Happy 50th Anniversary, Night of Dark Shadows

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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...

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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:

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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...

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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. 

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 -

- and in two others it's blue -

   The funny thing, though, if you notice, Gerard's jacket is consistent...

[Mysterious Benefactor]

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...

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I find it interesting that several places are selling this -

(Click here for a 700X708 version)

- as a still when quite clearly it's a cropped screen capture -

(Click here 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.

[Mysterious Benefactor]

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...

[Mysterious Benefactor]

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...

[Mysterious Benefactor]

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...

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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...

[Mysterious Benefactor]

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...

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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...

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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 -

(Click here for a 1280X720 version)

- that might very well have been Alex Stevens...

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Stills associated with Scene 146. First up, this one -

(Click here 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 -

(Click here 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 -

(Click here 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 -

...

(Click here 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).

[Mysterious Benefactor]

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: