Happy 50th Anniversary, Night of Dark Shadows

[Mysterious Benefactor]

Revisiting another still related to Scene 99 as well as a comment related to it:

... There's also a color version as part of the NoDS Lobby Cards set ...

And here that is from back when I posted it in Reply #77:

...

(Click here for a 930X738 version)

...

Although, I have to say that I honestly prefer the still version:

(Click here for a 700X476 version)

... and I've always thought that it's interesting that Carlotta is pointing in the photo used for the lobby card for this scene but she doesn't actually do that in the film ...

 

[Mysterious Benefactor]

Moving on to revisit how the Scene 100 is scripted:

Setting up the next scene:

100    INT - CARD ROOM - NIGHT                          100        It is about 3 a.m.  Quentin sits staring at his        coffee.  Tracy watches him nervously.  He now knows        what those other dreams were about - Angelique -        however he still considers her part of a dream.        He does not remember what happened during the fight.                              QUENTIN                  There isn't any explanation.                  None at all.                              TRACY                       (to him)                  Darling, we don't need talk                  about it anymore.

And that's when today's first quote -

Page 42/Scene 100 - Quentin: 'I don't remember anything until I saw Gerard. I didn't recognize him. He shouldn't have been in the house.'

- comes up, followed by today's second quote -

Page 42/Scene 100 - Tracy: 'He simply thought he saw a light.'

-coming up.

And when it comes to what's different with the dialogue, Quentin's "There isn't any explanation. None at all" is dropped in the film - what Tracy actually says to begin the scene is "Darling, we don't need to talk about it anymore" (and I find it odd that the script would specify "to him" because who else would Tracy be saying that to?) - but then Quentin actually says "The first thing I remember is Gerard but I didn't recognize him. What was he doing in the house, anyway?"

...

And when it comes to what's different with the descriptions and directions, while Quentin is apparently staring at his coffee (the scene is shot so far away - from two rooms away and through three doorways - that it's hard to discern what he's looking down at), we do see/hear Tracy take a sip of her coffee and put the cup down on its saucer before she tells Quentin they don't have to continue to talk about what happened - and Tracy reaches over to touch Quentin's arm before she tells him that Gerard's explanation is that he simply thought he saw a light (yeah, right!).

   And so far as "today's" quotes go, they were on December 20th this time around.

 

[Mysterious Benefactor]

Revisiting two original graphics for Scene 100:

...

And whereas they're not a part of this slideshow, Quentin's and Tracy's first lines were a part of the original Movies Quotes Slideshow:

NoDS: Scene #100 - Quentin: 'There isn't any explanation.
None at all.'


NoDS: Scene #100 - Tracy: 'Darling, we don't need to talk
about it anymore.'

...

 

[Mysterious Benefactor]

Revisiting more of how Scene 100 is scripted:

Continuing Scene 100, or rather Scene 100B because DC's script has a notation that Scene 100B begins after Tracy tells Quentin that Gerard simply thought he saw a light. And the first thing to come up after that is today's first quote -

Page 42/Scene 100B - Quentin: 'And what was I about to do to you?'

- followed in DC's script by:

He gets up. x to window

And that's when today's second quote -

Page 42/Scene 100B - Tracy: 'You stopped when you realized what you were doing.'

- comes up.

And as for what's different with the dialogue, for a change, nothing is different because both Quentin's and Tracy's lines are delivered exactly as written.

But as for what's different with the descriptions and directions, no doubt DC considered this next part of the scene to be 100B because the camera switches from the long shot of yesterday's portion of the scene to a 2 shot, as can be seen -

- in today's first capture - and Quentin actually reaches out to hold Tracy's hand which, as we may recall from the previous post, is on his arm - and, unlike what the script says and DC's notation to it, Quentin doesn't actually get up and cross to the window after he delivers his line, and that can be easily seen in today's second capture -

- because he's obviously still sitting at the table with Tracy while she reassures him. And speaking of Tracy, there another notation in DC's script that indicates that the camera was supposed to stay on her as Quentin crosses out of frame and she delivers her line, but the above capture also shows that obviously things don't play that way either.

