Grayson made notes in her script where she explains that when Carlotta touches...
... Yes, a lot of those notes are fascinating...
- regarding the subtext Grayson intended to convey whenever Carlotta touches the heart pendant. And also these two -
Another fab Carlotta capture today! ...
[pointing-up] Yes, the patented Grayson Hall pout! ...
- concerning the patented Grayson pout, which happens to be on display in today's screen capture...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 55/Scene 115 - Tracy: 'Oh, darling, I won't bother you here. I swear I won't. When you were in the tower, I always felt you were so far away.'
- check out -
Moving on with the scene, beginning with Quentin's response to Carlotta asking if he's sure that he wants his painting materials moved from the tower:
- this post to also learn about the differences in the dialogue, directions and descriptions and notes Grayson and DC made in their scripts...
-
Unlike the previous two stills I've shared that are associated with Scene 115, this one -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hand-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hand-1.jpg) for a 700X476 version)
- is rare as it hasn't been officially shared anywhere to my knowledge...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 55/Scene 115 - Quentin: 'Well, I won't be anymore. So I want you to stop worrying. Everything's going to be all right.'
- and/or today's second quote -
Page 55/Scene 115 - Tracy (with great hope): 'Now I know it will.'
- check out -
Wrapping up Scene 115, beginning with today's first quote -
- this post to also learn about the differences in the dialogue, directions and descriptions...
-
Before tomorrow's quote from Scene 116 comes up in the slideshow, we have some pre-quote business to get into. The following three quotes, which precede tomorrow's quote -
(http://www.dsboards.com/moviesquoteimages/1003NoDS_0.jpg)
NoDS: Scene #116 - Tracy: 'I'll drive into Collinsport and
get the biggest steak anyone has ever bought.'
(http://www.dsboards.com/moviesquoteimages/1004NoDS_0.jpg)
NoDS: Scene #116 - Quentin: 'And eat it ourselves.'
(http://www.dsboards.com/moviesquoteimages/1005NoDS_0.jpg)
NoDS: Scene #116 - Tracy: 'I'll make my famed Caesar
salad...which is the only one I can make --'
- do not appear in the current slideshow but they did appear in the original Movies Slideshow because those lines were quoted in the Fest's 1999 Movie Calendar, which was the source for quotes for that slideshow...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 56/Scene 116 - Tracy: 'What happened to her?'
- check out -
Beginning the next scene:
- this post to also learn about what happens in the scene before the quote comes up, namely how the quotes in Reply #394 fit in...
-
I would have loved to see Carlotta's reaction if Tracy attempted to intrude on her kitchen. [snow_wow] [snow_wow] [snow_wow]
-
[pointing-up] Oh God - can you even imagine?! I hadn't thought about it before you mentioned it, but the daggers Carlotta threw at Tracy when she thought Tracy had persuaded Quentin not to use the Tower room would have surely been nothing by comparison! [snow_cheesy]
-
Yesterday's and today's graphics -
(http://www.dsboards.com/NoDSAnniQuoteImages/0217NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0218NoDS_0.jpg)
- have been made using different crops of this -
(http://www.dsboards.com/NoDSquoteimages/Quiet.jpg)
- which was published as part of a NoDS Movie Preview article in 16 SPEC Magazine and as far as I can recall has never been officially published anywhere else...
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 56/Scene 116 - Quentin: 'Angelique? She's been retired. After years of honorable service.'
- and/or today's first quote -
Page 56/Scene 116 - Quentin: 'Mostly so Alex will forget our non-existent ghost. Hey, let me paint --'
- and/or today's second quote -
Page 56/Scene 116 - Tracy: 'Paint on...paint on...I love you...'
- check out -
Wrapping up Scene 116, beginning with yesterday's quote, Quentin's response to Tracy's question:
- this post...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 56/Scene 117 - Quentin: 'I told you I didn't want to see that again.'
- check out -
Beginning the next sequence:
- this post to also learn about the differences in the dialogue, the directions and the descriptions. And beyond the music cue remaining on the DVD/Blu-ray and more specifically the differences between the angle of stills vs. actual footage, there's also this -
Oops - how quickly I forget [embb] -
...
(http://www.dsboards.com/NoDSquoteimages/Q_C.jpg)
... And I've always been a bit upset that that published version is the only one that I've ever come across because it would be nice to see at least a bit more of Quentin. But then, maybe a wider version of it doesn't even exist, so perhaps I should just be grateful for what I have...
- that photo is published on page 254 of the DS Movies book (page 62A of the script, which features the conclusion of Scene 124 and the beginning of Scene 125):
(http://www.dsboards.com/NoDSquoteimages/Q_C-2.jpg)
And it's interesting that the book's version shows more of Quentin, which is a definite plus, and more of the room, but it crops part of the top and bottom off. Will we ever see the entire photo? [ghost_smiley]
- and to answer that final question, yes, the entire version has surfaced for sale at various places like Heritage Auctions and eBay -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-1.jpg) for a 912X700 version)
- though it seems as if it's only been offered as part of a batch of stills for sale (at Heritage Auctions as part of 9 stills in 2018 (an auction I missed) and not since and at eBay as part of a batch of 26(!) stills) and I'd rather not have to buy stills I already own just to get one that I don't, so I've never bought it under those circumstances, which is why above I'm sharing a scan made to showcase the sale rather than a scan of the actual still - however, I'm currently in the process of negotiating buying the still on its own - I was hoping to have it by now, but I have hopes of owning it soon - so once I do, I will scan it and change the above scan to a scan of the actual still...
UPDATE: The actual still has been added.
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 56/Scene 117 - Carlotta: 'But it belongs here, Mr. Collins.'
- check out -
Continuing Scene 117, with today's quote, Carlotta's answer as to why she's brought Angelique's portrait back to the Gallery:
- this post to also learn about the difference in the dialogue and the notes DC and Grayson made in their scripts...
-
Today I want to begin to preview a moment in the slideshow from Scene 117 that will be coming up on February 28th. The following first version of the still appeared in the NoDS Pressbook -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-2a.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-2b.jpg)
- not once but twice, first as part of the above article and then separately on another page (which also happened to feature a second version of the Angelique still which was used along with the "Too Much Realism...Almost" article (which I linked to in Reply #56) and which I shared in Reply #119). Why share the same still twice, and both with the exact same caption? Who knows? [snow_rolleyes] It certainly wasn't like there was a shortage of stills that could have been shared...
But anyway, here's the actual still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-2.jpg) for a 760X566 version)
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 56/Scene 117 - Quentin: 'I find it distracting. I don't want it around.'
- and/or today's quote -
Page 56/Scene 117 - Carlotta: 'There would be fewer distractions if you went back to the tower.'
- check out -
Continuing Scene 117, beginning with yesterday's quote, Quentin's response to the portrait belonging in the room -
- this post to also learn about missing notes in DC's script regarding a change in camera angles, as well as Grayson's notes about how Carlotta will relate to Angelique's portrait and how Carlotta will speak...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 56/Scene 117 - Quentin: 'All right, Carlotta. What's it all about? What's going on here? Why is my working in the tower so important to you?'
- check out -
And when it comes to today's quote from Scene 117 -
- this post to also learn about the difference in the dialogue and the notes and/or markings DC and Grayson made in their scripts...
-
Here's a second still to preview the upcoming moment in the slideshow from Scene 117 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-3.jpg) for a 700X476 version)
- a cropped version of which was shared on page 77 of the DS Almanac 30th Anniversary Tribute. On the other hand, the next three stills I plan to share are all rare...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 56/Scene 117 - Carlotta: 'It isn't. It just seemed so ideal --'
- check out -
And when it comes to today's quote from Scene 117, Carlotta's response to Quentin's belief that it's important to her that he work in the tower room -
- this post to also learn how there's no indication in the script or in DC's notes about how the quote plays but there is in Grayson's script - though there is a note in DC's script about how this section would be shot...
-
If you want to learn about or refresh your memory concerning the background of the first part of today's quote -
Page 56/Scene 117 - Quentin: 'That's not the reason. (MORE)'
- and/or the second part of today's quote -
Page 57/Scene 117 - Quentin: 'You know about these dreams, don't you?'
- check out -
Continuing Scene 117, first with the first part of today's quote -
- this post to also learn about the differences in the dialogue, the directions and the descriptions (I love the screen capture shared of the look Carlotta gives Quentin as he accuses her of knowing about his dreams) and the notes in DC's script...
-
And here's a third still to preview the upcoming moment in the slideshow from Scene 117 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-4.jpg) for a 700X476 version)
- a still that I believe is quite rare because to my knowledge it has never been published anywhere - and it shares something in common with the next still I'll be sharing, something that's more than the obvious that it's also to promote the same moment from Scene 117 - but more on that on the 28th...
-
... however, I'm currently in the process of negotiating buying the still on its own - I was hoping to have it by now, but I have hopes of owning it soon - so once I do, I will scan it and change the above scan to a scan of the actual still...
I finally received the still yesterday - and today I scanned it and added that scan to the post - and I didn't realize it until after I scanned it that it shows even slightly more on the left and right sides than the Movie Book version does. The new scan is also the clearest version..
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 57/Scene 117 - Carlotta: 'I don't know what you're referring to --'
- check out -
And when it comes to today's quote from Scene 117, Carlotta's response to Quentin's belief that she knows about his dreams -
- this post to also learn about Grayson's notes...
-
In the short time that Quentin and Tracy have been at Collinwood, Carlotta has gone from slight disdain to fairly open hostility. It's a bit surprising that no one seems to have told her to knock it off or risk being fired. Okay, Quentin is under some kind of spell but Tracy isn't. If her mother was indeed the housekeeper for Mrs. Stoddard, I can't imagine that Elizabeth would have tolerated such behavior.
-
So far the strongest reaction to Carlotta's attitudes came in Scene 115 when, as she's leaving the Gallery after being peevish toward Quentin's decision to move from the Tower to the Gallery to paint, Quentin got a disgusted look on his face and bowed his head. But you're right, no one has actually said anything to Carlotta - and because she was leaving the room, she didn't even see Quentin's reaction.
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 57/Scene 117 - Quentin: 'You know damn well what I'm referring to. [He points at the portrait --] Her. [Carlotta just stands there.] Am I dreaming it, Carlotta? Or is she real?'
- check out -
And when it comes to today's quote from Scene 117, Quentin's reaction to Carlotta's claim that she doesn't know what he's referring to -
- this post to also learn about the differences in the dialogue, the directions and the descriptions, about the notes and markings in DC's and/or Grayson's script, and to see screen captures from key moments...
-
And the last of what I'm sharing that relates to today's quote from Scene 117 is a rare version of Quentin confronting Carlotta -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-5.jpg) for a 700X650 version)
The Daytime TV caption for it reads: "Quentin goes into frenzy when Carlotta
(Grayson Hall) tells him that Gerard (James
Storm) is on his way to murder Tracy.
(Not exactly what's actually happening, and who knows where they got the idea that is was - someone definitely gave them crap
info for that one, whereas they did give good info for all the others, which makes one wonder if they didn't plan to share what the
caption says but switched and forgot to change the caption?)
- something that was also published as part of that same Daytime TV article that I've shared portions of in Reply #124 (Angelique on the stairs), Reply #286 (Gerard wielding his club) and Reply #287 (Angelique scratching Gabriel). (More from that article is yet to come, some fairly soon, one not so soon...)
It's interesting that every single still that I've shared equally features Quentin and Carlotta but in the film the moment focuses on Quentin much more than Carlotta, who is basically only seen from behind, as is apparent in today's screen capture (which is a part of the 2016 post I've linked to in Reply #413 above).
...it shares something in common with the next still I'll be sharing, something that's more than the obvious that it's also to promote the same moment from Scene 117...
And that is that in both versions Carlotta's nose is shadowed - quite possibly why we don't see them being shared all that much or not at all...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 57/Scene 117 - Carlotta: 'Do you remember the little girl you saw at the window the other day?'
- check out -
The script continues Scene 117 with reference to Carlotta:
- this post to also learn about other scripted parts of Scene 117, about the differences in the dialogue, the directions and the descriptions, and about the notes in Grayson's script... (And the reference to a "Sunday" quote will actually appear this Thursday this time around.)
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 57/Scene 117 - Carlotta: 'Well, it wasn't your imagination, Mr. Collins.'
- check out -
And Scene 117 begins Carlotta's explanation about the little girl Quentin saw as today's quote -
- this post to also learn about other scripted parts of Scene 117, about the differences in the dialogue, and about a note in Grayson's script...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 57/Scene 117 - Carlotta: 'No...you saw Sarah Castle. She lived in this house over one hundred and fifty years ago.'
- check out -
After today's quote from Scene 117 -
- this post to also learn about other scripted parts of Scene 117, about the differences in the dialogue, and about notes in Grayson's and DC's scripts.
Also, the original slideshow for NoDS included this line -
(http://www.dsboards.com/moviesquoteimages/1013NoDS_0.jpg)
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...
-
Now that we're getting to the scenes with Sarah Castle, I suppose that this is as good a time as any to inquire about Monica Rich. I've heard stories over the years that DC was unsatisfied with her performance and cut out or simply did not film a lot of her scenes. The script, as published by KLS, doesn't really give Sarah a significantly larger part. Rich's imdb page doesn't list any credits other than NODS. Did Sarah have a larger part in an earlier script? And just how bad an actor did you have to be for DC to edit your part down?
-
unlike what the script itself indicates and how DC's notes indicate that after Carlotta asks her question and before Quentin responds, the camera switches to a 2 shot of Carlotta and Quentin in profile, the shot actually continues to slowly truck in closer and closer on Carlotta
And I have to say I love the slow truck:
I think it's much more effective than a 2 shot could have ever been because the focus should be 100% on Carlotta as she delivers key info to the plot...
-
Now that we're getting to the scenes with Sarah Castle, I suppose that this is as good a time as any to inquire about Monica Rich. I've heard stories over the years that DC was unsatisfied with her performance and cut out or simply did not film a lot of her scenes. The script, as published by KLS, doesn't really give Sarah a significantly larger part. Rich's imdb page doesn't list any credits other than NODS. Did Sarah have a larger part in an earlier script? And just how bad an actor did you have to be for DC to edit your part down?
Grayson's script is earlier than DC's and Sarah's part is the same in both. The interesting thing so far as cuts go is that in the scripts Sarah has more to do in Scene 56 (Angelique's funeral) but none of it is in the film. Also interestingly is that scene is a somewhat rewritten version in DC's script yet Sarah's part is still the same. And even more interestingly is that Scene 56 was the first one shot for the film so one might presume that not having worked with her yet, DC would have shot Monica Rich/Sarah's part - but if he did and it wasn't that he just didn't bother to shoot it (he could have deemed it an unnecessary character moment, which would have certainly been in keeping with how he operated), it ended up on the cutting room floor. And as we'll see in the upcoming Scenes 118 through 131 (1810 flashback), there are several instances where Sarah material is not in the film, not even the 129 minute version. In fact, there's one entire scene that is not in any version of the film...
As for how bad an actor someone had to be to have their part edited down, I never thought Monica gave a bad performance in any of her surviving material in the film, so I question how bad she could have been if what's missing really was shot. I agree with what Gothick had to say back in 2016: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.
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 58/Scene 117 - Carlotta: 'Then what is your explanation?'
- and/or today's second quote -
Page 58/Scene 117 - Quentin: 'I don't have any. But there has to be a better one than that.'
- check out -
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 -
- this post...
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 58/Scene 117 - Carlotta: 'What you've been seeing are actually memories of a previous life.'
- and/or 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.'
- and/or 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.'
- check out -
Picking up where we last left Scene 117, Carlotta continues her explanation with yesterday's quote -
- this post to also learn about the differences in the dialogue, the directions and the descriptions, the notes in DC's and Grayson's scripts, and how this section of the scene was actually shot (I love the screen capture from when Carlotta is remarking on how rare she and Quentin are)...
And coming up at some point tomorrow will be the posting of the final rare still I plan to share from Scene 117...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 58/Scene 117 - Quentin: 'But I didn't remember anything 'til I came here. Why is it happening now?'
- and/or 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 --'
- check out -
Wrapping up Scene 117, beginning with today's first quote -
- this post and to learn about the differences in the dialogue, and the notations in both DC's and Grayson's scripts, and some screen captures showcasing how Carlotta's and Quentin's expressions/moods are a study in contrasts in this section of the scene...
-
And here's the last still I'm sharing that's associated with Scene 117 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-6.jpg)
- and so far as I'm aware it's never been officially published anywhere. And even though it's taken straight on and not from below, it may be the still that comes closest to how the scene -
(http://www.dsboards.com/NoDSquoteimages/0804NoDS_c.jpg)
- was actually shot, as we can see when compared to the screen shot above.
Look forward to several stills associated with upcoming Scene 119...
-
That last still you posted of GH is stunning!
-
Quite an outstanding still, MB!!!
-
I really like that still too. When it comes to most of the others I've shared from Scene 117, I've had them for dozens of years, but I didn't come across that one until a few years ago...
-
If you want to learn about or refresh your memory concerning the background of yesterday's first quote -
Page 59/Scene 118 - Carlotta's Voice: 'It was a dark, rainy afternoon. All week long strange tensions had been building in the house...'
- and/or yesterday's second quote -
Page 59/Scene 119 - Carlotta's Voice (Contd): 'tensions I did not understand...but feared. Everyone did not love my Angelique as I did.'
- and/or yesterday's third quote -
Page 59/Scene 119 - Carlotta's Voice (Contd): 'I knew that something terrible was about to happen.'
- check out -
Kicking off the next scenes in the sequence:
- this post to also learn about the differences in the dialogue, the directions and the descriptions. And probably the less said about Darren's lament about a restored release on DVD, the better...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 59/Scene 119 - Laura: 'You must make a decision, Gabriel.'
- and/or 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?'
- check out -
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):
- this post to also learn about the differences in the dialogue, the directions and the descriptions...
-
Here's the first of what I'm sharing that's associated with Scene 119 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery4-1.jpg)
- it's part of an article from the December 1971 issue of TV Dawn to Dusk entitled CATCHING UP WITH...The Dark Shadows Cast, which mostly focused on NoDS and shared five moments from the film, two of which (the seance and Quentin with Charles' skeleton) aren't in the film - and anyone who collected NoDS articles back in the day is aware that it was the only article to feature that shot of Gabriel, Laura and Strack - In fact, it was the only article to feature Diana Millay...
And it's too bad that they identified Diana Millay as "Diana Hilay" because other than that goof the article was very accurate...
-
If you want to learn about or refresh your memory concerning the background of 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...'
- check out -
As you've probably already figured from today's graphic, today's quote -
- this post...
And it's too bad the quote was dropped in the film because I seriously doubt Laura actually dreaded the moment - it probably couldn't have come soon enough for her - so it would have been fascinating to see how Diana Millay would have delivered it. An expression of feigned dread could have been priceless! But alas...
-
Today I'm sharing the full still version of the photo I shared yesterday -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery4-1a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery4-1a.jpg) for a 700X526 version)
- beyond the obvious that in the actual scene at no point do Gabriel, Laura and Strack ever stand in proximity to each other in the way they do in the still, see if you can spot other differences as the actual scene plays out...
(I almost feel like we'll be playing a reworked version of 16 Magazine's SPOT THE ERRORS game - though I won't be giving any potential winner $10 for their ability to observe everything that's different. [ghost_nowink] [ghost_cheesy])
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 59/Scene 119 - Strack: 'Where is the witch now?'
- and/or today's second quote -
Page 59/Scene 119 - Laura: 'Where she always is -- in the tower, "posing" for my husband.'
- check out -
Picking up Scene 119 where we left off, with today's first quote -
- this post to also learn about a note in DC's script...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 60/Scene 119 - Gabriel: 'Why do you want my permission?'
- and/or today's second quote -
Page 60/Scene 119 - Strack: 'Angelique Collins is your wife.'
- check out -
Continuing with Scene 119 (and with Grayson's script because DC didn't change the character names):
- this post to also learn about the differences in the directions and the descriptions, and about a note in DC's script...
(There are also screen captures with major examples for our game.)
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 60/Scene 119 - Laura: 'Do you want a mob outside this house? A mob with firebrands?'
- check out -
Moving along with Scene 119:
- this post and to learn about the differences in the dialogue and the way the delivery of the quote is shot, and about a note in DC's script...
-
Here's an alternative version of what I've shared in Replys #430 and #432 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery4-2.jpg)
- it appears on page 141 of the DS Almanac 30th Anniversary Tribute and that's the only place I'm aware of it appearing...
-
([pointing-up] Speaking of page 141 of that book, I've been meaning to post about this for years but at least I'm finally getting to it. There's a photo in the second row of photos on that page that may not really be associated with NoDS. And the reason I question it is because that exact same photo of Nancy Barrett is part of a whole series of photos, with her wearing the exact same clothes, that are a part of a February of 1972 TV by Day article: Page141_r2.jpg (http://www.dsboards.com/NoDSAnniQuoteImages/Page141_r2.jpg), MMMO-1.jpg (http://www.dsboards.com/NoDSAnniQuoteImages/MMMO-1.jpg), MMMO-2.jpg (http://www.dsboards.com/NoDSAnniQuoteImages/MMMO-2.jpg), MMMO-3.jpg (http://www.dsboards.com/NoDSAnniQuoteImages/MMMO-3.jpg). Now, that alone wouldn't be enough to question things because the magazine could have easily used already available photos of Nancy, but the thing is she also appears on the cover of that issue with her The Doctors costar Gerald Gordon and she's also wearing the exact same clothes: TVbyDay.jpg (http://www.dsboards.com/images/TVbyDay.jpg). If those photos were taken on the Lyndhurst grounds during the production of NoDS, what would Gerald Gordon have been doing there, particularly when Nancy didn't start on The Doctors until a month after NoDS had wrapped production? And I suppose Nancy could have worn the same clothes for a separate cover shoot so that her look would coordinate (right down to wearing the same locket) with the article's photos - but how likely is that?)
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 60/Scene 119 - Strack: 'I promise you it will come to that. And soon. The strange death of Reverend Herridge. After his sermon denouncing her --'
- and/or today's quote -
Page 60/Scene 119 - Laura: 'You yourself heard her say she would settle with him for that --'
- check out -
Picking up Scene 119 where we left off, with yesterday's quote, Strack's response to the possibility of mobs with firebrands gathering outside Collinwwod -
- this post to also learn about the differences in the dialogue, as well as an observation about how Diana Millay portray's Laura's, uh, interesting demeanor as Strack delivers his quoted lines...
-
Before moving on to today's quotes, in case you're only following the posts I'm linking to in the "And Now The Return of Another New Slideshow (Sort of) [**Now featuring alternate versions..." topic, you may want to check out the following ones which wonder about whether or not Angelique really was a witch
The dialogue in the scene at hand now is interesting because, to me at least, it strongly implies that Angelique Collins (in NoDS) really was a Witch. ...
I was saving this discussion until after we finish the script. [ghost_smiley] But...
I think that if Angelique had turned out not to be a witch...
It will be interesting after we get through the whole script. ...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 60/Scene 119 - Gabriel: 'But the scandal...'
- and/or today's second quote -
Page 60/Scene 119 - Laura: 'There will be no scandal.'
- check out -
Continuing Scene 119 with today's first quote -
- this post to also learn about the differences in the dialogue, about a note in DC's script, as well as something that is not indicated in the script...
-
Here's a reminder of a still from Scene 119 that was previously posted in Reply #38:
(http://www.dsboards.com/NoDSAnniQuoteImages/Gabriel_Strack.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gabriel_Strack.jpg) for a 540X700 version)
Take note that it's in keeping with the previous stills posted and not with the way the scene is actually shot...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 60/Scene 119 - Strack: 'We have selected four men from the estate, all of whom have seen proof of her witchcraft...they have sworn to remain silent forever.'
- check out -
Continuing Scene 119 with today's quote -
- this post and to learn about the differences in the dialogue and about a note in DC's script...
It's also interesting how Strack's quote, even how it's delivered in the film, would certainly seem to provide proof that Angelique is a witch. But...
-
More witch speculation:
... It's intriguing to imagine a version of the story where...
It's intriguing to imagine...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 60/Scene 119 - Laura: 'Gabriel -- if we must, we'll do it without you.'
- check out -
Continuing Scene 119 with today's quote -
- this post and to read my comments about how I love the way Diana Millay delivers her line and my speculation about Laura's part in all this...
-
This next still, a somewhat cropped version of which appears on page 110 of the DS Companion, is more in keeping with the way Scene 119 was actually shot:
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery4-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery4-3.jpg) for a 700X900 version)
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 60/Scene 119 - Strack: 'The evil must be driven from the land -- before it destroys us all.'
- check out -
Wrapping up Scene 119 and moving beyond (using Grayson's script), beginning with today's quote -
- this post and to learn the differences in the dialogue and the way this section is shot along with a notation in DC's script.
Also, the original slideshow for NoDS included this line -
(http://www.dsboards.com/moviesquoteimages/1021NoDS_0.jpg)
NoDS: Scene #119 - Gabriel: 'You're right. There is no
other way.'
- because it was quoted in the Fest's 1999 Movie Calendar, upon which the original slideshow is based...
-
Before we move completely past Scene 119, here's a rare alternate version of Gabriel and Strack -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery4-4.jpg)
The Daytime TV caption for it reads: "Thayer David (Rev. Strack) convinces
Gabriel that his wife Angelique must
be destroyed. Part of flashback segment.
- something that was also published as part of that same Daytime TV article that I've shared portions of in Reply #124 (Angelique on the stairs), Reply #286 (Gerard wielding his club), Reply #287 (Angelique scratching Gabriel), and Reply #414 (Quentin confronting Carlotta). (And even more from that article is yet to come, more fairly soon, and actually it's two that are not so soon...)
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 61/Scene 121 - Gabriel: 'What of my brother Charles?'
- and/or today's second quote -
Page 61/Scene 121 - Strack: 'He must learn the lesson of the damned. He shall watch her die.'
- check out -
Dealing with the next two scenes in the sequence (using Grayson's script):
- this post to also learn about how Scene 121 is actually shot/edited, about Laura's wide-eyed expressions to Angelique's fate being sealed, and about a note in DC's script...
-
beyond the obvious that in the actual scene at no point do Gabriel, Laura and Strack ever stand in proximity to each other in the way they do in the still, see if you can spot other differences as the actual scene plays out...
Now that the sequence has completely played out, here are three huge hints via three of the screen caps displayed in the slideshow and/or posted in the "And Now The Return of Another New Slideshow (Sort of) [**Now featuring alternate versions..." topic:
(http://www.dsboards.com/NoDSquoteimages/0809NoDS_a.jpg)
(http://www.dsboards.com/NoDSquoteimages/0816ds91_0.jpg)
(http://www.dsboards.com/NoDSquoteimages/0817ds91_0.jpg)
Coming up shortly, the next sequence in the 1810 flashback...
-
If you haven't already, be sure to use the link in Reply #359 to read Scene 122.
So, if you want to learn about or refresh your memory concerning the background of today's first quote -
Page 61/Scene 123 - Carlotta's Voice: 'I don't know how long I stood there. It seemed like hours...'
- and/or today's second quote -
Page 61/Scene 124 - Carlotta's Voice (Contd): 'Finally, my mother joined Laura and the two of them waited...suddenly the silence was shattered by the terrifying sounds from above and it was then that I saw her.'
- check out -
Moving to the next two scenes in the current sequence (using Grayson's script):
- this post and to wonder whether or not Scene 123 and the beginning of Scene 124 may have even been shot...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 62/Scene 124 - Sarah: 'No! No! I won't let you take her! She is good! She is good!'
- check out -
Continuing Scene 124 (using Grayson's script):
- this post and to learn about the differences in the dialogue (including an unscripted Carlotta voiceover - one that doesn't even appear in Grayson's script - and she wrote/added everything - so who knows when it was decided to add it to the film?), about the way the delivery of the quote is shot, about differences in the directions and the descriptions, about the priceless exchange of looks between Laura and Angelique, and the reference to August 22, 2016's installment will take place on March 25th this time around...
-
Here's the first of what I'm sharing that's associated with Scene 124 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Corridor-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Corridor-1.jpg) for a 556X1208 version)
The Flip caption for it reads: "Monica Rich plays Sarah, the 19th
century daughter of the Collins'
housekeeper. She is Angelique's only
friend in the 19th century, just as
Sarah's reincarnation, Carlotta
Drake (Grayson Hall) is Angelique's
only friend in the 20th century."
(I suppose they don't consider Charles as Angelique's "friend," given he's, uh, much more than her friend. [easter_wink] [easter_cheesy]
And it's amazing how many plot points this and other articles gave away long before the film had even opened.
But then, I've bitched about that quite often with regard to both this film and hoDS.
- it's part of Flip Magazine's Curse of Dark Shadows article, and to my knowledge it's the only place it's officially been published. But then that article, like the one from Daytime TV, is another that contains material that's exclusive to it. And interestingly enough, when it comes to Flip's article, I've never come across any of the still versions of any of its photos...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 62/Scene 124 - Mrs. Castle: 'Please, Sarah.'
- and/or today's second quote -
Page 62/Scene 124 - Sarah: 'Don't let them do it, mama! I love her so.'
- check out -
Continuing Scene 124:
- this post and to learn about the differences in the dialogue, the directions and the descriptions, and about more cuts when it comes to Sarah's material...
-
Here's the second of what I'm sharing that's associated with Scene 124 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Corridor-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Corridor-2.jpg) for a 660X666 version)
- a rare still of Charles that I'm not aware of being shared - and apparently David Selby perfected his expression for Scene 124 by having photos taken because, as can be seen in today's first screen capture, his expression in the actual scene is extremely similar to that in the still:
(http://www.dsboards.com/NoDSquoteimages/0820ds91_0.jpg)
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 62/Scene 124 - Angelique: 'My darling, don't cry. Sarah, dear, don't cry, please. It will be just as if I'm away for a little while.'
- check out -
Continuing Scene 124:
- this post and to learn about the differences in the dialogue and editing during it, and about differences in the directions and the descriptions...
And many people might say, "Well, duh!" and roll their eyes [easter_rolleyes] but I have to confess that it wasn't until this time around that it hit me that the hair seen behind Angelique's head in the photo I shared in Reply #452 belongs to either Stack's henchman or Charles. Though, to be truthful, I don't even know if I paid much attention that that was a glimpse of a head of hair behind Angelique's head - and the question of who it might be is due to the fact that the one standing behind Angelique in the early part of the scene is Strack's henchmen -
(http://www.dsboards.com/NoDSquoteimages/0819ds91_0.jpg)
- before Charles joins him -
(http://www.dsboards.com/NoDSquoteimages/0821ds91_0.jpg)
- as can be seen in today's screen capture. If the still was in color, perhaps the ID would be clearer if there was a glimpse of the henchman's green jacket...
-
It's never quite clear to me precisely what the relationship between Angelique and Sarah is all about. Sarah seems to adore Angelique and she seems to be the only one in the house other than Quentin that Angelique demonstrates any kind of tolerance let alone affection for. Is this another DS example of a young child being bewitched? Or is there more to it than that? Is Angelique doing the prep work for the 1970's?
-
If you want to learn about or refresh your memory concerning the background of the first part of today's quote -
Page 62/Scene 124 - Angelique: 'You'll remember all the time we spent together. All the love we've shared...'
- and/or the second part of today's quote -
Page 62/Scene 124 - Angelique: 'Here. You've always thought this so pretty.'
- and/or the third part of today's quote -
Page 62/Scene 124 - Angelique: 'As long as you wear this, you'll remember me.'
- check out -
Before we conclude Scene 124 as it appears in DC's script, here's how it concludes in Grayson's:
- this post to also learn about the differences in Grayson's and DC's scripts, and about the differences in the dialogue, the directions and the descriptions...
It's quite interesting that Angelique's intention of giving Sarah her locket and her pronouncement that as long as Sarah wears the locket she will "remember" Angelique was not a part of the original script and was added at some later point before production. Apparently originally the script intended the audience to pick up on its own that Angelique and Carlotta had the same locket - but it was much smarter to make that point an expressed part of the plot...
-
Honestly, I've never suspected anything underhanded on the part of Angelique when it comes to her relationship with Sarah. It just seems that for one reason of another they hit it off. Even though we would presume children had to exist in the Collins family (or else Mrs. Stoddard would have never come to exist a couple generations later), we don't see or hear about them. Perhaps they were off at boarding school (like Gabriel's children on the daytime show)? Who knows? But quite possibly Sarah was the lone child in the house and lonely. Angelique may have noticed that, felt sympathy for her, and befriended Sarah for that reason and they grew close. It's one theory...
My thing has always been to wonder what happened to Angelique after Sarah died and before Carlotta realized she was Sarah's reincarnation? Plus, there had to be some period between Sarah's death and Carlotta's birth when there was presumably no one around to keep Angelique's spirit around. Or was there some other reincarnation around that we're completely unaware of? And another thing, just how did Angelique's locket go from being in Sarah's possession to Carlotta's?
So many questions? So many subjects for fan fiction...
-
And here's the final of what I'm sharing that's associated with Scene 124 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Corridor-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Corridor-3.jpg) for a 700X730 version)
- a rare still that for years I thought I owned in its entirety, that is until the complete version was shared in the 2004 NY Fest Program:
(http://www.dsboards.com/NoDSAnniQuoteImages/Corridor-3a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Corridor-3a.jpg) for a 941X730 version)
-
A friend whose involvement in DS fandom precedes mine by several years told me that in the Shadowcon days, this still was pretty common. It gradually disappeared until it was unearthed around the time that you found it.
-
And many people might say, "Well, duh!" and roll their eyes [easter_rolleyes] but I have to confess that it wasn't until this time around that it hit me that the hair seen behind Angelique's head in the photo I shared in Reply #452 belongs to either Stack's henchman or Charles.
This screen capture that I'd posted in the "And Now The Return of Another New Slideshow (Sort of) [**Now featuring alternate versions..." topic might complicate matters because -
(http://www.dsboards.com/NoDSquoteimages/0822NoDS_a.jpg)
- for one, it makes it seem as if the photographer took the still from an angle somewhat more to his left and/or David Selby had been slightly higher or the photographer stood higher, the one behind Angelique in the still would have been Charles - but it introduces a third possibility of the person who is partially seen behind Angelique. What's interesting about that person, though, is presumably it's another of Strack's henchmen, but when we saw Scene 85 only two henchmen entered the Tower Room with Strack, so where was the third at that time, just standing outside the room while all the commotion was going on inside?
-
Before moving from Scene 124 and on to Scene 126 in today's slideshow, be sure to read Scene 125 -
And here's Scene 125:
- more Sarah material that doesn't appear in any version of the film, material that may not have even been shot...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 63/Scene 126 - Strack: 'Angelique Collins, you have been condemned as a witch and you must die as a witch. Let your soul be returned to the pits of darkness forever more.'
- check out -
Moving to the next scene in the current sequence (using Grayson's script again because DC didn't changed the names):
- this post and to learn about the differences in the dialogue, the directions and the descriptions...
-
Before I start to share new material related to the current sequence in the flashback, I want to remind what I've already shared, starting with:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Charles_16Mag.jpg)
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Charles_official.jpg)
...
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Charles_16_a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Charles_16_a.jpg) for a 708X563 version)
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Charles_tree.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Charles_tree.jpg) for a 700X540 version)
-
And I've shared these as part of Flip Magazine's Curse of Dark Shadows article, but not on their own:
(http://www.dsboards.com/NoDSAnniQuoteImages/CoDS_P1-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/CoDS_P1-1.jpg) for a 989X1201 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/CoDS_P2-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/CoDS_P2-3.jpg) for a 569X1201 version)
The Flip caption for it reads: "Chris Pennock plays Gabriel Collins,
19th century brother of Charles
and husband of Angelique."
And just as with the Angelique/Sarah photo shared in Reply #452, to my knowledge it's the only place these two have officially been published.
And I'd shared this -
...
(http://www.dsboards.com/NoDSAnniQuoteImages/D_in_m.jpg)
...
- but I didn't share the actual still:
(http://www.dsboards.com/NoDSAnniQuoteImages/D_in_m-a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/D_in_m-a.jpg) for a 590X700 version)
-
These are all great shots, MB!!!
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 63/Scene 126 - Angelique: 'As I die, so shall all of you. For that will be my legacy --'
- check out -
Given today's graphic, it's probably obvious that today's quote -
- this post and to read some observations about the quote...
-
And here's something that's fairly rare, because it had only been published in the Nov. '71 edition of 16 Magazine -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-1.jpg)
- as part of an article entitled Sneak Peak at NIGHT OF DARK SHADOWS until it showed up in 2012 on page 186 of the DS Return To Collinwood book. And here's a still of it:
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-1a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-1a.jpg) for a 700X693 version)
Interestingly, Charles, Strack and Strack's henchman were never seen in the film standing in front of Collinwood like they're posing - but then, so many stills are posed for in ways that don't directly correlate to the film. And who knows who told 16 Magazine that the flashback takes place in the 1880s (well, unless that's a typo)? Maybe they should have stuck to referring to the time frame as the "19th century." [easter_wink]
And just when you might think there couldn't possibly be another head shot of Charles from this sequence, here comes this very rare one:
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-2.jpg) for a 718X900 version)
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 63/Scene 126 - Strack: 'I ask the good Lord to forgive your blasphemy. Prepare yourself for eternity, witch.'
- check out -
A reworked version of today's quote from the script -
- this post and to learn that it's actually delivered later in the film, in Scene 129 - and the reference to August 27, 2016 takes place on March 30 th this time around...
-
Here are the next two. First up, a still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-3.jpg) for a 700X479 version)
- that I first saw a (cropped) B&W version on page 26 of the movies soundtrack's booklet, and then a cropped color version showed up on page 183 of the The DS Movie Book.
And then, getting back into rare stuff, there's this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-4.jpg) for a 782X526 version)
- which is part of the NoDS Herald (http://www.dsboards.com/NoDSquoteimages/Herald.jpg), a four page booklet that was made available to theaters via the NoDS Pressbook for them to distribute in various locations to promote the film...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 64/Scene 127 - Angelique's Voice: 'I have lost him, but I will have him again...you will help me, Sarah...'
- and/or today's second quote -
Page 64/Scene 128 - Angelique's Voice: 'You will know when the time comes...for it is your love that will keep me alive...'
- check out -
Moving along with Scene 126 and beyond (this time using DC's script):
- this post and to learn how things are very different when it comes to the directions and descriptions...
Also, if this part of the sequence proves one thing, it's that, whether or not Angelique is a witch, she definitely is some sort of telepath to be able to communicate with Sarah to the point that Sarah seemingly understands everything that Angelique is communicating to her.
-
Next up is something that appeared in Flip Magazine's Curse of Dark Shadows article (and you can see that version
here
in that post), but in this post I'm sharing the version that appeared in the Daytime TV article:
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-5.jpg) for a 702X924 version)
The Flip caption for it reads: "Angelique is executed in the 19th
century for her adultery with
Charles Collins."
And the Daytime TV caption reads: "Flashback segment of film shows Angelique was
hung as adulteress and witch in 19th century."
And you'll note that the henchmen who share the platform with Angelique in the photo are the same two who share it with her in the film, as today's first scrren capture shows:
(http://www.dsboards.com/NoDSquoteimages/0826ds91_0.jpg)
However, they are not the same two who share the platform with her in this still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-6.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-6.jpg) for a 467X700 version)
And what's most fascinating about the two sets of men is that footage of both sets exists. As I've shown, the first set appears in the film in several three shots atop the platform, but if you're observant, you'll notice that the second set also appears in the film as well as in footage that appear in some of the NoDS trailers -
(http://www.dsboards.com/NoDSquoteimages/Hang_henchman.jpg)
- here's the footage from the trailers -
- but note that there's a jump cut in the film -
- more than likely so as not to show the henchman on the left's face, which no doubt would have had people in the audience saying, "Hey, how did he get up there when it was a different guy earlier?"
-
Something I forgot to mention last night is that when it comes to the Flip and Daytime TV articles, I've sometimes theorized that, because many of the photos shared in them have never been shared elsewhere, perhaps those photos might have been taken by the magazines' own photographers. However, I didn't notice until going through things this time around that at least when it comes to the Daytime TV article there's a small, easy to miss credit that says "Photos by MGM, New York". So, considering the photo of the henchmen preparing Angelique for hanging is also shared in the Flip article, at the very least that photo was provided to Flip by MGM. However, I still wonder about the others, and that's mostly because when it comes to Flip's 1970 article similarly announcing the production of hoDS, most, if not all of the photos it shared have never shown up anywhere else as well. Who knows?
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 64/Scene 129 - Strack: 'May the devil take his own!'
- check out -
Moving on to the next two scenes in the sequence:
- this post and to learn about major differences in the dialogue, the directions and the descriptions...
-
Before I share the next thing that I want to, I should mention that The DS Movie Book is filled with actual stills from both film. So, one would presume all the photos shared are stills. But then there's this first thing that I want to share today, presumably a still that appears on page 254 of The DS Movie Book of Sarah screaming in the window of her bedroom:
(http://www.dsboards.com/NoDSAnniQuoteImages/Sarah_scream1a.jpg)
And on the Internet there's a color version that purports to be the same still, and it might very well be an actual still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Sarah_scream1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Sarah_scream1.jpg) for a 853X480 version)
However it comes across much more like a screen capture because one could take a screen capture from the NoDS DVD/Blu-ray that would look exactly like it. But the interesting thing there is the NoDS DVD/Blu-ray wasn't released until 2012, whereas The DS Movie Book was published in 1998. And in 1998 the only readily available version of NoDS was the one with the 4X3 aspect ratio that was released on VHS. There wasn't even any 16X9 version being shown anywhere on television. So, if it was a 16X9 screen capture rather than a still, it's fascinating to wonder where it came from and how it was taken...
But be all that as it may, as I'd posted back in 2016, I'd never realized until getting captures for that year's NoDS slideshow the three versions that we see in the film of Sarah screaming at the window:- Quentin's "memory" in Scene 75
- In Scene 80 when Quentin recalls back what he saw
- And when Charles sees Sarah in Scene 129
are not only all different in some way or other, but they're actually three completely different takes of Sarah screaming. Check these new video versions:
-
MB, is it possible that Flip's crediting the photo to MGM was a mistake? Back then, there were so many teen, soap and horror magazines after DS stuff that a lazy editor might have just credited the pictures to MGM to meet a pressing deadline. And, like Gloria Stavers and 16, accuracy was not a top priority.
-
Well, when it comes to Flip's hoDS article, it contains a credit that says, "Photos by Charles Moore," but who knows what his connection to Flip was? He could have been a Flip staff photographer. He could have worked for MGM and they simply provided Flip with the photos for the article. Or he could have been freelance and sold the photos to Flip.
-
Now I want to share a still of the hanging Angelique that has an interesting history in the PomPress books -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-7.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-7.jpg) for a 700X476 version)
- because it's appeared in two different books. A fairly cropped B&W version first showed up on page 141 of the DS Almanac 30th Anniversary Tribute, and then 3 years later a somewhat less cropped color version showed up on page 183 of The DS Movie Book. It may actually be the only still to appear in two different PomPress books, though once in B&W and then in color.
And while were on the subject of Angelique's hanging, it's really quite interesting how the action itself appears so briefly in the way the film currently stands. When it comes to her body falling from the platform, all that's seen is:
Whereas, what was intended to be seen and is seen in the 97 and 129 minute versions of the film, as well as one of the trailers is:
And then there's the footage of Angelique body being pulled up, which, again, only appears in the 97 and 129 minute versions of the film, as well as some on the trailers:
One can't help but wonder what Lara Parker thought after she'd been harnessed up for that shot only to have it completely missing from the 94 minute version of the film?
And Angelique's body being pulled up isn't the only thing that's missing because once her body is high up in the tree, the henchmen tie the rope off and her body swings as the tree branch creaks. Shortly Charles turns away and moves toward the house. The other household members and Strack soon follow, which, after Charles turns away from having seen Sarah screaming in her window, is where the 94 minute version picks up as one of the henchmen moves to the bottom of one of the ladders and begins to climb up.
Thankfully, though, a still of Charles having turned away and making his way to the house does exist -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-8.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-8.jpg) for a 1000X750 version)
- a somewhat washed out version of which appears on page 186 of DS Return To Collinwood, though at least that version shows more all around than the version I'm sharing here.
-
A quick internet search didn't come up with any connection between Charles Moore and Flip. But he was a highly respected photojournalist, who took some iconic photos of Martin Luther King and others in the early days of the Civil Rights Movement. It appears that he moved in the same circles as Ben Martin. Perhaps that led to the NODS job.
-
A quick internet search didn't come up with any connection between Charles Moore and Flip. But he was a highly respected photojournalist, who took some iconic photos of Martin Luther King and others in the early days of the Civil Rights Movement. It appears that he moved in the same circles as Ben Martin. Perhaps that led to the NODS job.
Very interesting. And that probably explains a lot. Thanks for the info. [easter_smiley]
-
And the last of what I'm sharing that's directly related to the flashback is this still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-9.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-9.jpg) for a 547X700 version)
- a cropped version of which appeared in the NoDS Herald with the caption "Condemned as a witch and adulteress, Angelique hangs from a rotting tree branch, mute testimony of Man's treachery." (Hmmm - not so sure how rotting the branch was. How would it have supported her weight - especially when she initially fell from the platform?), a heavily cropped version of which was part of Famous Monsters of Filmland's NoDS article (a PDF of which The Doctor and K9 shared in Reply #132), and a heavily lightened (so that it could be printed over) version of which was shared on page 15 of the movies soundtrack's booklet.
And I've mentioned this before, but quite obviously it was used as a basis for part of the artwork for the A version of the NoDS poster:
(http://www.dsboards.com/NoDSAnniQuoteImages/pic_art.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/pic_art.jpg) for a 800X818 version)
And speaking of the A poster's artwork, I've often suspected that perhaps the image of Angelique hanging that appears in the mouth of Angelique's rotting face -
(http://www.dsboards.com/NoDSquoteimages/Ang_mouth_poster_1.jpg)
- might have been somewhat inspired by this shot in the film of Angelique hanging -
- or perhaps a still similar to it. (When it comes to stills, I've often wondered if the depiction of Angelique's ghost in the artwork is also based on a still? If so, regrettably I've never come across it. But we do know that the part of the artwork depicting Charles and Angelique making out was definitely inspired by a still, as I pointed out back in Reply #202)
And speaking of that shot of Angelique handing, it appears in the film as a "subconscious memory" Quentin has in Scene 77. But given that, as I explained in Reply #478, footage of Angelique's body swinging as the tree branch creaks doesn't appear in the 94 minute version of the film, I'm wondering if that same footage is part of what was cut from the flashback? It's been over 50 years since I saw the 97 minute version, so my mind is a bit hazy on the exact details of what was seen. And even when it comes to having seen the recovered footage at the 2004 Fest, I don't recall the exact details of what was shown of the hanging sequence. But that shot does have the same sort of coloring that was used for the flashback...
-
Now I'm sharing the next three stills simply because they were shot while the hanging platform was located in the tree. And look who they're of, yes, Nancy Barrett. Apparently either she or the photographer or both loved to take photos of her around locations that may have been the sites where production was about to take place, where it was taking place, or where it had recently taken place...
Here's the first -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-10.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-10.jpg) for a 700X383 version)
- and the second -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-11.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-11.jpg) for a 1000X1080 version)
- and the third -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-12.jpg)
- which you may recall also appears on the back covers of the NoDS DVD and Blu-ray packaging:
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_DVD_back.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_DVD_back.jpg) for a 1000X1411 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_Blu-ray_back.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_Blu-ray_back.jpg) for a 1000X1163 version)
-
If you want to learn about or refresh your memory concerning the background of the yesterday's quote -
Page 64/Scene 131 - Sarah: 'I will always remember...always...always...'
- and/or today's first quote -
Page 65/Scene 131 - Sarah (O.S.): 'I'm not unhappy, mama, because she'll be back...some day Angelique will be back...'
- and/or today's second quote -
Page 65/Scene 132 - Carlotta: '...and I will help her.'
- check out -
And now after what seems like ages, let's get back to the script and continue with what's left of what's listed in the script as Scene 131 and also move past that scene:
- this post to also learn about how none of what's been quoted above appears in the film (DC took an axe to so much Sarah material) and what it was replaced with, and about the differences in the directions and the descriptions...
-
Before we move on entirely from Angelique's hanging, I have three more stills that I want to share that are sort of related but aren't really.
First up is a still of presumably Angelique's skeleton, with but a small remnant of her clothes, still hanging in the tree -
(http://www.dsboards.com/NoDSAnniQuoteImages/Skel-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Skel-1.jpg) for a 548X700 version)
- and interestingly enough, versions of it showed up in magazines: 16 had a colorized version with the caption, 'The remains of "Angelique"', and Famous Monsters of Filmland captioned it with, 'Condemned to die, Angelique is hanged on high from a tree on the Collinwood estate, and there the elements disintegrate her body till nothing is left but her skeleton.' But the problem with all that is that at no time in the film do we see Angelique's skeleton hanging in the tree. Whenever we see Angelique hanging, it's her full body, fully clothed.
Now, could DC have shot footage of the skeleton but then simply didn't use it? Who knows?
But be that as it may, two other stills featuring the skeleton also exist, both candid shots with David Selby posing with it. There was a glimpse of one that was linked to in Reply #437 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Skel-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Skel-2.jpg) for a 1000X1332 version)
- because it appears on page 141 of the DS Almanac 30th Anniversary Tribute (and that version shows a bit more than the copy of the still that I have) - and then there's this rare one -
(http://www.dsboards.com/NoDSAnniQuoteImages/Skel-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Skel-3.jpg) for a 1000X1522 version)
- Enjoy if you've never seen them...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 65/Scene 132 - Quentin: 'But I am not Charles Collins.'
- and/or today's second quote -
Page 65/Scene 132 - Carlotta: 'You may not accept it now, but soon you will. And it is then that you will come to realize something else...that there is no longer a place in this house for Mrs. Collins.'
- check out -
Picking up now with the film's actual start of Scene 132 with Quentin's reaction to Carlotta's story (and using DC's script):
- this post to also learn about the differences in the dialogue, the directions and the descriptions, and about the notations in DC's and Grayson's scripts...
-
Great stuff, MB!! I do have a question about something that appears on one of the posters. Angelique is hanging from the tree, presumably dead. Her arms are outstretched towards a shirtless man who is facing towards her. Is that supposed to be Quentin or Charles? I don't recall any scene like that in the film. Nor do I recall any stills depicting it. Is this something that was cut or never filmed? Or something that the MGM art department created for the poster?
-
Here's a rare still associated with Scene 132 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery5-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery5-1.jpg) for a 700X488 version)
- and not surprisingly it's taken from a different angle from the way the moment is shot in the film. But then, shooting from behind Quentin works for great dramatic effect in a film - taking a photo that doesn't show a face at all, not so much.
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 66/Scene 132 - Quentin (flaring): 'I love Tracy! I always will love Tracy! Nothing can change that.'
- check out -
And Grayson Hall and David Selby continue to be so fantastic in this scene. As today's quote -
- this post and to learn about the differences in the dialogue, and about a note in DC's script...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 66/Scene 132 - Carlotta: 'If you truly believe that, Mr. Collins, then I suggest you leave Collinwood as soon as possible. ... If you can.'
- check out -
Wrapping up Scene 132, picking up with today's quote, as Carlotta's response to Quentin's insistence that he will always love Tracy -
- this post and to learn about the differences in the dialogue, the directions and the descriptions, and comments about some of Carlotta's great facial expressions...
-
I do have a question about something that appears on one of the posters. Angelique is hanging from the tree, presumably dead. Her arms are outstretched towards a shirtless man who is facing towards her. Is that supposed to be Quentin or Charles? I don't recall any scene like that in the film. Nor do I recall any stills depicting it. Is this something that was cut or never filmed? Or something that the MGM art department created for the poster?
I'm pretty sure it was the latter. And apparently it was a well-liked bit of artwork because, not only did various sizes of it appear in the different newspaper ads in the NoDS Pressbook (as one can see below in the collection of ads that I'd shared in Reply #20, a shorter version of the 1 column ad that I'd shared in Reply #69, and one small ad that features it as the only artwork) (There are others, including one that I'd posted in Reply #68, but I think everyone gets the idea) -
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_B_Ads.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_B_Ads.jpg) for a 1099X2524 version) | (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_short.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_Ad_Mat-102.jpg) |
- (and this copy of the B Poster that I also shared in Reply #20) -
(http://www.dsboards.com/NoDSAnniQuoteImages/Poster_B.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Poster_B.jpg) for a 740X1100 version)
- but it was also used in various foreign promotional materials, like the Italian psters and a portion of the Mexican lobby cards -
(http://www.dsboards.com/NoDSAnniQuoteImages/Italian_NoDS.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Italian_NoDS.jpg) for a 1152X1600 version) | (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_Mexican_Lobby_Card.jpg) |
- (I'm pretty sure I have another example of its foreign use but for the life of me I couldn't find where I'd saved it...)
-
Considering the subject of the Mexican lobby cards has come up, I figure I might as well share them. Here's a photo provided for an online auction of them:
(http://www.dsboards.com/NoDSAnniQuoteImages/Mexican_NoDS_Lobby_Cards.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Mexican_NoDS_Lobby_Cards.jpg) for a 1000X770 version)
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 66/Scene 134 - Tracy: 'I'm a genius with butchers. Of course, he thinks me quite mad...and very rich. The steaks are a masterpiece.'
- check out -
As you've probably already discerned from today's graphic, we're getting into more material that doesn't appear in the film as it currently stands (or in the 97 minute version). However, the scenes we'll be dealing with today are not on Darren Gross' list of scenes that weren't recovered, so chances are they do appear in the 129 minute version:
- this post and to learn why I'm using the same still for the graphic for Scene 134 as I did for Scene 116...
-
Since I shared the Mexican lobby cards yesterday, and considering I also shared the Italian poster yesterday, I might as well share the Italian lobby cards today:
(http://www.dsboards.com/NoDSAnniQuoteImages/Italian_NoDS_Lobby_Cards.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Italian_NoDS_Lobby_Cards.jpg) for a 1000X709 version)
I do wish, though, if they felt they had to colorize the B&W stills, they would have checked to see what the correct colors should have been. But, well...
-
Mexico is notorious for that kind of stuff. I have a couple from Speedway and they feature Nancy Sinatra in an outfit that she did not wear in the movie, a bikini that was not standard attire for the IRS agent that she's playing. It's also been recolored. The bikini is white but appears as an odd shade of green on the lobby card. Her other outfits have been recolored as well. Seemd pretty random.
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 66/Scene 134 - Tracy: 'She's back!'
- and/or the first part of today's quote -
Page 66/Scene 134 - Quentin: 'I offended Carlotta's sense of family tradition.'
- and/or the second part of today's quote -
Page 67/Scene 134 - Quentin (Contd): 'What was good enough for my forefathers should be good enough for me.'
- check out -
Continuing Scene 134 with Tracy's reaction to the fact that:
- this post...
-
And even though I'd used various crops of the same photo for the graphics for both Scene 116 and Scene 134 (for reasons I explained in the linked to post in Reply #492) and I'd posted that photo in Reply #398, that was because I had yet to come across the actual still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery6-1.jpg)
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 67/Scene 134 - Quentin: 'How about you and I getting out of this house? We'll take a walk.'
- and/or today's second quote -
Page 67/Scene 134 - Tracy: 'Perfect.'
- check out -
Wrapping up Scene 134:
- this post...
-
I have a couple from Speedway and they feature Nancy Sinatra in an outfit that she did not wear in the movie, a bikini that was not standard attire for the IRS agent that she's playing. It's also been recolored. The bikini is white but appears as an odd shade of green on the lobby card. Her other outfits have been recolored as well. Seemed pretty random.
Weird. [easter_undecided]
The colorizing is bad enough, but my biggest pet peeve with the colorizing in the lobby cards is there's little consistency. In two Tracy's jacket is red -
(http://www.dsboards.com/NoDSAnniQuoteImages/Jacket_red-1.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Jacket_red-2.jpg)
- and in two others it's blue -
(http://www.dsboards.com/NoDSAnniQuoteImages/Jacket_blue-1.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Jacket_blue-2.jpg)
[easter_rolleyes] The funny thing, though, if you notice, Gerard's jacket is consistent...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 67/Scene 135 - Quentin: 'Do you have any idea how much I need you?'
- check out -
Moving on to the next scene, this is how it's scripted:
- this post and to learn the difference in the dialogue and how it's delivered under completely different circumstances from the way it's scripted because there are a myriad of differences in the directions and descriptions...
-
I find it interesting that several places are selling this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Meadow.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Meadow.jpg) for a 700X708 version)
- as a still when quite clearly it's a cropped screen capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/Meadow-a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Meadow-a.jpg) for a 1280X720 version)
- and because it's a bit blurry, perhaps a screen capture from the VHS.
It's also interesting that both Tracy and Quentin are looking off as if they've spotted something surprising, though nothing like that actually happens in the film. But who knows if they look that way because DC told them to with a possible intent of using the footage somewhere else in the film? And then he never followed up on it.
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 67/Scene 136 - Alex: 'Hello? Tracy? What's wrong?'
- check out -
Moving on to the next scene:
- this post and to learn the difference in the dialogue, the directions and the descriptions...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 67/Scene 137 - Tracy (on telephone): 'Oh, Alex, how gloomy you are. I called to say everything's perfect.'
- check out -
And jumping to the next scene:
- this post and to learn about an addition to the dialogue, as well as a change in location from what the script originally indicated...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 67/Scene 137 - Alex: 'Are you sure?...Did you get into the tower?'
- and/or today's second quote -
Page 67/Scene 137 - Tracy: 'He's not even painting there anymore. He's his old self again.'
- check out -
Continuing and wrapping up Scene 137, beginning with today's first quote -
- this post and to learn a possible reason why both of today's quotes don't appear in the film, at least as it currently stands...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 68/Scene 138 - Alex (on telephone): 'That's great. Listen, Trace, Claire and I should go to New York tonight. I thought we'd stop in Burton's Gallery. He's an authority on Early American artists, isn't he?'
- and/or today's second quote -
Page 68/Scene 138 - Tracy: 'The best. Why?'
- check out -
Moving to the next parts of the sequence, and they actually deviate a bit from the way they're scripted, but here's how today's quotes are scripted to appear:
- this post and to learn about differences in the dialogue and how Alex' lines play a bit differently in the film from the way the script indicates...
Also, I like how today's exchange of dialogue tells us something about Tracy that we didn't know...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 68/Scene 138 - Alex: 'Tell you when we get back. You're sure you'll be OK?'
- and/or today's second quote -
Page 68/Scene 139 - Tracy (on telephone): 'Go, Alex...go. Nothing bad will happen to us now.'
(Famous last words, as they say...)
- check out -
Wrapping up Scene 138 and moving beyond with scripted as well as completely unscripted material, beginning with today's first quote -
- this post and to learn about any differences in the scripted directions and descriptions, any difference in the dialogue, and how, with unscripted material, things go well beyond where the script ends...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 69/Scene 145 - Charles: 'You killed her, Strack! You killed her!'
- check out -
Moving on to the next sequence (using Grayson's script because once again DC didn't change the names):
- this post and to learn that things were scripted differently from the ways they play in the film...
-
A thing that's quite unfortunate about Scene 145 (though I'm not quite sure if it even appears as Scene 145 in the 129 minute version of the film - but more on that later) is how heavily it's edited in the 94 minute version of the film - it was much more graphic in the 97 minute version in which it also appears as the start of Quentin's dream on his first night at Collinwood. But the good thing is that a good deal of the edited footage does appear in various trailers and even TV spots for the film, and I've made three videos to share it. But first up, here's how things play in the 94 minute version of the film (slowed down so as to better appreciate it):
And now here are three versions which vary from less explicit to most explicit (also slowed down to better appreciate them:
The least explicit, taken from a 30 second TV spot:
That version is also lightened because the footage was so dark originally, which is odd considering the footage in the other two examples is nowhere near as dark.
A more explicit version, taken from a 1 minute trailer:
And the most explicit and the best of the three, taken from a 2 minute trailer:
And something that I discovered after having slowed down the footage in the film - and something that only makes sense - but when it came to some shots with the real horse near Strack, a stunt double was used -
(http://www.dsboards.com/NoDSAnniQuoteImages/Stunt_double.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Stunt_double.jpg) for a 1280X720 version)
- that might very well have been Alex Stevens...
-
Stills associated with Scene 146. First up, this one -
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-1.jpg) for a 555X700 version)
The 16 Magazine caption for it reads: "The spirit of Angelique materializes in the family graveyard, and it is
her ghost that haunts Quentin Collins--putting these visions on him that
make him the would-be killer of his own wife and Angelique's adoring
slave--as Charles Collins had once been."
(It's interesting that that caption makes things sound like Laura is right when she implies in the piano scene that Angelique has Charles under some sort of spell, rather than him simply being in love/lust with her all on his own. But I suppose we'll never know. Although, one could make a case that one of the ways to interpret the ending of the film is that Quentin/Charles has become bewitched by Angelique...)
- of which a greatly cropped version appeared on page 109 of the DS Companion, though that version shows -
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-1a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-1a.jpg) for a 799X798 version)
- Angelique much clearer, and a less cropped version appeared as part of the Nov. '71 NoDS article in 16 Magazine. (Shared in Reply #412 of the "And Now The Return of Another New Slideshow (Sort of) [**Now featuring alternate versions..." topic.)
And next up I want to share this one -
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-2.jpg) for a 1500X1039 version)
- of which a considerably cropped version s also on page 109 of the DS Companion.
And no doubt you will remember that previously I shared this Lobby Card -
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_1.jpg) for a 930X738 version)
...
- a version of which appears as the back cover of the booklet for the movies soundtrack, as December's photo for the Fest's 1999 Movie Calendar, and on the back cover of the DVD/Blu-ray releases (see Reply #240).
-
Check out this post to learn about -
- any differences in the film in the dialogue, the descriptions, and the directions for Scenes 140 through 147:
-
Four more stills, not directly related to Scene 146, but featuring Angelique at the cemetery:
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-3.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-4.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-5.jpg) for a 987X1500 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-6.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-6.jpg) for a 887X620 version)
And so far as I'm aware, none of these have been officially published anywhere...
-
And even though these have nothing to do with the cemetery set and were taken outside Lyndhurst, I've often wonder if these three stills were taken on the same day as the Lobby Card:
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_Cha-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_Cha-1.jpg) for a 800X1053 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_Cha-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_Cha-2.jpg) for a 800X1235 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_Cha-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_Cha-3.jpg) for a 800X1189 version)
A somewhat longer version of the top still was shared on page 190 of the Return To Collinwood book. I'm pretty sure I've never seen the other two officially published anywhere...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 70/Scene 149 - Tracy: 'Quentin!'
- and/or today's second quote -
Page 70/Scene 149 - Tracy: 'I...I thought you weren't coming back here...'
- check out -
And picking things up with the next scene in the script:
- this post and to learn about the differences in the dialogue, the descriptions and the directions and about how things were actually shot...
-
And even though we've already moved beyond Scene 146, I have two more things I want to share:
For a change it's not Nancy Barrett posing around a set/location that Claire didn't appear in, it's Grayson Hall posing at the cemetery set, where Carlotta never appeared, -
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-7.jpg)
- and wearing one of two dresses she appears in stills wearing but she never wore as Carlotta in the film (but more on that at a later time). A somewhat cropped version of this still appears on page 172 of DS Memories.
And a candid of Thayer David in nearly full (he's missing the gloves and hat) Strack regalia that -
(http://www.dsboards.com/NoDSAnniQuoteImages/Strack.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Strack.jpg) for a 678X700 version)
- may have been taken on the day Strack's trampling was shot or Angelique's hanging. I'm not sure which, so I held off sharing it until now. As far as I know, it's never been officially published anywhere...
-
Until I was going through a pile of stills looking for ones to post for upcoming scenes, I'd completely forgotten that I have the still of the Angelique/Charles Lobby Card. And like the still I shared of Carlotta/Gerard in Reply #294, the still is much better quality than the Lobby Card -
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_Cha-4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_Cha-4.jpg) for a 700X476 version)
- or at least much better quality than the Heritage Auctions Web site's scan I've shared of the Lobby Card - plus it shows a bit more...
And as a side note, notice how you can barely tell Charles is supposed to have a scar on his cheek. Apparently they went much more pronounced with the make-up once they shot his scenes...
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 70/Scene 149 - Tracy: 'Quentin, what's happened to you? What's wrong? There's...there's someone in that room with you, isn't there?'
- and/or today's quote -
Page 70/Scene 149 - Quentin: 'Tracy, why don't you go back to bed.'
- check out -
Continuing with Scene 149:
- this post and to learn about the differences in the dialogue, the descriptions and the directions and once again about how things were actually shot...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 71/Scene 149 - Tracy: 'I know someone's in there!'
- and/or today's second quote -
Page 71/Scene 149 - Quentin (mimicking her): '"I know someone's in there"...You make me sick! I can't even stand the sight of you anymore.'
- and/or today's third quote -
Page 71/Scene 149 - Quentin (O.S.): 'Now get out of here!'
- check out -
Moving on with Scene 149:
- this post and to learn about the differences with the dialogue, the descriptions and the directions, about how I love a certain smile Quentin displays, and about how things play a bit differently from how they're scripted...
-
And today I have a behind the scenes candid still to share that's associated with Scene 149:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower_stairs.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower_stairs.jpg) for a 1400X1067 version)
David Selby and Kate Jackson are in a decidedly different mood than their characters are in the scene...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 71/Scene 149 - Quentin: 'And don't ever let me catch you up here again!'
- check out -
Wrapping up Scene 149:
- this post and to learn what's different with the dialogue, the descriptions and the directions...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 71/Scene 150 - Quentin: 'How could I have ever thought you were a dream?'
- check out -
Moving on to the next three scenes:
- this post and to learn what of the three scenes definitely wasn't recovered as part of the 129 minute version, but what may have been...
And when it comes to one of the scenes that wasn't recovered (Scene 151) it doesn't appear to be a case that DC didn't plan to shot it because not that long ago I came across a call sheet for April 5, 1971 and the scene is listed as one of the ones that were planned to be shot that day...
And speaking of the call sheet, among the titles of the personnel expected to be on set that day was the "stillman" - presumably the photographer who shot the stills. But what's interesting that as far as the scenes expected to be shot that day go, I've only come across stills from upcoming Scenes 190 - Alex forces his way into Collinwood/Carlotta and Gerard attempt to stop him from seeing Quentin/Quentin comes down, 192 - Quentin realizes he did attack Tracy, learns Carlotta sent Gerard to do what has to be done, and confronts Angelique on the stairs, deleted 220 - Quentin, Tracy, Alex and Claire make preparations to search for Carlotta, and already covered 100 - Quentin and Tracy discuss his attack on Gerard and her. Though, of course, that's not to say stills weren't ever taken of Scenes 93 & 94 - Gerard, brandishing a club, enters Collinwood's first floor corridor and looks up the stairs, 137 & 139 & 139A (I knew there was a 139A! ;)) - Tracy's half of her phone call with Alex, Quentin says he's going to stay up to read, 150 - it's revealed that Angelique is in the tower room with Quentin, deleted 151 - Tracy contemplates calling Alex and then does so, deleted 152 - the phone rings in the empty Jenkins cottage (but then, why would there be stills of that?), and upcoming deleted 219 - Quentin, Tracy, Alex and Claire enter Collinwood's foyer and discover there's no electricity...
-
You may wonder, if I said I've never come across a still from Scene 150, then why did I make a graphic for that scene -
(http://www.dsboards.com/NoDSquoteimages/0918ds91_0.jpg)
- using this still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-16_1.jpg)
Well, that's because Scene 150 says Angelique "lies on the cot," which indeed she is doing in the still, so even if it's not specifically associated with Scene 150, it comes damn close. And she may not be "holding out her arms" to Quentin, but as we've seen numerous times already, even when it comes to stills definitely known to be associated with specific scenes, they often depict characters in ways other than how the script describes them. Plus, I love that still.
And as a bonus, here's a very rarely seen alternate shot:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-16_2.jpg)
-
And speaking of something that's very rarely seen, I almost forgot to share the color version of the first still from above:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-16_1a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-16_1a.jpg) for a 1600X2000 version)
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 72/Scene 153 - Tracy: 'Carlotta, where is Mr. Collins?'
- and/or today's second quote -
Page 72/Scene 153 - Carlotta: 'Oh, didn't he tell you? He's just left for town. He needs some supplies. You do know he's painting in the tower, don't you?'
- check out -
Moving on to the next scene (which is one of my favorite scenes in the entire film):
- this post and to learn about the differences in the dialogue, the descriptions and the directions, about notes in Grayson's script, and about a clue on the DVD/Blu-ray release that chances are very good that Scene 150 does indeed appear in the 129 minute version of the film...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 72/Scene 153 - Carlotta: 'Is something wrong, Mrs. Collins?'
- and/or today's second quote -
Page 72/Scene 153 - Tracy: 'Yes, something is wrong, Carlotta.'
- check out -
Continuing Scene 153, with Tracy's response to Carlotta questioning whether or not she knows Quentin is working in the tower:
- this post and to learn about the differences in the dialogue, and about actions and gestures that I love Kate Jackson and Grayson Hall brought to their performances in this section of the scene...
-
This line is not quoted in the current version of the slideshow, but it did appear in the original version -
(http://www.dsboards.com/moviesquoteimages/1110NoDS_0.jpg)
NoDS: Scene #153 - Tracy: 'Yes, I know.'
- because it was the quote for November 10th on the Fest 1999 Movie Calendar.
And interestingly enough, this still of Carlotta -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery7-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery7-1.jpg) for a 700X1028 version)
- is most closest connected to Scene 153 by how Carlotta can hardly cover her glee that Quentin is painting in the tower again and Tracy doesn't know where Quentin is...
And a cropped version of that still appears on page 179 of the DS Movie Book, and a cropped to just a head shot version appears on the back cover of the movies soundtrack case...
-
Something peculiar about the still of Carlotta in Reply #524 is that there appears to be a pink flower petal near the waistline of Carlotta's dress. And it doesn't just appear in the copy of the still that I have but also in the copy that's in the DS Movie Book. And the reason why I say it's peculiar is because in the copy that Stuart Manning shared on his old Web site, the pink flower petal doesn't appear:
| (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery7-1a.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery7-1_a.jpg) | (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery7-1b.jpg) |
Who knows? [hdscrt]
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 73/Scene 153 - Carlotta: 'What is it, Mrs. Collins? You don't seem very happy here. Whereas Mr. Collins seems --'
- and/or today's second quote -
Page 73/Scene 153 - Tracy (flaring): 'I don't think that's any of you business.'
- check out -
Continuing on, with Carlotta's response to Tracy saying something is wrong:
- this post and to learn about the differences in the dialogue, and about more interesting actions and gestures that Kate Jackson and Grayson Hall incorporate into their performances...
-
If you want to learn about or refresh your memory concerning the background of yesterday's first quote -
Page 73/Scene 153 - Carlotta: 'Certainly. If that's the way you feel -- what time will dinner be this evening? --'
- and/or yesterday's second quote -
Page 73/Scene 153 - Tracy (ready to explode): 'I don't know what time
--'
- and/or today's quote -
Page 73/Scene 153 - Carlotta: 'Did you ever stop to think that perhaps you don't belong here?'
- check out -
Wrapping up Scene 153, beginning with Carlotta's response to Tracy telling her to mind her own business, which was also yesterday's first quote -
- this post and to learn about the differences with the dialogue, the descriptions and the directions, about notes in DC's script, about how I love something Carlotta does as she exits the room, and about how certain things play quite differently from how they're scripted...
-
Tracy's reaction to Carlottta's remarks has always baffled me. Carlotta really has stepped over the line by mouthing off to her employer. Maybe Quentin would have overruled her but Tracy should have fired her on the spot.
-
[pointing-up] Tracy is somewhat intimidated by Carlotta. Unfortunately, as the film currently stands, there's just one incident where that comes up and it's after Carlotta has left Tracy in Quentin in the Gallery after having given them the tour of the house and Tracy indicates that Carlotta makes her feel as if she owns the house and has simply invited them there. But had James Aubrey not demanded so much be removed, we would have seen as part of the 129 minute version the scene where in the morning Carlotta puts Tracy in her place about the running of the estate. It makes Tracy feel embarrassed and she quickly becomes compliant to Carlotta and apparently that feeling sticks throughout. Plus, when it comes to Scene 153 I suspect 1) Tracy was probably still reeling from the things Quentin had said to her the night before outside the tower room, and 2) she was in all likelihood literally struck speechless that Carlotta had the audacity to even make such a remark to her - you can see that in the expression of disbelief/shock on her face:
(http://www.dsboards.com/NoDSquoteimages/0923NoDS_a.jpg)
-
Moving on to the next four scenes as scripted:
All four scenes have no dialogue and need to be dealt with before tomorrow's quotes come up in the slideshow if you want to learn about or refresh your memory about them and to learn that nearly everything that's scripted to happen in the four scenes takes place differently than scripted...
-
[pointing-up] And in addition to those four scenes there are three other scenes without dialogue that come before the one (Scene 161) in which tomorrow's quote play. So with that in mind, here's the start of a preview of a major thing that transpires in Scene 159:
First up, the Lobby Card -
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_2.jpg) for a 930X738 version)
...
- and then the still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-17_1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-17_1.jpg) for a 700X476 version)
- a cropped version of which appears on page 180 of the DS Movie Book
Note that the quality of the lobby card is very close to that of the still, so who knows what Heritage Auctions did when they scanned the first and third lobby cards? [idontknow]
-
A B&W still of Tracy uncovering the painting -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-17_2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-17_2.jpg) for a 700X537 version)
The TV By Day caption for it reads: "In this scene, Kate Jackson as Tracey realizes that
her husband is having an affair with a ghost as she
uncovers the newly finished portrait of Angelique and
Charles Collins."
- a copy of which that is cropped on three sides but actually shows a bit more behind Tracy appeared as part of the December 1971 NoDS article in TV By Day Magazine. A slightly cropped copy appears on page 5 of the booklet for the movies' soundtrack CD. And another copy appeared as part of perhaps my favorite review of the film -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-17_2a.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-17_2a_a.jpg)
- the only sad thing about the review is they didn't get Lara Parker's name right...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 74/Scene 161 - Quentin (O.S.): 'Carlotta -- have you seen my jacket? I can't buy a damn thing without my wallet.'
- and/or today's second quote -
Page 75/Scene 161 - Quentin (O.S.): 'Never mind, Carlotta. I'll check the tower.'
- check out -
And moving on to the next four scenes as scripted:
- this post and to learn about the differences in the dialogue, the descriptions and the directions, and about things are mostly shot quite differently from the way they're scripted...
-
One last still associated with Scene 159 - an extremely rare alternate B&W version of Tracy uncovering the painting:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-17_3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-17_3.jpg) for a 800X624 version)
And while we're still on the subject of the completed painting, I've often wondered what is the actual significance of this request to Charles from Angelique:
It cannot be a mere piece of simple dialogue in Scene 85, especially when a reworking of it is repeated in Scene 86 of the 129 minute version of the film (and we know that because it's accidentally a part of the DVD/Blu-ray release as well as the versions available online via Amazon and iTunes) -
- and there are at least two ways the request could be interpreted within the film - but, again, what is the actual significance...
-
And before we move on to the next set of scenes, here's video of one of those scenes, a scene that is not a part of the slideshow because, as scripted, it doesn't contain any dialogue, though it does in the film. I tried making video of it the last time around but I was never satisfied with how it came out - plus, no matter what I tried, some members still had trouble trying to play it. But by this time around we've finally hit on both a MOD for the system and a video format that plays well:
I've always thought it's one of the best scenes in the film...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 76/Scene 165 - Quentin (O.S.): 'Tracy!'
- and/or today's second quote -
Page 76/Scene 165 - Quentin: 'Have you...seen my jacket?'
- and/or today's third quote -
Page 76/Scene 165 - Tracy (almost crying with relief): 'No -- I haven't. (quickly moving away from him as she looks toward the chair) I'll help you look for it.'
- check out -
And once again moving on to the next four scenes as scripted:
- this post and to learn about several differences with the dialogue (including the addition of unscripted dialogue), and the many differences with the descriptions and the directions, and about how some things play very differently from how they're scripted - and even though they do, when it comes to Scene 164, some notes Grayson made still apply. And ignore the references to the three quotes appearing on Sunday because obviously they appear on a Thursday this time around.
-
A still associated with Scene 165 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery8-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery8-1.jpg) for a 700X476 version)
- and the only places I'm aware that it's ever been shared is that a cropped to just a head shot version appears on the back cover of the movies soundtrack case, but a better version (though still somewhat cropped) appears on the back covers of the NoDS DVD and Blu-ray packaging:
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_DVD_back.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_DVD_back.jpg) for a 1000X1411 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_Blu-ray_back.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_Blu-ray_back.jpg) for a 1000X1163 version)
-
If you want to learn about or refresh your memory concerning the background of the first part of today's quote -
Page 77/Scene 170 - Quentin: 'I know you went to the tower ...'
- and/or the second part of today's quote -
Page 77/Scene 170 - Quentin: 'It's all right, Trace...It's all right.'
- and/or the third part of today's quote -
Page 77/Scene 170 - Quentin: 'Now, come on. Stop crying. It doesn't matter.'
- check out -
And moving on to the next five scenes as scripted:
- this post and to learn about several differences with the dialogue, and the many differences with the descriptions and the directions, and about how Tracy apparently possesses an extremely convenient talent. And ignore the references to the quotes appearing on Monday because obviously they appear on a Friday this time around.
-
A still that I'm pretty sure is behind the scenes of shooting Scene 167 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Car_Quen.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Car_Quen.jpg) for a 556X700 version)
- and the reasons I say that are because 1) Grayson Hall and David Selby are outside the front of the house and that's where the scene is shot, and 2) they're both wearing the same clothes that Carlotta and Quentin wear in that scene (right down to DS having Quentin's jacket slung over his shoulder).
(And speaking of what Carlotta is wearing, it definitely follows the continuity of what she wears in Scene 164, so that is good - but has anyone ever wondered why, probably less than 30 minutes after what transpires between Carlotta and Tracy in the Gallery in Scene 153, Carlotta goes from wearing the orange dress in Scene 153 (seen in Reply #525 above) to the dress she wears in Scenes 164 & 167 (seen the video posted in Reply #535 and in the still in this post)? Maybe after exiting in Scene 153 Carlotta had a celebratory snack to mark her victory over Tracy and in the process managed to spill something on her dress, thus requiring a change? One can only wonder. But just think of the possibilities for a Why Did Carlotta Change Her Dress? fanfic! They might be endless!! [easter_wink] [easter_cheesy])
-
Oops - I was so focused on wanting to joke about Carlotta's change of dress that I forgot to mention that a somewhat cropped version of the still I shared in Reply #539 also appears on page 141 of the DS Almanac 30th Anniversary Tribute.
-
If you want to learn about or refresh your memory concerning the background of yesterday'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 --'
- and/or today's first quote -
Page 78/Scene 170 - Quentin: 'I didn't mean any of them...'
- and/or today'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.'
- check out -
And picking where we left off:
- this post and to learn about quite a few differences with the dialogue. And ignore the references to the quotes appearing on Tuesday and Wednesday because obviously they appear on Saturday and Sunday, respectively, this time around.
-
Given that Scene 170 is such a pivotal scene in the film, I'm quite surprised that I've never come across any stills from it. And it's not like there aren't other stills circulating from other and some might say less significant bedroom scenes.
I've already shared this one (from Scene 46, which isn't even a part of the 129 minute version of the film) in graphics for previous slideshows:
(http://www.dsboards.com/moviesquoteimages/0720NoDS_0.jpg)
And I posted about this one, which may or may not be from Scene 64:
All that being said, though - and potentially contrary to my notation at the bottom of the graphic for yesterday and today - I do have a publicity still that *might* be from Scene 64. To me, it's often looked more like Quentin is attacking Tracy (and I could never quite figure out where it could fit into the film because in the script there's no scene in their bedroom where he attacks her when they're dressed for bed) - but I do suppose that it could also be interpreted as a somewhat odd pose of the two of them in mid-embrace. Judge for yourself:
(http://www.dsboards.com/NoDSquoteimages/IsThisScene64.jpg)
It may have also been taken during the shooting of Scene 40. Who knows...
-
The original slideshow for NoDS included this line -
(http://www.dsboards.com/moviesquoteimages/1115NoDS_0.jpg)
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.
-
As for the CBS showing of NoDS, count yourself lucky that you didn't see it because worse than how DC was forced to trim the film was what CBS cut from it! (And they made similarly terrible cuts when they ran hoDS!) At this point I forget what all the cuts they made were, but they were ridiculous! I actually have an audio cassette recording of CBS' showing but I no longer have a cassette player, so I'm unable to refresh my memory as to what was cut...
I recently came into possession of a cassette player and tonight I was able to listen to a lot of my recording of CBS' showing. Some of the cuts I've come across so far weren't key to the plot, though other cuts are certainly questionable. But then they had to cut things down to fit in the time allowed, which was only 90 minutes, and NoDS is already over 90 minutes as it was, so it's no wonder so much had to be cut for commercials.
I've only listened up to the point we're at in the slideshow and this is what was cut so far:
- Gerard on scaffolding and replacing brick on the stable/Quentin arrives and introduces himself/Gerard says he has Quentin's horse ready and comes down
- Claire greeting Quentin at the cemetery
- The entire Dining Room sequence
- Alex bicycling/sees female figure/goes inside the greenhouse/almost killed by falling glass/Tracy arrives on horseback/begins to explain what happened with Quentin the night before/Tracy meets up with Quentin in the Gallery/Quentin informs Carlotta he wants his things moved from the Tower Room/Carlotta peevishly agrees/Tracy is happy he won't be up in the Tower Room any longer
- Quentin and Tracy walking/Quentin and Tracy at the railroad bridge/Tracy on the phone with Alex/Quentin comes and says he's going to read/Quentin can't concentrate and is drawn to Angelique's portrait/checks in on Tracy/stares up toward the Tower Room/Tracy wakes and sees light in the Tower Room and gets up/makes her way up to the stairs to the Tower Room
- Tracy sees Quentin's car from the Tower Room's window/Quentin makes his way to the stairs to the Tower Room as Tracy closes the Tower Room's door and hides/on his way up the stairs Quentin realizes he doesn't have the keys to the Tower Room's door and starts back down/Tracy breathes a sigh of relief
(Thankfully, Carlotta catching Tracy coming down from the Tower Room was shown on CBS)
- Tracy in the Gallery after Quentin leaves having realized she had his keys/Carlotta tattles and she and Quentin look up to the Master Bedroom and that prompts Tracy to pull away from the window/at some point later a distressed Tracy sits on the edge of the bed/sees light in the Tower Room/reclines on the bed/Quentin comes out of the Tower Room and locks the door and comes down the stairs
- Tracy begging, "Quentin, please don't touch me like that."
Who knows how many more cuts are yet to come? Though I strongly suspect we can bet CBS cut Alex' references to Gerard as a "son of a bitch." [easter_wink]
-
If you want to learn about or refresh your memory concerning the background of Monday's quote -
Page 78/Scene 170 - Tracy: 'Quentin, please...please don't touch me like that.'
- and/or the first part of Tuesday's quote -
Page 78/Scene 170 - Quentin: 'I'll touch you whenever -- and however -- I want.'
- and/or the second part of Tuesday's quote -
Page 78/Scene 170 - Quentin - 'If you don't like it, Tracy, you can always leave.'
- and/or today's quote -
Page 79/Scene 170 - Tracy: 'She's doing this to you! It's her! It's Angelique!'
- check out -
And now picking from last time with the changed and a bit of additional dialogue from Scene 170, beginning with Tracy's changed dialogue:
- this post and to learn about several differences with the dialogue, including new unscripted dialogue, and the many differences with the descriptions and the directions, and about how much I love what Quentin does before he moves in to violently kiss/molest Tracy. And ignore the references to the quotes appearing on Thursday and Friday because they appeared on a Monday and a Tuesday, respectively, this time around.
-
Getting back to the CBS showing of NoDS, here's audio of the promo/bumpers CBS used:
And if you have a good ear and know the NoDS trailers, you've no doubt realized CBS cut down the 1 minute trailer. So I've cut down that trailer as closely as I could to what CBS did. Here it is so that you can see what survived of the trailer and what didn't:
Not the least bit surprising that the Crazed, Sadistic Killer sequence didn't make the cut...
And if things work out the way I'm hoping they will, tomorrow I may have somewhat of a surprise related to Scene 170...
-
Well, it may be be as surprising as Quentin's new pair of riding breeches, but...
As we all know, this is how this portion of Scene 170 plays -
- with Tracy's line, "Stop it, Quentin! Stop it, you're hurting me!" getting cut off because of an edit made to remove graphic molestation footage. But here's how it should play:
Sadly, the sound quality isn't the greatest, but that's what happens when you're recording with a microphone off of a drive-in theater's speaker. The microphone has issues picking up the sound and the speaker has issues playing it. But before we had TV showings of the fully unedited 94 minute version of NoDS, that recording was a treasured possession. And actually it still is, given that unfortunately we're still without the 129 minute restored version of NoDS and the recording contains several bits that appeared in the 97 minute version. And yesterday was the first time I was actually able to listen to the tape in something like 40 years because until yesterday I didn't have a reel-to-reel tape recorder to play it...
I posted this scene today because it's the one that's the most currently dealt with in this topic. But I will go back to add material to past scenes as well as possibly an upcoming one...
-
Before we deal with today's quote, there are actually four scenes that come between the end of Scene 170 and the beginning of today's Scene 172. That may seem like there should be only one scene, but the next sequence is comprised of four scenes, Scenes 171, 171A, 171B & 171C. The thing about them, though, is that none of them are a part of any version of the film. However, it appears as if they weren't scrapped from the shooting schedule as other scenes were because that call sheet that I referred to back in Reply #519 indicates they were to be shot on April 6th.
But anyway, check out -
And moving on to the next four scenes:
- to find out what the scenes are about, about some changes Grayson made in her script to Carlotta's lines, about some notes Grayson made in her script for the scenes, and about how the takeover of Quentin is becoming even stronger. Once you read the scenes I suspect you'll agree that it's an absolute shame that none of the material covered is in any version of the film. I can just imagine how wonderful Grayson and David must have been. But as we know only too well, DC rarely came across character driven material that he didn't feel was completely unnecessary. [easter_rolleyes]
-
If you want to learn about or refresh your memory concerning the background of 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!'
- check out -
...
And with that out of the way, moving on to the next two scenes:
- this post (and to learn about notes DC made about Scenes 171-171C but erased)...
What's funny is that I remember some scenes/sequences Darren has shared from the recovered footage and some scenes/sequences I don't, but I definitely remember this one almost like I just saw it today. Maybe it's because it was good to see Tracy go on the offensive against Angelique...
-
to learn about notes DC made about Scenes 171-171C but erased
I don't know why it didn't occur to me to do it before today, but today I examined what's discernible from the erased notes and it seems like DC wanted to shoot at least some portions of the scenes from a height so he was going to shoot from atop a ladder. Though given much of what he wrote is now unreadable, who knows if he actually shot things that way? And particularly given that nothing from the scenes is in any version of the film, we'll never know...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 80/Scene 173 - Alex: 'Is it too late to see how they are? --'
- and/or today's second quote -
Page 80/Scene 173 - Claire: 'Alex, it's two in the morning!'
- check out -
And now moving on to the next scene in the script:
- this post and because this is another scene that doesn't appear in any version of the film, it's unknown if there might have been any differences in the dialogue, the descriptions and the directions. However, something you can learn is how in DC's script he's added something to the end of this scene, something that will explain what Carlotta's nod to Gerard in Scene 171C was all about...
But getting back to the quotes, I have to say I've always found the second one from Claire to be quite amusing because in the daytime show two in the morning seemed to be the perfect time for people to drop in at Collinwood! [easter_cheesy] And the fact that Claire doesn't think so might be clear proof that at the very least Sam Hall considered NoDS to be set in an alternate reality from the daytime show. [easter_wink]
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 81/Scene 174 - Claire: 'Coffee's coming --'
- and/or today's second quote -
Page 81/Scene 174 - Alex: 'I need this more --'
- check out -
And moving on to today's new scene:
- this post and to learn about a difference in the dialogue, and about differences in the descriptions and the directions...
And imagine someone on the Collins estate needing a drink more than coffee. How novel. ... Yeah, right! [easter_cheesy]
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 81/Scene 174 - Claire: 'I don't like being back here --'
- and/or today's second quote -
Page 81/Scene 174 - Alex: 'I know...'
- check out -
Continuing with Scene 174 with Alex' scripted actions:
- this post and when it come to the dialogue, learn not only about a change to Alex' quote but how DC added dialogue to his script that was reworked as dialogue for both Claire and Alex, and to learn about differences in the descriptions and the directions...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 81/Scene 174 - Claire: 'I still don't see how showing Quentin that is going to make him leave here.'
- check out -
Continuing with more of Scene 174 with regard to Claire's actions:
- this post and to learn about the differences in the dialogue...
-
Today as I was thinking about the painting with Charles, something I've very rarely ever thought about, I began wondering if Charles included his horse Dubloon (at least, presumably it's Dubloon) because, with the exception of Angelique, Dubloon was the only other living thing that Charles cared for/loved? And that would be particularly interesting if the painting the Jenkins come across is a self-portrait.
(http://www.dsboards.com/NoDSAnniQuoteImages/Charles_Dubloon_painting.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Charles_Dubloon_painting.jpg) for a 818X706 version)
And if that is the case, it could make one wonder if there wasn't more to Gabriel having Dubloon killed after Charles is sealed in the basement room? Could Gabriel have had more motive than the fact that Dubloon was involved in Strack's death? Previously I've question if that was simply Gabriel's motive. But might it have been far more personal for Gabriel, like he felt Charles cared for/loved his horse more than he did his own brother? I mean, if you care for/love your brother, do you have an affair with his wife? Not likely. So maybe Gabriel's ultimate revenge against Charles simply had to include dispatching of Dubloon as well because Gabriel was just that insanely jealous. It's too bad at this point that, if Chris Pennock ever gave any analysis as to justify why Gabriel had Dubloon killed, we can no longer ask him what might have been his conclusion...
-
And while we're on the subject of things I never wondered about before, I didn't really notice until today that Claire has made five sandwiches for herself and Alex (or at least I hope they're not all for Alex).
(http://www.dsboards.com/NoDSAnniQuoteImages/Sandwiches2a.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Sandwiches2.jpg)
Aren't five sandwiches a bit much for two people? And especially at two in the morning? But then, maybe driving from NY to Collinwood works up a big appetite. [easter_cheesy] But it's enough to make one wonder just how many sandwiches did Claire make when she made lunch for herself, Alex and Quentin on his first day at Collinwood, especially when both Alex and Quentin ordered a ham sandwich and a tuna sandwich? Unfortuantely, though, the tray Claire brings back isn't shot close enough or from a good angle to see how many sandwiches are on it.
(http://www.dsboards.com/NoDSAnniQuoteImages/Sandwiches1a.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Sandwiches1.jpg)
-
I suppose that Alex and Claire could have stopped at the Howard Johnson's on the Maine Turnpike or whatever restaurant was open 24/7 but I guess that they didn't. Perhaps Alex was in a hurry to get back because there was liquor available at home.
-
Perhaps Alex was in a hurry to get back because there was liquor available at home.
You could be on to something there! [easter_wink] [easter_cheesy]
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 81/Scene 174 - Alex: 'I've got to break through to him. If I can only get him to admit that it has to be at least more than a coincidence...we've got a shot.'
- and/or today's quote -
Page 82/Scene 174 - Claire (O.S.): 'Well, it'll have to wait until morning.'
- check out -
Wrapping up Scene 174, beginning with yesterday's quote, Alex' reply to Claire -
- this post and to learn about differences in the dialogue, the descriptions and the directions...
-
If you want to learn about or refresh your memory concerning the background of the first part of today's quote -
Page 83/Scene 177 - Claire: 'Alex! Oh, my God, Alex!'
- and/or the second part of today's quote -
Page 83/Scene 177 - Claire (sobbing hysterically): 'Alex! -- oh, Alex! ... Please be all right!...oh, Alex...'
- check out -
Moving through the next three scenes as scripted:
- this post and to learn how things were scripted very differently from how they play in the film...
-
If you want to learn about the many differences in Scene 177, check out -
As far as the differences in the dialogue go, Claire actually wakes up in what I suppose we could say is a Scene 176A in the film and, unscripted, she calls out -
- this post...
-
Here's the first of two stills I want to share for Scene 177 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Post_attack-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Post_attack-1.jpg) for a 700X476 version)
- and a somewhat cropped version appears on page 182 of the DS Movie Book.
And here's a rare still for Scene 177 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Post_attack-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Post_attack-2.jpg) for a 946X700 version)
- though it seems like it might have been published somewhere because this version has shown up on the Internet -
(http://www.dsboards.com/NoDSAnniQuoteImages/Post_attack-2a.jpg)
- however, no one has ever cited a source.
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 84/Scene 180 - Tracy (trance-like): 'I won't let you have him... I won't.'
- check out -
And now the next three scenes:
- this post and to learn about how it's very hard to know what might have been different because so little of the sequence survives in any version of the film. And ignore that it says "yesterday's quote."
-
As I have with other GIFs, I've made videos of the GIFs I'd originally made of the dream sequence footage from the NoDS trailers.
First up, the clip that shows the least amount of footage:
And the longest version, which also has much better color quality:
It's just too bad that it has the NoDS logo over most of it...
-
Here's the first of two stills I want to share for Scene 179:
First, a rare B&W still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Dream_B&W-1.jpg)
- which was shared on page 176 of DS Memories.
And here's another B&W still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Dream_B&W-2.jpg)
- which I first came across a somewhat cropped version as part of an article entitled NOSTALGIA BONUS Remember When Dark Shadows Kept You Glued To The Set from the June 1974 issue of Weekday TV (which, quite interestingly, had sections devoted to the daytime show and NoDS, but nothing from hoDS). And a much more cropped version also appears on page 9 of the booklet for the movies soundtrack.
-
Several color stills that I'd previously shared:
...
Plus, we're also very lucky to have stills from the dream:
(http://www.dsboards.com/NoDSquoteimages/Dream_Color1.jpg)
(http://www.dsboards.com/NoDSquoteimages/Dream_Color2.jpg)
...
(There are also other color stills of the dream, two of which feature Angelique and Quentin, on page 183 of the PomPress book Return to Collinwood, and I'd be happy to also scan those for anyone who hasn't seen them.)
By request:
(http://www.dsboards.com/NoDSquoteimages/Dream_Color3.jpg)
Enjoy!
-
And something supposedly behind the scenes from the shooting of the dream:
(http://www.dsboards.com/NoDSAnniQuoteImages/Dream_B&W-3.jpg)
The 16 Spec caption for it reads: 'In his present life, "Quentin Collins" (David Selby) is beset by visions
of a former life as "Charles Collins", and a former love--the wicked
temptress "Angelique" (Lara Parker). Here, in one of his visions, the
couple enjoy a very private picnic.'
To my knowledge the only time this has been officially published was as part of a 16 Spec preview of NoDS. And I've mentioned this before, but am I the only one who thinks it looks like Angelique doesn't have any ankles/feet?!
Also, is that the same fruit bowl from this behind the scenes in the tower?
And now we move from stills depicting the scene to stills from behind the scenes to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-9.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-9.jpg) for a 1000X779 version)
(Keep the fruit bowl in mind...)
...
If so, it definitely got around. [easter_wink] [easter_cheesy]
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 84/Scene 181 - Claire: 'It was the most frightening thing I've ever seen.'
- and/or today's first quote -
Page 84/Scene 181 - Alex: 'Claire...I want you to take the car and get out of here now.'
- and/or today's second quote -
Page 84/Scene 181 - Claire: 'No -- I won't leave you!'
- check out -
Finally the beginning of the current scene:
- this post and because this scene doesn't appear in any version of the film, we'll never know if there were any differences...
-
Graphics appearing in the slideshow recently -
(http://www.dsboards.com/NoDSquoteimages/1012ds91_0.jpg)
(http://www.dsboards.com/NoDSquoteimages/1012ds91_1.jpg)
- and continuing through Tuesday the 17th have been made using different crops of this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Cottage_aftermath1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Cottage_aftermath1.jpg) for a 800X527 version)
- which was shared in the 1992 LA Halloween Fest Program...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 84/Scene 181 - Claire: 'No -- I don't care what you say, I won't leave you here alone.'
- and/or today's second quote -
Page 84/Scene 181 - Alex (resigned to it): 'O.K....'
- check out -
Continuing Scene 181, beginning with Alex' reaction to Claire saying she won't leave:
- this post and, again, because this scene doesn't appear in any version of the film, we'll never know if there were any differences...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 84/Scene 181 - Claire: 'What are we going to do? We can't fight her -- She has so much power -- Alex, maybe we should go to Quentin now.'
- and/or today's second quote -
Page 85/Scene 181 - Alex: 'I don't know. Let me think.'
- check out -
Wrapping up Scene 181, beginning with today's first quote -
- this post and, once again, because this scene doesn't appear in any version of the film, we'll never know if there were any differences...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 85/Scene 184 - Tracy (frightened): 'What am I doing here?... What?...'
- check out -
And now working up to today's scene:
- this post and to learn that, so far as there being any differences, so little of what's scripted for this sequence is actually in the film as it currently stands, so in many instances it's hard to know if anything might have been different - though there are definitely some differences between what was scripted and what does appear in the film...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 85/Scene 184 - Tracy: 'Quentin!...Quentin!...are you here?'
- and/or today's second quote -
Page 85/Scene 184 - Quentin: 'So you came to spy on us, Laura.'
- check out -
And continuing with Scene 184 but using Grayson's version of the script because 1) DC's script doesn't change Samantha to Laura, and 2) for some very odd reason, his script is missing the last two lines on page 85 (The Curse Of PomPress strikes again!!):
- this post and to learn the differences in the dialogue, including unscripted lines, along with differences in the descriptions and directions... I absolutely love the way this scene is shot.
-
Cut from The CBS Late Movie showing:
- ...
- Tracy has arrived outside the greenhouse, she walks up the stairs, appears inside, calls to Quentin, asks, "Are you here?" and starts to look around
-
I finally gave up trying to figure out why my already existing video capture hardware/software would no longer work and I bought some new hardware/software to replace it. So, backtracking to Scenes 129-131, and sort of in the vein of the video I created for Scene 170, I've "recreated" Angelique's hanging using audio from the reel-to-reel tape of the 97 minute releases version of the sequence along with video/stills of much of the missing material. It's certainly not perfect, but I'm happy with it:
And you may wonder why a good deal of the footage isn't up to the quality of the DVD/Blu-ray? Well, that's because the footage taken from the trailers is nowhere near as good as that of the DVD/Blu-ray, so for better consistency the footage I capture from the actual film was captured from the VHS. I also did that so that all the footage would be 4X3 like that from the trailers and not a mixture of 4X3 and 16X9...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 86/Scene 185 - Quentin: 'Isn't it enough that you killed her?...Won't you ever leave us alone?...ever?'
- check out -
Beginning the next scene as scripted (using Grayson's script):
- this post and to learn about the differences in the dialogue, including more unscripted lines, and the differences in the descriptions and directions. And ignore that it says "yesterday's quote" because quite obviously it's today's.
-
Granted that I'm not up to date on my execution lore but was it unusual for Angelique to be hanged on the grounds of her own home? I mean, Victoria Winters was sent to the gallows. I suppose that rank does have its privileges.
-
[pointing-up] Apparently the Collinses of NoDS preferred to have their hangings be intimate affairs with only family and friends in attendance rather than them being public spectacles. After all, public hangings can be so tasteless, crude and gaudy!! [wink2]
But seriously, recall that Vicki had a public trial, whereas NoDS' Gabriel wanted anything but because he feared a scandal. It was only after Laura assured him that there would be no scandal and Rev. Strack informed him that they'd chosen four men from the estate to conduct Angelique's hanging because they'd seen proof of her witchcraft and they'd sworn to keep silent forever that Gabriel agreed there was no other way to deal with Angelique...
-
Backtracking even further back to Scene 85, I've "recreated" Angelique and Charles in the Tower room and Gabriel interrupting them using audio from the reel-to-reel tape of the 97 minute release version of the sequence along with screen caps to fill in for where the missing footage of Charles and Angelique's more explicit making out would be. Again, it's not perfect, but I'm happy with it.
First up. as per the Laser Disc, this is what the 94 minute version of the film should be like:
But this is what the DVD/Blu-ray release is like:
And here it is with the full audio from the 97 minute version of the film, featuring more banging, a last giggle from Angelique, and an additional line from Gabriel (sadly, you can't hear the more explicit footage of Charles and Angelique making out ;) :():
(ADMIN: Edited to add Laser video)
-
Another thing I want to revisit concerning Scene 85 is that for the fun of it I checked the subtitles on the Blu-ray to see if they were different from the closed captioning on the VHS. In some ways they are, but in another way they're just as baffling:
...things get a bit wonky after that. We've seen that Gabriel's next line is:
GABRIEL (O.S.)
I know she's in there. Now open
the door.
|
And that is indeed what he says in the film.
However, all that comes up with the closed captioning is:
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_01720.jpg)
...
At least Gabriel's full lines are in the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Subtitles_frame_03055.jpg)
- but this -
...because we've seen today that whereas Gabriel's next scripted line is:
Page 35A/Scene 85 - Gabriel: 'I have come for her, brother.'
But what he actually says in the film is:
(http://www.dsboards.com/NoDSAnniQuoteImages/1123NoDS_0.jpg)
Gabriel: 'That's my wife, Charles.'
What comes up with the closed captioning is:
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_02445.jpg)
That's seemingly a mix of what was scripted and what was actually said, but really neither. Who knows where/how whoever did the closed captioning came up with it?!
- is still completely wrong -
(http://www.dsboards.com/NoDSAnniQuoteImages/Subtitles_frame_03791.jpg)
- and something else that I didn't notice before that's wrong is that the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_02984.jpg)
- and -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_03081.jpg)
- and the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Subtitles_frame_04394.jpg)
- but rather than saying "Stop it!" or just "Stop!" Charles actually calls out "Strack!" when he sees Strack enter the tower, and then he follows up with "You touch her and I'll kill you!"
And I wonder if similarly odd closed captioning happens anywhere else in the film? One of these days it might be interesting to watch the film with closed captioning on, which is something I've never done.
I haven't gotten around to doing that. But one day...
(ADMIN: Edited to replace TV video captures)
-
And one final thing while we're still on the subject of Scene 85 and before I get back to posting about Scene 185, I've often lamented about how I can barely stand to look at the VHS now that I've seen the color corrected Blu-ray version of the film, but perhaps no scene shows how off the VHS is than Scene 85. I mean, just look:
VHS:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower_color-1.jpg)
Blu-ray:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower_color-2.jpg)
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 86/Scene 185 - Tracy (O.S.) (hysterical): 'Quentin!...Quentin! It's me...It's me...please!...'
- and/or today's quote -
Page 86/Scene 185 - Quentin: 'No, Laura. I'm going to make sure you'll never interfere again.'
- check out -
Wrapping up Scene 185 as scripted (using Grayson's script):
- this post and to learn about differences in the dialogue, including how yesterday's and today's quotes are actually flipped in the film, to learn about the differences in the descriptions and directions, and to learn about notes Grayson has in her script...
-
Cut from The CBS Late Movie showing:
- ...
- When it comes to the pool drowning scene only about the first third of the actual drowning was aired because things go from Quentin pushing Tracy under the water for the second time to Quentin standing up and limping away - Tracy coming up and trying to grab onto Quentin's leg/the third dunking/Tracy coming up and trying to grab onto the edge of the pool/and the fourth dunking are all cut
-
And speaking of the drowning, here's a still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Drown.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Drown.jpg) for a 700X529 version)
The Famous Monsters caption for it reads: "Influenced by a malignant spirit, Quentin (David Selby) attempts to drown Tracy."
- of which a slightly cropped copy appeared in the NoDS cover article in Famous Monsters of Filmland #88 Jan. 1972. The Doctor and K9 generously shared a PDF of the article back in Reply #132.
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 87/Scene 188 - Claire (O.S.) (screaming): 'It's Tracy!'
- check out -
Moving on to the next three scenes:
- this post and to learn about the differences in the dialogue, including more unscripted lines, the differences in the descriptions and directions, and a scene that is dropped...
-
Cut from The CBS Late Movie showing:
- ...
- The entire scene outside the pool house with the Jenkins driving to Collinwood, Claire asking what Alex will do if Quentin won't leave and Alex threatening to drag him out, Claire spotting Quentin and Alex immediately stopping the car, Claire moving to get out but Alex stopping her and telling her to wait, Quentin moving away from the pool house, and the Jenkins getting out of their car and running toward the pool house
-
Briefly referring back to Reply #580, a few people have asked why, now that I have new video capturing hardware/software, I used screen captures in that post from the video I'd shot off of a TV screen rather than capturing new video? Well, sadly the answer is simple: as hard as I tried, I couldn't come across any sort of video player software that seems to display closed captions embedded in a VHS tape or video capturing software that records closed captioning embedded in a VHS tape along with recording the video. If my failure to find any of that is any indication, apparently closed captioning on VHS tapes only displays on TVs that support closed captioning...
-
There's stuff to deal with in this post -
Before we get to today's new scene, we need to wrap up Scene 188, starting with the end as scripted:
- though the way things are scripted aren't quite the way they play in the film as you'll see when it comes to added unscripted dialogue and the differences in the descriptions and directions...
And this post -
Also before we get to the new scene, if you've never seen/read the NoDS Pressbook, you might find this article interesting because it relates to scenes that we've recently covered:
- shares an article entitled A Swimming Pool, Without Glamour...
-
And here's a still from Scene 188:
(http://www.dsboards.com/NoDSAnniQuoteImages/Drown2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Drown2.jpg) for a 803X620 version)
Somehow I feel this still isn't as rare as it actually is because I've seen it in several places on the Internet and it's featured in the Italian Lobby Cards, but so far as I can recall, it's never been officially published anywhere...
-
Cut from The CBS Late Movie showing:
- ...
- After Tracy expels the water in her lungs, things cut away before Claire leans down to embrace Tracy, cry out Tracy's name and hug her
Anyone who had never seen NoDS before certainly had to have been asking themselves how in the world the Jenkins knew Quentin had been at the pool house, not to mention what the Jenkins were even doing there considering the last time they were seen Claire had saved Alex from Angelique's attack. It had to be more than obvious that something important had been cut, which indeed it had...
-
Has anyone ever wondered if somehow Nancy Barrett's part in NoDS was cursed? I mean, first DC decides not to even shoot what might have been Claire's more interesting material: the shopping excursion with Tracy. Then when it comes to his director's cut DC edits out the Gallery scene where the two portraits of Angelique are discussed, the aftermath of Angelique's attack on Alex, the aftermath of Gerard's (unseen) attack on Tracy and Claire, and Quentin, Tracy, Alex and Claire returning to Collinwood after Gerard's death. Then when it comes to the MGM forced edits DC eliminates Claire helping to rescue Tracy from Angelique, and the entire seance. But then as if all that wasn't bad enough, when CBS shows NoDS, they edit out Claire greeting Quentin at the cemetery, the entire Dining Room sequence, Tracy calling the Jenkins, the Jenkins spotting Quentin outside the pool house and waiting for him to move away before running to go inside, and the most recently covered with Claire desperately hugging Tracy. By the time things get to the CBS version, Claire's part is practically a cameo in which all she's good for is making ham and tuna sandwiches for lunch and making coffee and sandwiches for a late night snack...
-
Before we get to the actual quotes from Scene 190, I want to share that once again I've created a video to replace a GIF that I'd created back in 2016:
The way Carlotta chases after Alex is such a hoot! [easter_cheesy]
-
If you want to learn about or refresh your memory concerning the background of yesterday's first quote -
Page 88/Scene 190 - Alex: 'I'm going to see him!'
- and/or yesterday's second quote -
Page 88/Scene 190 - Carlotta: 'Mr. Jenkins! They're all asleep!'
- and/or today's quote -
Page 88/Scene 190 - Quentin: 'Leave him alone!'
- check out -
Moving on to the next two scenes as scripted:
- this post and to learn that there are quite a few things different when it comes to the dialogue, including more unscripted lines, and differences with the descriptions and directions...
-
Poor Claire is certainly short sided, with the least to do of the four principle characters. She's Alex's wife and collaborator, Tracy's BFF and not really much else. The character, I'm sorry to say, could be removed entirely from the scenario without changing things drastically. It does make me appreciate a remark from Nancy Barrett, when she compared the two films. I'm paraphrasing but she basically stated that having less to do made the work harder
-
Plus, Carolyn was such a significant hoDS character and Nancy milked every second of it for all it was worth. That's why even publications like Variety, which wasn't known to give many horror films much love, gave Nancy spectacular notices for hoDS.
-
Cut from The CBS Late Movie showing:
- ...
- Picking up exactly where the previous entry ended, Alex' car drives down the road and comes to a screeching stop under Collinwood's porte cochere, Alex jumps out and rushes into the vestibule, and after discovering the doors to the foyer are locked, he frantically and repeatedly pushes the doorbell
-
Something I'm definitely noticing this time around now that they're starting to appear is that the day-for-night shots look so much better in the Blu-ray release than they do in the VHS:
| (http://www.dsboards.com/NoDSAnniQuoteImages/Night1_frame_00249.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Night2_frame_00249.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Night1_frame_00249.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Night2_frame_00249.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Night1_frame_00306.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Night2_frame_00306.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Night1_frame_00306.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Night2_frame_00306.jpg) for a 620X349 version |
-
BTW, according to that call sheet that I came across, the foyer portion of Scene 190 was shot on April 5th...
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 88/Scene 190 - Carlotta: 'He forced his way in here. We told him you were sleeping.'
- check out -
Continuing with Scene 190 as scripted, beginning with Gerard's response to Quentin's order with regard to Alex:
- this post and to learn about the differences in the dialogue, including more unscripted material, and the differences in the descriptions and directions...
-
The first of four stills I plan to share from Scene 190:
(http://www.dsboards.com/NoDSAnniQuoteImages/Confront-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Confront-1.jpg) for a 765X556 version)
And as with a few other stills, the captioned version that appears in the NoDS Pressbook -
(http://www.dsboards.com/NoDSAnniQuoteImages/Confront-1a.jpg)
- though not only does the caption misrepresent what's really going on in the scene, it's cut off from some odd reason. And one might think in an official MGM publication something like that wouldn't happen. But obviously it did. And they couldn't even get the order of the actors right...
-
The second of four from Scene 190:
(http://www.dsboards.com/NoDSAnniQuoteImages/Confront-2.jpg)
And this caption also misrepresents what's really going on in the scene. Who knows where someone got the ideas that Carlotta, Alex and Gerard are seeing Angelique's ghost when they're really just seeing Quentin? Too weird.
But anyway, this one was published as part of a NoDS article in 16 Spec Magazine, and that's the only place I've ever seen it...
-
The third of four from Scene 190:
(http://www.dsboards.com/NoDSAnniQuoteImages/Confront-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Confront-3.jpg) for a 597X900 version)
And this also appears on page 110 of The DS Companion.
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 89/Scene 190 - Alex: 'You didn't succeed, Quentin. She's still alive.'
- check out -
Continuing Scene 190 with Grayson's script:
- this post and to learn about the differences in the dialogue, and about some seemingly odd notations in Grayson's script...
And I bet Carlotta's blood ran cold when she learned Tracy wasn't as dead as she'd thought.
-
The fourth of four from Scene 190:
(http://www.dsboards.com/NoDSAnniQuoteImages/Confront-4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Confront-4.jpg) for a 599X800 version)
And while I've never seen this officially published anywhere, I have come across beige tinted copies of it that look to me like they are scanned from a magazine or book. Though, as is often the case, no one who has shared those copies has cited any source, though presumably the original scanner should have known a source, but either they didn't cite it or I may have just never come across that version that might have cited it...
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 89/Scene 190 - Alex: 'Are you going to try and tell me that you don't know what you did tonight?'
- and/or today's quote -
Page 89/Scene 190 - Quentin: 'I didn't do a damn thing. I've been painting all evening. Now, for the last time, what are you so hysterical about?'
- check out -
Continuing Scene 190, beginning with yesterday's quote -
- this post and to learn about the differences in the dialogue, the descriptions and the directions, and about how I love the expression on Carlotta's face in yesterday's capture:
(http://www.dsboards.com/NoDSquoteimages/1025ds91_0.jpg)
-
Referring back to the still in Reply #604, as hinted at in the screen cap in Reply #605, Quentin doesn't come down the stairs as he's seen in the still with his hands on his hips, the whole time he's coming down, he's buttoning his shirt:
Why do I suspect that he didn't have his shirt undone (and perhaps even more than that) because in the middle of the night it was hot in the tower due to the temperature outside? Why might we believe instead that any heat generated in the tower was most probably between Quentin and Angelique? [naughty] And I wonder if when the still was shot David Selby and/or DC hadn't yet thought of having Quentin descend the stairs while buttoning his shirt. Perhaps it was something that simply popped into Selby's and/or DC's head(s) while shooting and they tried it for a take and that take is the one they went with for the film...
And there's a reason I went with a clip with subtitles - but more on that in a later post...
-
Originally I had no intention of checking the subtitles for Scene 190, but I still had my Blu-ray copy of NoDS set for subtitles from back when I did Scene 85. So, when I captured the video of Scene 190, the subtitles were displaying. And I was quite surprised at how many words were missing here and there in only a 12 second period. [easter_rolleyes]
Rather than -
Page 89/Scene 190 - Quentin: 'What are you talking about, Alex?'
- the subtitles simply has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Button1_frame_00150.jpg)
And rather than -
Page 89/Scene 190 - Alex: 'Are you going to try and tell me that you don't know what you did tonight?'
- the subtitles has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Button1_frame_00209.jpg)
And rather than -
Page 89/Scene 190 - Quentin: 'I didn't do a damn thing. I've been painting all night.'
- the subtitles has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Button1_frame_00274.jpg)
Granted, the subtitles are close to what is actually said. They're nothing like that very odd caption/subtitle of Gabriel's from Scene 85. But still, why drop any words?
And changing the subject entirely, we have this screen capture:
(http://www.dsboards.com/NoDSAnniQuoteImages/Button1_frame_00022.jpg)
Am I the only one that gets a vibe that there may be more than anger passing between Gerard and Alex? [9341] Just look at the way they're staring into each other's eyes. [naughty] What's it they say: there's a thin line between love and hate. [wink2]
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 89/Scene 190 - Alex: 'You tried to drown Tracy!'
- and/or today's quote -
Page 89/Scene 190 - Alex: 'It wasn't you, Quentin. It was Charles Collins drowning his wife all over again.'
- check out -
Continuing Scene 190, beginning with yesterday's quote -
- this post and to learn about the differences in the dialogue, the descriptions and the directions, and about some notations that Grayson made in her script when it came to a line of Carlotta's that was ultimately dropped. What would have been really interesting is if Carlotta had actually said with regard to Alex' explanation that it's a bullshit card because Grayson wrote that in reference to it. But, alas...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 89/Scene 190 - Alex: 'For God's sake, Quentin! Will you listen to me! She's at my place with Claire right now. Now you've got to get out of this house!'
- and/or today's second quote -
Page 90/Scene 190 - Alex (softly): 'All you have to do is come with me -- Tracy understands.'
- check out -
Continuing Scene 190, beginning with today's first quote -
- this post and to learn about the differences in the dialogue, and the several differences in the descriptions and the directions...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 90/Scene 190 - Quentin: 'Where is Mrs. Collins?'
- and/or today's second quote -
Page 90/Scene 190 - Carlotta: 'I'm sure she's in her room, sir.'
- check out -
And continuing with more of Scene 190, beginning with Quentin's reaction to Alex telling him that Tracy understands:
- this post and to learn about the differences in the dialogue, the descriptions and the directions, about how I love the look of innocence on Carlotta's face, and about a note in Grayson's script...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 91/Scene 191A - Quentin (quietly): 'You're right. She's gone. So she's left me. If that's the way she wants it, fine.'
- and/or today's second quote -
Page 91/Scene 191A - Alex: 'Quentin, that's not...'
- check out -
Wrapping up Scene 190 and moving on:
- this post and to learn about the differences in the dialogue, and the many differences from the descriptions and the directions, and it's also interesting how once again it looks like David Selby and/or DC made choices to make it clear that Quentin's attitude was being influenced by Charles, though given that DC had such little regard for character oriented moments I would place the choices more with Selby...
-
If you want to learn about or refresh your memory concerning the background of the first part of today's quote -
Page 91/Scene 191A - Quentin: 'Alex, I've known you for a long time. But listen to me. I'm sick of your insane writer's mind. Don't ask me anymore questions. Don't bug me anymore. Just get out of here.'
- and/or the second part of today's quote -
Page 91/Scene 191A - Quentin: 'And take her with you --'
- check out -
Wrapping up Scene 191A and moving on to the next scene:
- this post and to learn about the differences in the dialogue, and several differences from the descriptions and the directions with regard to Scenes 191A and 191B - and check out -
Oops, I forgot to mention yesterday...
- this post to learn about notes both DC and Grayson made in their scripts...
[nods]
-
And according to that call sheet that I came across, the corridor/stairs portion of Scene 190 and Scenes 191A and 191B were all shot on April 6th. Because Scene 191 took place in the Master Bedroom, apparently it was shot at some other time when shooting was taking place in that room...
[nods]
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 92/Scene 192 - Carlotta: 'You did it for her -- for Angelique.'
- and/or today's second quote -
Page 92/Scene 192 - Quentin (as it sinks in): 'I tried to kill my wife --'
- check out -
Beginning the next scene:
- this post and to learn about the differences in the descriptions and the directions, and about notes Grayson made in her script...
[nods]
-
If you want to learn about or refresh your memory concerning the background of the first part of today's first quote -
Page 92/Scene 192 - Quentin: 'Where's Gerard?'
- and/or the second part of today's first quote -
Page 92/Scene 192 - Quentin: 'Where is he?'
- and/or today's second quote -
Page 92/Scene 192 - Carlotta: 'Doing what you know must be done.'
- check out -
Continuing Scene 192:
- this post and to learn about the differences in the dialogue, the descriptions and the directions, and about notes Grayson made in her script. Though it's shocking, shocking I tell you, that Grayson changes "must" to "has to"!! Didn't she realize that every incident of "must" is sacred?!
[nods]
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 93/Scene 192 - Quentin: 'I am not Charles Collins. I will not allow them to be hurt.'
- check out -
Concluding the current scene, beginning with Quentin's next reaction to Carlotta telling him that Gerard is doing what has to be done:
- this post and to learn about the differences in the dialogue, the descriptions and the directions, as well as the graphic I used for the original NoDS slideshow...
[nods]
-
Scene 192 related stuff that I'd previously shared:
- and here's a scan of the actual still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_a.jpg) for a 471X700 version)
Continuing with Angelique on the stairs shots, here's a rare version:
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_b.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_b.jpg) for a 532X700 version)
...
And I know for certain that I have a still of the following rare version, but for the life of me I couldn't find it today even though I had in in my hand just last week when I was searching through things. But for now I'll post this magazine version -
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_d.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_d.jpg) for a 1037X826 version)
- and then replace it after I actually do come across the still again...
I still have yet to come across it. Though since originally posting the magazine version, I was able to do a better scan and I've replaced the original scan with it. And speaking of the magazine, the scan is also part of the Daytime TV article that I've shared a few rare photos from - and something I didn't do originally is share the caption the magazine provided, so here it is:
And the Daytime TV caption reads: "Lara Parker, as the spirit of Angelique,
appears on the stairs to the tower of
the mansion of Collinwood, her home."
[nods]
-
...
The first time I saw this one was on the cover of the 1992 LA Fest Program:
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_c.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_c.jpg) for a 634X759 version)
Actually, my memory failed me there because where I first saw it was almost 20 years earlier as part of the NoDS Herald featured in the NoDS Pressbook:
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_c1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_c1.jpg) for a 439X1100 version)
And I also forgot to post the actual still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_c2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_c2.jpg) for a 1200X1505 version)
[nods]
-
Another thing that call sheet that I came across shows is that Scene 192 was also shot on April 5th...
[nods]
-
Before we deal with tomorrow's quote, there are actually four scenes that come between the end of Scene 192 and the beginning of tomorrow's Scene 197. So, check out -
Before we get into today's quote, we have several other scenes to deal with:
- to find out what the scenes are about, about how even though there's no scripted dialogue, there is ad-libbed dialogue, and about the differences in the descriptions and directions.
[nods]
-
And speaking of that ad-libbed dialogue, and as I predicted -
Though I strongly suspect we can bet CBS cut Alex' references to Gerard as a "son of a bitch." [easter_wink]
- though it was pretty much a foregone conclusion given we're talking about network TV in the '70s:
Cut from The CBS Late Movie showing:
- ...
- After Gerard drives his truck head on at Alex' car and only swerves away at the last minute but quickly turns the truck around to pursue Alex, CBS cut Alex calling Gerard a "son of a bitch." And almost 30 seconds of the action involving Gerard ramming the back of Alex' car and then pulling up alongside the car to ram it off the road is cut - though in that case I would imagine it was for time and nothing to do with standards and practices. Though who knows? [idontknow]
[nods]
-
More examples of how much better the day-for-night shots look in the Blu-ray release than they do in the VHS - a first batch from the car chase sequence:
| (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00058.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00058.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00058.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00058.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00107.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00105.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00107.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00105.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00192.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00190.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00192.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00190.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00276.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00274.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00276.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00274.jpg) for a 620X349 version |
[nods]
-
A second batch from the car chase sequence:
| (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00468.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00468.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00468.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00468.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00561.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00559.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00561.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00559.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00936.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00934.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00936.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00934.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_01267.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_01265.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_01267.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_01265.jpg) for a 620X349 version |
[nods]
-
And a final batch from the car chase sequence:
| (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_01381.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_01379.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_01381.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_01379.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_02308.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_02307.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_02308.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_02307.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_02652.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_02650.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_02652.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_02650.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_03578.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_03577.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_03578.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_03577.jpg) for a 620X349 version |
[nods]
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 94/Scene 197 - Claire: 'I heard something outside.'
- and/or today's quote -
Page 94/Scene 197 - Claire: 'Alex told me to shoot anyone who came through that door.'
- check out -
Moving on to the current scene:
- this post and to learn about the differences in the dialogue, including more unscripted bits, and about the differences with the descriptions and the directions - and check out -
I forgot to mention that in DC's script he's written...
- this post to learn about something DC added to his script...
[nods]
-
I went back to check out Scene 183 (Tracy outside the Pool House) and Scene 187 (The Jenkins catch Quentin outside the Pool House, run to it) because I forgot to check those when they were being featured. Interestingly enough, most of those scenes play well with day-for night, though there are definityely moments that don't:
| (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00186.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00186.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00186.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00186.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00626.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00627.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00626.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00627.jpg) for a 620X349 version |
[nods]
-
And I also forgot to post the actual still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_c2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_c2.jpg) for a 1200X1505 version)
[nods]
What a great image!
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 94/Scene 197 - Tracy: 'What did you hear?'
- and/or today's quote -
Page 94/Scene 197 - Claire: 'I know someone's out there.'
- check out -
Picking up Scene 197 where we left off:
- this post and to learn about the differences in the dialogue, the descriptions and the directions...
[nods]
-
Before we get anywhere near how today's quote fits into the film, we need to check out this post because -
Scene 198 plays differently in the film from the way it's scripted, so first we're going to deal with it completely as scripted:
- and interestingly enough today's quote in the slideshow will come up in how Scene 198 is scripted but it doesn't come up in that scene in the film - but more on that once we get to Scene 199 - and also, check out -
When it comes to
- this post to learn about the differences in the dialogue, the descriptions and the directions and how Scene 198 actually plays in the film...
[nods]
-
Check out -
Moving on to how the portion of Scene 199 is scripted before we reach today's quote:
- this post to learn how the beginning of Scene 199 plays in the film and how yesterday's quote -
(http://www.dsboards.com/NoDSquoteimages/1109ds91_0.jpg)
"If he's just wounded..."
- fits into it...
[nods]
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 95/Scene 199 - Tracy: 'But I know we hit him.'
- and/or today's quote -
Page 95/Scene 199 - Claire: 'Quick. We've got to get back inside.'
- check out -
Wrapping up Scene 199, starting with how it was scripted to begin:
- this post and to learn about the differences in the dialogue, the descriptions and the directions...
[nods]
-
Scene 199 - part 1:
| (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00300.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00302.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00300.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00302.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00566.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00568.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00566.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00568.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00630.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00633.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00630.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00633.jpg) for a 620X349 version |
[nods]
-
Scene 199 - part 2:
| (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00746.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00748.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00746.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00748.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00959.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00958.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_00959.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_00958.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_01250.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_01252.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project1_frame_01250.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/New Project2_frame_01252.jpg) for a 620X349 version |
[nods]
-
Before we get to the scene that's come up in today's slideshow, we have one other scene to deal with first:
- to learn how Scene 200 was originally scripted, how dialogue was added to it, and how things are different from how the directions and directions were scripted...
[nods]
-
Two stills associated with Scene 200:
First up, this one -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gerard_bloodied-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gerard_bloodied-1.jpg) for a 700X548 version)
Famous Monsters of Filmland caption: "James Storm as Gerard is caught red-faced. The red is blood."
- a cropped and horizontally flipped version of which was shared as part of the Famous Monsters of Filmland NoDS article.
And this one -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gerard_bloodied-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gerard_bloodied-2.jpg) for a 700X453 version)
- a cropped and horizontally flipped version of which was shared as the cover for Famous Monsters of Filmland issue:
...
(http://www.dsboards.com/NoDSquoteimages/Lunge.jpg)
[nods]
-
Cut from The CBS Late Movie showing:
- ...
- Tracy and Claire's screams as they see the bloodied Gerard and he begins to lunge at them.
Apparently on CBS, perhaps all three networks, one could see a bloodied face for only so long, even at something like 2:10am ET/1:10am CT. Other than this CBS broadcast, I never saw NoDS on any channel except the cable ones that didn't edit it, but I wonder how much of that shot of Gerard might have been cut by stations that did edit the film?
[nods]
-
And speaking of those screams, here's how Scene 200 currently plays in the film -
- but in the 97 minute version (and the 129 minute version) as one can hear in the video below, Tracy's and Claire's screams last approximately 2 seconds longer and the camera stays on the bloodied Gerard (sadly, I don't have that footage) as he lunges toward them -
- (yes, I've changed my mind because contrary to what I wrote back in 2016 I now believe he does indeed lunge toward them because when one examines Gerard frame by frame one can see that at the end of what's currently in the film he does begin to move toward them...)
[nods]
-
Before we leave the previous sequence, ...
[nods]
-
Catching up as we're -
Moving on to yesterday's scene - and as the graphic I put up for the slideshow indicated, it plays very differently in the film from the way it's scripted. First up, the scripted version:
And now the way Scene 201 actually plays in the film:
- to learn how improvised dialogue in Scene 201 plays in the film and figures into yesterday's quote -
(http://www.dsboards.com/NoDSquoteimages/1113NoDS_d.jpg)
"That crazy son of a bitch - he almost killed me."
- and how the scripted descriptions and directions are different from what actually takes place...
[nods]
-
Cut from The CBS Late Movie showing:
- ...
- Everything from after the point Quentin spots Alex on the ground outside his car, calls his name, and runs toward him. Apparently it's was all cut because after Quentin joins Alex, once again Alex refers to Gerard as a son of a bitch and Quentin's question and Alex' answer refer back to that, so it would have made no sense to include Quentin's and Alex' follow-ups when what they were following up had been cut.
[nods]
-
A still associated with Scene 201 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Alex_crash.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Alex_crash.jpg) for a 700X1126 version)
- which has been shared on page 198 of the 35 Anniversary DS Memories book.
[nods]
-
Scene 201:
| (http://www.dsboards.com/NoDSAnniQuoteImages/SOB1_frame_00223.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/SOB2_frame_00222.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/SOB1_frame_00223.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/SOB2_frame_00222.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/SOB1_frame_00269.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/SOB2_frame_00268.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/SOB1_frame_00269.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/SOB2_frame_00268.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/SOB1_frame_00393.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/SOB2_frame_00392.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/SOB1_frame_00393.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/SOB2_frame_00392.jpg) for a 620X349 version |
[nods]
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 96/Scene 202 - Claire: 'It's Gerard...he's got her. He tried to kill us...he tried to kill us...'
- check out -
Moving on to yesterday's scene. And as the graphic I put up for the slideshow indicated, it's a scene that does not appear in the film as it currently stands - however, it's not on the list of unrecovered footage - so, it, or some variation thereof, may very well be in the 129 minute version:
- this post. And I've recently come across yet another stash of NoDS materials which just so happens to include a list of the recovered footage and Scene 202 is on the list -
"A selection of scenes cut from the 129-minute version that have been recovered:
...
In the cottage, Quentin and Alex find a sobbing, terrified Claire who tells them that Gerard attacked them and abducted Tracy.
..."
- and speaking of the stash, it includes materials I would have shared previously but didn't know I had, so I'll be going back to certain posts to add those materials. I'll post an alert after I've done so in each case...
[nods]
-
Yesterday's graphic for Scene 202 -
(http://www.dsboards.com/NoDSquoteimages/1113ds91_0.jpg)
- was made by somewhat cropping a version of this still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Cottage_aftermath2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Cottage_aftermath2.jpg) for a 880X700 version)
- which to my knowledge has never been officially published anywhere. I first came across it when I bought a copy from Ohlinger's in 1996...
[nods]
-
That's where I got my copy of the still, as well as a lot of other DS stuff.
-
Check out -
Moving through the next several scenes before today's scene comes up:
- this post to learn the differences with the dialogue, and how there's quite a bit different when it comes to the descriptions and directions...
[nods]
-
Stills associated with Scene 208:
First up, this one -
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck-1.jpg) for a 1039X800 version)
16 Spec Magazine caption: "While fleeing from the horrors of the house, Tracy runs straight into
the evil arms of Gerard - who has murder on his mind! Does he succeed?
Does Angelique succeed in ruining Quentin's life? See Night of Dark
Shadows - and find out the truth!!"
- which first shared as part of an article in 16 Spec Magazine - it's also part of the Mexican Lobby Card series -
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck_Mexican_lobby_card.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck_Mexican_lobby_card.jpg) for a 700X527 version)
- and while it was still active on the Internet, Collinwood.net shared this extremely rare version -
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck-2.jpg)
[nods]
-
Scenes 206 through 210 - part 1:
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_00001.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_00000.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_00001.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_00000.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_00281.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_00279.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_00281.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_00279.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_00426.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_00425.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_00426.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_00425.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_00466.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_00465.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_00466.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_00465.jpg) for a 620X349 version |
[nods]
-
Scenes 206 through 210 - part 2:
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_00476.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_00475.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_00476.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_00475.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_00511.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_00510.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_00511.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_00510.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_00651.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_00650.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_00651.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_00650.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_00837.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_00836.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_00837.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_00836.jpg) for a 620X349 version |
[nods]
-
Scenes 206 through 210 - part 3:
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_00897.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_00896.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_00897.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_00896.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_01011.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_01010.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_01011.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_01010.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_01156.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_01155.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_01156.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_01155.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_01257.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_01257.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_01257.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_01257.jpg) for a 620X349 version |
[nods]
-
Scenes 206 through 210 - part 4:
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_01271.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_01270.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_01271.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_01270.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_01309.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_01309.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_01309.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_01309.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_01386.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_01385.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_01386.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_01385.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_01453.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_01452.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck1_frame_01453.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck2_frame_01452.jpg) for a 620X349 version |
[nods]
-
Cut from The CBS Late Movie showing:
- ...
- Picking up exactly where things left off with Quentin and Alex, the cut also eliminates Gerard's truck driving down the road and parking, along with the shot of Gerard's bloodied face. Things pick up in the CBS version fractions of a second before Tracy screams as she tries to get out of the truck but Gerard stops her.
Like I said, apparently there was only so much bloodied face they were willing to show. And chances are the truck driving and parking went because they were already cutting most of Quentin and Alex, so they simply continued the cut until just before Tracy tried to get out of the truck. Removing the truck driving and parking most probably also helped what needed to be cut for time...
[nods]
-
And lastly, before we move on to the next quotes, here's how recently covered material currently plays in the film -
- but footage has been cut from the 97 minute version (and the 129 minute version). I don't have the video, but thanks to the audio tape, I do have the audio, so first up -
- when things go to black what should be seen is that after Gerard violently shushes Tracy, she sits still. He whispers to her that if she doesn't yell he'll let her go (though all of that isn't discernible on the audio tape). He then reaches his hand down and "touches" her leg.
And second up -
- after we see Quentin come to a stop in his search from Tracy, things move back to the truck where we should see Gerard take his hand from Tracy's mouth. She quivers as he looks at her. He then moves closer and kisses her. (Unfortunately none of that is really discernible on the tape because all we really hear is the sounds of the crickets and some breathing - but it does give a good idea of how long the cut footage lasts.) However, Tracy decides to use the kiss as a distraction and when the current footage comes back into play we see Tracy stroke Gerard's cheek but it's only a ploy to move her hand so as to be able to reach the Truck's horn and push it.
[nods]
-
If you want to learn about or refresh your memory concerning the background of yesterday's first quote -
Page 98/Scene 211 - Quentin (calling): 'Tracy!...Tracy...where are you?'
- and/or yesterday's second quote -
Page 98/Scene 211 - Tracy (screaming): 'Quentin!'
- check out -
Picking up the action with the next scene in the sequence:
- this post and to learn about the differences in the dialogue, the descriptions and the directions and about a note in DC's script...
[nods]
-
Two stills associated with Scene 211:
First up, the Lobby Card that I'd previously shared -
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_8.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_8.jpg) for a 930X738 version)
...
- and then here's an extremely rare alternate version of that still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck-3.jpg) for a 700X476 version)
- which I actually prefer - but they didn't consult me when they chose which version to use for the Lobby Card. [ghost_nowink]
[nods]
-
Two more rare stills associated with Scene 211:
First up, another alternative to the Lobby Card -
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck-4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck-4.jpg) for a 700X480 version)
- and then there's this one -
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck-5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck-5.jpg) for a 626X800 version)
[nods]
-
Scene 211 - part 1:
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_00001.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_00000.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_00001.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_00000.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_00313.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_00314.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_00313.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_00314.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_00371.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_00371.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_00371.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_00371.jpg) for a 620X349 version |
[nods]
-
Scene 211 - part 2:
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_00614.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_00615.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_00614.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_00615.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_00729.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_00730.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_00729.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_00730.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_00778.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_00779.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_00778.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_00779.jpg) for a 620X349 version |
[nods]
-
Scene 211 - part 3:
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_00898.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_00899.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_00898.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_00899.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_01054.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_01055.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_01054.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_01055.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_01178.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_01179.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_01178.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_01179.jpg) for a 620X349 version |
[nods]
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 99/Scene 213 - Tracy (O.S.) (screaming): 'Gerard!'
- and/or today's quote -
Page 99/Scene 215 - Alex: 'Well, it looks like the old BMT will be running late tonight.'
- check out -
And once again picking up the action with the next scene in the sequence:
- this post and to learn about the differences in the dialogue, the descriptions and the directions and to see a deleted moment from the end of the sequence thanks to the fact that it appears in the 2 minute trailer...
[nods]
-
Back in 2016 I'd shared these two rare stills from this sequence:
... I want to share two rare publicity stills:
(http://www.dsboards.com/NoDSquoteimages/Fight-1.jpg)
(http://www.dsboards.com/NoDSquoteimages/Fight-2.jpg)
...
Oddly enough, I have no memory of where the top one comes from. I can tell from the scan that it came from a magazine article, but for the life of me I couldn't locate which article. Apparently I still have some NoDS stuff around here that I've yet to come across. But given how frequently I seem to come across stuff I've forgotten about, that's probably no surprise to anyone, including me. But what I can say is I know I first came across it as part of the Herald featured in the NoDS Pressbook:
(http://www.dsboards.com/NoDSAnniQuoteImages/Fight-1a.jpg)
As for the bottom one, I own the still. However that scan isn't a scan of my still because I didn't own a copy in 2016. Apparently it was scanned from some other source, and again, I have no memory of what that source is. Though quite possibly it's located wherever the source for the top scan is. But be that as it may, here's a scan of my copy of the still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Fight-2a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Fight-2a.jpg) for a 700X537 version)
You may recall that a colorized portion of that still is featured on one of the Italian Lobby Cards that I shared back in Reply #493...
[nods]
-
And finally there's this still from this sequence -
(http://www.dsboards.com/NoDSAnniQuoteImages/Fight-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Fight-3.jpg) for a 700X548 version)
Famous Monsters of Filmland saption: "Tracy gets into a fight between Quentin & Gerard
and knocks Gerard off the railing of the bridge."
- a cropped version of which featured in the Famous Monsters of Filmland NoDS article - it's also part of the Mexican Lobby Card series -
(http://www.dsboards.com/NoDSAnniQuoteImages/Fight_Mexican_lobby_card.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Fight_Mexican_lobby_card.jpg) for a 700X534 version)
And this is also a case where you may recall that a colorized portion of that still, flipped horizontally, is featured on one of the Italian Lobby Cards that I shared back in Reply #493...
[nods]
-
Scenes 212 through 215 - part 1:
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_01600.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_01601.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_01600.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_01601.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_01605.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_01606.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_01605.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_01606.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_01716.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_01718.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_01716.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_01718.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_02099.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_02100.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_02099.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_02100.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_02129.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_02130.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_02129.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_02130.jpg) for a 620X349 version |
[nods]
-
Scenes 212 through 215 - part 2:
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_02154.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_02155.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_02154.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_02155.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_02179.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_02180.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_02179.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_02180.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_02365.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_02366.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_02365.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_02366.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_02649.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_02650.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_02649.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_02650.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_02804.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_02805.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_02804.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_02805.jpg) for a 620X349 version |
[nods]
-
Scenes 212 through 215 - part 3:
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_03085.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_03086.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_03085.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_03086.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_03439.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_03440.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_03439.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_03440.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_03484.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_03485.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_03484.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_03485.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_03515.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_03516.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_03515.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_03516.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_03525.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_03526.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_03525.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_03526.jpg) for a 620X349 version |
[nods]
-
Scenes 212 through 215 - part 4:
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_03570.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_03571.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_03570.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_03571.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_03659.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_03660.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_03659.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_03660.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_03834.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_03835.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_03834.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_03835.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_04130.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_04131.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_04130.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_04131.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_04222.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_04224.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck3_frame_04222.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck4_frame_04224.jpg) for a 620X349 version |
[nods]
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 100/Scene 216 - Quentin: 'I'm sorry Trace. I'm sorry for everything that's happened.'
- and/or today's quote -
Page 100/Scene 216 - Tracy: 'Oh, please, Quentin...please don't go back in that house.'
- check out -
Moving on to the current scene, and it's not on the list of unrecovered footage - so it may be in the 129 minute version:
- this post...
Scene 216 isn't on the recovered footage list that I recently came across. But interestingly enough, as I alluded to in that post and which I've just checked again, it's also not on the list of lost scenes not included in the 129 minute version. So who knows? [idontknow]
[nods]
-
Even though the slideshow has moved on to Scene 216, I still have some material I want to share related to the shooting of Scenes 206 - 215.
In this post I'm sharing three behind the scenes photos Darren Gross had shared on his now defunct NoDS Restoration Web site (along with his original captions):
(http://www.dsboards.com/NoDSAnniQuoteImages/DavidSelbywithcrew.JPG)
David Selby chatting with
the crew between setups on the set
of NIGHT OF DARK SHADOWS.
(Photo courtesy Yvonne David)
I could be wrong, but it looks to me like James Storm is sitting next to Selby.
(http://www.dsboards.com/NoDSAnniQuoteImages/JamesStormpuckers.JPG)
James Storm puckers up for a kiss after being doused with stage-blood.
(Photo courtesy Yvonne David)
(http://www.dsboards.com/NoDSAnniQuoteImages/JamesStormwithmake-upartistReginaldTackley.JPG)
Make-up artist Reginald Tackley liberally applies stage-blood to James
Storm in order to create the effect of a glancing bullet wound. Please note
Alex Jenkins' (John Karlen) as yet undamaged car behind them which
Gerard will later drive off the road. (Photo courtesy Yvonne David.)
It's interesting that they had yet to shoot Scenes 193 - 196 when the second and third photos were taken because, as we know, Gerard doesn't get shot by Claire until after he's forced Alex off the road. But then in films so few scenes are shot in order...
[nods]
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 100/Scene 216 - Quentin (softly): 'Tracy, try to understand the way I feel. I have such a tenuous hold on myself that --'
- and/or today's quote -
Page 100/Scene 216 - Tracy (interrupting): 'But you're all right now. You're all right.'
- check out -
Continuing with Scene 216:
- this post...
[nods]
-
The current series of graphics -
(http://www.dsboards.com/NoDSquoteimages/1117ds91_0.jpg)
- have been created with a crop of this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Railing.jpg)
- which appears on page 161 of the DS Almanac Millennium Edition, which is the only place I've ever seen it shared. I've never come across the actual still anywhere...
[nods]
-
A behind the scenes candid which could also be associated with the shooting of Scenes 206 - 215, current Scene 216, or even upcoming Scenes 217 - 218 (though there's some mystery as to whether or not Scene 218 was ever shot - but more on that when we get to it):
(http://www.dsboards.com/NoDSAnniQuoteImages/DavidSelbyandKateJackson.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/DavidSelbyandKateJackson.jpg) for a 620X780 version)
I've never seen any source cited for this. It could also be one taken by Yvonne David (who, BTW, was the head of wardrobe on the film), or it could be someone entirely different. If it is someone different, I have my suspicion as to who it might be - but more on that in a future post associated with Scene 217...
[nods]
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 100/Scene 216 - Quentin: 'But I don't know how long I'll stay this way. There's only one way to end it. We've got to go back in there and face it down --'
- and/or today's first quote -
Page 100/Scene 216 - Tracy: 'What about Carlotta?'
- and/or today's second quote -
Page 100/Scene 216 - Alex: 'I don't think we'll find her.'
- check out -
Wrapping up Scene 216, beginning with yesterday's quote, Quentin's response to Tracy's latest lines -
- this post...
[nods]
-
I didn't think that any of Scenes 212 - 215 had been cut by CBS - and surprisingly enough none of Gerard and Quentin's fight was cut. But I finally got around to listening to the tape and comparing it to the film just to make sure nothing was cut, but something was. Quite strangely:
Cut from The CBS Late Movie showing:
- ...
- After Claire and Alex join Tracy and Quentin on the railroad bridge and Claire reaches out to Tracy to comfort her as she says Tracy's name, CBS ends the scene. Missing are the last four seconds where Tracy pulls away from Claire and walks off with Claire following her, leaving Alex beginning to move closer to Quentin, who still stands looking down in the direction of Gerard's body.
Cutting that for time is about the only reason I can think of for the edit. And now I'm wondering if there are any other short trims like that that were so short that I didn't even realize they were made. After all, CBS would have had to cut something like 20 minutes from the film for it to fit with commercials in the 90 minute slot they aired it...
[nods]
-
Before we can deal with Scene 218, which will be the one to come up in tomorrow's slideshow, we need to deal with several things related to Scene 217. First up, check out -
Moving on to the next scene, which is something of a rarity in this section of the script because it does actually appear in the current version of the film, though not entirely as scripted:
- this post to learn about how Scene 217 was scripted, about an added voiceover, notes Grayson made in her script (and the thing that she wrote that's missing in that post is that the desperate fear that Carlotta has is that they will take Angelique away). And then there's -
I forgot to mention that when Quentin's "There's only one way to end it. We've got to go back in there and face it down --" from Scene 216 came up on the 1999 Movie Calendar for December 8th, rather than use it for that day's installment of the original NoDS slideshow, I...
- this post, with more to come...
[nods]
-
More behind the scenes. I held off posting the following two because they were taken outside "Collinwood," even if it's the opposite side of the house from what we see in Scene 217.
(http://www.dsboards.com/NoDSAnniQuoteImages/JohnKarlenandKateJackson1.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/JohnKarlenandKateJackson2.jpg)
Now, I'm not sure who took those two photos. However, back in the '90s I came across a now defunct Web site that someone set up with photos he'd taken back in 1971 while he'd been lucky enough to be allowed at Lyndhurst while NoDS was shooting on the grounds. I saved a copy of his site for my own personal use. Eventually I moved the site onto a CD for safe keeping and to clear up disk space on the computer I had at the time. And I know it's going to come as no surprise to anyone that I have no idea where that CD is now because I have a terrible habit of not labeling CDs (that would be too easy). However, the CD is very likely packed away with other CDs with other things on them for "safe keeping," but I never seem to find the time to dig them out and check through them. One day...
But be all that as it may, I've since come across this photo of the guy posing with Kate Jackson:
(http://www.dsboards.com/NoDSAnniQuoteImages/_andKateJackson.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/_andKateJackson.jpg) for a 900X785 version)
And one thing I definitely remember about the site is that the guy who set it up was a big Kate Jackson fan. And if I recall correctly, she appeared in almost every photo that he'd shared on the site. And that leads me to a strong suspicion that perhaps, even though it seems as if his original site is now defunct, he's created another site where many of his NoDS photos are on display.
Check out this Gallery from that site:
KATE JACKSON GALLERY FOUR (http://www.callmeacab.com/kate-jackson-gallery-four.html)
(Scroll down about halfway for 6 photos:- The second photo on line 33.
- The third photo on line 34.
- The first photo on line 35.
- The first photo on line 36.
- And the third and fourth photos on line 37.)
[nods]
-
Scene 217:
| (http://www.dsboards.com/NoDSAnniQuoteImages/Alive1_frame_00171.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Alive2_frame_00171.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Alive1_frame_00171.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Alive2_frame_00171.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Alive1_frame_00451.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Alive2_frame_00451.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Alive1_frame_00451.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Alive2_frame_00451.jpg) for a 620X349 version |
The last day-for-night scene...
[nods]
-
And something else that we need to deal with before tomorrow comes:
And just when you thought we've seen all the alternate versions of scenes that appear in Grayson's script, up pops Scene 218. And we're going to deal with her script's version before DC's script's version begins with tomorrow's slideshow:
[nods]
-
What's up with today's weird graphics?
(http://www.dsboards.com/NoDSquoteimages/1123ds91_0.jpg)
(http://www.dsboards.com/NoDSquoteimages/1123ds91_1.jpg)
All will be revealed once we get into Scene 218...
[nods]
-
The young fan in the picture with Kate Jackson reminds me of Richard Levantino. He was on the kids who hung out at the studio and was quite the photographer. The guy in the picture is about the right age but I can't be certain that it's him.
-
[pointing-up] I had a feeling that if anyone might be able to identify him, it might be you. [ghost_wink]
Interestingly enough, I don't recall if he even identified himself on the original Web site. If he did, unfortunately I can't remember how he might have done so.
The person who runs the Web site that I'd linked to identifies himself as TJ, but that could be misleading because it could simply be a nickname...
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 101/Scene 218 - Quentin: 'Alex, there's something in there we've got to find.'
- and/or today's second quote -
Page 101/Scene 218 - Alex: 'What are you talking about?'
- check out -
And now we begin DC's script's version of Scene 218, which begins with the same opening, but quickly changes:
- this post. And a change from what's said in the summation at the bottom is that since that post was made a still from Scene 220 was indeed identified and it will be showing up once the slideshow gets to that scene...
[nods]
-
MB, I checked with my BFF Helen Samaras and she confirmed that it is indeed Richard Levantino. I can't say if that's his website though. He was and is a huge Lara Parker fan. I don't think that I ever heard him mention Kate. He used to post here on the forum many years ago. I believe that he was known as MM#7.
-
[pointing-up] Thank you, Uncle Roger, and please thank Helen. Richard Levantino should definitely get the credit he deserves...
-
You're welcome, MB! And I will relay your thank you to Helen when I speak to her later this week. Now that I think about it, I'm pretty sure that both she and I have this photo in our respective collections. There's a good chance that we both acquired it from veteran fan/dealer Jay Nass. The photo that you posted is much crisper than his.
-
If you want to learn about or refresh your memory concerning the background of yesterday's first quote -
Page 101/Scene 218 - Quentin: 'In a dream I had, Gabriel threw Charles into a small dark room. I remember that when he hit the floor, he fell over something wooden. Before I could see what it was, Gabriel bolted the door.'
- and/or yesterday's second quote -
Page 101/Scene 218 - Alex: 'Do you remember anything else?'
- and/or today's first quote -
Page 101/Scene 218 - Quentin: 'No - only a sound, and I can't even describe it, but I know I've heard it before.'
- and/or today's second quote -
Page 101/Scene 218 - Alex: 'Well, where do we start?'
- check out -
Picking up where we left off with DC's script's version of Scene 218, starting off with yesterday's first quote -
- this post...
[nods]
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 101/Scene 218 - Quentin: 'The room had a heavy iron door --'
- check out -
Wrapping up DC's script's version of Scene 218 and moving beyond a bit, starting off with today's quote -
- this post for what was interesting and what made sense when it comes to what was changed in the rewrite of Scene 218, and to learn what Scene 219 entails...
Tomorrow's slideshow begins Scene 220...
[nods]
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 102/Scene 220 - Quentin: 'I have a terrible feeling that if I relax my will for just one second, it'll be all over...'
- check out -
Moving on to Scene 220:
- this post...
[nods]
-
Today's -
(http://www.dsboards.com/NoDSAnniQuoteImages/0630NoDS_0.jpg)
- and tomorrow's graphics have been newly created with a slight crop of this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Que_Can1.jpg)
- which still, which I had last time around but I didn't know if it was associated with Scene 220 until Darren Gross explained that it was back in December of 2016:
... I have one photo of Quentin close-up with the candelabra, and you can tell from the background that they are at the bottom of the staircase, about to separate.
... There are so many stills of Quentin with candles that sometimes it's hard to know which are simply publicity poses and which are for actual scenes. For example, back in '09 I used this for the seance -
(http://www.dsboards.com/moviesquoteimages/1218NoDS_0.jpg)
- in the original slideshow for NoDS even though I was pretty sure it wasn't from the seance, but I cropped and enlarged it so it would look like it could be.
...and Yes, that photo you posted of the Quentin with candles on the previous page IS the shot I was talking about ...
And back in Reply #15 I'd shared two versions of this still -
... Not all 130 are there, but I know there were to be 130 because the newspaper also published this:
(http://www.dsboards.com/NoDSAnniQuoteImages/Quentin.jpg)
...
Also, because the quality of the newspaper version is terrible, here's a somewhat cropped but much better version of that photo of Quentin:
(http://www.dsboards.com/NoDSquoteimages/Que_Can2.jpg)
- which may also be associated with Scene 220, but it may simply be a generic publicity still...
But speaking of Quentin holding a candelabra in a still, a couple such stills will be upcoming once we reach Scene 229, one of which is very rare...
[nods]
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 102/Scene 220 - Alex: 'We'll go up there, Quentin. You and Tracy stay as far away from that tower room as possible.'
- check out -
And wrapping up Scene 220:
- this post...
And as we'll see in the next post, the mystery revolving around Scenes 218 - 220 seems like it might have been solved...
[nods]
-
... when it comes to the next entire sequence of Scenes 218 though 220, it's apparently a mystery as to whether or not they were ever shot. Darren Gross wrote on his NoDS Restoration Web site that not only wasn't the sequence part of the recovered footage, but even though the scenes were "blocked in the director's notes, it is unknown whether this sequence was actually shot. Not a single still photo from this sequence has yet turned up." ...
That was then, but almost a month later new info was posted:
A few notes I can share... scenes 218-220 were indeed shot- they're included in a daily shooting report I have. ...
And what's also interesting is that the call sheet that I came across earlier this year and have been referencing also lists Scenes 219-220. Apparently they were also shot on April 5th:
(http://www.dsboards.com/NoDSAnniQuoteImages/Call.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Call.jpg) for a 880X910 version)
Of course, just because a scene is listed on a call sheet and/or a shooting schedule doesn't 100% mean it would be shot because there are cases of that with regard to the shooting of hoDS where scenes listed never were actually shot. But in this case there is paperwork confirming they were shot...
[nods]
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 103/Scene 222 - Tracy: 'There's nothing in here.'
- check out -
Moving on to start the next sequence as scripted:
- this post for Scenes 221 -222 as scripted - and check out -
Scene 221 does indeed begin with Quentin and Tracy descending into the basement and coming toward camera. But before we actually see them, we see their shadows -
- this post for how they actually play in the film with much added dialogue and changes to the descriptions and directions...
[nods]
-
Stills associated with Scene 221:
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement1.jpg) for a 840X552 version)
The Lobby Card that I shared back in Reply #78:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_7.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_7.jpg) for a 930X738 version)
...
The still version -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement2.jpg) for a 700X476 version)
- a majorly cropped version of which appears on the cover of The DS Movie Book.
And an alternate version -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement3.jpg) for a 700X476 version)
- that so far as I know has never been officially published anywhere.
And there's also various versions of this -
... the actual still of that photo, which I'd completely forgotten I owned, so here's a scan of that because it's the best version of the still:
(http://www.dsboards.com/NoDSAnniQuoteImages/dead-serious_a.jpg)
- which I've also shared in Reply #22...
[nods]
-
A rare still associated with Scene 222:
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement4.jpg) for a 700X612 version)
It's interesting to me that there are several stills of Quentin and Tracy from this sequence down in the basement, and there's this one of Tracy solo, but I've never come across any of Quentin solo. Though, of course, that's not to say they don't exist...
[nods]
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 103/Scene 223 - Quentin: 'Tracy!'
- check out -
Moving on to start Scene 223 as scripted:
- this post to learn about the differences in the dialogue, the descriptions and the directions...
[nods]
-
Digressing from the current scene and speaking of Lobby Cards (which we were in Reply #692), I suspect all DS fans and certainly all NoDS fans are aware of the 11X14 sets of Lobby Cards for NoDS (and hoDS), but I wonder if all those fans realize that there's also an 8X10 set for each film with the same photos? Although, the photos are somewhat cropped for the 8X10 sets.
The 8X10 sets were displayed in theater lobbys that didn't accommodate the 11X14 sets. And here are just a few so that you can see a comparison between sets:
11X14 #3
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_3.jpg) for a 930X738 version)
8X10 #3:
(http://www.dsboards.com/NoDSAnniQuoteImages/night of dark shadows photocard3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/night of dark shadows photocard3.jpg) for a 930X737 version)
11X14 #5
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_5.jpg) for a 930X738 version)
...
8X10 #5:
(http://www.dsboards.com/NoDSAnniQuoteImages/night of dark shadows photocard5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/night of dark shadows photocard5.jpg) for a 930X737 version)
11X14 #6
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_6.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_6.jpg) for a 930X738 version)
...
8X10 #6:
(http://www.dsboards.com/NoDSAnniQuoteImages/night of dark shadows photocard6.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/night of dark shadows photocard6.jpg) for a 930X737 version)
However, what fewer fans may realize is that there's also an 8X10 B&W set of totally different stills. That set will be coming up in my next post...
-
A first grouping of the B&W cards -
(http://www.dsboards.com/NoDSAnniQuoteImages/night-dark-shadows-lot-photocards_1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/night-dark-shadows-lot-photocards_1.jpg) for a 1344X1076 version)
- and a second grouping -
(http://www.dsboards.com/NoDSAnniQuoteImages/night-dark-shadows-lot-photocards_2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/night-dark-shadows-lot-photocards_2.jpg) for a 1344X1076 version)
- along with these two -
(http://www.dsboards.com/NoDSAnniQuoteImages/night-dark-shadows-lot-photocard_3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/night-dark-shadows-lot-photocard_3.jpg) for a 555X700 version) |
(http://www.dsboards.com/NoDSAnniQuoteImages/night-dark-shadows-lot-photocard_4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/night-dark-shadows-lot-photocard_4.jpg) for a 700X463 version) |
- that were all posted at one time for sale on eBay but have since been archived on worthpoint.com. I held off on sharing these until the slideshow had passed all the scenes depicted...
[nods]
-
I forgot to mention yesterday, and you may have noticed on your own that all the stills I posted yesterday are numbered:
----------------------
| || |
| #05 || #42 |
| || |
----------------------
| || |
| #34 || #16 |
| || |
----------------------
----------------------
| || |
| #36 || #32 |
| || |
----------------------
| || |
| #17 || #07 |
| || |
----------------------
-----------
| |-----------
| || |
| #43 || #18 |
| || |
----------------------
I have a theory that the number reflects the order in which a still was taken, and it may also reflect the order in which the corresponding scene was shot. The second part of that theory stems from the facts that 1) the still with #1 is this one:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/1-fun-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/1-fun-2.jpg) for a 672X543 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/1-fun-2a.jpg)
and as we know from the "Film Begins With A Funeral" article in the NoDS Pressbook, the funeral was indeed the first sequence that was shot, plus 2) other photos that were published during early production also have low numbers. (Unfortunately, though, not every print of every still is numbered. In fact, I'd say that around half of the stills that I own are not numbered. Though with some of them I have come across a numbered print online...)
[nods]
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 104/Scene 225 - Quentin: 'She's in there! We've got to get her out!'
- check out -
Picking up Scene 223 as scripted, dealing with Scene 224 as scripted, and moving into the start of Scene 225:
- this post - and check out -
Getting back to the parts of the script that were dealt with in reply #547, when Quentin reaches the door, he actually says -
- this post to learn about all the major differences in Scenes 223, 224 & 225...
(And ignore the references to "yesterday's and today's quotes" at the end of the second linked to post because this time around those are today's and tomorrow's quotes.)
[nods]
-
Just for anyone who may not be following the other linked posts and therefore may not come across these, I want to share this series of posts:
And as an aside, once again I never noticed something until I was getting captures for the slideshow. Can you spot it in this post? If not here's a capture from an upcoming moment from Scene 223 that should help:
(http://www.dsboards.com/NoDSquoteimages/1130NoDS_b.jpg)
The only thing that seems noteworthy to me is a continuity problem with candle flames. Or, possibly, the candelabra switching hands. (But I'd have to watch the scenes play out to determine if that's what it is.)
The only thing that seems noteworthy to me is a continuity problem with candle flames.
That's pretty much it. As we can see in the following capture, when Quentin calls out -
(http://www.dsboards.com/NoDSquoteimages/1130ds91_0.jpg)
"Tracy!"
in Scene 223, his breath blows out the candle nearest to him - but in the same scene when he shows up after having rushed to the door to the room where Tracy is trapped, all the candles on his candelabra are once again lit -
(http://www.dsboards.com/NoDSquoteimages/1130NoDS_b.jpg)
- so I guess we're supposed to believe that as Quentin was rushing to the door, he was also relighting the candle!! [b003]
It's amazing how much one can miss when one is really into a scene and not paying attention to the little details...
[nods]
-
A still associated with Scene 224:
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement5.jpg) for a 560X700 version)
The Famous Monsters of Filmland top caption reads:
"SCREAM,
TRACY,
SCREAM!"
The bottom caption reads: "What she (Kate Jackson) sees is enough to drive
her crazy!
The Daytime TV caption reads: "Tracy screams as she sees the spirit of
Angelique approach her in kill attempt.
A cropped and horizontally flipped version appears as part of Famous Monsters of Filmlands' NoDS article, and a cropped to just a head shot version appears as part of Daytime TV's NoDS article, the article I've already shared several photos from (and there are two rare ones to still come...).
And an extremely rare version of Tracy screaming appears as part of -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement6.jpg)
- the Herald featured in the NoDS PressBook...
[nods]
-
If you want to learn about or refresh your memory concerning the background of Tuesday's quote -
Page 105/Scene 227 - Claire: 'Oh, my God, it was the same thing!'
- and/or yesterday's quote -
Page 105/Scene 227 - Tracy: 'It was so horrible...she was here!...she was here!'
- check out -
Picking up Scene 225 where reply #550 left off and repeating a bit:
- this post, and to also learn about notes Grayson made in her script regarding Scenes 225 & 227 - and Darren Gross confirmed in this post -
Happily all the above mentioned material (not the Grayson notes) is in the director's cut, ie: Alex and Claire running to help, Claire's line, Alex and Quentin interaction, etc.
[nods]
-
When I'd put together the graphic for Tuesday -
(http://www.dsboards.com/NoDSquoteimages/1202ds91_0.jpg)
- I'd used a crop of Claire from this rare still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement7.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement7.jpg) for a 1000X780 version)
- which so far as I'm aware has never been published anywhere...
(Note that David Selby is wearing his coat again - and Nancy Barrett is also wearing one...
[nods]
-
And more rare material from Scene 227, starting with this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement8.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement8.jpg) for a 1000X772 version)
DS Movie Book caption: "Night: Deleted basement scene with
Quentin (David Selby), Tracy (Kate
Jackson) and Claire (Nancy Barrett)."
- which so far as I'm aware has only been published in a tiny version in The DS Movie Book (and it along with yesterday's are more of the ones that I bought at Ohlinger's back in 1996) - and this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement9.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement9.jpg) for a 874X650 version)
Daytime TV caption reads: "Quentin and Claire (Nancy Barrett) try to
comfort Tracy after Angelique's attempt
to kill her. Claire is wed to Alex (John Karlen)."
- which, as you've probably deduced from the caption, appeared as part of Daytime TV's NoDS article - and this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement10.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement10.jpg) for a 700X562 version)
- which appeared as part of the Fest's 2012 NY Weekend Program book.
(Note that David Selby and Nancy Barrett are wearing coats in the middle one...)
[nods]
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 105/Scene 228 - Quentin: 'The brick! That was the sound! The sound of brick being laid.'
- and/or today's quote -
Page 106/Scene 229 - Quentin: 'So this is why Laura was laughing at the funeral. They were burying an empty coffin.'
- check out -
Moving on to the next two scenes:
- this post, and to also read a lament on why, oh, why didn't DC include Scene 229 in the 129 minute version of the film(?!), and to learn how DC added a line to the end of today's quote even though he never included the scene he added it to(::))...
[nods]
-
And when I'd put together the graphic for Thursday -
(http://www.dsboards.com/NoDSquoteimages/1204ds91_0.jpg)
- I'd used a crop of this rare still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement11.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement11.jpg) for a 700X541 version)
DS Movie Book caption: "Night: Alex (John Karlen) and Quentin
(David Selby) break into Charles' basement
tomb in deleted scene."
- from the lamentedly missing Scene 229 and which so far as I'm aware has only been published in a tiny version in The DS Movie Book...
[nods]
-
And when I'd put together the graphic for Friday -
(http://www.dsboards.com/NoDSquoteimages/1205ds91_0.jpg)
- I'd used a rare print of a not so rare still (though I eliminated Quentin's legs) -
| (http://www.dsboards.com/NoDSquoteimages/Que_Ske_long.jpg) |
(http://www.dsboards.com/NoDSquoteimages/Que_Cha.jpg) |
- a still that has been published so many times (in its print form on the right) that I'm not even going to list them, though here are a few captions:
TV Dawn to Dusk's CATCHING UP WITH...The Dark Shadows Cast caption reads: "Quentin (David Selby) finds the
skeleton of his former self, Charles Collins."
Original Motion Picture Sountracks booklet's caption reads: "Night Of Dark Shadows:
David Selby as Quentin Collins
in a deleted scene."
The Famous Monsters of Filmland caption reads: "Wouldn't you be scared out of your skin if you came upon your own skeleton from a previous life? Well,
that's the predicament Quentin is in as he discovers the mortal remains of himself when, in a past
existence, he was known as Charles Collins."
[nods]
-
And more rare material from Scene 229, starting with this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement12.jpg)
- which appears as part of the Herald featured in the NoDS PressBook. I've always assumed that still is from Scene 229 and not Scenes 221 - 223, but we all know what they say about assuming. And if it is from the latter scenes, obviously I can't really say:
It's interesting to me that there are several stills of Quentin and Tracy from this sequence down in the basement, and there's this one of Tracy solo, but I've never come across any of Quentin solo.
But until such time as I discover otherwise, I'm going to continue to assume it comes from Scene 229. Though if I ever come across a numbered print of that still, which is something I've never seen, that could be a good clue as to which scene it may be from...
And then there's this behind the scenes still that Darren Gross shared on his NoDS Restoration Web site, and once again I'm sharing the caption as Darren wrote it -
(http://www.dsboards.com/NoDSAnniQuoteImages/NIGHT-SKELETON.JPG)
Cinematographer Richard Shore, A.S.C. takes a light reading for the scene
where Quentin and Alex uncover Charles Collins' skeleton lying atop
Angelique's pine-wood coffin. (Photo courtesy Richard Shore.)
- and a tiny version of a different version appears in The DS Movie Book -
(http://www.dsboards.com/NoDSAnniQuoteImages/NIGHT-SKELETON2.jpg)
Night: Richard Shore positions skeleton.
[nods]
-
If you want to learn about or refresh your memory concerning the background of yesterday's first quote -
Page 106/Scene 230 - Quentin: 'I'm not sure I know what to do.'
- and/or yesterday's second quote -
Page 106/Scene 230 - Alex: 'Just do as we told you. If Angelique appears for anyone, it'll be you.'
- check out -
And now we begin to set up the seance sequence:
- this post...
[nods]
-
And when I'd put together the first graphic that appeared on Saturday -
(http://www.dsboards.com/NoDSquoteimages/1206ds91_0.jpg)
- I'd used a crop of this fairly rare still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Seance1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Seance1.jpg) for a 700X560 version)
- a small version of which appears on page 181 of the DS Return To Collinwood book...
(Sadly I don't have any stills of John Karlen from the seance. If any exist, I've never come across them. That's why he wasn't featured for Saturday's second quote. But as will be seen in some upcoming graphics, I was able to feature him when it came to those by getting a screen grab from the seance footage in one of the NoDS trailers...)
[nods]
-
The 1989 Collinsport Players skit, The Night Before, was structured around the scenes that were cut from the film. Unfortunately, while most fans were aware that a lot of stuff had been cut, very few had access to an unedited script. So, only a handful of the audience knew what came from the original script and what had just been made up. The Gregory scene was done, rather over the top but the audience ate it up. The seance scene didn't go over as well. The audience for the skits is expecting to laugh but the scene just doesn't come off as funny. I played Alex and, during the little hissy fit between Quentin and Alex, I adlibbed something that got quite a reaction from the crowd. "You wanna ask the spirits if there's an Emmy Ward in your future?"
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 106/Scene 230 - Quentin: 'Is there anyone in this house who wishes to speak with us?...who has anything to say to us? We are here to listen to you...the psychic door is open for you to enter.'
- check out -
Picking up Scene 230 where we left off and dealing with the next scene:
- this post...
[nods]
-
And the graphic that appeared yesterday is actually a new one - originally, as I alluded to back at the end of June, I'd cropped a still that is actually associated with Scene 220 because I wasn't sure of that fact and used it simply because there's a candle in it -
(http://www.dsboards.com/NoDSquoteimages/1207ds91_0.jpg)
- but this time around I made this new graphic -
(http://www.dsboards.com/NoDSAnniQuoteImages/0710NoDS_0.jpg)
- with this pretty rare still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Seance2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Seance2.jpg) for a 700X1042 version)
- which I've gotten a copy of in only the last year, and which appears on the back cover of the movies soundtrack CD -
(http://www.dsboards.com/NoDSAnniQuoteImages/Soundtrack.jpg)
- along with other cropped to head shots versions of some other stills that will look familiar because I've shared the original versions...
[nods]
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 107/Scene 232 - Quentin (O.S.): 'We want to help whoever is in this house. That is all...we know you are troubled...'
- check out -
Picking up the seance sequence where we left off:
- this post...
[nods]
-
I forgot to mention that yesterday's graphic, which was new, was a bit of a cheat. Because the script says -
232 INT - SECOND FLOOR - NIGHT 232
as CAMERA CONTINUES TO TRUCK DOWN THE CORRIDOR
toward the gallery, the SOUND OF QUENTIN'S VOICE
can be heard.
|
- I wanted to find at least a shot at night of the Gallery entrance from the corridor. Unfortunately, there aren't any such shots in NoDS as the film currently stands. However, there is one in hoDS (when Todd comes out of his room to make his escape to go to Carolyn), so I used it -
(http://www.dsboards.com/NoDSAnniQuoteImages/0711NoDS_0.jpg)
- rather than repeating the graphic I normally use when -
(http://www.dsboards.com/NoDSquoteimages/1208ds91_0.jpg)
- I don't have a still or can't finagle something from a part of the scene that actually is in the film. That graphic had already popped up for the seance as the second one on Saturday and it's going to show up again tomorrow, so I wanted to see if I could figure out something else so that it wouldn't show up three times in this same sequence...
[nods]
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 107/Scene 233 - Quentin: 'I know you're here, Angelique. I know you're with us. Now you must listen. You must leave us alone. We know you were not a witch, that your death was unjust. We have found your bodies...yours and Charles'. We have buried them in holy ground.'
- check out -
Moving on to the next scene in the seance sequence:
- this post and to see a question I pose because to me this quote is quite possibly the most confusing bit of dialogue in the film...
[nods]
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 107/Scene 233 - Angelique's voice: 'Come with me.'
- check out -
Picking up Scene 233 where we left off:
- this post and to see something that DC added to his script...
[nods]
-
A seance related article from the film's Press Packet, not to be confused with its Pressbook.
(http://www.dsboards.com/NoDSAnniQuoteImages/Seance3.jpg)
And that particular version was obviously released early on while the film was still Curse of Dark Shadows. And interestingly enough some of the articles for the film used passages from that article, particularly how unexplained raps ruined several takes (check out the NoDS article from Famous Monsters of Filmland attached in Reply #132)...
[nods]
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 108/Scene 233 - Quentin (ignoring him): 'I am not Charles Collins. You do not love me. Let go of me. Your spirit is free to leave this house, never to return here where you have had such unhappiness. You and Charles must go...'
- check out -
Continuing along with Scene 233 after Angelique speaks to Quentin (with some of DC's additions added):
- this post and to learn about a notation DC made in his script...
[nods]
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 108/Scene 233 - Quentin: 'Join each other in a world where there is no death or hatred. Go with my love. Go forever -- go -- go -- go.'
- check out -
Continuing along with Scene 233:
- this post...
[nods]
-
If you want to learn about or refresh your memory concerning the background of today's quote -
Page 108/Scene 233 - Carlotta (O.S.): 'No! You must not send her away!'
- check out -
Continuing Scene 233:
- this post and to learn about how, based on a clip in the NoDS trailers, things play differently than scripted, and about note Grayson has in her script...
[nods]
-
When I'd put together today's graphic -
(http://www.dsboards.com/NoDSquoteimages/1213ds91_0.jpg)
- I'm sure it comes as no surprise that I used a screen capture from this -
- versions of which appear in two of the NoDS trailers.
And here's a version of the clip slowed down to 25% of the speed -
- to get a better look at it...
[nods]
-
When I'd put together today's graphic -
(http://www.dsboards.com/NoDSquoteimages/1214ds91_0.jpg)
- I used a crop of this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Balcony1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Balcony1.jpg) for a 700X557 version)
- rare still...
[nods]
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 108/Scene 234 - Tracy (O.S.): 'Quentin!'
- and/or today's second quote -
Page 108/Scene 234 - Carlotta (still hysterical): 'Get out of this house! Take him with you if you must, but get out!'
- check out -
Continuing Scene 234:
- this post and to learn about another note in Grayson's script and also how she commits sacrilege...
And Darren confirmed this:
And if Alex does indeed jump to Quentin's side in the 129 minute version, it will be interesting because for some reason I've only seen stills of Claire and Tracy at Quentin's side.
You are correct. As filmed, Claire and Tracy jump to Quentin's aide
[nods]
-
And when I'd put together this past graphic -
(http://www.dsboards.com/NoDSquoteimages/1211ds91_0.jpg)
- today's graphic -
(http://www.dsboards.com/NoDSquoteimages/1215ds91_0.jpg)
- and an upcoming graphic -
(http://www.dsboards.com/NoDSquoteimages/1216ds91_0.jpg)
- I'm sure it comes as no surprise that I used screen captures from this -
- which appear in one of the NoDS trailers.
And here's a version of the clip slowed down to 25% of the speed -
- to get a better look at it...
[nods]
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 109/Scene 234 - Alex (calling to her): 'Let go of her, Carlotta! You have no right to hold her back.'
- and/or today's second quote -
Page 109/Scene 234 - Carlotta: 'No! -- no!'
- check out -
Picking up Scene 234 where we left off:
- this post - and Grayson's script has more notes, but I held off getting into them until tomorrow's quotes...
And interestingly, when I brought up that I had to use a screen capture from the seance clip to get an image of Alex because I've never seen a still of Alex from the seance, Darren didn't mention that any stills of him exist from the sequence. Though of course, that doesn't necessarily mean there aren't any - it could simply be that Darren didn't see my remark. After all, back at that time he was responding to several things, both old and new, that were written in the topic...
[nods]
-
When I'd put together yesterday's second graphic -
(http://www.dsboards.com/NoDSquoteimages/1216ds91_1.jpg)
- I used a crop of this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Graysoninterruptsseance.JPG)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Graysoninterruptsseance.JPG) for a 1435X932 version)
NoDS Restoration Web site caption: "(Above) Carlotta interrupts the seance in the
restored climax of NIGHT OF DARK
SHADOWS, a moody gothic set-piece unseen
by audiences until the future release of the
restoration."
Video Watchdog caption: "Grayson Hall interrupts a seance in newly recovered footage from NIGHT OF DARK SHADOWS (1971).
- rare still, which Darren shared on his NoDS Restoration Web site, and which appeared as part of an article Darren wrote for Video Watchdog No. 60 from June of 2000...
It's both fun and depressing to read the VW article because reading of the recovery of the missing NoDS footage brings back how exciting it was, but at the same time there was actually optimism back then that a restored version of NoDS could be released as soon as the film's 30th Anniversary in 2001...
[nods]
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 109/Scene 234 - Alex: 'You must let her go!'
- and/or today's second quote -
Page 109/Scene 234 - Carlotta: 'Never! I will never let her go!'
- check out -
Wrapping up Scene 234, beginning with today's first quote -
- this post and to learn what Grayson wrote in her script...
[nods]
-
And before we move on to the next installment in the slideshow, we need to deal with a few scenes in the script:
[nods]
-
Oops - I should have posted this yesterday -
(http://www.dsboards.com/NoDSAnniQuoteImages/Balcony2.jpg)
- and as I'm sure you'll recall, it was published as part of Flip's Curse of Dark Shadows article - and that's the only place I've ever seen it...
[nods]
-
If you want to learn about or refresh your memory concerning the background of today's first quote -
Page 109/Scene 238 - Carlotta: 'Stay away from me! Don't touch me!'
- and/or today's second quote -
Page 110/Scene 238 - Alex: 'We don't want to hurt you, Carlotta.'
- check out -
Moving on to the current scene:
- this post and to learn about the differences in the dialogue and the descriptions and the directions...
[nods]
-
Two of several stills associated with Scene 238:
The Lobby Card that I shared back in Reply #78:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_4.jpg) for a 930X738 version)
...
And an alternate B&W version -
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1.jpg) for a 700X540 version)
More to come...
[nods]
-
Two more stills associated with Scene 238:
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2.jpg) for a 700X462 version)
And another version -
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet3.jpg)
Daytime TV caption: "Beliving that Angelique's spirit has been
exorcised, Carlotta prepares to take her own life."
(Though that's not entirely true because, as we know, Carlotta sees a beckoning Angelique on the ground below the tower.)
- which was published as part of the Daytime TV article I've been sharing several rare shots from, and which is the only place I've ever seen that shot of Carlotta. Also note, as I mentioned previously, the material from that article is credited to MGM, New York. It's quite interesting how so much of what they shared with Daytime TV doesn't seem to have been shared anywhere else...
More to come...
[nods]
-
I'm sure that I've mentioned this before but some of my early DS pictures came from MGM. They had a branch of the still department in New York and, though it wasn't common knowledge, you could purchase stills from them. You just needed to give them the name of the actor (if you wanted a headshot) or a brief description of a scene and they would come up with something. The stills cost $1.25 apiece, which was rather high by 1970's prices. But the stills were very good quality and they are still part of my collection. Unfortunately, MGM shut down its New York offices around 1972. I never tried ordering anything from their office in California.
-
If you want to learn about or refresh your memory concerning the background of yesterday's quote -
Page 110/Scene 238 - Carlotta (as she looks over the side): 'She needs me.'
- check out -
Wrapping up Scene 238 and moving beyond, beginning with today's quote -
- this post and to learn about the differences in the dialogue, descriptions and directions, and Grayson has yet another note in her script...
[nods]
-
A still associated with Scene 240 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet4.jpg)
- that was shared as part of the Herald featured in the NoDS Pressbook.
And here are two behind the scenes stills - first this one of John Karlen, DC and crew members -
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet5.jpg) for a 700X532 version)
- a cropped version of which appears on page 141 of the DS Almanac 30 Anniversary Tribute - and there's this one of DC directing -
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet6.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet6.jpg) for a 962X600 version)
- Grayson Hall, which so far as I can recall has never been officially published anywhere...
I hope none of these people, especially Grayson, were afraid of heights. But then as we know a lot of the production of NoDS forced people to face their fears...
[nods]
-
If you want to learn about or refresh your memory concerning the background of yesterday's first quote -
Page 110/Scene 241 - Tracy: 'Thank God, Quentin, thank God.'
- and/or yesterday's second quote -
Page 110/Scene 241 - Quentin: 'It's over, Tracy. It's over!'
- check out -
Dealing with the current scene:
- this post and to learn about the differences in the dialogue, the descriptions and the directions, including how in the film dialogue was switched between characters, but more on that later ...
[nods]
-
The first time I made graphics for the above quotes they were -
(http://www.dsboards.com/NoDSquoteimages/1220ds91_0.jpg)
Page 110/Scene 241 - Tracy: 'Thank God, Quentin,
thank God.'
(http://www.dsboards.com/NoDSquoteimages/1220ds91_1.jpg)
Page 110/Scene 241 - Quentin: 'It's over, Tracy. It's over!'
- those two, with the top graphic using a screen capture from this -
- which appear in one of the NoDS TV spots.
And here's a version of the clip slowed down to 25% of the speed -
- to get a better look at it...
(It's quite odd that the frame from the shot of the railroad bridge shows up at the beginning of the slowed down version yet it doesn't display at the start of the same clip at its normal speed or when I run the clip frame by frame through my video editing software. And because it doesn't show up in the software, I can't remove it. But hey, not everything can be perfect. [ghost_nowink])
[nods]
-
And last time around I said that if I'd known about the dialogue change, I would have used different graphics, namely these -
(http://www.dsboards.com/NoDSquoteimages/1220ds91_0a.jpg)
Page 110/Scene 241 - Tracy: 'Thank God, Quentin,
thank God.'
(http://www.dsboards.com/NoDSquoteimages/1220ds91_1a.jpg)
Page 110/Scene 241 - Quentin: 'It's over, Tracy. It's over!'
- with the second one using a crop of this still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Seance4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Seance4.jpg) for a 700X664 version)
Movie Soundtracks booklet caption: "Nancy Barrett as Claire Jenkins, David Selby as Quentin Collins
and Kate Jackson as Tracy Collins in the deleted seance scene."
- which also happens to appear on page 16 of the Movie Soundtracks booklet...
[nods]
-
But this time around, with knowledge that Quentin's "It's over, Tracy. It's over!" was actually given to Claire on the day of shooting (minus the reference to Tracy), I decided to change the graphics again.
The first stayed nearly the same, but I updated it with a better scan -
(http://www.dsboards.com/NoDSAnniQuoteImages/0723NoDS_0.jpg)
- by using a crop of this version of the still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Seance5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Seance5.jpg) for a 906X685 version)
Daytime TV caption: "Tracy (Kate Jackson) cradles husband
Quentin (David Selby) during seance to
rid him of the spirit of Angelique."
TV Radio Show caption: "David Selby and Kate Jackson had the lead
roles in Night of Dark Shadows as newlyweds."
- versions of which, as indicated by the captions, were published in Daytime TV and TV Radio Show, and also as the back inside cover of the 30th Anniversary '96 LA Fest.
However, the second got a whole new image -
(http://www.dsboards.com/NoDSAnniQuoteImages/0723NoDS_1.jpg)
- by using a crop of this still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Seance6.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Seance6.jpg) for a 897X700 version)
TV Dawn to Dusk's caption: "Quentin
collapses in the presence of Angelique's spirit as
Claire (Nancy Barrett) and Tracey (Kate Jackson) sup-
port him."
Famous Monsters of Filmland caption: "Three Creepy People
looking for a light in NIGHT OF DARK SHADOWS."
DS Movie Book caption: "Night of Dark Shadows: Nancy Barrett, David Selby and Kate Jackson in the deleted seance scene."
- versions of which, as indicated by the captions, were published in TV Dawn to Dusk and an issue different from the issue of Famous Monsters of Filmland that published the full NoDS article, and also happens to appear on page 12 as part of Kate Jackson's essay in the DS Movie Book...
[nods]
-
Oops - I forgot that with regard to that second still, I'd wanted to quote this portion of this post from 2016 about the NoDS slideshow based on the Fest's 1999 Movie Calendar:
...
I also forgot to mention that for the original NoDS slideshow, I used a different graphic for the following lines:
(http://www.dsboards.com/moviesquoteimages/1224NoDS_0.jpg)
NoDS: Scene #234 - Alex: 'Let go of her, Carlotta! You have no right
to hold her back.'
I figured it was just as valid to show Claire and Tracy reacting to Alex and Carlotta as it was showing Alex because at least in part it's that way in the film as well. Plus, as I said, I don't have any stills of Alex...
-
And two more from the seance:
First up an alternate shot of Quentin and Tracy -
(http://www.dsboards.com/NoDSAnniQuoteImages/Seance7.jpg)
- that I've only seen as part of Flip's Curse of Dark Shadows article.
And a shot of Claire that Darren had shared on his Restoration Web site -
(http://www.dsboards.com/NoDSAnniQuoteImages/Seance8.jpg)
[nods]
-
As I have with other GIFs, I've made videos of the GIFs I'd originally made so as to give some idea of how the seance and surrounding scenes were intended to play and how they do play in the 129 minute version of the film.
Part 1:
Part 2:
I thought about redoing them so that they had sound, which wasn't possible with GIFs, but the zoom in clip of Quentin waking has part of a voiceover on it, so that wouldn't have worked very well...
[nods]
-
Revisiting how the dropping/rearranging of scenes definitely gives some wrong impressions in both shorter versions of the film;
I've been dancing around the subject for days, but thanks to James Aubrey's insanity, much of what we've been dealing with lately is either jumbled around in the film as it currently stands, or it's completely missing.
Case in point, the only part of Scene 227 that currently appears in the film is Tracy on the floor after the white mist has disappeared, which is then followed by an obvious cut to Quentin kneeling down to revive Tracy and cradle her as she sobs. And what's worse is those two bits of Scene 227 appear after Scenes 237 through 240, which are currently cut to right after Quentin begs Tracy to answer him in Scene 225. And all that means that in the timeline of the current version of the film:
- Scene 225: Quentin begs Tracy to answer him because he can hear her screams as Angelique attacks her in the basement room that Angelique has trapped her.
- Scene 237: Alex searches the tower, sees the parapet door is open.
- Scenes 238-240: Alex finds Carlotta, but she jumps to her death at Angelique's urging.
- Scene 227: Quentin reaches Tracy.
And the problems with that rearrangement is that:
And something that I think I didn't discover until today - or at least I didn't remember it until today when I watched the DVD/Blu-ray version of the sequence.
(I've edited out most of the Alex/Carlotta/Angelique sequence.)
First, the VHS version:
Then the Blu-Ray version:
Though I shouldn't be surprised that each version has something that the other doesn't, particularly because Darren has complained about how the DVD/Blu-ray version is missing much of its foley (the VHS has sounds of Quentin's movement as he enters the room, the DVD/Blu-ray doesn't).
And while others have complained that the holdover music cues at the beginnings of some scenes shouldn't be there in the DVD/Blu-ray version, and I supposed technically they shouldn't, I enjoy the fact that they are because it lets us know how things play in the 129 minute version. But truthfully, who knows if there will ever be a version of NoDS in which everything that should be in place is in place regardless of which length of the film it is? As it is there are already three different versions out there (the VHS, the DVD/Blu-ray and the Amazon Prime/iTunes) none of which is completely correct...
[nods]
-
If you want to learn about or refresh your memory concerning the background of Sunday's quote -
Page 110/Scene 242 - Quentin: 'O.K. Everything's taken care of. As of now, all this grandeur is for sale.'
- check out -
Setting up the current scene:
- this post and to learn about the differences in the dialogue, the descriptions and the directions...
[nods]
-
If you want to learn about or refresh your memory concerning the background of Monday's first quote -
Page 111/Scene 242 - Claire: 'Don't look so sad. Look at all the money you'll have.'
- and/or Monday's second quote -
Page 111/Scene 242 - Quentin: 'I'm not going to count on it.'
- check out -
Not too much to say about today's quotes, the first one being -
- this post and to learn about the differences in the dialogue...
[nods]
-
Not completely day-for-night - more like day-for-pre-sunrise:
Scenes 238 through 240 - part 1:
| (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00068.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00068.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00068.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00068.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00093.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00093.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00093.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00093.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00197.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00197.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00197.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00197.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00297.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00298.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00297.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00298.jpg) for a 620X349 version |
[nods]
-
Scenes 238 through 240 - part 2:
| (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00377.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00378.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00377.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00378.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00400.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00401.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00400.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00401.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00442.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00443.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00442.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00443.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00487.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00487.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00487.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00487.jpg) for a 620X349 version |
[nods]
-
Scenes 238 through 240 - part 3:
| (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00517.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00517.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00517.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00517.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00567.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00567.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00567.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00567.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00572.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00572.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00572.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00572.jpg) for a 620X349 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00633.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00634.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1_frame_00633.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2_frame_00634.jpg) for a 620X349 version |
Hmmm - should the shadow of the tower be that pronounced when it's not quite dawn yet? I have to confess I'm not up at that hour, much less checking shadows. But then, I suppose we're not supposed to even ask that question. [ghost_nowink]
[nods]
-
If you want to learn about or refresh your memory concerning the background of Tuesday's quote -
Page 111/Scene 242 - Alex: 'The reservations at the Cape are all set. I told them we'd be there at seven.'
- check out -
Moving along with Scene 242:
- this post and to learn about the differences in the dialogue...
[nods]
-
If you want to learn about or refresh your memory concerning the background of Wednesday's first quote -
Page 111/Scene 242 - Quentin: 'Come on, Alex, it's going to take more than three hours.'
- and/or Wednesday's second quote -
Page 111/Scene 242 - Alex: 'Not with me leading the way --'
- check out -
And moving along with more of Scene 242, beginning with today's first quote -
- this post and to learn about the differences in the dialogue...
[nods]
-
The interesting thing about the still associated with Scene 242 is that the printed version seems to show less than versions published in books and magazines and that's the opposite of the norm.
Here's a small scan of my printed version of the still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Exit.jpg)
- but here's a version which shows more at both the top and bottom and which looks like it was published in a book -
(http://www.dsboards.com/NoDSAnniQuoteImages/Exit_a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Exit_a.jpg) for a 689X865 version)
- (I have no idea which book because I came across the scan on the Internet and it wasn't credited to anything and I've never come across the book on my own) - and here's a version that was published in the Nov. '71 issue of 16 Magazine as part of its Sneek Peek at NIGHT OF DARK SHADOWS! article -
(http://www.dsboards.com/NoDSAnniQuoteImages/Exit_b.jpg)
- and while it's cropped at the top, it shows more on the left side and much more at the bottom, including that cable, which I suspect is why the printed still cuts off where it does at the bottom so that we don't see it...
[nods]
-
Thank heavens for his final scenes in the film Quentin is wearing one of his favorite denim shirts -
(http://www.dsboards.com/NoDSAnniQuoteImages/0728NoDS_0.jpg)
- after all, when it comes to shirts we wouldn't want our last moments with him marred by him wearing the one he wears in the deleted Gallery scene in which the portraits of Angelique are discussed and in the dining room sequence -
(http://www.dsboards.com/NoDSAnniQuoteImages/1215NoDS_0.jpg)
- or the shirt he wears in the deleted picnic sequence -
(http://www.dsboards.com/NoDSAnniQuoteImages/Picnic_2.jpg)
- as well as when he informs Carlotta he wants his painting materials moved from the Tower Room to the Gallery -
(http://www.dsboards.com/NoDSAnniQuoteImages/0213NoDS_0.jpg)
- or even the turtleneck he wears when he first arrives at Collinwood or the one he wears when he first explores the estate and ends up at the Jenkins' cottage. Heaven Forbid!!
[nods]
-
But Quentin isn't the only one who would seem to have a favorite type of top, and not only a favorite type, but a specific top - and that would be Claire. Apparently she loves her cranberry print blouse because she wears it when we first see her in her car when she spots Quentin at the cemetery -
(http://www.dsboards.com/NoDSAnniQuoteImages/Cranberry_1.jpg)
- and, of course, subsequently in the scene at the cottage -
(http://www.dsboards.com/NoDSAnniQuoteImages/Cranberry_2.jpg)
- and after her return from her and Alex' trip to New York -
(http://www.dsboards.com/NoDSAnniQuoteImages/Cranberry_3.jpg)
- and now in Scene 242 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Cranberry_4.jpg)
- in which it's once again paired with the same skirt - apparently that's her travelling ensemble, whereas paired with the slacks is just a casual day driving about and at home. [ghost_wink]
One has to wonder if she might have worn that same blouse when she went with Tracy to Gregory's boutique? But thanks to DC's decision not to shoot any of that, we'll never know...
[nods]
-
If you want to learn about or refresh your memory concerning the background of Thursday's first quote -
Page 111/Scene 242 - Alex: 'You know, I didn't tell you how really worried I was.'
- and/or Thursday's second quote -
Page 111/Scene 242 - Quentin: 'You didn't have to.'
- check out -
And moving along with yet more of Scene 242, as scripted, or not:
- this post and to learn about the differences in the dialogue, including unscripted additions, and the differences in descriptions and the directions...
[nods]
-
If you want to learn about or refresh your memory concerning the background of Friday's first quote -
Page 111/Scene 242 - Alex: 'No, no. That's not what I mean. I was afraid the exorcism didn't work.'
- and/or Friday's second quote -
Page 111/Scene 242 - Quentin: 'Why?'
- and/or Saturday's quote -
Page 111/Scene 242 - Alex: 'Because I had a funny feeling that it was really you who was keeping her spirit alive.'
- check out -
And wrapping up Scene 242, with both scripted and unscripted material, beginning with yesterday's first quote:
- this post and to learn about the differences in the dialogue, including more unscripted additions, and the differences in the descriptions and the directions...
[nods]
-
While looking up something entirely different I discovered another subtitles goof. Here's how the section really plays -
... And as for Quentin's final lines in the scene, what he actually says is "Well, I'm glad you were wrong" just before he turns away -
(http://www.dsboards.com/NoDSquoteimages/1227NoDS_a.jpg)
- from Alex and then adds "Have the lobsters ready --" - to which Alex answers with an unscripted -
(http://www.dsboards.com/NoDSquoteimages/1227NoDS_b.jpg)
"Females."
...
- but the DVD/Blu-ray says -
(http://www.dsboards.com/NoDSAnniQuoteImages/Females.jpg)
- "You bet"?? How did they get "You bet" from "Females"?! [ghost_huh] But then they had an interpretation all their own when it came to that line/subtitle in Scene 85, and the VHS had the same odd interpretation - though what's quite interesting this time around is that the VHS subtitle is correct -
(http://www.dsboards.com/NoDSAnniQuoteImages/Females_VHS_frame_01495.jpg)
- but apparently ours is not to come up with the rationale that figures out any of it...
[nods]
-
If you want to learn about or refresh your memory concerning the background of Sunday's first quote -
Page 112/Scene 243 - Tracy: 'What are you doing?'
- and/or Sunday's second quote -
Page 112/Scene 243 - Quentin: 'I have to pick up my canvases --'
- check out -
Setting up the current scene:
- this post...
[nods]
-
If you want to learn about or refresh your memory concerning the background of Monday's first quote -
Page 112/Scene 243 - Quentin: 'I'll only be a minute.'
- and/or Monday's second quote -
Page 112/Scene 243 - Tracy: 'Hurry.'
- check out -
Wrapping up Scene 243 as scripted and not:
- this post and to learn about the differences when it comes to the dialogue, including even more unscripted additions, and the differences in the descriptions and the directions...
[nods]
-
Quentin's dropped line from the section of Scene 243 that I linked to in the above post was featured in the original NoDS slideshow -
(http://www.dsboards.com/moviesquoteimages/1228NoDS_0.jpg)
NoDS: Scene #243 - Quentin: 'Hey, come on, Trace, it'll only
take a minute.'
- and the reason it was originally included in that slideshow is because, as with others in the past, it's featured in the Fest's 1999 Movie Calendar.
[nods]
-
If you want to learn about or refresh your memory concerning the background of Tuesday's quote -
Page 114/Scene 252 - Tracy: 'Quentin? What's taking so long?'
- check out -
Moving through several scenes without any or with little scripted dialogue until we reach the current scene:
- this post - however, check out -
Now, as for what is different with the dialogue, the descriptions and the directions:
this post to learn about the differences when it comes to the dialogue, including yet even more unscripted additions, and the differences in the descriptions and the directions...
[nods]
-
If you want to learn about or refresh your memory concerning the background of Wednesday's quote -
Page 114/Scene 254 - Tracy: 'Oh, no...oh, God, no!'
- check out -
And wrapping up the script:
- this post - however, also check out -
And now what's different about Scenes 253 and 254 and beyond:
- this post to learn about the differences when it comes to the dialogue, including even yet more unscripted additions, and the differences in the descriptions and the directions...
And I say this frequently, but it never fails to surprise how even after over 50 years and having watched the film countless times I continue to see or at least pay attention to things that I never really paid attention to before. And in the case of Scene 254 it's how I noticed this time around that the table where the seance was held and the candelabra atop it are still in place:
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_a.jpg)
Though, of course, the seance sequence isn't in the film, so overlooking making that connection might not be surprising. Plus, as I've also said frequently, I tend to pay close attention to the characters and less so their surroundings. So, in that shot no doubt in the past most of my attention has been paid watching Tracy in the doorway to the bedroom and not what's in the foreground of the shot...
Also, I have to say that when I noriced the table I was surprised by how small it is. Whenever I'd pictured the seance in my mind I also pictured the characters sitting at a much larger table. I'm not sure why - though part of it may be because of how in hoDS' Scene 218 in the Gallery they're seated at a larger rectangular table:
(http://www.dsboards.com/hoDSquoteimages/hoDS218_table.jpg)
And while I did see the recovered seance sequence when Darren showed it at the 2004 Tarrytown Fest, it's probably needless to say that the size of the table was hardly what I was paying attention to...
[nods]
-
Two rare stills associated with Scene 254:
First:
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery9-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery9-1.jpg) for a 700X476 version)
And:
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery10-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery10-1.jpg) for a 620X810 version)
And to my knowledge, neither of these have been officially published. Although, on the Internet I have come across this cropped B&W version of the first -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery9-1a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery9-1a.jpg) for a 1054X773 version)
- which certainly looks like it was scanned from a book or magazine - but because, as usual, a source is not cited, I have no idea what to say about it...
[nods]
-
Just because the slideshow reached the end of the film that doesn't mean that nothing new will be posted to this topic. Over the course of the past year there were several times when I forgot about materials I have as well as discovered new materials. So a lot of that sort of stuff will be posted at the appropriate time now that the slideshow has started from the beginning again. Plus, I want to compare and contrast certain aspects of the different versions of the film that are available on VHS, DVD/Blu-ray, and Amazon Prime/iTunes. Also, we'll probably revisit some things that were posted but were posted at times other than when their associated scenes came up in the slideshow. And remember that if something comes up in the slideshow that you're not sure about, you can always go back in the topic to the posts that provided explanations for them...
Though nothing new will be coming until after the slideshow deals with the never shot Hippy sequence...
[nods]
-
I wonder if that was the original ending. The closing shot of Tracy is certainly in sync with a lot of the other downbeat horror endings that were common at the time, such as Count Yorga. But the screen crawl announcing the deaths of Claire and Alex seems to undercut the impact of the earlier bit. Someone should have been kept alive in case there was ever a sequel.
-
When I saw in the newspaper ads for NoDS that they would be giving out free DS souvenirs, I was definitely intrigued. Many know one of the things given out were Angelique figures - but it's mentioned far less frequently that what was also given out was "Beware of The Night Of Dark Shadows" bumper stickers. The figure has definitely become a rare collectors item among NoDS fans. The bumper sticker probably not so much because it's barely related to the film. Though on rare occasions I have seen both for sale online - and sometimes even together.
(http://www.dsboards.com/NoDSAnniQuoteImages/Figure_Banner.jpg)
I came across this as I was reading over the beginning of this topic to plan out things I don't want to forget to post and something struck me that never struck me before. Is it just me, or does the face on the bumper sticker -
(http://www.dsboards.com/NoDSAnniQuoteImages/beware_night_of_dark_shadows_bumper.jpg)
- and the button (which, given that the drive-in where I first saw NoDS didn't hand any out, I never even realized existed until this past year when I saw some on the Internet for sale along with the bumper sticker) -
(http://www.dsboards.com/NoDSAnniQuoteImages/beware_night_of_dark_shadows_button.jpg)
- look an awful lot like Phyllis Diller? Perhaps her estate should sue...
[nods]
-
[pointing-up] Here's a photo to support my point:
(http://www.dsboards.com/NoDSAnniQuoteImages/Phyllis_Diller.jpg)
[nods]
-
The resemblance to Phyllis Diller is uncanny. The drawing certainly doesn't look like Lara.
-
For some strange reason, when I wrote up this post in 2016 -
Kicking off the next sequence:
- unlike how I normally would in latter instances, I didn't associate unscripted dialogue with its moment on screen. So to correct that, here's an example of it from Scene 21 when Quentin says -
(http://www.dsboards.com/NoDSAnniQuoteImages/0809NoDS_a.jpg)
"Hey, look up there."
- and this is the building -
(http://www.dsboards.com/NoDSquoteimages/0106ds91_b.jpg)
- he's indicating - and here's an example from Scene 22 when Tracy says -
(http://www.dsboards.com/NoDSAnniQuoteImages/0810NoDS_a.jpg)
"It's gonna rain."
- and another when Quentin says -
(http://www.dsboards.com/NoDSAnniQuoteImages/0810NoDS_b.jpg)
"Here it comes. I better put the top up."
[nods]
-
And speaking of Quentin putting the top up, here's a fairly rare still associated with that part of Scene 22 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Car_rain.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Car_rain.jpg) for a 700X476 version)
- though a somewhat cropped version has been shared as the back cover of the Fest's 1999 Movie Calendar and a small B&W and cropped version appears on page 22 of the Movie Soundtracks' booklet...
[nods]
-
Something to deal with before tomorrow's installment comes up. Between today's installment and tomorrow's there's something that's different and correct in the VHS version of the film (well, correct to a point because the color timing is still off when it comes to the VHS) but unfortunately different and not correct in every other version. And that would be Scene 24:
VHS:
Every Other Version:
At least those other versions have the sound of the car door shutting...
[nods]
-
Again for some strange reason, when I wrote up this post in 2016 -
Moving on, beginning with Scene 24:
- unlike how I normally would in latter instances, I didn't associate unscripted dialogue with its moment on screen. So to correct that, here are more examples of it from Scene 28 after Tracy looks through the vestibule's window and says -
(http://www.dsboards.com/NoDSAnniQuoteImages/0814NoDS_a.jpg)
"Oh no, I don't think I'm going in there."
- but Quentin replies -
(http://www.dsboards.com/NoDSAnniQuoteImages/0814NoDS_b.jpg)
"Yes, you are."
- and after they're inside Tracy hugs Quentin and he says -
(http://www.dsboards.com/NoDSAnniQuoteImages/0814NoDS_c.jpg)
"Can you believe it? It's all ours."
- and after Carlotta has introduced herself to them, rather than Tracy delivering the scripted "Hello, Carlotta," Tracy says -
(http://www.dsboards.com/NoDSAnniQuoteImages/0814NoDS_d.jpg)
"How do you do."
- as Scene 28 dissolves into Scene 29...
[nods]
-
A still that I'd previously posted which correlates to Scene 28:
And as usual, here's a much better version of the photo -
(http://www.dsboards.com/NoDSAnniQuoteImages/KJ_DS-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/KJ_DS-2.jpg) for a 700X546 version)
And one of the many copies of that still that popped up in magazines had this caption:
"You will really enjoy seeing lots of your favorite daytime TV stars in the
full length feature film, Night Of Dark Shadows. It will be released soon."
Of course, "full length feature film" is just another way of saying theatrical film. But given how much was cut from NoDS, "full length feature film" definitely stings because who knows if we'll ever see NoDS at its full length...
[nods]
-
It's a amazing how unobservant one can be for over 50 years. I didn't realize until today that 1) in the above still in reply #772 Tracy and Quentin are entering the foyer, not the vestibule, as they do in the film, and 2) they're each carrying double the suitcases than they actually do in the film when they enter the house -
(http://www.dsboards.com/NoDSAnniQuoteImages/0814NoDS_aa.jpg)
- because they've left some suitcases (and art supplies) behind the car -
(http://www.dsboards.com/NoDSAnniQuoteImages/0813NoDS_a.jpg)
But then, as I've pointed out before, this still (which I'd completely forgotten I had back when I was dealing with the Lobby Cards versions) of Carlotta greeting the couple is quite obviously also taken in the foyer -
(http://www.dsboards.com/NoDSAnniQuoteImages/Foyer_greeting.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Foyer_greeting.jpg) for a 700X476 version)
- and as I've also pointed out before, Scene 28 was actually scripted to take place in the foyer -
...
...
28 INT - FOYER - DAY 28
...
|
- but apparently for whatever reason DC decided to shoot it in the vestibule - but not knowing that beforehand, the still photographer took his photos where they thought the scene would be shot...
[nods]
-
A still I's previously posted that pertains to Scene 29:
...
And a better version of the still:
(http://www.dsboards.com/NoDSAnniQuoteImages/screenworld_a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/screenworld_a.jpg) for a 700X540 version)
...
And the only places I can recall it being officially published is in John Willis' Sceen World Volume 22 (which features all the films of 1971) and on page 23 of the Movie Soundtracks' booklet. Neither has a caption worth sharing because all both do is identify the actors...
[nods]
-
When it comes to today's quote in the slideshow -
Page 9/Scene 29 - Quentin (to Carlotta): 'Oh, did you tell the Jenkins' we'd be here today?'
- as I'd explained -
Moving on to Scene 29:
- in the film it's actually given to and delivered by Tracy -
(http://www.dsboards.com/NoDSAnniQuoteImages/0818NoDS_0.jpg)
"Did you tell the Jenkins we'd be here today?"
- but just as with the previous examples, I didn't associate unscripted dialogue with its moment on screen, so I didn't showcase that when Carlotta doesn't reply because her attention is deeply fixated on Quentin's playing of the piano, Tracy delivers an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/0818NoDS_a.jpg)
"Carlotta, did you tell the Jenkins we'd be here?"
[nods]
-
More unscripted dialogue from Scene 29:
After Carlotta says that she didn't tell the Jenkins they were arriving that day because she didn't know that's what they would have wanted, she changes the subject and says an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/0819NoDS_a.jpg)
"Come, let me show you the rest of the house."
- and Tracy's reaction to that is to practically whisper -
(http://www.dsboards.com/NoDSAnniQuoteImages/0819NoDS_b.jpg)
"All right."
[nods]
-
Oops - I forgot to point out that these lines from Scene 30 -
(http://www.dsboards.com/NoDSquoteimages/0117ds91_a.jpg)
"Collinwood was built by Joshua Collins in the late 1600s.
Of course, there have been many changes and additions
since then."
- are unscripted.
[nods]
-
The late 1600's? Then who built the old house? Fred Flintstone Collins?
-
A very rare still associated with Scene 33 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery11-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery11-1.jpg) for a 1670742 version)
- and last time around I didn't share it because I completely forgot I have it. To my knowledge it was only officially published once and that was in TV Star Parade.
And once again we get a still that is different from how the scene is shot in the film:- As can be seen in the following screen caps, at no point in the film do Kate Jackson, David Selby and Grayson Hall appear lined up in the order that they do in the still.
(http://www.dsboards.com/NoDSquoteimages/0122ds91_a.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0825NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0826NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0827NoDS_0.jpg)
- Quentin wears his jacket in the still yet, quite obviously, he throws it over his shoulder in the actual scene.
- Carlotta caresses the locket in the still, yet she never does so in this section of the actual scene.
- And Carlotta raises her right, not her left arm.
[nods]
-
When it comes to unscripted lines in Scene 33, we've already seen Quentin say -
(http://www.dsboards.com/NoDSquoteimages/0122ds91_a.jpg)
"Quite a collection."
- when he first enters the Gallery - and after learning Quentin's painting are "very abstract," we've seen Carlotta say -
(http://www.dsboards.com/NoDSAnniQuoteImages/0827NoDS_a.jpg)
"You're a painter."
- before she delivers her scripted remark, "How interesting." And I still find this interesting -
...
... Though it's interesting that rather than add, "You're a painter," to her script, Grayson added Carlotta's remark as "Oh you paint?". ...
[nods]
-
The late 1600's? Then who built the old house? Fred Flintstone Collins?
Good question. [ghost_wink] [ghost_blink] Though it would seem to only have bearing if NoDS is a direct sequel to hoDS and that's a big IF. We don't even know if an Old House even exists in NoDS because it's never referenced. But as I've said before, perhaps in the universe of the films it was Joshua and not Isaac Collins who founded Collinsport in the late 1600s? We have no clue. And the only connection there might seem to be between NoDS and hoDS is a Mrs. Stoddard existed in both. But was she the same Mrs. Stoddard or is the one of NoDS a PT Mrs. Stoddard? IF it's supposed to be one and the same woman, well, that leads to all sorts of questions that there just don't seem to be answers to, like, upon Mrs. Stoddard's death, why does Quentin inherit Collinwood and not David? - and just how do Carlotta and Gerard get to be a part of Colinwood? And those are just two - I could certainly ask others - and other fans have...
[nods]
-
That's a very cool still from Screen World. Love the expression on the Divine One's face. So delectably cat-like.
G.
-
One theory that I kinda like is that David did inherit Collinwood but decided that he didn't want to live there because of all the assorted drama and trauma. So the estate went to the next living relative. But how close a relative could he be when he needs directions to find the house?
Then there's the Carlotta question. The script goes out of its way to establish that she's been the housekeeper for years and that her mother held the job before her. So how does Mrs. Johnson fit in? Or does she? And isn't Carlotta dressed rather formally to be doing household chores?
-
- And Carlotta caresses the locket in the still, yet she never does so in this section of the actual scene.
As may have been noticed, Carlotta actually doesn't fondle the locket until after attention is paid to Angelique's portrait -
(http://www.dsboards.com/NoDSquoteimages/0126ds91_a.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0830NoDS_0.jpg)
- and before she leaves the room. Though as I've said before, on first view it's much too early in the film for anyone to figure out the significance of that gesture...
[nods]
-
After Carlotta leaves the room and before today's quote from Scene 33 comes up, off screen Tracy muses an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/0831NoDS_a.jpg)
"That's our housekeeper. She makes me feel like she
invited us here."
[nods]
-
Before moving on to new things, I'd like to point out that NoDS played in several different areas of the country throughout August of '71. Obviously it played in my area both the weeks of August 4-10 and August 25-31. But thanks to our very own KMR we know that it also played in MI the week pf August 4-10. And thanks to a sample of newspapers once auctioned off on the Heritage Auctions Web site, it's known that NoDS played in Memphis, TN and surrounding areas the week of August 11-17. And thanks to a posting of a NoDS newspaper ad on Pinterest (https://www.pinterest.com/pin/148337381466784509/), it's known that it played in and around Philadelphia, PA as well as parts of NJ the week of August 18-24. And thanks to an interview with Grayson and Sam Hall that appeared in the San Francisco Examiner that was also posted to Pinterest (in two parts: part 1 (https://www.pinterest.com/pin/388224430378579133/), part 2 (https://www.pinterest.com/pin/388224430378579119/)) it's known that NoDS played in the San Francisco, CA area the week of August 25-31.
Since posting that I've come across other newspaper ads, including this one:
(http://www.dsboards.com/NoDSAnniQuoteImages/Penn_ad2.jpg)
A few things of interest -- Unlike every other newspaper ad that I had seen up to coming across that one, it is not a design that appears in the NoDS Pressbook - apparently they pieced it together on their own to fit the print space.
- It's interesting that they put the Horror of Frankenstein part of the ad over the right side of the NoDS ad with Collinwood showing through it.
- Like Massachusetts, apparently NoDS played in Pennsylvania at different periods of time. As I've posted, NoDS played in Massachusetts the week of August 4-10 and the week of 25-31. And as is mentioned in the above quote, NoDS played in Pennsylvania (and parts of New Jersey) the week of August 18-24. But thanks to the ad I've posted above, it also played in Pennsylvania the week of September 1-7, which is the reason why I'm posting the ad today. (The Lincoln Drive-in was located in Trevose, PA.)
And speaking of that first week in Pennsylvania (and parts of New Jersey), I have this ad:
(http://www.dsboards.com/NoDSAnniQuoteImages/Penn_ad1.jpg)
[nods]
-
Before we move on to today's Scene 38, I want to revisit Scene 35, the one in which the figure is seen -
...
(http://www.dsboards.com/NoDSquoteimages/0128ds91_d.jpg)
...
- hanging in the tree. Now, you may recall this post -
Before we move on entirely from Angelique's hanging...
- however, Darren Gross explained how those still came about -
...
The shot of the skeleton hanging from the tree was just on-set goofing around. I have the contact sheets from this shoot, and it's not supposed to be Angelique- it's Charles's skeleton and is dressed in his rotted shirt- that's why there's that shot of Selby standing next to it, as it's his character. They were shooting publicity shots of Selby, and the crew just ties a rope to the skeleton and pulls it up off the ground to get the shots with Selby, then afterwards a few shots of it by itself in the tree. I was thrilled to find that contact sheet, as it always appeared to be some shot of Angelique's body rotted to nothing and hanging there, and intriguing, but impossible scene to match to any of the scripts.
...
- and another version of the skeleton photo that I meant to post is the colorized version that 16 Magazine shared -
(http://www.dsboards.com/NoDSAnniQuoteImages/Skel_16.jpg)
- which was misidentified as being Angelique's remains...
[nods]
-
At the outset of Scene 38 Tracy asks an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/0902NoDS_a.jpg)
"Darling, what's the matter?"
- on screen before actually crossing over from behind Quentin to deliver today's quote.
[nods]
-
Today's quote actually ends Scene 38 in the film because Tracy's line that comes up in the script after it is moved to and delivered earlier in the sequence. And Scene 39 doesn't appear in the film as it currently stands, only in the 128 minute version. But this post is going to deal with the beginning of Scene 39 for two reasons. First, when I posted the excerpt of the script back in 2016 I neglected to include dialogue that Grayson added to her script:
39 HIGH ANGLE 39
__________/ I brought some white wine
as |Carlotta| ENTERS with the tray. Tracy crosses
to the table, Quentin still stands at the window. I hope
you like it
|
And that leads to reason two because the VHS version of the end of Scene 38 plays like this -
- and the DVD/Blu-ray version plays similarly -
- however, the HD version available on Amazon Video and iTunes plays like this (and I've included the subtitles to further emphasize it) -
[nods]
-
And getting back to Grayson's script, she has a notation that Carlotta should start to serve, and the notation does go on a bit from there, but, unfortunately, it's hard to decipher all of her handwriting, so we'll leave it at that.
Since then I have been able to decipher it:
QUENTIN - CLOSE-UP
He is still trying to understand what it was he
saw.
I should
TRACY (O.S.) start to
Come on, darling ... it looks serve - I
delicious. stop her
with a look
DISSOLVE TO: that she
useless
40 INT - MASTER BEDROOM - NIGHT 40
|
And wow, if Carlotta actually does give her a look like that, she's really starting off practically right from the outset to show her disdain for Tracy. And it's interesting that even though all of that end of Scene 39 is cut in the 94 and 97 minute versions of the film, there's still a dissolve to Scene 40...
[nods]
-
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 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery12-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery12-1.jpg) 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 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery12-1a.jpg)
- 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...
[nods]
-
When I checked for something regarding how today's quote in the slideshow plays in the film I discovered that back in 2016 not only didn't I feature some unscripted dialogue related to yesterday's quotes, I didn't even acknowledge that there is unscripted dialogue associated with them! [6184] Bad MB! [ghost_embarrassed]
So to remedy that, after Quentin actually asks Tracy, "Are you gonna be happy here?," she actually replies, "Well, I think I am if you are...," Quentin replies to that with an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/0906NoDS_a.jpg)
"I guess I will be."
- However, given that reply is as clear as day on the VHS and the closed captioning indicates as much -
(http://www.dsboards.com/NoDSAnniQuoteImages/Come_Home_VHS_frame_01506.jpg)
- for some very odd reason, the subtitles for the DVD/Blu-ray releases and the HD version on Amazon Video and iTunes have Quentin saying -
(http://www.dsboards.com/NoDSAnniQuoteImages/Come_Home_Blu-ray_frame_01528.jpg)
- Who knows?! But then that isn't the only instance where either the closed captioning or the subtitles, or even both, get something wrong. [ghost_rolleyes]
[nods]
(ADMIN: Edited to replace TV video screen capture)
-
The way that the section of Scene 40 that today's quote actually plays out in the film is that after Quentin adjusts his head back on his pillow, he puts his right arm behind his head and he actually says "I don't know why," Tracy replies with an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/0907NoDS_a.jpg)
"HMM?"
- (and something that's interesting about that is the closed captioning acknowledges that she does that -
(http://www.dsboards.com/NoDSAnniQuoteImages/Come_Home_VHS_frame_02216.jpg)
- but the subtitles on the DVD/Blu-ray releases and the HD version on Amazon Video and iTunes don't) - and then Quentin actually continues with "I almost feel like I've come home again," to which Tracy actually replies with an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/0907NoDS_b.jpg)
"Well, that's good."
[nods]
(ADMIN: Edited to replace TV video screen capture)
-
Before moving on to get into anything having to do with Scene 46, I want to revisit a few things about Scenes 41 - 45:
DISSOLVE TO:
41 EXT - FRONT OF COLLINWOOD - NIGHT - WIDE ANGLE 41
It is much later. The house is completely dark.
The only sound is the GENTLE MOANING OF THE WIND.
Suddenly the strange light we saw in the opening
sequence begins to emanate from the Tower Room.
CAMERA starts a SLOW ZOOM IN
42 INT - MASTER BEDROOM - NIGHT 42
Quentin and Tracy are asleep. The curtains billow
gently at the windows. CAMERA STARTS A SLOW TRUCK
IN on Quentin as he begins to stir restlessly in
his sleep. Finally he rolls over on his back. His
eyes are wide open and he seems to be listening
intently to some unheard sound. Slowly he starts
to rise from the bed as CAMERA TRUCKS back revealing
Tracy still sound asleep. Quentin, now out of the
bed and moving as if in a trance, puts on his robe
and quietly EXITS the room.
43 INT - CORRIDOR - OUTSIDE MASTER BEDROOM - LOW 43
ANGLE
as Quentin ENTERS the shot PAN with him as he
starts toward the stairway to the third floor.
44 EXT - COLLINWOOD - NIGHT 44
SHOT favors the windows of the Tower Room, they
still glow faintly from the light within.
HOLD on this for a moment as Quentin suddenly
appears near the windows and then moves out of
44 CONTD CONTD 44
sight toward another part of the room. RACK
FOCUS to EXTREME CLOSE-UP of Gerard, who has
been standing there watching, his eyes blazing
with hatred.
DISSOLVE TO:
45 INT - MASTER BEDROOM - NIGHT 45
Tracy, alone in the bed, stirs, half awake. She
reaches out for Quentin, awakens a little more,
sees he is gone. Then she falls back to sleep.
|
I suspect a shot that appears as the opening of the 1 minute NoDS trailer that's from the back of the house (and not the front) and which shows a zoom in on Collinwood's tower with a light moving across the windows -
- may have been Scene 41. Trouble is that scene probably only appeared in the 150 minute rough cut of the film that was only screened for production personnel because, as Darren Gross wrote on his Restoration Web site, it's footage that was not recovered when the 129 minute version of the film was found. In fact nothing from Scenes 41 - 45 was recovered:
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
EXT- FRONT OF COLLINWOOD-NIGHT. The Tower begins to glow. INT. MASTER BEDROOM- Quentin rises in a trance and leaves. INT. CORRIDOR-NIGHT. Quentin walks towards stairway. EXT.COLLINWOOD-NIGHT. Quentin appears in tower window. GERARD watches.
And the main reason I don't think it matters that the shot is from the back (and not the front) is that there are other shots of Collinwood where it was scripted to be from a certain angle but in the film it's actually from a different angle.
And it's really quite unfortunate that Scene 44 didn't survive beyond the rough cut because it helps a great deal to explain Gerard's motivation in the film. But then, we all know how little character motivations mattered to DC when it comes to the two DS films. [ghost_rolleyes] [ghost_mad]
It's also interesting that DC indicates in his script that he wanted Scene 45 to take place in the film after Quentin appears near the windows in Scene 44 and before the part of Scene 44 in which Gerard is seen in extreme close-up with hatred in his eyes. That probably would have been more effective. But it doesn't really matter because in the end none of it got into the film...
[nods]
-
When I'd put together the recent Scene 46 graphics -
(http://www.dsboards.com/NoDSAnniQuoteImages/0909NoDS_0.jpg)
- I used a slight crop of this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Morning1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Morning1.jpg) for a 700X532 version)
- rare still...
[nods]
-
Here's a rare candid associated with Scene 46 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Morning2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Morning2.jpg) for a 700X874 version)
- and the thing I find most interesting about it is the prominent braid in Tracy's hair, and if you look closely, you can even see the braid in the still I shared in Reply #795. And the reason why I find that most interesting is, given it takes place on the same morning, it means that in the sequence that takes place over upcoming Scenes 47-50 Tracy must also have the braid, though in no other portion of the film does it appear. A whim on hairdresser Edith Tilles' part? Who knows...
The funny thing is that even if Darren Gross hadn't posted on his Restoration Web site that Scenes 46-50 were recovered -
A selection of scenes cut from the 129-minute version that have been recovered:
...
Tracy wakes Quentin after their first night at Collinwood. She tells him that she woke up in the middle of the night to find Quentin gone. Quentin has no memory of leaving the room and he pulls Tracy to him for a passionate kiss.
Tracy sees Gerard and his two Dobermans staring up at her as she drinks coffee in the Gallery. Carlotta tells her that the man is Gerard Stiles, the handyman as well as her nephew.
- I would know they had been because I saw them at the 2004 Tarrytown Fest (and even if I hadn't been there, I would know that at least Scene 46 had been recovered because, as some may recall, a member of the forum took a photo of that scene with their phone and posted it as part of their forum signature, but Darren made them remove it because it violated WB's copyright), but I can't honestly say I have any memory of there being a braid in Tracy's hair. But then, given the excitement that I was seeing recovered footage, I seriously doubt Tracy's hair was what I'd paid attention to...
Another interesting thing is that as far as I can recall, one of the very few times I've ever seen the still published was when it accompanied a question published in one of the daytime magazines (I don't remember which) during The Rookies years when someone asked if Gerald S. O'Loughlin (though they misspelled his name as O'Laughlin) and Kate were once on daytime television. And I seem to recall only one other time when it accompanied an article about Kate during those same years. But I'm too lazy right now to try to track down either...
[nods]
-
One last thing about Scene 46:
Apparently I have a photo of another still associated with the scene and I didn't even realize it until today. Though to clarify, I did know I have it, but I didn't realize the still is different from the one I posted in Reply #796. I came across the photo of the still on a site on the Internet (that I've been unable to find again - perhaps the posting no longer exists?) and I saved a copy thinking it was the same still as I posted in Reply #796 but it simply showed more of the background. It wasn't until today when I came across it on my computer while looking for a still I want to post in association of Scene 50 that I realized that it's different. And here it is:
(http://www.dsboards.com/NoDSAnniQuoteImages/Morning3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Morning3.jpg) for a 700X560 version)
Possibly needless to say, to my knowledge it has never been officially published anywhere...
[nods]
-
When I'd put together the recent Scene 50 graphics -
(http://www.dsboards.com/NoDSAnniQuoteImages/0914NoDS_0.jpg)
- I used a slight crop of this -
(http://www.dsboards.com/NoDSAnniQuoteImages/NODSDOGS-100dpi.JPG)
(Above) Gerard watches Tracy with his two doberman pinschers from under
the gallery window in a newly recovered scene from NIGHT OF DARK
SHADOWS. The dogs are played 'Flash Weiner' and 'Boy Powers.' (Photo
courtesy Captain Art Haggerty who was the animal handler and can be seen
as the bald henchman in the film.) |
- rare still that was shared on Darren Gross' Restoration Web site in the Photo Gallery section...
[nods]
-
Back in Reply #770 we dealt with a music cue that rightfully plays as part of the VHS version of Scene 24 but doesn't appear in any other video release of the film. Well, today we're dealing with the opposite: a music cue that rightfully doesn't play as part of a scene on the VHS but does in every other release of the film. It's the first such example, though hardly the only one.
Here we have the VHS version:
And here we have the Blu-ray to represent every other version:
Now, the really interesting thing here is that the scene of Tracy in bed trying to comfort Quentin comes up in the 94 and 97 minute versions of the film at the end of Quentin's dream on his first night at Collinwood, however, no such sequence is scripted because the dream is put together from various scenes that should appear at other times in the film. The dream takes place between scripted Scenes 40 and 51, and that scene with Quentin and Tracy is scripted to be Scene 103 - and it tales place in the 129 minute version of the film in its rightful place. So that means that in that version of the film, it's followed by Scene 104, which is the scene in the Dining Room the next morning with Tracy having her coffee and -
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Breakfast-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Breakfast-1.jpg) for a 700X1028 version)
...
- Quentin enters wearing the riding outfit that Tracy gave him. So of course that means that the music cue heard on all but the VHS version of the film plays as Scene 103 transitions to Scene 104...
[nods]
-
Hmmm - I wonder which is 'Flash Weiner' -
(http://www.dsboards.com/NoDSAnniQuoteImages/Dogs.jpg)
- and which is 'Boy Powers'? We'll probably never know...
[nods]
-
I've probably mentioned this before but Art Haggerty popped up in Deborah Harry's music video for Liar Liar. She's a gangster and her associates are Haggerty and Al Lewis. Haggerty comes off as menacing but really shouldn't dance. And, since it's tied in to the movie Married To The Mob, there's a brief glimpse of Michele Pfeiffer as well.
-
Perhaps it's best, then, that Strack's henchman was never called on to dance. [ghost_wink] [ghost_cheesy]
[nods]
-
Given how Scene 52 is so different in the film from the way it's scripted -
Here's Scene 52 as scripted:
- there's quite a bit unscripted dialogue to feature, starting with how Quentin first calls out -
(http://www.dsboards.com/NoDSAnniQuoteImages/0921NoDS_a.jpg)
"Styles."
- when he arrives and sees Gerard doing brickwork - (and when I saw that both the closed captioning and the subtitles spell Gerard's last name with a "y" (Styles) rather than with an "i" (Stiles) -
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_VHS_frame_00067.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_Blu-ray_frame_00075.jpg)
- I thought that it was funny that they'd both made a mistake, well, until I checked the end credits -
(http://www.dsboards.com/images/NO_01275.jpg)
- and saw that unlike the daytime show, and more importantly, the script, it is indeed spelled "Styles" (though at least that's not as bad as the "Todd Blake/Todd Jennings" of hoDS!)) - and after which Quentin identifies himself with -
(http://www.dsboards.com/NoDSAnniQuoteImages/0921NoDS_b.jpg)
"I'm Mr. Collins."
- (which is scripted under different circumstances) and to which Gerard replies -
(http://www.dsboards.com/NoDSAnniQuoteImages/0922NoDS_a.jpg)
"Yeah. Yeah, I know. I, uh... I got your horse ready for ya."
[nods]
(ADMIN: Edited to replace TV video screen capture)
-
Scene 53 is also different in the film from the way it's scripted -
And here's Scene 53 as scripted:
- and there's also quite a bit unscripted dialogue to feature, starting with unlike how Quentin is scripted to cross to the horse Gerard has picked for him, look him over, remark, "Good-looking, " and then put his foot in the stirrup and swing up into the saddle, what actually happens is Quentin says directly to the horse -
(http://www.dsboards.com/NoDSAnniQuoteImages/0924NoDS_a.jpg)
"Good-looking, Phillips,"
- as he puts his foot in the stirrup, though for some reason both the closed captioning and the subtitles have Quentin saying -
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_VHS_frame_00883.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_Blu-ray_frame_00909.jpg)
- and something that's unique to the closed captioning is it has Quentin saying -
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_VHS_frame_00934.jpg)
- when he sits in the saddle, a sound the subtitles don't even acknowledge - and after he's mounted, Quentin actually tells the horse -
(http://www.dsboards.com/NoDSAnniQuoteImages/0924NoDS_b.jpg)
"Come on."
- as he's about to start off before Gerard says he saw Quentin's wife and asks if she rides to which Quentin asks an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/0924NoDS_c.jpg)
"What did you say?"
- and Gerard replies with an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/0924NoDS_d.jpg)
"I said, 'She, she rides, doesn't she?'"
- and after Quentin says she does, he throws in an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/0924NoDS_e.jpg)
"Come on."
- which for some reason the closed captioning doesn't acknowledge as Quentin begins to turn the horse before he finishes the scripted dialogue that she's not riding today, and then he rides off.
It's interesting that David Selby had never ridden a horse because nowhere is that apparent on film - the instruction Grayson Hall gave him must have been quite good.
And I love the smile Gerard exhibits after Quentin confirms that his wife rides - Gerard knows that obviously means that she's going to show up at the stables one day, though sadly that scene didn't make it into the film.
[nods]
(ADMIN: Edited to replace TV video screen capture)
-
Here's a photo that I neglected to share from Scene 55:
(http://www.dsboards.com/NoDSAnniQuoteImages/Bell1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Bell1.jpg) for a 830X546 version)
And I say, "photo," rather than, "still," because to me it seems like it was created from an actual frame of the film. I doubt it's a screen capture because the color, especially the background, is so off. That sort of thing can definitely happen to old film, but it's not too likely that screen capturing software would capture something that far off. I mean, my screen capturing software came up with this from the VHS:
(http://www.dsboards.com/NoDSAnniQuoteImages/Bell2.jpg)
[nods]
-
I've just finished reading Julie Andrews' autobiography, Home Work. No, Julie has no connection to DS, though having Mary Poppins as the governess to David and Amy is certainly intriguing. Julie was married to film director Blake Edward's, whose experience at MGM was not dissimilar to DC. Edwards was no neophyte when he was working at MGM. His films included Experiment In Terror, Days of Wine and Roses and The Pink Panther. His film, The Wild Rovers, was intended to be a western that was meant to be unconventional. But he ran up against executive James Aubrey, well known as The Smiling Cobra. Aubrey "turned Blake inside out and upside-down in his attempts to force him to cut the film to his liking." Aubrey took control of the film, edited out pivotal scenes and released the film. The Wild Rovers bombed.
For reasons that Julie could not understand, Aubrey offered Edwards a second film, which turned out to be The Carey Treatment. And the same thing happened. Edwards did not participate in the editing, knowing that Aubrey would butcher it anyway. Which he did. And The Carey Treatment bombed as well
One evening, while driving home and preoccupied with Aubrey's antics, Blake narrowly avoided hitting a passing jogger. The jogger was none other than James Aubrey
Would DC have run him down?
-
[pointing-up] More disgusting details of James Aubrey's megalomania. Who knows how many artistic visions he ruined?! One might suspect it's in the thousands...
Would DC have run him down?
I'd like to think DC wouldn't have. But given DC's temper and his penchant for holding grudges (not that he wouldn't have been justified if he held a grudge against Aubrey for what he forced DC to do with regard to NoDS!) can any of us really be sure?
[nods]
-
Oops - the other day I forgot to include this in Reply #805 -
A selection of scenes cut from the 129-minute version that have been recovered:
...
The horse Quentin rides bucks wildly, trying to throw him off.
- which is scripted -
...
54 EXT - MEADOW - DAY - LONG LENS 54
Quentin is not having an easy time of it.
Ulysses is far from a rocking chair.
|
...
- but obviously doesn't appear in either the 94 or 97 minute versions of the film.
[nods]
-
As I wrote back in 2016, the beginning of Scene 59 is different in the film from the way it's scripted -
Setting up the current scene:
- and there are several changes and additions along the way. For instance, -
... as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0224ds91_a.jpg)
- in the film there's actually an exterior scene establishing the Jenkins' cottage before Scene 59 begins - and when Scene 59 begins, before anyone says anything, Alex, Quentin and Claire are seen having a good laugh, as can be seen -
(http://www.dsboards.com/NoDSquoteimages/0224ds91_b.jpg)
- in the above capture.
...
- and after Quentin brings up the "crazy eye of mine" painting, neither the closed captioning nor the subtitles get Alex' response completely correct because what Alex actually says is "Yes sir, buddy -- wherever we go, that goes," but the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_00340.jpg)
- doesn't even acknowledge the "Yes sir, buddy" part, and the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_Blu-ray_frame_00366.jpg)
- get that part wrong, which is yet another example that perhaps the person who did the subtitles needed to have their hearing checked - and in a bit of unscripted dialogue, Quentin responds with an -
(http://www.dsboards.com/NoDSAnniQuoteImages/0930NoDS_a.jpg)
"Oh."
- which neither the closed captioning nor the subtitles acknowledge...
[nods]
(ADMIN: Edited to replace TV video screen capture)
-
More unscripted bits from Scene 59 and omissions in the closed captioning:
First up, after Claire brings up finding Quentin "roaming around a cemetery," which is a reworked line that had been dropped from earlier in the script, Quentin jumps in with an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/0930NoDS_b.jpg)
"Hey, Alex - they've got tombstones in that place that are over
300 years old."
- though for some reason the closed captioning drops the "Hey, Alex" part -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_00544.jpg)
- and after that Alex asks, "Tell me, how's life at the old castle? Uh - have you seen Miss Drake smile yet?" - though for some reason the closed captioning drops the "Tell me" part -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_00691.jpg)
- and instead of "have you seen Miss Drake smile yet?" the closed captioning reads -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_00756.jpg)
- (but interestingly, the subtitles has everything correct) - and to Alex' question Quentin replies with an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/0930NoDS_c.jpg)
"Once."
- and before Claire points out, "She had no reason to smile at you, Alex," Claire gives out an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/1001NoDS_a.jpg)
(Laughs)
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
Even more unscripted bits from Scene 59 and omissions in the closed captioning:
First up, after Claire says that according to Carlotta Collinwood isn't haunted (liar, liar, pants, er, dress on fire!! [hall2_wink] [hall2_grin]) Alex says, "Yeah, well, one these of nights, uh, we're gonna to go to the Blue Whale and I'm gonna introduce you to a Captain Russel who'll tell you a different story," but rather than "I'm gonna introduce you to a Captain Russel," the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_01243.jpg)
- and after Alex says Captain Russel will say there's a servant girl who roams the halls of Collinwood and Quentin jokes that if she cleans well, they'll hire her, Claire gives out another unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/1004NoDS_a.jpg)
(Laughs)
- before pointing out as she gets up, "It's time for lunch," and then stopping to ask, "oh, what do you want, ham or tuna fish?" - but the closed captioning deals with all that as -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_01615.jpg)
- and after both Alex and Quentin say they'll have both, Claire responds -
(http://www.dsboards.com/NoDSAnniQuoteImages/1004NoDS_b.jpg)
"(Sigh) Right."
- as she leaves the room - (and interestingly, once again the subtitles has everything correct).
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
I wonder if the Captain Russel was the basis for the Christopher Lee character in the 2012 movie.
-
Yet more unscripted bits from Scene 59 and omissions in the closed captioning:
First up, after Alex asks Quentin how life is "in the old castle," the script says simply that -
...
...
- however, Quentin actually replies with an unscripted nod and a smile -
- and after Quentin asks Alex when he and Claire got there, Alex replies with, "About two weeks ago. Man, I thought you were never gonna show up." - but when it comes to the closed captioning, the "Man" part is dropped and the rest is presented as -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_02244.jpg)
- after which Quentin gives another smile and nod -
- which the script describes as -
...
Quentin looks a little concerned.
|
...
- and that gesture prompts Alex to ask, "Hey, Pal, what's wrong?" and to remark, "Hey. Blood-shot eyes. Unsuitable pallor." - to which Quentin gives a small unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/1007NoDS_a.jpg)
(Giggle)
- and then replies, "Well, doc, I didn't sleep well last night. It's a funny thing about this place. I keep imagining things." - but when it comes to the closed captioning, the "Well, doc" part is dropped and "It's a funny thing about this place" is presented as -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_02722.jpg)
- (and interestingly, yet again the subtitles has everything basically correct).
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
Even yet more but wrapping up the unscripted bits from Scene 59 and omissions in the closed captioning:
First up, after Alex asks Quentin what he means by imaging things and Quentin tells him to forget it, Alex persists by first saying, "Oh -- man. Maybe I can use it." - however, when it comes to the closed captioning, the "Oh -- man" part is dropped -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_03041.jpg)
- but what's actually very different from the subtitles is that line from Alex comes up on screen and disappears from screen before Alex even delivers it, and it's not the only line in the scene that does so - and Alex continues by saying, "Claire and I are starting a new gothic novel," to which Quentin replies with, "That reminds me ... I got a library over there that's got to be full of material." - however, when it comes to the closed captioning, what comes up is -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_03178.jpg)
- and after Quentin adds, "Be my guest," Alex delivers an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/1007NoDS_b.jpg)
"I'd appreciate that."
- as he reaches to slap Quentin's leg - and at that point Claire returns with a tray of sandwiches/drinks and as Quentin makes room on a table, Claire responds with an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/1007NoDS_c.jpg)
"Hmm - thank you."
- before putting the tray down - (and interestingly, even yet again the subtitles has everything basically correct).
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
The closed captioning is at it again when it comes to Scene 62:
At a point after Carlotta has taken Quentin to the Tower Room after he has asked her if she could suggest a good room for him to start painting, Carlotta asks, "Will the room do?" to which Quentin replies, "Oh, yes ... yes ... it's fine ...", and then follows that with, "It's been used as a studio before, hasn't it?" - but when it comes to the closed captioning, that latter part is presented as -
(http://www.dsboards.com/NoDSAnniQuoteImages/Used_As_A_Studio_VHS_frame_01105.jpg)
- though what's interesting about that is that the script has the exchange as -
CARLOTTA
... Will the room do?
QUENTIN
Yes ... yes ... it's fine ...
has it ever been used as a studio
before?
|
- so, as happens in certain other places in the film, it's like the closed captioning is working more closely to the script rather than to the actual film - (and also in this scene the subtitles get everything correct).
[nods]
(ADMIN: Edited to replace TV video screen capture)
-
A few things to catch up on:
With regard to Scene 63, Darren Gross posted on his Restoration Web site -
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
INT.LOWER TOWER STAIRS-DAY. Carlotta descends the stairs.
- yet when it comes to Scene 64, though it doesn't appear in both the 94 or 97 minute versions of the film, it doesn't appear on either the recovered or the not present in the 129 minute version lists, however a still does exist -
...
(http://www.dsboards.com/NoDSquoteimages/IsThisScene64.jpg)
- that could be associated with the scene, particularly because the script indicates that Quentin and Tracy embrace as they get into bed - and it's also a case when it comes to Scene 65 that it doesn't appear on either the recovered or the not present in the 129 minute version lists, nor are they any scenes in the current 94 minute version of film or even were there any in the 97 minute version in which Quentin wakes wearing his yellow pajamas - however, when it comes to Scene 66, Darren Gross also posted on his Restoration Web site -
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
INT.MASTER BEDROOM-MORNING. Tracy gets up, Quentin in bed.
[nods]
-
With regard to Scene 67A, Darren Gross posted on his Restoration Web site -
A selection of scenes cut from the 129-minute version that have been recovered:
...
Quentin has a flashback to 1810 where he sees Charles and Angelique sharing an intimate scene at the piano. They are interrupted by Laura who accuses Angelique of bewitching her husband.
- and I presume that also means that Scenes 66A & 67 -
CUT TO:
66A INT. FIRST FLOOR CORRIDOR - DAY 66A
Quentin, carrying a picnic hamper, moves down the
corridor. When he reaches the foyer, he hears the
SOUND OF QUENTIN'S THEME, played on a piano, seemingly
from the drawing room. Puzzled, he opens the door.
The music stops.
67 INT. DRAWING ROOM - DAY 67
Quentin enters the room, staring at the empty piano.
He walks towards it, mystified, but positive he heard
it's sound. Then he hears the theme again - this time
from the other side of the room. He turns.
|
- were also recovered. Darren definitely showed Scene 67A at the 2004 Tarrytown Fest, but I don't recall if he also showed Scenes 66A & 67 with it...
[nods]
-
Some things to revisit when it comes to Scene 67A:
Oh wow, the piano scene starts today. Fab. "Laura my darling, you need to SIT THE F&&& DOWN, beey*tch." LOL
I've given up hope of ever seeing this and the séance scene restored. I am glad Darren was able to salvage the lost elements even if the rights owners don't allow the rest of us to enjoy the material.
Yes, as we'll see during the coming days, the dialogue is amazingly catty - it's the best thing about the scene. Charles and especially Angelique pull no punches when it comes to showing their disdain for Laura. I love it - and it's a terrible shame that the scene had to be sacrificed to the mandated cuts...
...
...DC's script has a notation added to Charles' line that indicates he would turn toward Laura after he says "Did you enjoy watching us" and before he says "my dearest wife?"
It's also worth noting that so far as the script goes, this would have been the first time the audience sees Charles because the horse trampling of Strack and Charles' embracing of Angelique outside the cemetery, which, as far as the film stands, are parts of Quentin's dream on his first night at Collinwood, don't actually come up in the script until Scenes 145 & 146...
and since this scene was cut in its entirety, one thing the audience as it stands never comprehends is why the sound of fragmentary piano music keeps happening whenever Quentin starts to experience one of his mysterious flashback episodes.
Yes, way too many of the scenes that explained so many things got cut so that, as the film stands, several things just go right over viewers' heads or possibly even causes some to draw wrong conclusions...
More to come...
[nods]
-
Something I discovered online back in March:
NIGHT OF DARK SHADOWS-LARA PARKER & DAVID SELBY-MISSING SCENE- LOT OF 8-B/W 4X6 (https://www.worthpoint.com/worthopedia/night-dark-shadows-lara-parker-david-3104381239)
It's quite interesting that there's nothing of Diana Millay/Laura...
[nods]
-
More things to revisit when it comes to Scene 67A:
Wrapping up Scene 67A, beginning with Friday's quote -
Scene 67A - Laura: 'How...how incredible you are...the two of you...what you do...in this house...'
- coming up, followed by Saturday's first quote -
Page 28/Scene 67A - Charles: 'In front of the family.'
- coming up, followed by Saturday's second quote -
Page 28/Scene 67A - Angelique: (laughing) 'Who knows who sees us...think of the servants...'
- coming up, followed by Sunday's quote -
Page 28/Scene 67A - Laura: 'You are a witch! Charles, can't you see? Are you so mesmerized that you don't even know what's happening to you?'
- coming up, followed by today's quote -
Page 28/Scene 67A - Angelique: 'Oh, he knows what's happening, Laura my darling, and for the first time in his life he's really enjoying it.'
- coming up.
End of scene.
And as far as what's different with the dialogue, the descriptions, and the directions, we have no way of knowing at this point because this scene also doesn't appear in the film as it stands - though it surely has to be one of the highlights of the 129 minute version. However, in DC's script it looks like he added a notation that before Charles throws back in Laura's face that he and Angelique do things in front of the family, Charles would cross to the front of the piano - but then it also looks like DC may have changed his mind about that because it almost looks like he started to erase the notation. Or maybe he just had a dull pencil. [easter_wink]
And as I mentioned the other day, I'm going to hold off getting into how things are very different in Grayson's script until after we deal with Scene 68 in DC's script...
Though with the above keep in mind that "Friday's" quote came up on Wednesday this time around, so "Saturday's" came up on Thursday, "Sunday's" is today's, and "today's" is tomorrow's.
A great scene. Ange's line to Laura is really quite a put-down.
Besides illuminating why Quentin's Theme pops up in the film, it definitely explains why Laura finds it so hysterically funny when Strack describes Angelique as Laura's "loyal and loving sister-in-law, and it gives Laura the motivation to want to see Angelique condemned as a witch, which, as the film stands, we simply accept on face value.
[nods]
-
The original versions of Scenes 67 & 68:
As I mentioned back in reply #103, DC's script drops the last directions/descriptions line from Scene 66 (which as one will recall deals with Tracy and Quentin waking up), so we're going to pick up things in Grayson's script with that entire last paragraph:
She hugs him and starts getting dressed. TRUCK IN
ON his face. As he tries to remember what happened
last night, his eyes get that faraway look.
CUT TO:
67 INT - MASTER BEDROOM - 1800 - NIGHT 67
SUBCONSCIOUS MEMORY CUT
A gray-haired man, CHARLES COLLINS, stands at the
window, his back to CAMERA. He is dressed in
period costume. If we see him walking, he limps.
Suddenly, the door flies open as GABRIEL, Charles'
brother storms in.
CHARLES
Have I no privacy, brother?
GABRIEL
It's for the last time, Charles.
Charles turns to him and we see his face. He has
a strong resemblance to Quentin, except for the
gray hair and a long scar on his cheek.
CHARLES
Would that it were. I'm sick
of your weak face.
GABRIEL
You've been with her, haven't
you? In that damn tower. You
still see her.
CHARLES
What's wrong with you, brother?
Don't you remember? Your wife
is dead.
GABRIEL
She still comes to you -- I
know it.
(then with deadly calm)
All right, if you want her so
much, you will have her...
67 CONTD CONTD 67
He starts toward CAMERA.
CUT TO:
68 INT - MASTER BEDROOM - 1971 - DAY - NORMAL COLOR 68
QUENTIN - CLOSE-UP
His face introspective, bewildered.
TRACY (O.S.)
Why are you just sitting there
staring at nothing?
WIDEN to include her.
QUENTIN
Oh...just remembering a dream, I
guess. A nightmare I never even
knew I had.
TRACY
Imagine not having to run to the
kitchen and make my own coffee.
Now get up.
She EXITS as CAMERA TRUCKS IN to his CLOSE-UP.
|
And as I alluded to back in reply #41, what's interesting about Grayson's script's version of Scene 67 is that in DC's script it's been reworked as Scene 101. And, of course, in the film as it currently stands, Scene 101 doesn't even appear where it's scripted because, when the cuts were mandated, Scene 101, along with several other scenes following it, were moved to be parts of Quentin's dream on his first night at Collinwood and its aftermath. But more on that once we reach that part of the script.
And, yes, for Scene 67 Grayson's script does say "1800" rather than "1810", but no doubt it's just a typo...
And how interesting is it that the original idea was for Charles to be gray-haired...
[nods]
-
Oops - some things I forgot to post about:
With regard to Scenes 69 & 70, Darren Gross posted on his Restoration Web site -
A selection of scenes cut from the 129-minute version that have been recovered:
...
Quentin and Tracy explore the dilapidated greenhouse watched by Angelique's ghost.
- and I presume that also means that Scenes 71, 71A & 72 -
DISSOLVE TO:
71 EXT - FIELD - DAY 71
It's another day and Quentin and Tracy ride their
horses joyously through the beautiful countryside.
DISSOLVE TO:
71A EXT - RAILROAD FOOTBRIDGE - DAY 71A
as they stroll hand-in-hand with the river in the B.G.
72 EXT - FRONT OF COLLINWOOD - NIGHT 72
It is very late. The house is in darkness.
Slowly the light in the Tower Room begins to
shine.
|
- may have also been recovered because they're not on the list of unrecovered/lost scenes. But who knows? And I don't recall if they were shown in Tarrytown in 2004...
[nods]
-
Before we leave Scene 80 completely behind for the current run of the slideshow:
I love how Carlotta looks at Quentin as he's discussing having seen the little girl at the room's window -
(http://www.dsboards.com/NoDSAnniQuoteImages/1103NoDS_a.jpg)
- I mean, just look at her eyes!
And speaking of the subjects of the little girl and the room, the close captioning leaves out another bit of dialogue - after Quentin asks, "This was a child's room, wasn't it?" in the film, Carlotta replies, "Yes, it was," and then follows that with, "It was Mrs. Stoddard's when she was a little girl" - but when it comes to the closed captioning the "Yes, it was" is dropped and only that latter part is presented -
(http://www.dsboards.com/NoDSAnniQuoteImages/Didn't_See_You_VHS_frame_00782.jpg)
- (though also in this case the subtitles get everything correct).
[nods]
(ADMIN: Edited to replace TV video screen capture)
-
And one final thing to revisit regarding Scenes 79 & 80:
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?
The changed line that I was referring to was how Carlotta's "Did you wish something, Mr. Collins?" was changed to "Oh, Mr Collins, you startled me. I was just straightening up the room." in the film and that is indicated in DC's script.
[nods]
-
It seems odd that Quentin so readily accepts the explanation that this was once Mrs. Stoddard's room. Even with the usual wacky DS continuity, Elizabeth would not have been a child in quite some time. To me, Carlotta's explanation raises more questions than it answers.
-
The script explains the real story, which is that the room was Sarah's. But DC in his infinite wisdom and apparent dislike for Monica Rich's work, never included the scene that would have clearly explained that. Plus, Carlotta couldn't tell Quentin that truth just yet because, as Grayson Hall notes in her script, Carlotta doesn't think Quentin is ready to hear the truth just yet.
As for Quentin, I suspect he goes with the Mrs, Stoddard's room explanation and the trick of the light theory simply because he just wants out of the room without appearing more foolish...
[nods]
-
Last time around when never shot Scenes 81-83 came up I flashforwarded and shared material to preview Scene 85. However, this time around I'm going to flashback. I recently came across a CD with stuff I'd saved that I'd completely forgotten about.
First up, yet another rare still from Scene 56, Angelique's funeral:
(http://www.dsboards.com/NoDSAnniQuoteImages/Funeral_f.jpg)
But beginning next time I'll be sharing something that most would probably think was gone forever - and if it wasn't for the fact that I'd saved copies of it all, it would be. But that's as much as I'll say now. But I suspect there will be more than a few people around here who'll be happy to see it all again...
[nods]
-
And just what is it that most would probably think was gone forever - and if it wasn't for the fact that I'd saved copies of it all, it would be? Well, it's selected posts from the forum's VantageNet incarnation that reported about the 2001 Vista Theatre's NoDS 30th Anniversary celebration. Midnite provided a detailed report and later on shared many of her photos. Other fans shared their photos through Midnite. And members of the forum also posted links to other fans' sites that shared photos. And all of that will be popping up in one way or another beginning today and lasting through the 18th.
First up will be Midnite's report and her "preview" photo. And so as to convey the experience of reading the report as it was originally shared, I've recreated the old VantageNet forum as best I could - and the reason I'm able to do that is because rather than just saving the text and photos of the soon to be shared posts, I'd used my browser's (the old Netscape 6.0, NEVER Internet Explorer!! [Blow_Up_IE]) "Save page as" feature. Though, of course, most of the buttons/links no longer do anything because VantageNet folded not all that long after the NoDS 30th Anniversary posts were made in 2001, taking all of our posts with it and sending us scrambling to briefly host the forum on eboards4all before creating the initial iteration of this forum in January of 2002. The fact that VantageNet's abrupt and without warning closing took everything with it when it shut down makes it even more amazing that I'd had the foresight to save what I did of the NoDS Anniversary topic and that it all still exists on that CD that I recently rediscovered.
And as an aside, the reason why the graphic that appears on the VantageNet page is comprised of those screen caps is because I chose screen caps from Eps #1, #262, #523, & #785, all eps that originally aired on June 27th, and I also threw in Ep #1045, which originally aired on June 26, 1970, because June 27th was a Saturday that year...
(And as another aside, if only more people today felt the same sentiment that Thomas Paine expressed in the forum's moto back in October of 2001...)
So, without further ado -
[nods]
-
DARK SHADOWS: General Discussion Forum - 10/27/01 2:00:43 AM (http://www.dsboards.com/VantageNet/$C366.HTM)
-
DARK SHADOWS: General Discussion Forum - 10/29/01 11:56:22 AM (http://www.dsboards.com/VantageNet/$D113.HTM)
-
Unfortunately when it comes to the two links that I'm sharing in this post, I don't recall who posted on the VantageNet forum to alert us to their original site or, more importantly, who actually created the pages and shared the photos. Also unfortunately, the original site no longer exists, so I couldn't track down who it was. But the photos are much too good for them to have disappeared completely, so sharing them is a no-brainer.
NIGHT OF DARK SHADOWS IS 30! - 1 (http://www.dsboards.com/VantageNet/$D313.HTM)
NIGHT OF DARK SHADOWS IS 30! - 2 (http://www.dsboards.com/VantageNet/$D355.HTM)
There are several more pages from this to come, but coming up next in the flashback will be more from Midnite...
[nods]
-
I wasn't online back then so I am really appreciating these posts!!!
-
[pointing-up] I'm happy you're enjoying them. [hall2_smiley] And I suspect a lot of fans who are online now have never seen them because they weren't online in 2001...
[nods]
-
DARK SHADOWS: General Discussion Forum - 11/1/01 6:04:06 PM (http://www.dsboards.com/VantageNet/$D151.HTM)
-
I remember them like it was yesterday. Once again where have the years - the decades - gone? I also remember the long-gone AOL DS message board where many from here also posted. It did, like all other AOL message boards, have troubles with trolls. There was one odd fellow who followed Heidi Klum as a goddess and, naming her "our lady," he made various prophecies how she was going to take over and rule the world. Now that could've been a DS storyline.
Gerard
-
Once again where have the years - the decades - gone?
I know - it's hard to believe that event took place over 20 years ago.
There was one odd fellow who followed Heidi Klum as a goddess and, naming her "our lady," he made various prophecies how she was going to take over and rule the world.
OMG, I'd completely forgotten about him. Though, sadly, he was hardly the only poster who was living in an alternate reality... Hey, maybe... No, I'm not going there...
[nods]
-
DARK SHADOWS: General Discussion Forum - 11/1/01 6:17:10 PM (http://www.dsboards.com/VantageNet/$D185.HTM)
DARK SHADOWS: General Discussion Forum - 11/1/01 6:22:05 PM (http://www.dsboards.com/VantageNet/$D1C3.HTM)
-
NIGHT OF DARK SHADOWS IS 30! - 3 (http://www.dsboards.com/VantageNet/$D393.HTM)
I didn't realize until today that I'd saved the background image that's intended for these pages so I've gone back and fixed the first two...
[nods]
-
NIGHT OF DARK SHADOWS IS 30! - 4 (http://www.dsboards.com/VantageNet/$E035.HTM)
NIGHT OF DARK SHADOWS IS 30! - 5 (http://www.dsboards.com/VantageNet/$D235.HTM)
And there are still more pages from this to come, but coming up next in the flashback will once again be more from Midnite...
[nods]
-
Before the next VantageNet posting, there are a few things I want to visit regarding Midnite's NoDS 30th report:
Auntie Foundling soon made an appearance, and as suspected he had changed his appearance drastically-- hair cropped short, and BLONDE. Then Dean joined us, and later we were able to say hello to ... MordecaiGrimes from Tim's DS board.
MordecaiGrimes became a member here soon after this version of the forum was created. Dean also became a member, as did Auntie Foundling, who used many names in fandom, but here he was known as casper_collins. And sadly I say "known" because he passed away in 2018 and if you search his name, you'll find a topic with some wonderful tribute posts. As anyone who knew him will attest, he was truly one of a kind. He, Midnite and I shared some fantastic times together at various Fests. And also sadly, Dean passed away in 2002, just about a year after the NoDS 30th event. You can also find a wonderful tribute topic about him if you search his name. He was quite active and much beloved in fandom and very generous. In fact, the next two posts we'll be sharing links to are posts Midnite made on the VantageNet board to share some of Dean's photos from the NoDS 30th event.
historian Darren Gross was introduced. Darren explained his quest and then regaled us, first with the 7 "explicit" scenes cut to prevent an R rating, and then the formerly lost piano scene (with Angelique in the dress worn in the portrait) and the fabulous séance scene. Lastly, he played the 2-minute trailer which contains glimpses of the lost pool scene and the séance scene in color, woo!
I'm sure most fans are well aware what 7 "explicit" scenes Midnite refers to and what was cut, but just in case there are still some who don't, here's an excerpt from a page Darren posted on his now defunct restoration site:
Strack being trampled to death by Charles' horse includes a few more shots of Strack being trampled, his face covered with gore as well as shots of Charles' horse rearing up. Charles can also be heard to shout, "Up Dubloon !(the name of his horse)Kill! Kill ! Die Strack ! Die ! Die !" The shot of Strack rolling over and dying is extended. There is a closeup of his dead body. The camera then tilts up to a shot of Charles looking down satisfactorily at the body. He then looks off-camera, feeling a presence. The film then cuts to the shot of Angelique's ghost standing in the cemetary as Charles approaches which was retained in the 93.5 minute version.
In Quentin's flashback in the tower, Charles and Angelique's kiss is more explicit. Angelique throws her head back and laughs mockingly as Charles kisses her neck and the unseen Gabriel hammers angrily at the door. GABRIEL: I know she's in there now open the door !(this is also present in the short version, but I have retained it to give the next line context) CHARLES: For more of your dreary moralizing ? You try my patient brother. GABRIEL(pounding, furious): For the last time - open the door !
Angelique's hanging is more explicit. After she is pushed off the scaffold her body jerks and swings as it stops. The hangsmen grab her body to stop it from swaying then grab the rope and use it to pull her body high up in the tree. They tie the rope off. The body swings as the tree branch creaks.
When Quentin attacks Tracy in bed his molestation of her is much more physical and his dialogue more suggestive. Quentin roughly strokes Tracy's chest and violently grabs her breast while she fights him off. QUENTIN: What's the matter, don't you like it anymore ? Quentin grabs her and holds her down violently.
After Claire and Tracy re-enter the cottage, the shot of Gerard lunging at them with a murderous expression on his bloody face lasts a bit longer.
In the truck, Gerard's molestation of Tracy is more explicit. After Gerard muffles her shrieks, he rasps quietly to her: GERARD:Promise not to yell and I'll let you go... He then turns towards her and begins to slowly stroke her leg, her thigh, and her crotch and Tracy begins to kiss him to keep him distracted.
After Gerard falls to his death and his body is seen lying on the railroad tracks, there is a closeup of Gerard's bloody head which is lying tilted back, its mouth gaping open. He is clearly dead. After Alex and Claire join Quentin on the railroad bridge Alex looks at Gerard's body below and says "Looks like the old Bangor local will be running a little late tonight."
And if you've never seen the 2 minute trailer, here's a link:
NIGHT OF DARK SHADOWS (1971) Rare Movie Trailer (https://www.youtube.com/watch?v=Y0pyLOmCwao&t=16s)
You'll also see glimpses of such cut things as Gerard's bloody head, Tracy's dream about Quentin and Angelique making out at the pool house, Strack's trampling, and Angelique's hanging.
[nods]
-
DARK SHADOWS: General Discussion Forum - 12/3/01 2:40:07 AM (http://www.dsboards.com/VantageNet/$9193.HTM)
-
DARK SHADOWS: General Discussion Forum - 12/3/01 2:41:43 AM (http://www.dsboards.com/VantageNet/$92E0.HTM)
-
Another take on the event:
"LA Weekly November 2-8, 2001
Shadows of Their Former Selves
Devotees of DARK SHADOWS, undoubtedly the quirkiest entry in the history of TV soapdom, gathered at the VISTA THEATER recently for a 30th-anniversary screening of Night of Dark Shadows , the 1971 feature-film spinoff from the series about the ghoulish goings-on at creepy Collinwood Estate (vampires, ghosts, werewolves and even a phoenix figured among its characters). Fans provided running commentary about the series stars who alighted from a big black limo, including tall, gray and handsome DAVID SELBY (who’s even better-looking at 50-something than when he played hot young Quentin Collins); petite, perky LARA PARKER (the notorious Angelique, pictured); jovial JOHN KARLEN, a far cry from Collinwood’s sullen groundskeeper Willie Loomis; dainty DIANA MILLAY (Laura Collins), disappointed that there were “no vampires in the crowd”; leather-jacketed CHRIS PENNOCK (Jeb Hawkes), looking very hip in long white hair and mustache; and NANCY BARRETT (Carolyn Stoddard), gracefully enjoying the spotlight once more, albeit with tongue firmly in cheek. Before the screening, the stars gamely participated in a handprints-in-the-cement ceremony in front of the theater. Only problem was it took at least three takes for each of them to write their names in the wet cement, causing CHIP SELBY, David’s wife, to note that “they made the movie in less time!” And an auction of Dark Shadows memorabilia (proceeds going to the Women’s Care Cottage) fetched $100 for a genuine Barnabas ring, which, the auctioneer assured us, was “adjustable.” (Eat your heart out, Harry Winston.) Speaking of Barnabas: Alas, Jonathan Frid, the sexiest vampire since Bela Lugosi, lives quietly in Canada and doesn’t do the D.S. circuit anymore. Fangs for the memories!
Mary Beth Crain"
I don't have the actual article, so I can't share the photo of Lara Parker. And unfortunately, a search of LA Weekly's archive brought up the text of the article without the photo...
[nods]
-
I know that I'm repeating myself but I am really enjoying these posts from the Vista theater. I wasn't able to make the trip out to California at the time. Don't remember why at this point, most likely financial considerations.
Thank you also for reminding me of Dean Wilson. We were pretty close friends back then and I do have memory of going to Universal Studios with him, Helen Samaras and Stuart Manning.
-
When I found what was on the disc, I wondered whether or not I should share what I'd discovered from the NoDS 30th. Not that I didn't want to - I just wondered if it was a good idea. But I asked Midnite and she thought it sounded like a great idea. So, people might have her to thank more than they do me. [hall2_wink] And people are checking out the links, so it looks like we made the right choice.
Look for another link to be posted shortly...
[nods]
-
NIGHT OF DARK SHADOWS IS 30! - 6 (http://www.dsboards.com/VantageNet/$D271.HTM)
And there is still one more page from this to come...
[nods]
-
Oops - I forgot to post this yesterday:
NIGHT OF DARK SHADOWS IS 30! - 7 (http://www.dsboards.com/VantageNet/$D2A4.HTM)
It's interesting that in the seeming tradition of NoDS' original run, they went with the B Poster for the newspaper ad and the A Poster for display in the theatre.
And it's even more interesting that they reprinted the photo spread from the NoDS Herald (http://www.dsboards.com/NoDSquoteimages/Herald.jpg) in the souvenir program.
[nods]
-
And finally when it comes to the NoDS 30th, lest you think there aren't any more photos from Midnite or Dean, be sure to check out these pages on MsCriseyde's David Selby Web site:
midnite's photos (http://www.ldrweb.com/davidselby/photogallery/midnites_photos.htm)
midnite's photos 2 (http://www.ldrweb.com/davidselby/photogallery/midnites_photos_2.htm)
dean's photos (http://www.ldrweb.com/davidselby/photogallery/deans_photos.htm)
You may also want to check out the photos from the event on Cheryl Singletary's Web site:
Cheryl's Dark Shadows Website - Page Eleven (http://rusty_slocum.tripod.com/cheryl10.htm)
Cheryl's Dark Shadows Website - Page Twelve (http://rusty_slocum.tripod.com/cheryl11.htm)
Sadly, too many other sites from back then have disappeared into the ether...
[nods]
-
Also, while the archives of 16, Tiger Beat and the like have been picked pretty clean, there are a lot of vintage soap magazines that fell by the wayside. They covered DS to a good extent but so many of the magazines folded years ago and their publishing companies are no longer around.
-
In the early 70s I used to go to the Collingswood Auction. I called it the Collinswood auction, lol. It was an indoor/outdoor flea market for the most part. A guy there sold old magazines and 45s. I got most of my pre Petofi Dark Shadows info from these magazines. MPI (not a fan) made the impossible dream come true when they made the series available for home viewing.
Hey, Bob the Bartender, I bet you have some memories of 'the Auction'. Imagine the Collins clan at the Auction?
It's not even close to being the same, but it's still going strong and a fun quick stroll down memory lane whenever I am out that way.
-
Another oops - I forgot to share something from Darren's Restoration Web site:
I was going to share his take on the NoDS 30th festivities, but for some strange reason I can't find the page I'd saved from his site where he'd summarized the event. However, I'd stored a second copy elsewhere of a photo he'd shared of the stars signatures/handprints in cement. It's the clearest one I think I've ever come across because it looks like the cement may have been completely dry when he took it:
(http://www.dsboards.com/NoDSAnniQuoteImages/celeb26.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/celeb26.jpg) for a 875X187 version)
And that may close out the subject of the NoDS 30th, well, unless I do come across Darren's take, which I probably will some day when I'm not looking for it...
[nods]
-
One more flashback item:
Something I rediscovered after I'd posted the still from Scene 56 in Reply #827, a still from Scene 55, Quentin sees a vision of Angelique's funeral:
(http://www.dsboards.com/NoDSAnniQuoteImages/Bell3.jpg)
[nods]
-
Recall that the following two discrepancies in the closed captioning for the current slideshow scene prompted the discussions of the closed captioning/subtitles versus the actual film:
First post:
...things get a bit wonky after that. We've seen that Gabriel's next line is:
GABRIEL (O.S.)
I know she's in there. Now open
the door.
|
And that is indeed what he says in the film.
However, all that comes up with the closed captioning is:
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_01720.jpg)
But that's not what I found odd because, as aggravating as it might be, I've noticed before when I've been with people who've had the closed captioning on that sometimes words or even entire lines of dialogue are missing. [hall2_rolleyes]
And we've seen that Charles' lines in the script followed by Gabriel's next lines do not come up in the 94 minute version of the film and that version moves right on to Angelique's next line:
Page 35A/Scene 85 - Angelique: 'Let him in.'
And it plays in the film the exact same way:
(http://www.dsboards.com/NoDSAnniQuoteImages/1122NoDS_0.jpg)
Angelique: 'Let him in.
And it shows up in the closed captioning in the exact same way:
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_02059.jpg)
However, it's after that where the oddness occurs...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
Second post:
...because we've seen today that whereas Gabriel's next scripted line is:
Page 35A/Scene 85 - Gabriel: 'I have come for her, brother.'
But what he actually says in the film is:
(http://www.dsboards.com/NoDSAnniQuoteImages/1123NoDS_0.jpg)
Gabriel: 'That's my wife, Charles.'
What comes up with the closed captioning is:
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_02445.jpg)
That's seemingly a mix of what was scripted and what was actually said, but really neither. Who knows where/how whoever did the closed captioning came up with it?! And I wonder if similarly odd closed captioning happens anywhere else in the film? One of these days it might be interesting to watch the film with closed captioning on, which is something I've never done. Honestly, I don't even know why it was active on the TV I used yesterday to check something in the VHS' version of Scene 85. The TV is the only one I have that still has a connection for my VCR, so it's the only reason I still have it. Perhaps close captioning is automatically set to active when the TV is plugged in after not being in use for months. Who knows? But if it wasn't for the fact that it was active, it's quite possible I would have never noticed how odd that bit of closed captioning is...
(ADMIN: Edited to replace a TV video capture)
[nods]
-
A reminder:
...
And that's when today's quote -
Page 36/Scene 85 - Charles: 'Leave her alone, Trask! I'm warning you! Gabriel, have you lost your mind?'
- comes up.
... and the reason I selected two captures for today's quote and repeated the entire quote for both is because 1) I couldn't decide which capture I liked best to represent it, but more importantly because 2) in the film what Charles is scripted to say is actually flipped around with him first saying (to Gabriel) -
(http://www.dsboards.com/NoDSAnniQuoteImages/1125NoDS_0.jpg)
Charles: 'Have you lost your mind?'
- and then (to Strack) -
(http://www.dsboards.com/NoDSAnniQuoteImages/1125NoDS_1.jpg)
Charles: 'You touch her and I'll kill you!'
- rather than substituting Strack for Trask and saying "Leave her alone, Strack! I'm warning you!"
...
And once again, one good thing about the VHS version of the film is that it doesn't cut off a character's head, in this case, Strack's:
(http://www.dsboards.com/NoDSquoteimages/Charles_Strack.jpg)
...
[nods]
-
Backtracking a bit, the other day I forgot to post a video of how the score in Scene 84 on the DVD/Blu-ray has an obvious cut -
(Cut made at 7 sec.)
- that the VHS doesn't -
- and that's because the scene was obviously rescored after the cut footage was removed, and as such the score is slightly different on the VHS than it is on the DVD/Blu-ray release. The full score that should play and does play in the 129 minute version is like this -
- because approximately 20 seconds was cut from the 129 minute version to help to shorten it per James Avery's order to DC. And what was cut has been discussed before, often with regard to this part of ProfStokes' post listing what recovered footage was shown at the 2004 Fest -
..., Quentin discovering a sketch that Charles had made of Angelique, ...
-and as a reminder we actually see this sketch in the footage that is still in all versions of the film, but because the VHS shows much more at the bottom of the film's frames, it's much more visible on the VHS than it is on the DVD/Blu-ray. Last year I'd shared versions of both -
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_16X9.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_16X9.jpg) for a 1000X532 version)
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_4X3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_4X3.jpg) for a 900X661 version)
- and because I didn't have working video capturing software at the time, I had to share a photo I'd taken on a TV from the VHS. But now that I do have working video capturing software, this is what the VHS actually looks like -
(http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_4X3_2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_4X3_2.jpg) for a 880X661 version)
[nods]
-
Another reminder:
...
- and something else that I didn't notice before that's wrong is that the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_02984.jpg)
- and -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_03081.jpg)
- and the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Subtitles_frame_04394.jpg)
- but rather than saying "Stop it!" or just "Stop!" Charles actually calls out "Strack!" when he sees Strack enter the tower, and then he follows up with "You touch her and I'll kill you!"
...
(ADMIN: Edited to replace TV video captures)
[nods]
-
And also keep in mind with regard to Scene 85 in the 97 (and 129) minute film, Darren Gross posted on his Restoration Web site -
A brief summary of all the scenes missing from the 93.5 minute version which were present in the 97 minute prints follows.
...
2) In Quentin's flashback in the tower, Charles and Angelique's kiss is more explicit. Angelique throws her head back and laughs mockingly as Charles kisses her neck and the unseen Gabriel hammers angrily at the door. GABRIEL: I know she's in there now open the door !(this is also present in the short version, but I have retained it to give the next line context) CHARLES: For more of your dreary moralizing ? You try my patient brother. GABRIEL(pounding, furious): For the last time - open the door !
...
- and -
Backtracking even further back to Scene 85, I've "recreated" Angelique and Charles in the Tower room and Gabriel interrupting them using audio from the reel-to-reel tape of the 97 minute release version of the sequence along with screen caps to fill in for where the missing footage of Charles and Angelique's more explicit making out would be. Again, it's not perfect, but I'm happy with it.
First up. as per the Laser Disc, this is what the 94 minute version of the film should be like:
But this is what the DVD/Blu-ray release is like:
And here it is with the full audio from the 97 minute version of the film, featuring more banging, a last giggle from Angelique, and an additional line from Gabriel (sadly, you can't hear the more explicit footage of Charles and Angelique making out ;) :():
(ADMIN: Edited to add Laser video)
[nods]
-
...
And that's when today's quote -
Page 36/Scene 86 - Quentin: 'Gabriel...Angelique...? That was her funeral I saw. What happened here? What?'
- is scripted to come up.
But when it comes to various versions of the film, there is either no dialogue at all or a completely different bit of dialogue. In the 94 minute and 97 minute versions, the correct sound mix is that there is no dialogue in Scene 86.
But in the 129 minute version, slightly reworked versions of two of the things Angelique says at the outset of Scene 85 are combined and repeated: "As long as she's in this house, I can't be happy. Bring the painting to life. Please." But just as is the case with the earlier additional dialogue that can be heard in Scene 85 even though it doesn't belong in the 94 minute version of the film, that bit from Angelique is mistakenly heard in the versions of the 94 minute NoDS available online via Amazon and iTunes and possibly other places, and on DVD and Blu-ray.
And something that you might have noticed (I didn't actually until this time around) is that the two clips above are scored differently. Note that on the VHS the flourish of Quentin's Theme isn't heard until the frame is focusing solely on the painting and Quentin is no longer in frame, whereas on the DVD/Blu-ray the Quentin's Theme flourish is already being heard at the outset of the clip while Quentin is in frame and the painting is barely seen. And all of that is quite possibly because the removal of the more explicit footage from Scene 85 and Angelique's voiceover over the painting required rescoring. Though what's interesting is the rescoring doesn't appear to noticably kick in until about the time Charles unlocks the door for Gabriel, which is after where the removal of the more explicit footage was made.
Another thing that's interesting is that on the VHS a few notes of the score continue to be heard when things switch to the outside shot of Collinwood, whereas on the DVD/Blu-ray the score cuts off immediately at the end of Scene 86. And speaking of that outside shot of Collinwood, also recall that as the film currently stands, Scene 86 is followed by Scene 74, not Scene 87 (Quentin, Alex, Claire and Tracy discuss the two paintings of Angelique) as will be coming up in the slideshow, though sadly, doesn't appear in any version of the film...
And something else which is also worth pointing out again -
Also I have to say that the music used for this sequence (titled The Taking Of Angelique on the soundtrack CD) is one of my favorite pieces that Bob Cobert wrote for the film.
[nods]
(ADMIN: Edited to replace VHS video with Laser video)
-
Recall with regard to Scene 87, Darren Gross posted on his Restoration Web site:
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
INT.GALLERY-NIGHT. Quentin & Tracy, Claire & Alex discuss the two Angelique portraits.
[nods]
-
And when it comes to today's quote:
And speaking of observations, does it strike anyone else as odd that Alex claims that he and Claire "are broke"?
(http://www.dsboards.com/NoDSAnniQuoteImages/1207NoDS_0.jpg)
Page 38/Scene 88 - Alex (gesturing to Claire): 'Will you look at that dress?
Gregory strikes again! He must think we're the manor folk --
honey, remember, we're broke.'
I still wish there was an actual explanation in the film because:Apparently they've written at least a few successful novels, one of which we learn at the end of the film is being made into a "major motion picture."
Plus, the blurb at the end of the film describes them as a "popular husband and wife novelist team."
Either they must have a terrible agent who negotiates terrible contracts for them or they must spend money like water. Or both. Who knows? [santa_undecided] But if they are broke, no wonder they need to live rent free. [santa_wink]
However, it's also quite apparent that supposedly being broke doesn't stop them from driving from Maine to New York in the middle of the night on a whim that they might learn something about Charles Collins. [santa_shocked]
Though what's perhaps more important about today's quote is that it's a MUST quote! [santa_wink]
[nods]
-
When it comes to Scene 88, not only is there quite a bit of possibly improvised dialogue to begin the scene, but the closed captioning and, to a lesser degree, the subtitles have all sorts of issues.
First up:
Interestingly, when it comes to the first improvised line from Scene 88, it appears on screen in both the subtitles and the closed captioning at the end of Scene 80 (and we'll recall that Scenes 74 through Scene 80 appear in the film after Scene 86 rather than before it) -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_00018.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00015.jpg)
- even though it doesn't come up in the film until Claire appears on screen -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_00036.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00044.jpg)
- (and for some reason there's more glare than usual off of the TV screen for the closed captions) - and even though the next improvised lines are Alex asking "All right, sweetheart, some wine?" followed by Claire replying "Just a touch", the subtitles drop Alex saying "All right" -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_00092.jpg)
- and the closed captioning oddly has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00100.jpg)
- and doesn't even acknowledge Claire's reply.
Much more to come...
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
Continuing with the issues with the closed captioning and the subtitles for Scene 88.
Next up:
After Claire has replied "Just a touch," Alex repeats "Just a touch and then adds "Now who'd a thought we'd have been here two years ago?", though the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_00165.jpg)
- but the closed captioning only has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00162.jpg)
- and to that Claire replies "I would have." to which Alex says, "You would, huh?", and the subtitles reflect that -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_00227.jpg)
- but the closed captioning only has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00220.jpg)
- with Alex' line dropped - and while Quentin then remarks "Makes life interesting," and the subtitles reflect that -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_00293.jpg)
- for some reason the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00272.jpg)
- adding a word that's not there instead of dropping entire lines - and that last subtitle gets a jump on the next line in the scene but we won't deal with that until next time...
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
I've finally gotten the chance to continue with the issues with the closed captioning and the subtitles for Scene 88.
Next up:
As I'd alluded to last time, the next thing Alex says is "Will you take a look at this thing?", which is reworked slightly from what is scripted, however, as can be seen in the previous post, the subtitles drop the "Will you," and the closed captioning not only also drop that, it only has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00332.jpg)
- with even "thing" being dropped - and after that Alex then says "Gregory strikes again! He must think we're the manor folk," and the subtitles reflect that but the closed captioning completely ignores it - after which Alex says, "Honey, remember, we are broke," and surprisingly enough both the subtitles and the close captioning acknowledge that - and then Alex possibly improvises, "A little more wine for the gentleman," as he makes his way to Quentin and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_00515.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00515.jpg)
- also acknowledge that - however, as his first reply to that, Quentin mouths, "Thank you" -
- but neither the subtitles nor the closed captioning acknowledges that.
And there's even more to come...
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
Continuing with the issues with the closed captioning and the subtitles for Scene 88.
Next up:
After Quentin mouths his thank you, he possibly improvises aloud "A little wine," and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_00646.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00633.jpg)
- acknowledge it - and after that point as Carlotta enters the room Alex greets her with "Well, hello, Carlotta - how are you?", which both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_00759.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_00816.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00765.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00800.jpg)
- also acknowledge. (And if looks could kill, that look Carlotta gives Alex when he asks how she is would have certainly killed him! [santa_grin])
Things briefly go back to what's scripted after all this, but a shift in dialogue and more possible improvisation are coming next time...
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
Picking up with Scene 88.
After it's been established that the wrapped box is a surprise for Quentin, it's something he "can't be without," and he opens it, as scripted Quentin is supposed to say "You've got to be kidding," and Alex is supposed to roar with laughter. However, what actually happens in the scene is Alex laughs, as is reflected in both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_01382.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_01382.jpg)
- after which it's Alex who delivers the line scripted for Quentin, and that's acknowledged by the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_01443.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_01453.jpg)
- and that's followed in both the subtitles and the closed captioning by Claire possibly improvising -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_01514.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_01529.jpg)
- and as Quentin approaches her, Tracy says, "Gregory said I could take them back if...", but for some reason the closed captioning drops the "if" -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_01661.jpg)
- and as I've lamented before, poor Gregory: he gets mentioned twice in this scene, yet as the film stands, no one in the audience has the vaguest idea who he is because his scene was never shot...
And from that point for a period of time things go back to what's scripted, but more issues are to come...
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
More with Scene 88.
After the subject of Quentin's "surprise" gift of riding breeches is dealt with, Quentin mentions to Carlotta that he's found some of Charles Collins' old paintings in the tower room (and the interesting thing is that in the script this is the first time Quentin and Carlotta have shared a scene since he found them, but in the film as it stands the scene in Sarah's room after Quentin has seen Sarah screaming in the window takes place in between) and Quentin asks Carlotta, "Do you know anything about his history?", and the subtitles reflect that, but for some reason the closed captioning drops the "do" -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02092.jpg)
- and after Carlotta replies that she does and that he was a "marvelous man" and "a brilliant artist," Alex remarks, "Oh, you almost sound like you know him, Carlotta," and the subtitles also reflects that, but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02348.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02411.jpg)
- and to that Carlotta reacts with a sly smile and an unscripted titter, which the closed captioning acknowledges -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02516.jpg)
- but the subtitles ignores.
And from there things briefly go back as scripted, but more issues are to come...
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
And even more with Scene 88.
First up:
After Carlotta asks if they'll be having brandy in the Gallery, Quentin defers with a possibly improvised "Alex?", which the closed captioning reflects -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02640.jpg)
- but for some odd reason the subtitles has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_02639.jpg)
- and Alex replies to Quentin with "Uh, not me, pal. I'm up with the sun these days," which is a reworking of what's scripted, and for the most part the subtitles has most of it -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_02678.jpg)
- but the closed captioning only has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02675.jpg)
- and that's followed by an unscripted exchange between Quentin and Alex with Quentin asking, "Sure?" and Alex replying, "Positive," which both the subtitles and the closed captioning acknowledge -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_02727.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02713.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02742.jpg)
And there's yet more to come...
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
And yet more with Scene 88.
First up:
After it's decided not to have brandy, in a possibly improvised bit Alex asks Claire, "Ready, baby?", she replies, "Ready," and he repeats, "Ready," all of which is acknowledged in the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_02788.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_02837.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02779.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02828.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02845.jpg)
- and after that, once they've gotten up and joined each other, Claire and Tracy possibly improvise some indecipherable chatter -
And there's even yet more to come as you may have gathered by the preview of part of it in the above clip...
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
Wrapping up Scene 88 and dealing with Scene 89.
First up:
After having a couple more sips of wine before getting up, Alex raises his glass as if in a toast and delivers another unscripted "A little more wine", to which Quentin mouths "A little more wine" under his breath as he walks to Alex and Alex' line is acknowledged in the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_03065.jpg)
- but not in the closed captioning - and Quentin mouthing the words can be seen in the video in Reply #869 - and that concludes Scene 88.
And when it comes to Scene 89, as they're exiting the Dining Room, Quentin stops Alex and says, "I'm having more of those crazy daydreams," which the subtitles gets exactly, but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_03298.jpg)
- and Alex replies with, "Wanna talk about it?" but the subtitles and the closed captioning each has their our variation of that -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_03385.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_03372.jpg)
- and to that Quentin asks, "Can you come over tomorrow?", which is reflected correctly in both the subtitles and the closed captioning - and at first Alex replies with an unscripted "Sure," which is acknowledged in both the subtitles and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_03484.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_03478.jpg)
- and for some strange reason the closed captioning has Quentin responding with -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_03508.jpg)
- which he doesn't say - but what does happen is Alex replies a second time and adds an unscripted "Okay," which both the subtitles and the closed captioning acknowledges -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_03531.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_03538.jpg)
And that's the end of what we need to deal with when it comes to Scene 89.
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
Sometimes I wonder if the people who did the subtitles and/or closed captioning for NoDS ever actually watched the film? Case in point, when Tracy tries desperately to stop Quentin from attacking Gerard. She screams, "Quentin!...stop it! Stop it! You'll kill him!", and mind you, the closed captioning does get all of that correct, and the subtitles get the first part correct, however, this is what the subtitles comes up with for the latter half:
(http://www.dsboards.com/NoDSAnniQuoteImages/Stop_it!_frame_00106.jpg)
Who knows?! [santa_shocked] [santa_rolleyes]
[nods]
-
When it comes to what DC considered to be Scene 100B, after Tracy points out that the important thing is to try to figure out why Quentin's attack on Gerard and herself happened, Quentin responds with "I know...how we gonna do that?" - now, both get the "I know" part perfectly correct - but, perhaps to make it more grammatically correct, the subtitles inserts the word "are" -
(http://www.dsboards.com/NoDSAnniQuoteImages/Why_It_Happened_Blu-ray_frame_00272.jpg)
- and the closed captioning makes it even more grammatically correct by having -
(http://www.dsboards.com/NoDSAnniQuoteImages/Why_It_Happened_VHS_frame_01537.jpg)
Who knows why both are suddenly such sticklers for grammar when the actual dialogue isn't? [santa_huh] [santa_rolleyes]
And one other thing when it comes to Scene 100B is that Tracy starts off replying to Quentin's question by saying, "Well, let's go to sleep," which the subtitles completely acknowledges, but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Why_It_Happened_VHS_frame_01612.jpg)
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
And when it comes to Scene 102, the closed captioning acknowledges that Gabriel bursts out in unscripted hysterical laughter as the door is closed on Charles -
(http://www.dsboards.com/NoDSAnniQuoteImages/For_Eternity_VHS_frame_01393.jpg)
- however, the subtitles do not - and once again there's a rather strange interpretation in both the closed captioning and the subtitles when it comes to the end of the scene because Gabriel actually shouts an unscripted "Kill Dubloon," and that's Charles horse (and we've discussed how insanely vindictive Gabriel is to have ordered that!), but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/For_Eternity_VHS_frame_01458.jpg)
- which does sound somewhat like what's actually said, but the really strange interpretation comes with the subtitles, which also sounds somewhat like what's actually said -
(http://www.dsboards.com/NoDSAnniQuoteImages/For_Eternity_Blu-ray_frame_01478.jpg)
- but both? Who in heaven's name would "both" refer to?! But I suppose whoever did the subtitles didn't ask themselves that question. [santa_rolleyes]
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
And a belated reminder that when it comes to Scenes 101 & 102, be sure to reacquaint yourself when these two posts:
Before we get into DC's script's version of Scenes 101 & 102, this is what Grayson's script's version is like: ...
Also before we get into DC's script's version of Scenes 101 & 102, we should reacquaint ourselves with Scene 67 in Grayson's script: ...
[nods]
-
I've finally gotten back to pointing out issues with the closed captioning and the subtitles. (The contractor finally finished with my new ceiling, so I've been spending a lot of time putting my home office back together - plus, I came down with a cold during which time I wasn't in the mood to do much of anything that wasn't absolutely necessary. Though it could have been worse, it could have been COVID...)
Interestingly, when it comes to Scene 103, the subtitles barely acknowledge anything that takes place during the scene, but the closed captioning acknowledges nearly everything - first up in the closed captioning , Quentin gasping for air -
(http://www.dsboards.com/NoDSAnniQuoteImages/For_Eternity_VHS_frame_01632.jpg)
- then the script indicates that Quentin is supposed to be mumbling, "I can't breathe...I can't...breathe...", but to me it's always sounded like, "Help me. ... Help me.", and the closed captioning would seem to confirm that -
(http://www.dsboards.com/NoDSAnniQuoteImages/For_Eternity_VHS_frame_01713.jpg)
- and then while trying to wake Quentin, Tracy is scripted to say, "Quentin...Quentin? What's wrong?", but she actually says, "Quentin...sweetheart?", and strangely enough the subtitles only acknowledge Tracy saying -
(http://www.dsboards.com/NoDSAnniQuoteImages/For_Eternity_Blu-ray_frame_01960.jpg)
- so the closed captioning is the only one that acknowledges her saying -
(http://www.dsboards.com/NoDSAnniQuoteImages/For_Eternity_VHS_frame_01980.jpg)
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
And here's a reminder about Scene 103:
And here we have the Blu-ray to represent every other version:
Now, the really interesting thing here is that the scene of Tracy in bed trying to comfort Quentin comes up in the 94 and 97 minute versions of the film at the end of Quentin's dream on his first night at Collinwood, however, no such sequence is scripted because the dream is put together from various scenes that should appear at other times in the film. The dream takes place between scripted Scenes 40 and 51, and that scene with Quentin and Tracy is scripted to be Scene 103 - and it tales place in the 129 minute version of the film in its rightful place. So that means that in that version of the film, it's followed by Scene 104, which is the scene in the Dining Room the next morning with Tracy having her coffee and -
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Breakfast-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Breakfast-1.jpg) for a 700X1028 version)
...
- Quentin enters wearing the riding outfit that Tracy gave him. So of course that means that the music cue heard on all but the VHS version of the film plays as Scene 103 transitions to Scene 104...
And the music cue that plays isn't included in the NoDS section of the Movie Soundtracks CD because it's already a part of the hoDS section where it's entitled "Another Victim" - and here's that selection to get a better idea how in the 129 minute version it helps to transition from Scene 103 to Scene 104:
[nods]
-
[pointing-up] I forgot to mention yesterday that that music cue was originally written and used for Dead of Night: A Darkness at Blaisedon. Those who remember the show may recall it plays over the opening scene...
[nods]
-
When it comes to Scene 108, after Alex spots a figure walking toward the Greenhouse and he calls out, "Hey, you!", he follows that up by calling out an unscripted, "Hello there!", and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_Blu-ray_frame_00725.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_00724.jpg)
- acknowledge that.
[nods]
(ADMIN: Edited to replace a TV video screen capture)
-
When it comes to Scene 109, rather than the scripted "Hello!", Alex calls out another "Hello there!" as he approches the Greenhouse, and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_Blu-ray_frame_01101.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_01101.jpg)
- reflect that.
And interestingly the closed captioning acknowledges the sound the portion of the glass ceiling that's about to fall makes before it does so -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_03131.jpg)
- yet the subtitles don't.
And after Tracy arrives on the scene after the ceiling glass has come crashing down, she calls out to Alex to ask if he's all right, and she begins to enter the Greenhouse, Alex warns her with an unscripted "Stay out of here, honey," though the "honey" part isn't included in either the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_Blu-ray_frame_03874.jpg)
- or the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_03874.jpg)
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
Here are two behind the scenes stills that I believe are related to the shooting of Scene 109. And I say that because there are several stories about how everyone had to wear hard hats while the scene was shot. Well, everyone except for Kate Jackson and, more significantly, John Karlen because they had to be inside the Greenhouse during the scene. Karlen's part of the scene made him especially vulnerable because he had to be inside for an extended period of time and inside while glass came crashing down from the roof. But apparently he was a real trooper. In fact the was a real trooper throughout the whole sequence because not only did he enter a dangerous glass building to shoot a scene, but as has been mentioned before, he rode a bicycle when he'd never done so before.
But be all that as it were, here are the two stills -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-10.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-11.jpg)
- they were among the stills I rediscovered not that long ago, and so far as I know, I don't believe they've ever been officially published...
-
[pointing-up] I forgot to mention yesterday that another reason I believe the stills are from NoDS is that I'm pretty sure that's NoDS' Director of Photography Richard Shore in the cherry picker with DC.
[nods]
-
When it comes to Scene 110, rather than the "What happened?" that's scripted for Tracy to ask near the end of Scene 109, the line is held for the beginning of Scene 110 and Tracy actually delivers it as -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_Blu-ray_frame_04154.jpg)
- as both the subtitles and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_04152.jpg)
- reflect, and to which Alex replies at first with an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_Blu-ray_frame_04200.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_04199.jpg)
- and the closed captioning has Alex stating an unscripted "I don't know" before he begins to deliver the scripted "I was exploring. I guess I shouldn't have been. Then the whole place fell down.", which is also transplanted to Scene 110 from the end of Scene 109 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_04269.jpg)
- but the subtitles don't acknowledge that unscripted bit beforehand -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_Blu-ray_frame_04270.jpg)
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
And continuing with Scene 110, after Alex asks Tracy what's new and she tells him she's a little worried about something sort of funny that happened the previous night, Alex responds with an unscripted "Come on, tell me about it," which is acknowledged by both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_Blu-ray_frame_04773.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_04771.jpg)
- and Tracy begins an unscripted explanation with "Well, I don't know exactly. I woke up late and I looked for Quentin. He wasn't there. So I, I went to the tower room..." -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_Blu-ray_frame_04889.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_Blu-ray_frame_05000.jpg)
- which the subtitles basically gets correct with just a missing word or two here and there, which is the same case as with the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_04871.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_04936.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_04984.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_05036.jpg)
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
Can't remember if I said this before, but those closed captions look like they're made from a Dymo label maker.
-
Can't remember if I said this before, but those closed captions look like they're made from a Dymo label maker.
You know, that's exactly what they look like. Excellent observation. [snow_wink] [snow_cheesy]
[nods]
-
When it comes to Scene 115, Tracy and Quentin exchange unscripted greetings after Tracy enters the Gallery and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Not_Use_Tower_Blu-ray_frame_00316.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Not_Use_Tower_VHS_frame_00274.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Not_Use_Tower_VHS_frame_00319.jpg)
- reflect that - and something that's interesting is that DC's script has notations about those additions and more - first it has that when Tracy enters the room she says "Hello" to Quentin, and second Quentin's first scripted line, "You didn't tell Alex about...my attacking you last night," is completely crossed out and replaced with Quentin replying "Hi. I want to thank you for not telling Alex everything." - and later in the scene after arrangements have been made for Quentin to move his painting from the Tower Room to the Gallery, and after a huffy Carlotta has left the room to start proceedings to do so, what Tracy actually says is "Oh, Quentin, I won't bother you down here. I swear I won't. I always felt you were so far away when you were in the tower." - and when it comes to her last sentence the subtitles have all but her use of "always" - but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Not_Use_Tower_VHS_frame_02086.jpg)
- and to that Quentin actually replys "Well, I won't be anymore. So I want you to stop worrying about it. Everything's gonna be all right." - though when it comes to the first two sentences the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Not_Use_Tower_Blu-ray_frame_02167.jpg)
- and the closed captioning drops even more because it has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Not_Use_Tower_VHS_frame_02178.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Not_Use_Tower_VHS_frame_02191.jpg)
- completely dropping "So I want you to stop worrying about it" and rephrasing "Everything's gonna be all right."
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
Something I've often wondered about Scene 115 is after Carlotta enters the Gallery she makes a beeline for the liquor on the sideboard, opens the ice bucket, takes out ice, and puts it in a glass before Quentin calls out her name and she turns to him, but just who is it that she's making that drink for?
(http://www.dsboards.com/NoDSAnniQuoteImages/Drink.jpg)
One might presume it's for Quentin, but neither the film nor the script gives any indication who it's for. Not even the notes Grayson made in her script for the scene give a clue because regarding that section all she wrote is "Busy making a drink." But wouldn't it be a hoot if she's making that drink for herself?! Imagine if she really does just breeze into the Gallery, completely ignoring that her employers are in there, and starts to make a drink for herself with their liquor. But then Carlotta does often act as if she owns Collinwood. Tracy even makes a remark to that effect in Scene 33, part of the first sequence that takes place in the Gallery. When it comes to Carlotta the "help" definitely doesn't know their place!! [snow_laugh]
[nods]
-
Here's another example of a music cue that rightfully doesn't play as part of a scene on the VHS/Laser but does in every other release of the film. We dealt with one such cue back when Scene 103 came up in its intended place as scripted. And this time around we're dealing with the opening of Scene 117:
Here we have the Laser version:
And here we have the Blu-ray to represent every other version:
The cue heard on the Blu-ray and others other than the VHS/Laser is obviously a segue from the end of Scene 116 (which only appears in the 129 minute version of the film - all other versions go from Scene 115 to Scene 117, as can be seen in the Laser and Blu-ray clips) -
Beginning the next scene:
116 INT - GALLERY - DAY 116
It's the following morning. Quentin is at easel,
relaxing, sipping a cup of coffee, as Tracy ENTERS.
Quentin stops, holds out his arms. Tracy runs to
them.
QUENTIN
Good morning!
(pointing outside)
The world is ours, the gentleman
said.
TRACY
Ours. We'll celebrate. I'll drive
into Collinsport and get the biggest
steak anyone has ever bought. We'll
charcoal it ourselves.
QUENTIN
And eat it ourselves.
TRACY
I'll make my famed Caesar salad...
which is the only one I can make --
QUENTIN
And we shall open the best wine.
She turns, sees that Angelique's portrait is gone.
116 CONTD CONTD 116
|
And that's when today's quote -
Page 56/Scene 116 - Tracy: 'What happened to her?'
- comes up.
...
Wrapping up Scene 116, beginning with yesterday's quote, Quentin's response to Tracy's question:
Page 56/Scene 116 - Quentin: 'Angelique? She's been retired. After years of honorable service.'
- coming up, followed in the script by:
And that's when today's first quote -
Page 56/Scene 116 - Quentin: 'Mostly so Alex will forget our non-existent ghost. Hey, let me paint --'
- comes up, followed by today's second quote -
Page 56/Scene 116 - Tracy: 'Paint on...paint on...I love you...'
- coming up, followed by the script concluding the scene with:
She EXITS. He smiles and begins painting.
|
...
- to the opening of Scene 117...
[nods]
(ADMIN: Edited to replace VHS video with Laser video)
-
Near the outset of Scene 117, after Carlotta brings Angelique's portrait back into the Gallery and Quentin tells her, "I said I didn't want to see that again," Carlotta replies, "It belongs in this room." - and the subtitles do reflect both those lines - however, when it comes to Carlotta's line, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Tell_me_VHS_frame_00245.jpg)
- and something that's interesting about that is her line was originally scripted to be "But it belongs here, Mr. Collins." - and this is hardly the only instance where something that's different in the closed captioning from what's actually said in the film is more similar to what was originally scripted...
[nods]
(ADMIN: Edited to replace TV video screen capture)
-
When it comes to Quentin insisting to Carlotta, "'You know damn well what I'm referring to. Her," in Scene 117, the closed captioning refers to what Quentin says in its entirety, but the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Tell_me_Blu-ray_frame_01362.jpg)
- drops the "damn well" for some reason...
[nods]
-
Happy anniversary and many more yrs .🧁😊
-
In Scene 117, when it comes to Carlotta's explanation, she begins by asking Quentin, "Do you remember that little girl you thought you saw at the window the other day?" - and the closed captioning has exactly that - but the subtitles has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Tell_me_Blu-ray_frame_02008.jpg)
- dropping the opening "Do." Now, yes, one can still put a question mark at the end of the sentence and say "You remember that little girl you thought you saw at the window the other day?" as a question. But starting off the sentence with "Do" definitely makes it a question. So to drop that particular word is definitely the oddest word to drop. And only the person who did the subtitles knows why they made that questionable choice...
[nods]
-
In Scene 117, when Carlotta reveals to Quentin, "I am the reincarnation of Sarah Castle. That little girl was me. I was part of everything you're now remembering," the subtitles acknowledge that perfectly - however, for some odd reason, the closed captioning changes "reincarnation" to -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Tell_me_VHS_frame_02725.jpg)
- and "incarnation" and reincarnation" are not interchangeable, so what's done in the closed captioning is actually very odd...
[nods]
(ADMIN: Edited to replace TV video screen capture)
-
Perhaps the strangest thing I find about the subtitles on the DVD/Blu-ray is that they're supposed to be SDH subtitles, which means by definition they're subtitles for the deaf and hard of hearing, which assumes the viewers using them can't only not hear the dialogue but also important non-dialogue information so they also highlight important sounds such as sound effects, music, etc., but the subtitles rarely if ever do that. On the other hand, the closed captioning often does. The most recent example of that was back in Reply #879 for Scene 109 when the closed captioning acknowledged the sound the Greenhouse's glass ceiling makes before it comes crashing down. And now when it comes to Scene 119 the closed captioning acknowledged the sound of approaching footsteps that soon prompt Sarah to hide under the table -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Decision_VHS_frame_04951.jpg)
- but of course, the subtitles do not acknowledge that sound...
[nods]
(ADMIN: Edited to replace TV video screen capture)
-
As Laura, Rev. Strack and Gabriel enter the Gallery in Scene 119, Laura points out, "Gabriel, you must make a decision" (a "MUST" quote!! [snow_cheesy]), and the subtitles reflect that exactly - however, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Decision_VHS_frame_05283.jpg)
- with "we" instead of "you" for a reason known only to the person who wrote it...
[nods]
(ADMIN: Edited to replace TV video screen capture)
-
In Scene 119, after Laura brings up that a decision must be made, as we've seen in the slideshow, Gabriel is scripted to say -
(http://www.dsboards.com/NoDSAnniQuoteImages/0309NoDS_1.jpg)
Page 59/Scene 119 - Gabriel: 'You've already made it for me.
Why else would the good Reverend Strack be here?'
- but I like how for the first part he actually says, "I think you've already made that for me." - I don't know if it was Chris Pennock's or someone else's idea to add the "I think," but it was an excellent move because it softens Gabriel's line. It changes it from a statement of fact to an assumption, and that works much better because, given the way the scene plays out, it's made clear that Rev. Strack and Laura want Gabriel to give his permission for their plans (even though, as Laura states flatly, they will carry out things without him)...
[nods]
-
Sorry about today's graphic in the slideshow appearing so late - it wasn't named correctly. But considering this is the second time around for the slideshow, I have no idea why that wasn't caught the first time around. [easter_undecided]
[nods]
-
After Laura questions whether Gabriel wants a mob with firebrands outside the house and Rev Strack promises it will come to that, and soon, Rev. Strack brings up "The strange death of Reverend Herridge so soon after his sermon denouncing her --" - and the subtitles reflect that exactly - however, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Decision_VHS_frame_06363.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Decision_VHS_frame_06436.jpg)
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
Despite that we hear claps of thunder earlier in Scene 119, the first time the closed captioning acknowledges one is after Rev. Strack says "This evil must be driven from the land before it destroys us all." (another "MUST" quote!! [easter_cheesy]) -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Decision_VHS_frame_07435.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Decision_VHS_frame_07462.jpg)
- and before Gabriel agrees "You're right. There is no other way." - and of course there's no acknowledgement of the thunder by the subtitles because, as I've said, for some strange reason given they're supposed to be SDH subtitles, they rarely if ever highlight any sounds...
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
And when it comes to the loudest clap of thunder at the end of Scene 121 and into the beginning of Scene 124 (Scenes 122 & 123 are not in the film), the closed captioning reflects the sound -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Decision_VHS_frame_08453.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08474.jpg)
- unlike the subtitles...
