Happy 50th Anniversary, Night of Dark Shadows

[Mysterious Benefactor]

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 -

- but here's a version which shows more at both the top and bottom and which looks like it was published in a book -

(Click here 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 -

 - 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...

...

 

[Mysterious Benefactor]

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 -

- and the closed captioning -

- get it correctly - and after Quentin stops and turns to him, Alex asks, "How many stitches?" - and the closed captioning -

- and the subtitles -

- also get that correctly, though the subtitles jump ahead to Quentin's answer, which they get correctly, as does the closed captioning -

More to come...

 

[Mysterious Benefactor]

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 -

- however, the closed captioning has -

- 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 -

- simply dropping the "of" - though the closed captioning has -

End of the unscripted exchange but more of the scene to come...

 

[Mysterious Benefactor]

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 -

- 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 -

- or the shirt he wears in the deleted picnic sequence -

- as well as when he informs Carlotta he wants his painting materials moved from the Tower Room to the Gallery -

- 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...

 

[Mysterious Benefactor]

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.

...

[Mysterious Benefactor]

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 -

- 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 -

- and when it comes to the second half of Alex' line, the subtitles have -

- 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 -

- 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" -

- but the subtitles have -

More unscripted to come...

 

[Mysterious Benefactor]

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 -

- 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 -

- and the subtitles -

- 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 -

- 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.

 

[Mysterious Benefactor]

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. ...

 

[Mysterious Benefactor]

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 -

 - 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." -

- but the closed captioning basically gets it correctly -

- then Quentin remarks "I'll be happy to get out of this place." - and both the subtitles -

- and the closed captioning -

- 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 -

- and the closed captioning -

- reflect that.

More to come...

 

[Mysterious Benefactor]

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 -

- and the closed captioning -

- 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 --

- and the subtitles -

- get it correctly - though the subtitles jump ahead to what Tracy actually replies rather her scripted reply - and the closed captioning also reflects that -

 - 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.

 

[Mysterious Benefactor]

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:

There is no answer.

...

...


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 -

- 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.

 

[Mysterious Benefactor]

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 -

- and the closed captioning -

- 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 -

- and the closed captioning -

- also acknowledge that - however, only the closed captioning -

- acknowldges a second honking of the horn.

More to come...

 

[Mysterious Benefactor]

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 -

- and the closed captioning -

- 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 -

- and the closed captioning -

- 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.

 

[Mysterious Benefactor]

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

...

 

[Mysterious Benefactor]

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 -

- 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 -

- 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 -

- and the subtitles and the closed captioning also acknowledge that.

More to come...