   And as far as "today's" quotes go, they were on December 21st this time.

 

[Mysterious Benefactor]

Revisiting even more of how Scene 100 is scripted:

Continuing on with DC's B portion of Scene 100:

100     CONTD                                      CONTD      100        QUENTIN CLOSE-UP                           QUENTIN                 But still -

And that's when today's quote -

Page 43/Scene 100B - Tracy (gets up, crosses to him): 'Don't worry about me...the important thing now is to figure out why it happened.'

- comes up.

And when it comes to what's different with the dialogue, Quentin's "But still -" is dropped in the film - and what Tracy actually says "Don't worry about me...the important thing is to try to figure out why it happened" - and strangely enough when it comes to that line, while DC's script indicates "(gets up, crosses to him)", Grayson's script simply indicates the odd "(to him)".

And when it comes to what's different with the descriptions and directions, Quentin actually gets up after yesterday's second quote where Tracy reassures him that he stopped what he was doing to her once he realized what you were doing, but he doesn't actually cross to the window - and more than likely that's because his "But still -" was dropped, so there's also no close-up of Quentin - what we actually see of Quentin, as can be seen in the following capture -

- is a medium shot - and when Tracy joins him, as can be seen in today's capture -

- it remains that way - we don't actually see Tracy get up because she simply comes from behind him to join him. But what's interesting is that DC's script has a notation that Quentin would indeed be shot in close-up for the "But still -" line and then the camera would pan to a 2 shot as Tracy crosses to him - but obviously, if the close-up was shot, it wasn't used in the edit of the film that we're familiar with.

   And when it comes to "today's" quote, it was Devember 22nd this time around.

 

[Mysterious Benefactor]

And revisiting yet more of how Scene 100 is scripted:

... DC's B portion of Scene 100, beginning with Sunday's first quote, Quentin's response to Tracy saying the important thing is to figure out why what happened with Gerard actually happened -

Page 43/Scene 100B - Quentin: 'I know...and how are we going to do that?'

- coming up, followed by Sunday's second quote -

Page 43/Scene 100B - Tracy: 'Let's go to bed. I'm sure it'll seem easier tomorrow.'

...

And as for what's different with the dialogue, Quentin actually says "I know...how we gonna do that?" - and to that Tracy actually replies "Well, let's go to sleep. I'm sure it'll seem easier in the morning" - ...

...

   And so far as "Sunday's" quotes go, they were actually Monday's, the 23rd's quotes this time around.

 

[Mysterious Benefactor]

Revisiting the subtitles/closed captioning for Scene 100:

When it comes to what DC considered to be Scene 100B, after Tracy points out that the important thing is to try to figure out why Quentin's attack on Gerard and herself happened, Quentin responds with "I know...how we gonna do that?" - now, both get the "I know" part perfectly correct - but, perhaps to make it more grammatically correct, the subtitles inserts the word "are" -

- and the closed captioning makes it even more grammatically correct by having -

Who knows why both are suddenly such sticklers for grammar when the actual dialogue isn't? 

And one other thing when it comes to Scene 100B is that Tracy starts off replying to Quentin's question by saying, "Well, let's go to sleep," which the subtitles completely acknowledges, but the closed captioning has -

...

(ADMIN: Edited to replace TV video screen captures)

 

[Mysterious Benefactor]

And once again Angelique wishes you a Merry Ghostly Christmas!! Only this time she does so with an Australian accent via -

- the Australian Daybill Poster with the reflection of my ceramic Christmas tree, backlit by the candle in the window behind it.

 


(And speaking of the Australian campaign, more about it will be coming January...

And if you're wondering what the ceramic tree casting its reflection on the poster really looks like, here it is,  - normally it's on display on a sideboard in my dining room, but this year I mixed things up and put it out in my home office. Believe it or not, back in 1976 the tree was made in ceramics class by a very good friend.)