And in a similar situation to what I showed in Reply #1584 when it came to Laura's remark as she, Strack and Gabriel enter the Gallery, when it comes to Angelique descending the stairs, you can see above that she's barely seen when it comes to how my VCR decoded the text to acknowledging the thunder, whereas when it came to the text that was decoded with the TV from which I shot video, acknowledging the thunder remained on view until Angelique had indeed come into view -
(http://www.dsboards.com/NoDSAnniQuoteImages/Don't_Cry_VHS_frame_00019.jpg)
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
For Scene 124 part of Carlotta's narration is "They were all afraid to touch her. I suddenly knew I would never see her again." - and the subtitles completely reflect that - however, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08615.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08721.jpg)
- with "all" and "suddenly" missing for some reason...
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
When it comes to the subtitles and closed captioning, obviously we've seen and will continue to see them use variations of what's actually said in the film, but rarely do we see them skip entire lines. However, for Scene 124 they do indeed do that.
First up, after Carlotta's narration where she says, "I ran to her," Sarah screams, "No! No!" before Carlotta's narration continues with, "I couldn't let her go." - and we saw that in the subtitles' version of the narration - but the closed captioning jumps from -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08802.jpg)
- right to -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08861.jpg)
- and then Sarah continues with "I won't let you take her." - but the closed captioning skips that and jumps right to Mrs. Castle saying -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08898.jpg)
On the other hand, the subtitles include Carlotta's narration, as well as all of Sarah's lines, but strangely enough jumps from -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_Blu-ray_frame_00427.jpg)
- right to -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_Blu-ray_frame_00487.jpg)
- skipping Mrs. Castle's line - and interestingly enough, Angelique actually says, "Darling, don't cry," without the "Please." - could the subtitles have picked the "Please" up from the end of Mrs. Castle's line? - Who knows?
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
Another one of the rare stills I rediscovered on CD several months back. This one had been posted back in the late '90s to the AOL DS' Image Gallery:
(http://www.dsboards.com/NoDSAnniQuoteImages/Stairs.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Stairs.jpg) for a 650X829 version)
I have to confess that nowadays I have no idea what The Dark Shadows Foundation was, if I ever knew. I tried Googling and came up with zilch, so chances are either it doesn't exist anymore and/or it doesn't have an online presence...
[nods]
-
In Scene 124, after Angelique tells Sarah, "Darling, don't cry," her next line is "Sarah, dear, please don't cry." - and the subtitles reflect that - however the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08995.jpg)
- with the "Sarah, dear" part dropped for some reason...
[nods]
(ADMIN: Edited to replace TV video screen capture)
-
And in Scene 124, after Angelique says, "Sarah, dear, please don't cry," her next line is "It'll be just as if I've gone away for a little while" - and the subtitles reflect that - however the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_09088.jpg)
- with "It will" instead of the "it'll" that's said in the film and the dropping of "just" and "little" for some reason...
(ADMIN: Edited to replace TV video screen capture)
And there's an instance after that where things are different in the subtitles - there's the use of "You've" instead of the simple -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_Blu-ray_frame_09484.jpg)
- "You" that's said in the film - and interestingly enough, it's another instance where the subtitles follow the way something is in the script because the script does indeed have "You've"...
[nods]
(ADMIN: Edited to add Blu-ray screen capture)
-
I completely forgot that Carlotta's narration of the start of Scene 124 is unscripted. She says: "She walked down the stairs so proudly. They were all afraid to touch her. I suddenly knew I would never see her again. I ran to her. I couldn't let her go." - and both the subtitles (one screen capture of which we've already seen) -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_Blu-ray_frame_00076.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_Blu-ray_frame_00152.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_Blu-ray_frame_00239.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_Blu-ray_frame_00320.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_Blu-ray_frame_00427.jpg)
- and the closed captioning (four screen captures of which we've already seen) -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08529.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08615.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08721.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08802.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08861.jpg)
- acknowledge that...
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
Carlotta's narration of the start of Scene 126 is also unscripted. She says: "Finally the rain stopped and a cold wind swept the grounds. It was then I saw her, high in the tree, a rope around her neck. Reverend Strack stared up at her, his face a mask of hatred." - and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_The_Tree_Blu-ray_frame_00178.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_The_Tree_Blu-ray_frame_00332.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_The_Tree_Blu-ray_frame_00406.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_The_Tree_Blu-ray_frame_00466.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_09828.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_09891.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_09982.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_10070.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_10156.jpg)
- acknowledge that...
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
As Carlotta's narration ends in Scene 126 Rev. Strack begins to speak by saying, "Angelique Collins, you have been condemned as a witch..." - and as we can see in Reply #907, the subtitles do acknowledge him addressing Angelique by name - however, the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_10259.jpg)
- does not.
And after Strack promises that Angelique's spirit will not live after her (whoa, how wrong is he?!!), he next begins to explain his supposed rationale for why that is by saying, "For your earthly remains will hang here..." - and the subtitles also acknowledge that - however, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_10486.jpg)
- with "For" and "earthly" missing for some reason...
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
...
And that's when today's quote -
Page 63/Scene 126 - Strack: 'Angelique Collins, you have been condemned as a witch and you must die as a witch. Let your soul be returned to the pits of darkness forever more.'
- comes up.
And when it comes to differences in the dialogue, ... And shouldn't "forever more" actually be spelled as one word: "forevermore"?
It's good to see that, unlike whoever typed the script, whoever was responsible for the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Blu-ray_frame_00872.jpg)
- and whoever was responsible for the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_10568.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_10647.jpg)
- both realized that "forevermore" is actually spelled as one word. [easter_wink] Something to compliment rather than find fault...
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
...
131 CONTD CONTD 131
HIGH ANGLE FROM THE TREE. With Angelique in F.G.,
we see Mrs. Castle cross from the veranda to Sarah.
Taking her gently by the hand, she leads her back
to the house. HOLD ON THE SCENE, as the rain begins
to fall. THE SOUND OF MRS. CASTLE and SARAH'S VOICE
is heard O.S.
MRS. CASTLE (O.S.)
You mustn't be unhappy, Sarah. You
must try to forget.
|
And that's when today's first quote -
Page 65/Scene 131 - Sarah (O.S.): 'I'm not unhappy, mama, because she'll be back...some day Angelique will be back...'
- comes up, followed in the script by:
DISSOLVE TO:
132 INT - GALLERY - DAY - 1971 132
CARLOTTA - CLOSE-UP
She is staring blankly as she finishes Sarah's speech.
|
And that's when today's second quote -
Page 65/Scene 132 - Carlotta: '...and I will help her.'
- comes up.
And when it comes to differences in the dialogue, right off the bat none of what's been quoted here appears in the film, so there's no way to know if it might have been different - and for one when it comes to Mrs. Castle's dialogue, she adds a third "Sarah" as she comes out to get her, and none of it is delivered off screen - and for two, her telling Sarah that she mustn't be unhappy and she must try to forget is also dropped in the film - but the interesting thing there is that in the film it looks like she may be telling Sarah all that after she reaches and embraces Sarah but it's just that the sound for it isn't in the film, so chances are if it was in the film, it wouldn't have been delivered off screen - and chances are the same holds true for Sarah's response that she's not unhappy because she knows Angelique will be back - and the interesting thing about that line from Sarah is that it's replaced with a new iteration of Angelique's vow: "But I will have him again...you will help me, Sarah... You will know when the time comes...for it is your love that will keep me alive..."
...
And that iteration of Angelique's vow is fully acknowlefged in both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Blu-ray_frame_02926.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Blu-ray_frame_03013.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Blu-ray_frame_03111.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Blu-ray_frame_03235.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_12605.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_12681.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_12778.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_12907.jpg)
- acknowledge that...
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
Oops, I just realized I've been neglecting to keep up this list. But to catch up, first recall with regard to Scenes 105 & 106, Darren Gross posted on his Restoration Web site:
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
EXT.STABLE. Tracy enters stable while Gerard watches from scaffold. INT.STABLE. Dogs attack Tracy. Gerard molests Tracy. INT.HORSE PART OF STABLE. Tracy leaves on horse.
And with regard to Scenes 112 - 114:
...
INT.FOYER. Alex talks to Tracy, exits. EXT.COLLINWOOD. Tracy tells Alex she’ll look in tower. RACK FOCUS- CARLOTTA watches from stairwell window.
And with regard to Scene 120:
...
EXT.BACK LAWN SEEN THROUGH GALLERY WINDOW. Strack’s henchmen wait.
And with regard to Scene 122:
...
INT.CORRIDOR. Henchmen join Strack, Gabriel and Laura and head upstairs.
And with regard to Scene 124:
...
STAIRWAY. Sarah cries, trying to save Angelique.(trims)
And when it comes to Scenes 122 & 124, it's interesting that Mrs. Castle isn't scripted to join Laura until Scene 124, she isn't a part of Scene 122.
It's also interesting that Carlotta's originally scripted narration for the beginning of Scene 124 mentions this -
Moving to the next two scenes in the current sequence (using Grayson's script):
...
DISSOLVE TO:
124 EXT - CORRIDOR - SARAH'S P.O.V. 124
Laura
as Mrs. Castle joins Samantha.
|
And that's when today's second quote -
Page 61/Scene 124 - Carlotta's Voice (Contd): 'Finally, my mother joined Laura and the two of them waited...suddenly the silence was shattered by the terrifying sounds from above and it was then that I saw her.'
- comes up.
... One thing that is known, though, is that, as per usual, Grayson crossed out Samantha's name in her dialogue for the start of Scene 124 and wrote in Laura's name.
...
- but of course that was dropped in favor of the narration showcased in Reply #906. (And Carlotta's quote actually pops up on March 21st in this version of the slideshow.)
And with regard to Scene 125:
...
INT.SARAH’S BEDROOM. Mrs.Castle tells Sarah not to look.
[nods]
-
And when it comes to Scene 132 and Quentin insists to Carlotta, "But I'm not Charles Collins," the subtitles reflect that - however the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/But_I'm_Not_VHS_frame_00864.jpg)
- with "Collins" dropped for some reason...
[nods]
-
Oops, I've also been neglecting to keep up this list. Catching up, first recall with regard to Scene 104:
A selection of scenes cut from the 129-minute version that have been recovered:
...
Quentin enters the dining room limping and wearing the riding clothes given to him as a present. When Quentin attacks distracted and trancelike, Tracy recommends he see a doctor.
And with regard to Scene 111:
...
On the railroad bridge, Alex tells Quentin the sordid history of Charles, Angelique, Gabriel, and Laura. Though dismissive of Alex's fears, Quentin agrees to stay away from the tower.
And with regard to Scene 116:
...
Tracy notices that Quentin has removed Angelique's portrait from the gallery.
[nods]
-
A reminder:
As you've probably already discerned from today's graphic, we're getting into more material that doesn't appear in the film as it currently stands (or in the 97 minute version). However, the scenes we'll be dealing with today are not on Darren Gross' list of scenes that weren't recovered, so chances are they do appear in the 129 minute version:
And yes, neither Scene 133 (From the Gallery window Quentin sees Tracy outside as she returns with groceries - she waves) nor Scene 134 (In the Gallery Tracy jokes about the steaks she's bought and notices Angelique's portrait is back) are a part of Darren's list of scenes that weren't recovered. However, after I rediscovered his list of scenes that were recovered, I noticed that they're also not on that list. So, who knows? And I don't honestly remember if they were ever shown during one of Darren's presentations of the recovered footage...
[nods]
-
When it comes to Scene 136, I have to admit I was a bit more than shocked when, after not acknowledging so many other sounds, the supposed SDH subtitles actually acknowledged the phone ringing in the Jenkins cottage -
(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_Blu-ray_frame_00028.jpg)
- though the closed captioning both rings separately -
(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_00015.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_00090.jpg)
- but all is not perfect with the closed captioning because after Alex answers the phone and asks Tracy what's wrong, in Scene 137 she replies, "Oh, Alex, how gloomy you are. There's nothing's wrong. I called to say everything's perfect." - and the subtitles completely reflect that - but the closed captioning goes from -
(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_00206.jpg)
- right to -
(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_00275.jpg)
- completely ignoring Tracy having said, "Oh, Alex, how gloomy you are."
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
In Scene 138, in the way that the film stands, after Tracy insists to Alex that nothing is wrong and everything is perfect, the next thing to come up in the scene is that Alex says to her, "Uh, listen, Trace, uh, Claire and I should go to New York tonight. And we thought we'd stop in at, uh, Burton's Gallery. He's an authority on Early American artists, isn't he?" - and the subtitles basically reflect that (minus Alex' use of "uh") - however, for reasons known only to who wrote them, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_00418.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_00503.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_00580.jpg)
- to which Tracy replies, "Well, I think he's the best. Why?" - but the closed captioning only has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_00646.jpg)
- and even the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_Blu-ray_frame_00682.jpg)
- dropping just the "well"...
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
Until I looked at the script to check something completely different about Scene 138, I didn't realize that Tracy's scripted reply to Alex is simply, "The best. Why?" - and obviously that was exactly what the closed captioning has. And it's definitely interesting how it happens quite frequently that the closed captioning reflects the script rather than what's actually said in the film.
But anyway, after Tracy asks Alex why he's brought up the Burton's gallery, Alex replies, "Tell you when I get back. You sure you're gonna be OK?" - and the subtitles completely reflect that - but the closed captioning oddly has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_00713.jpg)
- and in that case we can't even blame it on what's scripted because what's scripted is almost exactly what's actually said: "Tell you when we get back. You're sure you'll be OK?"
[nods]
(ADMIN: Edited to replace a TV video screen capture)
-
After Tracy tells Alex go to NY because nothing bad will happen (she obviously doesn't possess even the slightest speck of clairvoyance or even simple intuition!), a whole slew of unscripted dialogue takes place. And if you want to be reminded of the context for it, revisit -
... things shift back to the cottage where Alex, as part of quite a bit of unscripted material, tells Tracy -
- because in this post I'm only going to point out where things deviate from what's actually said in the film.
First up, the subtitles:
(http://www.dsboards.com/NoDSAnniQuoteImages/Everything's_Perfect_Blu-ray_frame_00950.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Everything's_Perfect_Blu-ray_frame_01046.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Everything's_Perfect_Blu-ray_frame_01137.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Everything's_Perfect_Blu-ray_frame_01255.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Everything's_Perfect_Blu-ray_frame_01377.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Everything's_Perfect_Blu-ray_frame_01491.jpg)
And after that Quentin says, "I'll be up soon enough," but the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Everything's_Perfect_Blu-ray_frame_01546.jpg)
- for some reason. Huh is right.
And the last bit of unscripted dialogue is -
(http://www.dsboards.com/NoDSAnniQuoteImages/Everything's_Perfect_Blu-ray_frame_01645.jpg)
- so you can see that for most part the subtitles get almost everything right. The closed captioning will wait for a future post...
[nods]
-
And now the closed captioning:
(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_00932.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_01008.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_01043.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_01088.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_01147.jpg)
And there's no mention of them going to NY "for a few days."
(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_01223.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_01283.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_01377.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_01507.jpg)
It's so rare that the closed captioning gets something right when the subtitles didn't.
(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_01621.jpg)
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
[pointing-up] I forgot to mention that all those subtitles and all the closed captioning come from Scene 139A, and even though there's no such scene as that in the script, it is indicated on that call sheet that I came across for April 5, 1971:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Call.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Call.jpg) for a 880X910 version)
...
And also, during the first time around for this slideshow I forgot to point out specifically that given their inclusion on the call sheet, obviously Scenes 137, 139 & 139A were all shot on April 5th...
[nods]
-
Recall that:
...
... Scene 140 does not initially take place in the Gallery, it takes place in the Library, and then a sort of Scene 140A takes place in the Gallery (originally DC had some notes about the scene but for some reason he erased them). After Tracy leaves in Scene 139(A) to go up to bed, things start off with Quentin leaving the Card Room and going into the Library. Similar to the script, he walks to the window and looks out -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_a.jpg)
- but after sitting down, rather than opening his book, he looks over at the clock -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_b.jpg)
- also similar to the script, though the time (which is hard to decipher) is definitely much earlier than one-thirty - then he simply sits staring into space as the camera -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_c.jpg)
- moves in to a close-up - but through all of this Quentin does not pour himself a brandy and obviously doesn't drink it. However, from there things do indeed move to the Gallery with an opening shot of Angelique's portrait -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_d.jpg)
- as the camera pulls away from it, panning over to where Quentin stands looking at it -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_e.jpg)
- for several moments before turning to move toward the Master Bedroom, similiar to what's scripted, but again, there's no brandy involved, nor is there any sign of the book.
Scene 141 is very close to what's scripted except for the fact that the camera doesn't truck in on a close-up of Quentin. The entire scene is shot with Tracy asleep in the foreground -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_f.jpg)
- and Quentin coming in no further than the doorway.
Scene 142 is not in the film - or at least not in the film as it currently stands because it isn't on the list of scenes that weren't recovered. And DC's script has a notation that it would be shot using a low angle taken from the stairs.
We do see the opening of Scene 143, up to and including that long moment while Quentin -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_g.jpg)
- stares up - however, everything beyond that point in Scene 143 is missing from the film, and is indeed on the list of unrecovered footage - and one thing that's interesting is how abruptly the background music ends before the film switches to the next scene that is in the film - but more on that in a later post.
...
So with regard to Scenes 143 -147, Darren Gross posted on his Restoration Web site:
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
HIGH ANGLE. Quentin runs from the house. EXT.COUNTRYSIDE. Quentin struggles, stops has flashback.
1971.COUNTRYSIDE.NIGHT. Quentin in trance returns to house.
[nods]
-
Has anyone ever identified who the standins were?
-
[pointing-up] I wondered that myself. And I'm sure their names must have been listed somewhere on some sort of production document. But just as with hoDS, I've never seen mentioned who the NoDS stand-ins were...
-
The images in today's slideshow weren't displaying because somehow the first image became corrupted and that was preventing all the images from displaying. But I've uploaded my backup copy and that's fixed things...
[nods]
-
When it comes to the stills I sort of associated with Scene 146 because they were taken in and around the cemetery set, after I came across the stills posted to AOL back in the '90s, I discovered a much better version of the one of Grayson Hall. Today I updated that post with the better version:
...
For a change it's not Nancy Barrett posing around a set/location that Claire didn't appear in, it's Grayson Hall posing at the cemetery set, where Carlotta never appeared, -
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-7.jpg)
- and wearing one of two dresses she appears in stills wearing but she never wore as Carlotta in the film (but more on that at a later time). A somewhat cropped version of this still appears on page 172 of DS Memories.
...
And I also came across this one -
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-8.jpg)
- which I'm sharing for the first time. And when it comes to it, I'm not aware of it having been officially published anywhere...
[nods]
-
And finally when it comes to Scenes 145 & 146 this time around, I forgot to post this last time around, and I almost forgot to post it this time around too:
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-9.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-9.jpg) for a 738X440 version)
It would have been nice if 16 Magazine hadn't doctored the photo like they did. But considering the NoDS article that appeared in their December of 1971 issue is the only place I've ever see the still shared, having a doctored version is better than not having any version at all. (And the really nice thing about that article is that it features several stills that were never shared anywhere else.)
[nods]
-
When it comes to the subtitles and closed captioning for the opening moments of Scene 149, it's interesting that each interprets Tracy's calling to Quentin differently - the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_Blu-ray_frame_00314.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_Blu-ray_frame_00574.jpg)
- with a "?" - whereas the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_VHS_frame_01831.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_VHS_frame_02102.jpg)
- with a "!" - and that way is actually how the script intended it to be.
Also, after Quentin does finally open the door, what Tracy says to him is, "I...I thought you said you weren't gonna come here anymore..." - however, the subtitles and the closed captioning present her line in slightly different ways - the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_Blu-ray_frame_01004.jpg)
- with the "I...I" hesitation ignored in favor of a single "I" - and the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_VHS_frame_02486.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_VHS_frame_02558.jpg)
- with the hesitation intact but with "gonna" changed to the grammatically correct "going to," even though Tracy actually says "gonna."
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
And wrapping up the differences in the subtitles and closed captioning when it comes to Scene 149, after Tracy says she thought Quentin said he wasn't going to come to the tower amymore, she notices something about him has changed and she asks, "Quentin, what's happened to you?" - and the closed captioning reflects that - however, the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_Blu-ray_frame_01178.jpg)
- and then before Tracy asks if there's someone else in the tower room, the closed captioning indicates the sound of -
(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_VHS_frame_02956.jpg)
- and makes it seem as if that's what prompts Tracy to look toward the room and then to ask her question - but in all the previous times I've seen the film, I've never heard footsteps - and while if you turn the volume up all the way, there is indeed the slightest of sounds heard, I find it hard to believe it was meant to be that the sound of a footstep prompted Tracy when the sound is so barely perceptible - but who knows? - though what is fascinating is that the closed captioning acknowledge the supposed sound of footsteps yet there's no acknowledgement of the huge sound the door makes when Quentin finally swings it open (or when he closes it later in the scene)...
Also, before Quentin taunts Tracy by mimicking the repeat of her question, the closed captioning indicates that he prefaces it with a -
(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_VHS_frame_03484.jpg)
- (though to me it's always sounded like "Hmm") but only the closed captioning reflects that - and after Quentin says that Tracy makes him sick, he says "I can't stand the sight of you anymore! Now, get out!" - and the subtitles reflect that - but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_VHS_frame_03767.jpg)
- with both "anymore" and "Now" dropped...
[nods]
(ADMIN: Edited to replace TV video screen captures)
-
I remember becoming emotionally affected during this scene especially at this moment. It was disturbing to me as a kid. (The pool scene was the other!!)
-
I remember becoming emotionally affected during this scene especially at this moment. It was disturbing to me as a kid. (The pool scene was the other!!)
Yes, the way the film currently stands, and even so far as the 97 minute version goes, there's a definite one-two punch of back to back emotionally affecting scenes, what with Quentin's abysmal treatment of Tracy in Scene 149 immediately followed by Carlotta's passive-aggressive behavior towards Tracy in Scene 153. Though one of the missing scenes does appear between them in the 129 minute version...
[nods]
-
[pointing-up] And speaking of that scene that appears between them, it would be Scene 150:
A selection of scenes cut from the 129-minute version that have been recovered:
...
After Quentin slams the tower door on Tracy, he works on continuing Charles' unfinished portrait and embraces the ghostly Angelique.
[nods]
-
And you may recall -
You may wonder, if I said I've never come across a still from Scene 150, then why did I make a graphic for that scene -
(http://www.dsboards.com/NoDSquoteimages/0918ds91_0.jpg)
- using this still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-16_1.jpg)
Well, that's because Scene 150 says Angelique "lies on the cot," which indeed she is doing in the still, so even if it's not specifically associated with Scene 150, it comes damn close. And she may not be "holding out her arms" to Quentin, but as we've seen numerous times already, even when it comes to stills definitely known to be associated with specific scenes, they often depict characters in ways other than how the script describes them. Plus, I love that still.
And as a bonus, here's a very rarely seen alternate shot:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-16_2.jpg)
- and -
And speaking of something that's very rarely seen, I almost forgot to share the color version of the first still from above:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-16_1a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-16_1a.jpg) for a 1600X2000 version)
I absolutely love that color version...
[nods]
-
... Scene 149 ... Scene 153. Though one of the missing scenes does appear between them in the 129 minute version...
And if the one that appears is Scene 150, then that must mean that the two that don't are Scenes 151 & 152 - and that was confirmed by Darren on his Restoration Web site:
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
INT.CARD ROOM. Tracy dials the phone. INT.COTTAGE. Phone rings in the empty cottage.
Also, you may have noticed that on the call sheet I shared again back in Reply #920 Scene 151 is listed for April 5, 1971...
[nods]
-
I just realized that I forgot to mention that Scenes 142 & 143 (INT.2ND FLOOR CORRIDOR. Quentin stops at stairs leading to the tower, looks up. HIGH ANGLE. Quentin runs from the house.) are listed in the "ADVANCE SCHEDULE:" section of that call sheet as being slated to shoot on April 6, 1971. Though as I already mentioned, it's unknown how much more of Scene 142 might be in the 129 minute version of the film...
[nods]
-
And here's another example of a music cue that rightfully doesn't play as part of a scene on the VHS but does in every other release of the film. We've already dealt with two such cues: one at the end of Scene 103 when Scene 104 was cut in the 94 and 97 minute versions of the film but does appear in the 129 minute version, and another at the opening of Scene 117 when Scene 116 was cut in the 94 and 97 minute versions of the film but does appear in the 129 minute version. And this time around we're dealing with the opening of Scene 153:
Here we have the Laser version:
And here we have the Blu-ray to represent every other version:
The cue heard on the Blu-ray and others other than the VHS/Laser is obviously a segue from the end of Scene 150 (which only appears in the 129 minute version of the film - all other versions go from Scene 149 to Scene 153, as can be seen in the Laser and Blu-ray clips) -
Moving on to the next three scenes:
150 INT - TOWER ROOM - NIGHT 150
Quentin stands leaning with his back against the
door. PAN WITH HIM as he crosses to Charles' un-
finished painting which is now on his easel. It is
obvious that he has progressed the painting himself
in the original style. He picks up his brush, does
something, then looks O.S.; he smiles. SLOWLY PAN
in the direction of his gaze to reveal the strangely
opalescent Angelique, who lies on the cot, holding
out her arms to him.
QUENTIN - MEDIUM ANGLE
PAN WITH HIM as he crosses to her.
|
And that's when today's quote -
Page 71/Scene 150 - Quentin: 'How could I have ever thought you were a dream?'
- comes up...
...
- to the opening of Scene 153...
[nods]
(ADMIN: Edited to replace VHS video with Laser video)
-
[pointing-up] I hadn't played those two videos back-to-back until today and didn't notice that each sound of the door slamming shut is slightly different. I wonder if that's because the copy of the film used for the Blu-ray/DVD (and all the other versions) was remastered and the copy for the VHS/Laser wasn't? Presumably the sound is the actual sound of the real door slamming and not an effect that was added. But who knows? If it was added, perhaps when the music cue was removed for the 94 minute version a slightly different effect replaced the one originally used? Though the sound of the door slamming near the end of Scene 149 occurs a short while before Scene 153 comes up so one would think removing the music cue at the beginning of Scene 153 wouldn't affect the door's sound in Scene 149 at all. But again, who knows? It's just yet another interesting thing about the different versions...
[nods]
-
Yesterday I forgot to share the full music cue that should play and likely does play over Scene 150 and into the opening of Scene 153 in the 129 minute version. On the Movie Soundtracks CD it's entitled "Quentin's Daydreaming (Quentin's Theme)," no doubt because it first comes up in the film during Scenes 33 through 38 while he muses, has a vision, and recovers. So, here it is to help get a better idea of how Scene 150 plays in the 129 minute version and how the music cue transitions to Scene 153:
[nods]
-
In Scene 153, after Carlotta learns that someting is wrong but Tracy tells her to never mind about it, Carlotta persists by asking, "What is it, Mrs. Collins?" - and the subtitles reflect that - but the closed captioning simply has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Don't_Belong_Here_VHS_frame_01590.jpg)
- without the "Mrs. Collins" part for some reason - and before Carlotta can complete her presumptuous opinion that Tracy doesn't seem very happy whereas Quentin does, Tracy cuts her off by flaring, "I don't think that's any of your business." - and the subtitles also reflect that - but strangely the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Don't_Belong_Here_VHS_frame_01767.jpg)
[nods]
-
Here is the way Scene 164 was scripted to take place (which is why a quote from it doesn't appear in the slideshow) -
And once again moving on to the next four scenes as scripted:
...
164 INT - SECOND FLOOR LANDING - DAY 164
as Carlotta comes TOWARD CAMERA. She suddenly stops,
seeing Tracy descending the steps O.S.
TRACY - CARLOTTA'S P.O.V.
as she comes downstairs, the keys in her hand, and
is about to turn toward the gallery. She suddenly
catches Carlotta out of the corner of her eye. She
stops and looks at her.
CARLOTTA - TRACY'S P.O.V.
Carlotta stares back at her, then crosses to the
stairs and descends to the first floor without saying
a word.
INT - SECOND FLOOR CORRIDOR - DAY
Ignoring the brief moment with Carlotta, Tracy quickly
moves to the gallery.
...
|
- but as we know Carlotta does not simply stare at Tracy and then descend the stairs with saying a word - she does indeed speak - and what she says is acknowledged by the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Mrs_Collins_Blu-ray_frame_00337.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Mrs_Collins_VHS_frame_00332.jpg)
[nods]
-
Two other things to recall.
First up:
One last still associated with Scene 159 - an extremely rare alternate B&W version of Tracy uncovering the painting:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-17_3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-17_3.jpg) for a 800X624 version)
...
I actually prefer that one to the widely circulated version. At times choices made as to which stills to widely circulate and which not to are quite interesting...
And then there's the actual scene that the unscripted bit of dialogue in Reply #939 comes from:
...
I've always thought it's one of the best scenes in the film...
The post says it all...
[nods]
-
i will always want to see the uncut version since the one we have to me makes no sense since it's edited so badly.
-
... each sound of the door slamming shut is slightly different. ...
This got me wondering about Scene 169, and sure enough:
Here we have the VHS version:
And here we have the Blu-ray to represent every other version:
And I'll never understand why some sound effects are acknowledged while other aren't. The closed captioning acknowledges the footsteps heard in Scene 119 -
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Decision_VHS_frame_01374.jpg)
...
- even though the supposed SDH subtitles don't - the closed captioning even acknowledges the supposed sound of footsteps in Scene 149 -
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_VHS_frame_01411.jpg)
...
- even though the SDH subtitles don't (thought at least in that instance it's questionable as to whether there's a sound of footsteps or not) - yet when it comes to the very prominent sounds of both Quentin's footsteps and the door closing in Scene 169, as well as the door slamming in Scene 149, neither the closed captioning nor the subtitles acknowledge them. But maybe because the door closings are seen on screen the thinking was there was no need to acknowledge those sounds because they could be presumed, and the same with Quentin's footsteps on the stairs, whereas with Scenes 119 and 149 the sounds came from off screen. Who knows?
[nods]
-
Briefly referring back to Reply #580, a few people have asked why, now that I have new video capturing hardware/software, I used screen captures in that post from the video I'd shot off of a TV screen rather than capturing new video? Well, sadly the answer is simple: as hard as I tried, I couldn't come across any sort of video player software that seems to display closed captions embedded in a VHS tape or video capturing software that records closed captioning embedded in a VHS tape along with recording the video. If my failure to find any of that is any indication, apparently closed captioning on VHS tapes only displays on TVs that support closed captioning...
Well, guess what - all of that is no longer the case. While I was cleaning out a closet to get rid of some things I came across an old VHS/DVD player/recorder that I'd completely forgotten about because I haven't used it since the fall of 2010 because it recorded TV programs to VHS or DVD (I'd used rewritable ones) and not a hard drive and back then I'd gotten a DVR that recorded to a hard drive, which is a hell of a lot more convenient, not to mention efficient. After I rediscovered it, I wondered if it was possible to make videos with it of the closed captioning on VHS tapes, and lo and behold, when I experimented recording NoDS, the closed captioning did indeed display on the recording. So, I'm in the process of making a video of the NoDS VHS with closed captioning playing and not only will I be posting all future closed captioning screen captures using that video, but I'll be replacing all the screen captures I've already posted.
Why does closed captioning record from the player I rediscovered and not with any other one I'd experimented with in the past? Who knows? But it's better late than never to learn what I have. It works and that's all that matters. [easter_wink] [easter_cheesy]
[nods]
-
[pointing-up] This is getting more fascinating by the moment because I peeked to see where the recording was up to and noticed that the closed captioning for the scene I came in on (Scene 132) is a bit different from what played on my TV. I'd always presumed, wrongly as it turns out, that there was one closed captioning version and only one on a VHS tape. Who knew there can be more than one? [easter_huh]
[nods]
-
I've had the chance to compare the first 45 minutes of video shot off of the TV to the video made using the player I rediscovered today and the only difference in the closed captioning that I've come across is that difference I mentioned earlier:
Previous post:
And when it comes to Scene 132 and Quentin insists to Carlotta, "But I'm not Charles Collins," the subtitles reflect that - however the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/But_I'm_Not_VHS_frame_00864.jpg)
- with "Collins" dropped for some reason...
...
Today's video:
(http://www.dsboards.com/NoDSAnniQuoteImages/But_I'm_Not_VHS_2_frame_00864.jpg)
In fact, not only has that been the only difference I've come across, but outside of the fact that each video uses a different font so the closed captioning on each displays in a slightly different spot on screen, with that one exception of difference, each video's closed captioning has been identical so far as the wording goes and so far as which words appear on each line. And the fact that everything else has been so identical is what makes that one exception so very, Very, VERY STRANGE...
(You also might notice that the new video made directly from the VHS tape shows more of the frame, particularly at the top, than is displayed on the TV I used to shoot the phone video.)
[nods]
-
Well, I've checked the entire film and the only place the closed captioning differs is that one example above. How wild is it that I just happened to peek in at the recording at the exact time it came up? Otherwise there's a really good chance it wouldn't have been until I get around to replacing the closed captioning screen captures for Scene 132 (whenever that might be) that I would have realized the full "Charles Collins" should have come up and in that one instance I've pointed out a discrepancy with the closed captioning that shouldn't be. And the really interesting thing about the discrepancy is that for me it only comes up on the TV that I shot the video off of. Today I tried a different TV using its own closed captioning feature and the full "Charles Collins" also came up on it. Apparently there must be some sort of glitch with the first TV's decoder.
And well, at least this all seems to prove my presumption that there actually is only one form of close captioning on a VHS...
[nods]
-
When it comes to Scene 170, the subtitles do not reflect that Tracy lets out a sob/gasp when Quentin descends to her on their bed - however the closed captioning does -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_VHS_frame_00492.jpg)
- and after that Quentin comforts Tracy by saying, "Now, it's all right" - but neither the subtitles nor the closed captioning present it that way -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_Blu-ray_frame_00535.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_VHS_frame_00534.jpg)
- and Quentin says an unscripted "Look..." -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_Blu-ray_frame_00638.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_VHS_frame_00633.jpg)
- before he adds that it doesn't matter that Tracy went to the Tower Room, after which he says "Aw, don't cry. You're gonna flood the place" - and with the exception of substituting "Oh" for "Aw," the subtitles and the closed captioning both reflect that first part well - and subtitles reflect the second part exactly - but when it comes to the closed captioning's version of the second part, once again they insist on a grammatically corrected -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_VHS_frame_00978.jpg)
[nods]
-
Continuing with the subtitles and closed captioning for Scene 170, after Quentin tells Tracy not to cry because she's going to flood the place, the closed captioning indicates two pieces of unscripted dialogue that the subtitles don't - Quentin's -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_VHS_frame_01087.jpg)
- and Tracy's reply -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_VHS_frame_01147.jpg)
- but both the subtitles and the closed captioning reflect that next Quentin delivers an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_Blu-ray_frame_01221.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_VHS_frame_01222.jpg)
- and after that the subtitles ignore but the closed captioning acknowledges that Tracy lets out another sob/gasp -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_VHS_frame_01422.jpg)
- as Quentin embraces her...
[nods]
-
Continuing with more of Scene 170's subtitles and closed captioning, after Tracy explains that she's been so afraid and brings up the things Quentin said to her the previous night outside the Tower Room, Quentin apologizes by saying, "I didn't mean any of them" - and the subtitles reflect that - however, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_VHS_frame_02186.jpg)
- but only the "y" of "any" displaying seems to be a glitch with the VHS/DVD player/recorder's closed captioning decoder because I checked the video I shot off of the TV and the complete "any" displayed on it -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_VHS_2_frame_02186.jpg)
- (it's funny that the VHS/DVD player/recorder displayed the full "Charles Collins" but only a "y" for that particular instance of "any," yet the opposite is true for the TV).
But anyway, after Tracy says she knows Quentin didn't mean what he said, in some more unscripted dialogue she first tells him, "Quentin, look at me" - and both the subtitles and closed captioning acknowledges that -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_Blu-ray_frame_02497.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_VHS_frame_02517.jpg)
- and then Tracy asks Quentin, "Do you love me?" - and both the subtitles and closed captioning acknowledges that -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_Blu-ray_frame_02729.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_VHS_frame_02759.jpg)
To be continued...
[nods]
-
[pointing-up]
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_VHS_frame_02186.jpg)
- but only the "y" of "any" displaying seems to be a glitch with the VHS/DVD player/recorder's closed captioning decoder ...
Apparently that doesn't seem to be the case. I remembered that the VHS/DVD player/recorder allows its closed captioning settings to be customized, so just for the fun of it I changed the font, the background color, and the opacity of the background, and lo and behold -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_VHS_3_frame_02186.jpg)
- so who knows what caused the original glitch? - perhaps something about the VHS/DVD player/recorder's original settings - perhaps not - but whatever it was, it certainly seems like it had nothing to do with the VHS/DVD player/recorder's closed captioning decoder or even the VHS' closed captioning itself...
[nods]
-
After Tracy asks Quentin if he loves her, his first unscripted reply, which both the subtitles and closed captioning acknowledges, and which Quentin mouths, is -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_Blu-ray_frame_02829.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_VHS_frame_02836.jpg)
- and then the closed captioning correctly acknowledges that Quentin follows that by mouthing -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_VHS_frame_02970.jpg)
- but for some strange reason the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_Blu-ray_frame_02964.jpg)
- and in this instance it can't even be that they somehow got it from the script because it's unscripted - and another goof with the subtitles is they ignore Tracy's reaction to Quentin kissing her, but the closed captioning does not -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_VHS_frame_03044.jpg)
To be continued...
[nods]
-
And wrapping up the subtitles and closed captioning for Scene 170, after something comes over Quentin and he begins to become aggressive with Tracy, at first she whispers to Quentin an unscripted, "Stop," which the subtitles acknowledges -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_Blu-ray_frame_03817.jpg)
- but the closed captioning does not (apparently the subtitles and closed captioning decided to take turns acknowledging certain things) - and after Quentin starts to get really aggressive, though the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_Blu-ray_frame_04038.jpg)
- even though in the film Tracy is heard to say "Stop it. Quentin. Stop it. You're..." before she gets cut off in the Blu-ray/DVD's 94 minute version of the film - and though the closed captioning has something nearly similar -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_VHS_frame_04038.jpg)
- even though in the film Tracy is heard to say "Stop it. Quentin. Stop it. You're hurt..." before she gets cut off in the VHS' 94 minute version of the film - and after Tracy begs Quentin to stop touching her the way he is (because what's only seen in the 97 and 129 minute versions of the film is he's been molesting her), Tracy screams out another unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_Blu-ray_frame_04248.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_VHS_frame_04247.jpg)
- which obviously both the subtitles and closed captioning acknowledges - and after Quentin tells Tracy that she has a lovely body and roughly cradles her face in her hands, the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_Blu-ray_frame_04404.jpg)
- while the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Touch_Me_VHS_frame_04403.jpg)
- though to me it's always sounded like she yells, "Stop!" again - though maybe she does simply cry out - but it's definitely not "Don't!" - and it's interesting that neither the subtitles nor the closed captioning acknowledges the gasp Tracy lets out after Quentin informs her that he'll touch her whenever and however he wants and if she doesn't like it, she can always leave - nor do they acknowledge the deep breaths/sighs she makes after Quentin gets out of the bed and leaves the room.
[nods]
-
Recall:
...
As we all know, this is how this portion of Scene 170 plays -
- with Tracy's line, "Stop it, Quentin! Stop it, you're hurting me!" getting cut off because of an edit made to remove graphic molestation footage.
At least so far as the Blu-ray/DVD versions of the film go. I didn't realize until I was doing the closed captioning for Scene 170 that the VHS version of the film goes a fraction longer when it comes to Tracy's "Stop it, Quentin! Stop it, you're hurting me!":
But here's how it should play:
Sadly, the sound quality isn't the greatest, but that's what happens when you're recording with a microphone off of a drive-in theater's speaker. The microphone has issues picking up the sound and the speaker has issues playing it. But before we had TV showings of the fully unedited 94 minute version of NoDS, that recording was a treasured possession. And actually it still is, given that unfortunately we're still without the 129 minute restored version of NoDS and the recording contains several bits that appeared in the 97 minute version. And yesterday was the first time I was actually able to listen to the tape in something like 40 years because until yesterday I didn't have a reel-to-reel tape recorder to play it...
...
-
Sadly, when it comes to Scenes 171, 171A, 171B & 171C:
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
INT.2ND FLOOR CORRIDOR. Quentin runs from the bedroom. INT.FIRST FLOOR STAIRWAY. Carlotta comes upstairs, notices Quentin.
INT.FIRST FLOOR CORRIDOR. Carlotta nods to Gerard who exits.
Though I may be misinterpreting that Scene 171B is lost because the first two scenes listed above are Scenes 171 & 171A, but the third listed is Scene 171C. Did Darren simply forget to include Scene 171B on the lost list? Possibly. Though one thing that is known is that Scene 171B is not on the recovered list. So who knows?
[nods]
-
[pointing-up] Oops - I forgot to mention that it's indicated in the Advance Schedule section of that call sheet that Scenes 171 thru 171C were slated to shoot on April 6, 1971...
-
And even though the slideshow indicates Scene 172A as being a "Cut/Trimmed sequence," it and presumably Scene 172 are among:
A selection of scenes cut from the 129-minute version that have been recovered:
...
Seeing Angelique's silhouette in the tower window, Tracy pledges that she will save Quentin.
It's funny how some scenes from Darren's various Fest presentations of the recovered NoDS footage stick in your mind more than others. I say "presumably" Scene 172 was recovered because even though I recall seeing Scene 172A back in 2004 at the Tarrytown Weekend as if it had just happened yesterday, I don't recall if Scene 172 -
...
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.
|
...
- was shown with it. And the events of Scene 172 are not included on Darren's list of recovered scenes, only what transpires in Scene 172A -
...
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.
...
[nods]
-
With regard to Scenes 173, Darren Gross posted on his Restoration Web site:
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
EXT.JENKINS COTTAGE. Alex and Claire return- Gerard watches.
But recall that in the scripts:
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...
And no doubt Gerard's presence outside the Jenkins cottage is why Carlotta nodded to Gerard in Scene 171C. Though in the grand scheme of things it doesn't really matter because Scenes 171C and 173 aren't in any version of the film...
[nods]
-
I've often mentioned that for the most part I pay closest attention to the characters and little attention to the background and periphery (which is the main reason it's not too often when I notice cameras intrude on the edge of frame on the daytime DS - though we see more of the periphery of VHS and DVD on LED TVs than we ever did on old cathode ray tube TVs, especially the actual broadcast of the show - but that's a different story). And more proof of that came today because today was the first time I ever really noticed that as Claire enters the living room of the Jenkins cottage as she's saying that coffee is coming, we actually see the coffee pot on the stove in the background -
(http://www.dsboards.com/NoDSAnniQuoteImages/Coffee pot.jpg)
- and as a sidenote, who knows who was responsible for the pot actually being on view in the film because they were definitely doing their job, but what are the odds the same might have happened if a character on the daytime show had mentioned making coffee? Why do I suspect they would have been very low odds?! [easter_wink] [easter_cheesy] [easter_rolleyes]
[nods]
-
When it comes to Scene 174, after Claire says coffee is coming, Alex says, "Need this more." (and we presume he's referring to a drink because he's not on screen even though he is scripted to be) - and the closed captioning reflects that line as delivered - but for some reason the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/More_Than_A_Coincidence_Blu-ray_frame_00148.jpg)
- add an "I" before it - and after Claire sits down in the chair, she lets out a sigh, which the subtitles ignores, but the closed captioning acknowledges -
(http://www.dsboards.com/NoDSAnniQuoteImages/More_Than_A_Coincidence_VHS_frame_00304.jpg)
- and after Claire says she doesn't like being back there and Alex concurs, in the first of a bit of unscripted dialogue, Claire says, "I still can't get over the likeness. Charles Collins could be his twin." - and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/More_Than_A_Coincidence_Blu-ray_frame_00712.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/More_Than_A_Coincidence_Blu-ray_frame_00807.jpg)
- and closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/More_Than_A_Coincidence_VHS_frame_00730.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/More_Than_A_Coincidence_VHS_frame_00824.jpg)
- acknowledge that...
[nods]
-
Continuing with Scene 174, after Claire says that in the painting Charles Collins looks like Quentin's twin, as his unscripted reply Alex says, "All that Quentin needs is that scar on his cheek...and you wouldn't be able to tell the difference." - and the closed captioning reflects that line as delivered -
(http://www.dsboards.com/NoDSAnniQuoteImages/More_Than_A_Coincidence_VHS_frame_00929.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/More_Than_A_Coincidence_VHS_frame_01042.jpg)
- however, the subtitles have a slight glitch in that -
(http://www.dsboards.com/NoDSAnniQuoteImages/More_Than_A_Coincidence_Blu-ray_frame_00910.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/More_Than_A_Coincidence_Blu-ray_frame_01012.jpg)
- they refer to Quentin as "Quent"...
[nods]
-
Wrapping up the differences in the subtitles and closed captioning for Scene 174, after Alex says that if Quentin had the same scar on his cheek, you wouldn't be able to tell the difference between him and Charles, Claire says, "I still don't see how showing him that is gonna make him leave here" - and the subtitles reflect that line as delivered - but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/More_Than_A_Coincidence_VHS_frame_01146.jpg)
- and to that Alex first replies, "Honey, I gotta break through to him some way." - and the subtitles reflect that line as delivered - but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/More_Than_A_Coincidence_VHS_frame_01246.jpg)
- and Alex continues his reasoning with, "If I can just get him to admit that it's at least more than a coincidence, we got a shot" - but the subtitles have
(http://www.dsboards.com/NoDSAnniQuoteImages/More_Than_A_Coincidence_Blu-ray_frame_01332.jpg)
- with "at least" dropped for some reason - and the closed captioning goes even more afield with -
(http://www.dsboards.com/NoDSAnniQuoteImages/More_Than_A_Coincidence_VHS_frame_01333.jpg)
- before both do conclude with, "we got a shot."
[nods]
-
While working on formatting the VHS and Blu-ray video to get the subtitles and closed captioning for the film's version of Scene 177 (which is very different from the script's version - but that's not what's important at the moment), I just discovered something I never noticed before. Something very disturbing regarding the Blu-ray, the Amazon Video, and the DVD versions of the film's version of Scene 176 (which is also very different from the script's version - but that's not what's important at the moment). On those three versions there is an edit that does not appear in the VHS version - nor did it appear during the 1977 CBS showing, the tape of which I just listened to to make sure. And I'll get into exactly what that edit is after I've had the chance to prepare video evidence of it...
[nods]
-
[pointing-up] Actually it's not as disturbing as I thought it was. The video is the same - it's the scoring that's different, and an edit in the scoring is what made me think an edit in the video had also been made. But as we know, there are many differences when it comes to the scoring of the VHS and Blu-ray versions of the film. But I'll still make videos to illustrate the difference. And it's funny that I never noticed the difference until today. But then how often have I said that no matter how many times you've watched something, it's still possible to notice something you'd missed previously? [easter_wink]
[nods]
-
Something I still haven't stopped wondering about:
... I didn't really notice until today that Claire has made five sandwiches for herself and Alex (or at least I hope they're not all for Alex).
(http://www.dsboards.com/NoDSAnniQuoteImages/Sandwiches2a.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Sandwiches2.jpg)
Aren't five sandwiches a bit much for two people? And especially at two in the morning? But then, maybe driving from NY to Collinwood works up a big appetite. [easter_cheesy] ...
And this time they look like they're all ham. Maybe Quentin and Alex wiped out all their tuna. [easter_wink]
[nods]
-
When it comes to Scene 175, something that's very interesting about the script and worth revisiting:
...
DISSOLVE TO:
175 EXT - COTTAGE - NIGHT - WIDE ANGLE 175
It is later now. The house is in darkness. The
jeep is no longer there. HOLD FOR A MOMENT, then
start a VERY SLOW ZOOM IN.
|
...
...
It's interesting that for Scene 175 there's a reference to a jeep (presumably actually Gerard's truck) no longer being there when DC actually had to add to his script that Gerard was watching Claire and Alex in Scene 173. Apparently Gerard watching must have been a part of the script but was accidentally left out somewhere along the way.
...
And it must have been left out at least as early as the March 10th version of the script because DC's added reference to Gerard watching doesn't appear in Grayson's copy of the script either...
[nods]
-
Picking up with what I said I discovered yesterday, this is how the pertinent portion of Scene 176 plays in the VHS version of NoDS -
- with the scoring playing completely smoothly - but this is how the Blu-ray and every other version plays (pay attention to the 23 second mark) -
- with an obvious cut in the scoring.
The interesting thing is that discovering this has jogged my memory because I'm pretty sure either I read somewhere or I heard at one of Darren's NoDS presentations or both that originally when Angelique appears in the Jenkins cottage she's a bit further down the hallway than we're familiar with. The removal of that bit of footage would explain the cut in the scoring. Though that one is hardly the only cut made to this sequence because as has been pointed out previously, there are three quite obvious cuts made in Scene 177...
[nods]
-
As I brought up the other day, Scene 176 is very different in the film compared to the script. The script has -
...
DISSOLVE TO:
176 INT - COTTAGE LIVING ROOM - NIGHT 176
The room is in darkness except for the glowing embers
in the fireplace. CAMERA SLOWLY PANS THE ROOM, then
starts to TRUCK DOWN THE HALLWAY. Through the open
bedroom door at the end of the hall, Claire and Alex
can be seen sleeping in their twin beds. CAMERA
CONTINUES TO TRUCK, ENTERING THE ROOM.
|
...
- and about the only thing that survives in the film from the script is that Scene 176 takes place in the Living Room of the Jenkins cottage - the events that take place in the room are very different, as is easily seen in the excerpt from Scene 176 posted above- and Scene 177 is also very different, but more on that later - so perhaps what we're going to deal with next is best thought of as a Scene 176A, even though no such designation is made in the script, but then, nothing that we're about to deal with is actually in the script.
So, things start off with Claire in bed asleep in her room - and after she wakes up and realizes Alex isn't with her, she delivers an unscripted, "Alex, come to bed." - and that's reflected by both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Come_To_Bed_Blu-ray_frame_00302.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Come_To_Bed_VHS_frame_00297.jpg)
- and after that Claire asks an unscripted, "What time is it?" - and that's also reflected by both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Come_To_Bed_Blu-ray_frame_00415.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Come_To_Bed_VHS_frame_00415.jpg)
To be continued...
[nods]
-
Wrapping the scene up:
Getting no response from Alex, Claire gives an unscripted call to him, which both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Come_To_Bed_Blu-ray_frame_00553.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Come_To_Bed_VHS_frame_00545.jpg)
- reflect - and after there's still no response, Claire suddenly realizes something odd is going on - and after she gets up and looks in the Living Room, she sees what's happening to Alex and screams out an unscripted, "Alex!" - and that's also reflected by both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Come_To_Bed_Blu-ray_frame_00974.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Come_To_Bed_VHS_frame_00977.jpg)
End of scene.
[nods]
-
A reminder of how different Scene 177 is in the script vs. the film:
...
177 EXT - COTTAGE BEDROOM - NIGHT 177
as the CAMERA TRUCKS IN ON the sleeping Alex, all
of the SOUND SLOWLY DISAPPEARS until it seems as if
the sound track itself has been removed. The feel-
ing this creates is one of oppressive dead air.
When we are on ALEX' EXTREME CLOSE-UP, HOLD as he
begins to writhe and thrash about. All the following
ACTION WILL BE IN SLOW MOTION. Finally, clutching
his throat, his eyes open wide as he tries to scream.
Although his mouth opens again and again, there is
no sound.
WIDE ANGLE - SLOW MOTION
With Claire asleep in the F.G., and totally oblivious
to what's happening, we watch Alex struggle with the
invisible horror. Suddenly, the horror seems to
take on a visible entity, as a whole mist-like vapor
starts to envelope his body. Slowly Alex' movements
begin to subside as the life is being drawn from him.
CLAIRE - CLOSE-UP - SLOW MOTION
Although still asleep, it seems as though she has
suddenly become aware of the danger, As she opens
her eyes and tries to sit up, she is barely able to
move. Through a tremendous effort, she is finally
177 CONTD CONTD 177
able to turn her head to Alex. WIDEN at reveal Alex,
now completely enveloped in the mist and barely
moving. Claire tries to scream. No sound can be
heard. She is finally able to reach the bed table
between them and knocks over a glass.
GLASS - CLOSE-UP - SLOW MOTION
as it falls to the floor and shatters soundlessly.
PAN UP in time to see Claire finally reach a lamp,
turning it on.
WIDE ANGLE - NORMAL SPEED
as the lamp illuminates the room, ALL SOUND RETURNS.
The white mist disappears and Claire is quickly at
Alex' side.
|
And that's when the first part of today's quote -
Page 83/Scene 177 - Claire: 'Alex! Oh, my God, Alex!'
- is scripted to come up, followed in the script by:
Alex opens his eyes, gulping in all the air he can
handle, as he frantically gasps for breath.
|
And that's when the second part of today's quote -
Page 83/Scene 177 - Claire (sobbing hysterically): 'Alex! -- oh, Alex! ... Please be all right!...oh, Alex...'
- is scripted to come up.
End of sequence.
And as far as all the difference go, of which there are many, they'll wait until my next post (mostly because I haven't had lunch yet and I'm starving! [hall2_wink])
And what actually happens in the film's version of Scene 177:
... she sees what's happening to Alex - and after momentarily stopping dead in her tracks -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_k.jpg)
- and screaming, she reaches for the floor lamp but knocks -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_l.jpg)
- it over in her frenzy - but once she does turn -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_m.jpg)
- it on, the other light also comes back and the mist-like vapor that envelopes Alex' body -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_n.jpg)
- disappears - and as we can see in today's capture -
(http://www.dsboards.com/NoDSquoteimages/1009ds91_0.jpg)
- she rushes to Alex side, desperately trying to revive him, until -
(http://www.dsboards.com/NoDSquoteimages/1009NoDS_o.jpg)
- he does indeed revive. So, all that means that a lot of what's scripted to happen in Scene 177 doesn't actually happen in the film. And in some ways that's too bad because much of what was scripted would have been quite interesting to see. But who knows if things were changed because it would have been too costly or too complicated to shoot, or perhaps for some other reason? Though at least some of the planned effects were reworked and used. And actually, I think having Angelique's spirit arrive and transform into the mist-like vapor was actually better than how it was introduced in the script.
One thing that's very interesting, though, it that one can easily tell that there are three distinct cuts in the background music for Scene 177, so apparently it's quite likely that footage was removed for time during the marathon James Aubrey imposed editing. And that sort of ruins how things were to play in slow motion. But perhaps they still do in the 129 minute version...
It's interesting to note that I just checked my audio tape and the cuts to Scene 177 also appear in the 97 minute version of the film...
[nods]
-
When it comes to the subtitles and closed captioning for Scene 177 they both start off by acknowledging that Claire screams when she sees what's happening to Alex, though they do so in different ways:
The subtitles:
(http://www.dsboards.com/NoDSAnniQuoteImages/Please_Be_All_Right_Blu-ray_frame_00040.jpg)
The closed captioning:
(http://www.dsboards.com/NoDSAnniQuoteImages/Please_Be_All_Right_VHS_frame_00043.jpg)
And after that the subtitles acknowledge that the sound in the room is supposed to be muted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Please_Be_All_Right_Blu-ray_frame_00148.jpg)
- though the closed captioning does not.
And going off on a bit of a tangent, I never fail to be surprised by how starkly different/off the color can sometimes be on the VHS - I mean, just look above at the screen captures of Claire screaming - and also in this scene, just look at the difference when it comes to the way Mistelique looks in the Blu-ray -
(http://www.dsboards.com/NoDSAnniQuoteImages/Please_Be_All_Right_Blu-ray_frame_00229.jpg)
- vs. the VHS -
(http://www.dsboards.com/NoDSAnniQuoteImages/Please_Be_All_Right_VHS_frame_00229.jpg)
To be continued...
[nods]
-
Wrapping up the subtitles and closed captioning for Scene 177, after Claire is finally able to light the floor lamp and Mistelique disappears (it's definitely an interesting touch that I don't know that I've seen in anything else that a ghost must have darkness to appear and do its dirty work), as Claire makes her way to Alex and desperately tries to revive him, she laments, "Oh, my God. ... Alex! -- oh, Alex! ... Alex, please be all right!...Alex...oh, Alex...Alex!...Darling!..." - and for the most part both the subtitles and the closed captioning each reflects that, except for Claire's "Darling!" at the end - instead, both have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Please_Be_All_Right_Blu-ray_frame_00647.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Please_Be_All_Right_VHS_frame_00660.jpg)
- which is odd to me because it seems more than clear that she does indeed lament, "Darling!"
And after that the subtitles acknowledge that Alex begins to gasp -
(http://www.dsboards.com/NoDSAnniQuoteImages/Please_Be_All_Right_Blu-ray_frame_00712.jpg)
- though the closed captioning does not - and neither acknowledges Claire's sobs.
I don't think I'll ever understand why some things are acknowledged while other aren't...
[nods]
-
It's interesting to note that I just checked my audio tape and the cuts to Scene 177 also appear in the 97 minute version of the film...
A discovery I made today requires me to clarify that statement. When I listened to the audio tape, I compared it to the 94 minute VHS version of the film, and they're the same. What I didn't do is compare it to the Blu-ray version. The cuts I was referring to the other day were the cuts made for time, not the three distinct cuts in the scoring that are obvious on the Blu-ray. I didn't realize until today that just as with Scene 176, the scoring of Scene 177 plays smoothly on the VHS -
- unlike how it does on the Blu-ray and every other version -
- with the three obvious cuts in the scoring. (You can also hear Claire obviously laments, "Darling!")
And before we move on completely from Scene 177, I want to revisit:
...
And here's a rare still for Scene 177 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Post_attack-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Post_attack-2.jpg) for a 946X700 version)
...
[nods]
-
One thing that's always bothered me about this scene is that the lamp beside Alex starts out being turned off, and then it seemed like a continuity error that it is on in the next shot. As many times as I've watched this movie (and it's a lot...) that's how I saw it. But now here, with the benefit of MB giving us isolated clips for intense scrutiny, I see that the lamp actually does turn on during a single shot. They have a strange electrical setup in the house so that the switch on one lamp controls both lamps.
-
Oh, and btw... "Mistelique"--I love it! [easter_grin]
-
When it comes to Scene 179:
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
INT.RUINED SWIMMING POOL. Quentin & Angelique make love.(Around ten seconds of this scene exists on the theatrical trailer, but the rest of the shots in the sequence are lost.)
I'm not so sure if Scene 180 is still lost or not. Scene 180 does not appear on the lost list - but that's the case with a few scenes that still may be lost. And the thing is when it comes to the Blu-ray it does seem as if there might be a cut in the background music at the point where the existing sequence in the 94 minute version of the film switches from Tracy tossing in bed (Scene 178) to her approaching the pool house (Scene 182). But that seeming cut can also be heard when it comes to the VHS, and as we've seen, most of the time that sort of thing was rescored to correct any jumpiness in the background music, but it's not when it comes to the VHS. So, maybe the way the background music plays at that transition was intentional and not due to cut footage. And once again, I don't recall if Darren ever showed a version of the sequence that included Scene 180. -
...
DISSOLVE TO:
180 INT - MASTER BEDROOM - NIGHT 180
With the SOUNDS OF THE DREAM STILL ECHOING OVER HER
FACE, she opens her eyes. HOLD HER IN CLOSE-UP as
she slowly sits up.
|
And that's when yesterday's quote -
Page 84/Scene 180 - Tracy (trance-like): 'I won't let you have him... I won't.'
- comes up, followed in the script by:
WIDEN as she stands, crosses to the door and EXITS
THE SHOT.
|
...
- So who knows?
[nods]
-
Two posts to revisit with regard to Scene 179:
As I have with other GIFs, I've made videos of the GIFs I'd originally made of the dream sequence footage from the NoDS trailers.
First up, the clip that shows the least amount of footage:
And the longest version, which also has much better color quality:
It's just too bad that it has the NoDS logo over most of it...
Here's the first of two stills I want to share for Scene 179:
First, a rare B&W still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Dream_B&W-1.jpg)
- which was shared on page 176 of DS Memories.
And here's another B&W still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Dream_B&W-2.jpg)
- which I first came across a somewhat cropped version as part of an article entitled NOSTALGIA BONUS Remember When Dark Shadows Kept You Glued To The Set from the June 1974 issue of Weekday TV (which, quite interestingly, had sections devoted to the daytime show and NoDS, but nothing from hoDS). And a much more cropped version also appears on page 9 of the booklet for the movies soundtrack.
[nods]
-
Two more posts to revisit with regard to Scene 179:
Several color stills that I'd previously shared:
...
Plus, we're also very lucky to have stills from the dream:
(http://www.dsboards.com/NoDSquoteimages/Dream_Color1.jpg)
(http://www.dsboards.com/NoDSquoteimages/Dream_Color2.jpg)
...
(There are also other color stills of the dream, two of which feature Angelique and Quentin, on page 183 of the PomPress book Return to Collinwood, and I'd be happy to also scan those for anyone who hasn't seen them.)
By request:
(http://www.dsboards.com/NoDSquoteimages/Dream_Color3.jpg)
Enjoy!
And something supposedly behind the scenes from the shooting of the dream:
(http://www.dsboards.com/NoDSAnniQuoteImages/Dream_B&W-3.jpg)
The 16 Spec caption for it reads: 'In his present life, "Quentin Collins" (David Selby) is beset by visions
of a former life as "Charles Collins", and a former love--the wicked
temptress "Angelique" (Lara Parker). Here, in one of his visions, the
couple enjoy a very private picnic.'
To my knowledge the only time this has been officially published was as part of a 16 Spec preview of NoDS. And I've mentioned this before, but am I the only one who thinks it looks like Angelique doesn't have any ankles/feet?!
...
[nods]
-
I don't know why I didn't think of whipping up something like this last year - but I did this year after I saw the color stills again:
Just a short idea of what might have been...
And as in the past, I used the VHS version of the film because the clip taken from the trailer is the same aspect ratio.
And I made sure to keep the jumpiness in the background music at the beginning of the Tracy outside the pool house footage rather than smooth it over.
[nods]
-
Excellent work MB!!🎉🎉🎀🎉🎊
-
[pointing-up] I'm glad you like it. [easter_smiley]
I've been going back and forth over whether or not I should have had the stills display a bit longer. But I like the way the background music plays over Tracy and the dream (somehow I managed to get the timing nearly identical to way the music plays in the film over Tracy's tossing and turning), so I think I'm going to just leave it alone. Don't mess with good fortune... [easter_wink]
[nods]
-
When it comes to Scene 181:
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
INT.COTTAGE. Alex and Claire recover and plan.
Normally I would say it's a shame that a scene involving Claire wasn't included in the film (or not even filmed, as in the cases of Scenes 81, 82 & 83), but in this case it's probably a good thing because including Scene 181 would have slowed down/interrupted the suspense/momentum between Tracy in the master bedroom and her appearance outside the pool house...
[nods]
-
And something to revisit regarding Scene 181:
Graphics appearing in the slideshow recently -
(http://www.dsboards.com/NoDSquoteimages/1012ds91_0.jpg)
(http://www.dsboards.com/NoDSquoteimages/1012ds91_1.jpg)
- and continuing through Tuesday the 17th have been made using different crops of this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Cottage_aftermath1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Cottage_aftermath1.jpg) for a 800X527 version)
- which was shared in the 1992 LA Halloween Fest Program...
The case this time around is that they're lasting through the end of today, Wednesday the 17th...
[nods]
-
The other day while I was looking up something completely different, I was reminded by this -
...
- which leads me to mention that in DC's script he's added:
178A SHOTS OF A IN THE TOWER LOOKING DOWN
SUPER EYE SHOTS
|
...
- which prompted me to want to make an entirely new video because how would it have been possible for the audience to definitely know that Angelique was looking down on the Master Bedroom from the Tower Room if there was no establishing shot to indicate that? Plus, as I'd said, I'd wanted to length the time the stills were on view, so making a new video killed two birds with one stone, as it were. And I added two other stills to the mix to establish the dream.
-
Very well done, MB!!! [clap2] [clap] [clap2] [clap]
-
[pointing-up] I'm happy with the way it turned out. Plus, I got to learn how to use features of my video editing software like crossfade, overlay and zoom, all of which I'd never had occasion to even think about using before...
[nods]
-
Getting back to the subtitles and the closed captioning, when it comes to Scene 184, after Tracy enters the pool house, calls to Quentin, and asks if he's there, in a bit of unscripted dialogue, she calls out to Quentin two more times - and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_Blu-ray_frame_01650.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_Blu-ray_frame_01734.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_VHS_frame_01650.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_VHS_frame_01707.jpg)
- reflect that.
It's interesting that sometimes the subtitles represent Tracy as calling to Quentin questioningly and others not, but the closed captioning always has Tracy calling to Quentin questioningly. I suppose it's a matter of interpretation...
And I have to say I've always loved the shot of Tracy reflected in the water.
To be continued...
[nods]
-
Continuing with Scene 184:
From out of nowhere Tracy hears Quentin's voice ask, "Did you come to spy on us, Laura?" - and she asks in more unscripted dialogue that's reflected in both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_Blu-ray_frame_01970.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_VHS_frame_01961.jpg)
- and after she calls out in both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_Blu-ray_frame_02231.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_VHS_frame_02226.jpg)
- and then in the last of these three bit of unscripted dialogue she asks again in both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_Blu-ray_frame_02334.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_VHS_frame_02337.jpg)
To be continued...
[nods]
-
Continuing with what would appear in the film to still be Scene 184 even though in the script things have moved on to Scene 185 (more on that in a later post):
After Tracy asks "Where are you?" for a second time, Quentin comes into view and asks "Isn't it enough that you killed her?" - that prompts Tracy to first ask in yet another bit of unscripted dialogue that's reflected in both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_Blu-ray_frame_02725.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_VHS_frame_02725.jpg)
- and then Tracy follows that up with more unscripted dialogue that's reflected in both the subtitles - -
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_Blu-ray_frame_02830.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_VHS_frame_02803.jpg)
To be continued...
[nods]
-
Moving on to Scene 185:
After Quentin, thinking she's Laura, asks if she won't ever leave them alone, Tracy tries to point out in more unscripted dialogue that's reflected in both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_Blu-ray_frame_03426.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_VHS_frame_03414.jpg)
- and after Quentin, still thinking she's Laura, vows that she'll never interfere and makes a grab for Tracy's throat, Tracy follows that up by screaming "No, look, it, it's me!" - but the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_Blu-ray_frame_03701.jpg)
- and the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_VHS_frame_03713.jpg)
- and Tracy follows that by screaming "Stop it, Quentin, it's me!" - but the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_Blu-ray_frame_03792.jpg)
- and the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_VHS_frame_03792.jpg)
To be continued...
[nods]
-
...
- and the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_VHS_frame_03792.jpg)
...
[pointing-up] As you can see the last closed captioning in the previous post jumps the gun a bit because Tracy doesn't "Oh!" until after Quentin throws her in the water, which is two shots later.
And when it comes to the subtitles, they simply have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_Blu-ray_frame_04003.jpg)
- but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_VHS_frame_04003.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_VHS_frame_04048.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_VHS_frame_04095.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_VHS_frame_04224.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_VHS_frame_04333.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Spy_VHS_frame_04371.jpg)
- reflecting each scream.
And as I've said, it's fascinating what sounds do and do not get acknowledged because in this sequence there are all sorts of sounds of crickets and water dripping and also footsteps but neither the subtitles nor the closed captioning acknowledges any of them...
[nods]
-
Some things to revisit:
Beginning the next scene as scripted (using Grayson's script):
LAURA
185 SAMANTHA - QUENTIN'S P.O.V. 185
SUBCONSCIOUS MEMORY CUT
Laura
It is no longer Tracy but Samantha who stands there,
as he begins to re-enact the moment of her death.
INTERCUT these MEMORY SHOTS throughout the rest of
the scene.
QUENTIN - TRACY
As Quentin slowly moves toward her, Tracy begins to
back away.
|
And that's when yesterday's quote -
Page 86/Scene 185 - Quentin: 'Isn't it enough that you killed her?...Won't you ever leave us alone?...ever?'
- comes up.
...
And when it comes to the differences in the descriptions and directions, Quentin doesn't actually see Laura until after Tracy asks what's wrong with him -
(http://www.dsboards.com/NoDSquoteimages/1017NoDS_c.jpg)
- and before she makes a gesture of nodding her head no and tries to tell him that it's her.
Wrapping up Scene 185 as scripted (using Grayson's script):
QUENTIN - CLOSE-UP - TRACY'S P.O.V.
Now only a few feet from her, the look of incredible
hate in his eyes burns into the CAMERA.
|
And that's when yesterday's quote -
Page 86/Scene 185 - Tracy (O.S.) (hysterical): 'Quentin!...Quentin! It's me...It's me...please!...'
- comes up in the script, followed in the script by:
Reaching TOWARD CAMERA, with his face almost in the
lens.
|
And that's when today's quote -
Page 86/Scene 185 - Quentin: 'No, Laura. I'm going to make sure you'll never interfere again.'
- comes up in the script, followed in the script by:
TRACY - QUENTIN - HAND HELD
As he grabs her and drags her, screaming and kicking,
to the edge of the pool and plunges her into the
filthy dark water. Holding her head under, she
futilely claws and scratches at his hands and arms.
HOLD ON THIS as her movements become weaker and
weaker, and, finally she starts to sink to the bottom
of the pool. Quentin then slowly rises and moves
AWAY FROM CAMERA.
|
End of scene.
And when it comes to differences in the dialogue, yesterday's and today's quotes are actually flipped in the film with Quentin's coming first -
...
(http://www.dsboards.com/NoDSquoteimages/1018ds91_0.jpg)
...
And when it comes to the differences in the descriptions and directions, Quentin doesn't actually reach toward camera because as we saw in yesterday's capture above, he reaches around Tracy's throat, but his face is -
(http://www.dsboards.com/NoDSquoteimages/1018NoDS_a.jpg)
- almost in the lens - and as Tracy screams "me!...Stop it", it's actually Laura -
(http://www.dsboards.com/NoDSquoteimages/1018NoDS_b.jpg)
- who Quentin sees before he angrily throws Tracy -
(http://www.dsboards.com/NoDSquoteimages/1018NoDS_c.jpg)
- into the water - though one thing I find very interesting is that Quentin's face shifts to almost expressionless as -
(http://www.dsboards.com/NoDSquoteimages/1019NoDS_a.jpg)
- Tracy is about to fall into the water - ... I absolutely love ... Quentin's crazed expression as he pulls back after Tracy stops -
(http://www.dsboards.com/NoDSquoteimages/1019NoDS_c.jpg)
- fighting him.
...
[nods]
-
...
... I absolutely love how David Selby inadvertently splashes himself in the face while he's dunking Kate Jackson ...
...
And here's a slowed down video clip of it to better appreciate the moment:
I suspect he even surprised himself when it happened. [easter_cheesy]
[nods]
-
Scene 186 (the road near the pool house as the headlights of the Jenkins' car come toward camera) isn't in the film, but it's really just an establishing shot that isn't needed because Scene 187 is the Jenkins in the car as shot through the windshield. And when it comes to Scene 187 it begins with unscripted dialogue as Claire asks in both the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/There_He_Is_VHS_frame_00098.jpg)
- and the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/There_He_Is_Blu-ray_frame_00117.jpg)
- which also jump ahead with the first part of Alex' unscripted line that finishes off in the subtitles as -
(http://www.dsboards.com/NoDSAnniQuoteImages/There_He_Is_Blu-ray_frame_00171.jpg)
- and appears in the closed captioning as -
(http://www.dsboards.com/NoDSAnniQuoteImages/There_He_Is_VHS_frame_00244.jpg)
[nods]
-
Moving on to Scene 188:
After Claire spots Tracy in the water and Alex dives in to pull her out, as he nears Claire who kneels by the pool's edge, he says in more unscripted dialogue, "Get her, baby." - and that's reflected in both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_Tracy_Blu-ray_frame_00914.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_Tracy_VHS_frame_00911.jpg)
- and then quite interestingly in another supposed bit of unscripted dialogue, the subtitles indicate -
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_Tracy_Blu-ray_frame_01044.jpg)
- and the closed captioning indicates -
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_Tracy_VHS_frame_01042.jpg)
- but for the life of me I don't hear it, no matter how high I turn up the volume - and Alex' mouth doesn't even look like it moves to say anything - the only thing I hear is Claire's breathing - and as has been the case in the past, it can't even be a case that they got it from the script because none of the dialogue that appears in this section of the scene is scripted. Who knows?! Things that are in the film aren't always acknowledged, at least not always completely and/or accurately, and things that aren't (like that supposed sound of footsteps in Scene 149) are...
To be continued...
[nods]
-
Concluding Scene 188:
As Alex tries desperately to revive Tracy, in more unscripted dialogue Claire laments in both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_Tracy_Blu-ray_frame_01221.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_Tracy_VHS_frame_01181.jpg)
- and then after Tracy has expelled some water, in a last bit of unscripted dialogue, as seen in the closed captioning Claire bends down and hugs Tracy with -
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_Tracy_VHS_frame_01721.jpg)
- but the subtitles add an "Oh" beforehand -
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_Tracy_Blu-ray_frame_01724.jpg)
- which if it's actually there, can't really be discerned.
[nods]
-
As far as Scenes 189 & 190 go, parts of them are very different from how they were scripted:
Moving on to the next two scenes as scripted:
189 EXT - FRONT OF COLLINWOOD - NIGHT 189
as Alex' car ROARS INTO SHOT. Leaping out, he quickly
crosses to the house where he begins to hammer on the
door. Carlotta finally ENTERS THE SHOT.
190 As she reluctantly opens the door, he quickly 190
pushes by her and starts on down the hall.
|
And that's when yesterday's first quote -
Page 88/Scene 190 - Alex: 'I'm going to see him!'
- comes up in the script, followed in the script by:
Carlotta follows, calling after him.
|
And that's when yesterday's second quote -
Page 88/Scene 190 - Carlotta: 'Mr. Jenkins! They're all asleep!'
- comes up in the script, ...
...
When it comes to Scene 189, after Alex pulls his car under Collinwood's portico and comes to a screeching halt (which neither the subtitles nor the closed captioning acknowledges, but so what else is new?!), he does indeed jump out of the car, and after rushing through the vestibule, he does indeed bag on the door - though he also frantically ring the doorbell - and after he sees Carlotta approaching, Alex screams in unscripted dialogue that is acknowledged in both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_Blu-ray_frame_00836.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_VHS_frame_00794.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_VHS_frame_00854.jpg)
- and then as the beginning of Scene 190, after Carlotta opens the door, Alex demands in more unscripted dialoguel that's acknowledged in both the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_VHS_frame_00908.jpg)
- and the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_Blu-ray_frame_00929.jpg)
- though the subtitles jump a bit ahead to Carlotta's response, which is not what the subtitles indicate, nor is it what the closed captioning indicates -
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_VHS_frame_00953.jpg)
- because what she actually says is "I told you --" before she gets cut off by Alex - but more on that next time...
[nods]
-
Continuing with Scene 190, again, parts of which are very different from how it was scripted:
...
As Alex nears the stairs he begins calling out.
ALEX
Quentin! Quentin!
CARLOTTA
(shouting at him)
Mr. Jenkins! You must stop
that!
As Alex is about to start up the stairs, Gerard
suddenly appears from below and grabs him. The two
men begin to grapple as Gerard jams Alex against the
wall. It is then that Quentin appears at the top of
the stairs.
|
And that's when today's quote -
Page 88/Scene 190 - Quentin: 'Leave him alone!'
- comes up.
...
Continuing with Scene 190 as scripted, beginning with Gerard's response to Quentin's order with regard to Alex:
And that's when today's quote -
Page 88/Scene 190 - Carlotta: 'He forced his way in here. We told him you were sleeping.'
- comes up in the script.
...
After Alex barges his way in and his first call to Quentin cuts off Carlotta's previous line, I've said this before but it can never be said enough how much I love how Carlotta goes scampering after him, trying to stop him -
...
...
- (and it's interesting how after that the action switches from the foyer to the corridor but it's still considered Scene 190) as Alex makes his second scripted call to Quentin - and rather than what's scripted, Carlotta actually says, "No. Mr., Mr. Jenkins, please." - and that's mostly though not perfectly reflected in both the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_VHS_frame_01095.jpg)
- and the subtitles, though they jump ahead to Alex making an unscripted third call to Quentin
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_Blu-ray_frame_01084.jpg)
- which is also reflected in the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_VHS_frame_01148.jpg)
- and after Gerard angrily grabs Alex to stop him, Quentin appears on the stairs and delivers his scripted "Leave him alone," and as Alex pushes Gerard away, rather than deliver what's scripted Carlotta's next line is reflected in both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_Blu-ray_frame_01274.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_VHS_frame_01290.jpg)
To be continued...
[nods]
-
Something to revisit for Scene 190 - this rare still:
The fourth of four from Scene 190:
(http://www.dsboards.com/NoDSAnniQuoteImages/Confront-4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Confront-4.jpg) for a 599X800 version)
And while I've never seen this officially published anywhere, I have come across beige tinted copies of it that look to me like they are scanned from a magazine or book. Though, as is often the case, no one who has shared those copies has cited any source, though presumably the original scanner should have known a source, but either they didn't cite it or I may have just never come across that version that might have cited it...
[nods]
-
Oh my god!
-
[pointing-up] I'm guessing you must have missed it the first time around. The possibility that someone may have missed them is exactly why I've been revisiting some of the rarer stills. [easter_smiley]
[nods]
-
I was reading an article from Tiger Beat circa 1971 that someone had scanned. Among the DS blurbs was a notation that Jonathan Frid had visited Lyndhurst during the filming of Night of Dark Shadows. I realize that you must consider the source of the information. After all, Tiger Beat wasn't exactly The Washington Post. But it's certainly intriguing. MB, had you ever heard this before? It would be quite amazing if any photos of this ever surface.
-
The possibility that someone may have missed them is exactly why I've been revisiting some of the rarer stills.
Speaking of which, I'd meant to revisit this rare still from Scene 188 but forgot:
And here's a still from Scene 188:
(http://www.dsboards.com/NoDSAnniQuoteImages/Drown2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Drown2.jpg) for a 803X620 version)
Somehow I feel this still isn't as rare as it actually is because I've seen it in several places on the Internet and it's featured in the Italian Lobby Cards, but so far as I can recall, it's never been officially published anywhere...
[nods]
-
I was reading an article from Tiger Beat circa 1971 that someone had scanned. Among the DS blurbs was a notation that Jonathan Frid had visited Lyndhurst during the filming of Night of Dark Shadows. I realize that you must consider the source of the information. After all, Tiger Beat wasn't exactly The Washington Post. But it's certainly intriguing. MB, had you ever heard this before? It would be quite amazing if any photos of this ever surface.
Hmmm, I must have missed that issue because I never saw that blurb. And while Tiger Beat wasn't as DS-connected as 16 Magazine was, the info they published about DS was generally reliable. But in this case I have to wonder. It seems like if Frid had visited Lyndhurst during the filming of NoDS, wouldn't we have heard about it from more than that one source? For example, given his extensive research on the production of NoDS, doesn't it certainly seem likely that Darren Gross might have mentioned it in at least one of the numerous things he's written about NoDS or as part of one of his Fest presentations? Or that one of the NoDS actors might have shared an anecdote about the day Frid visited the production? But who knows?
[nods]
-
I suppose that blurb was on a par with the one where Frid was on the verge of signing a recording contract with MGM records. Obviously, that didn't happen. But think about what might have occurred if he had. A potential camp classic? Perhaps. An appearance on a Golden Throats collection alongside other vocally challenged thespians like William Shatner? Definitely!!!!
-
Continuing with Scene 190, again, parts of which are very different from how it was scripted:
Continuing Scene 190 with Grayson's script:
And that's when today's quote -
Page 89/Scene 190 - Alex: 'You didn't succeed, Quentin. She's still alive.'
- comes up, followed in the script by:
CARLOTTA
Please, Mr. Jenkins.
(to Quentin) who's
Shall I -- what's
QUENTIN
(interrupting)
Wait a minute! What are you
talking about, Alex?
|
...
Continuing Scene 190, beginning with yesterday's quote -
Page 89/Scene 190 - Alex: 'Are you going to try and tell me that you don't know what you did tonight?'
- coming up, ...
After Alex does indeed deliver his quoted lines about Quentin not succeeding exactly as they're scripted and the subtitles completely reflect that, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_VHS_frame_01358.jpg)
- without addressing Quentin - and as indicated by all her lines following Alex being crossed out, Carlotta says nothing, Quentin then only replies to Alex by asking, "What are you talking about, Alex?" - but the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_Blu-ray_frame_01386.jpg)
- without addressing Alex, as does the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_VHS_frame_01425.jpg)
- and Alex follows that almost exactly as he's scripted to say, "Are you gonna try and tell me that you don't know what you did tonight?" - but the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_Blu-ray_frame_01439.jpg)
- with the "try and" and the "tonight" missing - and oddly the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_VHS_frame_01493.jpg)
To be continued...
[nods]
-
I suppose that blurb was on a par with the one where Frid was on the verge of signing a recording contract with MGM records. Obviously, that didn't happen. But think about what might have occurred if he had. A potential camp classic? Perhaps. An appearance on a Golden Throats collection alongside other vocally challenged thespians like William Shatner? Definitely!!!!
Well, that may have all depended on whether Frid sang or he did recitations over music, similar to what he did on the DS sountrack LP. I suspect most would agree that Frid's recitations on that are very effective. Would an LP featuring Frid but not featuring DS music have been as successful as the soundtrack LP? Probably not. But I doubt it would have been as big a disaster (and dare we say embarrassment) as some of the stuff other celebs put out in the '60s and '70s...
-
Continuing with Scene 190, which again has parts that are very different from how it was scripted:
Continuing Scene 190...
Quentin starts down the stairs toward him.
|
And that's when today's quote -
Page 89/Scene 190 - Quentin: 'I didn't do a damn thing. I've been painting all evening. Now, for the last time, what are you so hysterical about?'
- comes up.
...
Continuing Scene 190, beginning with yesterday's quote -
Page 89/Scene 190 - Alex: 'You tried to drown Tracy!'
- coming up, followed in the script by:
Quentin stares incredulously at him as Alex continues.
|
And that's when today's quote -
Page 89/Scene 190 - Alex: 'It wasn't you, Quentin. It was Charles Collins drowning his wife all over again.'
- comes up, followed in the script by:
CARLOTTA
Mr. Collins, you're not going
to listen to this, are you?
|
...
First off Quentin actually says, "I didn't do a damn thing. I've been painting all night." - though the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_Blu-ray_frame_01497.jpg)
- with "damn" and "all night" missing - but both lines are entirely missing in the closed captioning - and then Quentin asks, "Now, what are you so upset about?" - and the subtitles completely reflect that - and at least in that instance the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_VHS_frame_01568.jpg)
- with just the "Now" missing - and after Alex informs Quentin that he tried to drawn Tracy, and after some silence between them due to Quentin's shock at what Alex has said, Alex starts off with, "Quentin it wasn't you. It was Charles Collins drowning his wife--" before Quentin cuts him off with something that's unscripted rather than Carlotta having a line after Alex has completely finished his explanation of what really happened - and with that in mind the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_Blu-ray_frame_01904.jpg)
- though the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_VHS_frame_01867.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_VHS_frame_01910.jpg)
- so take your pick of what Quentin actually says because it's hard to decipher because they're talking over one another...
To be continued...
[nods]
-
Wrapping up with the differences when it comes to the subtitles/closed captioning for Scene 190 - and yet again it has parts that are very different from how it was scripted:
Continuing Scene 190, beginning with today's first quote -
Page 89/Scene 190 - Alex: 'For God's sake, Quentin! Will you listen to me! She's at my place with Claire right now. Now you've got to get out of this house!'
- coming up, followed in the script by:
Quentin looks from Alex to Carlotta and then turns
away as if trying to clear his mind. TRUCK IN ON HIS
CLOSE-UP as we see his total confusion. HOLD FOR A
190 CONTD CONTD 190
MOMENT as Alex ENTERS THE SHOT, putting his hand on
Quentin's shoulder.
|
And that's when today's second quote -
Page 90/Scene 190 - Alex (softly): 'All you have to do is come with me -- Tracy understands.'
- comes up.
...
And continuing with more of Scene 190, beginning with Quentin's reaction to Alex telling him that Tracy understands:
Quentin turns and looks at him hard. Then he turns to
Carlotta.
|
And that's when today's first quote -
Page 90/Scene 190 - Quentin: 'Where is Mrs. Collins?'
- comes up, followed by today's second quote -
Page 90/Scene 190 - Carlotta: 'I'm sure she's in her room, sir.'
- comes up.
...
Wrapping up Scene 190 and moving on:
Quentin looks at Alex, then suddenly turns and starts
up the stairs, three at a time.
QUENTIN
(screaming)
Tracy! Tracy!
Alex starts up after him.
|
...
Picking up where we left off, after Quentin cuts off Alex, Alex continues with, "For chrissakes, Quentin, listen to me! Now she's at my place right now." - though the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_Blu-ray_frame_01968.jpg)
- with "chrissake" rather than crissakes, and "Now" missing from the beginning of Alex' second line - however, the entire first line is missing in the closed captioning and all that appears is -
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_VHS_frame_01978.jpg)
- also with the beginning "Now" missing - And after Alex basically tells Quentin as scripted, "Now you've got to get out of this house!" and "Quentin, all you have to do is come with me --" and "Tracy understands." - and after Quentin then asks Carlotta, "Where's Mrs. Collins?" - and after Carlotta replies, "Well, I'm sure she's in her room", the closed captioning ackowledges a sound as -
(http://www.dsboards.com/NoDSAnniQuoteImages/You_Tried_VHS_frame_02852.jpg)
- though the subtitles do not - and then Quentin goes running up the stairs calling to Tracy - though interestingly enough we do not see Alex start up after him...
And getting back to that sound that the closed captioning acknowledges as a door closing, it's interesting that a sort of snapping sound is heard after Alex says that Tracy understands - but that sound isn't acknowledged. And after Quentin whirls around and calls out to Tracy after the supposed door closing sound, are we to presume that sound is what makes Quentin whirl around? The script doesn't indicate that there was even supposed to be such a sound. And as I said, the subtitles don't even acknowledge it, though that may hardly be an indication of anything because, as I've said many times already, the subtitles are quite picky when it comes to which sounds are and are not acknowledged.
Perhaps it's up to audience members to make up their own minds:
[nods]
-
If Tracy does indeed understand any of this, that makes her an absolute genius. By Dark Shadows standards, of course.
-
I do think Tracy understands at least in so far as Angelique exerts some sort of influence over Quentin. Not knowing who she was, Quentin had already tried to strangle Tracy on the night he'd attacked Gerard and earlier that night he'd suddenly become vicious with her when he'd molested her in their bed. What's unfortunate is that Scene 172A, the one that takes place soon after Quentin has molested Tracy and in which Tracy looks to the tower through the bedroom window and tells Angelique she won't let Angelique have Quentin and she'll never leave is only in the 129 minute version of the film because it goes a long way to showing that Tracy does indeed understand what's happening to Quentin. (It also explains why Tracy doesn't just hightail it out of Collinwood.)
[nods]
-
Before we move on to Scene 191A, just to get back to the supposed sound of a door closing, just who would have closed said door? All the people in the house are gathered there down at the stairs. Tracy isn't in the house. And why would Angelique be closing a door? What would be her motive? It's not like Quentin would have needed to be lured upstairs because, being so doubtful of Alex' story and with Carlotta saying she's sure Tracy is in her room, surely Quentin would have gone up to check the bedroom without hearing any sort of sound to get him there. That's always been the way I've interpreted his actions before I saw the closed captioning indicate the sound of a door closing. But who knows? I suppose we'll never really know, IF that actually is the sound of a door closing. When Quentin grabs the banister a similar sound is heard so perhaps all the sounds can simply be attributed to the stairs making noise because of the people being on them. But thanks to the closed captioning it's all just a head-scratcher. [scratch]
[nods]
-
Moving on to Scene 191A:
After Quentin has run to the bedroom, seen that it's empty, gone back out and seen Alex is standing at the far end of the corridor, and has gone down to him, Quentin says to him, "You're right. She's gone." - and that's reflected in both the subtitles and the closed capturing - but then Quentin says, "If that's the way she wants it, it's fine with me" - and that's reflected in the subtitles - but when it comes to the first part the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Get_Out_VHS_frame_01178.jpg)
- no "If" - and Alex replies to that with "Quentin, that's not you..." before Quentin cuts him off - and the subtitles reflect that - but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Get_Out_VHS_frame_01297.jpg)
- no "Quentin" - and after Qeuntin cuts off Alex by saying his name, he then says, "Now, listen to me." - and in this case it's the closed captions that reflects it correctly - but the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Get_Out_Blu-ray_frame_01384.jpg)
- no "Now" - and for some reason, as we've seen recently, "now" seems to be a word that gets dropped...
To be continued...
[nods]
-
...
After Quentin has run to the bedroom, seen that it's empty, gone back out and seen Alex is standing at the far end of the corridor, and has gone down to him ...
And speaking of that going back out into the corridor and going down to Alex, it makes me wonder it's the type of scene Sam Hall was talking about in these excerpts from the 1983 interview he did for the DS Files book series?
(http://www.dsboards.com/NoDSAnniQuoteImages/Sam1a.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Sam1b.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Sam2a.jpg)
It certainly seems like it could be in that sort of style -
- though in its case there is a point to the way it plays, which is probably why it survives in the film when other examples do not because they were removed to tighten the film. The way it's shot with backward trucking on Quentin and handheld moving in on Alex actually increases the drama.
[nods]
-
Wrapping up Scene 191A and a bit of Scene 191B:
Picking up where we left off, Quentin tells Alex, "I've known you for a long time. I'm sick of your insane writer's mind." - and of that is completely reflected in both the subtitles and the closed captioning - then Quentin follows with, "I don't wanna to talk about it anymore." - though the closed capturing has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Get_Out_VHS_frame_01651.jpg)
- with the grammar corrected from "wanna" to "want to" because every so often they can't resist correcting grammar - on the other hand, the subtitles retain the "wanna," but -
(http://www.dsboards.com/NoDSAnniQuoteImages/Get_Out_Blu-ray_frame_01707.jpg)
- drop the "anymore" - the subtitles also jump ahead to Quentin saying, "I just want you to get out of here and take her with you --" - but the closed captioning only has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Get_Out_VHS_frame_01748.jpg)
- with the part about taking Tracy with him dropped, which is very strange because that's definitely an important part of what Quentin says.
And then after Alex simply nods his head, goes down the stairs and exits the stairwell, in Scene 191B when Quentin appears on the second floor landing, neither the subtitles nor the closed capturing acknowledge the sound of Alex' footsteps as unseen he makes his way to the door, but the closed captioning does have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Get_Out_VHS_frame_02448.jpg)
- whereas the subtitles do not.
[nods]
-
... And getting back to that sound that the closed captioning acknowledges as a door closing, it's interesting that a sort of snapping sound is heard after Alex says that Tracy understands ...
... I suppose we'll never really know, IF that actually is the sound of a door closing. When Quentin grabs the banister a similar sound is heard so perhaps all the sounds can simply be attributed to the stairs making noise because of the people being on them. ...
Something I'd completely forgotten about until I came across it while looking for something else might actually offer a totally different sort of explanation for the sounds during Scene 190:
A seance related article from the film's Press Packet, not to be confused with its Pressbook.
(http://www.dsboards.com/NoDSAnniQuoteImages/Seance3.jpg)
And that particular version was obviously released early on while the film was still Curse of Dark Shadows. And interestingly enough some of the articles for the film used passages from that article, particularly how unexplained raps ruined several takes (check out the NoDS article from Famous Monsters of Filmland attached in Reply #132)...
Unexplained raps explained as "psychic phenomena of a low order." Hmmm...
Perhaps everyone just got used to unexplained sounds and kept shooting in spite of them...
[nods]
-
I forgot to mention that the call sheet that I've shared indicates that the foyer, 1st floor corridor & stairs portions of Scene 190 were also shot along with the many other scenes that were shot on April 5,1971. And I also forgot to mention that according to the Advance Schedule section of the call sheet, the portions of Scene 190 taking place on the 2nd floor corridor & stairs were shot on April 6, 1971.
Also shot on April 6, 1971 were the just featured Scenes 191A & 191B.
And something I don't think I've ever mentioned is that call sheet was an added bonus when someone sold a copy of John Karlen's NoDS script on eBay. Here's a photo of the cover page of the script:
(http://www.dsboards.com/NoDSAnniQuoteImages/Karlen_Script.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Karlen_Script.jpg) for a 738X842 version)
There are some interesting things regarding that page and the script itself:
One is who knows who printed the actors' names on it but seemingly they didn't know Grayson Hall very well considering they printed her first name as "Gracine"!? You also have to wonder why those names are printed on it? But that's probably a story that's not likely to be explained at this point...
And the person who sold the script offered some interesting background information about it. It seems as if John Karlen had a crush on the seller's mom and gave the script to her. Apparently the seller's mom and dad worked at the Lyndhurst during the filming of NoDS. She was a tour guide for Lyndhurst. He worked security for the film and was also a part-time landscaper for Lyndhurst. And the seller wanted the script et al. to go to someone who would keep it safe, preserved and appreciated because it had just been sitting in a memory chest their entire life. I'm guessing the sale might have meant that their mom had passed away and they were cleaning out her stuff...
[nods]
-
As you may have noticed, today's second quote in the slideshow was scripted to be -
...
... followed by today's second quote -
Page 92/Scene 192 - Carlotta: 'Doing what you know must be done.'
- coming up, ...
...
- yet in the film it's delivered as -
(http://www.dsboards.com/NoDSAnniQuoteImages/Not_Charles_Blu-ray_frame_02607.jpg)
- which is sacrilege, I tell you! SACRILEGE!! How could Grayson, who delivered who knows how many "must" lines in the daytime show (we've already quoted her characters 82 times in the MUST Slideshow - one more is coming up tomorrow - and we already know of numerous others that we haven't used yet) have possibly ever decided to turn her back on a quintessential "must" line?! And one that was written by her own husband at that?!
[nods]
-
When it comes to Scene 192, the subtitles get everything right. I've lost track when the last was when that happened. But not so much luck when it comes to the closed captioning. Although, the discrepancy doesn't pop up until the very last line in the scene:
After Quentin is confronted with evidence that he did indeed try to drown Tracy, Carlotta says he did for Angelique, he realizes Gerard is gone and asks where he is, and Carlotta says he's off doing what has to be done, Quentin tells Angelique's ghost, "I am not Charles Collins. And I'm not going to allow them to be hurt." - but when it comes to the second half of that, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Not_Charles_VHS_frame_02976.jpg)
- and what's a bit interesting about that is you may have noticed the line was scripted to be "I will not allow them to be hurt," and "won't" is the contraction version of "will not," so once again it's like the closed captioning and/or subtitles take and/or rework something from the script rather than what's actually said in the film...
Also, Scene 192 is another that the call sheet indicates was shot on April 5, 1971.
[nods]
-
There is no scripted dialogue for Scenes 193 through 196, which is why they aren't a part of the slideshow, which will begin featuring Scene 197 tomorrow. But apparently John Karlen couldn't resist offering Alex' thought on Gerard's actions in Scene 195 - and both the subtitles and the closed captioning reflect it:
(http://www.dsboards.com/NoDSAnniQuoteImages/Son_Of_A_Blu-ray_frame_01476.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Son_Of_A_VHS_frame_01499.jpg)
[nods]
-
Oops - I forgot that once again I wanted to share these rare stills associated with Scene 192:
Continuing with Angelique on the stairs shots, here's a rare version:
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_b.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_b.jpg) for a 532X700 version)
...
...
And I know for certain that I have a still of the following rare version, but for the life of me I couldn't find it today even though I had in in my hand just last week when I was searching through things. But for now I'll post this magazine version -
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_d.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_d.jpg) for a 1037X826 version)
- and then replace it after I actually do come across the still again...
I still have yet to come across it. Though since originally posting the magazine version, I was able to do a better scan and I've replaced the original scan with it. And speaking of the magazine, the scan is also part of the Daytime TV article that I've shared a few rare photos from - and something I didn't do originally is share the caption the magazine provided, so here it is:
And the Daytime TV caption reads: "Lara Parker, as the spirit of Angelique,
appears on the stairs to the tower of
the mansion of Collinwood, her home."
...
[nods]
-
At the beginning of Scene 197 Claire wonders out loud when Alex is coming back, and after that begins a string of unscripted dialogue that starts off with Claire asking Tracy, "How are you feeling?" - and both the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Shoot_Anyone_VHS_frame_00239.jpg)
- and the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Shoot_Anyone_Blu-ray_frame_00250.jpg)
- reflect that, though the subtitles also jump up to Tracy replying, "Oh, I'm better." - and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Shoot_Anyone_VHS_frame_00291.jpg)
- also reflects that - and then Tracy adds to that, "Still a little cold." - and that's reflected in the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Shoot_Anyone_Blu-ray_frame_00332.jpg)
- though the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Shoot_Anyone_VHS_frame_00350.jpg)
- prefaces it with an "I'm" which Tracy doesn't actually say - and it's interesting that the closed captioning adds something because normally things get dropped.
To be continued...
[nods]
-
Picking up where we left off, as the closed captioning indicates, Tracy begins to say -
(http://www.dsboards.com/NoDSAnniQuoteImages/Shoot_Anyone_VHS_frame_00411.jpg)
- as well as in the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Shoot_Anyone_Blu-ray_frame_00433.jpg)
- though, while the subtitles don't include the "you," they do jump ahead to Claire's scripted "Shh." - and speaking of the script it's interesting that Tracy doesn't get to actually say anything before Claire shushes her after she begins to listen more carefully - and after her shushing Tracy whispers an unscripted, "What's the matter?" - and that is reflected in both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Shoot_Anyone_Blu-ray_frame_00462.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Shoot_Anyone_VHS_frame_00491.jpg)
- and after that is when today's scripted quote -
Page 94/Scene 197 - Claire: 'I heard something outside.'
- comes up in the scene.
More to come...
[nods]
-
Picking up where we left off, after Claire delivered yesterday's quote, she moves closer to the window and then moves behind her to the desk to get a gun, and then Tracy asks, "What are you gonna do?" - and the subtitles reflect that - however, once again the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Shoot_Anyone_VHS_frame_01104.jpg)
- corrects the grammar - and what's interesting is what the closed captioning indicates Tracy says is what she's scripted to say - and after that is when today's scripted quote -
Page 94/Scene 197 - Claire: 'Alex told me to shoot anyone who came through that door.'
- comes up in the scene.
More to come...
[nods]
-
Picking up where we left off, after Claire tells Tracy that Alex told her to shoot anyone who tries to come in, Tracy is scripted to ask today's quote -
Page 94/Scene 197 - Tracy: 'What did you hear?'
- but both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Shoot_Anyone_Blu-ray_frame_01335.jpg)
- and the closed captioning-
(http://www.dsboards.com/NoDSAnniQuoteImages/Shoot_Anyone_VHS_frame_01385.jpg)
- have what Tracy actually says, which is adding an unscripted "Wait a minute. Claire," before she delivers the scripted line.
More to come...
[nods]
-
And wrapping up Scene 197 and moving on to how Scene 198 plays in the film (more on that in a later post), after Claire delivers today's quote -
Page 94/Scene 197 - Claire: 'I know someone's out there.'
- she and Tracy go to the window where they pull back the curtain, see Gerard, and as things move to Scene 198, Claire screams and shoots the gun - and the screaming is acknowledged in the subtitles as -
(http://www.dsboards.com/NoDSAnniQuoteImages/Shoot_Anyone_Blu-ray_frame_02039.jpg)
- but the closed captioning acknowledges both the initial scream -
(http://www.dsboards.com/NoDSAnniQuoteImages/Shoot_Anyone_VHS_frame_02060.jpg)
- and how the screams continue as Claire turns to Tracy for comfort -
(http://www.dsboards.com/NoDSAnniQuoteImages/Shoot_Anyone_VHS_frame_02124.jpg)
End of Scene 198 in the film - but...
[nods]
-
how Scene 198 plays in the film (more on that in a later post)
Posts to revisit:
Scene 198 plays differently in the film from they way it's scripted, so first we're going to deal with it completely as scripted:
198 CLAIRE - TRACY 198
As they scream with shock, Claire suddenly raises the
pistol, fires point blank into Gerard's face.
GERARD - CLOSE-UP
Screaming with pain, he grabs his face and falls from
sight.
CLAIRE
Oh, God, I've killed him.
198 CONTD CONTD 198
TRACY
We've...we've got to make sure.
They look at each other, both knowing that they don't
want to leave the comparative safety of the cottage.
CLAIRE
We can't...we can't.
TRACY
If he's just wounded...
CLAIRE
(pulling herself
together)
I know...all right...let's go.
|
End of scene. But as we'll see when we deal with today's quote/capture in the slideshow, and as is already apparent given today's slideshow, some of the lines were actually used in upcoming Scene 199. And as we'll also see, other's were dropped entirely...
When it comes to the dialogue as scripted for Scene 198, Claire's "Oh, God, I've killed him", "We can't...we can't", and "I know...all right...let's go" were all dropped and were not moved to upcoming Scene 199, mostly because, as we'll see, two out three of the lines wouldn't have made sense there. On the other hand, Tracy's "We've...we've got to make sure" and "If he's just wounded..." were moved to Scene 199, and we'll get into how they play there when we get into Scene 199.
...
Moving on to how the portion of Scene 199 is scripted before we reach today's quote:
199 EXT - GROUNDS OUTSIDE COTTAGE - NIGHT 199
|
Yup, that's all we can get into because the beginning of the scene is so different from the way it's scripted to begin.
So, when it comes to the differences in the dialogue, the description and the directions, in the film Scene 199 actually begins with what we saw in yesterday's installment of the slideshow, with Claire and Tracy exiting the cottage and Tracy saying -
(http://www.dsboards.com/NoDSquoteimages/1109ds91_0.jpg)
"If he's just wounded..."
- which we've already pointed out came from Scene 198...
...
[nods]
-
More to revisit:
...
...and then in more dialogue taken from Scene 198, as Claire and Tracy make their way across the bridge from the cottage to the grounds, Tracy then actually says -
(http://www.dsboards.com/NoDSquoteimages/1110NoDS_a.jpg)
"We've gotta be sure."
...
And when it comes to the subtitles and closed captioning for Scene 199, believe it or not, once again the subtitles get everything right - however, when it comes to this instance the closed captioning, once again rather than what's actually said in the film, the closed captioning feels the need to correct the grammar -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hit_Him_VHS_frame_00273.jpg)
[nods]
-
Picking up Scene 199 with the first line that was actually scripted for it, after Claire and Tracy reach the spot where Gerard should have been if Claire killed him but he's not there, Tracy says, "But I know we hit him." - however, what the closed captioning has is -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hit_Him_VHS_frame_00962.jpg)
- with "And" instead of "But."
And that's the last bit of Scene 199 that the closed captioning gets wrong.
[nods]
-
As scripted Scene 200 doesn't have any dialogue so it's another scene that doesn't appear in the slideshow -
Before we get to the scene that's come up in today's slideshow, we have one other scene to deal with first:
200 INT - COTTAGE - NIGHT 200
as the two girls ENTER, Claire SLAMS and BOLTS the
door. Suddenly, the CAMERA is BLOCKED OUT by someone
stepping between the girls and the LENS.
GERARD - EXTREME CLOSE-UP
Blood running down his face, he leers evilly at them.
They SCREAM as we
CUT TO:
|
End of scene as scripted - though it doesn't quite play out entirely that way.
...
- however, dialogue is featured in the film. After Tracy comes in the entryway and the sound of Claire bolting the door is heard, and it's interesting that neither the subtitles nor the closed captioning acknowledges that sound, and they begin to come into the cottage, the closed captioning shows that Tracy asks -
(http://www.dsboards.com/NoDSAnniQuoteImages/What_Should_We_Do_VHS_frame_00212.jpg)
- and the subtitles also show that as well as Claire's response -
(http://www.dsboards.com/NoDSAnniQuoteImages/What_Should_We_Do_Blu-ray_frame_00229.jpg)
- which the closed captioning also then shows -
(http://www.dsboards.com/NoDSAnniQuoteImages/What_Should_We_Do_VHS_frame_00292.jpg)
- and an interesting thing about that screen capture is that before I was picking something out to use for this post, I'm not sure I ever noticed that Gerard's shadow appears on the wall behind Claire before Gerard himself does - but then noticing such things is what happens when you go through a scene frame by frame...
More to come...
[nods]
-
Picking up where we left off with Scene 200's unscripted dialogue, the subtitles then have Claire asking -
(http://www.dsboards.com/NoDSAnniQuoteImages/What_Should_We_Do_Blu-ray_frame_00303.jpg)
- but the closed captioning doesn't acknowledge that at all, and the funny thing is that whoever did the closed captioning isn't the only one to miss that line because I'm pretty sure I've missed it until I saw it come up in the subtitles [embb] - and after they see Gerard, they scream, which comes up in the closed captioning as -
(http://www.dsboards.com/NoDSAnniQuoteImages/What_Should_We_Do_VHS_frame_00349.jpg)
- but the subtitles only acknowledge Claire's scream -
(http://www.dsboards.com/NoDSAnniQuoteImages/What_Should_We_Do_Blu-ray_frame_00367.jpg)
[nods]
-
Before we move on to Scene 201, several things to revisit about Scene 200:
As I've mentioned before, Claire and Tracy's screams last longer in the 97 and 129 minute versions of the film, and previously I'd posted a video with extended audio -
And speaking of those screams, here's how Scene 200 currently plays in the film -
- but in the 97 minute version (and the 129 minute version) as one can hear in the video below, Tracy's and Claire's screams last approximately 2 seconds longer and the camera stays on the bloodied Gerard (sadly, I don't have that footage) as he lunges toward them -
- (yes, I've changed my mind because contrary to what I wrote back in 2016 I now believe he does indeed lunge toward them because when one examines Gerard frame by frame one can see that at the end of what's currently in the film he does begin to move toward them...)
...
- and everyone knows the NoDS cover of Famous Monsters of Filmland -
...
(http://www.dsboards.com/NoDSquoteimages/Lunge.jpg)
...
- but do you realize that it's one of the few places where the correct term, "hanged," is used for Angelique's manner of execution? - it drives me nuts that the posters for NoDS all say that she was "hung" as a witch, which is wrong wrong wrong - one would have thought that the copywriter for the posters should have known better, but apparently not - it's also interesting that the still was flipped for the cover - the actual still never seemed to show up anywhere else other than as the cover of that issue -
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Gerard_bloodied-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gerard_bloodied-2.jpg) for a 700X453 version)
...
- and the Famous Monsters of Filmland article also includes a similarly rare and cropped/flipped version of a B&W still of Gerard -
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Gerard_bloodied-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gerard_bloodied-1.jpg) for a 700X548 version)
Famous Monsters of Filmland caption: "James Storm as Gerard is caught red-faced. The red is blood."
...
[nods]
-
Oops - I forgot that I also wanted to mention that B&W still appears on one of the Mexican lobby cards -
(http://www.dsboards.com/NoDSAnniQuoteImages/Mexican-lobby-card.jpg)
- and it seems to have in part inspired the Spanish NoDS poster -
(http://www.dsboards.com/NoDSAnniQuoteImages/night-of-dark-shadows-spain-poster-la-maldicion-siniestra.jpg)
- and what's interesting about that poster is that its copy correctly says Angelique was hanged:
In Spanish Ahorcada means "hanged person." In fact, the copy is quite similar to the US poster. Roughly translated (by Google - I took French in school) it says "HANGED AS A WITCH 200 YEARS AGO... THE RETURN FROM THE TOMB IS THE BEGINNING OF LUST." But rather than "Night of Dark Shadows," the film had the title "THE SINISTER CURSE" in many Spanish speaking countries...
[nods]
-
Not until after I'd posted the Spanish poster yesterday did I realize that the design for the cover of the VHS release of NoDS -
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_VHS.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_VHS.jpg) for a 383X700 version)
- (and later the design for the laserdisc cover (http://www.dsboards.com/NoDSAnniQuoteImages/Laser.jpg)) rips off, er, borrows the Angelique/skeleton design from that poster. Sure, the design for the VHS box makes a composite using the actual stills rather than a drawing and Angelique isn't holding a candelabra, but it's unmistakably similar.
I wonder if whoever designed the VHS cover image got permission from whomever designed the poster? If the VHS designer was a certain someone, I doubt it because, well, as we know only too well, asking permission beforehand is not in his wheelhouse...
[nods]
-
Moving on to Scene 201, as I indicated with this graphic in the slideshow -
(http://www.dsboards.com/NoDSAnniQuoteImages/0615NoDS_0.jpg)
- the scene as it plays in the film is not at all as it's scripted -
... the scripted version:
201 EXT - RAVINE - NIGHT 201
as Quentin runs along the road toward CAMERA. He
suddenly reacts at the sight of broken trees and ripped-
up turf.
RAVINE - QUENTIN'S P.O.V.
There, in the ravine, Alex' car, almost demolished,
lies on its side as Quentin ENTERS THE SHOT, climbing
down the ravine toward it.
EXT - CAR - NIGHT
as Quentin approaches the car, Alex can be seen in
fairly good shape, but trapped in the car.
ALEX
Quentin!
as Quentin grasps the door
CUT TO: |
The scene does indeed begin with Quentin running along the road toward CAMERA - but what he suddenly reacts to is seeing Alex (though we don't see Alex quite yet) and in an unscripted moment Quentin calls out to him, as both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Almost_Killed_Blu-ray_frame_00242.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Almost_Killed_VHS_frame_00235.jpg)
- acknowledge - and as Quentin gets closer to him we see Alex sitting on the ground up against a tree and smoking a cigarette, probably something that would never get into the film today, though it's debatable if Alex' unscripted explanation of his circumstances still would - and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Almost_Killed_Blu-ray_frame_00409.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Almost_Killed_VHS_frame_00408.jpg)
- acknowledge that explanation.
More to come...
[nods]
-
Wrapping up the unscripted dialogue in Scene 201:
After Alex says he was almost killed, Quentin asks him if it was Gerard - and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Almost_Killed_Blu-ray_frame_00474.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Almost_Killed_VHS_frame_00490.jpg)
- acknowledge that - and Alex confirms Quentin's assessment - and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Almost_Killed_Blu-ray_frame_00529.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Almost_Killed_VHS_frame_00536.jpg)
- acknowledge that.
[nods]
-
Something to revisit regarding Scene 201:
A still associated with Scene 201 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Alex_crash.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Alex_crash.jpg) for a 700X1126 version)
- which has been shared on page 198 of the 35 Anniversary DS Memories book.
...
As far as I'm aware, the 35 Anniversary DS Memories book is the only place that still has been officially shared...
[nods]
-
When it comes to Scene 202:
A selection of scenes cut from the 129-minute version that have been recovered:
...
In the cottage, Quentin and Alex find a sobbing, terrified Claire who tells them that Gerard attacked them and abducted Tracy.
...
202 INT - COTTAGE - NIGHT 202
as Claire, lies sobbing on the floor. Her face is
bruised, her hair disheveled. The room shows signs
of a struggle. Suddenly O.S., the SOUND of the
front door opens. As Claire looks up in fear,
Quentin and Alex, a little worse for wear, ENTER.
Alex quickly crosses to her as Quentin looks for
Tracy.
QUENTIN
Where's Tracy?
|
And that's when yesterday's quote -
Page 96/Scene 202 - Claire: 'It's Gerard...he's got her. He tried to kill us...he tried to kill us...'
- comes up,
...
What should no doubt prove to be a great Nancy Barrett scene...
[nods]
-
And something to revisit regarding Scene 202:
... graphic for Scene 202 -
(http://www.dsboards.com/NoDSquoteimages/1113ds91_0.jpg)
- was made by somewhat cropping a version of this still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Cottage_aftermath2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Cottage_aftermath2.jpg) for a 880X700 version)
- which to my knowledge has never been officially published anywhere. I first came across it when I bought a copy from Ohlinger's in 1996...
...
[nods]
-
One of the things I've always found interesting since first reading Grayson's copy of the NoDS script is:
...
...followed in the script by:
203- 203-
205 OMIT OMIT 205
|
...
And I do wonder what Scenes 203 through 205 might have been at one time. But I guess we'll never know...
And interestingly enough those are not the only examples of omitted scenes in the NoDS script because Scenes 4 and 12, both of which take place in the unshot Hippy sequence at the start of the script, are also indicated as omitted. But that sequence was never planned to be shot, so those omitted scenes don't hold as much interest for me.
(And just for the record, the hoDS script also has omitted scenes, so it's not a situation unique to the NoDS script. Though in the case of hoDS some omitted scenes do actually appear in the version of the hoDS script that appeared in the DS Files books because that version of the script was apparently an earlier draft that contained them. But getting into that is not something for this topic - though I do get into it in the hoDS topic...).
[nods]
-
As far as Scenes 206 through 211 go, so much about them is different from how they were scripted. We going to go through them scene by scene. First up, Scene 206, in which things were scripted to take place before they actually do in the film:
...
206 EXT - RIVER ROAD - NIGHT 206
as the jeep APPROACHES CAMERA, it turns off its lights
and parks in the cover of some trees.
INT - JEEP - NIGHT
as Gerard looks over at a terrified Tracy, she cringes
206 CONTD CONTD 206
from him against the door, her eyes luminous with
fear. Then slowly moving toward her, he places his
hand on her leg and starts running it up her thigh.
Suddenly, she claws at him as he, growling like an
animal, pulls her to him. Viciously he crushes his
face to hers. During the ensuing struggle, he in-
advertently hits the horn.
|
...
So, in Scene 206, after Gerard pulls into the trees, shuts off the truck (again, not a jeep) and turns to her, Tracy tries to get out of the truck but he pulls he back inside as she screams - and her screams are acknowledged in both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Where_Are_You_Blu-ray_frame_00509.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Where_Are_You_VHS_frame_00509.jpg)
- and Tracy's screams prompt Gerard to put his hand over her mouth as he shushes her and growls, "Ssh. Ssh. Nah." - and the subtitles acknowledge the shushing -
(http://www.dsboards.com/NoDSAnniQuoteImages/Where_Are_You_Blu-ray_frame_00572.jpg)
- but not the growling - and the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Where_Are_You_VHS_frame_00574.jpg)
- three shushes and no growl - and once Tracy calms down, she makes a bit of a moaning sound, which only the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Where_Are_You_VHS_frame_00640.jpg)
- acknowledges - (but if I'm remembering correctly from having seen the 97 minute version, then comes the point in the 97 and 129 minute versions of the film when Gerard moves his hand up Tracy's thigh and toward her crotch - and I made a video with extended audio -
...
- but footage has been cut from the 97 minute version (and the 129 minute version). I don't have the video, but thanks to the audio tape, I do have the audio, so first up -
- when things go to black what should be seen is that after Gerard violently shushes Tracy, she sits still. He whispers to her that if she doesn't yell he'll let her go (though all of that isn't discernible on the audio tape). He then reaches his hand down and "touches" her leg.
...
- to indicate what's missing) - and that's all there is when it comes to how Scene 206 plays in the film - other things that were scripted may or may not show up in a subsequent scene.
More to come...
[nods]
-
Next up, Scenes 207 & 208, in which things that were scripted never actually take place:
...
207 EXT - COUNTRYSIDE - NIGHT - QUENTIN 207
In their search they have split up. As Quentin, now
alone, reacts to the DISTANT HORN, he looks about,
then moves off in the direction of the SOUND.
208 INT - JEEP - NIGHT 208
as Tracy puts up a valiant struggle, Gerard suddenly
reaches for the door. Opening it, he throws her out
of the car and onto the ground. As she tries to
scramble to her feet, he jumps on top of her. Then
clutching her face with both his hands, he brutally
forces his lips on hers.
|
...
So, in Scene 207, since the horn has yet to sound, all we actually see is Quentin run down a pathway, come to a stop, and look around.
And when it comes to Scene 208, what we see all depends on the version of the film that's seen, but in any case it's not really at all like what's scripted. What happens in the 94 minute version of the film is the scene consists of Gerard kissing Tracy until she can reach for and push the horn- and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Where_Are_You_Blu-ray_frame_01008.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Where_Are_You_VHS_frame_01009.jpg)
- acknowledge the horn sounds - (but once again if I'm remembering correctly from having seen the 97 minute version, in that and the 129 minute version, along with more thigh/crotch "action," we actually see Gerard remove his hand from Tracy's mouth, and as she quivers he moves in to kiss her - however, Tracy uses the kiss as a distraction to stroke his cheek simply as a ploy to move her hand so as to be able to reach the truck's horn and push it - and I made a video with extended audio -
...
...
- unfortunately, though, none of what I describe as missing is really discernible because all we really hear in the audio is the sounds of the crickets and some breathing - but it does give a good idea of how long the cut footage lasts.) - and the video also shows Scene 209 and the very start of Scene 210, but those won't be dealt with until next time...
[nods]
-
And next up, Scenes 209 & 210, where once again things were scripted to take place that actually don't:
...
209 EXT - COUNTRYSIDE - NIGHT 209
as Quentin runs through the night TOWARD CAMERA, he
suddenly hears the SOUND OF TRACY'S SCREAMS O.S. He
stops for an instant, looks around.
210 EXT - GROUND NEAR JEEP - NIGHT 210
Tracy is clawing at Gerard's face, as she screams.
TRACY
Help! Help!
Gerard, grabbing one of her hands, viciously slaps
her face. Then he suddenly reacts to the DISTANT
SOUND OF QUENTIN'S VOICE.
QUENTIN (O.S.)
Where are you?
Before she can answer, he clamps his hand over her
mouth.
|
...
So, in Scene 209, Quentin isn't seen running because he's still standing - and what he actually hears is the sound of the truck's horn - and that sound is acknowledged by both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Where_Are_You_Blu-ray_frame_01041.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Where_Are_You_VHS_frame_01046.jpg)
- before Quentin moves off in the sound's direction - and when it comes to Scene 210, Tracy, who is still in the truck with Gerard and not clawing at his face, doesn't call out for help but simply screams - and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Where_Are_You_Blu-ray_frame_01155.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Where_Are_You_VHS_frame_01154.jpg)
- acknowledge that...
More of Scene 210 to come...
[nods]
-
Wrapping up Scene 210 as it actually plays in the film:
After Tracy screams Gerard does not grab one of her hands and then slap her face, but what he does do is once again cover her mouth to stifle her screams - and it isn't until after Quentin, rather than calling out off screen to ask where she is, calls out on screen to Tracy by name, which is acknowledged by both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Where_Are_You_Blu-ray_frame_01289.jpg)
-and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Where_Are_You_VHS_frame_01288.jpg)
- that Gerard does indeed suddenly react to Quentin's calls, but he doesn't clamps his hand over Tracy's mouth because he's already done so - and two things the closed captioning acknowledge that the subtitles do not are, first, that Tracy makes a moaning sound -
(http://www.dsboards.com/NoDSAnniQuoteImages/Where_Are_You_VHS_frame_01416.jpg)
- and that once again Gerard shushes her -
(http://www.dsboards.com/NoDSAnniQuoteImages/Where_Are_You_VHS_frame_01451.jpg)
More to come...
[nods]
-
Some things to revisit that coordinates with where we currently are in the sequence:
...
First up, this one -
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck-1.jpg) for a 1039X800 version)
16 Spec Magazine caption: "While fleeing from the horrors of the house, Tracy runs straight into
the evil arms of Gerard - who has murder on his mind! Does he succeed?
Does Angelique succeed in ruining Quentin's life? See Night of Dark
Shadows - and find out the truth!!"
- which first shared as part of an article in 16 Spec Magazine - it's also part of the Mexican Lobby Card series -
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck_Mexican_lobby_card.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck_Mexican_lobby_card.jpg) for a 700X527 version)
- and while it was still active on the Internet, Collinwood.net shared this extremely rare version -
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck-2.jpg)
...
[nods]
-
Picking things up with Scene 211, with some things being a bit different in the film:
...
211 QUENTIN - GERARD'S P.O.V. 211
As he runs TOWARD CAMERA, Quentin is a dark figure in
the distance. He still does not see the car.
211 CONTD CONTD 211
|
And that's when yesterday's first quote -
Page 98/Scene 211 - Quentin (calling): 'Tracy!...Tracy...where are you?'
- comes up, followed in the script by:
GERARD - TRACY
as Gerard still stifles the struggling Tracy, an evil
smile spreads over his face. HOLD ON HIM as he
watches Quentin. Suddenly, he lets Tracy go. Before
she can utter a sound, he viciously slaps her face
and leaps into the car.
|
And that's when yesterday's second quote -
Page 98/Scene 211 - Tracy (screaming): 'Quentin!'
- comes up, followed in the script by:
Simultaneously with this, Gerard throws on the lights,
traping Quentin in their beam. Then, to the SOUND
OF GRINDING GEARS, the car ROARS to life. Quickly,
Quentin turns and runs as the car careens after him.
Just as it is almost on him, he dives into a ditch as
the car hurtles over him, plowing headlong into a
stand of trees. As Quentin scrambles to his feet, he
sees Gerard running toward the river.
EXT - COUNTRYSIDE - TRACY
as she runs in the direction of the action.
|
...
So, because Gerard and Tracy are still in the truck, after Garard has reacted to Quentin's calls and looked in the direction of them, at first we see through the truck's windshield as Quentin runs across the lawn, and then we see Quentin stop, call out the scripted line minus the "Tracy!" - and that is reflected perfectly in both the subtitles and the closed captioning - and then we see Quentin take several more steps and look around - meanwhile back in the truck the camera doesn't move to hold on Gerard as he watches Quentin because it stays on a 2 shot of both him and Tracy as Gerard still holds her with his hand over her mouth - and unlike how the script indicates that suddenly Gerard lets Tracy go and before she can utter a sound, he viciously slaps her face and leaps into the car, what actually happens is that Gerard opens the door of the truck and shoves a screaming Tracy out - and while the closed captioning acknowledges her screams -
(http://www.dsboards.com/NoDSAnniQuoteImages/Where_Are_You_VHS_frame_02084.jpg)
- the subtitles do not - and we then see Quentin as off screen Tracy calls out to warn him - and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Where_Are_You_Blu-ray_frame_02128.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Where_Are_You_VHS_frame_02128.jpg)
- acknowledge that - and while we don't hear the sound of grinding gears as the truck roars to life (even though DC's script has a note that Gerard would first hit the motor and then the lights), we do see the truck's headlights, Gerard driving like a maniac, Quentin's reaction to the truck's lights coming at him (and yes, "trapping" is misspelled as "traping" in the script), Quentin running from the truck and diving out of the way, the truck plowing into a tree, a now terrified Gerard getting out of the truck and starting to run away, Quentin getting up and then running after Gerard, and Tracy running after them both.
End of this particular sequence.
[nods]
-
A post to revisit associated with Scene 211:
...
First up, the Lobby Card that I'd previously shared -
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_8.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_8.jpg) for a 930X738 version)
...
- and then here's an extremely rare alternate version of that still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck-3.jpg) for a 700X476 version)
- which I actually prefer - but they didn't consult me when they chose which version to use for the Lobby Card. [ghost_nowink]
...
[nods]
-
And another post to revisit that's associated with Scene 211:
...
First up, another alternative to the Lobby Card -
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck-4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck-4.jpg) for a 700X480 version)
- and then there's this one -
(http://www.dsboards.com/NoDSAnniQuoteImages/Truck-5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck-5.jpg) for a 626X800 version)
...
[nods]
-
And now when it comes to Scenes Scene 212 through 215, many things are scripted differently from the way they appear in the film:
...
212 EXT - RAILROAD FOOTBRIDGE - NIGHT 212
as Gerard runs TOWARD CAMERA, Quentin is in hot
pursuit. When he reaches the middle of the bridge,
Gerard stops and turns. Here is where he will make
his stand. Quentin, now at the foot of the bridge,
starts slowly toward him.
GERARD - QUENTIN'S P.O.V. - HAND HELD
TRUCK IN ON Gerard as suddenly we see he holds a
vicious-looking knife.
WIDE ANGLE
With Gerard in the F.G., Quentin moves carefully
toward him. Tracy appears in the B.G. near the foot
of the bridge.
213 SERIES OF SHOTS - HAND-HELD 213
The two are only feet apart when Gerard lashes out.
213 CONTD CONTD 213
Quentin grabs his knife arm and the two begin their
life or death struggle.
THEIR FEET - CLOSE-UP
Both sets of legs are grappling for a firm grip.
Quentin steps backward. His foot collapses a rotten
board. As his leg goes through, WIDEN to see Gerard
gain the advantage. As he presses the knife downward
at Quentin's chest, he is suddenly distracted by the
SOUND OF TRACY'S VOICE.
|
And that's when yesterday's quote -
Page 99/Scene 213 - Tracy (O.S.) (screaming): 'Gerard!'
- comes up, followed in the script by:
As Gerard looks up, reacting, he starts to spring
TOWARD CAMERA. It is too late.
TRACY - CLOSE-UP
as she swings a short piece of heavy wood directly
into the LENS.
GERARD - CLOSE-UP
as he takes the blow full in the face, the force of
it drives him backward. He hits the rickety bridge
railing, falling through it toward the tracks below.
214 LOW ANGLE - UP AT THE BRIDGE 214
From the tracks, Gerard's body can be seen hurtling
TOWARD CAMERA. Suddenly, it stops short, as if
caught in mid-air by an invisible net. There is a
huge flash of light and sparks fly everywhere --
silhouetting the spread-eagle body of Gerard as he
burns to ashes on the high tension wires.
215 EXT - FOOTBRIDGE - NIGHT 215
as Quentin holds Tracy, Alex and Claire ENTER THE
SHOT and cross to them. As Alex looks over the side
at the smoldering remains of Gerard.
|
And that's when today's quote -
Page 99/Scene 215 - Alex: 'Well, it looks like the old BMT will be running late tonight.'
- comes up.
End of sequence.
...
So, unlike how Scene 212 is scripted to begin, Gerard only reaches the footbridge a very short time before Quentin and Tracy do, and as Gerard mounts the bridge Tracy actually tries to prevent Quentin from pursuing Gerard onto the bridge, but Quentin soon pulls away from her - and the camera doesn't truck in on Gerard to show the knife because after Geard pulls it out of the front waistband of his jeans (a dangerous place to hide a knife, if you ask me [wink2]), there's a close-up of the knife - and obviously after that isn't when Tracy appears in the background near the foot of the bridge because she's already arrived - and in Scene 213 there are no close-ups of Gerard's and Quentin's feet as they struggle - and after Gerard gains the advantage because Quentin has broken a rotten board in the floor, Gerard doesn't actually press the knife downward at Quentin's chest because he presses it at Quentin's face, and he actually cuts Quentin deep enough for Quentin to bleed (shades of Charles' scar - and it's quite interesting how that wasn't scripted) - and while Quentin's reaction to that cut isn't acknowledged in the subtitles, it is in the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Thud_VHS_frame_02199.jpg)
- and it's after that the Gerard raises the knife to finish Quentin off but of course Tracy thwarts that by whacking him with the heavy board - and Tracy's scripted line of calling out Gerard's name before she does so is acknowledged in both the subtitles and the closed captioning - and while in Scene 214 we do see Gerard hurtling toward camera - and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Thud_Blu-ray_frame_02399.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Thud_VHS_frame_02404.jpg)
- acknowledge Gerard's screams - but we don't see Gerard suddenly stop short because his body doesn't get caught in any high tensions wires so, therefore, there is no huge flash of light and sparks and no silhouetting of Gerard's spread-eagle body as he burns to ashes, however, apparently some version of that was shot, but the dummy looked too fake, so it was reshot the way it appears in the film, which is that we see Gerard simply plummet from the bridge - and something that quite interesting because, as I've said the subtitles seem to pick and choose what sounds to actually acknowledge, the subtitles do acknowledge the sound of Gerard hitting the ground -
(http://www.dsboards.com/NoDSAnniQuoteImages/Thud_Blu-ray_frame_02433.jpg)
- though the closed captioning does not - after which Quentin stands up and he and Tracy stare down at Gerard's body on the train tracks below - and in Scene 215 I don't know if what Quentin does next strictly qualifies as holding Tracy because he simply and briefly touches her - and after Claire and Alex arrive on the bridge and look down, it's more like Claire comforts Tracy because she reaches out and touches Tracy's arm - and while the subtitles don't indicate that Claire barely audibly says Tracy's name in a bit of unscripted dialogue, the closed captioning does -
(http://www.dsboards.com/NoDSAnniQuoteImages/Thud_VHS_frame_02898.jpg)
- and after the two women walk away, Alex is left with Quentin - and that's how the sequence currently ends - though if I remember correctly, in the 97 minute version, Alex does deliver his remark about the train - however, DC's script has a note that Alex would actually say, "Well, it looks like the old B and M will be running late tonight," and "B and M" stands for Boston and Maine - and we see Gerard's body again, as in this shot from one of the NoDS trailers:
...
(http://www.dsboards.com/images/NoDS-3.jpg)
...
[nods]
-
I don't know why I decided to look up BMT trains after all these years but I did. BMT stands for Brooklyn Manhattan Transit. It runs as far north as upper Manhattan. Not sure if it ever went as far as Tarrytown but it certainly wasn't as far north as Maine.
-
Another post worth revisiting:
...
... I want to share two rare publicity stills:
(http://www.dsboards.com/NoDSquoteimages/Fight-1.jpg)
(http://www.dsboards.com/NoDSquoteimages/Fight-2.jpg)
...
Oddly enough, I have no memory of where the top one comes from. I can tell from the scan that it came from a magazine article, but for the life of me I couldn't locate which article. Apparently I still have some NoDS stuff around here that I've yet to come across. But given how frequently I seem to come across stuff I've forgotten about, that's probably no surprise to anyone, including me. But what I can say is I know I first came across it as part of the Herald featured in the NoDS Pressbook:
(http://www.dsboards.com/NoDSAnniQuoteImages/Fight-1a.jpg)
As for the bottom one, I own the still. However that scan isn't a scan of my still because I didn't own a copy in 2016. Apparently it was scanned from some other source, and again, I have no memory of what that source is. Though quite possibly it's located wherever the source for the top scan is. But be that as it may, here's a scan of my copy of the still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Fight-2a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Fight-2a.jpg) for a 700X537 version)
You may recall that a colorized portion of that still is featured on one of the Italian Lobby Cards that I shared back in Reply #493...
...
And I still have no idea what the source was for those scans from 2016...
[nods]
-
And another post to revisit:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Fight-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Fight-3.jpg) for a 700X548 version)
Famous Monsters of Filmland saption: "Tracy gets into a fight between Quentin & Gerard
and knocks Gerard off the railing of the bridge."
- a cropped version of which featured in the Famous Monsters of Filmland NoDS article - it's also part of the Mexican Lobby Card series -
(http://www.dsboards.com/NoDSAnniQuoteImages/Fight_Mexican_lobby_card.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Fight_Mexican_lobby_card.jpg) for a 700X534 version)
And this is also a case where you may recall that a colorized portion of that still, flipped horizontally, is featured on one of the Italian Lobby Cards that I shared back in Reply #493...
...
[nods]
-
... after the two women walk away, Alex is left with Quentin - and that's how the sequence currently ends - though if I remember correctly, in the 97 minute version, Alex does deliver his remark about the train - however, DC's script has a note that Alex would actually say, "Well, it looks like the old B and M will be running late tonight," and "B and M" stands for Boston and Maine ...
A bit more info about Alex' changed line, which apparently wasn't even delivered as DC's script indicates because, while looking for something entirely different, I just came across this that Darren shared back in 2016:
...
In the final filmed version of the Gerard fall to his death, Alex says, "Looks like the old Bangor local is gonna be running late tonight." Thankfully we have that audio as well. His face is off-screen for the tail part, and if we didn't have the original recording, we would have looped it as "B&M" which would have been unfortunate.
[nods]
-
Some behind the scenes material worth revisiting:
... I still have some material I want to share related to the shooting of Scenes 206 - 215.
In this post I'm sharing three behind the scenes photos Darren Gross had shared on his now defunct NoDS Restoration Web site (along with his original captions):
(http://www.dsboards.com/NoDSAnniQuoteImages/DavidSelbywithcrew.JPG)
David Selby chatting with
the crew between setups on the set
of NIGHT OF DARK SHADOWS.
(Photo courtesy Yvonne David)
I could be wrong, but it looks to me like James Storm is sitting next to Selby.
(http://www.dsboards.com/NoDSAnniQuoteImages/JamesStormpuckers.JPG)
James Storm puckers up for a kiss after being doused with stage-blood.
(Photo courtesy Yvonne David)
(http://www.dsboards.com/NoDSAnniQuoteImages/JamesStormwithmake-upartistReginaldTackley.JPG)
Make-up artist Reginald Tackley liberally applies stage-blood to James
Storm in order to create the effect of a glancing bullet wound. Please note
Alex Jenkins' (John Karlen) as yet undamaged car behind them which
Gerard will later drive off the road. (Photo courtesy Yvonne David.)
It's interesting that they had yet to shoot Scenes 193 - 196 when the second and third photos were taken because, as we know, Gerard doesn't get shot by Claire until after he's forced Alex off the road. But then in films so few scenes are shot in order...
...
A behind the scenes candid which could also be associated with the shooting of Scenes 206 - 215, current Scene 216, or even upcoming Scenes 217 - 218 (though there's some mystery as to whether or not Scene 218 was ever shot - but more on that when we get to it):
(http://www.dsboards.com/NoDSAnniQuoteImages/DavidSelbyandKateJackson.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/DavidSelbyandKateJackson.jpg) for a 620X780 version)
I've never seen any source cited for this. It could also be one taken by Yvonne David (who, BTW, was the head of wardrobe on the film), or it could be someone entirely different. If it is someone different, I have my suspicion as to who it might be - but more on that in a future post associated with Scene 217...
...
-
What's unfortunate when it comes to Scene 216 is that it's neither on the unrecovered list nor on the recovered list. So who knows? Though if I were to be dangerous enough to hazard a guess as to whether or not it appears in the 129 minute version of the film, I would say no based on the fact that it's very much a character oriented scene and we all know what little regard DC had for those. And if it isn't in the film, it really is a shame because a lot of things that need to be said between Quentin and Tracy are said. But what would DC care about that? ::)
But anyway, judge for yourself:
...
216 EXT - RIVER ROAD - NIGHT 216
Quentin and Tracy are alone together for the first
time since the drowning. Alex and Claire can be seen
in the B.G. waiting for them. Tracy still sobs as
he holds her, comforting her.
|
And that's when yesterday's quote -
Page 100/Scene 216 - Quentin: 'I'm sorry Trace. I'm sorry for everything that's happened.'
- comes up, followed in the script by:
Holding her, he kisses her eyes, her lips as they try
to comfort each other.
|
And that's when today's quote -
Page 100/Scene 216 - Tracy: 'Oh, please, Quentin...please don't go back in that house.'
- comes up.
...
...
He looks at her, trying to find a way to explain it.
|
And that's when yesterday's quote -
Page 100/Scene 216 - Quentin (softly): 'Tracy, try to understand the way I feel. I have such a tenuous hold on myself that --'
- comes up, followed by today's quote -
Page 100/Scene 216 - Tracy (interrupting): 'But you're all right now. You're all right.'
- coming up.
...
...beginning with yesterday's quote, Quentin's response to Tracy's latest lines -
Page 100/Scene 216 - Quentin: 'But I don't know how long I'll stay this way. There's only one way to end it. We've got to go back in there and face it down --'
- coming up, followed in the script by:
She nods. HOLD ON THIS as the two of them cross toward
Alex and Claire.
|
And that's when today's first quote -
Page 100/Scene 216 - Tracy: 'What about Carlotta?'
- comes up, followed in the script by:
As Alex and Claire cross to meet them.
|
And that's when today's second quote -
Page 100/Scene 216 - Alex: 'I don't think we'll find her.'
- comes up, followed in the script by:
They all start up toward the house.
|
...given the voiceover that is added to the next scene in the current version of the film, something *may* have changed with this scene, or the voiceover *may* have been added because Scene 216 was dropped. But one thing is certain, the closing dialogue in Scene 216 and the added voiceover in Scene 217 can't both exist in the 129 minute version of the film because they contradict. But more on that when we deal with Scene 217...
[nods]
-
Something to revisit concerning the series of graphics for Scene 216 that -
...
(http://www.dsboards.com/NoDSquoteimages/1117ds91_0.jpg)
- have been created with a crop of this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Railing.jpg)
- which appears on page 161 of the DS Almanac Millennium Edition, which is the only place I've ever seen it shared. I've never come across the actual still anywhere...
...
[nods]
-
Before we get into the subtitles and closed captioning for Scene 217, here's a previous post to revisit:
Moving on to the next scene, which is something of a rarity in this section of the script because it does actually appear in the current version of the film, though not entirely as scripted:
217 INT - TOWER ROOM - NIGHT 217
The room is in darkness and through the window, as if
someone is watching, the four of them can be seen
approaching the house. Then RACK FOCUS to Carlotta
in the EXTREME F.G. as she stands there looking down
at them. As they EXIT THE SHOT below, Carlotta turns
away in thought. TIGHTEN TO CARLOTTA'S EXTREME CLOSE-
UP.
|
And obviously, when it comes to the scene as scripted, there's no sort of dialogue whatsoever. However, in the film as it currently stands, a Quentin voiceover was added after the marathon editing session, and it plays as follows:
"Alex..."
"...you know there's only one way we're going to end
all of this..."
"...We've got to go back in there and find Carlotta..."
"...because she's the one who's keeping the spirit alive --"
Which would seem to be a reworking of Quentin's "There's only one way to end it. We've got to go back in there and face it down --" from Scene 216. But because the reworking puts finding Carlotta front and center, it obviously flies in the face of the part of Scene 216 in which Tracy asks about Carlotta and Alex says he doesn't think they'll find her.
And speaking of Carlotta, Grayson's script has notes for Scene 217. She writes that Carlotta feels TRAPPED and PANIC - that she and Angelique have fought - that Carlotta is a little wild looking - and that there's desperate fear. She also wrote one other thing, but sadly the words go off the edge of the page, so it's impossible to figure out.
And that writing that went off the page actually goes with the "desperate fear" part because it's that Carlotta has a desperate fear that they will take Angelique away...
[nods]
-
So when it comes to Scene 217's unscripted voiceover, both the subtitles and the closed captioning acknowledge it correctly, beginning with -
(http://www.dsboards.com/NoDSAnniQuoteImages/Find_Carlotta_Blu-ray_frame_00311.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Find_Carlotta_VHS_frame_00307.jpg)
- followed by the subtitles having -
(http://www.dsboards.com/NoDSAnniQuoteImages/Find_Carlotta_Blu-ray_frame_00453.jpg)
- and the closed captioning having-
(http://www.dsboards.com/NoDSAnniQuoteImages/Find_Carlotta_VHS_frame_00410.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Find_Carlotta_VHS_frame_00492.jpg)
More to come...
[nods]
-
And picking up where we left off with Scene 217's unscripted voiceover, both the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Find_Carlotta_Blu-ray_frame_00640.jpg)
- and the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Find_Carlotta_VHS_frame_00665.jpg)
- and then the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Find_Carlotta_Blu-ray_frame_00738.jpg)
- and the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Find_Carlotta_VHS_frame_00747.jpg)
- and finally the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Find_Carlotta_Blu-ray_frame_00868.jpg)
- and the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Find_Carlotta_VHS_frame_00927.jpg)
More on all this after we deal with Scenes 218 through 220...
[nods]
-
Starting to revisit Scene 218 through 220:
And just when you thought we've seen all the alternate versions of scenes that appear in Grayson's script, up pops Scene 218. And we're going to deal with her script's version before DC's script's version ...:
218 EXT - COLLINWOOD PORTICO - NIGHT 218
as Quentin, Tracy, Alex and Claire stand near the
front door, getting ready to go in. Alex is about
to open the front door, when Quentin stops him.
QUENTIN
Alex, all the way up here I've
been thinking --
ALEX
About what?
QUENTIN
One of those dreams that I had...
I think it's important...
Alex looks at him.
QUENTIN
Gabriel and two men locked
Charles Collins in a small dark
room. The thing that was so
terrifying about it was that
when I woke up I felt I was
choking to death...I couldn't
breathe.
TRACY
I remember that!
QUENTIN
There was something else about
that room, too. Because when
they threw me in,my head hit
some kind of a wooden object.
Before I could see what it was,
they slammed the door and bolted
it. Then I heard that sound.
ALEX
What sound?
218 CONTD CONTD 218
QUENTIN
That's it, I don't know.
I can't even describe it.
But I do know I've heard it
before.
ALEX
O.K. What do we look for?
QUENTIN
The door was a heavy iron door --
|
End of scene as it appears in Grayson's script...
[nods]
-
Revisiting DC's script's version of Scene 218:
And now we begin DC's script's version of Scene 218, which begins with the same opening, but quickly changes:
218 EXT - COLLINWOOD PORTICO - NIGHT 218
as Quentin, Tracy, Alex and Claire stand near the
front door, getting ready to go in. Alex is about
to open the front door, when Quentin stops him.
|
And that's when today's first quote -
Page 101/Scene 218 - Quentin: 'Alex, there's something in there we've got to find.'
- comes up, followed by today's second quote -
Page 101/Scene 218 - Alex: 'What are you talking about?'
- coming up.
...
...
Page 101/Scene 218 - Quentin: 'In a dream I had, Gabriel threw Charles into a small dark room. I remember that when he hit the floor, he fell over something wooden. Before I could see what it was, Gabriel bolted the door.'
- coming up, followed by yesterday's second quote -
Page 101/Scene 218 - Alex: 'Do you remember anything else?'
- coming up, followed by today's first quote -
Page 101/Scene 218 - Quentin: 'No - only a sound, and I can't even describe it, but I know I've heard it before.'
- coming up, followed by today's second quote -
Page 101/Scene 218 - Alex: 'Well, where do we start?'
- coming up.
...
Page 101/Scene 218 - Quentin: 'The room had a heavy iron door --'
- coming up,
...
And, even though the dialogue was reworked, it's interesting that in the rewrite of Scene 218, the only things that were dropped were the references to Quentin choking. Who knows why - especially given the film makes a point of that with Quentin mumbling in his sleep that he can't breath and Tracy trying to wake him but being unable to? But, considering Quentin doesn't consider himself to be Charles, it does make sense that in the rewrite Quentin no longer refers to things in his dream as happening to him but happening to Charles.
And as for the sound Quentin can't identify, we'll hold off on discussing that until we get to Scene 228.
...
...
And when it comes to this scene - actually, when it comes to the next entire sequence of Scenes 218 though 220, it's apparently a mystery as to whether or not they were ever shot. Darren Gross wrote on his NoDS Restoration Web site that not only wasn't the sequence part of the recovered footage, but even though the scenes were "blocked in the director's notes, it is unknown whether this sequence was actually shot. Not a single still photo from this sequence has yet turned up." And that's the reason for the weird graphics - they cover both bases of either the scenes were never shot or it's simply a fact that I don't have any stills from them...
And here are examples of those graphics:
...
(http://www.dsboards.com/NoDSquoteimages/1123ds91_0.jpg)
(http://www.dsboards.com/NoDSquoteimages/1123ds91_1.jpg)
...
However:
... a change from what's said in the summation at the bottom is that since that post was made a still from Scene 220 was indeed identified and it will be showing up once the slideshow gets to that scene...
[nods]
-
Until I came across the following the other day I'd completely forgotten that with regard to Scene 218 Darren had written this back in 2016:
A few notes I can share... scenes 218-220 were indeed shot- ...
It was cut out of even Dan Curtis's director's cut, though, most likely just to tighten things up a bit. The dialogue from this scene between Alex and Quentin was edited down and plays over the shot of Carlotta in the tower in the director's cut, and yes it exists. It was replaced with the solo Selby "find Carlotta" voice over to help make sense of the chopped up ending in the short version.
...
So, if one day we do get to see the restored 129 minute version, it will be fascinating to see what dialogue was originally edited down and played over Scene 217 rather than the Quentin voiceover that we're familiar with. And it's worth noting that DC pulled a similar trick when it comes to Quentin's dream because dialogue from what was the original Scene 67 in Grayson's script (before the piano sequence replaced it in DC's script), which was reworked to become Scene 101 in DC's script, plays in the dream.
[nods]
-
Revisiting more behind the scenes photos:
... I held off posting the following two because they were taken outside "Collinwood," even if it's the opposite side of the house from what we see in Scene 217.
(http://www.dsboards.com/NoDSAnniQuoteImages/JohnKarlenandKateJackson1.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/JohnKarlenandKateJackson2.jpg)
Now, I'm not sure who took those two photos. However, back in the '90s I came across a now defunct Web site that someone set up with photos he'd taken back in 1971 while he'd been lucky enough to be allowed at Lyndhurst while NoDS was shooting on the grounds. I saved a copy of his site for my own personal use. Eventually I moved the site onto a CD for safe keeping and to clear up disk space on the computer I had at the time. And I know it's going to come as no surprise to anyone that I have no idea where that CD is now because I have a terrible habit of not labeling CDs (that would be too easy). However, the CD is very likely packed away with other CDs with other things on them for "safe keeping," but I never seem to find the time to dig them out and check through them. One day...
But be all that as it may, I've since come across this photo of the guy posing with Kate Jackson:
(http://www.dsboards.com/NoDSAnniQuoteImages/_andKateJackson.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/_andKateJackson.jpg) for a 900X785 version)
And one thing I definitely remember about the site is that the guy who set it up was a big Kate Jackson fan. And if I recall correctly, she appeared in almost every photo that he'd shared on the site. And that leads me to a strong suspicion that perhaps, even though it seems as if his original site is now defunct, he's created another site where many of his NoDS photos are on display.
Check out this Gallery from that site:
KATE JACKSON GALLERY FOUR (http://www.callmeacab.com/kate-jackson-gallery-four.html)
(Scroll down about halfway for 6 photos:- The second photo on line 33.
- The third photo on line 34.
- The first photo on line 35.
- The first photo on line 36.
- And the third and fourth photos on line 37.)
...
MB, I checked with my BFF Helen Samaras and she confirmed that it is indeed Richard Levantino. I can't say if that's his website though. He was and is a huge Lara Parker fan. I don't think that I ever heard him mention Kate. He used to post here on the forum many years ago. I believe that he was known as MM#7.
There are other posts regarding the photos and Richard Levantino, but I'm just revisiting those two. To get the full picture go back and reread starting with the first post here (Reply #675)..
[nods]
-
Missing Scenes 219 and 220:
...
ORGAN ROOM
219 INT - FOYER - NIGHT 219
as they ENTER, the house is in darkness. Quentin
crosses to switch on a lamp. It doesn't work. Alex
tries another. It doesn't work either.
ALEX
Perfect. No lights.
TRACY
There are candles in there.
|
And that's the end of Scene 219.
...
Moving on to Scene 220:
220 INT - CORRIDOR - NIGHT 220
as the four of them proceed down the hall toward the
stairway, each holds a candelabra. They stop at the
foot of the stairs. As Quentin looks up:
|
And that's when today's quote -
Page 102/Scene 220 - Quentin: 'I have a terrible feeling that if I relax my will for just one second, it'll be all over...'
- comes up.
And wrapping up Scene 220:
And that's when today's quote -
Page 102/Scene 220 - Alex: 'We'll go up there, Quentin. You and Tracy stay as far away from that tower room as possible.'
- comes up, followed in the script by:
Quentin nods. As Alex and Claire start up the stairs,
Quentin and Tracy EXIT THE SHOT toward the basement.
|
End of scene and (mystery) sequence. Tomorrow we'll get back to material that's actually in the film. Well, sort off to begin with. But more on that tomorrow...
[nods]
-
And revisiting a post associated with Scene 220:
Today's -
(http://www.dsboards.com/NoDSAnniQuoteImages/0630NoDS_0.jpg)
- and tomorrow's graphics have been newly created with a slight crop of this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Que_Can1.jpg)
- which still, which I had last time around but I didn't know if it was associated with Scene 220 until Darren Gross explained that it was back in December of 2016:
... I have one photo of Quentin close-up with the candelabra, and you can tell from the background that they are at the bottom of the staircase, about to separate.
... There are so many stills of Quentin with candles that sometimes it's hard to know which are simply publicity poses and which are for actual scenes. For example, back in '09 I used this for the seance -
(http://www.dsboards.com/moviesquoteimages/1218NoDS_0.jpg)
- in the original slideshow for NoDS even though I was pretty sure it wasn't from the seance, but I cropped and enlarged it so it would look like it could be.
...and Yes, that photo you posted of the Quentin with candles on the previous page IS the shot I was talking about ...
And back in Reply #15 I'd shared two versions of this still -
... Not all 130 are there, but I know there were to be 130 because the newspaper also published this:
(http://www.dsboards.com/NoDSAnniQuoteImages/Quentin.jpg)
...
Also, because the quality of the newspaper version is terrible, here's a somewhat cropped but much better version of that photo of Quentin:
(http://www.dsboards.com/NoDSquoteimages/Que_Can2.jpg)
- which may also be associated with Scene 220, but it may simply be a generic publicity still...
But speaking of Quentin holding a candelabra in a still, a couple such stills will be upcoming once we reach Scene 229, one of which is very rare...
