And Now The Return of Another New Slideshow (Sort of) [**Now featuring alternate versions of scenes - see replies #60,#82,#116,#138,#157,#180,#224,#240,#280,#372,#526**]

[Mysterious Benefactor]

I like today's photo.  I know you can't see "anything" but as you know, I have a vivid imagination.

winking,

G.

I just knew someone was going to remark on today's capture. 

But at least one good thing about the VHS/Laser version of the film is that Charles' head doesn't get cut off:

DVD/Blu-ray:

VHS/Laser:

(ADMIN: Edited for better comparison and to add a Laser capture)

[Gothick]

Gawd, MB.  It looks as if the "restoration" is way too dark.  Hope that's just a fluke of this particular shot.

I saw the "restored" Horror of Dracula in the Brattle Theatre last year, or was it 2014... The "Blu Ray" was used for the screening, and the thing was so dark, you couldn't see what was going on for at least one third of the film.  A lot of it also looked bluish.  Somebody online said this was because audiences now expect a "horror film" to be dark and vaguely blue.

We live in a degraded age.

G.

[Mysterious Benefactor]

I can't say that the Blu-ray of NoDS is vaguely blue compared to the VHS, but it is definitely somewhat darker. But then, to me the VHS transfer has too much of a yellowish tint to it, so for me the Blu-ray transfer is a definite improvement. And let's not get into how blurry the VHS is compared to the Blu-ray!

[Mysterious Benefactor]

Before we move on to the next section of Scene 85, I want to remind everyone of something I said back in March:

And before we leave this section of the film, observant people might notice in a few of the captures that there might be something in the tower studio that plays a part in the daytime show's 1995 and Summer of 1970 storylines. I'm not sure if it's exactly the same prop (and I'm too lazy to check). But it looks an awful lot like it, and soon the forum's Watching Project will be getting to 1995, so soon enough we'll see if it's the same...

And now that the WP is in the middle of 1995, those same observant people might have noticed that the prop in NoDS that I was referring to is indeed the same prop used in the 1995 and Summer of 1970 storylines. Can anyone pick it out from this capture of Scene 85's panning from Angelique's unfinished portrait to the extremely amorous Charles and Angelique -

- and mention how it's used on the daytime show? 

[Mysterious Benefactor]

Picking up Scene 85 where we left off, after Gabriel pounds on the door and asks to see Angelique:

They smile at each other but don't answer.                            GABRIEL (O.S.)                  I know she's in there.  Now open                  the door.        Finally, Charles decides to answer.                            CHARLES                  For more of your dreary moralizing?                   You try my patience, brother.                            GABRIEL (O.S.)                  For the last time!  Open the door!

And that's when today's quote -

Page 35A/Scene 85 - Angelique: 'Let him in.'

- comes up and is also delivered exactly that way in the film.

And as far as any differences in the dialogue go, well, that all depends on which version of NoDS one is watching. If it's the 129 recovered version or the 97 minute R-rated version that was mistakenly released in August of 1971, all of it is delivered exactly as written. If it's the version available online via Amazon and iTunes and possibly other places, or on DVD and Blu-ray, it's all but Gabriel's "For the last time! Open the door!" (though even though much of the dialogue is there, the accompanying correct footage that coincides with it is not). And if it's the 94 minute version available on VHS and which played in most areas of the country in 1971, then Charles' "For more of your dreary moralizing? You try my patience, brother" and  Gabriel's "For the last time! Open the door!" are missing.

And as far as the differences in the descriptions and directions go, Charles and Angelique do a lot more than smile at each other while they don't answer. Actually quite a bit more, depending on the version of the film one sees.    But here we're working with the 94 minute version, so all we see in it is Charles and Angelique kiss before he gets up and Angelique tells him to let Gabriel in. And I do have to say that that chaste version of what goes on between Charles and Angelique always strikes me as funny because all it looks like Charles does is pick a piece of lint from Angelique's cleavage - but if you've never seen what actually takes place in the longer versions, you might be quite surprised when you do see it!    Though keep in mind that it's '70s' R-rated, not X-rated. 

[Gothick]

Holy Hell, MB.  And to think that THING nearly killed Dr. Julia Hoffman!  All is explained that now that we  know that it was residing in Charles Collins' studio.  Clearly, the thing had had a spell put on it by that relentlessly vicious Witch, Angelique!

EEEE-vil...

G.

[Mysterious Benefactor]

Yes, the bust that appears on the table in Charles studio in 1810 and also in several of the captures from Scene 62, like these two -

- was also the bust that fell from the railing of the landing and almost killed Julia in 1995's Ep #1063 -

- as well as the bust Elizabeth put on display in the Summer of 1970's Ep #1089 -

[Mysterious Benefactor]

Continuing with Scene 85:

They look at each other and as Gabriel continues to        POUND, Charles crosses to the door and opens it,        but just a crack, revealing a very nervous Gabriel.

And that's when today's quote -

Page 35A/Scene 85 - Gabriel: 'I have come for her, brother.'

- comes up.

And as for what's different about the dialogue, Gabriel says something completely different because what he actually says is "That's my wife, Charles", which I think is a much better line.

And as for what's different from the descriptions and directions, Charles does cross to the door, but after he goes down the stairs and unlocks it, he actually kicks it completely open and then steps back to reveal Gabriel. And Gabriel doesn't look particularly nervous - a better description is that he looks angry. (There's no hint of the nervousness Gabriel will display in a sequence which chronologically takes place before the tower room scene but is a sequence we have yet to see in the film because it doesn't come up until Scenes 119 & 121.)

And before we leave these moments in the film, I do have to say that even more than three years after first posting about it, I still can't believe that it took me so long to really pay attention to that sketch:

I never really ever paid much notice to the sketch that's hanging on the wall near the door when Charles answers the door to Gabriel. And I have no idea how I actually could have paid little attention to it, particularly in the VHS version of the film where it seems to show up more prominently for a longer period of time:

Apparently one can easily presume that Angelique wasn't always as, uh, overly dressed as she was when she was posing for Charles' unfinished portrait.    And apparently this is yet further proof that no matter how often one watches something (and I've watched NoDS so many time that I lost count long ago) one can still pick up things on even more repeated viewings. 

(ADMIN: Edited to add better images, including a Laser Disc capture)

[Mysterious Benefactor]

Today's capture is further proof that -

- David Selby was the anointed successor to Joel Crothers in our DS Universe. 

And I'm sure we all recall that almost exactly 11 years after DS went off, in a DS-related interview Crothers said that when he was on DS he would have loved to have played a character like Quentin. Of course, he wasn't offered the role. But who knows - maybe in some alternate universe Crothers actually did play Quentin on the daytime DS. And quite possibly that might also mean that he played Quentin and Charles in that universe's version of NoDS... 

[Mysterious Benefactor]

Picking up where we left off with Scene 85, with yesterday's quote, Charles' reply to Gabriel -

Page 35A/Scene 85 - Charles: 'What's happened? You've suddenly become a man. (turning to Angelique) Will you take the credit, my dear?'

- coming up, followed by the script explaining:

She laughs as Gabriel takes the opportunity to force        his  way in.  Before Charles knows what's happening,        Strack and FOUR OTHER MEN are coming through the door. 85     CONTD                                     CONTD  85        Angelique rises in alarm as Charles tries to force        them back.  Two of the men subdue him.

And that's when today's quote -

Page 36/Scene 85 - Charles: 'Leave her alone, Trask! I'm warning you! Gabriel, have you lost your mind?'

- comes up.

And as for what's different about the dialogue, what Charles actually first says to Gabriel is "Well, little brother's suddenly become a man. (turning to Angelique) Will you take the credit for that, my dear?" - and the reason I selected two captures for today's quote and repeated the entire quote for both is because 1) I couldn't decide which capture I liked best to represent it, but more importantly because 2) in the film what Charles is scripted to say is actually flipped around with him first saying (to Gabriel) -

Charles: 'Have you lost your mind?'

- and then (to Strack) -

Charles: 'You touch her and I'll kill you!'

- rather than substituting Strack for Trask and saying "Leave her alone, Strack! I'm warning you!"

And the only reason DC's script's Page 35A is indicated as being a part of the 3/31 rewrite is because, as you may have noticed, his script says "Before Charles knows what's happening, Strack and FOUR OTHER MEN are coming through the door", whereas Grayson's script's Page 35 says "Before Charles knows what's happening, Trask and FOUR OTHER MEN are coming through the door."

And once again, one good thing about the VHS version of the film is that it doesn't cut off a character's head, in this case, Strack's:

And as for what's different from the descriptions and directions, Angelique doesn't laugh at Charles' remark about Gabriel suddenly becoming a man - and it's only two other men that enter with Strack, not four - and we don't actually see Angelique rise because when we see her she's already standing in alarm - and before we even see Strack and the second man, as can be seen in today's first capture, it's actually one of the men and Gabriel who subdue Charles.

[Gothick]

I wish I could somehow see a capture of the VHS version of the scene where Charles is shot from below as he's haranguing his dear brother who is about to invade the sanctity of his bower.

Awesome sketch of Charles's favorite model.  Good catch, MB!

Love the blurred glimpse of Rev Strack's insidious pout.  The Pout of Doom!

Very much enjoying this thread!!

G.

[Mysterious Benefactor]

I wish I could somehow see a capture of the VHS version of the scene where Charles is shot from below as he's haranguing his dear brother who is about to invade the sanctity of his bower.

Here's one -

- but it's not much different so far as an, uh, certain area goes. 

Love the blurred glimpse of Rev Strack's insidious pout.  The Pout of Doom!