[Mysterious Benefactor]

Wrapping up DC's B portion of Scene 100, beginning with ... Monday's quote -

Page 43/Scene 100B - Quentin: 'Aren't you...afraid to sleep in the same room with me?'

- coming up, followed by today's quote -

Page 43/Scene 100B - Tracy (hugging him): 'No...darling...no...'

- coming up.

And as for what's different with the dialogue, ... after Quentin actually asks more directly "You're not afraid of me?", Tracy actually reassures him with "No...no...", with the "darling..." part dropped.

And as for what's different with the descriptions and directions, Tracy doesn't so much hug Quentin as she nuzzles up against his neck - and interestingly DC's script has a notation that when it comes to Tracy's last line in the scene, the camera would tighten in on Tracy and Quentin's 2 heads - but as can be seen in today's capture -

- there isn't any tightening of the camera at all - things are shot from exactly the same distance as the two captures posted in reply #221.

And tomorrow the slideshow will begin yet another sequence that's different in Grayson's script from the way it is in DC's. But more on that tomorrow...

   And as far as "Monday's quote" goes, it was Tuesday's, December 24th's this time around, and "today's quote" is indeed today's, December 25th's.

And Reply #221 was revisited most recently as Reply #2449.

 

[Mysterious Benefactor]

Revisiting another still:

Before we move beyond Scene 100 I have a rare still to share. I've often wondered if it should be associated with the end of Scene 99 -

- or Scene 100 -

- and while I've leaned more toward Scene 100, as can be seen in today's screen capture, Tracy actually comes across as being more lighthearted -

- or at least being that way to console Quentin, than she is in the still because in it she seems quite concerned -

- and Quentin seems to be consoling her - but still, it does seem closer to what we get at the end of Scene 100 - and I strongly suspect that most of the stills were taken before the actual footage of the scenes was shot, perhaps even during rehearsals when they were trying out things that didn't actually make it into the film, which would explain why some stills are quite different from what we get in the film - though there's also the possibility that footage more similar to those stills was shot, but it just wasn't used in the film - and in the case of the still here, perhaps after Tracy put on a good front for Quentin, she did take on a more concerned demeanor but that footage, if it was shot, wasn't used - something that might even point to that concern could be upcoming Scene 104 - but more on that once we reach that scene...

 

[Mysterious Benefactor]

Before we get into DC's script's version of Scenes 101 & 102, this is what Grayson's script's version is like:

CUT TO: 101    INT - MASTER BEDROOM - NIGHT                     101        Quentin and Tracy are in bed.  They are asleep.        The CAMERA MOVES IN ON HIS FACE FOR A TIGHT CLOSE-UP.        He moans, tosses, turns.  He is dreaming and the        VOICES AND SOUNDS WILL ALL BE DISTORTED WITH ECHO.                              GABRIEL'S VOICE                  Grab him...grab him...                              CHARLES' VOICE                  No!...no!        SOUND: HEAVY IRON DOOR BEING OPENED.                                              DISSOLVE TO: 102    INT - CELLAR ROOM - NIGHT - NOT THE SAME LOOK AS    102        THE MEMORY CUTS - SLOW MOTION DREAM EFFECT.        Gabriel is at the open iron door.  Two men hold        the struggling Charles.                              GABRIEL                  You want her... 102    CONTD                                     CONTD   102        He nods to the two men.                              GABRIEL                  You will have her ... for eternity.        They throw Charles onto the floor in front of        what seems to be a coffin.  He scrambles to his        feet as Gabriel slams the door.  Charles runs to        it and begins POUNDING.                              CHARLES                  Let me out!  Let me out!        SOUNDS:  BRICKS BEING LAYED AS THEY SEAL THE DOOR.        TRUCK IN ON HIS FACE as we SLOWLY FADE TO BLACK.

End of scenes. And, yes, in the script "laid" is spelled incorrectly as "layed".

Next up, DC's script's version of Scenes 101 & 102...