...
[nods]
-
This is how Scene 221 is scripted:
...
221 INT - BASEMENT - NIGHT 221
as Quentin and Tracy come TOWARD CAMERA, Quentin stops
and looks around, sensing something.
221 CONTD CONTD 221
TRACY
What?
QUENTIN
Something familiar about this --
Quentin opens a door which leads to a storage room,
as Tracy opens a small, heavy wooden door further
down the corridor.
|
...
Though it's not the way it plays in the film:
Scene 221 does indeed begin with Quentin and Tracy descending into the basement and coming toward camera. But before we actually see them, we see their shadows (which I can't resist mentioning that its another great shot where --
(http://www.dsboards.com/NoDSquoteimages/1129NoDS_a.jpg)
- DC uses shadow) - but soon after they come into view both Tracy and Quentin stop and look around, but there's no hint that Quentin stops because he senses something - in fact, the dialogue in Scene 221 is completely different from what's scripted because after they look around a few seconds, both the closed captioning and the subtitles show that Tracy actually remarks -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement_Search_VHS_frame_00376.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement_Search_Blu-ray_frame_00383.jpg)
- though the subtitles jump ahead to the beginning of Quentin's reply, which continues in the subtitles as -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement_Search_Blu-ray_frame_00444.jpg)
- and appears in its entirety -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement_Search_VHS_frame_00444.jpg)
- in the closed captioning - to which Tracy then nods in agreement - and after they move on and begin to make their way under some boards, they look around a bit more until Quentin nods to his left and both the subtitles and the closed captioning show him saying -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement_Search_Blu-ray_frame_01519.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement_Search_VHS_frame_01512.jpg)
- and after Quentin moves off to his left, Tracy begins to proceed forward until she comes to a room, however, there's no need for her to open the door because it's already open.
More of the sequence to come...
[nods]
-
Oops - something I forgot to revisit:
...
... the call sheet that I came across earlier this year and have been referencing also lists Scenes 219-220. Apparently they were also shot on April 5th:
(http://www.dsboards.com/NoDSAnniQuoteImages/Call.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Call.jpg) for a 880X910 version)
...
[nods]
-
Another post to revisit:
Stills associated with Scene 221:
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement1.jpg) for a 840X552 version)
The Lobby Card that I shared back in Reply #78:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_7.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_7.jpg) for a 930X738 version)
...
The still version -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement2.jpg) for a 700X476 version)
- a majorly cropped version of which appears on the cover of The DS Movie Book.
And an alternate version -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement3.jpg) for a 700X476 version)
- that so far as I know has never been officially published anywhere.
And there's also various versions of this -
... the actual still of that photo, which I'd completely forgotten I owned, so here's a scan of that because it's the best version of the still:
(http://www.dsboards.com/NoDSAnniQuoteImages/dead-serious_a.jpg)
- which I've also shared in Reply #22...
...
-
Continuing the sequence: how Scenes 222 and 223 are scripted and how they actually play out:
...
222 INT - SMALL - BASEMENT ROOM - NIGHT 222
as the door opens, Tracy ENTERS with her candelabra.
|
And that's when today's quote -
Page 103/Scene 222 - Tracy: 'There's nothing in here.'
- comes up, followed in the script by:
Suddenly there is an unexplainable gust of wind. As
the candleabra is blown out, the small heavy door
slams shut. Tracy screams.
|
...
...
223 INT - BASEMENT CORRIDOR - NIGHT 223
As Quentin reacts to the SCREAM, he runs to the door.
|
And that's when today's quote -
Page 103/Scene 223 - Quentin: 'Tracy!'
comes up, followed in the script by:
...
...
QUENTIN
Yes, I'm here. Are you O.K.?
TRACY (O.S.)
Yes!
QUENTIN
The damn thing's stuck. Push
on the inside --
As he starts to pull on the handle.
|
...I keep forgetting to mention that "candelabra" is indeed misspelled in the script for Scene 222's "As the candleabra is blown out".
...
Another thing I have to mention about the way this sequence was shot is that I love how -
(http://www.dsboards.com/NoDSquoteimages/1129NoDS_i.jpg)
- Tracy is shot from below as she enters the room.
But anyway, after Tracy looks around her room, she delivers her scripted line, "There's nothing in here." - and that is acknowledged exactly in both the subtitles and the closed captioning - then after the flames of the candles are indeed blown out by the unexplainable gust of wind, she drops the candelabra and mutters an unscripted -
...
(http://www.dsboards.com/NoDSquoteimages/1129NoDS_m.jpg)
"Shi..."
...
- that neither the subtitles nor the closed captioning acknowledges, which is why I have to (and it's interesting that apparently it was fine to say "Son of a bitch" twice in the film but not to completely say "Shit") - as she soon sees the door slam shut - however, unlike what's scripted, she doesn't scream - and for some reason the dialogue at the beginning of Scene 223 is switched around - as both the closed captioning and the subtitles show, first we see Quentin and hear Tracy scream for him (not simply scream) -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement_Search_VHS_frame_02527.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement_Search_Blu-ray_frame_02536.jpg)
- though the subtitles also jump ahead to Quentin's response, while the closed captioning has it separate -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement_Search_VHS_frame_02552.jpg)
- and when Quentin reaches the door, and what both the closed captioning and the subtitles acknowledge, is he actually says -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement_Search_VHS_frame_02653.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement_Search_Blu-ray_frame_02664.jpg)
- though the subtitles also jump ahead to Tracy's off screen scripted reply, which the closed captioning acknowledges separately - after which Quentin puts his candelabra down - and after we see Tracy inside the room, things shift to Quentin frantically trying to pull the door open and he actually says, "But the damn door's stuck. Push on the inside." - and the subtitles acknowledge that in its entirety, but for some reason the closed captioning has the first part as -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement_Search_VHS_frame_02827.jpg)
- dropping the "But."
More of the sequence to come...
[nods]
-
And another post to revisit:
A rare still associated with Scene 222:
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement4.jpg) for a 700X612 version)
It's interesting to me that there are several stills of Quentin and Tracy from this sequence down in the basement, and there's this one of Tracy solo, but I've never come across any of Quentin solo. Though, of course, that's not to say they don't exist...
...
I never noticed until this time around that Kate Jackson looks like she's wearing a different jacket than she actually wears in the scene. But then, if in one of the stills David Selby can wear a coat that he doesn't actually wear in the scene, she can wear a different jacket...
[nods]
-
Something else to revisit regarding Scene 223:
...
And as an aside, once again I never noticed something until I was getting captures for the slideshow. Can you spot it in this post? If not here's a capture from an upcoming moment from Scene 223 that should help:
...
The only thing that seems noteworthy to me is a continuity problem with candle flames.
That's pretty much it. As we can see in the following capture, when Quentin calls out -
(http://www.dsboards.com/NoDSquoteimages/1130ds91_0.jpg)
"Tracy!"
in Scene 223, his breath blows out the candle nearest to him - but in the same scene when he shows up after having rushed to the door to the room where Tracy is trapped, all the candles on his candelabra are once again lit -
(http://www.dsboards.com/NoDSquoteimages/1130NoDS_b.jpg)
- so I guess we're supposed to believe that as Quentin was rushing to the door, he was also relighting the candle!! [b003]
It's amazing how much one can miss when one is really into a scene and not paying attention to the little details...
[nods]
-
Continuing the sequence with Scene 224:
...
224 INT - SMALL ROOM - NIGHT 224
It is almost in total darkness as Tracy pushes hard
against the door.
224 CONTD CONTD 224
QUENTIN (O.S.)
Come on, Trace. Harder --
HOLD on Tracy as suddenly ALL THE SOUND IN THE ROOM
BEGINS TO DIMINISH. The SOUND OS QUENTIN'S STRUGGLING
AND AD LIB URGING at the door gets SOFTER AND SOFTER
as Tracy begins to react to the oppressive dead air.
TRUCK IN TO HER CLOSE-UP as she senses another pre-
sence in the room. She turns to look TOWARD CAMERA
and, as in the cottage, the SOUND TRACK COMPLETELY
DROPS OUT.
ANGELIQUE - TRACY'S P.O.V.
On the other side of the room, materializing before
Tracy's eyes, is the mist-like ghostly figure of
Angelique.
TRACY - CLOSE-UP - SLOW MOTION
as she opens her mouth to scream, not a sound comes
out.
|
...
So, after the end of Scene 223 when Quentin tells Tracy to push on the inside, Scene 224 begins as scripted with Tracy pushing, however, as both the subtitles and the closed captioning acknowledge, she replies to Quentin with an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement_Search_Blu-ray_frame_03000.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement_Search_VHS_frame_03008.jpg)
- to which Quentin, who's actually on screen, slightly reworks what's scripted as, "Come on. Try harder --" - and that's reflected in both the subtitles and the closed captioning - but then both the subtitles and the closed captioning acknowledge that she replies to him with an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement_Search_Blu-ray_frame_03146.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement_Search_VHS_frame_03143.jpg)
- and then, unlike how the script says Quentin's struggling and ad lib urging at the door will get softer and softer as Tracy begins to react to oppressive dead air in the room, what actually happens in the film is that slowly a strange luminescence starts to appear in the room and Tracy begins to react to it - and after she turns to look in the direction it's coming from, rather than see Angelique yet, what we actually see is Tracy scream in terror - however, only the subtitles acknowledge that no sound is heard in the room -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement_Search_Blu-ray_frame_03425.jpg)
More of the sequence to come...
[nods]
-
Something to revisit regard Scene 224:
A still associated with Scene 224:
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement5.jpg) for a 560X700 version)
The Famous Monsters of Filmland top caption reads:
"SCREAM,
TRACY,
SCREAM!"
The bottom caption reads: "What she (Kate Jackson) sees is enough to drive
her crazy!
The Daytime TV caption reads: "Tracy screams as she sees the spirit of
Angelique approach her in kill attempt.
A cropped and horizontally flipped version appears as part of Famous Monsters of Filmlands' NoDS article, and a cropped to just a head shot version appears as part of Daytime TV's NoDS article, the article I've already shared several photos from (and there are two rare ones to still come...).
And an extremely rare version of Tracy screaming appears as part of -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement6.jpg)
- the Herald featured in the NoDS PressBook...
...
[nods]
-
Given that we don't hear her scream in the film, I've often wondered if Tracy's scream in this TV Spot for NoDS -
- is Kate Jackson's actual voice or if it's just some generic sound effects scream? When it comes to the other screams in the spot, it's hard to tell if Claire's scream is Nancy Barrett, the scream when Gerard gets shot is all about Claire in the film and we don't even hear Gerard scream, but the scream in the spot when Gerard falls from the bridge is not the same scream heard in the film. So, chances are it isn't Kate Jackson. But who knows?
[nods]
-
The way the rest of Scene 224 actually plays out is that:
...
... Tracy scream in terror - and it isn't until after that that we see Angelique has -
(http://www.dsboards.com/NoDSquoteimages/1201NoDS_j.jpg)
- materialized in the room - and after Tracy slides along the wall -
(http://www.dsboards.com/NoDSquoteimages/1201NoDS_k.jpg)
- but there is no escape, Angelique moves closer and closer and closer -
(http://www.dsboards.com/NoDSquoteimages/1201NoDS_l.jpg)
(http://www.dsboards.com/NoDSquoteimages/1201NoDS_m.jpg)
(http://www.dsboards.com/NoDSquoteimages/1201NoDS_n.jpg)
...
[nods]
-
The portion of Scene 225 that actiually plays in the film:
...
225 INT - BASEMENT AT DOOR - NIGHT 225
Here the SOUND IS NORMAL, so thatQuentin, who is
pulling at the door, reacts in horror to the SOUND
OF TRACY'S SCREAM. Wildly, he pulls at the door,
SCREAMING.
QUENTIN
For God's sake, Tracy! What
is it, Tracy! Answer me!
|
... But before I end this post, I keep forgetting to mention that ... And somewhat similarly, in the Scene 225 portion of the script in this post, there is no space in "thatQuentin" like there should be.
And Quentin says a variation of what's scripted, "Tracy, for God's sake, what is it? Answer me!" - and that is reflected perfectly in both the subtitles and closed captioning..
More of the sequence to come...
[nods]
-
Check out these two videos:
The Blu-ray version:
And the VHS version:
There is a difference between them but it is subtitle. So subtle that I didn't even notice it until this time around. See if you can spot it without me having to point it out... (Hint: if you haven't figured it out by the time you've watched the first half of both videos, you've missed it. But I've made the videos go longer than that for a related reason...)
[nods]
-
Picking up with the portion of Scene 225 that is not currently in the film and moving beyond it to Scenes 226 & 227:
...
Suddenly Tracy's SCREAM stops abruptly as Alex and
Claire ENTER THE SHOT, running toward Quentin.
CLAIRE
Where's Tracy?
QUENTIN
Help me with this door!
As Alex grabs the handle with Quentin, they both start
pulling.
|
And that's when Thursday's quote -
Page 104/Scene 225 - Quentin: 'She's in there! We've got to get her out!'
comes up, followed in the script by:
226 INT - ROOM - NIGHT - SLOW MOTION 226
Tracy lies on the floor, barely moving, completely
enveloped in the white mist. THERE IS NO SOUND.
227 INT - BASEMENT AT DOOR - NIGHT - NORMAL SOUND 227
as Quentin and Alex, in a last desperate effort
finally yank the door open. The light pours into
the room as they run in. The white mist which
envelopes Tracy disappears. She lies there, her
eyes vacant with shock. They bend to her as Quentin
cradles her in his arms.
|
And that's when Friday's quote -
Page 105/Scene 227 - Claire: 'Oh, my God, it was the same thing!'
comes up, followed in the script by:
As Tracy begins to come out of it, she begins to sob.
|
And that's when yesterday's quote -
Page 105/Scene 227 - Tracy: 'It was so horrible...she was here!...she was here!'
comes up, followed in the script by:
Quentin looks around the room.
|
And as for the dialogue, the descriptions, and the directions, there's no way of knowing if anything is different in the 129 minute version. The only part of the above excerpt from the script that currently appears in the film is Tracy on the floor after the white mist has disappeared and an obvious cut to Quentin kneeling down to revive Tracy and cradle her as she sobs. (But unlike as scripted, those two bits of Scene 227 appear after Scenes 237 and 238, which are currently cut to right after Quentin begs Tracy to answer him in Scene 225. But more on that once we've reached Scenes 237 and 238 in the script...)
....
And once again Grayson has notes in her script even though Carlotta doesn't even appear in Scenes 226 and 227, and once again they deal with Carlotta's reactions to what's happening to Tracy (though how she knows is anyone's guess - well, unless she has more of a psychic connection to Angelique than we're completely made aware). And the notes deal with how excited Carlotta is that Tracy is about to be gotten rid of, but then with the disappointment of Angelique being defeated.
And confirmation from Darren that:
Happily all the above mentioned material (not the Grayson notes) is in the director's cut, ie: Alex and Claire running to help, Claire's line, Alex and Quentin interaction, etc.
[nods]
-
A post to revisit with regard to July 5th's graphic because -
...
(http://www.dsboards.com/NoDSquoteimages/1202ds91_0.jpg)
- I'd used a crop of Claire from this rare still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement7.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement7.jpg) for a 1000X780 version)
- which so far as I'm aware has never been published anywhere...
(Note that David Selby is wearing his coat again - and Nancy Barrett is also wearing one...
...
[nods]
-
Revisiting more rare material from Scene 227 -
... starting with this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement8.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement8.jpg) for a 1000X772 version)
DS Movie Book caption: "Night: Deleted basement scene with
Quentin (David Selby), Tracy (Kate
Jackson) and Claire (Nancy Barrett)."
- which so far as I'm aware has only been published in a tiny version in The DS Movie Book (and it along with yesterday's are more of the ones that I bought at Ohlinger's back in 1996) - and this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement9.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement9.jpg) for a 874X650 version)
Daytime TV caption reads: "Quentin and Claire (Nancy Barrett) try to
comfort Tracy after Angelique's attempt
to kill her. Claire is wed to Alex (John Karlen)."
- which, as you've probably deduced from the caption, appeared as part of Daytime TV's NoDS article - and this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement10.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement10.jpg) for a 700X562 version)
- which appeared as part of the Fest's 2012 NY Weekend Program book.
(Note that David Selby and Nancy Barrett are wearing coats in the middle one...)
...
[nods]
-
Scene 228:
...
228 THE BRICK WALL - QUENTIN'S P.O.V. 228
BACK TO SCENE
as they help the still-crying Tracy to her feet,
Quentin crosses to the brick wall and stands looking
at it. He thinks for a moment, then turns to them.
QUENTIN
That's it!
Alex looks at him.
|
And that's when yesterday's quote -
Page 105/Scene 228 - Quentin: 'The brick! That was the sound! The sound of brick being laid.'
comes up...
... Instead of how things were scripted to build up, we simply get Quentin delivering the scripted "The brick! That was the sound! The sound of brick being laid", presumably along with "Charles Collins is in there!", which DC added to his script.
...
More of the sequence to come...
[nods]
-
With regard to the full version of Scene 225 and Scenes 226 through 228, Darren Gross posted on his Restoration Web site -
A selection of scenes cut from the 129-minute version that have been recovered:
...
Alex helps Quentin force the basement door open which banishes Angelique's ghost and saves Tracy. Claire enters and tells them that the ghost that attacked Tracy was the same one that attacked Alex earlier in the cottage. Quentin finds a brick wall where a door should be and realizes that Angelique and Charles Collins are buried behind it.
[nods]
-
And when it came to this graphic -
...
(http://www.dsboards.com/NoDSquoteimages/1204ds91_0.jpg)
- I'd used a crop of this rare still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement11.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement11.jpg) for a 700X541 version)
DS Movie Book caption: "Night: Alex (John Karlen) and Quentin
(David Selby) break into Charles' basement
tomb in deleted scene."
- from the lamentedly missing Scene 229 and which so far as I'm aware has only been published in a tiny version in The DS Movie Book...
...
[nods]
-
Revisiting deleted Scene 229:
...
CUT TO:
229 INT - SMALL ROOM - NIGHT 229
as Alex and Quentin have just about finished ripping
out the brick wall, the large iron door is revealed.
Quentin grabs the rusted bolt and unlocks it.
INT - ROUND BURIAL ROOM - NIGHT
as the door opens and light streams in, Quentin and
Alex stand in silhouette in the doorway.
THE ROOM - THEIR P.O.V.
The light of their candelabras reveal an aged pine
coffin covered with cobwebs and dust. As they ENTER
THE SHOT and cross to it, they suddenly see the
skeletal remains of Charles Collins. In the B.G.,
the girls appear at the doorway.
|
And that's when today's quote -
Page 106/Scene 229 - Quentin: 'So this is why Laura was laughing at the funeral. They were burying an empty coffin.'
comes up.
End of scene and end of sequence. And the sad thing is, even though Scene 228 was recovered with the 129 minute version of the film, Scene 229 was not. And again, sort of similar to how the rewrite of Scene 218 drops all reference to Quentin having trouble breathing on the night of his dream even though a big thing is made of that in Scene 103, it's odd that Scene 52 makes a point of having Gerard do brickwork so that Quentin will have the sound of it in the back of his memory, yet because all future references seemingly save for Quentin suddenly putting 2 and 2 together (even though we have no idea that he's been trying to place a sound because Scene 218 is not in the film ...) it makes Quentin's eureka moment come from out of nowhere. Not to mention that Scene 229's revelation of the discovery of Angelique's and Charles' remains would certainly seem like a major plot payoff. But apparently not to DC. And as we know only too well, ours is not to fathom DC's thinking. ...
...
[nods]
-
And when I'd put together this graphic -
...
(http://www.dsboards.com/NoDSquoteimages/1205ds91_0.jpg)
- I'd used a rare print of a not so rare still (though I eliminated Quentin's legs) -
| (http://www.dsboards.com/NoDSquoteimages/Que_Ske_long.jpg) |
(http://www.dsboards.com/NoDSquoteimages/Que_Cha.jpg) |
- a still that has been published so many times (in its print form on the right) that I'm not even going to list them, though here are a few captions:
TV Dawn to Dusk's CATCHING UP WITH...The Dark Shadows Cast caption reads: "Quentin (David Selby) finds the
skeleton of his former self, Charles Collins."
Original Motion Picture Sountracks booklet's caption reads: "Night Of Dark Shadows:
David Selby as Quentin Collins
in a deleted scene."
The Famous Monsters of Filmland caption reads: "Wouldn't you be scared out of your skin if you came upon your own skeleton from a previous life? Well,
that's the predicament Quentin is in as he discovers the mortal remains of himself when, in a past
existence, he was known as Charles Collins."
...
[nods]
-
Revisiting more rare material from Scene 229, starting with this -
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Basement12.jpg)
- which appears as part of the Herald featured in the NoDS PressBook. I've always assumed that still is from Scene 229 and not Scenes 221 - 223, but we all know what they say about assuming. And if it is from the latter scenes, obviously I can't really say:
It's interesting to me that there are several stills of Quentin and Tracy from this sequence down in the basement, and there's this one of Tracy solo, but I've never come across any of Quentin solo.
But until such time as I discover otherwise, I'm going to continue to assume it comes from Scene 229. Though if I ever come across a numbered print of that still, which is something I've never seen, that could be a good clue as to which scene it may be from...
And then there's this behind the scenes still that Darren Gross shared on his NoDS Restoration Web site, and once again I'm sharing the caption as Darren wrote it -
(http://www.dsboards.com/NoDSAnniQuoteImages/NIGHT-SKELETON.JPG)
Cinematographer Richard Shore, A.S.C. takes a light reading for the scene
where Quentin and Alex uncover Charles Collins' skeleton lying atop
Angelique's pine-wood coffin. (Photo courtesy Richard Shore.)
- and a tiny version of a different version appears in The DS Movie Book -
(http://www.dsboards.com/NoDSAnniQuoteImages/NIGHT-SKELETON2.jpg)
Night: Richard Shore positions skeleton.
...
[nods]
-
Beginning the seance sequence with Scene 230:
...
230 INT - GALLERY - NIGHT - HIGH ANGLE 230
The four sit around a table set near the windows.
The room is lit by a single candelabra on the table.
Quentin sits in the most comfortable chair. Tracy
is at his left, Claire at his right. Alex is across
from him.
|
And that's when today's first quote -
Page 106/Scene 230 - Quentin: 'I'm not sure I know what to do.'
comes up, followed by today's second quote -
Page 106/Scene 230 - Alex: 'Just do as we told you. If Angelique appears for anyone, it'll be you.'
coming up, followed in the script by:
Quentin looks around the room.
They all begin to concentrate.
|
Picking up Scene 230 where we left off...
GROUP - TRUCKING SHOT
During the following, CAMERA TRUCKS AROUND THE TABLE.
|
And that's when today's quote -
Page 106/Scene 230 - Quentin: 'Is there anyone in this house who wishes to speak with us?...who has anything to say to us? We are here to listen to you...the psychic door is open for you to enter.'
comes up...
...
[nods]
-
And when I'd put together this graphic -
...
(http://www.dsboards.com/NoDSquoteimages/1206ds91_0.jpg)
- I'd used a crop of this fairly rare still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Seance1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Seance1.jpg) for a 700X560 version)
- a small version of which appears on page 181 of the DS Return To Collinwood book...
(Sadly I don't have any stills of John Karlen from the seance. If any exist, I've never come across them. That's why he wasn't featured for Saturday's second quote. But as will be seen in some upcoming graphics, I was able to feature him when it came to those by getting a screen grab from the seance footage in one of the NoDS trailers...)
...
[nods]
-
As I mentioned last time around, originally -
... I'd cropped a still that is actually associated with Scene 220 because I wasn't sure of that fact and used it simply because there's a candle in it -
(http://www.dsboards.com/NoDSquoteimages/1207ds91_0.jpg)
- but this time around I made this new graphic -
(http://www.dsboards.com/NoDSAnniQuoteImages/0710NoDS_0.jpg)
- with this pretty rare still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Seance2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Seance2.jpg) for a 700X1042 version)
- which I've gotten a copy of in only the last year, and which appears on the back cover of the movies soundtrack CD -
(http://www.dsboards.com/NoDSAnniQuoteImages/Soundtrack.jpg)
- along with other cropped to head shots versions of some other stills that will look familiar because I've shared the original versions...
...
[nods]
-
Continuing the seance sequence:
...
DISSOLVE TO:
231 INT - TOWER ROOM - NIGHT 231
as CAMERA begins a LONG, CONTINUOUS TRUCK through the
doorway to:
231 CONTD CONTD 231
INT - TOWER STAIRS - NIGHT - CONTINUE TRUCKING
INT - THIRD FLOOR STAIRS - NIGHT - CONTINUE TRUCKING
|
End of scene 231 - but much more to come in the sequence...
Picking up the seance sequence where we left off:
232 INT - SECOND FLOOR - NIGHT 232
as CAMERA CONTINUES TO TRUCK DOWN THE CORRIDOR
toward the gallery, the SOUND OF QUENTIN'S VOICE
can be heard.
|
And that's when today's quote -
Page 107/Scene 232 - Quentin (O.S.): 'We want to help whoever is in this house. That is all...we know you are troubled...'
comes up.
End of scene 232 - but still much more to come in the sequence...
[nods]
-
I know that it's been said that Hanz Holzer had minimal involvement with the seance sequence. Was he ever on the set? I don't think that I've ever seen any pictures of him there. Nor do I recall any stories from the cast.
-
When it comes to the following graphic, it's...
... a bit of a cheat. Because the script says -
232 INT - SECOND FLOOR - NIGHT 232
as CAMERA CONTINUES TO TRUCK DOWN THE CORRIDOR
toward the gallery, the SOUND OF QUENTIN'S VOICE
can be heard.
|
- I wanted to find at least a shot at night of the Gallery entrance from the corridor. Unfortunately, there aren't any such shots in NoDS as the film currently stands. However, there is one in hoDS (when Todd comes out of his room to make his escape to go to Carolyn), so I used it -
(http://www.dsboards.com/NoDSAnniQuoteImages/0711NoDS_0.jpg)
- rather than repeating the graphic I normally use when -
(http://www.dsboards.com/NoDSquoteimages/1208ds91_0.jpg)
- I don't have a still or can't finagle something from a part of the scene that actually is in the film. That graphic had already popped up for the seance as the second one on Saturday and it's going to show up again tomorrow, so I wanted to see if I could figure out something else so that it wouldn't show up three times in this same sequence...
...
[nods]
-
Moving on to the beginning of the next scene in the seance sequence:
...
233 INT - GALLERY - NIGHT 233
as CAMERA TRUCKS, revealing them, it begins to CRANE
UP, ending with a HIGH WIDE ANGLE.
QUENTIN
Let us try to help you.
He suddenly stops and looks TOWARD CAMERA. They
all look at him. HOLD FOR A MOMENT.
ALEX
(softly)
Is she here?--
As Quentin casts his eyes around the room, he nods
his head, "yes."
|
And that's when today's quote -
Page 107/Scene 233 - Quentin: 'I know you're here, Angelique. I know you're with us. Now you must listen. You must leave us alone. We know you were not a witch, that your death was unjust. We have found your bodies...yours and Charles'. We have buried them in holy ground.'
comes up.
And so we come to what's quite possibly the most confusing bit of dialogue in the film. If Angelique wasn't a witch, how does one explain so many things in the film? But that's a discussion best left until after we deal with the whole script because we've yet to get to something that's more than a bit confusing if Ang lacks supernatural powers...
Picking up Scene 233 where we left off:
TRUCK IN ON Quentin as he REACTS to something near
the top of the room, directly above the table. They
follow his gaze as ever so faintly a mist begins to
form and take shape. HOLD until we see the faint
outline of the face of Angelique.
|
And that's when today's quote -
Page 107/Scene 233 - Angelique's voice: 'Come with me.'
comes up.
And in DC's script, right after the descriptions and directions and before Angelique's line, DC added:
QUENTIN'S P.O.V. - CLOUD OF ANGELIQUE
|
[nods]
-
I know that it's been said that Hanz Holzer had minimal involvement with the seance sequence. Was he ever on the set? I don't think that I've ever seen any pictures of him there. Nor do I recall any stories from the cast.
An interesting question. I reread the stuff that Darren Gross has written about the film and strangely enough, especially considering it's one of his favorite sequences in the longer version of the film, he hasn't really written about its production. And I checked out a couple of the publicity articles that mention how Holzer was involved as a technical adviser. Famous Monsters of Filmland, for example, says, "The seance scene promises to be one of the most nearly authentic ever seen on the screen as it was supervised by a world-famous authority on psychic phenomena." And that press release about the seance scene (that I shared most recently in Reply #1015) says, "Expert Hanz Holser, who has authored many books on psychic phenomena, was called in to supervise, and every detail is exactly as it would be if an authentic medium were running the show." Given they say "supervised," that would seem to imply he was present during the shooting - but it is interesting that for one, none of the actors involved in the sequence seem to have talked about him, and for two, a photo of him on set doesn't seem to have surfaced. But who knows?
[nods]
-
Continuing along with Scene 233 after Angelique speaks to Quentin (with some of DC's additions added):
...
233A
233 CONTD CONTD 233
THEIR P.O.V. - NOTHING
They all look at him as he REACTS. They do not hear
or see it.
ALEX
What do you hear?
|
And that's when today's quote -
Page 108/Scene 233 - Quentin (ignoring him): 'I am not Charles Collins. You do not love me. Let go of me. Your spirit is free to leave this house, never to return here where you have had such unhappiness. You and Charles must go...'
comes up.
DC also added a notation between the words "house" and "never" that the camera would begin a slow zoom to Quentin's close-up.
Continuing along with Scene 233:
Finally, the face starts to fade.
|
And that's when today's quote -
Page 108/Scene 233 - Quentin: 'Join each other in a world where there is no death or hatred. Go with my love. Go forever -- go -- go -- go.'
comes up.
But things are far from over. In fact, they're really just about to begin when the next quote/capture comes up...
Continuing Scene 233:
Just as the mist is about to vanish completely, the
moment is shattered by the SOUND of the Music Room
shutters flying open and the SHRIEK OF CARLOTTA'S
ANGUISHED VOICE.
|
And that's when today's quote -
Page 108/Scene 233 - Carlotta (O.S.): 'No! You must not send her away!'
comes up.
But if the clips we've seen from the seance are any indication, more than likely Carlotta isn't simply heard off screen because the clip of Carlotta screaming "No!" is in at least two of the NoDS trailers.
And Grayson has a note in her script that at this point Carlotta is wild and crazed with the fear of losing Angelique.
[nods]
-
When I'd put together today's graphic -
...
(http://www.dsboards.com/NoDSquoteimages/1213ds91_0.jpg)
- I'm sure it comes as no surprise that I used a screen capture from this -
- versions of which appear in two of the NoDS trailers.
And here's a version of the clip slowed down to 25% of the speed -
- to get a better look at it...
...
[nods]
-
A quick question that's maybe been answered but I don't remember. Is the restoration of NoDS still a possibility or has it gone moribund? Wasn't the gentleman's name Darrin Gross or like that? I'm just curious. That clip of Grayson Hall disrupting the seance made me think of it.
Gerard
-
Revisiting the beginning parts of Scene 234:
Moving on the next scene in the seance sequence:
234 WHIP PAN to Carlotta, who stands in the Music 234
Balcony high on the back wall of the gallery.
|
And that's when today's quote -
Page 108/Scene 234 - Carlotta: 'I will not let you!'
comes up.
But if the clips we've seen from the seance are any indication, more than likely in the film the camera whip pans to Carlotta before the script indicates.
And Grayson has a note in her script that at this point Carlotta is feeling rage.
Continuing Scene 234:
QUENTIN - CLOSE-UP
as his eyes roll back and he topples from the chair.
|
And that's when today's first quote -
Page 108/Scene 234 - Tracy (O.S.): 'Quentin!'
comes up, followed in the script by:
WIDEN as the three of them jump to his side.
|
And that's when today's second quote -
Page 108/Scene 234 - Carlotta (still hysterical): 'Get out of this house! Take him with you if you must, but get out!'
comes up.
And along with Grayson having another note in her script saying that at this point Carlotta is feeling rage, she crosses "must" out of Carlotta's dialogue and replaces it with "have to". Sacrilege in the DS universe to ever drop an instance of saying "must" - but if it does play that way in the 129 minute version of the film, I suppose we'll just have to learn to live with it. [santa_wink]
And if Alex does indeed jump to Quentin's side in the 129 minute version, it will be interesting because for some reason I've only seen stills of Claire and Tracy at Quentin's side.
[nods]
-
When I'd put together this graphic -
(http://www.dsboards.com/NoDSquoteimages/1214ds91_0.jpg)
- I used a crop of this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Balcony1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Balcony1.jpg) for a 700X557 version)
- rare still...
...
[nods]
-
And when I'd put together this past graphic -
...
(http://www.dsboards.com/NoDSquoteimages/1211ds91_0.jpg)
- today's graphic -
(http://www.dsboards.com/NoDSquoteimages/1215ds91_0.jpg)
- and an upcoming graphic -
(http://www.dsboards.com/NoDSquoteimages/1216ds91_0.jpg)
- I'm sure it comes as no surprise that I used screen captures from this -
- which appear in one of the NoDS trailers.
And here's a version of the clip slowed down to 25% of the speed -
- to get a better look at it...
...
[nods]
-
A quick question that's maybe been answered but I don't remember. Is the restoration of NoDS still a possibility or has it gone moribund? Wasn't the gentleman's name Darrin Gross or like that? I'm just curious. That clip of Grayson Hall disrupting the seance made me think of it.
Back in January Darren was on PennyDreadful's Terror at Collinwood podcast and, of course, the restoration of NoDS was a big part of it. He's still optimistic that one day...
And speaking of that podcast, Darren also revealed something about the restoration that I found quite intriguing. But I'm going to hold off getting into it for a few days because in a way it relates to something I'm going to revisit then.
[nods]
-
And when I'd put together this graphic -
...
(http://www.dsboards.com/NoDSquoteimages/1216ds91_1.jpg)
- I used a crop of this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Graysoninterruptsseance.JPG)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Graysoninterruptsseance.JPG) for a 1435X932 version)
NoDS Restoration Web site caption: "(Above) Carlotta interrupts the seance in the
restored climax of NIGHT OF DARK
SHADOWS, a moody gothic set-piece unseen
by audiences until the future release of the
restoration."
Video Watchdog caption: "Grayson Hall interrupts a seance in newly recovered footage from NIGHT OF DARK SHADOWS (1971).
- rare still, which Darren shared on his NoDS Restoration Web site, and which appeared as part of an article Darren wrote for Video Watchdog No. 60 from June of 2000...
It's both fun and depressing to read the VW article because reading of the recovery of the missing NoDS footage brings back how exciting it was, but at the same time there was actually optimism back then that a restored version of NoDS could be released as soon as the film's 30th Anniversary in 2001...
...
[nods]
-
Wrapping up Scene 234, beginning with today's first quote -
...
Page 109/Scene 234 - Alex: 'You must let her go!'
coming up, followed by today's second quote -
Page 109/Scene 234 - Carlotta: 'Never! I will never let her go!'
coming up, followed in the script by:
Suddenly Carlotta runs from the balcony as Alex,
looking at the girls, makes his decision and runs
after Carlotta.
|
End of scene.
And when it comes to Grayson's notes, I'm not sure exactly what she was thinking, but encapsulating the dialogue from Alex telling Carlotta to let Angelique go because she has no right to hold her back through Carlotta saying she never will, Grayson writes "Proof it's got to be both ways" - and she also writes that Carlotta is looking for Angelique and must find her because she can't lose her - and it's not clear, but it could easily be interpreted that Grayson adds calling out to Angelique twice to the end of Carlotta's dialogue as she runs from the balcony.
[nods]
-
Another extremely rare still -
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Balcony2.jpg)
- and as I'm sure you'll recall, it was published as part of Flip's Curse of Dark Shadows article - and that's the only place I've ever seen it...
...
[nods]
-
The next two scenes:
...
235 INT - SECOND FLOOR - CORRIDOR - NIGHT 235
as Alex EXITS the gallery and runs TOWARD CAMERA.
PAN WITH HIM as he takes the stairs three at a time.
236 INT - THIRD FLOOR CORRIDOR - NIGHT 236
as Alex bounds up the stairs and looks about, he
notices the tower door open. PAN WITH HIM as he
runs up the stairs.
|
And DC has a note in his script that Scene 235 would be shot from a high angle.
...
[nods]
-
With regard to Scenes 230 through 236, Darren Gross posted on his Restoration Web site -
A selection of scenes cut from the 129-minute version that have been recovered:
...
Quentin summons up Angelique's spirit during a séance in the gallery. As Angelique's spirit begins to fade away, Carlotta (who has been watching from the music balcony) interrupts the séance, causing Quentin to fall unconscious. Alex confronts the furious and hysterical Carlotta telling her to release her hold on Angelique's spirit. Carlotta runs from the balcony and Alex races up the stairs after her.
[nods]
-
Some informative/humorous posts worth revisiting:
The staging of the Carlotta seance appearance is also handled slightly differently. The final version opts to show the gallery balcony windows slowly open and she is visible listening to the last few lines of the seance. When she begins to shout though, it cuts to the fast-zoom in to her face. Interesting that they chose to go that way.
And if Alex does indeed jump to Quentin's side in the 129 minute version, it will be interesting because for some reason I've only seen stills of Claire and Tracy at Quentin's side.
You are correct. As filmed, Claire and Tracy jump to Quentin's aide, while Alex stand up to confront Carlotta then chases after her when she runs off.
...
...
234 CONTD CONTD 234
Quentin is out cold, as the girls work on him.
|
...
"The girls work on" Quentin...
I'm just imagining the stampede here if somehow Dan Curtis were to appear and bark, "OK, ladies, I need a coupla girls to WORK ON Quentin Collins. Anyone up for that?"
Curtis might not even have time to put his cigarillo down before the mob trampled him...
I just love this thread!!
G.
It's almost on a par with Barnabas telling Angelique to make Quentin rise! [santa_evil]
"The girls work on" Quentin...
I'm just imagining the stampede here if somehow Dan Curtis were to appear and bark, "OK, ladies, I need a coupla girls to WORK ON Quentin Collins. Anyone up for that?"
Curtis might not even have time to put his cigarillo down before the mob trampled him...
I just love this thread!!
G.
Ha!
An upcoming post will deal with stills of Tracy and Claire by Quentin's side...
[nods]
-
The next scene:
...
237 INT - TOWER ROOM - NIGHT 237
as Alex ENTERS, he sees the room is empty. But
looking up, he notices that the door to the parapet
is wide open. He starts for the roof.
|
...
And with Scene 237 we finally return to material that's actually in the film as it currently stands. Though as I alluded to earlier, not exactly where it was supposed to appear. But more on that in a future post...
[nods]
-
There is a difference between them but it is subtitle. So subtle that I didn't even notice it until this time around. See if you can spot it without me having to point it out... (Hint: if you haven't figured it out by the time you've watched the first half of both videos, you've missed it. But I've made the videos go longer than that for a related reason...)
I'm going to give a huge clue: the difference happens between the 5th and 7th seconds of the videos...
[nods]
-
Actually, the biggest clue I can give is: don't watch, listen!
[nods]
-
Actually, the biggest clue I can give is: don't watch, listen!
Some people have said privately that they're still confused and I'm pretty much out of hints. And even though the difference is subtle, you might be [6184] once you learn what the difference is. [easter_wink]
So, if you watch the Blu-ray version of the video of the featured part of Scene 224 -
- the background music that you hear is strictly the piece entitled Angelique's Assault on the movies CD -
However, when it comes to the VHS version -
- between the 5th and 7th seconds of the clip a brief flourish of the beginning of the piece entitled The Possession of Quentin on the movies CD -
- blends with Angelique's Assault -
You'll also note that those two pieces also blend together once things switch to Scene 225 with a desperate Quentin trying to open the door before things switch in the 94 minute (and the 97 minute) version of the film to Scene 237 with Alex arriving in the Tower Room and they continue to blend for a bit with the switch.
Now, when it comes to the Blu-ray, one would actually expect there not to be any blend and for the background music to go directly from Angelique's Assault to The Possession of Quentin because of the enforced cuts that were made to trim the film down because that's how all the other incidents where footage was removed have worked on the Blu-Ray. It's a bit confounding that there is blending on the Blu-ray because in the 129 minute version of the film Scene 225 continues to play out with Alex and Claire showing up outside the room and Alex helping Quentin to open the door, and we know that Angelique's Assault continues to play over that part of Scene 225 because later on the Blu-ray we get evidence of it (and we'll be revisiting that evidence in the not too distant future)...
[nods]
-
Moving on to the current Scene 238:
...
238 EXT - TOWER PARAPET - NIGHT 238
as Alex emerges from the door, he sees Carlotta
standing there. The fear and hatred in Carlotta's
eyes are now one and the same. As Alex moves toward
her, Carlotta backs up to where she now stands on
the low wall that rims the parapet.
|
And that's when today's first quote -
Page 109/Scene 238 - Carlotta: 'Stay away from me! Don't touch me!'
comes up, followed in the script by:
And that's when today's second quote -
Page 110/Scene 238 - Alex: 'We don't want to hurt you, Carlotta.'
comes up.
And as far as the descriptions and directions go, upon first seeing Alex, Carlotta doesn't actually back up to get up to stand on the wall that rims the parapet because in fact she backs in the opposite direction to stand against the corner of the wall - and then just before Alex is about to say he doesn't want to hurt her is when Carlotta backs up to stand up on the wall. ...
And as far as the dialogue goes, Carlotta's quote doesn't appear in the film as it currently stands - and Alex actually says "Carlotta, I don't want to hurt you."
[nods]
-
Two of several stills to revisit that are associated with Scene 238:
...
The Lobby Card that I shared back in Reply #78:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_4.jpg) for a 930X738 version)
...
And an alternate B&W version -
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1.jpg) for a 700X540 version)
More to come...
...
[nods]
-
Two more stills to revisit that are associated with Scene 238:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet2.jpg) for a 700X462 version)
And another version -
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet3.jpg)
Daytime TV caption: "Beliving that Angelique's spirit has been
exorcised, Carlotta prepares to take her own life."
(Though that's not entirely true because, as we know, Carlotta sees a beckoning Angelique on the ground below the tower.)
- which was published as part of the Daytime TV article I've been sharing several rare shots from, and which is the only place I've ever seen that shot of Carlotta. Also note, as I mentioned previously, the material from that article is credited to MGM, New York. It's quite interesting how so much of what they shared with Daytime TV doesn't seem to have been shared anywhere else...
More to come...
...
[nods]
-
Wrapping up Scene 238 with its final bit of scripted dialogue and then moving beyond:
...
Page 110/Scene 238 - Carlotta (as she looks over the side): 'She needs me.'
coming up, followed in the script by:
239 THE GROUND BELOW - CARLOTTA'S P.O.V. 239
On the ground far below stands the ghost-like figure
of Angelique. her arms outstretched as she beckons
Carlotta to her death.
240 EXT - PARAPET - NIGHT 240
as Alex takes another step toward Carlotta, she turns
and plummets from the tower. The only SOUND is that
of the MOANING WIND.
FAST ZOOM to Angelique on the ground below.
|
End of scripted tower sequence - though in the film that isn't the last we see of Carlotta. But more on that in an upcoming post.
And as far as the descriptions and directions go, everything plays pretty much exactly as scripted with the only difference being that there's a zoom to Angelique both times we see her.
And as far as the dialogue goes, Carlotta's quote doesn't appear in the film as it currently stands.
And Grayson has a note in her script that as Cartlotta decides to jump, she trusts in her love for Angelique.
...
[nods]
-
Revisiting a still associated with Scene 240 -
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet4.jpg)
- that was shared as part of the Herald featured in the NoDS Pressbook.
And here are two behind the scenes stills - first this one of John Karlen, DC and crew members -
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet5.jpg) for a 700X532 version)
- a cropped version of which appears on page 141 of the DS Almanac 30 Anniversary Tribute - and there's this one of DC directing -
(http://www.dsboards.com/NoDSAnniQuoteImages/Parapet6.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet6.jpg) for a 962X600 version)
- Grayson Hall, which so far as I can recall has never been officially published anywhere...
I hope none of these people, especially Grayson, were afraid of heights. But then as we know a lot of the production of NoDS forced people to face their fears...
...
[nods]
-
in the 129 minute version of the film Scene 225 continues to play out with Alex and Claire showing up outside the room and Alex helping Quentin to open the door, and we know that Angelique's Assault continues to play over that part of Scene 225 because later on the Blu-ray we get evidence of it (and we'll be revisiting that evidence in the not too distant future)...
And that time has arrived.
As we know, as the film currently stands (as well as in the 97 minute version), the beginning of Scene 225 switches to Scenes 237 through 240, and then switches to Scene 227 (and we'll deal more with those jumps in a future post). So next up I want to revisit the following post that shows that in the 129 minute version of the film Angelique's Assaut continues to play as the background music into Scene 227 (minus any blending with The Possession of Quentin):
...
And something that I think I didn't discover until today - or at least I didn't remember it until today when I watched the DVD/Blu-ray version of the sequence.
(I've edited out most of the Alex/Carlotta/Angelique sequence.)
First, the VHS version:
Then the Blu-Ray version:
Though I shouldn't be surprised that each version has something that the other doesn't, particularly because Darren has complained about how the DVD/Blu-ray version is missing much of its foley (the VHS has sounds of Quentin's movement as he enters the room, the DVD/Blu-ray doesn't).
And while others have complained that the holdover music cues at the beginnings of some scenes shouldn't be there in the DVD/Blu-ray version, and I supposed technically they shouldn't, I enjoy the fact that they are because it lets us know how things play in the 129 minute version. But truthfully, who knows if there will ever be a version of NoDS in which everything that should be in place is in place regardless of which length of the film it is? As it is there are already three different versions out there (the VHS, the DVD/Blu-ray and the Amazon Prime/iTunes) none of which is completely correct...
...
...
And speaking of that podcast, Darren also revealed something about the restoration that I found quite intriguing. But I'm going to hold off getting into it for a few days because in a way it relates to something I'm going to revisit then.
...
And what's so intriguing is that as part of the restoration process of the 129 minute version of the film Darren and Bob Cobert went through the film and Cobert suggested adding music in some places in the film where there wasn't any. Hopefully one day we'll get to see those changes and how they affect the film...
[nods]
-
Moving on to Scene 241:
...
241 INT - GALLERY - NIGHT - HIGH WIDE ANGLE 241
Quentin lies on the floor cradled in Tracy's arms.
Claire kneels next to him. HOLD FOR ONE BEAT and
then FAST ZOOM IN TO QUENTIN'S CLOSE-UP as, taking
a deep breath, he opens his eyes. SLOWLY WIDEN TO
INCLUDE Claire and Tracy, as Quentin and Tracy
embrace.
|
And that's when today's first quote -
Page 110/Scene 241 - Tracy: 'Thank God, Quentin, thank God.'
comes up, followed in the script by:
Claire rises as we continue to PULL BACK as dawn
can be seen through the gallery windows.
|
And that's when today's second quote -
Page 110/Scene 241 - Quentin: 'It's over, Tracy. It's over!'
comes up.
End of the seance sequence.
And as far as the descriptions and directions go, we do know that there's a zoom in to Quentin as he wakes because that is in one of the TV spots, but beyond that who knows because Scene 241 doesn't appear in the film as it currently stands...
...
[nods]
-
The first time I made graphics for Scene 241 they were -
...
(http://www.dsboards.com/NoDSquoteimages/1220ds91_0.jpg)
Page 110/Scene 241 - Tracy: 'Thank God, Quentin,
thank God.'
(http://www.dsboards.com/NoDSquoteimages/1220ds91_1.jpg)
Page 110/Scene 241 - Quentin: 'It's over, Tracy. It's over!'
- those two, with the top graphic using a screen capture from this -
- which appear in one of the NoDS TV spots.
And here's a version of the clip slowed down to 25% of the speed -
- to get a better look at it...
(It's quite odd that the frame from the shot of the railroad bridge shows up at the beginning of the slowed down version yet it doesn't display at the start of the same clip at its normal speed or when I run the clip frame by frame through my video editing software. And because it doesn't show up in the software, I can't remove it. But hey, not everything can be perfect. [ghost_nowink])
...
[nods]
-
And last time around I said that if I'd known about the dialogue change, I would have used different graphics, namely these:
...
And as far as the dialogue goes, presumably in the 129 minute version of the film Tracy still delivers some version of her line, but interestingly enough, in a document that I just recently rediscovered and had forgotten all about, Darren indicates that Quentin's quote was given to Claire (minus the reference to Tracy). So, if I had done graphics closer to what the scene is apparently actually like, these would have probably been more appropriate:
(http://www.dsboards.com/NoDSquoteimages/1220ds91_0a.jpg)
Tracy: 'Thank God, Quentin, thank God.'
(http://www.dsboards.com/NoDSquoteimages/1220ds91_1a.jpg)
Claire: 'It's over. It's over!'
...
...
- with the second one using a crop of this still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Seance4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Seance4.jpg) for a 700X664 version)
Movie Soundtracks booklet caption: "Nancy Barrett as Claire Jenkins, David Selby as Quentin Collins
and Kate Jackson as Tracy Collins in the deleted seance scene."
- which also happens to appear on page 16 of the Movie Soundtracks booklet...
...
[nods]
-
But this time around, with knowledge that Quentin's "It's over, Tracy. It's over!" was actually given to Claire on the day of shooting (minus the reference to Tracy), I decided to change the graphics again:
...
The first stayed nearly the same, but I updated it with a better scan -
(http://www.dsboards.com/NoDSAnniQuoteImages/0723NoDS_0.jpg)
- by using a crop of this version of the still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Seance5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Seance5.jpg) for a 906X685 version)
Daytime TV caption: "Tracy (Kate Jackson) cradles husband
Quentin (David Selby) during seance to
rid him of the spirit of Angelique."
TV Radio Show caption: "David Selby and Kate Jackson had the lead
roles in Night of Dark Shadows as newlyweds."
- versions of which, as indicated by the captions, were published in Daytime TV and TV Radio Show, and also as the back inside cover of the 30th Anniversary '96 LA Fest.
However, the second got a whole new image -
(http://www.dsboards.com/NoDSAnniQuoteImages/0723NoDS_1.jpg)
- by using a crop of this still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Seance6.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Seance6.jpg) for a 897X700 version)
TV Dawn to Dusk's caption: "Quentin
collapses in the presence of Angelique's spirit as
Claire (Nancy Barrett) and Tracey (Kate Jackson) sup-
port him."
Famous Monsters of Filmland caption: "Three Creepy People
looking for a light in NIGHT OF DARK SHADOWS."
DS Movie Book caption: "Night of Dark Shadows: Nancy Barrett, David Selby and Kate Jackson in the deleted seance scene."
- versions of which, as indicated by the captions, were published in TV Dawn to Dusk and an issue different from the issue of Famous Monsters of Filmland that published the full NoDS article, and also happens to appear on page 12 as part of Kate Jackson's essay in the DS Movie Book...
...
[nods]
-
And two more from the seance:
...
First up an alternate shot of Quentin and Tracy -
(http://www.dsboards.com/NoDSAnniQuoteImages/Seance7.jpg)
- that I've only seen as part of Flip's Curse of Dark Shadows article.
And a shot of Claire that Darren had shared on his Restoration Web site -
(http://www.dsboards.com/NoDSAnniQuoteImages/Seance8.jpg)
...
[nods]
-
With regard to Scene 241, Darren Gross posted on his Restoration Web site -
A selection of scenes cut from the 129-minute version that have been recovered:
...
After Carlotta leaps to her death, Quentin wakes in Tracy's arms. As the day breaks through the gallery windows, Quentin says that the nightmare is over.
And that was written before he realized that Quentin's line has been given to Claire. It's also the last entry in the list. But then, all the scenes following Scene 241 are in all the various versions of the film...
[nods]
-
Two posts to revisit:
I've been dancing around the subject for days, but thanks to James Aubrey's insanity, much of what we've been dealing with lately is either jumbled around in the film as it currently stands, or it's completely missing.
Case in point, the only part of Scene 227 that currently appears in the film is Tracy on the floor after the white mist has disappeared, which is then followed by an obvious cut to Quentin kneeling down to revive Tracy and cradle her as she sobs. And what's worse is those two bits of Scene 227 appear after Scenes 237 through 240, which are currently cut to right after Quentin begs Tracy to answer him in Scene 225. And all that means that in the timeline of the current version of the film:
- Scene 225: Quentin begs Tracy to answer him because he can hear her screams as Angelique attacks her in the basement room that Angelique has trapped her.
- Scene 237: Alex searches the tower, sees the parapet door is open.
- Scenes 238-240: Alex finds Carlotta, but she jumps to her death at Angelique's urging.
- Scene 227: Quentin reaches Tracy.
And the problems with that rearrangement is that:
As I have with other GIFs, I've made videos of the GIFs I'd originally made so as to give some idea of how the seance and surrounding scenes were intended to play and how they do play in the 129 minute version of the film.
Part 1:
Part 2:
I thought about redoing them so that they had sound, which wasn't possible with GIFs, but the zoom in clip of Quentin waking has part of a voiceover on it, so that wouldn't have worked very well...
...
[nods]
-
It seems like forever since we've gotten into the differences in the subtitles and the closed captioning. But now that we've dealt with the rearrangement of scenes in the shorter versions of the film and various other matters we can get back:
When it comes to Scene 227 we do know that at least some version of Claire's scripted "Oh, my God, it was the same thing!" after she's seen Angelique's attack on Tracy is in the 129 minute version of the film, but given what's still in the film, it may be doubtful that Tracy's scripted "It was so horrible...she was here!...she was here!" is - but regardless of all that, what does appear in the current version of the film is all unscripted - after Quentin has entered the room he kneels down to Tracy and calls her name twice - and that is acknowledged in both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/All_Right_Blu-ray_frame_00080.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/All_Right_Blu-ray_frame_00163.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/All_Right_VHS_frame_00136.jpg)
- but when it comes to the sounds that Tracy makes as she revives, neither the subtitles nor the closed captioning references them - and when Quentin reassures Tracy, the subtitles correctly have -
(http://www.dsboards.com/NoDSAnniQuoteImages/All_Right_Blu-ray_frame_00722.jpg)
- but as per usual the closed captioning insists on correcting the grammar -
(http://www.dsboards.com/NoDSAnniQuoteImages/All_Right_VHS_frame_00722.jpg)
- and the deep sighs that Tracy lets out after that are also ignored by both the subtitles and the closed captioning.
[nods]
-
Finally catching back up to the beginning of the current scene in the slideshow:
...
242 EXT - COTTAGE - DAY 242
Claire and Tracy are at their car as Quentin drives
up.
|
And that's when today's quote -
Page 110/Scene 242 - Quentin: 'O.K. Everything's taken care of. As of now, all this grandeur is for sale.'
comes up.
...
Not too much to say about today's quotes, the first one being -
Page 111/Scene 242 - Claire: 'Don't look so sad. Look at all the money you'll have.'
- followed by today's second quote-
Page 111/Scene 242 - Quentin: 'I'm not going to count on it.'
- coming up.
...
Moving along with Scene 242:
Alex ENTERS THE SHOT from the house, crossing to them.
|
And that's when today's quote -
Page 111/Scene 242 - Alex: 'The reservations at the Cape are all set. I told them we'd be there at seven.'
- comes up.
...
And moving along with more of Scene 242, beginning with today's first quote -
Page 111/Scene 242 - Quentin: 'Come on, Alex, it's going to take more than three hours.'
- coming up, followed by today's second quote -
Page 111/Scene 242 - Alex: 'Not with me leading the way --'
- coming up, followed in the script by:
TRACY
(laughing)
You're right -- not with you.
We'll meet you there -- I
don't need anymore excitement --
|
...
More to come...
[nods]
-
When it comes to Scene 242, after Quentin says that all the arrangements to sell the grandeur of Collinwood are taken care of and Claire tells him not to look so sad and that he should think of all the money he'll have, the subtitles correctly show his response as -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_Blu-ray_frame_00580.jpg)
- but the closed captioning doesn't even acknowledge Quentin's response - and as you can see the subtitles also jump up to Alex' line about reservations, but for some reason they drop him saying "Alright now" at the start of the line - and the closed captioning also drops it -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_VHS_frame_00613.jpg)
- and after that Alex adds, "I told them we'd be there at 7." - and the subtitles have that correctly, but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_VHS_frame_00689.jpg)
- and to that Quentin replies, "Hey, that's only three hours from now," and the subtitles also get that correctly, but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_VHS_frame_00755.jpg)
- and both the subtitles and the closed captioning don't acknowledge that Tracy laughs - and and after Alex remarks not with him driving and after everyone begins moving toward the cars, Tracy says, "With you leading us, you may be right, I'll tell you that." - but the subtitles only have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_Blu-ray_frame_00859.jpg)
- and quite oddly the closed captioning only has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_VHS_frame_00860.jpg)
- and Tracy also says, "I've had enough excitement. We'll meet you there." - and the subtitles acknowledge that fully - but the closed captioning only has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_VHS_frame_00945.jpg)
More to come...
[nods]
-
A post to revisit regarding Scene 242:
The interesting thing about the still associated with Scene 242 is that the printed version seems to show less than versions published in books and magazines and that's the opposite of the norm.
Here's a small scan of my printed version of the still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Exit.jpg)
- but here's a version which shows more at both the top and bottom and which looks like it was published in a book -
(http://www.dsboards.com/NoDSAnniQuoteImages/Exit_a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Exit_a.jpg) for a 689X865 version)
- (I have no idea which book because I came across the scan on the Internet and it wasn't credited to anything and I've never come across the book on my own) - and here's a version that was published in the Nov. '71 issue of 16 Magazine as part of its Sneek Peek at NIGHT OF DARK SHADOWS! article -
(http://www.dsboards.com/NoDSAnniQuoteImages/Exit_b.jpg)
- and while it's cropped at the top, it shows more on the left side and much more at the bottom, including that cable, which I suspect is why the printed still cuts off where it does at the bottom so that we don't see it...
...
[nods]
-
Picking up Scene 242 with the beginning of an unscripted exchange between Alex and Quentin that starts with Alex stopping Quentin as he makes his way to his car - and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_Blu-ray_frame_00986.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_VHS_frame_00990.jpg)
- get it correctly - and after Quentin stops and turns to him, Alex asks, "How many stitches?" - and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_VHS_frame_01030.jpg)
- and the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_Blu-ray_frame_01046.jpg)
- also get that correctly, though the subtitles jump ahead to Quentin's answer, which they get correctly, as does the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_VHS_frame_01071.jpg)
More to come...
[nods]
-
Picking up Scene 242's unscripted exchange between Alex and Quentin with Alex then asking if there could be a scar - and the subtitles acknowledge it exactly as Alex delivers it in the film -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_Blu-ray_frame_01105.jpg)
- however, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_VHS_frame_01118.jpg)
- and to that Quentin replies, "Doctor said if I'd of waited any longer, there would have been." - and the subtitles get that almost exactly -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_Blu-ray_frame_01186.jpg)
- simply dropping the "of" - though the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_VHS_frame_01186.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_VHS_frame_01245.jpg)
End of the unscripted exchange but more of the scene to come...
[nods]
-
Because I just love to point out Quentin's apparent love of an assortment of denim shirts, I simply have to revisit this post:
Thank heavens for his final scenes in the film Quentin is wearing one of his favorite denim shirts -
(http://www.dsboards.com/NoDSAnniQuoteImages/0728NoDS_0.jpg)
- after all, when it comes to shirts we wouldn't want our last moments with him marred by him wearing the one he wears in the deleted Gallery scene in which the portraits of Angelique are discussed and in the dining room sequence -
(http://www.dsboards.com/NoDSAnniQuoteImages/1215NoDS_0.jpg)
- or the shirt he wears in the deleted picnic sequence -
(http://www.dsboards.com/NoDSAnniQuoteImages/Picnic_2.jpg)
- as well as when he informs Carlotta he wants his painting materials moved from the Tower Room to the Gallery -
(http://www.dsboards.com/NoDSAnniQuoteImages/0213NoDS_0.jpg)
- or even the turtleneck he wears when he first arrives at Collinwood or the one he wears when he first explores the estate and ends up at the Jenkins' cottage. Heaven Forbid!!
...
Now, Domingo Rodrigues is credited as the film's Wardrobe Designer, but it's interesting that supposedly Grayson Hall decided Carlotta's wardrobe herself, and it would be even more interesting if any of the other actors did the same, namely David Selby. I have my own theories as to why Quentin wears so many denim shirts, but I would be curious if Selby and/or Rodrigues had the same reasoning...
And while we're on the subject of wardrobe, revisit this post -
But Quentin isn't the only one who would seem to have a favorite type of top, and not only a favorite type, but a specific top...
- via the link to remind yourself of what was apparently Claire's favorite blouse...
[nods]
-
And here's how the second half of Scene 242 is scripted:
And moving along with yet more of Scene 242...
As Claire talks to Tracy, Alex gets into the car and
Quentin walks over to him. They look at each other,
both knowing how lucky they are.
|
And that's when today's first quote -
Page 111/Scene 242 - Alex: 'You know, I didn't tell you how really worried I was.'
- comes up, followed by today's second quote -
Page 111/Scene 242 - Quentin: 'You didn't have to.'
- coming up.
...
And wrapping up Scene 242...
Page 111/Scene 242 - Alex: 'No, no. That's not what I mean. I was afraid the exorcism didn't work.'
- comes up, followed by yesterday's second quote -
Page 111/Scene 242 - Quentin: 'Why?'
- coming up, followed by today's quote -
Page 111/Scene 242 - Alex: 'Because I had a funny feeling that it was really you who was keeping her spirit alive.'
- coming up, followed in the script by:
242 CONTD CONTD 242
QUENTIN
Well, thank God you were wrong.
Listen, have the lobsters ready --
Quentin crosses to his car as Alex pulls out.
Quentin follows.
|
End of scene as scripted.
...
-
Picking up where we left off when it comes to Scene 242's subtitles and closed captioning, Alex then delivers his scripted remark as, "You know, I never told you how worried I really was." - and the subtitles get that perfectly - however, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_VHS_frame_01313.jpg)
- and to that Quentin asks his scripted "Why?" which completely bypasses Quentin's scripted "You didn't have to." and Alex' scripted "No, no. That's not what I mean. I was afraid the exorcism didn't work." because those two lines were cut after the seance sequence was deleted (but that exchange does appear in the 129 minute version of the film) - and the subtitles do acknowledge Quentin asking "Why?" - but the closed captioning does not - and to Quentin's question Alex actually replies with "Because I had this funny feeling that it was really you who were keeping her spirit alive." - however, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_VHS_frame_01411.jpg)
- and when it comes to the second half of Alex' line, the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_Blu-ray_frame_01429.jpg)
- and to that the first part of Quentin's scripted reply is delivered as "Well, I'm glad you were wrong" - but both the subtitles and the closed captioning have it as -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_Blu-ray_frame_01499.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_VHS_frame_01496.jpg)
- and when it comes to the follow up to that, the closed captioning correctly has Quentin's "Have the lobsters ready" and Alex' unscripted "Females" -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_VHS_frame_01559.jpg)
- but the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_Blu-ray_frame_01553.jpg)
More unscripted to come...
[nods]
-
Before I get into the last bits of unscripted dialogue for Scene 242, I forgot to mention yesterday that Alex must prefer female lobsters because they have more tail meat. (Males, on the other hand, have more claw meat.)
But be all that as it may, as Quentin makes his way to his car, we hear Claire say an unscripted "All right, bye bye." - and the subtitles acknowledge that -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_Blu-ray_frame_01613.jpg)
- but the closed captioning does not - and then we hear Alex shout out an unscripted "Let's go, honey!" - and that's acknowledged by both the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_VHS_frame_01628.jpg)
- and the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_Blu-ray_frame_01647.jpg)
- thought the subtitles also jump ahead and they also misidentify what's next as coming from Tracy when it's actually Claire who says an unscripted "Right." - but by virtue of not identifying who says it, the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Worried_VHS_frame_01651.jpg)
- get's it correct - and then Quentin gets in his car and Alex gets in his car from the passenger side as Claire comes and gets in the car, and then Quentin and Claire exchange waves as Alex pulls his car away.
End of Scene 242.
[nods]
-
How Scene 243 is scripted:
...
243 INT - QUENTIN'S CAR - DAY 243
Through the windshield, Alex can be seen gunning his
car onto the main drive. Quentin follows. Finally
Alex, driving faster, EXITS THE SHOT as Quentin
slows down and starts to turn in a different direction.
|
And that's when today's first quote -
Page 112/Scene 243 - Tracy: 'What are you doing?'
comes up, followed by today's second quote -
Page 112/Scene 243 - Quentin: 'I have to pick up my canvases --'
coming up.
...
Wrapping up Scene 243 as scripted...
For a moment Tracy looks upset.
QUENTIN
Hey, come on, Trace, it'll
only take a minute.
Suddenly, through the windshield Collinwood looms
ahead. Quentin pulls up to the portico and gets out.
|
And that's when today's first quote -
Page 112/Scene 243 - Quentin: 'I'll only be a minute.'
comes up, followed by today's second quote -
Page 112/Scene 243 - Tracy: 'Hurry.'
coming up, followed in the script by:
HOLD ON THIS as he crosses to the door and ENTERS
the house.
|
End of scene as scripted. ...
[nods]
-
When it comes to the subtitles and closed captioning for Scene 243, Tracy's questioning what Quentin is doing when he turns off the drive of the estate and Quentin's reply that he has to pick up his canvases are handled by both correctly - however, Quentin's scripted line about how it will only take a minute is dropped in favor of an unscripted exchange that begins with Tracy commenting "Wow, it'll be nice at the Cape." - though the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Pick_Up_Canvases_VHS_frame_00708.jpg)
- and while the subtitles get it perfectly, they jump ahead to Quentin's reply and only acknowledge it partly because his complete reply is "Hmmm. Yeah." -
(http://www.dsboards.com/NoDSAnniQuoteImages/Pick_Up_Canvases_Blu-ray_frame_00742.jpg)
- but the closed captioning basically gets it correctly -
(http://www.dsboards.com/NoDSAnniQuoteImages/Pick_Up_Canvases_VHS_frame_00784.jpg)
- then Quentin remarks "I'll be happy to get out of this place." - and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Pick_Up_Canvases_Blu-ray_frame_00875.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Pick_Up_Canvases_VHS_frame_00860.jpg)
- get that correctly - after which Tracy sighs deeply - but neither the subtitles nor the closed captioning acknowledges that - and apparently Quentin doesn't take that as a reply to his remark because he asks, "Won't you?" - and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Pick_Up_Canvases_Blu-ray_frame_00991.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Pick_Up_Canvases_VHS_frame_00993.jpg)
- reflect that.
More to come...
[nods]
-
Picking up where we left off with the subtitles and closed captioning for Scene 243, Tracy seemingly ignores Quentin (or maybe she thinks her sigh already answered him) and she says "Don't be long in there, all right." - and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Pick_Up_Canvases_Blu-ray_frame_01057.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Pick_Up_Canvases_VHS_frame_01066.jpg)
- reflect that - and after Quentin pulls up to the portico, while he's still in the car he actually delivers his scripted line as "Just take a minute." with the "I'll" dropped - and both the closed captioning --
(http://www.dsboards.com/NoDSAnniQuoteImages/Pick_Up_Canvases_VHS_frame_01287.jpg)
- and the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Pick_Up_Canvases_Blu-ray_frame_01308.jpg)
- get it correctly - though the subtitles jump ahead to what Tracy actually replies rather her scripted reply - and the closed captioning also reflects that -
(http://www.dsboards.com/NoDSAnniQuoteImages/Pick_Up_Canvases_VHS_frame_01344.jpg)
- and then Quentin gets out of the car and walks around the front of it toward the door, but we do not see him enter the house.
End of scene in film.
[nods]
-
Moving through several scenes without any or with little scripted dialogue, but as we'll see in the subtitles and closed captioning, they will have bits of dialogue added to some of them:
...
244 INT - FOYER - DAY 244
as Quentin ENTERS, the house is quiet and still. The
sun filters through the vaulted windows giving the
house that look of late afternoon.
245 INT - FIRST FLOOR CORRIDOR - DAY 245
From the far end of the hall, Quentin ENTERS THE SHOT
and walks TOWARD CAMERA. The SOUND of his FOOTSTEPS
ECHO on the marble floor.
246 INT - FIRST STAIRWAY - DAY - HIGH ANGLE 246
From the second floor, Quentin climbs the stairs
TOWARD CAMERA. PAN WITH HIM as he reaches the second
floor corridor and starts toward the gallery and the
Master Bedroom.
247 INT - MASTER BEDROOM - DAY 247
as he comes up the stairs TOWARD CAMERA, PAN WITH HIM
as he picks up his canvases. Then SLOWLY TRUCK IN TO
HIS CLOSE-UP. He looks around, as if sensing a pre-
sence in the house. HOLD HIM as he crosses to the
doorway and than, carrying his paintings, EXITS into
the gallery.
248 INT - GALLERY - DAY 248
QUENTIN - CLOSE-UP
as he looks down the long corridor toward the far end
of the house.
FAR END OF CORRIDOR - QUENTIN'S P.O.V.
HOLD FOR A MOMENT on the empty scene, then, almost
imperceptibly, a half open door begins to move.
SHARP CUT TO:
249 EXT - COLLINWOOD - DAY 249
Tracy gets out of the car and nervously begins to
pace about. Then crossing back, she reaches in and
honks the horn. Trying to decide what to do, she
waits a few moments, then crosses to the front door.
250 INT - FOYER - DAY 250
as Tracy ENTERS, the house is completely silent.
Crossing to where she can look down the main corridor,
she calls out.
TRACY
Quentin!
Her only response in the ECHO of her own voice as
she starts down the hall toward the stairs.
251 INT - FIRST FLOOR STAIRS - DAY - HIGH ANGLE 251
as Tracy comes up TOWARD CAMERA.
252 INT - GALLERY - DAY 252
From the gallery, Tracy can be seen coming along
the corridor TOWARD CAMERA. Suddenly she stops,
noticing Quentin's canvases stacked against the wall
near the wall to the bedroom. she starts toward the
steps.
|
And that's when today's quote -
Page 114/Scene 252 - Tracy: 'Quentin? What's taking so long?'
is scripted to come up, followed in the script by:
...
...
In his script DC added:
246A FROM AREA OF GALLERY WINDOWS
|
But if that was ever shot, it isn't currently in the film.
...
As part of Scene 251, after the script indicates that Tracy comes toward camera, DC adds:
In his script DC added:
MIRROR SHOT + PAN TO HER
THEN FROM THIRD FL. LANDING
|
But that's not quite how things play. We do see the mirror shot -
(http://www.dsboards.com/NoDSAnniQuoteImages/0802NoDS_f.jpg)
- and pan to Tracy, but soon after we see Tracy, she once again calls out, this time while looking up the stairs, and then she ascends the stairs to the first landing and moves beyond, but there is no shot from the vantage point of the third floor landing.
...
And the reason why I included the mirror shot is because I love how DS used it.
[nods]
-
When it comes to the subtitles and closed captioning for Scene 249, after Tracy gets out of the car, she looks up at the house (seemingly to the tower, though we don't see her P.O.V.) before she honks the horn - and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/What's_Taking_You_So_Long_Blu-ray_frame_00889.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/What's_Taking_You_So_Long_VHS_frame_00888.jpg)
- acknowledge the sound of the horn - and in a shot that's not in the script, the empty foyer is seen and the sound of the horn echos throughout - and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/What's_Taking_You_So_Long_Blu-ray_frame_00912.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/What's_Taking_You_So_Long_VHS_frame_00914.jpg)
- also acknowledge that - however, only the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/What's_Taking_You_So_Long_VHS_frame_00975.jpg)
- acknowldges a second honking of the horn.
More to come...
[nods]
-
Picking up where we left off with the subtitles and closed captioning:
Scene 250 plays exactly as scripted, so there's nothing to deal with there.
As for Scene 251, after Tracy is seen reflected in the mirror shot and the camera pans to her in reality, she stands at the bottom of the stairs, looks up, and makes an unscripted call to Quentin - and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/What's_Taking_You_So_Long_Blu-ray_frame_01665.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/What's_Taking_You_So_Long_VHS_frame_01655.jpg)
- acknowledge that - then after Tracy ascends the stairs, at the outset of Scene 252, Tracy is heard but barely seen making another unscripted call - and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/What's_Taking_You_So_Long_Blu-ray_frame_01927.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/What's_Taking_You_So_Long_VHS_frame_01927.jpg)
- acknowledge that - but once Tracy is actually seen she begins to move down the corridor toward the Gallery and delivers her scripted line as "Quentin, what's taking you so long?" - and both the subtitles and the closed captioning get that correctly - and Tracy stops briefly after she notices Quentin's canvases stacked against the wall near the wall to the bedroom, after which she moves in the direction of the steps to the Master Bedroom and out of frame.
[nods]
-
And wrapping up the script:
...
253 INT - MASTER BEDROOM - DAY 253
as Tracy ENTERS, she looks around the room -- it is
empty. She is getting a little worried as she crosses
back to the gallery.
254 THE GALLERY - TRACY'S P.O.V. 254
Near the window there is a large armchair with its
back to CAMERA. HOLD ON THIS for a moment as we
suddenly see a hand appear on the arm of the chair.
INT - GALLERY - DAY
TRACY - CLOSE UP
There is a very confused look on her face as she
tentatively calls out.
TRACY
Quentin?
THE ARMCHAIR - TRACY'S P.O.V.
as suddenly the figure in the chair rises to face
her. It is Quentin, but his hair is now completely
gray and on his cheek is the long ugly scar. The
transition is now complete.
TRACY - QUENTIN'S P.O.V.
|
And that's when today's quote -
Page 114/Scene 254 - Tracy: 'Oh, no...oh, God, no!'
is scripted to come up, followed in the script by:
As she backs toward the entrance of the Master Bed-
room, WIDEN to reveal the hauntingly beautiful
Angelique, who now stands in the doorway, evilly
smiling at her triumph.
254 CONTD CONTD 254
QUENTIN - CLOSE-UP - TRACY'S P.O.V.
as he limps menacingly TOWARD CAMERA his face fills
the frame -- FREEZE.
FADE OUT
THE END
|
...
[nods]
-
For Scene 253 things are not shot in the Master Bedroom but we simply see Tracy go up the stairs to the doorway of the room to look around for a few seconds and then she turns back to the Gallery, and coming down the stairs she apparently notices something because she asks an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_Blu-ray_frame_00162.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_VHS_frame_00149.jpg)
- which as you can see both the subtiles and the closed captioning acknowledge - and then at the start of Scene 254, unlike how it's scripted to begin, we don't simply see a large armchair with its back to the camera and then a hand suddenly appear on the arm of the chair because we actually see Quentin sitting in the chair and in another unscripted bit, we hear Tracy say to him -
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_Blu-ray_frame_00256.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_VHS_frame_00215.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_VHS_frame_00283.jpg)
- and you can see both the subtitles and the closed captioning acknowledge that as well - and while that is followed by a close-up of Tracy with a very confused look on her face, she doesn't actually call out to Quentin - but when the shot returns to Quentin in the chair, we hear her ask an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_Blu-ray_frame_00452.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_VHS_frame_00422.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_VHS_frame_00489.jpg)
- and the subtitles and the closed captioning also acknowledge that.
More to come...
[nods]
-
Continuing with the subtitles and closed captioning for Scene 254:
Tracy doesn't finish her previous question because Quentin starts to get up, but afterward he simply stands in front of the window, at which point Tracy asks an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_Blu-ray_frame_00759.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_VHS_frame_00758.jpg)
- which as you can see both the subtiles and the closed captioning acknowledge - and after we see Quentin come limping toward her, we hear Tracy say an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_Blu-ray_frame_01150.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_VHS_frame_01156.jpg)
- and you can see both the subtitles and the closed captioning acknowledge that as well - and then we see an extremely confused Tracy complete her thought by asking an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_Blu-ray_frame_01327.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_VHS_frame_01330.jpg)
- and the subtitles and the closed captioning also acknowledge that.
More to come...
[nods]
-
Continuing with the subtitles and closed captioning for Scene 254:
After the camera has begun to move in close on Tracy's face as she shows an expression of shock and concern, she asks an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_Blu-ray_frame_01414.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_VHS_frame_01419.jpg)
- which as you can see both the subtiles and the closed captioning acknowledge - and then as the camera moves up Quentin's body as he moves closer to Tracy, she begins to ask an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_Blu-ray_frame_01681.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_VHS_frame_01679.jpg)
- and you can see both the subtitles and the closed captioning acknowledge that as well - (though, obvious by the screen capture from the VHS, we've only seen Quentin's face in silhouette) - and then Tracy senses another presence as she turns to see Angelique entering and she gasps
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_Blu-ray_frame_01760.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_VHS_frame_01755.jpg)
- and the subtitles and the closed captioning also acknowledge that.
More to come...
[nods]
-
Wrapping up the subtitles and closed captioning for Scene 254:
After Tracy then crys the first part ("Oh no...") of her scripted reaction to seeing Angelique, with a look of sheer terror on her face, she begins to back up against the wall and screams out the remainder ("...oh, God, no!") of her scripted reaction - and both the subtitles and the closed captioning gets all that right - and she follows with unscripted screams of -
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_Blu-ray_frame_01981.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_VHS_frame_02004.jpg)
- which as you can see both the subtitles and the closed captioning acknowledge, though the subtitles have two too few, whereas the closed captioning has the correct amount - followed by an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_Blu-ray_frame_02140.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_VHS_frame_02144.jpg)
- and then yet more unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_Blu-ray_frame_02254.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Oh_God_No_VHS_frame_02257.jpg)
- and the subtitles and the closed captioning also acknowledge that as Tracy's voice trails off - and after the screen frezes on an image of Quentin, an unscripted UPI news bulletin prints out -
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_v.jpg)
- the full text of which as -
(http://www.dsboards.com/NoDSquoteimages/1231NoDS_w.jpg)
- as it fades off the screen for the closing credits.
[nods]
-
A post to revisit:
Two rare stills associated with Scene 254:
First:
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery9-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery9-1.jpg) for a 700X476 version)
And:
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery10-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery10-1.jpg) for a 620X810 version)
And to my knowledge, neither of these have been officially published. Although, on the Internet I have come across this cropped B&W version of the first -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery9-1a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery9-1a.jpg) for a 1054X773 version)
- which certainly looks like it was scanned from a book or magazine - but because, as usual, a source is not cited, I have no idea what to say about it...
...
When it comes to the still of Angelique, I never noticed until today that the ceiling light in it is turned on, whereas in the film it isn't. But then, what do I keep saying about how sometimes you can see something a thousand times before some detail finally leaps out at you...
[nods]
-
When it comes to the UPI dateline about the Jenkins' fatal accident many have lamented that they were killed off. But to me they needed to go. And the reason why I think that is because, with the triumph of the Charles/Angelique love story over the one of Quentin/Tracy, the Jenkins would have continued to totally interfere and would have never given Charles/Angelique a moment's peace to enjoy their triumph. The demise of the Jenkins assures that Charles/Angelique would go on to have the "life" they were denied in the 19th century, whatever it may have turned out to be. Not the ending those routing for Quentin/Tracy would have liked, but certainly a fitting ending for Charles/Angelique. Plus, killing off practically everyone in NODS' present day is in keeping with the how the daytime DS operated with nearly every one of its storylines - with few exceptions, the only characters that survived were the ones who were necessary for the Collins line to survive.
As for the idea that the Jenkins could have survived so that there could have been the possibility of a NoDS sequel, chances are if there had been a third film, Sam Hall and DC never intended that it would be a sequel to NoDS, otherwise they wouldn't have strongly implied that Tracy wasn't going to survive long beyond the end of the film. It's not like the Jenkins could have saved Tracy from her fate. And no matter how much Quentin denied it, if he really was Charles' reincarnation, any attempt by the Jenkins to reassert Quentin's personality would have most probably been doomed to failure...
[nods]
-
I totally forgot the ending. Creepy.
-
The demise of Claire and Alex always bothered me. An onscreen demise for them would have probably muted the focus on Tracy's fate and probably would have been more expensive to shoot than the budget would permit.
-
Just because the slideshow reached the end of the film for the second time, once again that doesn't mean that nothing new will be posted to this topic. Again it's a case that over the course of the past year there were several times when I forgot about materials I have as well as discovered new materials. There are also several candid stills that I have yet to post. And I want to share a few different articles about the release of the film. So a lot of that sort of stuff will be posted at the appropriate time now that the slideshow has started from the beginning for a third time. Plus, I need to replace the closed captioning screen caps from the VHS that were taken from the video I shot with my phone off of a TV. And remember that if something comes up in the slideshow that you may be seeing for the first time and are not sure about, you can always go back in the topic to the posts that provided explanations for them - or if you can't find explanations, you can always post questions...
Actually, I'm hoping to post some new stuff later today. But I need to format it for posting before I can do that...
[nods]
-
Well, I only finished about half of what I wanted to do today. But that's okay because the rest will get posted tomorrow...
But what I'm sharing today is my least favorite NoDS trailer. Though that being said I do like the voiceover because it gets into things that no other NoDS trailer (to my knowledge, anyway) gets into, like: "A man is buried alive in a basement tomb, then reincarnated to take his revenge." (So, can we say that because the trailer says that, it's canon, and Quentin really is Charles' reincarnation despite, as I said yesterday, whatever protests Quentin might make?):
The trailer really wouldn't be half bad if it wasn't for the sound effects, which ruin things for me (that gurgling choking sound - please! ::)). Well, that, and the use of hoDS footage rather than footage from NoDS itself. Sure, maybe at the time they put the trailer together they'd yet to have access to any NoDS footage. But still, what was the rush? :-\
And speaking of the footage, yes, the timing of the figure coming into frame at the same time the voiceover talks about the man being reincarnated to take his revenge does works well. But what about the shot of Collinwood being so jittery before that? I never remembered the shot of the house being so jittery in hoDS and that's because it isn't. In fact, most of the footage that's in the NoDS trailer isn't even in hoDS, as one can see here with the following video of hoDS Scene 81:
All in all, that NoDS trailer might have been enough to keep people away from NoDS showings rather than teasing them into wanting to see them. Or maybe not. Things were different in the '70s - maybe I'm forgetting that sort of approach really might have appealed to a potential audience. I find that hard to imagine looking back with a 2023 perspective. But who knows...
[nods]
-
Those screams in the first trailer don't really sound like they came from any version of DS, past or present.
-
Another NoDS rarity: a radio spot. It was posted back in the 90's to AOL's DSO's Image Gallery. Sure, it's not an image, it's a sound file. But no one complained - and it was hardly the only sound file that was posted there.
The original file was posted as a WAV, however, I've created a video file with it, similar to the ones for the various pieces of soundtrack music I've posted. WAV files don't play well with the forum's system, whereas MP4 video files do. So it's a no brainer to go this route.
And unlike the trailer I posted yesterday, the sound effects in the radio spot are kept to practically a bare minimum -
- and at least in the radio spot's case, it might have actually appealed a potential audience...
Also, it's interesting how the tag line, "Collinwood, that house of dark shadows, where life and death go on as usual," gets used in so many of the promos.
[nods]
-
Those screams in the first trailer don't really sound like they came from any version of DS, past or present.
Just for the fun of it I listened to the two hoDS radio spots that are on the 30th Anniversary CD. But listebing turned out to be very informative because some of the exact same sound effects were used for them. And once again I've created video files because MP4 video files play well with the forum's system:
So, apparently whoever did that weird NoDS trailer also did the radio spots for the films. And I'm guessing they just used generic stock sound effects.
As a side note, back when I was working on the hoDS slideshow topic I got so sick of seeing so many photos and stills from the Barnabas walks with Maggie scene that I swore that I might actually go insane if I ever saw another one or even the scene itself. (I swear MGM and Ben Martin must have shot reams of film just for the one scene!!) So imagine my horror when that first radio spot started playing and it featured dialogue from the scene!! [yikes] (Though thankfully I was able to cope by quickly posting the caption that I did on the "Caption This! - house of Dark Shadows" board in the "house of Dark Shadows Scene 201" topic.)
(And speaking of how I named that topic, I made a big mistake when I posted the screen caps on the four hoDS and NoDS game boards by not including scene numbers because it's next to impossible to figure out what scenes are posted in which topics. So as I get the chance I plan to go through them all and add scene numbers to the topic titles.)
[nods]
-
Revisiting how the scenes that actually open the film were scripted to play -
...
21 EXT - RIVER ROAD - DAY - HIGH WIDE ANGLE 21
as a convertible with the top down ENTERS THE
SHOT. Driving the car is QUENTIN COLLINS and
seated next to him is his pretty bride, TRACY.
This is the same section of road where we first
saw the Hippy. CAMERA STARTS A LONG SLOW ZOOM IN
as the dialogue begins to play over the shot.
21 CONTD CONTD 21
QUENTIN
(indicating the house)
Look!
TRACY
Wow! What a garret.
QUENTIN
I keep telling you, no one can
afford to paint unless he is
an heir.
TRACY - QUENTIN - HOOD-MOUNT SHOT
|
And that's when yesterday's quote -
Page 6/Scene 21 - Tracy (snuggling up to him): 'It's incredible to think you were around for all those years and I didn't even know you.'
- comes up, followed by today's quote -
Page 6/Scene 21 - Quentin: 'You wouldn't have liked me poor. I was mean and surly.'
- coming up, followed by the script continuing with:
She laughs, shaking her head.
EXT - TREE-SHROUDED ROAD
as the car ENTERS THE SHOT and comes TOWARD CAMERA.
TRACY
(clearly impressed)
I still can't believe it's
Collinwood.
QUENTIN
Well, if I got the directions
right, it is.
TRACY - QUENTIN - HOOD-MOUNT SHOT
Tracy gets to her feet, holding onto the windshield,
and tries to look through the trees.
TRACY
You know, you can't even see it
now. How much land is there?
22 EXT - COLLINWOOD FRONT DRIVE - DAY - WIDE ANGLE 22
as the car APPROACHES CAMERA.
22 CONTD CONTD 22
QUENTIN
Oh...only about 200 acres. There...
look at it now.
As the car passes by CAMERA, we PAN WITH IT,
revealing the impressive front view of the huge
mansion.
TRACY
Oh...Quentin!
|
End of scene.
And so far there are still no differences between the way DC's and Grayson Hall's scripts are written. However, in DC's script he has added additional material to both hood-mount shots. The first says:
TRACY - QUENTIN - HOOD-MOUNT SHOT - PROFILE - 2 SHOT
And the second says:
TRACY - QUENTIN - HOOD-MOUNT SHOT - BACKSEAT
- as opposed to how they actually play - but as we get into the subtitles and the close captioning (yes, there's still a lot more of that to come because there was quite a bit of the beginning of the film that I didn't do last time around), we'll see quite a bit more unscripted additions...
[nods]
-
I just wonder exactly how mean and surly young Quentin was.
-
[pointing-up] This thought never occurred to me before, but I wonder if that remark by Quentin was supposed to be a hint that perhaps Charles had tried to assert himself in Quentin before Quentin actually even got to Collinwood and it wasn't Quentin's arrival at Collinwood that was the first kickoff of that? Whenever Charles "took over" Quentin in the film one could definitely say he acted "mean and surly." I mean, look no further than how he treated Tracy after she found him in the tower and especially when he molested her. Perhaps Quentin's personality won the first battle and was able to keep Charles at bay, but, well, living at Collinwood and actually being exposed to Angelique was an entirely different story.
Some food for thought - or possibly even inspiration for fan fiction...
[nods]
-
It's also quite telling that while Alex and Quentin connected almost immediately but Claire states that she spent quite a bit of time trying to figure Quentin out. She doesn't indicate that she ever did.
-
When it comes to the subtitles and closed captioning for Scene 21:
Before we even get into the dialogue, the closed captioning has this notice -
(http://www.dsboards.com/NoDSAnniQuoteImages/Drive_VHS_frame_00369.jpg)
- and even though they're scripted to take place at the end of Scene 21 and at the beginning of Scene 22, the first two lines in Scene 21 are actually Tracy's "How much land is there" and Quentin's "Oh, only about 200 acres" - and both are acknowledge correctly by both the subtitles and the closed captioning - though while the closed captioning don't identify the characters by name, interestingly, the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Drive_Blu-ray_frame_00842.jpg)
- and while the subtitles don't acknowledge that Tracy laughs at Quentin's response, the closed captioning does -
(http://www.dsboards.com/NoDSAnniQuoteImages/Drive_VHS_frame_00912.jpg)
- and then when it comes to the first bit of unscripted dialogue, both the subtitles and the closed captioning-
(http://www.dsboards.com/NoDSAnniQuoteImages/Drive_Blu-ray_frame_01176.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Drive_VHS_frame_01157.jpg)
- acknowledge Quentin's line - and unlike the script, he's not indicating Collinwood but a boarded up building that they're about to pas by - also, Tracy's dialogue about the garret and Quentin's about being an heir are dropped in the film.
More to come...
[nods]
-
Speaking of the boarded up building that Quentin points out -
(http://www.dsboards.com/NoDSquoteimages/0106ds91_b.jpg)
- I've always loved this publicity shot of Lara Parker as Angelique that's taken with the urn in front of that building:
(http://www.dsboards.com/NoDSquoteimages/Ang_Urn.jpg)
And speaking of Quentin's dropped line about being an heir, it was featured in the Nods section of the original Movies Slideshow -
(http://www.dsboards.com/moviesquoteimages/0703NoDS_0.jpg)
NoDS: Scene #21 - Quentin: 'No one can afford to paint
unless he is an heir.'
- because it's the third NoDS quote featured in the Fest's 1999 Movie Calendar, on which the Movies Slideshow was based.
[nods]
-
Continuing with the subtitles and closed captioning for Scene 21:
As they continue up the driveway, what Tracy actually says is "You know, it's really incredible that you were around for all those years and I didn't even know you" - though the subtitles drop -
(http://www.dsboards.com/NoDSAnniQuoteImages/Drive_Blu-ray_frame_01493.jpg)
- the "You know" part - and when it comes to the closed captioning, it has the first part as -
(http://www.dsboards.com/NoDSAnniQuoteImages/Drive_VHS_frame_01449.jpg)
- and while the subtitles have the last part correctly, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Drive_VHS_frame_01583.jpg)
- and Quentin explains "You wouldn't have liked me then. I was mean and surly" but with no reference to him being poor - and while the subtitles acknowledge what Quentin says perfectly, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Drive_VHS_frame_01657.jpg)
- and while once again the subtitles don't acknowledge that Tracy laughs at a response from Quentin, the closed captioning does -
(http://www.dsboards.com/NoDSAnniQuoteImages/Drive_VHS_frame_01725.jpg)
More to come...
[nods]
-
And wrapping up:
Soon afterward Tracy delivers an unscripted "It's gonna rain" (it actually did begin to rain on the day that parts of this sequence were shot) - and the subtitles get that line correctly -
(http://www.dsboards.com/NoDSAnniQuoteImages/Drive_Blu-ray_frame_01846.jpg)
- though of course the closed captioning must correct the grammar -
(http://www.dsboards.com/NoDSAnniQuoteImages/Drive_VHS_frame_01839.jpg)
- and then rather than how her line is scripted Tracy actually says "I still can't believe it's really Collinwood" - and both the subtitles and closed captioning get that perfectly - though Quentin's line about getting the directions right is dropped - and Tracy's last line for Scene 21 is another reworking of something scripted and she actually says "You can't even see the house from here" - and the closed captioning gets that correctly - but the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Drive_Blu-ray_frame_02224.jpg)
- and soon after Scene 22 begins Quentin stops the car and says an unscripted "Here it comes. I'm gonna put the top up" with regard to it beginning to rain - and while the subtitles acknowledge that perfectly -
(http://www.dsboards.com/NoDSAnniQuoteImages/Drive_Blu-ray_frame_02522.jpg)
- the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Drive_VHS_frame_02474.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Drive_VHS_frame_02543.jpg)
- once again insisting on correcting the grammar - and Tracy's reaction "Oh...Quentin!" at first seeing the front of Collinwood is also dropped in the film.
[nods]
-
It's also quite telling that while Alex and Quentin connected almost immediately but Claire states that she spent quite a bit of time trying to figure Quentin out. She doesn't indicate that she ever did.
How very interesting, Uncle Roger! What you and MB said makes me want to watch the movie again sooner rather than later, with those things in mind.
-
I think I've mentioned this before, but it really is a shame that Claire's remark about Quentin is made in the never shot shopping excursion into town sequence. But as I definitely know I've said before, character scenes were hardly a priority with DC! [easter_rolleyes] [easter_angry] (And as I also definitely know I've said before, hoDS suffers because of it!!)
-
A post to revisit:
And speaking of Quentin putting the top up, here's a fairly rare still associated with that part of Scene 22 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Car_rain.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Car_rain.jpg) for a 700X476 version)
- though a somewhat cropped version has been shared as the back cover of the Fest's 1999 Movie Calendar and a small B&W and cropped version appears on page 22 of the Movie Soundtracks' booklet...
...
[/nods]
-
I've mentioned before that I love how NoDS actually opens with what could easily be considered DC's tribute to the opening of Hitchcock's Rebecca which is mostly mixed with the arrival of the newly married de Winters to the Manderley mansion. But of you've never seen Rebecca, you may be unaware as to how some aspects of the opening of NoDS really do resemble Rebecca. So, here are some videos to illustrate the point:
| |
Rebecca Opening | Rebecca Arrival |
NoDS Arrival
I hadn't watched Rebecca in a long while and I'd completely forgotten that it also rains as the de Winters arrive at Manderley just as it does as the Collines arrive at Collinwood. Now I'm beginning to wonder if it was just serendipity that it really did rain as the opening of NoDS was being shot or if DC planned it with the help of the local fire department, as he did with the shooting of the funerals for hoDS and NoDS?
[nods]
-
Revisiting how Scene 23 is scripted to play:
...
23 EXT - COLLINWOOD PORTICO 23
as the car ENTERS THE SHOT and pulls up in front
of the house. Quentin and Tracy both get out and
starts to unpack the back seat.
|
And that's when Friday's first quote -
Page 7/Scene 23 - Tracy: 'What do you bet I turn into one of those women you see in House & Garden.'
- comes up, followed by Friday's second quote -
Page 7/Scene 23 - Quentin (still busily unpacking): 'I can see it now, Mrs. Quentin Collins in her fashionable jeans at her 18th-century rosewood desk making out the menus for the week.'
- coming up, followed by the script continuing with:
And that's when Saturday's first quote -
Page 7/Scene 23 - Quentin: 'Oh, there is a housekeeper, you know.'
- comes up, followed by Saturday's second quote -
Page 7/Scene 23 - Tracy: 'Oh, great! I bet she looks just like Mrs. Danvers.
- coming up, followed by the script continuing with:
QUENTIN
I'm sure she does.
|
And that's when Sunday's first quote -
Page 7/Scene 23 - Tracy: 'Well, at least it solves one problem. She can probably do everything and I'll just simply lounge around arranging flowers.'
- comes up, followed by Sunday's second quote -
Page 7/Scene 23 - Quentin: 'And loving me.'
- coming up, followed by the script continuing with:
23 CONTD CONTD 23
TRACY
And loving you.
Quentin starts for the rear of the car to open
the trunk.
|
End of scene.
And so far there are still no differences between the way DC's and Grayson Hall's scripts are written. However, in DC's script he has added a notation that the opening of Scene 23 where the car pulls up to the house will be shot from the interior of the car and through the window.
...
[nods]
-
Before we get into the differences in the subtitles and and mostly the closed captioning for Scene 23, as I'd mentioned in Reply #1166, DC added a note to his script that the opening of Scene 23 where the car pulls up to the house will be shot from the interior of the car and through the window - gee, I wonder where he got that idea:
(http://www.dsboards.com/NoDSAnniQuoteImages/House_&_Garden_VHS_frame_00039.jpg)
NoDS through the windshield with the wipers going.
(http://www.dsboards.com/NoDSAnniQuoteImages/Windsheild_frame_00206.jpg)
Rebecca through the windshield with the wipers going.
I'm sure he just pulled it out of thin air in a moment of inspiration, right? Yeah, right. But it does play even more into a "tribute" to Hitchcock's Rebecca
But anyway, the dialogue for Scene 23 kicks off with Tracy actually saying "What do you wanna bet I turn into one of those women you see in House & Garden" - but the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/House_&_Garden_Blu-ray_frame_00700.jpg)
- with simply the "you see" dropped - however, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/House_&_Garden_VHS_frame_00664.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/House_&_Garden_VHS_frame_00735.jpg)
- and to that Quentin's reply actually starts off with "Yeah. I can see it now" - and the subtitles get that perfectly - but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/House_&_Garden_VHS_frame_00790.jpg)
- with the "Yeah" missing.
More to come...
[nods]
-
Picking where we left off, the second part of Quentin's actual response is "Mrs. Quentin Collins in her fashionable jeans sitting at her 18th-century rosewood desk making out the menus for the week" - and the subtitles get that perfectly - and the closed captioning would have gotten it perfectly if the "18th" part of "18th-century" in the middle part of it had displayed, but it didn't -
(http://www.dsboards.com/NoDSAnniQuoteImages/House_&_Garden_VHS_frame_00970.jpg)
- but it could be the case that with different settings it may display, just as different settings caused the missing "any" to show up in Quentin's line "I didn't mean any of it, though" back when we were dealing with the closed captioning for Scene 170 (I'll have to check things out when I get the chance) - then changing the subject Quentin actually mentions "We have a housekeeper, you know that?" - and again the subtitles get that perfectly - but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/House_&_Garden_VHS_frame_01148.jpg)
- and to that Tracy says "Oh, great. Bet she looks just like Mrs. Danvers" (deliberate Rebecca reference! [easter_wink]) - but the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/House_&_Garden_Blu-ray_frame_01207.jpg)
- adds an "I'll" - and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/House_&_Garden_VHS_frame_01201.jpg)
- drops the "Oh, great" but adds an "I" - and Quentin's reply as scripted is "I'm sure he does" - and both the subtitles and the closed captioning get that right - and after that Tracy actually adds "Well, that solves one problem. She can probably do everything. And I'll just sit around arranging flowers all day" - and the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/House_&_Garden_Blu-ray_frame_01429.jpg)
- simply drop the "Well" from the first part- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/House_&_Garden_VHS_frame_01470.jpg)
- drops the "And" from the last part - and to that Quentin adds "And loving me" - and once again both the subtitles and the closed captioning get that right.
End of scene.
[nods]
-
... the closed captioning would have gotten it perfectly if the "18th" part of "18th-century" in the middle part of it had displayed, but it didn't -
(http://www.dsboards.com/NoDSAnniQuoteImages/House_&_Garden_VHS_frame_00970.jpg)
- but it could be the case that with different settings it may display, just as different settings caused the missing "any" to show up in Quentin's line "I didn't mean any of it, though" back when we were dealing with the closed captioning for Scene 170 (I'll have to check things out when I get the chance) ...
Well, I tried all sorts of settings but couldn't get the "18th" to display mo matter what I tried. So, I decided to see what the closed captioning decoder in the TV I'd used to shoot those videos off of might do. At first the display was even worse because not only didn't the "18th" display, but "18th-c" didn't -
(http://www.dsboards.com/NoDSAnniQuoteImages/Desk_VHS_frame_01650.jpg)
- but then I reminded a bit and played it again and this showed up -
(http://www.dsboards.com/NoDSAnniQuoteImages/Desk_VHS_frame_03603.jpg)
- still no "18" but that was the best. Who knows why the "18th-c" part of that caption apparently has some glitch that causes it to play games? But it's hardly something I'm going to spend more time wondering about...
[nods]
-
Revisiting how Scenes 24 through 27 are scripted:
...
CUT TO:
24 EXT - QUENTIN - TRACY - HIGH ANGLE 24
CAMERA THROUGH SECOND FLOOR STAIRWELL WINDOW as
if someone is watching. From this angle, Quentin,
back is to the CAMERA so that his face is not re-
vealed. As he turns to say something to Tracy,
revealing his face, ZOOM IN TO CLOSE-UP.
25 EXT - SECOND FLOOR STAIRWELL WINDOW - DAY 25
Angle from below reveals Carlotta observing the
scene. ZOOM IN TO HER CLOSE-UP as she reacts.
26 EXT - COLLINWOOD - DAY - MEDIUM ANGLE 26
as Quentin closes the trunk and in one quick
motion sweeps Tracy off her feet, intending to
carry his bride across the threshold.
27 INT - SECOND FLOOR STAIRWELL - CARLOTTA - DAY 27
TRUCK IN TO HER CLOSE-UP as she watches them.
|
...
And so far there are still no differences between the way DC's and Grayson Hall's scripts are written - however, in DC's script Scenes 25 -27 have a box drawn around them and a big X in the box, which means that DC didn't intend to shoot them. But despite that, or more likely before she was aware that those scenes weren't going to be shot, Grayson Hall added a note in her script that reads "See that it's him at last the answer to the dream".
...
... there's something that's different and correct in the VHS version of the film (well, correct to a point because the color timing is still off when it comes to the VHS) but unfortunately different and not correct in every other version. And that would be Scene 24:
VHS:
Every Other Version:
At least those other versions have the sound of the car door shutting...
...
The background music is certainly correct when it comes to the VHS' version of Scene 24, but the way the scene is shot is definitely very different from how it's scripted. First off, the scene down at the car is shot from a tower window, not a stairwell window, made even more obvious by the fact that the exterior of the stairwell is actually seen in the shot. And there is no zoom to a close-up of Quentin.
And as things stand in the film, because Scenes 25 through 27 were never shot, we don't actually see Carlotta until Scene 28. However, it's not as if nothing was added to replace the missing Scenes 25 through 27 - and we'll see that in an upcoming post featuring unscripted material...
[nods]
-
Starting to deal with the subtitles and the closed captioning for the unscripted material that replaced never shot Scenes 25 through 27:
At first Tracy is seen and then Quentin as they make their way to the door to the vestibule - Tracy looks inside, and as the closed captioning reflects, she says -
(http://www.dsboards.com/NoDSAnniQuoteImages/All_Ours_VHS_frame_00219.jpg)
- though the subtitles do not acknowledge that - and as the subtitles show, Tracy follows that up with -
(http://www.dsboards.com/NoDSAnniQuoteImages/All_Ours_Blu-ray_frame_00284.jpg)
- as does the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/All_Ours_VHS_frame_00287.jpg)
- but as the subtitles show, Quentin steps up to the door and says -
(http://www.dsboards.com/NoDSAnniQuoteImages/All_Ours_Blu-ray_frame_00350.jpg)
- and the closed captioning reflects the same -
(http://www.dsboards.com/NoDSAnniQuoteImages/All_Ours_VHS_frame_00356.jpg)
More to come....
[nods]
-
Wrapping up the subtitles and the closed captioning for the unscripted material that replaced never shot Scenes 25 through 27:
After Tracy and Quentin enter the vestibule, Quentin puts his suitcase down, embraces Tracy, who comes over to him, and asks -
(http://www.dsboards.com/NoDSAnniQuoteImages/All_Ours_Blu-ray_frame_00786.jpg)
- as does the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/All_Ours_VHS_frame_00785.jpg)
- and as the subtitles show, Quentin then says -
(http://www.dsboards.com/NoDSAnniQuoteImages/All_Ours_Blu-ray_frame_00865.jpg)
- and the closed captioning reflects the same -
(http://www.dsboards.com/NoDSAnniQuoteImages/All_Ours_VHS_frame_00839.jpg)
- and the closed captioning also reflects that Tracy laughs -
(http://www.dsboards.com/NoDSAnniQuoteImages/All_Ours_VHS_frame_00887.jpg)
- though the subtitles do not acknowledge that.
End of sequence....
[nods]
-
Revisiting how Scene 28 is scripted:
...
28 INT - FOYER - DAY 28
as Quentin carries Tracy in he gives her a big
kiss. HOLD FOR A MOMENT and then Carlotta
interrupts them from O.S.
|
And that's when the first part of Monday's quote -
Page 8/Scene 28 - Carlotta (O.S.): 'Mr. & Mrs. Collins?'
- comes up, followed by the script continuing with:
Quentin and Tracy are momentarily embarrassed,
caught unawares.
CARLOTTA - CLOSE-UP
She is smiling and friendly.
|
And that's when the second part of Monday's quote -
Page 8/Scene 28 - Carlotta: 'I'm Carlotta Drake, Welcome to Collinwood.'
- comes up, followed by the script continuing with:
28 CONTD CONTD 28
BACK TO SCENE
as Quentin puts Tracy down.
QUENTIN
Thank you, Miss Drake.
CARLOTTA
Carlotta, please.
She is looking them over carefully, in female
fashion. Tracy offers her hand.
TRACY
Hello, Carlotta.
CARLOTTA
(taking her hand)
It's so good to have you here --
I do hope you'll find everything
to your liking, Mrs. Collins.
|
End of scene.
...
... after Carlotta greets them from off screen, once she comes on screen, she switches things up by actually saying "Welcome to Collinwood. I'm Carlotta Drake" (and Grayson made some notations in her script to be "pleasant and straight" and "almost preoccupied with looking at him + her) - and while Quentin responds to Carlotta as scripted, Carlotta's line to address her by her first name is dropped - and rather than "Hello, Carlotta", Tracy says "How do you do" - and Carlotta's greeting to Tracy and her hope that everything will be to Tracy's liking is also dropped. (And I'm surprised that Grayson didn't make a notation about Carlotta saying it's so good to have Tracy at Collinwood because as we'll definitely find out along the way, clearly that's not how she feels because she has a definite agenda in mind, so chances are the line would have been delivered with that subtext in Carlotta's mind.)
...
... and it's interesting to note that DC's script has an added notation that the camera was supposed to pan to a 2 shot of Carlotta and Tracy when Tracy greats her and Carlotta is so nice to her, but given the way the scene actually plays in the film, apparently that idea was also dropped because what actually happens is, in camerawork that's unscripted, Scene 28 dissolves into the start of the upcoming Scene 29...
[nods]
-
Wow !!!!! Amazing such good memories I sure do miss the show a lot .
Anne
-
When it comes to the differences in the subtitles and the closed captioning and one bit of dialogue for Scene 28:
Carlotta greets Quentin and Tracy off screen with "Mr. and Mrs. Collins" - and then once she comes on screen, she adds "Welcome to Collinwood. I'm Carlotta Drake" - and the subtitles reflect all that exactly - but as we know the closed captioning often has a strange aversion to contractions so it has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Welcome_VHS_frame_00165.jpg)
- and after Carlotta goes over to them, as she shakes Quentin's hand, he says "Thank you, Miss Drake" - and the subtitles also reflect that - but the closed captioning only has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Welcome_VHS_frame_00236.jpg)
- not to mention the closed captioning jumps the gun and has Quentin's line on and off screen before he even says it - and similarly the closed captioning displays Tracy's reworked "How do you do" -
(http://www.dsboards.com/NoDSAnniQuoteImages/Welcome_VHS_frame_00292.jpg)
- before she says it and shakes Carlotta's hand - though the subtitles get things right by having it be on screen as -
(http://www.dsboards.com/NoDSAnniQuoteImages/Welcome_Blu-ray_frame_00317.jpg)
- the end of Scene 28 crossfades into the beginning of Scene 29.
[nods]
-
... the original slideshow featured this line of dropped dialogue:
(http://www.dsboards.com/moviesquoteimages/0709NoDS_0.jpg)
NoDS: Scene #28 - Carlotta: 'It's so good to have you here. I
do hope you'll find everything to your liking, Mrs. Collins.'
-
Revisiting a couple related posts associated with Scene 28:
...
And as usual, here's a much better version of the photo -
(http://www.dsboards.com/NoDSAnniQuoteImages/KJ_DS-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/KJ_DS-2.jpg) for a 700X540 version)
And one of the many copies of that still that popped up in magazines had this caption:
"You will really enjoy seeing lots of your favorite daytime TV stars in the
full length feature film, Night Of Dark Shadows. It will be released soon."
Of course, "full length feature film" is just another way of saying theatrical film. But given how much was cut from NoDS, "full length feature film" definitely stings because who knows if we'll ever see NoDS at its full length...
...
It's a amazing how unobservant one can be for over 50 years. I didn't realize until today that 1) in the above still in reply #772 Tracy and Quentin are entering the foyer, not the vestibule, as they do in the film, and 2) they're each carrying double the suitcases than they actually do in the film when they enter the house -
(http://www.dsboards.com/NoDSAnniQuoteImages/0814NoDS_aa.jpg)
- because they've left some suitcases (and art supplies) behind the car -
(http://www.dsboards.com/NoDSAnniQuoteImages/0813NoDS_a.jpg)
But then, as I've pointed out before, this still (which I'd completely forgotten I had back when I was dealing with the Lobby Cards versions) of Carlotta greeting the couple is quite obviously also taken in the foyer -
(http://www.dsboards.com/NoDSAnniQuoteImages/Foyer_greeting.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Foyer_greeting.jpg) for a 700X476 version)
- and as I've also pointed out before, Scene 28 was actually scripted to take place in the foyer -
...
...
28 INT - FOYER - DAY 28
...
|
- but apparently for whatever reason DC decided to shoot it in the vestibule - but not knowing that beforehand, the still photographer took his photos where they thought the scene would be shot...
...
[nods]
-
Revisiting how Scene 29 is scripted:
...
29 INT - DRAWING ROOM - DAY 29
A Carlotta-led tour is in progress. Tracy stands
at the piano, toying with the keyboard, as Quentin
examines a piece of sculpture with a professionally-
amused eye. Carlotta is holding forth.
|
And that's when Tuesday's quote -
Page 9/Scene 29 - Carlotta: 'Mrs. Stoddard, before her death, served tea here every afternoon.'
- comes up, followed by Wednesday's quote -
Page 9/Scene 29 - Quentin: 'I'm afraid that's one tradition we won't keep.'
- coming up, followed by Thursday's quote -
Page 9/Scene 29 - Tracy (trying out one of the sofas): 'Oh, no! We can't let the house down. Why don't we call Claire and Alex. Tea in the drawing room with the lord of the manor.'
- coming up, followed by Friday's quote -
Page 9/Scene 29 - Quentin (to Carlotta): 'Oh, did you tell the Jenkins' we'd be here today?'
- coming up, followed by the script continuing with:
And that's when yesterday's quote -
Page 10/Scene 29 - Carlotta: 'I didn't know you would wish it.'
- comes up.
End of scene.
And so far there are still no differences between the way DC's and Grayson Hall's scripts are written - and while there are no notations worthy of mention in DC's script, Grayson's has something that will be mentioned below.
... and as alluded to above, at the point that Quentin begins to play the piano Grayson writes in her script "Q is playing chords on the piano. Moment of my recognition" (which certainly seems to point out that Grayson was aware when she made the notation that the sequence of Carlotta watching Quentin and Tracy's arrival and reacting to seeing Quentin's face was not going to be shot) ...
...
[nods]
-
When it comes to Scene 29, for the most part the subtitles get everything right - on the other hand, the closed captioning doesn't:
Scene 29 begins in the Drawing Room with Carlotta walking over to Tracy as she says "Mrs. Stoddard, before her death, had tea served here every afternoon" - and to that Quentin remarks "That's one tradition we won't keep" - and both the subtitles and the closed captioning get all that correct - however, the closed captioning also indicates that Quentin -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tea_VHS_frame_00214.jpg)
- and after that Tracy speaks up and says "Oh, no. We can't let the house down" - and the subtitles get that correct - however, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tea_VHS_frame_00273.jpg)
- with the "Oh, no" missing - and it isn't until after Tracy says that that the subtitles indicate -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tea_Blu-ray_frame_00324.jpg)
- and then Tracy completes her point by saying "We can call Claire and Alex and invite them for tea in the drawing room with the lord of the manner" - and the subtitles get all that correct - but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tea_VHS_frame_00341.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Tea_VHS_frame_00399.jpg)
- dropping the "in the drawing room" but they do go on to say "with the lord of the manor."
More to come....
[nods]
-
A still to revisit that pertains to Scene 29:
...
...
And a better version of the still:
(http://www.dsboards.com/NoDSAnniQuoteImages/screenworld_a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/screenworld_a.jpg) for a 700X540 version)
...
And the only places I can recall it being officially published is in John Willis' Sceen World Volume 22 (which features all the films of 1971) and on page 23 of the Movie Soundtracks' booklet. Neither has a caption worth sharing because all both do is identify the actors...
...
[nods]
-
Continuing with the subtitles and the closed captioning for Scene 29:
When it comes to Quentin's scripted line asking Carlotta if she'd told the Jenkins they would be arriving, that line is actually given to Tracy in the film - and both the subtitles and the closed captioning get that right -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tea_Blu-ray_frame_00576.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Tea_VHS_frame_00534.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Tea_VHS_frame_00594.jpg)
- and when Carlotta doesn't reply because her attention is deeply fixated on what Quentin is doing at the piano, both the subtitles and closed captioning reflect that Tracy delivers an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tea_Blu-ray_frame_00745.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Tea_VHS_frame_00661.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Tea_VHS_frame_00721.jpg)
- and speaking of Carlotta's fixation with what Quentin is doing at the piano, at the point that Quentin begins to play Grayson writes in her script "Q is playing chords on the piano. Moment of my recognition" (which certainly seems to point out that Grayson was aware when she made the notation that Scenes 25 through 27 dealing with Carlotta's reaction to seeing Quentin's face were not going to be shot).
More to come....
[nods]
-
Wrapping up the subtitles and the closed captioning for Scene 29:
After Tracy's second question to Carlotta finally breaks through Carlotta's fixation on what Quentin is doing at the piano and Carlotta answers with a reworked "No. I'm sorry. I didn't know that's what you wanted," Carlotta then delivers an unscripted "Come, let me show you the rest of the house." - but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tea_VHS_frame_00931.jpg)
- as does the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tea_Blu-ray_frame_00992.jpg)
- which also jumps up to Tracy's unscripted response - and the closed captioning acknowledges the same response -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tea_VHS_frame_01008.jpg)
- after which Carlotta moves to leave the room with Tracy following and Quentin gets up from the piano to also follow.
End of scene....
[nods]
-
Before we move on to the subtitles and closed captioning for Scene 30 I want to get into something regarding the Blu-ray/DVD and VHS/Laser versions of the film that may only be an issue that I not only find interesting but also puzzling. Specifically, it's something about the transfers. Over the course of working to get screen captures and videos of the film I've noticed that whereas, unless there's an actual crossfade transition from one scene to another, as there is from Scene 28 to Scene 29, that's supposed to be apparent because it's seen by the audience, when it comes to the Blu-ray/DVD transfers most scenes lead directly from one scene to the next without any sort of transition effect, but that's not quite the case with the VHS/Laser transfers. When it comes to the VHS/Laser, regardless of whether there's a transition effect between scenes, there's seemingly always at least one frame that contains aspects of each scene.
Here are two videos I've created for the change from Scene 29 to Scene 30 that probably show what I'm getting at better than I can explain it (I've slowed down the individual frames so that each displays for 2 seconds rather than the 33/1000th of a second they normally display at):
Blu-ray:
Laser:
Like I said, it's puzzling to me why the VHS/Laser transfers seemingly created an intermediate frame between scenes that the Blu-ray/DVD transfers don't have. Shouldn't all scene changes of a film play the same and true to the actual film regardless of what video format the film was transferred to? Apparently not. At least not in the case of NoDS (and probably also hoDS - I haven't checked it).
Maybe if Darren Gross sees this post one day he'll be able to explain why there's a difference. Or if anyone reading this now knows why, please feel free to tell us because I would more than welcome an explanation.
And to go off on a tangent from the main point of this post, you've no doubt noted that I've brought up the Laser disc version of NoDS and shared frames from it. Well, that's because I've always wanted to own a copy of the Laser discs of the films and several months back I saw a nice deal on a never opened copy, so I bought it. But not owning a Laser disc player, that meant that I needed to find one that 1) wasn't strictly Japanese, which is the case with way too many available for sale online (Japanese players are 100V AC and would fry if used in the US because we have 120V AC) and 2) didn't cost a ridiculous and astronomical amount of money (just because good Laser disc players aren't readily available, that's no excuse to milk the public for all they're worth! - I'm talking to you, way too many eBay sellers!!). Luckily a few months ago I found one that got glowing reviews back in the heyday of laser discs and didn't cost an arm and a leg, so I bought it, and I'm more than satisfied with it.
And that all leads to how I'd always heard that the Laser disc transfers of the films are so much sharper than the VHS transfers. And I've discovered that's very true, as you can see in this side-by-side comparison of part of a frame from NoDS Scene 30:
(http://www.dsboards.com/NoDSAnniQuoteImages/Transition_Laser-VHS_frame_00013.jpg)
Laser VHS
And considering my VHS copy of NoDS is starting to show wear, I'm more than happy to not only have another copy of that version of the film, but one that's sharper than the VHS...
[nods]
-
Revisiting how Scenes 30 through 32 are scripted:
...
30 INT - FIRST FLOOR CORRIDOR - DAY - WIDE ANGLE 30
Shooting through Dining Room doors with the table
and center piece in F.G., the three of them walk
TOWARD CAMERA.
|
...
...
31 INT - FIRST FLOOR STAIRWAY - DAY 31
ANGLE from second floor landing as they climb the
stairs TOWARD CAMERA.
|
And that's when Sunday's quote -
Page 10/Scene 31 - Carlotta: 'As a child I used to hide here. They had so many parties then. All the guests...were so elegantly dressed and the candles were always burning.'
- comes up, followed by Monday's quote -
Page 10/Scene 31 - Tracy: 'You lived here as a child?'
- coming up, followed by Tuesday's quote -
Page 10/Scene 31 - Carlotta: 'My mother was the housekeeper.'
- coming up, followed by the script shifting to Scene 32:
32 PAN WITH THEM as they reach the second floor and 32
walk by CAMERA heading for the Gallery. As they
pass the steps leading to the third floor, Quentin
stops.
GROUP - HIGH ANGLE
QUENTIN
What's up there?
CARLOTTA
Nothing you would want to see now.
|
And that's when Wednesday's quote -
Page 10/Scene 32 - Quentin: 'Is that the tower I saw from the outside?'
- comes up, followed by today's quote -
Page 10/Scene 32 - Carlotta: 'Yes. It's used for storage now.'
- coming up, followed by the script continuing with:
They start walking again as Quentin hesitates for
a moment longer, still looking up the stairs
TOWARD CAMERA.
32 CONTD CONTD 32
Finally, he turns away and EXITS THE SHOT.
HOLD on empty corridor as their VOICES and
FOOTSTEPS TRAIL OFF.
CARLOTTA (O.S.)
The master bedroom is this way.
It affords a beautiful view of
the front grounds.
|
End of scene.
And so far there are still no differences between the way DC's and Grayson Hall's scripts are written. However, in DC's script he has notations for Scene 31: "Hand Held," "also HIGH FROM 2nd FLOOR hold all the way," and "Try a side track all in profile CU as they go up stairs" - and for Scene 32 he has the notation: "Cut Too: HIG ANG" (no doubt meaning a high angle). Though the interesting thing is almost none of that is how things were shot in what was used in the film. And Grayson's script also has a notation for Scene 32, but more on that when we get to the differences in the dialogue.
And when it comes to any differences in the dialogue, Carlotta actually says "As a child I used to hide here. So many parties in those days. And the guests were so" over the end of Scene 30 as she, Tracy and Quentin disappear up the stairs and mostly off screen - the only part that's delivered during Scene 31 and on screen is "elegantly dressed. And the candles were always burning" - and when Tracy questions if Carlotta lived at Collinwood as a child, it's actually said at the end of Scene 31 and into the beginning of Scene 32 and mostly off camera - and Carlotta's actual reply is "Yes. My mother was the housekeeper" (and it's interesting how Carlotta isn't actually speaking of her own childhood - but of course, no viewers would actually pick up on that this early in the film) - and when Quentin looks up and inquires what's up higher than where they are, Caroltta actually replies with "Oh, nothing you'd be interested in now" - and after Quentin asks if it's the tower, Carlotta simply replies with "Yes", with the "It's used for storage now" dropped - and after disappearing off screen, what Carlotta then actually says is "The master bedroom is this way. It has an excellent view of the front grounds" (and that's where in Grayson's script she's made a notation crossing out "affords" and substituting "has" - though there isn't any notation crossing out "a beautiful" and substituting "an excellent").
...
[nods]
-
When it comes to the subtitles and the closed captioning for Scene 30:
As scripted, Scene 30 has no dialogue - however unscripted dialogue does appear in it - as Carlotta continues her tour of the house, in both the subtitles and the closed captioning she informs -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tour_Blu-ray_frame_00065.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Tour_VHS_frame_00057.jpg)
- and then she continues in the closed captioning with -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tour_VHS_frame_00146.jpg)
- as she does in the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tour_Blu-ray_frame_00190.jpg)
- which also go beyond that - but the closed captioning catches up -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tour_VHS_frame_00222.jpg)
[nods]
-
A post about Scene 30 that's worth revisiting:
...
...the scene is shot exactly as scripted. But what is interesting is that it includes unscripted dialogue as Carlotta explains "Collinwood was built by Joshua Collins in the late 1600s. Of course, there have been many changes and additions since then." And given that Sam Hall once remarked that due to DC's "newfound directorial style," the original cut of NoDS (the cut before the 129 minutes long recovered cut) was supposedly 165 minutes long and that length was at least partly because the cut supposedly included several instances of shots of characters simply walking down long halls before they get to the points of scenes, I've often wondered if that bit of dialogue from Carlotta was added in post production so as not to have Carlotta, Tracy and Quentin be seen to be simply walking down the corridor from the drawing room to the stairwell? But who knows? But what's also interesting is that in this instance it was SH himself who wrote Scene 30 to simply be them walking down the corridor, so he certainly couldn't blame DC's directorial style for it in that instance.
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point.
[nods]
-
Believe it or not, when it comes to the subtitles and the closed captioning for Scenes 31 & 32, both get everything exactly right. Though there is one instance where there's a glitch because once again there's a place where the entire closed captioning doesn't always appear -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tour_VHS_frame_01332.jpg)
- but unlike how adjusting settings to hopefully get the glitch with Scene 23 to work didn't work (back in Reply #1169), adjusting things did work in this instance -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tour_2_VHS_frame_01332.jpg)
- just as they had with the giltch in the closed captioning for Scene 170 (back in Reply #950).
Also, I checked to see if the TV's closed captioning decoder worked correctly and it actually came up with a totally different glitch -
(http://www.dsboards.com/NoDSAnniQuoteImages/VID_20230824_111106347_VHS_frame_00530.jpg)
- who knows? - but as I've said before, ours is not to try to figure out these things because trying is pretty much a losing battle. Maybe the decoders were trying to come up with a short way to say "this way" - if so, I prefer "tway" over "thiy". [easter_wink] [easter_cheesy]
[nods]
-
Revisiting how Scene 33 is scripted:
...
33 INT - GALLERY - DAY 33
QUENTIN - TRACY - CARLOTTA
as Quentin examines the various portraits.
|
and that's when today's quote -
Page 11/Scene 33 - Quentin: 'I have a terrible feeling my ancestors would never have bought my work.'
comes up.
...
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point.
...
Page 11/Scene 33 - Tracy (at the window): 'His paintings are very abstract.'
...
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.
...
Page 11/Scene 33 - Carlotta: 'How interesting.'
...
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. ...
...
He is at the portrait of Angelique.
|
And that's when yesterday's quote -
Page 11/Scene 33 - Quentin: 'Is this one of the family?'
- comes up, followed by today's quote -
Page 11/Scene 33 - Carlotta: 'That's Angelique Collins. She died in 1810.'
- coming up, followed by the script continuing with:
TRACY
She's beautiful.
Quentin stares at it. ...
|
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. However, both DC's and Grayson's scripts have some notations that we'll get into below.
And as for any differences in the dialogue, the first notation in DC's script has the word "this" crossed out in Quentin's dialogue and replaces it with "that", but neither word is used in the film because what Quentin actually asks is "Is she one of the family?" - and another dialogue notation in DC's as well as in Grayson's script is adding "Yes, it is" to Carlotta's dialogue, though what Carlotta actually says is "Yes, she is. She's Angelique Collins", and I love how she spells the year out completely by saying "She died in Eighteen Hundred and Ten" - ...
... Quentin isn't actually at the portrait of Angelique before he asks if she's one of the family because he smiles, nods toward it, and begins walking toward it just before he asks - and DC's script has a notation that Quentin is next to it when he asks, but in the film we don't actually see Quentin when he asks because he's off screen with, as can be seen in yesterday's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0828NoDS_0.jpg)
- a shot of only the portrait on screen - and similarly, even though DC has a notation that Carlotta will be shot in close-up while she explains about the portrait, as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0829NoDS_0.jpg)
- what's on screen is a tight shot of Angelique's face in the portrait - and DC's script also has a notation that after Carlotta indicates the woman in the portrait is a member of the family, Carlotta will hold the rest of her lines until Quentin gets to the portrait - but while there is a slight pause in the way Carlotta delivers her lines, given that it's only the portrait that's seen on screen, we obviously have no idea if Quentin is at the portrait or not - and Grayson's script has a notation about the locket Carlotta is wearing, and as can be seen in the following capture (which is cropped and enlarged from the actual moment on screen) -
(http://www.dsboards.com/NoDSquoteimages/0126ds91_a.jpg)
- Carlotta is indeed toying with it (though no one has yet to know the significance of that act) - and Grayson's script also has a notation that Carlotta is "enjoying" Quentin and Tracy's reactions to the portrait, and as can also be seen in the above capture, that's certainly the case (but again, with no one yet knowing the significance of that (nor the significance of the vase of yellow daffodils under the portrait)) - and DC's last notation on this bit of the script says that Tracy crosses to the portrait, however, she doesn't actually because, as can also be seen in the above capture, she's simply turned to look at it while standing in the same spot in the room that she's been in since Scene 33 started.
...
Quentin stares at it. Tracy moves to the window.
|
And that's when today's quote -
Page 11/Scene 33 - Tracy: 'Every room I've been in, I've kept thinking - oh, this is where I'll spend most of my time. But this is it! The view's incredible.'
- comes up, followed by the script continuing with:
CARLOTTA
I've prepared a salad for supper.
Shall I serve it here?
33 CONTD CONTD 33
TRACY
Oh, yes - would you?
Quentin stares at it. ...
|
And yes, while 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, both DC's and Grayson's scripts have some notations that we'll get into below.
... - and the notation in Grayson's script is that she crosses out the word "supper" in Carlotta's dialogue and replaces it with "dinner," as in "I've prepared a salad for dinner" - ...
And so far as any differences in the directions and descriptions go, DC's script has a notation that Tracy's lines about the Gallery being her favorite room begin "on the cross," and while that's technically true, in the film she doesn't actually cross to any window because what she does do, as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0830NoDS_0.jpg)
- is cross to a nearby table, pick up a book ..., and delivers her lines - however, the "The view is really incredible" part of it is delivered off screen because, as we can see in the following capture, what we actually see on screen is that the camera trucks in on -
(http://www.dsboards.com/NoDSquoteimages/0127ds91_a.jpg)
(http://www.dsboards.com/NoDSquoteimages/0127ds91_b.jpg)
(http://www.dsboards.com/NoDSquoteimages/0127ds91_c.jpg)
- an extreme close-up of Quentin as he stares at Angelique's portrait as if mesmerized by it (the view that's captured him is obviously not the one outside [snow_wink]) - and what's interesting about the shot of Quentin remaining on screen for the duration of everything else that follows in the parts of the Scene 33 that are covered in this post, DC's script actually contains a notation that Tracy is supposed to turn from the window to Carlotta and then cross to the table as she answers Carlotta regarding serving the salad, but obviously none of that is seen on screen, plus the last we see Tracy before Quentin's close-up, she's already standing at the table (and as we'll see from a capture for the next post, she'll still be standing there).
...
Carlotta smiles and nods. She EXITS as Quentin
crosses to the window where he stands for a moment
looking out at the sunset.
|
And that's when today's quote -
Page 12/Scene 33 - Quentin: 'You know...I have a felling that I'll do better work here than I've ever done before...look at the color of that sunset!'
- comes up...
...
And yes, while 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, once again DC's script has a notation that we'll get into below.
...
- Carlotta does give a look in Quentin's direction before she leaves (because, after all, for Carlotta the scene is all about Quentin) and she gives a little smile to herself as she turns to leave, no doubt because as she leaves the camera pans back to Quentin to show that he's still looking at Angelique's portrait - and even though DC's script has a notation that indicates that as Quentin is starting to look out the window at the sunset, Tracy is supposed to reach the table and to start to leaf through a book, that is never seen here because 1) the camera remains on Quentin throughout that portion of Scene 33, and 2) and more importantly, last time we got into that she already did much of that as she told Carlotta how much she liked the Gallery ...
...
-
Revisiting a very rare still associated with Scene 33:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery11-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery11-1.jpg) for a 1670742 version)
- and last time around I didn't share it because I completely forgot I have it. To my knowledge it was only officially published once and that was in TV Star Parade.
And once again we get a still that is different from how the scene is shot in the film:- As can be seen in the following screen caps, at no point in the film do Kate Jackson, David Selby and Grayson Hall appear lined up in the order that they do in the still.
(http://www.dsboards.com/NoDSquoteimages/0122ds91_a.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0825NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0826NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0827NoDS_0.jpg)
- Quentin wears his jacket in the still yet, quite obviously, he throws it over his shoulder in the actual scene.
- Carlotta caresses the locket in the still, yet she never does so in this section of the actual scene.
- And Carlotta raises her right, not her left arm.
...
[nods]
-
When it comes to the subtitles and the closed captioning for Scene 33:
Soon after things switch to the Gallery, Quentin remarks an unscripted "Quite a collection" - and the subtitles reflect that perfectly -
(http://www.dsboards.com/NoDSAnniQuoteImages/Painter_Blu-ray_frame_00108.jpg)
- though the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Painter_VHS_frame_00083.jpg)
- adding "It's," which Quentin doesn't actually say - and after Quentin has taken a better look at the art and before he observes, "I've got a feeling my ancestors wouldn't have bought my work," he gives a small chortle - and while the reworked scripted line is acknowledged perfectly by both the subtitles and the closed captioning, that sound isn't - and before Tracy informs Carlotta, "Quentin's paintings are very abstract," she gives a slight laugh - and while her somewhat reworked scripted line is acknowledged perfectly by both the subtitles and the closed captioning, her slight laugh isn't (though interestingly enough that won't completely be the case in an upcoming moment - but more on that then) - and as the closed captioning shows, Carlotta responds to Tracy's info with an unscripted
(http://www.dsboards.com/NoDSAnniQuoteImages/Painter_VHS_frame_00726.jpg)
- as does the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Painter_Blu-ray_frame_00766.jpg)
- though at the same time they also include Carlotta's scripted line.
...
... And I still find this interesting -
...
... Though it's interesting that rather than add, "You're a painter," to her script, Grayson added Carlotta's remark as "Oh you paint?". ...
More to come...
[nods]
-
I want to get into something regarding the Blu-ray/DVD and VHS/Laser versions of the film that may only be an issue that I not only find interesting but also puzzling. Specifically, it's something about the transfers. Over the course of working to get screen captures and videos of the film I've noticed that whereas, unless there's an actual crossfade transition from one scene to another, as there is from Scene 28 to Scene 29, that's supposed to be apparent because it's seen by the audience, when it comes to the Blu-ray/DVD transfers most scenes lead directly from one scene to the next without any sort of transition effect, but that's not quite the case with the VHS/Laser transfers. When it comes to the VHS/Laser, regardless of whether there's a transition effect between scenes, there's seemingly always at least one frame that contains aspects of each scene.
A transitional frame between scenes is one thing, but as I was working on getting the next batch of subtitles/closed captioning screen captures for Scene 33, I discovered a transitional frame within the scene between camera angles and it's the only transitional frame in the scene that occurs between camera angles, which seems to make it even more puzzling than the ones that occur between scenes:
Blu-ray:
Laser:
Although, when it comes to this instance, there may be some sort of an explanation because the shot of Angelique's portrait would be considered an insert shot, whereas there are no other transitions from insert shots to regular shots within Scene 33. Though why no transitional frame was created when things went from a regular shot to the insert shot, but only from the insert shot back to a regular shot, is anyone's guess.
Yet more puzzling questions...
But switching to another subject, in the above videos you may have noticed another example of how off the color is when it comes to the VHS/Laser version of the film compared to the Blu-ray/DVD version. Previously I'd shared this -
And one final thing while we're still on the subject of Scene 85 and before I get back to posting about Scene 185, I've often lamented about how I can barely stand to look at the VHS now that I've seen the color corrected Blu-ray version of the film, but perhaps no scene shows how off the VHS is than Scene 85. I mean, just look:
VHS:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower_color-1.jpg)
Blu-ray:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower_color-2.jpg)
- and now we have this -
Laser:
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery_color-1.jpg)
Blu-ray:
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery_color-2.jpg)
- the lamp shade is practically white on the VHS/Laser rather than the vibrant pink that it should be - and the daffodils are an odd orange on the VHS/Laser rather than the yellow that they should be...
[nods]
-
Continuing with the subtitles and the closed captioning for Scene 33:
After Quentin walks over to the portrait of a woman and asks if she's one of the family and Carlotta has informed him that she is, her name is Angelique Collins and she died in eighteen hundred and ten, Tracy's scripted response is added to as "Well, she's beautiful, isn't she?" - but the subtitles and the closed captioning both have it as -
(http://www.dsboards.com/NoDSAnniQuoteImages/Painter_Blu-ray_frame_01197.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Painter_VHS_frame_01161.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Painter_VHS_frame_01201.jpg)
More to come...
[nods]
-
Continuing with the subtitles and the closed captioning for Scene 33:
After Tracy tells Carlotta that the Gallery is her favorite room and that the view is incredible, and after Quentin stares at the portrait as Carlotta informs that she's prepared a salad and asks if she should serve it in the Gallery, Tracy's scripted response is added to as "Uh, well, yes, would you." - but neither the subtitles nor the closed captioning acknowledge the "Uh" - and then after Carlotta exits and Quentin begins to turn away from the portrait, Tracy gives a slight unscripted laugh, which the closed captioning acknowledges -
(http://www.dsboards.com/NoDSAnniQuoteImages/Painter_VHS_frame_02003.jpg)
- but the subtitles do not - and as Quentin begins to look toward the window, both the subtitles and the closed captioning acknowledge that Tracy begins a remark with an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Painter_Blu-ray_frame_02088.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Painter_VHS_frame_02053.jpg)
- and then both the subtitles and the closed captioning acknowledges that Tracy adds an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Painter_Blu-ray_frame_02164.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Painter_VHS_frame_02157.jpg)
End of scene - but more to come with regard to the sequence...
[nods]
-
Revisiting how Scenes 34 & 35 are scripted:
...
34 EXT - COLLINWOOD GROUNDS - QUENTIN'S P.O.V. - 34
EVENING
The sky is a magnificent canvas of colors, in
the F.G. is a large tree with huge spreading
limbs. HOLD on this for a moment and then
CUT TO:
35 EXT - COLLINWOOD GROUNDS - 1810 - QUENTIN'S 35
P.O.V.
SUBCONSCIOUS MEMORY CUT
For an instant the view from the window suddenly
takes on a completely different look. The picture
is now almost devoid of color with a kind of milky
look that makes it seem unreal. It is almost dark
and a heavy ground fog swirls and eddies about.
Suddenly, we notice that a figure of some kind
seems to be hanging from a branch high up in a
tree. FAST ZOOM IN. It is the figure of a woman
in a long dress, a rope around her neck, The
figure is no more that a bleak silhouette so
that it is impossible to tell what she looks like.
TRACY (O.S.)
It's almost like living in a
museum. Isn't it?
|
End of scene. Though there's more to the sequence...
... 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 ...
...
...and while it could possibly be late enough in the day to be close to sunset, the sunset as described in the script is not what Quentin sees when he looks out the window because what he actually sees, as can be seen in the next capture -
(http://www.dsboards.com/NoDSquoteimages/0128ds91_b.jpg)
- is an overcast view (remember, it was raining when they arrived) with some spring-flowing trees in bloom and other trees getting their green leaves - and when things change over to the 1810 memory, things may not be in as sharp a contrast as they would be had Quentin seen the sunset as described, but as can be seen in this next capture -
(http://www.dsboards.com/NoDSquoteimages/0128ds91_c.jpg)
- the 1810 memory is certainly of a decidedly bleak scene and as the script indicates, "almost devoid of color" - and it's interesting that after the camera does zoom in on the figure in the tree -
(http://www.dsboards.com/NoDSquoteimages/0128ds91_d.jpg)
- one can tell that it's a woman (thanks mostly to the hair and style of shoes), but what's more interesting is that there are a few publicity stills for the film that depict a much more discernible figure of a woman hanging in the tree (http://www.dsboards.com/NoDSquoteimages/Ang_Hang.jpg) (one of which was obviously used as a basis for the A version of the NoDS poster (http://www.dsboards.com/NoDSquoteimages/A_Poster.jpg) ... - and a final point is that the dialogue that is scripted for Tracy at the end of Scene 35 is actually delivered off screen over a shot of Quentin at the end of Scene 34 just before the cut to the 1810 memory.
-
Moving on to the subtitles and the closed captioning for Scenes 34 & 35:
As scripted, Scene 34 doesn't include any dialogue, however, it does so in the actual film - to start off with, a line of dialogue scripted for Tracy as part of upcoming Scene 38 and possibly even shot as part of that scene is reworked a bit and inserted into Scene 34 - and both the subtitles and the closed captioning reflect that correctly -
(http://www.dsboards.com/NoDSAnniQuoteImages/Better_Work_Blu-ray_frame_00070.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Better_Work_VHS_frame_00036.jpg)
- and following that a reworking of lines scripted for Quentin for Scene 33 come up - and the subtitles acknowledge them correctly -
(http://www.dsboards.com/NoDSAnniQuoteImages/Better_Work_Blu-ray_frame_00205.jpg)
- but the closed captioning has things as -
(http://www.dsboards.com/NoDSAnniQuoteImages/Better_Work_VHS_frame_00182.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Better_Work_VHS_frame_00257.jpg)
- dropping "I've got a feeling," of course changing "I'm gonna do" to" I'm going to do" ([easter_rolleyes]), and also dropping "in my life."
More to come...
[nods]
-
And wrapping up the subtitles and the closed captioning for Scenes 34 & 35:
In a continuation of taking lines from other scenes and sticking them in Scene 34, a line scripted for Tracy for Scene 35 comes up next before the switch to the 1810 Subconscious Memory Cut - and the subtitles reflect that correctly -
(http://www.dsboards.com/NoDSAnniQuoteImages/Better_Work_Blu-ray_frame_00333.jpg)
- but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Better_Work_VHS_frame_00325.jpg)
- with the "almost" and "isn't it?" parts missing.
[nods]
-
Revisiting how Scenes 36 through 39 are scripted:
...
36 QUENTIN - CLOSE-UP (NORMAL COLOR) - 1971 36
Oblivious to Tracy, he stares out the window.
TRACY (O.S.)
Quentin?
37 EXT - GROUNDS - 1971 - QUENTIN'S P.O.V. - 37
NORMAL COLOR
It is back to normal again - no fog, no body in
the tree.
38 TRACY - MEDIUM ANGLE 38
PAN WITH HER as she crosses to Quentin.
|
And that's when today's quote -
Page 13/Scene 38 - Tracy: 'Darling, what's wrong? What are you thinking about?'
- 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 - and there also aren't any notations in either script for what's covered in this post.
...
And so far as the directions and descriptions go, the only things that are different in the film is that Quentin actually does some unscripted blinking of his eyes in Scene 36 before we see in Scene 37 that things are back to normal - and ... we don't pan with Tracy after she asks Quentin what's the matter because after that we immediately see Quentin and Tracy actually comes to him from behind him.
...
Suddenly, Quentin realizes she is next to him.
|
And that's when yesterday's quote -
Page 13/Scene 38 - Quentin: 'What? (turns to her) Oh, I don't know. Just ... daydreaming I guess.'
- comes up, followed by the script continuing with:
He frowns as they both look out the window.
TRACY
It's so beautiful.
39 HIGH ANGLE 39
as Carlotta ENTERS with the tray. Tracy crosses
to the table, Quentin still stands at the window.
QUENTIN - CLOSE-UP
He is still trying to understand what it was he
saw.
|
And that's when today's quote -
Page 13/Scene 39 - Tracy (O.S.): 'Come on, darling ... it looks delicious.'
- comes up.
End of scene and sequence.
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, however, there are notations in both scripts that we'll get into below...
And so far any differences in the dialogue go, ... - and while Carlotta's return to the room doesn't actually take place in the film as it currently stands, Grayson Hall has a notation in her script that when Carlotta returns she says "I brought some white wine. I hope you like it", and what's very interesting about that is that unlike in any other version of NoDS, in the one that's available on Amazon, during Quentin's final close-up we actually do hear Carlotta say "I brought some" before she gets cut off by the effect of the film moving to Scene 40 - and ... Tracy's quoted off screen line also does not appear in the film as it currently stands (however, all of this missing stuff is part of the recovered footage).
And so far as the directions and descriptions go, as I've already pretty much noted, we don't see Carlotta enter with the tray or Tracy cross to the table because all that remains in the film from Scene 39 is Quentin's close-up. And speaking of that close-up, DC has a notation in his script that Quentin's close-up is "full face", which I suppose is the way it appears to be. And getting back to Grayson's script, she has a notation that Carlotta should start to serve, and the notation does go on a bit from there, but, unfortunately, it's hard to decipher all of her handwriting, so we'll leave it at that.
Actually, what Grayson wrote is "I should start to serve - I stop her with a look that she's useless" - whoa, already from day one could Carlotta be less impressed with Tracy or what?!
[nods]
-
Moving on to the subtitles and the closed captioning for Scene 36 and into 38, or lack thereof:
Tracy's dialogue for, Scene 36 is actually moved to Scene 37, as is reflected by both the subtitles and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Daydreaming_Blu-ray_frame_00077.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Daydreaming_VHS_frame_00049.jpg)
- and Scene 38 begins with a shot of Tracy where she delivers an unscripted piece of dialogue that's again reflected by both the subtitles and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Daydreaming_Blu-ray_frame_00134.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Daydreaming_VHS_frame_00133.jpg)
- after which the shot switches to Quentin and Tracy comes up behind him and delivers her scripted line exactly.
More to come...
[nods]
-
Finishing off Scene 38 and moving on to Scene 39 to complete the sequence:
After Tracy asks Quentin what's wrong and what he's thinking about, as the script indicates Quentin suddenly realizes Tracy is next to him and he really only mouths the "What?" part of his scripted lines and what he actually does say is "Nothing ... I was just daydreaming, I guess." - and both the subtitles and the closed captioning reflect that perfectly - and near the end of Quentin's delivery Tracy sighs at his explanation - however, neither the subtitles nor the closed captioning acknowledges that - and Tracy's scripted line about how the view is so beautiful isn't delivered because, as I've already mentioned, it was moved to Scene 33 - and while Carlotta's return to the room doesn't actually take place in the film as it currently stands and while we do not hear the entirety of her unscripted line, "I brought some white wine. I hope you like it," in any other than the 129 minute version, part of it is heard in the version of the film available on Amazon Prime Video and iTunes - and the subtitles for the Amazon version do indeed acknowledge that -
(http://www.dsboards.com/NoDSAnniQuoteImages/Daydreaming_Amazon_frame_00586.jpg)
- and while we're on the subject of the Amazon Prime Video version, let's revisit a clip I'd made featuring what we do hear of Carlotta's line -
...
...
- and as is obvious given today's graphic for today's quote, Tracy's quoted off screen line encouraging Quentin to come over because everything looks delicious doesn't appear in any version of the film as it currently stands, however, it also does appear in the recovered footage...
[nods]
-
While still catching up on entertainment news, I just came across this surprising article:
TV Subtitles Are Used Most Often by Adults Age 18-29 — What Are Your ‘Must-Read’ Shows? (https://tvline.com/news/tv-subtitles-reasons-why-dialogue-hard-to-hear-1235029928/)
Truthfully, I never used subtitles or closed captioning (which is one of the reasons I find so much of what I'm discovering while exploring them for NoDS to be fascinating). But apparently I fall into the age group that seems to use them the least when one might think it would be the group that would use them most. To learn that 18-29-year-olds are actually the ones who use them most is quite shocking, at least to me...
[nods]
-
Another post worth revisiting:
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 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery12-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery12-1.jpg) 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 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery12-1a.jpg)
- 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...
...
[nods]
-
Revisiting how Scene 40 is scripted:
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 -
(http://www.dsboards.com/NoDSAnniQuoteImages/0905NoDS_0.jpg)
- 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 -
(http://www.dsboards.com/NoDSAnniQuoteImages/0906NoDS_0.jpg)
- 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...
...
[nods]
-
Moving on to the subtitles and the closed captioning for Scene 40:
At the outset of the scene, Tracy actually says, "Well, I think we're very naughty. We should have at least tried to call the Jenkins." - however, the subtitles has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Come_Home_Blu-ray_frame_00082.jpg)
- with "at least" dropped - and the closed captioning drops even more because it has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Come_Home_VHS_frame_00042.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Come_Home_VHS_frame_00090.jpg)
- with not only "at least" dropped but also "Well, I think"- and after Quentin replies they'll understand, he shuts off lights and undresses, and gets into bed, Quentin actually asks, "Are you gonna be happy here?" - and the subtitles reflect that - however, as per usual with its dislike of "gonna," the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Come_Home_VHS_frame_01310.jpg)
- interestingly enough, though, the line is scripted with "going to" rather than "gonna" - and after Tracy actually replies with "Well, I think I am, if you are...," in what is as clear as day on the VHS/Laser, Quentin then delivers an unscripted "I guess I will be." - and the closed captioning reflects that perfectly -
(http://www.dsboards.com/NoDSAnniQuoteImages/Come_Home_VHS_frame_01506.jpg)
- but for some very odd reason, the subtitles for the DVD/Blu-ray releases and the HD version on Amazon Prime Video and iTunes have Quentin saying -
(http://www.dsboards.com/NoDSAnniQuoteImages/Come_Home_Blu-ray_frame_01528.jpg)
More to come...
[nods]
-
Wrapping up the subtitles and the closed captioning for Scene 40:
After a bit of cuddling, Quentin puts his right hand behind his head and actually starts to say, "I don't know why..." - and both the subtitles and the closed captioning acknowledge that perfectly - but to that Tracy responds with an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Come_Home_VHS_frame_02216.jpg)
- but only the closed captioning acknowledges it - and then Quentin continues by actually saying, "I almost feel like I've come home again" - and both the subtitles and the closed captioning also acknowledge that perfectly - and to that Tracy replies with an unscripted "Well, that's good." - and again both the subtitles and the closed captioning acknowledge that perfectly -
(http://www.dsboards.com/NoDSAnniQuoteImages/Come_Home_Blu-ray_frame_02434.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Come_Home_VHS_frame_02412.jpg)
End of scene.
[nods]
-
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...
Considering how much regard Carlotta has for Tracy, I wouldn't have been surprised to see her bring Tracy's salad in on a TV tray.
-
Revisiting how Scenes 41 through 45 are scripted:
...
DISSOLVE TO:
41 EXT - FRONT OF COLLINWOOD - NIGHT - WIDE ANGLE 41
It is much later. The house is completely dark.
The only sound is the GENTLE MOANING OF THE WIND.
Suddenly the strange light we saw in the opening
sequence begins to emanate from the Tower Room.
CAMERA starts a SLOW ZOOM IN
42 INT - MASTER BEDROOM - NIGHT 42
Quentin and Tracy are asleep. The curtains billow
gently at the windows. CAMERA STARTS A SLOW TRUCK
IN on Quentin as he begins to stir restlessly in
his sleep. Finally he rolls over on his back. His
eyes are wide open and he seems to be listening
intently to some unheard sound. Slowly he starts
to rise from the bed as CAMERA TRUCKS back revealing
Tracy still sound asleep. Quentin, now out of the
bed and moving as if in a trance, puts on his robe
and quietly EXITS the room.
43 INT - CORRIDOR - OUTSIDE MASTER BEDROOM - LOW 43
ANGLE
as Quentin ENTERS the shot PAN with him as he
starts toward the stairway to the third floor.
44 EXT - COLLINWOOD - NIGHT 44
SHOT favors the windows of the Tower Room, they
still glow faintly from the light within.
HOLD on this for a moment as Quentin suddenly
appears near the windows and then moves out of
44 CONTD CONTD 44
sight toward another part of the room. RACK
FOCUS to EXTREME CLOSE-UP of Gerard, who has
been standing there watching, his eyes blazing
with hatred.
DISSOLVE TO:
45 INT - MASTER BEDROOM - NIGHT 45
Tracy, alone in the bed, stirs, half awake. She
reaches out for Quentin, awakens a little more,
sees he is gone. Then she falls back to sleep.
|
End of scene - though not end of sequence as it will pick up in tomorrow's post with the morning after...
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...
...
