Happy 50th Anniversary, Night of Dark Shadows

[Mysterious Benefactor]

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 -

- 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 -

- (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 -

- 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 -

- 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...

 

[Mysterious Benefactor]

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...

 

[Mysterious Benefactor]

Backing up to the beginning of the Scene 61 as scripted, Carlotta's dropped line -

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.

 

[Mysterious Benefactor]

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 -

- 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:

62     CONTD                                    CONTD    62

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 -

- 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 -

- 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...

 

[Mysterious Benefactor]

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 -

- 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 -

- 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 - ...

 

(ADMIN: Reply #815 has been edited to replace the TV video screen capture)

[Mysterious Benefactor]

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 -

- and mention how it's used on the daytime show? 

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 -

- was also the bust that fell from the railing of the landing and almost killed Julia in 1995's Ep #1063 -

- as well as the bust Elizabeth put on display in the Summer of 1970's Ep #1089 -

 

[Mysterious Benefactor]

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. 

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.

...

 

[Mysterious Benefactor]

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.

 

[Mysterious Benefactor]

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:

As they get into bed.

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:

They embrace.

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:

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.

 

[Mysterious Benefactor]

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...

 

[Mysterious Benefactor]

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.

 

[Mysterious Benefactor]

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...

 

[Mysterious Benefactor]

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.)

 

[Mysterious Benefactor]

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...

 

[Mysterious Benefactor]

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...

...