 

[Mysterious Benefactor]

Also before we get into DC's script's version of Scenes 101 & 102, we should reacquaint ourselves with Scene 67 in Grayson's script:

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.

Why is that? Well, as we'll soon see, and you might have already picked up on your own, when the original versions of Scenes 67 & 68 were replaced with Scenes 66A, 67, 67A(the "Piano Scene" Flashback), & 68 in DC's script, bits of dialogue from original Scene 67 were incorporated into DC's script's rewritten version of Scene 101 - and an entirely new Scene 101A was added:

CUT TO: 101    INT - MASTER BEDROOM - NIGHT                               101        Quentin and Tracy are in bed.  They are asleep.  The        CAMERA MOVES IN ON HIS FACE FOR A TIGHT CLOSE-UP.  He        moans, tosses, turns.  He is dreaming and the VOICES        AND SOUNDS WILL ALL BE DISTORTED WITH ECHO.        SOUND - DOOR FLIES OPEN.                            GABRIEL'S VOICE                  Charles!  Wake up, Charles!                            CHARLES' VOICE                  What is it, brother?  Must you even                  disturb my sleep?                            GABRIEL'S VOICE                  You've been with her again, haven't                  you?                            CHARLES' VOICE                  What's wrong with you, brother?                  Don't you remember, your wife's                  dead. 101    CONTD                                             CONTD    101                            GABRIEL'S VOICE                  She still comes to you!  I know it!        Charles starts to laugh.                  All right, if you want her so                  much -- you will have her! 101A   DISSOLVE TO SLOW MOTION DREAM EFFECT.                      101A        CHARLES P.O.V. - HAND-HELD IN THE BED        See Gabriel looming over him as two men appear in back        of him.  They come to CAMERA as Charles' hands appear        in shot trying to fend them off (WIDE ANGLE DISTORTED        SHOT TILTED)                            GABRIEL'S VOICE                       (distorted voice - echo)                  For eternity, brother.... For eternity                                                 CUT TO: 102    INT - CELLAR ROOM - NIGHT - NOT THE SAME LOOK AS           102        THE MEMORY CUTS - SLOW MOTION DREAM EFFECT.        ALL BLACK - THE SOUND OF BIG IRON DOOR OPENING        Gabriel is at the open iron door.  Two men hold        the struggling Charles. 102    CONTD                                     CONTD   102        He nods to the two men.                              GABRIEL                  You will have her ... for eternity.        They throw Charles onto the floor in front of        what seems to be a coffin.  He scrambles to his        feet as Gabriel slams the door.  Charles runs to        it and begins POUNDING.                              CHARLES                  Let me out!  Let me out!        SOUNDS:  BRICKS BEING LAYED AS THEY SEAL THE DOOR.        TRUCK IN ON HIS FACE as we SLOWLY FADE TO BLACK.

End of scenes. And, yes, in the script "laid" is still spelled incorrectly as "layed".

Next up, what's different in the film...

 

[Mysterious Benefactor]

Revisiting how different Scenes 101 & 102 are in the film:

With the exception of also being set in the Master Bedroom and its opening set up, Scene 101 is totally different in DC's script from the way it originally appeared in Grayson's. And furthermore, as we know only too well, in the film as it stands DC's versions of Scenes 101 & 102 (& the upcoming 103) are all incorporated into the unscripted dream Quentin has on his first night at Collinwood rather than standing alone as they do in the script.

But be that as it may, when it comes to the rewritten Scene 101, even though DC crossed out Charles' "What is it, brother? Must you even disturb my sleep?", Gabriel's preceding lines "Charles! Wake up, Charles!" are also dropped in the film - and what Gabriel actually says that opens the sequence in the dream is "Charles, you've been with her again" - and to that Charles actually says "What's wrong with you, brother? Don't you remember? Your wife is dead", which is the way it was scripted for the original Scene 67 - to which Gabriel actually replies "Though she still comes to you. I know it!" - and what Gabriel actually further says is "All right -- you will have her!" - and when it comes to Scene 101A, DC wrote in an added "... For eternity" - and when it comes to Scene 102, what Gabriel actually says is an unscripted "She's yours, brother" before delivering today's quote -

Page 44/Scene 102 - Gabriel: 'You will have her ... for eternity.'