...unlike how the script indicates that the end of Scene 40 dissolves into the beginning of Scene 41, in the film it's actually a simple cut to a shot -
(http://www.dsboards.com/NoDSquoteimages/0204ds91_a.jpg)
- of the front of Collinwood - and the shot does not show any light in the tower room, nor does the shot zoom in - however, in one of the trailers for the film there is a shot of the back Collinwood that zooms in to a light moving in the tower room -
- so it's quite possible that is the shot that was originally intended to be Scene 41 - and DC has a notation on his script that he wanted Scene 45 to come before the section of Scene 44 that deals with Gerard.
And as we know, Scenes 42 through 45 do not appear in the film as it stands. Due to MGM's demanded cuts, they are replaced by a dream sequence that's made up of Scene 126 (though audio only from some of the dialogue from that scene), Scene 145 & 146, and Scenes 101 through 103 (though in Grayson's script part of Scene 101 was originally Scene 67 before a 3/31 rewrite - but more on that when we get to that part of the script).
[nods]
-
Considering how much regard Carlotta has for Tracy, I wouldn't have been surprised to see her bring Tracy's salad in on a TV tray.
[stfl] I suspect you may be on to something there!! [b003] It never occurred to me, but it would definitely solve the problem of the table possibly being too small!! [thumb]
Maybe one day we actually will see how the salad gets served - well, if DC shows it and doesn't stay on the shot of Quetin for the whole end of the scene. But if DC did do the latter, in my mind I will always picture Carlotta having brought in Tracy's salad on a TV tray!! [nodassent]
[nods]
-
Caption This! - Night of Dark Shadows / Re: Night of Dark Shadows Scene 39
-
I think that Carlotta had thought she could get away with it, she would have "accidentally" served Tracy food that would have gone to Brutus and Tar.
-
With regard to Scenes 41 through 45, Darren Gross posted on his Restoration Web site:
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
EXT- FRONT OF COLLINWOOD-NIGHT. The Tower begins to glow. INT. MASTER BEDROOM- Quentin rises in a trance and leaves. INT. CORRIDOR-NIGHT. Quentin walks towards stairway. EXT.COLLINWOOD-NIGHT. Quentin appears in tower window. GERARD watches.
INT.MASTER BEDROOM – NIGHT. Tracy wakes, sees Quentin gone, goes back to sleep.
[nods]
-
As we know, as NoDS currently stands, what replaces Scenes 41 through 45 is an amalgam of things taken from what were originally intended to be other parts of the film and turned into a dream. The sequence is made up of Scene 126 (though audio only from some of the dialogue from that scene), Scenes 145 & 146, and Scenes 101 through 103 (though in Grayson's script part of Scene 101 was originally Scene 67 before a 3/31 rewrite - but more on that when we get to that part of the script).
One of the things that I think is most effective in the dream sequence is Strack's echoing voiceover at the dream's start. Now, we know that after the enforced marathon edit, David Selby was called in to loop a voiceover for the scene in which Quentin, Tracy, Claire and Alex try to find a way into the house after Gerard gets his comeuppance. And Darren Gross has written that John Karlen also did some looping to make things clearer, though he doesn't say what Karlen did and I've never been able to discern on my own what it might be. But I've often wondered if Thayer David was also called in to loop Strack's dream voiceover? Even apart from the echoing effect, it's different from how Strack's condemnation plays during the actual hanging:
The dream:
STRACK
Angelique Collins, you have been
condemned as a witch and you must
die as a witch. Let your soul be
returned to the pits of darkness
forevermore. For thou knowest we
do what we must for thy sake, in
thy name. Amen. Prepare yourself
for eternity, witch. Let the devil take
his own!
The hanging (edited down to being more similar to the dream voiceover):
STRACK
Angelique Collins, you have been
condemned as a witch and you must
die. But your spirit will not live after
you for your earthly remains will
hang her until your spirit returns to
the pits of darkness forevermore.
...
For thou knowest that we do what we
must for thy sake, in thy name.
Amen. Prepare yourself for eternity,
witch. Let the devil take his own!
Interestingly enough, the "Angelique Collins, you have been condemned as a witch and you must die as a witch. Let your soul be returned to the pits of darkness forevermore" part of the dream's voice over is the way it's written in the script for the hanging, but it's actually delivered as "Angelique Collins, you have been condemned as a witch and you must die. But your spirit will not live after you for your earthly remains will hang her until your spirit returns to the pits of darkness forevermore."
And unfortunately, if Darren has shown what actually plays in the 129 minute version in the place that the dream currently appears - if it is indeed the dream or some portion thereof - I'm not sure because I'm pretty certain I've never seen it if it was shown because I would remember because it's a big question I have regarding the 129 minute version...
[nods]
-
It would have been interesting to see how Jerry Lacy would have chewed that, er, played that scene.
-
Starting to deal with the subtitles and the closed captioning for Strack's dream voiceover:
Both the subtitles and the closed captioning has the beginning perfect -
(http://www.dsboards.com/NoDSAnniQuoteImages/Strack_Condemns_Dream_Blu-ray_frame_00868.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Strack_Condemns_Dream_VHS_frame_00842.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Strack_Condemns_Dream_VHS_frame_00925.jpg)
- though when it comes to the next bit, the subtitles have it perfect -
(http://www.dsboards.com/NoDSAnniQuoteImages/Strack_Condemns_Dream_Blu-ray_frame_01033.jpg)
- but the closed captioning does not -
(http://www.dsboards.com/NoDSAnniQuoteImages/Strack_Condemns_Dream_VHS_frame_01012.jpg)
- with the "as a witch" part dropped - and as I mentioned in Reply #1211, interestingly enough, the way the closed captioning has it is the way it plays in the actual hanging scene.
(And yet more examples of how the colors are off in the VHS/laser version.)
More to come...
[nods]
-
Continuing with the subtitles and the closed captioning for Strack's dream voiceover:
Next the voiceover says -
(http://www.dsboards.com/NoDSAnniQuoteImages/Strack_Condemns_Dream_Blu-ray_frame_01158.jpg)
- which the subtitles get correctly - but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Strack_Condemns_Dream_VHS_frame_01110.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Strack_Condemns_Dream_VHS_frame_01186.jpg)
- with "return" rather than "be returned" - and that is followed perfectly in both the subtitles and the closed captioning by -
(http://www.dsboards.com/NoDSAnniQuoteImages/Strack_Condemns_Dream_Blu-ray_frame_01270.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Strack_Condemns_Dream_Blu-ray_frame_01405.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Strack_Condemns_Dream_VHS_frame_01280.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Strack_Condemns_Dream_VHS_frame_01383.jpg)
- and who knows why "Amen" is pronounced with a soft A sound here, yet a hard A sound in the actual hanging scene? But there's probably some thinking behind it...
More to come...
[nods]
-
Concluding the subtitles and the closed captioning for Strack's dream voiceover:
Picking up where we left off, the closed captioning have the next bit correct -
(http://www.dsboards.com/NoDSAnniQuoteImages/Strack_Condemns_Dream_VHS_frame_01560.jpg)
- but for some strange reason the subtitles add -
(http://www.dsboards.com/NoDSAnniQuoteImages/Strack_Condemns_Dream_Blu-ray_frame_01571.jpg)
- the word "the" - and when it comes to the last bit, once again the closed captioning gets it correct -
(http://www.dsboards.com/NoDSAnniQuoteImages/Strack_Condemns_Dream_VHS_frame_01757.jpg)
- but the subtitles are way off -
(http://www.dsboards.com/NoDSAnniQuoteImages/Strack_Condemns_Dream_Blu-ray_frame_01777.jpg)]
[easter_huh]
End of voiceover.
[nods]
-
I forgot to mention that the transitions from Scene 40 to the establshing shot of Collinwood in darkness at night to Quentin and Tracy asleep later don't both happen on the VHS/Laser in the way I was expecting. The first transition does indeed create a transitional frame. But when it comes to the transition from Collinwood to Quentin and Tracy no transitional frame is created.
An even yet more puzzling question...
But I think I'm just going to ignore these things from now on because who knows what rhyme or reason is behind them, and I doubt I'm going to figure out what it is, especially when there's seemingly no consistency...
Changing the subject:
I think that Carlotta had thought she could get away with it, she would have "accidentally" served Tracy food that would have gone to Brutus and Tar.
[stfl] I can so see that!! [b003]
And changing the subject again:
It would have been interesting to see how Jerry Lacy would have chewed that, er, played that scene.
Indeed!
Though a part of me can't picture anyone other than Thayer David as the "good Reverend" (as Gabriel refers to him)...
[nods]
-
If Jerry Lacy had been playing the part, maybe Christopher Pennock would have delivered the "good reverend" line with a soupcon of sarcasm.
-
Everything else about the dream sequences comes up in future sections of the script and will be dealt with then. So, we move on to revisiting how Scene 46 is scripted:
...
CUT TO:
46 INT - MASTER BEDROOM - DAY 46
It is the following morning. Quentin is still
asleep. Tracy has just finished dressing and
now stands looking down at him. She smiles,
leans over, kisses him lightly.
TRACY
Quentin ...
He barely stirs.
Come on. It's your first day
here. Are you going to sleep
it away?
Still no response. She shakes him, still smiling.
Finally, he turns on his back, opens his eyes.
He stares at her, unsmiling, almost as if he didn't
remember her.
TRACY
Good morning!
At last Quentin smiles, reaches over and touches
her.
|
And that's when today's quote -
Page 15/Scene 46 - Quentin: 'Hi...wake me in two hours. I'm beat.'
- comes up.
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...
And when it comes to any differences in the dialogue, we have no way of knowing at this point because the scene is not in the film as it currently stands.
And so far as any differences in the directions and descriptions go, again, we have no way of knowing at this point. However, there is a notation in DC's script that the scene would open on Tracy's face and then pan down with her.
...
Picking up where we left off with Scene 46:
He yawns, starts to turn over again. She stops
him with a kiss.
|
And that's when yesterday's quote -
Page 15/Scene 46 - Tracy: 'Serves you right for wandering around last night without me.'
- comes up, followed by the script continuing with:
46 CONTD CONTD 46
QUENTIN
For doing what?
TRACY
I woke up and you weren't here.
QUENTIN
You imagined it.
|
And that's when today's quote -
Page 16/Scene 46 - Tracy: 'We haven't been married that long. I know when you're not in my bed.'
- comes up.
...
Wrapping up Scene 46, beginning with yesterday's quote, Quentin's reply to Tracy:
Page 16/Scene 46 - Quentin: 'Well, I was and all night, dreaming very strange dreams.'
- which is followed by the script continuing with:
He struggles into a half-sitting position.
|
And that's when today's quote -
Page 16/Scene 46 - Tracy: 'I won't fight with you. Ever. Now get up.'
- comes up, followed in the script by:
She EXITS as the CAMERA TRUCKS IN TO HIS CLOSE-UP.
His eyes are very far away as he tries to remember
the "Dream".
|
End of scene.
...
[nods]
-
Another post worth revisiting:
When I'd put together the recent Scene 46 graphics -
(http://www.dsboards.com/NoDSAnniQuoteImages/0909NoDS_0.jpg)
- I used a slight crop of this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Morning1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Morning1.jpg) for a 700X532 version)
- rare still...
...
[nods]
-
Two more posts worth revisiting regarding Scene 46:
First up -
Here's a rare candid associated with Scene 46 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Morning2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Morning2.jpg) for a 700X874 version)
- and the thing I find most interesting about it is the prominent braid in Tracy's hair, and if you look closely, you can even see the braid in the still I shared in Reply #795. And the reason why I find that most interesting is, given it takes place on the same morning, it means that in the sequence that takes place over upcoming Scenes 47-50 Tracy must also have the braid, though in no other portion of the film does it appear. A whim on hairdresser Edith Tilles' part? Who knows...
The funny thing is that even if Darren Gross hadn't posted on his Restoration Web site that Scenes 46-50 were recovered -
A selection of scenes cut from the 129-minute version that have been recovered:
...
Tracy wakes Quentin after their first night at Collinwood. She tells him that she woke up in the middle of the night to find Quentin gone. Quentin has no memory of leaving the room and he pulls Tracy to him for a passionate kiss.
Tracy sees Gerard and his two Dobermans staring up at her as she drinks coffee in the Gallery. Carlotta tells her that the man is Gerard Stiles, the handyman as well as her nephew.
- I would know they had been because I saw them at the 2004 Tarrytown Fest (and even if I hadn't been there, I would know that at least Scene 46 had been recovered because, as some may recall, a member of the forum took a photo of that scene with their phone and posted it as part of their forum signature, but Darren made them remove it because it violated WB's copyright), but I can't honestly say I have any memory of there being a braid in Tracy's hair. But then, given the excitement that I was seeing recovered footage, I seriously doubt Tracy's hair was what I'd paid attention to...
Another interesting thing is that as far as I can recall, one of the very few times I've ever seen the still published was when it accompanied a question published in one of the daytime magazines (I don't remember which) during The Rookies years when someone asked if Gerald S. O'Loughlin (though they misspelled his name as O'Laughlin) and Kate were once on daytime television. And I seem to recall only one other time when it accompanied an article about Kate during those same years. But I'm too lazy right now to try to track down either...
...
I did actually track down the article this time around and I was a bit off as far as the year goes because it was published in 1977 near the end of the first season of Charlie's Angels. The article was part of a spread featuring articles about all three CA actresses.
(And going off on a complete tangent, Farrah Fawcett-Majors' article includes this quote from her then husband, Lee Majors: "As far as intelligence is concerned, it's way down on my list. If a girl doesn't appeal to me on the most basic of physical levels first - then I'll never be around her long enough to find out if she's intelligent." Wow - no wonder she divorced him. Though Lee Majors was hardly alone in that sort of thinking back then. Men who supported feminism, like Alan Alda, were few and far between. After all, the supposed male ideal was the excessive masculinity of the Marlboro Man...)
- and then -
One last thing about Scene 46:
Apparently I have a photo of another still associated with the scene and I didn't even realize it until today. Though to clarify, I did know I have it, but I didn't realize the still is different from the one I posted in Reply #796. I came across the photo of the still on a site on the Internet (that I've been unable to find again - perhaps the posting no longer exists?) and I saved a copy thinking it was the same still as I posted in Reply #796 but it simply showed more of the background. It wasn't until today when I came across it on my computer while looking for a still I want to post in association of Scene 50 that I realized that it's different. And here it is:
(http://www.dsboards.com/NoDSAnniQuoteImages/Morning3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Morning3.jpg) for a 700X560 version)
Possibly needless to say, to my knowledge it has never been officially published anywhere...
...
[nods]
-
[pointing-up] Oops, I forgot to mention that Kate Jackson offered that top photo as one you could get autographed through the Hollywood Show.
And yes, all right, I'll confess that I bought a copy. I even splurged for a personalized 11X14. And she also added an inscription that I didn't even ask for...
Now it sits beside my autographed Lara Parker NoDS photo.
[nods]
-
I got distracted and missed the deadline. Oh well. I ended up spending the money (and quite a bit more) on the deluxe edition of Nancy Sinatra's coffee table book One For Your Dreams.
-
[pointing-up] You might regret missing out on Kate, but something tells me you don't regret even one cent of what you spent on Nancy's book. [ghost_nowink] [ghost_grin]
-
You know me well! The book is definitely a quality item. It has a lenticular cover. It's signed and numbered. The pictures, many of which I've never seen before, are gorgeous. It even came with a pair of white gloves, to keep from staining the pages. Pomegranate Press will never come close to producing an item like this.
-
If Jerry Lacy had been playing the part, maybe Christopher Pennock would have delivered the "good reverend" line with a soupcon of sarcasm.
If Jerry Lacy played things the way he played 1795/96's Trask, I wouldn't be the least bit surprised if it might have affected how Pennock delivered some of Gabriel's lines. How could it not have? [easter_wink] [easter_cheesy]
[nods]
-
Oops #2 - I forgot to revisit this last time around, and I almost forgot to revisit it again:
...
And as a side note, the following line -
(http://www.dsboards.com/moviesquoteimages/0720NoDS_0.jpg)
NoDS: Scene #46 - Tracy: 'It's your first day here. Are you
going to sleep it away?'
- was included in the NoDS section of the Movies Quotes Slideshow because it's the entry for July 20th on the Fest's 1999 Movie Calendar of quotes.
Obviously it wasn't picked as a quote in the current slideshow...
[nods]
-
Revisiting how Scenes 47 through 50 are scripted:
...
47 INT - GALLERY - DAY - LOW WIDE ANGLE 47
Tracy stands near the window sipping a cup of
coffee as she leafs through an old book. CAMERA
starts a SLOW TRUCK IN ON HER. As we get closer,
we see that she senses something. She turns and
looks out the window.
48 EXT - GROUNDS - DAY - HER P.O.V. 48
Standing amongst the trees, staring up at her,
is Gerard. With him are two vicious-looking black
dogs, both straining at their leashes. ZOOM IN TO
HIS CLOSE-UP.
49 TRACY - CLOSE-UP 49
as she reacts and turns away from his gaze. It
is obvious that he has upset her.
|
End of scene.
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point.
And as for what might be different when it comes to the directions and descriptions, again, we have no way of knowing at this point because those scenes do not appear in the film as it currently stands.
Though thanks to Darren's Gross' Restoration Web site and the fact that he's shown them, we do know that they and the following scene have been recovered.
...
50 CARLOTTA - MEDIUM ANGLE 50
as she ENTERS the room carrying a tray with fresh
coffee she sees Tracy by the window.
50 CONTD CONTD 50
|
And that's when today's quote -
Page 17/Scene 50 - Carlotta: 'Is anything wrong, Mrs. Collins?'
- comes up.
... Grayson's script has extensive notes for this scene, and we'll get into all of them as the scene unfolds. But for now, the first notation is that Carlotta is happy because things are going so well.
...
Picking up where we left off, beginning with:
And that's when yesterday's quote -
Page 17/Scene 50 - Tracy: 'There's someone down there just staring up at me. Who is it, Carlotta?'
- comes up, followed by the script continuing with:
Carlotta puts down the tray and comes to Tracy.
TRUCK with her so that the two of them are framed
in the window. In the B.G. we can see that
Gerard is no longer there, but Tracy does not
know this since her back is to the window.
|
And that's when today's first quote -
Page 17/Scene 50 - Carlotta: 'There's no one there.'
- comes up, followed by the script continuing with:
And that's when today's second quote -
Page 17/Scene 50 - Tracy: 'There was a man. With two black dogs.'
- comes up.
...
... Carlotta's explanation:
Page 17/Scene 50 - Carlotta: 'Oh, Gerard. Gerard Stiles. My nephew. He's the caretaker-handyman. He keeps the horses, too. I don't know what I'd do without him.'
... Grayson's script has extensive notes for this portion of the scene. She writes that Carlotta should intimidate Tracy even though she's also wondering what Gerard has done and whether or not he will screw things up - Carlotta must also stop Tracy's curiosity and be short with Tracy - plus she should lead Tracy from the window, sit her down, and serve her her coffee.
...
And as for what might be different when it comes to the directions and descriptions, again, we have no way of knowing at this point because this scene doesn't appear in the film as it currently stands. But if Grayson's notes are an indication, if Carlotta actually sits Tracy down and serves her coffee, that would be different from what's in the script.
Also, I believe Carlotta's lines here are the only place in the script that we learn that Gerard is her nephew so, as the film stands now, that relationship is unknown. (Though many DS fans were probably aware of it before even seeing the film because it was mentioned in some of the publicity leading up to the release and possibly even after, as we'll see once some of that stuff gets posted...)
Wrapping up the current scene:
They look at each other for a moment.
TRACY
Oh - I see -- Well, it was just
that those dogs ...
|
And that's when today's quote -
Page 17/Scene 50 - Carlotta: 'Those dogs are very important to the security of the estate, madam ... now, is there anything I can get you?'
- comes up, followed by the script continuing with:
TRACY
(embarrassed)
Oh - no. Nothing. Everything
...Everything's just fine.
|
End of scene.
... in Grayson's script she writes that Carlotta has the subtext that she manages the estate so why does Tracy ask when she should leave it to Carlotta and Carlotta will take care of it. And with DC's script, he notes that when it comes to Tracy's last bits of dialogue, the camera is to pan to her as she looks away.
...
[nods]
-
A post relating to Scenes 47 through 50 that's worth revisiting
When I'd put together the recent Scene 50 graphics -
(http://www.dsboards.com/NoDSAnniQuoteImages/0914NoDS_0.jpg)
- I used a slight crop of this -
(http://www.dsboards.com/NoDSAnniQuoteImages/NODSDOGS-100dpi.JPG)
(Above) Gerard watches Tracy with his two doberman pinschers from under
the gallery window in a newly recovered scene from NIGHT OF DARK
SHADOWS. The dogs are played 'Flash Weiner' and 'Boy Powers.' (Photo
courtesy Captain Art Haggerty who was the animal handler and can be seen
as the bald henchman in the film.) |
- rare still that was shared on Darren Gross' Restoration Web site in the Photo Gallery section...
...
[nods]
-
Revisiting how Scene 51 is scripted:
...
51 INT - PANTRY - DAY 51
Gerard is filling a thermos of coffee from the
electric urn. Carlotta enters.
51 CONTD CONTD 51
|
And that's when today's quote -
Page 18/Scene 51 - Gerard: 'Do you know what happened last night? [She does not answer.] Do you?'
- comes up.
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point. However, once again Grayson's script has extensive notes for this scene, and once again we'll get into all of them as the scene unfolds. But for now, the first notations are that with this scene there's a big transition from the previous scene - here for Carlotta it's all about power and intent and desperation - and Carlotta's not answering Gerard's question at first is her way of angrily giving it to him.
And as for anything that's different with the dialogue, the only thing is that Gerard asks "Do you?" much more forcefully than the script might indicate.
And as for what's different when it comes to the directions and descriptions, Gerard fills his thermos from a pot of coffee, not from an electric urn - and Grayson adds the notation to her script that Carlotta enters "with tray + coffee".
And finally I do have to say that I love the expression on Carlotta's face in today's capture, and here's a closer look:
(http://www.dsboards.com/NoDSquoteimages/0215ds91_a.jpg)
Continuing with Scene 51, beginning with today's first quote -
Page 18/Scene 51 - Carlotta: 'Everything has changed now. You must accept-'
- coming up, followed by today's second quote -
Page 18/Scene 51 - Gerard (interrupting): 'I was good enough before he came, now...'
- coming up.
... for this section the next notations in Grayson's script say "other side" (and I'm not quite sure what that means), "no pretense", and "authoritative".
... And what's unfortunate about all this is that as the film currently stands, the audience doesn't have the vaguest clue as to what they're talking about. Not that everything would be clear with Scenes 41 through 44 in the film because there would still be quite a bit of mystery - but at least the audience would know that Quentin was drawn to the tower room, Gerard is aware of that because while he was outside the night before he saw Quentin pass by the tower room windows, and for some reason as yet unknown, Gerard reacted to that sight with blazing hatred.
And as for what's different with the directions and descriptions, Gerard doesn't actually cut Carlotta off.
And wrapping up Scene 51, beginning with today's quote -
Page 18/Scene 51 - Carlotta (snapping at him): 'Go to the stables. He will be down to ride soon. [Gerard is about to object.] I've told you things are different now.'
- coming up, followed by the script explaining:
She just looks at him. Finally, he turns and
slams his way out of the room.
|
... Grayson's script notation for this part says "On the edge of violence. Losing temper."
...
And as for what's different when it comes to the directions and descriptions, Gerard doesn't attempt to object in the middle of Carlotta's lines - and Gerard doesn't so much slam his way out of the room as he grabs his thermos and the cover and leaves - however, in an unscripted action, Carlotta carries the tray over to the counter and slams it down in anger and frustration. And I love her body language -
(http://www.dsboards.com/NoDSquoteimages/0217ds91_a.jpg)
- because there's no doubt as to who's in charge.
[nods]
-
Starting to deal with the subtitles and the closed captioning for Scene 51:
The closed captioning reflects Gerard's stuttered delivery of his first line -
(http://www.dsboards.com/NoDSAnniQuoteImages/Different_Now_VHS_frame_00301.jpg)
- whereas the subtitles do not -
(http://www.dsboards.com/NoDSAnniQuoteImages/Different_Now_Blu-ray_frame_00323.jpg)
- and after Gerard demands, "Do you?!" Carlotta explains that everything has changed and he must accept it - however, his somewhat stuttered comeback is, "I was good enough until he came around, Now..." - but for some reason the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Different_Now_Blu-ray_frame_00601.jpg)
- and the closed captioning completely drops the "Now..." part -
(http://www.dsboards.com/NoDSAnniQuoteImages/Different_Now_VHS_frame_00596.jpg)
More to come...
[nods]
-
Wrapping up the subtitles and the closed captioning for Scene 51:
Both the subtitles and the closed captioning acknowledge that Carlotta cuts off Gerard with an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Different_Now_Blu-ray_frame_00676.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Different_Now_VHS_frame_00675.jpg)
- and after Carlotta orders Gerard to go to the stables because Quentin will be there soon to ride, she reiterates, "I've told you that everything was different now." - however, both the subtitles and the closed captioning have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Different_Now_Blu-ray_frame_00929.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Different_Now_VHS_frame_00926.jpg)
[nods]
-
Carlotta certainly has an ... interesting ... wardrobe for a housekeeper!
And I've always wondered how close she came to damaging the silver and/or the countertop ... 😁
-
(Remembering the damage sustained by the floor in the first floor hallway during the filming of House. And which was pointed out once in a tour, I seem to recall.)
-
How often do I say that no matter how many times you see something there may still be new things to notice? Well, here's yet another example because I never noticed until this time around how elegant the lighting in Collinwood's (Lyndhurst's) Pantry isn't:
(http://www.dsboards.com/NoDSAnniQuoteImages/Different_Now_Blu-ray_frame_01179.jpg)
I mean, a bare bulb? Not even a shade of any sort? Could they spare the expense? Not to mention why in heaven's name do they need the room to be lighted by the unrestrained glare of a bare bulb?
Though one likely reason why I've finally noticed it is that the wider DVD/Blu-ray transfer shows much more of the light fixture than the VHS/Laser did:
(http://www.dsboards.com/NoDSAnniQuoteImages/Different_Now_VHS_frame_01210.jpg)
But why it took me all these years since the DVD/Blu-ray was released is anyone's guess. Well, except considering the main focus of my attention is usually on Gerard and Carlotta - plus before the fixture comes into view Gerard exits the room from the opposite side of where the light fixture hangs. All that plus the fixture is only on screen for about 2 seconds. (And actually, I wonder why DC even moved the camera because it's not like the move was necessary to show either Gerard exiting or Carlotta moving to the counter. But then ours is not to try to fathom DC's thinking...) Though in my defense this time around was the first time I broke the scene down into frames, which is something that makes it easier to pick the best frames for the subtitles and closed captioning, especially when it comes to the VHS/Laser because if the camera is moving, that part of a shot is likely to be blurred when it comes to that transfer.
[nods]
-
Wow, what an amazing detail, MB! I literally LOL'd even before I got to your words below the photo! 😄😆
-
Carlotta certainly has an ... interesting ... wardrobe for a housekeeper!
I can't remember where, but I seem to recall reading something (official - not just a post on the Internet) that said Grayson picked out or at least helped to pick out all of Carlotta's clothes.
And I've always wondered how close she came to damaging the silver and/or the countertop ... 😁
Let's hope not. But yeah, she does slam that try down forcefully...
[nods]
-
I don't recall where I read this now but Grayson rather gleefully described her NODS wardrobe as having no more goddam tweed.
-
Wow, what an amazing detail, MB! I literally LOL'd even before I got to your words below the photo! 😄😆
Yeah, it is funny in an I can't believe they (meaning Lyndhurst) left the light like that way - but it was also tacky. Who knows what the reason was? [easter_huh] [easter_rolleyes]
[nods]
-
Revisiting how Scene 52 is scripted:
...
52 EXT - STABLES - DAY 52
The two dogs are playing in the stable yard as
Quentin ENTERS under the archway. Suddenly the
dogs become hostile. Quentin stops, frowns,
then keeps walking. The dogs wait for a moment
and then start slowly for him. They are snarling
viciously as Gerard appears in the doorway.
|
And that's when yesterday's quote -
Page 18/Scene 52 - Gerard: 'Inside, boys! Inside!'
- comes up, followed by the script explaining:
The dogs hesitate for a moment but then turn
and run inside. Quentin crosses to the door.
|
And that's when today's quote -
Page 18/Scene 52 - Quentin: 'I'd keep them chained if I were you.'
- comes up, followed by the script continuing with:
Gerard does not agree or disagree but just starts
inside.
You're Gerard Stiles.
52 CONTD CONTD 52
GERARD
That's right.
Quentin starts into the stable.
QUENTIN
I'm Mr. Collins.
|
End of scene. However, ... everything is so different in the film ...
So, unlike how the script says that we see the dogs playing and when Quentin arrives, they become vicious and slowly make a move toward Quentin before Gerard stops them, as can be seen in the following capture, in the film Scene 52 starts off with shots of Gerard repairing brickwork -
(http://www.dsboards.com/NoDSquoteimages/0218ds91_a.jpg)
- and as Gerard does this, off camera we hear Quentin ... introduces himself ... - and it isn't until the next camera shot that we see that Gerard is up on some scaffolding repairing brickwork near the roof of a part of the stable building, the dogs are quietly standing near the base of the ladder, and Quentin has just entered the stable yard, as can all be seen in the next capture -
(http://www.dsboards.com/NoDSquoteimages/0218ds91_b.jpg)
- and after that point Gerard ... moves to the ladder, ... begins to climb down, and Quentin walks over to the bottom of the ladder as the dogs simply look over at him as he approaches, turn their attention to Gerard coming down the ladder and reaching the bottom by jumping down the last few steps, and then growl just the slightest bit as Gerard turns to Quentin and then turns to lead Quentin to the stable. And that's it - nothing really happening with the dogs at all. And there's probably a really good reason for that, as well as why Gerard is actually seen doing brickwork rather than simply appearing at the doorway to the stable. But I'm going to hold off getting into all that until after we reach Scenes 105 & 106 in the script...
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point.
[nods]
-
A question worth revisiting:
Hmmm - I wonder which is 'Flash Weiner' -
(http://www.dsboards.com/NoDSAnniQuoteImages/Dogs.jpg)
- and which is 'Boy Powers'? We'll probably never know...
...
[nods]
-
Starting to deal with the subtitles and the closed captioning for the mostly unscripted dialogue for Scene 52:
Both the subtitles and the closed captioning acknowledge that the scene actually begins with Quentin calling out to Gerard -
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_Blu-ray_frame_00075.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_VHS_frame_00067.jpg)
- and then both the subtitles and the closed captioning acknowledge that Quentin introduces himself, which is scripted to end the scene, but actually comes up next -
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_Blu-ray_frame_00176.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_VHS_frame_00169.jpg)
More to come...
[nods]
-
Wrapping up the subtitles and the closed captioning with the next batch of unscripted dialogue for Scene 52:
After Quentin introduces himself, the closed captioning shows that Gerard begins to respond by saying -
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_VHS_frame_00229.jpg)
- as do the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_Blu-ray_frame_00267.jpg)
- though in his stuttering the subtitles also show that Gerard begins his next sentence with an "I" that the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_VHS_frame_00317.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_Blu-ray_frame_00369.jpg)
- doesn't acknowledge.
End of dialogue for the scene.
[nods]
-
Revisiting how Scene 53 is scripted:
...
53 INT - STABLE - DAY 53
There are four horses in their stalls. Gerard
stands looking at them as Quentin crosses to him.
|
And that's when yesterday's first quote -
Page 19/Scene 53 - Gerard: 'You ride well?'
- comes up, followed by yesterday's second quote -
Page 19/Scene 53 - Quentin: 'I used to. When I was a kid. But it's been a long time. You better give me an easy one.'
- coming up, followed by the script continuing with:
Gerard takes a saddle from the rack and crosses to
a large black stallion. He begins to saddle him
up. Suddenly, he is friendly.
GERARD
You ought to be able to handle
this one.
Quentin crosses to the horse and looks him over.
QUENTIN
Good-looking.
|
And that's when today's quote -
Page 19/Scene 53 - Gerard: 'His name's Ulysses. Just give him his head and you'll think you're in a rocking chair.'
- comes up, followed by the script continuing with:
QUENTIN
I'll do my best.
He puts his foot in the stirrup and swings up
into the saddle. He adjusts the reins and is
about to start forward.
GERARD
I saw your wife today.
Quentin looks down at him.
53 CONTD CONTD 53
QUENTIN
Yes.
A long pause.
GERARD
She rides, doesn't she?
QUENTIN
She does. But she won't today.
I'll be back in a few hours.
He spurs the horse forward. HOLD ON Gerard as
Quentin EXITS THE SHOT.
|
End of scene. Though, ..., the first half of the scene doesn't appear in the film as it stands now. However, if I understand things correctly, some version of the first half does appear in DC's original cut. But what's in the film at this point begins with Quentin putting his foot in the stirrup.
...
... we have no way of knowing what differences there might be when it comes to the directions and descriptions in the first half of the scene. However, so far as what is in the film, everything plays basically as scripted, although, it all takes place outside in the stable yard, not inside the stable - and when Gerard hears that Quentin's wife rides, he gets a smile on his face and then a look as if he'll be up to something.
And there are still no differences between the way DC's and Grayson Hall's scripts are written up to this point. However, in DC's script he has a notation in the first half of the scene that indicates that when Gerard is saddling the horse the saddle would be seen in the foreground as the camera shot then moves to Gerard in close-up.
[nods]
-
Starting to deal with the subtitles and the closed captioning for the unscripted dialogue for the beginning of Scene 53 as it currently stands:
As Quentin inserts his foot in a stirrup, he actually says an unscripted, "Good-looking, Phllips," to the horse - however, both the subtitles and the closed captioning have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_Blu-ray_frame_00909.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_VHS_frame_00883.jpg)
- and after Quentin is mounted and the horse moves a bit, Quentin tells him -
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_VHS_frame_00934.jpg)
- which the closed captioning acknowledges, but the subtitles do not - and he tells the horse -
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_Blu-ray_frame_00997.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_VHS_frame_00979.jpg)
- as he's about to start off, and which both the subtitles and the closed captioning acknowledge correctly.
More to come...
[nods]
-
And now getting into the subtitles and the closed captioning for the scripted part of Scene 53:
After Quentin has mounted the horse and is about to leave the stable, suddenly Gerard actually says with a stutter, "I saw your w- -wife today." (though we currently have no idea of that because Scene 48, in which Gerard sees Tracy, is only in the 129 minute version) - and the closed captioning reflects that -
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_VHS_frame_01032.jpg)
- but the subtitles do not -
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_Blu-ray_frame_01063.jpg)
- though the subtitles also include Quentin's response to which Gerard actually asks with a stutter, "Sh- -she rides, doesn't she?" - but neither the subtitles nor the closed captioning reflects the stutter -
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_Blu-ray_frame_01158.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_VHS_frame_01144.jpg)
More to come...
[nods]
-
Wrapping up the subtitles and the closed captioning for the scripted part of Scene 53:
Apparently Quentin doesn't completely hear Gerard's question, so he actually asks, "What'd you say?" - but both the subtitles and the closed captioning have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_VHS_frame_01206.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_Blu-ray_frame_01261.jpg)
- though the subtitles also include Gerard repeating his question, but he actually stutters, "I,I,I said, 'She,She rides, doesn't she?'" - and the closed captioning also gets it wrong -
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_VHS_frame_01268.jpg)
- and Quentin's answer to that is to first say a reworked version of what's scripted: "Yes, she does." - followed by an unscripted, "Come on," to the horse as he pulls the reins to start out - and then to conclude with a reworked version of the second part of what's scripted: "But not today." - and the subtitles reflect all of that -
(http://www.dsboards.com/NoDSAnniQuoteImages/Saw_Wife_Blu-ray_frame_01376.jpg)
- but the closed captioning doesn't acknowledge the "Come on" at all.
End of dialogue for the scene.
[nods]
-
Yet another post worth revisiting:
Before we move on to the next sequence in the slideshow, I have three things I'd like to share from the stable sequence:
A rare Quentin head shot:
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable_b.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Stable_b.jpg) for a 558X700 version)
A rare candid still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable_a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Stable_a.jpg) for a 698X924 version)
And a very rare color shot of Gerard and the horse:
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable_c_color.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Stable_c_color.jpg) for a 700X1028 version)
[nods]
-
Revisiting how Scenes 54 & 55 are scripted in DC's script -
Setting up the current sequence/scene - and we've reached the first instance where Grayson's and DC's scripts differ. But first up we'll deal with the way things play in DC's script, which, probably not surprisingly, is the way they mostly appear in the film:
54 EXT - MEADOW - DAY - LONG LENS 54
Quentin is not having an easy time of it.
Ulysses is far from a rocking chair.
DISSOLVE TO:
55 EXT - FIELD - NEAR A PATCH OF TREES - DAY 55
Quentin and the horse have finally come to terms and he is
now enjoying himself. Suddenly, as if it were being
carried he hears the DISTANT SOUND OF CHURCH BELLS
TOLLING. The horse begins to react badly as Quentin,
totally confused, rides closer to the trees looking for
the source of the sound. It is then that we realize that
the old family cemetery is on the other side of the trees.
QUENTIN - CLOSE-UP
He has stopped the horse, and, although it is a cool
sunny day, his face is bathed with perspiration. It is
obvious he is experiencing something. TRUCK IN TO HIS
EXTREME CLOSE-UP and then
CUT TO:
|
...
And though there are differences between the way DC's and Grayson Hall's scripts are written, there aren't any notations in either for this sequence.
...
And as for what is different when it comes to the directions and descriptions, Scene 54 does not appear in the film as it currently stands - the horse doesn't have any reaction to the bells in Scene 55, so perhaps it's only Quentin who hears them - and Quentin's face is not bathed in perspiration, but his face does take on an extremely shocked expression as the camera trucks in on his extreme close-up ...
And the next post will deal with the way everything up to where we left off in the sequence originally played out in Grayson's earlier version of the script...
- and Grayson's script -
Grayson's script's version:
54 EXT - MEADOW - DAY - LONG LENS 54
Quentin is not having an easy time of it.
Ulysses is far from a rocking chair.
DISSOLVE TO:
55 EXT - FIELD - NEAR A PATCH OF TREES - DAY 55
Quentin and the horse have finally come to terms
and he is now enjoying himself. Suddenly, as if
it were being carried on the wind, he hears
the DISTANT SOUND OF A DRONING VOICE.
STRACK'S
TRASK'S VOICE
Dust to dust ... ashes to ashes
... Oh Lord, have pity on this
sinner ... for we all sin,
knowing the mercy of our
heavenly Father ...
The horse begins to react badly as Quentin,
totally confused, rides closer to the trees
looking for the source of the voice. - It is then
that we realize that the old family cemetery
is on the other side of the trees.
QUENTIN - CLOSE-UP
He has stopped the horse, and, although it is a
cool sunny day, his face is bathed with perspir-
ation. It is obvious he is experiencing some-
thing. TRUCK IN TO HIS EXTREME CLOSE-UP and then
CUT TO:
|
...
And that's it for now.
Notice how:
- Grayson's script actually says "Suddenly, as if it were being carried on the wind, he hears", as opposed to DC's script which is oddly missing the part about the wind and simply says "Suddenly, as if it were being carried he hears".
- The sound of the bell was originally
Trask's/Strack's voice.
...
[nods]
-
Stills and photos related to Scenes 55:
First up a still I've neglected to scan/post that appears on page 155 of the DS Almanac Millennium Edition
(http://www.dsboards.com/NoDSAnniQuoteImages/Bell1_a.jpg)
And again I'm actually surprised it scanned as well as it did (which is also the case with the still I shared in Reply #343) because it's only about 1 1/4 inches by 2 1/8 inches on the page...
And a post worth revisiting:
Here's a photo that I neglected to share from Scene 55:
(http://www.dsboards.com/NoDSAnniQuoteImages/Bell1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Bell1.jpg) for a 830X546 version)
And I say, "photo," rather than, "still," because to me it seems like it was created from an actual frame of the film. I doubt it's a screen capture because the color, especially the background, is so off. That sort of thing can definitely happen to old film, but it's not too likely that screen capturing software would capture something that far off. I mean, my screen capturing software came up with this from the VHS:
(http://www.dsboards.com/NoDSAnniQuoteImages/Bell2.jpg)
...
Something apart from the Laser being clearer, the background is basically the same coloring but the skin tone is much better. Interesting...
(http://www.dsboards.com/NoDSAnniQuoteImages/Bell2_a_frame_00035.jpg)
And back to a still version that's worth revisiting:
...
Something I rediscovered ..., a still from Scene 55, Quentin sees a vision of Angelique's funeral:
(http://www.dsboards.com/NoDSAnniQuoteImages/Bell3.jpg)
...
[nods]
-
With regard to Scene 54, Darren Gross posted on his Restoration Web site -
A selection of scenes cut from the 129-minute version that have been recovered:
...
The horse Quentin rides bucks wildly, trying to throw him off.
[nods]
-
Revisiting how Scene 56 is scripted in DC's script -
...
CUT TO:
56 QUENTIN'S P.O.V. - EXT CEMETERY - 1810 - DAY 56
SUBCONSCIOUS MEMORY CUT
The wind blows the empty branches, the rain pours down
on the assembly standing in front of the mausoleum.
Silhouetted below the cemetery is the black hearse. The
six pallbearers carry the coffin up the hill toward the
mausoleum.
56 CONTD CONTD 56
ANOTHER ANGLE
The Reverend Strack stands at the head of the coffin outside
the mausoleum. Gabriel, Laura, Mrs. Castle, and her small
daughter, Sarah, stand with other family and friends watching.
Sarah is the only one crying as she fingers a locket.
|
And that's when today's quote -
Page 20A/Scene 56 - Strack: 'Dust...to dust...ashes to ashes. Oh Lord, we beseech you to have pity on this sinner...for we all sin, knowing the mercy of our heavenly Father. So we commend to Him the flesh and spirit of Angelique Collins, beloved wife of Gabriel, loyal and loving sister-in-law to Laura.'
- comes up.
...
... and there are only four pallbearers in Scene 56 - and while Sarah is crying, we do not see her fingering the locket (which is too bad because it would have definitely added to the scene.
Continuing with DC's script's version of Scene 56...
TRUCK IN ON LAURA
She begins to laugh, lowly at first. Gabriel grabs
her hand but her laughter grows as Strack continues.
|
And that's when today's first quote -
Page 20A/Scene 56 - Strack: 'Angelique Collins has departed this life for a far better one - a world without tears or pain.'
- comes up, followed in the script by:
Laura's laughter builds. Gabriel, tight-lipped, holds
her in a vise-like grip. Sarah tries to run to stop her.
Mrs. Castle restrains her. Strack looks hard at Laura.
She stops laughter.
ANOTHER ANGLE
Strack nods to Pallbearers, who pick up the coffin. They
all watch as the Old Caretaker opens the gate.
|
And that's when today's second quote -
Page 20A/Scene 56 - Strack: (loudly, trying to top the laughter) 'And so we commend her spirit to a just and forgiving God. Amen.'
- comes up, followed by script continuing with:
They carry the coffin into the mausoleum.
|
...
And as for the differences when it comes to the directions and descriptions, we don't actually see Gabriel grab Laura's hand to stop her from laughing, but he does shake her - and we don't see Sarah attempt to run to stop Laura from laughing, so we also don't see Mrs. Castle restrain her, however, briefly, as the following capture shows -
(http://www.dsboards.com/NoDSquoteimages/0223ds91_a.jpg)
- we do see both Mrs. Castle and Sarah look over at Laura as she laughs - and rather than nodding to the pallbearers, Strack simply steps out of the way as the caretaker opens the gate to the mausoleum and enters as the pallbearers begin to follow him...
...
- and Grayson's script -
Grayson's script's version:
CUT TO:
56 EXT - CEMETERY - 1810 - DAY 56
SUBCONSCIOUS MEMORY CUT
Strack
It is raining hard. The Reverend Trask leads a
procession of FOUR MEN and GABRIEL as they carry
the coffin toward the family mausoleum. SAMANTHA,LAURA
MRS. CASTLE, and her small daughter, SARAH, all
carrying umbrellas, stand with other family
friends watching. Sarah is the only one crying.
Gabriel opens the mausoleum.
STRACK
TRASK
So we commend to Thee the flesh
and spirit of Angelique Collins,
beloved wife of Gabriel.
CAMERA PANS to Gabriel.
Laura
Loyal sister-in-law to Samantha...
|
And that's it for now.
Notice how:
Trask/Strack was originally supposed to lead the funeral procession of four pallbearers (the same number as in the film, as opposed to the six in DC's script) and GABRIEL as they carry the coffin toward the mausoleum.- Originally
Trask/Strack's "Oh Lord, we beseech you to have pity on this sinner" didn't include the "we beseech you to" part (though, as I mentioned in the previous post, there are even further changes in the film). - There's no mention of Sarah fingering the locket.
- Gabriel was originally supposed to open the mausoleum before
Trask/Strack was even finished with his prayer. Trask/Strack was originally supposed to say "we commend to Thee the flesh and spirit of Angelique Collins", as he does in the film.- The part about Angelique being a "loving" sister-in-law to
Samantha/Laura wasn't originally there - but thankfully they added it because that makes Laura's subsequent reaction (which we'll get into tomorrow) all the better!
Continuing with Grayson's script's version of the rest of Scene 56...
Laura
CAMERA PANS to Samantha. She begins to laugh,
lowly at first, Gabriel grabs her hand, but her
laughter grows. She is hysterical. Trask Strack
stares at her, in panic, as the child tries to
run and stop her, but Mrs. Castle restrains her.
Finally, her laughter fades as Trask continues.
Strack Strack
TRASK
And so we commend her spirit
to a just and forgiving God.
Amen.
They carry the coffin into the mausoleum.
|
...
Notice that:
- Missing from Grayson's script is Strack's "Angelique Collins has departed this life for a far better one - a world without tears or pain."
- Her script refers to Laura as becoming "hysterical," which DC's does not.
- Her script, unlike DC's, also refers to
Trask/Strack staring at Samantha/Laura in a panic as Sarah tries to run and stop Samantha/Laura from laughing. - And in her script there's no reference to
Trask/Strack nodding to the pallbearers, who then pick up the coffin. - And, of course, there's no need in her script for the caretaker to open the gate to the mausoleum because Gabriel has already opened it.
...
[nods]
-
Another post worth revisiting:
Before we move on from Quentin's ride and the funeral vision, I have a batch of rare stills to share - first up, two of Quentin:
(http://www.dsboards.com/NoDSAnniQuoteImages/Quentin_tree_a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Quentin_tree_a.jpg) for a 700X684 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Quentin_trees_a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Quentin_trees_a.jpg) for a 700X473 version)
[nods]
-
I didn't realize until today when I was positioning the Bku-ray and VHS videos to get the subtitles and the closed captioning for Scene 56 that even though there is no dialogue for Scene 55, there is a subtitle and a closed captioning because surprisingly enough both acknowledge the sound of the bell -
(http://www.dsboards.com/NoDSAnniQuoteImages/Bell_Tolling_Blu-ray_frame_00328.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Bell_Tolling_VHS_frame_00066.jpg)
- and as we know, sounds aren't always something they acknowledge, even when they're important plot points - what is interesting, though, is how they acknowledge the sound of the bell at different points in the sequence, with the closed captioning coming up earlier...
[nods]
-
Dealing with the subtitles and closed captioning for Scene 56:
Both the subtitles and the closed captioning get the following right, but it's interesting how they choose to spell it -
(http://www.dsboards.com/NoDSAnniQuoteImages/Dust_To_Dust_Blu-ray_frame_01056.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Dust_To_Dust_VHS_frame_00954.jpg)
- with the subtitles choosing "Oh, Lord," but the closed captioning choosing "O Lord," like a prayer, which is really what Strack is delivering - and when Strack refers to Angelique's relationship to Gabriel he says, "...beloved wife to Gabriel..." - and the closed captioning gets that correct - however, the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Dust_To_Dust_Blu-ray_frame_01426.jpg)
- with "of" instead of "to" - and even though there are times when one or the other or both the subtitles and closed captioning don't acknowledge laughing, in each their own way both do in the instance when Laura suddenly bursts out laughing -
(http://www.dsboards.com/NoDSAnniQuoteImages/Dust_To_Dust_Blu-ray_frame_01654.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Dust_To_Dust_VHS_frame_01624.jpg)
[nods]
-
And another post worth revisiting:
The first of the funeral:
(http://www.dsboards.com/NoDSAnniQuoteImages/Funeral_a.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Funeral_b.jpg)
And the last for this post is a photo that used to appear on Craig Hamrick's darkshadowsonline.com site, but when I went there yesterday intending to get the URL to link to the page rather than post the photo itself, I discovered the photo is no longer being used there. I guess it fell by the wayside after the site was redesigned. But thankfully I'd saved a copy:
(http://www.dsboards.com/NoDSAnniQuoteImages/ad-rare.jpg)
[nods]
-
I guess that the rights to darkshadowsonline have expired. I went to check on a few things and was greeted by ads for cialis and other assorted products.
Oops - I forgot to mention that just for the fun of it I checked today and the site seems to be active. Maybe something weird was happening that day back in 2021. Maybe the host was doing some sort of maintenance - or maybe it was just some sort of general weirdness that happens on the Internet sometimes. Or another thing that's quite possible is that they decided to switch hosts and that day the process for the switch hadn't been completely finalized. I've noticed that the site is currently hosted at GoDaddy and I'm pretty sure that wasn't the case originally...
-
And yet another post related to Scene 56 that's worth revisiting:
And the last three:
(http://www.dsboards.com/NoDSAnniQuoteImages/Funeral_c.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Funeral_c.jpg) for a 530X700 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Funeral_d.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Funeral_d.jpg) for a 700X560 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Funeral_e.jpg)
This final one appears on page 108 of the The DS Companion.
Back when I originally posted I neglected to include that the top still of Strack appears on page 207 of the DS Movie Book and what is normally not the case, it actually shows more than my version of the still, including an additional extra...
[nods]
-
Something that again I almost forgot to post/revisit:
I neglected to mention yesterday that when it came time for the Fest's 1999 Movie Calendar to pick something from Scene 56 for its July 28th quote, it picked one from the original version of the script and not DC's updated version:
(http://www.dsboards.com/moviesquoteimages/0728NoDS_0.jpg)
NoDS: Scene #56 - Strack: 'So we commend to Thee the flesh
and spirit of Angelique Collins, beloved wife of Gabriel.
And while for years I was thrilled to have the VHS copy of NoDS, these days I can barely look at it after now having the Blu-ray version of the film:
(http://www.dsboards.com/NoDSquoteimages/0222ds91_a.jpg)
And it's interesting to note that both Grayson's and DC's scripts have "beloved wife of Gabriel" and only use "to" when it comes to Angelique's relationship to Laura (regardless of whether Angelique was a "loving sister-in-law" to Laura*). Though, as we know, "to" gets used in the film when it comes to both relationships.
[nods]
(* Though some may argue that in the strictest sense your brother-in law's wife is not your sister-in-law - she's only related to your spouse - but that's a whole other discussion...)
-
Don't click on the Features listed on the toolbar. It will take you to another Google menu for various drugs. The other items on the toolbar seem okay, though I didn't try them all.
-
Don't click on the Features listed on the toolbar. It will take you to another Google menu for various drugs. The other items on the toolbar seem okay, though I didn't try them all.
Funny, I just checked out that link and it brought me to various articles about the DS actors, like "Shadows Off-Broadway" and "Chris Bernau's Vampire Adventure" - but what was I saying about general weirdness that happens on the Internet sometimes?
The sad thing is how many of the sites in the "Links" section are no longer up and running. But then, some of the sites, like "The Dark Shadows Movies Site," are ancient by Internet standards. That site's heyday was back in the mid-1990s...
-
Revisiting how Scenes 57 & 58 are scripted in DC's script -
...
57 EXT - CEMETERY - 1971 - DAY - NORMAL COLOR 57
The sun is shining again and all is quiet. The CAMERA is
shooting from the other side of the deserted cemetery and
Quentin can be seen still sitting on his horse on the other
side of the trees. START A SLOW ZOOM IN AS HE SHAKES HIS
HEAD IN BEWILDERMENT. Finally, he decides to take a closer
look. He tries to spur his horse forward but he won't
move. All of a sudden, it rears on its hind legs and with
a whinny of fear wildly gallops off in the opposite direc-
tion as Quentin tried futilely to control him.
58 EXT - ROAD - DAY 58
as the horse and Quentin charge into view The
horse moving sideways and out of control, is
thundering toward the road. Suddenly, a car
58 CONTD CONTD 58
driven by CLAIRE JENKINS ENTERS THE SHOT just as
the horse runs into the road. She slams on her
brakes. The horse rears and as they almost
collide, Quentin finally regains control.
CLAIRE
Quentin!
|
End of scene and end of sequence.
... there aren't any notations ... for this sequence.
... and from that point almost nothing plays as scripted because with Scene 57 we simply Quentin looking over in shock, then he rides the still quite tame horse over to the opening in the fence to the cemetery, dismounts, ties off the horse, and goes inside and begins to walk toward the mausoleum - and with Scene 58 we simply see Claire driving her car along the road, coming to a stop when she apparently sees Quentin, and then waving and calling out to him - after which Quentin turns in her direction as he stands at the gate to the mausoleum and then waves back - to which Claire motions him over - and after a look back at the gate, Quentin backs away and then turns to leave the cemetery.
...
And in Grayson's script Scenes 57 & 58 are scripted the same as they are in DC's.
[nods]
-
Revisiting how the first half of Scene 59 is scripted:
...
59 INT - JENKINS'S COTTAGE - DAY
Alex, Claire and Quentin are having a drink.
|
And that's when yesterday's quote -
Page 22/Scene 59 - Alex: 'Imagine! Running down the Master of Collinwood.'
comes up, followed by today's quote -
Page 22/Scene 59 - Quentin: 'On his first day, too...before he's even put out the rules of the manor.'
coming up.
And as far as differences in the dialogue go, because Scene 58 was completely reworked in the film, Scene 59 begins differently. For one, those two quoted lines were completely dropped. For two, two lines from a bit later in the scene become the first two lines delivered. And for three, the dropped lines are then replaced by two completely new lines. But I'm not going to get into any of that just yet because the actual first line of the scene in the film is tomorrow's quote in the slideshow...
And so far as any differences in the descriptions and directions go, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0224ds91_a.jpg)
- in the film there's actually an exterior scene establishing the Jenkins' cottage before Scene 59 begins - and when Scene 59 begins, before anyone says anything, Alex, Quentin and Claire are seen having a good laugh, as can be seen -
(http://www.dsboards.com/NoDSquoteimages/0224ds91_b.jpg)
- in the above capture.
And while there are no differences at this point between the ways Scene 59 appears in DC's and Grayson Hall's scripts, DC's script does have two notations at the outset of the scene. He writes that a typewriter, etc. should be there in the cottage (and as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0224ds91_c.jpg)
- there is indeed one located under the painting and on a desk behind where Quentin is sitting), and then he mentions something that will come into play later in the rewoked section of Scene 59, so I'll hold off mentioning it until then...
Continuing with Scene 59 as scripted:
Quentin is looking at a painting over the mantel.
It is one he gave them for a wedding present.
|
And that's when today's quote -
Page 22/Scene 59 - Quentin: 'I see you still have that.'
comes up.
And as far as what's different with that bit of dialogue, Quentin actually says "I see you've still got that crazy eye of mine" - and as mentioned yesterday, it's actually the first line of dialogue in the scene.
And so far as any differences in the descriptions and directions go, as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0929NoDS_0.jpg)
- (as well as several others that have been posted recently), the painting is not over the mantel but is actually on the wall behind Quentin so, in actuality, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0226ds91_a.jpg)
- Quentin has to turn around to look at it before he can comment about it to Alex.
And it's an interesting bit of trivia that Quentin gave them the painting as a wedding present. Too bad that's not actually brought in any of the dialogue.
...
And continuing with more of Scene 59 as scripted we have today's quote -
Page 22/Scene 59 - Alex: 'A place of honor, old buddy -- wherever we go -- so how's life in the castle? Have you seen Miss Drake smile yet?'
- however, it doesn't play at all like that in the film.
So, as far as the differences with that bit of dialogue go, at first Alex actually says "Yes sir, buddy -- wherever we go, that goes" - to which Quentin replies with an unscripted "Oh" - and then the first scripted line of dialogue for the scene is reworked for Claire when she says "Imagine finding the Master of Collinwood roaming around a cemetery" - and then Quentin's dropped dialogue is reworked when he says "Hey, Alex - they've got tombstones in that place that are over 300 years old" - and it's not until after that that Alex actually asks "Tell me, how's life at the old castle? Uh - have you seen Miss Drake smile yet?" - to which Quentin replies with an unscripted "Once."
And considering there aren't any descriptions or directions in Alex' quote, nothing could possibly be different from the script with regard to descriptions and directions. However, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0227ds91_a.jpg)
- Claire puts her hand on Quentin's knee when she remarks about finding him in the cemetery - but then, considering it's an unscripted remark, that action couldn't have been scripted, now could it? [snow_wink]
And catching up with more of Scene 59 we have Sunday's quote -
Page 22/Scene 59 - Claire: 'She had no reason to smile at you, Alex. (turning to Quentin) The first time he meets her he asks if the place is haunted.'
- followed by yesterday's first quote -
Page 22/Scene 59 - Quentin (smiling): 'Is it?'
- followed by yesterday's second quote -
Page 22/Scene 59 - Claire: 'Not according to her.'
- followed by the first part of today's quote -
Pages 22/Scene 59 - Alex: (having fun with it) 'We'll go to the Blue Whale Bar some night. There's a Cap'n Russel that will tell you a (MORE)'
- followed by the second part of today's quote -
Pages 23/Scene 59 - Alex (Contd): 'different story. Seems there's a beautiful young servant girl who roams the halls of Collinwood.'
And as far as the differences with the dialogue go, Claire gives an unscripted laugh before she tells Alex that Carlotta had no reason to smile at him - and when it comes to today's quote, Alex actually says "Yeah, well, one these nights, uh, we're gonna to go to the Blue Whale and I'm gonna introduce you to a Captain Russel who'll tell you a different story. Seems there's a young beautiful servant girl who roams the halls of Collinwood."
And considering that once again there aren't any descriptions or directions, nothing could possibly be different from the script with regard to descriptions and directions.
But before we close this post, two points about what's said. Quentin is quite serious when he asks if Collinwood is haunted. And, of course, the audience knows why that is even if Alex and Claire don't. And more interestingly, is it that the young beautiful servant girl seen roaming Collinwood is Sarah Castle? It seems unlikely anyone would refer to Angelique as a 'servant girl, beautiful or otherwise. So, if it is Sarah, in what capacity is she seen?[spoiler]One would presume it can't be Sarah's ghost because she has been reincarnated as Carlotta. And while Quentin will soon have a memory of seeing Sarah in the window of her 1810 bedroom when it was also Carlotta who was in the window at the same time, Quentin, as the reincarnation of Charles, was also a part of the events that Sarah lived through. But presumably the people who might have seen Sarah at Collinwood would have no such connection to Sarah or Carlotta, so how would they come to see Sarah?[/spoiler]Some interesting points to ponder...
Picking up Scene 59 where we left off ... with ... Quentin's reply to Alex' remark about Collinwood supposedly being haunted by "a young beautiful servant girl":
Page 23/Scene 59 - Quentin: 'If she cleans well, we'll hire her.'
And that's followed by the script continuing with:
CLAIRE
It's time for lunch.
She gets up and starts for the kitchen.
What do you want - ham or tuna-
fish?
ALEX
Both.
QUENTIN
The same.
|
And that's when today's quote -
Page 23/Scene 59 - Claire (kissing Quentin): 'Lovely having you here ... despite my welcome.'
- comes up, followed by the script explaining:
She EXITS into the kitchen.
|
And as far as the differences in the dialogue go, before bringing up lunch, Claire laughs at Quentin's remark about hiring the girl if she cleans well - and Claire's quoted line from today is dropped from the scene - and obviously it was dropped for the same reason that the beginning of Scene 59 was reworked: because Scene 58 was reworked - and in DC's version of the script, Claire's dropped line actually has a box drawn around it and a big X drawn in the box - however, DC's script does not replace it with what Claire actually does do and say before she leaves the room, and that's to sigh and say "Right" as if she should have known they'd want both.
And when it comes to the differences in the descriptions and directions, Claire just simply stands up before she asks if they want ham or tuna - and we might presume she's going to the kitchen when she exits, but we don't actually see her go there because she simply leaves the room.
And after tomorrow's quote comes up, we'll get into the section of Scene 59 that's different in DC's script from the way it's written in Grayson's script. But more on that tomorrow...
Well, it may have been "tomorrow" when it was gotten into originally, but it won't be until about October 4th before it's gotten into this time around...
[nods]
-
When it comes to the subtitles and closed captioning for Scene 59, right from the outset they're both missing something because, unlike how both acknowledge Laura's laughter in Scene 56, neither acknowledges that Scene 59 actually begins with Alex, Quentin and Claire laughing -
...
- and after Quentin brings up the "crazy eye of mine" painting, neither the closed captioning nor the subtitles get Alex' response completely correct because what Alex actually says is "Yes sir, buddy -- wherever we go, that goes," but the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_00340.jpg)
- doesn't even acknowledge the "Yes sir, buddy" part, and the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_Blu-ray_frame_00366.jpg)
- get that part wrong, which is yet another example that perhaps the person who did the subtitles needed to have their hearing checked - and in a bit of unscripted dialogue, Quentin responds with an ... "Oh." ... which neither the closed captioning nor the subtitles acknowledge...
[nods]
(ADMIN: Reply #809 has been edited to replace a TV video screen capture)
-
Despite the fact that today's quote in the slideshow goes from Alex talking about Quentin's painting to Alex asking if he's seen Carlotta smile, in the film those two subjects are actually separated by other dialogue - what comes up first is a reworking of what was actually scripted to be the first line of dialogue in the scene, with Claire musing, "Imagine finding the Master of Collinwood roaming around a cemetery." - and the subtitles get that correct, but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_00477.jpg)
- with "the" instead of "a" - and with regard to that subject Quentin says an unscripted, "Hey, Alex - they've got tombstones in that place that are over 300 years old." - and when it comes to the subtitles they get it correct -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_Blu-ray_frame_00604.jpg)
- however, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_00544.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_00617.jpg)
- with the "Hey, Alex" part dropped.
[nods]
-
When we left off with the subtitles and closed captioning for Scene 59, Quentin had just mentioned the over 300-year-old tombstones in the cemetery -
...
- and after that Alex asks, "Tell me, how's life at the old castle? Uh - have you seen Miss Drake smile yet?" - though for some reason the closed captioning drops the "Tell me" part -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_00691.jpg)
- and instead of "have you seen Miss Drake smile yet?" the closed captioning reads -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_00756.jpg)
- (but interestingly, the subtitles has everything correct) - and to Alex' question Quentin replies with an unscripted -
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_Blu-ray_frame_00839.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_00822.jpg)
- which both the subtitles and the closed captioning get correctly...
[nods]
(ADMIN: Reply #810 has been edited to replace the TV video screen captures)
-
Revisiting a rare still related to the beginning of Scene 59 -
... I want to share this still that relates to how Scene 59 actually opens:
(http://www.dsboards.com/NoDSAnniQuoteImages/trio.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/trio.jpg) for a 700X514 version)
In fact, it looks practically exactly like how the scene opens -
... and when Scene 59 begins, before anyone says anything, Alex, Quentin and Claire are seen having a good laugh, as can be seen -
(http://www.dsboards.com/NoDSquoteimages/0224ds91_b.jpg)
- in the above capture.
- except from a different angle...
- and one thing that makes it a bit rarer than most is that fact that it's so close to how the moment is depicted on screen because there are so many stills that are different from what's actually depicted on screen.
... I forgot to mention that I first saw the still of Alex, Quentin and Claire that I posted in Reply #145 when it appeared as part of the '95 NYC Fest Program (in its announcement of the 30th Anniversary Celebration in LA in '96). Though that version was a bit cropped - what I shared was the actual still, which I came across a few years later...
[nods]
-
When we left off with the subtitles and closed captioning for Scene 59, Quentin had just said he saw Carlotta smile once - and to that Claire laughs - but once again it's a laugh that neither the subtitles nor the closed captioning acknowledges - and right after that Claire points out, "She had no reason to smile at you, Alex. The first time he meets her, he asks if the place is haunted." - and the subtitles acknowledge that correctly - however, the closed captioning goes from -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_00921.jpg)
- to -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_00995.jpg)
- without including "The first time he meets her" and changing "asks" to "asked."
[nods]
-
Continuing with the subtitles and the closed captioning, after Quentin asks if Collinwood is haunted and Claire replies not according to Carlotta (apparently the woman lies well), first up Alex says, "Yeah, well, one these nights, uh, we're gonna to go to the Blue Whale and I'm gonna introduce you to a Captain Russel who'll tell you a different story." - but the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_Blu-ray_frame_01210.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_Blu-ray_frame_01300.jpg)
- with the "Yeah, well" missing, "I'll" substituted for "I'm gonna," and simply "tell" rather than "tell you" - and the close captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_01175.jpg)
- similarly with the "Yeah, well" missing - but with this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_01243.jpg)
- instead of "I'm gonna introduce you to a Captain Russel," and, of course, with "gonna" changed to "going to," and with "Russet" instead of "Russel" - and with this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_01311.jpg)
- instead of "who'll tell you a different story." - though at least that version does include "you" [hall2_wink] - and then Alex follows up with, "Seems there's a young beautiful servant girl who roams the halls of Collinwood." - and the subtitles actually do get that correct - however, the closed captioning has the first part as -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_01371.jpg)
- though the closed captioning does get "who roams the halls of Collinwood" right.
More to come...
[nods]
-
And continuing with more of the subtitles and the closed captioning, after Quentin remarks that if the supposed ghost of the servant girl cleans well, they'll hire her, Claire laughs - though while both get Quentin's remark correct, once again Claire's laugh is one that neither the subtitles nor the closed captioning acknowledges - and as she starts to get up she points out, "It's time for lunch," and then stops to ask, "Oh, what do you want, ham or tuna fish?" - and the subtitles get all that right - but the closed captioning deals with all of it as -
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_01615.jpg)
- and after both Alex and Quentin say they'll have both, Claire responds -
...
- with an unscripted sigh followed by "Right." as she leaves the room - however the subtitles simply have it as -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_Blu-ray_frame_01822.jpg)
- whereas the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_01799.jpg)
- with "Oh" instead of a sigh.
More to come...
[nods]
(ADMIN: Reply #811 has been edited to replace the TV video screen captures)
-
Revisiting how the second half of Scene 59 is scripted:
And now the next section of Scene 59 as it appears in DC's script, starting off with today's quote:
Page 23/Scene 59 - Alex: 'My rich landlord who doesn't charge rent, how do you like the estate?'
And that's followed by the script continuing with:
Quentin looks at him.
QUENTIN
When did you and Claire get here?
ALEX
About two weeks ago. I thought you'd
never get here.
Quentin looks a little concerned.
ALEX
(noticing it)
Hey -- what's the matter?
Is something wrong?
|
And that's it for now.
And when it comes to the differences in the descriptions and directions, Alex actually gets up from the chair across the room that he's been sitting in and moves to sit next to Quentin on the couch as he asks Quentin how life is in the old estate - and in response to Alex, Quentin simply gives a little nod and smile rather than just looking at him.
And getting back to a notation that I'd mentioned that DC made in his script but I was holding off on getting into, that was because the notation says that Alex should have a "line about him being here for 2 weeks", which is no doubt why that was added later in this reworked section that we've just gotten into. But who knows why DC felt it was needed because, unless I'm forgetting something down the road, I don't think it ever pays off in any way in the script/film...
And in my next post we'll see how this section was written in Grayson's script...
This section of Scene 59 as it appears in Grayson's script:
ALEX
So how do you feel, my rich
landlord who doesn't charge rent?
QUENTIN
I don't know.
Alex looks at him.
ALEX
(serious)
Why? Is something wrong?
Then kidding again, he pulls down Quentin's eyelid,
goes into his doctor bit.
|
And there you have it. And I've gone just a little bit further in the script than I did with DC's so that next time you can see how that last bit is written somewhat differently in DC's script...
Picking up where we left off in DC's script:
Quentin shakes his head trying to laugh it off. Then Alex
kiddingly pulls down Quentin's eyelid, goes into his doctor bit.
|
And that when today's quote -
Page 23/Scene 59 - Alex: 'Blood-shot eyes. Unsuitable pallor.'
- comes up.
...
And as far as the differences in the descriptions and directions go, Quentin doesn't shake his head trying to laugh it off or otherwise - and Alex doesn't kiddingly pull down Quentin's eyelid because he simply leans closer sounding a bit like a doctor, and about all he does to Quentin is partly, as can just barely be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1006NoDS_0.jpg)
- is touch Quentin's shoulder, and then he briefly touches Quentin's face when comments on its "pallor".
And the differences between DC's and Grayson's scripts have already been dealt with.
And wrapping up Scene 59:
59 CONTD (2) (2) CONTD 59
|
Page 24/Scene 59 - Quentin: 'I didn't sleep well last night. It's a funny thing about this place. I keep imagining things...'
comes up, followed in the script by:
ALEX
What do you mean imagining things?
QUENTIN
(hesitates for a moment)
Oh, it's nothing. Forget it.
ALEX
(laughing)
No -- man.
(joking)
Maybe I can use it. You know,
we're starting a new gothic ...
QUENTIN
Oh, yeah. That reminds me ...
we've got a library over there
that's got to be loaded with
material. Be my guest.
As Claire ENTERS with a tray of sandwiches.
|
End of scene.
...
And when it comes to the differences in the descriptions and directions, Quentin actually laughs after Alex comments on his bloodshot eyes and unsuitable pallor and before he delivers his version of today's quote - and though Quentin does indeed hesitate before he tells Alex to forget his comment about imaging things, he also smiles to further discourage Alex - and after Alex says he appreciates access to the library, he slaps Quentin on the arm - and as I already mentioned, Quentin clears room on the coffee table when Claire returns.
And when we get to the next scene, there are all sorts of notations in Grayson's script that we'll deal with next time...
[nods]
-
Yet more unscripted bits and omissions/changes in the subtitles and closed captioning for Scene 59:
...
First up, after Alex asks Quentin how life is "in the old castle," the script says simply that -
...
...
- however, Quentin actually replies with an unscripted nod and a smile -
- and after Quentin asks Alex when he and Claire got there, Alex replies with, "About two weeks ago. Man, I thought you were never gonna show up." - but when it comes to the first part of that, both the subtitles and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_Blu-ray_frame_02190.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_02183.jpg)
- drops "About" -
...
- and when it comes to the closed captioning, the "Man" part is dropped and the rest is presented as -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_02244.jpg)
- after which Quentin gives another smile and nod -
- which the script describes as -
...
Quentin looks a little concerned.
|
...
More to come...
[nods]
-
Continuing with the subtitles and closed captioning for Scene 59:
After Alex realizes something is off with Quentin, he asks what's wrong, and observes that Quentin has bloodshot eyes and an unsuitable pallor, and Quentin gives an unscripted giggle to that - however, neither the subtitles nor the closed captioning acknowledges the giggle - but Quentin then verbally replies with, "Well, doc, I didn't sleep well last night. It's a funny thing about this place. I keep imagining things." - and the subtitles get all that correct - but when it comes to the middle part the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_02722.jpg)
- and to that Alex asks, "Whaddaya mean, imagining things?" - but of course the closed captioning can't have grammar like that, and even the subtitles changed it to -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_Blu-ray_frame_02875.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_02863.jpg)
More to come...
[nods]
(ADMIN: Reply #813 has been edited to replace the TV video screen captures)
-
Continuing with the subtitles and closed captioning for Scene 59:
So, after Alex questions what Quentin means by "imagining things," Quentin tells him, "Nothing. Forget it." - and both the subtitles and closed captioning get that correct - but then Alex says, "Oh, man, maybe I can use it." - and the subtitles get that correct, but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_03041.jpg)
- with the Oh, man" part dropped - and Alex follows that up with, "You know, Claire and I are starting a new Gothic novel." - and once again the subtitles get that correct - but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_03088.jpg)
- with both "You know" and "new" dropped - and that reminder prompts Quentin to say, "That reminds me. I got a library over there that's got to be full of material." - but when it comes to that part, the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_Blu-ray_frame_03213.jpg)
- with "over there" dropped - but the closed captioning simply has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_03178.jpg)
- but at least it does have "there." [hall2_wink] [hall2_grin]
More to come...
[nods]
-
Wrapping up the subtitles and closed captioning for Scene 59:
After Quentin tells Alex to be his guest with regards to Collinwood's library, Alex replies with an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_Blu-ray_frame_03326.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_03320.jpg)
- which obviously both the subtitles and the closed captioning acknowledge correctly - and after Claire returns with a tray of sandwiches/drinks, and as Quentin makes room on a table, Claire responds with an unscripted "Hmm - thank you." - but both the subtitles and the closed captioning simply has as -
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_Blu-ray_frame_03414.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Imagining_Things_VHS_frame_03406.jpg)
- with the "Hmm" missing.
[nods]
(ADMIN: Reply #814 has been edited to replace the TV video screen captures)
-
Revisiting how Scene 60 is scripted:
Setting up and wrapping the current scene as it appears in DC's script - but just beginning the current sequence, which doesn't play in the script the way it is in the film:
OFFICE
60 INT - FOYER - DAY 60
As Quentin ENTERS he sees Carlotta coming from the
direction of the kitchen.
|
And that's when yesterday's quote -
Page 24/Scene 60 - Quentin: 'Oh, Carlotta, I'm going to start work today. Could you suggest a good room?'
- comes up, followed by today's quote -
Page 24/Scene 60 - Carlotta: 'Oh, yes, sir. I know just the place.'
- coming up, followed in the script by:
They start down the hall.
|
End of scene.
...
And when it comes to the differences in the descriptions and directions, as we can see above, DC crossed out FOYER as the setting for Scene 60 and decided it would take place in the office (Grayson's script still has it set in the foyer) - however, even though the setting was changed, DC's script, like Grayson's unchanged script, has the original directions, which are not at all how things play in the film because, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0308ds91_a.jpg)
- the scene begins with Carlotta doing work at the desk in the office, whereupon she in interrupted by a knock, and when she turns around to see who it is, as can be seen in yesterday's capture posted in the above post, it's Quentin. But from there things play out pretty much as scripted because the dialogue is similar, and after Carlotta tells Quentin she has a place in mind, she gets up, joins Quentin, and they head off down the hall.
And as for the notations in Grayson's script, some (like how she planned to have Carlotta carrying a fresh vase full of flowers for Angelique) no longer apply because of how the setting for the scene was changed, but things like how Quentin would soon be entering Carlotta's world and how he would be making one more step toward recognition do still apply.
And when it comes to the open folder on the desk -
(http://www.dsboards.com/NoDSquoteimages/0308ds91_b.jpg)
- it almost looks like it could be Grayson's script. And it would be funny if they used it as a prop in Carlotta's work. But who knows?
And when it comes to the next scene in the sequence, the setting will again be changed in DC's script and things will be dropped. But more on that as that scene unfolds...
-
Dealing with the subtitles and closed captioning for Scene 60:
Carlotta is working at the desk in the office when a knock is heard - and for a change both the subtitles and the closed captioning acknowledge the sound -
(http://www.dsboards.com/NoDSAnniQuoteImages/Good_Room_Blu-ray_frame_00092.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Good_Room_VHS_frame_00066.jpg)
- and after Carlotta turns to look she sees that it's Quentin and he says, "Carlotta. I wana start work today." - and the subtitles get that correctly - but the closed captioning has the second sentence as -
(http://www.dsboards.com/NoDSAnniQuoteImages/Good_Room_VHS_frame_00168.jpg)
- of course changing "wanna" to "want to," and dropping "today" - and then Quentin asks, "Could you suggest a good room?" - and the subtitles also get that correct - but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Good_Room_VHS_frame_00230.jpg)
- leaving out "good."
[nods]
-
Revisiting how Scene 61 is scripted:
And setting up and wrapping the current scene as it appears in DC's script:
LOWER
61 INT - STAIRWAY TO TOWER ROOM - DAY 61
Through the door
Carlotta leads Quentin up the stairs. He is
carrying his equipment. Pan enter the room and
start toward the other stairs
CARLOTTA
I'm sure you'll find it perfect.
61 CONTD CONTD 61
They are at the door. She takes out her keys.
QUENTIN
Wait ...
Carlotta looks at him.
|
And that's when today's first quote -
Page 25/Scene 61 - Quentin: 'I have the strangest feeling I've been here before.'
- comes up, followed by today's second quote -
Page 25/Scene 61 - Carlotta: 'How could you have been, Mr. Collins?'
- coming up, followed by today's third quote -
Page 25/Scene 61 - Quentin: 'I couldn't have.'
- coming up, followed in the script by:
She looks at him, then opens the door.
|
End of scene.
...
And when it comes to the differences in the descriptions and directions, as we can see above, DC crossed out STAIRWAY TO as the setting for Scene 61 and decided it would take place in the LOWER TOWER ROOM (Grayson's script still has it set in the stairway) - and along with the setting change, as can also be seen above, DC added some more directions to the opening of the scene (though Carlotta doesn't lead Quentin through any door, nor is anything shot through a doorway, so when it comes to that, who knows?), but like Grayson's unchanged script, it still has the original directions, which are not quite how things play in the film because, as can be seen in today's first capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1010NoDS_0.jpg)
- Carlotta starts up the stairs but Quentin does not because he stops short of them when he has the feeling he's been there before - and as can be seen in today's second capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1010NoDS_1.jpg)
- (I love how) Carlotta fondles the key to the tower room as with but a small smile she asks how Quentin could have been there - and as can be seen in today's third capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1010NoDS_2.jpg)
- Quentin replies with a big grin that he couldn't have - and we don't see Carlotta open the door to the tower room.
And it probably won't come as a surprise that when it comes to the next scene in the sequence, once again Grayson's script has some notations that we'll get into at the appropriate time...
... - and I can't go without saying that I absolutely love the look of delight on Carlotta's face -
(http://www.dsboards.com/NoDSquoteimages/0309ds91_a.jpg)
- as she starts to ascend the stairs to the tower room - though, of course, first time viewers of the film have absolutely no idea why that is - but back in '71 I do honestly remember asking myself why. Little did I know what was about to come up (especially in the R rated 97 minute version of the film, which I was lucky enough to see several times) that would throw some hints, yet bring up even more questions. However, that tower room scene with Charles, Angelique, etc. doesn't come until much later in the script...
[nods]
-
Believe it or not, when it comes to Scene 61, both the subtitles and the closed captioning acknowledge everything correctly. I wonder if it will turn out to be the only scene where that happens? Time will tell...
[nods]
-
Backing up to the beginning of the Scene 61 as scripted, Carlotta's dropped line -
(http://www.dsboards.com/moviesquoteimages/0806NoDS_0.jpg)
NoDS: Scene #61 - Carlotta: 'I'm sure you'll find it perfect.
- was the August 6th's installment in the original Movies Slideshow because it's part of the FEST'S 1999 Movie Calendar on which that slideshow is based.
[nods]
-
Revisiting how Scene 62 is scripted:
...
62 INT - TOWER ROOM - DAY
as they ENTER RUCK IN ON Quentin. As he looks
around, Carlotta watches him carefully.
CARLOTTA
Well, does it still seem familiar?
QUENTIN - CLOSE-UP
His feeling is still the same, but now he doesn't
want to admit it.
QUENTIN
(hesitant)
No ...
She continues to watch him carefully. He looks
very concerned.
|
And that's when today's quote -
Page 25/Scene 62 - Carlotta: 'I wouldn't worry about it, Mr. Collins. There is always a logical explanation for feelings like this. Will the room do?'
- comes up.
...
And when it comes to the differences in the descriptions and directions, the camera doesn't actually move in on Quentin when he enters the tower room, though, as can be seen in the following portion of a capture -
(http://www.dsboards.com/NoDSquoteimages/0310ds91_a.jpg)
- Carlotta certainly watches him intently (and I love how she does so) - and there is no close-up of Quentin as he's taking in his surroundings, though he does move more prominently to the foreground of the frame - but while Carlotta does continue to watch him carefully and at first he does appear concerned, he actually smiles as he moves closer to some things in the room to check them out.
... Let's pick things up in Scene 62 with yesterday's quote -
Page 25/Scene 62 - Quentin: 'Yes ... yes ... it's fine ... has it ever been used as a studio before?'
- coming up, followed in the script by:
And that's where today's quote -
Page 26/Scene 62 - Carlotta: 'Not in my time. If there's anything you want, I'll be downstairs.'
- comes up, followed in the script by:
He puts his paints down, starts to set up his easel.
|
End of scene...
...
And when it comes to the differences in the descriptions and directions, as can be seen when comparing the 10th's and the 11th's captures -
(http://www.dsboards.com/NoDSAnniQuoteImages/1011NoDS_0.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/1012NoDS_0.jpg)
- Quentin turns to face Carlotta when he tells her the room is fine - and, as he states that the room has been used as a studio before, Quentin moves toward the middle of the room and out of frame, as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1013NoDS_0.jpg)
- which only features Carlotta - and we don't see Quentin put his paints down or start to set up his easel (he actually put his stuff down near the doorway when he first entered the room) - ...
And as for the notations in Grayson's script, with regard to Scene 62, even though in the film Carlotta actually says "Yes, I believe it has", there's a notation in Grayson script adding "Yes, I think so" in answer to the room having been used as a studio, but obviously it was changed when the time came to shoot the scene, and, for me anyway, "Yes, I believe it has" is far more preferable - and in reference to adding the line, there's a notation that Carlotta is trying to tell Quentin something - and there's also a notation that Carlotta believes Quentin has gotten a glimpse of the past - ...
And before we leave this section of the film, observant people might notice in a few of the captures that there might be something in the tower studio that plays a part in the daytime show's 1995 and Summer of 1970 storylines. I'm not sure if it's exactly the same prop (and I'm too lazy to check). But it looks an awful lot like it, and soon the forum's Watching Project will be getting to 1995, so soon enough we'll see if it's the same...
And when it comes to the next scene in the film as it currently stands, things jump all the way up to a slightly reworked version of Scene 84 - though that doesn't mean that all the scenes between Scene 62 and Scene 84 aren't in the currently available version of the film or the 129 minute version. But more on that as those scenes come up in the script...
[nods]
-
Dealing with the subtitles and closed captioning for Scene 62:
After Carlotta leads Quentin into the tower room and asks if things still seem so familiar, he says no, so she tells him not to worry because there's usually an explanation for what he felt (and, boy, is there in this instance!) and then she asks if the room will do - and all of the is handled correctly by both the subtitles and the closed captioning - and Quentin answers Carlotta by saying, "Oh, yes ... yes ... it's fine ..." - and the subtitles get that correct - but the closed captioning simply has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Used_As_A_Studio_VHS_frame_01038.jpg)
- and after that Quentin remarks, "It's been used as a studio before, hasn't it?" - and the subtitles also get that correctly - but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Used_As_A_Studio_VHS_frame_01105.jpg)
- and to that Carlotta answers that she believes it has, but not in her time - and again both the subtitles and the closed captioning get that correct - in fact, the subtitles get the whole scene right throughout, which means the subtitles have gotten two scenes in a row completely correct - not so much the closed captioning...
And backtracking s bit to revisit a previous post:
...
- though what's interesting about that is that the script has the exchange as -
CARLOTTA
... Will the room do?
QUENTIN
Yes ... yes ... it's fine ...
has it ever been used as a studio
before?
|
- so, as happens in certain other places in the film, it's like the closed captioning is working more closely to the script rather than to the actual film - ...
[nods]
(ADMIN: Reply #815 has been edited to replace the TV video screen capture)
-
And some posts worth revisiting because of something that was revisited in Reply #1280:
... I want to remind everyone of something I said back in March:And before we leave this section of the film, observant people might notice in a few of the captures that there might be something in the tower studio that plays a part in the daytime show's 1995 and Summer of 1970 storylines. I'm not sure if it's exactly the same prop (and I'm too lazy to check). But it looks an awful lot like it, and soon the forum's Watching Project will be getting to 1995, so soon enough we'll see if it's the same...
And now that the WP is in the middle of 1995, those same observant people might have noticed that the prop in NoDS that I was referring to is indeed the same prop used in the 1995 and Summer of 1970 storylines. Can anyone pick it out from this capture of Scene 85's panning from Angelique's unfinished portrait to the extremely amorous Charles and Angelique -
(http://www.dsboards.com/NoDSquoteimages/0420ds91_f.jpg)
- and mention how it's used on the daytime show? [ghost_wink]
Holy Hell, MB. And to think that THING nearly killed Dr. Julia Hoffman! All is explained that now that we know that it was residing in Charles Collins' studio. Clearly, the thing had had a spell put on it by that relentlessly vicious Witch, Angelique!
EEEE-vil...
G.
Yes, the bust that appears on the table in Charles studio in 1810 and also in several of the captures from Scene 62, like these two -
(http://www.dsboards.com/NoDSquoteimages/0310ds91_a.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/1013NoDS_0.jpg)
- was also the bust that fell from the railing of the landing and almost killed Julia in 1995's Ep #1063 -
(http://www.dsboards.com/images/Bust_1995.jpg)
- as well as the bust Elizabeth put on display in the Summer of 1970's Ep #1089 -
(http://www.dsboards.com/images/Bust_1970.jpg)
[nods]
-
Revisiting how Scene 63 is scripted as we begin a series of scenes that aren't currently in the film, though some are in the 129 minute version:
...
63 INT - TOWER STAIRS 63
as Carlotta descends TOWARD CAMERA, she is happy.
|
End of scene/sequence.
...
And when it comes to the differences in the descriptions and directions ... - and Scene 63 doesn't appear in the film as it currently stands or, sadly enough, even in the recovered 129 minute version. [easter_sad]
And as for the notations in Grayson's script ... - and when it comes to Scene 63, there's a notation that once again Carlotta has the vase of flowers (recall Grayson wanted Carlotta to be carrying the vase in the original version of Scene 60) - and with regard to Carlotta's happiness, there's a notation that Carlotta is feeling that she knew Quentin would come around and all is going according to plan.
...
[nods]
-
With regard to Scene 63, Darren Gross posted on his Restoration Web site:
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
INT.LOWER TOWER STAIRS-DAY. Carlotta descends the stairs.
[nods]
-
Revisiting how Scene 64 is scripted and a mysterious still:
...
64 INT - MASTER BEDROOM - NIGHT 64
Tracy and Quentin are getting ready for bed.
|
And that's when today's quote -
Page 26/Scene 64 - Quentin: 'I can't tell you how happy I am with that tower room. It's absolutely perfect.'
- comes up.
And as far as any differences in the dialogue, in the descriptions, or in the directions go, there's no way of knowing because Scene 64 doesn't appear in the film as it stands...
Wrapping up Scene 64 and picking up after Quentin's comments about how perfect the tower room is for his studio:
And that's when today's quote -
Page 26/Scene 64 - Tracy: 'I know it. We're going to have a long happy life here.'
- comes up, followed in the script by:
And as far as any differences in the dialogue, in the descriptions, or in the directions go, there's no way of knowing because Scene 64 doesn't appear in the film as it stands. And given that in DC's script he has what could actually be an X drawn through the scene (it's drawn strangely), it could even be that the scene was never shot. And if that is the case, I can sort of see why because back in Scene 62 Quentin has already made it clear that he loves the tower room, and back in Scene 40 Tracy has already said that she thinks they'll be happy at Collinwood, so Scene 64 could appear to be redundant. However, there are fans who've often remarked that they would have liked to have seen more happy moments between Quentin and Tracy before everything begins to fall apart. In fact, the DS Companion book references an upcoming scene in that regard (and at least that scene is in the 129 minute version of the film) - but more on that once we come to it...
All that being said, though - and potentially contrary to my notation at the bottom of the graphic for yesterday and today - I do have a publicity still that *might* be from Scene 64. To me, it's often looked more like Quentin is attacking Tracy (and I could never quite figure out where it could fit into the film because in the script there's no scene in their bedroom where he attacks her when they're dressed for bed) - but I do suppose that it could also be interpreted as a somewhat odd pose of the two of them in mid-embrace. Judge for yourself:
(http://www.dsboards.com/NoDSquoteimages/IsThisScene64.jpg)
That still could definitely be interpreted either way. The expression on Selby's face is somewhat ambiguous and we really can't get an accurate read on Kate.
[nods]
-
Revisiting how Scenes 65 & 66 are scripted:
...
DISSOLVE TO:
65 INT - BEDROOM - NIGHT 65
It is later. They are sound asleep. Through the
window the light in the tower starts to glow.
TRUCK IN ON Quentin. He finally opens his eyes,
quietly rises, and EXITS the room. Cut before he exits
66 INT - BEDROOM - MORNING 66
They are both in bed. Quentin is sound asleep.
She is wide awake. The alarm clock says 10:30.
Finally, she can't stand it anymore and quietly
starts to get out of bed.
QUENTIN (O.S.)
Hey! Where you going?
TRACY
I couldn't stay in bed any longer.
He stretches and yawns.
Why are yo so tired?.
(Revised 3/31/71)
66 CONTD CONTD 66
|
And that's when today's first quote -
Page 27/Scene 66 - Quentin: 'I didn't sleep too well.'
- comes up, followed by today's second quote -
Page 27/Scene 66 - Tracy: 'I've never slept like this before. Now get up.'
- coming up, followed by the script explaining:
She hugs him and starts getting dressed. TRUCK IN
ON his face. He tries to remember what happened last
night.
|
And as far as what's different with the dialogue, the descriptions, and the directions beyond what has already been indicated above, DC's script also has a notation crossing out Tracy's "Why are you so tired?" and replacing it with "I thought you'd never wake", however, because Scene 66 doesn't appear in any version of the film, we have no way of knowing how things may have actually played. On the other hand, while Scene 65 doesn't appear in the film as it stands, it does appear in the 129 minute version...
And as a final note, the final descriptions and directions for Scene 66 are as they appear in DC's script - Grayson's script has an additional line because, as I alluded to before, Scene 67 is a completely different scene in Grayson's script than it is in DC's script and in the film, as is Scene 68 - but we'll get into all that after we've dealt with Scene 68 as it appears in DC's script...
[nods]
-
With regard to Scene 66, Darren Gross posted on his Restoration Web site:
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
INT.MASTER BEDROOM-MORNING. Tracy gets up, Quentin in bed.
[nods]
-
Revisiting the original versions of Scenes 67 & 68 from Grayson's script:
As I mentioned..., DC's script drops the last directions/descriptions line from Scene 66 (which as one will recall deals with Tracy and Quentin waking up), so we're going to pick up things in Grayson's script with that entire last paragraph:
She hugs him and starts getting dressed. TRUCK IN
ON his face. As he tries to remember what happened
last night, his eyes get that faraway look.
CUT TO:
67 INT - MASTER BEDROOM - 1800 - NIGHT 67
SUBCONSCIOUS MEMORY CUT
A gray-haired man, CHARLES COLLINS, stands at the
window, his back to CAMERA. He is dressed in
period costume. If we see him walking, he limps.
Suddenly, the door flies open as GABRIEL, Charles'
brother storms in.
CHARLES
Have I no privacy, brother?
GABRIEL
It's for the last time, Charles.
Charles turns to him and we see his face. He has
a strong resemblance to Quentin, except for the
gray hair and a long scar on his cheek.
CHARLES
Would that it were. I'm sick
of your weak face.
GABRIEL
You've been with her, haven't
you? In that damn tower. You
still see her.
CHARLES
What's wrong with you, brother?
Don't you remember? Your wife
is dead.
GABRIEL
She still comes to you -- I
know it.
(then with deadly calm)
All right, if you want her so
much, you will have her...
67 CONTD CONTD 67
He starts toward CAMERA.
CUT TO:
68 INT - MASTER BEDROOM - 1971 - DAY - NORMAL COLOR 68
QUENTIN - CLOSE-UP
His face introspective, bewildered.
TRACY (O.S.)
Why are you just sitting there
staring at nothing?
WIDEN to include her.
QUENTIN
Oh...just remembering a dream, I
guess. A nightmare I never even
knew I had.
TRACY
Imagine not having to run to the
kitchen and make my own coffee.
Now get up.
She EXITS as CAMERA TRUCKS IN to his CLOSE-UP.
|
And as I alluded to..., what's interesting about Grayson's script's version of Scene 67 is that in DC's script it's been reworked as Scene 101. And, of course, in the film as it currently stands, Scene 101 doesn't even appear where it's scripted because, when the cuts were mandated, Scene 101, along with several other scenes following it, were moved to be parts of Quentin's dream on his first night at Collinwood and its aftermath. But more on that once we reach that part of the script.
And, yes, for Scene 67 Grayson's script does say "1800" rather than "1810", but no doubt it's just a typo...
And how interesting is it that the original idea was for Charles to be gray-haired...
[nods]
-
Two more posts worth a revisit:
With regard to Scene 67A, Darren Gross posted on his Restoration Web site -
A selection of scenes cut from the 129-minute version that have been recovered:
...
Quentin has a flashback to 1810 where he sees Charles and Angelique sharing an intimate scene at the piano. They are interrupted by Laura who accuses Angelique of bewitching her husband.
- and I presume that also means that Scenes 66A & 67 -
CUT TO:
66A INT. FIRST FLOOR CORRIDOR - DAY 66A
Quentin, carrying a picnic hamper, moves down the
corridor. When he reaches the foyer, he hears the
SOUND OF QUENTIN'S THEME, played on a piano, seemingly
from the drawing room. Puzzled, he opens the door.
The music stops.
67 INT. DRAWING ROOM - DAY 67
Quentin enters the room, staring at the empty piano.
He walks towards it, mystified, but positive he heard
it's sound. Then he hears the theme again - this time
from the other side of the room. He turns.
|
- were also recovered. Darren definitely showed Scene 67A at the 2004 Tarrytown Fest, but I don't recall if he also showed Scenes 66A & 67 with it...
...
...
And as far as what's different with the descriptions and directions, we have no way of knowing at this point because these two scenes don't appear in the film as it stands - though they do appear in the 129 minute version...
(And, yes, "it's" is spelled incorrectly in the script.)
[nods]
-
Revisiting the beginning of Scene 67A from DC's script:
And now Scene 67A (the piano scene, ...):
67A. INT. DRAWING ROOM - 1810 - DAY - QUENTIN'S P.O.V. 67A
The piano is now on the other side of the room.
Angelique sits at the piano PLAYING QUENTIN'S THEME.
CAMERA BEGINS A SLOW TRUCK IN as a man enters the shot
right. PAN UP to CHARLES COLLINS, who, except for a
scar on his face and a limp when he walks, looks amazingly
like Quentin.
|
And that's when today's quote -
Page 27/Scene 67A - Angelique: 'When I'm not with you...this is my way of feeling you near...I sit alone...and play this song...I see your smile.'
- comes up.
And as far as what's different with the dialogue, the descriptions, and the directions, we have no way of knowing at this point because this scene also doesn't appear in the film as it stands - though it does appear in the 129 minute version...
Continuing with Scene 67A:
They kiss. Her playing falters, then stops, as the kiss
grows in intensity. Suddenly, the door opens, Laura stands
there. She looks as if she has finally seen something
she has tried not to think of before...but something that
has been in some part of her mind. Quentin sees her, ends
the embrace with a smile. He nods, turns toward Laura.
Angelique sees her.
|
And that's when today's first quote -
Page 27/Scene 67A - Charles: 'Did you enjoy watching us, my dearest wife?'
- comes up, followed by the script continuing with:
(Revised 3/31/71)
67A CONTD CONTD 67A
|
And that's when today's second quote -
Page 28/Scene 67A - Angelique: 'She must have...she didn't leave...'
- comes up.
... DC's script has a notation added to Charles' line that indicates he would turn toward Laura after he says "Did you enjoy watching us" and before he says "my dearest wife?"
It's also worth noting that so far as the script goes, this would have been the first time the audience sees Charles because the horse trampling of Strack and Charles' embracing of Angelique outside the cemetery, which, as far as the film stands, are parts of Quentin's dream on his first night at Collinwood, don't actually come up in the script until Scenes 145 & 146...
[nods]
-
Some things to revisit when it comes to Scene 67A:
...
Oh wow, the piano scene starts today. Fab. "Laura my darling, you need to SIT THE F&&& DOWN, beey*tch." LOL
I've given up hope of ever seeing this and the séance scene restored. I am glad Darren was able to salvage the lost elements even if the rights owners don't allow the rest of us to enjoy the material.
Yes, as we'll see during the coming days, the dialogue is amazingly catty - it's the best thing about the scene. Charles and especially Angelique pull no punches when it comes to showing their disdain for Laura. I love it - and it's a terrible shame that the scene had to be sacrificed to the mandated cuts...
...
and since this scene was cut in its entirety, one thing the audience as it stands never comprehends is why the sound of fragmentary piano music keeps happening whenever Quentin starts to experience one of his mysterious flashback episodes.
Yes, way too many of the scenes that explained so many things got cut so that, as the film stands, several things just go right over viewers' heads or possibly even causes some to draw wrong conclusions...
More to come...
...
[nods]
-
Revisiting how the rest of Scene 67A is scripted:
Wrapping up Scene 67A, ... -
Scene 67A - Laura: 'How...how incredible you are...the two of you...what you do...in this house...'
- coming up, followed by Saturday's first quote -
Page 28/Scene 67A - Charles: 'In front of the family.'
- coming up, followed by Saturday's second quote -
Page 28/Scene 67A - Angelique: (laughing) 'Who knows who sees us...think of the servants...'
- coming up, followed by Sunday's quote -
Page 28/Scene 67A - Laura: 'You are a witch! Charles, can't you see? Are you so mesmerized that you don't even know what's happening to you?'
- coming up, followed by today's quote -
Page 28/Scene 67A - Angelique: 'Oh, he knows what's happening, Laura my darling, and for the first time in his life he's really enjoying it.'
- coming up.
End of scene.
And as far as what's different with the dialogue, the descriptions, and the directions, we have no way of knowing at this point because this scene also doesn't appear in the film as it stands - though it surely has to be one of the highlights of the 129 minute version. However, in DC's script it looks like he added a notation that before Charles throws back in Laura's face that he and Angelique do things in front of the family, Charles would cross to the front of the piano - but then it also looks like DC may have changed his mind about that because it almost looks like he started to erase the notation. Or maybe he just had a dull pencil. [easter_wink]
...
[nods]
-
Another post worth revisiting regarding Scene 67A:
If you had a feeling that something about the photo used in yesterday's graphics for the slideshow looked -
(http://www.dsboards.com/NoDSAnniQuoteImages/1020NoDS_0.jpg)
- different from the cover of the DS Music Book (aside from a somewhat different tint in some of the colors) -
(http://www.dsboards.com/91book4quoteimages/DSMusicBook.jpg)
- when seeing them together the difference is obviously that candles in the candelabra were airbrushed out for the cover. Why? I suppose whoever did it felt the book's title would look better. A style choice to be sure (but more on that to come). And an interesting thing is that after the DS Music Book became available, the airbrushed version of the photo, minus the title/text, -
(http://www.dsboards.com/NoDSAnniQuoteImages/Piano_airbrushed.jpg)
- became circulated, leading some, including myself, to believe that was the way the still from NoDS' piano scene should have appeared, and you'll also note that without the text it becomes clear that between the two frames in the background the wallpaper that's actually on the wall in that room was replaced during the airbrushing with, well, replaced with I don't know what to call it - it wasn't until after the DS Movies Book was published in 1998 and this appeared on page 215 to help to illustrate a portion of the script featuring part of Scene 67A -
(http://www.dsboards.com/NoDSAnniQuoteImages/Piano_book.jpg)
- that I realized the candles had been airbrushed out (though I should have had I remembered something that I'll get into shortly) - and since that time various versions of the original still have appeared online - unfortunately, though, like this one -
(http://www.dsboards.com/NoDSAnniQuoteImages/Piano.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Piano.jpg) for a 1280X1560 version)
- they've been cropped versions of the still...
But what is really fascinating is that back in May of 1996 when ShadowGram #76 shared an advance look at the cover of the DS Music Book, the candles -
(http://www.dsboards.com/91book4quoteimages/SG_76_1_2.jpg)
- weren't airbrushed out, the wallpaper hadn't been altered, and, to me anyway, even given the title/text were placed in slightly different spots, it looks like the title was perfectly readable without the alterations to the still - but quite obviously someone thought otherwise at some point before the book was actually published...
(I wonder what the original cover markup with candles and correct wallpaper would go for if it ever surfaced?!
[nods]
-
Another post definitely worth revisiting:
Something I discovered online back in March:
NIGHT OF DARK SHADOWS-LARA PARKER & DAVID SELBY-MISSING SCENE- LOT OF 8-B/W 4X6 (https://www.worthpoint.com/worthopedia/night-dark-shadows-lara-parker-david-3104381239)
It's quite interesting that there's nothing of Diana Millay/Laura...
...
[nods]
-
Another post to revisit regarding Scene 67A:
... I want to get into something else members and long-time visitors to the forum may have noticed and that's that back in 2009 when we were doing a slideshow of the quotes from the Fest's 1999 Movies Calendar and then again in 2016 when we did a slideshow devoted exclusively to NoDS, I'd used these graphics -
(http://www.dsboards.com/moviesquoteimages/0810NoDS_0.jpg)
(http://www.dsboards.com/NoDSquoteimages/0318ds91_0.jpg)
- for 2009 and 2016, respectively, to illustrate what was used of Laura's lines from Scene 67A. However, this time around I replaced the version of the still that I'd originally used with a much better version -
(http://www.dsboards.com/NoDSAnniQuoteImages/1019NoDS_0.jpg)
Interestingly enough, the version of the still that I originally used was published in the DS Movie Book but, oddly, its coloring was not correct. In the ensuing years since 2016 I've come across two different versions of varying quality that were shared online that feature the correct coloring, and after correcting for the angle in which the photo of the still was taken -
(http://www.dsboards.com/NoDSAnniQuoteImages/diana-millay-dark-shadows-signed_1_b239921ba621d6dd22530b33a0283424.jpg)
- when it was used so long ago on worthpoint.com (https://www.worthpoint.com/worthopedia/diana-millay-dark-shadows-signed-129770252) to sell an autographed photo of Diana Millay that the details of the sale are no longer indicated, I went with that one...
[nods]
-
...
A great scene. Ange's line to Laura is really quite a put-down.
Besides illuminating why Quentin's Theme pops up in the film, it definitely explains why Laura finds it so hysterically funny when Strack describes Angelique as Laura's "loyal and loving sister-in-law, and it gives Laura the motivation to want to see Angelique condemned as a witch, which, as the film stands, we simply accept on face value.
...
[nods]
-
Revisiting how DS's script's version of Scene 68 is scripted:
And setting up DC's script's version of Scene 68:
FLASH CUT TO:
68 INT. DRAWING ROOM - DAY - 1971 68
Tracy stands in the doorway She looks at Quentin.
|
And that's when today's quote -
Page 28/Scene 68 - Tracy (O.S.): 'Darling, are you all right?'
- comes up.
And as far as what's different with the dialogue, the descriptions, and the directions, we have no way of knowing for sure at this point because this scene also doesn't appear in the film as it stands - though it does appear in the 129 minute version - but DC's script has a notation that the scene would actually start on a close-up of Quentin and we would hear Tracy's voice off screen. And DC is actually the one who added the "(O.S.)" next to Tracy's name when it comes to today's quote.
And wrapping up DC's script's version of Scene 68, beginning with today's quote -
Page 28/Scene 68 - Quentin: 'Yes. Of course. Why wouldn't I be? I was just waiting for you.'
- coming up, followed by the script continuing with:
TRACY
I'm ready. Come on. It's a beautiful
day.
|
End of scene.
And as far as what's different with the dialogue, the descriptions, and the directions, as has already been said, we have no way of knowing for sure at this point - but DC's script has more notations. He indicates that Quentin would turn to Tracy after she asks if he's all right, and the camera would pan Quentin to a two shot.
...
[nods]
-
Revisiting how Scene 69 is scripted:
...
CUT TO:
(Revised 3/31/71)
69 EXT - GREENHOUSE - DAY 69
Quentin and Tracy are sitting on a blanket. Their
two horses graze nearby. Picnic things are in
evidence. Quentin is busily sketching Tracy when
she finally gets up.
|
And that's when today's quote -
Page 28A/Scene 69 - Tracy: 'Come on. I don't care if it is dangerous. I want to look inside.'
- comes up, followed by the script continuing with:
Quentin AD LIBS OK and, getting up, takes her hand
as they cross to the greenhouse.
|
And as far as what's different with the dialogue, the descriptions, and the directions, we have no way of knowing at this point because this scene doesn't appear in the film as it stands - though it does appear in the 129 minute version. And this time around there are no notations in DC's script.
It's also worth noting that even though the page says this is part of the 3/31 rewrite, it isn't. Scene 69 as well as Scene 70 appear exactly as they were written in Grayson's earlier version of the script. It's just that because so much new material was added to DC's script that Scenes 69 & 70 extended onto page 28A, whereas in Grayson's script they're on page 28.
...
[nods]
-
Revisiting a post related to Scene 69:
... I'd like to share the full still that I used for ... graphic:
(http://www.dsboards.com/NoDSAnniQuoteImages/1025NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Picnic_1.jpg)
And previously I'd neglected to point out that a version of the still that shows more than the copy I have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Picnic_1a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Picnic_1a.jpg) for a 635X700 version)
- appears on page 183 of the Millennium Edition of the DS Almanac.
[nods]
-
Revisiting another post related to Scene 69:
...
First up, a not exactly rare still, but definitely a very nice one:
(http://www.dsboards.com/NoDSAnniQuoteImages/Picnic_2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Picnic_2.jpg) for a 1630X1157 version)
But then, here's a fairly rare one:
(http://www.dsboards.com/NoDSAnniQuoteImages/Picnic_3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Picnic_3.jpg) for a 700X548 version)
I have to confess that ever since seeing that book entitled Mayfair being used as a prop, I've wonder why it was used? Was it being implied that Quentin was simply interested in the Mayfair section of London, or was there an artist named Mayfair whose work the prop department or even Selby himself felt Quentin might be interested in and/or influenced by? However, if the latter was the case, I've never been able to come across an artist named Mayfair, one who painted abstract art or otherwise. I suppose it may forever remain a mystery...
And apparently last time around I neglected to point out that the first still above appears on page 178 of The DS Movie Book.
[nods]
-
Revisiting yet another post related to Scene 69:
... here are some more stills related to Scene #69:
First up, from page 34 of the 30th Anniversary Tribute version of the DS Almanac, here's a still of DC directing the scene:
(http://www.dsboards.com/NoDSAnniQuoteImages/DS_KJ_DS_DC.jpg)
The lady wearing the kerchief is DC's assistant Debbie Smith.
And here's a rarely seen still of DC directing:
(http://www.dsboards.com/NoDSquoteimages/KJ_DS_DC.jpg)
As I've mentioned before, I love Selby just lying there eating an apple! [hall_wink]
And finally here's a very rare still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Picnic_4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Picnic_4.jpg) for a 700X476 version)
It's interesting that the script says Quentin is seen "busily sketching Tracy" yet he's not seen doing so in any of the stills I've ever come across. Though we do see his sketch pad in the second still I shared yesterday - and we do see Tracy fiddling with one of his paint brushes in the still above...
And there are some more stills related to shooting at the greenhouse, but I'm going to hold off sharing those until we reach Scenes 107-110...
[nods]
-
Revisiting another post related to Scene 69:
I have to confess that ever since seeing that book entitled Mayfair being used as a prop, I've wonder why it was used? Was it being implied that Quentin was simply interested in the Mayfair section of London, or was there an artist named Mayfair whose work the prop department or even Selby himself felt Quentin might be interested in and/or influenced by? However, if the latter was the case, I've never been able to come across an artist named Mayfair, one who painted abstract art or otherwise. I suppose it may forever remain a mystery...
A friend [thanks, Kosmo!] sent this link: https://www.pinterest.com/pin/199847302185873299/
It's apparently an assortment of Mayfair English style cookies from Nabisco. [hall2_smiley]
-
Revisiting how Scene 70 is scripted:
...
70 INT - GREENHOUSE - DAY 70
as they walk around looking it over. TRUCK WITH
THEM and then let them EXIT SHOT. HOLD FOR a
moment until in the distance, seen through the
distortion of the greenhouse glass, the figure of
a girl in a long period dress stands watching them.
70 CONTD CONTD 70
|
And that's when today's quote -
Page 29/Scene 70 - Quentin (O.S.): (putting on airs, kidding) 'I'm getting bored. Shall we have drinks on the veranda?'
- comes up.
And as far as what's different with the dialogue, the descriptions, and the directions, you know the story already, so no need to repeat it again - though Scene 70 does appear in the 129 minute version. And there are no notations in DC's script for this scene.
It's also worth noting that this picnic sequence is what's referred to in the DS Companion as something they wished had been in the film as it was released so as to show scenes of Quentin and Tracy being happy. But alas...
(And as an aside, I'll be sharing another candid shot from the day Scenes 69 & 70 were shot - but because it also relates to upcoming stuff that begins with Scene 107, I'm going to hold off until after that scene comes up in the script...)
Wrapping up Scene 70 ... -
Page 29/Scene 70 - Tracy (O.S.): (joyfully laughing) 'Oh! I can't stand it! What a way to live!'
- coming up, ...
...
[nods]
-
It's apparently an assortment of Mayfair English style cookies from Nabisco. [hall2_smiley]
Cookies?!
| (http://www.dsboards.com/NoDSAnniQuoteImages/Mayfair-1.jpg) | (http://www.dsboards.com/NoDSAnniQuoteImages/Mayfair-a.jpg) |
I NEVER would have guessed!! (Kosmo is a genius at tracking these things down. [clap2])
Though the evidence for it being a package of cookies is in the stills. There are cookies on the plates -
(http://www.dsboards.com/NoDSAnniQuoteImages/Mayfair-2.jpg)
- and more than cookies on plates, there's an open package of the cookies -
(http://www.dsboards.com/NoDSAnniQuoteImages/Mayfair-3.jpg)
- though at least the name on the package isn't as well seen in that still.
Thanks so much for clearing up the mystery, Midnite (and Kosmo).
The funny thing is now that I see them I think that back in the day my mom used to buy those cookies occasionally - but obviously the packaging didn't stay in my mind...
[nods]
-
Revisiting a post related to Scene 70:
... I'd like to share the full and unretouched still that I used for yesterday's and today's graphic:
(http://www.dsboards.com/NoDSAnniQuoteImages/1026NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_greenhouse-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_greenhouse-1.jpg) for a 478X700 version)
As you've probably guessed, the reason I'd retouched it was because the script describes:
HOLD FOR a
moment until in the distance, seen through the
distortion of the greenhouse glass, the figure of
a girl in a long period dress stands watching them.
|
The real effect probably isn't like the one I used - but without the actual footage to work with, it's an approximation...
[nods]
-
...
With regard to Scenes 69 & 70, Darren Gross posted on his Restoration Web site -
A selection of scenes cut from the 129-minute version that have been recovered:
...
Quentin and Tracy explore the dilapidated greenhouse watched by Angelique's ghost.
- and I presume that also means that Scenes 71, 71A & 72 -
DISSOLVE TO:
71 EXT - FIELD - DAY 71
It's another day and Quentin and Tracy ride their
horses joyously through the beautiful countryside.
DISSOLVE TO:
71A EXT - RAILROAD FOOTBRIDGE - DAY 71A
as they stroll hand-in-hand with the river in the B.G.
72 EXT - FRONT OF COLLINWOOD - NIGHT 72
It is very late. The house is in darkness.
Slowly the light in the Tower Room begins to
shine.
|
- may have also been recovered because they're not on the list of unrecovered/lost scenes. But who knows? And I don't recall if they were shown in Tarrytown in 2004...
...
[nods]
-
Back when I was revisiting rare stills from Scene 56 I completely forgot to revisit this post:
... I recently came across a CD with stuff I'd saved that I'd completely forgotten about.
First up, yet another rare still from Scene 56, Angelique's funeral:
(http://www.dsboards.com/NoDSAnniQuoteImages/Funeral_f.jpg)
...
[nods]
-
Revisiting how Scene 73 is scripted:
Starting off Scene 73:
DISSOLVE TO:
73 EXT - FRONT OF COLLINWOOD - DAY 73
Tracy and Claire are in Claire's car. They are
about to pull away as Quentin comes out of the house
and crosses to them.
QUENTIN
Hey -- where you going?
|
And that's when today's quote -
Page 29/Scene 73 - Claire: 'We're going to town. It's about time I showed her the shops.'
- comes up.
And as far as what's different with the dialogue, the descriptions, and the directions, again, you know the story already, so no need to repeat it. And no notations or crossing out in DC's script to indicate Scene 73 wouldn't be shot. And to be truthful, I'm not 100% certain the scene wasn't shot. I'm mostly basing that on the fact that none of the upcoming scenes involving Tracy and Claire's shopping spree were shot, and none of those scenes are crossed out either, yet we know for certain that they weren't shot. So, if all those scenes were never shot, why shoot the scene setting them up? Unfortunately though, and in an effort of full disclosure, unlike those upcoming scenes, I've never come across anything that specifically says Scene 73 was never shot. But while we know it's not in the 94 and 97 minute versions of the film, it's also not on Darren Gross' list of the "lost" scenes that were shot but not included in the 129 minute version. ...
Wrapping up Scene 73:
And that's when today's quote -
Page 29/Scene 73 - Quentin: 'I've got to start doing some work. Do you realize we've been here over a week now?'
- comes up, followed by the script continuing with:
73 CONTD CONTD 73
TRACY
Can I help it if you sleep away
the day? OK. Do good work --
I'll see you later.
She pecks him on the cheek as they drive off.
|
And as far as what's different with the dialogue, the descriptions, and the directions, again, you know the story already, so no need to repeat it. Though the reference to Quentin sleeping away the day would seem to confirm that he's still being drawn to the Tower Room and that was indeed the significance of Scene 72. And it's interesting that Scene 73 would have let us know that over a week has passed since Quentin and Tracy arrived at Collinwood.
[nods]
-
Revisiting how Scenes 74 through 78 are scripted:
Dealing with the scenes leading up to ... Scene 79 ...:
74 EXT - BACK OF COLLINWOOD - DAY 74
Quentin ENTERS THE SHOT and stands under the tree where
he saw the hanging figure. Still unable to understand
what is happening, he shakes his head and turns toward
the house. All of a sudden he notices something O.S.
75 EXT - SECOND FLOOR WINDOW - SARAH'S ROOM - 1800 - HIS 75
P.O.V. -
SUBCONSCIOUS MEMORY CUT
FAST ZOOM to the face of Sarah, a little girl of about
ten. She is staring out the window, down at him. Then
looking away from him, she stares over his head as if
at something in the tree. Suddenly she SCREAMS with
horror.
76 EXT - COLLINWOOD - 1971 - DAY - NORMAL COLOR 76
Quentin, as he quickly looks at the tree.
77 TREE - QUENTIN'S P.O.V. - 1800 77
SUBCONSCIOUS MEMORY CUT
The hanging figure is there again.
78 EXT - COLLINWOOD - 1971 - DAY - NORMAL COLOR 78
Quentin quickly looks back at the window. WHIP PAN
with his look. It is empty.
|
...
And when it comes to what's different with the descriptions and directions, in Scene 74 Quentin doesn't actually shake his head because he's unable to understand what is happening because something actually comes over him as the sound of wind begins to be heard and Quentin immediately turns to look at the window - and in Scene 75 there is no zoom to the face of Sarah in the window, nor is she seen staring down at Quentin, nor does she look away from him to something over his head as if at something in the tree because we immediately see a shot of Sarah screaming in the window as she stands there holding a doll (which, when we get to Scene 80, we'll learn that the doll was originally supposed to be something else) - and in Scene 78 there is no whip pan with Quentin's look back at the window because he simply looks back and then we see that the window is empty - ....
And, yes, once again 1810 is wrongly written as "1800" in the script.
...
[nods]
-
Revisiting how Scene 79 is scripted:
Dealing with ... DC's script's version of Scene 79 (yes, Scenes 79 & 80 are more instances where scenes are somewhat different in DC's and Grayson's scripts):
79 INT - UPSTAIRS CORRIDOR - DAY 79
as Quentin runs TOWARD CAMERA and pulls open a door to
one of the bedrooms.
|
And that's when today's quote -
Page 30/Scene 79 - Carlotta (O.S.): 'Did you wish something, Mr Collins?'
- comes up - however, in DC's script it's seen as:
Oh Mr Collins you startled me
CARLOTTA (O.S.)
Did you wish something, Mr Collins?
I was just straightening up the room
|
And when it comes to what's different with the dialogue, DC's changes are indeed what Carlotta actually says in Scene 79. Though what's interesting is that the changes aren't written in when it comes to Grayson's script. She simply has two notations: one that says "Busy in the room" and another that says "He's not ready yet -"
And when it comes to what's different with the descriptions and directions, ... - and when it comes to Scene 79, Quentin doesn't run toward the camera or pull open a door to one of the bedrooms because as we can see in the following captures -
(http://www.dsboards.com/NoDSquoteimages/0329ds91_a.jpg)
- Quentin is actually seen running up the stairs -
(http://www.dsboards.com/NoDSquoteimages/0329ds91_b.jpg)
- as the camera pans with him as he makes his way to the bedroom -
(http://www.dsboards.com/NoDSquoteimages/0329ds91_c.jpg)
- and once inside the bedroom he picks up a doll that has somehow fallen to the floor, the same doll that Sarah was holding.
...
And it's also worth noting that this is the only sequence in the script that isn't actually passed over when the film as it stands now jumps from Scene 62 to Scene 84 - it (including Scene 80) simply appears right after the sequence that begins with Scene 84 and runs through Scene 86...
[nods]
-
Revisiting how the start of Scene 80 appears in DC's script:
...
80 INT - SARAH'S ROOM 80
It is obviously a child's room. Carlotta stands on
the other side of the four poster bed. She is
straightening the stuffed animals that are propped
there.
80 CONTD CONTD 80
|
And that's when today's quote -
Page 30A/Scene 80 - Quentin: 'I saw a little girl in that window.'
- comes up.
And when it comes to the difference in the dialogue, Quentin actually says "I saw a little girl standing here by the window."
And when it comes to what's different with the descriptions and directions, we don't see Carlotta straightening any stuffed animals because what actually happens is that after he's picked up the doll, Quentin walks over to Carlotta, who's on the other side of the fourposter bed, as described in the script, and she takes the doll from him before he tells her about seeing the little girl. Also, as we saw in the last capture in yesterday's post, the bed has several dolls strewn across it.
And as we saw with the description of Scene 75 and now with Scene 80, the script leaves little doubt that this second floor room was indeed Sarah's. Perhaps she enjoyed special status because she was so close to Angelique.
And there's already quite a bit that's different in DC's script from the way things are in Grayson's, but there's going to be so much more, so I'll get into all the differences after we deal with all of Scene 80 as it appears in DC's script...
A bit more of Scene 80, beginning with Carlotta's reply to Quentin's claim to having seen a little girl in the window:
CARLOTTA
Little girl?
Quentin crosses to the window and looks out.
QUENTIN
I was outside --
CARLOTTA
I know.
|
And that's when today's quote -
Page 30A/Scene 80 - Carlotta: 'I saw you from the window.'
- comes up.
And when it comes to what's different with the dialogue, Carlotta actually questions with "A little girl?" - and Quentin actually replies with "Yes, I was outside --" - to which Carlotta begins to respond by saying "Yes, I know."
And when it comes to what's different with the descriptions and directions, while Quentin crosses out of frame toward the window, we don't actually see Quentin look out it because the camera remains on Carlotta and, as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1101NoDS_0.jpg)
- actually pushes in on a close-up of her as she looks at Quentin very closely.
And there are notations in both DC's and Grayson's scripts for this section:
DC writes that the camera will stay on Carlotta, which is obviously how it was shot - but he also writes that we will see Quentin's P.O.V. outside when he looks out the window, which is not how it was shot. The two notes would seem to contradict each other, so who knows?
And Grayson writes a notation along the top of the page of her script that Quentin is still something, but the rest gets cut off in the copy of the script that I have ([sad1]) - but she also writes that Carlotta will react with great tolerance to what Quentin is telling her.
Grayson's notation says, "He's still too much in this world."
Also when it comes to Grayson's notation that Carlotta is doing something with great tolerance, I'd interpreted it as it being her reaction, but for the life of me I can't decipher the actual first word beyond it looking like there might be three i's in it:
(http://www.dsboards.com/NoDSAnniQuoteImages/Note_P31.jpg)
Maybe our resident brilliant Deciphernator can figure it out as he has so well in the past. [hall2_wink]
[nods]
-
A few posts commenting on Scenes 79 & 80 that are worth revisiting:
That is a very cool shot of Grayson in that scene.
My theory about this scene, for what it is worth, is that Carlotta had actually been recalling her past life as Sarah Castle when Quentin saw Sarah's apparition briefly. And that the dolls were a kind of psychometric focus for this. Just as the locket Carlotta wore was another kind of focal point, though not one that was ever explained properly in the final cut of the film. (There's one scene, of course, that does explain it, but you have to pay really close attention and connect some dots to get this.)
I have the same take on it as you do. And while I've held that opinion all along, the interesting thing is that as many times as I've watched NoDS, I've never noticed that there is actually some evidence, even in the film as it currently stands, that may indeed point to it. But I'll hold off getting into it all until later in the script. (And in my defense, what I'm referring to is something that could be easily missed. I only noticed it this time around because, with the slideshow, I'm repeatedly seeing scenes to pick out the captures. But as I often say with the regard to the original series, no matter how many times I watch it, I always somehow manage to catch something new with every viewing...)
What an interesting theory, Gothick!
...
[nods]
-
Revisiting more of how Scene 80 appears in DC's script:
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?
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...
[nods]
-
Two more posts worth revisiting regarding the scripted version of Scene 80:
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.)
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).
[nods]
-
and does Quentin really remember what he saw?
The reason I wrote that is because as we know, what Quentin actually sees in Scene 75 -
- and what he remembers in Scene 80 -
-are not the same. Just why DC and editor Charles Goldsmith chose to do that was probably known only to them. (And when we get to Scene 129 we'll see that it's only part of the story.) But I'm sure they had their reasons...
[nods]
-
Getting back to the subtitles and closed captioning with regard to Scene 80:
And speaking of the subjects of the little girl and the room, the close captioning leaves out another bit of dialogue - after Quentin asks, "This was a child's room, wasn't it?" in the film, Carlotta replies, "Yes, it was," and then follows that with, "It was Mrs. Stoddard's when she was a little girl" - but when it comes to the closed captioning the "Yes, it was" is dropped and only that latter part is presented -
(http://www.dsboards.com/NoDSAnniQuoteImages/Didn't_See_You_VHS_frame_00782.jpg)
- (though also in this case the subtitles get everything correct).
[nods]
(ADMIN: Reply #823 has been edited to replace a TV video screen capture)
-
A must revisit post:
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?
[nods]
-
Another post definitely worth revisiting (and for more than one reason)...
I want to share the following still because, like several others for NoDS, it depicts a moment that's not really associated with the actual scene in the film -
(http://www.dsboards.com/NoDSAnniQuoteImages/Carlotta_Sarah's room.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Carlotta_Sarah's room.jpg) for a 700X476 version)
- because nowhere during Scene 80 is Carlotta seen lying across the bed and looking to be in anguish. In fact, Carlotta remains calm and cool throughout. But hey, perhaps Grayson wanted to do an alternative take on things just for a photograph. Or perhaps the photographer simply wanted to showcase one of Selby's assets from just the right angle and pretended Grayson was the desired subject. We'll probably never know... [hall2_wink]
(Plus this version shows slightly more than the version shared in the Fest's 1999 Movie Calendar. Very slightly more, but still more...)
[nods]
-
And one last thing to revisit regarding Scene 80 (something I probably should have revisited the other day when the same screen capture came up):
Before we leave Scene 80 completely behind for the current run of the slideshow:
I love how Carlotta looks at Quentin as he's discussing having seen the little girl at the room's window -
(http://www.dsboards.com/NoDSAnniQuoteImages/1103NoDS_a.jpg)
- I mean, just look at her eyes!
...
[nods]
-
Do you think that Carlotta's explanation that the room had belonged to Mrs. Stoddard when she was a little girl was something that Carlotta came up with on the spot? Elizabeth would not have been a little girl in many years. The explanation should not really comfort Quentin since it doesn't explain why he saw a little girl in a house without children.
-
[pointing-up] You know, I never thought about it that way before, but Carlotta may very well have come up on the spot with the excuse that the room was Mrs. Stoddard's when she was a little girl. And the reason that may be likely is that it's made clear in the script that the room was Sarah Castle's and, of course, Carlotta would have known that (and the audience would have learned it, too, if in DC's infinite wisdom and apparent dislike for Monica Rich's work, he hadn't cut the scene that would have clearly explained that, but no [hall2_rolleyes]). Plus, Carlotta didn't want to tell Quentin that truth just yet because, as Grayson Hall notes in her script, Carlotta doesn't think Quentin is quite ready to hear it.
As for Quentin, he may accept the Mrs, Stoddard's room explanation and the trick of the light theory because it seems as if he might feel a bit embarrassed and because of that he wants to make a graceful exit from the room without appearing more foolish. It would be interesting if David Selby made any notes to that effect in his script, but I have no idea if he did or not because I've never seen his script...
[nods]
-
A bit late but revisiting how Scene 81 is scripted:
...
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:
And that's when yesterday's second quote -
Page 31/Scene 81 - Tracy: (tentatively) 'Yes.'
- comes up, followed by the script explaining:
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?
|
...
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.
One does have to wonder why the script says they're driving along a Tarrytown (NY) street (no doubt where it was intended to be shot) rather than a Collinsport (ME) street (what the Tarrytown street was standing in for). One would think that would have been picked up on - but apparently not...
[nods]
-
The first time around when we reached Scenes 81-83, an extended period of material in the script that was never shot, I flashforwarded and shared material to preview Scene 85. Last time around I flashbacked to posts from the forum's VantageNet days that showcased Midnite's excellent recap of the NoDS 30th Anniversary event, which was held at the Vista Theatre in LA, as well as several fans' photos from it. Well, this time around I'm going to be looking mostly at material that has already been shared, though some of it has never been posted, but viewing it in a totally different way. And just what that way is will have to wait just a bit because before I get into it all that I want to revisit a thing or two.
First up I want to revisit this -
...
historian Darren Gross was introduced. Darren explained his quest and then regaled us, first with the 7 "explicit" scenes cut to prevent an R rating, and then the formerly lost piano scene (with Angelique in the dress worn in the portrait) and the fabulous séance scene. Lastly, he played the 2-minute trailer which contains glimpses of the lost pool scene and the séance scene in color, woo!
I'm sure most fans are well aware what 7 "explicit" scenes Midnite refers to and what was cut, but just in case there are still some who don't, here's an excerpt from a page Darren posted on his now defunct restoration site:
Strack being trampled to death by Charles' horse includes a few more shots of Strack being trampled, his face covered with gore as well as shots of Charles' horse rearing up. Charles can also be heard to shout, "Up Dubloon !(the name of his horse)Kill! Kill ! Die Strack ! Die ! Die !" The shot of Strack rolling over and dying is extended. There is a closeup of his dead body. The camera then tilts up to a shot of Charles looking down satisfactorily at the body. He then looks off-camera, feeling a presence. The film then cuts to the shot of Angelique's ghost standing in the cemetary as Charles approaches which was retained in the 93.5 minute version.
In Quentin's flashback in the tower, Charles and Angelique's kiss is more explicit. Angelique throws her head back and laughs mockingly as Charles kisses her neck and the unseen Gabriel hammers angrily at the door. GABRIEL: I know she's in there now open the door !(this is also present in the short version, but I have retained it to give the next line context) CHARLES: For more of your dreary moralizing ? You try my patient brother. GABRIEL(pounding, furious): For the last time - open the door !
Angelique's hanging is more explicit. After she is pushed off the scaffold her body jerks and swings as it stops. The hangsmen grab her body to stop it from swaying then grab the rope and use it to pull her body high up in the tree. They tie the rope off. The body swings as the tree branch creaks.
When Quentin attacks Tracy in bed his molestation of her is much more physical and his dialogue more suggestive. Quentin roughly strokes Tracy's chest and violently grabs her breast while she fights him off. QUENTIN: What's the matter, don't you like it anymore ? Quentin grabs her and holds her down violently.
After Claire and Tracy re-enter the cottage, the shot of Gerard lunging at them with a murderous expression on his bloody face lasts a bit longer.
In the truck, Gerard's molestation of Tracy is more explicit. After Gerard muffles her shrieks, he rasps quietly to her: GERARD:Promise not to yell and I'll let you go... He then turns towards her and begins to slowly stroke her leg, her thigh, and her crotch and Tracy begins to kiss him to keep him distracted.
After Gerard falls to his death and his body is seen lying on the railroad tracks, there is a closeup of Gerard's bloody head which is lying tilted back, its mouth gaping open. He is clearly dead. After Alex and Claire join Quentin on the railroad bridge Alex looks at Gerard's body below and says "Looks like the old Bangor local will be running a little late tonight."
And if you've never seen the 2 minute trailer, here's a link:
NIGHT OF DARK SHADOWS (1971) Rare Movie Trailer (https://www.youtube.com/watch?v=Y0pyLOmCwao&t=16s)
You'll also see glimpses of such cut things as Gerard's bloody head, Tracy's dream about Quentin and Angelique making out at the pool house, Strack's trampling, and Angelique's hanging.
...
- because there are two things that I want to do. The first thing is share this Lara Parker candid that's associated with the piano scene (Scene 67A) -
(http://www.dsboards.com/NoDSAnniQuoteImages/Piano-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Piano-2.jpg) for a 700X914 version)
- because for some reason when we've dealt with that scene I've kept forgetting to do so. And the second thing is to share a trimmed version of the 2 minute trailer that only includes the cut material from the film. Also, it's been slowed down to play at only 20% of normal speed and has been lightened up so as to get a better look at the footage. What you'll be seeing is often graphic footage that was included in the 97 minute version of the film but later trimmed to avoid that R rating, footage that is only included in the 129 minute version of the film, but also footage that isn't in any version of the film. So, in the order that each will be coming up is the close-up of the dead Gerard's bloody head, Tracy's dream about Quentin and Angelique making out at the pool house (which isn't in any version of the film), the seance (only in the 129 minute version), Strack's trampling and Angelique's hanging -
[nods]
-
Revisiting how Scene 82 is scripted:
...
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.
...
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...
...
And again with the script referring to a Tarrytown street. [hall2_rolleyes]
[nods]
-
When I dealt with Scenes 81-83 back in 2016 I shared this still to -
...
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:
(http://www.dsboards.com/NoDSquoteimages/Kate_Nancy.jpg)
...
- as I said, help try to picture what the scenes might have been like. But that was really the wrong still to choose because both are wearing clothes they don during the climax of the film. Better stills are probably these -
(http://www.dsboards.com/NoDSAnniQuoteImages/Exit-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Exit-1.jpg) for a 700X810 version) | (http://www.dsboards.com/NoDSAnniQuoteImages/Exit-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Exit-2.jpg) for a 700X826 version) |
- because even though they're behind the scenes candids from Scene 242 -
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Exit.jpg)
...
- near the end of the film, both Claire and Tracy are wearing what I like to refer to as they're travelling clothes and they may have very well dressed that same way if Scenes 81-83 had actually been shot...
[nods]
-
Revisiting how the start of Scene 83 is scripted:
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. ...
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?
[nods]
-
... this time around I'm going to be looking mostly at material that has already been shared, though some of it has never been posted, but viewing it in a totally different way. And just what that way is will have to wait just a bit ...
Well, the time has arrived to get into what I want to explore this time around - and that is how 52 B&W stills are organized in the official NoDS Editor's Portfolio, which featured stills and information on the film, and which was available for magazines and newspapers to publicize NoDS - and what I find quite interesting is that the stills are not organized in a manner that, say, would be in keeping with how the various scenes depicted (well, at least in the case where a still depicts a scene, several are instead head shots of the various characters) come up in the film, but quite possibly, if my suspicion is correct, in the order they were shot.
Now, there's several bits of circumstantial evidence that might support my hypothesis. One major bit is that thanks to a few sources but specifically because of an article in the NoDS Pressbook, we know that Angelique's funeral was shot on the first day of production -
...
(http://www.dsboards.com/91quoteimages/Funeral.gif)
(Though not one of those actors was in the funeral scene.)
...
- and the still that's numbered "1" is of the funeral. We also know that at the very least some parts of the hanging of Angelique were shot early in the production because stills from the sequence are included in the film's very first magazine article (Flip's Curse Of Dark Shadows), an article that was published while the film was in production, and a still related to the hanging sequence in numbered "2". And thanks to the Call Sheet that I came across, we know that Scene 190 was apparently shot on April 5th, with shooting pf the film having begun on March 29th, and a still from that scene in numbered "7". And apparently the seance was also shot early in production because stills from it are included in that very first magazine article on the film and stills from that scene are numbered "9" and "10".
But as far as this post is concerned we're only going to get into the first four stills. So, here's #1 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-01.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/1-fun-2.jpg) for a 672X543 copy of the previously posted version)
- #2 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-02.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-9.jpg) for a 547X700 copy of the previously posted version)
- #3 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-03.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery4-1a.jpg) for a 700X526 copy of the previously posted version)
- and #4 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-04.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Morning1.jpg) for a 700X532 copy of the previously posted version)
I do actually have my own numbered print copies of all those stills, but rather than scan mine, for the purposes of all this I'll be using scans I've come across on the Internet (usually posted as points of sale on places like eBay and on film auction sites) and then linking to the unnumbered versions I've already posted.
Many more to come...
[nods]
-
And this time the latest four graphics -
...
- have all been made using various portions of this still -
...
- which I also bought on the same day in 1996 that I bought the still I've shared in Reply #330. But unlike how I had no idea that that still even existed, I did know that this one did because it had been shared in the NoDS Pressbook -
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable-3a.jpg)
- as well as on the cover and inside the NoDS Editor's Portfolio (though I don't own that) -
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable-3b.jpg)
- and a somewhat cropped version on page 141 of the 30 Anniversary Tribute version of the DS Almanac.
Foolish me, back then I thought what I was seeing was the cover of the NoDS Editor's Portfolio. However, earlier this year I came across -
(http://www.dsboards.com/NoDSAnniQuoteImages/night-dark-shadows-editors-portfolio.jpg)
- and realized it's that the cover has a circle cut out of it that allows the still underneath to show. [6184] But in my defense, never having actually seen the portfolio except in that first photo, thinking the still of Tracy and Gerard was used for the cover was a natural assumption. Though we all know how dangerous it can be to assume!! [b003]
-
Posts worth revisiting that are for the most part related to today's quote:
...
... 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.
... 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!! [ghost_smiley]
...
I remember thinking that it was supposed to a mattress tickling jumper, which sounded like a lot more fun to me. [Witch_Potion_Animated] [Witch_Potion_Animated] [Witch_Potion_Animated]
Decidedly more fun!! [lghy] [naughty]
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. [nodassent]
-
The next six stills. So, here's #5 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-05.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-9.jpg) for a 1000X779 copy of the previously posted version)
- #6 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-06.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-8.jpg) for a 1203X925 copy of the previously posted version)
- #7 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-07.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Confront-1.jpg) for a 765X556 copy of the previously posted version)
- #8 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-08.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery-3.jpg) for a 700X484 copy of the previously posted version)
- #9 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-09.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Seance6.jpg) for a 897X700 copy of the previously posted version)
- and #10 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-10.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Seance5.jpg) for a 906X685 copy of the previously posted version)
You may have noticed two things when it comes to the first ten stills: 1) some have a copyright, and 2) when it comes to most the numbering appears in black rectangles located in the margins of the stills, but when it comes to #5, it's written on the actual photo - however I've come across some of the stills where there are version of both, and you'll notice that if you view the larger versions of #4 and #10.
Interestingly enough, none of my copies of these stills included in the NoDS Editor's Portfolio have the copyright. However, some have something that we've yet to see - but we will - and it's worth noting that there are also versions of #5 and #7 that also have it...
Many more to come...
[nods]
-
Now that we've reached the seance stills from the NoDS Editor's Portfolio, I want to revisit some of the early material that was published to publicize the film to perhaps fortify the circumstantial evidence that the stills from the portfolio are organized in the order that the various NoDS scenes were shot.
First up, Flip's Curse Of Dark Shadows article:
(http://www.dsboards.com/NoDSquoteimages/CoDS-1.jpg)
(Click here (http://www.dsboards.com/NoDSquoteimages/CoDS-1.jpg) for a 1200X1609 version)
(http://www.dsboards.com/NoDSquoteimages/CoDS-2.jpg)
(Click here (http://www.dsboards.com/NoDSquoteimages/CoDS-2.jpg) for a 1200X1609 version)
As already noted, the article only features stills from Angelique's hanging and the seance, which are represented in the portfolio by stills #2, #9 and #10.
Next up, what 16 and 16 Spec first published:
(http://www.dsboards.com/NoDSAnniQuoteImages/Charles_16Mag.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/fantastic_DS.jpg)
And:
(http://www.dsboards.com/NoDSAnniQuoteImages/Charles_16.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Charles_16.jpg) for a 792X1076 version) | (http://www.dsboards.com/NoDSAnniQuoteImages/Gabriel_16.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gabriel_16.jpg) for a 792X1076 version) |
(http://www.dsboards.com/NoDSAnniQuoteImages/exciting_C_G.jpg)
More stills associated with Angelique hanging, but also in the case of the doctored shot of Gabriel, one specifically related to the Gallery scene in which Gabriel, Rev. Strack and Laura discuss how the hanging must take place - and we know it's related to that scene because this is the undoctored version of the still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gabriel_Strack.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gabriel_Strack.jpg) for a 540X700 version)
- and as more circumstantial evidence that Gallery scene comes up as still #3 in the portfolio.
(One thing I do find quite interesting is that none of that early material is included in the NoDS Editor's Portfolio, it's all alternate shots, and in the case of the first still of Charles, one that's in color. But then Flip's first hoDS article featured exclusive photos published only by them, and 16 Magazine had published dozens of exclusive photos throughout DS' run on TV. The only shot featured in Flip's CoDS article that appears anywhere else is the one of the noose being adjusted around Angelique's neck as that one is also featured in a Daytime TV article, but more on that down the line.
Actually, it's quite fascinating what stills were chosen, numbered and included in the portfolio and what ones were not...)
[nods]
-
Revisiting more of how Scene 83 is scripted:
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...
Of course, the referenced dates for the quotes and for when they came up in April of 2016. The way the slideshow works for this topic is that: April 9th = November 10th / April 10th = November 11th / April 11th = November 12th / Today = November 13th.
[nods]
-
The next six stills. So, here's #11 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-11.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/IsThis64.jpg) for a 918X686 copy of a newly scanned version)
- #12 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-12.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-2.jpg) for a 700X566 copy of the previously posted version)
- #13 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-13.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-1.jpg) for a 912X700 copy of the previously posted version)
- #14 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-14.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-7.jpg) for a 700X544 copy of the previously posted version)
- #15 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-15.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-5.jpg) for a 700X564 copy of the previously posted version)
- and #16 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-16.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-4.jpg) for a 1088X838 copy of the previously posted version)
You may have noticed that once again rather than the numbering being in a black rectangle in the margin, when it comes to my copy of #12, it's written on the actual still...
Many more to come...
[nods]
-
Some more posts worth revisiting:
I wish the Gregory scene had been included. But it was entirely about character development so of course, it had to go.
G.
I would definitely prefer Keith Prentice to Michael Stroka but my ideal choice for Gregory would have been Louis Edmonds.
I would definitely prefer Keith Prentice to Michael Stroka but my ideal choice for Gregory would have been Louis Edmonds.
Oh, Louis would have been a hoot in that role!
I also agree that Keith be preferable to Michael.
Oh, Louis would have been a hoot in that role!
I agree. Though at least from what's been written, it doesn't seem like he was ever in contention.
...
[nods]
-
Do you think that Carlotta's explanation that the room had belonged to Mrs. Stoddard when she was a little girl was something that Carlotta came up with on the spot? Elizabeth would not have been a little girl in many years. The explanation should not really comfort Quentin since it doesn't explain why he saw a little girl in a house without children.
I'm wondering ... why would the child of a servant be given such an elaborate bedroom? (And even if it hadn't been so elaborate back then and had since been redecorated, it was a much larger room than would have been given to the servant class. Not to mention it was on the second floor--not the third, where the servants would be.)
-
The next five stills. So, here's #17 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-17.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower_stairs.jpg) for a 1400X1067 copy of the previously posted version)
- #18 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-18.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-17_2.jpg) for a 700X537 copy of the previously posted version)
- #19 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-19.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Breakfast-2.jpg) for a 532X700 copy of the previously posted version)
- #20 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-20.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/screenworld_a.jpg) for a 700X549 copy of the previously posted version)
- and #21 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-21.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/KJ_DS-2.jpg) for a 700X546 copy of the previously posted version)
You may have noticed that once again rather than the numbering being in a black rectangle in the margin, when it comes to my copies of #17 and #19, it's written on the actual stills...
Many more to come...
[nods]
-
Revisiting more Gregory/shopping sequence posts:
... The shopping excursion certainly seems like it would have been some of Claire's best stuff in the film had it actually been shot. But alas...
And just so you'll be able to put a face to who might have been Gregory had his scenes actually been shot, here are the two actors of whom it's been reported were considered (Keith Prentice and Michael Stroka) and one that some fans have said they would have liked to have seen in the role (Louis Edmonds):
(http://www.dsboards.com/NoDSAnniQuoteImages/Gregory.jpg)
Louis would have been magnificent as Gregory!!!!
It's a fun scene. It really shows a genuine friendship between Tracy and Claire. And Gregory, well, is like no other character in the DS pantheon. Unfortunately, it doesn't add all that much to the film as a whole. It might have worked better if it had been intercut with bits of Carlotta or Gerard doing something nefarious back at Collinwood. I can see why DC chose not to shoot the scene. Which leads me to wonder if Gregory had even been cast. It wouldn't be like DC to cast an actor then have to pay him for doing nothing
[pointing-up] From the way the sequence has been talked about, I doubt things ever got to the point where Gregory was actually cast. It seems like before production began some actors' names were bandied about, but before any might have been cast, DC decided to scrap the whole sequence. As far as even the 129 minute version of the finished film goes, the audience would be left forever wondering who Gregory was when Tracy told Quentin that "Gregory said I could take them back" after Quentin discovered she'd bought him a pair of riding breeches...
...
I have a feeling the shopping sequence was dropped primarily for budgetary reasons. Since they apparently decided to shoot the entire film on the Lyndhurst estate, it may have been difficult to find somewhere on site that didn't need a lot of set design/dressing work to make it convincing. Going into Tarrytown or Irvington would have probably added a lot of extra expense they didn't feel was warranted for a sequence that doesn't really advance the plot (even if it does enrich the characterizations).
Another thought regarding the shopping sequence. As much as I'd like to be able to see it on screen, I think it would feel quite out of place in the film that we have. It would be the ONLY interjection of a bit of the outside world, in what is otherwise a very weird, creepy, other-worldly bubble (which is one of the things I really love about the film).
[nods]
-
Now that we've reached still #21, I want to revisit the following two part of these early posts:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/KJ_DS.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/finished.jpg)
... "Curse of Dark Shadows" (Only NoDS' working title even from the outset because it was even referred to as such when 16 Magazine announced the film) ...
...
... a photo that I've lost track of just how many magazines went with to initially publicize the film. It was most probably more than a dozen. Though what's interesting is it wasn't a part of the first article on the film after production had begun. That article appeared in Flip magazine soon after the daytime DS went off the air and it features stills from some of the 1810 flashback scenes as well as the seance
...
As I was going through things and planning out future things to share, two thoughts struck me: ..., and more often than I would have liked magazines chose to use a still from the NoDS Editor's Portfolio (which MGM provided with stills and background articles) that, if it was me making the choice, would have been the least likely one I would have chosen. Case in points, this:
(http://www.dsboards.com/NoDSAnniQuoteImages/1-fun.jpg)
It's really quite surprising how often that cemetery shot showed up in prerelease publicity in the various entertainment magazines rather than stills that featured actual stars from the film. Yes, as I've said, it's definitely true that the still of Tracy and Quentin entering the vestibule with their luggage was published more than a dozen times - but the cemetery photo had to come in as a close second. And one has to wonder why? Did the magazines think people might say to themselves, "Oh look, it's a photo of people in a cemetery, let me run to see that film!"? I tend to suspect few people would have. But then there is no getting around that MGM did include the photo in the set, so they had to believe it had some sort of selling point. And it's not even like it's the only cemetery still they used to promote the film because one of the Lobby Cards is a cemetery shot ...
At the time that I'd posted all that about the cemetery shot, I'd completely forgotten that it is still #1, so that definitely explains why it was one of the first stills to show up in magazines to publicize Curse of Dark Shadows. Though why it was still being used after the film was retitled Night of Dark Shadows, which was obviously before the Editor's Portfolio was made available, is anyone's guess because obviously plenty of much better stills had been made available to choose from...
[nods]
-
The next five stills. So, here's #22 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-22.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/dead-serious_a.jpg) for a 600X458 copy of the previously posted version)
- #23 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-23.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-3_1.jpg) for a 620X797 copy of the previously posted version)
- #24 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-24.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement8.jpg) for a 1000X772 copy of the previously posted version)
- #25 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-25.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Quentin_Charles.jpg) for a 548X700 copy of the previously posted version)
- and #26 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-26.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement11.jpg) for a 700X541 copy of the previously posted version)
Sadly the last three are from scenes that aren't currently in the film - and actually #24 is only one of the three that's even in the 129 minute version.
And we've reached the halfway point, so another 26 to come...
[nods]
-
Before we move on I'd like to point out that it may seem odd that still #23 comes up in the midst of the scenes that take place in the basement of Collinwood, but keep in mind that the scene depicted in still #23 takes place at the greenhouse and as Darren explained to us:
The location for all the NODS basement scenes is actually the basement underneath the greenhouse.
Appears to quite possibly be yet more circumstantial evidence that the stills in the Editor's Portfolio are organized in the order that the various scenes were shot...
[nods]
-
I've recently revisited material from the magazines Flip and 16 that included stills that are not included in the Editor's Portfolio. In addition to what I've already shared, three such articles were published by 16/16Spec (but they had an extremely closed connection to DS) and I hope to share those at some point in the future. However, those sorts of articles/materials are few and far between. In fact, now that we've reached still #25, an example of an article that strictly features stills provided in the Editor's Portfolio (stills #3, #9, #16, #18 & #25) is the following piece that was published by TV Dawn to Dusk in the Fall of 1971:
(http://www.dsboards.com/NoDSAnniQuoteImages/CUW_DS.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/CUW_DS.jpg) for a 1200X1704 version)
Given that NoDS had already been out for months, it's interesting that they decided to go with two stills from scenes that weren't even in the film. But more than likely whoever edited the article probably didn't even realize that - they simply went with stills they liked...
[nods]
-
The next four stills. So, here's #27 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-27.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Stable-2.jpg) for a 700X885 copy of the previously posted version)
- #28 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-28.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Cellar_room.jpg) for a 700X542 copy of the previously posted version)
- #29 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-29.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Bridge-1.jpg) for a 700X595 copy of the previously posted version)
- and #30 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-30.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Parapet1.jpg) for a 700X540 copy of the previously posted version)
This time around it's #27 and #29 that are from scenes that aren't currently in the film - though #29 is in the 129 minute version.
More to come...
[nods]
-
The next four stills. So, here's #31 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-31.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck-5.jpg) for a 626X800 copy of the previously posted version)
- #32 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-32.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Truck-1.jpg) for a 700X595 copy of the previously posted version)
- #33 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-33.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Fight-3.jpg) for a 700X548 copy of the previously posted version)
- and #34 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-34.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Fight-2a.jpg) for a 700X537 copy of the previously posted version)
Another grouping of stills shot in the same location.
More to come...
[nods]
-
The next four stills. So, here's #35 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-35.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Drown.jpg) for a 700X529 copy of the previously posted version)
- #36 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-36.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Dream_B&W-2.jpg) for a 620X498 copy of the previously posted version)
- #37 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-37.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Drown2.jpg) for a 803X620 copy of the previously posted version)
- and #38 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-38.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Stable-3.jpg) for a 700X900 copy of the previously posted version)
And yet another grouping of stills shot in the same location.
More to come...
[nods]
-
Revisiting how Scene 83 wraps up, beginning with Tracy's comments about Gregory's shop:
...
Page 33/Scene 83 - Tracy: 'Hi. This makes me feel like I'm back in New York.'
- and that's followed by the 14th's quote -
Page 33/Scene 83 - Gregory: 'Oh, do I have something for you ... it's madness it's so perfect. [He whips out an insane dress.] Could it be more you?'
- coming up, followed by the 15th's quote -
Page 33/Scene 83 - Tracy: 'It's very me ... but it's completely un-Quentin.
