Happy 50th Anniversary, Night of Dark Shadows

[Mysterious Benefactor]

Two posts worth revisiting regarding Grayson's script's version of Scene 67:

That's a rather odd choice for Charles. Selby looks fine with grey hair now but I don't know if it would have worked as well  in 1971.

Yes, the gray hair was a surprise to me, too.  (Although I guess it shouldn't have been--I've read the script twice before, albeit many years ago...)  So apparently Charles was intended to be rather older than Quentin during the time frames in the story?

 

[Mysterious Benefactor]

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.

...

   And when it comes to "today's quote," it is indeed today's, October 25th's, quote this time around.

 

[Mysterious Benefactor]

Revisiting a post related to Scene 69:

... I'd like to share the full still that I used for ... graphic:

And previously I'd neglected to point out that a version of the still that shows more than the copy I have -

(Click here for a 635X700 version)

- appears on page 183 of the Millennium Edition of the DS Almanac.

 

[Mysterious Benefactor]

Revisiting another post related to Scene 69:

...

First up, a not exactly rare still, but definitely a very nice one:

(Click here for a 1630X1157 version)

But then, here's a fairly rare one:

(Click here 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 back in 2021 I neglected to point out that the first still above appears on page 178 of The DS Movie Book.

 

[Mysterious Benefactor]

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:

The lady wearing the kerchief is DC's assistant Debbie Smith.

And here's a rarely seen still of DC directing:

As I've mentioned before, I love Selby just lying there eating an apple! 

And finally here's a very rare still:

(Click here 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...

 

[Mysterious Benefactor]

Revisiting two posts that asked and answered a mistaken mystery:

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. 

It's apparently an assortment of Mayfair English style cookies from Nabisco. 

Cookies?!

I NEVER would have guessed!! (Kosmo is a genius at tracking these things down. )

Though the evidence for it being a package of cookies is in the stills. There are cookies on the plates -

- and more than cookies on plates, there's an open package of the cookies -

- 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...

...

 

[Mysterious Benefactor]

Revisiting how the beginning of Scene 70 is scripted:

And today's scene:

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...)

   And as far as "today's quote" goes, it is indeed today's, October 26th's, this time around.

 

[Mysterious Benefactor]

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:

(Click here 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...

 

[Mysterious Benefactor]

Revisiting the wrapping up pf Scene 70:

... today's quote -

Page 29/Scene 70 - Tracy (O.S.): (joyfully laughing) 'Oh! I can't stand it! What a way to live!'

- coming up.

End of scene.

   And when it comes to "today's quote," it is indeed today's, October 27th's, quote this time around.

 

[Mysterious Benefactor]

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...

 

[Mysterious Benefactor]

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. (And sadly, the next one of those will be coming up as Scene 87, which might seem like it should be a really long way off in the slideshow, but as we'll soon see, Tuesday's quote will already be jumping up to Scene 79 because there are so many soon to come up scenes without dialogue...)

   And so far as "today's quote" goes, it is indeed today's, October 28th's, quote.

And when it comes to the reference to "Tuesday's quote," it will actually be coming up on Wednesday, October 30th this time around.

 

[Mysterious Benefactor]

Revisiting wrapping up how Scene 73 is scripted:

...

TRACY Want to come?

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.

  And so far as "today's quote" goes, i8t is indeed today's, October 29th's, quote this time around.

 

[Mysterious Benefactor]

Revisiting how Scenes 74 through 78 (the ones without dialogue that I referred to in reply #2290) 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.

...

 

[Mysterious Benefactor]

   I forgot to mention yesterday that there is a difference between the way the beginning of Scene 74 plays in the VHS/Laser version of the film and the DVD/Blu-ray version. However, the difference is more related to Scene 86, which appears before Scene 74 as the film currently stands. And because it does relate more to Scene 86, I'm going to hold off getting into the difference until after Scene 86 comes up in the script, and that won't be until almost the end of November...

 

[Mysterious Benefactor]

   Oops - I also meant to say that there are interesting issues when it comes to Scene 75. But I'm going to hold off getting into them until after Scene 129 comes up in the script, and that won't be until almost the end of March, 2025...