- after which Gabriel goes into a hysterical fit of unscripted laughter - and Charles' "Let me out!  Let me out!" is also dropped.

And when it comes to what's different with the descriptions and directions, probably because Gabriel and Charles each had their first two lines dropped, in Scene 101 we don't hear the sound of the door to Charles' bedroom fly open - and Charles doesn't actually laugh after Gabriel claims Charles still sees Angelique even though she's dead - and in Scene 101A we don't actually see Charles' hands appear to try to fend off Gabriel's two henchmen, though what we do see is Gabriel reaching out to Charles (as can be seen in the screen capture at the end of this post) - and Scene 102 is shot so darkly that we barely see Charles being held outside the door to the cellar room before he's thrown inside (and there's certainly no view of Gabriel, Charles, and the henchman holding Charles like the still that's published on page 233 of the DS Movie Book) - and after he's thrown into the room, as can be seen in today's capture -

- Charles is hardly discernible, and neither is the coffin.

And even though Gabriel's dialogue from Scene 101A is not a part of this slideshow, it was part of the original Movies Quotes Slideshow:

NoDS: Scene #101A - Gabriel: 'For eternity, brother.
For eternity!'

   And as far as "today's quote" goes, it was December 26th's this time around.

 

[Mysterious Benefactor]

Revisiting the subtitles/closed captioning fro the end of Scene 102:

And when it comes to Scene 102, the closed captioning acknowledges that Gabriel bursts out in unscripted hysterical laughter as the door is closed on Charles -

- however, the subtitles do not - and once again there's a rather strange interpretation in both the closed captioning and the subtitles when it comes to the end of the scene because Gabriel actually shouts an unscripted "Kill Dubloon," and that's Charles horse (and we've discussed how insanely vindictive Gabriel is to have ordered that!), but the closed captioning has -

- which does sound somewhat like what's actually said, but the really strange interpretation comes with the subtitles, which also sounds somewhat like what's actually said -

- but both? Who in heaven's name would "both" refer to?! But I suppose whoever did the subtitles didn't ask themselves that question. 

...

(ADMIN: Edited to replace TV video screen captures)

 

[Mysterious Benefactor]

Once again I want to revisit something I wrote back in 2016 about the end of Scene 102:

...

And if we might go back to Scene 102, yesterday I forgot to mention that the subtitles on the Blu-ray indicate that after having sealed Charles in the cellar room, Gabriel orders an unscripted "Kill Dubloon!" - and it does indeed sound like that's what he says. But unless someone has read some version of the NoDS script, they would have no idea that Dubloon is the name of Charles' horse because all the scenes referencing the name of his horse were cut from the film as it stands now (and even from the 97 minute version). And I have to say that, yes, of course a human's life is more valuable than that of a horse - but, whoa, killing one's brother and his horse really shows how insanely vindictive Gabriel is. And one has to wonder just how Gabriel got away without the ghosts of Angelique, Charles, and even Dubloon( ) taking revenge on Gabriel. But hey, maybe Angelique and Charles were just so happy to be reunited that they didn't care. And obviously the film didn't want to go down that road. But one can only hope that Gabriel's subsequent life is a completely miserable one...

Even over five years later I haven't gotten over how insanely vindictive NoDS Gabriel is, far worse than his TV show counterparts. Sure, Dubloon played a major part in the killing of Strack - but it was Charles who was behind that killing and he was the one who steered and led Dubloon to trample Strack. It wasn't like Dubloon went off and did it on his own to avenge his master's mistress. I joked that it was a wonder that Dubloon's ghost didn't come back to seek revenge against Gabriel, but really, someone should actually do a fanfic like that to give Dubloon some satisfaction against Gabriel's viciousness...