- coming up, followed by the 16th's quote -
Page 33/Scene 83 - Gregory: 'The husband, darling?'
- coming up, followed by the script continuing with:
83 CONTD CONTD 83
CLAIRE
(seeing riding clothes
on the mannequin)
That's Quentin!
TRACY
Oh, he'd never wear that.
GREGORY
I'm sure he'd look marvelous in it.
|
And that's when today's first quote -
Page 34/Scene 83 - Claire: 'Gregory, wrap it up. We'll take it.'
- comes up, followed by the script explaining:
And that's when today's second quote -
Page 34/Scene 83 - Tracy: 'Alright, but only if we can return it.'
- comes up.
End of scene.
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. But beginning tomorrow the slideshow will be getting into scenes that are in the film - though there are differences between what's in the film and what's in the script, as well as differences between Grayson's and DC's scripts. But more on that beginning tomorrow...
April 14 = November 15th / April 15 = November 16th / April 16 = November 17th / Today = November 18th / Tomorrow = November 19th
[nods]
-
I love the line in the TV Dawn to Dusk article, when they said the cast could be seen "lurking around the studios of M-G-M". Not the Culver City lot, mind you, but the Tarrytown lot, which they seemed to have divested themselves of immediately after NODS was made.
-
Some posts worth revisiting related to yesterday and today's quotes in the slideshow:
...
And I wonder if that "insane dress" Gregory "whips out" and is "so perfect" for and "very" Tracy but "completely un-Quentin" would have been the same dress that Tracy wears in upcoming Scene 88 (as well as the deleted upcoming Scene 87)?
(http://www.dsboards.com/NoDSAnniQuoteImages/dress.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/dress.jpg) for a 452X700 version)
True, the script doesn't reference Tracy actually buying it. But then the script doesn't reference Claire buying the dress she wears in Scene 88 (and Scene 87), but Alex reacts to it as if it is new. So...
But if it is the dress, even though it doesn't seem outlandish, it is formal. And yes, formal would definitely seem to be "un-Quentin" because, if we can judge by much of what he wears throughout most of the film, the man has never come across a denim shirt he hasn't fallen in love with and bought. [hall2_grin]
I guess that it could be considered outlandish, compared to some of the off the rack stuff from Ohrbach's. Maybe it's just me but I felt that Claire and Alex seemed a lot more hip than Tracy and Quentin.
I guess that it could be considered outlandish, compared to some of the off the rack stuff from Ohrbach's.
So true. Although there is that yellow dress (http://www.dsboards.com/hoDSquoteimages/0130hoDS_a.jpg) that Liz even wears in hoDS...
Maybe it's just me but I felt that Claire and Alex seemed a lot more hip than Tracy and Quentin.
You have a point. As the film stands, because Scene 82 was never shot, we have no idea that the Jenkins, or at least Claire, met Quentin in Paris, and because Scene 83 was never shot, we have no idea that Tracy seemingly lived in New York City. For all we know as far as Quentin goes, all of his life he remained "around" and "mean and surly" wherever he was born until some point before he met and married Tracy. But at least with Tracy we do learn that she presumably has some exceptional knowledge about Early American artists to the point that Alex seeks her advice about seeing a gallery owner in New York who's an expert on the subject.
[nods]
-
The next four stills. So, here's #39 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-39.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_a.jpg) for a 471X700 copy of the previously posted version)
- #40 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-40.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Basement5.jpg) for a 560X700 copy of the previously posted version)
- #41 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-41.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Skel-1.jpg) for a 548X700 copy of the previously posted version)
- and #42 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-42.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gerard_bloodied-1.jpg) for a 700X548 copy of the previously posted version)
And this group is the last of the stills mostly related to scenes (or in the case of #41, just for the fun of it) -
...
The shot of the skeleton hanging from the tree was just on-set goofing around. I have the contact sheets from this shoot, and it's not supposed to be Angelique- it's Charles's skeleton and is dressed in his rotted shirt- that's why there's that shot of Selby standing next to it, as it's his character. They were shooting publicity shots of Selby, and the crew just ties a rope to the skeleton and pulls it up off the ground to get the shots with Selby, then afterwards a few shots of it by itself in the tree. I was thrilled to find that contact sheet, as it always appeared to be some shot of Angelique's body rotted to nothing and hanging there, and intriguing, but impossible scene to match to any of the scripts.
...
And for the shots of the skeleton with Selby, click here (http://www.dsboards.com/NoDSAnniQuoteImages/Skel-2.jpg) and here (http://www.dsboards.com/NoDSAnniQuoteImages/Skel-3.jpg).
- the remaining 10 stills would mostly be considered character portraits, four of which I haven't already shared on the forum.
More to come...
[nods]
-
Now that we've reached stills #40, #41 & #42, I want to revisit the article that Famous Monsters of Filmland did for the film because, with exception of the color cover, it's also put together strictly from stills provided in the Editor's Portfolio (stills #2, #15, #16, #25, #33, #35, #40, #41 & #42). Here'a link to a post The Doctor and K9 made when he generously shared a PDF of the article:
... Famous Monsters of Filmland ...
For some reason they chose to print mirror images of stills #40 & #42 along with the cover - but I suppose that was their prerogative.
And two other things I want to share are the Table of Contents page from the issue-
(http://www.dsboards.com/NoDSAnniQuoteImages/Famous-Monsters-088-NODS-Contents.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Famous-Monsters-088-NODS-Contents.jpg) for a 732X974 version)
- which captions the cover and also features a cropped version of still #25. Oddly the page number under that indicates the article as page 13, which is actually the page the article ends on. But hey, maybe it was their prerogative to do that too...
Plus, a different issue FMoF also published cropped version of still #9 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Famous-Monsters-088-NODS-Seance.jpg)
- it appeared in the magazine's You Axed For It section, but I don't recall if it appeared before they did their full article or after...
Stills #1 & #21 as well as #22 were definitely magazine favorites in the early publicity for the film, but as more and more material for the film began to be published stills #9 and #16 certainly gave them a run for their money in latter publicity. Interestingly enough, though, while still #16 & #22 are included in the NODS Pressbook, stills #1, #9 & #21 are not.....
[nods]
-
it appeared in the magazine's You Axed For It section, but I don't recall if it appeared before they did their full article or after...
I just remembered that the cover for the FMoF article says "FIRST PHOTOS" - so one might presume that means the article came out before the issue with still #9 in the You Axed For It section. But it they'd already done an entire article on NoDS, why would someone write in to request a NoDS photo? Though I suppose they could have written in before the article was published and FMoF didn't get to the YAFI request until after. Who knows? Though in the grand scheme of things does the chronology really matter? All that matters is that FMoF shared another NoDS photo in addition to the ones in the article. [hall2_wink]
[nods]
-
I'm wondering ... why would the child of a servant be given such an elaborate bedroom? (And even if it hadn't been so elaborate back then and had since been redecorated, it was a much larger room than would have been given to the servant class. Not to mention it was on the second floor--not the third, where the servants would be.)
I have a theory: I suspect the location of Sarah's room had a lot to do with the fact that she was beloved by Angelique and Angelique had the master of the house wrapped around her, uh, little finger - yup, that's what Charles wrapped himself around - forget what you see in this still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-4.jpg) for a 1400X1098 version)
[hall2_wink] [hall2_grin]
And if that is the reason, something tells me Laura, as the mistress of the house, was probably none too pleased with the location of Sarah's room and why it was her room. Yet another reason for her to resent Angelique and her relationship with Laura's husband...
[nods]
-
I love the line in the TV Dawn to Dusk article, when they said the cast could be seen "lurking around the studios of M-G-M".
My thing about that article (beyond identifying Diana Millay as Diana Hilay [hall2_rolleyes]) is the part of caption #1 that says, "the newly finished portrait of Angelique and Charles Collins." Umm, if they simply went by the size of the still as it appears in the article, maybe that description could be a forgivable mistake, but not if one looks at the full-sized version or especially if one goes by the shot of the man in the actual film because he's clearly Quentin -
(http://www.dsboards.com/NoDSAnniQuoteImages/Quentin_painting.jpg)
- and not Charles. He may be dressed in clothes similar to what Charles may have worn, but the man has no scar on his left cheek, nor does he have sideburns like Charles does. And honestly the fact that it is Quentin and not Charles makes the fact that the body the man is holding looks like Tracy all the more unsettling...
In fact, the script even says -
...
159 INT - TOWER ROOM - DAY - TRACY'S P.O.V. 159
The painting on the easel is covered. The room is a
mess. The cot looks as if it had been slept in.
Tracy ENTERS THE SHOT, leaving the door open. She
crosses to the easel. She lifts off the cover and
is shocked by what she sees. The picture is now
completed. The reality of the situation shocks her.
It is obvious Quentin has been completing Charles'
unfinished portrait. The picture now includes a man
who looks very much like Quentin and who stands in
front of the half-clad Angelique. In his arms he
carries the limp figure of a girl. The girl's face
is Tracy's. It seems she is an offering to Angelique.
|
...
Though there is one other possibility that could also make the mistake forgivable for TV Dawn To Dusk and that is that I have seen some of the stills with captions for them typed on their backs. I've never come across a copy of still #18 with a caption on its back, and I have no idea if any or all the stills included in the Editor's Portfolio came with captions on their backs or even with a separate sheet of suggested captions. But I have seen instances where suggested captions get some aspect(s) of the plot wrong (which makes one wonder who came up with them?!). So...
[nods]
-
Before I post which stills come up next from the NoDS Editor's Portfolio, I want to share the article Daytime TV did for NoDS because it's another that mostly consists of stills not in the Editor's Porfolio ( Portfolio:3 / Not Portfolio: 8 ), though some will look familiar because they're alternate version of ones in the Portfolio.
So, without any further ado:
The first page (with a few extras):
(http://www.dsboards.com/NoDSAnniQuoteImages/Title2.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/DTV_DSRTTS-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/DTV_DSRTTS-1.jpg) for a 1200X1617 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/DTV_DSRTTS-3.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/DTV_DSRTTS-4.jpg)
And the second page (with an extra taken from the cover of the magazine):
(http://www.dsboards.com/NoDSAnniQuoteImages/Title1.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/DTV_DSRTTS-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/DTV_DSRTTS-2.jpg) for a 1200X1645 version)
[nods]
-
[pointing-up] Oops - I forgot to include that we've already seen the larger/full versions of stills #5, #10 & #40, but I don't have copies of any of the unnumbered alternative stills that appear in that article. And that article is the only place I've seen them, except for the article's #8, which no doubt you'll recall was also part of Flip's article, though the Daytime TV version isn't cropped the same...
[nods]
-
The next six stills. So, here's #43 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-43.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Charles_tree_b.jpg) for a 715X871 copy of a newly scanned version)
- #44 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-44.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Stable_b.jpg) for a 558X700 copy of the previously posted version)
- #45 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-45.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Morning2.jpg) for a 700X874 copy of the previously posted version)
- #46 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-46.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-6.jpg) for a 620X777 copy of the previously posted version)
- #47 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-47.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-13.jpg) for a 4947X600 copy of the previously posted version)
- and #48 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-48.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-16_1.jpg) for a 620X781 copy of the previously posted version)
And since I'm sure you realize all six of those have already been shared in one version or another, the four that have never been shared must be the last four to come...
[nods]
-
A few points to make about the latest batch of stills from the NoDS Editor's Portfolio:
First up things regarding the numbered version I used for #43:
Rather than being blank or having the simple copyright that others have had, note that version has a ton of info -
(http://www.dsboards.com/NoDSAnniQuoteImages/43_bottom.jpg)
- exactly the same as the info on the cropped 8X10 set of NoDS Lobby Cards -
(http://www.dsboards.com/NoDSAnniQuoteImages/photocard_bottom.jpg)
- and that's because a lot if not all 52 of the B&W stills shared in the NoDS Editor's Portfolio were also made available to theaters to use as lobby cards. I'm not positive that all 52 were because I've only ever come across 11 of them (#4, #7, #16, #17, #18, #32, #34, #36, #42, #43 & #50), but chances are pretty good that they all were.
Also, the reason why I did a new scan for #43 is because I'd previously shared an entirely different print -
(http://www.dsboards.com/NoDSAnniQuoteImages/Charles_tree.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Charles_tree.jpg) for a 700X540 version)
- which was obviously cropped for the Editor's Portfolio and the Lobby Card versions.
And while I definitely do like #45 & #46 (after all, I did have Kate Jackson sign an 11X14 version of #45), there's actually a different still of her that I like better. (But pretty needless to say they didn't consult me when they picked the stills to include in the portfolio. [ghost_nowink]) I haven't shared that particular still yet, but I'm sure it will show up sooner or later...
And when it comes to #48, the really fascinating thing is that there's also a rarely seen color print of it -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-16_1a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-16_1a.jpg) for a 1600X2000 version)
- and interestingly enough, it's one of at least two stills that I've come across that have both B&W and color versions (the other being a still related to Scene 85).
[nods]
-
The last four stills. So, here's #49 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-49.jpg)
- #50 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-50.jpg)
- #51 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-51.jpg)
- and #52 -
(http://www.dsboards.com/NoDSAnniQuoteImages/B&W Still-52.jpg)
And considering I haven't ever shared these four stills yet, there aren't any previous postings to link to, so getting to see the actual larger versions will have to wait until I get the chance to format my copies for posting along with a few other bits. At least the first two should show up before the end of today...
More to come...
[nods]
-
MB, thank you so much for this wealth of publicity photos you have been posting. What a treasure! And the color version of Angelique with the candle in the foreground--what an unexpected pleasure! (To quote someone from the wrong DS movie...)
It was funny revisiting the FM issue about this movie, and how it presents a "preview"... The issue is dated January 1972, and while issue dates were always way before the actual newsstand dates, this did come out well after the movie's release. But then again, I don't have any idea how long the movie actually traveled around the country. This was back when the number of prints circulating the country would have been in the (low) three figures, and films didn't open everywhere at once.
What's amazing is that the movie opened slightly over FOUR MONTHS from the first day of filming!
-
Here's #49 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gerard1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gerard1.jpg) for a 700X902 version)
- and not only is it a part of the NoDS Editor's Portfolio, but it also appears in the NoDS Pressbook with the following caption -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gerard1_a.jpg)
And here's #50 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Alex1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Alex1.jpg) for a 700X903 version)
- and note how my copy is another one to have its numbering written on it rather than in a rectangular box in the margin - and also not only is it a part of the NoDS Editor's Portfolio, but it's another to appear and be captioned in the NoDS Pressbook -
(http://www.dsboards.com/NoDSAnniQuoteImages/Alex1_a.jpg)
More to come...
[nods]
-
I bought stills #46, #47 and #51 from MGM back in the day. They were some of my first DS stills. I still have them.
-
When I posted the Dayime TV article I didn't reread the captions for the photos. Apparently, like the TV Dawn To Dusk article, there's one that's definitely off: "3. Quentin goes into a frenzy when Carlotta (Grayson Hall) tells him that Gerard (James Storm) is on his way to murder Tracy." Uh, not exactly. As we know, the still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-5.jpg)
- is actually Quentin begging Carlotta to tell him if the things he's been seeing are real - not at all the same situation. But then, as I've said, it's not just magazines that got captioning wrong because even official materials provided by MGM got things wrong, an example of which is the captioning of still #7 in the NoDS Pressbook -
(http://www.dsboards.com/NoDSAnniQuoteImages/Confront-1a.jpg)
- because as we know, no ghostly figure is confronting Carlotta, Alex, and Gerard, they're looking up to an unseen Quentin who's telling Carlotta and Gerard to leave Alex alone - again, not at all the same situation. But that's not the only example where the notion they're seeing Angelique is put forth because an alternate still from that scene that was published in 16 Spec has this caption -
(http://www.dsboards.com/NoDSAnniQuoteImages/Confront-2.jpg)
Certainly somewhere along the way somehow the wrong idea about those stills came about and it spread. [hall2_rolleyes]
At least the NoDS Pressbook gets things about right with its caption for still #12 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-2a.jpg)
[nods]
-
Here's #51 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Claire1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Claire1.jpg) for a 470X700 version)
- and not only is it a part of the NoDS Editor's Portfolio, but it also appears in the NoDS Pressbook with the following caption -
(http://www.dsboards.com/NoDSAnniQuoteImages/Claire1_a.jpg)
And finally here's #52 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Carlotta1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Carlotta1.jpg) for a 559X700 version)
- though unfortunately #52 doesn't appear in the NoDS Pressbook, it chose to feature Carlotta in stills #7 and #12 - however, something I can share from the Pressbook is something else I've never shared before and that's the article that accompanies still #51 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Claire1_a-a.jpg)
- and apparently they really did need a proofreader for the Pressbook because not only did it get a caption wrong and leave out part of another, it misidentifies NoDS as hoDS in the fourth paragraph in that article. [hall2_rolleyes] Also, I would quibble with Nancy's opinion that she simply played a "housewife" in the film. Being a housewife implies that a woman doesn't have a career, and, sure, none of Claire's dialogue brings up that she co-writes Gothick novels with Alex, which certainly makes Claire an author, but the film itself makes it quite clear that she's an author. Did Nancy simply read her own dialogue and had she not seen a copy of the film at the time of the interview? [hall2_undecided]
[nods]
-
Before we move on from the NoDS Editor's Portfolio, I wanted to point out that all of the stills that are shared in the NoDS Pressbook are ones that are also in the Portolio, though I suppose that's not all that surprising.
I've already revisited or newly posted stills #7, #12, #49, #50 & #51 as they appear in the Pressbook, but it also includes -
- #16 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-3.jpg)
- #22 -
(http://www.dsboards.com/NoDSAnniQuoteImages/vaults-2.jpg)
- #38 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable-3a.jpg)
- #39 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_stairs_a1.jpg)
- #43 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Charles_tree_a.jpg)
- #46 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Australia_a.jpg)
- and #47 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-13a_a.jpg)
Now we can get back to posting about the film...
[nods]
-
Recisiting how Scene 84 is scripted:
...
CUT TO:
84 INT - TOWER - EVENING 84
Quentin is at work on his abstraction. He stops,
looks at the light - fading. He sighs, begins to
cap his paints. He starts to look for something
and, moving a trunk to a better position, discovers
that it was concealing a built-in wall cupboard.
Obviously, it hasn't been opened in years. Opening
it, he sees a stack of canvases. He takes one out.
It is a portrait of Angelique and is signed: "Charles
Collins, 1800." Quentin is amazed. He takes out
others. They are all of Angelique. Then he comes
to an unfinished one. It is the most interesting.
A lascivious Angelique lies on a bed of rose petals,
surrounded by nymphs and satyrs. In the F.G., there
is space left for several figures. He stares at it,
absolutely fascinated.
QUENTIN
Charles Collins...1810.
TRUCK IN on the portrait as we
DISSLOVE TO:
|
...
And so far as the differences in the dialogue go, in Scene 84 Quentin doesn't speak the signature on the painting out loud (the painting doesn't even appear to be signed) ...
And so far as the descriptions and directions go, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0418ds91_a.jpg)
- Scene 84 does not take place during the evening, and Quentin is not seen at work on his abstraction (though we do see sketches on a pad on his easel behind him), and so, therefore, nor does he stop, look at the fading light, sigh, begin to cap his paints, or while looking for something does he move a trunk to a better position because what he does do, as can also be seen in the capture, is check some things in his supplies case. And after Quentin notices the paintings leaning against the wall, neither of which is a portrait of Angelique signed by Charles Collins because as can be seen in the following two captures -
(http://www.dsboards.com/NoDSquoteimages/0418ds91_b.jpg)(http://www.dsboards.com/NoDSquoteimages/0418ds91_c.jpg)
- one is a landscape and the other is a still life, and neither appears to be signed, or at least Quentin doesn't acknowledge that they are. And when he discovers the cupboard and opens it, he doesn't take out any paintings other than the unfinished one, which he carries over to his easel, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0418ds91_d.jpg)
- to get a better look (though given there's an obvious cut in the background music, it would definitely seem as if something was cut from the scene that took place between the time Quentin discovers the hidden paintings and the time he takes out the unfinished one) - and sadly, as can also be seen in that capture, there aren't any rose petals, nymphs or satyrs in the painting - though one could say that Angelique has a lascivious expression on her face...
...
And we'll be revisiting other aspects of Scene 84 in another post...
[nods]
-
Backtrackking briefly, something I forgot to mention is that the NoDS Pressbook features 14 stills. So why did I only share 12? Well, that's because for some strange reason the Pressbook features stills #12 & #39 twice: #12 comes up both with Grayson Hall's article and then again on its own, and still #39 comes up with a Lara Parker article and also on its own. I could possibly see it if the duplicates had different captions for them, but the captions are the same, or if there were different ad mats for the duplicates, which might mean one ad mat number would be the still and the article and the other would just be the still, but the ads mats for the copies with the articles and the ones on their own are identical. Why they didn't choose to include two totally different stills in the places of #12 & #39 on their own is anyone's guess, and I suppose only whoever put the Pressbook together knows why...
[nods]
-
A post worth revisiting with regard to Scene 84:
... I noticed something in Scene 84 that I'd never noticed before - yet more proof that no matter how many times one watches something (and I've watched NoDS so many times that I've lost count), one can still notice something new. And to be somewhat fair to myself, when I saw NoDS in theaters and when I've watched it on Blu-ray, what I noticed today is not as noticeable as it is in the VHS version of the film. But considering the vast majority of times I'd watched NoDS, I'd watched it on VHS by virtue of the fact the VHS has been available for over 30 years, there may not be a good excuse that I didn't notice what I did today until today - well, except for the fact that my attention is normally completely on Quentin in the brief period what I noticed today comes and goes on screen.
But none of that is telling you what I did notice. And what I did notice would certainly seem to answer a question fans of the film have wondered though presumed they knew the answer to. And that question is did Charles paint the portrait of Angelique that hangs in Collinwood's Gallery? We've often said the answer is obvious that he did, but we didn't have real proof. But real proof would indeed seem to be in the film, albeit briefly, in Scene 84.
So, without further teasing, here's a screen cap from the Blu-ray that shows the proof -
(http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_16X9.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_16X9.jpg) for a 1000X532 version)
- and don't feel bad if you don't immediately see it - but here's a frame taken from the Laser Disc version of the film that shows the proof much better -
(http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_4X3_Laser_frame_01098.jpg)
- so as you can see it's a sketch of Angelique wearing the same dress and necklace that she wears in the portrait -
(http://www.dsboards.com/NoDSAnniQuoteImages/Portrait.jpg)
- and even though it's not the same pose, it would certainly seem to be ample proof that Charles painted her portrait...
(ADMIN: Edited to replace TV video screen capture)
-
Another post relayed to Scene 84 that's definitely worth revisiting:
... a video of how the score in Scene 84 on the DVD/Blu-ray has an obvious cut -
(Cut made at 7 sec.)
- that the VHS doesn't -
- and that's because the scene was obviously rescored after the cut footage was removed, and as such the score is slightly different on the VHS than it is on the DVD/Blu-ray release. The full score that should play and does play in the 129 minute version is like this -
- because approximately 20 seconds was cut from the 129 minute version to help to shorten it per James Avery's order to DC. And what was cut has been discussed before, often with regard to this part of ProfStokes' post listing what recovered footage was shown at the 2004 Fest -
..., Quentin discovering a sketch that Charles had made of Angelique, ...
-and as a reminder we actually see this sketch in the footage that is still in all versions of the film, but because the VHS shows much more at the bottom of the film's frames, it's much more visible on the VHS than it is on the DVD/Blu-ray. Last year I'd shared versions of both -
...
...
- and because I didn't have working video capturing software at the time, I had to share a photo I'd taken on a TV from the VHS. But now that I do have working video capturing software, this is what the VHS actually looks like -
(http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_4X3_2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_4X3_2.jpg) for a 880X661 version)
...
...
But now that I have the Laser Disc, again it's quite interesting how much sharper the Laser Disc (a capture from which I've added to reply #245 and reposted above in reply #1366) is compared to the VHS -
(http://www.dsboards.com/NoDSAnniQuoteImages/Portrait_sketch_Laser-VHS_frame_01098.jpg)
Laser VHS
- particularly notice the difference in the mirror's reflection and the candles in the candelabra....
[nods]
-
Beginning to revisit how Scene 85 is scripted:
We're going to handle things a bit differently for this next sequence because when it comes to the beginning of Scene 85, it's different in the film from the way it appears in both Grayson's and DC's scripts - especially DC's. And the fascinating thing is that DC's script contains a major rewrite, yet none of the rewritten part made it into the film. But to kick things off, ... the beginning of Scene 85 appear in Grayson's script:
DISSLOVE TO:
85 INT - TOWER ROOM - 1800 - DAY 85
SUBCONSCIOUS MEMORY CUT
Transistion is made HOLDING on the portrait and
changing the color quality to that of the previous
segments. HOLD ON THIS as the first part of the
dialogue is played O.S.
85 CONTD CONTD 85
ANGELIQUE (O.S.)
You're never going to finish it.
CHARLES (O.S.)
Is that a prophecy?
RACK FOCUS to the B.G. where Angelique and Charles
are embracing.
ANGELIQUE
No - I just won't let you go.
They laugh and kiss again. There is a POUNDING
ON THE DOOR.
|
And so far as the differences in the dialogue go, ... everything is different in Scene 85.
...
And as for what the actual differences in the dialogue, the descriptions, and the directions are when it comes to Scene 85, that will wait until an upcoming post... But yes, "Transistion" is misspelled that way - and in both Grayson's and DC's versions of the script...
[nods]
-
Revisiting more of the beginning of how Scen 85 is scripted:
When it comes to DC's script, Scene 84 and the setting and first descriptions of Scene 85 are exactly the same as they are in Grayson's script, so I won't repeat them. Things get very different once DC's script reaches its Page 35:
(Revised 3/31/71)
85 CONTD CONTD 85
ANGELIQUE (O.S.)
We can't stay like this forever.
You must finish the picture.
CHARLES (O.S.)
Why? We have all the time in
the world.
RACK FOCUS to the B.G. where Angelique and Charles
are embracing.
ANGELIQUE
We haven't. You must finish it
because when you do, you will give
me the most marvelous gift of all -
Charles looks at her, not understanding.
this time life will imitate art.
I know you merely planned to paint
it to torture her, but that's not
enough. My darling, you must do it.
CHARLES
No.
ANGELIQUE
Don't you want us to be like this
always. Must we constantly be
leaving each other? How can you
hold Laura? How can you touch her?
CHARLES
When I do, it's you I hold, it's
you I caress.
ANGELIQUE
We are in each other's souls, Charles.
We can't escape it.
They kiss.
You will make the picture come true.
CHARLES
Yes.
ANGELIQUE
Then you must paint, my darling.
Tonight. It must be done.
There is a POUNDING ON THE DOOR.
|
And when it comes to the dialogue, as I'd mentioned previously, none of it is in the film as scripted - and it's not really even in the film exactly as the changes that were made to some of the crossed out parts. Speaking of which, notations in DC's script make the following replacements in the dialogue:
- Angelique's "you must do it" is replaced with "you must bring the painting to life"
- Charles' "No" is replaced with "But why - we have each other - that's all that counts - she doesn't even exist for me"
- The entire section of dialogue beginning with Angelique's "Don't you want us to be like this always? ..." right through to Charles' ending with "... it's you I caress" is not only crossed out but X'd out and it's all replaced with Angelique saying "As long as she's here, we could never really have each other"
- And Angelique's "You will" is replaced with "I want you to"
- And after Angelique's "make the picture come true", "Please - promise me" is added.
And as for what the actual differences in the dialogue, the descriptions, and the directions are when it comes to Scene 85, that will still wait until an upcoming post... But one thing I will say now, or rather ask is if I'm the only one who comes away from reading DC's version of Scene 85 with the impression that Angelique is actually encouraging Charles to kill Laura?
[nods]
-
Revisiting some followup posts to above:
It certainly sounds that way to me.
I'm sure you're right, MB. It all leads up to the very ending of the movie.
...
But getting back to DC's version of Scene 85, I almost wish the rewrite had been the way things played out on screen. It certainly would have been far more sinister than the way things do play out, which is much more ambiguous (though there may really be a reason for that - one that we'll get into after dealing with the whole script). And the way things were originally written in Grayson's script is positively dull by comparison to both the film and the rewrite.
-
Three posts definitely worth revisiting:
Here's the first as well as one of the rare stills to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-1.jpg) for a 700X476 version)
Here's the second as well as one of the rare stills to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-2.jpg) for a 700X476 version)
And here's the third as well as another one of the rare stills to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-3.jpg) for a 700X476 version)
You may have been sensing a theme with the first three. [9341] But even though today's is the last of that set, we'll certainly continue to see stills of Charles and Angelique making out because the majority of the stills from Scene 85 focus on that. But when it comes to tomorrow's, it has a significance that the ones I've shared so far do not...
-
At the time I posted this -
And here's the third as well as another one of the rare stills to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-3.jpg) for a 700X476 version)
- I didn't realize the still had been used on the back cover of the NoDS DVD/Blu-ray packaging -
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_DVD_back.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_DVD_back.jpg) for a 1000X1411 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_Blu-ray_back.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_Blu-ray_back.jpg) for a 1000X1163 version)
- though neither shows as much as the actual still, with the Blu-ray version showing the least.
(Also, I never realized Lara Parker's billing isn't what it should be based on the opening credits. She should be third after Grayson Hall and before John Karlen, yet she's after Nancy Barrett, which, probably not coincidentally, is how she's billed on the posters. But everyone else is billed in the exact order they are in the opening credits. Odd. But I'm sure there was some reason...)
[nods]
-
Another post worth revisiting:
And if this fourth still looks familiar -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-4.jpg) for a 1400X1098 version)
- that might be because it was used as inspiration for both versions of NoDS' A poster:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-4_Poster_A_color.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-4_Poster_A_B&W.jpg)
It's interesting, though, that Angelique's arm is on the outside of Charles' arm in the poster's artwork, yet it's on the inside of his arm in the actual still. It's also interesting that Angelique is semi-transparent for the color version of the poster, implying she's a ghost, yet she's human in the actual still and doesn't appear transparent in the B&W version of the poster...
[nods]
-
More posts worth revisiting:
Here's the fifth as well as one of the rare stills to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-5.jpg) for a 1400X1124 version)
And here's the other still that I said I'm aware of that has both a B&W and color version:
This sixth still to preview Scene 85 has taught me a lesson I never really knew.
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-6a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-6a.jpg) for a 898X593 version)
Perhaps naively, I assumed that a still shot in color was printed in color and obviously those shot in B&W were printed in B&W. However, apparently the above still was shot in color but that version of it was simply printed in B&W because a cropped color version was published on page 69 of the DS Companion -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-6b.jpg)
- and a different cropped color version was used as part of the NoDS section of the gatefold of the hoDS/NoDS laserdisk -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-6c.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-6c.jpg) for a 1000X572 version)
(And how interesting is it that 3 of the 7 NoDS stills used are from scenes that aren't even in the film?!)
(ADMIN: Edited to add a better version of the gatefold stills)
[nods]
-
Revisiting how the actual beginning of Scene 85:
The way Scene 85 actually begins in the film isn't with the transition in Scene 84 from Quentin's view of the unfinished painting to a view of it in 1810 because, like several other instances of the subconscious memory scenes, things actually cut to a close-up of Quentin -
(http://www.dsboards.com/NoDSquoteimages/0420ds91_a.jpg)
- staring and blinking his eyes, and from there they go to the subconscious memory of the painting in 1810 -
(http://www.dsboards.com/NoDSquoteimages/0420ds91_b.jpg)
- and from there the camera doesn't rack focus to the background where Angelique and Charles are embracing because the camera actually slowly pans from the painting to them, by first showing their reflections in a mirror as they make out, all kisses and moans -
(http://www.dsboards.com/NoDSquoteimages/0420ds91_c.jpg)
- and then the couple themselves as they become -
(http://www.dsboards.com/NoDSquoteimages/0420ds91_d.jpg)(http://www.dsboards.com/NoDSquoteimages/0420ds91_e.jpg)
- a mass of entwined body parts.
And whereas the 18th's slideshow's quote -
Page 35/Scene 85 - Angelique: 'You must finish it because when you do, you will give me the most marvelous gift of all -'
- comes from DC's version of the script, what actually happens in the film is Angelique declares (with regard to Laura) -
(http://www.dsboards.com/NoDSAnniQuoteImages/1119NoDS_0.jpg)
Angelique: 'As long as she's here in this house, I can't be
happy.'
- which is most certainly strongly implied in the rewrite in DC's script, but isn't said outright as such. And rather than the 19th's slideshow's quote -
Page 35/Scene 85 - Angelique: 'We are in each other's souls, Charles. We can't escape it.'
- which also comes from DC's version of the script, though from a much later point in the scene, what actually happens in the film right after Angelique's remark (with regard to Laura) is that Angelique then asks Charles -
(http://www.dsboards.com/NoDSAnniQuoteImages/1120NoDS_0.jpg)
Angelique: 'Bring the painting to life, Charles. Please -
promise me.'
- which is a reworked version of something that was added by DC to his script near the end of the rewrite - though without being within the context of everything that was dropped from the rewrite, neither of Angelique's lines in the film take on the sinister tone they would have otherwise had had the majority of the rewrite been included in the film.
But after the rewritten section, things in Scene 85 return to basically what is written in both Grayson's and DC's scripts, and that's that after the pounding on the door is heard, it's followed in the script by:
(Revised 3/31/71)
85 CONTD CONTD 85
|
And that's when today's quote -
Page 35A/Scene 85 - Gabriel (O.S.): 'Charles, I want to talk to my wife.'
- comes up and is delivered exactly that way in the film.
And Today = November 21st this time around.
[nods]
-
Another post worth revisiting:
I like today's photo. I know you can't see "anything" but as you know, I have a vivid imagination.
winking,
G.
I just knew someone was going to remark on today's capture. [ghost_grin]
(http://www.dsboards.com/NoDSAnniQuoteImages/1122NoDS_0.jpg)
But at least one good thing about the VHS/Laser version of the film is that Charles' head doesn't get cut off:
DVD/Blu-ray:
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Blu-ray_frame_02054.jpg)
VHS/Laser:
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Laser_frame_02053.jpg)
(ADMIN: Edited for better comparison and to add a Laser capture)
April 21st = November 22 this time around.
[nods]
-
Continuing with how Scene 85 is scripted:
Picking up Scene 85 where we left off, after Gabriel pounds on the door and asks to see Angelique:
They smile at each other but don't answer.
GABRIEL (O.S.)
I know she's in there. Now open
the door.
Finally, Charles decides to answer.
CHARLES
For more of your dreary moralizing?
You try my patience, brother.
GABRIEL (O.S.)
For the last time! Open the door!
|
And that's when today's quote -
Page 35A/Scene 85 - Angelique: 'Let him in.'
- comes up and is also delivered exactly that way in the film.
And as far as any differences in the dialogue go, well, that all depends on which version of NoDS one is watching. If it's the 129 recovered version or the 97 minute R-rated version that was mistakenly released in August of 1971, all of it is delivered exactly as written. If it's the version available online via Amazon and iTunes and possibly other places, or on DVD and Blu-ray, it's all but Gabriel's "For the last time! Open the door!" (though even though much of the dialogue is there, the accompanying correct footage that coincides with it is not). And if it's the 94 minute version available on VHS and which played in most areas of the country in 1971, then Charles' "For more of your dreary moralizing? You try my patience, brother" and Gabriel's "For the last time! Open the door!" are missing.
And as far as the differences in the descriptions and directions go, Charles and Angelique do a lot more than smile at each other while they don't answer. Actually quite a bit more, depending on the version of the film one sees. [naughty] But here we're working with the 94 minute version, so all we see in it is Charles and Angelique kiss before he gets up and Angelique tells him to let Gabriel in. And I do have to say that that chaste version of what goes on between Charles and Angelique always strikes me as funny because all it looks like Charles does is pick a piece of lint from Angelique's cleavage - but if you've never seen what actually takes place in the longer versions, you might be quite surprised when you do see it! [b003] Though keep in mind that it's '70s' R-rated, not X-rated. [ghost_nowink]
[nods]
-
A post related to Scene 85 that's definitely worth revisiting, especially because it's been edited to add new media:
And also keep in mind with regard to Scene 85 in the 97 (and 129) minute film, Darren Gross posted on his Restoration Web site -
A brief summary of all the scenes missing from the 93.5 minute version which were present in the 97 minute prints follows.
...
2) In Quentin's flashback in the tower, Charles and Angelique's kiss is more explicit. Angelique throws her head back and laughs mockingly as Charles kisses her neck and the unseen Gabriel hammers angrily at the door. GABRIEL: I know she's in there now open the door !(this is also present in the short version, but I have retained it to give the next line context) CHARLES: For more of your dreary moralizing ? You try my patient brother. GABRIEL(pounding, furious): For the last time - open the door !
...
- and -
Backtracking even further back to Scene 85, I've "recreated" Angelique and Charles in the Tower room and Gabriel interrupting them using audio from the reel-to-reel tape of the 97 minute release version of the sequence along with screen caps to fill in for where the missing footage of Charles and Angelique's more explicit making out would be. Again, it's not perfect, but I'm happy with it.
First up. as per the Laser Disc, this is what the 94 minute version of the film should be like:
But this is what the DVD/Blu-ray release is like:
And here it is with the full audio from the 97 minute version of the film, featuring more banging, a last giggle from Angelique, and an additional line from Gabriel (sadly, you can't hear the more explicit footage of Charles and Angelique making out ;) :():
(ADMIN: Edited to add Laser video)
...
[nods]
-
You know, after reliving the plot of NoDS several times through MB's dissection of it, I finally realized that Charles and Angelique weren't star-crossed lovers, but real skanks. No wonder they turned into vitriolic spooks - if they wouldn't fight spook-and-nail to remain Earth-bound, they both would've ended up spending eternity shoveling coal.
Gerard
-
Charles and Angelique weren't star-crossed lovers, but real skanks.
If that's true - and I'm not saying that it is or it isn't - but if it is, then the film proves skanks win in the end... [b003]
[nods]
-
Continuing with how Scene 85 is scripted:
...
They look at each other and as Gabriel continues to
POUND, Charles crosses to the door and opens it,
but just a crack, revealing a very nervous Gabriel.
|
And that's when today's quote -
Page 35A/Scene 85 - Gabriel: 'I have come for her, brother.'
- comes up.
And as for what's different about the dialogue, Gabriel says something completely different because what he actually says is "That's my wife, Charles", which I think is a much better line.
And as for what's different from the descriptions and directions, Charles does cross to the door, but after he goes down the stairs and unlocks it, he actually kicks it completely open and then steps back to reveal Gabriel. And Gabriel doesn't look particularly nervous - a better description is that he looks angry. (There's no hint of the nervousness Gabriel will display in a sequence which chronologically takes place before the tower room scene but is a sequence we have yet to see in the film because it doesn't come up until Scenes 119 & 121.)
And before we leave these moments in the film, I do have to say that even more than three years after first posting about it, I still can't believe that it took me so long to really pay attention to that sketch:
I never really ever paid much notice to the sketch that's hanging on the wall near the door when Charles answers the door to Gabriel. And I have no idea how I actually could have paid little attention to it, particularly in the VHS version of the film where it seems to show up more prominently for a longer period of time:
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Blu-ray_frame_02449.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Laser_frame_02447.jpg)
Apparently one can easily presume that Angelique wasn't always as, uh, overly dressed as she was when she was posing for Charles' unfinished portrait. [santa_grin] And apparently this is yet further proof that no matter how often one watches something (and I've watched NoDS so many time that I lost count long ago) one can still pick up things on even more repeated viewings. [santa_wink]
(ADMIN: Edited to add better images, including a Laser Disc capture)
April 22nd = November 23rd this time around.
[nods]
-
| [pointing-up] | If it makes you feel any better, in the entire filmed frame, the nude sketch glimpsed to the right of the above doesn't have Angelique's face on it. It's more of a female body study. There's no head on the sketch-- it ends at the neck...
[santa_cheesy] |
Before yesterday when I began to replace VHS stuff with video clips and frames from the Laser Disc, I'd never broken down Scene 85 frame by frame so I never noticed until today that there's a frame that shows exactly what Darren was talking about. And it show up when both the VHS/Laser -
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Laser_frame_02185.jpg)
- and the DVD/Blu-ray -
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Blu-ray_frame_02187.jpg)
- is broken down - but while watching the film the camera shot moves so quickly away from it that it's extremely hard to even notice...
[nods]
-
Another post worth revisiting:
... further proof that -
(http://www.dsboards.com/NoDSAnniQuoteImages/1124NoDS_0.jpg)
- David Selby was the anointed successor to Joel Crothers in our DS Universe. [naughty]
And I'm sure we all recall that almost exactly 11 years after DS went off, in a DS-related interview Crothers said that when he was on DS he would have loved to have played a character like Quentin. Of course, he wasn't offered the role. But who knows - maybe in some alternate universe Crothers actually did play Quentin on the daytime DS. And quite possibly that might also mean that he played Quentin and Charles in that universe's version of NoDS... [wink2]
[nods]
-
Getting back into the subtitles and closed captioning, when it comes to the sounds of Charles and Angelique making out at the beginning of Scene 85 as the camera pans over to them, the subtitles completely ignore them - but not so when it comes to the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_00103.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_00266.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_00596.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_00736.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_00894.jpg)
More to come...
[nods]
-
Continuing with the subtitles and closed captioning for Scene 85, the first bit of unscripted/reworked dialogue is handled correctly by both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_Blu-ray_frame_01000.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_00988.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_01039.jpg)
More to come...
[nods]
(ADMIN: Reply #248 has been edited to replace TV video screen captures)
-
Continuing with more of the subtitles and closed captioning for Scene 85, with the next bit of unscripted/reworked dialogue that both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_Blu-ray_frame_01232.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_Blu-ray_frame_01333.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_Blu-ray_frame_01403.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_01231.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_01326.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_01386.jpg)
- handle correctly.
More to come...
[nods]
(ADMIN: Reply #249 has been edited to replace TV video screen captures)
-
Picking up where we left off with the subtitles and closed captioning for Scene 85, the next bit is acknowledging banging on the door - and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_Blu-ray_frame_01555.jpg)
- and the close captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_01546.jpg)
- do that - and then Gabriel delivers his "Charles, I want to talk to my wife" off screen, exactly as scripted - and both the subtitles and the closed captioning get that correctly - and he follows that with his "I know she's in there. Now, open the door" off screen, exactly as scripted - and the subtitles get that perfectly - however, the closed captioning simply has -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_01720.jpg)
- for some odd reason - and that is followed up by more banging - however, only the closed captioning acknowledges it -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_01769.jpg)
- this time.
More to come...
[nods]
(ADMIN: Replies #250 & #251 have been edited to replace TV video screen captures)
-
Back in 2021:
Last night I attempted to recreate my first viewing of NoDS as closely as I could. ...
I hadn't actually watched the film in years, so it was definitely fun to watch it, especially so because it was the first time I'd watched it on a 60in TV. And one would think that having seen the film so many times there couldn't possibly be anything that I would notice that I'm not sure if I ever noticed before - but one would be wrong in that assumption. For quite possibly the first time I noticed that rain is running down the tower room windows in the scene in which Angelique and Charles make out and Gabriel and Strack come to get her.
Of course, timewise it should have been raining because the scene takes place soon after the scene in the Gallery in which Sarah watches Strack, Laura and Gabriel plot and Carlotta's voiceover specifically points out how it's raining. But, well, this is DS, which isn't well known for its continuity, especially considering that in the timeline of events of that day the tower scene takes place after the Gallery scene but it shows up in the film before the Gallery scene. Quite obviously whoever they hired to handle continuity for the film was much better than anyone who might have worked on the daytime show!
And we may never know for sure, but I might have honestly noticed the rain because it was the first time I'd watched the film on a 4K TV and not on a dinky old-fashioned TV with a typical screen size...
And this time around I noticed for the first time that the rain is clearly seen again in this shot -
- and gee, I wonder what my attention has normally been on when that shot comes up? [hall2_wink] [hall2_grin] - though again to be fair so far as the VHS version of the film goes, the rain running down the window is not discernible in the slightest -
- and it's barely discernible even on the Laser -
- pretty much only noticeable if you know enough to try to look closely for it.
One thing I have wondered is if the rain on the window is real or a product of the Tarrytown Fire Department aiming their hose at the window? We know that the rain at Angelique's funeral (and the rain at hoDS' Carolyn's funeral) was thanks to the fire department - but I'm pretty sure nothing has ever been said if the rain outside in Scene 85 and upcoming Scene 119 was artificially created - though at least when it comes to Scene 119 we know the rain is actually mentioned in the script.
It's also interesting how the sound playing over the shot on the DVD/Blu-ray is part of the cut audio that mistakenly appears on the DVD/Blu-ray but rightfully not on the VHS/Laser because of the cuts made to Scene 85 to avoid an R rating. It's been so long since I've seen the 97 minute version of the film that I have no real memory what was transpiring on screen when Charles delivers "For more of your dreary moralizing," but I do recall that when Angelique laughs hysterically she throws her head back and Charles is kissing her neck, and clearly that is not what we see on the DVD/Blu-ray before Charles delivers his "moralizing" line, so obviously even though the DVD/Blu-ray contains the extra bits of sound, it's not synced with the footage that actually belongs with it. What would really be interesting is if the footage seen on the VHS/Laser videos above has the correct sound of Gabriel's banging on the door, but who knows if we'll ever learn if it is or it isn't...
[nods]
-
Now, we know that next up on the DVD/Blu-ray there's dialogue that shouldn't be there, and of course it all shows up in the subtitles - Charles' lines are scripted as, "For more of your dreary moralizing? You try my patience, brother." - however, in the 97 and 129 minute versions of the film, as scripted, first Charles delivers, "For more of your dreary moralizing?" - but that shows up in the subtitles as -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_Blu-ray_frame_01865.jpg)
- with the "For" dropped - and that's followed, not by Charles' next line, but Gabriel shouting an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_Blu-ray_frame_01932.jpg)
- as he bangs on the door, though none of the subsequent banging after the first of it is acknowledged by the subtitles - and then is when Charles delivers -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_Blu-ray_frame_01987.jpg)
- dropping the "You" - and in the 97 and 129 minute versions Gabriel also shouts his scripted "For the last time! Open the door!" - but that doesn't show up on the DVD/Blu-ray - however, you can hear it, Angelique giving a small giggle, as well as yet more banging if you go back to Reply #1378 and play the third video because I'd put it together using the audio tape of the 97 minute version of the film that I'd recorded back in 1971.
More to come...
[nods]
-
Continuing along with the subtitles and closed captioning for Scene 85, rather than the dialogue that appears in the DVD/Blu-ray that shouldn't be in the 94 minute version of the film, the closed captioning on the VHS acknowledges more banging on the door -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_01911.jpg)
- and after Angelique delivers her scripted line to let Gabriel in, which is acknowledged correctly by both the subtitles and the closed captioning, and Charles gets up to do so, the closed captioning acknowledges even more banging -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_02096.jpg)
- and as Charles works on unlocking the door, the closed captioning acknowledges yet more banging (that Gabriel is an impatient one! [hall2_wink] [hall2_grin]) -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_02230.jpg)
- and after that point is where things get very strange because after Gabriel is revealed he says, "That's my wife, Charles," however, both the subtitles and the closed captioning have -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_Blu-ray_frame_02474.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_02445.jpg)
- and as I said back in 2021 -
... whereas Gabriel's next scripted line is:
Page 35A/Scene 85 - Gabriel: 'I have come for her, brother.'
But what he actually says in the film is:... 'That's my wife, Charles.'
What comes up with the closed captioning is ... seemingly a mix of what was scripted and what was actually said, but really neither. Who knows where/how whoever did the closed captioning came up with it?! ...
And the discovery of that exceedingly odd discrepancy in the closed captioning is what's prompted me to check out all the closed captioning as well as all of the subtitles.
More to come...
[nods]
(ADMIN: Reply #252 has been edited to replace a TV video screen capture)
-
Continuing with how Scene 85 is scripted:
Picking up where we left off with Scene 85, with ... Charles' reply to Gabriel -
Page 35A/Scene 85 - Charles: 'What's happened? You've suddenly become a man. (turning to Angelique) Will you take the credit, my dear?'
- coming up, followed by the script explaining:
She laughs as Gabriel takes the opportunity to force
his way in. Before Charles knows what's happening,
Strack and FOUR OTHER MEN are coming through the door.
85 CONTD CONTD 85
Angelique rises in alarm as Charles tries to force
them back. Two of the men subdue him.
|
And that's when today's quote -
Page 36/Scene 85 - Charles: 'Leave her alone, Trask! I'm warning you! Gabriel, have you lost your mind?'
- comes up.
And as for what's different about the dialogue, what Charles actually first says to Gabriel is "Well, little brother's suddenly become a man. (turning to Angelique) Will you take the credit for that, my dear?" - and the reason I selected two captures for today's quote and repeated the entire quote for both is because 1) I couldn't decide which capture I liked best to represent it, but more importantly because 2) in the film what Charles is scripted to say is actually flipped around with him first saying (to Gabriel) -
(http://www.dsboards.com/NoDSAnniQuoteImages/1125NoDS_0.jpg)
Charles: 'Have you lost your mind?'
- and then (to Strack) -
(http://www.dsboards.com/NoDSAnniQuoteImages/1125NoDS_1.jpg)
Charles: 'You touch her and I'll kill you!'
- rather than substituting Strack for Trask and saying "Leave her alone, Strack! I'm warning you!"
And the only reason DC's script's Page 35A is indicated as being a part of the 3/31 rewrite is because, as you may have noticed, his script says "Before Charles knows what's happening, Strack and FOUR OTHER MEN are coming through the door", whereas Grayson's script's Page 35 says "Before Charles knows what's happening, Trask and FOUR OTHER MEN are coming through the door."
And once again, one good thing about the VHS version of the film is that it doesn't cut off a character's head, in this case, Strack's:
(http://www.dsboards.com/NoDSquoteimages/Charles_Strack.jpg)
And as for what's different from the descriptions and directions, Angelique doesn't laugh at Charles' remark about Gabriel suddenly becoming a man - and it's only two other men that enter with Strack, not four - and we don't actually see Angelique rise because when we see her she's already standing in alarm - and before we even see Strack and the second man, ..., it's actually one of the men and Gabriel who subdue Charles.
Considering that supposedly the VHS and the Laser Disc versions used the same print of the film, for their transfers, it's quite interesting how so much better the flesh tones are on the Laser. Another case in point:
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Laser_frame_03085.jpg)
I'm really beginning to wonder if the same print really was used or if that info was misreported...
[nods]
-
Two more posts definitely worth revisiting:
Apparently Charles Collins was a man who believed in equal opportunity manhandling [9341] -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-7.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-7.jpg) for a 1000X781 version)
- as this seventh as well as rare still to preview Scene 85 shows...
More join the fray in the eighth still to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-8.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-8.jpg) for a 1203X925 version)
And so far as I can recall this still has only been published twice: a very small version is on page 224 of the DS Movie Book and a much better version was shared by Cinefantastique with its review, which The Doctor and K9 generously shared back in Reply #131.
(And speaking of the Cinefantastique review, I keep meaning to get back to make some comments on it - but I just haven't gotten around to it yet. But one day - perhaps when some of what I have to say relates to what we're covering in the slideshow...)
And as we saw, the still above is #6 in the NoDS Editor's Portfolio...
[nods]
-
Picking up with the subtitles and closed captioning for Scene 85, after Gabriel reminds Charles that Angelique is his wife, Charles remarks, "Little brother's suddenly become a man." - and both the subtitles and the closed captioning get that correctly - and after Charles turns in Angelique's direction, he asks her, "Will you take the credit for that, my dear?" - and again both the subtitles and the closed captioning get it correctly - but when Gabriel lunges up at Charles, only the closed captioning acknowledges Charles' grunt -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_02830.jpg)
- (and I don't think I ever noticed before how much sun is coming in the window - perhaps a big weather change considering it was pouring rain minutes before in the scene - but then it is possible for the sun to shine while it's still raining - I've seen it more times than I can count - so it doesn't have to be a continuity error during shooting) - and as Charles is being subdued by Gabriel and a servant, Charles demands, "Have you lost your mind?" - and once again both the subtitles and the closed captioning get things correctly - however the subtitles indicate that Gabriel says, "No." after that -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_Blu-ray_frame_02937.jpg)
- but Gabriel actually says no such thing - and as Rev. Strack enters preceded by another man, Charles shouts out Strack's name - however, oddly, both the closed captioning and the subtitles have it as -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_02984.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_Blu-ray_frame_03018.jpg)
- and the subtitles also have Charles next line, which it gets correctly, as does the closed captioning - and after Strack motions for the man who entered with him to get Angelique, and as the man moves to do so, Angelique lunges to scratch his face and shouts, "Don't any of you touch me!" - and the subtitles get that correctly - but the closed captioning simply has -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_03275.jpg)
- and after that Angelique says, "I'll come with you," - and the subtitles also get that correctly - but the closed captioning only has -
(http://www.dsboards.com/NoDSAnniQuoteImages/That's_My_Wife_VHS_frame_03306.jpg)
- before Angelique finishes with, "but don't any of you touch me!" - and both the subtitles and the closed captioning get that part correctly - and finally Strack orders, "Come with us, Angelique Collins." - and both the subtitles and the closed captioning get that correctly as well...
[nods]
(ADMIN: Reply #580 has been edited to replace TV video screen captures)
-
Two more posts worth revisiting
And now we move from stills depicting the scene to stills from behind the scenes to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-9.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-9.jpg) for a 1000X779 version)
(Keep the fruit bowl in mind...)
This still first showed up in a Nov. '71 16 Magazine article and a Daytime TV article to promote the movie. And then in later years it showed up on page 111 of the DS Companion. Though all of those versions range from greatly cropped to slightly cropped...
And as we recently saw, this still is also #5 in the NoDS Editor's Portfolio...
Here's a still of DC directing to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-10.jpg)
This still first showed up on page 34 of the DS Almanac 30th Anniversary Tribute. But something that's really weird is there's a scan of it that shows up in a few places on the Internet and it's backwards. And even if people didn't realize which side the fabric should be on and which side the window should be on, one might think that in the backward version they'd noticed that the unfinished Angelique painting is oriented wrong...
[nods]
-
And yet two more worth revisiting:
And another behind the scenes still featuring David Selby and Lara Parker to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-11.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-11.jpg) for a 700X476 version)
This one is fairly rare - and it is something to keep in mind along with the still shared in Reply #216 because they will relate to something coming up in a couple days...
Now, this next rare still is definitely behind the scenes - and it could very easily be behind the scenes preparing for Scene 85. But it could also be behind the scenes preparing for Scenes 102 or 124 because Charles and Gabriel are wearing the same clothes.
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-12.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-12.jpg) for a 1400X1557 version)
And, although Charles is also wearing a black vest in Scene 102, Selby could have easily put that on after getting his sideburns attended to. But I chose to go with Scene 85 because it's the longest. And who knows, all those scenes might have been shot on the same day...
Also, it's amusing that in the still there's a copy of Bram Stoker's Dracula on the table near Selby -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-12a.jpg)
- though, of course, that doesn't necessarily mean it was his or he was reading it. It could have been left on the table by anyone...
[nods]
-
Revisiting the first few posts regarding this goof in Scene 85:
... I've decided to provide the answer to this:
And I still haven't forgotten about this -
I haven't forgotten about this:
... I'm somewhat ashamed to admit that there are continuity errors in Scene 85 that I never noticed until I watched it this time around. ...
So, has anyone else noticed the continuity errors? The screw up is a really big problem when it comes to a subsequent scene...
Once you learn what the problem is, you're going to feel foolish that you didn't notice what's wrong with Scene 85. I certainly do. And it would be one thing if it was simply something in Scene 85 and had no bearing on anything else, but as I said, it's a really big problem when it comes to a subsequent scene...
I'm sharing screen captures from both the Blu-Ray and the VHS. See if you can discern the answer without me having to provide an explanation because the answer is going to be staring you in the face:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower3c-10291.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Laser_frame_01412.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower3c-10305.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Laser_frame_03225.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower3a-00313.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Laser_frame_03490.jpg)
And from upcoming Scene 124:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower3a-00570.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Don't_Cry_Laser_frame_01040.jpg)
(ADMIN: Edited to replace VHS captures with Laser captures)
See if you can discern the answer
A word of advise for those viewing the screen caps on a phone: you may want to enlarge the caps to see things more closely. When I checked the post this morning I noticed that details may not be as visible on a phone as they are for those of us viewing them on a PC monitor. On a phone, if you know what to look for, you'll definitely see it (or not see it, as the case may be) - but if you don't know what to look for, you may not...
I got somewhat distracted by Angelique's big hair but she seems to be missing her pendant in the first few captures. Oops!
[nods]
-
Continuing with revisiting the goof:
[pointing-up] YES!! You've hit on it!! [thumb] Or at least a big part of it...
In the opening of Scene 85, Angelique isn't wearing anything around her neck:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower3c-10291.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Laser_frame_01412.jpg)
Hence why I shared as clues stills taken in the tower in which she was also missing any sort of necklace:
And the last of the stills to preview Scene 85, two more Angelique publicity stills that were taken in the tower room:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-15_1.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-15_2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-15_2.jpg) for a 1481X1000 version)
...
Though...
...mysteriously the heart pendant shows up halfway through the scene:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower3c-10305.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Laser_frame_03225.jpg)
Hence why I referred back to this:
And to further provide clues, I'm reposting this -
And fair warning to pay close attention to the publicity stills because they may come in handy because there may be a quiz down the line... [hall2_wink]
But the more odd thing is that the pendant appears only to...
...then disappear at the end of the scene to be replaced by a simple chain necklace:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower3a-00313.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Laser_frame_03490.jpg)
Hence why I shared as a clue the following still taken in the tower in which she was also simply wearing the chain necklace:
- and this particularly -
And another behind the scenes still featuring David Selby and Lara Parker to preview Scene 85:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-11.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-11.jpg) for a 700X476 version)
- because it provides one of the biggest clues among the publicity stills...
It's all enough to make one wonder if parts of Scene 85 were shot on different days? If not, why all the continuity goofs regarding the pendant? (And I can't believe it took me so many decades to finally even notice. But as I've often said, no matter how many times one watches something, there can still be things to notice for the first time, even continuity goofs. And I guessing not many others have noticed it either because, not only has no one ever posted about it here, but no one has ever added it to the film's goofs on IMDb.)
And like I said, it would all be bad enough on its own, but it's a really big problem when it comes to Scene 124 when, in a hugely important plot point, Angelique gives the pendant to Sarah to "remember" her by...
If Scene 85 was indeed shot on different days, it could also explain why there is rain pouring down windows at one point and bright sun shining in the windows at another, especially if the rain was actually happening during some of the shooting and not artificially created by the Tarrytown Fire Department...
[nods]
-
And two last posts to revisit before moving on the Scene 86:
I got somewhat distracted by Angelique's big hair
[stfl] [stfl] [stfl]
One really has to wonder how Angelique's somewhat flattened hair (due to Charles running his hands through it) -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower3c-10291.jpg)
- suddenly becomes as big as it is, especially at the end of Scene 85 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower3a-00313.jpg)
- but perhaps that's even more evidence that Scene 85 was shot over the course of a few days... (Or is it evidence that Angelique really was a witch and had cast a spell so that her hair would go back to being perfectly coiffed no matter what Charles did to it during their, uh, amorous interludes? [snow_wink] [snow_cheesy])
One final comment that just occurred to me regarding the heart pendant continuity goofs:
It's hard to imagine that DC and editor Charles Goldsmith didn't notice those goofs when they were assembling the footage for Scene 85, so could it have really been the case that, as with the daytime show, DC thought the DS audience was too stupid/unobservant to ever notice? After all, on the daytime show we were never suppose to be smart/observant enough to notice things like when actors wore different clothes during the end of one ep and the restaging of the same scene for the teaser of the next. Though at least in that case, we would be seeing things on different days (and the thinking was that supposedly we were only going to watch the eps once and never again). But in the film the pendant goofs take place in the same scene - and as is the case with most of us, we've watched the original DS films MANY times. Though in my defense, as I've said before, more often than not I tend to strongly focus on faces and not other things (which is why I've rarely been one to notice the occasional stagehand at the outer fringes of the frames of some of the daytime eps unless someone else has pointed them out). But again, even I'm shocked that after all these decades no one else seems to have mentioned the goofs in Scene 85 with the pendant. It pains me to say it, but maybe there really was some point, even if it was only a small one, to DC's belief. But at least it's not like the pendant goofs never went noticed...
[nods]
-
Maybe she cast a spell on the pendant, willing it and out of existence depending on her level of concentration. Or perhaps she had an invisible Satanic stagehand who was in charge of her jewelry .
-
[pointing-up] I LOVE the Satanic stagehand explanation for the pendant! I'm going with that!! [stfl] [thumb]
[nods]
-
Revisiting Scene 86 as scripted:
...
86 INT - TOWER - 1971 - EVENING - NORMAL COLOR 86
Quentin is still staring at the picture. He
remembers it all.
|
And that's when today's quote -
Page 36/Scene 86 - Quentin: 'Gabriel...Angelique...? That was her funeral I saw. What happened here? What?'
- is scripted to come up.
But when it comes to various versions of the film, there is either no dialogue at all or a completely different bit of dialogue. In the 94 minute and 97 minute versions, the correct sound mix is that there is no dialogue in Scene 86. But in the 129 minute version, slightly reworked versions of two of the things Angelique says at the outset of Scene 85 are combined and repeated: "As long as she's in this house, I can't be happy. Bring the painting to life. Please." But just as is the case with the earlier additional dialogue that can be heard in Scene 85 even though it doesn't belong in the 94 minute version of the film, that bit from Angelique is mistakenly heard in the versions of the 94 minute NoDS available online via Amazon and iTunes and possibly other places, and on DVD and Blu-ray.
And beyond the facts that like Scene 84, Scene 86 is not actually shot in the evening and the transition between the subconscious memory and the present is made via an extreme close-up of Quentin blinking, when it comes to what's different from the descriptions and directions, there isn't so much anything different from the actual script as there is from a notation DC made in his script which says that Quentin would be shot in profile and silhouetted against the water and sky - but as we can see in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0427ds91_a.jpg)
- that is definitely not the case in the film.
Also I have to say that the music used for this sequence (titled The Taking Of Angelique on the soundtrack CD) is one of my favorite pieces that Bob Cobert wrote for the film.
[nods]
-
And again we know that when it comes to the DVD/Blu-ray there's dialogue that shouldn't be in Scene 86, and of course it all shows up in the subtitles, but it's totally different from what's scripted - instead of Quentin's scripted realization regarding Angelique's funeral, what actually comes up, and should only come up in the 129 minute version, is -
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Blu-ray-2_frame_00202.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Blu-ray-2_frame_00303.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Painting_To_Life_Blu-ray-2_frame_00360.jpg)
[nods]
-
...
But when it comes to various versions of the film, there is either no dialogue at all or a completely different bit of dialogue. In the 94 minute and 97 minute versions, the correct sound mix is that there is no dialogue in Scene 86.
But in the 129 minute version, slightly reworked versions of two of the things Angelique says at the outset of Scene 85 are combined and repeated: "As long as she's in this house, I can't be happy. Bring the painting to life. Please." But just as is the case with the earlier additional dialogue that can be heard in Scene 85 even though it doesn't belong in the 94 minute version of the film, that bit from Angelique is mistakenly heard in the versions of the 94 minute NoDS available online via Amazon and iTunes and possibly other places, and on DVD and Blu-ray.
And something that you might have noticed (I didn't actually until this time around) is that the two clips above are scored differently. Note that on the VHS the flourish of Quentin's Theme isn't heard until the frame is focusing solely on the painting and Quentin is no longer in frame, whereas on the DVD/Blu-ray the Quentin's Theme flourish is already being heard at the outset of the clip while Quentin is in frame and the painting is barely seen. And all of that is quite possibly because the removal of the more explicit footage from Scene 85 and Angelique's voiceover over the painting required rescoring. Though what's interesting is the rescoring doesn't appear to noticably kick in until about the time Charles unlocks the door for Gabriel, which is after where the removal of the more explicit footage was made.
Another thing that's interesting is that on the VHS a few notes of the score continue to be heard when things switch to the outside shot of Collinwood, whereas on the DVD/Blu-ray the score cuts off immediately at the end of Scene 86. And speaking of that outside shot of Collinwood, also recall that as the film currently stands, Scene 86 is followed by Scene 74, not Scene 87 (Quentin, Alex, Claire and Tracy discuss the two paintings of Angelique) as will be coming up in the slideshow, though sadly, doesn't appear in any version of the film...
...
(ADMIN: Edited to replace VHS video with Laser video)
[nods]
-
Moving on the revisit how the first part of Scene 87 is scripted:
Setting up Scene 87, which DC has broken up into Scenes 87A and 87B in his script:
87 INT - GALLERY - NIGHT 87A
Tracy, Claire, Alex are looking at the half-finished
portrait as Quentin stares at the portrait of
Angelique on the wall.
87 CONTD CONTD 87
|
And that's when today's quote -
Page 37/Scene 87A - Quentin (O.S.): 'It looks like he was going to add some other people.'
- comes up.
And there's absolutely nothing to get into when it comes to differences with the dialogue, the descriptions, or the directions because, sadly, even though this scene was shot, it doesn't appear in any version of the film. But one thing that is interesting is that even though the scene isn't indicated as a rewrite in DC's script, his version begins with dialogue for Quentin (the above quote) and Alex (coming up tomorrow) that does not appear in Grayson's script's version of the scene.
Picking up from yesterday with today's quote -
Page 37/Scene 87A - Alex: 'I wonder why he never finished it... yeah, it's amazing, isn't it? So evil here...so prim over there. The double life of Angelique Collins. I wonder what Charles Collins knew that the others didn't.'
-coming up in DC's script. However, as I'd mentioned yesterday, the dialogue for Scene 87 begins differently in Grayson's version of the script. The first lines are given to Alex and his lines appear like this:
ALEX
Fascinating. So evil here ...
so prim over there. The double
life of Angelique Collins.
|
So, along with Quentin being given the lines to open the scene, Alex' original lines are expanded upon in DC's script to bring up more questions. Unfortunately though, when it comes to whether or not there may have been even more differences with what Alex actually says, we'll never know because, as I also said yesterday, even though Scene 87 was shot, as evidenced by the still used in today's graphic -
(http://www.dsboards.com/NoDSAnniQuoteImages/1130NoDS_0.jpg)
- it doesn't appear in any version of the film.
And it's also worth pointing out that the end of Scene 87 is different in DC's script in more ways than one. But we'll get into that once we reach that point in the scene...
Continuing with Scene 87, we pick up with yesterday's quote, made in response to Alex' musing about Angelique -
Page 37/Scene 87A - Claire: 'Here he goes. Another plot for another book --'
- and then today's quote -
Page 37/Scene 87A - Alex: 'I've been doing some research.'
- comes up, followed in the script by:
QUENTIN
What did you find out?
|
But we'll have to wait until the next installment in the slideshow to find out what Alex has found out - but one interesting thing about what he learned is that it does answer a question posed earlier with regard to something Alex said in Scene 59.
And when it comes to DC's script, he added a couple of notations to this section. One indicates that after Claire's lines the camera would pan to include Quentin (recall that his line, which opens the scene, is designated as being delivered off screen). And the other indicates that after Alex' line Scene 87B is to start, even though DC doesn't break things up into 87B until later in the scene, so who knows? But other than those things there's absolutely no way to know if other changes might have been made because, as has already been mentioned, Scene 87 doesn't appear in any version of the film.
Moving on with Scene 87, today's first quote -
Page 37/Scene 87A - Alex: 'The servant-girl legend is just that. And after seeing this, my vote goes to her. She'd make some ghost.'
- comes up...
...
[nods]
-
Revisiting a post related to Scene 87:
... I want to share the photo -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery-1.jpg)
- I used for yesterday's graphic -
(http://www.dsboards.com/NoDSAnniQuoteImages/1130NoDS_0.jpg)
As far as I'm aware, the only place it was ever published was as part of a NoDS article in the Dec. '71 issue of 16 Magazine. And in fact, back in the '90s Darren Gross couldn't locate a copy among the NoDS stills available to him. But he may have located a copy since...
In upcoming days I'll be sharing what I used to create other Scene 87 graphics (including one that's brand new to this version of the slideshow) and one that I didn't use...
[nods]
-
Revisiting how the last part of Scene 87 is scripted:
Moving on with Scene 87 ... in DC's script by:
QUENTIN - CLOSE-UP |----------------------------------- 87B
|
And that's when today's second quote -
Scene 87B - Claire (O.S.): 'Poor Angelique Collins. He's going to start and she'll have no more secrets.'
- comes up.
So, as I said yesterday, who knows where DC really intended 87B to begin because his script has notations for it beginning in two different places. [scratch]
But so far as Alex' dialogue goes, it answers the question of who the "young beautiful servant girl who roams the halls of Collinwood" is: she's apparently no one because the story is simply a legend. Unfortunately that means that Quentin won't be able to hire her after all. [b003]
And blah blah blah, no way to know if other changes, blah blah blah, doesn't appear in any version of the film...
Continuing with Scene 87, with Tracy asking in yesterday's quote -
Page 37/Scene 87B - Tracy: 'Do we have to have a ghost, Alex?'
- coming up, followed by the script indicating:
And that's when today's quote -
Page 37/Scene 87B - Quentin: 'Alex makes up his own legends, anyway. I'm not half as curious about Angelique Collins as I am about Charles. He is quite good, you know.'
- comes up.
And again, blah blah blah, no way to know if other changes, blah blah blah, doesn't appear in any version of the film. Though what will be interesting when it comes to tomorrow's installments in the slideshow, which are taken from DC's script, is that they're very different from how Grayson's script concludes Scene 87. But more on that tomorrow...
Before we get into the way Scene 87 concludes in DC's script, here's how it concludes in Grayson's script, picking up after Quentin's remark that Charles Collins "is quite good":
He looks at the portrait again.
ALEX
Is?
They all laugh.
|
End of scene.
However, picking up at the same point in DC's script we have:
takes from Alex
He looks at the portrait again.
|
And following that, DC has handwritten in today's first quote -
Page 37/Scene 87B - Alex: 'He is good?'
- followed by handwriting in today's second quote -
Page 37/Scene 87B - Quentin: 'He was good.'
- followed by handwriting in today's third quote -
Page 37/Scene 87B - Alex: 'He was good.'
End of scene.
And again, blah blah blah, no way to know if other changes, blah blah blah, doesn't appear in any version of the film. Though if anyone is wondering what portrait is referred to in Grayson's version, recall that back in the initial description of the scene it's explained that "Quentin stares at the portrait of Angelique on the wall." Who knows which portrait is being referred to when Quentin takes it from Alex in DC's version? And who knew Alex is even holding a portrait because that fact is never introduced in DC's version of the scene. And there's no indication of any laughing at the end in DC's version.
[nods]
-
I wonder if the servant girl ghost might be a subplot left over from an earlier version of the script.
-
Two more posts worth revisiting:
Another scene I wish had been retained. I love the whole "Scooby gang" flavor of the dialogue here.
[pointing-up] Indeed! But we're all too familiar with DC's belief that when editing a film, the character oriented stuff is the first to go. [ghost_rolleyes]
[nods]
-
Another post worth revisiting:
When it comes to yesterday's and today's graphics in the slideshow -
(http://www.dsboards.com/NoDSAnniQuoteImages/1204NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/1205NoDS_0.jpg)
- I made them using this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery-2.jpg)
- which, as far as I know, has only been published on page 111 of the DS Companion. However, since creating those graphics I've come into possession of the actual still, which shows a bit more than its DS Companion version:
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery-3.jpg) for a 700X484 version)
Plus, the still in #8 in the NoDS Edtor's Portfolio.
[nods]
-
And definitely another post worth revisiting:
And when it comes to today's second graphic in the slideshow -
(http://www.dsboards.com/NoDSAnniQuoteImages/1206NoDS_1.jpg)
- I made it this time around using this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery-4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery-4.jpg) for a 533X700 version)
- which I probably would have done back in 2009 or 2016 for those slideshows if I had remembered that it had been shared as part of the 2004 Fest Program, but I didn't. Thankfully this time around I did remember it was there...
[nods]
-
Another post to revisit:
Recall with regard to Scene 87, Darren Gross posted on his Restoration Web site:
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
INT.GALLERY-NIGHT. Quentin & Tracy, Claire & Alex discuss the two Angelique portraits.
...
[nods]
-
And definitely yet another post worth revisiting:
And before we move on beyond Scene 87, here's a still not used for the slideshow. It was shared by the 2012 Fest Program and it's also a second solo still of Quentin for Scene 87:
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery-5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery-5.jpg) for a 693X700 version)
One would presume solo stills of Alex, Claire and Tracy from Scene 87 might also exist - however, if they do exist, it seems as if those solo stills have yet to surface...
[nods]
-
The first post worth revisiting regarding Scene 88:
And when it comes to today's quote:And speaking of observations, does it strike anyone else as odd that Alex claims that he and Claire "are broke"?
(http://www.dsboards.com/NoDSAnniQuoteImages/1207NoDS_0.jpg)
Page 38/Scene 88 - Alex (gesturing to Claire): 'Will you look at that dress?
Gregory strikes again! He must think we're the manor folk --
honey, remember, we're broke.'
I still wish there was an actual explanation in the film because:Apparently they've written at least a few successful novels, one of which we learn at the end of the film is being made into a "major motion picture."
Plus, the blurb at the end of the film describes them as a "popular husband and wife novelist team."
Either they must have a terrible agent who negotiates terrible contracts for them or they must spend money like water. Or both. Who knows? [santa_undecided] But if they are broke, no wonder they need to live rent free. [santa_wink]
However, it's also quite apparent that supposedly being broke doesn't stop them from driving from Maine to New York in the middle of the night on a whim that they might learn something about Charles Collins. [santa_shocked]
Though what's perhaps more important about today's quote is that it's a MUST quote! [santa_wink]
...
Though one thing that didn't occur to me when I made that post is that the blurb about the Jenkins' accident is not in the script and was added to the film in post production. Given that, apparently whoever wrote it, if it wasn't Sam Hall (though if it was Sam Hall, well... [santa_rolleyes] [santa_rolleyes]), had no idea that Scene 88 establishes that the Jenkins are broke. Or they didn't associate being broke with the likelihood of the financial windfall having a major motion picture made from one of your novels would bring. But still, who knows? [santa_undecided] [santa_rolleyes]
[nods]
-
Perhaps Claire and Alex had the same literary agent who represented Lara Parker. That could explain everything.
-
A subtitles/closed captioning post to revisit which has been edited to replace TV video screen captures:
When it comes to Scene 88, not only is there quite a bit of possibly improvised dialogue to begin the scene, but the closed captioning and, to a lesser degree, the subtitles have all sorts of issues.
First up:
Interestingly, when it comes to the first improvised line from Scene 88, it appears on screen in both the subtitles and the closed captioning at the end of Scene 80 (and we'll recall that Scenes 74 through Scene 80 appear in the film after Scene 86 rather than before it) -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_00018.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00015.jpg)
- even though it doesn't come up in the film until Claire appears on screen -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_00036.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00044.jpg)
- (and for some reason there's more glare than usual off of the TV screen for the closed captions) - and even though the next improvised lines are Alex asking "All right, sweetheart, some wine?" followed by Claire replying "Just a touch", the subtitles drop Alex saying "All right" -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_00092.jpg)
- and the closed captioning oddly has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00100.jpg)
- and doesn't even acknowledge Claire's reply.
Much more to come...
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
The next subtitles/closed captioning post to revisit which has been edited to replace TV video screen captures:
Continuing with the issues with the closed captioning and the subtitles for Scene 88.
Next up:
After Claire has replied "Just a touch," Alex repeats "Just a touch and then adds "Now who'd a thought we'd have been here two years ago?", though the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_00165.jpg)
- but the closed captioning only has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00162.jpg)
- and to that Claire replies "I would have." to which Alex says, "You would, huh?", and the subtitles reflect that -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_00227.jpg)
- but the closed captioning only has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00220.jpg)
- with Alex' line dropped - and while Quentin then remarks "Makes life interesting," and the subtitles reflect that -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_00293.jpg)
- for some reason the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00272.jpg)
- adding a word that's not there instead of dropping entire lines - and that last subtitle gets a jump on the next line in the scene but we won't deal with that until next time...
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
Another post related to Scene 88 that's worth revisiting:
And something that's interesting about Scene 88 (and 89) for me is that I have never (and perhaps no one has ever) seen one still from the scene/sequence.
OMG - How could I have said such foolishness?! I (and apparently everyone else reading this topic, because no one corrected me [santa_sad]) completely forgot about this still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Dining.jpg)
And as if it wasn't bad enough that I forgot about my own copy of the still (which I just came across while looking for stills for upcoming Scenes 96 & 97), but it also appears on page 24 of the booklet for the movies' soundtrack CD (though that version is somewhat cropped).
[nods]
-
And another subtitles/closed captioning post to revisit which has been edited to replace TV video screen captures:
I've finally gotten the chance to continue with the issues with the closed captioning and the subtitles for Scene 88.
Next up:
As I'd alluded to last time, the next thing Alex says is "Will you take a look at this thing?", which is reworked slightly from what is scripted, however, as can be seen in the previous post, the subtitles drop the "Will you," and the closed captioning not only also drop that, it only has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00332.jpg)
- with even "thing" being dropped - and after that Alex then says "Gregory strikes again! He must think we're the manor folk," and the subtitles reflect that but the closed captioning completely ignores it - after which Alex says, "Honey, remember, we are broke," and surprisingly enough both the subtitles and the close captioning acknowledge that - and then Alex possibly improvises, "A little more wine for the gentleman," as he makes his way to Quentin and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_00515.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00515.jpg)
- also acknowledge that - however, as his first reply to that, Quentin mouths, "Thank you" -
- but neither the subtitles nor the closed captioning acknowledges that.
And there's even more to come...
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
Something I forgot to add to the precious post is that I noticed something this time around that I don't think I did previously. When it comes to Alex reminding Claire that they're broke, the closed captioning italicizes the word "we" -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00466.jpg)
- whereas the subtitles do not -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_00466.jpg)
- and normally something like that may not make all that much of an impression on me - but as we'll see when I share how Scene 88 is scripted, in both Grayson's and DC's versions of the scene that section of Alex' lines are written as -
88 CONTD CONTD 88
ALEX
(gesturing to Claire)
Will you look at that dress?
Gregory strikes again! He must
think we're the manor folk --
honey, remember we're broke.
|
- with the "we're" underlined so as to indicate it's to be given emphasis on delivery.
Now, in the film Alex actually says "we are" rather than "we're," and only the "we" is italicized, but what makes this instance stand out is that there are other examples in the script of words being underlined for emphasis - in fact, there's an upcoming Carlotta line in this same scene where it occurs - but those underlined words are not featured in italics in the closed captioning. If whoever did the closed captioning followed along with the script, which is something we've suspected they might have done, given how some of the closed captions are closer to what's in the script than they are to what's actually said in the film, who knows why he/she chose to italicize this instance and not the others? But of course, only they know the reason why...
[nods]
-
And yet another subtitles/closed captioning post to revisit which has been edited to replace TV video screen captures:
Continuing with the issues with the closed captioning and the subtitles for Scene 88.
Next up:
After Quentin mouths his thank you, he possibly improvises aloud "A little wine," and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_00646.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00633.jpg)
- acknowledge it - and after that point as Carlotta enters the room Alex greets her with "Well, hello, Carlotta - how are you?", which both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_00759.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_00816.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00765.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00800.jpg)
- also acknowledge. (And if looks could kill, that look Carlotta gives Alex when he asks how she is would have certainly killed him! [santa_grin])
Things briefly go back to what's scripted after all this, but a shift in dialogue and more possible improvisation are coming next time...
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
You may have noticed that when it comes to the "How are you?" screen captures in the above post they're not at all similar, and what you may not remember is that they had been when the TV video captures where originally posted. Well, that's because when I was getting the new closed captioning screen captures from the direct video copy I was able to make of the VHS I discovered something fascinating, or at least fascinating to me: apparently, even though I'd obviously used the VHS version of NoDS for both, when I shot video off the TV screen with my phone and when I made the direct video copy of it, the closed captioning displayed differently depending on what was decoding it. When it came to the TV screen video, it was the TV that decoded the closed captioning, but when it came to the direct video, it was the VCR in which I played the VHS tape that decoded the closed captioning. Who knew that could display differently because one would assume that the same instructions encoded on the VHS tapes would make the closed captionig display the same regardless of what was decoding them. But we know how dangerous it is to assume, so apparently not.
One thing I had noticed when it came to the earlier closed captioning screen captures I've replaced is that the boxes for the closed captioning didn't display on the screen in the same places. But it always seemed as if they appeared on the screen in the same video frames and lasted the same number of frames. However, I discovered that is not the case when it comes to the "How are you?" closed captioning box and those around it. Check out the following side by side frame comparison of how "How are you?" first displays:
| (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00770.jpg) | (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00770.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00770.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00770.jpg) for a 620X449 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00771.jpg) | (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00771.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00771.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00771.jpg) for a 620X449 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00772.jpg) | (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00772.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00772.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00772.jpg) for a 620X449 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00773.jpg) | (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00773.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00773.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00773.jpg) for a 620X449 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00774.jpg) | (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00774.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00774.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00774.jpg) for a 620X449 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00775.jpg) | (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00775.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00775.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00775.jpg) for a 620X449 version |
When "How are you?" first displays in the direct video, "Well, hello, Carlotta" is still on display in the TV video, and "How are you?" doesn't fully display in the TV video until four frames after that. And when it comes to how long it is that "How are you?" lasts on screen in each version, it's even wonkier. But I won't get into that until my next post...
[nods]
-
Continuing from above:
| (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00821.jpg) | (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00821.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00821.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00821.jpg) for a 620X449 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00822.jpg) | (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00822.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00822.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00822.jpg) for a 620X449 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00823.jpg) | (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00823.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00823.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00823.jpg) for a 620X449 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00824.jpg) | (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00824.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00824.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00824.jpg) for a 620X449 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00825.jpg) | (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00825.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00825.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00825.jpg) for a 620X449 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00826.jpg) | (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00826.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00826.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00826.jpg) for a 620X449 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00827.jpg) | (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00827.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00827.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00827.jpg) for a 620X449 version |
| (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00828.jpg) | (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00828.jpg) |
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_00828.jpg) for a 620X465 version) | (Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00828.jpg) for a 620X449 version |
As you can see, in the direct video "How are you?" disappears six frames earlier than it does in the TV video - both "How are you?" and "What's that?" appear simultaneously in a TV video frame, which is so bizarre - and "What's that?" appears by itself 2 frames earlier in the direct video than it does in the TV video! Given both videos should be reflecting the exact same instructions on the VHS, who knows why/how the displays generated by the VCR are so different from those generated by the TV? But as I've said in earlier posts when I came across missing letters or entire words in the closed captioning, I've given up trying to fathom such things. But nonetheless I continue to find it fascinating when they occur - and particularly when they occur with no rhyme or reason as in this instance. It'll be quite interesting if down the line I come across any other instances similar to it... [santa_undecided]
[nods]
-
I forgot to mention yesterday that in this particular instance I was very happy to see the TV video screen captures get replaced because when it came to Carlotta it was like some sort of faceless entity -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_TV_frame_00773.jpg)
- had entered the room. It's quite interesting how the brighter aspects of the footage become so blown out when shot directly off of the TV screen...
[nods]
-
Kicking off revisiting how Scene 88 is scripted:
There are two slightly different ways that Scene 88 is setup, depending on whose script one is reading. Grayson's sets things up thusly, beginning at the bottom of page 37:
CUT TO:
88 INT - DINING ROOM - NIGHT - GROUP SHOT 88
Seen from the corridor as the CAMERA TRUCKS TOWARD
THEM. They have finished dinner and are on their
coffee.
88 CONTD CONTD 88
|
Whereas in DC's script he has handwritten at the top of page 38:
INT. CORRIDOR NIGHT - TRUCKING
Camera truck toward dining
room - they have finished dinner
88 CONTD CONTD 88
|
And in both cases that's when today's quote -
Page 38/Scene 88 - Alex (gesturing to Claire): 'Will you look at that dress? Gregory strikes again! He must think we're the manor folk -- honey, remember, we're broke.'
- comes up in the script.
And so far as anything being different with the dialogue, the descriptions, and the directions, as can be seen in this first capture -
(http://www.dsboards.com/NoDSquoteimages/0506ds91_a.jpg)
- at first we simply see Claire, and this is where quite a bit of possibly improvised dialogue begins with Claire stating "I'm glad I'm not driving" - and as the camera pans to show Tracy and Alex, the next capture shows that as Tracy takes a sip of her wine -
(http://www.dsboards.com/NoDSquoteimages/0506ds91_b.jpg)
- Alex makes his way toward Claire while he asks "All right, sweetheart, some wine?" - to which Claire responds "Just a touch", Alex repeats "Just a touch", and Tracy laughs as the camera, as can be seen in this next capture -
(http://www.dsboards.com/NoDSquoteimages/0506ds91_c.jpg)
- has been moving in to reveal all four of them - and after Alex asks "Now who would have thought we would have been here two years ago?", Claire replies "I would have" as -
(http://www.dsboards.com/NoDSquoteimages/0506ds91_d.jpg)
she raises her hand in the air and looks to the heavens and then toward Tracy with a smile - to which Alex replies "You would, huh?" - and then Quentin remarks "Makes life interesting" - and after that what Alex actually says as -
(http://www.dsboards.com/NoDSAnniQuoteImages/1207NoDS_0.jpg)
- he takes Claire's dress in hand, as can be seen in today's capture, is "Will you take a look at this thing? Gregory strikes again!" - and as Claire basically ignores him, I love how she simply reaches for her wine glass -
(http://www.dsboards.com/NoDSquoteimages/0506ds91_e.jpg)
-which is apparently more important to her, as Alex continues with "He must think we're the manor folk -- honey, remember, we are broke" - and after he says that he bends down to kiss the top of Claire's head -
(http://www.dsboards.com/NoDSquoteimages/0506ds91_f.jpg)
- and then he follows that off screen with "A little more wine for the gentleman", meaning Quentin - to which Quentin mouths "Thank you" and audibly replies "A little wine" - and then when Carlotta enters the room, Alex says "Well, hello, Carlotta - how are you?" - to which at first she barely registers a reaction other than -
(http://www.dsboards.com/NoDSquoteimages/0506ds91_g.jpg)
- looking none too pleased with him - but then I love how she manages to -
(http://www.dsboards.com/NoDSquoteimages/0506ds91_h.jpg)
- come up with a slight smile.
End of improvising, but the scene certainly goes on...
And the handwritten opening description in DC's script makes no mention of the group being on their coffee - though, of course, they're actually drinking wine in the film. But apparently DC didn't care what they were drinking, only that they'd finished dinner. [wink2]
[nods]
-
And I love this post related to the revisited post in Reply #1424:
Ooh, Alex got the Carlotta death glare! But only for a brief moment. So he failed to turn to stone.
I suddenly want a TV show called "Cooking with Carlotta." "Resist adding more old bay seasoning at this point... IF you can."
I can so see Carlotta delivering the "If you can" part just like she does in upcoming Scene 132. [santa_wink] [santa_grin]
I actually wish we'd learned what they'd had for dinner. All the script tells us is that Carlotta is capable of making a salad (and Grayson's script adds that she serves it with white wine (that detail of which we almost get to learn on the DVD/Blu-ray but it's cut off before we do). Let's hope Carlotta served something that was much more interesting, not that there's anything wrong with salad and white wine. [ghost_nowink] I've eaten that combination more than once when I was interested in something light, especially on a hot summer day...
And it's so true that Alex is lucky he didn't turn to stone. [santa_wink]
[nods]
-
Revisiting the next section of how Scene 88 is scripted:
...
Quentin looks TOWARD CAMERA as if it were Carlotta,
who just entered the room.
|
And that's when today's quote -
Page 38/Scene 88 - Quentin: 'What's that?'
- comes up, followed by the script continuing with:
CARLOTTA
Having just ENTERED the room, she holds a gift-
wrapped package.
TRACY O.S.
It's our surprise.
WIDEN as Carlotta crosses to Quentin and gives him
the package.
QUENTIN
What is it?
He starts to rip the paper.
|
And as far as anything different in the dialogue goes, both of Quentin's lines are delivered exactly as written, but Tracy actually says "That's your surprise", which would seem to make more sense.
And as far as anything different with the descriptions and directions go, we don't actually see Quentin look toward camera as if it were Carlotta who entered the room because, as was already obvious with the last two captures in reply #188, we see Carlotta enter the room, and the camera shot remains at that angle - and before Quentin notices the package, he actually reaches for something on the table and begins to chew it before he asks what it is that Carlotta has - and after Tracy answers off screen that it's a surprise, without the indicated widening of the frame, Carlotta then moves from where she's been standing on screen all along and hands the package to Quentin as Alex sits and pours himself some wine - and Quentin doesn't so much as rip the paper as he lifts the top off the box.
And when it comes to DC's script, he has a notation between Quentin asking "What's that?" and Carlotta's scripted entrance -
QUENTIN
What's that?
INT. DINING ROOM - NIGHT
CARLOTTA
|
- but as can be seen, he doesn't consider it a new scene - and in the film things are no longer shot through the dining room doorway but in the actual dining room beginning with Alex saying "A little more wine for the gentleman", as could be seen in reply #188's captures of Carlotta's entrance into the room.
And when it comes to Grayson's script, she has a notation for the point in the script where Carlotta enters (which just so happens to be in the same place that DC has his notation), but for the life of me I can't really decipher all of her handwriting. See if you can:
(http://www.dsboards.com/NoDSquoteimages/Note_P38.jpg)
References to Reply #188 also refer to Reply #1424 this time around.
And here's a series of posts related to the question I posed regarding those shared notes in Grayson's script:
Let's see. I read it as Specific change around others. Taut tense unbending.
How does that sound to you, MB?
Actually, that sounds perfect and makes me wonder why I didn't see it myself? [ghost_embarrassed] It was mostly the "specific" that was giving me trouble.
Thanks! [ghost_smiley]
My years of having to decipher extremely creative penmanship from my OTB career sometimes pays off in unexpected ways. [ghost_cheesy] [ghost_grin]
I see. Good to know! And if I have any other deciphering problems, you'll be the first I'll ask!! [nodassent] [wink2]
Just another part of my reasonably checkered past that has come in handy. [ghost_wink] [ghost_rolleyes] [ghost_wink]
And as we saw our resident brilliant Deciphernator was able to deduce many other notes that I'd shared. But sadly it seems as if even he was stumped when it came to the one I posted back in Reply #1311. But then Grayson's writing sometimes borders on how indecipherable the Egyptian Hieroglyphs were before the discovery of the Rosetta Stone, so no one is blaming him. [ghost_nowink] [ghost_grin]
[nods]
-
Continuing to revisit how Scene 88 is scripted:
And continuing with more of Scene 88, starting off with today's quote -
Page 38/Scene 88 - Tracy: 'Something you can't be without?'
- coming up in response to Quentin asking what his surprise is, followed by the script continuing with:
He draws out a riding habit.
QUENTIN
You've got to be kidding.
Alex ROARS with laughter.
TRACY
Gregory said I can return it.
Quentin starts to laugh and gets up crossing to
Tracy.
|
And when it comes to what is different in the dialogue, what Tracy actually says is "Well, it's something that you can't be without", and until it comes to the second syllable of the word "something", it's delivered off screen - and in the film it isn't Quentin who says "You've got to be kidding" but Alex, who actually says "You gotta be kidding" after he bursts out laughing - and in a bit more of unscripted dialogue, Claire replies with "Why, I think he'll look marvelous in them" (and I love the look she gives -
(http://www.dsboards.com/NoDSquoteimages/0508ds91_a.jpg)
- Alex after she says it, as well as her dismissive hand gesture) - and then Tracy actually says "Gregory said I could take them back if..." before she gets cut off by Quentin, but more on that tomorrow...
And when it comes to what is different with the descriptions and directions, Quentin doesn't take out a full riding habit but simply a pair of riding breeches, and he stands after he does so - and he has a big smile on his face as he moves toward Tracy -
(http://www.dsboards.com/NoDSquoteimages/0508ds91_b.jpg)
- as she says she can take them back, which means that he doesn't laugh nor get up after she's said it - and in the middle of Tracy saying she can take them back there's a notation in DC's script indicating that there was supposed to be a 2 shot of Alex and Claire, but obviously it's not in the film if it was shot.
And poor Gregory: he gets mentioned twice in this scene, yet as the film stands, no one in the audience has the vaguest idea who he is because his scene was never shot...
[pointing-up] As far as "today's quote" goes, it was December 9th this time around.
And more of Scene 88, picking up with today's quote -
Page 38/Scene 88 - Quentin: 'No...NO... [He kisses Tracy lightly] I'll get around to wearing it sooner or later --'
- coming up.
And so far as what's different in the dialogue, Quentin cuts Tracy off by actually saying "Promise you I'll wear 'em" (the riding breeches, not the full riding habit, as scripted) - and then after he kisses her, he adds "Someday" - and in another bit of unscripted dialogue, Tracy repeats "Someday" with a laugh.
And so far as what's different with the descriptions and directions, there's nothing to get into here.
[pointing-up] And as far as that post goes, obviously "today's quote" was December 10th this time around.
[nods]
-
Returning to the subtitles and closed captioning for Scene 88, after Quentin asks what the wrapped package Carlotta gives him is and Tracy says it's his surprise and something he can't be without, Quentin opens it and pulls out a pair of riding breechers, which causes Alex to erupt into unscripted and off screen laughter, which is acknowledged by both the subtitles and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_01382.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_01382.jpg)
- after which it's actually Alex who has the "You've got to be kidding," the line scripted for Quentin, though he delivers it off svreen as "You gotta be kidding" - but the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_01443.jpg)
- with "You've" rather than the simple "You" - and the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_01453.jpg)
- also with "You've" rather than "You," but of course with "got to" rather than "gotta" because apparently they always insust on being grammatically correct - and that's followed in both the subtitles and the closed captioning by Claire delivering an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_01514.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_01529.jpg)
More to come...
[nods]
(ADMIN: Reply #866 has been edited to replace TV video screen captures)
-
Continuing with the subtitles and the closed captioning, Quentin then makes his way over to Tracy as she says, "Gregory said I could take them back if..." - and the subtitles get that correctly - but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_01661.jpg)
- without the "if" - and she gets cut off by Quentin when he says, "Promise you I'll wear 'em" - but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_01695.jpg)
- with both an "I" preceding it and the full "them" instead of "'em" - and the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_01781.jpg)
- it also with both an "I" preceding it and the full "them" instead of "'em" - and they also have how Quentin adds, "Someday" rather than the scripted "Sooner or later" - and after that they also have how Tracy repeats with an unscripted "Someday" - though they doesn't acknowledge the laugh she gives afterward - and the closed captioning also acknowledges Tracy's "Someday" -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_01786.jpg)
- and also doesn't acknowledge her laugh.
More to come...
[nods]
-
MB, I took another look at that portion of the script and I am completely stumped on the first word. But whatever Carlotta is doing or saying, she is doing it with great tolerance.
-
[pointing-up] Hey, you did your best and that's all anyone can ask. [santa_smiley] Plus, some of Grayson's writing is the hardest writing to decipher that I've ever seen. If she wrote handwritten letters to people, I shudder to think how long it took the recipients to fully read/understand them! [santa_wink] [santa_grin]
-
A post to revisit regarding the subtitles and closed captioning for Scene 88:
More with Scene 88.
After the subject of Quentin's "surprise" gift of riding breeches is dealt with, Quentin mentions to Carlotta that he's found some of Charles Collins' old paintings in the tower room (and the interesting thing is that in the script this is the first time Quentin and Carlotta have shared a scene since he found them, but in the film as it stands the scene in Sarah's room after Quentin has seen Sarah screaming in the window takes place in between) and Quentin asks Carlotta, "Do you know anything about his history?", and the subtitles reflect that, but for some reason the closed captioning drops the "do" -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02092.jpg)
- and after Carlotta replies that she does and that he was a "marvelous man" and "a brilliant artist," Alex remarks, "Oh, you almost sound like you know him, Carlotta," and the subtitles also reflects that, but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02348.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02411.jpg)
- and to that Carlotta reacts with a sly smile and an unscripted titter, which the closed captioning acknowledges -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02516.jpg)
- but the subtitles ignores.
And from there things briefly go back as scripted, but more issues are to come...
...
(ADMIN: Edited to replace TV video screen captures)
More to come...
[nods]
-
So lets revisit how the above is actually scripted:
And yet more of Scene 88, picking up with today's first quote -
Page 39/Scene 88 - Quentin: 'Oh, Carlotta, Charles Collins --'
- coming up, followed in the script by:
She turns and looks at him.
|
And that's where today's second quote -
Page 39/Scene 88 - Carlotta: 'Yes, sir?'
- comes up, followed by today's third quote -
Page 39/Scene 88 - Quentin: 'I found some of his work in the tower room.'
-coming up, followed by today's fourth quote -
Page 39/Scene 88 - Carlotta: 'Oh?'
- coming up - followed by today's fifth quote -
Page 39/Scene 88 - Quentin: 'Do you know anything about his history?'
- coming up.
And as for what's different in the dialogue, rather than the first quote, Quentin actually and simply says "Carlotta" - and Carlotta actually and simply responds "Yes" - after which Quentin actually says "I found some old painting of Charles Collins in the tower room" - to which Carlotta does indeed respond with "Oh?", like it's a surprise to her (but we know she was just waiting for that to happen) - and then Quentin does indeed ask about Charles' history as written.
And when it comes to what is different with the descriptions and directions, there's nothing to get into so far as what's scripted, but I do have to say that as often as I've watched the film, I'd never really noticed until I was picking the captures for today that after Quentin puts the riding breeches down on the dining table, just like the typical wife, Tracy picks them up and neatly folds them into her lap so that they don't get wrinkled. I suppose in all the other viewing I was too focused on Quentin and Carlotta's exchange. [ghost_wink]
And oddly again DC's script has a notation for a 2 shot of Alex and Claire (after Carlotta turns to look at Quentin) that isn't in the film.
[pointing-up] As far as "today's quote" goes, it was December 11th this time around.
And continuing with more of Scene 88, picking up with Carlotta's answer as today's quote:
Page 39/Scene 88 - Carlotta: 'He was a marvelous man, a brilliant artist.'
And so far as what's different in the dialogue in the film, Carlotta actually says "Yes, I do. He was a marvelous man, a brilliant artist."
And so far as what's different with the descriptions and directions, there's nothing to get into because there aren't any descriptions or directions in this portion of the script. However, DC has a notation for this line in his script that says it would be shot over Carlotta's shoulder and showing Alex, Quentin and Tracy. But being shot over her shoulder is obviously not the way it was done because in the film Carlotta is seen in close-up, which is much more effective. There really isn't a true over the shoulder shot in the entire scene.
[pointing-up] As far as "today's quote" goes, it was December 12th this time around. And the underlining of "marvelous" in Carlotta's line is what I was referring to in a precious post as coming up in the scene and which isn't given any special treatment in the closed captioning or subtitles. [santa_undecided]
The interesting thing about the notation in DC's script about doing a shot of Alex, Quentin and Tracy over Carlotta's shoulder is that after Carlotta says Charles was marvelous and brilliant, the next shot in Scene 88 is one of those three, though as can be seen in this capture -
(http://www.dsboards.com/NoDSquoteimages/0512ds91_a.jpg)
- it isn't shot over Carlotta's shoulder. And as soon as Alex begins to deliver today's quote -
Page 39/Scene 88 - Alex: 'You sound as if you know him.'
- (though he actually says "You almost sound like you know him, Carlotta" in the film), the camera pans to show Carlotta, as can be seen in -
(http://www.dsboards.com/NoDSAnniQuoteImages/1213NoDS_0.jpg)
- today's capture.
[pointing-up] And as far as "today's quote" and "today's capture" go, it was December 13th this time around.
[nods]
-
A few posts worth revisiting that are related to the above post:
Today's shot might be my favorite image of Grayson in the movie. I used a version of the shot in a collage I did of Grayson in various roles a few years ago.
...
Yes, I love the shot too.
(http://www.dsboards.com/NoDSAnniQuoteImages/1212NoDS_0.jpg)
Thank heavens DC changed his mind and didn't shoot those moments from over Carlotta's shoulder!!
And Carlotta has her cat that copped the cream look.
As if she's thinking, "oh if you only knew... you poor fool!"
[nods]
-
And another post to revisit regarding the subtitles and closed captioning for Scene 88:
And even more with Scene 88.
First up:
After Carlotta asks if they'll be having brandy in the Gallery, Quentin defers with a possibly improvised "Alex?", which the closed captioning reflects -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02640.jpg)
- but for some odd reason the subtitles has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_02639.jpg)
- and Alex replies to Quentin with "Uh, not me, pal. I'm up with the sun these days," which is a reworking of what's scripted, and for the most part the subtitles has most of it -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_02678.jpg)
- but the closed captioning only has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02675.jpg)
- and that's followed by an unscripted exchange between Quentin and Alex with Quentin asking, "Sure?" and Alex replying, "Positive," which both the subtitles and the closed captioning acknowledge -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_02727.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02713.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02742.jpg)
And there's yet more to come...
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
Revisiting how Scene 88 wraps as scripted:
And picking up Scene 88 with today's first quote -
Page 39/Scene 88 - Carlotta: 'I've read a lot about him, Mr. Jenkins. Will you be having brandy in the gallery?'
- coming up in response to Alex's remark about her knowledge of Charles Collins, and followed by today's second quote -
Page 39/Scene 88 - Alex: 'Never. We're up with the sun these days.'
coming up, followed in the script by:
The girls rise, start out. Carlotta starts to
clear the table as Quentin and Alex start down the
hall.
|
End of scene - though not quite the end of the sequence...
And when it comes to what is different in the dialogue, the descriptions, and the directions, Carlotta drops the "I've read a lot about him, Mr. Jenkins" in favor of a sly smile, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0513ds91_a.jpg)
- and that smile actually says volumes more than any dialogue could possibly (especially if one already knows the subtext) - and in the script it could seem as if Carlotta is asking Alex if he will be having brandy, but in the film it's clear that Carlotta asks the question of Quentin because she turns to him - and as Tracy takes a sip of her wine, in another bit of unscripted dialogue, Quentin asks "Alex?", after which Alex delivers a version of today's second quote by actually replying "Uh, not me, pal. I'm up with the sun these days", in the middle of which Tracy laughs as she puts down her wine glass - and that's followed by an unscripted exchange of Quentin asking "Sure?", Alex replying "Positive" and then asking Claire "Ready, baby?", to which Claire replies "Hmm, ready", and Alex repeats "Ready" - and after Tracy takes the riding breeches from her lap and throws her napkin on the table as Claire comes to her side, the two women leave the room with unintelligible conversation between them, while behind them, after having a couple more sips of wine before getting up, Alex raises his glass as if in a toast and delivers another unscripted "A little more wine", to which Quentin mouths "A little more wine" under his breath as he walks to Alex - and after getting up Alex slaps his right hand on Quentin's back as they leave the room and Carlotta does indeed start to clear the table.
Also, Grayson has notations in her script about how Carlotta is "Always in control" and simply the word "Locket" - and in her script something like the later always seems to refer to Grayson's intention that Carlotta be seen foundling the locket while she's also doing something else - but in this case Carlotta doesn't actually touch the locket at all, or at least not in the take that was used as she reacts to Alex's remark about her almost sounding like she knows Charles Collins. And Grayson also has "I've read a lot about him, Mr. Jenkins" crossed out in her script.
[pointing-up] As far as "today's quote" goes, it was December 14th this time around.
[nods]
-
Posts related to the above post that are worth revisiting:
Carlotta's evil smiles... my role model... wonderful capture!
[pointing-up] It's definitely one of Carlotta's best moments! Though you don't realize it is until after the first viewing of the film...
[nods]
-
And the last posts to revisit regarding the subtitles and closed captioning for Scene 88:
And yet more with Scene 88.
First up:
After it's decided not to have brandy, in a possibly improvised bit Alex asks Claire, "Ready, baby?", she replies, "Ready," and he repeats, "Ready," all of which is acknowledged in the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_02788.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_02837.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02779.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02828.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_02845.jpg)
- and after that, once they've gotten up and joined each other, Claire and Tracy possibly improvise some indecipherable chatter -
And there's even yet more to come as you may have gathered by the preview of part of it in the above clip...
...
(ADMIN: Edited to replace TV video screen captures)
Wrapping up Scene 88 ...
First up:
After having a couple more sips of wine before getting up, Alex raises his glass as if in a toast and delivers another unscripted "A little more wine", to which Quentin mouths "A little more wine" under his breath as he walks to Alex and Alex' line is acknowledged in the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_03065.jpg)
- but not in the closed captioning - and Quentin mouthing the words can be seen in the video in Reply #869 - and that concludes Scene 88.
...
[nods]
-
Revisiting how Scene 89 is scripted:
Setting up Scene 89:
89 INT - CORRIDOR - NIGHT 89
About half-way down, Quentin stops Alex, obviously
not wanting the girls to hear him. The girls
continue on.
|
And that's when today's quote -
Page 39/Scene 89 - Quentin: 'Listen, I've had more of those crazy daydreams.'
- comes up.
And so far as anything being different with the dialogue, what Quentin actually says is "I'm having more of those crazy daydreams."
And so far as anything being different with the descriptions and directions, Quentin and Alex get barely past the dining room doorway when Quentin actually stops Alex - and we don't actually see Tracy and Claire continue down the corridor.
[pointing-up] As far as "today's quote" goes, it was December 15th this time around.
Wrapping up Scene 89, beginning with Alex's response to Quentin bringing up his "daydreams":
ALEX
Want to talk about them?
89 CONTD CONTD 89
QUENTIN
as he looks in the direction of Tracy.
|
And that's when today's quote -
Page 40/Scene 89 - Quentin: 'Not now. Why don't you come over tomorrow.'
- comes up.
End of scene and sequence.
And so far as anything being different with the dialogue, the descriptions, and the directions, Alex slaps Quentin on the back before he asks if Quentin wants to talk about his "daydreams" - and after Quentin presumably looks in the direction of Tracy (we don't see her), he turns to Alex, the "Not now" is dropped, and what Quentin actually asks him is "Can you come over tomorrow?" - and then, in yet more unscripted dialogue, Alex answers "Sure", and after Quentin smiles, Alex says "Okay" and slaps Quentin on the back again before the two start down the corridor.
[pointing-up] As far as "today's quote" in that post goes, it's today's quote this time around.
[nods]
-
Revisitng the subtitles and closed captioning for Scene 89:
... dealing with Scene 89.
...
And when it comes to Scene 89, as they're exiting the Dining Room, Quentin stops Alex and says, "I'm having more of those crazy daydreams," which the subtitles gets exactly, but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_03298.jpg)
- and Alex replies with, "Wanna talk about it?" but the subtitles and the closed captioning each has their our variation of that -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_03385.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_03372.jpg)
- and to that Quentin asks, "Can you come over tomorrow?", which is reflected correctly in both the subtitles and the closed captioning - and at first Alex replies with an unscripted "Sure," which is acknowledged in both the subtitles and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_03484.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_03478.jpg)
- and for some strange reason the closed captioning has Quentin responding with -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_03508.jpg)
- which he doesn't say - but what does happen is Alex replies a second time and adds an unscripted "Okay," which both the subtitles and the closed captioning acknowledges -
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_Blu-ray_frame_03531.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Your_Surprise_VHS_frame_03538.jpg)
And that's the end of what we need to deal with when it comes to Scene 89.
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
Revisiting how the several scenes comprising much of the next sequence are scripted:
The next quote in the slideshow will be from Scene 97, so there are a lot of scenes to deal with before we get there:
90 INT - MASTER BEDROOM - NIGHT 90
Tracy and Quentin are asleep in the B.G. Through
the window, the Tower Room is visible. As we watch,
a faint glow begins to appear. Quentin begins to
stir. Finally, he opens his eyes and looks up at
the tower. Then getting out of bed, he puts on his
robe and EXITS the room.
91 INT - SECOND FLOOR - CORRIDOR 91
as Quentin comes TOWARD CAMERA and goes up the
stairs toward the third floor.
92 INT - TOWER ROOM - NIGHT 92
The room glows with a strange iridescent light.
Slowly, the door begins to open by itself revealing
Quentin coming up the stairs, As he ENTERS the
room he stops at the doorway - a look of great
anticipation on his face. TRUCK IN ON HIS CLOSE-UP.
ANGELIQUE - QUENTIN'S P.O.V.
A strangely opalescent Angelique lies there holding
her arms out to him. HOLD ON THIS as he goes to
her ghostly embrace.
93 INT - FOYER - NIGHT
The foyer is dark as the door opens and an angry
Gerard quietly ENTERS. He carries a vicious-
looking club.
94 INT - FIRST FLOOR CORRIDOR - NIGHT 94
CAMERA TRUCKS IN FRONT OF HIM as he comes toward
the stairs.
95 INT - TOWER ROOM STAIRS - NIGHT 95
as Gerard moving noiselessly slowly climbs to the
closed door. He pauses to listen. The SOFT
SOUNDS OF LOVEMAKING can be heard. TRUCK IN ON HIS
FACE. It is now insane with jealous rage. Now
95 CONTD CONTD 95
there is the SOUND OF ANGELIQUE'S LAUGHTER and
finally he explodes. Throwing the door open, he
sees Angelique and Quentin locked in a passionate
embrace.
96 INT - TOWER ROOM - NIGHT - HAND-HELD 96
In one cat-like move Gerard attacks. He and Quentin
are on the floor with Gerard about to beat his
brains out. All of a sudden he SHRIEKS IN PAIN
as the ghostly figure of Angelique claws him again
and again. Blood shows on his face as he drops his
club and tries to protect himself, In an instant
Quentin is all over him and there is no doubt about
his intentions. He is trying to kill him.
Throughout the fight INTERCUT QUICK SHOTS of Gabriel
in the place of Gerard, These will look like all
the other memory cuts and will always be from
Quentin's P.O.V. so that it looks like he thinks
he is fighting Gabriel.
97 INT - TOWER STAIRWAY 97
as the two of them come crashing down the stairs
INTO CAMERA, Quentin ends up on top, choking the
life out of Gerard.
QUENTIN
She's mine, brother!...She's mine!
|
And as for what's different when it comes to the dialogue, Quentin's line as he chokes Gerard is dropped in the film. However, it was a part of the original Movies Quotes Slideshow:
(http://www.dsboards.com/moviesquoteimages/0902NoDS_0.jpg)
NoDS: Scene #97 - Quentin (to Gerard): 'She's mine brother!
...She's mine!'
And as for what's different in the descriptions and directions, at the outset of Scene 90, we do not see Tracy and Quentin asleep in the background because the scene begins immediately with a shot of the Tower Room visible through the window, and it isn't until after we see the glow appear in the Tower Room windows that we see Quentin and Tracy asleep - and almost immediately upon seeing them we see Quentin open his eyes, but he doesn't look at the Tower Room immediately because he simply stares into space for several beats before he begins to sit up in bed and then turn toward the direction of the window - and we do not see Quentin actually get out of bed, or put on his robe, or exit the room. And when it comes to Scene 91, a dressed Quentin is seen walking away from the camera before he turns to begin to go up a set of stairs - and then we see his P.O.V. as he makes his way -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_a.jpg)
- through a corridor. And when it comes to Scene 92, at first we actually see the unfinished portrait of Angelique and the empty couch as both -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_b.jpg)
- are bathed in the glow of candles before the camera pans over to show the door to the Tower Room open, and before we see Quentin, we actually see his shadow as -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_c.jpg)
- he gets closer and closer to the open door - and Quentin does not stop at the doorway or have a look of great anticipation on his face, nor is there a close-up on his face because he simply enters the room and moves toward Angelique -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_d.jpg)
- whose ghost has suddenly appeared on the couch. And when it comes to Scene 93, DC's script actually crosses out the establishment of the scene taking place in the foyer and draws an arrow up from Scene 94 to indicate that both the events of Scenes 93 & 94 take place in the first floor corridor - also we don't actually see Gerard's face come through the doors on the first floor corridor -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_e.jpg)
- only his legs - it isn't until he reaches the stairs -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_f.jpg)
- that we see his face. And we actually see more of Quentin and Angelique -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_g.jpg)
- making out before Scene 95 comes up and we see Gerard making his way up the Tower Room stairs - and while we once again see Quentin and Angelique making out, we do not hear the sounds of lovemaking as Gerard pauses to listen or the sound of Angelique laughing as Gerard finally explodes - though we also don't see Gerard throw open the door or see Quentin and Angelique locked in a passionate embrace. What actually takes place is that at the outset of Scene 96 we see Quentin and Angelique making out when suddenly Quentin pulls away from Angelique to turn -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_h.jpg)
- and look behind him to see the irate Gerard -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_i.jpg)
- brandishing the club - but when Gerard attacks him, Quentin doesn't fall onto the floor, he falls backward onto the couch -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_j.jpg)
- and he already sees -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_k.jpg)
- Gerard as Gabriel - and we see Angelique rush to scratch both the faces of Gabriel -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_l.jpg)
- and Gerard -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_m.jpg)
- but we don't hear Gerard shriek in pain - and after Gerard has become disoriented by Angelique's attack is when Quentin gets up from the couch and begins to fight Gerard, often seeing him as Gabriel. And when it comes to Scene 97, after Gerard tumbles down the tower stairway, Quentin violently kicks him down even further, and Gerard desperately tries to get away only to be tackled by Quentin, it is Gabriel -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_n.jpg)
- that Quentin continues to see as he chokes Gerard.
[nods]
-
The first of two posts to revisit related to Scene 96:
Here are the first batch of stills for Scene 96. First up, a rare still I've never seen shared anywhere:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-1.jpg) for a 700X908 version)
Next, another rare one, though it was published as part of an article in Daytime TV (along with several other rare ones that have only been published as part of that article):
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-2.jpg)
The caption for it reads: "Jealous that Angelique is spending too much time with Quentin, Gerard goes after Quentin."
And another rare one that I find a bit funny because to me it looks more like David Selby wearing a wig and pretending to be James Storm as Gerard -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-3.jpg)
- but then, it could be James. Who knows? But it was published in the Dec. '71 issue of 16 Magazine, hence the drawing of scratches on the face where there shouldn't even be any yet...
[nods]
-
The second of two posts to revisit related to Scene 96:
Here are a second batch of stills for Scene 96. First up, a rare still that was also published as part of the article that appeared in the Dec. '71 issue of 16 Magazine:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-4.jpg)
The caption for it reads: "Even in the present day, Quentin fights to defend himself
from one of Angelique's lovers. This time it is Gerard (James
Storm), who, madly in love with the ghost of Angelique, succeeds
in his attack against Quentin -- alias Charles."
(It's interesting that the caption explicitly states Gerard's relationship to Angelique prior to Quentin's arrival when, as the film stands, the audience has to piece things together for themselves, and that's made harder by the fact that even in the 129 minute version Scenes 41 through 44 in which Quentin goes to the tower room on his first night at Collinwood and a Gerard who reacts with "eyes blazing with hatred" sees that Quentin goes there are not included. The only things in any version of the film that give any idea Gerard is somehow angered by Quentin's arrival is when he asks Carlotta in Scene 51, "Do you know what happened last night? Do you?!" - Carlotta explains, "Everything has changed now. You must accept that" - he replies, "I was good enough until he came around. Now..." - and she insists, "Now listen! I want you to go to the stables. He'll be there soon to ride. I've told you that everything was different now." The audience doesn't really have any clue to be able to piece things together to understand what Gerard meant until Scenes 92 through 97 take place - and only if they remember that exchange with Carlotta.)
Next, a still that pops up seemingly all over the place (including that same 16 Magazine article, which is why -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-5.jpg) for a 700X564 version)
The 16 Magazine caption for it reads: "In one of his grotesque visions of a time long gone, Quentin
"sees" Angelique (Lara Parker) trying to stop her husband
Gabriel (Christopher Pennock) as he's about to attack Charles
Collins (who Quentin realizes is himself) in a fit of jealous rage!"
- the caption for the first still says "Even in the present day, Quentin fights to defend himself
from one of Angelique's lovers."
But here's a rare version of Angelique's attack on Gabriel -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-6.jpg)
The caption for it reads: "A busy spirit, Angelique scratches the face
of Christopher Pennock (Gabriel) as he pre-
pares to launch an assault of his own."
Though shouldn't that have been "Lara Parker scratches the face
of Christopher Pennock (Gabriel)" or "Angelique scratches the face
of Gabriel (Christopher Pennock)" - not what it is because it
associates a character with an actor...
- something that was also published as part of that same Daytime TV article the second Gerard still came from...
And of course you'll recall that the second still in that post is #15 in the NoDS Editor's Portfolio...
[nods]
-
Actually, here's a third post worth revisiting related to Scene 96:
I forgot to ask yesterday if I'm the only one who finds it a little odd that the makeup they used in Scene 85 to show the scratch wounds on the cheek of Strack's henchmen -
(http://www.dsboards.com/NoDSquoteimages/0426ds91_c.jpg)
- makeup that was barely seen as it quickly flashed by in the scene, is much more effective than what they did with the scratch wounds on Gabriel's cheek -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_n.jpg)
- when that wound is seen on camera for several seconds. [hdscrt] I mean, the henchman's wounds actually do look like Angelique's nails dug in his skin, whereas Gabriel's wounds look like they simply painted his cheek with red paint. But who knows? Maybe with Gabriel they were attempting to suggest that his wounds were bleeding so much that the actual scratches were hidden under all the blood. [idontknow]
And I didn't notice until today when I broke Scene 96 down into frames to select one to post on the "Caption This! - Night of Dark Shadows" board that the scratches on Gerard's face seem to fall inbetween the henchman's and Gabriel's:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower_Attack_Blu-ray_frame_05456.jpg)
Also, I've never really thought about it until today but it's so convenient that those doors in the corridor are closed so Gerard can come bursting through them. We never see them closed in any other scene in the film (or even in hoDS). And when he bursts through them, making all that sound, he isn't exactly acting the way he's scripted to make his way through the house to the stairs because the script says he "quietly ENTERS" his first shot. So much for that notion. [santa_cheesy] Though the way it is in the film is much more dramatic - not to mention DC isn't exactly known for his subtlety, now is he?! In fact, I wouldn't be surprised if DC moved Gerard's entrance from the foyer to the corridor just so Gerard could burst through those doors! [santa_wink] [santa_grin]
[nods]
-
Revisiting how Scenes 97 continues to be scripted and moving to Scene 98 in the script:
Picking up with Scene 97:
Suddenly Tracy ENTERS THE SHOT as she runs up the
stairs and tries to pull Quentin off.
|
And that's when today's quote -
Page 41/Scene 97 - Tracy: 'Quentin!...stop it! You'll kill him! Stop it!'
- comes up, followed by the script continuing with:
She is beating and pulling at him but he won't let
go as Gerard has just about had it. Then suddenly,
with a ROAR OF ANGER, Quentin turns on Tracy.
98 INTERCUT - SAMANTHA - QUENTIN'S P.O.V. 98
SUBCONSCIOUS MEMORY CUT.
as he starts to strangle her.
|
And when it comes to what's different with the dialogue, Tracy actually says "Quentin!...stop it! Stop it! You'll kill him!"
And when it comes to what's different with the descriptions and directions, as part of Scene 97 Tracy does desperately pull at Quentin to try to get him off of Gerard but she doesn't beat him - and there's no audible roar of anger when Quentin turns on Tracy - and as we all know, Scene 98 involves Laura -
(http://www.dsboards.com/NoDSquoteimages/0516ds91_a.jpg)
- and not Samantha. In fact, it's interesting that in the scenes in DC's script where Samantha's name still appears (it was changed to Laura in the rewrites involving her), it's never crossed out and replaced with Laura, whereas in Grayson's script Samantha's name is nearly always crossed out and replaced with Laura even if Carlotta doesn't appear in any way in the sequence.
[pointing-up] As far as "today's quote" goes, it was December 17th this time around.
[nods]
-
A post worth revisiting related to Scene 97:
Here's a rare still from Scene 97 ...:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-7.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-7.jpg) for a 700X544 version)
It's funny that Gerard is the only one whose face you can't see in the screen capture for Tracy's quote -
(http://www.dsboards.com/NoDSAnniQuoteImages/1217NoDS_0.jpg)
- yet his is the only face you can see in the still...
And of course you'll recall that the second still in that post is #14 in the NoDS Editor's Portfolio...
[nods]
-
Backtracking a bit to two things, one I didn't even think about, and one I forgot was there:
First up, in Scene 92 when the door creeks open to allow Quentin into the tower room, neither the subtitles nor the closed captioning acknowledges the sound, even though in other instances one or the other or both do acknowledge such things.
And second, even though the closed captioning doesn't, the subtitles do acknowledge that the sounds are muted when it comes to Scene 96 as Gerard and Quentin's fight -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower_Attack_Blu-ray_frame_05125.jpg)
[nods]
-
A post worth revisiting related to Scene 97's subtitles and close captioning:
Sometimes I wonder if the people who did the subtitles and/or closed captioning for NoDS ever actually watched the film? Case in point, when Tracy tries desperately to stop Quentin from attacking Gerard. She screams, "Quentin!...stop it! Stop it! You'll kill him!", and mind you, the closed captioning does get all of that correct, and the subtitles get the first part correct, however, this is what the subtitles comes up with for the latter half:
(http://www.dsboards.com/NoDSAnniQuoteImages/Stop_it!_frame_00106.jpg)
Who knows?! [santa_shocked] [santa_rolleyes]
...
[nods]
-
Recisiting how Scene 99 is scripted:
Continuing with the current sequence:
99 QUENTIN - CLOSE-UP - NORMAL COLOR 99
as he finally realizes what he's doing and lets go.
99 CONTD CONTD 99
|
And that's when today's quote -
Page 42/Scene 99 - Quentin: 'Tracy! Tracy!'
- comes up.
And when it comes to what's different with the dialogue, Quentin simply says "Tracy" quietly as the shock of what he's been doing to her hits him.
And when it comes to what's different with the descriptions and directions, for the first and probably only time posting about this sequence, nothing is different. [ghost_wink]
[pointing-up] As far as "today's quote" goes, it was December 18th this time around.
Wrapping up Scene 99, first by picking up after Quentin realizes what he was doing to Tracy:
Tracy is in shock as Carlotta ENTERS THE SHOT.
|
And that's when today's quote -
Page 42/Scene 99 - Carlotta: 'Mr. Collins! What happened?'
- comes up, followed in the script by:
Then she sees Gerard - the blood from the claw
marks on his face. She rushes to help him as
Quentin shakes his head wordlessly, unable to
explain.
|
End of scene.
And when it comes to what's different with the dialogue, the descriptions, and the directions, we don't actually see Tracy in shock after Quentin realizes he was strangling her because the scene immediately shifts to Carlotta arriving and almost immediately kneeling to examine her nephew, which means that she doesn't speak to Quentin before seeing Gerard - and what Carlotta actually says is "Mr. Collins!", first with shock, and then "Mr. Collins!" with a great deal of incredulity - and so, considering that Carlotta is already at Gerard's side, she doesn't rush to help him when scripted - and nor does Quentin shake his head wordlessly, unable to explain because what Quentin actually does, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0518ds91_a.jpg)
- is wordlessly cling to Tracy in shock.
And Grayson has some notations in her script for this section. And as you can read below, they start off with "Animal excitement", which perhaps harkens back to Carlotta and Gerard's murdering of the hippy, which was never shot, but perhaps Grayson didn't know that at the time she wrote that notation in her script. And then she writes "Touches blood", which Carlotta doesn't actually do in the take used in the film, but she does do in this publicity shot for the scene (http://www.dsboards.com/NoDSquoteimages/Carlotta_blood.jpg) (and I've always thought that it's interesting that Carlotta is pointing in the photo used for the lobby card for this scene (http://www.dsboards.com/NoDSquoteimages/Lobby.jpg) but she doesn't actually do that in the film either - but then, some of the lobby cards for NoDS are quite different from what happens in the film - one isn't even shot is the same room that the actual scene takes place, but I digress...). And finally she writes something in reference to Angelique. But once again for the life of me I can't decipher the whole thing -
(http://www.dsboards.com/NoDSquoteimages/Note_P42.jpg)
- so perhaps someone else (and you know who you are [ghost_wink]) can...
[pointing-up] As far as "today's quote" goes, it actually is today, December 19th, this time around.
And we'll revisit that deciphering by "someone else" in my next post...
[nods]
-
[pointing-up]
Let's see. It appears to be: Animal excitement. Touches blood. Fingers (or possibly lingers) on as Angelique. Does that seem like it to you, MB?
I think "lingers" may very well be it. That's the word I couldn't figure out, so thanks again! [ghost_smiley]
...
[nods]
-
A post definitely worth revisiting related to Scene 99:
As you may recall, I posted publicity stills for Scene 99 back in August in Reply #53:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-4.jpg) for a 1088X838 version)
- and like the Charles still, there's an alternate (and rare) version -
(http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-5.jpg)
- but unlike anything I've shared so far, there's also an alternate (and rarer still) color version -
(http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-6.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-6.jpg) for a 700X476 version)
...
Although, in the time since I first made that post, I discovered I had a better version of the color still (the one I'd originally shared ended at Gerard's chin but the better one goes down further), so I replaced the original version with its better version. However, depending on how long it's been since you've cleared your browser's cache, you may need to do so the see the newer version. [santa_smiley]
[nods]
-
And another post definitely worth revisiting related to Scene 99:
... There's also a color version as part of the NoDS Lobby Cards set ...
And here that is from back when I posted it in Reply #77:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_3.jpg) for a 930X738 version)
...
Although, I have to say that I honestly prefer the still version:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-8.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-8.jpg) for a 700X476 version)
[nods]
-
I didn't realize until today that the blood on Gabriel's face in the film is -
(http://www.dsboards.com/NoDSquoteimages/0515ds91_n.jpg)
- very similar to the blood on Gerard's face in the stills -
(http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-6.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Chiller-6.jpg) for a 700X476 version)
I wonder if they did that deliberately? And who knows if Chris Pennock and James Storm even shot their parts on the same day?
[nods]
-
And speaking of bloody Gabriel, there are these posts worth revisiting:
MB, I'm wondering if maybe it's the angle on the henchman's face and the way the light hits the blood that makes it more effective. It looks like it could possibly be the same makeup technique as on Gabriel, but the angle and lighting on Gabriel make it much less effective.
Is there anyone active here who has seen the 129-minute cut? (Have you, MB?) I wonder if some shots originally were intended to last a bit longer. There are certainly some very rough edits in the version we have currently. And they definitely shortened/eliminated some shots to de-emphasize gore and sex between the (97-minute?) "pre-rated" or "R-rated" version and the 95-minute official release version. (I saw the 97-minute version twice on the very first day of release. Quentin and Angelique's kisses, and Gerard's moves on Tracy, were certainly eyebrow-raising, at least for an impressionable 14-year-old. When I saw the movie again a fews years later on TV, it seemed quite a bit tamer--but that could well have been due to CBS' standards and practices department. But then the VHS also seemed tamer than my memory of the initial release, and later on I learned about the apparent mistaken release of a non-PG version in Aug. 1971--which I had been lucky enough to catch!!)
MB, I'm wondering if maybe it's the angle on the henchman's face and the way the light hits the blood that makes it more effective. It looks like it could possibly be the same makeup technique as on Gabriel, but the angle and lighting on Gabriel make it much less effective.
I finally found the time to do what I wanted to do, which was to examine the henchman's sequence using some Linux software that can break down video files into their individual frames. And having done that now it would seem as if the makeup for the henchman is different from the makeup for Gabriel. When it comes to the henchman, in addition to the blood, his makeup has little bits applied to his skin, apparently put there to approximate the skin that was torn by Angelique's nails (and interestingly enough, the same sort of makeup technique seems to have been used for Gerard's cheek wounds). But Gabriel's cheek wounds don't seem to have those bits - or if they do, they're covered up by so much "blood" as to be indiscernible. Unfortunately, we don't get to see a side view of Gabriel's wounded cheek either before or after we see it full on, so if there are bits applied, we can't check to see if they stick up from his skin.
Is there anyone active here who has seen the 129-minute cut? (Have you, MB?)
I've only seen the presentations that Darren Gross has done at the Fests. Though during the presentation that he did in '04, he showed practically all of the recovered footage, and that was a real thrill to see.
I wonder if some shots originally were intended to last a bit longer. There are certainly some very rough edits in the version we have currently. And they definitely shortened/eliminated some shots to de-emphasize gore and sex between the (97-minute?) "pre-rated" or "R-rated" version and the 95-minute official release version. (I saw the 97-minute version twice on the very first day of release. Quentin and Angelique's kisses, and Gerard's moves on Tracy, were certainly eyebrow-raising, at least for an impressionable 14-year-old.
Yes, the 97 minute version is much more graphic than the version we currently have. The Charles/Angelique tower make out scene, the Quentin/Tracy bedroom molestation scene, and the Gerard/Tracy truck molestation scene are more sexually graphic - and the horse trampling of Trask and the aftermath of Gerard's shooting are much more bloody. But honestly at this point I don't recall if Darren showed the longer versions of those scenes or if he simply showed the scenes that were completely cut.
When I saw the movie again a fews years later on TV, it seemed quite a bit tamer--but that could well have been due to CBS' standards and practices department. But then the VHS also seemed tamer than my memory of the initial release, and later on I learned about the apparent mistaken release of a non-PG version in Aug. 1971--which I had been lucky enough to catch!!)
Because of its graphic, bloody, and violent nature, I wasn't surprised that a lot of the stuff that I'd remembered from seeing the 97 minute version wasn't shown on TV, not even on TBS - but I was shocked when it didn't show up in the VHS and the VHS appeared to be exactly like the TBS edit. I was even more shocked when I wrote Marcy Robin to ask if she knew why they didn't use the version of the film that I remembered for the VHS but appeared to use the TBS version and she had no idea what I was talking about. And after I explained to her about the stuff that was missing, she was even more confused because she'd never seen what I was claiming had been in the film. It wasn't until a while later that it was uncovered that the 97 minute version had been mistakenly released in some areas of the country.
[nods]
-
Yesterday I was listening to music online and what should come up but Gary Glitter's Do You Wanna Touch? An idea immediately struck me [idea2] though I decided to use Joan Jett & the Blackhearts remake because I like it more:
Brings out a lot of the simmering sexual tension in so many scenes, no?! [naughty] And it could have been so much better if we had the 129 minute or even the 97 minute version of the film, which both include the more explicit tower scene and the more explicit molestations of Tracy by Quentin and Gerard. But alas...
Now, if only Warner Brothers had thought to put together a similar promotional video for NoDS when they released it on DVD/Blu-ray back in 2012, think of how many more copies they might have sold. But nooooooo! But then, they were the worst penny pinchers imaginable. [santa_rolleyes] [santa_angry] But don't get me started...
[nods]
-
Revisiting how the first part of Scene 100 is scripted:
Setting up the next scene:
100 INT - CARD ROOM - NIGHT 100
It is about 3 a.m. Quentin sits staring at his
coffee. Tracy watches him nervously. He now knows
what those other dreams were about - Angelique -
however he still considers her part of a dream.
He does not remember what happened during the fight.
QUENTIN
There isn't any explanation.
None at all.
TRACY
(to him)
Darling, we don't need talk
about it anymore.
|
And that's when today's first quote -
Page 42/Scene 100 - Quentin: 'I don't remember anything until I saw Gerard. I didn't recognize him. He shouldn't have been in the house.'
- comes up, followed by today's second quote -
Page 42/Scene 100 - Tracy: 'He simply thought he saw a light.'
-coming up.
And when it comes to what's different with the dialogue, Quentin's "There isn't any explanation. None at all" is dropped in the film - what Tracy actually says to begin the scene is "Darling, we don't need to talk about it anymore" (and I find it odd that the script would specify "to him" because who else would Tracy be saying that to?) - but then Quentin actually says "The first thing I remember is Gerard but I didn't recognize him. What was he doing in the house, anyway?"
And whereas they're not a part of this slideshow, Quentin's and Tracy's first lines were a part of the original Movies Quotes Slideshow:
(http://www.dsboards.com/moviesquoteimages/0904NoDS_0.jpg)
NoDS: Scene #100 - Quentin: 'There isn't any explanation.
None at all.'
(http://www.dsboards.com/moviesquoteimages/0905NoDS_0.jpg)
NoDS: Scene #100 - Tracy: 'Darling, we don't need to talk
about it anymore.'
And when it comes to what's different with the descriptions and directions, while Quentin is apparently staring at his coffee (the scene is shot so far away - from two rooms away and through three doorways - that it's hard to discern what he's looking down at), we do see/hear Tracy take a sip of her coffee and put the cup down on its saucer before she tells Quentin they don't have to continue to talk about what happened - and Tracy reaches over to touch Quentin's arm before she tells him that Gerard's explanation is that he simply thought he saw a light (yeah, right!).
[pointing-up] As far as "today's quote" goes, it was December 20th this time around.
Continuing Scene 100, or rather Scene 100B because DC's script has a notation that Scene 100B begins after Tracy tells Quentin that Gerard simply thought he saw a light. And the first thing to come up after that is today's first quote -
Page 42/Scene 100B - Quentin: 'And what was I about to do to you?'
- followed in DC's script by:
And that's when today's second quote -
Page 42/Scene 100B - Tracy: 'You stopped when you realized what you were doing.'
- comes up.
And as for what's different with the dialogue, for a change, nothing is different because both Quentin's and Tracy's lines are delivered exactly as written.
But as for what's different with the descriptions and directions, no doubt DC considered this next part of the scene to be 100B because the camera switches from the long shot of yesterday's portion of the scene to a 2 shot, as can be seen -
(http://www.dsboards.com/NoDSAnniQuoteImages/1221NoDS_0.jpg)
- in today's first capture - and Quentin actually reaches out to hold Tracy's hand which, as we may recall from the previous post, is on his arm - and, unlike what the script says and DC's notation to it, Quentin doesn't actually get up and cross to the window after he delivers his line, and that can be easily seen in today's second capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1221NoDS_1.jpg)
- because he's obviously still sitting at the table with Tracy while she reassures him. And speaking of Tracy, there another notation in DC's script that indicates that the camera was supposed to stay on her as Quentin crosses out of frame and she delivers her line, but the above capture also shows that obviously things don't play that way either.
[pointing-up] As far as "today's quote" goes, it was December 21st this time around.
[nods]
-
Revisiting how the last part of Scene 100 is scripted:
Continuing on with DC's B portion of Scene 100:
100 CONTD CONTD 100
QUENTIN CLOSE-UP
QUENTIN
But still -
|
And that's when today's quote -
Page 43/Scene 100B - Tracy (gets up, crosses to him): 'Don't worry about me...the important thing now is to figure out why it happened.'
- comes up.
And when it comes to what's different with the dialogue, Quentin's "But still -" is dropped in the film - and what Tracy actually says "Don't worry about me...the important thing is to try to figure out why it happened" - and strangely enough when it comes to that line, while DC's script indicates "(gets up, crosses to him)", Grayson's script simply indicates the odd "(to him)".
And when it comes to what's different with the descriptions and directions, Quentin actually gets up after yesterday's second quote where Tracy reassures him that he stopped what he was doing to her once he realized what you were doing, but he doesn't actually cross to the window - and more than likely that's because his "But still -" was dropped, so there's also no close-up of Quentin - what we actually see of Quentin, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0521ds91_a.jpg)
- is a medium shot - and when Tracy joins him, as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1222NoDS_0.jpg)
- it remains that way - we don't actually see Tracy get up because she simply comes from behind him to join him. But what's interesting is that DC's script has a notation that Quentin would indeed be shot in close-up for the "But still -" line and then the camera would pan to a 2 shot as Tracy crosses to him - but obviously, if the close-up was shot, it wasn't used in the edit of the film that we're familiar with.
[pointing-up] As far as "today's quote" goes, it was December 22nd this time around.
Wrapping up DC's B portion of Scene 100, beginning with Sunday's first quote, Quentin's response to Tracy saying the important thing is to figure out why what happened with Gerard actually happened -
Page 43/Scene 100B - Quentin: 'I know...and how are we going to do that?'
- coming up, followed by Sunday's second quote -
Page 43/Scene 100B - Tracy: 'Let's go to bed. I'm sure it'll seem easier tomorrow.'
-coming up, followed by Monday's quote -
Page 43/Scene 100B - Quentin: 'Aren't you...afraid to sleep in the same room with me?'
- coming up, followed by today's quote -
Page 43/Scene 100B - Tracy (hugging him): 'No...darling...no...'
- coming up.
And as for what's different with the dialogue, Quentin actually says "I know...how we gonna do that?" - and to that Tracy actually replies "Well, let's go to sleep. I'm sure it'll seem easier in the morning" - and after Quentin actually asks more directly "You're not afraid of me?", Tracy actually reassures him with "No...no...", with the "darling..." part dropped.
And as for what's different with the descriptions and directions, Tracy doesn't so much hug Quentin as she nuzzles up against his neck - and interestingly DC's script has a notation that when it comes to Tracy's last line in the scene, the camera would tighten in on Tracy and Quentin's 2 heads - but as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1225NoDS_0.jpg)
- there isn't any tightening of the camera at all - things are shot from exactly the same distance as the two captures posted in reply #221.
And tomorrow the slideshow will begin yet another sequence that's different in Grayson's script from the way it is in DC's. But more on that tomorrow...
[pointing-up] As far as "Sunday's" quotes go, they're today's, December 23rd's quotes this time around. As far as "Monday's quote" goes, it will be tomorrow's, December 24th's quote this time around. And as far as "today's quote" goes, it will be December 25th's quote this time around.
[nods]
-
Revisiting dealing with the discrepancies with the subtitles and closed captioning for Scene 100 (and showing the new screen captures from the VHS):
When it comes to what DC considered to be Scene 100B, after Tracy points out that the important thing is to try to figure out why Quentin's attack on Gerard and herself happened, Quentin responds with "I know...how we gonna do that?" - now, both get the "I know" part perfectly correct - but, perhaps to make it more grammatically correct, the subtitles inserts the word "are" -
(http://www.dsboards.com/NoDSAnniQuoteImages/Why_It_Happened_Blu-ray_frame_00272.jpg)
- and the closed captioning makes it even more grammatically correct by having -
(http://www.dsboards.com/NoDSAnniQuoteImages/Why_It_Happened_VHS_frame_01537.jpg)
Who knows why both are suddenly such sticklers for grammar when the actual dialogue isn't? [santa_huh] [santa_rolleyes]
And one other thing when it comes to Scene 100B is that Tracy starts off replying to Quentin's question by saying, "Well, let's go to sleep," which the subtitles completely acknowledges, but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Why_It_Happened_VHS_frame_01612.jpg)
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
A post worth revisiting related to Scene 100:
Before we move beyond Scene 100 I have a rare still to share. I've often wondered if it should be associated with the end of Scene 99 -
(http://www.dsboards.com/NoDSquoteimages/0518ds91_a.jpg)
- or Scene 100 -
(http://www.dsboards.com/NoDSAnniQuoteImages/1225NoDS_a.jpg)
- and while I've leaned more toward Scene 100, as can be seen in today's screen capture, Tracy actually comes across as being more lighthearted -
(http://www.dsboards.com/NoDSAnniQuoteImages/1225NoDS_0.jpg)
- or at least being that way to console Quentin, than she is in the still because in it she seems quite concerned -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower2-aftermath.jpg)
- and Quentin seems to be consoling her - but still, it does seem closer to what we get at the end of Scene 100 - and I strongly suspect that most of the stills were taken before the actual footage of the scenes was shot, perhaps even during rehearsals when they were trying out things that didn't actually make it into the film, which would explain why some stills are quite different from what we get in the film - though there's also the possibility that footage more similar to those stills was shot, but it just wasn't used in the film - and in the case of the still here, perhaps after Tracy put on a good front for Quentin, she did take on a more concerned demeanor but that footage, if it was shot, wasn't used - something that might even point to that concern could be upcoming Scene 104 - but more on that once we reach that scene...
[nods]
-
Revisiting how Scenes 101 & 102 are scripted in Grayson's script:
Before we get into DC's script's version of Scenes 101 & 102, this is what Grayson's script's version is like:
CUT TO:
101 INT - MASTER BEDROOM - NIGHT 101
Quentin and Tracy are in bed. They are asleep.
The CAMERA MOVES IN ON HIS FACE FOR A TIGHT CLOSE-UP.
He moans, tosses, turns. He is dreaming and the
VOICES AND SOUNDS WILL ALL BE DISTORTED WITH ECHO.
GABRIEL'S VOICE
Grab him...grab him...
CHARLES' VOICE
No!...no!
SOUND: HEAVY IRON DOOR BEING OPENED.
DISSOLVE TO:
102 INT - CELLAR ROOM - NIGHT - NOT THE SAME LOOK AS 102
THE MEMORY CUTS - SLOW MOTION DREAM EFFECT.
Gabriel is at the open iron door. Two men hold
the struggling Charles.
GABRIEL
You want her...
102 CONTD CONTD 102
He nods to the two men.
GABRIEL
You will have her ... for eternity.
They throw Charles onto the floor in front of
what seems to be a coffin. He scrambles to his
feet as Gabriel slams the door. Charles runs to
it and begins POUNDING.
CHARLES
Let me out! Let me out!
SOUNDS: BRICKS BEING LAYED AS THEY SEAL THE DOOR.
TRUCK IN ON HIS FACE as we SLOWLY FADE TO BLACK.
|
End of scenes. And, yes, in the script "laid" is spelled incorrectly as "layed".
Next up, DC's script's version of Scenes 101 & 102...
[nods]
-
Revisiting a bit more of Grayson's script along with how Scenes 101 & 102 are scripted in DC's script:
Also before we get into DC's script's version of Scenes 101 & 102, we should reacquaint ourselves with Scene 67 in Grayson's script:
CUT TO:
67 INT - MASTER BEDROOM - 1800 - NIGHT 67
SUBCONSCIOUS MEMORY CUT
A gray-haired man, CHARLES COLLINS, stands at the
window, his back to CAMERA. He is dressed in
period costume. If we see him walking, he limps.
Suddenly, the door flies open as GABRIEL, Charles'
brother storms in.
CHARLES
Have I no privacy, brother?
GABRIEL
It's for the last time, Charles.
Charles turns to him and we see his face. He has
a strong resemblance to Quentin, except for the
gray hair and a long scar on his cheek.
CHARLES
Would that it were. I'm sick
of your weak face.
GABRIEL
You've been with her, haven't
you? In that damn tower. You
still see her.
CHARLES
What's wrong with you, brother?
Don't you remember? Your wife
is dead.
GABRIEL
She still comes to you -- I
know it.
(then with deadly calm)
All right, if you want her so
much, you will have her...
____________________________________________________________
67 CONTD CONTD 67
He starts toward CAMERA.
|
Why is that? Well, as we'll soon see, and you might have already picked up on your own, when the original versions of Scenes 67 & 68 were replaced with Scenes 66A, 67, 67A(the "Piano Scene" Flashback), & 68 in DC's script, bits of dialogue from original Scene 67 were incorporated into DC's script's rewritten version of Scene 101 - and an entirely new Scene 101A was added:
CUT TO:
101 INT - MASTER BEDROOM - NIGHT 101
Quentin and Tracy are in bed. They are asleep. The
CAMERA MOVES IN ON HIS FACE FOR A TIGHT CLOSE-UP. He
moans, tosses, turns. He is dreaming and the VOICES
AND SOUNDS WILL ALL BE DISTORTED WITH ECHO.
SOUND - DOOR FLIES OPEN.
GABRIEL'S VOICE
Charles! Wake up, Charles!
CHARLES' VOICE
What is it, brother? Must you even
disturb my sleep?
GABRIEL'S VOICE
You've been with her again, haven't
you?
CHARLES' VOICE
What's wrong with you, brother?
Don't you remember, your wife's
dead.
101 CONTD CONTD 101
GABRIEL'S VOICE
She still comes to you! I know it!
Charles starts to laugh.
All right, if you want her so
much -- you will have her!
101A DISSOLVE TO SLOW MOTION DREAM EFFECT. 101A
CHARLES P.O.V. - HAND-HELD IN THE BED
See Gabriel looming over him as two men appear in back
of him. They come to CAMERA as Charles' hands appear
in shot trying to fend them off (WIDE ANGLE DISTORTED
SHOT TILTED)
GABRIEL'S VOICE
(distorted voice - echo)
For eternity, brother.... For eternity
CUT TO:
102 INT - CELLAR ROOM - NIGHT - NOT THE SAME LOOK AS 102
THE MEMORY CUTS - SLOW MOTION DREAM EFFECT.
ALL BLACK - THE SOUND OF BIG IRON DOOR OPENING
Gabriel is at the open iron door. Two men hold
the struggling Charles.
102 CONTD CONTD 102
He nods to the two men.
GABRIEL
You will have her ... for eternity.
They throw Charles onto the floor in front of
what seems to be a coffin. He scrambles to his
feet as Gabriel slams the door. Charles runs to
it and begins POUNDING.
CHARLES
Let me out! Let me out!
SOUNDS: BRICKS BEING LAYED AS THEY SEAL THE DOOR.
TRUCK IN ON HIS FACE as we SLOWLY FADE TO BLACK.
|
End of scenes. And, yes, in the script "laid" is still spelled incorrectly as "layed".
Next up, what's different in the film...
[nods]
-
Another post worth revisiting related to Scenes 101 & 102:
With the exception of also being set in the Master Bedroom and its opening set up, Scene 101 is totally different in DC's script from the way it originally appeared in Grayson's. And furthermore, as we know only too well, in the film as it stands DC's versions of Scenes 101 & 102 (& the upcoming 103) are all incorporated into the unscripted dream Quentin has on his first night at Collinwood rather than standing alone as they do in the script.
But be that as it may, when it comes to the rewritten Scene 101, even though DC crossed out Charles' "What is it, brother? Must you even disturb my sleep?", Gabriel's preceding lines "Charles! Wake up, Charles!" are also dropped in the film - and what Gabriel actually says that opens the sequence in the dream is "Charles, you've been with her again" - and to that Charles actually says "What's wrong with you, brother? Don't you remember? Your wife is dead", which is the way it was scripted for the original Scene 67 - to which Gabriel actually replies "Though she still comes to you. I know it!" - and what Gabriel actually further says is "All right -- you will have her!" - and when it comes to Scene 101A, DC wrote in an added "... For eternity" - and when it comes to Scene 102, what Gabriel actually says is an unscripted "She's yours, brother" before delivering today's quote -
Page 44/Scene 102 - Gabriel: 'You will have her ... for eternity.'
- after which Gabriel goes into a hysterical fit of unscripted laughter - and Charles' "Let me out! Let me out!" is also dropped.
And when it comes to what's different with the descriptions and directions, probably because Gabriel and Charles each had their first two lines dropped, in Scene 101 we don't hear the sound of the door to Charles' bedroom fly open - and Charles doesn't actually laugh after Gabriel claims Charles still sees Angelique even though she's dead - and in Scene 101A we don't actually see Charles' hands appear to try to fend off Gabriel's two henchmen, though what we do see is Gabriel reaching out to Charles (as can be seen in the screen capture at the end of this post) - and Scene 102 is shot so darkly that we barely see Charles being held outside the door to the cellar room before he's thrown inside (and there's certainly no view of Gabriel, Charles, and the henchman holding Charles like the still that's published on page 233 of the DS Movie Book) - and after he's thrown into the room, as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/1226NoDS_0.jpg)
- Charles is hardly discernible, and neither is the coffin.
And even though Gabriel's dialogue from Scene 101A is not a part of this slideshow, it was part of the original Movies Quotes Slideshow:
(http://www.dsboards.com/moviesquoteimages/0908NoDS_0.jpg)
NoDS: Scene #101A - Gabriel: 'For eternity, brother.
For eternity!'
[pointing-up] As far as "today's quote" goes, it was December 26th this time around.
[nods]
-
Dealing with the subtitles and closed captioning for Scenes 101 & 102:
After Gabriel says that Charles has been with "her" again, Charles says, "What's wrong with you, brother? Don't you remember? Your wife is dead." - and both the subtitles and the closed captioning get the first two parts correctly - but for some reason for the third part the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/For_Eternity_Blu-ray_frame_00340.jpg)
- whereas the closed captioning also get it correctly.
