Happy 50th Anniversary, Night of Dark Shadows

[Mysterious Benefactor]

Revisiting how Scenes 66A & 67 are written in DC's script:

Two scenes that come up in DC's script before the scene that features tomorrow's quote:

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.

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, which we'll be featuring up though the 22nd):

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...

   "Today's" quote is indeed today's, October 17th's, this time around.

 

[Mysterious Benefactor]

Revisiting posts regarding 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...

 

[Mysterious Benefactor]

Revisiting the next section of Scene 67A from DC's script:

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.

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 - however, 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...

   So far as "today's" quotes go, they are indeed today's, October 18th's, this time around.

 

[Mysterious Benefactor]

Revisiting more posts regarding Scene 67A

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...

 

[Mysterious Benefactor]

Another post definitely worth revisiting regarding Scene 67A:

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]

Revisiting more dialogue from 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...

...

  And "Friday's quote" was actually Saturday, October 19th's quote this time around, and "Saturday's" quotes are actually today's, October 20th's, quotes.

Something I never thought about before until after I read Charles' quote is just who are the family members he refers to? So far as we know, the only other family member in the house other than Laura is Gabriel, and he isn't exactly in the dark about what was going on between Angelique and Charles. Now, chances are at least one Collins child exists for the family to continue on, but we have no idea where that child and possibly other children are. It certainly doesn't appear in the film as if any child other than Sarah lives at Collinwood in 1810. Though obviously that's because no child other than Sarah factors into Quentin and Carlotta's "memories" since those are the only types of glimpses we get into 1810.

 

[Mysterious Benefactor]

Another post worth revisiting regarding Scene 67A:

If you had a feeling that something about the photo used in yesterday's graphics for the slideshow looked -

- different from the cover of the DS Music Book (aside from a somewhat different tint in some of the colors) -

- when seeing them together the difference is obviously that candles in the candelabra were airbrushed out for the cover. Why? I suppose whoever did it felt the book's title would look better. A style choice to be sure (but more on that to come). And an interesting thing is that after the DS Music Book became available, the airbrushed version of the photo, minus the title/text, -

- became circulated, leading some, including myself, to believe that was the way the still from NoDS' piano scene should have appeared, and you'll also note that without the text it becomes clear that between the two frames in the background the wallpaper that's actually on the wall in that room was replaced during the airbrushing with, well, replaced with I don't know what to call it - it wasn't until after the DS Movies Book was published in 1998 and this appeared on page 215 to help to illustrate a portion of the script featuring part of Scene 67A -

- that I realized the candles had been airbrushed out (though I should have had I remembered something that I'll get into shortly) - and since that time various versions of the original still have appeared online - unfortunately, though, like this one -

(Click here for a 1280X1560 version)

- they've been cropped versions of the still...

But what is really fascinating is that back in May of 1996 when ShadowGram #76 shared an advance look at the cover of the DS Music Book, the candles -

- weren't airbrushed out, the wallpaper hadn't been altered, and, to me anyway, even given the title/text were placed in slightly different spots, it looks like the title was perfectly readable without the alterations to the still - but quite obviously someone thought otherwise at some point before the book was actually published...

(I wonder what the original cover markup with candles and correct wallpaper would go for if it ever surfaced?!

   Though unlike how in 2021 the graphics were "yesterday's," they're today's, October 20th's, this time around.
 

[Mysterious Benefactor]

Another post to revisit regarding Scene 67A:

... I want to get into something else members and long-time visitors to the forum may have noticed and that's that back in 2009 when we were doing a slideshow of the quotes from the Fest's 1999 Movies Calendar and then again in 2016 when we did a  slideshow devoted exclusively to NoDS, I'd used these graphics -

- for 2009 and 2016, respectively, to illustrate what was used of Laura's lines from Scene 67A. However, this time around I replaced the version of the still that I'd originally used with a much better version -

Interestingly enough, the version of the still that I originally used was published in the DS Movie Book but, oddly, its coloring was not correct. In the ensuing years since 2016 I've come across two different versions of varying quality that were shared online that feature the correct coloring, and after correcting for the angle in which the photo of the still was taken -

 - when it was used so long ago on worthpoint.com to sell an autographed photo of Diana Millay that the details of the sale are no longer indicated, I went with that one...

 

[Mysterious Benefactor]

Revisiting the end of how Scene 67A is scripted:

Wrapping up Scene 67A... -

- ... 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...

  And so far as "Sunday's quote" goes, it was Monday, October 21st's this time around, and "today's quote" is indeed today's, October 22nd's, this time around.

 

[Mysterious Benefactor]

Two more posts to revisit regarding Scene 67A:

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]

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.

 

[Mysterious Benefactor]

Revisiting the setting up of DC's script's version of Scene 68:

...

FLASH CUT TO: 68     INT. DRAWING ROOM - DAY - 1971                              68        Tracy stands in the doorway  She looks at Quentin.

And that's when today's quote -

Page 28/Scene 68 - Tracy (O.S.): 'Darling, are you all right?'

- comes up.

And as far as what's different with the dialogue, the descriptions, and the directions, we have no way of knowing for sure 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 - but DC's script has a notation that the scene would actually start on a close-up of Quentin and we would hear Tracy's voice off screen. And DC is actually the one who added the "(O.S.)" next to Tracy's name when it comes to today's quote.

   And when it comes to "today's quote," it is indeed today's, October 23rd's, this time around.

 

[Mysterious Benefactor]

Revisiting wrapping up DC's script's version of Scene 68:

... beginning with today's quote -

Page 28/Scene 68 - Quentin: 'Yes. Of course. Why wouldn't I be? I was just waiting for you.'

- coming up, followed by the script continuing with:

TRACY                  I'm ready.  Come on.  It's a beautiful                  day.

End of scene.

And as far as what's different with the dialogue, the descriptions, and the directions, as has already been said, we have no way of knowing for sure at this point - but DC's script has more notations. He indicates that Quentin would turn to Tracy after she asks if he's all right, and the camera would pan Quentin to a two shot.

And now that we've finished with Scene 68, shortly I'll be explaining how things play in Grayson's version of the script...

And so far as "today's quote" goes, it is indeed today's, October 24th's, this time around.

 

[Mysterious Benefactor]

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...

   And when it comes to the reference to reply #103, in this topic that reply was most recently revisited as reply #2263, and when it comes to the reference to reply #41, in this topic that part of that reply was most recently revisited as reply #2173.