Yes, Thayer is so good as Strack.

[Mysterious Benefactor]

Continuing Scene 85 with the script explaining:

Gabriel just stares at him.  Charles then looks at        the men holding him.                              CHARLES                  Tom...Ward...        They avoid his eyes.  As Trask steps toward        Angelique, her eyes blazing defiantly and he        suddenly thinks twice about touching her.

And that's when today's quote -

Page 36/Scene 85 - Trask (to the other two men): 'Take her!'

- comes up in the script.

But when it comes to what's different about the dialogue in the film, both Charles' "Tom...Ward..." and Strack's "Take her!" are dropped, with Charles line being dropped because, as we got into yesterday, the subduing of Charles is handled very differently in the film than it is in the script.

And when it comes to references to Trask in the script, Page 36 in Grayson's script has all instances of Trask's name crossed out and replaced with Strack (though that's not the case with her Page 35), but Page 36 in DC's script does not - and since we're using DC's script here, that's why the quote is attributed to Trask and Trask's name still appears in the descriptions and directions.

And speaking of what's different from the descriptions and directions, Gabriel doesn't just stare at Charles after Charles asks him if he's lost his mind because in the film Charles' attention is immediately turned to Strack once he enters the room and Gabriel's attention is soon focused on what's about to go on with regard to Angelique - and Charles doesn't look at the two men holding him because, again, Charles' circumstances are different in the film, so it will come as no surprise that it's also a case that the two men referred to in the script do not avoid Charles' eyes - and in the film Strack makes no attempt to step toward Angelique, nor do we even see her eyes blazing defiantly at him because as we can see in today's capture -

- Strack merely looks to his bald henchmen (and have you ever wondered why it is that so often henchmen are bald?) and motions for him to take Angelique.

[Mysterious Benefactor]

And wrapping up Scene 85, beginning with the script explaining:

As one of the men moves toward Angelique, Charles        tries to pull away, but can't.  As the man touches        her, she suddenly goes wild and in one lightning        move viciously claws his face.  He jerks away as        the others hang back in fear.        ANGELIQUE - CLOSE-UP

And that's when today's quote -

Page 36/Scene 85 - Angelique: (deadly calm) 'I'll go with you. But don't any of you touch me.'

- comes up.

Scripted end of the subconscious memory - but not the end as it appears in the film - nor is it the end of the sequence.

And when it comes to what's different about the dialogue in the film, Angelique actually adds a "Don't any of you touch me!" before the scripted lines, which are delivered as "I'll come with you. But don't any of you touch me", and I wouldn't say her lines are delivered in a deadly calm manner because, to me, it looks like she's seething with anger, speaking through gritted teeth, and even trembling because she's so angry - and after Angelique delivers her lines, Strack orders an unscripted "Come with us, Angelique Collins!" from off screen.

And so far as what's different with the descriptions and directions, Charles doesn't try to pull away as Strack's henchman moves toward Angelique - and we actually get a shot of a wild-looking Angelique -

- before she claws -

- Strack's henchmen - but while we do see her clawing-hand and the results of its handiwork -

- we never do actually see her hand on the henchman's face - and after Strack orders her to come with them, Angelique moves directly toward the camera as her image gets more and more out of focus the closer she gets to the camera.

[Mysterious Benefactor]

Here's Scene 86 as scripted:

86     INT - TOWER - 1971 - EVENING - NORMAL COLOR      86        Quentin is still staring at the picture.  He        remembers it all.

And that's when today's quote -

Page 36/Scene 86 - Quentin: 'Gabriel...Angelique...? That was her funeral I saw. What happened here? What?'

- is scripted to come up.

But when it comes to various versions of the film, there is either no dialogue at all or a completely different bit of dialogue. In the 94 minute and 97 minute versions, the correct sound mix is that there is no dialogue in Scene 86. But in the 129 minute version, slightly reworked versions of two of the things Angelique says at the outset of Scene 85 are combined and repeated: "As long as she's in this house, I can't be happy. Bring the painting to life. Please." But just as is the case with the earlier additional dialogue that can be heard in Scene 85 even though it doesn't belong in the 94 minute version of the film, that bit from Angelique is mistakenly heard in the versions of the 94 minute NoDS available online via Amazon and iTunes and possibly other places, and on DVD and Blu-ray.

And beyond the facts that like Scene 84, Scene 86 is not actually shot in the evening and the transition between the subconscious memory and the present is made via an extreme close-up of Quentin blinking, when it comes to what's different from the descriptions and directions, there isn't so much anything different from the actual script as there is from a notation DC made in his script which says that Quentin would be shot in profile and silhouetted against the water and sky - but as we can see in the following capture -

- that is definitely not the case in the film.

Also I have to say that the music used for this sequence (titled The Taking Of Angelique on the soundtrack CD) is one of my favorite pieces that Bob Cobert wrote for the film.