And when it comes to Scene 102, the closed captioning acknowledges that Gabriel bursts out in unscripted hysterical laughter as the door is closed on Charles -
(http://www.dsboards.com/NoDSAnniQuoteImages/For_Eternity_VHS_frame_01393.jpg)
- however, the subtitles do not - and once again there's a rather strange interpretation in both the closed captioning and the subtitles when it comes to the end of the scene because Gabriel actually shouts an unscripted "Kill Dubloon," and that's Charles horse (and we've discussed how insanely vindictive Gabriel is to have ordered that!), but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/For_Eternity_VHS_frame_01458.jpg)
- which does sound somewhat like what's actually said, but the really strange interpretation comes with the subtitles, which also sounds somewhat like what's actually said -
(http://www.dsboards.com/NoDSAnniQuoteImages/For_Eternity_Blu-ray_frame_01478.jpg)
- but both? Who in heaven's name would "both" refer to?! But I suppose whoever did the subtitles didn't ask themselves that question. [santa_rolleyes]
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
A post worth revisiting related to Scene 102:
A still for Scene 102:
(http://www.dsboards.com/NoDSAnniQuoteImages/Cellar_room.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Cellar_room.jpg) for a 700X542 version)
And an interesting thing about it is that Gabriel's henchman on the right in the still doesn't seem to be either of the two men who play his henchmen in the film in Scene 101A:
Actually, the mustached henchmen in the film certainly seems to be wearing the shirt that the henchman in the still is wearing - the second henchman in the film is wearing a completely different type of shirt with a collar. Also, unlike the film, nowhere in the still is a flaming torch seen. (Though if you look really closely at the still, you'll notice that the mustached henchmen does actually but just barely make an appearance in the still behind Charles and to his front side...)
And when it comes to this still, the only place I'm aware that it's been shared is on page 233 of the DS Movie Book - though this still is a much better version...
You may also recall that still is #28 in the NoDS Editor's Portfolio.
[nods]
-
Revisiting how Scene 103 is scripted:
...
DISSOLVE TO:
103 INT - MASTER BEDROOM - NIGHT 103
Quentin is clutching his throat, moaning, gasping
for breath.
|
And that's when today's quote -
Page 44/Scene 103 - Quentin (mumbling in his sleep): 'I can't breathe...I can't...breathe...'
- comes up.
And when it comes to the dialogue, interestingly enough the subtitles on the Blu-ray don't even indicate what Quentin mumbles. It could be what's scripted. But to me it seems more like he mumbles "Help me. ... Help me." See what you think...
And when it comes to the descriptions and directions, while Quentin does moan and sort of gasp for breath, he doesn't clutch his throat - but he does perspire quite a bit. Also, the sounds of the brick being laid that are referenced at the end of Scene 102 can be heard at the end of that scene, but they really begin to be heard more clearly after the transition to Scene 103.
And if we might go back to Scene 102, yesterday I forgot to mention that the subtitles on the Blu-ray indicate that after having sealed Charles in the cellar room, Gabriel orders an unscripted "Kill Dubloon!" - and it does indeed sound like that's what he says. But unless someone has read some version of the NoDS script, they would have no idea that Dubloon is the name of Charles' horse because all the scenes referencing the name of his horse were cut from the film as it stands now (and even from the 97 minute version). And I have to say that, yes, of course a human's life is more valuable than that of a horse - but, whoa, killing one's brother and his horse really shows how insanely vindictive Gabriel is. And one has to wonder just how Gabriel got away without the ghosts of Angelique, Charles, and even Dubloon( [ghost_wink]) taking revenge on Gabriel. But hey, maybe Angelique and Charles were just so happy to be reunited that they didn't care. And obviously the film didn't want to go down that road. But one can only hope that Gabriel's subsequent life is a completely miserable one...
[pointing-up] As far as "today's quote" goes, it was December 27th this time around.
And when it comes to what I wrote about Gabriel, after the passing of Marcy Robin I decided to dig out some of my old issues of ShadowGram, The World of Dark Shadows and Inside The Old House, and when I glanced through issue #34 (August/September, 1989) of ITOH I discovered that I'd completely forgotten that it contains an NoDS fanfic by Kathleen Resch called For Eternity that deals with the aftermath of the 1810 events. It's written from three perspectives and three different years, the first being an 1850s narrative by one of the men who took part in Angelique's hanging, the second being from 1810 and by Charles Collins, and the third being from 1812 and by Sarah Castle. Kathleen delves into several aspects of what transpired in 1810 and afterward that the film doesn't and it's all quite satisfying. And one of the things that's most satisfying is that she gets into Gabriel's life after all the events of 1810 and ultimately what becomes of him. It's all a must read for any NoDS fan.
Wrapping up Scene 103:
Tracy wakes, stares down at him as he struggles
for his breath. She shakes him.
|
And that's when today's quote -
Page 44/Scene 103 - Tracy: 'Quentin...Quentin? What's wrong?'
- comes up, followed by the script continuing with:
He doesn't really wake up but just opens his eyes
for a moment, not really seeing, and then turns
over and goes back to sleep. She watches him and
when he starts breathing evenly, she lies back as
we TRUCK IN ON HER. Her eyes are wide open.
|
And when it comes to what's different with the dialogue, Tracy actually just says "Quentin...sweetheart?" without asking what's wrong.
And when it comes to what's different with the descriptions and directions, Quentin doesn't open his eyes at all - what actually happens is that after Tracy is unable to wake him, he simply turns over onto his stomach - and Tracy rubs his back as apparently his breathing becomes more even - and after that we do see Tracy lie back with her eyes remaining wide open, but the camera doesn't truck in on her - and the scene ends with Tracy looking back over at Quentin.
The interesting thing about Tracy's part of this scene is that in its proper placement in the script, there's far more subtext to Tracy's reactions than is ever realized in the film as it currently stands. On their first night at Collinwood nothing has really been happening with Quentin, so Tracy needn't be all that upset - but quite obviously in the script a great deal has happened with Quentin, including him nearly killing Gerard and trying to strangle Tracy, so she has a great deal to concern her about his behavior. And that will come out in Scene 104, which begins a period of several scenes in the slideshow that don't appear in the film as it currently stands, and in the case of some, not even in the 129 minute version...
[pointing-up] As far as "today's quote" goes, it was December 28th this time around.
[nods]
-
Dealing with the subtitles and closed captioning for Scene 103 with new screen captures from the VHS:
I've finally gotten back to pointing out issues with the closed captioning and the subtitles. (The contractor finally finished with my new ceiling, so I've been spending a lot of time putting my home office back together - plus, I came down with a cold during which time I wasn't in the mood to do much of anything that wasn't absolutely necessary. Though it could have been worse, it could have been COVID...)
Interestingly, when it comes to Scene 103, the subtitles barely acknowledge anything that takes place during the scene, but the closed captioning acknowledges nearly everything - first up in the closed captioning , Quentin gasping for air -
(http://www.dsboards.com/NoDSAnniQuoteImages/For_Eternity_VHS_frame_01632.jpg)
- then the script indicates that Quentin is supposed to be mumbling, "I can't breathe...I can't...breathe...", but to me it's always sounded like, "Help me. ... Help me.", and the closed captioning would seem to confirm that -
(http://www.dsboards.com/NoDSAnniQuoteImages/For_Eternity_VHS_frame_01713.jpg)
- and then while trying to wake Quentin, Tracy is scripted to say, "Quentin...Quentin? What's wrong?", but she actually says, "Quentin...sweetheart?", and strangely enough the subtitles only acknowledge Tracy saying -
(http://www.dsboards.com/NoDSAnniQuoteImages/For_Eternity_Blu-ray_frame_01960.jpg)
- so the closed captioning is the only one that acknowledges her saying -
(http://www.dsboards.com/NoDSAnniQuoteImages/For_Eternity_VHS_frame_01980.jpg)
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
A reminder of the reminder:
And here's a reminder about Scene 103:
And here we have the Blu-ray to represent every other version:
Now, the really interesting thing here is that the scene of Tracy in bed trying to comfort Quentin comes up in the 94 and 97 minute versions of the film at the end of Quentin's dream on his first night at Collinwood, however, no such sequence is scripted because the dream is put together from various scenes that should appear at other times in the film. The dream takes place between scripted Scenes 40 and 51, and that scene with Quentin and Tracy is scripted to be Scene 103 - and it tales place in the 129 minute version of the film in its rightful place. So that means that in that version of the film, it's followed by Scene 104, which is the scene in the Dining Room the next morning with Tracy having her coffee and -
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Breakfast-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Breakfast-1.jpg) for a 700X1028 version)
...
- Quentin enters wearing the riding outfit that Tracy gave him. So of course that means that the music cue heard on all but the VHS version of the film plays as Scene 103 transitions to Scene 104...
And the music cue that plays isn't included in the NoDS section of the Movie Soundtracks CD because it's already a part of the hoDS section where it's entitled "Another Victim" - and here's that selection to get a better idea how in the 129 minute version it helps to transition from Scene 103 to Scene 104:
...
Plus:
[pointing-up] I forgot to mention yesterday that that music cue was originally written and used for Dead of Night: A Darkness at Blaisedon. Those who remember the show may recall it plays over the opening scene...
...
I haven't seen that show in a while, but if I recall correctly, I really enjoyed it. But then what's not to enjoy about any show in which Thayer David has a role?! I may just dig out my copy and watch it now...
[nods]
-
It's a bit of a sidebar but I remember that Marcy Robin had written a pretty piece of fan fiction that appeared in either The World of Dark Shadows or Inside The Old House. It's a sequel to HODS and a prequel to NODS, as Jeff and Maggie return to visit Collinwood as part of Maggie's post Barnabas therapy. They meet Carlotta who is polite to them, informing them that David will not live there again. Carlotta does find them somewhat intriguing but will not let them interfere with what Angelique has planned. It's a pretty nice story and definitely worth being reprinted.
-
[pointing-up] Thanks for the info - Marcy's story sounds interesting. It would be funny if I have a copy of that too. At this point I don't know because I haven't glanced through all of the issues of TWoDS and ITOH that I dug out...
-
Revisiting how the beginning of Scene 104 is scripted:
...
104 INT - DINING ROOM - DAY 104
Tracy is sitting having coffee. She is in deep
thought as Quentin ENTERS and stands by the door.
He is wearing the riding clothes she bought him.
She looks up.
TRACY
How early did you get up?
104 CONTD CONTD 104
Then she notices his outfit.
|
And that's when today's quote -
Page 45/Scene 104 - Tracy: 'Oh, you're wearing them.'
- comes up.
And there's absolutely nothing to get into when it comes to differences with the dialogue, the descriptions, or the directions because this scene only appears in the 129 minute version of the film. However, DC's script has all sorts of notations regarding camera angles, and for this section of the scene it indicates that the scene opens with a long shot, switches to a close-up of Tracy when she looks up, and then to a 2 shot after she asks Quentin when he got up. Though we can't necessarily expect that any of that is the way the scene actually plays because, as we know from past scenes, the camera shots in the film don't always follow DC's notes. And there was also a notation that Tracy would deliver today's quoted line off screen, but that is erased.
[pointing-up] As far as "today's quote" goes, it was December 29th this time around.
Continuing with Scene 104, beginning with Quentin's reaction to Tracy noticing that he's wearing the riding breeches:
Quentin just looks down and nods. As he crosses
to her we notice he is limping slightly. She is
looking down so she doesn't notice.
|
And that's when today's quote -
Page 45/Scene 104 - Quentin: 'I just came from the stable. I apologized to Gerard.'
- comes up.
And there's absolutely nothing to get into when it comes to differences with the dialogue, the descriptions, or the directions because this scene only appears in the 129 minute version of the film. However, for this section of the scene DC's script notations indicate that there is a medium shot which pans as Quentin crosses to Tracy. Though, as with yesterday's notations, we can't necessarily expect that what DC wrote is the way this portion of the scene actually plays because, as we know from past scenes, the camera shots in the film don't always follow DC's notes.
It's also interesting that this scene is the first indication that Charles is beginning to take hold of Quentin during Quentin's waking hours - and not just with his limping, as we'll see as the scene progresses...
[pointing-up] As far as "today's quote" goes, it was December 30th this time around.
Continuing with Scene 104, beginning with yesterday's quote -
Page 45/Scene 104 - Tracy: 'Quentin...I think we should see a...doctor.'
- coming up, followed by the script explaining:
He thinks about it for a minute.
|
And that's when today's quote -
Page 45/Scene 104 - Quentin: 'I don't know. Let me think about it.'
- comes up.
And there's still absolutely nothing to get into when it comes to differences with the dialogue, the descriptions, or the directions because this scene only appears in the 129 minute version of the film. However, for this section of the scene DC's script notations indicate that there's a close-up of Tracy when she delivers her lines, and there's a shot over Tracy's shoulder of Quentin when he delivers his. But again, we can't necessarily expect that's actually the way things play because the camera shots in the film don't always follow DC's notes.
[pointing-up] As far as yesterday's quote goes, it's today's, December 31st's, this time around. And as far as "today's quote" goes, it will be tomorrow's, January 1st's, this time around.
[nods]
-
You may recall this Merry Ghostly Christmas for 2021:
The decaying skull of Angelique wishes you a Merry Ghostly Christmas!!
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_xmas.jpg)
(And if you're wondering what the tree casting its glow on the poster really looks like, here it is (http://www.dsboards.com/NoDSAnniQuoteImages/xmastree.jpg), my home office tree, decorated with red [hence the red glow] and white lights and red and silver ornaments.)
Well, now the spectral apparition of Angelique, her other selves, and her friends want to wish you a Happy New Year 2024!!
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_new_year.jpg)
(And of course, rather than my home office's Christmas tree being reflected in the B Poster, that's a shot of the tree reflected in the Insert Card, the top of which has been deliberately cropped because my copy of it is a bit special and I'm saving details of that for some future post down the road. But one thing you do get to see is how the Insert Card is one of only two versions of the A Poster that shows the entire artwork.)
[nods]
-
Two posts worth revisiting related to Scene 104:
Given that this slideshow originally played over five years ago, you may not realize that today's graphic -
(http://www.dsboards.com/NoDSAnniQuoteImages/1229NoDS_0.jpg)
- is a new and improved version from the one that appeared in 2016 -
(http://www.dsboards.com/moviesquoteimages/0910NoDS_0.jpg)
- and that's because in the ensuing time I came across the actual still and didn't have to rely on the version that was shared in the DS Movie Book on page 177. It's odd how the color photos in that book tend to scan with a yellowish tint, plus they don't scan completely clearly. And the actual still shows more (though all of its appearances in the slideshow's graphics are cropped)...
The slideshow will show 8 graphics (over a period of 7 days) using the color still for Scene 104, but as I pointed out, they will all be cropped versions of the still (some more cropped than others), so the graphics will never show the full still. So, with that in mind, here's the full still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Breakfast-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Breakfast-1.jpg) for a 700X1028 version)
But just because there are 8 graphics using the color still, that doesn't mean that Scene 104 will end when they do because after the color still, the graphics will switch over to using a B&W still from the scene. But more on that in January...
[nods]
-
Continuing to revisit how Scene 104 is scripted:
Moving on with Scene 104, beginning with Tracy's reply to Quentin:
TRACY
Why think about it? After what
happened last night we don't
have a choice. Let me ask Car-
lotta about a doctor.
He gets up and starts to pace. She notices the limp.
|
And that's when today's quote -
Page 45/Scene 104 - Tracy: 'What's wrong with your leg.'
- comes up.
And there's still absolutely nothing to get into when it comes to the differences with the dialogue, the descriptions, or the directions because this scene only appears in the 129 minute version of the film. Though it is the case that in the script Tracy's quoted line does indeed end with a period rather than a question mark. And for this section of the scene DC's script notations indicate that there's a 2 shot of Tracy and Quentin while she points out that they don't have a choice and she wants to ask Carlotta about a doctor, and then when Quentin paces/limps he moves toward the camera. But again, we can't necessarily expect that's actually the way things play because the camera shots in the film don't always follow DC's notes.
[pointing-up] As far as "today's quote" goes, it was January 2nd this time around.
Moving on with Scene 104, beginning with Quentin's reaction/reply to Tracy:
For a moment he doesn't hear her.
|
And that's when yesterday's quote -
Page 45/Scene 104 - Quentin: 'What?...oh...I took a ride over to the Mill this morning and that stupid horse...threw me. It'll be OK. Don't worry.'
- comes up, followed by today's first quote -
Page 45/Scene 104 - Tracy: 'I asked you not to ride Ulysses.'
- coming up, followed by today's second quote -
Page 45/Scene 104 - Quentin: 'I wasn't. It was Dubloon.'
- coming up.
And there's still absolutely nothing to get into blah, blah, blah. And for this section of the scene DC's script notations indicate that before Quentin delivers yesterday's quote, the camera pans up to a close-up of him, which then changes to a medium shot when Tracy brings up Ulysses, and then after Quentin says it wasn't (Ulysses), he turns to Tracy before he says it was Dubloon (and as we will recall, Dubloon was Charles' horse - boom Boom BOOOOM!). But again, we can't necessarily expect that's actually the way things play because the camera shots in the film don't always follow DC's notes.
[pointing-up] As far as "yesterday's quote" goes, it was indeed yesterday's, January 3rd's, this time around. And so far as "today's quote" goes, it's today's, January 4th's, this time around.
[nods]
-
Wrapping up revisiting how Scene 104 is scripted:
Moving on with Scene 104, beginning with Tracy attempting to bring the subject of a doctor back:
TRACY
What about the doctor?
He comes to her, ignoring the question.
104 CONTD (2) (2) CONTD 104
QUENTIN
Do you still love me?
TRACY
I still love you, yes.
They look at each other.
|
And that's when today's quote -
Page 46/Scene 104 - Tracy: 'Quentin, maybe it's this house. Maybe we don't belong here. You know, we don't have to stay.'
- comes up.
And there's still absolutely nothing to get into when it comes to the differences with the dialogue, the descriptions, or the directions because this scene only appears in the 129 minute version of the film.
[pointing-up] As far as "today's quote" goes, it is indeed today's quote, January 5th's, this time around.
And wrapping up Scene 104, beginning with today's first quote -
Page 46/Scene 104 - Quentin: 'Look, in the light of day the whole thing seems completely ridiculous. [He sits next to her.] Why don't we at least give it the day and we'll talk about it this afternoon.'
- coming up, followed by the script explaining:
She thinks for a moment and then sees the sense
in what he is saying. She nods.
|
And that's when today's second quote -
Page 46/Scene 104 - Quentin: 'And -- I'll think about that doctor.'
- comes up.
And there's still absolutely nothing to get into when it comes to the differences with the dialogue, the descriptions, or the directions because this scene only appears in the 129 minute version of the film. And as far as the notations in DC's script go, the camera starts with a medium shot of Quentin and then trucks to a close-up of Tracy. But of course, we can't necessarily expect that's the way things actually play because the camera shots in the film don't always follow DC's notes.
And tomorrow's slideshow begins a sequence that doesn't appear in any version of the film...
[pointing-up] As far as "today's" first and second quotes go, they will appear as tomorrow's, January 6th's, this time around.
[nods]
-
Another post worth revisiting regarding Scene 104:
When it comes to yesterday's and today's graphics -
(http://www.dsboards.com/NoDSAnniQuoteImages/0105NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0106NoDS_0.jpg)
- they were made using crops from this still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Breakfast-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Breakfast-2.jpg) for a 532X700 version)
- which, so far as I can remember, has never been officially published anywhere.
But what you may recall, especially given the numbering on my copy, is that the still is #19 in the NoDS Editor's Portfolio.
[nods]
-
With regard to Scene 104, Darren Gross posted on his Restoration Web site -
A selection of scenes cut from the 129-minute version that have been recovered:
...
Quentin enters the dining room limping and wearing the riding clothes given to him as a present. When Quentin attacks distracted and trancelike, Tracy recommends he see a doctor.
- and I wonder if Darren really meant to write "When Quentin acts distracted and trancelike" instead of "When Quentin attacks distracted and trancelike"? Although, I don't actually recall what Scene 104 was like when Darren showed the footage. But then I believe there was no dialogue, so it may actually be that Quentin is more belligerent in his delivery than the script may indicate...
[nods]
-
Revisiting how Scene 105 and the beginning of Scene 106 is scripted:
...
105 EXT - STABLES - DAY 105
Gerard is up on a scaffold fixing the roof as Tracy
crosses the courtyard, walks under the scaffolding
and ENTERS the stable without seeing him.
CUT TO:
106 INT - STABLES - DAY 106
as she ENTERS there is a sudden snarling as the two
black dogs appear and start menacingly toward her.
|
And that's when today's quote -
Page 46/Scene 106 - Tracy: 'Stay away now...stay away...'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions, there's nothing to comment about because none of this sequence appears in any version of the film (and in a later post we'll get into the reason that's most likely). And while there are some notations in DC's script for Scene 106, they don't come up until later in the scene. But what is interesting is that you may recall that when it came to Scene 52, what's scripted is:
52 EXT - STABLES - DAY 52
The two dogs are playing in the stable yard as
Quentin ENTERS under the archway. Suddenly the
dogs become hostile. Quentin stops, frowns,
then keeps walking. The dogs wait for a moment
and then start slowly for him. They are snarling
viciously as Gerard appears in the doorway.
|
But what actually happens in the film is that:
unlike how the script says that we see the dogs playing and when Quentin arrives, they become vicious and slowly make a move toward Quentin before Gerard stops them, as can be seen in the following capture, in the film Scene 52 starts off with shots of Gerard repairing brickwork -
(http://www.dsboards.com/NoDSquoteimages/0218ds91_a.jpg)
- and as Gerard does this, off camera we hear Quentin call out "Stiles" and then introduce himself with "I'm Mr. Collins - and it isn't until the next camera shot that we see that Gerard is up on some scaffolding repairing brickwork near the roof of a part of the stable building, the dogs are quietly standing near the base of the ladder, and Quentin has just entered the stable yard, as can all be seen in the next capture -
(http://www.dsboards.com/NoDSquoteimages/0218ds91_b.jpg)
So, it would seem as though the altered opening to Scene 52 was done so as to play off the scripted opening to Scene 105. But then, we're never going to know if that's really true because, apart from a few publicity stills and behind the scenes photos, nothing from Scenes 105, 106 & 106A appears to exist, so most likely we'll never know how Scene 105 was actually shot...
[nods]
-
The first still worth revisiting related to Scenes 105, 106 & 106A:
This next still I'm sharing is an extremely rare one. Not only have I never seen it published anywhere, I've rarely seen it for sale anywhere. And because it would certainly seem to be associated with Scenes 105, 106 & 106A, all of which don't appear in any version of the film, it's hard to know if it's depicting a moment from the sequence or if it's a candid. And if it's a moment from the sequence, if it appears at the beginning or the end of it. There's nothing in the scripted versions (yes, there are more than one, and we'll eventually get into that) to indicate the still depicts a moment from the sequence. But as we well know, how the script might indicate the scenes were shot and how they were actually shot can be very different.
Because it might seem to depict Gerard in a melancholy mood, which would be a departure from his normal angry or lecherous moods, both of which he most often exhibits in the film, I'd like to think the still does indeed depict a moment from the sequence, either from its beginning or end. And because it might be from the beginning rather than the end, I'm sharing the still now instead of later on:
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Stable-1.jpg) for a 700X1028 version)
[nods]
-
Revisiting more of how Scene 106 is scripted:
...
The dogs are slowly backing her into a corner when
Gerard ENTERS THE SHOT.
|
And that's when the first part of today's quote -
Page 46/Scene 106 - Gerard: 'Don't move.'
- comes up, followed by the script continuing with:
He crosses to her. She can see the raw scratches
still on his face.
106 CONTD CONTD 106
|
And that's when the second part of today's quote -
Page 47/Scene 106 - Gerard: 'Now, Brutus...now, Tar...'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions, there's nothing to comment about because none of this sequence appears in any version of the film.
[pointing-up] As far as "today's quote" goes, it is indeed today's quote, January 8th's, this time around.
Continuing along with Scene 106:
The dogs keep up their snarling.
|
And that's when today's first quote -
Page 47/Scene 106 - Gerard: 'She won't hurt you...no...she's just come down to ride...that's all. She likes Gerard.'
- comes up, followed by the script continuing with:
He moves close to her and reaches out, caressing her
face. She pulls away but stops as the dogs snarl
and he rubs her again.
|
And that's when today's second quote -
Page 47/Scene 106 - Gerard: 'She is a friend. A friend. See?'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions, there's nothing to comment about because none of this sequence appears in any version of the film.
[pointing-up] As far as "today's" first and second quotes go, they will appear as tomorrow's, January 9th's, this time around.
[nods]
-
The second still worth revisiting related to Scenes 105, 106 & 106A:
The latest four graphics -
(http://www.dsboards.com/NoDSAnniQuoteImages/0107NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0108NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0109NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0109NoDS_1.jpg)
- have all been made using various portions of this still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Stable-2.jpg) for a 700X885 version)
- which to my memory has only been officially published on page 238 of the DS Movie Book - and an interesting thing is that whenever NoDS stills come up for sale on places like Heritage Auctions, it's very rarely ever included in the batches being auctioned off - I was lucky enough to buy my copy in 1996 at Jerry Ohlinger's Movie Materials Store in NYC.
Various portions of a more widely available still will be showing up in the slideshow soon - though you may not recognize it at first...
And you may also recall that the still is #27 in the NoDS Editor's Portfolio.
[nods]
-
Another post related to Scenes 105, 106 & 106A that's worth revisiting:
Before we move on from graphics made using the still that I shared in Reply #330, I want to mention that after I posted it I noticed that the wound on the right side of Gerard's mouth is different from the way it looks in the still I'd posted in Reply #327:
For the color still the top of the wound -
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable-1a.jpg)
- sticks straight up and away from the corner of Gerard's lip, whereas in the B&W still the top of wound -
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable-2a.jpg)
- curves down onto the top of the corner of Gerard's lip. Perhaps this is because the stills weren't taken on the same day, or perhaps the makeup had to be reapplied for some reason and it wasn't done exactly the same. Sadly, we'll never know which way, if even either, it looked in the film...
And something I've never really thought about before is just how many days are supposed to pass between the time Quentin attacks Gerard and we see him again in Scene 190. Quite obviously a wound like that would not heal completely in just a few days. Though as the film currently stands, the passage of time for the wound to heal isn't even a consideration because the audience never sees the wound in the 94 minute version of the film, nor did we see it in the 97 minute version. And actually, it's not on view in the 129 minute version either because this sequence doesn't appear in any version of the film...
[pointing-up] And Reply #330 was revisited in Reply #1480 this time around, and Reply #327 was revisited in Reply #1478.
[nods]
-
And concluding Scene 106 (in DC's script):
Finally, the dogs turn and walk away.
|
And that's when today's quote -
Page 47/Scene 106 - Tracy (lowly): 'Don't you ever touch me again!'
- comes up, followed by the script continuing with:
Gerard stares at her, then quite cooly turns away.
|
And that's where the scene ends in DC's script. However, it's not where Scene 106 ends in Grayson's script - and we'll get into that continuation in the next post. And what will be interesting is that as the slideshow progresses for the next few days you'll see how that continuation was reworked for DC's script and turned into Scene 106A, even though it's not indicated as a rewrite in his script...
And of course, when it comes to the dialogue, the descriptions, and the directions, blah, blah, blah because blag, blah, blah. And yes, the script uses the "cooly" spelling variation of the word "coolly"...
[pointing-up] As far as "today's quote" goes, it was January 10th this time around.
As you'll see as Scene 106A unfolds in the slideshow and the posts following this one, some of it is very much the same as Grayson's script's continuation of Scene 106 - but things will change radically before too long. But here's how things were originally supposed to play:
GERARD
I'll saddle your horse.
He walks to the saddle rack, takes one and throws it
over a tall gray.
TRACY
This isn't Dubloon, is it? The
horse my husband rode this morning --
GERARD
We don't have a Dubloon. He rode
Ulysses.
Tracy thinks about this.
TRACY
Where's the Mill on the property?
GERARD
There's no mill.
TRACY
Are you sure?
GERARD
Yes -- I'm sure.
Tracy mounts her horse as Gerard makes no move to help
her but just stands staring at her. Then, unable to
bear his presence any longer, she rides off.[color]
|
Gee, I wonder why Tracy could no longer bear Gerard's presence? [ghost_wink]
With the exception of one written addition to the descriptions and directions, DC's script's version of Scene 106A begins exactly like Grayson's script's continuation of Scene 106:
106A INT - HORSE PART OF STABLE 106A
GERARD
I'll saddle your horse.
Takes horse out
He walks to the saddle rack, takes one and throws it
over a tall gray.
|
And just as in Grayson's script, that's when today's quote -
Page 47/Scene 106A - Tracy: 'That isn't Dubloon, is it? The horse my husband rode this morning --'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions, there's nothing to comment about because none of this sequence appears in any version of the film. But this is the only part of Scene 106A where the dialogue is exactly the same as Grayson's continuation of Scene 106. And this part of DC's script is where his notations finally begin for the sequence as he indicates that Scene 106A begins with a wide shot and then trucks tighter as Tracy walks to Gerard.
[pointing-up] As far as "today's quote" goes, it is indeed today's quote, January 11h's, this time around.
[nods]
-
And another post related to Scenes 105, 106 & 106A that's worth revisiting:
I still feel the same as I did back then:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/0111NoDS_0.jpg)
...
And am I the only one who thinks it's a shame that none of the horses received a credit in the film? I mean, quite often when it comes to dogs in TV and films you see things like "And Trixie as Scruffy". So why no something like "Featuring Max as Ulysses and Fred as Dubloon"?! [ghost_nowink] [ghost_sad] [ghost_wink]
[nods]
-
The part of a post worth revisiting that's related to Scenes 105, 106 & 106A:
...
Page 155 of the DS Almanac Millennium Edition features a still of Gerard at the stable -
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable-4.jpg)
- leading out Tracy's horse - ...
[nods]
-
Continuing with how Scene 106A is scripted in DC's script:
After today's quote -
Page 47/Scene 106A - Gerard: 'We don't have a Dubloon. He rode Ulysses, like he always does.'
- comes up, Scene 106A continues in the script with:
Tracy thinks about this.
TRACY
Where's the Mill?
GERARD
What?
|
And when it comes to the dialogue, the descriptions, and the directions, there's nothing to comment about with comparison to the film because none of this sequence appears in any version of the film. But as we can see with today's quote, "like he always does" was added to Gerard's original line in Grayson's continuation of Scene 106 - and then when it comes to Scene 106A in DC's script "on the property" was dropped from Tracy's initial question. And while those are minor changes, soon their conversation will not only lengthen, it will be going in a totally different direction than it does in Grayson's continuation of Scene 106. And when it comes to this part of DC's script, his notations indicate that the camera changes to a 2 shot when Tracy asks about the Mill.
[pointing-up] As far as "today's quote" goes, it is indeed today's, January 12th's, this time around.
[nods]
-
A behind the scenes still to revisit:
Today I thought I'd share a rare production still of DC directing Scene 106A:
(http://www.dsboards.com/NoDSquoteimages/DC_directs_106A.jpg)
[nods]
-
[pointing-up] Two follow up posts to the previous revisited one:
I'll bet that horse didn't take direction well.
...
Look at that face:
(http://www.dsboards.com/NoDSAnniQuoteImages/0111NoDS_0.jpg)
How could he not take direction well - or at least a lot better than the supposedly vicious dogs did?! [ghost_grin]
...
[nods]
-
Continuing with how Scene 106A is scripted in DC'd script:
Continuing Scene 106A with yesterday's quote -
Page 47/Scene 106A - Tracy: 'The Mill...is it on the property?'
- coming up, followed in the script by:
And that's when the first part of today's quote -
Page 47A/Scene 106A - Gerard: 'Oh, yeah...the Mill. It's over by that ravine down near the river road.'
- comes up, followed by the script explaining:
Tracy nods, gets on her horse and starts out.
|
And that's when the second part of today's quote -
Page 47A/Scene 106A - Gerard: 'I wouldn't bother going over there if I were you.'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions, there's nothing to comment about with comparison to the film because none of this sequence appears in any version of the film. But it's very interesting that in this new version of Tracy and Gerard's discussion about the Mill he's done a 180 and not only acknowledges there is a Mill, but he knows exactly where it is.
[pointing-up] As far as "yesterday's quote" goes, it was indeed yesterday's, January 13th's, this time around. And so far as "today's quote" goes, it's today's, January 14th's, this time around.
[nods]
-
And yet another post worth revisiting regarding Scenes 105, 106 & 106A:
And this time the latest four graphics -
(http://www.dsboards.com/NoDSAnniQuoteImages/0111NoDS_0.jpg)
(No need to share the second because the image and the logo simply switch sides.)
(http://www.dsboards.com/NoDSAnniQuoteImages/0113NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0114NoDS_0.jpg)
- have all been made using various portions of this still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Stable-3.jpg) for a 700X900 version)
- which I also bought on the same day in 1996 that I bought the still I've shared in Reply #330. But unlike how I had no idea that that still even existed, I did know that this one did because it had been shared in the NoDS Pressbook -
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable-3a.jpg)
- as well as on the cover and inside the NoDS Editor's Portfolio (though I don't own that) -
(http://www.dsboards.com/NoDSAnniQuoteImages/Stable-3b.jpg)
- and a somewhat cropped version on page 141 of the 30 Anniversary Tribute version of the DS Almanac.
And obviously I didn't realize when the post was originally made that there's simply a circle cut out in the cover of the NoDS Editor's Portfolio and any still that's a part of the it can show through that circle.
And of course you may recall that the still is #38 in the portfolio.
[nods]
-
Concluding how Scene 106A is scripted in DC's script:
Wrapping up Scene 106A and moving beyond, first by picking up the script from where we left off:
And that's when today's first quote -
Page 47A/Scene 106A - Tracy: 'Why not?'
- comes up, followed by today's second quote -
Page 47A/Scene 106A - Gerard: 'You won't see very much...it burned down -- over one hundred years ago.'
- coming up, followed by the scene concluding in DC's script with:
She looks at him then rides out.
|
However, it was DC's intent that Tracy not listen to Gerard and to ride out to the location of the former mill because at the top of page 48 in his script he's handwritten:
106A EXT - RAVINE - BURNED MILL
As Tracy rides in and looks
it over
|
And chances are the reason it's also indicted to be Scene 106A is most probably because DC added it to his script before Scene 106 was split into two scenes with the rewrite being Scene 106A.
And when it comes to the dialogue, the descriptions, and the directions, there's nothing to comment about with comparison to the film because none of this sequence appears in any version of the film. What is a shame, though, even though ultimately we were never going to see it, is that they dropped how Tracy was going to be unable to bear Gerard's presence any longer...
And supposedly the reason why Scenes 105 through the second 106A don't appear in the film is because DC was quite unhappy with the performances of the two dogs playing Brutus and Tar. According to Richard Shore, who was the Director of Photography on the film, the dogs looked "absolutely savage" and "everybody was terrified of them" - however, when it came time to shoot them terrorizing Tracy, "the dogs turned out to be extremely friendly and would not growl or bark menacingly." And Shore goes on to say that "It took forever for the trainer to goad them into looking mean." But apparently DC still wasn't satisfied with the result and decided to cut the entire sequence. And that's quite unfortunate because the 106A scenes definitely show that Tracy has good reason to be worried about Quentin because at least half of what he told her earlier in Scene 104 was a delusion, not to mention it clued in the audience to the fact that Charles' personality was somehow encroaching in on Quentin's personality.
An interesting aside is that the dog trainer was given an extras role in the film. And IF I'm remembering things correctly, I believe it was as one of the men who was involved in the hanging of Angelique. It's funny how he made it into the released film in a significant way but his dogs didn't. (However, they do appear more significantly in the 129 minute version of the film in Scene 48 -
(http://www.dsboards.com/NoDSquoteimages/Gerard_dogs.jpg)
- and they're talked about in Scene 50.)
And tomorrow we will begin a new sequence that is actually in the film - however, it's also the only sequence from this month's slideshow that actually does appear in the film...
[pointing-up] As far as "today's" quotes go, they are indeed today's, January 15th's, this time around.
[nods]
-
Revisiting how Scene 107 is scripted:
A scene that appears in the script before the one that contains tomorrow's quote:
107 EXT - GROUNDS - COLLINWOOD - DAY - WIDE ANGLE 107
It is a beautiful sunny afternoon. Alex is riding
a bicycle TOWARD CAMERA. There are a number of
books in the front basket. In the B.G. the ram-
bling greenhouse can be seen.
ALEX - TRUCKING SHOT
CAMERA TRUCKS IN FRONT OF ALEX HOLDING HIM IN
CLOSE-UP. Suddenly he catches something out of
the corner of his eye, O.S. He stops.
|
End of scene - but just the beginning of the next sequence...
And so far as any differences in the dialogue go, well, there obviously aren't any differences because there isn't any dialogue.
And so far as any differences in the directions and descriptions go, the greenhouse isn't actually seen in the background as Alex rides his bicycle - and Alex is never actually seen in close-up, only medium or wide shots such as these:
(http://www.dsboards.com/NoDSquoteimages/0614NoDS_a.jpg)
(http://www.dsboards.com/NoDSquoteimages/0614NoDS_b.jpg)
[nods]
-
Oops. Backtracking briefly to Scenes 105, 106 & 106A, I forgot to mention that Darren Gross posted on his Restoration Web site:
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
EXT.STABLE. Tracy enters stable while Gerard watches from scaffold. INT.STABLE. Dogs attack Tracy. Gerard molests Tracy. INT.HORSE PART OF STABLE. Tracy leaves on horse.
[nods]
-
Revisiting how Scene 108 and the beginning of Scene 109 are scripted:
Moving through the next two scenes in the sequence:
108 THE GREENHOUSE - WIDE ANGLE - ALEX' P.O.V. 108
The greenhouse is at least a thousand yards away.
However, there is unmistakenly a girl in a long
period dress strolling leisurely toward its
entrance. She is too far away to identify. She
moves so smoothly, it almost looks like she is
floating.
ALEX - CLOSE-UP
as he calls to her.
|
And that's when today's first quote -
Page 48/Scene 108 - Alex: 'Hey! You!'
- comes up, followed by the script continuing with:
THE FIGURE - ALEX' P.O.V.
as it disappears into the structure.
109 ALEX FROM INSIDE THE GREENHOUSE 109
as he peddles his bike TOWARD CAMERA. He dismounts
at the door and looks inside.
|
And that's when today's second quote -
Page 48/Scene 109 - Alex: 'Hello!'
- comes up, followed by the script continuing with:
He gets no answer so he crosses in, coming to
CAMERA and a LOW ANGLE CLOSE-UP. He looks around
-- sees no one.
|
And that's when today's third quote -
Page 48/Scene 109 - Alex: 'Is anybody here?'
- comes up, followed by the script continuing with:
When he still gets no answer, he finally turns and
starts toward the door, as the wind, which had been
nothing but a gentle breeze, suddenly increases in
volume. Then there is the SOUND OF SPLINTERING
WOOD directly above his head. He looks up.
109 CONTD CONTD 109
THE ROOF - ALEX' P.O.V.
An entire section of the glass roof suddenly gives
way and comes crashing down.
ALEX - HIGH ANGLE
as falling backward, he is just able to avoid
disaster.
|
And so far as any differences in the dialogue go, in Scene 108 Alex actually calls out an unscripted "Hello there!" as the figure disappears into the greenhouse - and in Scene 109 as he is seen from inside the greenhouse as he peddles his bike, Alex calls out another "Hello there!" rather than the simply scripted "Hello!" - and Alex calling out "Is anybody here?" after he looks around inside the greenhouse is dropped in the film.
And so far as any differences in the directions and descriptions go, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0615NoDS_b.jpg)
- Scene 109 actually begins with a wide high angle long shot of Alex peddling his bike toward the greenhouse before he's seen shot from inside the greenhouse -
(http://www.dsboards.com/NoDSAnniQuoteImages/0116NoDS_1.jpg)
- as can be seen in today's second capture in the slideshow - and when Alex enters the greenhouse to look around, he isn't seen in a low angle close-up but rather a normal medium shot as well as a wide angle long shot, as can be seen in the following two captures -
(http://www.dsboards.com/NoDSquoteimages/0615NoDS_c.jpg)(http://www.dsboards.com/NoDSquoteimages/0615NoDS_d.jpg)
- and it isn't until the point where he might have asked if anybody is there, as can be seen in today's Cut/trimmed sequence graphic -
(http://www.dsboards.com/NoDSAnniQuoteImages/0116NoDS_2.jpg)
- that Alex is seen in close-up, though it's not shot from a low angle - and we don't see Alex shot from a high angle and he actually runs from -
(http://www.dsboards.com/NoDSquoteimages/0615NoDS_e.jpg)
- rather than falls backward to escape the falling glass of the roof.
[pointing-up] As far as "today's" quotes go, they are indeed today's, January 16th's, this time around.
[nods]
-
Two stills related to Scenes 107 & 108 that are worth revisiting:
...
And before we get back to the script, I want to share the following candid production still that I made reference to back when we were dealing with Scene 69(the picnic). It's of David Selby, Kate Jackson and John Karlen taking a break from shooting the scenes at the greenhouse:
(http://www.dsboards.com/NoDSquoteimages/Break.jpg)
And one of the interesting things about what Karlen is doing is that he had never ridden a bicycle before he did so for the scenes for NoDS, so he practiced a lot before shooting so he wouldn't look ridiculous. Of course, if the film had been shot today, they could have just put training wheels on the bike and then taken them out in post. [ghost_wink] But that sort of technology wasn't available back in 1971. [ghost_nowink]
That still appears on page 211 of the DS Memories.
...
... DS Almanac Millennium Edition ... - and page 154 of the same book features a still of Alex at the greenhouse -
(http://www.dsboards.com/NoDSAnniQuoteImages/Alex_bike.jpg)
- riding his bicycle - and I'm actually surprised (it) scanned as well as (it) did because (it) is only about 2 inches by 1 3/8 inches on the page...
[nods]
-
Two versions of another still related to Scene 108 that's worth revisiting:
Before we move on to tomorrow's quote I'd like to share a still of Angelique outside the greenhouse. But first here's something I posted last time around -
...
...I have to say that one of my favorite candid stills of Parker as Angelique is the one that appears on the back of the VHS box:
(http://www.dsboards.com/NoDSquoteimages/Ang_greenhouse_2.jpg)
And that box may be the only place it's ever been published. Or if there has been another place, I don't honestly remember where...
- however, I've since come across the actual still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-1.jpg) for a 700X476 version)
- which is much better quality...
[nods]
-
Revisiting the subtitles and closed captioning (with a new screen capture) for Scene 108:
When it comes to Scene 108, after Alex spots a figure walking toward the Greenhouse and he calls out, "Hey, you!", he follows that up by calling out an unscripted, "Hello there!", and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_Blu-ray_frame_00725.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_00724.jpg)
- acknowledge that.
...
(ADMIN: Edited to replace a TV video screen capture)
[nods]
-
Revisiting the subtitles and closed captioning (with new screen captures) for the first part of Scene 109:
When it comes to Scene 109, rather than the scripted "Hello!", Alex calls out another "Hello there!" as he approches the Greenhouse, and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_Blu-ray_frame_01101.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_01101.jpg)
- reflect that.
And interestingly the closed captioning acknowledges the sound the portion of the glass ceiling that's about to fall makes before it does so -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_03131.jpg)
- yet the subtitles don't.
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
Revisiting how the rest of Scene 109 and Scene 110 are scripted:
Continuing with Scene 109 and moving beyond to wrap up the sequence:
ALEX - CLOSE-UP
as he gets to his feet, brushing himself off, he
knows he was a lucky man. In the B.G., Tracy has
seen it happen and now rides her horse toward him,
dismounting by the door.
|
And that's when the first part of yesterday's first quote -
Page 49/Scene 109 - Tracy: 'Alex! Are you all right?'
- comes up, followed by the script indicating:
He nods and crosses to her.
|
And that's when the second part of yesterday's first quote -
Page 49/Scene 109 - Tracy: 'What happened?'
- comes up, followed by yesterday's second quote -
Page 49/Scene 109 - Alex: (taking a beat) 'I was exploring and I guess I shouldn't have been. The whole place fell down.'
- comes up, followed by the script continuing with:
CUT TO:
110 EXT - GREENHOUSE - DAY 110
as Alex wheels his bike. They walk toward her
horse.
|
And that's when today's first quote -
Page 49/Scene 110 - Alex: 'What's new, Trace?'
- comes up, followed by the script explaining:
She hesitates, then decides to tell him.
|
And that's when today's second quote -
Page 49/Scene 110 - Tracy: 'Something...very strange happened last night and I'm worried about it.'
- comes up, followed by the script continuing with:
He looks at her as she begins to tell him
|
And so far as any differences in the dialogue go, in Scene 109 Tracy's "Alex! Are you all right?" is actually delivered off camera - and to that Alex responds with an unscripted "Stay out of here, honey" - and Scene 110 actually begins with Tracy asking "What happened" - and to that Alex actually responds with an unscripted "What happened?" before he actually adds "I was exploring. I guess I shouldn't have been. Then the whole place fell down" - and after Alex asks her what's new, Tracy actually replies with "Something sort of funny happened last night, Alex. I'm a little worried about it" - to which Alex responds with an unscripted "Come on, tell me about it" - and Tracy begins an unscripted explanation with "Well, I don't know exactly. I woke up late and I looked for Quentin. He wasn't there. So I, I went to the tower room..."
And so far as any differences in the directions and descriptions go, we don't actually get a close-up of Alex after he gets to the ground so much as we get -
(http://www.dsboards.com/NoDSquoteimages/0616NoDS_a.jpg)
- a low angle shot of him on the ground - and we don't actually see Tracy riding her horse in the background because there's a full on shot of Tracy riding across the field toward the greenhouse -
(http://www.dsboards.com/NoDSquoteimages/0616NoDS_b.jpg)
- and after dismounting running toward the direction of the greenhouse -
(http://www.dsboards.com/NoDSquoteimages/0616NoDS_c.jpg)
- and apparently Ulysses is one smart horse because even though Tracy left him just past the field when she ran toward the greenhouse, he knew enough to follow her to the entrance to the greenhouse where he's waiting -
(http://www.dsboards.com/NoDSquoteimages/0616NoDS_d.jpg)
- when Tracy and Alex come out - so, as can be seen in today's first capture, Tracy, Alex and Ulysses don't actually have to go far -
(http://www.dsboards.com/NoDSAnniQuoteImages/0118NoDS_0.jpg)
- to retrieve Alex' bike, as opposed to the script having Alex wheel his bike as they walk toward the horse - and it isn't so much that Alex simply looks at Tracy because Tracy takes Ulysses reins and pulls him behind her as she and Alex walk away from the greenhouse as she -
(http://www.dsboards.com/NoDSquoteimages/0616NoDS_e.jpg)
- begins to explain what happened with Quentin.
[pointing-up] As far as "yesterday's" quotes go, they was indeed yesterday's, January 17th's, this time around. And so far as "today's" quotes go, they are today's, January 18th's, this time around.
[nods]
-
Revisiting two stills related to Scene 109:
Today I'm going to share four stills that are related in various degrees to Scene 109:
Here's the first -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-2.jpg) for a 700X466 version)
- a version of which (that shows more on the left and less on the right) has been shared as November's photo in the Fest's 1999 Movie Calendar - and here's the second -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-3_1.jpg)
- which I don't believe has been officially published anywhere...
However, you may recall that the second one is #23 in the NoDS Editor's Portfolio.
[nods]
-
Two more stills worth revisiting and related to Scene 109:
...
Here's an alternate print of the second one above -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-3_2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-3_2.jpg) for a 700X844 version)
- quite possibly printed because the other barely showed Tracy - and here's the last -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-4.jpg) for a 1333X1000 version)
- which as far as I'm aware has only been shared as part of the Fest's 2012 NY Weekend Program.
And the "second one above" refers to the second one in Reply #1499.
[nods]
-
Concluding revisiting the subtitles/closed captioning (with a new screen capture) for Scene 109:
...
And after Tracy arrives on the scene after the ceiling glass has come crashing down, she calls out to Alex to ask if he's all right, and she begins to enter the Greenhouse, Alex warns her with an unscripted "Stay out of here, honey," though the "honey" part isn't included in either the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_Blu-ray_frame_03874.jpg)
- or the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_03874.jpg)
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
Revisiting the subtitles/closed captioning (with new screen captures) for the beginning of Scene 110:
When it comes to Scene 110, rather than the "What happened?" that's scripted for Tracy to ask near the end of Scene 109, the line is held for the beginning of Scene 110 and Tracy actually delivers it as -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_Blu-ray_frame_04154.jpg)
- as both the subtitles and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_04152.jpg)
- reflect, and to which Alex replies at first with an unscripted -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_Blu-ray_frame_04200.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_04199.jpg)
- and the closed captioning has Alex stating an unscripted "I don't know" before he begins to deliver the scripted "I was exploring. I guess I shouldn't have been. Then the whole place fell down.", which is also transplanted to Scene 110 from the end of Scene 109 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_04269.jpg)
- but the subtitles don't acknowledge that unscripted bit beforehand -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_Blu-ray_frame_04270.jpg)
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
Abd two more stills worth revisiting and related to Scene 109:
Here are two behind the scenes stills that I believe are related to the shooting of Scene 109. And I say that because there are several stories about how everyone had to wear hard hats while the scene was shot. Well, everyone except for Kate Jackson and, more significantly, John Karlen because they had to be inside the Greenhouse during the scene. Karlen's part of the scene made him especially vulnerable because he had to be inside for an extended period of time and inside while glass came crashing down from the roof. But apparently he was a real trooper. In fact the was a real trooper throughout the whole sequence because not only did he enter a dangerous glass building to shoot a scene, but as has been mentioned before, he rode a bicycle when he'd never done so before.
But be all that as it were, here are the two stills -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-10.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-11.jpg)
- they were among the stills I rediscovered not that long ago, and so far as I know, I don't believe they've ever been officially published...
[pointing-up] I forgot to mention yesterday that another reason I believe the stills are from NoDS is that I'm pretty sure that's NoDS' Director of Photography Richard Shore in the cherry picker with DC.
...
[nods]
-
Wrapping up the subtitles and the closed captioning (with new screen captures) for Scene 110:
And continuing with Scene 110, after Alex asks Tracy what's new and she tells him she's a little worried about something sort of funny that happened the previous night, Alex responds with an unscripted "Come on, tell me about it," which is acknowledged by both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_Blu-ray_frame_04773.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_04771.jpg)
- and Tracy begins an unscripted explanation with "Well, I don't know exactly. I woke up late and I looked for Quentin. He wasn't there. So I, I went to the tower room..." -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_Blu-ray_frame_04889.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_Blu-ray_frame_05000.jpg)
- which the subtitles basically gets correct with just a missing word or two here and there, which is the same case as with the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_04871.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_04936.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_04984.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Hey_You_VHS_frame_05036.jpg)
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
More stills worth recisiting:
Today I'm going to share six stills. Three that are related in various degrees to Scene 109. Three that aren't really, but are connected to what I've been recently sharing in another way.
Here's the first -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-5.jpg) for a 700X1028 version)
- a copy of which was shared on page 177 of the DS Movie Book (that horse seemed to love to have his photo taken) - and the second was first shared in the NoDS Pressbook as part of the following article -
(http://www.dsboards.com/NoDSAnniQuoteImages/Australia.jpg)
- obviously she never did emigrate there - and here's the actual still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-6.jpg)
- which I suspect may have been taken during the same photo session as the still I reshared in Reply #342 - and here's the last one -
(http://www.dsboards.com/NoDSAnniQuoteImages/boots.jpg)
- which was shared on page 131 of the Millennium Edition of the DS Almanac and was obviously taken outside the Lyndhurst mansion and not the greenhouse...
And you may recall that the B&W still of Kate Jackson is #46 in the NoDS Editor's Portfolio. Though a good reminder might be the fact that the version used for the NoDS Pressbook article is numbered #46. [snow_wink]
[nods]
-
And even more stills worth revisiting:
And I'm sharing the next three stills simply because they were shot at the greenhouse. On the same day as the others? Who knows? But perhaps...
Here's the first -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-7.jpg)
- and the second has been shared as September's photo in the Fest's 1999 Movie Calendar -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-8.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-8.jpg) for a 915X620 version)
- and here's an alternate version with just Nancy and Chris -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-9.jpg)
- was the greenhouse simply cropped out? Who knows? However, a version that shows Nancy's entire hand appears on page 179 of the DS Movies Book...
And as an aside, a still of Nancy reclining in the grass in front of Lyndhurst and wearing the same outfit (my copy of the still (http://www.dsboards.com/NoDSAnniQuoteImages/Hot pants_boots.jpg)) appears on page 181 of the DS Movies Book - can you even imagine if she had worn the outfit as Claire when she and Tracy go to Gregory's store?!
[nods]
-
Yesterday I forgot that since making the above post back in 2022 I've come across better versions of these two stills:
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-8a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-8a.jpg) for a 700X476 version)
And:
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-9a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-9a.jpg) for a 500X734 version)
[nods]
-
After I posted this -
...
And as an aside, a still of Nancy reclining in the grass in front of Lyndhurst and wearing the same outfit (my copy of the still (http://www.dsboards.com/NoDSAnniQuoteImages/Hot pants_boots.jpg)) appears on page 181 of the DS Movies Book - can you even imagine if she had worn the outfit as Claire when she and Tracy go to Gregory's store?!
- I discovered this version which shows a lot more, particularly of Lyndhurst -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hot pants_boots2.jpg)
- as well as this one in which Nancy is wearing the same turtleneck -
(http://www.dsboards.com/NoDSAnniQuoteImages/Red_turtleneck.jpg)
- and which I'm not aware has been published anywhere - and all I'll say about this one, which I've definitely never seen published anywhere, is that I hope Nancy posed for it on a nice warm Spring day while the film was in production in late April or early May -
(http://www.dsboards.com/NoDSAnniQuoteImages/Swimsuit.jpg)
- and not a cold day in March! [snow_wink] [snow_cheesy]
[nods]
-
Revisiting how the beginning of Scene 111 is scripted in DC's script:
Setting up the new scene (and once again the version in Grayson's script is different from the one in DC's (for one, in Grayson's version the scene takes place in Collinwood's library) - but we're going to wait until all of DC's version has been presented before we go back to Grayson's version):
CUT TO:
111 EXT - RAILROAD BRIDGE - DAY 111
As Quentin leans over the guard rail, Alex
hovers over him, telling him what happened at
the Greenhouse. Quentin looks quickly at him,
disbelief on his face.
|
And that's when today's quote -
Page 50/Scene 111 - Quentin: 'You were a fool ever to go in there...'
- comes up.
And so far as any differences in the dialogue, the directions, and the descriptions go, at this point we can't compare the script to the film because this scene only appears in the 129 minute version of the film. However, we can get into DC's notations for the scene, and they indicate that at the beginning of the scene Alex and Quentin are being shot in a 2 shot. Though, as we've learned from scenes that are in the shorter versions of the film, we can't necessarily expect that all of DC's notations are the ways in which the scene actually plays.
[pointing-up] As far as "today's quote" goes, it was January 19th's this time around.
Continuing Scene 111, beginning with Sunday's quote -
Page 50/Scene 111 - Alex: 'I told you. I saw someone in a long white dress.'
- coming up, followed by Monday's quote -
Page 50/Scene 111 - Quentin: 'Your imagination is getting the best of you.'
- coming up, followed by today's quote -
Page 50/Scene 111 - Alex: 'No it didn't. I saw Angelique and she tried to kill me.'
- coming up.
And so far as any differences in the dialogue, the directions, and the descriptions go, at this point we can't compare the script to the film because this scene only appears in the 129 minute version of the film. However, DC's script has changes to Alex' quote for today. In the script "No it didn't" is crossed out and Alex' lines are indicated as "All right, Quentin - I'll tell you what. I really saw Angelique and she tried to kill me." And we can also get into DC's notations for the scene, which first indicate that when Alex starts those lines the camera cuts to his close-up (from the previous 2 shot) - and then after Alex says Angelique's name, the camera cuts to a close-up of Quentin. Though, as we've learned from scenes in the shorter versions of the film, we can't necessarily expect that all of DC's notations are the ways in which the scenes in the film actually play.
And when it comes to how Alex saw Angelique, if one blows up the scene of the figure walking toward the greenhouse, one can sort of deduce that the figure is Angelique -
(http://www.dsboards.com/NoDSquoteimages/0615NoDS_a.jpg)
- and it is somewhat odd that the script doesn't identify her specifically - but Sam Hall and DC are quite possibly the only ones who know why. ...
...
[pointing-up] As far as "Sunday's quote" goes, it was January 20th's this time around, "Monday's quote" was January 21st's this time around, and "today's quote" was January 22nd's this time around.
Continuing Scene 111, beginning with yesterday's quote, Quentin's reaction to Alex insisting Angelique tried to kill him -
Page 50/Scene 111 - Quentin: 'God damn it! That's impossible.'
- coming up, followed by today's quote -
Page 50/Scene 111 - Alex: 'Quentin, she had a reason to stop me. I found out alot about your family. You already know about Charles Collins. But do the name's Gabriel and Laura mean anything to you?'
- coming up.
And so far as any differences in the dialogue, the directions, and the descriptions go, at this point we can't compare the script to the film because this scene only appears in the 129 minute version of the film. However, we can get into DC's notations, and in this section of the scene they indicate that after Quentin says it's impossible and before Alex begins to explain how Angelique had reason to stop him, the camera switches from a close-up of Quentin to a 2 shot. Though, as we've learned from scenes in the shorter versions of the film, we can't necessarily blah, blah, blah, blah.
And yes, both "alot" and "name's" are misspelled that way in the script...
[pointing-up] As far as "yesterday's quote" goes, it was January 23rd's this time around, and "today's quote" was January 24th's this time around.
[nods]
-
I've seen at least one black and white photo of Nancy Barrett in the bikini but this is the first time I've seen a color shot of it! Were there ever plans to do a beach scene in any version of the script? Or maybe Nancy was going to use someone's swimming pool? I hope that she wasn't going to go for a swim in the nearby Hudson River which at that point would have been extremely toxic.
-
A post worth revisiting related to Scene 111:
The latest different graphics -
(http://www.dsboards.com/NoDSAnniQuoteImages/0119NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0120NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0121NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0124NoDS_0.jpg)
- have all been made using various portions of this still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Bridge-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Bridge-1.jpg) for a 700X599 version)
- which to my memory hasn't been officially published anywhere - rarely, though, it does pop up for sale on places like Heritage Auctions...
A couple other different graphics using the still will be showing up in the next 10 days (yes Scene 111 is a long scene)...
[pointing-up] Make that the next 9 days.
And you may recall that the still shared is #29 in the NoDS Editor's Portfolio.
[nods]
-
Were there ever plans to do a beach scene in any version of the script? Or maybe Nancy was going to use someone's swimming pool?
I don't think so, but who knows? When I first saw the still I did think it was an odd one because it seemed completely unrelated to the film. But then there are those stills with Nancy and Chris Pennock that are also completely unrelated to the film.
Perhaps DC told Nancy he was thinking of doing a remake of The Ghost in the Invisible Bikini, but with loads of blood and gore, naturally, and to also be shot at Lyndhurst with Nancy in the lead? The still was his way of getting a jump on publicity shots? [snow_wink] (After all, they already had a photographer on site who was already getting paid to take photos, so knowing DC he would have seen it as a perfect way to save money.) But that film, like a third DS film, never came to be?
No? Well, then who know why on earth Nancy ever posed in a bikini?
-
Trading Nancy Sinatra for Nancy Barrett? I could get behind that. Let yourself go. Yell Geronimo! [snow_wink] [snow_wink] [snow_wink]
-
Continuing with how Scene 111 appears in DC's script:
... yesterday's first quote, Quentin's reaction to Alex asking if the names Gabriel and Laura mean anything to him -
Page 50/Scene 111 - Quentin: 'Why should they?'
- coming up, followed by yesterday's second quote -
Page 50/Scene 111 - Alex: 'Because of those little...day dreams of yours.'
- coming up, followed by today's first quote -
Page 50/Scene 111 - Quentin: 'Those daydreams don't mean a thing.'
- coming up, followed by today's second quote -
Page 50/Scene 111 - Alex: 'Yesterday, you said you wanted to talk about them.'
- coming up.
And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because this scene only appears in the 129 minute version of the film. And DC didn't make any notations for this section of the scene, so supposedly the camera continues with a 2 shot. Though, as we've learned from scenes in the shorter versions of the film, we can't necessarily blah, blah, blah, blah.
And yes, in the script daydreams is incorrectly spelled as "day dreams" in Alex' line...
[pointing-up] As far as "yesterday's" quotes go, they were January 25th's this time around, and "today's" quotes were January 26th's this time around.
[nods]
-
Continuing with how Scene 111 appears in DC's script:
Picking up Scene 111 after Alex' remark that the day before Quentin wanted to talk about his daydreams:
CONT'D CONT'D 111
QUENTIN
Now I don't.
ALEX
Because of last night?
QUENTIN
Alex...last night, I thought
Gerard a burglar.
|
And that's when the first part of today's quote -
Page 51/Scene 111 - Alex: 'That's all, huh? Then why were you screaming, "She's mine, brother, she's mine."'
- comes up, followed in the script by:
Quentin just stares at him.
|
And that's when the second part of today's quote -
Page 51/Scene 111 - Alex: 'I think you were living out one of those day dreams...You were Charles, and Gerard was brother Gabriel...and you were fighting over...Angelique.'
- comes up.
And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because this scene only appears in the 129 minute version of the film. However, DC has a notation that the camera switches from a 2 shot to a close-up of Quentin after Alex brings up how Quentin was screaming, "She's mine, brother, she's mine." Though, as we've learned from scenes in the shorter versions of the film, we can't necessarily blah, blah, blah, blah.
And when it comes to Quentin screaming, "She's mine, brother, she's mine", interestingly enough we don't hear him scream that in the version of the film as it stands, so it will be interesting if it is in the 129 minute version. One would presume it is, or else Alex' remark from this scene, if it is a part of the scene in the 129 minute version, would make no sense.
And yes, once again in the script daydreams is incorrectly spelled as "day dreams" in one of Alex' lines. How weird is it that it's only misspelled in his lines?
[pointing-up] And so far as "today's" quotes go, they were January 27th's this time around.
Picking up Scene 111 after Alex states his belief that the night before Quentin was Charles, Gerard was Gabriel, and they were fighting over Angelique:
Quentin shakes his head over Alex's fantasy.
|
And that's when today's first quote -
Page 51/Scene 111 - Alex: 'Quentin, what were you doing in the tower at two in the morning?'
- comes up, followed by today's second quote -
Page 51/Scene 111 - Quentin: 'Working.'
- coming up, followed by the script continuing with:
ALEX
At night?
QUENTIN
Don't you ever write at night?
|
And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because this scene only appears in the 129 minute version of the film. However, DC has a notations that after Quentin shakes his head, the camera switches to a 2 shot. Though, as we've learned from scenes in the shorter versions of the film, we can't necessarily blah, blah, blah, blah.
[pointing-up] And so far as "today's" quotes go, they are indeed today's, January 28th's, this time around.
[nods]
-
A discussion worth revisiting that's largely related to Scene 111:
I wish I could remember if the surviving footage of this sequence was among the bits screened by Darren Gross at a DS Festival I attended sometime around 2005. (I think that was the same occasion when I saw the existing cut of the rejected WB pilot.) I remember a scene where Carlotta brings a breakfast tray to Quentin and Tracy's bedroom (which obviously follows on a scene that's in the regular release cut), the piano scene, and the seance scene. Don't recall this one.
Holding onto the ever more unlikely hope that someday we'll all get to see the restored cut.
[pointing-up] You're not the only one who couldn't remember exactly what Darren showed in 2004 in Tarrytown. But the funny thing is that just the other day I came across this topic:Darren's NoDS Presentation
And thanks to you I now remember. [ghost_cool]
(And BTW, only a few clips of the '04 pilot were shown in Tarrytown. The entire pilot debuted in LA in '05. [ghost_smiley])
That's very cool. I don't remembering whispering to the person I was sitting next to. I had forgotten the thing about some stupid exec's vendetta against Grayson. Expletive deleted!
Oddly I read the same thing a few months ago about Majel Barrett. I was watching the first season of Original Series Star Trek and I was reading some stuff fans had compiled online. A couple of the suits really took a personal dislike to Majel and loathed the fact that she played the first mate character in the original pilot. When she returned in the role of Nurse Chapel in the reboot, the same execs loudly complained that they didn't want to see her in there at all. Somehow or other, these imbeciles were overruled.
...
I don't remembering whispering to the person I was sitting next to.
I whispered about the scenes, too. I was sitting with Midnite and she mentioned what a shame it was that the presentation was being so rushed that Darren wasn't being allowed to explain about each recovered scene, so, given the fact that I'd reread the script before the Fest so that I'd know what sort of stuff to expect in Darren's presentation, I started explaining each recovered scene as it came up. More than a few people around Midnite and I appreciated it.
I had forgotten the thing about some stupid exec's vendetta against Grayson. Expletive deleted!
Darren mentions that in quite a few of his pieces about NoDS, and I feel the same about it as you do. Carlotta is one of the best things about the film and I can't even begin to imagine it without her. Not to mention it would be very hard to piece together the entire 1810 backstory if all her stuff was cut. But then, having the film make complete sense was hardly any sort of a priority for James Aubrey! (And it seems like history repeated itself a bit considering that to a lesser degree there was a somewhat similar situation with the WB execs who oversaw the Depp/DS film! [ghost_sad] But that's a whole other discussion that we've had in that film's topics...)
[nods]
-
Moving along with how Scene 111 plays in DC's script:
Continuing with Scene 111, first with yesterday's quote -
Page 51/Scene 111 - Alex: 'Quentin, you're going to laugh at this. I think you're drawn to that room. I think you're being taken over by Angelique.'
- coming up, followed by today's quote -
Page 51/Scene 111 - Quentin: 'You're right. I'm laughing.'
- coming up.
And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because blah, blah, blah. However, DC has a notations that after the camera switches to a close-up of Alex at the beginning of his lines, it then switches to a close-up of Quentin after Alex says he thinks Quentin is drawn to the tower room. Though, as we've learned from scenes in the shorter versions of the film, we can't necessarily blah, blah, blah, blah.
[pointing-up] As far as "yesterday's quote" goes, it was January 29th's this time around, and "today's quote" is indeed today's, January 30th's, this time around.
[nods]
-
A behind the scenes still related to Scene 111 that's worth revisiting...
Today I decided to share a candid still from behind the scenes of the shooting of Scene 111:
(http://www.dsboards.com/NoDSAnniQuoteImages/Bridge-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Bridge-2.jpg) for a 868X600 version)
This still is shared on page 100 of the DS Companion.
And thanks to that '04 post by ProfStokes I was recently reminded again that Scene 111 doesn't just take place on the railroad bridge, as the script indicates, but features -
..., Quentin and Alex walking and talking about the recent bizarre events, ...
- though I have no memory of that. It's funny that some of the recovered footage is burned into my memory (like the seance sequence), whereas I have really little memory of some of the other stuff...
[nods]
-
Continuing with how Scene 111 appears in DC's script:
Picking up Scene 111 after Quentin says he's laughing at Alex' theory about the possibility of him being taken over by Angelique:
And that's when yesterday's quote -
Page 52/Scene 111 - Alex: 'Well don't. Look. The same year Angelique died, Laura drowned and Charles disappeared. The drowning was recorded as an accident. But suppose Charles killed Laura?'
- comes up, followed by the script continuing with:
Quentin looks at him.
QUENTIN
So?
|
And that's when today's quote -
Page 52/Scene 111 - Alex: 'Quentin, I think Tracy's in danger.'
- comes up.
And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because blah, blah, blah. However, DC's notations indicate that the camera would switch to a 2 shot when Alex tells Quentin not to laugh, switch to a close-up of Quentin when he looks at Alex, and switches to a close-up of Alex after Quentin asks "So?" Though, as we've learned from scenes in the shorter versions of the film, we can't necessarily blah, blah, blah, blah.
[pointing-up] As far as "yesterday's quote" goes, it was January 31st's this time around, and "today's quote" is indeed today's, February 1st's, this time around.
[nods]
-
Comments worth revisiting regarding January 31st's and today's quotes:
Special thanks for today's quote. I have no memory of these lines at all (which is hardly surprising given other lapsus memoriae I have mentioned). Interesting to learn what Laura's fate was. "Laura my darling" paid a bitter price for that funeral laughter.
Special thanks for today's quote.
Thank Midnite - she picked June's quotes. [ghost_smiley]
Interesting to learn what Laura's fate was. "Laura my darling" paid a bitter price for that funeral laughter.
Not to mention being a voyeur! [ghost_wink]
However, even before reading the script, given the way the scene with Tracy in the poolhouse plays, I'd always presumed Charles had drowned Laura. But it is nice to see that confirmed in the script. And as much as I hate it that Scene 111 wasn't in the shorter versions of the films, in some ways it's almost better because then the scene with Tracy in the poolhouse comes as more of a shock because we're not anticipating it due to the parts of Scene 111 about Tracy possibly being in danger, which have yet to come up, but will begin shortly...
Although, maybe it really could be a tossup because perhaps the audience would have worried more about Tracy due to their fear that she could be drowned. Who knows? We can never be sure because only having originally seen versions of the film without Scene 111, we can never really know how we might have felt had it been included originally...
[nods]
-
And here are two stills worth revisiting that were also taken on the railroad bridge:
Also, even though they have no relationship to Scene 111, here are two candid stills taken on the railroad bridge of Lara Parker as Angelique:
(http://www.dsboards.com/NoDSAnniQuoteImages/Bridge-a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Bridge-a.jpg) for a 700X1050 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Bridge-b.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Bridge-b.jpg) for a 700X1486 version)
Though it certainly seems as if there are very few spots on the Lyndhurst estate where she didn't take stills. [snow_wink]
The second still above was shared on page 23 of the movies soundtrack's booklet...
(ADMIN: Edited to replace the second still with a better quality scan)
[nods]
-
Concluding how Scene 111 appears in DC's script:
After Alex warns Quentin that he thinks Tracy is in danger, Scene 111 continues with today's quote -
Page 52/Scene 111 - Quentin: 'Are you trying to tell me I could drown Tracy? I'm not going to listen to anymore of this. I am in complete control of myself. Have you mentioned any of this to Tracy?'
- coming up, followed by the script continuing with:
And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because blah, blah, blah. However, DC's notations indicate that the camera switches to a close-up of Quentin after Alex tells him his theory that Tracy is in danger and then things shift to a 2 shot after Quentin asks if Alex has mentioned anything to Tracy. Though, as we've learned from scenes in the shorter versions of the film, we can't necessarily blah, blah, blah, blah.
[pointing-up] And as far as "today's quote" goes, it was February 2nd's this time around.
Wrapping up Scene 111, beginning with today's quote -
Page 52/Scene 111 - Quentin: 'All right. I'll make a deal with you. You keep your crazy theories to yourself and I'll think about it.'
- coming up, followed by the script concluding the scene with:
ALEX
Okay.
QUENTIN
Let's go back to the house.
|
And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because blah, blah, blah. However, DC's final notations for the scene are all related to the dialogue. Rather than Quentin saying "All right" at the outset of today's quote, DC's script has that crossed out and replaced with "Wait a minute" - and the end of today's quote is changed to "I'll think about what you said" - and rather than Alex simply saying "Okay", that's crossed out and expanded to "As long as you stay out of the tower."
And coming up in the next post will be Grayson's script's version of Scene 111...
[pointing-up] And so far as "today's quote" goes, it is indeed today's, February 3rd's, this time around.
-
Revisiting how Scene 111 is scripted in Grayson's script:
It's interesting how Grayson's script's version of Scene 111 is at times very similar to DC's script's version but also different. And in certain instances I actually like bits of the dialogue in the original better than the rewrite. But I'm sure they had their reasons. For one thing, the sections about Tracy being in danger are more heavy handed in the original and, to me, telegraph too much of what's to come, so it was good that those aspects were softened.
So, without further ado, the original version of Scene 111:
111 INT - LIBRARY - DAY 111
as Quentin listens to Alex, a look of disbelief on
his face.
ALEX
Yes, she disappeared. Now don't
look at me that way. I got there
only seconds after. And she was
gone. Then the whole place fell
on my head.
QUENTIN
What are you trying to tell me?
ALEX
I think it was Angelique.
QUENTIN
OK, come on. So you saw a girl --
ALEX
No, man, it's true. That's why I
was coming here -- to tell you what
I found out. Now, obviously, I've
become a threat to her.
Quentin looks at him, just shaking his head. Alex
looks at his reference books, puts his hand on them.
ALEX
Right from your own library --
According to these, Angelique
Collins was married to a man named
Gabriel -- but was really in love
with his brother, your favorite
painter, Charles. It broke the
family apart. Any of this familiar
to you?
QUENTIN
Why should it be?
ALEX
Because of those little scenes of
yours.
QUENTIN
Oh, Alex -- they don't mean a thing.
ALEX
Yesterday you said you wanted to
talk about them.
111 CONTD CONTD 111
QUENTIN
Well, now I don't.
ALEX
Why? Because of last night?
QUENTIN
Alex -- I told you I just thought
Gerard was a burglar.
ALEX
Then why were you screaming, "She's
mine, brother. She's mine"?
Quentin just stares at him. He has no answer.
I think you were acting out one
of those daydreams. You were
Charles and you thought Gerard
was Brother Gabriel. You were
fighting over...
QUENTIN
Angelique, of course.
ALEX
Quentin, what were you doing in
the tower at two in the morning?
TRUCK IN ON CLOSE-UP OF QUENTIN. He hesitates.
He is not going to tell him about the "dream".
QUENTIN
I was working.
ALEX
By candlelight? You spend a lot
of time in that room.
QUENTIN
What in God's name are you trying
to get at?
ALEX
You're going to laugh at it...but
I think you're drawn to that room.
I'm afraid you're being taken over
by Angelique.
QUENTIN
You're right. I am laughing.
111 CONTD CONTD 111
ALEX
Well, don't.
TRUCK IN on Quentin.
There is no doubt that Charles
despised his wife Samantha. The
book says she died of drowning
and then he disappeared forever.
But suppose he killed her?
Quentin looks at him as if he is crazy.
QUENTIN
I guess according to that logic
then I'll try to kill Tracy --
right?
ALEX
It's possible.
QUENTIN
Well -- but I don't despise Tracy.
ALEX
I think you will -- if you can't
keep from going to that room.
QUENTIN
Alex, have you gone all the way.
Now you're telling me I can't stay
out of a room. I have never known
you to be so wrong before. No
matter what happened last night,
I am in complete control of myself --
ALEX
Well, if you are, then humor your
old buddy and stay away from there.
QUENTIN
All right, Alex! Enough!...I'll
think about it. But you do some-
thing for me --
Alex looks at him.
Don't give Tracy any of your crazy
theories.
ALEX
You've got a deal.
|
It's also interesting how "daydreams" is spelled correctly in Alex' dialogue in this version...
[nods]
-
With regard to Scene 111, Darren Gross posted on his Restoration Web site:
A selection of scenes cut from the 129-minute version that have been recovered:
...
On the railroad bridge, Alex tells Quentin the sordid history of Charles, Angelique, Gabriel, and Laura. Though dismissive of Alex's fears, Quentin agrees to stay away from the tower.
[nods]
-
You may or may not have noticed that when it comes to the two Angelique stills whose original post I recently revisited, the notice has been added:
(ADMIN: Edited to replace the second still with a better quality scan)
That's because I was never really pleased with the scan I'd originally posted. It was one that I'd come across on the Internet and back in 2022 I couldn't seem to get a better scan myself - some paper just doesn't always scan well and the paper used for the movies soundtrack's booklet is apparently that sort of paper. But last year I got a new scanner, so I tried scanning it again and things not only turned out much better than they had in 2022, but much better than what I'd originally posted...
[nods]
-
Revisiting how Scene 112 is scripted:
And now Scene 112 in its entirety:
CUT TO:
112 INT - FOYER - DAY 112
A worried Tracy is at the door with Alex.
|
And that's when today's first quote -
Page 53/Scene 112 - Alex: 'You're right. I'm worried about him. He is changing.'
- comes up, followed by today's second quote -
Page 53/Scene 112 - Tracy: 'But why?'
- coming up, followed in the script by:
End of scene.
And so far as any possible differences in the dialogue, the directions, and the descriptions go, we'll probably never know because this scene doesn't appear in any version of the film. And there aren't any notations in DC's script for this scene.
[nods]
-
Revisiting how the beginning of Scene 113 is scripted:
Beginning Scene 113, picking up from Scene 112:
113 EXT - COLLINWOOD - DAY 113
They walk TOWARD THE CAMERA.
|
And that's when the first part of today's first quote -
Page 53/Scene 113 - Alex: 'That's what I'm going to try to find out.'
- comes up, followed by the script continuing with:
He picks up his bike and then, looking up at the
Tower Room,
|
And that's when the second part of today's first quote -
Page 53/Scene 113 - Alex: 'Tracy...have you ever been in that room?'
- comes up, followed by today's second quote -
Page 53/Scene 113 - Tracy: 'No. Why?'
- coming up.
And so far as any possible differences in the dialogue, the directions, and the descriptions go, we'll probably never know because this scene doesn't appear in any version of the film. And there aren't any notations in DC's script for this scene.
[pointing-up] And so far as "today's" quotes go, they were February 5th's this time around.
Continuing with Scene 113, beginning with today's first quote -
Page 53/Scene 113 - Alex: 'Because I think some of our answers are there.'
- coming up, followed by today's second quote -
Page 53/Scene 113 - Tracy: 'How could that be?'
- coming up.
And so far as any possible differences in the dialogue, the directions, and the descriptions go, we'll probably never know because this scene doesn't appear in any version of the film.
[pointing-up] And so far as "today's" quotes go, they are indeed today's, February 6th's, this time around.
[nods]
-
Two posts worth revisiting related to Scene 113:
Yesterday's and today's graphics -
(http://www.dsboards.com/NoDSAnniQuoteImages/0205NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0206NoDS_1.jpg)
- have been made using different crops of this still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Entrance-1.jpg)
- which has been published on page 181 of DS Return To Collinwood...
[pointing-up] As far as "yesterday's" and "today's" graphics go, they were February 5th's and February 6th's graphics.
...this still - which has been published on page 181 of DS Return To Collinwood
But that's not the only place it's been shared because it appeared as August's photo in the Fest's 1999 Movie Calendar -
(http://www.dsboards.com/NoDSAnniQuoteImages/Entrance-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Entrance-2.jpg) for a 916X620 version)
- a version that shows more than the DSRTC version...
[nods]
-
...
... I decided to dig out some of my old issues of ShadowGram, The World of Dark Shadows and Inside The Old House, and when I glanced through issue #34 (August/September, 1989) of ITOH I discovered that I'd completely forgotten that it contains an NoDS fanfic by Kathleen Resch called For Eternity that deals with the aftermath of the 1810 events. It's written from three perspectives and three different years, the first being an 1850s narrative by one of the men who took part in Angelique's hanging, the second being from 1810 and by Charles Collins, and the third being from 1812 and by Sarah Castle. Kathleen delves into several aspects of what transpired in 1810 and afterward that the film doesn't and it's all quite satisfying. And one of the things that's most satisfying is that she gets into Gabriel's life after all the events of 1810 and ultimately what becomes of him. It's all a must read for any NoDS fan.
...
It's a shame that Alex didn't have access to the sources Kathleen cites in her piece because he would have had a lot more interesting info that he could have (privately) shared with Quentin (so as to not ruin upcoming things in the film). And the more I thought about Kathleen's piece, the more I wanted to share it, but I didn't want to have to type it all out. And with that in mind I started to look for some decent OCR software to scan the pages and pull out/save the text for me. I finally found some free software that looked good and used it today to do the first 2 pages, which I'm attaching to this post. Subsequent pages will be attached to future posts until all 9 pages have been shared.
It's a bit of a sidebar but I remember that Marcy Robin had written a pretty piece of fan fiction that appeared in either The World of Dark Shadows or Inside The Old House. It's a sequel to HODS and a prequel to NODS, as Jeff and Maggie return to visit Collinwood as part of Maggie's post Barnabas therapy. They meet Carlotta who is polite to them, informing them that David will not live there again. Carlotta does find them somewhat intriguing but will not let them interfere with what Angelique has planned. It's a pretty nice story and definitely worth being reprinted.
[pointing-up] Thanks for the info - Marcy's story sounds interesting. It would be funny if I have a copy of that too. At this point I don't know because I haven't glanced through all of the issues of TWoDS and ITOH that I dug out...
Unfortunately, after going through all of my TWoDS and ITOH issues, I didn't come across Marcy's story.
[nods]
-
Revisiting the rest of Scene 113 and revisiting Scene 114:
Continuing with Scene 113, beginning with today's first quote: Alex' reply to Tracy asking how can some of the answers they're looking for be in the Tower Room -
Page 53/Scene 113 - Alex: 'I don't know...think you could get in there?'
- coming up, followed by today's second quote -
Page 53/Scene 113 - Tracy: 'He keeps it locked and I'd rather not try.'
- coming up.
And so far as any possible differences in the dialogue, the directions, and the descriptions go, we'll probably never know because blah, blah, blah.
[pointing-up] As far as "today's" quotes, they were February 7th's this time around.
Wrapping up Scene 113 and moving beyond, first with Alex' scripted reaction to Tracy saying she'd rather not try to get into the Tower room:
He thinks for a moment longer.
|
And that's when the first part of today's quote -
Page 53/Scene 113 - Alex: 'OK...forget it.'
- comes up, followed by the script continuing with:
He climbs onto his bike and gives her a kiss on the
cheek and as he is about to peddle away:
|
And that's when the second part of today's quote -
Page 53/Scene 113 - Alex: 'Tracy, I want you to be careful.'
- comes up, followed in the script by:
113 CONTD CONTD 113
She looks at him questioningly.
|
And that's when the third part of today's quote -
Page 54/Scene 113 - Alex (Contd): 'Just be careful...keep an eye on him and if anything else happens, call me.'
- comes up, followed in the script by:
114 He EXITS THE SHOT. CAMERA TRUCKS IN ON TRACY. Then
as she crosses out toward the house, RACK FOCUS TO
CARLOTTA at the stairwell window.
|
End of sequence.
And so far as any possible differences in the dialogue, the directions, and the descriptions go, we'll probably never know because these scenes don't appear blah, blah, blah. And that's really too bad because I can just imagine the expression on Carlotta's face.
However, beginning with tomorrow's quote, the slideshow will be getting back into material that actually does appear in the film...
[pointing-up] And so far as "today's" quotes go, they are indeed today's, February 7th's, this time around.
[nods]
(Attached Page 37 concludes John Morton's narrative and begins Charles Collins...)
-
With regard to Scenes 112 - 114, Darren Gross posted on his Restoration Web site:
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
INT.FOYER. Alex talks to Tracy, exits. EXT.COLLINWOOD. Tracy tells Alex she’ll look in tower. RACK FOCUS- CARLOTTA watches from stairwell window.
And something that it seems I've continually neglected to mention most of the time is that when it comes to Scene 114 in Grayson's script she made the notation: I don't like them. How much do they know? What are they conspiring?
Well, when it comes to that first entry, it hardly comes as a surprised that Carlotta feels that way toward Alex and Tracy. Though I can just imagine what the expression on her face would have been like had we gotten to see it. But alas...
[nods]
-
Revisiting how the very start of Scene 115 is scripted:
Moving on to today's new scene:
CUT TO:
115 INT - GALLERY - DAY 115
Quentin is in the room when she ENTERS.
|
And that's when today's quote -
Page 54/Scene 115 - Quentin: 'You didn't tell Alex about...my attacking you last night.'
- comes up.
And when it comes to differences in the dialogue, the changes are written into DC's script because he has notations that when Tracy enters the room she says "Hello" to Quentin - and today's quote is completely crossed out in the script and replaced with Quentin replying "Hi. I want to thank you for not telling Alex everything."
And when it comes to differences in the directions and descriptions, even though DC has a notation that Tracy doesn't cross to Quentin until after he thanks her, what actually happens in that Tracy silently enters the room, smiles, crosses to where Quentin is sitting, kneels beside him, and then says hello - and as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0209NoDS_0.jpg)
- Quentin takes Tracy's hand in his when he thanks her.
[pointing-up] And so far as references to "today's" go, they were from February 9th this time around.
[nods]
(Attached Page 38 continues with Charles Collins...)
-
Revisiting this still from Scene 115:
Here's the first of three stills I'm sharing that are associated with Scene 115:
(http://www.dsboards.com/NoDSAnniQuoteImages/Hand-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hand-3.jpg) for a 700X476 version)
This one was first shared on the back cover of the NoDS VHS' box, though this actual still shows much more...
[nods]
-
Continuing to revisit how the beginning of Scene 115 is scripted:
Continuing Scene 115 with today's quote, Tracy's response to Quentin remark -
Page 54/Scene 115 - Tracy: 'No...I couldn't...I just couldn't. You weren't yourself.'
- coming up.
And when it comes to differences in the dialogue, what Tracy actually says is "Well, I couldn't do that. You weren't yourself", and all but the addition of the "Well" is indicated in DC's script. So now, not only is Quentin keeping secrets, but so is Tracy - but more on that below...
And when it comes to differences in the directions and descriptions, DC's script has a notation that Tracy and Quentin kiss before she delivers today's line, but that doesn't actually happen in the film, quite possibly because they decided that a kiss there would only be compounding the lie more. However, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0710NoDS_a.jpg)
- Tracy does kiss Quentin on the hand after she says he wasn't himself.
And the change in Quentin's line to saying he's thankful that Tracy didn't tell Alex everything got me to speculating as to whether or not Tracy did tell Alex everything. When I first saw NoDS I presumed she'd told him everything - but at that point I knew nothing about Scene 111 and Alex' fears that Tracy could be in danger. But if Tracy had told him about Quentin attacking her, wouldn't Alex' fears about her being in danger have played more forcefully in Scene 111 than they do, in either version of that scene? Now I suspect that perhaps Tracy did hold back at least on that account and Alex' fears for her were solely based on what he'd learned from his research.
When it comes to Quentin and Tracy, neither of them seem to be telling the entire truth to anyone, and that's the start of sending them down a road that will not end well...
[pointing-up] And so far as reference to "today's quote" goes, it was on February 10th this time around.
[nods]
(Attached Page 39 continues with Charles Collins... And I forgot to mention that in the previous attachment the "fee" in "fee his own laughter" is not a typo, that's how it appears on the page. And it's a similar case that for Page 39 the "eyes" in "the sound loud in his eyes" is not a typo because that's how it appears on the page. Perhaps only Kathleen knows if they should have been "feel" and "ears.")
-
Revisiting another still from Scene 115:
Here's the second of three stills I'm sharing that are associated with Scene 115:
(http://www.dsboards.com/NoDSAnniQuoteImages/Hand-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hand-2.jpg) for a 700X476 version)
This one was first shared on page 182 of the DS Movie Book - and interestingly, while it and that version are the same on the left side, that version shows more at the top and this version shows more on the bottom and the right...
[nods]
-
A post regarding Scene 115 that's definitely worth revisiting:
Something I've often wondered about Scene 115 is after Carlotta enters the Gallery she makes a beeline for the liquor on the sideboard, opens the ice bucket, takes out ice, and puts it in a glass before Quentin calls out her name and she turns to him, but just who is it that she's making that drink for?
(http://www.dsboards.com/NoDSAnniQuoteImages/Drink.jpg)
One might presume it's for Quentin, but neither the film nor the script gives any indication who it's for. Not even the notes Grayson made in her script for the scene give a clue because regarding that section all she wrote is "Busy making a drink." But wouldn't it be a hoot if she's making that drink for herself?! Imagine if she really does just breeze into the Gallery, completely ignoring that her employers are in there, and starts to make a drink for herself with their liquor. But then Carlotta does often act as if she owns Collinwood. Tracy even makes a remark to that effect in Scene 33, part of the first sequence that takes place in the Gallery. When it comes to Carlotta the "help" definitely doesn't know their place!! [snow_laugh]
...
[nods]
-
Continuing with how Scene 115 is scripted:
Continuing Scene 115 with the script continuing with:
He looks at her.
QUENTIN
I'm glad you didn't. Thanks.
Carlotta ENTERS with the ice tray.
|
And that's when today's quote -
Page 54/Scene 115 - Quentin: 'Carlotta. Good. I've decided not to use the tower as a studio anymore.'
- comes up.
And when it comes to differences in the dialogue, as is obvious, Quentin's lines about being glad and thanking Tracy, as well as saying "Good" after Carlotta enters were all dropped - and DC has a notation in his script that Quentin's line addressing Carlotta would begin with an "Oh..." before he says her name, but Quentin doesn't say that either.
And when it comes to differences in the directions and descriptions, Carlotta doesn't enter with an ice tray because what she actually does after she comes in is open the ice bucket, take out some ice cubes, and put them in a glass before Quentin addresses her. Getting a cocktail for herself after having witnessed Alex interfering? [wink2]
And speaking of Carlotta's attitude after she sees Tracy and Alex together and when she enters the Gallery, Grayson's script has a notation that Carlotta doesn't like how much they know and she wonders what they're conspiring? But so far as the film goes the audience was never likely to pick up on that subtext because Scene 114 isn't even in any version of the film. And also, given that Scene 111 isn't in the film as it currently stands, the audience comes away thinking that Quentin made the decision to abandon working in the Tower Room all on his own.
[pointing-up] And so far as the reference to "today's quote" goes, it was from February 11th this time around.
Scene 115 continues in the script, beginning with Tracy's reaction to Quentin's decision not to use the tower:
TRACY
(delighted)
Quentin!
|
And that's when today's quote -
Page 54/Scene 115 - Carlotta: 'You said you were painting so well there.'
- comes up.
And when it comes to differences in the dialogue, in the film Tracy doesn't actually say Quentin's name with delight because, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0712NoDS_a.jpg)
- she simply makes a happy sound and turns to him with delight - and what Carlotta actually says is "But you said you were working so well there" - and what really interesting is that Grayson has a note that Carlotta is aiming that at Tracy more so than Quentin.
And when it comes to differences in the directions and descriptions, there aren't any in this section of the scene.
However, in Grayson's script she has notations that Carlotta wonders why Quentin has made the decision not to work in the Tower Room, she feels as if the world may break apart, she shows a trace of that reaction but then covers it up, and in that moment she decides to get rid of Tracy.
[pointing-up] And as far as the reference to "today's quote" goes, it was February 12th's, this time around.
[nods]
(Attached Page 40 concludes Charles Collins...)
-
Some posts worth revisiting that discuss this point in the script from Scene 115:
Grayson made notes in her script where she explains that when Carlotta touches the locket like that, it means something to do with Angelique's spirit--it might even be called an act of communion between Carlotta and the spirit. The notes implied that this was the original base of Angelique's enhanced awareness of, and activity in the physical world. This is what it means towards the end when John Karlen's character has a line implying that Carlotta was "keeping Angelique's spirit alive." It's too bad that that line makes no sense at all in the film as chopped up for the final edit, unless you have really extraordinary powers of connecting seemingly random dots.
Great screen capture of this moment!
[pointing-up] The screen capture referred to will be shared in the next revisited post.
Grayson made notes in her script where she explains that when Carlotta touches the locket like that, it means something to do with Angelique's spirit--it might even be called an act of communion between Carlotta and the spirit.
Yes, a lot of those notes are fascinating - though in the scenes so far I don't recall getting into much of it (there was a brief reference to the locket back in Scene 33 when Carlotta explains Angelique's portrait:and Grayson's script has a notation about the locket Carlotta is wearing, and as can be seen in the following capture (which is cropped and enlarged from the actual moment on screen) -
(http://www.dsboards.com/NoDSquoteimages/0126ds91_a.jpg)
- Carlotta is indeed toying with it (though no one has yet to know the significance of that act)
). But if I recall correctly, some of those notes are actually on the cover page of Grayson's script rather than associated with specific scenes.
Great screen capture of this moment!
Grayson looks divine in her green lacy dress in today's montage!
(http://www.dsboards.com/NoDSAnniQuoteImages/0212NoDS_0.jpg)
Thanks. [ghost_smiley] I try to get the best moment for each quote.
There is a copy of Grayson's script offered for sale that includes everything except the cover page. Why they chose to leave it out is anyone's guess. But they definitely did a disservice because Grayson wrote some really interesting notes on that page.
[nods]
-
Some more posts worth revisiting related to Scene 115:
Another fab Carlotta capture today!
Anyone paying attention AT ALL should have realized that that tightly pursed pout means ALL HELL is gonna break loose!
[pointing-up] Yes, the patented Grayson Hall pout!
(http://www.dsboards.com/NoDSAnniQuoteImages/0214NoDS_0.jpg)
Anytime one of her characters sports that pout, it's best for everyone to run for the hills as fast as they can!! [ghost_grin]
I remember Grayson made very effective use of The Pout in a memorable scene in 1897. Angelique is berating Julia, telling her that she's wasting her time with Barnabas because he is a COLD, UNRESPONSIVE man.
Julia offers her The Pout, The Freeze, and DEMANDS to know, with an icily arched eyebrow: "WHO made him that way?"
It's one of the few times I've ever seen Angelique look taken aback...
The citing of "today" with regard to the screen capture refers to February 14th's screen capture this time around. Said screen capture appears in the second post above...
[nods]
-
Still continuing with how Scene 115 is scripted:
Continuing Scene 115 with yesterday's quote, Quentin's reason for not using the tower -
Page 54/Scene 115 - Quentin: 'This room seems better to me. Would you mind moving down my easel and paints tonight?'
- coming up, followed by today's quote -
Page 54/Scene 115 - Carlotta: 'If you're sure, I'll start now.'
- coming up.
And when it comes to differences in the dialogue, what Quentin actually says is "This room seems better to me. Would you mind having my easel and paints moved down tonight?" - and what Carlotta actually replies is "If you're sure, I'll start right now" - and again there's a note in Grayson's script that Carlotta is aiming that at Tracy more so than Quentin - and while that can be detected during Carlotta's delivery, immediately afterward at the outset of the long shot -
(http://www.dsboards.com/NoDSquoteimages/0714NoDS_a.jpg)
- Carlotta's expression and direct gaze really brings it home. It's a wonder that Tracy doesn't burst into flames from the fire Carlotta's eyes aim at her.
And when it comes to any differences in the directions and descriptions, there aren't any in this section of the scene.
[pointing-up] As far as "yesterday's quote" goes, it was February 13h's this time around, and "today's quote" was February 14th's this time around.
[nods]
-
Revisiting the third still from Scene 115:
Unlike the previous two stills I've shared that are associated with Scene 115, this one -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hand-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hand-1.jpg) for a 700X476 version)
- is rare as it hasn't been officially shared anywhere to my knowledge...
[nods]
-
Revisiting and wrapping up how Scene 115 is scripted:
Moving on with the scene, beginning with Quentin's response to Carlotta asking if he's sure that he wants his painting materials moved from the tower:
115 CONTD CONTD 115
He nods. Frowning, Carlotta leaves the room, as
Tracy is in Quentin's arms.
|
And that's when today's quote -
Page 55/Scene 115 - Tracy: 'Oh, darling, I won't bother you here. I swear I won't. When you were in the tower, I always felt you were so far away.'
- comes up.
And when it comes to differences in the dialogue, what Tracy actually says is "Oh, Quentin, I won't bother you down here. I swear I won't. I always felt you were so far away when you were in the tower."
And when it comes to differences in the directions and descriptions, as Carlotta leaves the room, Quentin sighs and lowers his head like he can't believe the way Carlotta reacted - and Tracy isn't in Quentin's arms because, as can be seen in today's capture -
(http://www.dsboards.com/NoDSquoteimages/0715ds91_0.jpg)
- she leans in closer to him, but they're still simply holding hands.
And both Grayson's and DC's scripts have notations for this section: Grayson's script reiterates that Carlotta has decided to get rid of Tracy - and DC's script has that the camera is supposed to pan with Tracy as she goes into Quentin's arms, which doesn't actually happen.
[pointing-up] And so far as the reference to "today's quote" goes, it was from February 15th this time around.
Wrapping up Scene 115, beginning with today's first quote -
Page 55/Scene 115 - Quentin: 'Well, I won't be anymore. So I want you to stop worrying. Everything's going to be all right.'
- coming up, followed by today's second quote -
Page 55/Scene 115 - Tracy (with great hope): 'Now I know it will.'
- coming up, followed by the scene ending in the script with:
And so far as any differences in the dialogue, what Quentin actually says is "Well, I won't be anymore. So I want you to stop worrying about it. Everything's gonna be all right." - and what Tracy actually replies is "I know. Now it will."
And so far as any differences in the directions and descriptions, Quentin and Tracy don't actually kiss at the end because the scene ends right after Tracy's lines. Whether they do kiss in the 129 minute version remains to be seen...
And speaking of the 129 minute version, tomorrow's slideshow begins yet another scene that only appears in that longer version of the film...
[pointing-up] And so far as "today's" quotes go, they are indeed today's, February 16th's, this time around.
[nods]
(Attached Page 41 begins Sarah Castle... And the "dont'" in "No, I dont' say a word" is not a typo, that's how it appears on the page.
-
Revisiting the subtitles/closed captioning (with new screen captures) for Scene 115:
When it comes to Scene 115, Tracy and Quentin exchange unscripted greetings after Tracy enters the Gallery and both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Not_Use_Tower_Blu-ray_frame_00316.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Not_Use_Tower_VHS_frame_00274.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Not_Use_Tower_VHS_frame_00319.jpg)
- reflect that - and something that's interesting is that DC's script has notations about those additions and more - first it has that when Tracy enters the room she says "Hello" to Quentin, and second Quentin's first scripted line, "You didn't tell Alex about...my attacking you last night," is completely crossed out and replaced with Quentin replying "Hi. I want to thank you for not telling Alex everything."
And both the subtitles and the closed captioning reflect that new line -
(http://www.dsboards.com/NoDSAnniQuoteImages/Not_Use_Tower_Blu-ray_frame_00425.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Not_Use_Tower_VHS_frame_00401.jpg)
- and later in the scene after arrangements have been made for Quentin to move his painting from the Tower Room to the Gallery, and after a huffy Carlotta has left the room to start proceedings to do so, what Tracy actually says is "Oh, Quentin, I won't bother you down here. I swear I won't. I always felt you were so far away when you were in the tower." - and when it comes to her last sentence the subtitles have all but her use of "always" - but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Not_Use_Tower_VHS_frame_02086.jpg)
- and to that Quentin actually replys "Well, I won't be anymore. So I want you to stop worrying about it. Everything's gonna be all right." - though when it comes to the first two sentences the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Not_Use_Tower_Blu-ray_frame_02167.jpg)
- and the closed captioning drops even more because it has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Not_Use_Tower_VHS_frame_02178.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Not_Use_Tower_VHS_frame_02191.jpg)
- completely dropping "So I want you to stop worrying about it" and rephrasing "Everything's gonna be all right."
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Hand-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hand-3.jpg) for a 700X476 version)
This one was first shared on the back cover of the NoDS VHS' box, though this actual still shows much more...
... I'd like to share a still of Angelique outside the greenhouse. But first here's something I posted last time around -
...
...I have to say that one of my favorite candid stills of Parker as Angelique is the one that appears on the back of the VHS box:
(http://www.dsboards.com/NoDSquoteimages/Ang_greenhouse_2.jpg)
And that box may be the only place it's ever been published. Or if there has been another place, I don't honestly remember where...
- however, I've since come across the actual still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Greenhouse-1.jpg) for a 700X476 version)
- which is much better quality...
And why are we revisiting those posts again? Well, 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 -
US:
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_VHS_USA.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_VHS_USA.jpg) for a 656X533 version)
Spain:
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_VHS_Spain.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_VHS_Spain.jpg) 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... [snow_huh] [snow_undecided]
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...
[nods]
-
Revisiting some old business from 2009 that's related to Scene 116:
Before tomorrow's quote from Scene 116 comes up in the slideshow, we have some pre-quote business to get into. The following three quotes, which precede tomorrow's quote -
(http://www.dsboards.com/moviesquoteimages/1003NoDS_0.jpg)
NoDS: Scene #116 - Tracy: 'I'll drive into Collinsport and
get the biggest steak anyone has ever bought.'
(http://www.dsboards.com/moviesquoteimages/1004NoDS_0.jpg)
NoDS: Scene #116 - Quentin: 'And eat it ourselves.'
(http://www.dsboards.com/moviesquoteimages/1005NoDS_0.jpg)
NoDS: Scene #116 - Tracy: 'I'll make my famed Caesar
salad...which is the only one I can make --'
- do not appear in the current slideshow but they did appear in the original Movies Slideshow because those lines were quoted in the Fest's 1999 Movie Calendar, which was the source for quotes for that slideshow...
Those three quotes originally came up on October 3rd, 4th and 5th of 2009, respectively.
And as far as "tomorrow's quote" goes, it came up this time around on February 17th.
[nods]
-
Revisiting how the beginning of Scene 116 is scripted:
Beginning the next scene:
116 INT - GALLERY - DAY 116
It's the following morning. Quentin is at easel,
relaxing, sipping a cup of coffee, as Tracy ENTERS.
Quentin stops, holds out his arms. Tracy runs to
them.
QUENTIN
Good morning!
(pointing outside)
The world is ours, the gentleman
said.
TRACY
Ours. We'll celebrate. I'll drive
into Collinsport and get the biggest
steak anyone has ever bought. We'll
charcoal it ourselves.
QUENTIN
And eat it ourselves.
TRACY
I'll make my famed Caesar salad...
which is the only one I can make --
QUENTIN
And we shall open the best wine.
She turns, sees that Angelique's portrait is gone.
116 CONTD CONTD 116
|
And that's when today's quote -
Page 56/Scene 116 - Tracy: 'What happened to her?'
- comes up.
And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because this scene only appears in the 129 minute version of the film.
And DC's script doesn't have any notations for this scene.
[pointing-up] And so far as the reference to "today's quote" goes, it was from February 17th this time around.
[nods]
-
Revisiting the conclusion of how Scene 116 is scripted:
Wrapping up Scene 116, beginning with yesterday's quote, Quentin's response to Tracy's question:
Page 56/Scene 116 - Quentin: 'Angelique? She's been retired. After years of honorable service.'
- coming up, followed in the script by:
And that's when today's first quote -
Page 56/Scene 116 - Quentin: 'Mostly so Alex will forget our non-existent ghost. Hey, let me paint --'
- comes up, followed by today's second quote -
Page 56/Scene 116 - Tracy: 'Paint on...paint on...I love you...'
- coming up, followed by the script concluding the scene with:
She EXITS. He smiles and begins painting.
|
And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because this scene only appears in the 129 minute version of the film.
...
And tomorrow the slideshow will return to scenes that appear in all versions of the film, though not necessarily lines that appear in the film...
[pointing-up] As far as "yesterday's quote" goes, it was February 18th's this time around, and "today's quote" is indeed today's, February 19th's, this time around, so it follows that "tomorrow" will be February 20th.
[nods]
-
Two posts worth revisiting related to Tracy cooking at Collinwood:
I would have loved to see Carlotta's reaction if Tracy attempted to intrude on her kitchen. [snow_wow] [snow_wow] [snow_wow]
[pointing-up] Oh God - can you even imagine?! I hadn't thought about it before you mentioned it, but the daggers Carlotta threw at Tracy when she thought Tracy had persuaded Quentin not to use the Tower room would have surely been nothing by comparison! [snow_cheesy]
[nods]
-
Revisiting this post about recent graphics:
Yesterday's and today's graphics -
(http://www.dsboards.com/NoDSAnniQuoteImages/0217NoDS_0.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/0218NoDS_0.jpg)
- have been made using different crops of this -
(http://www.dsboards.com/NoDSquoteimages/Quiet.jpg)
- which was published as part of a NoDS Movie Preview article in 16 SPEC Magazine and as far as I can recall has never been officially published anywhere else...
[nods]
-
A post definitely worth revisiting regarding the opening of Scene 117 on the VHS/Laser versus the DVD/Blu-ray and every other release of the film:
Here's another example of a music cue that rightfully doesn't play as part of a scene on the VHS/Laser but does in every other release of the film. We dealt with one such cue back when Scene 103 came up in its intended place as scripted. And this time around we're dealing with the opening of Scene 117:
Here we have the Laser version:
And here we have the Blu-ray to represent every other version:
The cue heard on the Blu-ray and others other than the VHS/Laser is obviously a segue from the end of Scene 116 (which only appears in the 129 minute version of the film - all other versions go from Scene 115 to Scene 117, as can be seen in the Laser and Blu-ray clips)
...
(ADMIN: Edited to replace VHS video with Laser video)
And as you can see, I've replaced the VHS video clip with a better quality video clip taken from the Laser disc.
[nods]
-
Revisiting how the beginning of Scene 117 is scripted:
Beginning the next sequence:
117 INT - GALLERY - DAY 117
It is later as Carlotta ENTERS. She carries the
picture of Angelique. He stops painting when he
sees her.
|
And that's when today's quote -
Page 56/Scene 117 - Quentin: 'I told you I didn't want to see that again.'
- comes up.
And as far as the differences in the dialogue go, Quentin actually says "I said I didn't want to see that again."
And as far as the differences in the directions and the descriptions go, Carlotta actually pauses for a second as she comes into the room and before Quentin notices her - and Quentin doesn't stop painting after he notices she's come in with Angelique's portrait.
And DC's script has notations that the opening of the scene is shot from a high, wide angle, and as we can see from today's capture -
(http://www.dsboards.com/NoDSquoteimages/0720ds91_0.jpg)
- it certainly is shot wide, though not high - and DC also has a notation that Quentin delivers his line in close-up, but as we can also see from today's capture, he doesn't.
...
And something else that's interesting on the DVD/Blu-ray discs is the end of the background music for Scene 116 (the harmonica/guitar version of "Love Theme From Night of Dark Shadows") is heard to play over the opening of Scene 117 because that's the way things are in the 129 minute version of the film. Things also play that way in the version of the film on Amazon and iTunes...
[pointing-up] And so far as the reference to "today's quote" goes, it was from February 20th this time around.
Continuing Scene 117, with today's quote, Carlotta's answer as to why she's brought Angelique's portrait back to the Gallery:
Page 56/Scene 117 - Carlotta: 'But it belongs here, Mr. Collins.'
And as far as the differences in the dialogue go, what Carlotta actually says "It belongs in this room."
And as far as the differences in the directions and the descriptions go, there aren't any at the point. However, DC's script has a notation that the camera switches to a 2 shot for Carlotta line, but it doesn't actually have to do that because, as I mentioned yesterday, it never switches to a close-up for Quentin.
But what's most interesting at this point are Grayson's notes for this section of the scene. She writes that Carlotta comes into the room to restore Angelique, to put her in her proper place, not to have a scene with Quentin - and that Carlotta will relate to the painting and her love for Angelique.
[pointing-up] As far as "today's quote" goes, it is indeed today's, February 21st's, this time around.
[nods]
-
The first of several posts worth revisiting featuring stills related to Scene 117:
...
... the differences between the angle of stills vs. actual footage, there's also this -
Oops - how quickly I forget [embb] -
...
And I do find it interesting that a lot of the publicity stills for the film don't exactly reflect the way scenes were shot for the film. For example, this one from this scene -
(http://www.dsboards.com/NoDSquoteimages/Q_C.jpg)
- is taken almost exactly from the reverse angle. And I've always been a bit upset that that published version is the only one that I've ever come across because it would be nice to see at least a bit more of Quentin. But then, maybe a wider version of it doesn't even exist, so perhaps I should just be grateful for what I have...
...
- that photo is published on page 254 of the DS Movies book (page 62A of the script, which features the conclusion of Scene 124 and the beginning of Scene 125):
(http://www.dsboards.com/NoDSquoteimages/Q_C-2.jpg)
And it's interesting that the book's version shows more of Quentin, which is a definite plus, and more of the room, but it crops part of the top and bottom off. Will we ever see the entire photo? [ghost_smiley]
- and to answer that final question, yes, the entire version has surfaced for sale at various places like Heritage Auctions and eBay -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-1.jpg) for a 912X700 version)
- though it seems as if it's only been offered as part of a batch of stills for sale (at Heritage Auctions as part of 9 stills in 2018 (an auction I missed) and not since and at eBay as part of a batch of 26(!) stills) and I'd rather not have to buy stills I already own just to get one that I don't, so I've never bought it under those circumstances, which is why above I'm sharing a scan made to showcase the sale rather than a scan of the actual still - however, I'm currently in the process of negotiating buying the still on its own - I was hoping to have it by now, but I have hopes of owning it soon - so once I do, I will scan it and change the above scan to a scan of the actual still...
UPDATE: The actual still has been added.
[nods]
(Attached Page 42 continues Sarah Castle...
-
[pointing-up] I forgot to mention that you will probably recall that still is #13 in the NODS Editor's Portfolio.
[nods]
-
Another one of several posts worth revisiting featuring stills related to Scene 117:
Today I want to begin to preview a moment in the slideshow from Scene 117 that will be coming up on February 28th. The following first version of the still appeared in the NoDS Pressbook -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-2a.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-2b.jpg)
- not once but twice, first as part of the above article and then separately on another page (which also happened to feature a second version of the Angelique still which was used along with the "Too Much Realism...Almost" article (which I linked to in Reply #56) and which I shared in Reply #119). Why share the same still twice, and both with the exact same caption? Who knows? [snow_rolleyes] It certainly wasn't like there was a shortage of stills that could have been shared...
But anyway, here's the actual still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-2.jpg) for a 760X566 version)
And as is obvious given the writing in the bottom right corner of the still and the numbering of it in the NoDS Pressbook, that still is #12 in the NoDS Editor's Portfoilio.
[nods]
-
Oops - backtracking a bit regarding Scene 116, I forgot to point out Darren Gross posted on his Restoration Web site:
A selection of scenes cut from the 129-minute version that have been recovered:
...
Tracy notices that Quentin has removed Angelique's portrait from the gallery.
[nods]
-
Continuing to revisit how Scene 117 is scripted:
Continuing Scene 117, beginning with yesterday's quote, Quentin's response to the portrait belonging in the room -
Page 56/Scene 117 - Quentin: 'I find it distracting. I don't want it around.'
- coming up, followed by today's quote -
Page 56/Scene 117 - Carlotta: 'There would be fewer distractions if you went back to the tower.'
- coming up.
And as far as any differences in the dialogue, there aren't any because both Quentin's and Carlotta's lines are delivered exactly as scripted.
And as far as any differences in the directions and the descriptions, there aren't any at this point. Nor are there any notations in DC's script for this section. And what's interesting about DC's script is that there's no indication that beginning with Quentin's quote from yesterday, the camera switches to a 2 shot from a different angle, as can be seen in -
(http://www.dsboards.com/NoDSquoteimages/0722ds91_0.jpg)
- yesterday's capture.
However, Grayson's notes for this section of the scene reiterate that Carlotta will relate to the painting, by touching and caressing it (although, all Carlotta really does is arrange the painting so that it stands on its side on its own). And also that Carlotta must be clear that what she's saying is important.
[pointing-up] As far as "yesterday's quote" goes, it was February 22nd's this time around, and "today's quote" is indeed today's, February 23rd's, this time around.
[nods]
-
Revisiting the subtitles/closed captioning (with a new screen capture) for Scene 117:
Near the outset of Scene 117, after Carlotta brings Angelique's portrait back into the Gallery and Quentin tells her, "I said I didn't want to see that again," Carlotta replies, "It belongs in this room." - and the subtitles do reflect both those lines - however, when it comes to Carlotta's line, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Tell_me_VHS_frame_00245.jpg)
- and something that's interesting about that is her line was originally scripted to be "But it belongs here, Mr. Collins." - and this is hardly the only instance where something that's different in the closed captioning from what's actually said in the film is more similar to what was originally scripted...
...
(ADMIN: Edited to replace TV video screen capture)
[nods]
-
Continuing to revisit how Scene 117 is scripted:
And when it comes to today's quote from Scene 117 -
Page 56/Scene 117 - Quentin: 'All right, Carlotta. What's it all about? What's going on here? Why is my working in the tower so important to you?'
- the difference in the dialogue is that what Quentin actually asks is "All right, Carlotta. What's going on around here? Why is my working in the tower room so important to you?", with the "What's it all about" part being dropped and the "What's going on here?" slightly changed even though both lines are crossed out in both DC's and Grayson's scripts. And speaking of Grayson's script, she has underlined words in Quentin's last question: "Why is my working in the tower so important to you?"
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, but Quentin actually throws his paint brush at the easel (though it bounces off and falls to the floor) before he angrily asks his questions.
And when it comes to the notations in DC's script for this section, he indicates that Quentin would be shot in closeup, but again we can see -
(http://www.dsboards.com/NoDSquoteimages/0724ds91_0.jpg)
- that's not the case.
And as an aside, it must have been an awfully cloudy/foggy day on the day they shot this scene! [nodassent] I mean, you can barely even see the horizon from the window!!
[pointing-up] And so far as the reference to "today's quote" goes, it was from February 24th this time around.
[nods]
-
And another one of several posts worth revisiting featuring stills related to Scene 117:
Here's a second still to preview the upcoming moment in the slideshow from Scene 117 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-3.jpg) for a 700X476 version)
- a cropped version of which was shared on page 77 of the DS Almanac 30th Anniversary Tribute. On the other hand, the next three stills I plan to share are all rare...
[nods]
-
Continuing to revisit how Scene 117 is scripted:
And when it comes to today's quote from Scene 117, Carlotta's response to Quentin's belief that it's important to her that he work in the tower room -
Page 56/Scene 117 - Carlotta: 'It isn't. It just seemed so ideal --'
- there is no difference in the film because it's 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, one thing that is interesting with both today's and yesterday's captures is that obviously Carlotta has turned to look at Quentin. There's no indication of that in the script or in DC's notes, but there is in Grayson's script, at least when it comes to today's quote, because Grayson has a note that Carlotta would look at him. Her notes also reiterate that it must be clear that what Carlotta is saying is important (and in this case it must mean the part about how working in the tower seems ideal because saying that Quentin working in the tower isn't important to her is quite obviously a big fat lie! [wink2]). Though something that is in DC's script is a note saying that the camera would truck back in front of Quentin till it's in back of Carlotta for a 2 shot. And while we don't actually see that camera move, we do see the 2 shot from behind Carlotta. Well, if seeing a shot that includes Carlotta's lower arm and hand can be considered a 2 shot.
[pointing-up] And so far as the reference to "today's quote" goes, it was from February 25th this time around.
Continuing Scene 117, first with the first part of today's quote -
Page 56/Scene 117 - Quentin: 'That's not the reason. (MORE)'
- coming up, followed in the script by:
117 CONTD CONTD 117
QUENTIN (Contd)
He crosses to her, looking down at her.
|
And that's when the second part of today's quote -
Page 57/Scene 117 - Quentin: 'You know about these dreams, don't you?'
- comes up.
And when it comes to the differences in the dialogue, for the second part of today's quote, Quentin actually says "You know about the dreams I've been having, don't you?", and that change is made in DC's script, with "these" crossed out and replaced with "the" and "I've been having" added.
And when it comes to the differences in the directions and the descriptions, Quentin puts down his paint palette as he moves toward Carlotta - and as Quentin accuses her of knowing about his dreams, I love the look Carlotta gives him -
(http://www.dsboards.com/NoDSquoteimages/0726NoDS_a.jpg)
- and with the slight cock to her head.
And when it comes to DC's notes, he strangely indicates that Quentin rises before he tells Carlotta that her saying his working in the tower just seemed ideal is not the reason his working in the tower is important to her. Well, unless he means Quentin's voice and anger rise, which they do.
[pointing-up] And as far as the references to "today's" quotes go, they are indeed today's, February 26th's, this time around.
[nods]
-
Yet another of several posts worth revisiting featuring stills related to Scene 117:
And here's a third still to preview the upcoming moment in the slideshow from Scene 117 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-4.jpg) for a 700X476 version)
- a still that I believe is quite rare because to my knowledge it has never been published anywhere - and it shares something in common with the next still I'll be sharing, something that's more than the obvious that it's also to promote the same moment from Scene 117 - but more on that on the 28th...
[nods]
-
Revisiting more of how Scene 117 is scripted:
And when it comes to today's quote from Scene 117, Carlotta's response to Quentin's belief that she knows about his dreams -
Page 57/Scene 117 - Carlotta: 'I don't know what you're referring to --'
- there is no difference in the film because it's 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, next to today's quote in Grayson's script she has what seems to me to be a somewhat odd note that reads "to painting". [ghost_huh] But another note on the other side of the quote makes perfect sense because Grayson has that Carlotta is thinking "Shall I tell him? Shall I tell him?"
And things really start getting good with tomorrow's quote and actions...
[pointing-up] And as far as the reference to "today's quote" goes, it is indeed today's, February 27th's, this time around.
[nods]
-
Moving along with revisiting how Scene 117 is scripted:
And when it comes to today's quote from Scene 117, Quentin's reaction to Carlotta's claim that she doesn't know what he's referring to -
Page 57/Scene 117 - Quentin: 'You know damn well what I'm referring to. [He points at the portrait --] Her. [Carlotta just stands there.] Am I dreaming it, Carlotta? Or is she real?'
- the one difference in what's quoted is that Quentin doesn't use Carlotta's name, as in he actually says "Am I dreaming it? Or is she real?" - but after delivering that in the film Quentin also pleads an unscripted "Now tell me" and then repeats for a second time "Is she real?" - though interestingly enough, in DC's script "it, Carlotta" is crosses out and replaced with "her", but obviously that's not what Quentin says.
And when it comes to any differences in the directions and the descriptions, for one, and as can be seen in today's capture -
(http://www.dsboards.com/NoDSquoteimages/0728ds91_0.jpg)
- Quentin grabs Carlotta's upper arms while he pleads with her - for two, when he refers to "Her" he doesn't point at the portrait - and for three, Carlotta doesn't simply stand there because she's uncomfortable being in Quentin's grasp, or as DC's script notes put it, being "nose to nose" with Quentin. And speaking of DC's notes, it's interesting that he indicates that when Quentin refers to "Her", the camera was supposed to pan to the portrait and then up to a close-up of Carlotta. That doesn't happen. Nor do we see Carlotta smile when Quentin refers to "Her", which is a note that Grayson made in her script. However, Carlotta does indeed get a great close-up -
(http://www.dsboards.com/NoDSquoteimages/0728NoDS_a.jpg)
- after Quentin first asks if Angelique is real - and then David Selby gets to do his always amazing anguished plea -
(http://www.dsboards.com/NoDSquoteimages/0728NoDS_b.jpg)
- when he asks a second time if Angelique is real - and then the look on Carlotta's face after that -
(http://www.dsboards.com/NoDSquoteimages/0728NoDS_c.jpg)
- is absolutely priceless because she knows that everything that she's been dying to see come out is finally going to come out. [nodassent]
And as an aside, as can also be seen in today's capture, the sun was out when that bit was shot - though observant viewers will notice that the sunlight and position change a few times in the scene. But more on that as things progress...
[pointing-up] As far as "today's quote" goes, it is indeed today's, February 28th's, this time around.
[nods]
-
And then there's this post that's worth revisiting because it features a rare still related to Scene 117:
And the last of what I'm sharing that relates to today's quote from Scene 117 is a rare version of Quentin confronting Carlotta -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-5.jpg) for a 700X650 version)
The Daytime TV caption for it reads: "Quentin goes into frenzy when Carlotta
(Grayson Hall) tells him that Gerard (James
Storm) is on his way to murder Tracy.
(Not exactly what's actually happening, and who knows where they got the idea that is was - someone definitely gave them crap
info for that one, whereas they did give good info for all the others, which makes one wonder if they didn't plan to share what the
caption says but switched and forgot to change the caption?)
- something that was also published as part of that same Daytime TV article that I've shared portions of in Reply #124 (Angelique on the stairs), Reply #286 (Gerard wielding his club) and Reply #287 (Angelique scratching Gabriel). (More from that article is yet to come, some fairly soon, one not so soon...)
It's interesting that every single still that I've shared equally features Quentin and Carlotta but in the film the moment focuses on Quentin much more than Carlotta, who is basically only seen from behind, as is apparent in today's screen capture (which is a part of the 2016 post I've linked to in Reply #413 above).
...it shares something in common with the next still I'll be sharing, something that's more than the obvious that it's also to promote the same moment from Scene 117...
And that is that in both versions Carlotta's nose is shadowed - quite possibly why we don't see them being shared all that much or not at all...
[pointing-up] Two things:
The entire Daytime TV article is shared back in Reply #1352.
The post that's referred to as as being linked to in Reply #413 is revisited above as Reply #1562.
[nods]
-
Revisiting the subtitles/closed captioning for Scene 117:
When it comes to Quentin insisting to Carlotta, "'You know damn well what I'm referring to. Her," in Scene 117, the closed captioning refers to what Quentin says in its entirety, but the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Tell_me_Blu-ray_frame_01362.jpg)
- drops the "damn well" for some reason...
...
[nods]
-
You may have wondered why yesterday's entry in this slideshow, unlike every other entry, didn't have a page number for the quote?
(http://www.dsboards.com/NoDSAnniQuoteImages/0229NoDS_0.jpg)
Scene 117 - Quentin: 'Now tell me, is she real?'
Well, if you'd read the "Current Talk Error" topic on the "Testing 1,2,3..." board, you already knew. But for those who may not have read that topic, the error on the "Current Talk" board came up because there was no entry for February 29th in the database for this slideshow, so one need to be inserted. Unfortunately, though, there wasn't any skipped dialogue in the script between the quotes for February 28th and March 1st so what I did was insert Quentin's line above, which he delivers in the film, but which wasn't scripted, thus no page number. Though technically I suppose I could have used a page number because a version of the line (just the "Is she real?" part) was handwritten into DC's copy of the script...
[nods]
-
Continuing to revisit how Scene 117 is scripted:
The script continues Scene 117 with reference to Carlotta:
TRUCK IN ON HER as she finally makes her decision.
|
And that's when today's quote -
Page 57/Scene 117 - Carlotta: 'Do you remember the little girl you saw at the window the other day?'
- comes up, followed in the script by:
CARLOTTA - QUENTIN
QUENTIN
Yes, of course I do.
|
And when it comes to the differences in the dialogue, what Carlotta actually asks is "Do you remember that little girl you thought you saw at the window the other day?", and the addition of "thought you" is indicated in both DC's and Grayson's scripts - and to Carlotta's question, Quentin actually responds with a simple "Yes."
And when it comes to any differences in the directions and the descriptions, and as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0301NoDS_0.jpg)
- the camera does indeed truck in on Carlotta as Quentin leans back up and out of frame. However, unlike what the script itself indicates and how DC's notes indicate that after Carlotta asks her question and before Quentin responds, the camera switches to a 2 shot of Carlotta and Quentin in profile, the shot actually continues to slowly truck in closer and closer on Carlotta (as we'll see in the two upcoming captures for tomorrow's and Sunday's quotes).
And when it comes to Grayson's notes for this section of the scene, she writes that before Carlotta asks her question she will again look to the painting and then to Quentin, but, again, that doesn't happen because Carlotta actually keeps her gaze completely on Quentin throughout. And it does seem odd that there are all these references in the script and in personal notes to looking at the portrait when the portrait is simply leaning on its side on the floor, so looking at it would be awkward at best. But perhaps at some point the intent was for the portrait to be hung on the wall again, even though no such indication appears in the script or in DC's or Grayson's notes...
[pointing-up] As far as "today's quote" goes, it is indeed today's, March 1st's, this time around, and the reference to "Sunday" will actually be Sunday this time around as well.
[nods]
-
Revisiting more of the subtitles/closed captioning for Scene 117:
In Scene 117, when it comes to Carlotta's explanation, she begins by asking Quentin, "Do you remember that little girl you thought you saw at the window the other day?" - and the closed captioning has exactly that - but the subtitles has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Tell_me_Blu-ray_frame_02008.jpg)
- dropping the opening "Do." Now, yes, one can still put a question mark at the end of the sentence and say "You remember that little girl you thought you saw at the window the other day?" as a question. But starting off the sentence with "Do" definitely makes it a question. So to drop that particular word is definitely the oddest word to drop. And only the person who did the subtitles knows why they made that questionable choice...
...
And something that I didn't notice until this time around (what am I always saying about how no matter how many time we watch, there's possibly still something new to catch?) is that after responding to Carlotta's question about remembering the little girl, she goes on by saying, "That little girl was Sarah Castle," and the closed captioning gets that right - however, the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Tell_me_Blu-ray_frame_02234.jpg)
- for some reason.
[nods]
(ADMIN: Edited to add a new observation.)
-
More revisiting of how Scene 117 is scripted:
And Scene 117 begins Carlotta's explanation about the little girl Quentin saw as today's quote -
Page 57/Scene 117 - Carlotta: 'Well, it wasn't your imagination, Mr. Collins.'
- comes up, followed in the script by:
QUENTIN
But you implied it was.
|
And as far as differences in the dialogue go, Carlotta actually drops the "Mr. Collins" in the film and it's also crossed out in Grayson's script - and Quentin's line is completely dropped in the film and is crossed out in both Grayson's and DC's scripts.
And as far as differences in the directions and the descriptions go, 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, next to today's quote in Grayson's script she has a notation that reads "Spell it out carefully, clearly, as to a child".
[pointing-up] So far as "today's quote" goes, it is indeed today's, March 2nd's, this time around.
[nods]
-
And more revisiting of how Scene 117 is scripted:
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 -
(http://www.dsboards.com/NoDSAnniQuoteImages/0303NoDS_0.jpg)
- 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.
...
[pointing-up] And as far as "today's quote" goes, it is indeed today's, March 3rd's, this time around.
[nods]
(Attached Page 43 concludes Sarah Castle as well as Kathleen's entire piece.)
-
A video from Scene 117 that's worth revisiting:
unlike what the script itself indicates and how DC's notes indicate that after Carlotta asks her question and before Quentin responds, the camera switches to a 2 shot of Carlotta and Quentin in profile, the shot actually continues to slowly truck in closer and closer on Carlotta
And I have to say I love the slow truck:
I think it's much more effective than a 2 shot could have ever been because the focus should be 100% on Carlotta as she delivers key info to the plot...
[nods]
-
Revisiting a post related to Scene 117 and which needs no explanation because it explains itself:
...
... the original slideshow for NoDS included this dropped line -
(http://www.dsboards.com/moviesquoteimages/1013NoDS_0.jpg)
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.
That line originally appeared as October 13th's installment.
[nods]
-
Moving along with revisiting how Scene 117 is scripted:
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.
[pointing-up] And as far as "today's" quotes go, they are indeed today's, March 4th's, this time around.
[nods]
-
Vontinuing to revisit how Scene 117 is scripted:
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:
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. [wink2]
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 -
(http://www.dsboards.com/NoDSquoteimages/0803NoDS_a.jpg)
- 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 -
(http://www.dsboards.com/NoDSAnniQuoteImages/0306NoDS_0.jpg)
- 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...).
[pointing-up] As far as "yesterday's quote" goes, it was March 5th's this time around, and "today's" quotes are indeed today's, March 6th's, this time around.
[nods]
-
Revisiting the subtitles/closed captioning (with a new screen capture) for Scene 117:
In Scene 117, when Carlotta reveals to Quentin, "I am the reincarnation of Sarah Castle. That little girl was me. I was part of everything you're now remembering," the subtitles acknowledge that perfectly - however, for some odd reason, the closed captioning changes "reincarnation" to -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Tell_me_VHS_frame_02725.jpg)
- and "incarnation" and reincarnation" are not interchangeable, so what's done in the closed captioning is actually very odd...
...
(ADMIN: Edited to replace TV video screen capture)
And something else that I didn't notice until this time around (another instance of there's possibly still something new to catch) is that after Carlotta says that she and Quentin are rare people, she goes on the say, "Not only have we lived before, but we are fortunate enough to remember." - however, both the subtitles and the closed captioning have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Tell_me_Blu-ray_frame_03291.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Tell_me_VHS_frame_03281.jpg)
- for some reason, though you'll note that "we are" is the way the line is scripted.
[nods]
(ADMIN: Edited to add a new observation.)
-
Concluding the revisit to how Scene 117 is scripted:
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 -
(http://www.dsboards.com/NoDSquoteimages/0804NoDS_a.jpg)
- as she tells Quentin that Angelique loves them, whereas, with so much hard to accept information being thrown at him, Quentin looks like -
(http://www.dsboards.com/NoDSquoteimages/0804NoDS_b.jpg)
- 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 -
(http://www.dsboards.com/NoDSquoteimages/0804ds91_1.jpg)
- is nothing if not a study in contrasts...
[pointing-up] And as far as "today's" quotes go, they are indeed today's, March 7th's, this time around.
[nods]
-
A discussion worth revisiting regarding the notes Grayson and DC made in their script:
My personal take on all this has always been that most, if not ALL, of those notes in Grayson's script represented her own thoughts on how she was going to play this out.
Grayson was a great believer in something called sub-text. In a theatrical context, this means information that an actor brings to a given scenario or action. Ordinarily, this would be augmented or perhaps changed outright by the director's notes. DC was still fairly green at this time, though, so I don't know how much he contributed to all of this. I know he was into things such as tracking shots and whip-pans. LOL.
I do remember the story of him yelling at Thayer David to hit the stake HARDER in a certain scene in hoDS. Frankly, that seems about DC's speed during this period of his life as a director.
Of course he went on to win an Emmy... which was invariably prominently displayed in every video interview he did, in later life. I always had the feeling he worked his butt off getting that thing.
Wonderful captures, MB! And wonderful job of annotating all this for us.
G.
I do remember the story of him yelling at Thayer David to hit the stake HARDER in a certain scene in hoDS. Frankly, that seems about DC's speed during this period of his life as a director.
Entirely likely!! As we've often lamented, early director DC was far more concerned with blood and gore than he was with character elements. I don't believe there's even one notation in DC's entire NoDS script (or hoDS script) that could even remotely be considered character oriented or particularly subtextural. [nodno] ::)
[nods]
-
Revisiting the final still for Scene 117:
And here's the last still I'm sharing that's associated with Scene 117 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery3-6.jpg)
- and so far as I'm aware it's never been officially published anywhere. And even though it's taken straight on and not from below, it may be the still that comes closest to how the scene -
(http://www.dsboards.com/NoDSquoteimages/0804NoDS_c.jpg)
- was actually shot, as we can see when compared to the screen shot above.
Look forward to several stills associated with upcoming Scene 119...
[nods]
-
[pointing-up] Three comments that are worth revisiting regarding the previous still:
That last still you posted of GH is stunning!
Quite an outstanding still, MB!!!
I really like that still too. When it comes to most of the others I've shared from Scene 117, I've had them for dozens of years, but I didn't come across that one until a few years ago...
[nods]
-
Revisiting how Scene 118 and the beginning of Scene 119 are scripted:
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 -
(http://www.dsboards.com/NoDSquoteimages/0805NoDS_a.jpg)
- 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. [ghost_sad] 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.
[pointing-up] And as far as "today's" quotes go, they were yesterday's, March 8th's, this time around.
And this is the graphic that's referenced for the third quote:
(http://www.dsboards.com/NoDSAnniQuoteImages/0308NoDS_2.jpg)
Page 59/Scene 119 - Carlotta's Voice (Contd): 'I knew that
something terrible was about to happen.'
[nods]
-
I'm always saying that no matter how many time we watch, there's still a possibly to notice something new. Well if you go back to Replies #1567 and #1574 you'll see that they've been edited to add a new observation to each...
[nods]
-
Picking up where we left off as we revisit how Scene 119 is scripted:
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 -
(http://www.dsboards.com/NoDSquoteimages/0806NoDS_a.jpg)
- 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.
[pointing-up] And as far as "today's" quotes go, they were yesterday's, March 9th's, this time around.
[nods]
-
Revisiting the subtitles/closed captioning (with a new screen capture) for Scene 119:
Perhaps the strangest thing I find about the subtitles on the DVD/Blu-ray is that they're supposed to be SDH subtitles, which means by definition they're subtitles for the deaf and hard of hearing, which assumes the viewers using them can't only not hear the dialogue but also important non-dialogue information so they also highlight important sounds such as sound effects, music, etc., but the subtitles rarely if ever do that. On the other hand, the closed captioning often does. The most recent example of that was back in Reply #879 for Scene 109 when the closed captioning acknowledged the sound the Greenhouse's glass ceiling makes before it comes crashing down. And now when it comes to Scene 119 the closed captioning acknowledged the sound of approaching footsteps that soon prompt Sarah to hide under the table -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Decision_VHS_frame_04951.jpg)
- but of course, the subtitles do not acknowledge that sound...
...
(ADMIN: Edited to replace TV video screen capture)
And just as an observation, I've mentioned this before, but I continue to find it so interesting that the closed captioning text displays differently depending on the VCR or TV that's decoding it. Take this case in point, in the above screen capture the text is smaller and placed in a better spot onscreen than it was when I shot video off of one of my TVs when it was doing the decoding:
(http://www.dsboards.com/NoDSAnniQuoteImages/Decision_VHS_frame_01374.jpg)
It's much better to be able to see Sarah's face than it is to have part of it covered by the closed captioning.
[nods]
-
Revisiting the subtitles/closed captioning (with a new screen capture) for Scene 119:
As Laura, Rev. Strack and Gabriel enter the Gallery in Scene 119, Laura points out, "Gabriel, you must make a decision" (a "MUST" quote!! [snow_cheesy]), and the subtitles reflect that exactly - however, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Decision_VHS_frame_05283.jpg)
- with "we" instead of "you" for a reason known only to the person who wrote it...
...
(ADMIN: Edited to replace TV video screen capture)
And I've also mentioned this before, but I continue to find it so interesting that the closed captioning text displays at different times and for different durations depending on the VCR or TV that's decoding it. The case in point here is that with the VCR I used to get the closed captioning from the VHS tape, the caption in the above screen capture disappears from the screen before Gabriel comes into view, whereas when it came to the caption that was decoded with the TV from which I shot video, it remained on view until Gabriel had come into view -
(http://www.dsboards.com/NoDSAnniQuoteImages/Decision_VHS_frame_01696.jpg)
- but as you can see, when it comes to that same frame with the VCR decoding -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Decision_VHS_frame_05296.jpg)
- the caption has already changed text.
And even though it has nothing to do with the closed captions on the VHS displaying differently, when it comes to the subtitles, Laura's line displays even longer -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Decision_Blu-ray_frame_05311.jpg)
- or at least it does in my Blu-Ray player. I wonder, if like the closed captioning, it's a case that the subtitles display differently depending on the player? Just for the fun of it one of these days I should borrow a friend's player to check it out...
[nods]
-
A discussion worth revisiting regarding the notes Grayson and DC made in their script:
My personal take on all this has always been that most, if not ALL, of those notes in Grayson's script represented her own thoughts on how she was going to play this out.
Grayson was a great believer in something called sub-text. In a theatrical context, this means information that an actor brings to a given scenario or action.
It's funny that this was revisited the other day because after I got the capture for today's 1840 entry in the "Must" slideshow, just for the fun of it because I had the time I decided to check out the bonus interview on the DVD (Collection 23, Disc 3/The Complete Original Series, Disc 115) and among other things Kate Jackson talks about this very thing and how Grayson sometimes helped her with her character's intention in a scene:
Actually, I wonder if Kate made notes in her NoDS script regarding Tracy's motivations in scenes. I've never seen anyone talk about this, so who knows how available Kate's copy of her script is? I've never seen it and if anyone I know has, they've never mentioned it. But like all the other copies of the script where an actor has made notes for their scenes, I'm sure they might prove to be an interesting read...
[nods]
-
A comment worth revisiting regarding Scene 119:
In Scene 119, after Laura brings up that a decision must be made, as we've seen in the slideshow, Gabriel is scripted to say -
(http://www.dsboards.com/NoDSAnniQuoteImages/0309NoDS_1.jpg)
Page 59/Scene 119 - Gabriel: 'You've already made it for me.
Why else would the good Reverend Strack be here?'
- but I like how for the first part he actually says, "I think you've already made that for me." - I don't know if it was Chris Pennock's or someone else's idea to add the "I think," but it was an excellent move because it softens Gabriel's line. It changes it from a statement of fact to an assumption, and that works much better because, given the way the scene plays out, it's made clear that Rev. Strack and Laura want Gabriel to give his permission for their plans (even though, as Laura states flatly, they will carry out things without him)...
...
[nods]
-
Beginning to revisit stills from Scene 119:
Here's the first of what I'm sharing that's associated with Scene 119 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery4-1.jpg)
- it's part of an article from the December 1971 issue of TV Dawn to Dusk entitled CATCHING UP WITH...The Dark Shadows Cast, which mostly focused on NoDS and shared five moments from the film, two of which (the seance and Quentin with Charles' skeleton) aren't in the film - and anyone who collected NoDS articles back in the day is aware that it was the only article to feature that shot of Gabriel, Laura and Strack - In fact, it was the only article to feature Diana Millay...
And it's too bad that they identified Diana Millay as "Diana Hilay" because other than that goof the article was very accurate...
[pointing-up] The entire TV Dawn to Dusk article is shared in Reply #1340...
[nods]
-
Continuing with how Scene 119 is scripted:
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...
[pointing-up] And as far as "today's quote" goes, it was Sunday's, March 10th's, this time around.
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 -
(http://www.dsboards.com/NoDSquoteimages/0808ds91_1.jpg)
- is still focusing on Sarah listening.
[pointing-up] And as far as "today's" quotes go, they were yesterday's, March 11th's, this time around.
-
A much better version of yesterday's still related to Scene 119:
Today I'm sharing the full still version of the photo I shared yesterday -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery4-1a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery4-1a.jpg) for a 700X526 version)
- beyond the obvious that in the actual scene at no point do Gabriel, Laura and Strack ever stand in proximity to each other in the way they do in the still, see if you can spot other differences as the actual scene plays out...
(I almost feel like we'll be playing a reworked version of 16 Magazine's SPOT THE ERRORS game - though I won't be giving any potential winner $10 for their ability to observe everything that's different. [ghost_nowink] [ghost_cheesy])
[pointing-up] And of course you'll recall that still is #3 in the NoDS Editor's Portfolio...
[nods]
-
More of how Scene 119 is scripted:
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 -
(http://www.dsboards.com/NoDSquoteimages/0809NoDS_a.jpg)(http://www.dsboards.com/NoDSquoteimages/0809ds91_0.jpg)
- 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 -
(http://www.dsboards.com/NoDSquoteimages/0809ds91_1.jpg)
- 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.
[pointing-up] And as far as "today's" quotes go, they were yesterday's, March 12th's, this time around.
(There are also screen captures with major examples for our game.)
[nods]
-
...
And even though it has nothing to do with the closed captions on the VHS displaying differently, when it comes to the subtitles, Laura's line displays even longer -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Decision_Blu-ray_frame_05311.jpg)
- or at least it does in my Blu-Ray player. I wonder, if like the closed captioning, it's a case that the subtitles display differently depending on the player? Just for the fun of it one of these days I should borrow a friend's player to check it out...
I've done just that, and while I'd thought the subtitles might not display differently depending on the Blu-ray player, apparently I was foolish. Though I probably should have known better.
On my friend's Blu-ray player not only does Laura's line still appear in the same frame as it does with my player -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Decision_Blu-ray_2_frame_05311.jpg)
- it last on screen for 18 more frames beyond it -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Decision_Blu-ray_2_frame_05329.jpg)
- also notice how on my friend's player it displays on one line rather than two - that's something that's even different from the closed captioning. With closed captioning the text may appear in a different place on screen, but if the text is two lines, it's two lines regardless of what's decoding it, and the same words always comprise the same lines.
Who knows? It's all just very strange given that regardless of what's decoding the closed captioning or subtitles, it's working with the same encoding on the VHS or disc. [snow_strange] [easter_huh]
It's also strange that my friend's player doesn't show as much on all sides of the frames...
[nods]
-
Continuing to revisit how Scene 119 is scripted:
Moving along with Scene 119:
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 -
(http://www.dsboards.com/NoDSAnniQuoteImages/0313NoDS_0.jpg)
- 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 -
(http://www.dsboards.com/NoDSAnniQuoteImages/0314NoDS_0.jpg)
- Laura is pretty much in the same spot as we last saw her.
[pointing-up] And as far as "today's" quotes go, they were yesterday's, March 13th's, this time around, so obviously "tomorrow's capture" is today's, March 14th's.
[nods]
-
More revisiting of how Scene 119 is scripted:
Picking up Scene 119 where we left off, with yesterday's quote, Strack's response to the possibility of mobs with firebrands gathering outside Collinwwod -
Page 60/Scene 119 - Strack: 'I promise you it will come to that. And soon. The strange death of Reverend Herridge. After his sermon denouncing her --'
- coming up, followed in the script by today's quote -
Page 60/Scene 119 - Laura: 'You yourself heard her say she would settle with him for that --'
- coming up.
And when it comes to any differences in the dialogue, the only difference in Strack's quote is that he says "So soon after his sermon denouncing her --" But as is probably obvious given today's graphic, Laura's quote is dropped in the film, so we have no idea if anything about it might have been different or if it was even filmed. Though unlike the quotes that were definitely dropped before filming, Laura's quote is not crossed out in DC's script, so infer from that what you will... However, I do wonder if Laura's line was dropped so as to make it more ambiguous as to whether or not Angelique was a witch? I guess we'll never know...
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. Though I do love how Laura is actually breathing heavily while Strack warns Gabriel - it's almost like she's sexually turned on plotting Angelique's demise! [b003] And Sarah is once again seen listening under the table -
(http://www.dsboards.com/NoDSquoteimages/0811NoDS_a.jpg)
- at the tail end of Strack's warning, after he mentions the strange death of Reverend Herridge.
And we'll deal with DC's next notes after tomorrow's quote comes up...
[pointing-up] And so far as "yesterday's quote" goes, it was March 14th's this time around, so obviously "today's quote" is indeed today's, March 15th's.
[nods]
-
Revisiting another still from Scene 119 (and something questionable about the DS Almanac 30th Anniversary Tribute):
Here's an alternative version of what I've shared in Replys #430 and #432 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery4-2.jpg)
- it appears on page 141 of the DS Almanac 30th Anniversary Tribute and that's the only place I'm aware of it appearing...
([pointing-up] Speaking of page 141 of that book, I've been meaning to post about this for years but at least I'm finally getting to it. There's a photo in the second row of photos on that page that may not really be associated with NoDS. And the reason I question it is because that exact same photo of Nancy Barrett is part of a whole series of photos, with her wearing the exact same clothes, that are a part of a February of 1972 TV by Day article: Page141_r2.jpg (http://www.dsboards.com/NoDSAnniQuoteImages/Page141_r2.jpg), MMMO-1.jpg (http://www.dsboards.com/NoDSAnniQuoteImages/MMMO-1.jpg), MMMO-2.jpg (http://www.dsboards.com/NoDSAnniQuoteImages/MMMO-2.jpg), MMMO-3.jpg (http://www.dsboards.com/NoDSAnniQuoteImages/MMMO-3.jpg). Now, that alone wouldn't be enough to question things because the magazine could have easily used already available photos of Nancy, but the thing is she also appears on the cover of that issue with her The Doctors costar Gerald Gordon and she's also wearing the exact same clothes: TVbyDay.jpg (http://www.dsboards.com/images/TVbyDay.jpg). If those photos were taken on the Lyndhurst grounds during the production of NoDS, what would Gerald Gordon have been doing there, particularly when Nancy didn't start on The Doctors until a month after NoDS had wrapped production? And I suppose Nancy could have worn the same clothes for a separate cover shoot so that her look would coordinate (right down to wearing the same locket) with the article's photos - but how likely is that?)
[nods]
-
Revisiting the subtitles/closed captioning (with new screen captures) for Scene 119:
After Laura questions whether Gabriel wants a mob with firebrands outside the house and Rev Strack promises it will come to that, and soon, Rev. Strack brings up "The strange death of Reverend Herridge so soon after his sermon denouncing her --" - and the subtitles reflect that exactly - however, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Decision_VHS_frame_06363.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Decision_VHS_frame_06436.jpg)
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
Continuing to revisit how Scene 119 is scripted:
Continuing Scene 119 with today's first quote -
Page 60/Scene 119 - Gabriel: 'But the scandal...'
- coming up, followed by today's second quote -
Page 60/Scene 119 - Laura: 'There will be no scandal.'
- coming up.
And when it comes to any differences in the dialogue, what Gabriel actually says is "Yes, yes, but...but the scandal..."
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 indicates that Gabriel crosses to the window as he expresses his fear of scandal, and Gabriel does indeed do that - but something that neither the script nor DC's notes mention in that Laura's line is once again delivered off screen, this time, as can be seen in today's second capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0316NoDS_1.jpg)
- because Gabriel remains on screen.
[pointing-up] And as far as the reference to "today's" quotes go, they are indeed today's, March 16th's, this time around.
[nods]
-
Revisiting more of how Scene 119 is scripted:
Continuing Scene 119 with today's quote -
Page 60/Scene 119 - Strack: 'We have selected four men from the estate, all of whom have seen proof of her witchcraft...they have sworn to remain silent forever.'
- coming up.
And when it comes to any differences in the dialogue, what Strack actually says is "We've chosen four men from the estate, each of whom has seen proof of her witchcraft...they've sworn to keep silent forever."
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 indicates that after there's a close-up of Gabriel (which we saw did take place in the capture showcased in reply #350), the camera would move back to go in on Strack (though the note says "Trask") and Laura (though the note says "Samantha"), and as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0317NoDS_0.jpg)
- that's exactly what happens as today's quote takes place.
And as for the content of Strack's quote, it would certainly seem to provide proof that Angelique is a witch. Well, that is IF the four men are really telling the truth and aren't lying, or being coerced, or being paid to say what Strack claims. And while the script gives absolutely no indication of any of those three, it will contradict the men down the line...
[pointing-up] And so far as the reference to "today's quote" goes, it is indeed today's, March 17th's, this time around, and "Reply #350" is Reply #1596 in this topic this time around.
[nods]
-
Revisiting a discussion about whether or not Angelique really was a witch:
Before moving on to today's quotes, in case you're only following the posts I'm linking to in the "And Now The Return of Another New Slideshow (Sort of) [**Now featuring alternate versions..." topic, you may want to check out the following ones which wonder about whether or not Angelique really was a witch
The dialogue in the scene at hand now is interesting because, to me at least, it strongly implies that Angelique Collins (in NoDS) really was a Witch. ...
I was saving this discussion until after we finish the script. [ghost_smiley] But...
I think that if Angelique had turned out not to be a witch...
It will be interesting after we get through the whole script. ...
[nods]
-
Continuing to revisit how Scene 119 is scripted:
Continuing Scene 119 with today's quote -
Page 60/Scene 119 - Laura: 'Gabriel -- if we must, we'll do it without you.'
- coming up.
And when it comes to any differences in the dialogue, there aren't any because today's quote is 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. There also aren't any notes in DC's script concerning today's quote. But I do have to say that I just love how Diana Millay gives a tilt to her head just as she tells Gabriel that they'll do it without him:
(http://www.dsboards.com/NoDSquoteimages/0815NoDS_a.jpg)
And the interesting thing about today's quote is that it reveals just how determined Laura is to side with Strack and to seal Angelique's fate even if Gabriel isn't on board. Would it be such a hard thing to then imagine that Laura might not coerce or pay the men to give evidence against Angelique? And Scene 67A (the piano scene) would certainly seem to show that Laura is disgusted by Charles and Angelique's affair and she holds Angelique responsible. Though, as I said yesterday, there's no indisputable evidence in the script that Laura or anyone else actually conspired against Angelique and falsely accused her of witchcraft (although Scene 67A clearly shows that Laura really does believe Angelique is a witch and that she's bewitched Charles). But subtleties could be construed...
[pointing-up] And so far as the reference to "today's quote" goes, it is indeed today's, March 18th's, this time around, and the comment "as I said yesterday" refers to what I said in what's revisited in Reply #1597.
[nods]
-
Revisiting one more still, the first of three similar stills related to Scene 119:
Here's a reminder of a still from Scene 119 that was previously posted in Reply #38:
(http://www.dsboards.com/NoDSAnniQuoteImages/Gabriel_Strack.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gabriel_Strack.jpg) for a 540X700 version)
Take note that it's in keeping with the previous stills posted and not with the way the scene is actually shot...
[nods]
-
More witch speculation worth revisiting:
More witch speculation:
... It's intriguing to imagine a version of the story where...
It's intriguing to imagine...
[nods]
-
Continuing to revisit how Scene 119 is scripted:
Wrapping up Scene 119 and moving beyond (using Grayson's script), beginning with today's quote -
Page 60/Scene 119 - Strack: 'The evil must be driven from the land -- before it destroys us all.'
- coming up, followed in the script by:
GABRIEL
(a sigh)
You are right. There is no other
way.
Strack
Sarah reacts, as Trask moves to the window, looks
down and nods.
120 EXT - COLLINWOOD - DAY 120
STRACK'S
THROUGH THE WINDOW - TRASK'S P.O.V.
Four strong men stand staring up at the window. At
Strack'sTrask's nod, they move off in the direction of the
house.
|
And as far as differences in the dialogue go, Strack actually says "This evil" - and Gabriel actually says "You're right."
And as far as differences in the directions and the descriptions go, there aren't any of either in the script that pertain to the dialogue, however, DC's script has a note that indicates that Strack (though it's still Trask in his script) crosses to Gabriel as he warns that the evil must be driven from the land, and as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0319NoDS_0.jpg)
- that is what happens - but what neither the script nor DC indicates is that while Strack is saying "before it destroys us all", as can be seen in this next capture -
(http://www.dsboards.com/NoDSquoteimages/0816NoDS_a.jpg)
the camera is actually on a close-up of Sarah - and while DC's script also has a notation that Gabriel isn't suppose to appear in the shot until after Strack is finished with his warning, obviously, as can also be seen in today's capture, that is not the case - and as can be seen in this next capture -
(http://www.dsboards.com/NoDSquoteimages/0816NoDS_b.jpg)
- Gabriel remains in the shot after Sarah's reaction to Strack's warning and before Sarah's reaction to Gabriel coming around that there is no other way - but DC's notation also indicates that the camera would whip to Sarah and truck in on her reaction to Gabriel's decision, however, the shot of Sarah's reaction is not whipped to, and as can be seen in this next capture -
(http://www.dsboards.com/NoDSquoteimages/0816NoDS_c.jpg)
- the framing of the shot remains the same as the previous shot of her and there is no trucking in - and after Sarah's final reaction shot, not only don't we see Strack go anywhere near the window, Scene 120 is actually dropped in all versions of the film.
And one thing that's interesting about Scene 119 is that there's much more of Sarah in it than is indicated in the script. But as we'll soon see, adding more of Sarah is a situation that will be quite dramatically reversed because all sorts of her stuff will be dropped left and right before too long...
And finally, the original slideshow for NoDS included this line -
(http://www.dsboards.com/moviesquoteimages/1021NoDS_0.jpg)
NoDS: Scene #119 - Gabriel: 'You're right. There is no
other way.'
- because it was quoted in the Fest's 1999 Movie Calendar, upon which the original slideshow is based.
[pointing-up] And as far as "today's quote" goes, it was yesterday's, March 19th's, this time around.
[nods]
-
Revisiting another still, the second of three similar stills related to Scene 119:
This next still, a somewhat cropped version of which appears on page 110 of the DS Companion, is more in keeping with the way Scene 119 was actually shot:
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery4-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery4-3.jpg) for a 700X900 version)
[nods]
-
Continuing to revisit the subtitles/closed captioning (with new screen captures) for Scene 119:
Despite that we hear claps of thunder earlier in Scene 119, the first time the closed captioning acknowledges one is after Rev. Strack says "This evil must be driven from the land before it destroys us all." (another "MUST" quote!! [easter_cheesy]) -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Decision_VHS_frame_07435.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Decision_VHS_frame_07462.jpg)
- and before Gabriel agrees "You're right. There is no other way." - and of course there's no acknowledgement of the thunder by the subtitles because, as I've said, for some strange reason given they're supposed to be SDH subtitles, they rarely if ever highlight any sounds...
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
Revisiting the third of three similar stills related to Scene 119:
... here's a rare alternate version of Gabriel and Strack -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery4-4.jpg)
The Daytime TV caption for it reads: "Thayer David (Rev. Strack) convinces
Gabriel that his wife Angelique must
be destroyed. Part of flashback segment.
- something that was also published as part of that same Daytime TV article that I've shared portions of in Reply #124 (Angelique on the stairs), Reply #286 (Gerard wielding his club), Reply #287 (Angelique scratching Gabriel), and Reply #414 (Quentin confronting Carlotta). (And even more from that article is yet to come, more fairly soon, and actually it's two that are not so soon...)
[pointing-up] And you'll recall that the entire Daytime TV article is shared back in Reply #1352.
[nods]
-
Revisiting how Scene 121 is scripted:
Dealing with the next two scenes in the sequence (using Grayson's script):
121 INT - GALLERY - DAY 121
|
And that's when today's first quote -
Page 61/Scene 121 - Gabriel: 'What of my brother Charles?'
- comes up, followed by today's second quote -
Page 61/Scene 121 - Strack: 'He must learn the lesson of the damned. He shall watch her die.'
- coming up, followed in the script by:
Strack
They look at each other. Trask turns, leads them
from the room. Sarah is panicked. She leaves her
hiding place and tiptoes to the corridor.
|
And as far as differences in the dialogue go, there aren't any because the dialogue is delivered exactly as scripted.
And as far as differences in the directions and the descriptions go, it's interesting how DC covers having dropped Scene 120 because following Sarah's final reaction in Scene 119, instead of seeing Strack move to the window, we see Sarah's POV of Strack walking away from Gabriel, but as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0817NoDS_a.jpg)
- Strack actually moves in the opposite direction away from the window ([hdscrt]), but from that we then see, as can be seen in this next capture -
(http://www.dsboards.com/NoDSquoteimages/0817NoDS_b.jpg)
- Strack is moving away from apparently having been at the window, and he moves toward Gabriel, who, as we can see in the next capture -
(http://www.dsboards.com/NoDSquoteimages/0817NoDS_c.jpg)
- is on Strack's opposite side from where we last saw them in Scene 119 (apparently it must have been quite the dance that Strack did to first walk in the opposite direction from the window but then to walk from the direction of the window - and all in the space of under three seconds of screen time [lghy] - but if we're feeling generous, maybe we'll just chalk it all up to the marathon editing session imposed by James Aubrey [wink2]) - and also, I love the wide-eyed expressions on Laura's face as she looks at Strack after Angelique's fate has been sealed -
(http://www.dsboards.com/NoDSquoteimages/0817NoDS_d.jpg)
- and then to Gabriel -
(http://www.dsboards.com/NoDSquoteimages/0817ds91_0.jpg)
-and then to Strack again -
(http://www.dsboards.com/NoDSquoteimages/0817NoDS_e.jpg)
- as Charles' punishment is decided - and while we do see Sarah's panicked reaction to hearing Angelique is going to die, we don't actually see Stack turn and lead Gabriel and Laura from the room nor do we see Sarah leave her hiding place and tiptoe to the corridor - ...
Also, DC has a note that before he asks about Charles, Gabriel walks to the table and then turns to them, though that's pretty obvious given the captures I've already shared. ;)
[pointing-up] And so far as "today's" quotes go, they were yesterday's, March 20th's, this time around.
[nods]
-
Another discussion worth revisiting:
Great shot of Strack today. Thayer was so perfect in that role. Of course, I know Jerry would have nailed it, too, but the nuances would have been quite different.
Great shot of Strack today.
Yes, I love that capture as well:
(http://www.dsboards.com/NoDSquoteimages/0817ds91_1.jpg)
Page 61/Scene 121 - Strack: 'He must learn the lesson of
the damned. He shall watch her die.'
Thayer was so perfect in that role. Of course, I know Jerry would have nailed it, too, but the nuances would have been quite different.
As undoubtedly interesting as it would have been to have seen Jerry Lacy as Trask, I can't even begin to imagine NoDS without Thayer David's Strack. [ghost_nowink]
Well, MB, I'm sure you can guess how I feel about Thayer's presence in the movie. Given what a huge fan I am of every moment he was ever onscreen...
...
[nods]
-
Revisiting how a dropped scene in the sequence is scripted:
Dealing with the next two scenes in the sequence (using Grayson's script):
...
122 INT - CORRIDOR - DAY 122
SARAH'S P.O.V.
Strack Laura
Trask, Gabriel and Samantha stand at the head of the
Strack
stairs. As the four men appear, Trask and Gabriel
lead them up to the tower leaving Samantha stand-
ing alone. Laura
|
...
... Scene 122 is another that is dropped from all versions of the film - though if it had appeared in any version of the film, like Scene 85 (Angelique is taken from the tower), not four, but only two of Strack's henchmen would have shown up.
...
Moving to the next two scenes in the current sequence (using Grayson's script):
123 SARAH - CLOSE-UP 123
Her eyes are wide with fright.
|
And that's when today's first quote -
Page 61/Scene 123 - Carlotta's Voice: 'I don't know how long I stood there. It seemed like hours...'
- comes up, followed in the script by:
DISSOLVE TO:
124 EXT - CORRIDOR - SARAH'S P.O.V. 124
Laura
as Mrs. Castle joins Samantha.
|
And that's when today's second quote -
Page 61/Scene 124 - Carlotta's Voice (Contd): 'Finally, my mother joined Laura and the two of them waited...suddenly the silence was shattered by the terrifying sounds from above and it was then that I saw her.'
- comes up.
And as far as differences in the dialogue go, as has probably already been surmised from the graphics for today's slideshow, neither Scene 123 nor the beginning of Scene 124 appear in the film as it currently stands, so there's no way of knowing if there might be differences in the dialogue. The scenes may not even appear in the 129 minute version. I don't recall seeing them during Darren's presentations - but with so much recovered footage being covered, it's hard to remember exactly everything, especially when Darren has to pick and choose what he shows and some recovered bits have only been shown once. For what it's worth, Scenes 123 and 124 are not included on Darren's list of the scenes/trims that weren't recovered. But then, it could also be that they aren't on that list because they were never shot. One thing that is known, though, is that, as per usual, Grayson crossed out Samantha's name in her dialogue for the start of Scene 124 and wrote in Laura's name.
And as far as differences in the directions and the descriptions go, again, with nothing that's covered here being in the film as it currently stands, there's no way of knowing if anything might be different.
And yes - Scene 124 is listed as an exterior in the script even though it should be listed as an interior...
[pointing-up] And so far as "today's" quotes go, they were yesterday's, March 21st's, this time around.
[nods]
-
Another comment worth revisiting:
...
That's a wonderful two-shot of Laura and Mrs. Castle in today's presentation. One I don't recall at all. I'm so glad they did include Clarice in this film.
And here's that graphic/caption -
(http://www.dsboards.com/NoDSAnniQuoteImages/0321NoDS_1.jpg)
Page 61/Scene 124 - Carlotta's Voice (Contd): 'Finally, my
mother joined Laura and the two of them waited...suddenly
the silence was shattered by the terrifying sounds from
above and it was then that I saw her.'
- which was part of yesterday's slidshow...
[nods]
-
Revisiting the subtitles/closed captioning (with new screen captures) for Scenes 121 & 124:
And when it comes to the loudest clap of thunder at the end of Scene 121 and into the beginning of Scene 124 (Scenes 122 & 123 are not in the film), the closed captioning reflects the sound -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Decision_VHS_frame_08453.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08474.jpg)
- unlike the subtitles...
And in a similar situation to what I showed in Reply #1584 when it came to Laura's remark as she, Strack and Gabriel enter the Gallery, when it comes to Angelique descending the stairs, you can see above that she's barely seen when it comes to how my VCR decoded the text to acknowledging the thunder, whereas when it came to the text that was decoded with the TV from which I shot video, acknowledging the thunder remained on view until Angelique had indeed come into view -
(http://www.dsboards.com/NoDSAnniQuoteImages/Don't_Cry_VHS_frame_00019.jpg)
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
Carlotta's narration of the start of Scene 124 is unscripted. She says: "She walked down the stairs so proudly. They were all afraid to touch her. I suddenly knew I would never see her again. I ran to her. I couldn't let her go." - and the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_Blu-ray_frame_00076.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_Blu-ray_frame_00152.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_Blu-ray_frame_00239.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_Blu-ray_frame_00320.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_Blu-ray_frame_00427.jpg)
- acknowledge it all almost perfectly, but more on that later...
Next up, the closed captioning...
[nods]
-
Continuing Carlotta's unscripted narration of the start of Scene 124, now with the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08529.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08615.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08721.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08802.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08861.jpg)
- acknowledging it, though not always correctly, and also more on that later...
[nods]
-
Revisiting the subtitles/closed captioning (with new screen captures) for Scene 124:
For Scene 124 part of Carlotta's narration is "They were all afraid to touch her. I suddenly knew I would never see her again." - and the subtitles completely reflect that - however, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08615.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08721.jpg)
- with "all" and "suddenly" missing for some reason...
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
Continuing to revisit how the subtitles/closed captioning deal with the opening narration of Scene 124 (with new screen captures):
When it comes to the subtitles and closed captioning, obviously we've seen and will continue to see them use variations of what's actually said in the film, but rarely do we see them skip entire lines. However, for Scene 124 they do indeed do that.
First up, after Carlotta's narration where she says, "I ran to her," Sarah screams, "No! No!" before Carlotta's narration continues with, "I couldn't let her go." - and we saw that in the subtitles' version of the narration - but the closed captioning jumps from -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08802.jpg)
- right to -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08861.jpg)
...
(ADMIN: Edited to replace TV video screen captures)
To be continued...
[nods]
-
More revisiting of how Scene 124 is scripted:
Continuing Scene 124 (using Grayson's script):
Strack
Trask and then the others file down the stairs.
Angelique stares coldly ahead, holding herself aloof
124 CONTD CONTD 124
from her persecutors. One of the men holds a
blood-soaked kerchief to his face. Charles is the
last to appear. He has already resigned himself
to her fate. As they are about to go down the
next flight, Sarah suddenly runs in, throwing her
arms around Angelique's waist.
|
And that's when today's quote -
Page 62/Scene 124 - Sarah: 'No! No! I won't let you take her! She is good! She is good!'
- comes up.
And as far as differences in the dialogue go, playing over the outset of this section of the scene is actually unscripted voiceover by Carlotta: "She walked down the stairs so proudly. They were all afraid to touch her. I suddenly knew I would never see her again. I ran to her. I couldn't let her go" - though whether or not that was always planned as a continuation of the scripted voiceover from earlier in the scene or as a replacement for it when the earlier part of the scene wasn't included in the film, who knows? (It has been mentioned that after the marathon editing session David Selby and John Karlen were called in to dub new stuff to help to make what remained make more sense, but I've never seen it mentioned that Grayson also was.) - and the end of the unscripted voiceover actually plays over Sarah's lines, which are actually "No! No! I won't let you take her!" with the "She is good! She is good!" part completely dropped. (Though it may have been shot but was simply cut because right after Sarah says that she won't let them take Angelique, the camera switches from shooting like today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0322NoDS_0.jpg)
- and focuses on a close-up of Charles that we will see as part of tomorrow's slideshow.
And as far as differences in the directions and the descriptions go, there is actually a clasp of thunder as the film makes the switch from Scene 122's proclamation by Strack that Charles shall watch Angelique die to Scene 124 and Carlotta's unscripted voiceover regarding how Angelique descended the stairs - and the interesting thing is that Angelique seems to stare at Laura almost the entire time she walks down the stairs, and the smug look on Laura's face, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0819NoDS_a.jpg)
- is absolutely priceless as Angelique reaches Laura in the second floor corridor! And if looks could kill, Laura might have been dead there and then given the way -
(http://www.dsboards.com/NoDSquoteimages/0819NoDS_b.jpg)
- Angelique looks at her. And what's also interesting is that as Angelique moves away from Laura, she has a slight smile on her face -
(http://www.dsboards.com/NoDSquoteimages/0819NoDS_c.jpg)
- as if she already knows her impending hanging will be far from the end. Though one other thing is that we don't see one of Strack's henchman, presumably the one Angelique scratched in Scene 85, holding a blood-soaked kerchief. In fact, we haven't even seen him in the scene at all yet - and the explanation for why that is will be coming in a future post...
And there are no notes in either DC's or Grayson's script for any of this section. In fact, there are no notes for any of Scene 124. Though one thing I haven't mentioned yet is that the end of Scene 124 is different/longer in DC's script from the way it is in Grayson's - and we'll deal with that once we've reached the 22nd's installment of the slideshow...
And to give you something else to look forward to, on the 23rd I'll be sharing the very first article published for the film that features photos taken of some of the first scenes shot for the film. It you've never seen the article, you might be surprised which scenes were soon to be shot after shooting began with Angelique's funeral...
[pointing-up] And so far as "today's quote" goes, it was yesterday's, March 22nd's, this time around, and the reference to the 22nd's slideshow will be the 25th's this time around...
[nods]
-
Revisiting discussing Monica Rich:
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.
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'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...
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...
Now that we're getting to the scenes with Sarah Castle, I suppose that this is as good a time as any to inquire about Monica Rich. I've heard stories over the years that DC was unsatisfied with her performance and cut out or simply did not film a lot of her scenes. The script, as published by KLS, doesn't really give Sarah a significantly larger part. Rich's imdb page doesn't list any credits other than NODS. Did Sarah have a larger part in an earlier script? And just how bad an actor did you have to be for DC to edit your part down?
Grayson's script is earlier than DC's and Sarah's part is the same in both. The interesting thing so far as cuts go is that in the scripts Sarah has more to do in Scene 56 (Angelique's funeral) but none of it is in the film. Also interestingly is that scene is a somewhat rewritten version in DC's script yet Sarah's part is still the same. And even more interestingly is that Scene 56 was the first one shot for the film so one might presume that not having worked with her yet, DC would have shot Monica Rich/Sarah's part - but if he did and it wasn't that he just didn't bother to shoot it (he could have deemed it an unnecessary character moment, which would have certainly been in keeping with how he operated), it ended up on the cutting room floor. And as we'll see in the upcoming Scenes 118 through 131 (1810 flashback), there are several instances where Sarah material is not in the film, not even the 129 minute version. In fact, there's one entire scene that is not in any version of the film...
As for how bad an actor someone had to be to have their part edited down, I never thought Monica gave a bad performance in any of her surviving material in the film, so I question how bad she could have been if what's missing really was shot. I agree with what Gothick had to say back in 2016: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.
[nods]
-
Revisiting more of how Scene 124 is scripted:
Continuing Scene 124:
Mrs. Castle tries to disengage the child.
|
And that's when today's first quote -
Page 62/Scene 124 - Mrs. Castle: 'Please, Sarah.'
- comes up, followed by today's second quote -
Page 62/Scene 124 - Sarah: 'Don't let them do it, mama! I love her so.'
- coming up.
And as far as differences in the dialogue go, Mrs. Castle actually says "Sarah, please" - and Sarah's quote is dropped from the scene, and again, who knows if it was shot or not, though as we'll see below, given the editing, it may have been shot but simply cut.
And as far as differences in the directions and the descriptions go, even though neither the script nor any notes from DC indicate it, Mrs. Castle's line is delivered off screen while, as can be seen in today's first capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0323NoDS_0.jpg)
- there's a close-up of a very forlorn Charles on screen, so who knows if the switch to Charles was because DC didn't like Monica Rich's work in those moments or DC simply wanted to insert a Charles close-up rather than just have him in the background, as he'll be seen in tomorrow's capture (and here's -
(http://www.dsboards.com/NoDSAnniQuoteImages/0324NoDS_0.jpg)
- a sneak peak). But Sarah's quote from today is not the first bit of Sarah's stuff to not appear in the film as part of Scene 124, and as we'll see when I post about tomorrow's quote, it won't be the last. Though one thing we do know for sure is that DC did express his dissatisfaction with Monica Rich's work, so take from that what you will...
[pointing-up] And as far as "today's" quotes go, they were yesterday's, March 23rd's, this time around, and the reference to the "tomorrow's capture" is actually today's, March 24th's, this time around...
[nods]
-
Continuing to revisit how the subtitles/closed captioning (with a new screen capture) skip entire lines during Scene 124. Where we left off last time in Reply #1614 is how Carlotta's narration ended with her saying in reference to Angelique, "I couldn't let her go."
...
- and then Sarah continues with "I won't let you take her." - but the closed captioning skips that and jumps right to Mrs. Castle saying -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08898.jpg)
...
(ADMIN: Edited to replace TV video screen captures)
And interestingly enough, the closed captioning actually display's Mrs. Castle's line before she even says it and it also disappears off screen before she says it...
[nods]
-
Two stills of Charles that are related to Scene 124 and that are definitely worth revisiting:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Corridor-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Corridor-2.jpg) for a 660X666 version)
- a rare still of Charles that I'm not aware of being shared ...
Another one of the rare stills I rediscovered on CD several months back. This one had been posted back in the late '90s to the AOL DS' Image Gallery:
(http://www.dsboards.com/NoDSAnniQuoteImages/Stairs.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Stairs.jpg) for a 650X829 version)
I have to confess that nowadays I have no idea what The Dark Shadows Foundation was, if I ever knew. I tried Googling and came up with zilch, so chances are either it doesn't exist anymore and/or it doesn't have an online presence...
...
[nods]
-
Concluding revisiting how the subtitles/closed captioning skip entire lines during the opening of Scene 124:
...
On the other hand, the subtitles include Carlotta's narration, as well as all of Sarah's lines, but strangely enough jumps from -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_Blu-ray_frame_00427.jpg)
- right to -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_Blu-ray_frame_00487.jpg)
- skipping Mrs. Castle's line - and interestingly enough, Angelique actually says, "Darling, don't cry," without the "Please." - could the subtitles have picked the "Please" up from the end of Mrs. Castle's line? - Who knows?
...
[nods]
-
Still revisiting how Scene 124 is scripted:
Continuing Scene 124:
Still clutching Angelique, Sarah cries bitterly as
Angelique bends to her.
|
And that's when today's quote -
Page 62/Scene 124 - Angelique: 'My darling, don't cry. Sarah, dear, don't cry, please. It will be just as if I'm away for a little while.'
- comes up, followed in the script by:
SARAH
But they said...they were going to...
She looks at Charles.
Charles...don't let them --
She cannot finish, her sobs break out again.
|
And as far as differences in the dialogue go, what Angelique actually says is "Darling, don't cry. Sarah, dear, please don't cry. It'll be just as if I've gone away for a little while" - but all of Sarah's dialogue and everything that surrounds it is dropped from the scene once again, and once again, who knows if it was shot or not, though as we'll see below in this post too, given the editing, it may have been shot but simply cut.
And as far as differences in the directions and the descriptions go, we don't actually see Sarah crying bitterly because she seems to be sobbing - and even though neither the script nor any notes from DC indicate it, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0821NoDS_a.jpg)
- a close-up of a disgusted looking Strack is actually seen while Angelique reassures Sarah that it will be just as if Angelique has gone away for a little while, and like Charles' earlier close-up, who knows if Strack's closeup was inserted because DC didn't like what he got from Monica Rich or simply because DC wanted to insert a Strack close-up?
[pointing-up] And as far as "today's quote" goes, it was yesterday's, March 24th's, this time around.
[nods]
-
Revisiting another still associated with Scene 124:
Here's the first of what I'm sharing that's associated with Scene 124 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Corridor-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Corridor-1.jpg) for a 556X1208 version)
The Flip caption for it reads: "Monica Rich plays Sarah, the 19th
century daughter of the Collins'
housekeeper. She is Angelique's only
friend in the 19th century, just as
Sarah's reincarnation, Carlotta
Drake (Grayson Hall) is Angelique's
only friend in the 20th century."
(I suppose they don't consider Charles as Angelique's "friend," given he's, uh, much more than her friend. [easter_wink] [easter_cheesy]
And it's amazing how many plot points this and other articles gave away long before the film had even opened.
But then, I've bitched about that quite often with regard to both this film and hoDS.
- it's part of Flip Magazine's Curse of Dark Shadows article, and to my knowledge it's the only place it's officially been published. But then that article, like the one from Daytime TV, is another that contains material that's exclusive to it. And interestingly enough, when it comes to Flip's article, I've never come across any of the still versions of any of its photos...
[pointing-up] And you'll recall that the entire Flip article is shared back in Reply #1331. (Clicking on the links to the larger versions will eliminate the artifacts in the photos.)
[nods]
-
With regard to Scene 124, Darren Gross posted on his Restoration Web site:
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
STAIRWAY. Sarah cries, trying to save Angelique.(trims)
[nods]
-
Continuing to revisit the subtitles/closed captioning (with new screen captures) for Scene 124:
In Scene 124, after Angelique tells Sarah, "Darling, don't cry," her next line is "Sarah, dear, please don't cry." - and the subtitles reflect that - however the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_08995.jpg)
- with the "Sarah, dear" part dropped for some reason...
...
(ADMIN: Edited to replace TV video screen capture)
And in Scene 124, after Angelique says, "Sarah, dear, please don't cry," her next line is "It'll be just as if I've gone away for a little while" - and the subtitles reflect that - however the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-Don't_cry_VHS_frame_09088.jpg)
- with "It will" instead of the "it'll" that's said in the film and the dropping of "just" and "little" for some reason...
(ADMIN: Edited to replace TV video screen capture)
...
[nods]
-
Wrapping up cisiting how Scene 124 is scripted:
Before we conclude Scene 124 as it appears in DC's script, here's how it concludes in Grayson's:
ANGELIQUE
You'll remember all the time we've
spent together...all the love we've
shared. You'll remember me.
She kisses the child goodbye.
As Mrs. Castle takes the weeping Sarah toward her
room, the others EXIT down the stairs.
|
End of scene - but this is how things play out in DC's script, beginning with the first part of today's quote -
Page 62/Scene 124 - Angelique: 'You'll remember all the time we spent together. All the love we've shared...'
- coming up, followed in the script by:
She suddenly takes off her locket.[/colot]
|
And that's when the second part of today's quote -
Page 62/Scene 124 - Angelique: 'Here. You've always thought this so pretty.'
- comes up, followed in the script by:
She slips it around the child's neck.
|
And that's when the third part of today's quote -
Page 62/Scene 124 - Angelique: 'As long as you wear this, you'll remember me.'
- comes up, followed in the script by:
124 CONTD CONTD 124
She kisses the child goodbye.
As Mrs. Castle takes the weeping Sarah toward her
room, the others EXIT down the stairs.
|
And as far as differences in the dialogue go, the first part of Angelique's quote is completely dropped in the film - and when it comes to the second part, she actually says "You always thought" rather than "You've always thought" - and when it comes to the third part, she actually says "As long as you wear this, you will remember me."
And as far as differences in the directions and the descriptions go, it isn't until after Angelique says "Here" that she pulls rather than takes off her locket - and as Angelique says "You always thought this so pretty" and for a bit beyond another clasp of thunder is heard - and rather than slip the locket around Sarah's neck, what actually happens, as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0325NoDS_0.jpg)
- is that in a close-up Angelique holds the locket up as she makes her pronouncement about it - however, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0822NoDS_b.jpg)
- the "you will remember me" part of the pronouncement plays as a double exposure of Angelique's close-up and the start of Scene 126 as Angelique lowers the locket as Scene 124 slowly fades out and Scene 126 slowly fades in. And that probably begs the question: What happened to Scene 125? Well, it's not in any version of the film and there are questions as to whether or not it was even shot. But we'll deal with Scene 125 in a post later today...
And finally, as I mentioned in reply #367, we had yet to see Strack's henchman. Well, that's because, as can be seen in the following capture, he doesn't actually appear on screen until the camera angle changes and -
(http://www.dsboards.com/NoDSquoteimages/0822NoDS_a.jpg)
- he's seen standing on stairs higher than the ones Charles is on and behind Angelique and Sarah - and notice that unlike what the script indicates, he is not holding a blood-soaked kerchief to his face. (And get your minds out of the gutter because Sarah and Angelique are not looking at Angelique's ample bosom but down at the locket after Angelique says "Here" and before she pulls the locket off.)
[pointing-up] And as far as "today's" quotes go, they were yesterday's, March 25th's, this time around, and the reference to Reply #367 refers to a post in another topic but that same post was revisited in this topic back as Reply #1614.
[nods]
-
Revisiting how Scene 125 is scripted:
And here's Scene 125:
125 INT - SARAH'S BEDROOM - DAY 125
as the door opens, Mrs. Castle and Sarah ENTER.
Sarah is still crying.
125 CONTD CONTD 125
MRS. CASTLE
Lie down on your bed, angel. Please
stay here. There's nothing we can do.
She turns to leave. Sarah runs to her.
Sweetheart, get into your bed and
pull the covers over your head.
Whatever you do, please stay away
from that window.
As she EXITS, TRUCK IN on and anguished Sarah.
|
End of scene.
And as far as the dialogue, the directions, and the descriptions go, there's no way to know if anything is different because, as I said, this scene doesn't appear in any version of the film. And obviously it's yet more Sarah material that DC decided not to include in the film, either by never shooting it or leaving it all on the cutting room floor...
[nods]
-
With regard to Scene 125, Darren Gross posted on his Restoration Web site:
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
INT.SARAH’S BEDROOM. Mrs.Castle tells Sarah not to look.
[nods]
-
Carlotta's narration of the start of Scene 126 is also unscripted. She says: "Finally the rain stopped and a cold wind swept the grounds. It was then I saw her, high in the tree, a rope around her neck. Reverend Strack stared up at her, his face a mask of hatred." - and the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_The_Tree_Blu-ray_frame_00178.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_The_Tree_Blu-ray_frame_00332.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_The_Tree_Blu-ray_frame_00406.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_The_Tree_Blu-ray_frame_00466.jpg)
- acknowledge that.
Next up, the closed captioning...
[nods]
-
Continuing Carlotta's unscripted narration of the start of Scene 126, now with the closed captioning (with new screen captures) -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_09828.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_09891.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_09982.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_10070.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_10156.jpg)
- acknowledging it...
[nods]
-
Beginning to revisit how Scene 126 is scripted:
Moving to the next scene in the current sequence (using Grayson's script again because DC didn't changed the names):
CUT TO:
126 EXT - BACK OF COLLINWOOD - DAY - HIGH ANGLE 126
The rain has finally stopped. A heavy ground mist
now swirls about the great hanging tree. Angelique
stands on a branch high up in the tree, a noose
about her neck. She is held by two of the men.
Strack
Gabriel, Quentin, Trask and the other two men stand
below. Samantha and Mrs. Castle watch from the
veranda. Laura
|
And that's when today's quote -
Page 63/Scene 126 - Strack: 'Angelique Collins, you have been condemned as a witch and you must die as a witch. Let your soul be returned to the pits of darkness forever more.'
- comes up.
And when it comes to differences in the dialogue, Scene 126 actually begins with another unscripted voiceover from Carlotta and it says "Finally the rain stopped and a cold wind swept the grounds. It was then I saw her, high in the tree, a rope around her neck. Reverend Strack stared up at her, his face a mask of hatred" - and it isn't until the voiceover concludes that Strack delivers his lines, which are actually "Angelique Collins, you have been condemned as a witch and you must die. But your spirit will not live after you. For your earthly remains will hang here until your spirit returns to the pits of darkness forever more" - and one of the interesting things about that is that during Quentin's created dream due to the enforced cuts, Strack actually does say "Angelique Collins, you have been condemned as a witch and you must die as a witch", so for some reason or other DC decided to drop the "as a witch" part in this scene. And shouldn't "forever more" actually be spelled as one word: "forevermore"?
And when it comes to differences in the directions and the descriptions, the scene doesn't quite begin with a high angle shot because, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0823NoDS_a.jpg)
- it would seem to be a ground level long shot that lasts as long as the voiceover speaks about the rain and the wind - and there is no visible ground mist - and if one looks closely there are actually five of Strack's henchmen present in the shot: two atop the platform in the tree, one standing by at the bottom of each of the two ladders, and another (though he can barely be seen due to the size of the capture) standing off to the right of the henchman that Angelique scratched - and as can be seen in this next capture, it's much clearer that Angelique and the two men are standing on a platform -
(http://www.dsboards.com/NoDSquoteimages/0823NoDS_b.jpg)
- rather than on a branch in the tree (think of how dangerous that would have been for the actors, especially with them being so high up in the tree - and Lara Parker actually commented on how dangerous it was to shoot as it is, but more on that at a later time), and that shot lasts as long as the voiceover takes to mostly describe Angelique in the tree - and as can be seen in this third capture, it's then that a high angle crane shot is used -
(http://www.dsboards.com/NoDSquoteimages/0823NoDS_c.jpg)
- to show the vantage point from higher in the tree - and it's quite clear in that capture that Mrs. Castle and Laura are not watching from the veranda - and the fifth man is also able to be seen a bit better if one spots the rope around Angelique's neck and traces it down from the tree to her. The three of them may actually be seen better in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0326NoDS_0.jpg)
- what with the fifth man in the foreground and Mrs. Castle and Laura in the background.
[pointing-up] And so far as "today's quote" goes, it was March 26th's this time around.
[nods]
-
The first post to revisit the subtitles/closed captioning for Scene 126:
As Carlotta's narration ends in Scene 126 Rev. Strack begins to speak by saying, "Angelique Collins, you have been condemned as a witch..." - and as we can see in Reply #907, the subtitles do acknowledge him addressing Angelique by name - however, the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_10259.jpg)
- does not.
...
(ADMIN: Edited to replace TV video screen captures)
[pointing-up] And the reference to Reply #907 refers to Reply #1626 this time around.
[nods]
-
As was revisited back in Reply #1628, Strack's opening lines to Angelique have some unscripted elements added: rather than simply saying "Let your soul be returned to the pits of darkness forever more," he actually says, "But your spirit will not live after you. For your earthly remains will hang here until your spirit returns to the pits of darkness forever more." - and the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Blu-ray_frame_10392.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Blu-ray_frame_10472.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Blu-ray_frame_10586.jpg)
- acknowledge that.
Next up, the closed captioning...
[nods]
-
Continuing with the unscripted elements added to Strack's opening lines to Angelique in Scene 126, now with the closed captioning (with new screen captures) -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_10406.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_10486.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_10568.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_10647.jpg)
- acknowledging it.
[nods]
-
The second post to revisit the subtitles/closed captioning for Scene 126:
...
And after Strack promises that Angelique's spirit will not live after her (whoa, how wrong is he?!!), he next begins to explain his supposed rationale for why that is by saying, "For your earthly remains will hang here..." - and the subtitles also acknowledge that - however, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_10486.jpg)
- with "For" and "earthly" missing for some reason...
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
A post worth revisiting:
...
And that's when today's quote -
Page 63/Scene 126 - Strack: 'Angelique Collins, you have been condemned as a witch and you must die as a witch. Let your soul be returned to the pits of darkness forever more.'
- comes up.
And when it comes to differences in the dialogue, ... And shouldn't "forever more" actually be spelled as one word: "forevermore"?
It's good to see that, unlike whoever typed the script, whoever was responsible for the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Blu-ray_frame_00872.jpg)
- and whoever was responsible for the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_10568.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_10647.jpg)
- both realized that "forevermore" is actually spelled as one word. [easter_wink] Something to compliment rather than find fault...
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
Continuing to revisit how Scene 126 is scripted:
Given today's graphic, it's probably obvious that today's quote -
Page 63/Scene 126 - Angelique: 'As I die, so shall all of you. For that will be my legacy --'
- is dropped in the film. And ever since reading the script I've found that bit of dialogue to be very interesting for two reason:- In a bit of upcoming dialogue in this scene Strack refers to Angelique's "threats," yet we never hear her make any.
- And seemingly cursing everyone would certainly appear to add more evidence that Angelique really is a witch.
So why keep Strack's reference to the threats but drop the actual threat? I suppose only DC knows. But again, it might have been because DC wanted the "Is she or isn't she a witch?" question to be rather ambiguous. Who knows? [idontknow]
And of course, there's no way to know if anything about the quote might have been different in the film when it doesn't appear in the film.
But changing the subject entirely, I want to share an article from the NoDS Pressbook that relates to what we're covering in the script now. If you've never seen the article or read Lara Parker's comments elsewhere (they've been quoted in a few places), you'll probably enjoy them:
(http://www.dsboards.com/NoDSquoteimages/Too_Much.jpg)
(And unfortunately none of the photos in the NoDS Pressbook scan very well. [ghost_sad] But that's probably related to the fact that they were designed to be printed in a newspaper or magazine and apparently the process for formatting photos that way doesn't play nicely with the way scanners work.)
And finally, one thing that I just realized while I was posting all this is that in the photo of Angelique's hanging in the Flip article Angelique's hands are not tied behind her like they are in the film. Not that that's an important realization, it's just interesting. Or at least to me it is. [ghost_wink] Normally we see people with their hands tied before the noose is put around their necks and not afterward because tying their hands first prevents them from interfering with the placing of the noose. But then, who knows if that photo is from the preparation to shoot the scene or even a possible rehearsal...
(ADMIN: Edited to replace rescanned article)
[pointing-up] And as far as "today's" graphic and quote go, they were March 27th's this time around.
And this is the graphic that's referenced:
(http://www.dsboards.com/NoDSAnniQuoteImages/0327NoDS_0.jpg)
Page 63/Scene 126 - Angelique: 'As I die, so shall all of you.
For that will be my legacy --'
And as you may have noticed, I rescanned to NoDS Pressbook article. The photo still isn't perfect, but it's a lot better than it was - and as is obvious from the scan, that photo is #39 in the NoDS Editor's Portfolio.
And the photo referred to from Flip's article can be seen in Reply #1331. (Clicking on the link to the larger version of the page will eliminate the artifacts in the photos.)
[nods]
-
Revisiting more of how Scene 126 is scripted:
A reworked version of today's quote from the script -
Page 63/Scene 126 - Strack: 'I ask the good Lord to forgive your blasphemy. Prepare yourself for eternity, witch.'
- is actually delivered later in the film, in Scene 129, after tomorrow's two quotes, which we'll see are from Scenes 127 and 128. So we'll deal with what Strack's actual lines are once the slideshow reaches Scene 129 on the 27th...
[pointing-up] And so far as "today's" quote goes, it was March 28th's this time around, and the reference to the 27th is actually today's, March 30th's, installment in slideshow.
[nods]
-
More posts worth revisiting:
And since there wasn't much to say about today's quote, I want to revisit these posts from almost four years ago because they related to the current scene:
There seems to be more picture information on all four sides of the 4x3. Was NoDS shot open-matte?
Yes, NODS was shot open matte, but the frames MB posted with the drawing are not identical frames. On the Blu-ray, I went to the same frame that MB posted from the VHS. The Blu-ray has very slightly more picture information on both the left and right sides as compared to the VHS. (And since this seems to confirm that the old video transfer was essentially "open frame", that explains why the DVD that I made from my laserdisc ended up looking pleasantly framed when I would watch it in zoom mode on my widescreen TV. It's essentially what the original intended to look like in the theaters.)
The old VHS/LD transfer was nearly open matte. It's a 1.33 extraction from the frame, but it's not quite edge to edge. As a result, it doesn't show quite as much on the left and right as is possible, but does show more top and bottom than is meant to be seen. In an overhead shot of Angelique hanging, you can see at the very bottom of the frame the edge of the cherry picker that the camera is on, and in the piano scene at the beginning, you can briefly spot the floor mic poking into frame on the left.
...
I have to say, though, that even though I had noticed while watching the VHS version on my computer (while getting screen caps) that occasionally the edge of something that looked like it might be metal of some sort sneaked into frame at the very bottom of some of the overheard shots during the hanging scene -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Laser_frame_11626.jpg)
- I never would have guessed it was the edge of the cherry picker - and quite honestly more often than not I don't even pay attention to that sort of stuff because I'm too caught up in the story and paying attention to the characters. [santa_wink]
Whoa - the hanging of Angelique is far less moody on the NoDS VHS without the color correction! But then, I've mentioned elsewhere in this topic that for a few different reasons I can barely even stand to look at the NoDS VHS now that I have the Blu-ray...
(ADMIN: Edited to replace VHS capture with a Laser Disc capture)
[pointing-up] Rather than "almost four years ago, they're now almost 11 and a half years ago...
Whoa - the hanging of Angelique is far less moody on the NoDS VHS without the color correction! But then, I've mentioned elsewhere in this topic that for a few different reasons I can barely even stand to look at the NoDS VHS now that I have the Blu-ray...
Yes, the Blu-ray of NoDS is really something quite gorgeous. Gosh, I'm going to have to pop it into the player again sometime soon!
[nods]
-
And wrapping up revisiting how Scene 126 is scripted and moving beyond to revisit how Scenes 127 & 128 are scripted:
Moving along with Scene 126 and beyond (this time using DC's script):
Angelique looks down at Charles.
THE GROUP - ANGELIQUE'S P.OV.
ZOOM IN TO CLOSE-UP OF CHARLES as he looks up at her.
WIDE ANGLE
With the house in the B.G., ZOOM IN TO THE UPSTAIRS
WINDOW OF SARAH'S ROOM, her face is pressed against
the glass, her eyes wide with fear.
127 INT - SARAH'S ROOM - DAY 127
THROUGH THE WINDOW - SARAH'S P.O.V.
SLOW ZOOM IN ON ANGELIQUE. Although her lips are not
moving, we hear her voice.
|
And that's when today's first quote -
Page 64/Scene 127 - Angelique's Voice: 'I have lost him, but I will have him again...you will help me, Sarah...'
- is scripted to come up, followed in the script by:
128 SARAH - EXTREME CLOSE-UP 128
|
And that's when today's second quote -
Page 64/Scene 128 - Angelique's Voice: 'You will know when the time comes...for it is your love that will keep me alive...'
- is scripted to come up.
And when it comes to differences in the dialogue, there aren't any because the quotes are delivered in the film exactly as scripted. But when it comes to where those quoted lines are actually delivered, as well as the differences in the directions and the descriptions, so, so much is different in the film than it is in the script. To begin with, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0823NoDS_d.jpg)
- the only time we see Charles look up at Angelique during what's been covered recently is after the camera pans Gabriel, Strack and reaches Charles in Scene 126 as Strack wraps up saying "until your spirit returns to the pits of darkness forevermore" - and considering that Angelique's quote for the 24th was dropped and Strack's reworked quote for the 25th was moved to Scene 129, right after we see Charles look up at Angelique in Scene 126, as can be seen in today's first capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0329NoDS_0.jpg)
- things cut immediately to Angelique looking down at Charles - however, after that, we don't see the group from her P.O.V. (and yes, in the script it's written as "P.OV."), we don't see a zoom in to a close-up of Charles as he looks up at her, and we don't see all that DC has crossed out in his script - and the reason behind all that is that, while DC has a note in his script that says there's a long lens shot of Angelique as she looks down, and that can definitely be seen in today's first capture above, the note then goes on to say that Angelique "looks up to heaven", but that doesn't happen because, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0826NoDS_a.jpg)
- immediately after looking down, Angelique actually looks over toward Sarah's window - and while DC also has a note that the wide angle shot and zoom in on Collinwood that he crossed out in his script would be replaced buy an Angelique's P.O.V. shot of the house without any zoom, that note is also crossed out in his script and the shot doesn't take place because what we actually see immediately after Angelique looks over is simply a shot of Sarah in her room, holding her doll -
(http://www.dsboards.com/NoDSquoteimages/0826NoDS_b.jpg)
- and looking out the window. However, what's interesting about all that is that Angelique's quote from Scene 127 actually plays over what we see of Charles looking up at Angelique and her looking down at him ("I have lost him"), looking over toward Sarah's window ("but I will have him again..."), and Sarah looking out the window ("you will help me, Sarah..."). Then, when things move to Scene 127, we do indeed see the slow zoom in on Angelique through the window and from Sarah's P.O.V. -
(http://www.dsboards.com/NoDSquoteimages/0826NoDS_c.jpg)
(http://www.dsboards.com/NoDSquoteimages/0826NoDS_d.jpg)
(http://www.dsboards.com/NoDSquoteimages/0826NoDS_e.jpg)
- but the beginning of the quote from Scene 128 plays over that part of Scene 127 ("You will know when the time comes...for it is your love"), while only the last part ("that will keep me alive") plays over the close-up of Sarah -
(http://www.dsboards.com/NoDSAnniQuoteImages/0329NoDS_1.jpg)
- from Scene 128 as she nods her understanding of what Angelique is somehow telling her.
[pointing-up] And as far as "today's" quotes go, they were yesterday's, March 29th's, this time around, and references to quotes from the 24th and 25th were actually on the 27th and 28th this time around.
[nods]
-
Before continuing on there are two things I forgot to revisit. First up is the final still that I shared associated with Scene 124:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Corridor-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Corridor-3.jpg) for a 700X730 version)
- a rare still that for years I thought I owned in its entirety, that is until the complete version was shared in the 2004 NY Fest Program:
(http://www.dsboards.com/NoDSAnniQuoteImages/Corridor-3a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Corridor-3a.jpg) for a 941X730 version)
A friend whose involvement in DS fandom precedes mine by several years told me that in the Shadowcon days, this still was pretty common. It gradually disappeared until it was unearthed around the time that you found it.
[nods]
-
And secondly, revisiting an issue by tying up all the various pieces in this one post:
And many people might say, "Well, duh!" and roll their eyes [easter_rolleyes] but I have to confess that it wasn't until this time around that it hit me that the hair seen behind Angelique's head in the photo I shared in Reply #452...
(http://www.dsboards.com/NoDSAnniQuoteImages/Corridor-1.jpg)
And which was revisited this time around in Reply #1620
...belongs to either Stack's henchman or Charles. Though, to be truthful, I don't even know if I paid much attention that that was a glimpse of a head of hair behind Angelique's head - and the question of who it might be is due to the fact that the one standing behind Angelique in the early part of the scene is Strack's henchmen -
(http://www.dsboards.com/NoDSquoteimages/0819ds91_0.jpg)
- before Charles joins him -
(http://www.dsboards.com/NoDSquoteimages/0821ds91_0.jpg)
- as can be seen in today's screen capture. If the still was in color, perhaps the ID would be clearer if there was a glimpse of the henchman's green jacket...
...
This screen capture that I'd posted in the "And Now The Return of Another New Slideshow (Sort of) [**Now featuring alternate versions..." topic might complicate matters because -
(http://www.dsboards.com/NoDSquoteimages/0822NoDS_a.jpg)
- for one, it makes it seem as if the photographer took the still from an angle somewhat more to his left and/or David Selby had been slightly higher or the photographer stood higher, the one behind Angelique in the still would have been Charles - but it introduces a third possibility of the person who is partially seen behind Angelique. What's interesting about that person, though, is presumably it's another of Strack's henchmen, but when we saw Scene 85 only two henchmen entered the Tower Room with Strack, so where was the third at that time, just standing outside the room while all the commotion was going on inside?
If we were strictly judging by the head of hair itself, I'd say that the head of hair behind Lara Parker in the still looks most like it's David Selby's. But the clothes the person is wearing would certainly seem to completely discount that it belongs to Selby because it's not Charles' white shirt that we see but a dark jacket, and one very similar to the one Strack's first henchman is wearing, at that. But then there is that second henchmen who shows up from out of nowhere behind Angelique and can be seen in the screen capture from the August of 2016 post and we never really see what he's wearing other than it's also something dark. Who knows?
[nods]
-
Revisiting speculation about Sarah and Angelique's relationship:
It's never quite clear to me precisely what the relationship between Angelique and Sarah is all about. Sarah seems to adore Angelique and she seems to be the only one in the house other than Quentin that Angelique demonstrates any kind of tolerance let alone affection for. Is this another DS example of a young child being bewitched? Or is there more to it than that? Is Angelique doing the prep work for the 1970's?
Honestly, I've never suspected anything underhanded on the part of Angelique when it comes to her relationship with Sarah. It just seems that for one reason of another they hit it off. Even though we would presume children had to exist in the Collins family (or else Mrs. Stoddard would have never come to exist a couple generations later), we don't see or hear about them. Perhaps they were off at boarding school (like Gabriel's children on the daytime show)? Who knows? But quite possibly Sarah was the lone child in the house and lonely. Angelique may have noticed that, felt sympathy for her, and befriended Sarah for that reason and they grew close. It's one theory...
My thing has always been to wonder what happened to Angelique after Sarah died and before Carlotta realized she was Sarah's reincarnation? Plus, there had to be some period between Sarah's death and Carlotta's birth when there was presumably no one around to keep Angelique's spirit around. Or was there some other reincarnation around that we're completely unaware of? And another thing, just how did Angelique's locket go from being in Sarah's possession to Carlotta's?
So many questions? So many subjects for fan fiction...
[nods]
-
Revisiting odd differences in the way Angelique's hanging was shot and how certain stills were taken:
Next up is something that appeared in Flip Magazine's Curse of Dark Shadows article (and you can see that version here
in that post), but in this post I'm sharing the version that appeared in the Daytime TV article:
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-5.jpg) for a 702X924 version)
The Flip caption for it reads: "Angelique is executed in the 19th
century for her adultery with
Charles Collins."
And the Daytime TV caption reads: "Flashback segment of film shows Angelique was
hung as adulteress and witch in 19th century."
And you'll note that the henchmen who share the platform with Angelique in the photo are the same two who share it with her in the film, as today's first scrren capture shows:
(http://www.dsboards.com/NoDSquoteimages/0826ds91_0.jpg)
However, they are not the same two who share the platform with her in this still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-6.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-6.jpg) for a 467X700 version)
And what's most fascinating about the two sets of men is that footage of both sets exists. As I've shown, the first set appears in the film in several three shots atop the platform, but if you're observant, you'll notice that the second set also appears in the film as well as in footage that appear in some of the NoDS trailers -
(http://www.dsboards.com/NoDSquoteimages/Hang_henchman.jpg)
- here's the footage from the trailers -
- but note that there's a jump cut in the film -
- more than likely so as not to show the henchman on the left's face, which no doubt would have had people in the audience saying, "Hey, how did he get up there when it was a different guy earlier?"
[nods]
-
[pointing-up] When I made the above post back in 2022 I'd completely forgotten that the second still I shared had actually been originally shared on the Frequently Asked Questions (FAQ) page of Darren's NoDS Restoration Web site with the following caption:
(From Left) 2nd Assistant
Director Alan Wertheim,
Lara Parker (Angelique),
and DGA trainee Mike
Haley pose for this fun
shot. (Photo courtesy
Mike Haley.) | (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-6.jpg) |
And that caption at least explains who the second set of men are and why they were posing with Lara for that still. Though of course, it doesn't explain why there is footage of them in both the film and the trailers...
Another thing to notice is how different Angelique's hair is in the two instances, full hairstyle versus very flattened. Not the greatest of continuity. But then, when the 2nd Assistant Director and the DGA trainee were up on the platform it probably wasn't the plan that anything related to that time would end up in the film or the trailers...
(Though those changes are hardly the only examples of changes in Angelique hair in the same scene because we've pointed out such changes when it comes to Scene 85 -
...
One really has to wonder how Angelique's somewhat flattened hair (due to Charles running his hands through it) -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower3c-10291.jpg)
- suddenly becomes as big as it is, especially at the end of Scene 85 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower3a-00313.jpg)
- but perhaps that's even more evidence that Scene 85 was shot over the course of a few days... (Or is it evidence that Angelique really was a witch and had cast a spell so that her hair would go back to being perfectly coiffed no matter what Charles did to it during their, uh, amorous interludes? [snow_wink] [snow_cheesy])
...
- in the tower room.)
[nods]
-
And this posts marks the beginning of revisiting some stills related to Scenes 126:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Charles_16Mag.jpg)
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Charles_official.jpg)
...
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Charles_16_a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Charles_16_a.jpg) for a 708X563 version)
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Charles_tree.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Charles_tree.jpg) for a 700X540 version)
[pointing-up] And you may recall that a cropped version of the still directly above is #43 in the NoDS Editor's Portfolio.
[nods]
-
More revisiting of some stills related to Scenes 126:
And I've shared these as part of Flip Magazine's Curse of Dark Shadows article, but not on their own:
(http://www.dsboards.com/NoDSAnniQuoteImages/CoDS_P1-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/CoDS_P1-1.jpg) for a 989X1201 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/CoDS_P2-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/CoDS_P2-3.jpg) for a 569X1201 version)
The Flip caption for it reads: "Chris Pennock plays Gabriel Collins,
19th century brother of Charles
and husband of Angelique."
And just as with the Angelique/Sarah photo shared in Reply #452, to my knowledge it's the only place these two have officially been published.
And I'd shared this -
...
(http://www.dsboards.com/NoDSAnniQuoteImages/D_in_m.jpg)
...
- but I didn't share the actual still:
(http://www.dsboards.com/NoDSAnniQuoteImages/D_in_m-a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/D_in_m-a.jpg) for a 590X700 version)
[nods]
-
After Angelique communicates with Sarah (if Angelique isn't a witch, at the very least she was telepathic!) Strack has a mostly unscripted rant - and the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Blu-ray_frame_11278.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Blu-ray_frame_11364.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Blu-ray_frame_11444.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Blu-ray_frame_11527.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Blu-ray_frame_11630.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Blu-ray_frame_11831.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Blu-ray_frame_12002.jpg)
- acknowledge that.
Next up, the closed captioning...
[nods]
-
Continuing Strack's rant, now with the closed captioning (with new screen captures) -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_11266.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_11341.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_11426.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_11530.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_11618.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_11686.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_11829.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_11988.jpg)
- acknowledging it.
[nods]
-
I'm sure you've noticed that when it came to the closed captioning version of Strack's rant there's a problem with how "For thy sake in thy name!" displays -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_11618.jpg)
- and as you may recall in the past whenever something like that popped up I checked to see how the TV video version displayed - and while the problem isn't exactly the same, the same two letters don't display, but the weird thing is they're replaced by -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_2_frame_11695.jpg)
- only one box - who knows? - ours is not to try to figure such things out.
Of course, all that prompted me to fiddle around with different settings for the closed captioning on my VCR because doing so has corrected such displays in the past - but no luck this time around because no matter what I tried, the line still displayed with two boxes in place of the letters.
[nods]
-
Revisiting more stills:
And here's something that's fairly rare, because it had only been published in the Nov. '71 edition of 16 Magazine -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-1.jpg)
- as part of an article entitled Sneak Peak at NIGHT OF DARK SHADOWS until it showed up in 2012 on page 186 of the DS Return To Collinwood book. And here's a still of it:
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-1a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-1a.jpg) for a 700X693 version)
Interestingly, Charles, Strack and Strack's henchman were never seen in the film standing in front of Collinwood like they're posing - but then, so many stills are posed for in ways that don't directly correlate to the film. And who knows who told 16 Magazine that the flashback takes place in the 1880s (well, unless that's a typo)? Maybe they should have stuck to referring to the time frame as the "19th century." [easter_wink]
And just when you might think there couldn't possibly be another head shot of Charles from this sequence, here comes this very rare one:
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-2.jpg) for a 718X900 version)
[nods]
-
Revisiting more of how the sequence is scripted - and I actually suspect Scene 131 may be misnumbered and should probably be Scene 130 and the the dissolved to scene that will come in the script excerpt should probably be numbered 131:
Moving on to the next two scenes in the sequence:
129 EXT - COLLINWOOD - DAY - HIGH ANGLE 129
Looking directly down on Angelique.
|
And that's when today's quote -
Page 64/Scene 129 - Strack: 'May the devil take his own!'
- is scripted to come up, followed in the script by:
Suddenly Angelique drops from the branch. As the
rope goes taut, her body jerks to a sudden stop.
WHIP PAN up to Sarah's window and ZOOM IN TO HER
HORRIFIED FACE as she SCREAMS and runs from the
sight. NOTE: THIS IS THE SAME SCENE QUENTIN SAW
IN ONE OF THE EARLIER MEMORY CUTS.
131 EXT - GROUNDS - DAY - HIGH ANGLE 131
The body hangs from the tree as the men descend
the ladder to the ground. Then everyone SLOWLY
EXITS THE SHOT.
|
And when it comes to differences in the dialogue, what Strack actually prefaces today's quote with is "Oh Lord, Thou hast heard her threats. Protect us from her evils. Guard us with Thy invincible strength. For Thou knowest that we do what we must for Thy sake, in Thy name. Amen. Prepare yourself for eternity, witch" - and after all that is when Strack actually says "Let the devil take his own!"
And when it comes to the differences in the directions and the descriptions, as can be seen in the following capture -
(http://www.dsboards.com/NoDSquoteimages/0827NoDS_a.jpg)
- Scene 129 would certainly seem to actually open with the exact same ground level long shot that Scene 126 opens with, though it lasts longer (for the duration of Strack invoking "Oh Lord, Thou hast heard her threats. Protect us from her evils. Guard us with Thy invincible strength" - and it isn't until after that that things switch to being shot from the high angle looking down on Angelique -
(http://www.dsboards.com/NoDSquoteimages/0827NoDS_b.jpg)
- and it is different footage from what we've seen before because we can actually see Strak's lips move exactly with his continued invocation as he says "For Thou knowest that we do what we must for Thy sake, in Thy name. Amen. Prepare yourself for eternity, witch" - and after that things switch to a shot of Angelique and the two men holding her -
(http://www.dsboards.com/NoDSquoteimages/0827NoDS_c.jpg)
- with her quite understandably looking quite upset and the man on her right turning to look at her - and it's after that that we then see Charles, Strack and Gabriel shot from below, as they are in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0330NoDS_0.jpg)
- and Strack orders "Let the devil take his own!" and Angelique, also shot from below, falls from the platform -
(http://www.dsboards.com/NoDSquoteimages/0827NoDS_d.jpg)
- though in the 94 minute version of the film we do not see Angelique's body jerk to a sudden stop because that is only seen in the 97 minute and 129 minute versions of the film (and more on that in a future post) - and while we do see Sarah scream and run from her window (and also more on that in the future post), we don't see a whip pan or a zoom in to her, but what we do see afterward is a shot Charles having been looking back at her -
(http://www.dsboards.com/NoDSquoteimages/0827NoDS_e.jpg)
- to tie things into Quentin's memory back in Scene 75, and Charles then turn to look back -
(http://www.dsboards.com/NoDSquoteimages/0827NoDS_f.jpg)
- to watch things that only happen in the 97 minute and 129 minute versions of the film (and also more on that in the future post) - and when it comes to Scene 131 (which I honestly believe should be numbered 130 - but more on that in another future post), while Angelique's body is hanging up in the tree, and while we do see the main characters exit the shot, the men do not descend the ladder to the ground because in fact the two men atop the platform remain and as the main characters move toward Collinwood, one of men moves to one of the ladders -
(http://www.dsboards.com/NoDSquoteimages/0827NoDS_g.jpg)
- and then -
(http://www.dsboards.com/NoDSquoteimages/0827NoDS_h.jpg)
- climbs up it.
[pointing-up] And as far as "today's" quote and capture go, they were March 30th's, this time around.
[nods]
-
Revisiting Strack's dream voiceover versus his rant in the actual hanging scene:
... Strack's dream voiceover ... it's different from how Strack's condemnation plays during the actual hanging:
The dream:
STRACK
Angelique Collins, you have been
condemned as a witch and you must
die as a witch. Let your soul be
returned to the pits of darkness
forevermore. For thou knowest we
do what we must for thy sake, in
thy name. Amen. Prepare yourself
for eternity, witch. Let the devil take
his own!
The hanging (edited down to being more similar to the dream voiceover):
STRACK
Angelique Collins, you have been
condemned as a witch and you must
die. But your spirit will not live after
you for your earthly remains will
hang her until your spirit returns to
the pits of darkness forevermore.
...
For thou knowest that we do what we
must for thy sake, in thy name.
Amen. Prepare yourself for eternity,
witch. Let the devil take his own!
Interestingly enough, the "Angelique Collins, you have been condemned as a witch and you must die as a witch. Let your soul be returned to the pits of darkness forevermore" part of the dream's voice over is the way it's written in the script for the hanging, but it's actually delivered as "Angelique Collins, you have been condemned as a witch and you must die. But your spirit will not live after you for your earthly remains will hang her until your spirit returns to the pits of darkness forevermore."
And unfortunately, if Darren has shown what actually plays in the 129 minute version in the place that the dream currently appears - if it is indeed the dream or some portion thereof - I'm not sure because I'm pretty certain I've never seen it if it was shown because I would remember because it's a big question I have regarding the 129 minute version...
...
[nods]
-
Revisiting these videos of Angelique's hanging:
Here are two of the three things that I said would be coming in a future post. Thanks to the fact that several of the NoDS trailers/TV spots contain material missing from the 94 minute version of the film (and also from the 97 minute version - but we won't be dealing with that stuff for a while yet) I've been able to make two videos of material that was cut from Angelique's hanging. However, first up here's how Angelique's hanging appears in the 94 minute version of the film:
Now how Angelique was intended to be seen dropping from the platform, as the rope goes taut her body jerks around, and as one of Strack's henchmen reaches to grab the rope:
And here's how Angelique was intended to be see as the henchmen pull her body up (which is what Charles sees when he turns back):
Enjoy! Especially when who knows when we might actually see either sequence in a restored 129 minute version...
(ADMIN: Edited to add videos and remove animated GIFs)
[nods]
-
Revisiting more stills:
Here are the next two. First up, a still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-3.jpg) for a 700X479 version)
- that I first saw a (cropped) B&W version on page 26 of the movies soundtrack's booklet, and then a cropped color version showed up on page 183 of the The DS Movie Book.
And then, getting back into rare stuff, there's this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-4.jpg) for a 782X526 version)
- which is part of the NoDS Herald (http://www.dsboards.com/NoDSquoteimages/Herald.jpg), a four page booklet that was made available to theaters via the NoDS Pressbook for them to distribute in various locations to promote the film...
[nods]
-
An interesting situation to revisit:
Before I share the next thing that I want to, I should mention that The DS Movie Book is filled with actual stills from both film. So, one would presume all the photos shared are stills. But then there's this first thing that I want to share today, presumably a still that appears on page 254 of The DS Movie Book of Sarah screaming in the window of her bedroom:
(http://www.dsboards.com/NoDSAnniQuoteImages/Sarah_scream1a.jpg)
And on the Internet there's a color version that purports to be the same still, and it might very well be an actual still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Sarah_scream1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Sarah_scream1.jpg) for a 853X480 version)
However it comes across much more like a screen capture because one could take a screen capture from the NoDS DVD/Blu-ray that would look exactly like it. But the interesting thing there is the NoDS DVD/Blu-ray wasn't released until 2012, whereas The DS Movie Book was published in 1998. And in 1998 the only readily available version of NoDS was the one with the 4X3 aspect ratio that was released on VHS. There wasn't even any 16X9 version being shown anywhere on television. So, if it was a 16X9 screen capture rather than a still, it's fascinating to wonder where it came from and how it was taken...
But be all that as it may, as I'd posted back in 2016, I'd never realized until getting captures for that year's NoDS slideshow the three versions that we see in the film of Sarah screaming at the window:- Quentin's "memory" in Scene 75
- In Scene 80 when Quentin recalls back what he saw
- And when Charles sees Sarah in Scene 129
are not only all different in some way or other, but they're actually three completely different takes of Sarah screaming. Check these new video versions:
[nods]
-
Revisiting yet more stills:
Now I want to share a still of the hanging Angelique that has an interesting history in the PomPress books -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-7.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-7.jpg) for a 700X476 version)
- because it's appeared in two different books. A fairly cropped B&W version first showed up on page 141 of the DS Almanac 30th Anniversary Tribute, and then 3 years later a somewhat less cropped color version showed up on page 183 of The DS Movie Book. It may actually be the only still to appear in two different PomPress books, though once in B&W and then in color.
And while were on the subject of Angelique's hanging, it's really quite interesting how the action itself appears so briefly in the way the film currently stands. When it comes to her body falling from the platform, all that's seen is what I've already revisited in the first video clip in Reply #1651. Whereas, what was intended to be seen and is seen in the 97 and 129 minute versions of the film, as well as one of the trailers is what I've already revisited in the second video clip in Reply #1651. And then there's the footage of Angelique body being pulled up, which, again, only appears in the 97 and 129 minute versions of the film, as well as some on the trailers. One can't help but wonder what Lara Parker thought after she'd been harnessed up for that shot only to have it completely missing from the 94 minute version of the film?
And Angelique's body being pulled up isn't the only thing that's missing because once her body is high up in the tree, the henchmen tie the rope off and her body swings as the tree branch creaks. Shortly Charles turns away and moves toward the house. The other household members and Strack soon follow, which, after Charles turns away from having seen Sarah screaming in her window, is where the 94 minute version picks up as one of the henchmen moves to the bottom of one of the ladders and begins to climb up.
Thankfully, though, a still of Charles having turned away and making his way to the house does exist -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-8.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-8.jpg) for a 1000X750 version)
- a somewhat washed out version of which appears on page 186 of DS Return To Collinwood, though at least that version shows more all around than the version I'm sharing here.
[nods]
-
And a final still related to the hanging:
And the last of what I'm sharing that's directly related to the flashback is this still -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-9.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-9.jpg) for a 547X700 version)
- a cropped version of which appeared in the NoDS Herald with the caption "Condemned as a witch and adulteress, Angelique hangs from a rotting tree branch, mute testimony of Man's treachery." (Hmmm - not so sure how rotting the branch was. How would it have supported her weight - especially when she initially fell from the platform?), a heavily cropped version of which was part of Famous Monsters of Filmland's NoDS article (a PDF of which The Doctor and K9 shared in Reply #132), and a heavily lightened (so that it could be printed over) version of which was shared on page 15 of the movies soundtrack's booklet.
And I've mentioned this before, but quite obviously it was used as a basis for part of the artwork for the A version of the NoDS poster:
(http://www.dsboards.com/NoDSAnniQuoteImages/pic_art.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/pic_art.jpg) for a 800X818 version)
And speaking of the A poster's artwork, I've often suspected that perhaps the image of Angelique hanging that appears in the mouth of Angelique's rotting face -
(http://www.dsboards.com/NoDSquoteimages/Ang_mouth_poster_1.jpg)
- might have been somewhat inspired by this shot in the film of Angelique hanging -
- or perhaps a still similar to it. (When it comes to stills, I've often wondered if the depiction of Angelique's ghost in the artwork is also based on a still? If so, regrettably I've never come across it. But we do know that the part of the artwork depicting Charles and Angelique making out was definitely inspired by a still, as I pointed out back in Reply #202)
And speaking of that shot of Angelique handing, it appears in the film as a "subconscious memory" Quentin has in Scene 77. But given that, as I explained in Reply #478, footage of Angelique's body swinging as the tree branch creaks doesn't appear in the 94 minute version of the film, I'm wondering if that same footage is part of what was cut from the flashback? It's been over 50 years since I saw the 97 minute version, so my mind is a bit hazy on the exact details of what was seen. And even when it comes to having seen the recovered footage at the 2004 Fest, I don't recall the exact details of what was shown of the hanging sequence. But that shot does have the same sort of coloring that was used for the flashback...
[pointing-up] Reply #478 was revisited today as the previous post, Reply #1654. And you will recall that the still of Angelique's hanging body is #2 in the NoDS Editor's Portfolio.
[nods]
-
Some slightly associated stills:
Now I'm sharing the next three stills simply because they were shot while the hanging platform was located in the tree. And look who they're of, yes, Nancy Barrett. Apparently either she or the photographer or both loved to take photos of her around locations that may have been the sites where production was about to take place, where it was taking place, or where it had recently taken place...
Here's the first -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-10.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-10.jpg) for a 700X383 version)
- and the second -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-11.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-11.jpg) for a 1000X1080 version)
- and the third -
(http://www.dsboards.com/NoDSAnniQuoteImages/Hanging-12.jpg)
- which you may recall also appears on the back covers of the NoDS DVD and Blu-ray packaging:
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_DVD_back.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_DVD_back.jpg) for a 1000X1411 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_Blu-ray_back.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/NoDS_Blu-ray_back.jpg) for a 1000X1163 version)
-
Wrapping up revisiting how Scene 131 is scripted and moving to revisit how the beginning of Scene 132 is scripted:
And now after what seems like ages, let's get back to the script and continue with what's left of what's listed in the script as Scene 131 and also move past that scene:
DISSOLVE TO:
EXT - COLLINWOOD GROUNDS - EVENING - HIGH ANGLE
as the small figure of Sarah ENTERS from the veranda.
She walks to a spot below where the body hangs. As
she looks up at it, start a SLOW ZOOM IN TO HER
CLOSE-UP. Her eyes are filled with tears.
|
And that's when yesterday's quote -
Page 64/Scene 131 - Sarah: 'I will always remember...always...always...'
- comes up, followed in the script by:
MRS. CASTLE (O.S.)
Sarah...Sarah...please come inside.
131 CONTD CONTD 131
HIGH ANGLE FROM THE TREE. With Angelique in F.G.,
we see Mrs. Castle cross from the veranda to Sarah.
Taking her gently by the hand, she leads her back
to the house. HOLD ON THE SCENE, as the rain begins
to fall. THE SOUND OF MRS. CASTLE and SARAH'S VOICE
is heard O.S.
MRS. CASTLE (O.S.)
You mustn't be unhappy, Sarah. You
must try to forget.
|
And that's when today's first quote -
Page 65/Scene 131 - Sarah (O.S.): 'I'm not unhappy, mama, because she'll be back...some day Angelique will be back...'
- comes up, followed in the script by:
DISSOLVE TO:
132 INT - GALLERY - DAY - 1971 132
CARLOTTA - CLOSE-UP
She is staring blankly as she finishes Sarah's speech.
|
And that's when today's second quote -
Page 65/Scene 132 - Carlotta: '...and I will help her.'
- comes up.
And when it comes to differences in the dialogue, right off the bat none of what's been quoted here appears in the film, so there's no way to know if it might have been different - and for one when it comes to Mrs. Castle's dialogue, she adds a third "Sarah" as she comes out to get her, and none of it is delivered off screen - and for two, her telling Sarah that she mustn't be unhappy and she must try to forget is also dropped in the film - but the interesting thing there is that in the film it looks like she may be telling Sarah all that after she reaches and embraces Sarah but it's just that the sound for it isn't in the film, so chances are if it was in the film, it wouldn't have been delivered off screen - and chances are the same holds true for Sarah's response that she's not unhappy because she knows Angelique will be back - and the interesting thing about that line from Sarah is that it's replaced with a new iteration of Angelique's vow: "But I will have him again...you will help me, Sarah... You will know when the time comes...for it is your love that will keep me alive..."
And when it comes to the differences in the directions and the descriptions, as I said earlier I have a suspicion that what's marked in the script as the beginning of Scene 131 should actually be Scene 130 and where the switch to the evening scene takes place, that should actually be the start of Scene 131 - but no matter, at the outset of the evening scene we do not see Sarah enter from the veranda, walk to a spot below where Angelique hangs, or look up at her body - nor is there a slow zoom in to her close-up where we see her eyes are filled with tears because things begin with Sarah already standing under Angelique and then Mrs. Castle comes to get her - and after telling her to come inside, she wraps her arms around Sarah's shoulders, and after Sarah takes one more look at Angelique's hanging figure, Mrs. Castle, with her arms still around Sarah's shoulders, leads Sarah away - there's no taking of Sarah by the hand - and there is no rain that begins to fall - and considering that Carlotta's line from Scene 132 is dropped, that Scene begins differently in the film, but more on that next time...
And Scene 131 marks the end of Sarah's material in the script. And as we've seen, a great deal of her stuff was possibly never shot, worked around, or simply left on the cutting room floor. And apparently it's all because DC didn't think Monica Rich brought enough to her performances. But who knows...
[pointing-up] And as far as "yesterday's quote" goes, it was March 31st's this time around, and "today's" quotes were April 1st's this time around.
[nods]
-
First up, revisiting how the unscripted repeat at the end of Scene 131 of Angelique's vow plays in the subtitles:
...
And when it comes to differences in the dialogue, right off the bat none of what's been quoted here appears in the film, so there's no way to know if it might have been different - and for one when it comes to Mrs. Castle's dialogue, she adds a third "Sarah" as she comes out to get her, and none of it is delivered off screen - and for two, her telling Sarah that she mustn't be unhappy and she must try to forget is also dropped in the film - but the interesting thing there is that in the film it looks like she may be telling Sarah all that after she reaches and embraces Sarah but it's just that the sound for it isn't in the film, so chances are if it was in the film, it wouldn't have been delivered off screen - and chances are the same holds true for Sarah's response that she's not unhappy because she knows Angelique will be back - and the interesting thing about that line from Sarah is that it's replaced with a new iteration of Angelique's vow: "But I will have him again...you will help me, Sarah... You will know when the time comes...for it is your love that will keep me alive..."
...
And that iteration of Angelique's vow is fully acknowledged in both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Blu-ray_frame_02926.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Blu-ray_frame_03013.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Blu-ray_frame_03111.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_Blu-ray_frame_03235.jpg)
...
[nods]
-
And secondly, revisiting how the unscripted repeat at the end of Scene 131 of Angelique's vow plays in the closed captioning (with new screen captures):
...
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_12605.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_12681.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_12778.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-In_the_tree_VHS_frame_12907.jpg)
- acknowledge that...
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
Revisiting more of how Scene 132 is scripted:
Picking up now with the film's actual start of Scene 132 with Quentin's reaction to Carlotta's story (and using DC's script):
He looks at her.
QUENTIN
Then her spirit is still alive in
this house.
CARLOTTA
For certain of us, yes, Mr. Collins
-- for me...for you.
He walks away, stares out the window. Finally he
turns to her.
|
And that's when today's first quote -
Page 65/Scene 132 - Quentin: 'But I am not Charles Collins.'
- comes up, followed by today's second quote -
Page 65/Scene 132 - Carlotta: 'You may not accept it now, but soon you will. And it is then that you will come to realize something else...that there is no longer a place in this house for Mrs. Collins.'
- coming up.
And when it comes to differences in the dialogue, while Quentin's lines are delivered nearly exactly as scripted (the only change is from "I am" to "I'm"), in Carlotta's unquoted line she drops addressing Quentin with "Mr. Collins" - and what Carlotta actually says in her quoted lines is "You will come to accept it...after a time. And then you will realize something else...there is no longer any place in this house for Mrs. Collins."
And when it comes to the differences in the directions and the descriptions, as can be seen in the following capture, when we first see Quentin -
(http://www.dsboards.com/NoDSquoteimages/0830NoDS_a.jpg)
- he is indeed looking at Carlotta, with almost the same forlorn expression on his face that we saw back in Scene 117, but soon he moves his eyes away and then, after walking over to his painting, he turns back to her, and it is then that he says how Angelique's spirit is still alive in the house - and I absolutely love the expression on Carlotta's face when she says -
(http://www.dsboards.com/NoDSquoteimages/0830NoDS_b.jpg)
- that it's true for both of them (though let's not forget Gerard, who, uh, "satisfied" Angelique's "needs" ([naughty]) before Quentin showed up - but then, Gerard obviously is forgotten in that department now that Quentin is on the scene) - and as we can see from 1) DC crossing out that after Quentin goes to stare out the window, he turns back to Carlotta, and from 2) today's first capture in the slideshow -
(http://www.dsboards.com/NoDSAnniQuoteImages/0402NoDS_0.jpg)
- that doesn't happen and Quentin states that he's not Charles with his back still to Carlotta - and there's no mention in the script that after Carlotta says Quentin will accept that he's Charles with time, she walks over to him to tell him that after he accepts it he will realize there's no longer a place for Tracy - but can I just say that some of the expressions on Carlotta's face -
(http://www.dsboards.com/NoDSAnniQuoteImages/0402NoDS_1.jpg)
- as she leads up to that are simply priceless!!
And last but certainly not least, let's deal with the notations in both DC's and Grayson's scripts:
When it comes to DC, first up he has a note that the camera will pan with Quentin and lose Carlotta as Quentin gears up and delivers the line that Angelique's spirit is still alive in the house, but while the camera does indeed pan with Quentin, losing Carlotta in the process would be sort of hard to do when, as we can certainly tell from the first capture above, Carlotta isn't even in the shot - she doesn't appear in the shot until Quentin just about reaches his painting, so in reality, Carlotta is gained in the pan, not lost. And DC's second note says that Carlotta will cross into the shot after Quentin says that Angelique's spirit is still alive in the house - but, again, that would be sort of hard to do when she's already in the shot before Quentin says that. And DC's third note is that Quentin will turn back to us before he says he's not Charles - but obviously that doesn't happen either. The one note that does actually take place in the film is DC's fourth, where he says that Carlotta will cross to Quentin before she reveals that he'll realize that there's no place in the house for Tracy.
And when it comes to Grayson, it's too bad that Scene 132 doesn't begin with her finishing Sarah's speech because Grayson's first three notes deal with 1) Carlotta holding the open locket (recall that back in Scene 117 Grayson had a note that just before she begins relating the events of "that last day" Carlotta is on the verge of opening the locket) as, as Sarah, Carlotta says she will help Angelique come back, 2) taking out the lock of hair (though for Scene 117 Carlotta had supposedly taken the lock of hair from a book, so who knows?) while Quentin and she discuss how Angelique's spirit is still alive in the house, and 3) looking at the hair and then putting it away. Though, of course, it's clear from the captures above that in the film Carlotta hasn't taken the locket out of her hand for even one instant, so those notes do at least partly relate to how Grayson actually plays Scene 132. But when it comes to Grayson's fourth note that is not the case because she indicates that Carlotta will hang Angelique's picture back up while she tells Quentin that he will come to accept that he is Charles, but obviously that doesn't happen. Though Grayson goes on to note that Carlotta feels that she's won, and that is certainly the case, at least when it comes to cluing Quentin in to what's really happening to him. And finally, just as DC does, Grayson also notes where Carlotta will cross to Quentin to tell him that he'll realize that there's no place in the house for Tracy.
[pointing-up] And so far as "today's" quotes go, they were April 2nd's this time around.
[nods]
-
Revisiting this still:
Here's a rare still associated with Scene 132 -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery5-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery5-1.jpg) for a 700X488 version)
- and not surprisingly it's taken from a different angle from the way the moment is shot in the film. But then, shooting from behind Quentin works for great dramatic effect in a film - taking a photo that doesn't show a face at all, not so much.
And something I've been neglecting to mention is that a somewhat cropped B&W version of this still appears on page 219 of the The DS Movie Book.
[nods]
-
Oops, I just realized that once again I forgot to make a timely post about these two scenes that Darren Gross posted about on his Restoration Web site:
With regard to Scene 120 -
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
EXT.BACK LAWN SEEN THROUGH GALLERY WINDOW. Strack's henchmen wait.
And with regard to Scene 122:
...
INT.CORRIDOR. Henchmen join Strack, Gabriel and Laura and head upstairs.
[nods]
-
Something that's interesting though hardly surprising given how subtitles and especially the closed captioning seem to have minds of there own. I posted the following when I only had access to the video I'd shot off of a TV:
And when it comes to Scene 132 and Quentin insists to Carlotta, "But I'm not Charles Collins," the subtitles reflect that - however the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/But_I'm_Not_VHS_frame_00864.jpg)
- with "Collins" dropped for some reason...
...
But once I was able to get direct video with my VCR decoding Scene 132, this is how that line in the closed captioning displayed -
(http://www.dsboards.com/NoDSAnniQuoteImages/Previous_Life-But_I'm_not_VHS_frame_13909.jpg)
- correctly.
OKaaaay...
[nods]
-
Revisiting some more of how Scene 132 is scripted:
And Grayson Hall and David Selby continue to be so fantastic in this scene. As today's quote -
Page 66/Scene 132 - Quentin (flaring): 'I love Tracy! I always will love Tracy! Nothing can change that.'
- comes up, just look at those faces and their body language:
(http://www.dsboards.com/NoDSAnniQuoteImages/0403NoDS_0.jpg)
Though what Quentin actually says is "I love Tracy! I'll always love Tracy! And nothing can change that."
And as we can see in today's capture, just as a note in DC's script indicates that Quentin turns to Carlotta as he delivers today's quote, that is exactly what happens in the film.
[pointing-up] And so far as "today's" quote and capture go, they were April 3rd's this time around.
[nods]
-
Revisiting the last of how Scene 132 is scripted:
Wrapping up Scene 132, picking up with today's quote, as Carlotta's response to Quentin's insistence that he will always love Tracy -
Page 66/Scene 132 - Carlotta: 'If you truly believe that, Mr. Collins, then I suggest you leave Collinwood as soon as possible. ... If you can.'
- comes up. However, it's actually in DC's script as:
CARLOTTA
If you truly believe that, Mr.
Collins, then I suggest you leave
Collinwood as soon as possible.
Quentin turns away from her, unable to answer.
Carlotta crosses to the door, where she stops and
then looks back at him. There is a long moment as
Quentin finally turns to face her.
CARLOTTA
If you can.
She turns and EXITS THE SHOT.
|
But considering parts of what was scripted to happen between Carlotta's two lines is crossed out in DC's script, plus what wasn't crossed out never actually takes place, either, because Carlotta stays standing exactly where she is the entire time, I simply combined the two lines into one for today's quote because that's the way it occurs in the film.
And when it comes to differences in the dialogue, once again Carlotta drops addressing Quentin with "Mr. Collins" - and what Carlotta actually says "If you truly believe that, then I suggest you leave Collinwood...immediately. ... If you can."
And when it comes to the differences in the directions and the descriptions, I've already explain that as scripted, everything between Carlotta's two lines is dropped in the film - and as can already be seen in the way I wrote her combined lines, there is still a pause between Carlotta telling Quentin he should leave and then adding, if he can, but the pause wouldn't be considered a long moment - and I just love the way she delivers the combined quote because, as can be seen in today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0404NoDS_0.jpg)
- the expression on her face is priceless - though it's not quite as priceless as the expression on her face as -
(http://www.dsboards.com/NoDSquoteimages/0901NoDS_a.jpg)
- after zinging Quentin, Carlotta does indeed turn to exit the shot, leaving Quentin -
(http://www.dsboards.com/NoDSquoteimages/0901NoDS_b.jpg)
- standing there with his thoughts...
[pointing-up] And so far as "today's" quote and capture go, they were April 4th's this time around.
[nods]
-
Revisiting how Scene 133 and the start of Scene 134 are scripted:
As you've probably already discerned from today's graphic, we're getting into more material that doesn't appear in the film as it currently stands (or in the 97 minute version). However, the scenes we'll be dealing with today are not on Darren Gross' list of scenes that weren't recovered, so chances are they do appear in the 129 minute version:
133 EXT - BACK OF COLLINWOOD - DAY 133
SHOT favors Quentin, who stands moodily looking out
of gallery windows. RACK FOCUS to Tracy, who ENTERS
THE SHOT F.G. She is carrying the groceries. She
waves at Quentin, who suddenly notices her and as
he waves back, she crosses toward the veranda.
134 INT - GALLERY - DAY - HIGH ANGLE 134
Quentin is back at his easel as Tracy ENTERS the
room.
|
And that's when today's quote -
Page 66/Scene 134 - Tracy: 'I'm a genius with butchers. Of course, he thinks me quite mad...and very rich. The steaks are a masterpiece.'
- comes up.
And as far as the differences in the dialogue, the directions, and the descriptions go, because Scenes 133 and 134 aren't currently in the film, we have no way of knowing what might be different.
And there aren't any notes in DC's script for either of these scenes. (In fact, he won't have any notes until we reach Scene 139).
And you might have realized that I'm using the same still for Scene 134 as I did for Scene 116. Obviously the still can't be from both scenes, but I suspect it's actually from neither but is simply a candid shot of David Selby and Kate Jackson, even though the caption for it when in was published in 16 Magazine says otherwise. But no matter, the real reason I've chosen it is that both actors are wearing the same clothes that they wear in Scenes 116 and 134 (how we can know this will become obvious once we get to Scene 135, which is in all versions of the film), so the still can be used as a substitute in each scene until hopefully one day we actually get the restored 129 minute version of the film.
[pointing-up] And as far as "today's" quote and graphic go, they were April 5th's this time around.
And this is the graphic that's referenced:
(http://www.dsboards.com/NoDSAnniQuoteImages/0405NoDS_0.jpg)
We'll revisit the caption 16 Spec Magazine used for the still in a future post...
[nods]
-
A post worth revisiting:
A reminder:
As you've probably already discerned from today's graphic, we're getting into more material that doesn't appear in the film as it currently stands (or in the 97 minute version). However, the scenes we'll be dealing with today are not on Darren Gross' list of scenes that weren't recovered, so chances are they do appear in the 129 minute version:
And yes, neither Scene 133 (From the Gallery window Quentin sees Tracy outside as she returns with groceries - she waves) nor Scene 134 (In the Gallery Tracy jokes about the steaks she's bought and notices Angelique's portrait is back) are a part of Darren's list of scenes that weren't recovered. However, after I rediscovered his list of scenes that were recovered, I noticed that they're also not on that list. So, who knows? And I don't honestly remember if they were ever shown during one of Darren's presentations of the recovered footage...
...
[nods]
-
Back in 2022, the various graphics for Scene 116 and Scene 134 had ...
... been made using different crops of this -
(http://www.dsboards.com/NoDSquoteimages/Quiet.jpg)
- which was published as part of a NoDS Movie Preview article in 16 SPEC Magazine and as far as I can recall has never been officially published anywhere else...
... and the only reason I'd used that one was ...
... because I had yet to come across the actual still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery6-1.jpg)
[nods]
-
Revisiting more of how Scene 134 is scripted:
Continuing Scene 134 with Tracy's reaction to the fact that:
She notices the portrait of Angelique hanging in its
former position.
|
And that's when yesterday's quote -
Page 66/Scene 134 - Tracy: 'She's back!'
- comes up, followed by the first part of today's quote -
Page 66/Scene 134 - Quentin: 'I offended Carlotta's sense of family tradition.'
- coming up, followed in the script by:
He laughs.
134 CONTD CONTD 134
|
And that's where the second part of today's quote -
Page 67/Scene 134 - Quentin (Contd): 'What was good enough for my forefathers should be good enough for me.'
And as far as the differences in the dialogue, the directions, and the descriptions go, because Scene 134 isn't currently in the film, we have no way of knowing what might be different.
[pointing-up] And as far as "yesterday's quote" goes, it was April 6th's this time around, and "today's" quotes were April 7th's this time around.
[nods]
-
Wrapping up revisiting how Scene 134 is scripted:
...
And that's when today's first quote -
Page 67/Scene 134 - Quentin: 'How about you and I getting out of this house? We'll take a walk.'
- comes up, followed by today's second quote -
Page 67/Scene 134 - Tracy: 'Perfect.'
End of scene.
And as far as the differences in the dialogue, the directions, and the descriptions go, because Scene 134 isn't currently in the film, we have no way of knowing what might be different.
And coming up tomorrow we'll revisit something that I brought up back in March with regard to Scene 71A but said we wouldn't deal with until we reached Scene 135...
[pointing-up] And as far as "today's" quotes go, they were April 8th's this time around.
And given the date of the revisited post, you could have probably already figured out that the reference to March was to March of 2016. And what I'd brought up about Scene 71A back then will be discussed in an upcoming post...
[nods]
-
Revisiting how Scene 135 is scripted:
Moving on to the next scene, this is how it's scripted:
135 EXT - MEADOWS - DAY - LONG LENS 135
Holding hands, they stroll through the meadows.
She stops to pick a flower. He watches her.
|
And that's when today's quote is scripted -
Page 67/Scene 135 - Quentin: 'Do you have any idea how much I need you?'
- to come up, followed in the script by:
She looks up into his face as he draws her to him.
|
End of scene as scripted.
And as far as any difference in the dialogue goes, Quentin actually says "Do you know how much I need you?", plus it's delivered under completely different circumstances.
Which brings us to the myriad of differences in the directions and descriptions. Scene 135 does indeed begin with Tracy and Quentin holding hands as they stroll through a meadow - but she doesn't stop to pick a flower, nor does he watch her while she does so or deliver today's quote or draw her to him after she looks up into his face. They simply stroll up to and underneath a cherry blossom tree, pushing branches of flowers -
(http://www.dsboards.com/NoDSquoteimages/0906NoDS_a.jpg)
- out of their way as they go - and then things switch to a completely different location - which brings us to revisit Scene 71A as scripted:
DISSOLVE TO:
71A EXT - RAILROAD FOOTBRIDGE - DAY 71A
as they stroll hand-in-hand with the river in the B.G.
|
Scene 71A does not take place in the film as it currently stands. It seems to have been moved to play along with and after Scene 135 comes up because, as can be seen in the following capture, after Scene 135 things switch to Quentin and Tracy under the railroad footbridge -
(http://www.dsboards.com/NoDSquoteimages/0906NoDS_b.jpg)
- with Tracy throwing a rock into the river, and then after she sits down, Quentin strokes her cheek, delivers today's quote from Scene 135 -
(http://www.dsboards.com/NoDSAnniQuoteImages/0409NoDS_0.jpg)
Page 67/Scene 135 - Quentin: 'Do you have any idea how
much I need you?'
- and then she kisses him, nuzzles his cheek, and -
(http://www.dsboards.com/NoDSquoteimages/0906NoDS_c.jpg)
- rests her head on his chest, none which is scripted for Scene 71A or Scene 135 or, more likely, a nonexistent Scene 135A. So who knows why things are done that way in the film? DC may have simply thought Scene 71A wasn't needed where it was placed in the script (possibly because it's part of a montage or romantic moments between Quentin and Tracy) and it worked better following Scene 135 with Scene 135's bit of dialogue. I suppose we'll never know. But things do indeed work well the way they are.
...
[pointing-up] And as far as "today's quote" goes, it was April 9th's this time around.
[nods]
-
A poste related to Scene 135 that's worth revisiting:
I find it interesting that several places are selling this -
(http://www.dsboards.com/NoDSAnniQuoteImages/Meadow.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Meadow.jpg) for a 700X708 version)
- as a still when quite clearly it's a cropped screen capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/Meadow-a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Meadow-a.jpg) for a 1280X720 version)
- and because it's a bit blurry, perhaps a screen capture from the VHS.
It's also interesting that both Tracy and Quentin are looking off as if they've spotted something surprising, though nothing like that actually happens in the film. But who knows if they look that way because DC told them to with a possible intent of using the footage somewhere else in the film? And then he never followed up on it.
[nods]
-
As I said in the revisited post in Reply #1671, it seems as if DC added a Scene 135A to the film, combining the setting of Scene 71A with the dialogue from Scene 135. And both the subtitles -
(http://www.dsboards.com/NoDSAnniQuoteImages/Need_You_Blu-ray_frame_01244.jpg)
- and the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Need_You_VHS_frame_01222.jpg)
- reflect how things actually play in the film...
[nods]
-
Revisiting the subtitles and closed captioning (with new screen captures) for Scene 136 and the start of Scene 137:
When it comes to Scene 136, I have to admit I was a bit more than shocked when, after not acknowledging so many other sounds, the supposed SDH subtitles actually acknowledged the phone ringing in the Jenkins cottage -
(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_Blu-ray_frame_00028.jpg)
- though the closed captioning both rings separately -
(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_00015.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_00090.jpg)
- but all is not perfect with the closed captioning because after Alex answers the phone and asks Tracy what's wrong, in Scene 137 she replies, "Oh, Alex, how gloomy you are. There's nothing's wrong. I called to say everything's perfect." - and the subtitles completely reflect that - but the closed captioning goes from -
(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_00206.jpg)
- right to -
(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_00275.jpg)
- completely ignoring Tracy having said, "Oh, Alex, how gloomy you are."
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
Revisiting how the very start of Scene 136 is scripted:
Moving on to the next scene:
CUT TO:
136 INT - COTTAGE - NIGHT 136
Claire and Alex sit by the fire. The telephone
rings. Alex gets up. Claire watches him from the
B.G.[/coor]
|
And that's when today's quote -
Page 67/Scene 136 - Alex: 'Hello? Tracy? What's wrong?'
- comes up, followed in the script by:
In the B.G. Claire rises.
|
End of scene.
And as far as any difference in the dialogue goes, Alex actually says "Hello? Tracy, honey, what's wrong?"
And as far as any differences in the directions and descriptions go, as can be seen in the following capture, Claire is indeed sitting by the fire and reading a book, but an already standing Alex -
(http://www.dsboards.com/NoDSquoteimages/0907NoDS_a.jpg)
- actually comes from the direction of the desk behind the couch to answer the already ringing phone, and as he makes his way to the phone, Claire does not watch him because her attention is only on the book in her lap - but as can be seen in today's capture, Alex' words certainly capture Claire's attention, though -
(http://www.dsboards.com/NoDSAnniQuoteImages/0410NoDS_0.jpg)
- we don't see her rise. (However, when next we see Alex in upcoming Scene 138, Claire will be standing at the table with him, so it's quite possible that Claire rising was shot but it didn't make it into the film - well, at least not as it currently stands...)
[pointing-up] And as far as "today's quote" goes, it was April 10th's this time around.
And jumping to the next scene:
CARD ROOM
137 INT - COLLINWOOD - LIMBO - TELEPHONE AREA - 137
NIGHT
|
And that's when today's quote -
Page 67/Scene 137 - Tracy (on telephone): 'Oh, Alex, how gloomy you are. I called to say everything's perfect.'
- comes up.
And as far as any difference in the dialogue goes, what's scripted is delivered exactly as written, but there's an addition because Tracy actually says "Oh, Alex, how gloomy you are. There's nothing's wrong. I called to say everything's perfect."
And as far as any differences in the directions and descriptions go, as can be deduced from the crossing out in DC's script as well as today's capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0411NoDS_0.jpg)
- the only thing is that Scene 137 takes place in the Card Room rather than some Limbo Telephone Area.
And tomorrow the slideshow will be dealing with material from this sequence that was dropped - or at least dropped from the film as it currently stands...
[pointing-up] And as far as "today's quote" goes, it was April 11th's this time around.
[nods]
-
Revisiting more of how Scene 137 is scripted:
Continuing and wrapping up Scene 137, beginning with today's first quote -
Page 67/Scene 137 - Alex: 'Are you sure?...Did you get into the tower?'
- coming up, followed by today's second quote -
Page 67/Scene 137 - Tracy: 'He's not even painting there anymore. He's his old self again.'
- coming up.
End of scene - but certainly not end of sequence.
And when it comes to any differences in the dialogue, the directions, or the descriptions, there obviously aren't any directions or descriptions, and there's no way to know what might have been different about the dialogue because neither of today's quotes appear in the film as it currently stands. And considering that both quotes harken back to Scene 113, a scene that doesn't appear in any version of the film, chances are quite likely that even if today's quotes were shot, they're also not in the 129 minute version of the film...
[pointing-up] And as far as "today's" quotes go, they were April 12th's this time around.
[nods]
-
Recisiting how Scene 138 is scripted:
Moving to the next parts of the sequence, and they actually deviate a bit from the way they're scripted, but here's how today's quotes are scripted to appear:
138 INT - COTTAGE - NIGHT 138
|
And that's when today's first quote -
Page 68/Scene 138 - Alex (on telephone): 'That's great. Listen, Trace, Claire and I should go to New York tonight. I thought we'd stop in Burton's Gallery. He's an authority on Early American artists, isn't he?'
- comes up, followed by today's second quote -
Page 68/Scene 138 - Tracy: 'The best. Why?'
- coming up.
And as far as any difference in the dialogue goes, the "That's great" part of Alex' quote is dropped because it refers to Tracy's dropped line about Quentin not painting in the tower anymore - and the remainder of his quote is actually delivered as "Uh, listen, Trace, uh, Claire and I should go to New York tonight. And we thought we'd stop in at, uh, Burton's Gallery. He's an authority on Early American artists, isn't he?" - and Tracy's actual reply is "Well, I think he's the best. Why?", which gives a background to Tracy that is too bad the script didn't explore further.
And as far as any differences in the directions and descriptions go, there's nothing to get into there. However, the quotes don't all play at the cottage. Only up to Alex telling Tracy that he and Claire are going to NY -
(http://www.dsboards.com/NoDSAnniQuoteImages/0413NoDS_0.jpg)
- plays at the cottage (and as I'd mentioned earlier, Claire is seen as having moved to the table). After that, things shift back to the Card Room at Collinwood as Tracy listens to Alex telling her about -
(http://www.dsboards.com/NoDSquoteimages/0910NoDS_a.jpg)
- how he and Claire are going to go to Burton's Gallery and he asks if he's an authority on Early American artists - plus, as can obviously be seen in today's second capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0413NoDS_1.jpg)
- Tracy offering her opinion that Burton is the best and wondering why Alex asks also plays at Collinwood.
[pointing-up] And so far as "today's" quotes go, they actually are today's, April 13th's, this time around.
[nods]
-
Revisiting the subtitles and closed captioning (with new screen captures) for Scene 138:
In Scene 138, in the way that the film stands, after Tracy insists to Alex that nothing is wrong and everything is perfect, the next thing to come up in the scene is that Alex says to her, "Uh, listen, Trace, uh, Claire and I should go to New York tonight. And we thought we'd stop in at, uh, Burton's Gallery. He's an authority on Early American artists, isn't he?" - and the subtitles basically reflect that (minus Alex' use of "uh") - however, for reasons known only to who wrote them, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_00418.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_00503.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_00580.jpg)
- to which Tracy replies, "Well, I think he's the best. Why?" - but the closed captioning only has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_00646.jpg)
- and even the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_Blu-ray_frame_00682.jpg)
- dropping just the "well"...
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
Revisiting the end of how Scene 138 is scripted and how Scene 139 is scripted:
Wrapping up Scene 138 and moving beyond with scripted as well as completely unscripted material, beginning with today's first quote -
Page 68/Scene 138 - Alex: 'Tell you when we get back. You're sure you'll be OK?'
- coming up, followed in the script by:
139 INT - COLLINWOOD - LIMBO TELEPHONE AREA - NIGHT 139
|
And that's when today's second quote -
Page 68/Scene 139 - Tracy (on telephone): 'Go, Alex...go. Nothing bad will happen to us now.'
(Famous last words, as they say...)
- comes up.
End of things as scripted.
Switching things up a bit and leading with any differences in the scripted directions and descriptions, as we can easily tell from today's first capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0414NoDS_0.jpg)
- today's first quote takes place back at the cottage, as it was scripted to, rather than over the phone at Collinwood as had been happening earlier in the scene - and for some reason "LIMBO - TELEPHONE AREA" is presented a bit differently for Scene 139 than it was for Scene 137, and here DC doesn't cross out/replace it in his script with "CARD ROOM".
And now as far as any difference in the dialogue goes, Alex actually delivers today's first quote as "Tell you when I get back. You sure you're gonna be OK?" - but today's second quote is delivered exactly as scripted - however, unlike how things are scripted, they don't actually end there in the film. For one, as can be seen in today's second capture -
(http://www.dsboards.com/NoDSAnniQuoteImages/0414NoDS_1.jpg)
- Quentin is seen approaching the Card Room as Tracy tells Alex nothing bad will happen to her and Quentin - ...
[pointing-up] And soon after that quite a bit of unscripted material takes place as Scene 139 continues - but more on that in a future post - and as far as "today's" quotes go, they are indeed today's, April 14th's, this time around.
[nods]
-
I realize that the function of this scene is twofold. It gets Claire and Alex away from Collinwood where they might be able to help Tracy and Quentin and sends them to an expert who might be able to provide them with pivotal information. But considering that New York is approximately a 5 to 7 hour drive from Maine, I hope that they called this guy first!
-
[pointing-up] Let's hope that at the very least they called! [easter_wink] [easter_cheesy] [easter_rolleyes]
Though as we've said before:
I think Sam and DC kept forgetting that the movie was set in Maine, not Tarrytown NY.
And I'd tend to agree with that. In fact, I even seriously wondered about it back when we were dealing with Claire and Tracy's shopping excursion, the unshot Scenes 81, 82 & 83, where the settings for Scenes 81 and 82 even say "EXT - TARRYTOWN STREET - DAY". [ghost_huh] But in this case, the unscripted additional dialogue that we hadn't gotten into yet yesterday helps to make it clear that Alex and Claire's trip to NY will take "a few days", so chances are they weren't going to Burton's Gallery that night. [ghost_nowink]
And as I said back in Reply #1679, we'll be getting into that unscripted dialogue in a future post...
[nods]
-
Revisiting the subtitles and closed captioning (with a new screen capture) for Scene 138:
Until I looked at the script to check something completely different about Scene 138, I didn't realize that Tracy's scripted reply to Alex is simply, "The best. Why?" - and obviously that was exactly what the closed captioning has. And it's definitely interesting how it happens quite frequently that the closed captioning reflects the script rather than what's actually said in the film.
But anyway, after Tracy asks Alex why he's brought up the Burton's gallery, Alex replies, "Tell you when I get back. You sure you're gonna be OK?" - and the subtitles completely reflect that - but the closed captioning oddly has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_00713.jpg)
- and in that case we can't even blame it on what's scripted because what's scripted is almost exactly what's actually said: "Tell you when we get back. You're sure you'll be OK?"
...
(ADMIN: Edited to replace a TV video screen capture)
[nods]
-
After Tracy tells Alex go to NY because nothing bad will happen (she obviously doesn't possess even the slightest speck of clairvoyance or even simple intuition!), a whole slew of unscripted dialogue takes place. ...
First up, how the subtitles handle the unscripted dialogue:
(http://www.dsboards.com/NoDSAnniQuoteImages/Everything's_Perfect_Blu-ray_frame_00950.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Everything's_Perfect_Blu-ray_frame_01046.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Everything's_Perfect_Blu-ray_frame_01137.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Everything's_Perfect_Blu-ray_frame_01255.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Everything's_Perfect_Blu-ray_frame_01377.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Everything's_Perfect_Blu-ray_frame_01491.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Everything's_Perfect_Blu-ray_frame_01546.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Everything's_Perfect_Blu-ray_frame_01645.jpg)
- so you can see that for most part the subtitles get almost everything right. The differences will be pointed out in a future post. And the closed captioning will also wait for a future post...
[nods]
-
And now the closed captioning (with new screen captures):
(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_00932.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_01008.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_01043.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_01088.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_01147.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_01223.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_01283.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_01377.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_01507.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_01621.jpg)
And since they don't all agree with the subtitles, apparently something is wrong somewhere along the way. But the differences between the film and the subtitles and/or the closed captioning, and between the subtitles and the closed captioning will wait until a future post.
[nods]
-
And now when it comes to the errors in the subtitles and closed captioning:
After Quentin learns Tracy was talking to Alex on the phone, she explains, "He and Claire have to go to New York for a few days." - and the subtitles get that right -however, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_01088.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Nothing_Bad_Will_Happen-Everything's_perfect_VHS_frame_01147.jpg)
- with no mention of them going to NY "for a few days."
And after Tracy suggests they go the bed because it's late, Quentin says he wants to finish the book he's holding and adds, "Now go on. I'll be up soon enough." - and this time the closed captioning gets it right - however, the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Everything's_Perfect_Blu-ray_frame_01491.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Everything's_Perfect_Blu-ray_frame_01546.jpg)
- for some reason. Huh is right.
It's so rare that the closed captioning gets something right when the subtitles doesn't.
[nods]
-
Revisiting two posts regarding the continuation after Scene 139:
...
- and that's the actual end of Scene 139 (or perhaps a Scene 139A) - and it's also the last bit of happiness between Quentin and Tracy because things are about to go downhill sooner rather than later...
Which leads us to tomorrow when we'll be getting into a whole load of scripted material, much of which is actually handled very differently in the film. But more on that then...
[pointing-up] I forgot to mention that all those subtitles and all the closed captioning come from Scene 139A, and even though there's no such scene as that in the script, it is indicated on that call sheet that I came across for April 5, 1971:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Call.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Call.jpg) for a 880X910 version)
...
And also, during the first time around for this slideshow I forgot to point out specifically that given their inclusion on the call sheet, obviously Scenes 137, 139 & 139A were all shot on April 5th...
...
[nods]
-
Revisiting how Scenes 140 through 147 are scripted:
Moving on to the next sequence (using Grayson's script because once again DC didn't change the names):
CUT TO:
140 INT - GALLERY - NIGHT 140
It is later. Quentin stands at the window, his
back to the room. Turning, he walks to the mantel.
The clock reads one-thirty. he pours himself a
brandy, crosses to his chair, picks up the book
again. Throughout all of this, the portrait of
Angelique is in the SHOT. Finally, finishing the
brandy, he puts the book down and crosses to the
Master Bedroom.
141 INT - MASTER BEDROOM - NIGHT 141
With Tracy asleep in the F.G., Quentin ENTERS THE
SHOT. TRUCK IN ON HIS CLOSE-UP as he stands in
the doorway, obviously not wanting to go to bed.
He turns, leaves the room, closes the door softly
behind him.
142 INT - SECOND FLOOR CORRIDOR - NIGHT 142
As Quentin walks TOWARD CAMERA. He approaches the
stairs leading to the tower. Stopping at the foot
of the stairs, he looks up.
143 QUENTIN - HIGH ANGLE 143
SEEN from third floor as he looks TOWARD CAMERA. HOLD
FOR A LONG MOMENT until it seems he is about to start
up the stairs. Instead, he turns and practically runs
down the stairs to the first floor and EXITS THE SHOT.
HOLD ON EMPTY CORRIDOR until the SOUND OF THE FRONT
DOOR can be heard OPENING AND CLOSING O.S.
144 EXT - COUNTRYSIDE - NIGHT 144
as Quentin walks through the night in an effort to
purge himself of the horrible temptations that are
gnawing at his soul. He comes to a fallen tree, where
he stops for a moment and sits. SLOWLY TRUCK IN ON
HIM as the SOUND OF THUNDERING HOOF BEATS can be
HEARD O.S. As we end up on a TIGHT SHOT OF HIS EYES.
CUT TO:
145 EXT - COUNTRYSIDE - 1800 - NIGHT 145
SUBCONSCIOUS MEMORY CUT
Suddenly, out of a heavy bank of fog gallops a man
on horseback. Seen in silhouette only, his cape flies
in the wind as he charges TOWARD CAMERA. The horse
rears on its hind legs and we recognize the rider as
Charles Collins. He slashes his riding crop INTO
CAMERA as he SCREAMS:
|
And that's when today's quote -
Page 69/Scene 145 - Charles: 'You killed her, Strack! You killed her!'
- comes up, followed in the script by:
STRACK
TRASK - CHARLES' P.O.V. - HAND HELD
Strack
As Trask struggles to avoid the slashing crop. He
trips and falls to the ground as the horse rears again
and again, stomping to death the screaming Trask.
Strack
WIDE ANGLE
Strack
Trask lies dead as Charles sits on his horse staring
down at him. Finally, he looks up and turns TOWARD
CAMERA.
146 FOG-SHROUDED - COUNTRYSIDE - CHARLES' P.O.V. 146
HOLD ON empty countryside, then TRUCK IN as the ghost-
like figure of Angelique walks out of the fog TOWARD
CAMERA. Charles ENTERS THE SHOT and goes into her
arms.
CUT TO:
147 EXT - COUNTRYSIDE - 1971 - NIGHT - NORMAL COLOR 147
QUENTIN - EXTREME CLOSE-UP
as his eyes fill the screen, he stares blankly INTO
CAMERA. SLOWLY WIDEN as he rises and PAN WITH HIM,
revealing the massive silhouette of Collinwood in
the distance.
|
And next time we'll get into how differently things actually play in the film...
[pointing-up] And so far as "today's quote" goes, it is indeed today's, April 15th's, this time around.
[nods]
-
[pointing-up] Revisiting the post promised at the end of the previously revisited post:
OK, now we'll get back to any differences in the film in the dialogue, the descriptions, and the directions for Scenes 140 through 147:
First off, Scene 140 does not initially take place in the Gallery, it takes place in the Library, and then a sort of Scene 140A takes place in the Gallery (originally DC had some notes about the scene but for some reason he erased them). After Tracy leaves in Scene 139(A) to go up to bed, things start off with Quentin leaving the Card Room and going into the Library. Similar to the script, he walks to the window and looks out -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_a.jpg)
- but after sitting down, rather than opening his book, he looks over at the clock -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_b.jpg)
- also similar to the script, though the time (which is hard to decipher) is definitely much earlier than one-thirty - then he simply sits staring into space as the camera -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_c.jpg)
- moves in to a close-up - but through all of this Quentin does not pour himself a brandy and obviously doesn't drink it. However, from there things do indeed move to the Gallery with an opening shot of Angelique's portrait -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_d.jpg)
- as the camera pulls away from it, panning over to where Quentin stands looking at it -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_e.jpg)
- for several moments before turning to move toward the Master Bedroom, similiar to what's scripted, but again, there's no brandy involved, nor is there any sign of the book.
Scene 141 is very close to what's scripted except for the fact that the camera doesn't truck in on a close-up of Quentin. The entire scene is shot with Tracy asleep in the foreground -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_f.jpg)
- and Quentin coming in no further than the doorway.
Scene 142 is not in the film - or at least not in the film as it currently stands because it isn't on the list of scenes that weren't recovered. And DC's script has a notation that it would be shot using a low angle taken from the stairs.
We do see the opening of Scene 143, up to and including that long moment while Quentin -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_g.jpg)
- stares up - however, everything beyond that point in Scene 143 is missing from the film, and is indeed on the list of unrecovered footage - and one thing that's interesting is how abruptly the background music ends before the film switches to the next scene that is in the film - but more on that in a later post.
Then just as with the latter part of Scene 143, Scene 144 is not in the film and is on the list of unrecovered footage.
But Scene 145 was actually used in the film, as the first part of Quentin's dream on his first night at Collinwood. However, the scene doesn't begin as scripted because there are no shots of the silhouette of a man on horseback galloping out of a heavy bank of fog - and neither do we see the horse rear on its hind legs as we recognize the rider as Charles Collins - nor does he slash his riding crop into camera as he screams Monday's quote. In fact, what we do see, as can be seen in Monday's capture -
(http://www.dsboards.com/NoDSquoteimages/0912ds91_0.jpg)
- is Strack running down the hill from the cemetery as Charles pursues him on horseback and actually screams "You killed her! You killed Angelique, Strack!" Also, there is no struggling by Strack to avoid the slashing crop because almost immediately he trips, falls and rolls down the hill - and when Strack sees that the horse is almost on top of him, he cries out "No!" - and in the 94 minute film's version of the scene, all we see from then on is a few brief glimpses of Charles atop his horse as he appears to be having the horse trample Strack as Strack cries out and Charles orders his horse with "Kill! Kill!" until finally Charles simply looks down to the ground and Strack makes his last movement until he lays dead. But in the 97 and 129 minute versions of the film, much more is seen and heard. For example, we see much more of Strack trying to protect himself with his hands as the horse's hooves come down on him again and again, causing his hands and face to become increasingly bloody - and Charles also cries out "Die! Die!" as he has the horse trample Strack. But the nice thing, if "nice" is the right word for it, is much of the footage missing from the 94 minute version of the film is seen in the various trailers, and I've decided to share three versions varying from less explicit to most explicit:
The less explicit video, taken from a 30 second TV spot:
And each of the three video files has been deliberately put is slow motion so as to better see what's happening.
A more explicit video, taken from a 1 minute trailer:
And the most explicit and the best of the three, taken from a 2 minute trailer:
The trampling hooves are much more explicit in this one. And I have to say that I love the story about how a crew member actually knelt down by Thayer David and placed the horse hooves by hand!
And when it comes to Scene 146, in the 94 minute version of the film, it begins with Angelique already standing with outstretched arms and Charles walks up a hill to her -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_h.jpg)
- but in the 97 minute version of the film, after Strack is dead, Charles turns to look up the hill and then turns his horse around and gallops up - things then switch to Angelique standing outside the cemetery gate, similar to this -
(http://www.dsboards.com/NoDSquoteimages/Ang_cem.jpg)
- publicity still, whereupon Charles stops the horse as he nears her, he dismounts, and it isn't until after all that that Angelique holds her arms out to him. Apparently all of that was simply cut for time rather than sexuality or gore...
And finally, Scene 147 is also not in any version of the film because it's also on the list of unrecovered footage.
(ADMIN: Edited to add videos and remove animated GIFs)
-
[pointing-up] Oops - I forgot to revisit this post with the one above:
.... But first up, here's how things play in the 94 minute version of the film (slowed down so as to better appreciate it):
...
And something that I discovered after having slowed down the footage in the film - and something that only makes sense - but when it came to some shots with the real horse near Strack, a stunt double was used -
(http://www.dsboards.com/NoDSAnniQuoteImages/Stunt_double.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Stunt_double.jpg) for a 1280X720 version)
- that might very well have been Alex Stevens...
[nods]
-
Moving on to how the subtitles deal with Scene 145:
Surprisingly enough, once again the subtitles actually acknowledge sound heard, in this case at the outset of the scene -
(http://www.dsboards.com/NoDSAnniQuoteImages/Killed_Her_Blu-ray_frame_00126.jpg)
- as Strack starts running down the hill from the cemetery as Charles pursues him on horseback and screams, "You killed her! You killed Angelique, Strack!" - and the subtitles handle those lines perfectly - and Strack almost immediately trips, falls and rolls down the hill - and when Strack sees that the horse is almost on top of him, he cries out "No!" - but for some very strange reason the subtitles would seem to indicate that Charles orders -
(http://www.dsboards.com/NoDSAnniQuoteImages/Killed_Her_Blu-ray_frame_00347.jpg)
- but Charles makes no such order - and as the horse comes down on Strack, it neighs, which is not acknowledged - but the subtitles do acknowledge Strack crying out -
(http://www.dsboards.com/NoDSAnniQuoteImages/Killed_Her_Blu-ray_frame_00418.jpg)
- and as Charles continues to have his horse trample Strack, he orders it with "Kill! Kill!" - but for another strange reason the subtitles have Charles saying -
(http://www.dsboards.com/NoDSAnniQuoteImages/Killed_Her_Blu-ray_frame_00591.jpg)
- but the subtitles don't acknowledge Strack's final pained cry - and in the 94 minute version the scene ends as Strack turns on his side and dies.
[nods]
-
And now how the closed captioning deals with Scene 145, which we'll see is in a much more complicated way:
First off, the closed captioning does not acknowledge the sounds of the horse's hooves - and also unlike the subtitles, Charles screams of "You killed her! You killed Angelique, Strack!" is not handled correctly, but thusly -
(http://www.dsboards.com/NoDSAnniQuoteImages/Killed_Her_VHS_frame_00158.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Killed_Her_VHS_frame_00224.jpg)
- and unlike how the subtitles skipped indicating it, when Strack sees that the horse is almost on top of him and cries out an unscripted "No!" -
(http://www.dsboards.com/NoDSAnniQuoteImages/Killed_Her_VHS_frame_00274.jpg)
- the closed captioning does acknowledge it - and unlike how the subtitles ignores the horse's neighs as it comes down on Strack, the closed captioning -
(http://www.dsboards.com/NoDSAnniQuoteImages/Killed_Her_VHS_frame_00347.jpg)
- does acknowledge them - and the closed captioning also acknowledges Strack's pained cries individually -
(http://www.dsboards.com/NoDSAnniQuoteImages/Killed_Her_VHS_frame_00419.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Killed_Her_VHS_frame_00453.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Killed_Her_VHS_frame_00509.jpg)
- rather than simply clumping them all in one indication - and as Charles continues to have his horse trample Strack, he orders it with "Kill! Kill!" - but for some strange reason, as was the case with the subtitles, the closed captioning doesn't get that right either - instead, the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Killed_Her_VHS_frame_00606.jpg)
- and the closed captioning also doesn't doesn't acknowledge Strack's final pained cry before he dies.
[nods]
-
A few stills definitely worth revisiting:
Stills associated with Scene 146. First up, this one -
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-1.jpg) for a 555X700 version)
The 16 Magazine caption for it reads: "The spirit of Angelique materializes in the family graveyard, and it is
her ghost that haunts Quentin Collins--putting these visions on him that
make him the would-be killer of his own wife and Angelique's adoring
slave--as Charles Collins had once been."
(It's interesting that that caption makes things sound like Laura is right when she implies in the piano scene that Angelique has Charles under some sort of spell, rather than him simply being in love/lust with her all on his own. But I suppose we'll never know. Although, one could make a case that one of the ways to interpret the ending of the film is that Quentin/Charles has become bewitched by Angelique...)
- of which a greatly cropped version appeared on page 109 of the DS Companion, though that version shows -
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-1a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-1a.jpg) for a 799X798 version)
- Angelique much clearer, and a less cropped version appeared as part of the Nov. '71 NoDS article in 16 Magazine. (Shared in Reply #412 of the "And Now The Return of Another New Slideshow (Sort of) [**Now featuring alternate versions..." topic.)
And next up I want to share this one -
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-2.jpg) for a 1500X1039 version)
- of which a considerably cropped version is also on page 109 of the DS Companion.
And no doubt you will remember that previously I shared this Lobby Card -
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Lobby_1.jpg) for a 930X738 version)
...
- a version of which appears as the back cover of the booklet for the movies soundtrack, as December's photo for the Fest's 1999 Movie Calendar, and on the back cover of the DVD/Blu-ray releases (see Reply #240).
[pointing-up] The back covers of the DVD/Blu-ray releases were fairly recently revisited as Reply #1656.
[nods]
-
More definitely worth revisiting:
And finally when it comes to Scenes 145 & 146 this time around, I forgot to post this last time around, and I almost forgot to post it this time around too:
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-9.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-9.jpg) for a 738X440 version)
It would have been nice if 16 Magazine hadn't doctored the photo like they did. But considering the NoDS article that appeared in their December of 1971 issue is the only place I've ever see the still shared, having a doctored version is better than not having any version at all. (And the really nice thing about that article is that it features several stills that were never shared anywhere else.)
...
Until I was going through a pile of stills looking for ones to post for upcoming scenes, I'd completely forgotten that I have the still of the Angelique/Charles Lobby Card. And like the still I shared of Carlotta/Gerard in Reply #294, the still is much better quality than the Lobby Card -
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_Cha-4.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_Cha-4.jpg) for a 700X476 version)
- or at least much better quality than the Heritage Auctions Web site's scan I've shared of the Lobby Card - plus it shows a bit more...
And as a side note, notice how you can barely tell Charles is supposed to have a scar on his cheek. Apparently they went much more pronounced with the make-up once they shot his scenes...
[nods]
-
Another groups of stills worth reviaiting:
Four more stills, not directly related to Scene 146, but featuring Angelique at the cemetery:
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-3.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-4.jpg)
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-5.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-5.jpg) for a 987X1500 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-6.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-6.jpg) for a 887X620 version)
And so far as I'm aware, none of these have been officially published anywhere...
-
And yet two more stills to revisit:
When it comes to the stills I sort of associated with Scene 146 because they were taken in and around the cemetery set, after I came across the stills posted to AOL back in the '90s, I discovered a much better version of the one of Grayson Hall. Today I updated that post with the better version:
...
For a change it's not Nancy Barrett posing around a set/location that Claire didn't appear in, it's Grayson Hall posing at the cemetery set, where Carlotta never appeared, -
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-7.jpg)
- and wearing one of two dresses she appears in stills wearing but she never wore as Carlotta in the film (but more on that at a later time). A somewhat cropped version of this still appears on page 172 of DS Memories.
...
And I also came across this one -
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-8.jpg)
- which I'm sharing for the first time. And when it comes to it, I'm not aware of it having been officially published anywhere...
...
[nods]
-
And even more stills worth revisiting:
And even though these have nothing to do with the cemetery set and were taken outside Lyndhurst, I've often wonder if these three stills were taken on the same day as the Lobby Card:
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_Cha-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_Cha-1.jpg) for a 800X1053 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_Cha-2.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_Cha-2.jpg) for a 800X1235 version)
(http://www.dsboards.com/NoDSAnniQuoteImages/Ang_Cha-3.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Ang_Cha-3.jpg) for a 800X1189 version)
A somewhat longer version of the top still was shared on page 190 of the Return To Collinwood book. I'm pretty sure I've never seen the other two officially published anywhere...
[nods]
-
Revisiting yet another still:
...
And a candid of Thayer David in nearly full (he's missing the gloves and hat) Strack regalia that -
(http://www.dsboards.com/NoDSAnniQuoteImages/Strack.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Strack.jpg) for a 678X700 version)
- may have been taken on the day Strack's trampling was shot or Angelique's hanging. I'm not sure which, so I held off sharing it until now. As far as I know, it's never been officially published anywhere...
And finally, at least for this go around, another still directly related to Scene 146 - one that I've never shared before -
(http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-10.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Cemetery-10.jpg) for a 867X576 version)
- and one that so far as I'm aware has never been officially published anywhere.
And a bit of trivia: eagle-eyed fans will notice the name Amos Ross on the tombstone, a tombstone that was apparently recycled from the daytime series. Does anyone besides me remember how it was used and in which storyline?
[nods]
-
...
We do see the opening of Scene 143, up to and including that long moment while Quentin -
(http://www.dsboards.com/NoDSquoteimages/0912NoDS_g.jpg)
- stares up - however, everything beyond that point in Scene 143 is missing from the film, and is indeed on the list of unrecovered footage - and one thing that's interesting is how abruptly the background music ends before the film switches to the next scene that is in the film - but more on that in a later post.
---
Here'a a video of how things play with the VHS/Laser:
The background music slowly fades and a footstep is heard.
And here's how things play with the Blu-ray/DVD:
No footstep is heard and an abrupt cut off with the music would make it seem as if things should have continued:
143 QUENTIN - HIGH ANGLE 143
SEEN from third floor as he looks TOWARD CAMERA. HOLD
FOR A LONG MOMENT until it seems he is about to start
up the stairs. Instead, he turns and practically runs
down the stairs to the first floor and EXITS THE SHOT.
HOLD ON EMPTY CORRIDOR until the SOUND OF THE FRONT
DOOR can be heard OPENING AND CLOSING O.S
|
But Darren indicated on his Restoration Web site:
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
HIGH ANGLE. Quentin runs from the house. EXT.COUNTRYSIDE. Quentin struggles, stops has flashback.
1971.COUNTRYSIDE.NIGHT. Quentin in trance returns to house.
And the missing material in indeed not on the recovered list. And all that makes it something of a mystery as to why the music abruptly cuts off if the missing footage wasn't a part of the 129 minute version, particularly with other examples of music being different on the Blu-ray/DVD versus the VHS/Laser it's because footage was cut during the marathon editing but it was recovered when the 129 minute version was found. But who knows...
[nods]
-
Revisiting how Scene 148 and the start of Scene 149 are scripted:
And picking things up with the next scene in the script:
148 INT - MASTER BEDROOM - NIGHT 148
CLOSE ON TRACY as she lies in bed sound asleep. HOLD
until she stirs, then WIDEN to reveal she is alone.
Through the window in the B.G. the tower can be seen.
A light glows there. Tracy opens her eyes and,
noticing the light, she gets out of bed and crosses
to the window. TRUCK IN ON HER as she tries to decide
what to do.
149 INT - STAIRWAY TO THIRD FLOOR - NIGHT 149
as Tracy comes TOWARD CAMERA PAN WITH HER as she
crosses to the tower stairs. HOLD ON HER BACK as
she climbs to the door. Hesitant, timid, she knocks.
THE SOUNDS OF MOVEMENT can be heard inside.
TRACY
Quentin!
There is no answer. She raps harder.
|
And that's when Tuesday's first quote -
(http://www.dsboards.com/NoDSquoteimages/0913ds91_0.jpg)
Page 70/Scene 149 - Tracy: 'Quentin!'
- comes up, followed in the script by:
The door suddenly opens, revealing a seemingly
drunken Quentin staring down at her. Past him she
can see the rumpled cot.
|
And that's when Tuesday's second quote -
(http://www.dsboards.com/NoDSquoteimages/0913ds91_1.jpg)
Page 70/Scene 149 - Tracy: 'I...I thought you weren't
coming back here...'
- comes up.
And when it comes to what's different with the dialogue, Tracy actually says "I...I thought you said you weren't gonna come here anymore..."
And when it comes to what's different with the descriptions and directions, in DC's script he's added to the setting on Scene 148:
| INT - MASTER BEDROOM - NIGHT - FROM WINDOW SIDE |
And right below that he's also added:
However, he doesn't make any changes to the descriptions, so it's interesting that his Scene 148A doesn't begin close on Tracy as she lies in bed sound asleep - nor does it hold until she stirs, then widen to reveal she's alone - and neither is it the case that through the window in the background the tower can be seen - and all that is because the scene actually begins with a shot through the window with the tower being seen with a light coming from it - and after that we do not see Tracy opening her eyes because when we see her her eyes are already wide open. And considering that so much of how the scene is scripted to open is not actually in the film, it begs the question of whether or not the background music in what is seen of Scene 143 is cut so short because at one time Scene 148 did open as scripted but, as a part of the enforced editing, what is missing was cut for time? But whatever the reason for the abrupt ending of the music is, from the point we see Tracy with her eyes open, Scene 148 plays as Tracy gets out of bed and crosses a few steps to the window - however, the camera doesn't truck in on her as she tries to decide what to do because Scene 149 begins immediately after that - however DC made changes to that setting, too:
3RD FLOOR LANDING
INT - STAIRWAY TO THIRD FLOOR - NIGHT |
And right below that he's also added:
So, it will probably come as no surprise that things here don't exactly begin the way it's scripted. How things actually play is that in Scene 149 and shot from the 3rd floor landing we see Tracy coming up each section of the stairs -
(http://www.dsboards.com/NoDSquoteimages/0913NoDS_a.jpg)
(http://www.dsboards.com/NoDSquoteimages/0913NoDS_b.jpg)
and then she hesitates a few moments as she looks at the third floor ahead of her -
(http://www.dsboards.com/NoDSquoteimages/0913NoDS_c.jpg)
(http://www.dsboards.com/NoDSquoteimages/0913NoDS_d.jpg)
- and then after having moved closer to them, Tracy hesitates for just a fraction of a second -
(http://www.dsboards.com/NoDSquoteimages/0913NoDS_e.jpg)
- before making her way to the tower stairs. And then when it comes to DC's Scene 149A, Tracy isn't seen ascending the stairs from behind but rather -
(http://www.dsboards.com/NoDSquoteimages/0913NoDS_f.jpg)
- from her front - and after Tracy knocks on the tower door for the first time, we don't actually hear the sounds of movement from inside - in fact, when there's no respons from her second knock, she actually turns away from the door -
(http://www.dsboards.com/NoDSquoteimages/0913NoDS_g.jpg)
- and is about to start down the stairs before Quentin opens the door -
(http://www.dsboards.com/NoDSquoteimages/0913NoDS_h.jpg)
- and stares down at her - however, Quentin doesn't seem as if he's drunk - and after she brings up that Quentin had said he wasn't going to come to the tower anymore (and I do love the nervous little smile Tracy shows before -
(http://www.dsboards.com/NoDSquoteimages/0913NoDS_i.jpg)
- she mentions that), it doesn't appear that Tracy somehow sees a rumpled cot. We certainly don't see it.
[pointing-up] And so far as "Tuesday's" quotes go, they also appeared on a Tuesday this time around, but on April 16th.
[nods]
-
Beginning to revisit the subtitles and closed captioning (with new screen captures) for Scene 149:
When it comes to the subtitles and closed captioning for the opening moments of Scene 149, it's interesting that each interprets Tracy's calling to Quentin differently - the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_Blu-ray_frame_00314.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_Blu-ray_frame_00574.jpg)
- with a "?" - whereas the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_VHS_frame_01831.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_VHS_frame_02102.jpg)
- with a "!" - and that way is actually how the script intended it to be.
Also, after Quentin does finally open the door, what Tracy says to him is, "I...I thought you said you weren't gonna come here anymore..." - however, the subtitles and the closed captioning present her line in slightly different ways - the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_Blu-ray_frame_01004.jpg)
- with the "I...I" hesitation ignored in favor of a single "I" - and the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_VHS_frame_02486.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_VHS_frame_02558.jpg)
- with the hesitation intact but with "gonna" changed to the grammatically correct "going to," even though Tracy actually says "gonna."
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
More of how Scene 149 is scripted:
Continuing with Scene 149:
And that's when Wednesday's quote -
(http://www.dsboards.com/NoDSquoteimages/0914ds91_0.jpg)
Page 70/Scene 149 - Tracy: 'Quentin, what's happened to you? What's wrong? There's...there's someone in that room with you, isn't there?'
(Along with the graphic for anyone who might have missed it.)
- comes up, followed by today's quote -
Page 70/Scene 149 - Quentin: 'Tracy, why don't you go back to bed.'
- coming up.
And when it comes to what's different with the dialogue, Tracy actually says "Quentin, what's happened to you? ... What's wrong? ... There's someone else in that room, isn't there?" - and Quentin drops the "Tracy" in his quote, and it's chilling how emotionlessly he delivers it.
And when it comes to what's different with the descriptions and directions, what's scripted is exactly how that plays out, but there are some things that aren't scripted. For instance, the camera slowly trucks in on Tracy as she delivers her lines - and she reaches out to Quentin before -
(http://www.dsboards.com/NoDSquoteimages/0914NoDS_a.jpg)
- she asks him what's wrong - and she looks up into the tower room before she states that someone else-
(http://www.dsboards.com/NoDSquoteimages/0914NoDS_b.jpg)
- is in there. (Though we still have mo idea if Tracy can see a rumpled cot. To me things play as if she can tell intuitively that someone is in the tower besides Quentin.)
[pointing-up] And as far as "Wednesday's quote" goes, it also appeared on a Wednesday this time around, but on April 17th, and as for "today's quote," it was April 18th's this time around.
[nods]
-
A still definitely worth revisiting:
And today I have a behind the scenes candid still to share that's associated with Scene 149:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower_stairs.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower_stairs.jpg) for a 1400X1067 version)
David Selby and Kate Jackson are in a decidedly different mood than their characters are in the scene...
And you will no doubt recall, especially considering its number is written on its bottom right corner, that still is #17 in the NoDS Editor's Portfolio. The interesting thing about it, though, is that, unlike most of the other stills that are a part of that portfolio, I don't recall it ever having been published anywhere back in the day, or even today...
[nods]
-
Continuing to revisit how Scene 149 is scripted:
Moving on with Scene 149:
And that's when today's first quote -
Page 71/Scene 149 - Tracy: 'I know someone's in there!'
- comes up, followed in the script by:
And that's when today's second quote -
Page 71/Scene 149 - Quentin (mimicking her): '"I know someone's in there"...You make me sick! I can't even stand the sight of you anymore.'
- comes up, followed in the script by:
TRACY - QUENTIN'S P.O.V.
She can hardly talk as the tears well from her eyes.
|
And that's when today's third quote -
Page 71/Scene 149 - Quentin (O.S.): 'Now get out of here!'
- comes up.
And when it comes to what's different with the dialogue, Tracy actually says "Is there's someone else in that room" - and to that Quentin actually replies"'Is there someone else in that room'...You make me sick! I can't stand the sight of you anymore! Now get out!", with the second and third quotes combined.
And when it comes to what's different with the descriptions and directions, the editing is a bit different than indicated - but before we get into that I have to say that I love the smile Quentin displays before he mimics Tracy's question -
(http://www.dsboards.com/NoDSquoteimages/0916NoDS_a.jpg)
- and before he "blows" - and when it comes to his angry outburst, as can be seen in today's second capture, the shot actually features Tracy at first -
(http://www.dsboards.com/NoDSAnniQuoteImages/0419NoDS_1.jpg)
- and that lasts as long as Quentin is angrily declaring "You make me sick!" - and then the shot shifts to Quentin -
(http://www.dsboards.com/NoDSquoteimages/0916NoDS_b.jpg)
- as he declares "I can't stand the sight of you anymore!" - and contrary to what the third quote indicates, Quentin is still on screen -
(http://www.dsboards.com/NoDSquoteimages/0916NoDS_c.jpg)
- as he orders "Now, get out!" - and it's after that that the shot returns again -
(http://www.dsboards.com/NoDSquoteimages/0916NoDS_d.jpg)
- to one of Tracy.
[pointing-up] And as far as "today's" quotes go, they were on April 19th this time around.
[nods]
-
Finishing a revisit of the subtitles and closed captioning (with new screen captures) for Scene 149:
And wrapping up the differences in the subtitles and closed captioning when it comes to Scene 149, after Tracy says she thought Quentin said he wasn't going to come to the tower amymore, she notices something about him has changed and she asks, "Quentin, what's happened to you?" - and the closed captioning reflects that - however, the subtitles have -
(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_Blu-ray_frame_01178.jpg)
- and then before Tracy asks if there's someone else in the tower room, the closed captioning indicates the sound of -
(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_VHS_frame_02956.jpg)
- and makes it seem as if that's what prompts Tracy to look toward the room and then to ask her question - but in all the previous times I've seen the film, I've never heard footsteps - and while if you turn the volume up all the way, there is indeed the slightest of sounds heard, I find it hard to believe it was meant to be that the sound of a footstep prompted Tracy when the sound is so barely perceptible - but who knows? - though what is fascinating is that the closed captioning acknowledge the supposed sound of footsteps yet there's no acknowledgement of the huge sound the door makes when Quentin finally swings it open (or when he closes it later in the scene)...
Also, before Quentin taunts Tracy by mimicking the repeat of her question, the closed captioning indicates that he prefaces it with a -
(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_VHS_frame_03484.jpg)
- (though to me it's always sounded like "Hmm") but only the closed captioning reflects that - and after Quentin says that Tracy makes him sick, he says "I can't stand the sight of you anymore! Now, get out!" - and the subtitles reflect that - but the closed captioning has -
(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_VHS_frame_03767.jpg)
- with both "anymore" and "Now" dropped...
...
(ADMIN: Edited to replace TV video screen captures)
[nods]
-
Finishing off revisiting how Scene 140 is scripted:
Wrapping up Scene 149:
QUENTIN - TRACY
As she turns and runs down the stairs TOWARD CAMERA.
He calls after her.
|
And that's when today's quote -
Page 71/Scene 149 - Quentin: 'And don't ever let me catch you up here again!'
- comes up, followed in the script by:
As she runs by CAMERA, he SLAMS AND BOLTS the door.
|
End of scene - but not the end of the sequence as scripted. But that will wait until next time...
And when it comes to what's different with the dialogue, in a bit of unscripted dialogue Quentin once again orders "I said get out" - and then what he actually warns is "Don't you ever let me catch you up here again!"
And when it comes to what's different with the descriptions and directions, things do not switch to a 2 shot of Quentin and Tracy as the script indicates - instead, the close-up of Tracy continues as she looks back up at Quentin -
(http://www.dsboards.com/NoDSquoteimages/0917NoDS_a.jpg)
- in hurt and shock - and then becoming quite calm again, Quentin orders Tracy -
(http://www.dsboards.com/NoDSquoteimages/0917NoDS_b.jpg)
- to get out a second time - and it isn't until after that that in a 2 shot we see -
(http://www.dsboards.com/NoDSquoteimages/0917NoDS_c.jpg)
- Tracy turn and start down the stairs, but she doesn't run down them - and when Quentin warns Tracy not to ever let him catch her there again, as can be seen in today's capture, the shot simply features Quentin -
(http://www.dsboards.com/NoDSAnniQuoteImages/0420NoDS_0.jpg)
- so we do not see Tracy run by camera - and afterward, while he does slam the door shut, we don't hear him bolt it.
And tomorrow we'll feature more material that is not in the 94 or 97 minute versions of the film but some of which may be in the 129 minute version. But more on that next time...
[pointing-up] And as far as "today's quote" goes, it was on April 20th this time around.
[nods]
-
...
And when it comes to what's different with the dialogue, in a bit of unscripted dialogue Quentin once again orders "I said get out" - ...
...
And the subtitles and closed captioning handle that unnscrip[ted line this way:
(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_Blu-ray_frame_02578.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_VHS_frame_04100.jpg)
It's interesting how the light on Quentin'e face appears blue on the VHS/Laser yet white on the Blu-ray/DVD...
[nods]
-
...
It's interesting how the light on Quentin'e face appears blue on the VHS/Laser yet white on the Blu-ray/DVD...
(http://www.dsboards.com/NoDSAnniQuoteImages/Can't_Stand_Laser_frame_04100.jpg)
Actually, the light isn't quite as blue on the Laser Disc, but it's still not white. But the lighter tone of the blue could be because the skin tones are a lot better on the Laser Disc than they are on the VHS.
[nods]
-
Revisiting how Scene 150 is scripted:
...
150 INT - TOWER ROOM - NIGHT 150
Quentin stands leaning with his back against the
door. PAN WITH HIM as he crosses to Charles' un-
finished painting which is now on his easel. It is
obvious that he has progressed the painting himself
in the original style. He picks up his brush, does
something, then looks O.S.; he smiles. SLOWLY PAN
in the direction of his gaze to reveal the strangely
opalescent Angelique, who lies on the cot, holding
out her arms to him.
QUENTIN - MEDIUM ANGLE
PAN WITH HIM as he crosses to her.
|
And that's when today's quote -
Page 71/Scene 150 - Quentin: 'How could I have ever thought you were a dream?'
- comes up, ...
...
And so far as differences with the dialogue, the descriptions, and the directions go, (this) scene (isn't) in the film as it currently stands, so there's no way of telling what might be different. ... Scene 150 is not on the (unrecovered) list, so there's a chance that it may be in the 129 minute version.
And speaking of Scene 150, in Grayson's script there's quite the interesting note that reads: "Intercut Q in sexual ecstasy caressing A. Allow stroking kissing" Sounds like it could be quite the scene, reminiscent of what was cut out of Scene 85 (the tower makeout scene) in the 94 minute version. [9341]
[pointing-up] And as far as "today's quote" goes, it was on April 21st this time around.
[nods]
-
A post worth revisiting regarding the graphic for Scene 150's quote:
You may wonder, if I said I've never come across a still from Scene 150, then why did I make a graphic for that scene -
(http://www.dsboards.com/NoDSquoteimages/0918ds91_0.jpg)
- using this still:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-16_1.jpg)
Well, that's because Scene 150 says Angelique "lies on the cot," which indeed she is doing in the still, so even if it's not specifically associated with Scene 150, it comes damn close. And she may not be "holding out her arms" to Quentin, but as we've seen numerous times already, even when it comes to stills definitely known to be associated with specific scenes, they often depict characters in ways other than how the script describes them. Plus, I love that still.
And as a bonus, here's a very rarely seen alternate shot:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-16_2.jpg)
[nods]
-
And asnother post definitely worth revisiting:
And speaking of something that's very rarely seen, I almost forgot to share the color version of the first still from above:
(http://www.dsboards.com/NoDSAnniQuoteImages/Tower-16_1a.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Tower-16_1a.jpg) for a 1600X2000 version)
[nods]
-
And this is what Darren wrote on his Restoration Web sie regarding Scene 150:
A selection of scenes cut from the 129-minute version that have been recovered:
...
After Quentin slams the tower door on Tracy, he works on continuing Charles' unfinished portrait and embraces the ghostly Angelique.
[nods]
-
...
And you will no doubt recall, especially considering its number is written on its bottom right corner, that still is #17 in the NoDS Editor's Portfolio. The interesting thing about it, though, is that, unlike most of the other stills that are a part of that portfolio, I don't recall it ever having been published anywhere back in the day, or even today...
...
When I wrote that I was thinking of magazine articles and such, not foreign promotional materials. But today it dawned on me that Still #17 was used as part of the Italian Lobby Cards (note how it also features NoDS Editor's Portfolio Stills #25 & #42) -
(http://www.dsboards.com/NoDSAnniQuoteImages/Italian Lobby Card(42_17_25).jpg)
- how soon I forget. [easter_wink] [easter_cheesy]
An interesting thing about the Italian title of the film is that it translates as The House of the Cursed Shadows, which seems more like the film's working title, Curse of Dark Shadows, than it does the release title, Night of Dark Shadows. I wonder if that's because the Italian title was decided upon before the film was renamed Night of Dark Shadows? If so, it's sort of like the Curse of Dark Shadows title lived on...
[nods]
-
Revisiting how Scenes 151 & 152 are scripted:
...
...
CUT TO:
151 INT - CARD ROOM - NIGHT 151
Through the door of the Card Room, Tracy can be seen
coming down the stairs. Large in the F.G. of the SHOT
is the telephone. When she reaches the bottom of
the stairs, she tries to decide what to do. Looking
in the direction of the telephone, she crosses to it,
picks it up and starts to dial a number. HOLD ON HER
as she listens to a ring.
152 INT - COTTAGE - NIGHT 152
The room is in darkness as the SOUND OF THE TELEPHONE
can be HEARD ringing...ringing...ringing.
|
...
[nods]
-
With regard to Scenes 151 & 152, this is what Darren wrote on his Restoration Web site:
The following is a list of scenes that are still lost and which are not present in the 129 min version recovered in 1999.
...
INT.CARD ROOM. Tracy dials the phone. INT.COTTAGE. Phone rings in the empty cottage.
Interestingly, there may be evidence that those two scenes were shot because Scene 151 appears on the call sheet for April 5, 1971 that I've previously shared, most recently in Reply #1686...
[nods]
-
Revisiting how Scene 153 is scripted:
Moving on to the next scene (which is one of my favorite scenes in the entire film):
DISSOLVE TO:
153 INT - GALLERY - DAY 153
as Tracy, in deep thought, sits staring at Angelique's
portrait, Carlotta ENTERS, carrying a vase of freshly
cut flowers.
CARLOTTA
Oh, Mrs. Collins, I thought
these might brighten the room.
She puts them on the mantel before Angelique's portrait.
CARLOTTA
Aren't they lovely?
TRACY
(ignoring the question)
|
And that's when today's first quote -
Page 72/Scene 153 - Tracy: 'Carlotta, where is Mr. Collins?'
- comes up, followed by today's second quote -
Page 72/Scene 153 - Carlotta: 'Oh, didn't he tell you? He's just left for town. He needs some supplies. You do know he's painting in the tower, don't you?'
- coming up.
And so far as differences with the dialogue go, Carlotta's first line is actually delivered as "Oh, Mrs. Collins ... I thought these might brighten the room" - and Tracy actually asks "Carlotta, where's Mr. Collins?" - and the first part of Carlotta's reply is actually delivered as "Oh...didn't he tell you?"
And so far as the differences with the descriptions and the directions go, Scene 153 does not begin with Tracy staring at Angelique's portrait because it actually begins with a vase of daffodils -
(http://www.dsboards.com/NoDSquoteimages/0919NoDS_a.jpg)
- being carried into the Gallery - and because Angelique's portrait is not hung above a mantel, Carlotta actually carries the vase over toward the table that's below where the portrait actually hangs - and after Tracy asks where Quentin is, I do love how Carlotta barely covers a series of facial expressions -
(http://www.dsboards.com/NoDSquoteimages/0919NoDS_b.jpg)
(http://www.dsboards.com/NoDSquoteimages/0919NoDS_1a.jpg)(http://www.dsboards.com/NoDSquoteimages/0919NoDS_c.jpg)
- as she's hardly able to cover her glee that Tracy doesn't know where Quentin is - and a shot of Tracy is actually on screen as -
(http://www.dsboards.com/NoDSquoteimages/0919NoDS_d.jpg)
- Carlotta says "You do know he's painting in the tower, don't you?".
And Grayson's script has several notes for this section of the scene. She writes that Carlotta is feeling well loved and happy - and that Carlotta will remove the dead flowers from the vase and handle one flower lovingly - and while she does handle one flower lovingly, there's no need for her to remove the dead flowers from the vase because the fresh flowers are already in a new vase, so she simply switches vases.
...
[pointing-up] And as far as "today's" quotes go, it was on April 22nd this time around.
[nods]
-
Revisiting how the differences in the opening of Scene 153 play across the various versions of the film:
And here's another example of a music cue that rightfully doesn't play as part of a scene on the VHS but does in every other release of the film. We've already dealt with two such cues: one at the end of Scene 103 when Scene 104 was cut in the 94 and 97 minute versions of the film but does appear in the 129 minute version, and another at the opening of Scene 117 when Scene 116 was cut in the 94 and 97 minute versions of the film but does appear in the 129 minute version. And this time around we're dealing with the opening of Scene 153:
Here we have the Laser version:
And here we have the Blu-ray to represent every other version:
The cue heard on the Blu-ray and others other than the VHS/Laser is obviously a segue from the end of Scene 150 (which only appears in the 129 minute version of the film - all other versions go from Scene 149 to Scene 153, as can be seen in the Laser and Blu-ray clips) -
...
(ADMIN: Edited to replace VHS video with Laser video)
And as you can see, since the above post was originally made, I've replaced the VHS video with video from the Laser Disc...
[nods]
-
[pointing-up] A post worth revisiting that's related to the previous one:
Yesterday I forgot to share the full music cue that should play and likely does play over Scene 150 and into the opening of Scene 153 in the 129 minute version. On the Movie Soundtracks CD it's entitled "Quentin's Daydreaming (Quentin's Theme)," no doubt because it first comes up in the film during Scenes 33 through 38 while he muses, has a vision, and recovers. So, here it is to help get a better idea of how Scene 150 plays in the 129 minute version and how the music cue transitions to Scene 153:
...
I also forgot to mention, though I have mentioned it with regard to other scenes, but it really is a shame how much of a blow out there is when it comes to the windows as they're seen on the VHS and even the Laser Disc as opposed to how most of the details of the windows show up much clearer on the Blu-ray/DVD.
And there's also something else about the previous two videos that I want to get into - but I'm going to hold off until we reach Scene 169...
[nods]
-
Revisiting more of how Scene 153 is scripted:
Continuing Scene 153, with Tracy's response to Carlotta questioning whether or not she knows Quentin is working in the tower:
And that's when today's first quote -
Page 72/Scene 153 - Carlotta: 'Is something wrong, Mrs. Collins?'
- comes up, followed by today's second quote -
Page 72/Scene 153 - Tracy: 'Yes, something is wrong, Carlotta.'
- coming up.
And so far as differences with the dialogue go, Tracy actually delivers her quoted line as "Yes, Carlotta, something is wrong."
And so far as the differences with the descriptions and the directions go, there aren't any in this section of the scene so there's nothing to be different - though Tracy does move up in her chair and she leans forward to help emphasize the point when she says that something is wrong. And beyond that I also have a few other observations because 1) I love how Tracy nervously -
(http://www.dsboards.com/NoDSquoteimages/0920NoDS_a.jpg)
- plays with her hands before she answers that she knows Quentin is back to painting in the tower - and 2) I also love how Carlotta smiles down and continues to handle one of the dying flowers lovingly because -
(http://www.dsboards.com/NoDSquoteimages/0920NoDS_b.jpg)
- it's a fascinating gesture given that the flowers are, well, dying and are no longer fresh (so given that she specifically wrote in her script about it, what might Grayson have thought the gesture signifies in Carlotta's mind?) - and 3) I also love how Carlotta first tilts her head to the right -
(http://www.dsboards.com/NoDSquoteimages/0920NoDS_c.jpg)
- and then to the left -
(http://www.dsboards.com/NoDSquoteimages/0920NoDS_0a.jpg)
- as she asks Tracy if anything is wrong.
...
[pointing-up] And as far as "today's" quotes go, it was on April 23rd this time around.
[nods]
-
A post definitely worth revisiting, including a still related to Scene 153:
This line is not quoted in the current version of the slideshow, but it did appear in the original version -
(http://www.dsboards.com/moviesquoteimages/1110NoDS_0.jpg)
NoDS: Scene #153 - Tracy: 'Yes, I know.'
- because it was the quote for November 10th on the Fest 1999 Movie Calendar.
And interestingly enough, this still of Carlotta -
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery7-1.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery7-1.jpg) for a 700X1028 version)
- is most closest connected to Scene 153 by how Carlotta can hardly cover her glee that Quentin is painting in the tower again and Tracy doesn't know where Quentin is...
And a cropped version of that still appears on page 179 of the DS Movie Book, and a cropped to just a head shot version appears on the back cover of the movies soundtrack case...
[nods]
-
A post more than worth revisiting for a reason that soon becomes obvious:
Something peculiar about the still of Carlotta in Reply #524 is that there appears to be a pink flower petal near the waistline of Carlotta's dress. And it doesn't just appear in the copy of the still that I have but also in the copy that's in the DS Movie Book. And the reason why I say it's peculiar is because in the copy that Stuart Manning shared on his old Web site, the pink flower petal doesn't appear:
| (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery7-1a.jpg) |
(http://www.dsboards.com/NoDSAnniQuoteImages/Gallery7-1_a.jpg) | (http://www.dsboards.com/NoDSAnniQuoteImages/Gallery7-1b.jpg) |
Who knows? [hdscrt]
[nods]
-
Speaking of the Italian Lobby Cards, which I did back in Reply #1712, I figured we should probably revisit them:
...
(http://www.dsboards.com/NoDSAnniQuoteImages/Italian_NoDS_Lobby_Cards.jpg)
(Click here (http://www.dsboards.com/NoDSAnniQuoteImages/Italian_NoDS_Lobby_Cards.jpg) for a 1000X709 version)
I do wish, though, if they felt they had to colorize the B&W stills, they would have checked to see what the correct colors should have been. But, well...
And considering that one of the points I was making was that the Lobby Card in question used stills from the NoDS Editor's Portfolio, here's a breakdown of which number still was used in each Italian Lobby Cards:
| | #42, #11 | | | #42, #15 | | | #42, #17 | |
| | & #39 | | | & #9 | | | & #25 | |
| |==========| | |==========| | |==========| |
| | #42, #36 | | | #42, #37 | | | #42, #32 | |
| | & #6 | | | & #33 | | | & #7 | |
| |==========| | |==========| | |==========| |
| | #42, #31 | | | #42, #22 | | | #42, #26 | |
| | & #14 | | | & #16 | | | #40 & #34| |
-
More related to the Italian Lobby Cards that's worth revisiting:
I have a couple from Speedway and they feature Nancy Sinatra in an outfit that she did not wear in the movie, a bikini that was not standard attire for the IRS agent that she's playing. It's also been recolored. The bikini is white but appears as an odd shade of green on the lobby card. Her other outfits have been recolored as well. Seemed pretty random.
Weird. [easter_undecided]
The colorizing is bad enough, but my biggest pet peeve with the colorizing in the lobby cards is there's little consistency. In two Tracy's jacket is red -
(http://www.dsboards.com/NoDSAnniQuoteImages/Jacket_red-1.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Jacket_red-2.jpg)
- and in two others it's blue -
(http://www.dsboards.com/NoDSAnniQuoteImages/Jacket_blue-1.jpg)(http://www.dsboards.com/NoDSAnniQuoteImages/Jacket_blue-2.jpg)
[easter_rolleyes] The funny thing, though, if you notice, Gerard's jacket is consistent...
And something that I didn't notice until today is how in the one that features Still #11 Quentin's pajamas are colorized so that the bottoms are blue and the top is yellow -
(http://www.dsboards.com/NoDSAnniQuoteImages/Italian Lobby Card(42_11_39).jpg)
- maybe they were trying to cover both colors of pajamas that he wears in the film. [easter_wink] [easter_cheesy]