Happy 50th Anniversary, Night of Dark Shadows

[Mysterious Benefactor]

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 -

"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 -

- 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 -

- and instead of "have you seen Miss Drake smile yet?" the closed captioning reads -

- (but interestingly, the subtitles has everything correct) - and to Alex' question Quentin replies with an unscripted -

"Once."

- and before Claire points out,  "She had no reason to smile at you, Alex," Claire gives out an unscripted -

(Laughs)

 

(ADMIN: Edited to replace TV video screen captures)

[Mysterious Benefactor]

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!! ) 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 -

- 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 -

(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 -

- and after both Alex and Quentin say they'll have both, Claire responds -

"(Sigh) Right."

- as she leaves the room - (and interestingly, once again the subtitles has everything correct).

 

(ADMIN: Edited to replace TV video screen captures)

[Uncle Roger]

I wonder if the Captain Russel was the basis for the Christopher Lee character in the 2012 movie.

[Mysterious Benefactor]

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 -

...

Quentin looks at him.

...

- 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 -

- 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 -

(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 -

- (and interestingly, yet again the subtitles has everything basically correct).

 

(ADMIN: Edited to replace TV video screen captures)

[Mysterious Benefactor]

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 -

- 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 -

- and after Quentin adds, "Be my guest," Alex delivers an unscripted -

"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 -

"Hmm - thank you."

- before putting the tray down - (and interestingly, even yet again the subtitles has everything basically correct).

 

(ADMIN: Edited to replace TV video screen captures)

[Mysterious Benefactor]

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 -

- 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).

 

(ADMIN: Edited to replace TV video screen capture)

[Mysterious Benefactor]

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 -

...

- 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.

 

[Mysterious Benefactor]

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...

 

[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...

...

...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...

 

[Mysterious Benefactor]

Something I discovered online back in March:

NIGHT OF DARK SHADOWS-LARA PARKER & DAVID SELBY-MISSING SCENE- LOT OF 8-B/W 4X6

It's quite interesting that there's nothing of Diana Millay/Laura...

 

[Mysterious Benefactor]

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. 

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.

 

[Mysterious Benefactor]

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...

 

[Mysterious Benefactor]

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...

 

[Mysterious Benefactor]

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 -

- 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 -

- (though also in this case the subtitles get everything correct).

 

(ADMIN: Edited to replace TV video screen capture)

[Mysterious Benefactor]

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.